“Turning Ourselves”

In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett...

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Bibliographic Details
Main Author: Robertson, David G. 1975- (Author)
Format: Electronic Article
Language:English
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Published: Brill 2017
In: Religion and the arts
Year: 2017, Volume: 21, Issue: 1/2, Pages: 236-258
Standardized Subjects / Keyword chains:B Bennett, John G. 1897-1974 / Fripp, Robert 1946- / Rock music (motif) / Fourth Way / Music production
IxTheo Classification:AG Religious life; material religion
AZ New religious movements
Further subjects:B Robert Fripp G. I. Gurdjieff J. G. Bennett Fourth Way progressive rock
Online Access: Volltext (Verlag)
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Summary:In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production.
ISSN:1568-5292
Contains:In: Religion and the arts
Persistent identifiers:DOI: 10.1163/15685292-02101010