I Am The Shiva Poem by C. P. Sharma

Land, water, sky
fire and air
from me sway;
in my matted locks
the crescent moon
and from them
the Ganges flows,
with Rudraksh1 and
serpents I glow;
my cooperation
and touch with Nature
ever grows.
I am the Shiva.

I am Neelkanth2,
worldly poison I drink,
my Trident guards
against all constrictions of
body, mind and soul.
Innocence is my nature,
I am easily pleased
I am the Shiva

Smeared in ashes
I live on Kailash3,
I appear strange,
unique is my form.
My garland of skulls4
symbolizes immortal love
for my consort, and her
memories unforgettable
as Sati, Sadhvi, Bhavpreeta, Bhawani5
me ever haunt.

All beings
from me diverge;
they once again
unto me converge.
I shower my blessings
standing neutral between
demons and gods;
I am the unimpeachable Shiva.

When my pallet drum
starts its beats
my third eye opens,
my feet tip tap for Tandav6
lighting funeral pyres everywhere
for readying new canvas
to paint anew

I am all inclusive,
I am the Truth,
I live in eternal bliss,
I am the Shiva.

Notes sourced from Wikipadea:
1Rudraksha, also rudraksh, Sanskrit:  rudrākṣa ('Rudra's eyes') , is a seed traditionally used for prayer beads in Hinduism. The seed is produced by several species of large evergreen broad-leaved tree in the genus Elaeocarpus, with Elaeocarpus ganitrus being the principal species used in the making of organic jewelry or mala.
Rudraksha, being organic, is preferentially worn without contact with metal; thus on a cord or thong rather than a chain.

2Lord Shiva consumed the poison Halahala that originated from the sea during the Samudramanthan (churning of ocean)  and held it in his throat that turned blue. Hence, he is worshiped as ‘Blue Throated God’at Neelkanth Mahadev Temple near Rishikesh.

3 Mount Kailash (also Mount Kailas;  Kangrinboqê or Gang Rinpoche;  simplified Chinese:  Gāngrénbōqí fēng,  Sanskrit: (Kailāśa) is a peak in the Kailash Range (Gangdisê Mountains) , which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River) , the Brahmaputra River, and theKarnali River (a tributary of the River Ganga) . It is considered a sacred place in four religions:  Bön,  Buddhism,  Hinduism and Jainism. The mountain lies near Lake Manasarovar and Lake Rakshastal in Tibet.

4 The garland of skulls (mundamala) around Shiva's neck consists of heads from the bodies of Mother Sati, in her previous incarnations. She left him as a widower for at least ten lifetimes. Shakti's incarnations kept dying although Shiva lived on and on forever due to his Yogic practice.

5 The 108 names of Lord Shiva’s consort are: 1) Satī, the daughter of Dakṣa; 2) Sādhvī, the Sanguine; 3) Bhavaprītā, loved by the universe; 4) Bhavānī, the abode of the universe; 5) Bhavamocanī, the absolver of the universe; 6) Āryā; 7) Durgā; 8) Jayā; 9) Ādyā, the beginning reality; 10) Trinetrā, having three-eyes; 11) Śūladhāriṇī, holding a monodent; 12) Pinākadhāriṇī, Who holds the trident of Śiva; 13) Citrā; 14) Caṇḍaghaṇṭā, having mighty bells¹; 15) Mahātapā, with severe penance; 16) Manas, mind; 17) Buddhi, wisdom; 18) Ahańkārā, pride; 19) Cittarūpā, thought-state; 20) Citā, death-bed; 21) Citi, the thinking mind; 22) Sarvamantramayī, possessing all the instruments of thought; 23) Sattā, above all; 24) Satyānandasvarūpiṇī, eternal bliss; 25) Anantā, infinite or beyond measure; 26) Bhāvinī, beautiful woman; 27) Bhāvyā, future; 28) Bhavyā, with splendor; 29) Abhavyā, improper or fear-causing²; 30) Sadāgati, always bestowing Mokṣa; 31) Śāmbhavī, consort of Śambhu; 32) Devamātā; 33) Cintā, thoughts; 34) Ratnapriyā, adorned or loved by jewels; 35) Sarvavidyā, abode of knowledge; 36) Dakṣakanyā, that is Satī, daughter of Dakṣa; 37) Dakṣayajñavināśinī, destroyer of the sacrifice of Dakṣa³; 38) Aparṇā; 39) Anekavarṇā, having many complexions (for example: Kālī, Gaurī): 40) Pāṭalā, red in color; 41) Pāṭalāvatī, wearing a red-color apparel; 42) Paṭṭāmbaraparidhānā, wearing a dress made of leather; 43) Kalamañjīrarañjinī, wearing a melodious anklet; 44) Ameyā, immeasurable; 45) Vikramā, fierce; 46) Krūrā, cruel (on demons): 47) Sundarī; 48) Surasundarī; 49) Vanadurgā; 50) Mātańgī; 51) Matańgamunipūjitā, prayed by Sage Matańga; 52) Brāhmī; 53) Māheśvarī; 54) Caindrī; 55) Kaumārc; 56) Vaiṣṇavī× 57) Cāmuṇḍā; 58) Vārāhī; 59) Lakṣmī; 60) Puruṣākṛti, taking the form of a man; 61) Vimalotkarṣiṇī, providing joy; 62) Jñānā; 63) Kriyā; 64) Nityā, eternal one; 65) Buddhidā, bestower of wisdom; 66) Bahulā, numerous in forms; 67) Bahulapremā, generously benevolent; 68) Sarvavāhanavāhanā, sits or rides all vehicles; 69-72) Slayer of Śumbha and Niśumbha, Mahiṣāsura, Madhu and Kaiṭabha, and Caṇḍa and Muṇḍa; 73) Sarvāsuravināśā, destroyer of all demons; 74) Sarvadānavaghātinī, causes injury to all the demons; 75) Sarvaśāstramayī, deft in all theories; 76) Satyā; 77) Sarvāstradhāriṇī, possessor of all the missile weapons; 78) Anekaśastrahastā, possessor of many hand weapons; 79) Anekāstrasya Dhāriṇī, possessor of many missile weapons; 80) Kumārī; 81) Ekakanyā; 82) Kaiśorī; 83) Yuvatī; 84) Yatī; 85) Aprauḍhā, who never gets old; 86) Prauḍhā, who is old; 87) Vṛddhamātā, old mother (loosely): 88) Balapradā, bestower of strength; 89) Mahodarī, gigantic abdomen which stores the universe; 90) Muktakeśā, having open tresses; 91) Ghorarūpā, having a fierce outlook; 92) Mahābalā, having immense strength; 93) Agnijvālā, poignant like fire; 94) Raudramukhī, having a fierce face like universe-destroying Rudrā; 95) Kālarātrī; 96) Tapasvinī; 97) Nārāyaṇī; 98) Bhadrakālī; 99) Viṣṇumāyā; 100) Jalodarī, abode of the ethereal universe; 101) Śivadūtī; 102) Karālī, fierce; 103) Anantā, immeasurable; 104) Parameśvarī; 102) Kātyāyanī; 106) Sāvitrī; 107) Pratyakṣā; 108) Brahmavādinī.. Source: Durga Saptshati ||2—16||

6Tāṇḍava or Tāṇḍava nṛtya is a divine dance performed by the Hindu god Shiva. Shiva's Tandava is described as a vigorous dance that is the source of the cycle of creation, preservation and dissolution. While the Rudra Tandava depicts his violent nature, first as the creator and later as the destroyer of the universe, even of death itself; the Ananda Tandava depicts him as enjoying. In Shaiva Siddhanta tradition, Shiva asNataraja (lit. 'Lord of dance') is considered the supreme lord of dance.
The Tandava takes its name from Tandu , the attendant of Shiva, who instructed Bharata (author of the Natya Shastra) in the use ofAngaharas and Karanas, modes of the Tandava at Shiva's order. Some scholars consider that Tandu himself must have been the author of an earlier work on the dramatic arts, which was incorporated into the Natya Shastra. Indeed, the classical arts of dance, music and song may derive from themudras and rituals of Shaiva tradition.
Some of the 108 Karanas ofNataraja at Kadavul Hindu Temple, on Kauai, Hawaii. It is one of the few complete collections in existence, commissioned by Satguru Sivaya Subramuniyaswami in the 1980s. Each sculpture is about 12 inches tall.Chidambaram Temple is also known to have a complete set.
The 32 Angaharas and 108 Karanas are discussed by Bharata in the 4th chapter of the Natya Shastra,  Tandava Lakshanam. Karana is the combination of hand gestures with feet to form a dance posture. Angahara is composed of seven or more Karanas. 108 karanas included in Tandava could be employed in the course of dance, fight, and personal combats and in other special movements like strolling.
The dance is a pictorial allegory of the five principal manifestations of eternal energy:
'Srishti' - creation, evolution
'Sthiti' - preservation, support
'Samhara' - destruction, evolution
'Tirobhava' - illusion
'Anugraha' - release, emancipation, grace
Thus Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death.