16. THE RISING SUN

  “The arms make an arch-like movement upwards 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 fi rst part represents the process of giving birth to the new. All of the sun’s energy enters man that he may grow and develop. The second part represents the life-giving forces which fl ow through man like mighty waters.” [1, p. 80]
“Every word represents a picture, an image of something living, either from the physical or from the spiritual world. Remember what our fi rst musical exercise was in the School. The fi rst musical exercise was from the physical world: Sila zhiva izvorna techoushta (‘Power – living, fl owing like a wellspring’). It represents a living image of water which is fl owing, which is moving. The second musical exercise was Izgryava sluntseto (‘The sun – it is arising’). When you pronounce the words Izgryava sluntseto, you begin to think. You have in front of you the living image of the rising sun. You imagine how the sun is rising, how it sends its light to the whole of Nature and what it does with this light. Izgryava sluntseto, prashta svetlina, nosi radost za zhivota tya. (‘The sun – it is arising. Sending down its light and bringing joy for life.’). What is the reason for this joy? The joy is a result of this – that all plants are shooting forth, growing and developing. This is a different image, but from the astral plane in which the energies are more sublime, more fi ne than those of the physical world.” [24, p. 99]
 “Izgryava sluntseto. Here with perfect simplicity in music and lyrics, a magnifi cent picture of the rising sun is created. The most beautiful – the most solemn – moment in Nature – this is the rising of the sun. And within the consciousness of man, a Sun is rising as well. It sends light to his life and gives him the impulse to work.
 The words of the song are: Izgryava sluntseto, prashta svetlina, nosi radost za zhivota tya (‘The sun – it is arising. Sending down its light and bringing joy for life’). These words are powerful, because they have only one meaning. In the occult music, lyrics and music with two meanings are never allowed. The song Izgryava sluntseto is one example.
 “Sila zhiva, izvorna. The music has an external expression, but music needs to be present within the human thoughts and feelings as well. The tones of this song express movement, rising and expansion. This means: that which has been suppressed in man is liberated, and to such a man, impetus to right movement is given.
 “In order for man to sing this exercise, he needs to enter into a harmonious relationship with Divine Nature. There is no Being more intelligent, more tender, more responsive and more sentient than She. Therefore, man needs to listen to Her call.
 “Music is one of the greatest Divine methods for stimulation. The contemporary conditions in which you live require this stimulation. While are you singing, you are
stimulated; when you stop singing, you weaken. Man could make an experiment when he is indisposed. “The words Zoun mezoun are of the occult music, and they regulate – they balance
– the forces. They are the measure. Toumeto has one of the best – one of the most beautiful
– meanings.
 “Occult music is capable of awakening certain sublime feelings which give new impulse to man’s life. Through it, the beauty of the human face and the internal life of man are restored.”
 “Zoun Mezoun, zoun mezoun – ‘The whole of our life, all our life’.”
 “Binom Toumeto – ‘Let it now be so! And man became a living soul’.
 “The song is imbued with signifi cance, but it needs to be discovered, to be found. This is the relationship of the Great to the least – the soul. And the least is fi lled with thought for the Great, for God. The soul remembers the primordial instant in which God’s Breath was breathed into him, and he received it: the fi rst Breath of God’s Breathing.”

 Description
  The exercise is danced twice, and consists of three sequences which follow immediately one after the other.
 Music: Melody 16 (“The Rising Sun”) – 2 (4) upbeats and 40 measures repeated twice, total of 80 measures.
 Starting position
 The participants are arranged in couples with left side to the center, feet together. The arms are bent and held horizontally in front of the chest, fi ngers of the hands placed just above the chest with palms towards the body* (fi gure 16.1).
 Movement sequence
 Sequence I
 On the upbeat, the right leg is moved forwards (fi gure 16.2). 1st and 2nd measure, starting on the 1st beat: step forwards on the right foot. During this slow step, the weight gradually passes to the right foot. At the same time the hands move slowly up past the front of the face and form an arch above the head with the palms facing down and fi ngers lightly touching. The head is straight and only the eyes follow the movements of the hands (fi gure 16.3).

Fig 16.1	Fig 16.2

 On the 3rd measure: the right foot is completely on the ground, the left foot is held backwards, and resting on its toes.
  From the beginning of the exercise one sings slowly Izgryava sluntseto (“The sun – it is arising”).
 4th measure: the left foot steps forwards with 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 outwards.
 5th and 6th measures: the hands slowly go down at the sides to shoulder height with palms facing downwards (fi gure 16.4)..

Fig 16.3	Fig 16.4

Fig 16.5	Fig 16.6

Fig 16.7	Fig 16.8

 The words Sila zhiva izvorna techoushta (“Power – living, fl owing like a wellspring”) are sung (figures 16.7, 16.8 and 16.9). The arms are then lowered and recommence their upward fl icking movements. This sequence is performed four times while
singing Sila zhiva izvorna techoushta – also four times.
 23rd, 24th and 25th measures – 6 steps are taken
 26th, 27th and 28th measures – 7 steps are taken.
 29th, 30th and 31st measures – 6 steps are taken.
 32nd, 33rd and 34th measures – 7 steps are taken.
 The extra seventh step creates a small gap before the arm movements resume.  

Fig 16.9

 Sequence III
 One starts on the 4th beat of the 34th measure (upbeat). Step forwards with the right foot and at the same time bring the hands to the chest, palms towards the body, fi ngers up** (fi gure 16.10). One sings Zoun me.”
 35 measure, 1st beat, step forwards with the left foot and simultaneously the hands are brought forwards, but not below the diaphragm, palms are up as if offering something** (figure 16.11).
 One sings Zou. 2nd beat, step forwards with the right foot. The hands are brought to the chest as at the end of the 34th measure. One sings oun. 3rd beat, step with the left foot, hands are brought forwards as in the 1st beat of the 35th measure. One sings Zoun me. .

Fig 16.10	Fig 16.11