"Gurdjieff Ouspensky Group Fourthway Movements "
Georgi Ivanovitch Gurdjieff (1866-1949) left a legacy of unique diversity.
Besides his three books, which present an original vision of God, the universe
and man,
he also composed over 200 musical pieces, in collaboration with the Russian composer
Thomas de Hartmann (1885-1956), and created an intriguing body of some 250 dances
and physical exercises called "the Movements." No doubt, the Movements
were intended as the spearhead of his teaching, and he once wrote that he wanted
to be known simply as a "teacher of dancing."
For many, the first impression of the Movements will be like a revelation, because
of their difference from anything they have seen before in the world of dance.
For those who have practised the Movements often, they are known as "Sacred
Dances." The Movements can make an extraordinary impact on a dancer's psychological
state, expanding his awareness into new areas of experience.
Although the origins of these dances have been the subject of considerable speculation
-and mystification-, there remains little doubt that Gurdjieff created most of
them himself. A number of these dances stem from the Middle and Far East, where
Gurdjieff studied them during his travels, visiting religious communities or
special ethnic groups, but the majority he created himself.
If we ask ourselves what is really new about the Movements, we must consider
them in relation to the works of contemporary prominent artists. A whole library
could be filled with writings about Gurdjieff's philosophical and psychological
ideas, but a comparative study regarding his Movements has never been made. What
is offered here is just the sketch of a beginning.
According to one of his own explanations, the aim of his Movements was to assist
the "harmonious development of man," by a method of "combining
mind and feeling with the movements of the body, and manifesting them together."
This is a development that can never happen mechanically, by accident or by itself,
and which stimulates the development of something that, Gurdjieff said, "interprets
the whole man: mind, body and feeling."
The division of man into body, emotions and intellect was not uncommon in the
writings of the Russian Symbolists and also brings to mind the work of François
Delsarte. Now regarded as one of the founders of modern dance, Delsarte taught,
in the mid-nineteenth century, a system relating all human expressions to one
basic law, his Law of Three."Gurdjieff Ouspensky Group Fourthway Movements " Painter
and choreographer Oscar Schlemmer was another pioneer fascinated by the threefoldness
of man, as shown by his Triadic Ballet, first performed in
1916 with music by Paul Hindemith. By 1923, when he worked for the Bauhaus in
Weimar, he had already fully developed his geometrical concepts of the human
body, which were in dramatic contrast with the then prevailing flowing and free
expressions of Isadora Duncan. Moreover, Schlemmer was able to explain the deep
significance of geometric body positions with an astonishing and visionary precision.
His figure drawings are certainly evocative of the powerful abstract body positions
employed by Gurdjieff in his stage presentations the very same year.
Schlemmer's involvement with dance took shape through his collaboration from
1912 through 1916 with Albert Berger, a soloist with the Royal Opera Ballet,
and his wife, the dancer Else Hötzel. The little-known fact that Berger
and Hötzel were influenced by the dances created by Émile Jacques-Dalcroze
shows us an interesting historical connective pattern. "Gurdjieff
Ouspensky Group Fourthway Movements " The strongest
parallel with Gurdjieff's Movements is to be found in Dalcroze's approach, especially
in his rhythmically orchestrated body movements that liberated his dancers from
the constraints of classical ballet.
It is reported that on the night of the first demonstration of Gurdjieff's Movements
in Paris on Thursday, December 13 of 1923, Dalcroze's students protested in
front of the theatre, shouting "Tricheur! Voleur!" ("Cheat! Thief!"),
as if Gurdjieff had stolen his ideas from Dalcroze. It is highly unlikely that
Gurdjieff would have been in the least interested in any European who had developed
something comparable to his own work, let alone copy it; but the existence of
these similarities demonstrates that Gurdjieff was submitted to the mysterious
force by which, in any given cultural period, the same experiments are performed
simultaneously by independent and geographically separated people. "Gurdjieff
Ouspensky Group Fourthway Movements " Gurdjieff appeared
to have used his books, music and dances to mutually sustain and enhance one
another. The concept of Gesamtkunstwerk ("whole-art-work"), first used
and propagated by Richard Wagner, deeply influenced Russian Symbolism, in which
the merging of different arts was to call forth a new vision and ultimately a
new form of being, as in a religious service. It is noteworthy that both the
composer Alexander Scriabin and the painter Vassily Kandinsky, who were to develop
the concept of Gesamtkunstwerk further into the area of "synaesthesia",
were personal friends of Thomas de Hartmann.
Movements represent the result of an ultimate effort by Gurdjieff to re-install
in people's lives the importance of dances and physical exercises in the processes
of self-development. In this sense, Gurdjieff's Movements can be seen as a new
liturgy or ritual. They can be a point of reference and study, and can assist
transformation both on an individual level and on the level of our society as
a whole. "Gurdjieff
Ouspensky Group Fourthway Movements " Gurdjieff created
his Movements in two periods of his life: the first from 1918 until 1924, the
year of his almost fatal car accident, and the second from 1939 until his death
in 1949. The earlier ones were performed on stage in 1923 in Paris and in 1924
in America and consisted of obligatory exercises, work dances, dervish dances,
a group of women's dances and several elaborate prayer rituals and ceremonies.
During the last decade of his life, Gurdjieff organised Movements classes for
different groups almost every day and gave scores of new Movements and exercises
until his death in 1949. In this period, he created what became known as the "39
Series."
An important difference between the old Movements and the new exercises is in
their musical accompaniment. Gurdjieff composed the music for his early Movements
in co-operation with Thomas de Hartmann. The music for the 39 Series was composed
by de Hartmann after Gurdjieff's death. This time he had to compose alone, without
Gurdjieff's guidance, but he used the same style as in his earlier musical co-operation
with him.
Although there were two main periods for the creation of the Movements, we find
it useful to divide them into three categories: "Gurdjieff
Ouspensky Group Fourthway Movements " 1-The older Movements,
stemming from Gurdjieff's first stage of teaching. These were practised for 5
to 6 hours a day by the whole group of Gurdjieff's pupils
from 1918 until the demonstrations in 1923 and 1924. Of these Movements, a total
of 27 are remembered and practised until this day in authentic lines of transmission
reaching back to Gurdjieff. The Six Obligatories belong to this group. The Obligatories
belong to the very first Movements Gurdjieff gave as early as 1918 in Tiflis,
Georgia. As their name already indicates, each new student had to learn these
exercises first before she or he could participate in the regular classes. Of
several other Movements used in the early demonstrations, only the music remains
because the dances themselves have been forgotten or were too difficult to reconstruct."Gurdjieff
Ouspensky Group Fourthway Movements " 2-The 39 Series,
the set of 39 Movements selected by Gurdjieff out of the multitude of his new
exercises given from 1939 until his death in 1949. He recommended these for further
practice and he considered them completed. In fact, the prominence of these 39
among his other attempts was so obvious that, when Gurdjieff asked Thomas de
Hartmann to compose music for his newer exercises, everybody understood he was
talking about these particular Movements. After Gurdjieff's death, Thomas de
Hartmann composed the music for this Series; but only for 37 of them because,
for two of the 39, the pianist is required to improvise. "Gurdjieff
Ouspensky Group Fourthway Movements " "Gurdjieff
Ouspensky Group Fourthway Movements " 3-The remainder
of the new exercises that have been remembered and are still practised vary from
the most complicated exercises with separate roles for every dancer in the class
to short fragments for study of a certain rhythm or of a certain body action.
Mme. Jeanne de Salzmann, who represented Gurdjieff's work in France after his
death and through whose activities many of those newer exercises have been preserved,
explained once that it had only been possible to remember a minority, some 25
percent, of all the exercises that Gurdjieff taught. Thomas de Hartmann wrote
music for fifteen Movements of this group, eight of which can be heard on our
previous 2-cd set Gurdjieff's Music for the Movements. Over the years, many of
the remaining Movements of this last group acquired their own musical accompaniment
through the dedicated efforts of other composers associated with Movement classes,
such as Alain Kremski and Edward Michael as well as many amateur composers. "Gurdjieff
Ouspensky Group Fourthway Movements " The last decade
of Gurdjieff's life, the second stage of his Movements teaching, was one of extraordinary
creativity. He demonstrated the new Movements, but
rarely explained much about them. His presence was so strong -it literally filled
the whole place- that one could absorb the new exercise in a direct way. No
further explanation was needed. It was never allowed to make choreographic notes,
because this activity would reduce one's first and complete impression to an
analytical or rational attitude.
Gurdjieff studied the results of each new Movement he gave by observing the
state of the people in the class. Many of his new exercises did not reach the
goal he had in mind. It is reported that sometimes he went away during the classes,
to come back after a while to propose a small change in a Movement: for instance,
a wrist that had been straight was now bent, an arm that was horizontal forward
was now diagonally forward. Occasionally, even these new changes did not bring
about the desired state in the dancers, and he then gave a strict order: "No...
stop and forget this one, don't perform it again ever." However, if a Movement
did create the desired state in the psyche and bodily expressions of the performers
he'd say, "That's it, this one is set and ready now. What number are we?" referring
to the numbers they gave to the new set of "successful" Movements,
representing the slowly growing list of what became the "39 Series."
The 39 Series were thus the kernel of his new exercises, the ones he had accepted
as finished and relevant. All his other attempts, many of which have been remembered
and have been performed since by his students, did not have his full approval.
However beautiful they are, their relevance remains open to discussion. "Gurdjieff
Ouspensky Group Fourthway Movements " If we compare the
'39 Series' with Gurdjieff's earlier Movements, we find the same components:
strong dervish dances, beautiful and quiet women's dances,
powerful geometrically patterned Movements, as well as sacred prayer rituals.
However, the ancient religious and ethnological components are markedly reduced
while abstract gestures and positions, performed in mathematical displacements,
now prevail. It is as if, during the fifteen-year interval since his first efforts,
Gurdjieff had digested his earlier impressions and reflected upon them. When
he continued his work on the Movements, they reappeared with an even more personal
style, in which mathematical and geometrical crystallisations are now dominant.
The drama of the human condition, so poignantly captured in a number of the
old Movements, seems to have given way to a more abstract construction, but
one that gives immediate and plentiful opportunity for work on oneself and work
for the class as a whole. The later Movements were even more difficult to perform
than the earlier ones and demanded a huge effort from a class in terms of precision,
quickness, discipline and sustaining attention.
The 39 Movements have been called Gurdjieff's magnum opus; many have felt that
they summarised his whole teaching to mankind."Gurdjieff
Ouspensky Group Fourthway Movements " "Gurdjieff
Ouspensky Group Fourthway Movements " Any learning process
has stages. It requires the acquisition of new knowledge, the absorption and
digestion of this material, and finally the application in practice of what has
been learned in theory. In learning Movements these stages add up to a minimum
of ten years.
It only makes sense to study with a teacher who knows the Movements, is willing
to give the whole Movement and not just in fragments, and is able to stimulate
the class in its inner work.
A transmission line is authentic when founded by a personal pupil of Gurdjieff.
These pupils often co-operated with one another, at least in the years immediately
after Gurdjieff s death, and amidst the labyrinth formed by these lines, the
Institute Gurdjieff in Paris and the related Foundations stand out because of
their historical bonds, their competence and the size of their organisation,
and because all were led by their founder, Mme. Jeanne de Salzmann.
Several other lines, independent from the above-mentioned organisation, and smaller
in size, can also be qualified as authentic because they too were founded or
guided by direct pupils of Gurdjieff who themselves stood in his Movements classes.
From this last group the original Ouspensky and Bennett lines seem the most important,
insofar as comparative study of Movements transmission is concerned, but these
are by no means the only ones.
All these organisations differ widely. To call the Bennett line an organisation
is a misnomer in the first place, because it consists of a varying group of pupils
of John Bennett who have organised different sorts of activities, open to everybody,
according to specific needs or circumstances.
The Ouspensky line is a relatively small one, while the Foundation, by which
term I indicate the different international Foundations founded or supported
by the French Institute Gurdjieff and the Foundations, which incorporate thousands
of students. Despite their different sizes, these last two have in common that
they could be qualified as hierarchic.
"Gurdjieff
Ouspensky Group Fourthway Movements " "Gurdjieff
Ouspensky Group Fourthway Movements " If we, just as
an example, want to compare these three lineages, we need criteria for comparison.
The following criteria seem relevant.
Criteria for comparison - whether or not Movements are related to the study
of Gurdjieff's teaching as a whole:
- the number and type of Movements that are being transmitted;
- the relation between form and content of these Movements;
- to whom they are taught;
- whether or not whole Movements are given, or only fragments of Movements.
"Gurdjieff
Ouspensky Group Fourthway Movements " Application
of these criteria will quickly bring the strengths and weaknesses of the different
lines of transmission to the surface.
Both the Foundation and the Ouspensky line teach Movements only to members
of their organisations, as an integrated component of the whole teaching they
are supplying. The Bennett line experiments with short seminars, open to everybody,
where the Movements dominate all other activities.
The repertoire of the Ouspensky line consists only of the 27 older Movements
that have been preserved, but not only do they know them in full historical
detail, they also transmit them in their totality.
The Bennett line has a mix of some old Movements and several newer exercises.
They too teach the whole Movement, however not with the same painstaking care
for detail as demonstrated by the Ouspensky line.
The Foundations have a true wealth of newer exercises at their disposal, unequalled
by any other existing lineage. However, in Europe many of the older Movements
are hardly practised at all and are almost forgotten. Equally unparalleled
as their repertoire of newer exercises is their knowledge and experience in
exploring the inner content of them. The other side of this coin is that they
show a shocking disrespect for the form of Movements by their inclination to
teach fragments only. Further, because of their size, they are in danger of
creating "specialists" for different areas of Gurdjieff´s teaching,
Movements being one of them. To become a "specialist," in whatever
part of the Gurdjieff Work, means to suicide oneself for the whole of it.
It is remarkable, and touching as well, to realise that the three entities
we selected all reflect, to this day, the historical stage of the Movements
at the time when they received them.
"Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements "
The intensive training programs in the Ouspensky line, where everybody knows
all the old Movements by heart, originated no doubt from the time that Gurdjieff
demanded his pupils to exercise them, five to six hours a day, as preparation
for the public demonstrations in Paris and in America. The focus on the newer
exercises in the Foundation, and the way to connect them to inner work, stems
from the last stage of Gurdjieff´s Movements teaching and the enthusiasm
of Mme. Jeanne de Salzmann, who preserved many of these exercises. The readiness
to experiment with new forms of Movements education, characteristic of the
Bennett line, mirrors the open-mindedness of John Bennett himself.
The key supplied by this comparative effort, and the basic lesson to be learned
is that no line is perfect. When you want the best of these three worlds you
have to sacrifice your isolation and start working together. That means to
co-operate without being incorporated. This is what we in the Berlin and Amsterdam
Movement groups have done.
Two years ago, we organised in Amsterdam an exchange on the subject of the "old" Movements
between our group and a group of the original "Ouspensky" line. To
our surprise, Mrs. van Oyen, one of the two living members of Ouspensky's London
group, turned up to join us and when asked why, given her extreme old age,
she replied, "I saw many years ago how the Work had split itself into
small fractions. Now I heard that an effort is being made to unite what I had
seen drift apart, and for this reason I insisted on being present. Only if
we work together will there be results!"
This is a direction we hope will continue.
"Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements "
Movements today
Curt Sachs, the great German researcher on music and dance, formulated the
principle that no single cultural phenomenon exists that will not be influenced
by other cultural phenomena and in its turn not influence other cultural phenomena.
When Gurdjieff presented his Movements in France and in America, these events
were open to anyone interested and with a single exception, admission was always
free.
When he was asked, "Why do you open this to all these people?" he
answered angrily, "How can you judge?... We have to let everyone hear.
The results do not belong to us."
The only way we feel that the Work could be productive is to avoid a hierarchical,
or closed structure. The new sociological situation of our time had done the
same thing to large commercial institutions as to the Work organisations, and
therefore it required co-operation rather than incorporation. It requires working
on the same level, in smaller sub-units, rather than in a "topdown" structure.
We tried to find a middle way; we didn't want to throw the Work out onto the
street at the feet of every passer-by, but rather, to open it to those with
a real interest.
That has worked marvellously well. Almost by itself, two Movements groups were
born, consisting of hard-working and serious-minded people, one in Berlin and
one in Amsterdam, and they have stabilised themselves rather quickly. These
groups have been in existence for over three years.
We want to offer this Internet platform to everybody who is interested in Movements and for those who have something to offer. We believe that sharing and communicating is always a good idea.
"Gurdjieff Ouspensky Group Fourthway Movements "
Movements could be taught to many people. A Movements class is a very alive happening. There is always a living synergy between instructor and musician. One needs to improvise, to finds one's own way, and together with the class. Feel, listen to the class, listen to your sound... make variations... work.
other versions of gurdjieff:
GURDJIEFF Gurdjieff gurdjieff
GURDJIEF Gurdjief gurdief
GURDJIEV Gurdjiev gurdjiev
GURDJEF Gurdjef gurdjef
GURDJEV Gurdjev gurdjev
GURDIEFF Gurdieff gurdieff
GURDIEF Gurdief gurdief
GURDIEV Gurdiev gurdiev
DORJIEFF Dorjieff dorjieff
GEORGIADES Georgiades georgiades
Belowodje
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"Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway 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Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements " "Gurdjieff Ouspensky Group Fourthway Movements "