“One puts both hands
in front of the chest with closed fi sts and moves them apart forcefully.
This movement destroys everything that was holding you back. This is the
liberation from the old and the attainment of the new. It is the entering
into freedom. We can also call it the destruction of all unnatural relations,
the breaking away from the old. This movement awakens within us those
forces through which the unnatural karmic ties of the old can be eradicated
in order to enter into the life of freedom.
“This is an appeal for liberation, an appeal to leave the prisons.
It says to us: Leave the life of eternal sunset and enter into the Life
of eternal sunrise. Drop the chains of death and enter into the Freedom
of Life. Come out of the dark caves where love does
not exist and enter into the joy of Love.”
“Through this exercise, a powerful impulse is transmitted into the
world to work upon the consciousness of all humankind.” [1, p. 77]
“A science of movement exists which people need to study. Movements
should not be monotonous, mechanical. Sometimes one needs to perform some
work with his right hand, and sometimes – with the left. Sometimes he
should leave his home stepping fi rst onto his right foot followed by
the left foot, and sometimes vise versa: fi rst with the left foot and
then with the right.
“Contemporary people do not understand these principles; they are
not familiar with the science of movement, and as a result, they meet
with great contradictions. For example, somebody heads to do a good work
and begins with the right foot which is a carrier of positive forces.
In such a case, he will not have any success in his works. Why? Because
repulsion always exists between two positive quantities. In order to succeed
in his work, he needs to begin with the left foot which is a carrier of
negative energy; the opposite quantities always attract each other. Therefore,
when one is beginning a particular task, he needs to know with which foot
to step fi rst: the right one, or the left.”
Music: Melody 6 (“First Day of Spring”) is repeated
– 41 measures.
The last position of the previous exercise.
The weight of the body is on the right foot (figure 7.1).
On the 1st measure, 1st beat: step forwards with the left* foot).
Both hands swing open to the sides with a forceful gesture, as if breaking
a chain (fi gure 7.2). On the 2nd and 3rd beats, the hands move to a horizontal
position, the fi ngers extended, palm downwards, making slight arcs (fi
The last position of the previous exercise is the starting position
for this exercise, continuing without interruption (fi gure 6.1). The
weight is on the left foot.
On the 1st measure, 1st beat: step forwards with the right foot.
On the 1st, 2nd and 3rd beats the right hand makes an arc slightly downwards
and then moves horizontally out to the right side with palm down. The
left hand remains on the hip (fi gures 6.2 and 6.3).
2nd measure, 1st beat: step forwards with the left foot. On the
1st, 2nd, and 3rd beats: the right hand retraces the same arc and
returns back in front of the chest as in the starting position. The left
hand remains on the hip to the end of the 19th measure (fi gure 6.1).
On the last beat of this measure the left hand goes to the chest and simultaneously
the right hand is placed on the hip (fi gure 6.4).
20th measure: step forwards with the left foot and simultaneously
the left hand makes an arc slightly downwards and then horizontally out
to the left side with palm down**. The right hand remains on the hip (fi
21st measure: step forwards with the right foot. On the 1st, 2nd
and 3rd beats: the left hand retraces the same arc and returns back in
front of the chest.
These movements are made with the left hand, while the right hand remains
on the hip and are repeated to the end of 41st measure...
2nd measure, 1st beat:
step forwards with the right foot (fi gure 7.4). On the 1st, 2nd and 3rd
beats: hands return to the starting position (fi gure 7.5). These movements
are repeated to the end of the music. On the 3rd beat of the 41st measure:
the arms remain extended horizontally out to the sides (figure 7.3)..