What is Yoga without Sexual Assault?

Stains on the Lineage: Ashtanga's Reckoning

          On September 6th, 2025, an anonymous collective of Ashtanga yoga practitioners on Instagram (@1percenttruth_) accused Taylor Hunt, longstanding Ashtanga yoga teacher, of “inappropriate sexual behavior.” They alleged that, among other forms of physical and emotional abuse, Hunt frequently coerces female students into sexual relationships. Two weeks have passed since their bombshell, and in that time, countless students and prominent leaders from the Ashtanga community have come forward to corroborate these claims.

          The entire episode reeks of déjà vu. Back in 2018, a series of sexual assault allegations against primary Ashtanga guru and founder, K. Pattabhi Jois, very nearly destroyed the lineage. The esteemed yoga teacher was posthumously accused of groping, humping, and even fingering his female students under the guise of providing postural adjustments.

A Common Thread: Abuse Across Modern Yoga Traditions

          The Ashtanga case is only the latest in a long line of global yoga/ sexual assault scandals. Throughout the 1970s and 80s, guru Satyananda Saraswati of Yoga Nidra faced investigations for child sexual abuse, and Integral Yoga guru Satchitananda Saraswati made headlines in 1991 for molesting his students.  Bikram Chowdhury, creator of Bikram Yoga, accumulated five sexual assault-related lawsuits by 2014. The #MeToo movement in 2017 spurred a new onslaught of allegations, with Pattabhi Jois and Kundalini Yoga’s Yogi Bhajan joining the list of offenders. Nowhere in the yoga world feels safe – every lineage is a new can of worms, writhing with slimy intent underneath thin tin lids of ‘spiritual detachment.’

          Every time these gurus come under fire, their respective communities are forced to grapple with the realization that their yogic teachings are ethically compromised. Some teachers, feeling that their philosophies are irrevocably tainted, close the doors of their studios permanently. Some condemn their gurus’ actions but refuse to abandon their pedagogies – instead opting to change the names of their studios (‘Bikram Yoga’ became simply ‘Hot Yoga’) or adopt new trauma-informed techniques (now, instructors often ask consent before providing posture adjustments). Still others reject the entire tradition of guru-disciple lineage (guru-śiṣya paramparā), which, they claim, feeds into cycles of sexual violence. They call for a “post-lineage yoga:” a movement that rejects the autocratic guru in a good-faith effort to democratize yoga, even as it flounders with the complexities of spiritual authority and orientalist epistemology.

          Abuses are so interwoven in every fiber of these yogic traditions – from the modern brand names to the ancient education model – that perhaps the very fabric of yoga is sullied beyond redemption.

          The question remains, then: what is yoga without sexual assault? Other lineage-based communities, such as Indian classical music, have successfully curbed misconduct by improving oversight and enforcing ethical standards. Yet, in the yoga world, sexual assault continues unabated, festering in the intimate and vulnerable confines of studios and ashrams. Why do these spaces – intended for healing and soul-searching – so often become ones of exploitation and coercion? And how does yoga itself abet these harmful patterns? The answer, I believe, goes much farther back than New Age misogynists and #MeToo. 

Predatory Metaphysics: Gender & Power in Pre-Modern Yoga

          Today, over 80% of global yoga practitioners are female. But in premodern India, circa 7th-13th centuries CE, yoga was a male-dominated tradition. Yogins (male practitioners of yoga) make frequent appearances in medieval ritual texts, art, and literature; they are usually human men who, by virtue of devout spiritual practice, have attained god-like metaphysical powers.

          Yoginīs (female practitioners of yoga), on the other hand, are rarely mentioned. In texts on Tantric yoga, they are overshadowed by male ritualists; women, after all, are thought to be mere distractions from the spiritual path. When yoginīs do appear in ritual texts, they are terrifying and grotesque; fierce witch-like spirits who fly over the cremation ground, their feet turned backwards and their hair splayed wild as they accost innocent men. This textual canon reflects an age-old paradigm of patriarchy: men are impressively powerful, but women are only dangerously so.

          The yoginī’s distinct role in medieval texts points to a long history of sexual skulduggery in yoga. In 7th century Tantric yoga texts like the Brahmayāmala Tantra and the Siddhayogeśvarīmata, the yoginī is a female ritual partner who provides bodily fluids for the male ritualist’s cāru (impure offering). These fluids are attained through a variety of sexual rites, in which the yoginī’s body is worshiped as a vessel for shakti, the divine feminine energy.

          The 9th-10th century yogic text, the Kaulajñānanirṇaya, describes yoginīs as goddesses themselves and prescribes male practitioners to invoke them through ritual. This text promises that the yoginīs will appear to any successful (male) ritualist and “kiss” him with their vulvas, thus bestowing him with their supernatural powers. In such rituals, the yoginī exists to benefit the yogin; whether worshiped as a ritual object or as a divine being, the woman must surrender her sexual power for a man’s spiritual gain.

          This gendered power dynamic is itself an outgrowth from an older, classical school of philosophy: Samkhya. In the Samkhya-Yoga ontology, women are potent sources of shakti: the fertile feminine force that animates the cosmos. However, premodern yogic texts were written exclusively by men and for men. Therefore, these texts tend to concern themselves not with the female practitioner, but with the male practitioner’s cultivation of feminine power. These texts suggest that yogins need not spend their own shakti – they should instead harvest it from yoginīs, who, of course, are assumed to have no use for it themselves.

On the Restoration of Tattered Textiles

          Up until 2018, those who testified against K. Pattabhi Jois were dismissed and often met with vitriol. He was a great man and a great yogi, his defenders roared; how could he have hurt you? Yet, as many eyewitnesses have since confirmed, Jois’s abuses were hardly discreet. They were committed openly under the bright fluorescents of Ashtanga studios, so thoroughly entrenched in the practice itself that no one dared – for decades! – to question the master and his ancient methods.

          For the yoginīs of the Ashtanga lineage, their shakti is not really their own. It is policed by men, crafted according to male standards, and eventually stolen: an impure offering to the deified male guru. Taylor Hunt – like K. Pattabhi Jois and many other yogins before him – gains power by draining that of his students. He elevates his own status by violating women.

          The Ashtanga community is forever indebted to the teachers and students of 1percenttruth_ who are bravely working to expose physical abuses in yoga. But an insidious system of gendered metaphysics continues to pervade yoga spaces around the world, perpetuating a worldview that both enables and justifies the exploitation of women’s sexuality. Sexual assault is not just a taut thread that wrinkles a few lineages; it is the loom upon which these yogic traditions are woven. As we extricate one from the other, we must be prepared for the entire tapestry to unravel.

Acknowledgements

  • Amelia Wood for her important work on abuse in yoga.
  • Theodora Wildcroft for her bold attempt at redefining yogic education – I admit that I harbor a healthy skepticism of post-lineage yoga, but ultimately, it is the only way forward.
  • Christian Novetzke, Shelby House, and the other members of the Spring 2024 JSIS public writing workshop, who supplied invaluable edits and discourse for this piece.
  • The brave students and teachers at @1percenttruth_ , and everyone else who has survived abuse in a yoga space. Thank you for sharing your stories. We believe you. You are not alone.

Featured image (“Dakini with Consort”) courtesy of The Huntington Archive at the University of Chicago

The Primal Appeal of Music Festivals

            At the beginning of the COVID-19 lockdown, my sister and I hosted stay-at-home music festivals for ourselves. We would get dressed up, play different DJs’ livestreams on each of the TVs in our house, and run up and down the stairs as though we were stage-hopping. We used to joke that we didn’t even miss the real thing—after all, we had clean bathrooms, unlimited snacks, and we got to pick the lineup ourselves!

            Of course, our quarantine shenanigans were merely a distraction from mourning in-person events. For both of us, live music had been a necessary refuge.  No matter what we were struggling with in our day-to-day lives, we could lose ourselves in the sweaty crowds and loud music at the end of the week. I never thought I would say this, but at the height of COVID, I even missed getting caught in mosh-pits.

            Rest in peace, festival season 2020. I had high hopes for you.

            Music festivals did make a comeback this year, however, and I had the enormous pleasure of attending two: Dancefestopia in LaCygne, Kansas and Lost Lands in Thornville, Ohio. I used to have my festival routine down to a science, but after taking a year off, I felt a bit unprepared. I got to thinking about how camping festivals, especially, are a huge pain! You have to haul your gear in, brave the elements, and walk miles across the grounds to get where you need to go. Food and ice are expensive; the crowds are daunting; three days of partying is nothing short of exhausting. And God forbid you’re trying to organize a big group—I traveled solo to both festivals and that was hard enough. I said to myself, these things must be pretty damn fun if we tolerate all of the headaches.

            I’ve determined that, for most people, music festivals are so much more than a source of escapist entertainment. They are liminal spaces, conduits of social and spiritual transformation, opportunities for us to return to our most primal impulses. For one or two weekends a year, we can set aside ordinary rules, judgments, and expectations. We can come together as a community and simply dance.

            Here are some of the reasons that I suck it up and pay $15 for a grilled cheese once a year:

          1) When we gather in front of the mainstage, we move in sync to the rhythmic bass and flashing lights, subconsciously evoking age-old traditions of dancing around a fire. We’ve been dancing together ceremonially since the dawn of mankind; this simple ritual unites us across cultures, generations, and belief systems. Each member of the crowd comes from a different walk of life, but when we bop our heads in unison, I am reassured of our cosmic connectedness.

          2) In addition to the lineup of musical acts, most festivals offer a wealth of performance art, fine art installations, art vendors, and creative workshops to partake in. Personally, I thrive in communities that emphasize artistic experience. Moreover, I love when art is treated as a universal gift, intrinsic to every human’s nature, as opposed to a rare skill that must be honed for capital gain. In the “real” world,” I often feel pressured to turn my art into commercial success, but festivals allow me to enjoy art for art’s sake.

          3) Sleeping under the stars is therapeutic. I go camping often, but for many people, music festivals are the only times they lay directly on the earth. I believe we could all benefit from spending a few days outdoors and surrendering to the spontaneity of nature. At the very least, you’ll learn to never take air conditioning for granted.

          4) The suspension of normalcy inside the festival encourages adult attendees to adopt a childlike sense of play. We all wear our most brightly colored outfits, abandon our inhibitions, and bond over silly things like rubber ducks and slinkies. It’s the one weekend a year where I could carry around a teddy bear and only get questions like “what’s his name?!” We deserve a few days to feed our imaginations, to be (responsibly!) carefree and innocent again.

          5) Most importantly, festivals provide a space of community and unconditional compassion, shared even between complete strangers. Everyone is always in such a great mood! Every time I have attended a fest, alone or with a group, I have always been met with generosity, hospitality, and genuine care. The music motivates us to look out for one another, and the festival grounds become a sanctuary from our everyday struggles.

          I am constantly working to undo the social conditioning that tells me I am closed off from my fellow humans, that I am restricted in my self-expression, that I am not an organic being. In the festival community, this work has been done for me. I am free to be my creative, playful, true self. I can stand barefoot on the ground and dig my toes into the dirt. I am one with others just by being there and being present. 

            On a fundamental level, the desire to dance with loved ones under an open sky is one that we can all relate to. This primitive urge allows me to connect deeply with individuals who I would ordinarily never even cross paths with. So, even though music festivals are certainly a hassle and a half, they’re worth every minute.