Shadow Yoga

Yoga of the Shadow Man

The name Shadow Yoga is derived from the 6th chapter of the ancient tantrika treatise ‘The Shiva-Svarodaya’ (the birth of the breath of life revealed by the god Shiva). This chapter, entitled ‘Yoga of the Shadow Man’, deals with the intricate manifestations of the shadow and their significance both inside and outside the human organism.

The teaching of the Shadow School is based upon the ancient Hatha Yogic texts, which state that all fixed forms should be designed to develop the practice of freestyle. Freestyle is a necessary step in the cultivation of longevity and enlightenment. The Ashtanga Hrdaya of Vagbhata, a primary ayurvedic text, also contains a chapter on the shadow which deals with diagnostic principles. There is also a story about Allama Prabhudeva, (one of the famous forefathers of Hatha Yoga), in which he describes the human body as nothing but layers of frozen shadows. According to Hatha Yogic anatomy the body is composed of three discrete bodies and five sheaths (coverings or shadows). The practice of Hatha Yoga has evolved with the purpose of dissolving these shadows.

The texts also suggest that the set forms should contain within them the following bodily positions and movements for the proper development of the vital breath. Standing, Pumping, Sitting, Weighing, Lying (face-down, face-up, on sides), Forwards, Sideways (lateral), Backwards, Inversion, Spiral, Turning, Twisting. These twelve kinds of positions and movements have been adapted from the range of human activities including martial arts, dance and crafts of life, and from the plant and animal kingdoms. The appropriate combination of these activities with suitable rhythm and positioning brings about the unfolding of the inner powers hidden in the individual.

Nṛtta Sādhanā

Rhythmic Movement through the application of Karanas

The Nrtta is that Sadhana (the way of accomplishments) through which the sadhaka (aspirant) rediscovers the rhythmic life currents hidden in the body’s folds and limbs by means of unimposed natural positioning and that is termed as karana (cause). The three forms of Nrtta are: Ashta Matrikas (the eight mother palms or eight palms), Lasya (Kali’s creative dance or Long form) and Ananda (Samhara) Tandava (Shiva’s dance of dissolvement).

It is important to understand the difference between Natya – Nrttya and Nrtta. The first two terms refer to theatrical performance while Nrtta is defined in the Abhinaya Darpana of Nandikesvara as ‘that dance devoid of any type of emotional mood’. This corresponds exactly to the explanation of Abhava yoga given by Mahesvara (Lord Siva) in the eleventh chapter of the Kurma Purana. This states that Abhava Yoga is that yoga in which one contemplates oneself as void and without any shadow (manifestation) of anything, which therefore enables one to visualize the Self. Here, Abhava refers to a state free from any emotional support, also exemplified in Nrtta as defined by Nandikesvara.

The eleventh chapter of the Kurma Purana includes a detailed explanation of Pashupata Yoga. Nrtta formed a large part of the corrective Sadhana of the Pashupata yogins. This is clearly indicated in the eighth sutra of the first chapter of the Pashupata Sutras. Out of the one hundred and eight karanas mentioned in the Natya Shastra, not more than thirty-six karanas are used for the purpose of self cultivation.

Most of the asanas used in contemporary Hatha Yoga schools are adaptations of the standing and squatting karanas. The important difference is that in the original practice the placement of the legs was achieved through the cultivation of the inherent energy of the legs whereas nowadays the legs are manipulated with the hands to achieve the same external shapes. Five of the karanas are responsible for restoring the body’s natural energetic responsiveness required for this authentic practice.

Courses Offered 2019

Publications

Sundernath (Shandor Remete) and Emma Balnaves