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19 agosto 2011

Dance of Shiva


Dance of Shiva: the yogic system of conciousness control and liberation


       

Shiva Nata — Dance of Shiva

Transitions from one Asana or Vinyasa to another one are accompanied with the movements of the arms or legs. In general terms, these movements are variations of Vinyasas, as they are synchronized with the breath. But these do not form any particular group of Vinyasas, which is a functional element of the «Universal Multilevel Vinyasa Algorithm», but they comprise parts of these Vinyasa groups used when transiting from one Asana or Vinyasa to another one.

Such arm and leg movements may be done with a number of similar options. For example, if standing upright, start to bend forward with the arms raised above the head and lower the hands onto the floor. During this move, there are a minimum of three optional ways of how the arms will move: forward and down, to the sides and down, and back and down.

In addition, there are a number of special breath exercises that are accompanied by similar movements of arms or legs. The arms are associated with the chest by means of muscles, and the legs are associated with the abdominal cavity, and both participate in the breathing process. This means that breathing characteristics largely depend on the trajectory and movement characteristics of the arms and legs in breathing exercises.

Unfortunately, in many Yoga schools with many progressive technical elements and methods, these movements are performed with extreme simplicity, primitively and without exaggeration. But at the same time these movements largely determine characteristics of energy flows in peripheral channels, it is still necessary to study the main dynamic principles of the limbs and their impact on breathing characteristics.

That is why it is important to introduce the nature of such movements into the practice of Yoga, and to make conscious all the movements with arms and legs made during training. This increases the effectiveness of breathing exercises by using specifically selected movements with the arms and legs.

* * *

Analyzing a theoretical model of the moving arm or leg, attached to a tentatively immovable body, we can see that these movements may be performed in one, two or three planes. Single-measured movements are performed by «directly» extending an arm or a leg. Double-measured movements are performed by their "plane" ones. And triple-measured movements occur when performing «three-dimensional» spiral movements.

In this connection, there are three groups of limb movement: linear, plane and dimensional.
Theoretically, when performing purely linear or single plane movements, the elements of the skeleton are required to be driven by a single muscle or by several parallel muscles set in the same plane as the direction of the movement.

But, since the human body is constructed so as to provide movements in different directions, the limb controlling muscles are attached to the elements of the skeleton at different angles. And observing the natural dynamics of the body, one can see that almost all of its movements are effected by the operation of muscle groups rather than by individual muscles. When a particular movement takes place, the load is completely or partially transferred from one muscle to another.

This is accompanied by changes in the angle of the application of the driving effort. Therefore, natural movements can rarely be purely linear or single-plane (only within a short track). Most often these occur upon the abrupt relaxation of the muscles when a particular part of the body falls freely.

To make the technique of liner or single-plane movements more sophisticated and natural, they should be complemented with specific motions that make the movement three-dimensional. So for example, linear bending (unbending) of an arm (leg) may be effected in a «whip-like» way or be rotated around its axis. And in a single-plane radial movement of an arm (leg), it can be simultaneously rotated around its axis.
Compared to linear and single-plane movements, three-dimensional spiral movements have a number of benefits and positive qualities. Firstly, these are the most natural and balanced movements. Secondly, they are performed in three planes and their trajectory consists of both linear and radial motion moments, and subsequently, this implies the ability to perform and control these movements also.

Thirdly, three-dimensional spiral movements cover almost all-possible positions «within the Marginal Mobility Circle» of the arms and the legs. This allows one to control this space and link any points inside this space between themselves. Fourthly, performing such spiral movements employs all muscle groups of the arms, legs, shoulder and hip girdle, which results in powerful and comprehensive strengthening effects during training.

Since movements with the limbs include overcoming gravitation, there is a relationship between the force lines of the Earth’s gravitational field and the «inner energy flows». According to the «action equals counteraction» rule, the upward movement of the limbs against the gravitational force relates to actively overcoming energy flows. Or it is possible to say that the active component of the gravitational force is transferred to the channels of the arms and legs. And on the contrary with moving the limbs down, on the gravitational force movement, the activity of energy flows decreases. For all that the activity of gravitational force carries out the work of falling down the limbs and a passive anti-flow is filled in the energetic channels of the arms and legs.

Continuous spiral movements consist of two complete counter-directional sine curves. Therefore, performing such movements sets a series of alternating active and passive fragments of the energy flow. These energy impulses purify energy channels and balance the circulation of energy inside them.

Synchronizing spiral movements of the limbs with the breath creates a constant and intensive energy consumption from the surrounding space, translation of it through psychic-energy structure channels, and accumulation and radiation into the surrounding space.

Such spiral motions were widely used in early Buddhist practices. Initially these were the elements of the Dance of Shiva, a Yogic art which develops conscious control, coordination and the potential abilities of the body, without specialized application in life.

Later, Boddhidharma exported them to Shaolin, and on the basis of these movements applied martial art techniques were developed with the use of one’s own body and various weapons: a sword, a pole, a spear, etc. These techniques became the perfect means for developing the functional abilities of the body, increasing the organism’s energy potential, the controling and coordinating several «sectors» of various body parts at the same time.

It should be noted that having a weapon in the hands promotes an increase of density energy flowing through arm channels, and more intensively develops the strength and endurance of the fighter. But there is another side of using weapons in training: it reduces the requirements to the twisting capability of the joints.

Therefore, the Far East schools of martial arts allowed practitioners to exercise with weapons only after many years of practicing base exercises without any weapons.

Some of these exercises have become widely known today, for example «rotation of cups filled with water» which should not be spilled during radial spiral movements. In the Ancient Dance of Shiva, however, such cups contained oil and wicks, which were burning throughout the dance. And in rotating the cups no oil should be spilled, and the fire should remain burning.

This dance, performed against the background of starry skies, made an inexplicable impression…
The Dance of Shiva uses sixteen principally different basic movements and sixteen positions for two arms. And this number may be neither larger nor smaller.

The helix always has a central axis around which the rotation is effected. When rotating a cup, its upper surface and the palm should always be in the horizontal position, whereas the spiral movements should be around the vertical axis. In this event, the rotation of the cups is done simultaneously, as if in two parallel horizontal planes, and are connected by diagonal fragments of the transition movements from one such plane to another. Therefore, such spiral movements are called «horizontal».

At the same time, such horizontal rotation of the cups consists of two continuous radial movements along spiral trajectories: ascending and descending. Performing such exercises results in the integration of the upper and lower horizontal subspaces.

There are several levels for the practical learning of these movements. But, at the very beginning, it should be noted that the difference between these levels is not in physical complexity. It is in the level of control and coordination, as well as in the ability to follow a preset program for a long period of time, without being distracted.

Then, faultlessly changing from one movement to another, performing them with technical perfection. But on the physical level, the complexity of these movements has little difference.

Transition from one level to another requires knowing a greater number of various combinations of these simple movements and supplementing linking movements, which correspond to improved coordination of the arms and legs. And the ability to avoid being distracted for a long time, and faultlessly follow a preset program corresponds to the increased level of controlling various positions of the arms and legs within the «Boundaries of the Marginal Circle» of their mobility.

Mastering the first level is sufficient for introducing the nature of such movements in Asana, Vinyasa sequences and breath exercises. But the first level will not be sufficient for the purposes of special development of control and coordination. Therefore, two development levels in this direction are considered below.

When analyzing the Dance of Shiva, it is required to understand from the very beginning that the word dance is applied provisionally, based solely on the external features of this phenomenon. It is necessary to imagine what happens with the energy body in the surrounding space during the spiral movements with the hands and cups. First of all, a spiral is a three-dimensional sine curve.

And, as it is known from physics the movement of the energy media, e. g., electrons, along a spiral conductor creates an electromagnetic field. In this event, the electromagnetic force acts along the central axis around which the spiral movement is effected. Similar phenomena occur in the space around the human body if a man performs spiral movements with his arms or legs.

In terms of physic science, such movements are accompanied with a definite movement of the life energy through the channels of the arms and legs. There are respective forces operating along the central axis, around which such spiral movements are performed, which interact with the surrounding space. The pulsating change of the ascending and descending directions of such spiral movements, with the cups being continuously rotated, causes such forces to pulsate and reverse.

Gaining experience in controlling energy flows opens many abnormal abilities. But, despite the temptation of mastering them, it is important to always remember the main purpose of this practice.

Despite the powerful energy-related effects occurring during the Dance of Shiva, these movements cannot be directly compared with Qi Gong, Tai Chi, Zong Shin, Kung Fu and other martial arts of Chinese, Vietnamese or Japanese heritage.

It is important to remember that in these techniques, the main accent is made on the development of the energetic results connected with the feeling of movement and the accumulation of Power, and on the development of the strategic and technical qualities of a fighter. But in the Dance of Shiva, the main accent is made on the development of the multi-sector control of the body’s controlling structures, the increases of the speed of the controlling processes, and the forms of the new algorithms of transcendental links in the consciousness. These new links increase the power and generation of the bio-processor.

Of course, these controlling processes may be developed for special purposes through various exercises without the participation of the physical body. For example, the development of mathematical thinking, playing chess games and modern computer games leads to such narrow and lopsided development, and for some people, this narrow and one side development will possibly suffice.

But the Dance of Shiva, however, allows the preservation of harmony in the developing of the body and Spirit. Since the body’s physical abilities are more easily developed than the spiritual abilities, the tasks of conscious control in the Dance of Shiva are rather simple compared to the tasks which may be required in purely «conceptual» practices. But, at the same time, these tasks correspond to the real level of the instrument (the body). Here one will never face the situation when the Spirit is ready to fly but the weak body is not even able to crawl, because there is balance between the Sky and the Earth, between the evolution of the ideal and material.

Movements of legs

From an anatomical point of view, the legs and the arms have a similar construction and can perform the same movements. Dividing leg movements into quarters it is possible to use the same system of shifts as are applied for the movements of the arms, by simply substituting the arm symbols in the above diagrams with the symbols of legs. But, in reality, moving both legs simultaneously in the standing position is impossible, or in the sitting and lying position there are restrictions in the range of movement, such as the floor, which substantially decreases the number of theoretically possible movements. 

Operation of the legs upwards is not possible in full scope, since it is restricted by the time period spent in a reversed position (on the shoulders, for example) and is connected with the overloading of the cardiovascular system. Therefore, the movement model devised for the arms is not natural or «practical» for the legs.

So, the technique of movements with legs is based on their natural inclinations. In the standing position, it is necessary to only move one leg at a time and to move one or two legs in a jump or on the floor. Parts of the movements in the standing position are differentiated and combined using a system of step sequences, which follow the fragment trajectories of these movements. (There is one school in Kyiv that uses variants of movements with two legs simultaneously while on the floor).

The sequence of practicing all of the above movements is similar. In the beginning, one learns the movements on the easier side, and then on the more difficult one. And all movements follow the rhythm of powerful breath: inhaling through the nose and exhaling through the mouth.

At the first level of practice it is possible to perform horizontal, longitudinal and transversal movements with one leg, the second leg serving as a support. Compared to the simultaneous movements of both arms, practicing movements with one leg looks much simpler, but movements with legs require much greater physical effort. But, in practice, performing leg movements that are technically «pure» requires similar effort. And, in terms of effect on the psychic-energy structure, these leg movements are not less effective.
Theoretically, one leg may perform two main spiral pendulum-like movements: longitudinal and transversal, forming four loops with crossing trajectories (Fig. 1). Forward and backward movements with a leg are only restricted by the «Limit of the Marginal Circle» of mobility. Transversal movements outwards are also not restricted, but when moving inwards, the free leg clashes with the supporting leg. Therefore, the impossible transversal loop towards the support leg is reversed towards the possible loop. As the result, the transversal spiral is performed in the following fashion: initially the leg moves to the side and close to floor level, and makes a small loop. Thereafter, it moves to the same side, but high above the floor level and makes a big (reversed) loop or to the reversed direction (Fig. 2).

Trajectory of the right leg, top view
Therefore, transversal spiral movements go to the side and upward in the vertical plane (Fig. 3). Whereas longitudinal spiral movements go forward-upward and backward-upward in the vertical plane (Fig. 4).
Trajectory of the right leg, rear viewTrajectory of the right leg, right-side view
Trajectories of longitudinal and transversal movements may be divided into two sections, and each assigned a relevant digital code. Looking at the longitudinal spiral on top (Fig. 5) its trajectory is divided into four quarters: internal front arch — 1, external front arch — 2, internal back arch – 3, and external back arch — 4. Similarly, looking at the transversal spiral (Fig. 6) it is possible to see: small front arch — 5, small back arch — 6, big front arch — 7, and big back arch — 8.

Trajectory of the right leg, top view
When practicing all subsequent movements with the legs, the back of the hands should be fixed on the waist. The practice of leg movements begins with mastering the circular movements in the front (Photos 73 — 75 and Fig. 7), back (Photos 76 — 78 and Fig. 8), on the side in a small loop (Photos 79 — 81 and Fig. 9), and on the side in a big loop (Photo 82 and Fig. 10).
Photos 73-75
Photos 76-78
Photos 79-81

Trajectory of the right leg, top view

Trajectory of the right leg, top view
These movements, accordingly, are comprised of front, side and back subspace movements. They are performed several times in succession without stopping, one side after another. These movements should not be excessively broad, but one should try to do them smoothly and radially. The toes should move low above the floor level with the foot rotating as if continuing a whip-like movement of the leg. The support leg is always slightly bent. It is necessary to have the feeling that the foot is gripping the floor and to instantly react to any deviations in the gravity center and compensate for them.

When such circular movements are performed easily and correctly in both directions, it is possible to progress to the next stage of the first level. At this level, the integration of front and back subspaces takes place, performing longitudinal spiral movements with one leg (Fig. 11), and side subspaces during transversal spiral movements with one leg (Fig. 12). These are performed in the rhythm of the breath, several times without stopping, one side after the other. The movements should be smooth and radial.

Trajectory of the right leg, top view
Trajectory of the right leg, top view
After that, it is necessary to start differentiating longitudinal and transversal movements into quarters by using relevant steps forward, backward and to the sides (Fig. 13 a-c). These steps are made in pairs by the same leg, starting from the initial position of standing, feet together and leg slightly bent, and returning to this position at the end. In the beginning, it is necessary to practice clockwise steps, and then counter-clockwise. For example, the clockwise step forward goes forward following the internal arch and backward following the external arch (Fig. 13a), or the clockwise step sideways goes to the side following the front arch and back in following the back arch (Fig. 13c), etc. In total, there are four clockwise steps and four counter clockwise steps.
The difference between the side step following the small arch and on using the big arch is not the width of the step alone, but the height at which the leg is raised. Thus, if using a small-arch step, the leg remains bent and the foot moves high above the floor following the front arch (5) and back arch (6) (Fig. 14). In the big-arch step the leg is completely straight and raises high above the floor moving outside (7) (Fig. 15a) and on the reverse trajectory it moves inside (8) (Fig. 15b). (A similar step to the side (outward) is often used in Sumo wrestling to take the main position).
Trajectory of the right leg, top view
When these steps have been learned, it is possible to begin to practice longitudinal or transversal steps with two legs one by one. In longitudinal movements, there are four options of such steps and four more in transversal. Such movements should begin from the initial standing position, feet together and legs slightly bent.
Trajectory of the right leg, top view

Longitudinal movements

Option one
Step forward with the right leg following the internal arch (1) then bring the left leg forward following the external arch (4), (Fig. 16a). This is followed by backward steps following the same trajectories, but in reverse sequence.

Option two
Step forward with the right leg following the external arch (2) then bring the left leg forward following the internal arch (3), (Fig. 16b). This is followed by backward steps following the same trajectories, but in reverse sequence.

Option three
Step forward with the right leg following the internal arch (1) then bring the left leg forward following the internal arch (3), (Fig. 16c). This is followed by backward steps following the same trajectories, but in the reversed sequence.

Option four
Step forward with the right leg following the external arch (2), then bring the left leg forward following external arch (4), (Fig. 16d). This is followed by backward steps following the same trajectories, but in reverse sequence.
Trajectory of legs, top view
Transversal movements

Option one
Step to the side with the right leg following the front arch of the small loop (5) then step to the same side with the left leg following the back of the small loop arch (6), (Fig. 17a). This is followed by steps to the opposite side, following the same trajectories, but in reverse sequence.

Option two
Step to the side with the right leg following the front low arch of the small loop (5) then step to the same side with the left leg following the high arch of the big loop, moving inside (8), (Fig. 17b). This is followed by steps to the opposite side, following the same trajectories, but in the reverse sequence. The high outward step becomes nothing but a second arch of the big high loop (7) (see above).

Option three
Step to the side with the right leg following the back arch of the small loop (6) then step to the same side with the left leg following the front arch of the small loop (5), etc. (Fig. 17c). This is followed by steps to the opposite side following the same trajectories, but in the reverse sequence.

Option four
Step to the side with the right leg following the back low arch of the small loop (6) then step to the same side with the left leg following the high arch of the big loop, moving inside (8), (Fig. 17d). This should be followed by steps to the opposite side following the same trajectories, but in reverse sequence. The high outward step of the left leg becomes nothing but a second arch of the big high loop (7) (see above).

When practicing the steps that follow the low loop, the foot must move low just above the floor almost touching it. In the initial position (feet together) inhale and make two steps during each exhalation. Thereafter, in the initial position, make another inhalation and take another two steps, etc. When changing between the steps, slightly slow down the exhalation. All inhalations should be through the nose and all exhalations should be through the mouth.
Such steps are practiced in series by two, four, six or eight steps in succession, depending on the length of the training.
Trajectory of legs, top view
(At the advanced levels of practice these steps are performed in a more natural fashion. The trajectories of the leg movements are slightly shifted. The second leg slightly oversteps before the first leg. As a result, the first leg always starts to move from behind the second leg.)

Movements of arms





To facilitate practical training, spiral movements of the arms are divided into four quarters. As was mentioned earlier, during the practice of horizontal movements, the palms should always be horizontal and face upward. In the first and third quarters, the fingers are turned outward (Photo 1 and 3), and inward in the second and fourth quarters (Photo 2 and 4).

To further simplify the description of the technique of these movements, each of the quarters is assigned a relevant number: for the first quarter - 1, for the second quarter — 2, for the third quarter — 3 and for the fourth quarter — 4.
The movements should first be learned separately with each hand, turning it in the same direction (the one which is easier for you) for several times without stopping. Then, it is possible to try to make the reverse rotation. In order to memorize the correct trajectory of the movements from the very beginning, it is better if one begins to learn these movements standing before the mirror, paying attention to the smoothness and continuity of the movements and the twisting capability of the wrist. To make the feeling of horizontal surfaces easier, it is possible to take cups or something flat and heavy in the hands.
When the separate spiral movements with each arm are learned well and it is possible to easily practice them in both directions, one can move on to the next stage of practice of the first level, i. e., moving both arms simultaneously.
The positions of the two arms are also assigned a two-digit code, in which the left digit means the position of the left arm and the right digit that of the right arm. For example, if both arms are in the position of the first quarter, such position shall correspond to — 11. Or if the left arm were in the position of the third quarter and the right arm in the position of the second quarter, this position would correspond to — 32.
The simplest movements of both arms simultaneously are synchronous single-direction movements in which both arms simultaneously pass through the same quarters.
For example, in sequences 11, 22, 33, 44, 11 and etc. or in the reversed order (Photos 5 — 8). Although, viewed from the top, the arms move in different directions. The sequence of practicing these and all subsequent movements is the same: initially it is necessary to practice synchronous movements with powerful breath, in which the arms turn in the same direction (the one that is easiest) and then in the reversed direction. During the movement all inhalations should be through the nose and the exhalations through the mouth. And each inhalation (exhalation) corresponds to two quarters (one half of a complete trajectory) of spiral movements.

This stage is followed by the learning of single-direction movements of two arms, in which each arm passes through different quarters, but in the same sequence. There are only three variants of such movements. The first one starts with the shift of one arm one quarter ahead of the other and is done in the following sequence: 12, 23, 34, 41, 12 or in the reversed sequence (Photos 9 — 12).
The second movement starts with the shift of one arm two quarters ahead of the other and is done in the following sequence: 13, 24, 31, 42, 13 or in the reversed sequence (Photos 13 — 16).
And the third movement begins with the shift of one arm three quarters ahead of the other and follows the following sequence: 14, 21, 32, 43, 14 or in the reversed sequence (Photos 17 — 20).
When single-direction movements are learned and can be easily practiced in both directions, it is possible to advance to the next stage of practice of the first level: counter-directional movements, where arms simultaneously pass through different quarters in reversed sequence. In total, there are four variants of such movements. The first movement starts from the no-shift position, but the arms are moving in reversed directions in the following sequence: 11, 24, 33, 42, 11 etc. or in the reversed sequence (Photos 21 — 24).
The second movement starts with the shift of one arm, one quarter ahead of the other, and the arms move in different directions in the following sequence: 12, 21, 34, 43, 12, etc. or in the reversed sequence (Photo 25 – 28).
The third movement starts with the shift of one hand, two quarters ahead, the hands moving in different directions in the following sequence: 13, 22, 31, 44, 13, etc. or in the reversed sequence (Photos 29 — 32).
And the fourth movement starts with the shift of one arm three quarters ahead of the other, the arms moving in different directions in the following sequence: 14, 23, 32, 41, 14, etc. or in the reversed sequence (Photos 33 — 36).






Associating movements of the spine with the breath



Practicing movements of the arms and legs in the Dance of Shiva, the corresponding momentums of forces change the form of the spine. And there are two general approaches to take when performing these movements. The first and simplest one is to constantly strive to keep the spine fixed and straight. This demands sufficient control of the muscles manipulating the position of the spine to achieve this fixed state. 

The second approach demands knowledge of various movements of the spine, which naturally occur when moving the arms and the legs. Having such knowledge, movements of arms and legs are consciously accompanied with relevant special movements of the spine. These movements facilitate a more natural motion of the arms and legs. They also substantially increase the psychic-energy effect of such exercises, since as spinal formation has a powerful impact on the vegetative nervous system. In this case the impact will be roughly the same as when performing basic Vinyasas with or without spinal manipulation. 

Symmetrically horizontal or vertical movements with both arms result in the deepest amplitude of spinal motions. In this case, whip-like movements of the spine are conveyed throughout the whole body to the neck and head, from coccyx to the crown of head. Such motions are the best assistance for expanding and compressing the chest. Additionally, they are accompanied by powerful and complete breath. All inhalations are done through the nose, and all exhalations, like in cleansing breath, are done through the mouth. 

Moreover such movements of the arms and the spine are accompanied by rhythmic squats on broadly-position feet. In this case, simultaneously with intensive exhalation, the head is bent forward, the ribcage stooped and compressed, the arms move down and making a slight squat on two legs. And during the next deep inhalation the head is tipped back, the ribcage is opened by a «not deep back bend», the arms move up and the legs are completely straightened (Photo 155 — 159 and 160 — 164). In essence, the breath, as practiced in such exercises, is a synthesis of the complete yogi breath, cleansing Ha-breath, and Kapalabhati Pranayama, each of which possess a number of powerful and useful effects.
What concerns spinal motion during the practice of asymmetric horizontal, vertical or horizontal-vertical movements of arms with shifts are that they usually lack harmony. And they are not so deep in amplitude as sine-curve movements. Repeating such first and second level movements for many times results in an asymmetric formation of the chest. This causes different volumes of air in the left and right lungs. Each of these movements sets a special rhythm of oscillatory effects on the spine. By remembering this rhythm as a melody, it can be oriented by the vibration of the spine and maintain this melody, paying almost no attention to the mutual placement of the arms. In this case the correlation of quarters will be preserved automatically.

Each of the asymmetric motions with shifted quarters has its own spinal rhythm and «vibration melody». These are hard to describe, but easy to feel in the process of practice.

Subsequent levels of the practice



The scope of this book does not allow the depiction of all levels of practicing the Dance of Shiva, but the first two are sufficient to develop for several months, or possibly, years. By the time of completion of this training program, there will be new publications containing the next levels of training algorithms. 

To introduce their content to interested readers, it is possible to mention that by transition from level to level together with the increase of the training form, the spiral motion with legs becomes higher and higher, and the steps become wider and more low-set, although the general principle of spiral trajectories always remains unchanged. 

Subsequent levels use the inertia of the arms and legs to transfer motion momentum to the body and secure its free twirling motion in the dimensional space. These levels complete the integration of all sixty four, horizontal, vertical, and horizontal-vertical arm movements, complete integration of all longitudinal, transverse, and longitudinal-transverse leg movements, and complete integration of all arm and leg movements between themselves. 

And only in the final stages, when there is sufficient skill and the culture of movements have gone far from the primitive and have become very sophisticated, is the mode of the Free Flow used. Moreover if at initial stages of practice, the hands are always kept stiff and flat, at the advanced levels of the practice the spiral motion of the arms is also extended to the hands. In this case the fingers always move simultaneously with the arms and hands, folding in a pinch and opening like a fan.

As the simplest example of such integration and simultaneous control of the movements of arms and legs, it is possible to be given an exercise that is practiced even at the first level. It is practiced in the position standing on one leg, the second leg and both arms move simultaneously. In this case the leg moves along a longitudinal spiral trajectory and the arms move symmetrically (or shifted two quarters) along horizontal (Photos 147 — 150) or vertical (Photos 151 — 154) spiral trajectories. 

The fragments of such movements of arms and legs in the Dance of Shiva, with simultaneous control of three sectors, are engraved in the canonized statue of Shiva dancing in the fire aureole. This famous statue is well known to the whole world. Unfortunately, due to the lack of communication between the true Keepers of the Tradition and the producers of these statues, the latter are completely ignorant about the technique of the Dance of Shiva. And, copying these statues from other copies over the centuries, they have made these statues with annoying inaccuracies.