Ani

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  1. BIBLIOGRAPHY The works quoted below are based on numerous lectures and talks of the Master Beinsa Duno. 1. Boyan Boev, Acordirane na choveshkata dusha [Harmonizing the Human Soul], v. 2, Byalo Bratsvo Publishers, Sofia, 2000. 2. Razgovorite pri Sedemte Rilski ezera [Talks with the Master at the Seven Lakes of the Rila Mountains, 1929-1942], presented by Metodi Konstantinov, Boyan Boev, Maria Todorova, and Boris Nikolov, Byalo Bratsvo Publishers, Sofia, 2011. 3. Taini i otkroveniya [Mysteries and revelations], lecture held May 6, 1936, published in Pette vrati [in Bulgarian], collection of lecture of the General Esoteric Class, 15th year, Zhanua 98, Sofia, 2002. 4. Ozlobyavane, taga, skrab [Anger, sorrow, and grief], lecture held February 9, 1928, published in Malki i golemipridobivki [in Bulgarian], collection of lectures of the General Esoteric Class, v. 2, Sofia, 1936. 5. Panevrtimiya ot Beinsa Duno [in Bulgarian], presented by Svetozar Nyagolov, Videlina Publishers, Sofia, 1999. 6. Petar Danov, Panevritmiya [in Bulgarian], presented by Iliya Uzunov, unpublished. 7. Rakovodstvo za izuchavane na Panevritmiya [Instructions for learning Paneurhyhtmy], Byalo Bratstvo Publishers, Sofia, 1999. 8. Beinsa Duno, Panevritmiya [in Bulgarian], Byalo Bratstvo Publishers, Sofia, 2004 and 2013. 9. Paneurhythmy of the sisters [in Bulgarian], presented by Elena Andreeva, Maria Todorova, and Yarmila Mentzlova, with Katya Griva as consultant, Sofia, unpublished, 1946-1947; 1954-1955. 10. Beinsa Duno, Panevritmiya [Paneurhythmy], Heliopol, Sofia, 1996. 11. Slanchevi lachi—muzika, dvizheniya i govor ot Uchitelya [The Sun Rays. Music, movements, and words by the Master], Sofia, 1942. 12. Beinsa Duno, Panevritmiya—razumna obmyana sas silite na zhivatapriroda [Paneurhythmy—conscious exchange with the forces of Living Nature], Sofia, 1938. 13. Peter Dounov, Paneurhythmy—The Rays of the Sun and the Pentagram, presented by Viola Bowman, vol. 2, Connecticut, 1996. 14. The Circle of Sacred Dance. Peter Deunov’s Paneurhythmy, edited by David Lorimer, Element, Rockport, Massachusetts, 1991. 15. Beinsa Duno, The Pentagram, Byalo Bratstvo Publishers, Sofia, 2013. 16. Vsemiroviyat Uchitel Beinsa Duno i Veliko Tarnovo [The Universal Teacher Beinsa Duno and Veliko Tarnovo], v. 2, Alfiola, Varna, 1996. 17. Boyan Boev, Acordirane na choveshkata dusha [Harmonizing the Human Soul], v. 3, Byalo Bratstvo, Sofia, 2001. 18. Pentagramat i razvitieto na petata choveshka rasa [The Pentagram and the development of the modern humankind], presented by Svetozar Nyagolov, Videlina Publishers, Sofia, 1998. 19. Pentogramatpo Uchitellya [in Bulgarian] compiled by Boyan Boev and published in Izgrevat na Byaloto Bratstvo pee i sviri, uchi i zhivee [The Sunrise” of the Brotherhood of Light sings and plays, studies and lives], v. 12, Zhiten Klas, Sofia, 1999, 762-785. 20. The Testament of the Color Rays of Light, Byalo Bratstvo Publishers, Sofia, 2013. 21. Paneurhythmy—The First 28 Exercises Performed by Yarmila Mentzlova and Maria Todorova, Byalo Bratstvo Publisher, Sofia, 2004. 22. Panevritmiya—pesni na harmonichnite dvizheniya [Paneurhythmy—songs of the harmonious movements], Sofia, 1941. 23. Naj-novite gimnasticheski musikalni uprajnenija [The new callisthenic musical exercises], Izgrev-Sofia, 1933. 24. Izgrevat na Byaloto Bratstvopee i sviri, uchi i zhivee [The Sunrise of the Brotherhood of Light sings and plays, studies and lives], v. 1, Zhiten Klas, Sofia, 1993 and 2011. 25. Asineta, Panevritmiya [Paneurhythmy], Sofia, 1935. 26. Paneurhythmy—Supreme Cosmic Rhythm. Music, Ideas, Movements, presented by Ernestina Staleva and Antoaneta Krushevska, registered at the Library of Congress, Washington D.C, 1996. 27. Peter Dounov, Paneurhythmy, presented by Viola Bowman, v. 1, Connecticut, 1979. 28. Izgrevat na Byaloto Bratstvo pee i sviri, uchi i zhivee [The Sunrise of the Brotherhood of Light sings and plays, studies and lives], v. 8, Zhiten Klas, Sofia, 1998. 29. Iarmila Mentzlova, La Paneurythmie. Lepsychisme humain en Union avec I’Har-monie Universelle. Exercices d’initiation de Peter Deunov [in French], by Association “Les Amis de la Paneurythmie in France, 1984. 30. Beinsa Douno, Paneurhythmy—Supreme Cosmic Rhythm. Music, Ideas, Movements, presented by Ernestina Staleva and Antoaneta Krushevska, Byalo Bratstvo Publishers, Sofia, 1999 and 2004. 31. Beinsa Douno, The Wellspring of Good—the Last Words of the Master, Byalo Bratstvo Publishers, Sofia, 2013. 32. Vliyanieto na slanchevata energiya [The influence of the solar energy], published in Vtsarstvoto na zhivatapriroda [in Bulgarian], Sonita, Sofia, 1995. 33. Beinsa Douno, The Master Speaks, Sunrise Press & Books, Los Angeles, CA, 1970. 34. Boyan Boev, Harmonizing of the Human Soul, Byalo Bratsvo Publishers, Sofia, 2013. 35. Beinsa Douno, The Blossoming of the Human Soul, Byalo Bratsvo Publishers, Sofia, 2012. 36. Pesni ot Uchitelya [Songs of the Master], Sofia, 1938. 37. Panevritmiyata—madrost, filosofiya, otkrovenie [Paneurhythmy— wisdom, philosophy, and revelation], presented by Georgi Stoichev, Byalo Bratstvo, Sofia, 2007. 38. Razgovor sas sestra Vesela Nestorova, 7Mart, 2001, Sofia [Conversation with Vessela Nestorova on March 7, 2001, Sofia]. 39. Harmonizirane na energiite [Harmonizing the energies], lecture held November 8, 1922, published in Dopirnite tochki vprirodata [in Bulgarian], collection of lectures of the Youth Esoteric Class, Byalo Bratsvo Publishers, Sofia, 1994. 40. Dvepravila [Two rules], lecture held on January 11, 1933, collection of lectures, published in Rabota na prirodata [in Bulgarian], Heliopol, Sofia, 1995. 41. Woman—the Source of Love and Light, Byalo Bratsvo Publishers, Sofia, 2010. 42. Life after the Death of the Physical Body, Byalo Bratsvo Publishers, Sofia, 2009. 43. Prayers, Formulas, Devotional Songs, Byalo Bratsvo Publishers, Sofia, 2006. 44. Dance of the Soul, Peter Deunov’s Pan-Eu-Rhythmy, Sunbeams and Pentagram, by Ardella Nathanael, (revised and expanded edition with CD), Infinity Publishing, West Conshohocken, Pennsylvania, 2012. 1. Archive film with demonstration of Paneurhythmy at Igrev, Sofia, 1939. 2. Archive film with Beinsa Duno at Izgrev, Sofia, 1944. 3. Paneurythmie. Music et movements du Maitre Peter Deunov [in French], presented by Michael Ivanoff, privately published, 1945. 4. Peter Deunov, Paneurythmie [in French], Les Editions Amour et vie, Paris, 1954. 5. Dessins de la Paneurythmie Beinsa Douno [Drawings for the Paneurhythmy], Supplement au “Grain de Ble,” Paris, 1968. 6. Paneurythmie [in French], Peter Deunov, Editions Prosveta, Frejus, 1977. 7. Documentary film of Ernestina Staleva and Viola Bowman (disciples of Beinsa Duno) demonstrating the 28 exercises of Paneurhyhtmy, Leverett, MA, 1983. 8. Paneurhythmy, presented by Philip Carr-Gomm, Sunrise Books, Richmond, Surrey, 1986. 9. Paneuritmia—manifestacion ritmica del divino principio cosmico de creacion [in Spanish], presented by Aida Kurteff, KIER, S.A., Buenos Aires, 1988. 10. Le Mistere du Pentagramme, Peter Deunov [The Mystery of the Pentagram], De Zonneschool in Belgium, 1990. 11. The Sunbeams and the Pentagram, presented by Barnaby Brown, Scottisch School of Paneurhythmy, Glasgow, 1991. 12. La Paneurythmie de Peter Deunov - Mouvements et partition musicale [in French], presented by Muriel Urech, Editions Prosveta, Frejus, 1993, 2009, and 2010. 13. Panevritmia [in Bulgarian], presented by Krum Vazharov and Maria Mitovska, Vsemir, Sofia, 1993. 14. Paneurhyhtmy, presented by Krum Vazharov and Maria Mitovska, Vsemir, Sofia, 1997. 15. Igraem li pravilno Panevritmiyata, dadena ot Uchitelya? [Do we perform correctly the Paneurhyhtmy introduced by the Master?], presented by Antoaneta Yankova, Videlina, Sofia, 1998. 16. Dance of the Soul, Peter Deunov’s Pan-Eu-Rhythmy, by Ardella Nathanael, Esoteric Publishing, Carlsbad, California, 1998 17. Panevritmiya i lekuvane—shestte gimnasticheski uprazhneniya [Paneurhyhtmy and healing—the six gymnastic exercises], presented by Georgi Stoychev, Byalo Bratstvo, Sofia, 1999. 18. Beinsa Duno, Pesnite na Panevritmiyata [Songs of the Paneurhyhtmy], Sdru-zhenie Panevritmia, Sofia, 2001. 19. Paneuritmia. La Danza del Supremo Ritmo Cosmico [in Italian], Jupiter, Milano, 2002. 20. Panevritmiyata kato sistema za harmonichno razvitie na choveka i obshtest-voto [Paneurhythmy: a system for the harmonious development of people and society], presentations at the II Scientific Conference on Paneurhythmy, Sofia, 2003. 21. Seminar of the Committee for Paneurhythmy (Svetla Baltova, Yasen Daskalov, Atanas Atanasov, Ludmila Chervencova, Nikolay Konakchiev with consultants Georgi Stoychev and Ina Doynova), [in Bulgarian], at the Seven Lakes of the Rila Mountains, August 5-14, 2003, Bulgaria. 22. The Butterfly Dance, Peter Deunov’s PanEuRhythmy (in color and with coloring book), by Ardella Nathanael, Esoteric Publishing, Escondido, California, 2003. 23. Documentary film of Arlette and Jean-Luis Gobeau demonstrating the 28 exercises of Paneurhythmy as taught by Yarmila Mentzlova, Sofia, 2004. 24. Paneuritmia [in Portuguese], presented by Mariana Paunova, Editora Anhembi Morumbi Ltda, Sao Paulo, 2006. 25. Paneurhythmie [in German], Byalo Bratstvo Publishers, Sofia, 2007. 26. Taniec Motyla, PanEuRytmia: Peter Deunov [in Polish], (in color and with coloring book) by Ardella Nathaneal, WENA Publishing, Poznan, 2006. 27. Taniec Duszy, PanEuRytmia Beinsy Duno [in Polish], by Ardella Nathaneal, WENA Publishing, Poznan, 2007. 28. La Danza del Alma, la PanEuRitmia de Beinsa Duno [in Spanish], by Ardella Nathanael, Evera-Hijos de la Luz, San Jose, 2000; and Llumina Press, Tamarac, Florida, 2011 (revised and expanded edition). 29. La Danza de la Mariposa, la PanEuRitmia de Peter Deunov [in Spanish], by Ardella Nathanael, Panamericana, Bogota, 2011. 30. Ludmila Chervencova, Izsledvane na psihofizicheskoto vazdeystvie na Pan-evrtimiyata [Investigation of physical and mental influence of Paneurhythmy], Ph.D. dissertation 2012, State Arhives, Sofia, 2012. 31. Ludmila Chervenova, Panevritimiya, zdrave i blagopoluchie. Edin balgarski model za dvigatelna aktivnost [Paneurhythmy, health and wellness: a Bulgarian model of physical activity], Kliment Ohridski University Publishers, Sofia, 2013. 32. Patevoditel za izuchavane Panevritmiyata na Petar Danov [in Bulgarian], Sofia, 2013. * * * Beinsa Duno Paneurhythmy Third edition Compilation, translation, and presentation by Ernestina Staleva and Antoaneta Krushevska Cover design: Zhivko Stoilov Photography of the paneurhythmy movements: Zhivko Stoilov Diagrams: Vsevolod Yatsevich Compilation of songs: Ivan Dzhedzhev and Ivo Bonev Instrumental arrangements: Todor Pappazov Interior book design: Zhivko Stoilov Consultants: Svetla Baltova, Lyudmila Chervenkova, Georgi Petkov, Alexandar Stoychev, and Todor Papazov Editor: Sananjaleen June Hughes Byalo Bratstvo Publishers 1113 Sofia, Izgrev Gen. Shteryu Atanasov str., No 2 Tel. (+359) 24180110, 897847647 http://www.beinsadouno.org http://www.everabooks.com
  2. Paneurhythmy Music Supplement Instrumental Arrangements Compilation, notation, and arrangements by Todor Papazov www.paneurhythmy.us FOREWORD This supplement offers instrumental arrangements of paneurhythmy music. The leading melody is the music as given by Beinsa Duno, while the second melody and harmonization are composed and arranged by Filip Stoitsev (1907-1992), a disciple of the Master. The paneurhythmy movements in Bulgaria are often played by two violins with other accompanying instruments. There are different arrangements, but the goal here is to offer the instrumental music and harmony as they are most often played. The music notations for the second violin were acquired in the 1980’s from musicians who performed the paneurhythmy music during the time of the Master. As a harmony referral for the instrumental arrangements, the recording of Filip Stoitsev from 1971, with string orchestra, piano, and flute was used. It is because the second violin is composed by him, these arrangements stay very close to the orchestral harmonization. As on the original music notation for two violins there were no chords, in order to include them on the scores, that particular audio recording was used. The musical tempos and their values are taken from an audio recording of the Paneurhythmy in the Rila Mountains, 2011. Since there are some differences in metronome markings in publications and during performances of live paneurhythmy music, I recorded the rates in which they are actually played during the biggest celebration of Paneurhythmy—the gathering in the Rila Mountains in August. Thus, each musician is able to get an idea of how the Paneurhythmy is performed in Bulgaria. Some bow indications for two violins are included as an aid only, but they are not required. Each artist can change them, based on his or her own understanding. Todor Papazov
  3. PART I. THE 28 EXERCISES
  4. MUSIC AND LYRICS OF THE PANEURHYTHMY The music of the Paneurhythmy and the text of the songs Think, Aum, and The Sun Is Rising in Part I, and the Idyll in Part II are given by the Master. Some of the words in them are in Bulgarian, and others are in an ancient sacred language. The rest of the lyrics in Bulgarian are written by Olga Slavcheva and Vessela Nestorova, as requested by the Master. The lyrics in English are provided by Vessela Nestorova, and later refined by Barnaby Brown30. The English version of Think and The Rising Sun is included as well, but it is preferable that they be sung in the original form. Any part of the melody may be sang an octave higher or lower in order to be comfortable for the individual voice. Instrumental arrangements are included as well. Some melodies when played on a violin are one octave higher. Phonetic keys are provided below to help proper pronunciation of the text given in Bulgarian. _________________________ 30. The lyrics in English are not an exact translation of those in Bulgarian, but carry the spirit in meaning 31. The lyrics use the Latin transliteration of the Bulgarian letter “ъ” with the letter “â” instead of “a.”This is a modification of the official Streamlined System, and it is recommended by the Institute for Bulgarian Language to avoid confusion between the sounds of the vowels “a” and “ъ.”
  5. The Pentagram in the Rila Mountains, Bulgaria Paneurhythmy at Bonfen, France Paneurhythmy in Mexico Paneurhythmy in the United Kingdom Paneurhythmy in Costa Rica Paneurhythmy in Iceland Paneurhythmy in Kongo Paneurhythmy in Viena, Austria Paneurhythmy in Belarus Paneurhythmy at the Contra Costa Labyrinth in Walnut Creek, USA Paneurhythmy in Amherst, Massachusets, USA Paneurhythmy at the National Gathering in St. Louis, Missouri, USA Paneurhythmy in New York, USA Paneurhythmy at Sophia’s Garden, Sebastopol, USA Paneurhythmy at the Black Sea, Bulgaria Paneurhythmy in Plovdiv, Bulgaria Paneurhythmy in Plovdiv, Bulgaria Paneurhythmy in the Rila Mountains, Bulgaria
  6. Instructions for the Performance of the Pentagram General directions: The Pentagram is a symbol of the Cosmic Man. It is performed in a circle. As the circle represents infinity, when we perform The Pentagram, we express the development of the Cosmic Man. Each individual pentagram consists of 10 people arranged in two parallel rows with five participants in a line. Each group of 10 performs independently. Both rows of each group are turned to face the same direction and move counterclockwise along concentric circles (diagram 1). The distance between the front and back participants is approximately two steps (an arm length), and between the participants in each row is approximately four steps (two extended arms length), thus allowing free and unobstructed movements. The movement always begins with the right foot. One makes 2 steps in a measure. Arms move without interruption. The middle couple symbolizes the “Head” of the Cosmic Man. On each side of the “Head” are the “Legs” of the Cosmic Man, and the two pairs at the ends are the “Arms.” Music: The Pentagram (Barhan Berou)—56 measures, repeated five times, a total of 280 measures. Starting position Body straight, feet together, arms in front of the chest with palms down, middle fingers touching, and elbows horizontally to the sides (figure 1). The middle pair (numbers 3 and 8) is the “Head;” numbers 2 and 7, 4 and 9 are the “Legs,” and the end numbers 1 and 6, 5 and 10 are the “Arms” (diagram 2). Together the “Head” (3 and 8), and the “Arms” (1 and 6, 5 and 10) are called “Triad.” Sequence I. Forming the Pentagram Music: Musical theme 1 is played—16 measures. Movement sequence 1st, 2nd, 3rd, and 4th measures: at the first beat of the music starting with the right foot, all participants take 8 steps forward following the arcs of the individual circles. At each step of the right foot the hands open horizontally to the sides forming a straight line (figure 2). At each following step with the left foot, the arms bend at the elbows horizontally returning back in front of the chest, palms down. Fig. 2 On the 4th measure, 2nd beat: the “Legs” make the 8th step in place by bringing the left foot to a halt beside the right foot while the “Triad” makes the 8th step forward. During these 4 measures, the “Legs” move 7 steps forward plus 1 step in place, and the “Triad” moves 8 steps forward (diagram 3). Note: The empty circles denote the previous position of the participants marked by . The arrows point the direction of the movement and the position of the center. 5th, 6th, 7th, and 8th measures: the “Triad” (3 and 8, 1 and 6, 5 and 10) takes 8 more steps with the same movements of the arms as described above. The “Legs” (2 and 7, 4 and 9) stay in place, but continue moving their arms simultaneously with the “Triad.” On the 8th measure, 2nd beat: the “Arms” make the 8th step in place by bringing the left foot to a halt beside the right foot while the “Head” makes the 8th step forward. During these 4 measures, the “Legs” stay in place, the “Arms” move 7 steps forward plus 1 step in place, and the “Head” moves 8 steps forward (diagram 4). 9th, 10th, 11th, and 12th measures: the “Head” (3 and 8) takes 8 more steps with the same movements of the arms as described so far. The “Legs” and the “Arms” stay in place, but continue moving their arms simultaneously with the “Head.” On the 12th measure, 2nd beat: the “Head” makes the 8th step in place by bringing the left foot to a halt beside the right foot. During these 4 measures, the “Legs” and the “Arms” stay in place, and the “Head” moves 7 steps forward plus 1 step in place (diagram 5). 13th, 14th, 15th, and 16th measure: the next 8 steps are used to make adjustments and form the Pentagram. From the previous final position, shown in diagram 5, each one moves as indicated by the arrows to the new position corresponding to the end of each ray of the Pentagram (diagram 6). During this leveling the participants in each couple turn to face the center of the Pentagram and position one behind the other. The arms continue the same movements to the sides and returning to the chest as before. The participants in the “Head” position (3 and 8) keep their place, but turn to face the center of the formed Pentagram always moving to the right. The participant in the front row (3) remains in place, turning only to face the center of the formed Pentagram, while the partner in the back row (8) follows. The remaining pairs (“Arms” and “Legs”) move correspondingly so that each pair is now on an equal distance from the neighboring participants. The final positioning is shown in diagram 7. Sequence II. Exchange of Places Music: Musical theme 2 and 3—16 measures. Movement sequence: With the Pentagram already formed, an exchange of places follows which happens in two stages as illustrated in diagrams 8 and 9. First stage: The inside performer from each pair moves forward in an arc-like movement and takes the place of the outside member of the second couple to the left skipping the first one. At the same time the outside participants move forward two steps, thus taking the emptied space by the inside partner (who has already moved) so that the inside participants from another pair can come into place behind them (diagram 8). This is illustrated by the arrows in diagram 8. The movements of the inside partners are: 1 takes the place of 10 2 takes the place of 8 3 takes the place of 9 4 takes the place of 6 5 takes the place of 7 At the same time the movements of the outside partners are: 6 takes the place of 1 7 takes the place of 2 8 takes the place of 3 9 takes the place of 4 10 takes the place of 5 All this takes 16 steps while the arms of all participants continue to move to the sides and back to the chest. The final position after the movements described above is presented in diagram 9. Second stage: This exchange is repeated with the new inside and outside participants (diagram 9). This takes another 16 steps. In this way the members of the original couples are together again. At the end of these movements the participants are arranged as shown in diagram 10. With the exchange of the couples, now the Pentagram has for the “Head” 2 and 7; for “Arms” 4 and 9, 1 and 6; and for “Legs” 5 and 10, 3 and 8. In other words: the “Head” from the starting position has become the “Right Leg”; the “Right Leg”—the “Left Arm”; the “Left Arm”—the “Right Arm”; the “Right Arm”—the “Left Leg”; and the “Left Leg” has become the “Head.” Sequence III. Folding the Pentagram Music: Musical theme 3—8 measures (16 steps). Movement sequence: 33rd, 34th, 35th, and 36th measures: in 8 steps the participants prepare to resume the parallel line formation. In this part all turn to face the general direction of movement by revolving around each other as illustrated in diagram 11 so that the leading members of each group are again in the front position. The pair in the new “Head” turns to the right and remains in place. The “Arms” (4 and 9, 1 and 6) turn as follow: the “Left Arm” to the left, the “Right Arm” to the right. During this turning the inside participants (4 and 1) turn to the forward direction in place while their partners (9 and 6) move taking position behind them. At the beginning of the 33rd measure the “Legs” (5 and 10, 3 and 8) now facing the general direction start moving forward. In 8 steps (4 measures) they reach and come in line with the two “Arms” (4 and 9, 1 and 6), thus placing themselves between them. At the end of the 36th measure the four couples form two parallel lines. The arms of all participants move continuously to the sides and back to the chest. 37th, 38th, 39th, and 40th measure (8 steps): the “Arms” join the “Legs” and now all four couples move forward and in 8 steps align with the “Head” which waits for them by staying in place. If necessary, the “Left Arm” and “Left Leg” (4 and 9, 5 and The arms of all participants make the same movements. The five couples line up, side by side, in two rows (diagram 12). 10) make smaller steps than the “Right Arm” and “Right Leg” (1 and 6, 3 and 8) in order to be on one line with the “Head.” Sequence IV. March Forward Music: Musical theme 1 is played until Fine—16 measures (32 steps). Movement sequence As in the starting position the body is straight, feet together, arms in front of the chest with palms down, middle fingers touching, and elbows horizontally to the sides. After Sequence III, all participants start marching forward. 41th through 56th measures: at the first beat of the 41th measure, starting with the right foot, all participants march forward following the arcs of the individual circles while making circular movements of the arms as described below. On the 56th measure, 2nd beat: all participants make the last step in place by bringing the left foot to a halt beside the right foot. During these 16 measures, all participants move 31 steps forward, and bring the feet together on the 32nd step: a total of 32 steps (diagram 13). The arms make full circles in front of the face and the body, palms outward. With the first step, the arms make energetic wide circular movements, starting from below, then pass in front of the body, rise up above the head with fingers touching and palms outward. Then arms separate and descend completely to the sides of the body without touching it and resume the circle upward—fluently and without interruption (figure 3). When hands are in a raised position, the right foot steps forward and when hands are down—the left foot steps forward. Fig. 3 The ending position of the pairs after the march forward is the starting position for the next cycle. The final position after the first repletion of the whole cycle is presented in diagram 14. The radial position of each row toward the center should stay constant. The partners on the left, or inner circles, need to make smaller steps so as not to force those on the right, or outside positions, to almost run. The movement of the entire row is determined by the “Head” which is responsible for the correct alignment of the participants. From Sequence I until Sequence III the arms move continuously as described (figures 1 and 2). In Sequence IV they describe circular movements (figure 3). The whole cycle (Sequences I to IV) is repeated five times, during which each pair in turn becomes a “Head,” “Left and Right Leg,” “Left and Right Arm.” This signifies that every human soul passes through the basic experiences related to the Cosmic Man: Love, Wisdom, Truth, Justice, and Virtue. When one moves from the position of the Left Leg toward the position of the “Head,” one is following the Blue Ray of Truth. From the “Head” toward the “Right Leg” one is following the Green Ray of Justice. From the “Right Leg” toward the “Left Arm” one is following the Pink Ray of Love. From the “Left Arm” toward the “Right Arm” one is following the Yellow Ray of Wisdom. From the “Right Arm” to the “Left Leg” one is following the Orange Ray of Virtue. In this way, one receives the corresponding experiences needed to become a whole and complete human being. _________________________ 28 Veliko Tarnovo: the former capital of Bulgaria where the Master held spiritual gatherings during the period of 1909-1925. 29 The lyrics in English are not an exact translation of those in Bulgarian, but carry the spirit in meaning
  7. PART III. THE PENTAGRAM THE PENTAGRAM—SYMBOLS AND MEANING The Pentagram as a figure of sacred geometry, a five-pointed star, dates back to antiquity.The spiritual Teacher Beinsa Duno—Petar Danov gave it in its higher form at the beginning of the 19th century, at the threshold of the approaching New Age of Aquarius, the New Era of Light. At the spiritual gatherings (1910-1922), in the town of Veliko Tarnovo28 Beinsa Duno gradually presented the new image of the Pentagram and explained some of its component symbols. At the gathering in 1911, next to the portrait of Christ, a new drawing was hung—the graphic black and white representation of the Pentagram in its new form.The Master clarified some of the symbols shown on it for the first time. At the spiritual gathering in 1914 Beinsa Duno gave some more detailed explanations about the hidden meaning of the Pentagram and its correct use. In 1922 a new, bigger (180x140 cm) color Pentagram was placed in the prayer room of the building, where the spiritual gatherings in Veliko Tarnovo were taking place. It was an inspired work of art created by the Czech artist Franz Schlambora at the Master’s special request and directions. What is the Pentagram in its spiritual interpretation? It is a symbolic presentation of the Way to living a meaningful life—the Path of the spiritual student. It gives the five Great Principles inscribed inside the five rays of the Pentagram: Love, Wisdom, Truth, Justice, and Virtue. Each Principle has a corresponding color: pink for Love, yellow for Wisdom, blue for Truth, green for Justice, and orange for Virtue. These are expressed in human evolution as the five qualities of perfection which one needs to develop in order to become complete. When we take a close look at the Pentagram we can see that it corresponds to the human body. In fact, the Pentagram resembles a human figure with open arms and legs. Thus positioned—with the central ray pointing upward, the spread arms indicate that the person is moving, in other words, the Pentagram is a symbol of the human being in motion, in evolution. It also indicates the harmonious distribution of all intelligent forces acting in the awakened human being—this is someone who works for the Whole and serves God. The affirmation: In the fulfillment of the Will of God lies the power of the human soul, is inscribed in the circle surrounding the five-pointed star. As a form of sacred geometry, the circle symbolizes favorable Divine conditions for manifestation. Therefore, it is a symbolic presentation of the Divine in which we live; thanks to the Divine we all have life and favorable conditions to develop and achieve perfection. “Immersed in God”—that is the sacred meaning of the circle. If we look closer at the words inscribed inside the Rays of the Pentagram: Love, Wisdom, Truth, Justice, and Virtue, the meaning of Love, Wisdom, and Truth is clear, but what can we say about Justice and Virtue? Justice or Equality has a deeper meaning than its present interpretation in the modern science of law. Justice is manifested by the respect and honor we should have for all that is living in the world: the ox, sheep, spider; the small flies, and the blades of grass—as God lives in all of them, there is a Divine Plan for their future. So, by insulting animals we are violating the Law of Justice. The bounties which God provides are given to all, so they need to be rightly distributed among all living beings and everyone should benefit from them. The third meaning implied in the notion of Justice is that everyone is given a certain budget or a certain credit at one’s birth. As everyone is credited by the Invisible World, society should also provide all necessary conditions for one’s personal development and growth. When this is applied in practice, the Law of Justice is observed. What is the true meaning of Virtue? Love, Wisdom, Truth, Justice, and Virtue, these are all virtues. The word “virtue” is used in both: a broad and narrow sense. In its broad meaning it includes all virtues, moral qualities, and perfections. In the narrow sense virtue means good actions or doing good, and in an even more specific sense it implies a service to God. The numbers 1, 2, 3, 4, and 5, which are also inscribed inside the Pentagram, are numbers of the virtues. Then, there are three Cyrillic letters: В, У, Ж inscribed inside the circle around the Pentagram. They stay for: Великото Училище на Живота (Velikoto Uchilishte na Zhivota) meaning “The Great School of Life.” The Pentagram in fact depicts the Great School of Life in which we are enrolled to study. In the School of Life, we learn from our experiences. Everything that we encounter serves for our learning, advancement, and the development of our qualities, gifts, and virtues. Through this experience, we develop our mind, heart, and will. We learn and receive something from every person we meet because we are all interconnected in Oneness, though every human being is a specific and unique manifestation of God. By communicating with others, we come into contact with the Divine that is at work within each person.We learn not only from our contact with people, but also from our contact with all that exists: flowers, trees, stars, and mountains. Everything that surrounds us has a specific influence and teaches us, developing new aspects of our being. The obstacles and difficulties we encounter in life strengthen our will, make us think rationally and ingeniously in order to find out a way to remove them and go ahead. This is the meaning of the words Velikoto Uchilishte na Zhivota [The Great School of Life]. The Cyrillic letter “В” in the Pentagram can also stand for a Spiritual Leader, “У” for a Teacher and Savior, in other words: the spiritual Leader, Savior, and Teacher of Life. This is Christ who is the Leader of the Universal Brotherhood of Light. For all those who are willing to serve God, the first guideline and rule is written in the surrounding circle of the Pentagram: V izpalnenieto Volyata na Boga e silata na choveshkata dusha [In the fulfillment of the Will of God lies the power of the human soul]. These are extremely powerful words, and if we pronounce them with great concentration and faith, we can experience their extremely uplifting influence. As mentioned before, the circle as a form of sacred geometry presents the favorable conditions in which one is placed when advancing on the Way to Perfection. Human life, as it is described in the Pentagram, is surrounded by this circle. This indicates that with spiritual progress one will have favorable conditions and Providence, the Advanced Beings, and God Himself are going to protect and support that person. Throughout life such a person will always feel the guidance and support of the Invisible World. The Pentagram, as it is given by the Master Beinsa Duno, consists of three parts: the outer circle, the inner part, and the center which, taken together, represent the path of the human soul to perfection. These parts and the meaning of their components will be explained in detail below. THE OUTER CIRCLE OF THE PENTAGRAM The outer circle, in which the Pentagram is placed, represents the world or the School of Life on Earth. When one is still a young soul incarnating to gain some experience in life from now on, this one walks the outer path of the Pentagram. The symbols of the outer circle of initiation—a sword., cup, book, candle, and scepter—are outside the five pointed star. It means that one walks this path before becoming a spiritual student, while still living “in the world.” First Picture—The Sword At the beginning of one’s development one starts with exercising the primitive and egotistic force, making use of it, either rightly or wrongly, and this is symbolized by the sword.The sword presents the path of violence and aggression, the primitive and egotistic force, which serves only the individual or a small group of people, but not all people.A young and inexperienced soul uses this force without thinking about the consequences. The individual has not yet learned the Law of Karma—the Law of Cause and Effect. Second Picture—The Cup However, those who use violence in the world will learn their lesson, sooner or later. It is a Law: Violence begets violence. The so called “bitter cup” symbolizes the suffering that results from causing sufferings to others. The suffering is a method through which the human soul is awakened. Through suffering, one begins to understand that oppression and injustice are better not to be used. It is through suffering that one learns. Perhaps one does not always see the connection between the caused violence and the suffering which follows as a consequence. After passing away, one will clearly see this connection and will probably make a decision to come again to Earth and lead a better, more meaningful life. In this way, one can avoid suffering. Suffering also has another meaning. There is an esoteric Law, according to which suffering can be transformed into Love. All suffering endured by humankind is a preparation for the new human beings to come—the bearers of Love. The Master Beinsa Duno gave the following comparison: when milk is churned, the result is butter. In this case, the butter symbolizes Love. Suffering is a temporary phenomenon in life. The time will come when suffering will disappear because that which is causing it will also disappear one day. Suffering has yet a third meaning: the New Ideas will come from the Sun. Human beings cannot perceive them if their bodies are not refined and prepared for the higher vibrations. This refinement and attunement comes by passing through suffering. There is another Law which states: Suffering always precedes the birth of a New Idea in this stage of the human development. It signifies that the third meaning of suffering represents the labor pains of bringing the new human ideas to life. In the future, when human beings become more refined, suffering will not be necessary any more. That is why Beinsa Duno calls suffering a “Whip in the raised Hand of God.” Third Picture—The Book Through suffering we begin to study the Book of Life so that we can learn the Laws of Life and observe them. However, at this stage of development, we are still at the beginning of our awakening and have only read the first lessons from the Book of Life. Probably one will sometimes feel the connection between the violence employed, and the suffering that comes afterward. And so, by learning in this manner, the person in the third stage of development acquires practical knowledge and becomes wiser. However, this is still the beginning of one’s spiritual awakening, by learning the first lessons given in the Book of Life. Forth Picture—The Candle By reading the Book of Life and studying the language of Nature, one is coming to enlightenment. The light source represents the human mind; this is someone who reasons, who thinks because to think right implies to emanate light. This person is already aware of where to go and what to do. In the Pentagram, this phase of one’s spiritual development is symbolized by the lit candle. It means that a new light has illuminated the human consciousness so that the person may become a lit candle or a light-bearer. Through this light, one begins to see the greatness and beauty of the Divine Plan which leads from darkness to Light, from slavery to Freedom, from imperfection to Perfection, from sinfulness to Purity, and from ignorance to Knowledge. Fifth Picture—The Scepter When one is enlightened from within, this one comes to a scepter symbolizing power. Two is the symbol of power: sword and scepter; but these are two different types of power—the mundane power that kills and takes away; and the spiritual power that gives and resurrects. These two types of power are mutually exclusive. The scepter also indicates attaining a certain level of self-control and mastery over some of the forces and Laws in Nature. While the sword should stay in a horizontal position, the scepter is kept in a vertical position, which symbolizes the striving of the human being toward God. In the Master’s words: “You need to become a king of yourself—a self-master.” The scepter indicates the attainment of a certain degree of self-control. The selfmasters can restrain and transform the manifestations of their lower nature: the self-masters have learned how to control it and rule it. The scepter also has another meaning. In this stage of development, one is learning how to interact with certain powers and forces in Nature and how to make use of them. After passing these five phases of development depicted on the first circle of the Pentagram, the individual completes the external studies in life, most often without a conscious recognition of this. After that, one undergoes, in one or another way, an inner crisis of discontentment and dissatisfaction with oneself. Through this discontent the individual begins to search for the deeper meaning of life. Whoever has gone through the sword, the cup, the Book, the candle, and the scepter has already stepped on the Path of the spiritual student. THE INNER PART OF THE PENTAGRAM After completing the outer circle of Life studies, one can enter the inner part of the Pentagram. So far, the external life has influenced the human being without the active involvement of the human consciousness, but from now on one becomes responsible for one’s evolution. It already means an enrolment in the Divine School. This person will become a spiritual student, in other words, he or she will begin to consciously work on attaining the Divine virtues characterizing perfection. An English writer said the following, “When I see that someone works upon oneself toward perfection, I am filled with reverence. I feel that I am beholding something great. All ephemeral works fade before it.” In the inner circle of the Pentagram, there are again five steps in the development of one’s inner life. Each step is illustrated by a symbol. In the graphic black and white Pentagram, the symbols of the second circle are inscribed in the pentacle itself, whereas in the color Pentagram, which was given later, they are next to the tips of the Rays. The names of the five Divine Principles and virtues are inscribed into each Ray of the Pentagram. First Picture—A Staircase with Broad Steps Leading to a Door When the individual has succeeded to kindle the light of mind and to attain the scepter of wisdom, the first cycle of develop-ment—the worldly one—comes to an end and the second cycle of development—the spiritual one—the Path of the Disciple starts. This marks the beginning of the spiritual trials and exams. At first, the trials are easier so that the student can pass the exams; this is symbolized by a staircase with comfortable steps. The process is illustrated by the tip of Virtue, at the beginning of the Blue Ray of Truth, which leads upward to attaining freedom. The spiritual exams are of various types, similar to those encountered in daily life. Three examples are given below to illustrate this. When you have any kind of problem—big or small ones, or when you encounter obstacles and adversities on your life path and you do not take up to face them, but lose your courage, inner peace, composure, contentment, and joy of life becoming depressed and negative, you have failed your test. Another example for a test is your attitude when you lose something valuable. For example, you have performed scientific investigations for 20 years and have assembled them in a scientific work which is then lost. Without batting an eye, you should continue your daily routine as if nothing has happened. To retain your presence of mind and composure signifies that you have passed this exam. A third example for being tested is when you pass by a person in need, and you feel an impulse to give support, but you disregard it and continue on your way—then, you have failed the exam. During this stage of development, Truth begins to dawn in the human being. What is the significance of this? God is Truth; therefore, the dawning of Truth indicates the awakening of one’s Divine awareness. The spiritual student receives an impulse to follow God’s Path, to observe God’s Laws and to do God’s Will. This is only a glimpse of the dawning of Truth—the disciple will come to know Truth in its fullness only after embracing the ways of Love and Wisdom. Second Picture—The Teacher The second image in the middle circle of the Pentagram is that of a Teacher, whom the student meets. It is depicted at the beginning of the Green Ray of Justice. The Spirit of Christ begins to guide the disciple from within toward gradual inner changes. But this is just the beginning of the manifestation of the Christ Consciousness within the human being. In this phase of development, the spiritual student gradually enters the Path of Justice As mentioned before, Justice is respect and honor for everything that is alive in the world. On the other hand, Justice is the right distribution of the bounties provided by God among all living beings in the world. The third meaning of Justice is that every individual is given a certain credit at birth by the Invisible World. So, society needs to give to all its members according to their needs: each should be given the necessary conditions and rights for their proper development and well being. If this is followed, then the Law of Justice is observed in this society or nation. At this stage of development, the disciple is learning to live according to the Law of Justice. In the near future, one will make the first steps in this direction, and will gradually come to know the depth and the true meaning of Justice as a part of the one’s progress. Third Picture—The Steep, Stony Path Leading to a Narrow Door In this phase of development, the spiritual student begins to encounter more difficult and serious trials. This is indicated in the Pentagram by the steep and stony pathway, and the narrow door at the end. The steep path to the narrow door means renunciation or rejection of those worldly things which presented temptations for the disciple before that stage. After passing the path of renunciation, the student takes the Path of Love. Here the words of Christ are valid: “Strive to enter through the narrow gate, for many, I say to you, will seek to enter and will not be able.”29 Here are a few examples of those more difficult tests to be taken: One important task for the disciple is to have Love for one’s adversary. When someone has caused you harm intentionally, you should not become embittered and offended, but you should forgive that person and begin to love and bless him or her. The Master said that Love for your enemy is one of the most difficult tasks to be solved in life. There is a Law which states: True forgiveness exists when you apply Love toward the person you forgive. As the Master put it: Who is great? Those who have Love for God. Another example for a difficult test is the thirst for power, fame, and wealth. If someone, in striving to acquire them, becomes unfaithful to one’s belief system and relationship with God, this one has failed the spiritual test at that level. A third example is when a great misfortune befalls you such as a serious illness or another hardship. In such case, do not lose faith and become discouraged, but rather preserve your peace and joy, strengthening your faith and prayers and believing that everything is for good and will be transformed into good. This is the trial of Job. Every spiritual student will inevitably face the trial of Job on the path of ascension. This is a required test for someone to receive initiation. The trial of Job is the greatest one in this phase of spiritual development. One of the Master’s followers asked him, “Is not our suffering similar to the trial of Job?” The Master replied, “No, your suffering is only that of an actor who is playing a role on the stage.” In the ancient esoteric schools, the disciples were required to pass through various trials purposely created by their Teachers. Today, when life is so complicated and many-faceted, there is not really a need of artificially created trials—life itself presents them to all. After passing through the trials, the disciple has been purified and prepared to embrace Love. Immersed in Love, the spiritual student comprehends that all past life was a preparation for entering the True Life of Love. Forth Picture—The Eye When Divine Love has been developed to a certain extent in the spiritual student, it brings Wisdom. The Eye symbolizes Wisdom. It is the Divine Eye, the place of the Divine Spirit, “...that will teach you how to understand the Divine Truths.” This is the symbol of the inner knowledge given only to the people of Love because they will not abuse it or misuse it. The disciple now has a deeper understanding of things—a more profound outlook on life, and has received Divine Wisdom within. In the outer circle, one receives only superficial knowledge, but in the inner circle one enters the Realm of Divine Wisdom, depicted by the Yellow Ray. The portals to the Temple of Wisdom are open to the people of Love. These gates open only to those whom the keys of Higher Knowledge—the Knowledge of the Great Divine Science can be entrusted. Why? It is because they will not misuse this Knowledge for personal purposes, but will use it to serve God and others. If this Knowledge is entrusted to someone who has not passed through Love, that person could misuse this sacred knowledge and bring great misfortune not only upon oneself, but upon all others. Fifth Picture—The Tree of Life When Love and Wisdom are attained, the Tree of Life begins to blossom. The life of the spiritual student is bearing fruit—virtue is manifested in the mystical sense of the word. In other words, the individual comes to the realization of the purpose of life—to the understanding that the meaning of life is in service to God and others, by accomplishing good deeds. Virtue is inscribed in the Orange Ray of the Pentagram as the fifth quality which the disciple develops after Love, Justice, Truth, and Wisdom. The greatest good that one can achieve is to serve God. Therefore, at this stage of life, the disciple is already enlightened and comes to know that the only thing which can give meaning to life is the fulfillment of God’s Will in service to the Lord. The Master says, “To act according to Love is already serving God. When you manifest Love, you serve God.” The highest form of such service is to show others the way to God, to assist in the awakening of their consciousness so that they may come to know God and begin to do the inner work by themselves. After passing through the five Rays of the Pentagram and deeply instilling those virtues in their hearts, the spiritual students perceive the words of the Master given at the end of The Testament of the Color Rays of Light: “Love the perfect way of Truth and Life. “Make Good the foundation of your home, Justice your measure, Love an adornment, Wisdom your shield, and Truth your light. “Only then will you come to know Me, and I shall reveal Myself to you.” The second circle of development—the Path of Dawn, ends with this. THE CENTER OF THE PENTAGRAM After passing through both the outer and inner circle of the Pentagram, the disciple enters the center, called also Sanctuary of the Pentagram. This is the starting point of the Path toward Perfection, Eternal Life, and Immortality. This is the starting point of the Path passing through total surrender and resulting in complete devotion to God’s Work and service to humankind. In this phase of development, the disciple takes the most difficult and extreme tests. Here is the Divine Center where one merges with God, yet that one still maintains one’s identity and uniqueness in the process of integration in which the human soul becomes one with God. In the center of the Pentagram we see two snakes as well as a straight line, a circle, a cross, and a half-circle. The two snakes show that human beings are struggling with their lower nature, which needs to be transformed, and the ego-based life should be replaced by Love and sacrifice. Here the spiritual student undergoes the greatest sufferings and goes through the most difficult test—the trial of Golgotha. When the higher nature is victorious in the human being, such person defeats the dark side within oneself and passes through the cross. The cross implies full self-renunciation. As a result, the human being becomes one with the Divine and completes one’s development. On this path to Perfection and Divinity, the disciples, as mentioned before, pass through the greatest suffering. They are left all alone; as if nobody takes care of them and they feel totally abandoned. It feels like everything has gone wrong and their aspirations and intents have vanished: all their hopes now seem to be in vain as if everything was lost. Great is the darkness around them; they pass through a dark tunnel. At this moment, they might feel very lonely, but in fact, many Light Beings are watching over them. They are anxious for them not to fail the most arduous of all tests. If, at that moment, they become discouraged and desperate, they have failed the test. But if, at this crowning moment, they realize that, in spite of the separation they are experiencing now, there is One Who has always loved them and Who is always with them, even now, and that is God—then they have passed the trial. At this moment they realize that one’s only support is God. If they achieve this revelation, they enter into the New Life of bliss, joy, light, and freedom. They become Immortal and finish the human phase of their evolution. This is the trial that leads to Ascension. All these trials, through which the disciples pass, enhance their progress, that is why they are needed. Through them they develop and improve their mind and heart, and strengthen their will power. On the other hand, these trials, which are accomplished through suffering, purify and transform the human lower nature and dark side. All worldly thoughts, feelings, and impulses burn in the fire of suffering through which they pass. These lower ego-based manifestations were obstacles to the fulfillment of the Divine. Now the Divine, the Higher Nature of the human being can be revealed and when the human soul becomes one with the Divine, it fully completes its development. The Eternal Day has come at the end. That is why we say that the Pentagram shows the Path of evolution of the human soul or the Great School of Life through which one needs to pass in order to become perfect. When the awakened souls have progressed in the Great School of Life and have passed through all trials, which are presented in the Pentagram, the affirmation: “In the fulfillment of the Will of God lies the power of the human soul,” becomes their guiding star. This is the final goal, the end result of the entire path of spiritual development, which has been traveled. This is the wisdom that was attained from the entire life journey. This is in fact, the final result, and the crowning achievement of the human evolution. Note: This chapter is a compilation of excerpts from references (15-20).
  8. DESCRIPTION OF THE MOVEMENTS OF THE SUN RAYS The participants are arranged in couples, which form ideally 12 rays, facing a common center. There are six pairs in each radius of the rays. The distance in a couple is approximately two steps (an arm length), and between couples, it is approximately four steps (two extended arms length). A circle of couples is formed around the perimeter of the rays. The distance between the rays and the outer circle is about four extended arms (approximately a few meters) in order to allow free and unobstructed movements of the couples in the rays and in the outside circle (diagram 1). “The participants in the rays are turned to face the center, while those of the outer circle—with their left shoulder toward the center. While advancing, the rays move toward the center; while returning—in the opposite direction. The movements, forward and back again, of the couples in the outer circle follow the circumference. “The movement always begins on the right foot. “The participants in the rays are arranged according to their height, with the shorter in the first front rows and the taller at the back. When the couple is a man and a woman, the woman takes the left position similar to the one at the beginning of the Paneurhythmy. If the participants are limited in number (not enough for the six couples for 12 rays), then there can be fewer couples, even just one, in the rays. In such a case, the outer circle also can have at least one pair corresponding to each ray. When the exercises are performed with live music, the singing begins from the musical piece 7—the meditation; whereas without instruments, the singing begins from the very beginning.” (5, 7, 11, 13) “The text of the song is: Zora se e chudna zazorjava [A wondrous dawn is coming]. Dawn is always svetla (bright), but seldom wondrous. The Master gave the first words of the ‘Sun Rays’ after a lecture and afterward I received inspiration for the rest of the lyrics... “For movement IV, Figure 1, Vessela Nestorova explains that the right foot returns to its original place during the circling. There is no forward movement with the right foot: ‘There is no forward movement of the couples in the rays before the meditation and the song Ti si me mamo. There is no moving forward to the center— everyone remains in their place.’ “During the meditation, the hands are as follows: the outside hands are extended high above the head to form a natural arc, while the inside hands form an undercurve. “During the singing of the words Kazhi mi sladki dumi dve, the arms are forming a cupola: the hands up to the wrists are higher and the elbows stay close to the body. “With Tuy e ray, there are no sharp movements. One makes five wave-like movements. There is no fluttering of the hands at the end of the movements.” (38) MOVEMENT I Starting position Body straight, right foot back, arms parallel with fingers straight are placed by the right side slightly downward (figure 1). Sequence I. Advancing Music: Musical section 1 is played once. Movement sequence 1st and 2nd measures: step forward with the right foot. Parallel arms and hands swing up graciously at an angle of 45o to the left finishing with a light clap. At the moment of clapping (on the 2nd measure, 1st beat) the right foot steps forward and the left foot is lifted in place (figure 2). 3rd measure: arms and hands, still parallel, move down in an arc to the left side at an angle of 45o. At the moment of their lowest position, the left foot steps back on its place (figure 3). The whole body swings gently backward. The right foot lifts and bends at the knee, toes pointing toward the ground. 4th and 5th measures: step with the right foot. Arms and hands are thrown forward. In their movement forward, at the moment when the hands pass in front of the chest, the left foot moves and steps forward; the right foot is raised in place. Simultaneously the parallel hands move forward and up, slightly to the right, to an angle of 45o, palms down and forward, no clapping (figure 4). 6 th measure: in an arc-like movement the parallel arms swing down to the right side of the body as in the starting position. These movements are repeated until the end of the musical section 1, which includes three times to the left with a clap and two times to the right without clapping. At the last beat, the right foot remains forward, the hands are placed on the hips and the weight of the body is shifted backward onto the left foot. Sequence II. Returning Music: Musical section 1 is played once. Movement sequence 1st measure: hands are gently placed on the hips and remain there until the end of the musical section. The right foot traces out a semi-circle and is positioned on the 3rd beat behind the left (figure 5). 2nd measure: the left foot makes semicircle and is positioned on the 3rd beat behind the right foot. These movements continue until the end of the music. At each step the body makes a slight bouncing like springing. Each semi-circle is performed in one measure, altogether 15 arc-like steps backward. MOVEMENT II Starting position Hands continue to be placed on the hips. The weight of the body is on the left foot. Sequence I. Advancing Music: Musical section 2-33 measures (16 measures played twice and 1 measure musical pause at the end). Movement sequence 1st measures: the right foot, which was left behind in the last sequence, moves in a semi-circle in front of the left foot, slightly to its left side and touches the ground with the toes (figure 6) 2nd measure: again in a semi-circular movement the right foot returns behind the left foot. The weight of the body remains on the left foot throughout the movements. 3rd and 4th measures: the movements of the right foot are repeated. 5 th measure: the right foot steps forward while the left foot is lifted from the ground. The weight of the body is now on the right foot. 6th to 10th measures: repeat the movements of the 1st to 5th, but with the left foot. Sequence I is repeated until the end of the musical section 2: four times with the right foot and three times with the left. The last, the fourth movement of the right foot is incomplete: it makes one semi-circle forward (31st measure), one backward (32nd measure), one forward (33rd measure) and then immediately starts Sequence II—Returning. Sequence II. Returning Music: Musical section 3 is played once (20 measures). Movement sequence The returning is as described in Sequence II of Movement I. One makes 20 steps altogether backward. At the last measure the left foot remains behind. MOVEMENT III Starting position Hands continue to be placed on the hips. Sequence I. Advancing Music: Musical section 4 is played twice with all the repetitions, total of 18 measures. Movement sequence 1st, 2nd, and 3rd measures: the weight of the body is on the left foot. The right foot is brought forward: slightly bent at the knee, with toes pointing downward, while the left springs lightly and rhythmically (figure 7). During this springing motion the right foot touches the ground with its toes twice and the third time steps a little forward and receives the weight of the body. 4th, 5th, and 6th measures: repeat the same movements of the 1st, 2nd, and 3rd measures, but with reversed feet. This is repeated 6 times with the right foot and 6 times with the left foot. At the last measure the right foot remains behind, but quickly makes a semi-circle forward, ready to assume the returning. Sequence II. Returning Music: Musical section 5 is played once (13 measures). Movement sequence Returning is performed as described in Sequence II of Movement I. Thirteen steps backward are taken. Then the right foot is placed by the left: participants are ready to start the next movement. MOVEMENT IV Starting position Hands continue to be placed on the hips, feet together. Sequence I. Single Circling Music: The first part of the musical section 6 is played (10 measures). Movement sequence 1. With the first measure until the end of the music, the left partner from each couple makes a clockwise circle around the right partner in 10 rhythmic springing movements, starting with the right foot. The steps are graceful, with a slightly bent knee. One steps gently on the toes with a slight springing of the body. The circle is traced out in such a way that the left partner turns to the right, passing in front (figure 8), then turns behind the other, and after that returns to his or her starting position as presented for two couples in diagram 2. 2. Meanwhile the right partner remains in place. On the 1st, 2nd, 3rd, 4 th, and 5th measures: the weight of the body is on the left foot. The right foot is extended forward with a knee slightly bent, while the left one springs lightly and rhythmically. During this springing motion the right foot touches the ground lightly in front and taps four times with the toes, and on the fifth one it steps back27 on the ground instead, returning to the starting position. On the 6th, 7th, 8th, 9th, and 10th measures: the weight of the body shifts onto the right foot. The left foot is extended forward with a knee slightly bent, while the right one springs lightly and rhythmically. During this springing motion the left foot touches the ground lightly in front and taps four times with the toes, and on the fifth one returns to the starting position. Sequence II. Performance in Place Music: The second part of musical section 6 is played (8 measures). Movement sequence 11th to 14th measure: both partners extend the right leg forward, slightly bent at the knee, while the left one springs lightly and rhythmically. As a result of this springing motion the right foot touches the ground and taps three times with the toes, and on the fourth one it steps back on the ground, returning to the left. 15th to 18th measure: the left leg is lifted, slightly bent at the knee, (but not extended forward), while the right one springs lightly and rhythmically. As a result of this springing motion the left foot taps three times the ground close to the right. On the fourth measure the left foot steps on the ground to resume its starting position. MOVEMENT V Starting position Hands on the hips, feet together. Sequence I. Single Circling Music: The first part of the musical section 6 is played (10 measures). Movement sequence The right partner from each couple makes similar movements around the left as described in Sequence I of the previous movement (Movement IV). That partner starts tracing out a counterclockwise circle around the left one moving first in front, then behind the other partner, and afterward returns back to his or hers starting position—in 10 well-measured steps (diagram 3 for two couples). While circling, one steps lightly on toes and the body springs slightly (figure 9). Meanwhile the left partner remains in place and makes the same movements as described for the right partner in Sequence I of Movement IV. Sequence II. Performance in Place Music: The second part of musical section 6 is played (8 measures). Movement sequence Both partners make the same rhythmic tapping as described in Sequence II of Movement IV. MOVEMENT VI Starting position Hands on the hips, feet together. Sequence I. Double Circling Music: The first part of musical section 6 is played (10 measures). Movement sequence In ten measures with ten steps, both the right and the left partners of each couple circle simultaneously in opposite directions (figure 10). Each one of them moves in the same way as in their single circling, but with the following rule: when both partners are moving in the front part of the circle, the right one traces out the external semi-circle and, while at the back— the left one traces out the external semi-circle (diagram 4 for two couples). In other words, the centers of the circles they describe individually are now shifted lengthwise. The center of the right partner is shifted to the front, and the left partner’s center is shifted to the back, thus allowing space for the partners to pass each other when they meet in front and on the back before returning to their original places. Fig. 10 MOVEMENT VII Sequence II. Performance in Place Music: The second part of musical section 6 is played (8 measures). Movement sequence All make the same rhythmical tapping as in Sequence II of Movement IV. Note: Movements IV, V, and VI are repeated once more. Music: Musical section 7. Movement sequence The participants come close to each other and take hands, slightly turned toward the center. The inner hands (the left hand of the right partner and the right hand of the left one) are raised high above the heads and the outside hands are held low down so that they form a lovely wreath with the right palms on top (figures 11 and 12). In this position all sing the lyrics of musical section 7. Fig. 12 MOVEMENT VIII Music: Musical section 8 is played—13 measures repeated twice. Movement sequence The partners release their hands. The couples in the 12 radial rays turn with the whole body toward the center and those in the outside circle are with the left shoulder toward the center. The hands with elbows bent are placed just above and in front of the chest. At the beginning of each of the 26 measures, the hands lightly clap with the right hand more active than the left. After each clap the hands open slightly and are raised a little higher. In this movement the principle of liberation is expressed. At the same time everyone sings musical section 8: Ray, ray, ray [Paradise, paradise, paradise] and so on (figures 13 and 14). Fig. 14 MOVEMENT IX Sequence I Music: The first part of musical section 9 is played twice—total of 10 measures. Movement sequence The words: Kazhi mi, kazhi mi, kazhi mi sladki dumi dve [Tell me, tell me two sweet words] are sung twice. 1. Both hands are placed in front of the chest, one over the other, palms turned downward and with the right palm on top. At the same time one sings the word: Kazhi (figures 15 and 16). 2. When singing the word mi the hands open from the elbows in an arc-like movement as the opening of a flower, each one tracing an arc slightly more than 90o. This movement expresses blossoming (figure 17 and 18). The same movements are repeated to the end of the musical section, but the hands alternate positions: first the right hand is on the top, then the left, again the right, and so on. The hands are one over the other with every odd number word and are open at the even number word of the lyrics. Only at the last word dve-e one does both movements: placing the right hand over the left followed by opening of both hands. Sequence II Music: The second part of musical section 9 is played—8 measures. Movement sequence All sing the words: Tvoyte dumi dve, sladki dumi dve [Your two words, sweet two words] twice. Both hands are placed one over the other with palms turned down with the right palm on top. In this position one sings: Tvoyte dumi dve. Then the hands open and the words sladki dumi dve are sung. All this is repeated twice. At the repetition (from the 5 th measure) the left hand is over the right one. MOVEMENT X Music: Musical section 10 (5 measures) is played twice. Movement sequence All sing the words: Tuy e ray [This is paradise] three times and once the words Tuy e ray, ray. On the 1st measure, to assure enough distance for the movements, the partners take a step to the sides and open their arms horizontally outward at shoulder height, palms down. The arms make 5 wave-like movements imitating flying (figures 19 and 20). When one sings tuy, the hands move slightly downward and with ray the hands move upward except for the fifth time when they move down and up. The song and the five wave-like movements are repeated once more. Fig. 20 Note: The description of the exercises is not enough to give a complete and detailed idea of the movements involved as they are by nature uninterrupted and flowing from one to another. Therefore, it is advisable for those who want to learn the exercises to first observe and practice, and then this description will be truly helpful. _____________________ 27 The description underlies that there is no moving forward at the end when the foot comes down to the ground. The “Sun Rays” in the Rila Mountains, Bulgaria
  9. PART II. THE SUN RAYS PRINCIPLES OF THE SUN RAYS When the first spring flowers open their buds and the songs of the first migratory birds bring us a greeting from the warm places in the south, our hearts begin to fill with joy. These early signs herald the coming of the wondrous spring. This is a great celebration of life! Then all life shows its splendor and magnificence and generously offers its hidden treasures to all. But is not humankind going through a similar process? There is a similar correspondence in other areas of life as well. Many signs confirm that a Cosmic Spring is coming. Today a new Wave is entering the world. Regardless of the thunder of current events (World War II), awakened souls sense with joy the first rays of a new coming. The exercises described below are aptly named the “Sun Rays.” They herald the new day that is coming with gentle steps; they talk to us in their own language about its beauty. Is it possible to express in one word the Greatness which is now being born within our souls? Love is the new which is now coming into the world! Centuries before the coming of Christ, Love’s gentle Light began to illuminate human souls. First as a small spark, it gradually ignites within the human soul becoming the bright flame that will illuminate the world. The Wave of Love is already working on Earth and it is unconquerable! It is the only force in the world that melts all things, overcomes all obstacles, and conquers all difficulties. It is the only power that is ever-victorious. Now that phase in human history has come, in which according to the Laws of development, Love blossoms within the human soul. Human consciousness is awakening to a new revelation, a new insight into the depths of Creation that it may perceive the Core of Life: the Revelation that all is Love! Love has created all things in life; we are immersed in it. It comes from the stars, from every ray of the Sun, and from every fruit. We, too, should embrace Love voluntarily, outwardly as well as inwardly. It is the only key, the only solution to all problems: personal, familial, social, national, and universal. The new understanding which is now being born within souls is: all that is done without Love is not real—it bears no fruit. Love is like a precious stone which has been buried deep within the Earth’s womb for many years under great pressure and tension. In the same way that Love has withstood them, it now emerges to lead us toward freedom and expansiveness. It is the new that will save the world from all contradictions, suffering, and disappointments. Love will teach humans something new. For thousands of years, everyone has served only themselves; but from now on, humankind will learn how to serve the One Great Intelligence in the world. It is this great idea about the emergence of a wonderful new world on Earth which forms the foundation of these exercises and with which the music, movements, and lyrics are imbued. In other words, the beautiful process, which is happening now in the collective soul of humankind—a process of awakening, enlightenment, and liberation finds its external expression and manifestation in these exercises. This idea is like a unifying thread running through them from beginning to end. *** Movement is an expression of life. Water preserves its freshness only while in motion. Only then is it useful. If it stays in one place, it cannot do any useful work. Everything in Nature moves: the movement of the celestial bodies, the clouds, the lightning, the blowing of the wind, and the flow of the rivers. The only valuable movements are those taken from Nature. Movements that do not come from Nature are not harmonious. They are the opposite: they are harmful. Sometimes one makes unnatural movements or takes unnatural postures bringing one into contact with inferior currents. People are suffering because of unnatural movements. Beautiful, natural movements give meaning to life, infusing energy, and liberating us from limitations. Each type of movement is connected with certain forces in Nature and awakens a person to action and creativity. All movements are a specific language and communication. There are movements for each virtue, for each psychological state. For example, when someone reaches out to another person with good will, how can that be expressed in a movement? Specific forms of expression exist for compassion and so on. Every idea, every suffering or joy has a specific form of movement. The movements in the exercise the “Sun Rays” are taken from Nature. They contain within them the Rhythm of the Sun in a pure original form. This Rhythm is embedded within the music and the movements. These exercises have been taken from the temple of the initiates; they have been brought down to us from the higher realms of Nature. *** The movements in these exercises should not be sharp or jerky; they should be gentle and graceful, with beautiful lines. One should step first on the toes, and then on the heels. If one steps first on the heels, a compression of the spine occurs; and as a result, the steps are rougher, mechanical, and agitated. Stepping on the toes first activates the thought process; it connects us with the finer energy of the soul. When performing these exercises, the whole body should participate in each movement. With each movement all the cells need to be put into motion, and each part of the body needs to move within the energy field in which it is located. When every thought, every idea is able to find external expression in a specific movement, then this movement has a powerful influence in the world. That is why these exercises should be performed with complete concentration, with a vigilant consciousness. When one performs them, one should not think about trivial and mundane things: about clothes, shoes, and so on. When singing during these exercises, the energy needs to descend from the central brain to the solar plexus, and from there, return to the larynx. This means that while singing, the energy should pass first through the realms of Love, thereby acquiring life and the miraculous power to transform and heal, before it then passes through the larynx. In other words: when performing these exercises, one needs to dwell within one’s consciousness in the sublime world of Love. *** The participants are arranged in pairs and form two groups. One group arranges themselves in 12 rays facing the center, and the other group forms the outside circle around the rays. First, the couples in the rays move along the radii, and the outside participants follow the circle around the circumference. After that, the left partner starts circling around the right who remains in place, then the partner on the right circles around the left, and at the end, both partners circle simultaneously in opposite directions. Then each couple holds hands and sings the words: Ti si me, Mamo, chovek krasiv rodila [You have given birth to me, Mother, as a beautiful human being] and so on, followed by clapping. They then make movements similar to blooming and finally to flying. Additional explanation about each one of these movements is given below. The twelve rays represent twelve gates through which life enters into us. These are the 12 gates of life as expressed by the 12 signs of the zodiac. In “Revelation,” Chapter 21:12, there is a reference to the 12 gates. There are two currents of energy, which exist within Nature: one that flows from the Divine Wellspring of Life outward, and another that brings the energy back to the center. The first current is represented by the movement of the twelve rays toward the center. They go toward the center in order to receive the Divine Forces, and then return in order to infuse them into the outer circle, which is set into motion. The outside circle is set into motion by the forces received through the twelve rays from the Divine Center, from the One Infinite Intelligence. This process has its reflection—its analogy—in each area of life. For example, the human body has two currents: arterial and venous. The first current moves from the center to the periphery carrying pure blood; and the second—from the periphery to the center so that the venous blood may be purified and again enter into the circle of life. This cosmic process has its reflection in the Solar system. The Earth is orbiting the Sun. In this case, the Earth’s orbit represents the outside circle. Here the movements of the 12 rays signify the electromagnetic currents from the Sun to the Earth, and vise versa. The first current—from the Sun to the Earth—can be called “arterial.” It brings electromagnetic solar energies. The second can be called “venous”—it carries electromagnetic energies which, on the Earth, have lost their primordial rhythm. They pass through the center of the Earth and return to the Sun in order to regain their original rhythm. It is obvious that the movements of the 12 rays toward the center and back express the global cosmic process which occurs within the least and the great, within the individual and the collective, within the parts as well as the whole. It takes place within every organism, within the collective humankind, within the Solar system, and within the whole of Nature. This process supports the Wheel of Life—it is the great Rhythm of Life. Clapping with the right hand over the left as the participants first advance toward the center signifies the transmission of the positive energy of the right hand to the negative energy of the left hand. In this way, both hands are brought into attun-ement, and only in this way, can we step forward. This attunement is also expressed by the movements of the arms to the right without clapping, as if trying to fly. In other words: until we balance our energies, we cannot fly and cannot move forward. The action of returning takes place through the semi-circular movements of the feet that are made in sweeping arcs backward. This denotes that what has been taken from the center is now being transmitted to the outside circle. The lines that the feet circumscribe while approaching the center for the second time represent the magnetic forces: the forces of the heart. The movements of the feet during the third advance toward the center express the balancing of the electromagnetic forces; they express the will. *** As a result of the eternal cosmic process, humankind moves forward: from unstructured or unorganized life toward the structured or organized life. The next movements of the “Sun Rays” represent the historical path of humankind moving toward enlightenment. The movements 4, 5, and 6—the single and the double circling of the partners—represent that phase in the history of humankind when it exists within a closed circle of dense matter, and there is no way out. If we follow the history of human development, we will see how in the past human consciousness gradually descends into matter, loses its spiritual values, and becomes a material culture—even conscious awareness about the reality of the sublime realms of spirit is lost. In this phase humankind has been predominantly working with the material forces and laws. The forces of the spirit are limited and humankind exists within a closed circle. This is represented by the circling movements. The circling is individual and collective, in other words, humankind exists within a closed circle, in the individual life as well as in the collective. Yet the moment comes for the liberation from the limitation of the closed circle. The circling stops. The participants come to hold hands and sing the song: Ti si me, Mamo, chovek krasiv rodila. This process, through which humankind is passing, is to some extent, expressed in Bulgarian folk music. Folk music, in general, expresses the path of the nation’s soul. The path, which the soul of the Bulgarian nation treads, is expressed within the Bulgarian folk music. What is its special quality? It is the longing for something lost. In some songs the Bulgarian expresses his sadness about something lost; he exists within a closed circle. Sometimes he comes to moments of illumination and a spark of hope for liberation shines within him. This can be felt within the music. But afterward, the motif of sadness for something lost returns. This process is common to all humankind. The “Sun Rays” can also be defined as: the path of humankind from the closed circle toward Freedom. When we are troubled within, we exist within the old. We move around and around in a circle, and when we come to the same old place, we ask, “Is there no way out?” When one exists within the closed circle, one is like a horse that thrashes and flails. But when one finds a way out, one rejoices. Leaving the closed circle is the awakening of the human soul. It is liberation. Now is the time when this process of awakening is in store for the whole of humankind. The awakened human beings have come to know their essence, purpose in life, mission, and work in the world. They leave the world of torment, limitations, and tears; enter the world of music; and begin to sing with joy: Ti si me, Mamo, chovek krasiv rodila, umen da stana, dobre da mislya, dobre da lyubya. Tuy zhivota e na raya. [You have given birth to me, Mother, as a beautiful human being, that I may become wise, know how to think right and love well, for this is the Life of Paradise]. This is the great day for which the human soul has been longing and waiting throughout the centuries. This is the solemn tone expressed in Beethoven’s ninth symphony, in which after a long painful struggle of much suffering and disappointment, a light enters within and a gleam of understanding descends regarding one’s purpose in life. The “Sun Rays” exercise represents the great drama along the path of the individual and humankind. These rhythmic exercises possess the power to move this process forward and help in the transition from the realm of the closed circle to the joy of liberation. This is the moment when one breaks away from the chains of the closed circle and enters into the unlimited world of Liberation and Freedom, and when the first ray of Love emerges and shines within. After many long struggles from within and without, the solemn song of liberation from the chains of the past begins to sound. This is expressed by the words of the song: Ti si me, Mamo, chovek krasiv rodila. The chains have fallen away forever. One perceives life in a completely different way. Imagine a person who is set free after many years in a prison. With what joy does he appreciate the smallest blade of grass! How each ray of the Sun, every puff of the wind, and every glimpse of the stars are a source of great joy for him! Or imagine a seed buried in the cold wet ground, pressed into the darkness by the layers of soil. And yet, the forces inside the seed are powerful. They overcome all obstacles and the new shoot sprouts and begins to reach upward toward the Sun, vastness, and freedom. Something similar takes place when the Ray of Love shines for the first time within the human soul. This is like the emergence from a long, dark tunnel into a smiling, sunny, and full of flowers meadow. The song speaks about the Mother. It refers to the great Universal Mother—Intelligent Nature—from which the human soul has emerged. After finishing School, the soul comes to its Mother with fruit collected from its study and is ready to serve. The clapping, which follows, is an expression of the joy of entering into the New World that is coming now to Earth. This is our return to Paradise. And Life within Paradise is this: to dwell in Love! Positioning the hands one over the other represents the balancing of the two currents: the warm and the cold, the magnetic and electric. The lower part of the hand signifies the warm current—the heart; whereas the upper part—the cold current of the mind. After bringing these two currents into attunement, the hands open like a flower to the sides. This signifies the readiness to receive. The soul is blooming and receives the energies necessary for its uplifting, similar to the process of the opening of a flower bud so that it may receive the rays of the Sun. After that, the arms make movements similar to flying. This represents the path of light and the ripening of the fruit. One enters into the path of all opportunities for accomplishments, free of all limitations. All this is symbolized by flying—leaving the life of shadows and entering into the life of the Great Reality. *** With each right thought, emotion, or movement, one needs to gain something, to achieve something. Only that which brings gain is valuable. The criterion for the rightness, beauty, and harmony of a movement is the joy one feels when performing it. Everyone who does these exercises feels joy, refreshment, and uplifting—physi-cally and spiritually. These exercises have a healing and healthful effect for two reasons: 1. They awaken the dormant forces of the human organism. 2. They connect us with the living forces of Nature. Through these movements, we come into contact and harmony with the Laws of Nature in order that she can give us what we need, and that we can give back to her what she needs. These exercises revive and rejuvenate. They heal not only disease, but also all physical and mental imbalances. Through them, the human body as a whole vibrates musically—and there is no disease or poor health in the musical world. Therefore, through these exercises, we leave the world of disturbance, confusion, disappointment, discontent, worry, and anxiety and enter into the world of harmony. Those who perform the exercises consciously for a year will be healthy; they will free themselves or will be prevented from many diseases through raising the vital forces of the organism. People today suffer from atrophy of the small muscles of the body, due to lack of use; and this disrupts the blood circulation. These exercises have as a goal, among others, to exercise all the muscles of the body, not only through external movements, but through the vibration of the music as well. This music brings into motion the physical matter of the body, and then the electromagnetic energies are able to flow freely through the solar plexus and throughout the whole body. This heals and rejuvenates. In the future, a special healing music will exist for the various diseases—a specific music for each one of them. There is a Law of receptivity in respect to waves of a specific length and frequency of vibration. If we attune our “antennae” to certain wavelengths, it will receive them; otherwise, it will be indifferent. These exercises bring the organism and the consciousness into a condition of receptivity to the sublime solar energies necessary for the uplifting of the whole of humankind. Through these exercises, we come into contact with the Divine Intelligence, which exists in the world, and thus receive precious gifts. One enters into a higher realm. Through these exercises an exchange with the Advanced Beings takes place. They unite with us, and are then a part of us, and we—a part of them. These exercises liberate us from all chains, from all deep-rooted ideas of the past, and we enter into the world of Truth where we attain Freedom. They awaken the endowments hidden within the human soul that are awaiting development. These exercises bring peace on Earth! Nature is full of bounties which remain unused because people do not know the right methods. And yet, with all these bounties of Nature, Earth is a valley of tears! This is due to the unwise methods which people use. These exercises are a preparation of the body and the soul for a New Culture. These exercises need to be performed, starting on the 22nd of March, in every settlement, in every town, and village. They will contribute to the introduction of a new element into humankind. They will be like a ray of light in the daily life. They will introduce a great uplifting into the material life of society. They will awaken the powerful forces of progress. It is advisable for all those who desire the well-being of a nation to introduce these exercises into schools as well as adult community. All this is for the benefit of society. Introduction of the exercises into the schools and among adults will bring about great welfare and prosperity: a healthy and conscious generation which is ready to do the Work. (11:11-18)
  10. The paneurhythmy exercise “The Blessing” in the Rila Mountains
  11. 28. The Blessing [Promisal] “Bring the hands together over the head and move them downward. This movement expresses that we should freely accept God’s Blessings in all their abundance. 28 As the hands move upward to come together above the head, we come in contact with the energy of the Sublime World which we pull down to the physical world. When the hands reach the physical world, they separate. This means that we have polarity in the physical world. When we are in the physical world we are further from that Reality which underlies the Whole of Creation. “This exercise can also be referred to as a ‘method for making contact with the World of Oneness.”’ (12:83) “The exercise I gave you for invoking the Divine is of major importance. It is truly powerful as long as your thoughts and feelings participate. This exercise needs to be performed with sacred anticipation and then the Divine Blessing will embrace you. And know, that the Beings from the Invisible World are observing you, they want to see how you will perform it.(3:376) “Prayer should include within itself the qualities of Love, Wisdom, Truth, Justice, Virtue, and Compassion—as well as many other virtues... “Prayer is the most powerful act in a person’s life. It brings human thought, human feelings, and human will into one. Such prayer is powerful—through it, miracles come to pass. The human soul is nourished by prayer and devotional singing.” (43:8, 12) “Through prayer, we acquire energy from the Divine World. The Law of Prayer is similar to the Law of Nourishment. When deprived of food, one feels that something is lacking. When the soul is deprived of prayer, a need is also felt. Prayer is the inner necessity of the soul.” (31:99) Description Starting position The participants in couples are facing the center. Body straight, feet together, arms by the sides, mind concentrated. Movement sequence While pronouncing the invocation Da prebade Bozhiyat Mir [May Divine Peace abide], the arms are raised slowly out to the side and over the head until the fingers, with palms facing each other, touch, forming a sharp angle (figure 28). While pronouncing the rest of the invocation i da izgree Bozhiyata Radost i Bozhieto Veselie v nashite sartsa [and may Divine Joy and Divine Gladness arise in our hearts], the hands, with fingers still touching, are brought down and touch gently the crown chakra (Sahasrara) on the top of the head.Then they slowly separate, traveling down to the sides of the face as if pouring something over oneself; continue gliding down to the sides with palms toward the body; and finally return to the starting position. This movement and the invocation are repeated three times. Invocation: Da prebade Bozhiyat Mir i da izgree Bozhiyata Radost i Bozhieto Veselie v nashite sartsa. May God’s peace be with us. May God’s Joy and Gladness arise in our hearts. Note: Other invocations, carrying the spirit of the original meaning, are also used. “Divine Peace, Divine Joy, and Divine Gladness to rise in our hearts.” (27:78) “May the Peace of God abide and may His pure Joy and sacred Exaltation arise in our hearts.” (14:81) “May the Peace of God and the pure Joy of God live in our hearts forever.” (44:153) “May the Peace of God and the pure Joy of God rise and rest in our hearts forever.” “May the Peace of God and the pure Joy of God arise in our hearts forever.”
  12. 27. Breathing [Dishane] “Through this musical breathing exercise, one becomes acquainted with the musical methods which one needs to apply in life. Through them, one comes into harmony with Nature.” (12:82) “During breathing, one needs to observe the following Law: Love the air, and receive it with joy. This is the only way in which we can receive those blessings that the air provides. You should have gratitude toward God. The air has been provided by Him. It is required that God enters into you continuously and that you enter continuously into Him. When I inhale, God reveals Himself to me. When I exhale, I reveal myself to Him.”(31:125, 126) “The human being is immersed in music by nature and that is why one can sing and play music. So, one needs to step back, return to one’s initial state of music and song, of harmony and melody and from there, move forward. Knowing this, cherish the sacred thought that Life is music and song. Within Life, all is good and harmonious.” (35:318) Description Music: Musical exercises for correct breathing and singing. Each of the three musical phrases is repeated three times. Starting position The participants are arranged in couples in two circles, both facing the center, feet together, hands on the chest, palms toward the body, middle fingers touching (figure 27.1). Movement sequence During the playing of the first long note the dancers inhale through the nose and simultaneously spread their arms horizontally outward until palms face the front (figure 27.2). Beginning at the next note and continuing until the end of the musical phrase, the participants exhale slowly while singing the tones of the scale sounding the vowel “A” (as in “Ah”), and gradually bringing their arms back to the starting position. The exercise is repeated three times consecutively for each musical phrase. At the end the hands come to the sides of the body.
  13. 26. Early in the Morning [Na ranina] “This exercise has three sequences: semi-circular movements of one foot in front of the other; swinging motions with alternating feet; and parallel movements of arms and feet. “In the first sequence, the energies of the human body come into harmony. In the second sequence, we step once onto the heel and once onto the toes. The heel represents the physical world; the toes—the world of the mind. When we step onto our heels, we receive from the physical world; and when we step onto our toes, we receive from the mental world. In this way, we resolve the contradictions which exist in both worlds. All three positions open the way for the right use of Nature’s bounties.” (12:82) “This living energy only comes in the morning. For every task, there is a fixed appointed time. Those who desire to become great need to go out every morning and greet the Sun. They need to allow these powerful forces to work upon them. Get up early! Go out! Greet the Sun! What wonderful things are hidden within the rising Sun! If one goes out regularly in the morning, one will receive inspiration. “Wherever you go, whatever work you begin, you need energy. If you let the world influence you, the mundane affairs of your life will pull you off course. When you arise in the morning, you need to have one essential thought—that you may open like a flower.” (31:96, 102-103) “The physical world has one quality: movement. The world of the soul has two qualities: movement and feeling. The mental world has movement, feeling, and thought. This is the simplest explanation. “In the physical world, one gathers experiences assimilated later in the astral and mental worlds and extracts from them materials to build the body of Love.” (42:12, 27) Description Music: Melody 26 “Early in the Morning” (time signature 2/4)—24 measures repeated four times. The music is played once for the first sequence, once for the second sequence, and twice for the third sequence. Starting position The participants are arranged in the circle, the left arm toward the center, feet together, and hands on the hips with thumbs behind. Movement sequence Sequence I The hands are on the hips as in the starting position until the end of Sequence I. 1st measure, 1st beat: the right foot, outstretched, draws almost a semi-circle (a 120 degree arc) in front of the left foot and touches the ground to the left with its toes (figure 26.1). 2nd beat: the right foot sweeps back making a semi-circle to the right and is placed to the right, slightly to the side, toes touching the ground (figure 26.2). 2nd measure: 1st beat as the 1st measure, 1st beat (semi-circle in front of the left foot). 2nd beat: the right foot sweeps back making a semi-circle to the right and then returns to the left foot. 3rd measure, 1st beat: step forward with the right foot. 2nd beat: step forward with the left foot. 4th measure, 1st beat: step forward with the right foot. 2nd beat: the left foot returns to the right foot. 5th, 6th, 7th, and 8th measures: repeat the same movements as in the first four measures, but with the feet reversed. These eight measures are repeated three times until the end of the melody (24 measures). Sequence II 1st measure, 1st beat: the partners join their inside hands as described in exercise 23, namely the right hand of the inner dancer over the left hand of the outer. The hands are raised at the height of the head, while the outer hands are on the hips. Simultaneously step forward with the right foot (figure 26.3). 2nd beat: step forward with the left foot, hands continue to hold. 2nd measure: as the 1st. The participants are holding hands. On the 2nd beat, when the left foot steps forward, they slightly lift on their toes. 3rd measure, 1st beat: step forward with the left foot. Rock backward on the heels while the toes of both feet are lifted. At the same time, the hands still together are brought down and back (figure 26.4). 2nd beat: swing forward on the toes of both feet, the heels are lifted. The joined hands are raised forward and up (figure 26.5). 4th measure: as in the 3rd. These movements are repeated to the end of the melody, altogether 24 measures. After finishing sequence II the hands are released. Sequence III 1st measure, 1st beat: step forward with the right foot, simultaneously the hands are placed on the hips. 2nd beat: step with the left foot (figure 26.6). 2nd measure, 1st beat: step forward with the right foot. 2nd beat: the left foot comes back next to the right foot. 3rd measure, 1st beat: the right foot steps to the side, the toes touch the ground. At the same time the arms stretch horizontally to the side, palms down (figure 26.7). 2nd beat: right foot comes back next to the left foot. At the same time the hands return to the hips (figure 26.8). 4th measure: as in the 3rd. 5th measure, 1st beat: the right foot, outstretched, is brought forward, toes touching the ground. At the same time both arms extend forward parallel and horizontal, palms down (figure 26.9). 2nd beat: the right foot returns next to the left and at the same time the hands are placed back on the hips. 6th measure: as in the 5th. 7th measure, 1st beat: step forward with the right foot and at the same time both arms go horizontally forward stretched out and parallel, palms down. 2nd beat: step forward with the left foot and at the same time the hands are placed on the hips. 8th measure: as in the 7th measure, but on the 2nd beat the left foot comes back to the right. 9th, 10th, 11th, 12th, 13th, and 14th measures are performed as 3rd, 4th, 5th, 6th, 7th, and 8th measures, but with feet reversed. From the 15th to the 24th measures, the movements of the 3rd-12th measures are repeated. Then the whole Sequence III is repeated without interruption (altogether 48 measures), but this time one starts with the left foot and the hands move as in the 7th Fig. 26.9 and 8th measure. (15th measure, 1st beat: step forward with the left foot, and at the same time both arms go horizontally forward stretched out and parallel, palms down. 2nd beat: step forward with the right foot and at the same time the hands are placed on the hips. 16th measure: the same as 15th measure, but at the 2nd beat the right foot comes back to the left.) As the music ends, the feet come together and the arms to the sides of the body. Early in the Morning
  14. 25. Step by Step [Stapka po stapka] “One stands with the feet together and moves one foot at a time, first to the side and then to the front, followed by movement forward. When the feet separate, moving to the side or to the front, the energy of the Sun comes down to us. When both feet are together, the Earth’s energy is transmitted to the Sun. In this way, an exchange occurs. When the feet are apart, we and the Sun are positive in relation to the Earth: we receive from the Sun and give to the Earth. When the feet are together, the Earth’s energy is positive and flows to the Sun. “Through these movements, one develops the ability to perceive when the Sun is active and when the Earth is active. They help us to adopt the real methods that are hidden within Nature.” (12:82) “The music for the Paneurhythmy sequence, ‘Step by Step’, is in a minor scale. Taking a step forward or to the side is related to departure, in other words—to involution. Stepping back to the starting position is related to returning—in other words, to evolution.” (31:94) Description Music: Melody 25 “Step by Step” (time signatures 6/8, 3/8, 6/8)—96 measures Starting position The participants are arranged in couples in the circle, left arm toward the center, feet together. The hands are on the hips, thumbs behind. The hands remain on the hips until the end of the exercise, without change. Movement sequence 1st measure, 1st, 2nd, and 3rd beats: the right foot is extended sideways to the side and its toes touch the ground (figure 25.1). On the 4th, 5th, and 6th beats the right foot comes back to the left, returning to the starting position. 2nd measure is like the 1st. 3rd measure, 1st, 2nd, and 3rd beats: the right foot is brought forward, toes touching the ground (figure 25.2). On the 4th, 5th, and 6th beats: the right foot moves back next to the left. 4th measure is like the 3rd. 5th measure, 1st, 2nd, and 3rd beats: step forward with the right foot. On the 4th, 5th, and 6th beats: step forward with the left foot. 6th measure, 1st, 2nd, and 3rd beats: step forward with the right foot. On the 4th, 5th, and 6th beats the left foot comes back beside the right. From the 7th to the 12 th measure repeat the steps from the first six measures, but this time reverse the feet. The movements of these 12 measures are repeated to the end of the music. At the end of the exercise feet come together, arms at the sides of the body.
  15. 24. How Happy We Are [Kolko sme dovolni] “One steps forward and then rocks back and forth from one foot to the other. In the first sequence, the hands are free; in the second, the partners hold inside hands. The first part is the preparation. The second part teaches us how to acquire the ability of correctly appreciating Nature’s forces and how to give them the correct expression. These movements develop the ability to appreciate Nature’s bounties. (12:82) “Connect with Nature and receive from her knowledge and energy. You need to connect with Nature; if you make the right connection with her, you will learn in one day as much as you would from a professor in twenty years. Nature is generous to those who love her and to those whom she loves. If a person does not love Nature, she will wait for as long as necessary, until the time comes when that person’s consciousness awakens. “People of today desire happiness in life, but they do not understand its Laws. Happiness includes the following elements: faith, wisdom, imagination, and love. It includes also an understanding of the natural laws—those of solid, liquid, and gaseous matter—as well as those of light, electricity, and electro-magnetism. “The meaning of your life and your true happiness depends upon the fundamental understanding of Love. Where there is Love, there is also Life. And where there is Life, there is also Joy. In a home where Love abides, all are joyful.” (31:107-108, 175, 328) Description Music: Melody 24 “How Happy We Are” (time signature 7/16)—32 measures repeated twice, total of 64 measures. Note: The exercise is performed also in a longer version (160 measures) with additional lyrics given by a disciple of the Master. Starting position All participants are arranged in couples in the circle, the left arm toward the center, feet together, and hands on the hips with thumbs behind. All steps in this exercise should be performed without bouncing yet with light springing and elasticity in the joints. Movement sequence Sequence I Note: The hands remain on the hips throughout the whole sequence. 1st measure, 1st beat: step forward with the right foot. On the 2nd beat with a gentle swinging motion the weight of the body shifts onto the right foot. On the 3rd beat the left foot, which is behind, is slightly raised on its toes (figure 24.1). 2nd measure: step forward with the left foot, the right is slightly raised. 3rd measure, 1st beat: step forward with the right foot. On the 2nd beat with a gentle swinging motion the weight of the body shifts onto the right foot. On the 3rd beat the left foot, which is behind, is slightly raised off the ground. 4th measure, 1st beat: the left foot steps backward. On the 2nd beat with a light swinging motion, the weight of the body shifts onto the left foot. On the 3rd beat the right foot is slightly raised forward (figure 24.2). These four measures are repeated three more times, for 16 measures altogether. Sequence II 17th measure, 1st beat: step forward with the right foot. On the 2nd beat the weight of the body shifts onto the right foot. On the 3rd beat the left foot behind is slightly lifted. On the 1st beat the participants take each other’s inside hands (following the guidelines given in exercise 23) and on the 2nd and 3rd beats—swing them forward and up in a circular motion. The free outside arms mimic the motion of the inside arms, palms facing forward (figure 24.3). 18th measure, 1st beat: step forward with the left foot. On the 2nd beat the weight of the body shifts onto it and on the 3rd beat the right foot behind is slightly lifted. On the 1st, 2nd, and 3rd beats the arms in an arc-like motion move higher forward and upward, to an angle of 45 degrees. The inside hands are joined, and the outside hands are free, both making the same movements, palms forward. 19th measure, 1st beat: the right foot steps back. On the 2nd beat with a swinging motion the body weight shifts onto the right foot. On the 3rd beat the left foot is lifted forward, bent slightly at the knee. On the 1st, 2nd, and 3rd beats: the arms swing down and move back and behind the body (figure 24.4). 20th measure is like the 17th, but with feet reversed, in other words, stepping forward with the left foot. 21st measure is like the 18th, but with feet reversed. 22nd measure is like the 19th, but with feet reversed. 23rd measure is like the17th. 24th measure is like the18th. These 8 measures are repeated to the end of the 32nd measures. At the end of the 32nd measure, both hands of the participants are placed on the hips as it is described in the starting position. Sequence I and Sequence II are performed again until the end of the music. The exercise finishes with a step forward with the right foot, the body weight shifts onto the right and the hands are raised forward and upward. After the end of the exercise the arms are brought down to the sides of the body, feet together. How Happy We Are
  16. 23. Beautiful Day [Hubav den] “This exercise consists of alternately extending one leg in the air with spring-like motion of the other leg by bending its knee. Through these movements in which one stands on one leg while the other is in the air, the energy of the nervous system is correctly set in motion. The action of the will becomes intensified. These movements are for strengthening the nervous system because of its magnetizing effect. In this way, one becomes capable of making a correct evaluation of his actions: by perceiving what he has done right or wrong in order that he may improve them.” (12:81) “Human beings are like interconnected channels; therefore, whenever we work to improve ourseves, we also work to improve others. This Law has another application: Whatever one does in one’s worldly existence affects one’s inner life. For example, when we work to clean up a wellspring, or a path, or the countryside, this will produce a corresponding effect upon the state of our thoughts and emotions. In accordance with this Law, one is held culpable before humankind for all of one’s actions... “Divine Science provides the means for building a strong and healthy body, for restructuring the human thoughts and emotions, and for stabilizing the nervous system. This can be applied to the individual as well as to entire nations. Study Divine Science and its methods so that you may apply these methods in your daily life.” (31:149, 195) Description This exercise consists of four sequences. Each of them differ only in the movements of the hands, while the movements of the feet alternate without interruption throughout the whole exercise, as described in the first sequence. Music: Melody 23 “Beautiful Day” (time signature 3/8)—the whole 56 measures are played twice to the end and then only the first 32 measures (to the FINE): total of 144 measures. Starting position The participants are arranged in pairs around the circle, with the left shoulder toward the center, feet together, hands resting on the hips, thumbs behind. Movement sequence Sequence I 1st measure, 1st beat: the right leg is extended forward, with the foot slightly lifted off the ground, toes slightly pointing down, the knee outstretched. On the 2nd and 3rd beats the left leg bends at the knee and then extends again, with a soft springing motion. As a result of this springing motion, the toes of the right foot draw closer to the ground and are then lifted away (figure 23.1). 2nd measure: on the 1st, 2nd, and 3rd beats bend the left knee in springing motion while the right leg remains extended forward. 3rd measure: same as the 1st. After performing 3 springing motions of the left knee (from the 1st to the 3rd measure) follows preparation to change feet’s positions. 4th measure, 1st beat: the left leg bends at the knee. On the 2nd beat step forward with the right foot and the weight of the body shifts onto that foot. On the 3rd beat the left foot is behind on its toes, ready to move forward. 5th, 6th, and 7th measure: the movements are the same as in the 1st, 2nd, and 3rd measure, but with the reverse feet (the left leg is extended and the right knee is springing). The hands are still as in the starting position (figure 23.2). 8 th measure—as the 4 th, but with the feet reversed. The movements in these 8 measures are repeated without interruption three more times, altogether for 32 measures. Sequence II (alternate extending one hand) 33rd, 34th, and 35th measures: the feet make the same movements as in the 1st, 2nd, and 3rd measures. At the 1st beat of the 33rd measure the right hand is extended forward and upward at an angle of 45o, with the wrist bent and lifted up, palm facing forward. Until the end of the 35 th measure the right hand remains elevated and the left hand on the hip with thumb behind—a position of the thumbs every time hands are placed on the hip (figure 23.3). 36th measure: the feet make the same movements as in the 4th measure. Simultaneously the right hand comes back to the hip. 37th, 38th, and 39th measure: as the 33rd, 34th, and 35th measure, but the left hand is brought forward and upward at an angle of 45o and the left leg is brought forward lifted from the ground and the right foot bends at the knee, the right hands on the hip. 40th measure is as the 36th. The left hand is placed on the hip. The movements of the second sequence are repeated two more times to the 56th measure (altogether 24 measures). On the last beat of the 56th measure, both hands are placed on the hips. Sequence III (holding inside hands) 57th measure until 88th measure: the music repeats from the beginning and the exercise starts anew. The third sequence is like the first, the feet make the same movements, but on the 1st beat of the 57th measure, the partners take hold of their inside hands at the face level. The partner in the outer circle lifts the left hand up with palm open and turned upward and the partner in the inner circle places the right hand over it with palm turned downward. The outside hands remain on the hips (figure 23.4). On the last beat of the 88th measure, the hands come down to the sides. Sequence IV (alternate holding outside, then inside hands) 89th, 90th, and 91st measures: the feet make the same movements as in the 1st, 2nd, and 3rd measures. On the 1st beat of the 89 th measure the outside hands, making upward arcs, join at the height of the forehead, this time the right palm of the outer partner faces down and the left palm of the inner partner is turned upward. The inside arms of both partners are free beside the body (figure 23.5). 92nd measure—feet make the same movements as in the 4th measure. The arms return in downward swinging motion to the side of the body. 93rd, 94th, and 95th measures: the feet make the same movements as in the 5th, 6th, and 7th measures with the left foot extended forward and the right foot bending. At the same time on the 1st beat of the 93rd measure, the inside hands connect as in the Sequence III while the outside hands hang free at the sides (figure 23.6). 96th measure: the left foot steps forward, the right is behind on its toes. The inside hands separate and move in a swinging motion down to the side of the body. 97th, 98th, and 99th measures: repeat the movements of the 89th, 90th, and 91st measures. The movements of Sequence IV are repeated to the end of the exercise, a total of 144 measures. At the last measure: step forward with the left foot and as the right foot joins it, both arms come down to the side of the body. Beautiful Day
  17. 22. Acquaintance [Zapoznavane] “In pairs, the dancers face one another holding hands. Then releasing their hands, they turn their backs to one another. This exercise is a natural way of developing self-awareness. It indicates that everyone should perceive and appreciate the good in others in terms of views and virtues. “When the two turn their backs to each other, the one on the left processes the Good, while the one on the right processes Truth. The Center is between them. Within this Center, Love abides. When they face each other, they move toward the Center—toward Love. “While facing each other, they form an ellipse with the movements of their hands. Turning their backs to each other, the hands then form a hyperbola. The hyperbola is a method for resolving the tremendous contradictions in life. Within it, we have two halves. This is the human being divided: the two polarities of the human being and the Creation of the polarities as male and female. When they unite as one, the human being is formed.” (12:81) “People of today still live with the delusion of awaiting love from others. Open your hearts to God for His Love, and then people will love you. They are the multitude through whom God manifests Himself. Therefore, for you to come to know people, you should first come to know the One. This means that in order to understand the multitude, you first need to understand the Unity. I, too, draw close to you through Him—through God. “One of the new precepts states: Love others, as you would like to be loved. Every person should know that the good he desires for himself should be good for others as well. (31:111, 168) “True Love is a model through which people help each other to learn. True Love requires a mindful exchange between souls. To love someone means to experience a proper exchange with him. When the interchange between two people who love each other is proper, then they are joyful, fulfilled, and ready to sacrifice for each other and to be helpful to all people.” (41:30) Description Music: Melody 22 “Acquaintance” (time signature 3/8)—60 measures repeated twice. Starting position The participants in couples are arranged to form two concentric circles. The people in the inner circle have their backs to the center and those in the outer circle are facing the center. The participants hold hands while facing each other with elbows gently bent, feet are slightly separated. Those in the inner circle hold 22 the right hand higher than the left, while those in the outer circle—the opposite, thus forming a nice wreath (figure 22.1). Note: Because the right hand is active—giving, and the left hand is passive—receiving, anytime when partners hold hands, the right hand should always be on top. Inner Circle The weight of the body is on the right foot, the left is outstretched to the left with pointed toes touching the ground. The right hand, raised to face-level with the palm down, is placed on the left palm of the partner. With elbow curved, the left hand is brought to the height of the solar plexus, palm up, and holds the fingers of the right hand of the partner with the thumb on the top. Movement sequence This description of the movements is for the partners in the inner circle. The partners in the outer circle make the same movements, but in reverse. 1st measure, 1st beat: with a lightly swinging motion the weight of the body shifts onto the left foot. On the 2nd and 3rd beat the toes of the right foot touch the ground. On the 1st, 2nd, and 3rd beats both hands swing gracefully in an arc-like movement downward, then upward and to the left at the height of the chest (similar to the starting position, but to the left side), and then on the 3rd beat separate. 2nd measure: pivot 180o to the left on the left foot, to face the center of the circle. On the 3rd beat the right foot steps to the side and to the right and the weight of the body shifts on to it. On the 1st and 2nd beat the hands come toward each other in front of the chest, palms down and middle fingers touching (figure 22.2). On the 3rd beat the hands separate horizontally to the sides, palms down. The partners are now back to back (figure 22.3). 3rd measure, 1st beat: with a light swinging motion the weight of the body shifts onto the left foot. On the 2nd and 3rd beat the toes of the right foot touch the ground. On the 1st beat the “backward” hand, which is the left one, bends in front of the chest, palm down. On the 2nd beat the “forward” hand, which is the right one, with palm up, moves down in an arc, reaches for and touches, thumb on top, the fingers of the left hand26. On the 3rd beat the hands form a diagonal in front of the chest whereby the “backward” left elbow is at shoulder level and the “forward” right elbow is pointing downward. This movement gives the body a slight tilt sideways (figures 22.4 and 22.5). 4th measure, 1st beat: with a light swinging motion the weight of the body shifts onto the right foot. Pivot 180o to the right on the right foot to face your partner and with your back to the center. The left foot follows the movement of the body. On the 1st, 2nd, and 3rd beats the hands begin to separate with a smooth gliding motion. 5 th measure: the back is now toward the center. On the 1st beat the left foot steps to the left. On the 2nd and 3rd beat with a swinging motion the weight of the body shifts onto the left foot, the right foot is on its toes to the right. On the 1st, 2nd, and 3rd beat the hands reach for the hands of the partner according to the description that the right hand should always be on top (figure 22.6). The joined hands move gracefully up to the left—the left hand raised to the height of the face and the right hand—to the height of the chest (figure 22.7). 6th measure, 1st beat: with a swinging motion the weight of the body shifts onto the right foot. On the 2nd and 3rd beat the left foot is on its toes. On the 1st, 2nd, and 3rd beat the hands make an arc-like movement to the right and come back to the starting position. Outer Circle The dancers in the outer circle are facing the center. They make the same hands and feet movements as those in the inner circle, but in reverse. These six measures are repeated until the end of the exercise. At the end the partners from both circles, who are now facing each other, turn toward the primary direction of movement. Acquaintance ___________________ 26 In some of the references one can find variations in the description of the hand positions.
  18. 21.Joy of the Earth [Radostta na Zemyata] “This exercise begins with swinging movements, first facing the center and then with backs turned to the center. This is the reward for all that we have attained. It is the making use of, and processing all that we have received, and the joy of its fruit. These movements are arc-like, magnetic. Throughout the exercise, both arms move together, parallel to one another. This represents the unity that should exist in our inner life.” (12:80) “The Law states: When you rejoice that a person has realized his aspirations, you will realize your own as well. Should you desire to realize your aspirations, you need to understand the Plan that God has already set in motion. When you walk on the Divine path, you will attain all your aspirations. “When you enter into the all-embracing Love and find yourself in Nature, you will listen to the singing of the birds, the humming of the insects, and the flying of the butterflies. And you will rejoice. You will then look at the flowers in bloom, the trees that bear fruit, the Sun that shines, and again you will rejoice. And lastly, when you go among people and listen to how they speak, you will again rejoice.” (31:198, 224) Description Music: Melody 21 “Joy of the Earth” (time signature 3/4)—80 measures. Starting position The participants are arranged in couples facing the center of the circle, one standing behind the other. The weight of the body rests on the right foot, the toes of the left foot point to the left. The hands are to the right. The right arm is extended horizontally; the left arm is bent in front of the chest (figure 21.1). Movement sequence 1st measure, 1st beat: with a swinging motion to the left the body weight is transferred onto the left foot. 2nd and 3rd beats: the right foot moves slightly toward the left foot without touching it or the ground. On the 1st, 2nd, and 3rd beats the arms swing freely in an arc-like movement downward, then up to the left horizontally, the left arm extended, and the right bent in front of the chest, palms down (figure 21.2). 2nd measure, 1st beat: with a swinging motion step to the right with the right foot. On the 2nd and 3rd beats the left foot lifts from the ground and comes near the right foot without touching it. On the 1st, 2nd, and 3rd beats the arms come back to the starting position with an arc-like movement (figure 21.1). 3rd measure: as the 1st. 4th measure, 1st beat: the right foot with a swinging motion steps to the right, but slightly turned in the general direction. On the 2nd and 3rd beats the body makes a quarter turn to the right, pivoting 90o to the right on the right foot, with the weight on the right foot, the left foot follows the movement of the body. The arms are in motion from left to right coming to the front of the body. 5 th measure: the body is now turned in the general direction of movement, the left foot steps forward taking the body weight while the right one remains behind with pointed toes touching the ground. At the same time the outstretched arms continue moving forward and upward reaching an angle of 45o (figure 21.3). 6th measure, 1st beat: make another 90o pivot to the right so that the back is now toward the center. The weight of the body is on the right foot. On the 2nd and 3rd beats the left foot is lifted and moves slightly toward the right without touching it. At the same time the arms swing down in an arc-like movement and then rise up horizontally to the right (figure 21.4). 7th measure, 1st beat: step to the left with the left foot. On the 2nd beat with a swinging motion the weight of the body passes on the left foot; on the 3 rd beat the right foot moves slightly toward the left foot without touching it or the ground. On the 1st, 2nd, and 3rd beats the arms swing freely in an arc-like movement downward, then up to the left horizontally (figure 21.5). 8th measure: the back toward the center. 1st beat: with a swinging motion step to the right with the right foot. On the 2nd and 3rd beats the left foot lifts from the ground and comes near the right foot without touching it. On the 1st, 2nd, and 3rd beats the arms come back to the right with an arc-like movement. 9th measure, 1st beat: the left foot with a swinging motion steps to the left, but slightly turned in the general direction. On the 2nd and 3rd beats the body makes a quarter turn to the left, pivoting 90o to the left on the left foot, the weight on the left foot, the right foot follows the movement of the body. The arms are in motion from right to left coming to the front of the body. 10 th measure: the body is now turned to the general direction of movement, the right foot steps forward taking the body weight while the left one remains behind with toes touching the ground. At the same time the arms, kept parallel, continue moving forward and upward reaching an angle of 45o. 11th measure: make another 90o pivot to the left, now facing the center. The weight of the body is on the left foot. The right foot is lifted and moves slightly toward the left one without touching it. At the same time the arms swing down in an arc-like movement and then rise up horizontally to the left as in the 1st measure. 12 th measure—the same as the 2nd, and so on—the movements of the first 10 measures are repeated without interruption until the end of the music. The arm movements should be performed with flexibility in the elbows and the wrists and moving freely, with ease and grace. The exercise finishes in the forward direction with the weight of the body on the right foot, the left one remains behind with toes touching the ground, both arms up at an angle of 45o. After the last beat arms are brought down to the sides and feet come together. Joy of the Earth
  19. 20. Overcoming [Pobezhdavane] “Both arms move forward and upward as if pushing the air. This represents taking possession of everything that has been attained and gaining mastery of that which we have achieved.” [12:80] “The human being is Divine. You possess hidden within all the possibilities for a high-principled Life. What you have lost, you will find. When? When you realize that God has implanted untold riches within you. All possibilities exist for a person to become an artist, poet, scientist, and so on. Malice in people is on the surface. It is something external. The Divine in human beings is unconquerable. No matter what trial a person passes through, in the end, he will return to his original state... “Through the Light, the Advanced Beings—the Forces of Light—fight with the forces of darkness. The Light is the most powerful weapon. The Forces of Light have already had the upper hand over the forces of darkness. Victory is on the side of the Good.” (31:246, 297) Description Note: In this exercise the torso is always facing forward, it does not turn to the side as in Evera. The forward and upward movements of the hands are in parallel. Music: Melody 20 “Conquering” (time signature 3/8)—80 measures Starting position All participants are arranged in couples, left side toward the center, feet together or left foot slightly forward25, both hands to the right side and held down and back at an angle of 45o, palms toward the body (figure 20.1). Movement sequence 1st measure: 1st, 2nd, and 3rd beat the arms swing in an arc-like movement forward and upward at an angle of 45o, palms forward, and feet in place. 2nd measure, 1st beat: step forward with the right foot. On the 2nd and 3rd beats the toes of the left foot behind touch the ground. Simultaneously on the 1st beat the arms move parallel and forward; on the 2nd and 3rd beat they continue moving upward as if pushing something with a graceful movement of the elbows and wrists. The body follows the vigorous, yet graceful movement of the arms (figure 20.2). 3rd measure, 1st beat: with a swinging motion the weight of the body passes onto the left foot. On the 2nd beat the right foot is lifted and bent at the knee and on the 3rd beat its toes point downward. On the 1st, 2nd, and 3rd beats the arms swing downward in an arc to the left side, the left arm goes further back (figure 20.3). 4th measure, 1st beat: step forward with the right foot. On the 2nd beat with a swinging motion the weight of the body passes on it. On the 3rd beat the left foot rests on its toes. On the 1st, 2nd, and 3rd beats the arms swing in an arc-like movement forward and upward at an angle of 45o, palms forward as in the 1st measure. 5th measure, 1st beat: step forward with the left foot. On the 2nd and 3rd beats the toes of the right foot behind touch the ground. Simultaneously on the 1st, 2nd, and 3rd beats the arms move in parallel, upward and forward, as if pushing something, with a graceful movement of the elbows and wrists. The body follows the vigorous movement of the arms. 6th measure, 1st beat: with light swinging motion the weight of the body passes to the right foot. On the 2nd beat the left foot is lifted and bent at the knee and on the 3rd beat, its toes point down. Simultaneously the arms move downward to the right side as in the starting position. The movements of these 6 measures are then repeated until the end of the music. Overcoming _________________________ 25 In the “Paneurhythmy of the sisters” and published later books based on that source (7-10, 27, 30) the startin
  20. 19. Agility [Podvizhnost] “This exercise begins with fluid movements of the arms and legs, first facing the center of the circle and then turning with your back to the center. This exercise is a continuation of the previous one. In this exercise—in contrast to the previous one—soft curved lines are at work. The feminine principle that processes the square is at work here. This is the magnetism.” (12:80) ‘The feminine principle in Nature is a great and mighty thing. If you were to take the feminine principle out of life, death would come in an instant. The feminine principle entered into life from the moment of its Creation. Do not separate woman from life; in other words, Love from life... “God does not always give; sometimes He takes. He gives in one respect, but takes in another. In the same way, the ocean sends moisture to the land, yet gets it back through the rivers. In this meaning, the masculine and the feminine are two principles at work: the masculine is creative and the feminine is receptive. Therefore, we should be aware of and true to these two principles in life. Only thus we can attain our heart’s and mind’s desires. Only God can fulfill your ideas and desires.” (41:9, 22-23) Description Music: Melody 18 “Beauty” (time signature 3/4)—90 measures. Starting position: The participants are arranged in couples standing one behind the other, both facing the center. Feet together, arms horizontal to the left, left arm outstretched and the right arm slightly bent in front of the chest, palms down (figure 19.1). Movement sequence 1st measure, 1st beat: step with the right foot to the right. On the 2nd and 3rd beat the weight of the body is moved to the right in a swinging motion, the left foot on toes. Simultaneously, (1st, 2nd, and 3rd beats) the arms with a graceful movement swing in a semi-circle downward and then upward horizontally to the right (figure 19.2). 2nd measure, 1st beat: continuing the previous movement, make a half turn to the right on the right foot (figure 19.3). 2nd beat: the left foot steps to the left and on the 3rd beat the weight of the body passes onto it. The back is now toward the center. On the 1st beat, while turning, the arms bend in front of the chest with elbows in a horizontal position, palms down and middle fingers touching. On the 2nd beat hands separate, and on the 3rd beat the arms spread out horizontally, palms down (figure 19.4). 3rd measure: on the 1st, 2nd, and 3rd beat the right foot steps to the left crossing in front of the left in a cris-cross step. At the same time the arms remain in a horizontal position and make a wave-like movement with elbows and wrists (figure 19.5). 4th measure, 1st beat: step with the left foot to the left. On the 1st, 2nd, and 3rd beat the arms repeat the wave-like movement to the sides as in the 3rd measure. 5th measure, 1st beat: with a swinging motion the weight of the body is transferred to the right foot; on the 2nd beat, the left foot rests on its toes. On the 1st, 2nd, and 3rd beats: simultaneously the left arm moves down in an arc and comes in front of the chest, the right arm remains outstretched to the right24 (figure 19.6). 6th measure, 1st beat: step to the left with the left foot. On the 2nd and 3rd beat the weight of the body in a swinging motion is transferred to the left foot, the right foot on toes. On the 1st, 2nd, and 3rd beat the arms make a semicircle as in the 1st measure, but in the opposite direction. 7th measure, 1st beat: half turn to the left on the left foot. All dancers turn to face the center of the circle. On the 2nd beat the right foot steps to the right and on the 3rd beat the weight of the body passes onto the right foot. On the 1st beat, while turning to face the center, the arms move so that the elbows are horizontal, bent in front of the chest, with palms down and middle fingers touching. On the 2nd beat arms begin to separate and on the 3rd the arms spread out horizontally, palms down. 8th measure: on the 1st, 2nd, and 3rd beat the left foot steps to the right crossing in front of the right in a cris-cross step, the arms remain to the sides, held horizontally, and make a wave-like movement at the elbows and wrists. 9th measure, 1st beat: step to the right with the right foot; on the 1st, 2nd, and 3rd beat the arms repeat the wave-like movement. 10th measure, 1st beat: with a swinging motion the weight of the body is transferred to the left foot; on the 2nd beat, the right foot rests on its toes. On the 1st, 2nd, and 3rd beats the right arm moves down in an arc and comes in front of the chest, the left hand remains outstretched to the left as in the starting position. The movements of these 10 measures are repeated until the end of the melody “Beauty,” altogether 90 measures. At the 90th measure, the couples are facing the center. After the last measure, the arms are lowered at the sides of the body, feet come together and the dancers turn to the right. Agility ____________________________ 24 In another, equally accepted version: on the 5th measure the palm of the right hand turned downward is placed over the palm of the left hand facing upward, thus hands form an ellipse in front of the chest. The right hand glides over the left palm and the fingers of the left hand caress the fingers of the right— the thumb caresses the middle finger of the right. On the first beat of the 6th measure hands separate.
  21. 18. Beauty [Krasota] ‘The hands, alternately, reach forward and upward while the body gently rocks forward and backward, from one leg to the other. This movement represents the processing of the forces of the square. The ‘Square’ gives us the materials, and this exercise processes them. This processing is a work of art, mastery. The lines of the movement are straight; therefore, we may say that the masculine principle which processes the ‘Square’ is expressed here. This is the electricity.” (12:80) “Search for that Beauty which bears the Image of God within itself. There is something beautiful in Nature’s forms. An invisible Hand is at work and it creates that combination of forms that we observe. The Image of God is expressed in Nature. Sometimes Nature appears more beautiful to us: the sky and the Sun appear to be lovelier, more radiant, and more beautiful. There are other times when Nature appears gloomy and stern to us. Does this change truly occur in Nature? No. When we do not live well, we cast a shadow and perceive the Image of God as gloomy. Perfect Beauty is a human ideal. In the future, people will be beautiful.” (31:340) “The Advanced Beings know that the human soul is a sacred book in which God, in a special manner unknown to them, has written the development of all of Creation. Because of this, they await the blossoming of the human soul with divine anticipation. The blossom into which this soul will bloom, will shine forth with all its beauty, and God will infuse it with His Light and His Love. There is a beauty in the human soul which no other being in life possesses. It is incomparable beauty. Even God rejoices when He looks at the form of the human soul. (33:6-7) Description Music: Melody 18 “Beauty” (time signature 3/4)—90 measures. Starting position The dancers in couples stand with left sides toward the center, feet together, arms relaxed at the sides. Movement sequence 1st measure: on the 1st beat the right foot steps forward; on the 2nd beat the weight of the body is transferred on it, while the left foot is elevated from the ground. At the same time, on the 1st, 2nd, and 3rd beats the right arm reaches forward and upward at an angle of 45o with palm facing forward, the body expressing a forward momentum. The left arm extends backward in a straight line with the right arm, palm toward the body—45o (figure 18.1). Elbows and wrists remain relaxed during the whole exercise. 2nd measure: on the 1st beat step backward with the left foot (yet slightly forward from the position before its lifting); on the 2nd beat with a light swinging motion the weight of the body passes onto the left foot; and on the 3rd beat the right foot lifts off the ground. The arms remain as in the 1st measure (figure 18.2). 3rd measure: on the 1st beat step forward with the right foot; on the 2nd beat with a slight movement forward the weight of the body passes back to the right foot; and on the 3rd beat the right foot rests on its toes. On the 1st, 2nd, and 3rd beats arms change their positions simultaneously—left arm reaches forward and upward at an angle of 45o with palm facing forward; the right arm extends backward in a straight line with the left arm, palm toward the body (figure 18.3). 4th measure, 1st beat: step forward with the left foot. On the 2nd beat the weight of the body passes to the left foot. On the 3rd beat the right foot lifts off the ground. The arms remain in the position of the 3rd measure (figure 18.4). 5th measure, 1st beat: step backward with the right foot (yet slightly forward from the position before its lifting from the ground). On the 2nd beat the weight passes to the right foot. On the 3rd beat the left foot comes off the ground. The arms remain in the same position. 6th measure, 1st beat: a slow swing forward with the left foot; on the 2nd beat weight passing onto it; on the 3rd beat the right foot’s toes touch the ground. On the 1st, 2nd, and 3rd beats the right arm goes forward and upward, the left—downward similar to the movement in the 3rd measure. The movements of the first six measures continue without interruption to the end of the music. Beauty
  22. 17. Square [Kvadrat] “This exercise teaches us how to have the right standard by which to measure everything on Earth. During the movements the face turns successively to the four directions—east, west, north, and south—connecting with their energy. The east represents Justice; the south—Virtue; the north—Truth, and the west—the earthly existence. The west demonstrates how Truth, Justice, and Virtue benefit humankind. When the Sun sets, one then appreciates its blessing.” (12:80) “The exercise “Square” has a very good effect upon us.” (1:61) “Those who seek to perfect themselves should first re-establish in their mind the direction of the four right-angles. Only then can one move rightly. The square has two diagonals, four sides and four right angles. The first angle represents the human mind; the second—the human heart; the third—the direction of the spirit; and the fourth—the direction of the soul... “Applying the right-angles you will see that each force has its own place: the spirit and soul, the mind and heart, each one of them has its own place. Number one indicates the place of the spirit; number two—the place of the soul; number three—the place of the mind; and number four—that of the heart. Therefore, use the sacred geometry of the square as a guiding concept by which you can fulfill your tasks. Apply the square as a figure where the external and the internal conditions are balanced.” (40:26) Description The exercise is composed of two parts. The first sequence is performed in place, and the second—while moving forward. These two sequences are performed in the same manner in four different directions. The first direction—facing the center, the second direction—right shoulder toward the center, third direction—the back is toward the center, and the fourth direction—left shoulder toward the center. Music: Melody 17 “Square” (time signatures 3/8)—64 measures repeated twice, total of 128 measures. Starting position The participants stand in couples, one partner behind the other, both facing the center. The feet are together, arms are bent in front of the chest, elbows horizontal, palms down, middle fingers touching (figure 17.1). Movement sequence Sequence I—in place: 1st measure: the right foot is extended sideways to the right with toes lightly touching the ground, the left leg bends slightly at the knee. At the same time the arms extend out horizontally to the sides at shoulder height, palms down (figure 17.2). 2nd measure: the right foot comes back to the left and the arms return to the starting position. 3rd measure: the left foot is extended to the side with toes lightly touching the ground, the right leg bends slightly at the knee. At the same time arms extend out horizontally to the sides at shoulder height, palms down. 4 th measure: the left foot comes back to the right and arms return to the starting position. On the 5th, 6th, 7th, and 8th measures, the movements of the first 4 measures are repeated. Sequence II—in motion: 9th measure: on the 1st, 2nd, and 3rd beats step with the right foot toward the center. Simultaneously, palms turn forward and the arms sweep up vertically in an arc past the front of the face and above the head continuing the arc outwardly and opening until fully outstretched at shoulder height on both sides, palms still facing forward (figure 17.3). 10th measure: on the 1st, 2nd, and 3rd beats step forward with the left foot toward the center. At the same time the arms retrace their path back and are placed in front of the chin, middle fingers touching, palms still outward (figure 17.4). The movements of the 9th and 10th measures repeat on 11th, 12 th, 13 th, and 14th measures, total of six steps toward the center, with one partner moving behind the other. 15 th measure: step forward with the right foot, making a quarter turn to the left, arms move as in the 9 th measure. In this movement the partners are now side by side, right shoulders toward the center and still keeping a distance of at least two extended arms between each other. 16th measure: on the 1st, 2nd, and 3rd beats the left foot comes back to the right, arms return to their starting position in front of the chest moving vertically in front of the face. Sequence III—in place as in Sequence I 17th to 24th measures: repeat movements of 1st to 8th measures. Sequence IV—in motion as in Sequence II 25th—31st measures: repeat movements of the 9th to 15th measures. On the 31st measure one makes a quarter turn to the left. 32nd measure is as 16th measure. The partners are again one behind the other with their backs toward the center (figure 17.5). Sequence V—in place as in Sequence I 33rd—40th measures: the same as 1st—8th measures (figure 17.6). Sequence VI—in motion as in Sequence II 41st to 48th measures: the same as 9th to 16th measures. 47th measure: make a quarter turn to the left. The partners are again side by side, left shoulders toward the center. Sequence VII—in place as in Sequence I 49th—56th measures: the same as 1st—8 th measures. Sequence VIII—in motion as in Sequence II 57th—64th measures: the same as 9th—16th measures. On the 63rd measure make a quarter turn to the left. Partners are again one behind the other, facing the center. In doing this exercise, each performer moves around the sides of a square, turning to the left at each corner (diagram 3). The whole sequence is repeated again. Square