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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.


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