Ani

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.

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

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

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.

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

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

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.

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

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

16. The Sun Is Rising [Izgryava Slantseto] “Izgryava Sluntseto [The Sun is rising]. Here with perfect simplicity in music and lyrics, a magnificent picture of the rising Sun is created. The most beautiful, the most solemn moment in Nature—the rising of the Sun. And within the consciousness of the human being, a sun is rising as well. It sends light to our life and gives us impulse to work. The words of the song are: Izgryava sluntseto, prashta svetlina, nosi radost za zhivota tya [The Sun is rising, sending its light, and bringing joy to life]. These words are powerful because they have only one meaning. In the esoteric music, lyrics, and melodies with two meanings are never allowed. The song Izgryava sluntseto is an example to follow. “Sila zhiva, izvorna, techushta [Live force—springing and flowing]. The music has an external expression, but music needs to be present within the human thoughts and feelings as 'well. The musical tones of this song express movement, elevation, and expansion. This means: that what has been suppressed in someone is liberated, and an impetus to the right path is given. “In order for one to sing this exercise, one needs to enter into a harmonious relationship with Divine Nature. There is no Being more intelligent, tender, compassionate, and wise than she. Therefore, humans need to listen to her call. “Music is one of the greatest Divine methods for energizing. The modern conditions, in which you live, require this stimulation. While singing, you are rejuvenated; when you stop singing, you weaken. You could make an experiment when you are indisposed. “The words of the esoteric music Zun me zun regulate and balance the energetic forces. They are the measure. Tu meto has one of the best, one of the most beautiful meanings. “Esoteric music is capable of awakening certain sublime feelings which give new impulse to human life. Through it, the beauty of the human face and the human internal life are restored. “Zun me zun, zun mezun means: The whole of our life, all our life. “Binom tu meto can be translated as: Let it now be so! And man became a living soul. “The song is imbued with significance, but it needs to be discovered, to be found. This is the relationship of the Great toward the least—the soul. And the least is filled with thought for the Great, for God. The human soul remembers the primordial instant of God’s inbreath of Life the soul has received: the first Breath of God’s Divine Breath.” (36:187, 188-189) “Every word represents a picture, an image of something living, either from the physical or from the Spiritual world. Do you remember your first musical exercise at the Esoteric School? The first musical exercise was from the physical world: Sila zhiva izvorna techushta [Live force—springing and flowing]. It represents a vibrant image of flowing water—motion. The second musical exercise was Izgryava sluntseto [The Sun is rising]. As you pronounce the words izgryava sluntseto, begin to think and visualize in front of you the living image of the rising Sun. You see mentally how the Sun is rising, how it sends its light to all Creation, and what its Light does. Izgryava sluntseto, prashta svetlina, nosi radost za zhivota tya. [The Sun is rising, sending Light, and bringing joy to life]. What is the reason for this joy? The joy is a result of this uplift in Nature: all plants are shooting forth, growing, and developing. This is perceived from the perspective of the astral plane, where the energies are more sublime and finer than those of the physical world.” (39:99) Description The exercise is performed twice and consists of three sequences, which follow immediately one after the other. Music: Melody 16 “The Sun Is Rising” (time signatures 3/4, 2/4, and 3/4)—40 measures, repeated twice. Starting position The participants are arranged in couples with left side to the center, feet together. The arms are bent at the elbows in front of the chest, relaxed to the side of the body, palms down23, fingers of the hands slightly bent and touching (figure 16.1). Movement sequence Sequence I On the upbeat, the right leg is brought forward with the weight of the body on the left foot. On the 1st beat of the 1st measure and continuing on the 2nd measure step forward on the right foot, toes first. During this slow step, the weight gradually and graciously passes to the right foot. On the 3rd measure the right foot is completely on the ground, the left foot is held backward and resting on its toes. Simultaneously, beginning from the upbeat to the 3rd measure the arms move slowly up past the front of the face and form an arch above the head with palms facing down. The head is held straight and only the eyes follow the movements of the hands (figure 16.2). From the beginning of the exercise one sings slowly Izgryava sluntseto [The Sun is rising]. 4th measure: the left foot steps slowly forward touching the ground with its toes, the right foot remaining behind on the toe. The weight of the body gradually passes to the left foot. On the 1st beat of the 4th measure, the arms begin to open, palms turning outward. 5 th and 6 th measure: the arms slowly go down at the sides to shoulder height with palms facting downward (figure 16.3). On the 4th, 5th, and 6th measure, one sings slowly Prashta svetlina [Sending Light]. On the 7th measure, step slowly with the right foot and change the weight of the body as in the 1st, 2nd, and 3rd measure, the left foot behind with toes touching the ground. On the 1st beat palms turn to face outward. From the 2nd beat of the 7th measure until the end beat of the 11th measure, the arms slowly come together back to the chest making quarter of circle each—both arms together make a half circle (figure 16.4). On the 7th, 8th, 9th, 10th, and 11th measures the words: Nosi radost za zhivota tya [And bringing joy for life] are sung. From the last beat of the 11th measure to the end of the 22nd measure, the Sequence I is repeated: the movements of arms and feet are the same as in the 1st measure to the 11th measures except that this time on the last beat of the 11th measure one starts with the left foot. At the end of the 22nd measure, the left foot is forward, the weight of the body is on the left foot, and arms are in the starting position. Sequence II On the 23rd, 24th, and 25th measure one takes six steps forward starting with the right foot. 23rd measure, 1st beat: step forward with the right foot. At the same time the arms, bent at the elbows, descend to the hip height with palms up slightly cupped (figure 16.5). With every step, the hands in a flicking, scooping movement make a small upward push with the wrists and elbows as if to imitate the bubbling up of a wellspring. The hands are raised a little higher with each beat so that at the sixth step they are approximately at the level of the solar plexus (figure 16.6). The words Sila zhiva izvorna techushta [Live force—springing and flowing] are sung . The hands are then lowered and recommence their upward flicking movements. This sequence is performed four times, total 12 measures from the 23rd to 34th measure. At the second and fourth repetition 7 steps instead of 6 are made. The extra seventh step creates a small gap before the arm movements resume. Sequence III One starts on the 4th beat of the 34th measure. Step forward with the right foot and at the same time bring the hands to the chest, palms toward the body, fingers up (figure 16.7). One sings Zun me. 35th measure: 1st beat, step forward with the left foot and simultaneously bring the hands forward, but not below the diaphragm, palms are up as if offering something (figure 16.8). One sings Zu. 2nd beat, step forward with the right foot, bring the hands to the chest as at the end of the 34th measure. One sings un. 3rd beat, step with the left foot and bring the hands forward as in the 1st beat. One sings Zun me. 36th measure: 1st beat, step with the right foot, the hands are brought to the chest as in the 2nd beat of the 35th measure. One sings Zu. 2nd beat, step with the left foot, the hands are extended forward as in the 1st beat of the 35 th measure. One sings un bi. 3rd beat, step forward with the right foot, the hands are as in the 2nd beat of the 35th measure. One sings nom tu. 37th measure: 1st beat, step forward with the left foot, simultaneously bring the hands forward, and sing me. 2nd beat, step forward with the right foot, bring the hands to the chest, and sing to. 3rd beat, step forward with the left foot, bring the hands forward, and sing o. 4th beat, step forward with the right foot, bring the hands to the chest, and sing Zun me. 38th measure repeats the 35th. 39th measure repeats the 36th. 40th measure as the last measure does not follow exactly the 37th measure: 1st beat, step forward with the left foot and simultaneously bring the hands forward. One sings me. 2nd beat, step forward with the right foot and bring the hands to the chest. One sings to. 3rd beat, the left foot joins the right while the hands remain on the chest. One sings o. Zun me zun, zun me zun, binom tu meto (a phrase from an ancient sacred language affirming that the aspiration will be fulfilled) is sung twice. All of the three sequences are performed again. The Sun Is Rising ________________________ 23 The position of the hands with “palms down” is presented in references 6, 7, 9, 10, 14, 21, 27 and with “palms toward the chest” in 8, 23, 29, and 39.

15. Aum “There exists a flow of energy which comes from the Sun and passes through the center of the Earth and another flow which comes from the Earth and passes through the Sun. When we extend one arm upward at an angle of 4 50, we receive the Divine through it. Through the leg on which we are supported, we receive the energy of the Earth. Through the arm and the leg which are extended downward and back at an angle of 450, we cast off the impure, all of our accumulated unprocessed and disharmonious energies into the Earth. Through the repeated lifting of the arms forward and upward and the repeated lifting of the legs, we express the desire of our spirit to reach the heights. One works on Earth, but one’s inner vision is always directed to the world of the stars. One builds on Earth, but desires to embody that which one has received from the sphere of the stars. This movement is the correct way to be in harmonious contact with Nature.” (12:79) “When ‘Aum’ is sung with movements and one of the arms is raised upward and forward, and the other moves downward and backward, you should raise yourself up on your toes because they are connected with the Mental World. The raising up on the toes represents uplifting to the Mental World.” (1:61) “This is an exercise that one needs to keep sacred within oneself. It is taken from an ancient sacred song written in a minor scale. The Master gave it in a major scale. He explained, ‘If I had given this song as it was—in the minor scale—you would not have be able to withstand its vibrations: they would change the pulse of your heart.’ “When you sing sacred songs, you need to open your soul like a flower before the light of the Invisible World to become like an innocent and carefree child who is without fear of its surroundings. In such a state, you will merge with the Beings of the Intelligent World; and only in this way, will you understand what music is, what singing is, and what science is. If you are sorrowful, ill, or with an indisposed spirit, then pronounce ‘Aum’ few times. Sacred words exist—one of which is ‘Aum’—that you need to pronounce often even if you do not understand their meaning. Your spirit understands them, and that is enough. ‘Aum’ is a word of the Spirit. When you sing this Word of Its Language, the Spirit will understand you and will help you because It understands and knows your needs.” (36:186-187) “Aum is a mantra. The Master explained: ‘It is a great moment to feel this Supreme Intelligence; to feel the connection among all beings—from the least to the greatest; and to experience that great vibration we call Amen, Aum, or as the Hindu say Aumen, and yet others call Om.’” (37:102) “In ‘Aum’, the arm is bent at the elbow, moving forward and up, slowly outstretching (with a little bend remaining at the elbow) to an angle of 450. The palm is facing forward and is not an extension of the straight line of the arm. The movement is continuous, and the arms are not—even for a moment—stationary.” (38:16) Description Music: Melody 15 “Aum” (time signatures 3/4)—7 measures repeated 4 times, total of 28 measures. The words Aum, Aum, Aum, Om, Om, Aumen are sung. Starting position All couples are in a circle, left side toward the center, body upright, feet together, arms down at the sides. Movement sequence Upbeat (unaccented part of measure)—bring the right foot forward and simultaneously raise the right arm forward, singing the vowel A (pronounced Ah). 1st measure, 1st beat: step forward with the right foot and extend the right arm forward and upward at an angle of 45o, palm facing forward. The left foot remains behind with toes touching the ground. The left arm extends downward in the opposite direction with the palm turned outward and backward. In their final position arms form a straight line. The body is reaching upward and forward (figure 15.1). At the end of the 2nd beat, the body and the arms are fully extended and the left foot is lifted briefly from the ground as a natural result of the graceful and smooth transference of the body’s weight to the front leg (figure 15.2). At the 1st and 2nd beat one sings Um. On the 3rd beat, bring the left foot forward as in the upbeat, singing A. The right arm comes down and back and the left hand extends forward and upward. 2nd measure, 1st and 2nd beats: the movements of the 1st and 2nd measures are repeated, but with the opposite arms and legs (figures 15.3 and 15.4). The above movements of arms and feet are repeated to the end of the music Aum—7 steps. The whole exercise is repeated four times, 28 measures altogether. In the upbeat and the first three measures one sings Aum three times; in the 4th and 5th measures one sings Om twice, in the 6th measure one sings Au, and in the 7th measure, 1st and 2nd beats, one sings Men. Aum “The arms make an arch-like movement upward and to the sides, and then come back to the chest. After that, the hands make scooping movements which imitate the bubbling of the water of a wellspring. “The first part represents the process of giving birth to the new. All of the Sun’s energy enters us that we may grow and develop. The second part represents the life-giving forces which flow through us like mighty waters.” (12:80)

14. Think [Misli] “This exercise begins with the slow movement of the arms from right to left and then back to the right. Then while walking forward, scooping motions are made with the hands, followed by the arms pushing outward as if supporting something. “This movement connects us with the world of thought and we enter it. Through this movement, a rhythm is brought to our organism that comes from the Intelligent World, the World of just and sublime Thought. “The first part of the exercise, with the slow movement of the arms from the right to the left and back again, is the receiving of that which is sent from the World of Thought. The second part is the applying of that which we receive into our lives and activities.” (12:79) “Every Thought that brings the Essence of Love to the human soul comes from God. Every Thought that brings the Light of Wisdom comes from God. Every Thought 14 that brings the Freedom of Truth to the human soul comes from God... “You need to be connected not only with the physical world, but the spiritual as well. You need to maintain contact with the Advanced Beings who are helping you along on your path. Many of our thoughts are the fruits of the thoughts of Sublime Beings. When a seed from one of these fruits lands in your mind, in your heart, or in your soul, it will organize its growth in and of itself. These are the Divine ideas which have come to grow within you. They are great treasures. Even if only one of these small, precious thoughts is accepted by you every day, within ten years, your life will have become drastically changed.” (31:34, 315-316) Description Music: Melody 14 “Think” (time signatures 3/4, 9/8, and 12/8)—20 measures repeated twice. Starting position The dancers are in couples, side by side, with the left side toward the center of the circle and feet together. Arms held diagonally upward to the right at an angle of 45 degrees. The right arm is outstretched, and the left slightly bent at the elbow; palms facing outward (figure 14.1). Movement sequence Sequence I: in place (3/4) 1st measure: the feet are as in the starting position and do not move. On the 1st, 2nd, and 3rd beats in a semi-circular movement the arms swing freely downward extending in front of the body (figure 14.1); continue moving to the left and up reaching the corresponding angle of 45o similar to the starting position, but to the left (figure 14.2). During this movement one sings Misli [Think]. 2nd and 3rd measures: with the feet still in place, the arms swing down and up to the right, similar to the 1st measure, as one sings: Pravo misli [Think right]. 4th, 5th, and 6th measures: the movements of the 1st, 2nd, and 3rd measures are repeated. One sings the same as before. The raising of the arms finishes with a light moving up of the hands from the wrists. Sequence II: moving forward (9/8 and 12/8) 7th measure, 1st beat: step forward with the right foot. Simultaneously the arms bend at the elbow with hands at the height of the solar plexus and trace a circle with the hands as if gliding over a visualized sphere, starting from the top and going downward on its surface palms down. After that the hands meet at the bottom, palms up and move up through the middle of the sphere ready to start again (figures 14.3 and 14.4). On the 2nd beat step forward with the left foot while the hands again make circles as in the 1st beat of the same (7th) measure. On the 3rd beat the movements of the 1st beat are repeated. These movements are repeated to the end of the 10th measure, total of 13 steps, and then again on the 11th, 12th, 13th, and 14th measures—altogether 26 steps forward. During these movements one sings Sveshteni misli za zhivota ti krepi [May you sustain sacred thoughts about life] four times in accordance with the music. Sequence III: moving forward (9/8 and 12/8) 15th measure, 1st beat: step forward with the right foot. At the same time the arms extend horizontally out to the side, wrists bent vertically upward, palms facing outward. With a light fluid movement of the wrists and elbows, the arms move to the sides as if touching and supporting something. One sings Krepi [Sustain] (figure 14.5). On the 2nd beat step forward with the left foot. As the arms repeat the movements of the 1st beat, one sings Krepi. On the 3rd beat repeat the movements of the 1st beat and sing Krepi. Sequence II (repeat) 16th measure, 1st beat: step forward with the left foot, hands perform the same movements as in the 7th measure, 2nd beat: step forward with the right foot, the hands make the same movements as in the 1st beat. This is repeated until the end of the 17 th measure—7 steps altogether. One sings Sveshteni misli za zhivota ti krepi—once. Sequence III (repeat) 18 th measure: the same movements as in the 15 th measure. One sings Krepi—three times. Sequence II (repeat) 19th and 20th measures: the same movements as in the 16th and 17th measures. One sings Sveshteni misli za zhivota ti krepi—once. The entire exercise is then repeated for 40 measures altogether. At the end, the arms are brought down to the sides. Think

13. Weaving [Takane] “This exercise expresses the organic process within Nature, the process of building. Does not a circulation of electricity and magnetism occur between the North and South Poles of Earth? This is expressed in this exercise through the crossing movements from left to right, and vice versa. “Furthermore, polarity exists within every particle of matter. Between the two poles, electric and magnetic energy flows. These forces work within every human being as well. Every organ has its polarity. “This exercise leads us to perceive, on one hand, the constructive principle within Nature; and on the other hand, it indicates the right way of introducing harmony and rhythm into this process, both internally as well as externally, in the life of humankind.” (12:79) “Beautiful garments are made of fine threads. Should you separate the threads, they will represent nothing in and of themselves. But if the threads are well-woven together, the result will be something beautiful. Each being makes sense only as part of the life of the whole. Live for the whole of humankind, for the whole of the Universe; that is to say, a higher ideal exists than that you now live for. In striving for this ideal you will then be of benefit to all. Should people stray from the Path, they will be abandoned and forgotten. Those who would like to be benevolent, let them direct their energy for the uplifting of the whole of humankind: that is to say, for the good of all.” (31:205) Description Music: Melody 13 “Weaving” (time signature 2/4)—60 measures. Starting position All participants are standing side by side, in couples, with the left side toward the center. Before the music starts, the participants in the outer circle step forward so that they are positioned ahead of those in the inner circle. Start with the feet together. The elbows are bent in front of the chest. The elbows are horizontal and held at chest-height. Palms are facing down with middle fingers touching. Movement sequence Sequence I 1st measure, 1st beat: step forward with the right foot and simultaneously the arms are extended horizontally to the sides, palms down (figure 13.1). On the 2nd beat: step forward with the left foot and the arms return back to their starting position (figure 13.2). These movements are repeated for four measures, with seven steps moving forward and on the eighth placing the left foot next to the right foot. Sequence II (The partners look briefly at each other when changing places according to Katya Griva’s lessons.) The arms continue to open and close as before. The foot that crosses is always in front of the other. Inner circle: 5th measure, 1st beat: step to the right with the left foot crossing in front of the right. At the same time arms extend horizontally to the sides, palms downward as in the first beat of the first measure (figure 13.3). 2nd beat: step sideways with the right foot to the right, at the same time the hands return to the chest. The movements of the 5th measure are repeated for the 6th, 7th, and 8th measures. On the 2nd beat of the 8th measure, the right foot comes besides the left. Outer circle: 5th measure, 1st beat: step to the left with the right foot crossing in front of the left foot; simultaneously the arms extend to the sides horizontally (figure 13.3). 2nd beat: step sideways with the left foot to the left, at the same time the arms return to the chest. The movements of the 5th measure are repeated for the 6th, 7th, and 8th measures. On the 2nd beat of the 8th measure, the left foot comes besides the right. By performing the movements of the 5th, 6th, 7th, and 8th measures, the inner circle becomes outer and the outer circle becomes inner: the dancers exchange positions (figure 13.4). The 9th, 10th, 11th, and 12th measures are the same as the first four measures; which means that the movements of both circles are only forward as in Sequence I. The 13 th, 14th, 15th, and 16th measures are the same as in the 5th, 6th, 7th, and 8th; which means that the movements of Sequence II, the crossing-over, are repeated but in the reverse direction. Sequence I and Sequence II repeat consecutively to the end of the music. At the 60th measure feet come together and arms are lowered down to the sides. After the music ends, the participants finishing in the outer circle step forward to stand beside their partners before starting the new exercise. The original inner partner is now the outer partner, and vice versa, and should remain in these new positions for the rest of the Part I of Paneurhythmy. The outer circle partner from the beginning of the exercise always passes in front of the inner; thus the inner partner is always behind the outer, regardless of the exchange of position. When making the sideways step, the dancers move slightly forward on the diagonal so that the movement is simultaneously forward and sideways. During these movements the starting position distance between the partners should be kept (diagram 2). Weaving

12. Jumping [Skachane] “Jumping represents the triumph of Love and Wisdom as they have been applied in life. First we all bow before the Great, Eternal, and Divine Principle that is working in the world. The jump that follows is our offering and expression of joy to the Creator.” (12:79) “Strive for pure life so that you may unite with God and hear His Voice. Become like good soil, to be able to receive His Word. If you are like stone, the Word will pass by you without a trace. It is easy to irrigate good soil, but the stone diverts the water away from it. To be like a stone not receiving the water into yourself, represents a life full of contradictions. To let go of the contradictions, you should be good swimmers. Entering the stormy sea of Life, you should hold your heads above water in order not to drown.” (35:338) Description Music: Melody 12 “Jumping” (time signature 3/4)—15 measures. Starting position All participants face the center of the circle, feet together, and both arms outstretched above the head with palms forward (figure 12.1). Movement sequence 1st measure: on the 1st, 2nd, and 3rd beats the body bends slowly forward from the waist to a horizontal position. The arms remain well extended and follow the movement of the body downward. 2nd measure, 1st beat: the body continues to bend forward and downward while the arms swing back to a horizontal position (figure 12.2). On the 2nd beat the knees bend slightly and simultaneously the arms and the rest of the body start to unfurl. On the 3rd beat: jump up into the air while the arms swing forward and are raised above the head with a gentle clap (figure 12.3). 3rd measure: land on the ground, hands outstretched over the head, palms forward as in the starting position. These movements are repeated five times until the end of the music. At the end, the arms are brought down to the sides of the body, palms down. Jumping

11. Evera [Evera] “The body turns to the left and to the right, and every turn is followed by a step forward. Here we have the action of the two principles: Love and Wisdom, or the feminine and masculine that work for the uplifting of the world. Turning to the left represents the feminine principle, the receiving of Love; turning to the right is the masculine principle, the receiving of Wisdom. The forward movement that follows signifies the movement toward Truth. Thus the application of Love and Wisdom in our lives leads us toward Truth, in other words, toward the Sublime Reality on which the whole of Creation is based. The movement forward stimulates our growth, our mental progress, and the whole of evolution, in general.” (12:78) “In the world, only one power exists: the power of Love. I recognize no other authority. There exists no other government greater than Love. Every other power bows before Love. For the building of the New Order, the Law of Love must be applied. The second Law is the Law of Wisdom. Love brings Life, whereas Wisdom brings Light and Knowledge. The third Law is the Law of Truth, which brings Freedom. Apart from these Laws, no society or nation can be built. They are the fundamental principles upon which the future life will be based.” (31:218) “‘Eve’ signifies the principle of birth. ‘Ra’ signifies the Sun. ‘Evera’ means ‘born of the Sun.’” (1:61) Description Music: Melody 11 “Evera” (time signature 3/8)— 68 or 136 measures. Starting position All dancers are arranged in couples facing the center, one standing behind the other. The weight of the body is on the left foot with the right foot pointing to the right with only the toes touching the ground. Bring both arms horizontally to the left side of the body with the left arm extended and the right arm slightly bent in front of the chest; palms turned downward (figure 11.1). Throughout this exercise, the wrists and elbows should bend in gentle fluid movements. Movement sequence 1st measure: on the 1st beat: with a slight swinging motion, the weight of the body moves to the right foot. The left foot remains to the left side, toes touching the ground. On the 1st, 2nd, and 3rd beats the arms make a downward arc; then go to the right and upward until the right arm is outstretched and the left arm is slightly bent in front of the chest (figure 11.2). 2nd measure: make a quarter turn to the right, step forward with the left foot so that the toes of the right foot are touching the ground. On the 1st, 2nd, and 3rd beats the arms, with a gentle movement, push forward and upward to an angle of 45o. The left arm is extended; the right arm may keep a very slight bent at the elbow, palms forward. The whole body expresses a reaching upward (figure 11.3). 3rd measure: pivoting 90o, make a quarter turn to the right. The weight of the body passes to the right foot, with the left leg extended to the side, its toes touching the ground. All are turned with their backs toward the center. On the 1st, 2nd, and 3rd beats the arms make downward arcs to the right, with the right arm outstretched and the left arm slightly bent at the elbow (figure 11.4). 4 th measure: 1st measure is repeated with backs facing the center and gestures reversed. 5th measure: reversed repeat of 2nd measure, stepping forward with the right foot. 6th measure: reversed repeat of 3rd measure, facing again the center of the circle. The movements of these six measures are repeated to the end of the music, total 68 measures. The exercise can be repeated, 136 measures altogether. Evera

10. Flying [Letene] “These wave-like movements of the arms as they are extended sideways represent the Law of acquiring Light and Knowledge within. It is the Law of right understanding of Light and Knowledge. This exercise expresses the uplifting impulse that makes everything grow. What has been sown needs to grow. These movements can also be called: the right way of spreading the Word and helping it to grow into Life.” (12:78) “When you tread on a muddy or dusty road, become a bird and fly up to where there is no mud and dust. If you face some obstacle or contradiction in your mind, you need to elevate yourself to a higher realm. When you enter the realm of sublime Thought, you become free from all contradictions. “An illuminated epoch is coming. The idea of brotherhood will come into realization. This Divine Spring will come gradually, not all at once. People will change without noticing. They simply will not notice how they will change. One day they will awaken, and they will find themselves in a new stage similar to the caterpillar, which enfolds into the cocoon, and, once inside, transforms itself into a butterfly that cannot feed on leaves any more. What is coming now can be called ‘Manifestation of the Divine Origin in the human being.’” (31:276, 295) Description Music: Melody 10 [repeats melody 2] “The First Day of Spring” (time signature 3/4)—30 measures. Starting position The last position of the previous exercise, movements continuing without interruption. Movement sequence 1st measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the arms open to the sides at shoulder-height with palms turned downward, making undulating movements to imitate the flight of a bird (figure 10.1). 2nd measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the arms remain at shoulder-height, making the same flying movement as in the first measure (figure 10.2). These movements are repeated until the end of the music. At the end, the feet come together, the arms—down. Flying Note: The first ten exercises are performed without interruption as they represent one cycle.

9. Purifying [Chistene] “One moves the tips of one’s fingers from the mouth outward, at the same, time blowing gently. The blowing of the air signifies the Word, and the moving of the arms outward represents sowing the seeds of the Word. “This exercise speaks about receiving the Word and its sowing. It expresses that the Divine Word, which is given through language, needs to be sown. It can be named as well: introduction of the pure Word into life or the right way of introducing pure thoughts, feelings, and actions into life.” (12:78) “We need to become still as the motionless surface of the water that God’s image may be reflected in us. If He is reflected in us, we will progress. If the image of God is not reflected within, we will remain as we are. We need to be pure so that God’s image may be reflected in us. Peace and purity are the two conditions for God’s image to be reflected in us... “Some people say, ‘Let God set the world right.’ God has inscribed His Word within people’s hearts, and in doing so, He has already set it right. It now remains for what He has written within humans to be made manifest.” (31: 31, 35) Description Music: Melody 9 [repeats melody 1] “The First Day of Spring” (time signature 3/4)—40 measures. Starting position One passes from the previous exercise to the new one without interruption. The hands, which are on front of the face, come close to the mouth with the thumb, index, and middle fingers touching. The other fingers are free; palms slightly open and turned forward (figure 9.1). Movement sequence 1st measure, 1st beat: step with the left foot. On the 1st, 2nd, and 3rd beats both hands open out horizontally to the side, palms turned downward. At the same time, exhale through the mouth, blowing lightly (figure 9.2). 2nd measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3 beats the hands return to the starting position, at the same time inhaling through the nose. Participants do not sing while performing this exercise. These movements are repeated until the end of the music and lead directly to the next exercise. In the last measure the hands come back to the front of the mouth. Purifying

8. Clapping [Plyaskane] “Clapping expresses the triumph of freedom. These movements indicate that we have been set free from all unnatural confining relationships. They show us the frontiers of freedom and where it originates from. They bring the affirmation that it has been achieved just as the waves, which splash upon the shore, show that they have reached their frontiers and are now free to disperse. “These movements express the joy of the soul that has acquired freedom and the joy of the butterfly emerged from its cocoon. This is the joy of the grass showing its first tender shoots above the dark cold soil and the joy of the flower opening to the Sun’s rays for the first time.” (12:78) “Do not deny the least loving feeling that arises in your soul. Some will say, ‘This feeling is of little significance.’ This is not correct. This small feeling of Love will bring you great blessings in the future. These small feelings and thoughts of Love are like the sparks of light that flicker here and there in the darkness. This light in the darkness awakens joy within you because you have found the Path. People today disregard these thoughts and feelings and search for happiness and success in the external... “Today, people have sorrow. When the Divine comes, Joy will come. 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.” (31:182-183, 328) Description Music: Melody 8 [repeats melody 6] “The First Day of Spring” (time signature 3/4)—41 measures. Starting position The last position of the previous exercise, movements continuing without interruption. Movement sequence On the 1st measure, 1st beat: step forward with the right foot. On the first beat both hands clap lightly, level with the face (figure 8.1). On the 2nd and 3rd beats the hands separate, bouncing open in front of the face to the position of an open flower, with palms slightly turned upward (figure 8.2). 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the hands open horizontally to the side in slightly downward arcs (figure 8.3). These movements are repeated to the end of the music. At the end of the last measure, after the final clap, the hands come in front of the face. Claping

7. Liberation [Osvobozhdavane] “One places both hands in front of the chest with closed fists and moves them apart forcefully opening the fists. This movement symbolizes destroying everything that was holding you back. This is liberation from the old and attainment of the new. It is entering Freedom. We can also call it breaking away of all unnatural relationships, and everything old. This movement awakens within us those forces through which the unnatural karmic ties of the old can be eradicated in order to enter into the Life of freedom. “This is an appeal for liberation, an appeal to leave the prisons. It says to us: Leave the life of eternal sunset and enter into the Life of eternal sunrise. Drop the chains of death and enter into the freedom of Life. Come out of the dark caves, where love does not exist, and enter into the joy of Love. “Through this exercise, a powerful impulse is transmitted into the world to work upon the consciousness of all humankind.” (12:77) “If you desire to be strong, allow God’s Love to manifest through you. Love makes you your own master. You are influenced sometimes by dark forces; you do things that you do not wish to do. This indicates that you are influenced. The Invisible World comes now to set you free from this influence. You need to become masters of these circumstances. Do not permit beings that stand beneath you to command you. In order for one to liberate oneself from those lower beings, one needs to have Love.” (31:64-65) “In human nature there is no Freedom, whereas in the Divine there is, and no violence exists there. In the world, God fights for our Freedom as well. He is the One, who constantly works within us, in order to liberate us from slavery... “You should never impede the Divine within. When you impede it, you destroy yourself. When you want to arrange your affairs in a human way, you create your own unhappiness; therefore, you need to liberate the Divine in yourself and it will arrange your matters.” (34:19-20, 402) Description Music: Melody 7 “The First Day of Spring” (time signature 3/4) repeats melody 6—41 measures. Starting position The last position of the previous exercise. Hands are brought together in front of the chest, fists clenched with thumbs on the outside22 and palms down. The weight of the body is on the right foot (figure 7.1). Movement sequence On the 1st measure, 1st beat: step forward with the left foot. Both hands swing open to the sides with a forceful gesture, as if tearing something apart. On the 2nd and 3rd beats, the hands move to a horizontal position making slight arcs, the fists open and the fingers extend, palm downward (figure 7.2). 2nd measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats: hands return to the starting position. Liberation These movements are repeated to the end of the music. On the 3rd beat of the 41st measure: the arms remain extended horizontally out to the sides. ___________________________________ 22 The Master points out that as the thumb represents our connection to the Divine World, one should not hide it among the other fingers, but to keep it always above them.

6. Opening [Otvaryane] “With the right hand and then with the left, one makes horizontal bow-like movements in front of the body. This exercise is meant to resolve certain contradictions of thoughts and emotions. The movements of the right hand resolve contradictions of the mind, while the movements of the left hand resolve those of the emotions. Human hands send out certain energies which remove obstacles. This is a movement for removing obstacles from the luminous path of the soul so that it can begin to ascend. “The movement of the hands from the chest outward represents opening, while bringing them back to the original position represents closing. In order to become part of Nature, you need to open. Once you have entered, you close: that is to say, you should not think about what you have left behind, about the old. The door of the past needs to be shut and that of the future needs to be opened. It is the present which does the opening. That is why this movement can also be called a ‘method for the right opening and closing of the door;’ in other words, making logically right and mindful conclusions in the area of thoughts and feelings.” (12:77) “In my opinion, every heart that is not open from morning until night, giving everything it has and accepting everything which falls upon its lot, is not a true heart. When you enter into the all-embracing Love, you become connected with the whole Universe. You will then feel the suffering of all living beings.” (31:224) Description Music: Melody 6 “The First Day of Spring” (time signature 3/4)—41 measures. Starting position The last position of the previous exercise is the starting position for this exercise, continuing without interruption (figure 6.1). The weight is on the left foot. Movement sequence On the 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the right hand makes an arc slightly downward and then moves horizontally out to the right side with palm down. The left hand remains on the hip (figure 6.2). (The final position of the arms in their successive opening and closing coincides with the strong beat of each measure while arms and legs move in synchrony.) 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the right hand retraces the same arc and returns back in front of the chest as in the starting position. The left hand remains on the hip until the end of the 19 th measure. On the last beat of this measure the left hand goes to the chest and simultaneously the right hand is placed on the hip (figure 6.3). (On the 2nd and 3rd beats of the 19th measure and the 1st beat of 20th measure the right hand is placed on the hip with thumb pointing backward.) From the 20th measure the movements of opening are done with the left hand (when the left foot steps forward) while the right hand remains on the hip until the end of 41st measure (figure 6.4).

5. Elevating [Vdigane] “Both arms are moved upward at the same time and then brought downward and back. The lifting of the arms is the receiving of the new, the inspiration which is coming from the Divine World. The bringing of the arms down and back signifies that as we receive the new we put the old behind us. This movement of the arms expresses the great Power that moves people forward along the Path of Life just as a boat is moved forward by the lifting and bringing down of the oars. It represents the awakening of the longing within the human soul for the Divine. It is a call to all souls to begin walking along this Path.” (12:77) “Involution is turning away from God and evolution is returning to God. Involution is leaving home and going to work. Evolution is returning home from work with the experience that one has acquired. Moving down symbolizes moving into darkness; climbing up is rising toward the Light. (31:38) Description Music: Melody 5 “The First Day of Spring” (time signature 3/4)—26 measures. Starting position The last position of the previous exercise is the starting position for “Elevating,” continuing without interruption; weight onto the left foot (figure 5.1). Movement sequence 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats both arms are raised in a natural swing forward and almost upright, palms facing to the front (figure 5.2). 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the parallel arms are brought downward and behind the body, palms facing backward. As in the previous exercise, both arms circumscribe a natural arc while ascending and descending. These movements continue until the end of melody #5. On the 3rd beat of the last measure, the hands do not go back. Instead, the right hand is placed in front of the chest with the palm down and the thumb touching the chest, while the left hand is placed on the hip, thumb pointing backward. Elevating

4. Ascending [Vazlizane] “The successive raising of the right and left arms vertically upward, speaks of the eternal way of Life. It speaks about ascending and descending as two processes in Nature which alternate continuously. Suffering is the valley; joy—the mountain peak. Poverty is the valley; richness—the summit. These processes exist everywhere in Nature. When we walk, we lift a leg, do we not? This is ascending. Then it comes again down—this is descending. “While ascending and descending, we should know that this is the path we need to follow, that this is the way of Life. It is because, if we do not come down, we will not be able to ascend. This exercise helps us to understand the eternal way of Life and to have the correct attitude toward it.” (12:76) “There are two great streams—one from the infinite, which gradually reduces itself and descends to the infinitely small, to the cell; the other, the constantly growing stream from the infinitely small, the cell, to the great, the limitless. And when these two cosmic streams meet in humans, then the great abilities and virtues of the human soul are born.” (33:70) Description Music: Melody 4 “The First Day of Spring” (time signature 3/4)—26 measures. Starting position The last position of the previous exercise is the starting position of “Ascending,” transitioning into it without interruption. The weight of the body is on the left foot. Movement sequence 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the right arm is raised in a natural swing forward and almost upright, palm facing to the front. At the same time the left arm goes down and back with palm facing back so that both arms form a straight line (figure 4.1). 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the left arm is extended forward and upward with palm to the front. At the same time the right arm moves downward and backward just as the left hand in the 1st measure (figure 4.2). Note: Both hands circumscribe ascending and descending semi-circles. The body is stretched forward and the weight of the body is on the front foot while the one behind is on its toes, touching the ground. Ascending These movements are repeated until the end of the melody. On the last measure step with the left foot, the right arm moves downward, but this time the left remains down, waiting for the right arm. Both arms are now down to the sides as a starting position for the next exercise.

3. Giving [Davane] “In this exercise, the hands move forward and are then brought back to the chest. This shows how we can make the proper exchange between the inner and the outer worlds, between us and Nature. Everything received from Nature needs to be processed and then shared with others. “These movements work miraculously upon one’s personal growth because they promote a strong impulse for giving to the world. Through them, people come to understand the great idea of giving and receiving. These movements are highly idealistic. They awaken those virtues in people which will be a foundation for the New Culture: the culture of giving, sacrificing, and self-renunciation for the benefit of our neighbors. “Through these movements, you come into contact with forces whose existence you have never suspected. Through them, you will enter into the world of abundance. The more that one gives, the more one will receive. If someone is like a full vessel whose content is not emptied, that one can accept nothing more from the outside. As soon as the vessel is emptied, it may be filled anew; if not, a person remains in the old ways. Everything that someone receives needs to be shared with others so that one may partake in the new. “This is a process of invigoration, renewal, growth, joy, and strength. If the wellspring does not continuously give what it receives, it will not be able to receive fresh new streams. It would be like a stagnant swamp. What a difference between a wellspring of fresh water and a swamp. In the swamp, we find decay. In the pure spring, we find movement and life.” (12:76) “The only thing that gives of itself is Love. All that we have is due to Love. What is always giving, always flowing, and never ceases to flow—this is Love. Love says, ‘I take away everything, and I give everything.’ For you to come to understand Love, you need to give. “Two Laws exist by which human beings must abide: receiving and giving. One receives and gives. Within Nature, an interchange always needs to take place: you need to receive and you need to give.” (31:153, 164) Description Music: Melody 3 “The First Day of Spring” (time signature 3/4)—34 measures. Starting position The last position of the previous exercise is the starting position of “Giving,” transitioning into it without interruption. The weight is on the left foot, elbows close to the body (figure 3.1). Movement sequence 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the arms unfold horizontally to the front, hands at elbow-height, palms upward as if something is being offered (figure 3.2). The final position of the arms in their successive unfolding and folding coincides with the strong beat of each measure while arms and legs move in synchrony. 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats: return the hands to the starting position (figure 3.1). Giving These movements are repeated to the end of the melody #3, when the hands are brought back to the starting position.

2. Reconciliation [Primirenie] “These fluid, soft, and curved lines the hands make in front, to the sides, and back again are magnetic. They are lines of softness and reconciliation. They are helping us to resolve all the contradictions of life through gentleness and reconciliation rather than through force. When performing the movements in this spirit, we will learn these qualities.” (12:76) “The second exercise of Paneurhythmy signifies peace and stillness.” (1:61) “It may happen at times when you cannot reconcile with your neighbor. Once you begin to sing, the song within you will awaken the readiness to reconcile. This is the power of music. “Unless you reconcile with people, you cannot enter the Kingdom of God.” (31:43, 382) Description Music: Melody 2 “The First Day of Spring” (time signature 3/4)—30 measures. Starting position This exercise follows directly from the first without interruption, so the last position of the previous exercise is the starting position for this one (figure 2.1). Movement sequence 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the hands open making two descending semi-circles in downward arcs and then rising out horizontally to the sides, while palms are always pointing downward (figure 2.2) 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the hands retrace the semi-circles in upward arcs and return to the starting posi tion. These movements repeat until the end of music #2. In the last measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the hands come back, but are placed on the chest, palms toward the chest, fingers pointing up. Reconciliation

THE FIRST DAY OF SPRING (THE FIRST 10 EXERCISES) 1. Awakening [Probuzhdane] “This exercise represents turning inwardly toward one’s self and then manifesting outwardly. The hands first rest upon the shoulders and then open to the sides. This indicates that first we give. This is the masculine principle, the creative beginning: that which we possess needs to be shared. Then we bring our hands back to the shoulders. This indicates: we receive again what Nature is giving us. This is the feminine principle, which is receiving and building. These two states alternate. When the hands are extended to the sides, they send and receive energy. The fingers are transmitters through which we transmit energy. The spaces between the fingers are receiving antennas. “When this exercise is performed with awareness, it inspires a person to receive and then give to others what Nature offers us. Through these movements, the idea of receiving and giving is sent out into the world. “This movement is called ‘Awakening’ because in the moment the idea to give what you have received arises in your mind, it is a sign that your consciousness has awakened. This means that you have outgrown the framework of your limited personal life and entered into the broader scope of an all-encompassing Life. This is the beginning of the manifestation of the human soul. It will awaken and manifest its beauty.” (12:75) “People are just now beginning to comprehend that they belong to the Great Body of Life. Thus begins the awakening of Cosmic Consciousness that strives to make all of humankind into One Family, capable of working together and living in harmony.” (31:193) Description Music: Melody 1 “The First Day of Spring” (time signature 3/4)—total 40 measures. Starting position All participants are arranged in couples facing counterclockwise, feet together, left shoulder turned toward the center. The hands are on the top of the shoulders; elbows are at shoulder level forming a straight line with the shoulders. The fingers are lightly curled (thumb, index, and middle fingers brought together) and touching the shoulders (figure 1.1). Movement sequence 1st measure, 1st beat: step forward with the right foot. On the 1st, 2nd, and 3rd beats the fingers begin to unfold as the arms extend horizontally to each side, while the palms open and turn downward20 (figure 1.2). (The final positions of the hands at their opening and returning coincide with the stressed beat of each measure while the arms and feet move in synchrony.) 2nd measure, 1st beat: step forward with the left foot. On the 1st, 2nd, and 3rd beats the hands return to their starting position on the shoulders (figure 1.3). These movements are repeated until the end of the music, for 40 measures altogether. On the last beat, as the left foot steps forward, the hands are immediately brought down from the shoulders to the front of the chest, with palms inclined downward, fingers forward and slightly upward, thumbs and index fingers touching21. ____________________ 20 At first the Master showed this exercise with upward palms, yet later he himself was performing it with palms turned downward. Palms turned upward indicate receiving and palms turned downward indicate giving. 21 The movement is also performed with palms facing each other, slightly separated at the base, with fingers turned upward and forward and thumbs, index, and middle fingers touching.