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Abstract

The beginning of the twentieth century was marked by colossal changes in various spheres of life, including art, where appeared numerous choreographies produced by both professional dancers and esoteric teachers. This article analyzes the choreography of George Gurdjieff, a dance practice simply called “Movements.” This practice was often considered as closely related to and being a product of the artistic environment of the time. The article argues that even though being the product of the time, Gurdjieff’s dance requires a close attention. It will show that his approach to dance downplays aesthetic and emotional aspects. Applying the hybrid methodology, this article will first identify the place of the Movements in Gurdjieff’s teaching. It will then illustrate how the Movements differ from modern German dance. Finally, it will analyze and describe the author’s ethnographic experiences in the study and practice of the Movements.

Open Access
In: Interdisciplinary Journal for Religion and Transformation in Contemporary Society
In: Handbook of Rituals in Contemporary Studies of Religion
In: Handbook of Rituals in Contemporary Studies of Religion
In: Handbook of Rituals in Contemporary Studies of Religion
In: Handbook of Rituals in Contemporary Studies of Religion
In: Handbook of Rituals in Contemporary Studies of Religion