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Original Paneurhythmy books from the Master Peter Deunov
published when the Master was alive |
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Beinsa Douno, Paneurhythmy; Sofia, 1938, Bulgarian |
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This book, given by the Master, contains: Principles
of Paneurhythmy, the spiritual meaning of the 28 Paneurhythmy exercises,
the music, and a short description of the 28 Paneurhythmy exercises and
the Pentagram, as recorded by Milka Periklieva and Boyan Boev. |
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Milka Periklieva describes this in her book Reminiscences
of the Master, republished as Peter Deunov as Remembered by Milka
Periklieva, a Disciple; published in 2013, available on Amazon.com.
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2. |
The Master, Paneurhythmy, The Songs of the Harmonious
Movements; Sofia, 1941, Bulgarian |
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This book contains: Foundation of Paneurhythmy,
Paneurhythmy music and lyrics of 28 exercises and Pentagram.
The Music is from the Master, lyrics of 28 exercises are from
Olga Slavcheva and the lyrics of Pentagram are from Peter Pamporov.
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3. |
The Master, The Sunbeams, Music and Movements from
the Master; Sofia, 1942, Bulgarian |
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This book contains: Principles of Sunbeams,
description of Sunbeams movements and the music. The Music
is from the Master and the lyrics are from Vessela Nestorova.
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Paneurhythmy books compiled from disciples of
the Master and his followers |
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1. Maria Todorova, Elena Andreeva, Katia Griva
and Iarmila Mentzlova, a manuscript of 28 Paneurhythmy exercises;
Sofia, 1947, Bulgarian. This manuscript was published by Bialo
Bratstvo, 2004, Bulgarian
2. Viola Bowman, Paneurhythmy; 1979, U.S.A., English
3. Viola Bowman, Paneurhythmy, volume II, The Rays of the
Sun and Pentagram; 1996, U.S.A., English
4. Beinsa Douno, Paneurythmie, Le Grain De Ble (Anina
Bertoli); Paris, no year, French
5. Iarmila Mentzlova, La Paneurythmie; 1984, I'IMPRIMERIE
WEIBEL, STRASBOURG, French.
6. The Master, Paneurhythmy, compiled by Krum Vazharov and
Maria Mitovska; Vsemir (Universe), 1993, Sofia, Bulgarian.
Short presentation of this book was publish in English in 1997 by
Vsemir, Sofia.
7. Ernestina Staleva and Toni Krushevska, Paneurhythmy;
Bialo Bratstvo, 2004, English
8. The Circle of Sacred Dance, Peter Deunov's Paneurhythmy;
1991, edited by David Lorimer, Element, England, English
9. Ardella Nathanael, Dance of the Soul; 2012, Infinity
publishing, U.S.A., English
10. Muriel Urech, Peter Deunov's Paneurhythmy; Editions Prosvet
a S.A., 2009, French; 2017, English
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Boyan Boev (disciple of the Master from 1912), Milka Periklieva
(disciple of the Master from 1923), Maria Todorova (disciple of the
Master from 1916), Elena Andreeva (disciple of the Master from 1920),
Katia Griva (disciple of the Master from 1932), Krum Vazharov
(disciple of the Master from 1927), and Anina Bertoli are witnesses
of the Master giving Paneurhythmy.
Viola Bowman, Iarmila Mentzlova, and Ernestina Staleva were dancing
Paneurhythmy when the Master was alive. |
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Brief Paneurhythmy History
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The Master began to give Paneurhythmy and the Pentagram toward
the end of 1920's and continued to do so into the early 1930's.
The Sunbeams was given about 1941. He said: "We are
performing these exercises in the way they are performed in the
other world. The movements are not invented; they are brought
down from above. In these exercises the physical, spiritual,
and Divine worlds are connected. There is an integration with
another world. Learn to perform them correctly." |
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After the book Paneurhythmy 1938 was published, the Master
continued to refine some details of the Paneurhythmy movements.
For example, in the first exercise, "Awakening," in the beginning
he gave the movements with the palms facing up as described in
1938. But later, he himself began to dance with palms facing
down. When his disciples asked about this, he said that from
then on, they should dance with the palms facing down. This
was told to me by Boris Nicolov, disciple of the Master from
1920. There are other changes, which are not recorded.
The Master continued to refine the details of the movements until
the end of his life.
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The changes made by the Master unfortunately are not recorded
and are preserved by his disciples in the living traditional way
of dancing. Bearing in mind the difficult circumstances
caused by the world war at the time and its aftermath, the
unification of the variations performed in different regions
and countries was unfortunately not possible. After 1944,
the spreading of this teaching in Bulgaria was forbidden for
45 years. The precise movements after all these changes
were recorded in 1944 were preserved in the memory of the
disciples who were around him in Sofia at that time.
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It is noteworthy that when Krum Vazharov introduced his
future wife Yarmila Mentzlova to the Master and said that she
was a professional dancer and graduate of the Isadora Duncan
school in Paris, the Master asked the musicians to begin to
play the Paneurhythmy music. She began to dance, making
the same movements that had been given by the Master, having
never before witnessed them. The Master then said:
"Look at what correspondence exists between the music and the
movements!" Yarmila was a very gifted dancer and was
able to instinctively feel and express the embodiment of the
music with the exact corresponding movements. Probably
this is why the Master, before his passing in December, 1944,
asked Yarmila to present the movements correctly. She did
this in her book Paneurhythmy, 1984, in which she presented
her beautiful style of dancing.
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Maria Todorova and Elena Andreeva described in 1947 the
traditional way of dancing and they invited Yarmila to record
the descriptions in a professional way.
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Viola Bowman"s Paneurhythmy book is based on the original
book in 1938; her descriptions of the Sunbeams are based on
the book 'Sunbeams', 1942.
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In all these books given by the disciples, there are small
differences in the recorded details of the descriptions of the
Paneurhythmy movements. But for correct Paneurhythmy
performance the following things are also very important.
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When we study the Master's teachings and practice its methods
we develop some spiritual qualities which help us to make a real
connection with the angelic world. The Master Beinsa Douno
said: "The advanced beings up above also dance
Paneurhythmy, and if our movements correspond with their
movements, we will make a connection with these advanced
beings and we will receive their blessing. In order
to make this connection, not only should our Paneurhythmy
movements be correct and rhythmical, but it is necessary
to have harmony among our mind, heart, and will, i.e., for
us to have love, purity, and a luminous state of our spirit."
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This spiritual connection is passed on from the Master to
his disciples, from older disciples to younger, from soul to
soul. That is why it is good to learn this sacred dance
from a teacher who can pass it on to you.
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It is most important, however, to keep the correct rhythm
and to focus consciously on the spiritual meaning, symbolism,
and power of the movements.
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"When you are dancing Paneurhythmy, the main thought
that needs to occupy your consciousness has to be the idea
of God, of living Nature, of the rising sun, and the awakening
of the soul." -- the Master Peter Deunov
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"When we are good, righteous, and spiritually wise,
and when love is flowing through us, we are in harmony with
the Whole. When we are in harmony, then the rhythm of
the cosmic Paneurhythmy pours through us and expresses
itself through us." -- the Master Peter Deunov
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Maria Mitovska
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"Remember only this:
You are a living soul who loves God!"
-- Beinsa Douno #
46
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© Maria Mitovska 2019.
All rights reserved. |
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