Cusack explores the other systems of "spiritual gymnastics" that existed around the time when Gurdjieff created his "movements" system. Special attention is given to Rudolf Steiner and his Eurythmy system of spiritual exercise, Emile Jaques-Dalcroze and his method, Rudolf von Laban and his Movement Choir and, surprisingly, Peter Deunov and his paneurhythmy, which seems to have been forgotten in modern times, outside of Bulgaria. Cusack also explores Diaghilev/Nijinsky/Stravinsky "Rites of Spring" ballet (the original installation) and the sacred dancing incorporated therein.
The main point Cusack makes is that Gurdjieff's system of movements did not emerge "Ex Nihilo" and was actually a logical product of its time, when these kinds of "spiritual gymnastics" systems proliferated, especially after the recent Enlightenment revolution, when the body finally became important and taking care of the body has been elevated to an essential activity for everyone.
Cusack makes a guess that, although Gurdjieff claimed to have modeled his movement after the dances in far away Eastern monasteries, the actual substance of the movements point out to combination of Steiner's Eurhythmyx and Dalcroze's "method." This was further reinforced by the facts that several of the Gurdjieff's female students, notably Madame de Salzmann and J. Horwath, were expert instructors in Dalcroze's method before joining Gurdjieff. Also, there were no "movements" in Gurdjieff's system before Madame de Salzmann joined The Work, and the first demonstration of the movements ever was given to Madame de Salzmann's Dalcroze class.
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