As we launch this website, we invite those of you who are or have been responsible for Movements as experienced or beginning

instructors and pianists to send us your thoughts, comments, and questions at the email address shown below. In the spirit of fostering an open exchange we may share part or all of them here-- unless you ask us not to. In the meantime, here is the opening message:

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PRESERVING MOVEMENTS AS MR. GURDJIEFF ORIGINALLY GAVE THEM TO US

by Dushka Howarth Part 1

Of the several hundred Movements created and experimented with by Mr. Gurdjieff in the last ten years of his life, only a small percentage did he consider to be complete and evidently to fulfill his aim so that he then gave us permission to continue working with them. The socalled “Thirty-Nine Movements” are those he finished and authorized for continued use in France and another seven he added when we worked with him in New York during his last visit.

These forty-six authorized movements are what we are particularly concerned with preserving for the future. The American order is the exact order in which Mr. Gurdjieff gave them to us in New York before his death in 1949. Therefore we consider it to be of more significance for teaching the Movements than the French order, which simply reflects the order in which these Movements were completed and does not include seven of the authorized Movements. (See below for the complete list in the American order.)

Jeanne de Salzmann. de Salzmann in France. etc. Marthe de Gaigneron joined forces in Paris to pool their memories and notations. when Mme. These were made in response to instructions left by Mr.In addition to our own memories. . The other was confided to the New York Foundation for ready reference by their Movements instructors. Howarth’s suggestions to instructors. experience and notations. Mrs. and Mlle. Mrs. we depend on the valuable notes made by Jessmin Howarth and Alfred Etievant working together in New York in 1949. artist’s drawings and charts.” An even more important documentation is the set of “definitive notes” resulting from many summers of work in the 1950’s. But we alert Movements "responsibles" everywhere that we need help in completing this essential task. Jessmin Howarth. One copy was sent to Mme. immediate reference and long-term preservation along with verifying photographs and other unique material. and to correct mistakes made in the first (1951) Movements film. Howarth transcribed this work into English and arranged for it to be typed out in New York. we have had to try reconstituting from handwritten and carbon copies as much as possible of these irreplaceable and invaluable notations. such as Mrs. de Salzmann’s copies surfaced! So with great effort. Gurdjieff before he returned to France that: “Movements must be the same in America as in Europe. reconcile differences. When Mrs. Howarth died in 1984 it was discovered that these New York notes had disappeared and could not be found even after an extensive search was made! And sadly for the future neither have Mme. The material located so far is being transferred onto CD for safe and practical storage.

finally announced as “completed”. We may also consider correcting notations.) this collection includes notations.Also being scanned onto CD for preservation and storage is definitive material on the “Six Obligatories. authorship. . they are available for study. and gave permission to people “to continue to work with. The entire repertoire worked on so intensively during the years 1917-1924.” These consist of thirty-nine finalized in France and another seven added in New York. or otherwise helping those responsibly engaged in passing on the Movements in their correct context. Early Movements. these include “Work Dances.” Carefully noted by Mrs.S. photographs. The forty-six Movements which Gurdjieff created in the last years of his life. inhibition exercises for advanced pupils. such as special hints for beginners’ classes. historical information. viewing videos. By this we mean. and corrected music. and various U. Although we do not give out copies of these or other materials. Dervish Prayers. as a part of a complete integrated practice of the Gurdjieff Teaching in all its aspects. (In addition to the Obligatories. culminating in the public demonstrations in Paris in 1923. ***** Part 2 As each year passes we find there is more confusion about the authenticity. “The Thirty-Nine”.” Perhaps we can help by clarifying some of the differences. answering questions. and helpful material for instructors and musicians.” various round and women’s dances. and much more). Howarth as part of her dedication to preserving as many as possible of the earliest Movements (those given circa 1917-1924. and exact intended purpose of many exercises presented as “Gurdjieff Movements” or “Sacred Dances. cities in 1924.

G. Unfortunately. Gurdjieff and they aren’t Movements. many of these were later used in elaborate films made by Mme. Some have been practiced so frequently that they have been given names. de Salzmann during her long life. “Prayer”.” “I Wish-I Am-Always-Everywhere. At this time his primary aim was no longer to use Movements in a public display to attract people to his Work. Preparatory Exercises. Scores of other Movements were experimented with and worked on but left uncompleted by Mr. but they aren’t from Mr.” “Blue-Red-Black-Yellow. Now he had groups of serious pupils for whom he was trying to develop and prove out useful tools for their special Work. Usually referred to by names such as “Multiplication”. “Pythagoras”.” These exercises may be helpful to students if presented by an experienced instructor in the right way at an appropriate moment. Mme. these Movements and the composite ”suites” of Movements and fragments. the Movements shown in these later films must clearly be viewed and evaluated differently from Gurdjieff’s meticulously completed creations. she concentrated on preserving the completed Movements— most of the “Thirty-nine” and some of the “Early Movements.” “I Am-I Wish-I Can Work. de Salzmann put together in the films. Some examples: “Father-I. ***** Part 3 GURDJIEFF'S LATER MOVEMENTS ('39-'49) . from about 1939-49. are now often given precedence in class repertoires and even taught more frequently than the older. pure Movements. De Salzmann and various others created many “preparatory exercises” throughout the years.” In subsequent films. which Mme.” “Om-Im-Am-Um. had not decided a final form. and are believed to be Movements. Although usually beautifully executed by handsome young dancers. she included many of the other Movements that had not been completed or for which Mr. In a first film in 1951. Gurdjieff in his second period of renewed Movements activity.” “Two Rhythms.Other Movements. and “Enneagram”. many of whom are our present-day instructors.

G.(THOSE HE AUTHORIZED US "TO CONTINUE WORKING WITH. # No Fr.") (List per Jessmin and Dushka Howarth) AMER # FRENCH # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19 5 2 30 31 (Names sometimes used later by others.) STOP or WHEEL POINTING DERVISH PRAYER IN 4 PARTS CANON OF 6 MEASURES RHYTHMS AMERICAN MARCH AMERICAN. "I WISH TO BE" No Fr. # 16 18 10 17 13 12 1 23 32 24 11 27 RUNNING or SEAGULL BODY CIRCLING PERSIAN DANCE MULTIPLICATION ANCIENT WALTZ or PERSIAN WALTZ "ALLELUIA" COUNTING AUTOMATON MAZURKA AUTOMATON NOTE VALUES SHARSSE VARSSE "LORD HAVE MERCY" CANON TO TWELVE . not Mr.

# 4 6 15 7 9 20 22 25 PRAYER FOR INSTRUCTION or HOP CANON "LUNDI.20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 & bis 36 37 38 39 40 41 42 43 8 3 21 RUNNING SIX POSITIONS TABLEAUX REMORSE AMERICAN MULTIPLICATION AMERICAN MULTIPLICATION or "I AM" No Fr. MARDI. WOMEN'S DANCE OLBOGMEK DERVISH or TRAMPING MARCH BLACK & WHITE MAGIC 26 & bis CUTTING MULTIPLICATION 28 MACHINE GROUP ENGLISH TURNING SECOND ENGLISH No Fr. # No Fr." etc. # 29 33 34 35 36 OLD 39 COSMIC RHYTHM MULTIPLICATION MARCH CANON OF LEFT ARM . # No Fr. # 14 BREAST BEATING DERVISH SLOW MORSE OR AMERICAN MORSE No Fr.

. Inc ~ Copyright 2006 ~ Dushka Howarth.. Created by for Gurdjieff Heritage Society. President ~ New York ~ All Rights Reserved ~ Email The Society Photographs on this website appear in Jessmin & Dushka Howarth's Book "It's Up To Ourselves" A Mother. A Daughter.44 45 46 37 38 39 DANCE TWICE SIX MEDITATION ******** In the Spring 2002 Issue of the Gurdjieff International Review. and GURDJIEFF Music Library Index . Remember Inner Work by Jessmin Howarth Jessmin Howarth reviews the history of movements in Gurdjieff’s groups and hints at some discoveries that the practice of the movements can provide.