Have you ever been terrified? And wondered how you ended up there?
During my two months in South India I ended up at Tiruvannamalai, a middle-sized town, for the ten-day long Karthigai celebrations, which is the biggest holiday for Hindus in South India.
Among other festivities, every day at sunset a pillar of flame is lit on top of the Arunachala hill. They say that you can see the flame for miles around.
The Hindu god Shiva is supposed to have appeared as a beacon of light on top of this mountain as well as be the mountain itself, so it’s a holy place even outside of Karthigai.
In addition to walking around the mountain, hiking up the mountain is also one of the special things to do there. The hike up was surprisingly not easy, although the view of the town’s temple from high up is beautiful.
True believers walk up the hill barefoot. I kept my shoes on…until I got to the top.
When I got up to the top of the mountain right after sunset, the pillar of flame had just been lit. Since it had already been lit a few days, the area all around the top was covered in gooey black tar from the spent ghee. It was so windy up there that the wind picked up sparks from the pillar and blew them on to the tar, lighting up small licks of flickering flames everywhere.
I had to take off my shoes. I’m barefoot. It’s getting dark. We had planned to spend the night on top of the mountain, but I was no longer so sure. It was all men up here, and I’ve been having bad experiences with men in India. Many of them were leaving now that the pillar was lit.
I told my companion Josephine that I might go down now with the men who were leaving. She told me that I first had to pour my ghee onto the pillar. Yes, I agreed, but I was afraid to approach the pillar. I had no idea how I was going to even get close enough to pour the ghee. The black tar was slippery; I was afraid I’d fall.
At this moment I truly understood the word awe whose origins in Old English meant “immediate and active fear, terror, dread” inspired by god/s. I was scared into respect. Confronted with the smell of ghee burning for days and the sight of fire everywhere, I felt so small. What did I get myself into?
One of the fire tenders offered me his hand. He guided me to the pillar of fire and showed me that, from the back, I could safely pour my ghee in. And he held my hand as we poured the ghee in together.
I felt safe with him; he’s on the left-hand photo above. I no longer felt alone. I decided to spend the night up there with Josephine and the fire tenders. There were four of them. So I spent the night on top of the mountain with all of them, sharing tea and bread through the night. Josephine spoke some Tamil, and everyone taught me a few words. It’s completely different from Sanskrit.
I visited the flame before going to sleep. A lot of the ghee had burned away by then, and the flame was no longer so fierce. The wind spookily whistled around me. And all of a sudden I felt alone but no longer scared.
We slept in a row on a mountain so that we were protected from the wind, but it was still so cold. I woke up about once every hour and watched the moon make its way across the night sky.
In the light of the sunrise the fire was dying down. Monkeys woke up and picked at offerings left behind for the gods. As I made my way down the mountain up came a chain of devotees with gallons of ghee to prepare for that night’s pillar of fire.
Category: Active Hands Yoga ⇔ Tags: Arunachala, Deepam, fear, fire, Hindu festival, holy mountain, India, Karthigai, monkeys, shiva, south india, Tiruvannamalai ⇔ No Comments
The Dancer pose aka Natarajasana is one of the most emblematic yoga postures. The Sanskrit name literally means the posture of the king of the dance. The Lord of the Dance is an aspect of the Hindu god Shiva.
Usually, Nataraja is seen in sculpture as dancing in a ring of fire, the left leg lifted in the air, the right foot stepping on a demon (the demon of ignorance and illusion). In his upper right hand is the the drum of creation; his upper left hand holds the fire that will destroy all of creation. No fear signals his lower right hand, held up in abhayamudra. His lower left hand, pointing towards his lifted left leg, signals refuge.
There are lots of temples in South India where Shiva is worshipped in his aspect of Nataraja. In Tamil Nadu, one of the southern Indian states, there are five main temples of Nataraja known as Pancha sabbas or the five halls where Shiva performed his cosmic dance. At these temples are stages / ambalams.
The most important temple for Nataraja among these five is the Kanaka Sabha or golden hall at Chidambaram, where on the temple gopurams (entrance towers) you can see sculptures of karana or dance movments.
Another important Nataraja shrine is the Rajatha Sabha or silver hall at the Minakshi Sundareshwarar temple in Madurai. Here you can see a rare representation of the Natarajasana.
The Lord of the Dance is shown raising his right leg and dancing on the demon with his left foot, reversing the usual posture of Nataraja. As a practicing yogi you might think it’s just to balance out the left and right sides. The reversal in posture here, however, is due to legend.
Once upon a time the king of Madurai was a devotee of Nataraja and tried to learn how to dance. Finding it very hard to dance only on his right leg all the time, as we usually see in the sculptures, the king prayed to Lord Nataraja to change his posture so that the king could also change his posture. The Lord accepted his request and thus Nataraja is dancing on his left foot here in Madurai.
Another temple in Tamil Nadu dedicated to Nataraja is at Kanchipuram. Although not one of the five places where Nataraja performed his cosmic dance, the Kanchi Kailasanathar temple was built by a devotee to Nataraja, the Pallava King Raja Simha. The low sandstone campus shows Shiva as Nataraja in various postures on exterior panels.
Finally, one of my favorite sculptures of Shiva is at the Muvar koil temple far off the tourist path at Kodumbalur in the Pudukkottai region. Built and carved by early Chola artisans in the 9th and 10 centuries, the architecture features lovingly detailed reliefs in the niches.
Here Shiva is shown as Kalari, dancing over the figure of Kala. The graceful smile on his face as well as the balanced positioning of his arms and legs make this scene quite lyrical. Instead of Shiva as the terrifying conqueror of Kala, here he is at ease, at play, dancing.
The Nataraja image has been partially destroyed at Kodumbalar, but it gives the same impression of grace and movement.
By showing this variety of images of Nataraja at Indian temples I mean to illustrate the different ways to take the dancer pose in yoga. Quite often we hear that there is only one right way to take a pose, but if we go back to the origins, you can see for yourself that Shiva himself danced in different ways over a period of time even in the same region.
What’s your favorite image of Nataraja? Let me know in the comments where to see your favorite representation of the dancer pose.
Images from the top : Elena Ray, Met Museum, Isabel Putinja, University of Washington Libraries, two photos from Sulekha.com, two photos from Saurabh
Category: Active Hands Yoga ⇔ Tags: chola, dancer pose, dancer yoga pose, indian fresco, indian sculpture, kalari, lord of the dance, nataraja, natarajasana, shiva, siva, south india, tamil nadu, temples ⇔ 6 Comments