Gurdjieff Institute Tbilisi 100

Tbilisis gurjievis instituti
G u rd j i e f f I n s t i t u t e T b i l i s i
weli 100 Years
Opened in 1919
Re-opened in 2017
Gurdjieff InstituteTbilisi
Celebrating100
Celebrating 100 years
years anniversary
anniversary
Tbilisi
Celebrating 2019
100 years anniversary
Tbilisi 2019
Tbilisi 2019
10-13.10
10-13.10
10-13.10
After 2007 this is second time, when in Tbilisi is organized international pro-
gram dedicated to Giorgi Gurdjieff. This time program is diverse and includes var-
ious of events like workshops, seminars, performances concert and international
conference.
We hope this publication will be interesting not only for the people who are
interested with Gurdjieff theory and practice but for larger audience who are inter-
ested in self-development, spiritual practices, culture, philosophy and arts.
Publication is under the under the patronage of:
ITI/UNESCO Network & Tbilisi City Municipality;
The organizers of the event are: GIT, Arts Research Institute of Georgia, UNESCO
ITI Georgian Centre, Stichting Caucasus Foundation in partnership with Rustaveli
National Theatre and Rustaveli Theatre and Film State University.
ISBN 978-9941-9165-3-3
© SCF, ARI, GIT, 2019
CONTENT
Introduction ....................................................................................................4
Gurdjieff Institute Tbilisi.................................................................................5
Program ..........................................................................................................8
Table with time and events............................................................................10
Workshops.....................................................................................................12
Evening performances ..................................................................................14
Abstracts .......................................................................................................17
Biographies....................................................................................................25
Arts Research Institute of Georgia ...............................................................36
ITI / UNESCO Network for Higher Education in the Performing Arts ........38
3
CELEBRATING 100 YEARS
Introduction
In 2019 we are very proud to celebrate 100 year from the opening of Insti-
tute for Harmonious Development of Man in Tbilisi, which was a very import-
ant city for Giorgi Gurdjieff, not only because he spend his youth here, not
only because he returning back many times or even opened the first Institute
for Harmonious Development of Man in 1919, but because he meat in this
city with many remarkable personalities, who performed important role in his
further life.
We hope, that in 2019 after 100 year of the opening of the Institute for
Harmonious Development of Man, which was reopened as Gurdjieff
Institute Tbilisi in 2017 collect together remarkable practitioners and
theoretics, thinkers together to present: workshops, seminars, performances,
talks, meetings and presentations to gave tribute to Giorgi Gurdjieff and
same time look into the future, memorizing our common heritage and think
about future development and creating remarkable meetings, events to
help surroundings to find ways for harmonious development through arts,
spiritual practice, self development, self and group education, thinking and
peace.
I’m very honored, proud and thankful to have all participants, who are
willing to share their knowledge and experience to others, in Tbilisi during
this days.
Hoping on future…
Sincerely
Dr. Levan Khetaguri, Director of Gurdjieff Institute Tbilisi
4
GURDJIEFF INSTITUTETBILISI
The Gurdjieff Institute in Tbilisi

In December 27, 2017, during the EC meeting of UNESCO ITI Georgian Center
in cooperation with Arts Research Institute of Georgia, the Gurdjieff Institute in
Tbilisi (GIT) was set up with the aim to revive interest in Gurdjieff’s activities.
Background:
Gurdjieff’s Institute for the Harmonious Development of Man was set up in
Tbilisi 100 years ago in 1919. Although at that time Tbilisi enjoyed a high level
of culture, it was not easy time for the Georgian Republic (1917-1921) and Tbilisi
City Hall, but still, in 1919 Institute was not only opened but at the end, also given
a venue. The Institute organized public lectures, Movements classes, concerts and,
also here Gurdjieff worked intensely on his ballet “The Struggle of the Magicians”.
Although the first episodes and some of the dances were rehearsed, and some of the
music was written, and the contract for the staging was signed with Tbilisi Opera
and Ballet Theatre, the “ballet” was never presented to the public. And unfortunate-
ly, because of the imminent occupation of Georgia by the Red Army of Russia, the
Institute was closed in June 1920.Gurdjieff and his followers left the country via
Batumi and moved to Europe. After Tbilisi and another Gurdjieff’s attempt to open
the Institute in Constantinople, it was finally established at Fontainebleau (France)
in 1922.
Gurdjieff’s ideas had a great impact on 20th century Arts’ and culture world in
general. While in Tbilisi, Gurdjieff was intellectuals to the intelligentsia and had
contact with a number of artists. Most of the ideas relating to the performing arts
were inspired by Gurdjieff’s work on his “ballet”.
His teaching has many followers and groups involved in this work have been
established on many continents.
The Vision:
At the heart of Gurdjieff’s teaching is the idea that mankind is born with great
potential for development, but in the state of “sleep” and his ordinary state of con-
sciousness, does not have the capacity neither to understand nor to fulfill it.
The vision of the Institute is to study and develop the understanding of his ideas
and Teachings through his trilogy of his writings, music and Sacred Dance. On the
one hand, we can look at how these ideas echo in the context of Georgia’s unique
5
historical and cultural traditions in the performing arts and arts’ in general to make
them better known to the outside world. And on the other, through interdisciplinary
approaches, academic and artistic research, spiritual and nontraditional studies also
introduce Gurdjieff and the work of his followers to a larger audience in Georgia
and elsewhere.
The Mission:
Of course our mission is not to replicate his institute as nobody can replace the
spiritual and artistic width and breadth of his stature and nobody can accomplish
this feat…..but what we can do is make it our mission to introduce Gurdjieff’s work
and make it known through conducting activities such as:
• Organize research-oriented projects;
• Organize new publications and translations;
• Organized studies and spiritual practices;
• Set up archive and library;
• Organize conferences, seminars, workshops; cultural tours, video productions
dedicated to the Gurdjieff’s in Caucasus, neighborhood and worldwide;
• To award and recognize remarkable personalities in spiritual and cultural
practices and studies;
• Opening of International School and Camps.
Organize conferences, seminars, workshops; cultural tours, video productions
dedicated to the Gurdjieff’s in Caucasus, neighborhood and worldwide.
To award and recognize remarkable personalities in spiritual and cultural prac-
tices and studies.
To enable us to achieve our vision and mission the GIT has set up the fol-
lowing:
International Advisory Board:
Tobias Biancone /GD UNESCO ITI/, Jaroslaw Fret/Director of Grotowsky
Institute/, Dr. Connie Jones/Profesor, School of Consciousness and Transfor-
mation California Institute of Integral Studies, USA/, Dr. Levan Khetaguri/Di-
rector and Professor of Arts Research Institute Georgia/, Margit Martinu/Inter-
national Study Group and Movements Teacher, Italy, Fabio Tolledi /Chair ITI
Europe Theatre Council/, David Sakvarelidze/President ITI Georgian Center/.
Brief information about Gurdjieff:
Date of birth: 28 November, 1872(?)
Date of death: 29 October, 1949
Category: Master, philosopher, mystic
6
Biography of Giorgi Gurdjieff
Place of birth: Alexandropol (now Gyumri, Armenia)
He spent his childhood in Alexandropol, Kars and Tbilisi. He studied the Geor-
gian language. Quite young left for Asian and African countries and spent a long
time in Tibet.
In 1913 in Moscow and St. Petersburg he gathered a large group of followers.
And in different years worked in Essentuki, Istanbul and Paris. In 2019 he opened
“Institute for the Harmonious Development of Man” in Tbilisi. From 1922 till his
death he lived and worked, initially, near Paris, Fontainebleau and then since 1933
in Paris.
According to his teachings man is born imperfect; he is “asleep” and his waking
consciousness is driven by his instincts and predominate his behavior. To awaken
from this condition, he needs to discover who he really is by observing his uncon-
scious behavior and work to let the real consciousness emerge from his uncon-
sciousness. Gurdjieff calls this process human evolution and sets as the way the
exploration of the possibility of gaining his soul. He believes that a person is a
self-developing system, and that the perfecting is possible and necessary.
In the first chapter The Arousing of Thought of his first series of writings “Beel-
zebub’s Tales to his Grandson”, Gurdjieff concludes:
“After this and many similar life experiences, I must, in any case as regards my
own signature, be very, very careful. Very well, then. He who in childhood was
called “Tatakh”; in early youth, “Darky”; later,the “Black Greek”; in middle age,
the “Tiger of Turkestan”; and now, not just anybody, but the genuine “Monsieur”
or “Mister” Gurdjieff, or the “nephew of Prince Mukhransky,” or finally, simply a
“teacher of dancing.”
FOUNDERS of reopening: ITI/UNESCO Georgian National Centre and

Arts Research Institute of Georgia
7
Gurdjieff Institute Tbilisi
A 100-year celebration of the Institute for Harmonious Development of Man
Program
Tbilisi
Tbilisi, 10-13-10,
10-13 2019
October, 2019
10 October:
12.00 - 14.00 –Workshop - Body
10 October - Mind - Spirit
11 October & Dance Improvisation
12 October 13 October 14with
October
Goran
10.00Bogdanovski Seminar led by Workshop Conference Departure
14.00 - 17.00 –Workshop - Archetypes
Margit Martinuas a Toolwith
forGoran
Dance Improvisation
official with
Sandra Anais Bogdanovski opening
//9.30 - 12.00//
18:00 - 19:30 – Introduction by Margit
Part 1
Martinu//10.00 - 12.00// Key note
20.00 - Lecture performance -CONTEMPORARY
Workshop EMBODIMENT speechesOF MOST
CHARACTERISTIC FORM -COMPONENTS with Goran OF GURDJIEFF’S MOVE-
Bogdanovski
MENTS –Miloš Kecman, Sandra Anais, Goran Bogdanovski
//10.00 - 12.00//
11 October:
11.00
9.30 Visiting ancient
- 12.00 –Seminar led by Margit Martinu (Including Conference
Movements) Part.1
town - Mtskheta
12.15 - 14.45 – Gurdjieff Tbilisi Tour /For participants only/
(UNESCO
15:00 - 18:00 –Seminar led by Margit Martinu - Part. 2
World Heritage
18.00 - 19.30–Meeting with Tobias Biancone, Director Site)
General of International
Theatre Institute ITI, Fabio Toledi, President ofPre-registration
the European Theatre Council and
President of Italian ITI and Ulricha Johnson, Director of Swedish ITI.
is required
*Pre-registration is required //12.00 – 16.00//
20.00
12.00
–Lecture performance Gurdjieff
Workshop
- DEEPER RELATIONS - Sandra
Tbilisi
Anais, Goran
Conference
Bogdanovskiwith Goran Tour
Bogdanovski //12.15 – 14.45//
12 October:
Pre-registration is
10.00 - 12.00 – Workshop requiredBogdanovski
with Goran
12.00 - 16.00 –Visiting ancient town – Mtskheta (UNESCO World Heritage Site)
14.00 Workshop
*Pre-registration is required Conference
with Sandra Anais
16.00- 18.00 – Workshop - Gurdjieff dances & where is my attention now? Miloš
Kecman //14.00-17.00//
18.30 – 19.30 – Meeting of the International Board of Gurdjieff Institute
*Pre-registration is required
20.00 –Piano recital by Elan Sicroff, Gurdjieff/de Hartmann music
8
13 October:
10.00- 10.20 – Conference Official Opening,
Welcomes By: Tobias Biancone GD ITI/UNESCO,
Sophio Khuntsaria, Tbilisi Deputy Mayer,
10.20 – 11.50 –Key Note Speeches, followed by panel discussion
moderated by Dr. Levan Khetaguri
Key notes:
• Margit Martinu– (Italy) – The Legacy of G.I. Gurdjieff, a Message for Modern Man
• Elan Sicroff (USA) – Objective Arts and The Gurdjieff/de Hartmann Music
11.50 - 13.10 - Panel moderated by Margit Martinu

Speakers:
• Dr. Levan Khetaguri: Gurdjieff and Culture (Georgia)
• Dr. Constance A Jones: Gnostic Sensibility in Gurdjieff’s “Work” (USA)
• Fabio Toledi – Shadows of magicians - The art of the actor and the art of the
spectator between visible and invisible (Italy)
13.10 - 14.10 - Lunch
14.10 - 15.30 - Panel Moderated by Fabio Toledi

Speakers:
• Milos Kecman: When the words meet the bones (Slovenia)
• Sandra Anais: Dancing Archetypes - Uncovering Yourself (Slovenia)
• Goran Bogdanovski: Breathing as a carrier of the awareness - Dancing the
Present (Slovenia)
15.30 - 16.50 - Panel Moderated by Dr. Constance A Jones

Speakers:
• Bob Peeters –Gurdjieff ’s psycho-spirituality through a generalized Dabrowski-
an lens (Netherlands)
• Manana Khomeriki - Gurdjieff family name origin and Georgia (Georgia)
• Elena Bloom - «In what year was Gurdjieff born? Let›s use this question as
an exercise of active thinking and explore the history of Armenia and Russia»
(Russia)
18.00 - 19.00 –Book presentation
19.00 - 20.00 –Georgian sacral dance and chant – Students of the Shota Rustaveli
Theatre and Film Georgia State University
20.00 –Dinner - official closing of the program
*Attendance is by invitation only

9
Gurdjieff Institute Tbilisi
A 100-year celebration of the Institute for Harmonious Development of Man
Program
Tbilisi, 10-13 October, 2019
10 October 11 October 12 October 13 October 14 October
10.00 Seminar led by Workshop Conference Departure

Margit Martinu with Goran official
Bogdanovski opening
//9.30 - 12.00//
Part 1 //10.00 - 12.00// Key note
Workshop speeches
with Goran
Bogdanovski
//10.00 - 12.00//
11.00 Visiting ancient Conference

town - Mtskheta
(UNESCO
World Heritage
Site)
Pre-registration
is required
//12.00 – 16.00//
12.00 Workshop Gurdjieff Tbilisi Conference

with Goran Tour
Bogdanovski //12.15 – 14.45//
Pre-registration is
required
14.00 Workshop Conference

with Sandra Anais
//14.00-17.00//
10
16.00 Seminar led by Workshop
Margit Martinu With Miloš
Kecman
//15:00 - 18:00//
//16.00 – 18.00//
Part 2
18.00 Introduction by Meeting with Meeting of the Book

Margit Martinu Tobias International presentation
Biancone,Director Board of &
//18:00 - 19:30// General of Gurdjieff Georgian
International Institute
sacral dance
Theatre Institute
and chant
ITI, Fabio Toledi, *Only for board
President of the members
EuropeanTheatre //19.00-
Council and //18.00 – 19.30// 20.00//
President of Italian
ITI and Ulricha
Johnson, Director
of Swedish ITI
*Pre-registration is
required
//18.00 – 19.30//
20.00 Lecture performance Lecture Piano recital by Farewell

performance Elan Sicroff, Dinner -
CONTEMPORARY
EMBODIMENT OF DEEPER Gurdjieff/de
Attendance is
MOST RELATIONS Hartmann music by invitation
CHARACTERISTIC only (Please
Sandra Anais,
FORM - contact
Goran Bogdanovski
COMPONENTS OF organizers)
GURDJIEFF’S
MOVEMENTS
Miloš Kecman,
Sandra Anais, Goran
Bogdanovski
*This is working program and possible some changes
10 October:
12.00 -Workshop - Body - Mind - Spirit & Dance Improvisation with Goran Bogdanovski
14.00 - 17.00 –Workshop - Archetypes as a Tool for Dance Improvisation with Sandra Anais
11
WORKSHOPS
GORAN BOGDANOVSKI: DANCE ALCHEMY
Training of body, mind and spirit through improvisation and creation, where
contemporary methodologies and ancient wisdom are used for personal and social
transformation.
In this holistic, uplifting and fun workshop we are working on awareness of the
body. As the body is expressed, we can observe the mind and emotions; consider
softness and power of movements; flow and the usage of energy; focusing the atten-
tion and awareness. Providing participants with a set of tools for improvisation that
they can implement in their own creations and to daily situations, relations, work,
etc.It is not about how to dance, but what to do with it.
Goran’s workshops are a journey to artistic experience, personal growth, spiritu-
al practice, and most importantly lots and lots of fun.
The workshop is for (Any)Body. No previous dance or movement experience is
needed, but curiosity, will and endurance are necessary.
SANDRA ANAIS: EMBODIMENT OF ARCHETYPES AS A TOOL FOR

DANCE IMPROVISATION
Training of archetypes - patterns of power, their expression and dynamics “An

archetype isn’t just about how you act. It is about how you love, the environment you
find yourself in, the life you are given, the karma you carry, the history you repeat,
and the contracts you have in relationships. An archetype determines the style of in-
troversion or extroversion. An archetype has a much, much wider field of influence
than a personality trait.” Stacey L.L.Couch
We can understand and interpret archetypes with our mind (left brain). But work-
ing through body - movement - can bring us to more holistic experience, deeper un-
derstanding.Recognizing archetypes within you demands alertness and attention. To
bring them into awareness and embodiment demands training. When we work with
embodiment of archetypes, we somehow unravel complex and difficult features of
our natures. When we dance our archetypes, we recognize our weaknesses, habits
and automated movements. In this way we better understand them and navigate
more smoothly through their dynamics.
Through guided warm up and meditative dance ritual, I facilitate space for you
to intuitively choose one archetype, which will help you raise awareness of key pat-
terns of power in play and enhance your imagination to help you move your body
12
into creation. The fluid mindfulness created within the group will allow us to access
archetypal energies that will enable our inner depths to express themselves through
non-verbal communication, training of various improvisation tools, expression of
emotions and various group games.
Workshop leads to collective improvised dance, in which each participant is en-
couraged to express dynamics of archetypes in his own particular way of moving
&playing - individually, in pairs and within a group.
Welcome everyone who wants to express creatively through the body, music,
movement and group dynamics!
Previous dancing experience is not a necessary condition.
All you need is comfortable clothes and bottle of water.
We will enhance:
- The diversity of organic movement expressions
- The knowledge of archetypal patterns that we carry as potentials in ourselves
and how to activate their energy and transfer it to the movement and dance
- Recognition and responsiveness to non-verbal communication
- Extended perception and enhanced creative imagination
- The interpretation and translation of archetypal concepts in holistic way / body-
mind-spirit.
Through embodiment of archetypes, we improve diversity of organic movement
styles, we practice greater awareness of universal archetypes we all live and the use
of this knowledge in everyday life, we improve theatricality and balance emotions
in everyday life, we improve our power of expression, we widen our perception and
we bring greater understanding of psychological process through direct embodied
experience.
MILOŠ KECMAN: DANCES OF G. I. GURDJIEFF & WHERE IS MY AT-

TENTION NOW?
Gurdjieff was teaching that we are a product of our habits, reactions and func-
tions, which became automated and this is the reason we are not aware of them any-
more. This is why Gurdjieff was creating special conditions - as education tools - in
which man was able to recognize to what degree he is a prisoner of these forces. One
of these tools were Sacred Dances of Gurdjieff Dances, based on traditional dances
that he studied while he was travelling in Asia, India, Tibet, in East and in Africa.
There he visited many Sufi and Indo-European orders, as well as budistcentres and
other sources of traditional culture and teachings. With the help of these dances, we
can achieve being centered, greater awareness and holistic sensation of ourselves.
13
Calm mind, body awareness and deeper experiencing of emotions are doors to sen-
sation of presence of life force and in this way we also become more sensitive to
higher dimensions and their influence. The aim of the dances is to awaken more
beautiful intelligence, clear thoughts and to get closer to state in which body, emo-
tions and mind are connected with the Presence.
MARGIT MARTINU: THE ART OF INNER WORK IN THE GURGJIEFF’S

TEACHINGS AND HIS MOVEMENTS
This work begins from conscience and involves our whole being in action.
When our body, mind and feelings are connected in the same moment, we can
access an inner dimension that is far beyond the reach of mere intellect and which
reveals to us our true nature. The Movements class creates a particular condition
in which we are constantly called toward ourselves and where, through a new lan-
guage of gesture, we can have a direct experience of a more balanced inner state.
The Gurdjieff /de Hartmann’s music for the Movements is intimately connected
with this “inner journey” and is intended to be an authentic means towards our
awakening along the path toward Real Knowledge.
The pianist is not only trained in playing for the classes, but also, has a long time
experience in practicing the Movements, thus being able to provide an essential
element in supporting and sustaining the higher energy which is being created and
which is necessary for this work.
EVENING PERFORMANCES
CONTEMPORARY EMBODIMENT OF MOST CHARACTERISTIC
FORM -COMPONENTS OF GURDJIEFF’S MOVEMENTS
Miloš Kecman, Sandra Anais, Goran Bogdanovski
...we must understand that every normal psychic function is a means or an in-
strument of knowledge. With the help of the mind we see one aspect of things and
events, with the help of emotions another aspect, with the help of sensation a third
aspect. The most complete knowledge of a given subject possible for us can only be
obtained if we examine it simultaneously with our mind, feelings and sensations…
In ordinary conditions man sees the world through a crooked, uneven window...
In search of the Miracolous. P.D.Ouspensky, In Search of Miracolous: Frag-
ments of an Unknown Teaching. (New York: Harcourt, Brace & World, 1949).
Simultaneous experience that embrace mind, feelings and sensation plays very
14
important role also in improvised dance expressed in a contemporary way as the mo-
tion and movement provides easy entry to alertness and mindfulness. In this dance
project we decided to take as a fundaments some of most characteristic form-com-
ponents of Gurdjieff’s Movements, listed by Wim van Dullemen in his book The
Gurdjieff’s Movements: A Communication of Ancient Wisdom.
We’ll concentrate, demonstrate and provide space for audience to experience

following characteristics:
- The Gurdjieff’s “inner exercises” concentrating on certain emotion or image

- Vibrations of hands and arms or of the entire body
- The “Stop”, an independent exercise from the early years
- Whirling
- The recital of words or short sentences/phrases characteristic for Gurdjieff, in
time with the music.
DEEPER RELATIONS
Sandra Anais, Goran Bogdanovski
This lecture - performance is about Dance Improvisation - Deeper Relations.

Dancers Sandra Anais&Goran Bogdanovski presented their duet, based on struc-
tured improvisation at ACIR - Asian International Conference on Interdisciplinary
Research in Bali (Indonesia), where dancers were certificated with DANCE YOUR
INTELLIGENCE Scholarly Award Certificate from Asian Society of Teachers for
Research and WOW Bali Organization. It is based on a research which is an ini-
tial attempt to illustrate the relationship between dance, kinesthetic intelligence and
emotional intelligence. It has two major purposes: (1) to investigate how dance
improvisation can be a regenerative modality to quickly establish trust for creative
collaboration between individuals, groups, organizations and communities and (2)
to demonstrate how practice of non - verbal communication through improvised
dance can empower personal proprioception, deepen the relations within a group
and improve dynamic wellness in communities. The subjects of this research was
tested with more than 2500 participants in different age groups (from 18 - 60 years
old) in 19 different countries and different educational contexts: from free - lance
art schools, art academies, public high schools, universities and corporations. Ac-
tion research started in 2006 in Ljubljana (Slovenia) as unique community dance
form and a long durational artistic - educational - social project (Fičo training) , by
15
providing participants with more than 80 tools for improvisation that they can im-
plement in their own creations, relationships, work and in daily life. As an example,
one of the introductory tool, tested in all above mentioned groups was a so called
“Trust”, used with an aim to open the senses, connect to breathing, body, mind and
emotions, to recognize your needs and fears... and to develop greater trust in self
and your partner through touch. In this lecture-performance one of the dancers is
asked to close the eyes in order to shut down the primary sense on which we usu-
ally rely our trust to the most, so to actively engage all other “exteroceptors”: ears,
mouth and skin. The eyes-shut dancer had to rely solely on a partner to guide him
to movement and dance. The results revealed that dancers are more dynamic, emo-
tionally opened, relaxed, sensitive & compassionate to each other after experiencing
this exercise. They learned to trust body signals and impulses of each other, letting
go or taking the control, becoming clear with propositions and intentions, overcom-
ing the fear projected with the mind. Furthermore they were more willing to trust,
share and connect to each other.
A Journey to Inaccessible Places

The Sacred Piano Music of Gurdjieff and Thomas de
Hartmann
Piano recital by Elan Sicroff
from Asian Songs and Rhythms
Kurd Shepherd Melody 25. IX. 1926

Armenian Melody 19. III. 1927
Doudouki (Bagpipes) 13. III. 1927
Hindu Melody 22. II. 1926
Untitled circa 1923/1924
Untitled 23. VI. 1924
Afghan Melody 9. I. 1926
Tibetan Masques No. 2 9. VI. 1926
from Hymns, Prayers and Rituals
Holy Affirming, Holy Denying, Holy Reconciling 8. X. 1926

As If the Stormy Years had Passed 10. XII. 1925
Untitled 1923
Alleluia 14. XII. 1926
16
from Music of the Sayyids and the Dervishes
Sayyid Chant and Dance 17. III. 1926

Dervish Dance 2. VI. 1926
Bayaty 7. X. 1926
Dervish Dance 27. V. 1926
Sayyid Chant and Dance date unknown
from Hymns from a Great Temple and Other Selected Works

Essentuki Prayer 1918
The Very Sweet Time 7. X. 1925
(Fragment No. 5 from The Struggle of the Magicians)
The Bokharian Dervish, Hadji-Asvatz-Troov 19. III. 1927
ABSTRACTS
Constance A. Jones, Ph.D.
California Insitute of Integral Studies, USA
Gnostic Sensibility in Gurdjieff’s “Work”
Abstract
This paper examines the legacy of G.I. Gurdjieff (1866?–1949), specifically the
esoteric school he founded called the “Work,” as an embodiment of a gnostic sensi-
bility. The term “legacy” refers to both Gurdjieff and to his teaching, an integrated
system of ideas that includes cosmology, metaphysics, science, psychology, and a
corpus of sacred music and dance. First, his biography and teaching demonstrate
how the Work addresses an inner search for development of consciousness. After
a comparison of Gurdjieff’s teaching and the gnostic paradigm, the activities and
organizations that comprise the Work today are delineated as elements in an esoteric
school organized around the aim of self-inquiry and eventual transformation. All of
these elements evoke the gnostic sensibility for understanding: for awakening to the
truth of human existence. A final section addresses the gnostic motive underlying
Gurdjieff’s legacy as a whole, and the Work in particular.
17
Dr. Fabio Tolledi, Italy
Shadows of magicians the art of the actor and the art of the
spectator between visible and invisible
Abstract
The XXth century marks a radical change of the paradigm in theater. In this con-
text the figure of Gurdjieff represents an emblematic case of invention of a tradition.
Through the work on the actor’s body by Peter Brook and Jerzy Grotowski, the figure
of Gurdjieff, in different ways, becomes an original element, a source of inedited paths
in theater.
The theatrical vehicle, as known, had been chosen by Gurdjieff as an important in-
strument of visibility of his numerous research fields through the scenario The struggle
of the magicians.
In this intervention I intend to deal with the interweaving of the genealogies related
to Gurdjieff in Peter Brook and in Jerzy Grotowski. The research on the actor’s body
and on the new experience in the practices of vision of the spectator, from the second
half of XXth century to the present, makes of Gurdjieff, in an original way, one of the
fundamental figures in most of the theatrical practices around the world.
Dr. Manana Khomeriki, Georgia

Some archival documents and speculations about Gurdjieff
Abstract
Of Gurdjieff’s early life we knew only what he has revealed in the autobiograph-
ical portions of his own writings, mainly “Meetings with the Remarkable Men”. My
aim is to enrich this knowledge basing on the historical facts and the archival mate-
rials concerning his ancestress, surname and the opening of “Institute for the Har-
monious Development of Man” in Tbilisi. I will also provide my views.
1.The etymology of the word ‘Gurgi’ meaning Georgian.
Examples: A). Ietim Gurji - real name: Ietim Dabghishvili (1875-1940) was
a Georgian poet. He wrote in Georgian, Armenian and Azeri languag-
es.B). In the XIII century, KaykhusrawII, a Sultan of Rum married a - granddaugh-
ter of Queen Tamar -Georgian princess Tamar and named her Gurji Khatun (Geor-
gian Lady - Gürcü Hatun in Turkish).Sultan minted silver coins which had a lion
and a sun bearing a woman’s face -sun Tamar depictedon them.
2.The ancestors of Gurdjieff lived in Gvmush-Khaneh, the chief town of a sanjak of
18
the same name in the Trebizond vilayet of Asiatic Turkey, where some ethnical Georgians
might have been joined to Greeks.
3. Sultan Muhammad al-Fatih after conquering Constantinople immediately
implemented a system that regulates the rights of non-Muslims. The system is known
as Millet . Gennadius II Scholarios became the first Ecumenical Patriarch of Ottoman
Constantinople.According to Millet all the Muslims were considered to be Osmans,
while all the orthodox Christians were viewed as one Greek community.
4.The Treaty of Adrianople concluded the Russo-Turkish War of 1828-1829
between Russia and the Ottoman Empire. An article of the peace treaty again secured
the free emigration of the Orthodox population to Russia. Article 13 of the Treaty of
Adrianople provided that the population could emigrate within 18 months.
5.Gurjieff’s ancestors migrated to Georgia. They setteled in the region of Dmanisi. The
archival documents contain lists of the villages, where the Greeks were settled.
6. Gurdjieff’s grandfather was Ivan Antonov(ich) Gurdji. He is seen in the document of
1832 year as an ex-inhabitant of Gvmush-Khaneh and inhabitant of the village Ekibash.
7.The Church metric books show the records of the marriage and birth of the Gurdjieff’s
family members. His parents were Greeks
8.. Very little is known for certain about Gurdjieff and Stalin. They did not study
together at the Seminary. My opinions about the possible connections between them.
9. Gurdjieff was not connected with Hitler. The information given by
professor Miskheil Kveselava - the member of the Soviet team of iterpreters at
the Nuremberg Process.
10. My criticism on Gurdjieff for the incorrect using and explaining of the
name of ancient Georgian Colchis, located on the coast of the Black Sea, in present-
day Western Georgia.
11. G. Gurdjieff’s “Institute for the Harmonious Development of Man” in Tbilisi. The
archival documents and memories.
Elena Bloom , Moscow, Russia

“In what year was Gurdjieff born? Let’s use this question as an
exercise of active thinking and explore the history of Armenia and
Russia”
Abstract
In what year was Gurdjieff born? Different sources mention the year of his birth
as 1866, 1872 and 1877.
At some point I realized that the assumptions of his contemporaries, or asser-
19
tions that he had said something or other were not proof enough. I needed cross
references. I needed hard facts and dates of other events, which could be used as a
springboard for further discoveries.
Taking it as an exercise of active thinking I have found what I have been looking for.
Elena Bloom is on the Fourth Way path since 2002. She has studied with several
experienced teachers of different lineages. Elena conducts regular classes on Gurd-
jieff Work and Movements in Moscow and seminars in Russia and abroad. She also
leads an online project about the history of Gurdjieff Work “It was 100 years ago”.
Elena supports musicians and had organized and promoted a number of concerts of
Gurdjieff/de Hartmann music.
Elena’s major interests are: philosophy, world history and culture, linguistics,
arts, communications, humanistic and transpersonal psychology, harmonious de-
velopment of man, integral approach to the knowledge of the world, connection of
“here and now” and “everywhere and always.”
Mrs. Bloom is an organic gardener and a long distance swimmer. She has suc-
cessfully participated in Bosphorus Cross-continental Swimming Race, Oceanman
and Ultra-180.
Bob Peeters, The Netherlands

Gurdjieff’s psycho-spirituality through a generalized Dabrowskian
lens
Abstract
In the previous century, the Polish psychiatrist Kazimierz Dabrowski developed
a personality theory around his quest of what determines the good and the bad with-
in a same person, and what are the key ingredients and processes to transformation.
Of course, there are many theories dealing with likewise questions, from biology via
psychology to spirituality. Or even wider. What makes the psychological theory of
Dabrowski unique is that it describes a true limiting case. Given a sufficient suscep-
tibility for the so-called five ‘over-excitabilities’, embedded in strong enough trans-
formational power (‘developmental instinct’, ‘developmental potential’), a process
is postulated where one dissolves from the ‘socialized’ constitution of values, enter-
ing a state of disintegration, before reorganization takes place into a stable state in
which higher forms of empathy, autonomy and authenticity are manifested. Pointe
is that the phase of disintegration is key to the transformation, and should not be
medicalized; “psycho-neurosis is not a illness” (Dabrowski, 1972). Hence the title
of his theory: ‘Theory of Positive Disintegration’ (TPD). The TPD theory is not yet
finished, said Dabrowski at the end of his life, and my research strives to elaborate
20
on the TPD. However, I’ll go in a direction he might not have anticipated. In my
presentation, I will introduce a generalized, ‘daimonic’ (May, 1969), version of the
TPD. It takes into account the consequence of an urge of penetrating the Collective
and Cosmological Shadow, in the end for the sake of ultimate truth. It entails an
‘optimized’ disintegration, in which the integrating dynamisms are challenged to the
very extreme by the disintegrating dynamisms. Postulated consequence is a bifurca-
tion from the disintegration phase into the shadow realm, making the Dabrowskian
roadmap two dimensional. In my view, the psychospirituality of Gurdjieff sets a
perfect example to the daimonic Dabrowskian theory. I will show some examples.
Dr. Professor, Levan Khetaguri, Georgia

Gurdjieff and his impact on arts and culture, and Tbilisi as a
crossroad for him
Abstract
It is very difficult to imagine a person in the twentieth century whose influence
on art and culture would be as large as Gurdjieff’s.
This time my area of interest is directly related to him and art, and in particular,
his ideas and movements influence in the performing arts.
It is also important to talk about the sources that might be a source of inspiration
for Gurdjieff’s creation.
Tbilisi is also an important point to consider in Gurdjieff’s life, the importance
that this city and the meetings with people in this city have brought to his life.
Tbilisi was also a crossroad for him at various stages of his life.
The role of Tbilisi and Georgia in poorly studied in Gurdjieff literature, while
here - in Tbilisi he spent some of his youth and part of adult life, made serious de-
cisions, in the sense that in Tbilisi he saw for the first time Zoroastrianism, a Yezidi
ritual, met Stalin, met Jeana and Alexander Salzmanns and as a result of crossing
with them Gurdjieff’s already Sufi traditions and sacred dances (oriental resource
outlook) have been added to the Western-Dalcroze rhythm theory (rhythm) and the
Steiner-introduced Eurhythmics, taught by Jeanne de Salzmannin Tbilisi.
It can be said that in Tbilisi happened to be influenced on sacral gymnastics,
sacral dance, movements and the serious force of which was Jeanne de Salzmann.
Alexander Salzmann’s merit, besides his knowledge in the performing arts, he
was the creator of scared dancers costumes, he was also the author of scenography
of public shows of sacral dances in the Elysées in Paris in 1923/24, which impressed
the local audience a lot.
21
The Institute for Harmonious Development of Man is being established in Tbili-
si for the first time legally, with the support of the local government. Here he works
on the “Battle of Magicians” through Alexander Salzmann in his studio at the Tbilisi
Opera Theatre, where Gurdjieff is even contracted to perform.
Tbilisi’s culture and history are naturally infused with different traditional music
and poetry, Ashughs and diversity of rituals that were part of Tbilisi - urban folk
from the medieval Ages.
It is a city at the crossroads of Eastern and Western civilization and Progressive
ideas, mystics and intellectuals.
Goran Bogdanovski, Slovenia
Breathing as a carrier of the awareness - Dancing the Present

Abstract
In this lecture I will try to think why Gurdjieff choose Dance as a main work
for self observation and self study and if Dance improvisation can make the same
work? Gurdjieff taught that in the movements was embedded real, concrete knowl-
edge, passed from generation to generation of initiates - each posture and gesture
representing some cosmic truth that the informed observer could read like a book.
This work demands discipline, high energy and power of will. Like any other pro-
fessional dance forms. But there is one difference, other professional dance forms
are not expanding so much our consciousness except in my opinion dance impro-
visation. Dance improvisation is not only about creating new movement but is also
defined as freeing the body from habitual movement patterns. A lot of improvisation
is focused on finding a deeper way of comprehending otherwise concealed thoughts
or feelings of an individual. Through the emphasis of instinctual, unpredictable, free
movement that improvisation is centered upon the dancer is able to explore authen-
tic feelings and inspirations working on self observation and self study. And the key
is in being present in every moment, like in Gurdjieff dances, being present in every
breath. Every human being is making 23.000 breaths per day. How many breaths
are we aware of during the day? We all know that being inside of our breathing is a
key to being present, being connected with ourself, body, mind, emotions … a key
to mindfulness. A key to meditation. A key to dance. A key to performing. A key to
improvisation… and of course a key to live our life at our full potential.
22
Sandra Anais, Slovenia
Dancing Archetypes - Uncovering Yourself
Abstract
Sandra Anais was born in Slovenia in 1982. She received her BA degree from
Cultural Studies at University of Ljubljana in 2008, with thesis on New Religious
Movement topic of placement of Astrology in Contemporary Western World. But
dance and arts were her primary passions already in primary school. She spent
more then 22 years dancing, performing, experimenting and mixing all sorts of tech-
niques and styles (from jazz balet, modern, contemporary dance and meditative
dance practices) and finally ended up at Dance Improvisation as an open form in
which she plays with fusion of styles, knowing what she is doing but not knowing
how she’ll get there - leaving room for improvised dance to happen “here and now”
what gives her a chance for a mysterious way of instant self-expression.
Sandra is also a founder of Dance Ecology, platform perceived as a bridge be-
tween nature and culture through movement, embodiment and dance with an aim
to expand the perception of contemporary dance practices in spiritual and emo-
tional sense and encourage a revitalization of forgotten wisdoms of sacred tra-
ditions to bring them back into dance education. Through this platform she also
raises the awareness of the need to transform the man through body work and
through revival of poetic discourse and inter-disciplinarity within dance modali-
ties. She is active as a dancer, facilitator of workshops and organizer of artistic
events, currently exploring the physical practices of other cultures, embodiment
of thoughts & emotions, site-specific performative practices and nomadism in re-
lation with urban rituals, New Age practices and creation of urban communities /
tribes. She is also integrating knowledge of Osho Kundalini & Dynamic Medita-
tion, Dance Movement Therapy, Authentic Movement, Dervish and other practic-
es into dance education.Her teaching methods are synthesis of dance techniques
(from modern to contemporary dance), contact and theatre improvisation and
active meditation techniques. In 2017 - she received Dance Your Intelligence -
Scholarly Award Certificate from Wow Bali Organization in Indonesia, in rec-
ognition of an excellent kinesthetic performance through the language of dance,
promoting Sustainable and Regenerative Development for Personal, Organisation-
al and Community Wellness and classification as means of research translations.
Last 6 years she dedicated to a research of embodiment of archetypes. She experi-
mented with different groups of people: professional dancers, choreographers, ac-
tors, movement therapists, psychologists and random movement enthusiasts. These
23
processes led her to create a few dance performances and facilitate many workshops
in foreign lands with all sorts of multicultural (every) - bodies: from Slovenia, India,
Vietnam, Indonesia, Tenerife and Croatia.....For last 2 years she has been studying
archetypes at Caroline Myss’s Sacred Contracts Online Course and is now waiting
for her certification process to become an Archetypal Counselor and holistically
implement these “Teachings” into her dance and artistic practice.
Suggestions for discussion:

- Why archetypes need embodiment? Soul mapping and authenticity in dance.
Dance as a tool for developing personal talents and potentials, a tool for self-dis-
covering, a tool for expression of “inner lands”
- Would Gurdjieff approve contemporary practices of Dance Improvisation? How
about trust in “instant composition” that evolves from being authentically pres-
ent in “here and now” on stage?
- On how Integration of “Sacredness” and “Spirituality” into Contemporary Dance
lead us to suffer the consequences such as exclusion, becoming outsiders, danc-
ing nomads and finally dance entrepreneurs??
Milos Kecman, Slovenia
Where Words Meet The Bones

Abstract
»Give your body what it needs, not what it wishes.« G.I. Gurdjijeff
In this lecture I would like to show the connection between the work on the body
in Gurdjieff Sacred Movements and the three centers.
In our search for the truth, we have to ask ourselves what is it that our body
really needs and what is imposed to our body as a need that is not necessary to be
fulfilled. We could say nutritious food or correct breathing or staying fit is a solution
and we can practice that. In case, all this practice is done trough only one of our cen-
ters our chances of reaching our goal are poor. To reach this goal Gurdjieff Sacred
Movements are the right tool to explore where is the border between getting enough
but not exceeding. We have to be willing to surrender to a quality that comes from
»another dimension«, to place ourselves there which enables us to have an insight
into the »present«. Until we don’t make a shift into another way of perceiving we
are imprisoned by our existing structure.
24
BIOGRAPHIES
BIOGRAPHIES
GORAN BOGDANOVSKI
Goran has lived and breathed dance profes-
sionally since 1990. He has danced for more than
seventy different choreographers and directors in
the field of performing arts, moving from classical
ballet to martial arts, from modern to contemporary
GORAN BOGDANOVSKI
dance and contact improvisation, from physical theatre to film and from meditation
Goran has lived and breathed dance professionally since 1990. He has danced for more than
to improvisation. With his own dance company, he choreographed performances

seventy different choreographers and directors in the field of performing arts, moving from
classical ballet to martial arts, from modern to contemporary dance and contact improvisation,
and toured extensively in 23 countries. He ran dance studios, festivals, platforms

from physical theatre to film and from meditation to improvisation. With his own dance
company, he choreographed performances and toured extensively in 23 countries. He ran dance
and networks.
studios, festivals, platforms and networks.
For the last twelve years, he has been teaching Dance Improvisation and Dance Alchemy in
For the last twelve years, he has been teaching Dance Improvisation and Dance
Slovenia, Austria, Belgium, Germany, Spain, Poland, Ukraine, Turkey, Egypt, Serbia,
Macedonia, Albania, Bosnia, Indonesia, Vietnam, Japan, USA …in the form of trainings, classes,
Alchemy in Slovenia, Austria, Belgium, Germany, Spain, Poland, Ukraine, Turkey,
master classes, workshops, research projects, laboratories, coaching, mentoring, retreats and
journeys.
Egypt, Serbia, Macedonia, Albania, Bosnia, Indonesia, Vietnam, Japan, USA …in
His special interests are experimenting through practice on topics like: Improvisation,
Choreography, Being present, Group consciousness, Group Dynamic, Artistic Creation,
the form of trainings, classes, master classes, workshops, research projects, labora-
Community building, Audience development, urban tribalism, Shamanism and Synergy.
https://dancealchemy.net/teacherstraining
tories, coaching, mentoring, retreats and journeys.
His special interests are experimenting through practice on topics like: Impro-
visation, Choreography, Being present, Group consciousness, Group Dynamic, Ar-
tistic Creation, Community building, Audience development, urban tribalism, Sha-
manism and Synergy.
https://dancealchemy.net/teacherstraining
SANDRA ANAIS
Is a founder of Dance ecology - in addition to build
a bridge between nature and culture through dance, also
aims to expand the perception of contemporary dance
practices in spiritual and emotional sense and encour-
ages to revitalize forgotten wisdom of sacred traditions
and bring them back into dance education. It also raises
the awareness of the need to transform the man through
body work and through revival of poetic discourse and
inter-disciplinarity within different artistic practices.
SANDRA A
Sandra Anais, the culturologist that works, researches and develops programs in
the field of dance, which she understands as an interdisciplinary
Is a founder offield of artistic,
Dance ecology - in addition to build a b
dance, also aims to expand the perception of conte
scientific and spiritual practice. emotional sense and encourages to revitalize forgott
http://sandraanaisvidim.wix.com/dance-ecology them back into dance education. It also raises the aw
25
through body work and through revival of poetic
different artistic practices. Sandra Anais, the culturol
programs in the field of dance, which she understan
scientific and spiritual practice.
MILOŠ KECMAN
Miloš is an educated forester. After finishing his studies,
he dedicated his life to personal development. He practiced
yoga and then followed his heart to find dance as a way of
expression. He studied practice of Osho Meditations: Dy-
M
namic, Kundalini, Nataraj, No dimension, Chakra Breath-
ing and Mandala. He researched himself through many re-
Miloš is an educated forester. After f
nowned technics of personal development based in dance:
development. He practiced yoga and
Five Rhytms, Biodanza, Trance Dance, Movement Medicine and Ishmech – dance
without form. He fell in love with Sacred Gurdieff Dances expression. more thanHe studied
15 years practice
ago. of
Great love is hard to forget that is why he decided todimension, study themChakra Breathing
profoundly 8 years and Man
ago. He studied in India MILOŠ to become
KECMAN a teacher of Gurdjieff technicsDances. of personal
He stilldevelopment
attends ba
seminarsin
Miloš Germany
is an educated and finishing
forester. After France.hisFrom
studies,2012 he is his
he dedicated facilitator
Movement and
life to personal teacher of
Medicine andseveral
Ishmech – da
Gurdjieff workshops in Ljubljana, Zagreb, Banja Luka,
development. He practiced yoga and then followed his heart to find Dances
dance Belgrad
as a more and
way of thanCluj.
15 years ago. Great lo
expression. He studied practice of Osho Meditations: Dynamic, Kundalini, Nataraj, No
dimension, Chakra Breathing and Mandala. He researched himself throughprofoundly many renowned8 years ago. He studied in
technics of personal development based in dance: Five Rhytms, Biodanza, attends seminarsin Germany and Fran
Trance Dance,
Movement Medicine and Ishmech – dance without form. He fell in love with Sacred Gurdieff
Gurdjieff
Dances more than 15 years ago. Great love is hard to forget that is why he decided workshops in Ljubljana, Zagre
to study them
COEN
profoundly 8 years ago. VAN
He studied HOBOKEN
in India to become a teacher of Gurdjieff Dances. He still
attends seminarsin Germany and France. From 2012 he is facilitator and teacher of several
Coen
Gurdjieff vanin Ljubljana,
workshops Hoboken has
Zagreb, Banjastudied Gurdjieff
Luka, Belgrad and Cluj.
movements in groups from various line ages. He

has provided music for Movements classes and
seminars for some years and is interpreting the
music of Gurdjieff and de Hartmann both on the
piano and on the accordion.A related activity of
his is the invention and production of new musi-
cal instruments. These offerCOEN
newVAN
ways of playing
HOBOKEN
and experiencing music, and allow the player to

experiment easily with different tunings.
Coenlives in Nijmegen in the east of Netherlands.
Listen to Coen playing - https://soundcloud.com/coen-van-hoboken/sets/bu-
chenau-august2014See http://www.tonginstruments.com/for his instruments.
26
Listen to Coen playing - https://soundcloud.com
august2014See http://www.tonginstruments.com/for his inst
ELAN SICROFF
Elan Sicroff is known as an interpreter of the
music written by Thomas de Hartmann, both the
classical works as well as the music from the
East composed in collaboration with Gurdjieff
. In the 1960s he studied with JeaneaneDowis,
protégée and assistant to Rosina Lhevinne at
the Juilliard School. From 1973-75 he attend-
ed the International Academy for Continuous
Education at Sherborne, in Gloucestershire, England, as a student and later Direc- ELAN
tor of Music. The Academy was directed by J. G. Bennett, a leading exponent of
ElanSicroff is known as an interpreter of the music written
Gurdjieff’s teachings. It was here that Elan was introduced
classical workstoas the
well music of Thomas
as the music from the East composed
the 1960s he studied with JeaneaneDowis, protégée and
de Hartmann. Between 1975 and 1979 he studied with School.
Juilliard Mme.From Olga1973-75
de Hartmann,
he attended the Intern
widow of the composer, focusing on the music which de Hartmann composed
Education at Sherborne, in in theEngland, as a
Gloucestershire,
The Academy was directed by J. G. Bennett, a leading expo
classical idiom. He performed many recitals under her auspices, and in 1982 toured
here that Elan was introduced to the music of Thomas de H
the United States. studied with Mme. Olga de Hartmann, widow of the compo
In 1985 guitarist Robert Fripp offered to produce
Hartmanna recording
composed inof thethe Gurdjieff/
classical idiom. He performed m
in 1982 toured the United States.
de Hartmann music with Elan, and Journey to Inaccessible Places was released by
In 1985 guitarist Robert Fripp offered to produce a recor
EG records in 1987. In 2002 and 2009 Elan recorded two Elan,
music with moreandCDs, Sicroff Plays Places was r
Journey to Inaccessible
Gurdjieff and Laudamus… 2002 and 2009 Elan recorded two more CDs, Sicroff Plays G
Since 2006 ElanSicroff has spearheaded the Thomas de Ha
Since 2006 ElanSicroff has spearheaded the Thomas de Hartmann Project. The
the composer’s music back to public awareness. Between
aim is to bring the composer’s music back to public awareness. Between 2011 and
2015 nearly 7 hours of de Hartmann’s classical music was recorded at the Muziek-
centrum van de Omroep in Hilversum, the Netherlands, with Producer Gert-Jan
Blom, recording engineer Guido Tichelman, and 16 outstanding instrumentalists
and singers. A 7 CD Box Set, The Thomas de Hartmann Project – Music for
Piano, Voice and Chamber Ensemble was released in September 2016.
Elan is now promoting de Hartmann’s music in live performance, along with
musicians from the recording project. He has also developed a lecture-recital that
features the story of de Hartmann’s life, his ideas and music – as well as live perfor-
mance, recordings, and photos – to create an exciting presentation of the composer’s
life and work.
27
Hartmann’s life, his ideas and music – as well as live performance, recordings, and photos – to
create an exciting presentation of the composer’s life and work.
MARGIT
Ms. MARGIT MARTINU MARTINU
Born in Prague in 1947, she was educated
Born
from inearly
Prague age inin1947, she was
danceand educated from
artistic
earlygymnastics;
age in danceand artistic
this training gymnastics;
was based on the this train-
Method of Jacques-Dalcroze, where the
ing was based on the Method of Jacques-Dalcroze,
emphasis was not only on movement, but
where theonemphasis
also developingwas not only
sensitivity to on movement, but
music,
also on developing sensitivity to music, concentra-
concentration, strengthening of the will-
power, and giving importance to overall
tion, experience.In
strengthening 1968of theshe will-power,
left former and giving
importance to overall experience.In
Czechoslovakia for England. From 1975-76 1968 she left
she entered a one year residential course at
former Czechoslovakia
the International
for England. From 1975-76
she entered a one year residential course at the International
Academy for Continuous Education (IACE) in Sherborne, England, foundedand directed by J.G.
Bennett.Academy
The coursefor wasContinuous Education
based on Gurdjieff’s (IACE) in Sherborne,
and Bennett’steachings England,
and was designed to foundedand
directed by J.G. Bennett. The course was based on Gurdjieff’s and Bennett’steach-
promote a balanced development of man. The study included both Western and Eastern
methods, such as history, psychology, cosmology, philosophy, meditation, but also learning of
ings and
practical skills was designedcooking,
like gardening, to promote
arts and acrafts
balanced development
and music. The program of man.the
included The study in-
cluded both Western and Eastern methods, such as history, psychology, cosmology,
practiceofGurdjieff’s Sacred Dances and Movements.In summer 1977 she participated in
Teachers’ Training in Gurdjieff’s Movements in Claymont, West Virginia, a branch of the IACE
philosophy, meditation, but also learning of practical skills like gardening, cooking,
in the United States, also founded by G.J. Bennett.1977-1982 she deepened her studies of
arts and
Gurdjieff crafts
system andInstitute
at the music.of ThePaul program included
Anderson, student and the practiceofGurdjieff’s
secretary of Gurdjieff in Sacred
Dances
America. andhisMovements.In
Under summer
guidance she was trained 1977 shea teacher
and nominated participated in Teachers’
of the Movements and at Training in
his Institute began her didactic activity.
Gurdjieff’s Movements in Claymont, West Virginia, a branch of the IACE in the
In 1985 she returned to Europe and studied with teachers at the Gurdjieff Foundation and also
United States, also founded by G.J. Bennett.1977-1982 she deepened her studies of
taught the Movements.Over the years, Ms. Martinu has conducted various workshops and
Gurdjieffalso
seminarsand, system
directedat the demonstations
public Institute ofofPaul Anderson,
Gurdjieff’s Movements student
in Italy.and secretary of Gurd-
jieff in America. Under his guidance she was trained and nominated a teacher of the
Movements and at his Institute began her didactic activity.
In 1985 she returned to Europe and studied with teachers at the Gurdjieff Foun-
dation and also taught the Movements.Over the years, Ms. Martinu has conducted
various workshops and seminarsand, also directed public demonstations of Gurd-
jieff’s Movements in Italy.
She also promoted and organized a number of concerts of Gurdjieff-de Hart-
mann Sacred Music in Italy and Czech Republic.Since 1985, Ms. Martinu has been
conducting courses and seminars in Italy, Europe and in the United States.
For number of years she collaborated with other senior practitioners at the annu-
al International Summer Gatherings of various European groups engaged in study
and practice of Gurdfjieff’s and Bennett’s teachings in England.For the last three
years she has been directing Gurdjieff’s Movements Project at the MREC (Moun-
tain River Educational Center) in Massachusetts – an indepth study and research
into Sacred Dance and Movements.
28
indepth study and research into Sacred Dance and Movements.
During her visit in Armenia in 2014 she gave an introduction to Gurdjieff teachings and his
Sacred Movements in Yerevan.
Some pictures of her groups:
Some pictures of her groups:
http://www.gurdjieffmovements.it/gurdjieffmoveng.html;
http://www.gurdjieffmovements.it/gurdjieffmoveng.html; https://www.
https://www.youtube.com/watch?v=FRXcft8Cgrc
youtube.com/watch?v=FRXcft8Cgrc
Dr. CONSTANCE A. JONES

Professor, School of Consciousness and Trans-
formationCalifornia Institute of Integral Studies.
Fulbright Scholar, Benares Hindu University and
Vasanta College, Varanasi, India, 1995-96. Visiting
Scholar, Department of Religious Studies, Universi-
ty of California, Santa Barbara, 1986-87. Chair, So-
ciology and Anthropology Section, University Center
in Georgia, 1981-82. Visiting Scholar, Program for
the Study of New Religious Movements in Amer-
ica, Graduate Theological Union, Berkeley, 1980-
81. “Highest
CONSTANCE Honors”
A. JONES, Ph.D. awarded dissertation, Emory
University, 1977. Public Health Service Fellow (National Institutes of Mental
Professor, School of Consciousness and TransformationCalifornia Institute of Integral Studies
Health),
Fulbright Emory
Scholar, BenaresUniversity,
Hindu University1971-73.
and Vasanta Ford
College,Foundation
Varanasi, India. Fellow,
1995-96 Vanderbilt Uni-
versity,
Visiting 1966-67.
Scholar, Department of Religious Studies, University of California, Santa Barbara,
Research and Teaching Interests:

1986-87.
Chair, Sociology and Anthropology Section, University Center in Georgia, 1981-82.
Asian Traditions Teachings of G.I. Gurdjieff
Visiting Scholar, Program for the Study of New Religious Movements in America,
Eastern
Graduate andUnion,
Theological Western Worldviews
Berkeley, 1980-81. Understanding Esoteric Religion
Sociology
"Highest of India
Honors" awarded Dissemination
dissertation, Emory University, 1977. of Eastern Thought in the West
Public Health Service Fellow (National Institutes of Mental Health), Emory University, 1971-73.
Feminist Spirituality New Religious Movements
Ford Foundation Fellow, Vanderbilt University, 1966-67.
Sociology of Religion Hinduism in America.
History
Research of Social
and Teaching Interests:Thought Transdisciplinarity.
Asian Traditions Teachings of G.I. Gurdjieff
29
Eastern and Western Worldviews Understanding Esoteric Religion
Sociology of India Dissemination of Eastern Thought in the West

Self, Society, and Transformation Creating Learning Communities.
Feminist and Critical Inquiry Research Methodology.
Teachings of J. Krishnamurti Sociology of Knowledge.
Professional Experience
1994- Present Professor, School of Consciousness and Transformation. Transfor-

mative Studies Doctoral Program California Institute of Integral
Studies, SanFrancisco, Ca.
1995-96 Fulbright Scholar, Banaras Hindu University and Vasanta College
Varanasi, India.
1987-94 Associate Professor of Sociology, Mills, College, Oakland, Ca.
1987-94 Women’s Studies Advisory Committee
1991-93 Director, First Year Experience. Coordinator, Advising Program
1991-92 Director, Study Abroad Program
1990-91 Consultant to the President on Academic Affairs and Student Life
Teaching: Women’s Studies, Sociology, Religious Studies,
Sociology of India.
1986-87 Visiting Scholar, Department of Religious Studies, University of
California, Santa Barbara, Ca.
Research: Dissemination of Hindu Thought in the U.S.
Teaching: Hindu Movements in the U.S.
1973-86 Associate Professor and Chair, Department of Sociology, Agnes
Scott College, Decatur, Ga.
1981-86 Associate Professor and Chair of Sociology.
Teaching: History of Social Thought, Contemporary Social Thought,
Sociology of Religion, Society and Self, Sociology of Gender Roles,
Sociology of India, Analysis of Worldviews.
1973-81 Instructor and Assistant Professor of Sociology.
1980-81 Visiting Scholar, Program for the Study of New Religious Movements
in America, Graduate Theological Union, Berkeley, Ca.
Research: Attitudes Toward Authority in New Religions
Teaching: The Authoritarian Personality in Society and Culture.
1978-80 Professor of Sociology, Columbia Theological Seminary, Decatur, Ga.
Teaching: Sociology of Religion, Methods of Survey Research.
1970-71 Director of Social Science Research and Assistant Director of Cot-
tage Life, Georgia Retardation Center, Atlanta, Ga.
30
Responsible for all aspects of research: theorizing, hypothesis
testing, experimental design, data collection, administration of in-
struments, maintaining research files, systems analysis for
computer utilization, programming, analysis of results and super-
vision of research team.
1968-70 Instructor of Sociology, Mary
1970-71 Washington College,
Director Fredericks-
of Social Science Research and Assistant Dire
burg, Va. Georgia Retardation Center, Atlanta, Ga.
Responsible for all aspects of research: theorizing, hy
1967-68 Programmer, Federal Systems Division, I.B.M., Gaithersburg,
experimental Md.administration o
design, data collection,
maintaining research files, systems analysis for compu
programming, analysis of results and supervision of re
1968-70 Instructor of Sociology, Mary Washington College, Fr
1967-68 Programmer, Federal Systems Division, I.B.M., Gaithe
DR. FABIO TOLLEDI
Fabio Tollediis a theatre director,

playwright and artistic director of As-
tràgali Teatro, a theatre company found-
ed in 1981 in Lecce (Italy). Since 1992,
he directs all the performances and train-
ing activities of Astràgali Teatro compa-
Dr. Fabio To
ny. He is President of the Italian Centre
of the International Theatre Institute and Vice-President
Fabio Tollediis a theatreofdirector,
ITI for Europe.
playwright and artistic director of Astràga
He has a Phd in Sociology. He collaborates withfounded

company the University
in 1981 in Lecceof Salento
(Italy). (Italy)
Since 1992, he directs all the perfo
activities of Astràgali Teatro company. He is President of the Italian Centre of
and had collaborations with the National and TheatreKapodistrian University
Institute and Vice-President of ITI forof Athens
Europe.
(Greece). In the last years, he has been project
He hasdirector of many
a Phd in Sociology. international
He collaborates proj- of Salento (Ita
with the University
collaborations with the National and Kapodistrian University of Athens (Gree
ects, realizing artistic collaborations with international theatres, institutions, uni-
he has been project director of many international projects, realizing artistic c
versities, artists. international theatres, institutions, universities, artists.
His performances have been played all His overperformances have been played all over Europe and in many other countr
Europe and in many other coun-
has been focusing on the direction of intercultural theatrical workshops and m
tries. Tolledi’s work has been focusing on performances
the direction of ofintercultural
with team actors and actressestheatrical
from different countries.
workshops and multilingual performances with team of actorsgave
He staged performances and and actresses
lectures, from
conferences, workshops in many c
which Spain, France, Germany, Belgium, Netherlands, Poland, Czech Republ
different countries. Romania, Albania, Cyprus, Greece, Turkey, Jordan, Palestine, Syria, Iraq, Tun
He staged performances and gave lectures,Armenia,conferences, workshops
Russia, China, Brazil, Burkina Faso. in many
countries, among which Spain, France, Germany, Belgium, Netherlands, Poland,

Czech Republic, Slovakia, Croatia, Romania, Albania, Cyprus, Greece, Turkey,
Jordan, Palestine, Syria, Iraq, Tunisia, Azerbaijan, Armenia, Russia, China, Brazil,
Burkina Faso.
31
TOBIAS BIANCONE
Tobias Biancone was born in Bern, Swit-
zerland, and is of Swiss and Italian origin. A
Poet and writer, he studied French and German
literature and language, as well as arts histo-
ry, at the University of Bern (Switzerland).
His poetic works have been published in Ger-
man, English, Spanish, Arabic and Russian, as
well as in Asian languages from Bangladesh
Tobias Biancone
(Bangla) and Philippines (Ilonggo, Tagalog).
His collaboration with the Swiss painter Claude Sandoz was shown in the art mu-
Tobias Biancone was born in Bern, Switzerland, and is of Swiss and Italian origin. A
seumshe
Poet and writer, of studied
Thun and Bern and
French (both Switzerland)
German andand
literature in art galleries.
language, as His
welldramatic
as work
has been shown in Germany (Exhibition
arts history, at the University of Bern (Switzerland). Opera in Bremen) and in Switzerland.
He hashave
His poetic works a long
been history
published ofinworking
German,for the arts,
English, lending
Spanish, hisand
Arabic expertise across
varied fields, including but not limited to: attaining
Russian, as well as in Asian languages from Bangladesh (Bangla) and Philippines publication for visu-
al artistsHisand
(Ilonggo, Tagalog). writers (14
collaboration volumes);
with the Swissand organizing
painter culturewas
Claude Sandoz festivals which
shown in thecelebrate the poetic
art museums of Thun sideandofBern
the (both
arts such as poetry,
Switzerland) andprose, music, cinema &
in art galleries.
His dramatictheatre.
work hasHe been
has shown
received numerous
in Germany awards Opera
(Exhibition and recognition
in Bremen) for and his work.
He is an Honorary Professor of the Chinese Central Academy of Drama.
in Switzerland.
Tobias
He has a long Biancone
history servedforonthe
of working thearts,
board of thehis
lending Swiss Centreacross
expertise of ITI,varied
spent six years as
president
fields, including but of
notthe International
limited Playwrights´
to: attaining publicationForum of ITI,artists
for visual and was
and part of the ITI
writers (14Executive
volumes); Council for six years.
and organizing cultureHe has been
festivals the leader
which of the
celebrate the General
poetic Secretariat
side of the since
arts such
2008asandpoetry,
mainprose, music,
initiator cinema & of
and President theatre. He has received
the ITI/UNESCO Network for High-
numerous awards and recognition for his work. He is an
er Education in the Performing Arts since its beginnings. Honorary Professor of the
Chinese Central Academy of Drama.
Tobias Biancone servedDR. MANANA
on the HOMERIKI
board of the Swiss Centre of ITI, spent six years as
president of the International Playwrights´ Forum of ITI, and was part of the ITI
Dr. Manana Khomeriki, a historian, was born
Executive Council for six years. He has been the leader of the General Secretariat
since 2008 on
andthe 20th
main of July,and
initiator 1950, in Tbilisi
President of the– ITI/UNESCO
the capital Network for Higher
of Georgia. In 1973 she graduated from
Education in the Performing Arts since its beginnings. the Tbili-
si State University. She worked at the Academy
of Sciences in the Sector of Scientific Information
(1977-1981), at the Editorial board of the Scientific
Translation (1981-1987), at the Institute of History
and Ethnology (1987-2006). Since 2006 till today
she works in the Scientific Centre for Studies and
Propaganda of History, Ethnology and Religion. She is an author of 10 books and aDr. Manan
number of articles. Manana Khomeriki was a Presidentofof the1950,
July, “Soroptimist
in Tbilisi – theInterna-
capital of Georgia. I
32 University. She worked at the Academy of Scienc
(1977-1981), at the Editorial board of the Scientif
History and Ethnology (1987-2006). Since 2006 t
Studies and Propaganda of History, Ethnology an
Studies and Propaganda of History, Ethnolog
number of articles. Manana Khomeriki was a
Tbilisi” (2010-2012). Since 2014 she is a Hono
tional club Tbilisi” (2010-2012). Since 2014 she issince 2016 shecitizen
a Honorable is a Real
of member and an execu
Chios and
Descendants Society”.
Oinousses (Greece), since 2016 she is a Real member and an executive secretary of
the “Imeretian King’s Descendants Society”.
ELENA BLOOM
Elena Bloom is on the Fourth Way path since
2002. She has studied with several experienced
teachers of different lineages. Elena conducts reg-
ular classes on Gurdjieff Work and Movements in
Moscow and seminars in Russia and abroad. She
also leads an online project about the history of
Gurdjieff Work “It was 100 years ago”. Elena sup-
Elena Bloom is on the Fourth Way path since 2002. She has studied with several experienced
ports musicians and had organized and promoted Elena Blo
teachers of different lineages. Elena conducts regular classes on Gurdjieff Work and Movements
in Moscowaand number
seminarsofin concerts
Russia and of Gurdjieff/de
abroad. Hartmann
She also leads an online project about the history
music.
of Gurdjieff Work "It was 100 years ago". Elena supports musicians and had organized and
promoted a number
Elena’sof concerts
major ofinterests
Gurdjieff/de
are:Hartmann music. world history and culture, linguistics,
philosophy,
arts,
Elena's major communications,
interests are: philosophy,humanistic
world history and transpersonal
and culture, linguistics,psychology,
arts, harmonious de-
velopment
communications, of man,
humanistic integral approach
and transpersonal to the
psychology, knowledge
harmonious of the of
development world,
man, connection of
integral approach
“here andto thenow”
knowledge
and of the world, connection
“everywhere of "here and now" and
and always.”
"everywhere and always."
Mrs. Bloom is an organic gardener and a long distance swimmer. She has suc-
Mrs. Bloomcessfully participated
is an organic gardener andina Bosphorus Cross-continental
long distance swimmer. Swimming Race, Oceanman
She has successfully
participated in Bosphorus
and Ultra-180. Cross-continental Swimming Race, Oceanman and Ultra-180.
Dr. LEVAN KHETAGURI

International expert in Theatre Studies, High-
er Arts Education, Cultural Policy, Cultural Re-
search.Invited international expert in EU Eastern
Partnership Cultural Program.Founder member of
EC world traditional theatre forum.ITI/UNESCO
PA Higher Education Network Board Member.
He is LevanKhetaguri
Dr.Professor, Director and Professor
(Georgia) of Arts Research
International expert in Theatre Studies, Higher Arts Education, Cultural Policy, Cultural
Institute of Georgia and Director of Gurdjieff Tbilisi Institute, Ex-Chair of adviser’s
Research.Invited international expert in EU Eastern Partnership Cultural Program.Founder
board of Eastern European Partnership culture program. He is member of different
member of EC world traditional theatre forum.ITI/UNESCO PA Higher Education Network
international institutions, advisers and scientific boards. Invited professor of Geor-
Board Member.
gian
He is Director andPolytechnic University.
Professor of Arts Research Institute of Georgia and Director of Gurdjieff Tbilisi
Institute, Ex-Chair of adviser’s board of Eastern European Partnership culture program. He is
member of different international institutions, advisers and scientific boards. Invited professor of
33
Georgian Polytechnic University.
Since 1997 Secretary General of ITI Georgian National Center and Director of
the European Theatre Research Institute in Georgia. Member of FIRT. 1997 Mem-
ber of Gulliver /European Intellectuals Network/.
Since 2006 Bologna Expert in Higher Arts education, Quality Assurance.Author of
various curriculums and educational frames for BA,MA and PhD levels. International
Consultant for Bologna Reforms and Quality Assurance in Higher Arts Education.
2004-2010 He was vice Rector of Theatre and Film State University.
Since 2007 supervisor of MA and PhD programs.2016-2017 research expert for
UNESCO CDIS research.
He is the chair of academic council of the magazine Arts Theory and Practice
Studies and representative of European Festivals Association in South Caucasus-
head of EFFE Hub.
As practitioner since 1990 he runs several hundreds of local and international
projects as initiator, manager, producer or participant.
LevanKhetaguri is a president of Stichting Caucasus Foundation /The Netherlands/.
Since 1981 author of over 80 publications /editor and translator/ in the maga-
zines and newspapers (Georgian, Russian, English, Polish, German, Azerbaijanian,
Chinese, Slovak etc) about performing arts. Author of several books (French The-
atre, Austrian Theatre, UK drama, Grotowski, Kantor, Gurdjieff, Warld theatre his-
tory etc). In 2000 was awarded by Swedish Writers Guild. Since 2008 member of
European Cultural Parliament and strategic group of A Soul for Europe movement.
Since 2008 Secretary General of Georgian Regional Theatre Network and since
2011 Secretary General of UNIMA Georgia.
Since 1991 organizer of various cultural programs: seminars, conferences, festi-
vals. Since 1996 as invited professor and expert he gave lectures and workshops (in
European and Asian countries) and takes part in different international conferences
and symposiums, special courses: World theatre history, Theory of drama, XX cen-
tury theatre, History of European civilization, intercultural dialogue, visual commu-
nication and expression, performing arts management, cultural policy,international
cooperation in the arts etc.
34
BOB PEETERS
Bob Peeters was born in the Netherlands in 1980. He
received his master’s degree of science from the Utrecht
University in 2005. Then, he spent four and a half years
working on a dissertation in applied mathematics. Un-
fortunately, health issues prevented him from finishing
his PhD. In 2011, the Theory of Positive Disintegration
(TPD), developed by Kazimierz Dabrowski, came into his
life and gave new and resonating context to his narrative
from the inside out. He intuitively started a writing process in which narrative and
psychoanalytical autoanalysis, dream work, deepening of the TPD while tracking
its psychotherapeutical implications, come together. An holistic inner collaboration
in which the Writer, the Patient, and the Scientist gather around the fire of the In-
ner Child. The project is in close collaboration with a professor in giftedness, and
upcoming period will be used to form a committee of recommendation with inter-
national experts on *giftedness, *psychoanalysis, *client-centered experiential psy-
chology, *esotericism, *physics, and *neurobiology. And to launch a project web-
site. Personal interest in the work of Gurdjieff In my writing process, which started
in 2012, I aim for a cosmological yet local ‘closure’ that completes the healing of
consciousness-induced Dabrowskian (child) traumas. Although the framework of
the generalized Dabrowskian theory is aimed to be invariant to the chosen closure
content, the following three main components have crossed my path in a truly mean-
ingful way: the psychology of Jung, Steiner’s anthroposophy, and the work of Gurd-
jieff. My claim is that, beyond the Shadow of Bias, Steiner and Gurdjieff equally
require a generalization of the Dabrowskian theory in the daimonic limit, and form a
perfect dialectical couple. From which an ultimate Dabrowski integration emanates
to the true Holiness and Sensation.
35
ARTS RESEARCH INSTITUTE OF
GEORGIA
About the Institute
The aims of Arts Research Institute /ARI/ are re-
search of Arts theories and practices both in Georgia
and the worldwide through research projects, popu-
larization of the Georgian culture in the world and
integration Georgia in the world cultural heritage, or-
ganizing conferences, university study programs (as
well supervising MA and PhD programs), round table discussions, open lectures,
exhibitions, debates, festivals, various creative projects and publications.
Institute operated since 2010.
ARIis an important international center in arts theory and practice studies, attract
foreign colleagues to participate in joint researches, leading universities and arts
schools.
Projects of Arts Research Institute are carried out in the following academic
directions:
• Theory and practice of performing arts, including drama, directing, stage
design, etc.
• Cinema, Music and Media Communication
• Visual Art and Visual Anthropology
• Culture Management, Cultural Policy, Cultural Tourism
Current Research
• Research of theory and practice of performing arts
• Interdisciplinary research of theory and practice of performing arts; creating
practical examples (performing arts)
• Further development of culture management, cultural tourism and cultural
policy research and its implementation in the country’s development.
• At the Institute there are: library and Culture Video Center, one of the largest
and rich video archive in Caucasus, Publishing House ARI PRESS
ARI is in close cooperation with different international partners and organizations

and carries out some intercultural projects.
36
ARI’s ongoing projects:
MA and Ph D students’ international research conference;

European Culture House / Center for culture and debates/;
International Review – Arts Theory and Practice Studies;
International Theater Festival - “Theatre+Video” etc.
Publishing projects:
International Heritage of Arts Theory and Practice;
World Play writing library;
Since 2018 ARI is the member of UNESCO/ITI network.
The following centers are in ARI:
a/ World Theatre Theory and Practice Research Center;

b/ Film and Media Communication Research Center;
c/ Cultural Management, Cultural Tourism and Cultural Policy Research Center;
d/ Shakespeare Research Center;
e/ Arts, Visual Anthropology and Fixation Research Center
Director of the Institute - Dr. LevanKhetaguri, Professor

Deputy Director - Dr. IuriMgebrishvili, Professor
Arts Research Institute of Georgia

Postal Address: Chavchavadzeave., 19
Tbilisi 0179, GEORGIA
Tel/Mob: 995 5 77 947000 / 995 577947040
info@ariedu.ge
www.ariedu.ge
37
ITI / UNESCO NETWORK
FOR HIGHER EDUCATION
IN THE PERFORMING ARTS
The ITI/UNESCO Network for Higher
Education in the Performing Arts is a joint
initiative of UNESCO and ITI together
with more than 40 higher education and
research institutions. It was built in alignment
with the guidelines and procedures of
the UNITWIN/UNESCO Chair and Network Programme. The Network´s
main focus is higher education in the performing arts – drama, theatre,
dance, music theatre, playwriting and all related performing arts disciplines.
It is overseen by an executive board drawn from member institutions, voted for by
the members of the Network. It is coordinated by the International Theatre Institute’s
General Secretariat based in Shanghai.
The Network is a non-profit organization. It is non-political in its nature. It welcomes
members from all continents, independent of their socio-economic condition,
race, religion, ethnicity, gender, culture and nationality. The Network is based on
democratic principles and it follows the core values of collaboration, inclusiveness,
transparency and inspiration.
The goals of the Network for Higher Education in the Performing Arts are:
• To make education in the performing arts accessible to all populations of
students regardless of socio-economic condition, race, religion, ethnicity,
gender, culture or nationality.
• To promote the professional education in the performing arts worldwide for the
enhancement of the skills of professionals in the field.
• To exchange knowledge and best practices on different methodologies for
education in the performing arts.
• To develop and share innovative models for higher education in the performing arts.
To support higher education in the performing arts all over the world, including
developed and developing countries – with a special focus on Africa, in
alignment with the UNESCO global priority “Africa”.
• To initiate collaboration between the members of the Network.
To protect and promote unique manifestations of “cultural identity” as observed
and demonstrated by members of the network from their cultures – in alignment
with the UNESCO Convention on the Protection and the Promotion of the
Diversity of Cultural Expressions.
38
• To create a project to designate and preserve Intangible Heritage in the
Performing Arts globally – in alignment with UNESCO and ITI.
• To advocate for peace, mutual understanding and respect through education in
the performing arts – in alignment with the goals of UNESCO and ITI.
• To bring together students and educators in the performing arts and professionals
of the performing arts for the benefit of the profession.
Objectives
To reach these goals the Network can realize the following projects or activities
– initiated and organized by its members or part of its members, regionally or
internationally: school festivals, conferences, congresses (whenever possible
in conjunction with the ITI World Congress), exchange programs for educators
and students of the network, research projects, intangible heritage research and
preservation activities – in conjunction with UNESCO and ITI, dissemination
of knowledge in print or via digital and audio-visual publications, exhibitions,
competitions, awards, and any other event or activity which supports the goals of
the Network.
International Theatre Institute ITI

UNESCO
1 Rue Miollis
75732 Paris Cedex 15
France
Fax: +86 21 6236 3053
International Theatre Institute ITI
Headquarters
1332 Xinzha Road, Jing´an,
Shanghai
China 200040
Phone: +86 21 6236 7033
Fax: +86 21 6236 3053
info@iti-worldwide.org
www.iti-worldwide.org
https://www.iti-worldwide.org/highereducation.html
39
VENUES
Rustaveli National Theatre
Theatre and Film State University
SPECIAL THANKS:
Ms. Sophio Khuntsaria, Deputy Mayer of Tbilsi, Mr. Robert Sturua, Artistic
Director of Rustaveli National Theatre and Gia Tevzadze, General Director of
Rustaveli National Theatre. Mr. Giorgi Margvelashvili, Rector of Theatre and Film
State University, Mr. David Sakvarelidze, President of ITI Georgian Centre, Anna
Spiteri.
Organisers
Project Manager: Dr. Iuri Mgebrishvili
Projecr co-ordinator: Anna Kvinikadze
Project Manager Assistance: Irena Gvimradze
Photo&Video : Davit Chikadze
CONTACTS
E-mail: gurdjieffconference@gmail.com
Webpage: http://git.ariedu.ge
Tbilisis gurjievis instituti

G u rd j i e f f I n s t i t u t e T b i l i s i
weli 100 Years
Opened in 1919
Re-opened in 2017
Under the patronage of: ITI / UNESCO Network for Higher Education in the
Performing Arts & Tbilisi City Municipality;
The organizers of the event are: GIT, Arts Research Institute of Georgia, UNESCO
ITI Georgian Centre, Stichting Caucasus Foundation in partnership with Rustaveli
National Theatre and Rustaveli Theatre and Film State University.

Gurdjieff Institute Tbilisi 100

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Dr. Levan Khetaguri, Director of Gurdjieff Institute Tbilisi

The Gurdjieff Institute in Tbilisi

FOUNDERS of reopening: ITI/UNESCO Georgian National Centre and

11.50 - 13.10 - Panel moderated by Margit Martinu

14.10 - 15.30 - Panel Moderated by Fabio Toledi

15.30 - 16.50 - Panel Moderated by Dr. Constance A Jones

*Attendance is by invitation only

10 October 11 October 12 October 13 October 14 October

10.00 Seminar led by Workshop Conference Departure

11.00 Visiting ancient Conference

12.00 Workshop Gurdjieff Tbilisi Conference

14.00 Workshop Conference

18.00 Introduction by Meeting with Meeting of the Book

20.00 Lecture performance Lecture Piano recital by Farewell

*This is working program and possible some changes

SANDRA ANAIS: EMBODIMENT OF ARCHETYPES AS A TOOL FOR

Training of archetypes - patterns of power, their expression and dynamics “An

MILOŠ KECMAN: DANCES OF G. I. GURDJIEFF & WHERE IS MY AT-

MARGIT MARTINU: THE ART OF INNER WORK IN THE GURGJIEFF’S

We’ll concentrate, demonstrate and provide space for audience to experience

- The Gurdjieff’s “inner exercises” concentrating on certain emotion or image

This lecture - performance is about Dance Improvisation - Deeper Relations.

A Journey to Inaccessible Places

Kurd Shepherd Melody 25. IX. 1926

from Hymns, Prayers and Rituals

Holy Affirming, Holy Denying, Holy Reconciling 8. X. 1926

Sayyid Chant and Dance 17. III. 1926

from Hymns from a Great Temple and Other Selected Works

Dr. Manana Khomeriki, Georgia

Elena Bloom , Moscow, Russia

Bob Peeters, The Netherlands

Dr. Professor, Levan Khetaguri, Georgia

Goran Bogdanovski, Slovenia

Breathing as a carrier of the awareness - Dancing the Present

Suggestions for discussion:

Milos Kecman, Slovenia

Where Words Meet The Bones

to improvisation. With his own dance company, he choreographed performances

and toured extensively in 23 countries. He ran dance studios, festivals, platforms

movements in groups from various line ages. He

and experiencing music, and allow the player to

Dr. CONSTANCE A. JONES

Research and Teaching Interests:

Sociology of India Dissemination of Eastern Thought in the West

1994- Present Professor, School of Consciousness and Transformation. Transfor-

1968-70 Instructor of Sociology, Mary Washington College, Fr

1967-68 Programmer, Federal Systems Division, I.B.M., Gaithe

DR. FABIO TOLLEDI

Fabio Tollediis a theatre director,

He has a Phd in Sociology. He collaborates withfounded

countries, among which Spain, France, Germany, Belgium, Netherlands, Poland,

Dr. LEVAN KHETAGURI

ARI is in close cooperation with different international partners and organizations

MA and Ph D students’ international research conference;

Since 2018 ARI is the member of UNESCO/ITI network.

The following centers are in ARI:

a/ World Theatre Theory and Practice Research Center;

Director of the Institute - Dr. LevanKhetaguri, Professor

Arts Research Institute of Georgia

International Theatre Institute ITI

Tbilisis gurjievis instituti

weli 100 Years