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
“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.”
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.
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).
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).
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
5th and 6th measures: the hands slowly go down at the sides to shoulder
height with palms facing downwards (fi gure 16.4)..
On the 4th, 5th and 6th
measures, one sings slowly Prashta svetlina (“Sending down its light”).
On the 7th measure, take a slow step forwards with the right foot,
the left foot behind with toes touching the ground. On the 1st beat of
the 7th measure, palms turn to face outwards. From the 2nd beat of the
7th measure until the end beat of the 11th measure, step slowly with the
right foot and change the weight of the body as in the 1st, 2nd and 3rd
measures. At the same time the hands slowly come together with a circular
movement in front of the chest and then are brought back to the chest
to the starting position. The left foot is behind, touching the ground
with the toes (fi gure 16.5).
On the 7th, 8th, 9th and 11th measures: The words Nosi radost za
zhivota tya (“And bringing joy for life”) are sung.
From the 4th beat (upbeat) of the 11th measure to the 23rd measure,
the same movements of hands and feet as in 1st measure – 11th measures
except that the 4th beat of the 11th measure (the upbeat) starts with
the left foot (fi gure 16.6). At the end of the 22nd measure, the left
foot is forwards, the weight of the body is on the left foot, and hands
are in the starting position..
On the 23rd, 24th and 25th measures: one takes six steps forwards
starting with the right foot. 23rd measure, 1st beat: step forwards with
the right foot. At the same time the hands, bent at the wrist, go down
to the hip height with the palms up. With every step, with arms bent at
the elbows, the hands in a fl icking movement make a small upward push
with the wrists and elbows as if to imitate the bubbling up of a wellspring.
The arms are raised a little higher with each beat, so that at the sixth
step the hands come to the height of the solar plexus.
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
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
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. .
36th measure: 1st beat, step with the right
foot, the hands are brought to the chest as in the 2nd beat of the 35th
measure. One sings Zou. 2nd beat, step with the left foot, the hands are
extended forwards as in the 1st beat of the 35th measure. One sings oun
bi. 3rd beat, step forwards with the right foot, the hands are as in the
2nd beat of the 35th measure. One sings nom tou.
37th measure: 1st beat, as in the 1st beat of the 35th measure.
One sings me. 2nd beat, as in the 2nd beat of the 35th measure, one sings
to. 3rd beat, as in the 3rd beat of the 35th measure, one sings o. 4th
beat (upbeat), as in the 2nd beat of the 35th measure, one sings Zoun
38th, 39th and 40th measures repeat the 35th, 36th and 37th measures
except on the 2nd beat of the 40th measure, the right foot comes to the
left, and the hands remain on the chest, as at the beginning of this fi
Zoun mezoun, zoun mezoun, binom toumeto (a phrase from an ancient
sacred language affirming that the aspiration will be fulfi lled) is sung
All of the three sequences are performed again.