I always thought language was about words. On a recent seminar in West Virginia, hosted by the Society for Continuous Education at Claymont Court, I learned otherwise.
Elan Sicroff, a trained classical pianist, has a long and deep experience with Gurdjieff’s Movements and Thomas de Hartman’s music. Through his search for inner meaning, he brings a unique ability to share something about the language of music as it informs the language of gesture in Gurdjieff’s movements. What Elan is offering, is a key with which to unlock something about the mystery of legominism, Gurdjieff’s word for hidden knowledge.
Having practiced the Movements for decades, I have experienced moments of revelation on the dance floor. They usually come as the result of some kind of effort, often accompanied by a change of state. A gesture, a pattern, a moment of awakening.
Of course, the music has always been an integral part of doing movements. In last week’s post, Being Ready, I didn’t mention that what I am readying myself for in a movements class, is that first note of the music. It’s that first note that my body responds to. That tells me which movement we are doing, what kind of movement it is (prayer or dervish) and whether I recognize it or not.
What Elan brought for musicians and dancers alike, was a tutorial on reading music that was both accessible and insightful. He demonstrated the importance of playing a note according to the way de Hartman nuanced it with musical notation. And how that informs the taking of a gesture. It is within those nuances of note and gesture that a legominism may be hidden.
Language as Conversation
Reading the language of music to inform the language of movement is a conversation between piano player and movements dancer that needs to be appreciated and understood. The movements teacher may be the bridge between these two. Without this partnership, we may be missing a dimension of what Gurdjieff is transmitting. It makes sense that the key to unlocking hidden knowledge is three centered. With the head – understanding the “language” of music and gesture; with the heart – “reading” (or feeling) the music and gestures, and with the body – manifesting the message.
Of course, like any student, I am not a master. I am not perfected in movements nor in my Work. This seminar included both newbies and old hands, yet our exploration was a shared undertaking. The gift Elan brought for me, was glimpsing a bridge between the musician playing the piano and how I take a posture. For the first time, I saw my connection to the music as a conversation between myself, the musician, and the movements teacher. But in order to converse, I must work to learn the language.