The Gurdjieff Practice

The Gurdjieff practice is for the discovery of who you are and what your place is in the world around you. Through his efforts over several decades Gurdjieff developed the tools to assist us in our search. These have been formalized into the following means and methods for us to use and to study. All of these forms of the Gurdjieff work are practiced in Sandpoint, as we follow the indications that have been given by those who have proceeded us.

Group Meeting Gurdjieff Practice

Group Meeting

In group meetings, students regularly come together to participate in a collective atmosphere that is meant to function as a principal means for the transformation of the individual state of consciousness. With the help of the more advanced pupils, questions are shared and responded to in words, and the support of the group is directed to the individual work of seeing ourselves as we are until the appearance of a new quality of energy is possible.

Sacred Dance or Movements Gurdjieff Practice

Movements

“Gurdjieff’s Movements, the Sacred Dances, are one of the pillars of this teaching – works of objective art in which knowledge about Man and the Cosmos has been encoded.”1   

“Movements, above all, reveal the existence of a sacred science, an exact science capable of opening us to another dimension and another “Source of Life”. All of these dances acquire their real meaning only when the appearance of a higher energy reveals another level of being.”2

Gurdjieff Music Gurdjieff Practice

Music

“What can we consider to be the purpose of Gurdjieff’s music? Gurdjieff offered music as a way to awaken sensitivity in the feelings, to arouse in the deeper level of the listener’s interior world, questions and intimations beyond words. And, perhaps, in dissolving the barriers created by associations and conditioning, these sounds could bring the listener into closer contact with his own essential nature.”3

“Gurdjieff’s music is part of his whole teaching, part of how he chose to transmit the ancient and perennial wisdom of the East in a form corresponding to the needs and subjectivity of the West. To approach the possibility of receiving it may require the development of a new way of listening, one that arises out of the harmonious development of body, mind and feeling that is the aim of Gurdjieff’s teaching.”4

A link to three pieces from Gurdjieff’s music can be found at the bottom of the page.

Practical Work Gurdjieff Practice

Practical Work

Practical work, consisting of working together in teams, may take place in the kitchen, in construction, in outdoor tasks, or working in arts and crafts. As the team confronts the challenge of the task at hand a simultaneous inner effort is being made by each team member to maintain a sense of presence and an openness to the ebbs and flows of their attention and the energies within themselves, as well as with those of the team as a whole.

Sitting or Meditation Gurdjieff Practice

Meditation or Quiet Work

While outwardly taking the form of seated meditation as practiced in other traditions, the practice of quiet work, while including the maintenance of a still posture and a quiet mind, is for a discovery of the movements of energies within the body, emanating both from within oneself and from without. The practice in quiet, controlled conditions of becoming aware of the flows of these energies is designed to eventually lead to a capacity to be conscious of them while in the midst of life. The awareness of and participation with these energies, deepening over time, provide a direct means of understanding our role as human beings and our relationship with the Cosmos.

Study of the Ideas Gurdjieff Practice

Study of the Ideas

“The ideas are a summons, a summons towards another world, a call from one who knows and who is able to show us the way. But the transformation of the human being requires something more. It can only be achieved if there is a real meeting between the conscious force which descends and the total commitment that answers it.”5

 

  1. Diana Rosenthal from “Living the Oral Tradition in Movements,” Gurdjieff International Review
  2. de Gaigneron, M. (2004). Sacred Dances. J. Needleman. (Ed.) Gurdjieff: Essays and Reflections on the Man and His Teaching (pp. 296-300). New York: Continuum.
  3. Rosenthal, L. (2004). Gurdjieff and Music. J. Needleman. (Ed.) Gurdjieff: Essays and Reflections on the Man and His Teaching (pp.301-310). New York: Continuum.
  4. Gail Needleman from “Notes on the Gurdjieff Music,” Gurdjieff International Review
  5. From the introduction by Jeanne de Salzmann, Views from the Real World. (1973). New York, NY: Penguin Books.

Kurd Shepherd Melody, Sacred Hymn In C Minor, The Initiation Of The Priestess

by Gurdjieff & de Hartmann