P. 1
Euritmija, Silvija Bart

Euritmija, Silvija Bart

|Views: 42|Likes:
Published by bundeva
Euritmija u valdofskom obrazovanju
Euritmija u valdofskom obrazovanju

More info:

Published by: bundeva on Nov 07, 2013
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less






Sylvia Bardt
AWSNA Publications

A Creative Force in Humanity

T h e A s s o c i a t i o n o f Wa l d o r f Schools of North America Publications Office 6 5 - 2 Fe r n H i l l R o a d Ghent, NY 12075

Experiences from Pedagogical Practice

Sylvia Bardt

A Creative Force in Humanity



Eurythmy A Creative Force in Humanity Experiences from Pedagogical Practice by Sylvia Bardt 3 .

Printed with support from the Waldorf Curriculum Fund Published by: The Association of Waldorf Schools of North America Publications Office 65–2 Fern Hill Road Ghent. NY 12075 Title: Eurythmy: A Creative Force in Humanity Experiences from Pedagogical Practice Author: Sylvia Bardt Translator: Mado Spiegler Eurythmy Consultant and Reader: Mollie Strube Amos Editor: David Mitchell Proofreader: Ann Erwin Cover: Hallie Wootan © 2008 by AWSNA 4 .

...................................................................................... 14 The Origin of the New Art of Movement ........................... 11 Introduction to the Being of Eurythmy • • • • • • • • • Movement ...... 17 The Threefold Art of Eurythmy .... 26 Age-Appropriate Exercises with Children ............................ 18 Artistic Creation and Artistic Knowledge in Eurythmy ............ 13 New Artistic Impulses at the Beginning of the 20th Century ......................................................... 25 Teacher Preparation ... Preface ......................................................................................................... 41 5 ..................................................Table of Contents Introduction by Mollie Amos ...................................... 30 Letter and Word ...................................................................................... 35 9 7 Eurythmy in Preschool ..................................... 20 Embodying the Spirit—Spiritualizing the Body ......................................................................................... Foreword by Virginia Sease ......................

.................... 65 Second and Eleventh Grades ......... 133 The Bridge Years Fifth/Sixth/Seventh/Eighth Grades .........129 Eurythmy Training Centers ........................ 100 Thoughts on Teaching Eurythmy in the High School .................................. 45 6 .... 82 Fourth and Ninth Grades ......................... 116 The Professional Picture of the Eurythmy Teacher .................................................................................................................................................................. 57 First and Twelfth Grades ............ 127 Endnotes ..... 48 Correspondences between the Developmental Phases and the Eurythmy Curriculum ........................................................................................................................................................................................................................................................... 94 Education of the Movement Organism through Eurythmy: Ages Twelve to Fourteen ................The Curriculum—a Work of Art • • • • • • Sphere and Circle as Moving Gesture . 74 Third and Tenth Grades ............

full of life. The development of the child from kindergarten through elementary and high school stands at the forefront of her work and forms the basis for all the exercises.Introduction by Mollie Amos For over fourteen years Sylvia Bardt has been visiting South and North America bringing eurythmists and teacher trainers the art of Waldorf education. NH November 2008 7 . which leaves teachers in different countries free to adapt and develop exercises suited to their own language and region. Peterborough. In this sense this book will be a helpful guide to educators in the English-speaking world. In this book Sylvia takes the vantage point of eurythmy and shows how through eurythmy the curriculum can be woven together into a whole and colorful tapestry. her writing expounds the universality of education and eurythmy. Although Sylvia hails from Germany.

8 .

Foreword by Virginia S ease The research upon which this book is founded was the product of its author’s many years’ experience teaching the art of eurythmy in all grades. and spirit.” In no earlier age was it more important that human beings. eurythmy offers yet more possibilities to experience. No matter how much we appreciate these aspects of technological progress. The book can also provide a clear overview for those wishing a general introduction to this new art of movement. and spirit. many people are left wondering about the effects of impoverished movement upon future generations. in order to save their original humanity. It is a sign of the 21st century that in the ‘civilized’ Western part of the world. At the end of the 19th century. the 9 . Whereas the entire Waldorf school curriculum is built upon the threefold division of the human being in body. through continued practice. humans are increasingly forced to curtail their original joy in movement through the widespread use of machines and mechanical means. not only understand their native threefold nature but also live it and exercise it. Rudolf and Marie Steiner gave eurythmy to humanity. as an answer to this human condition. soul. soul. which is known almost as widely as Waldorf pedagogy itself throughout the world. Its practice has one precondition: “This new art of movement can be performed only by those who acknowledge and live in the conviction that human beings consist of body.

an access to themselves and to the world. i. Especially through eurythmy as visible speech and visible music. to all other humans. Thus the reader can come to conclusions about the meaning for human biography nowadays of concluding twelve years of teaching in the sign of the circle. which connects them. Animated by this fundamental idea. May many more children be accompanied by the teaching of eurythmy and by watching eurythmic performances along their road in life. She shows very clearly how children and adolescents can find. Particularly beautiful is her presentation of the correlations between stages of life in regard to eurythmy teaching. Switzerland January 1998 10 .e. in the sign of the sun that makes possible our life on earth. adolescents experience their own universal nature. Sylvia Bardt describes the eurythmy curriculum and its enactment. through eurythmy..laws of the threefold nature in their most subtle connections. I speak for myself and for many others who love eurythmy in thanking the author for having made this book accessible. as humans. Dornach.

In various courses taught by me—for beginning teachers.Preface J’ai tendu des cordes de clocher en clocher. – Arthur Rimbaud The art of eurythmy attained its greatest expansion through the work with children and adolescents in what are now 700 Waldorf schools all over the world. and I dance. however. This presentation will attempt to trace connections between eurythmic work in the schools and the sources to which eurythmy owes its origin. 11 . Instead. by “hanging garlands from window to window. school parents and doctors—I experienced ever anew its varied possibilities. I stretched cords from church spire to church spire. questions came up again and again over the years about the background and the roots of this art of movement. et je danse. golden chains from star to star. des chaînes d’or d’étoile à étoile. comprehensive description of the eurythmy curriculum. craftsmen and farmers. These questions led to this book. des guirlandes de fenêtre en fenêtre. I do not. The contents and the methods of eurythmy for various ages and in various life situations can be derived from anthroposophical anthropology. intend to give a systematic. garlands from window to window. In these encounters.” I hope to stimulate new thoughts about eurythmy as an artistic-pedagogical method.

” This work would not have happened without many years of friendly cooperation with Rosemaria Bock. 12 . and thus stretch “golden threads from star to star.It is my hope that as many of my colleagues as possible will feel encouraged to put their experiences down in the same way. whom I thank gratefully.

before it can move itself by grabbing. they move toward all of these joyfully and move with them. They appear in poetic and reflexive form. other children’s play. In the process. leading to natural dance movements. the bird in flight. the wind’s rushing. her heartbeat. meaningful images. are brought into formed. a sun. It can feel itself as a butterfly. the developing child feels the mother’s breathing. Natural motions. It begins with the three-yearold. And they feel delighted when rhythm too becomes part of the surging motion: when clapping. it is often touching to observe how malleably the little child’s gestures adapt to each of them.Introduction to the Being of Eurythmy Movement Movement belongs to the human being’s very first sensations. hopping and dancing organize the movement. her walking as beneficent rhythms. The child can plunge into these images and constantly transform itself into them. 13 . When young children later observe the flowing water. cars driving by. It thus makes sense that the first formal ‘instruction’ given to children should be a movement class. it reacts primarily to the objects moving in its surroundings. imitating what they see and hear. Her speech too reaches the child in the form of moving waves and subtle ripple effects. when they experience that all of nature speaks to them. the wind. Eurythmy takes up all these impulses which constitute the child’s vital force. The adults’ work. In the mother’s womb. ‘read’ or picked up from humans and from nature. as a little dog or a princess. let alone standing. Before the nursing baby fixates on an object. Its own movement impulses are shaped by the sense of the moving environment. singing. sitting up. everything calls for the children’s imitation.

they resonate within human beings and around them: They are forces that create movement. the predator’s gesture. teeth generally have extreme forms. in the incisors. in a song or in a painted sculpture where two art forms are connected. Human beings–and this is a sign of our universality—feel the desire and the ability to unite in artistic form domains that appear separated in their immediate environment. We find in the molars and premolars the ruminant’s gesture. Speech and music also are alive in the element of movement. sculpture and painting. the rodent’s gesture. theatre and dance. the teeth: Whereas in the animal world around us.” The architecture of the human body shows us in distilled form the connection between the human being and world. for instance. New Artistic Impulses at the Beginning of the 20th Century The world of art opens itself to us in melodic form and moving color: music and poetry. Welten-Menschen-Wesen. In ourselves we feel the possibility and the desire to gather this multiplicity. . Pay attention to the pendulum Between Self and World: And there will be revealed Human-Cosmic-Beings. Suche im Weltenwalten: Und du findest dich selbst. as is the case. in the canines. Rudolf Steiner expressed this harmony between inner and outer worlds in the following verse:1 Suche im eignen Wesen: Und du findest die Welt. Cosmic-Human-Beings. Merke den Pendelschlag Zwischen Selbst und Welt: Und dir offenbaret sich Menschen-Welten-Wesen. the entire animal kingdom is virtually contained in this “Human Cosmic Being. We can be musicians or poets. Thus. sculptors or painters. Seek in the World-process: And you will find yourself.” This presents human 14 Seek in your own being: And you shall find the world. If we consider the hardest part of our organism. to connect the arts with each other.Adults need to re-learn this flexibility. but we can also—once we have found the proper artistic form—be all these things at once: “Human-Cosmic-Beings. we note that our own constitute a harmonious—actually human—totality. by seeking in themselves the movements of nature and then taking hold of them and forming them in a new way.

this art stood under the sign of concordances. The time was not yet ripe for Steiner’s veiled proposition to develop a dance form that would allow the artistic expression of far-reaching thoughts through movement. he asked young Russian artist Margarita Voloshin: “Would you be able to dance that?” She said yes.beings with the justified challenge to seek. Both artists turned to a neighboring art and tried to do new things by blending different arts. involved in creating a theatrical total work [Gesamtwerk. The correspondence between the two artists3 shows that they were both intensively. Years later. We may select from the multitude of such seekers the painter Vassili Kandinsky (1866– 1944) and the musician Arnold Schönberg (1874–1951). not pursuing the subject. This is where the music of the future begins. During a lecture series Steiner gave in Hamburg on the St John Gospel. the balancing between human being and world in the realm of art appears ever more urgently in the soul of individual artists at the beginning of the 20th century. a word coined by Richard Wagner—translator’s note].4 At that same time. the 15 . In 1908–1909. She represented repeatedly and in very expressive fashion the theme of the Miraculous Fish Haul (John 21. and. From its very beginning.”2 These words characterize the novelty in the artistic impulse of those years. out of their own being. In his book Of the Spiritual in Art. 4–12). The Lucky Hand (Die Glückliche Hand ). for which the music was written by composer Thomas von Hartmann (1885–1956).6 We can experience the birth of eurythmy as an archetypal picture.5 There the snippet of a conversation ended. merely answered that whatever a person feels can be danced. and independently from each other. out of the water. Schönberg was writing his play with musical accompaniment. Kandinsky writes: “Schönberg’s music leads us into a new realm where musical experiences are not acoustic experiences but purely soul experiences. Out of hidden depths. The quest for the balancing pendulum. Also at this same time we encounter the preliminaries to the birth of the new art of Eurythmy. Margarita Voloshin painted images from the Gospels. for further universalities. Yet the very brief conversation did not remain fruitless. Kandinsky was working on The Yellow Sound.

In 1911.” as “visible song.”7 Steiner did not connect eurythmy with any existing dance school. Happily. Other sources are human speech and song. 16 . Steiner’s pursued the question and developed something completely new with the gifted young woman. the formative potential of eurythmy in a way adapted to the times. although we know very little about it. solid forms. Greek temple dance. Eurythmy was born as “visible speech. on behalf of her 18-year-old daughter. 1 – Magarita Voloshin’s The Harvesting of the Fishes Luckily. a mother asked for a thoughtful and healing kind of movement that would be in agreement with the artistic impulses coming from anthroposophy. may be seen as one source of eurythmy. Fig.element of streaming life. Lory Smits (1893–1971). human beings nowadays are not yet able to grasp and apply the fullness of forms. nourishment. Steiner was able to pick up a few years later the suggestion he had made to translate spiritual scientific representations into artistic movement. fish in abundance are drawn. Whether they are practitioners or spectators.

which is a visible expressive gesture. creating waves that make it possible to hear the totality. By contrast with other dance forms. which must be infinitely differentiated depending on what it being said. one has eurythmy. we exclaim: “Alas. the hand may turn out. no longer streams to the outside. just as the form of air in speech is an invisible form in which the thought penetrates. Over the years. it surrenders to a strong impression. Those who can observe supersensibly the forms emerging from the human mouth see forms in the air. it closes up at the level of the larynx. those are the words. what a pity!” (Wie schade! ). expressive gestures. individual and group forms. If one copies them. in a stiff ‘tree trunk’ gesture (sich einstämmen). The expressive force is fundamentally different depending on whether I ‘rise into’ a more 17 . which demands a very wakeful consciousness. so that the face always remains turned to the audience. yet the nuance of separation surrounding the sound must be expressed differently in movement.Steiner described it in the following manner: The connection between speech and eurythmy is that “whenever we form a word. What could be more immediate than for the arms to open up and thus. qualitatively very different understanding of space. Here too. Each sound has its archetypal gesture. the mouth opens into an A. There are in eurythmy a multitude of arm-movements. but simultaneously falls a little. bring soul experience to expression as an “Ah!” If.”8 The Origin of the New Art of Movement When we exclaim “Ah. on the other hand. We can thus form straight and round forms.and legmovements. the performer in eurythmy mostly faces front. how beautiful!” the soul opens up. Eurythmy is the translation of air-gestures into visible limbgestures. we compress the air into a particular form. as well as foot. through a bodily gesture. For instance. Similarly in aber and abwehr the A remains open. Steiner developed gestures for all sounds. Rhythmical stepping. in particular the walking of spatial forms. geometric and poetically free forms. This produces a new. different foot positions have expressive potential. the “Ah” also opens.

Describing and 18 . but that it was born from and for the human being. melody (melos) and harmony as well as tones and intervals. creating a ‘total work’ (gesamtwerk). soul and spirit. what would flow into a modern pedagogy. the precondition of an acknowledgement of the threefold human being would not have been present at its baptism. at the start of the first eurythmy course. When introducing the gestures for the consonants. rhythm. taking into account the lawfulness of beat. speech. their collaboration. Steiner emphasized: “This new art of movement can be executed only by someone who acknowledges and lives with the certainty that the human being consists in body. From the beginning. and what would take form as hygienic movement and therapeutic eurythmy. music was used primarily as a kind of addendum. Had this threefold quality not been part of the essential nature of this art form.spiritual space behind myself or whether I move forwards toward the spectator. can in turn blend into a total work of art (Gesamtkunstwerk). Steiner saw eurythmy in its threefold effectiveness. But increasingly Steiner shaped it into a toneeurythmy. It is an autonomous art. Steiner connected them with a great variety of images and situations. if colored light and colorful garments pick up and reinforce the gestures and spatial forms according to mood and meaning. This offers eurythmy quite new creative possibilities as a stage art. Lory Maier-Smits reports that. We thus have in eurythmy an art of movement combining in rhythmical fashion music. color and moving sculpture (eurythmos. The Threefold Art of Eurythmy Everything that lies hidden in eurythmy was present in the very first indications given by Steiner. for preludes and postludes. A few examples will show how. from the beginning. on a new level and in an expanded sense. one could perceive the unity between what would take form as a stage art.”9 This made clear from the outset that it was not just another artistic reform-movement. beautiful rhythm) blending them on a new level and. which is further put in the service of pedagogy and healing therapy. At the beginning. in a broad sense.

feeling into a lively correlation. The art of eurythmy consists in giving expression to a speaking quality 19 . agitated or nervous children or adults. by rights.and word-gestures led to new forms.”12 What weight this carried when spoken and brought to eurythmic expression at the (official) birthplace of eurythmy! It became the petition of every person doing eurythmy: Make me a gate through which speech and music can become visible. Make me selfless and strong. Steiner mentioned that the spiral is not simply a nice expressive version of particular circle dances. this should be a source of vast strength!” To which Steiner answered: “Of course! Did you think we were just here to dance? We also want to help heal sick people. It was no mundane word. Thus appears the deep Christian origin of eurythmy. Let not my own will. but the exclamation “Hallelujah. The art of living consists in being human. was born in three forms: as stage art.” which means: “I cleanse myself from everything that hampers my seeing the highest. eurythmy. You should prescribe these for people who are tired. my caprice be satisfied. Doing them will wake them up. but the will. stimulating effect. will stimulate them and trigger their interest. The new movement-art. listless and sleepy. it can help counteract selfishness and excessive full-bloodedness. Sound. If the spiral curls outward from inside to outside. in bringing thinking.”11 At the point when this art was being born.”10 And after setting up the next sequence L M N P Q.practicing the first five sounds. Lory Maier-Smits reported doing eurythmically the first complete word. but can also be put into action therapeutically. he said: “If at some point you deal with excitable.”13 This thread of healing was picked up the next day of the course. he thus mentioned its healing and educating potential. the feeling and the sense of the Highest. the sequence D F G K H has a calming and releasing effect. Marie von Sivers perceived the depth of this moment and noted: “Herr Doktor. The walking of forms in space is also effective and full of possibilities. my own feelings. he summarized this group as having “an enlivening. If done rhythmically in the right way. On the Sunday of the founding week of eurythmy. as pedagogical art and as therapeutic art. curling inward strengthens the human ego and counteracts anemia.

No one can graduate from an institution of higher learning without knowing Galileo’s Law of Falling Bodies and that of the Pendulum. Galileo recognized and calculated the laws that Michelangelo had used in his building. The artistic means of eurythmy. They do this without intermediaries. namely pure movement.e. Michelangelo built the Dome of St Peter’s in Rome. Artistic Creation and Artistic Knowledge in Eurythmy In order to approach the being of eurythmy from as many sides as possible. we need to take an apparent detour and follow the working method of two men to whom European spiritual life owes a great deal: Michelangelo and Galileo.. This is true of all artistic creation. It is a powerful heavenly vault magically produced on earth.in movement that is curative. educative and purely artistic. He comprehended in his intellect what Michelangelo’s creative genius had applied intuitively. a masterpiece of artistic balance. the feeling and the character of the movement. Their lives were immediately adjacent: Michelangelo died on February 15. above the entire city. not through reasoning. Human beings are so constituted that they can embody in the material world that which lives in them as an outflow of the spirit working within them before they can grasp it intellectually. Galileo was born on February 18 of the same year. point to the fact that this three-way conversation is the common wellspring of this archetypally human art. looming high above the church. and he formulated the scientific laws that became one of the foundations of modern life and now belong to the common fund of human culture. 1564. altogether not through the intellect. which uses as its instrument the human body. This fact is of interest to 20 . It is by using Michelangelo and Galileo as examples that Steiner speaks of the process of artistic creation and of the ensuing process of coming to know and formulate the laws that govern the work of art. He points out that human beings perform without any intermediary the exchange with the spirit that allows them to incorporate into physical matter laws which they have yet to discover. i. not through concepts.

not in the entire foot! Now shift the head of the pillar behind the foot point. your forehead. we can see a creative artist at work. for instance the wonderful structure of the beehive. Thus. He only provided laws and explanations after the archetypal forms of the art had been created. before the spiritual world is reflected in the intellect. eloquent manner. When eurythmy was later brought to the public at large. concrete indications.… Bend the head in front of the pillar point and you will have the sensation of O.”15 He also gave very sober. out of the spirit. the first indications for the vowels I A O: “Stand upright. in the same way the human being creates instinctively.… Thus we observe in reality: A human instinct purified and raised into the spirit allows us to create immediately (out of the spiritual world) what we later discover. …The weight rests in the ball of the foot. this verticality as an I (ee). He performed the movements for each sound in very poetic. Just as animals create instinctively. he reached down from his chair and “pulled up around himself.14 If we trace the way in which Steiner brought into existence the art of eurythmy.…”16 In the act of creating eurythmy. it is quite clear that our intuitive ‘feel’ for it. So when we ponder the law. full of dignity and grandeur. It was an inimitable gesture. this will teach you the sensation of A. like a mantle of stars. he was like Michelangelo and Galileo—and the Dome still stands! Two examples from our century may help us expand our understanding of dormant or awakened creative forces in the human being.us because it shows us that in human physical life. Steiner was thus proceeding like an artist. We thus can say that from this point of view. try to perceive yourself as a pillar. a fullness of color and light. but must indeed be present before the law has been incorporated in the soul.’ an inborn capacity to execute the laws of any particular organ prior to understanding these laws. and the top of which is your own head. not only is present. when demonstrating the P. he gave introductory talks to the performances and provided explanations. there is a ‘something. as expressed for instance in a work of art. Thus. The first is a painting by Emil Nolde (1867–1956): Hermit in 21 . You learn to perceive this pillar. the base of which is in the ball of the foot.

The high forehead radiates in warm ochre. the garment of a man sitting in the branches of a tree. Slightly bent forward. 2 – Emil Nolde’s Hermit in Tree 22 . green and blue also appear in the sky. he looks inward as it were. somewhat bent forehead and dark eyes. Black hair. Another image by Nolde represents Christ and the Children. With his luminous. the main figure turns his back on the viewer. radiant. We have a cool blue-green area. indigo and strong dark violet occupy the facing side of the painting. turned inward. warm reddish brown beard. He is peaceful. at peace with himself in his entire character…. the palm of the hand facing him. The children’s side of the painting is luminous and light.Tree. His right hand is held like a mirror. black eyes. Reddish black and brown. denser and more natural. he bends lovingly toward the children in red and yellow garb. which is Fig. the foliage and the branches in the background where colors are more distant. In a bluegreen garment. Thumb and hand radiate the same warm yellow as the forehead.

especially Christ bending down to his surroundings and taking it up into himself. Steiner covered the whole arc from artistic creation to knowledge of the artistic laws in manifold ways reaching into modern times. his intuitive knowledge of the inner forces of color. Form and color create a harmony built of contrasts.” In these images by Nolde. and both move in an M gesture. the children come to Christ. There is a very close fit. Both figures are similarly constituted of colors familiar to us as from the eurythmic gesture for M. Steiner spoke of the M sound as a statement that “things are in harmony. but in their inward being. Christ and the Children was painted in 1910. As we have seen. A chord is sounded.Fig. the Hermit in 1931. in harmony with itself and at the same time involved in a conversation with itself or with the environment. form 23 . they sound the M. a consonance. What is it about these paintings that makes them so eloquent for us in connection with eurythmy? In both cases. Trustful and joyful. 3 – Emil Nolde’s Christ and the Children the world of adults. Not only do the external forms a imitate this sound. In his first lecture of the Speech Eurythmy Course. the main figure is in a state of active rest. the harmony has taken the form of a painting. as in the end of the word Leim (glue).

more generally. Fig. Emil Nolde’s two images can encourage us to take another look at the eurythmy figures. 4 – Eurythmy gesture for “M” On March 1.”17 24 . to study them more closely through intensive practice. We are challenged to work with the results of his research and to make them our own as much as possible. It is needed. through eurythmic wakefulness in our encounter with the world. to know better the human organism. “Students felt that the wooden figures of eurythmic gestures should be presented during the pedagogical week. Waldorf teachers should work with them in order. and with the world of art. 1923. I will provide such a series.and movement flow immediately into artistic creation. Steiner spoke about the eurythmy gestures at the Teacher’s Conference. What we can learn from these gestures provides a foundation for general artistic perception. when the first Waldorf school entered its fourth year. for knowledge of the inner human organism. and only then are processed conceptually. While they are also important for a psychological physiology.

the movements that reveal so much about a person. the disposition. These are our most innocent forces.”18 These forces do not all dissipate in later life. They challenge us to live into them. as it were. if they want to know the temperaments. Steiner described the child still surrounded by forces that cast light on the time preceding the descent to earth incarnation. two-dimensional wood figures— do not reproduce just one moment. The writing that tells us about a person takes many forms. 25 .The eurythmy figures—colored. become. forming images of tremendous scope and wisdom. that we understand it in its ‘movement-form’ (Bewegungsgestalt). we find unused forces of movement. but simultaneously the origin. one stage of the sound. Then too. we experience ourselves as this ‘other’ facing us. Rather than being simple replicas. not one moment. In each person. “The struggles endured in the spiritual world. transparent for what the child wants and needs in order to realize its intention on earth. 1913.” For this. Our gaze can then be led to look into the prenatal time of the child facing us. one stage of the sound. This describes the process that all teachers must undergo with their children if they are to do what Steiner calls “to read the children. translated into movement. simple observation is not sufficient. its color.’ for only then do we recognize each individual sound in its multiform unique existence. Embodying the Spirit—Spiritualizing the Body What does it mean to demand that we observe a thing in such a way that we slip into it. ‘saved-up’ forces that remained unspent when the child stood up and learned to walk. it behooves us to transform and school them. play around the child’s aura. the existence and the disappearance of a sound. preceding birth and determining the destiny. its stance. the boundaries of the children and seek an answer to the question: “What in this child is old (what comes from the past) and what in this child is the future?” We must learn to read the children. Teachers must develop a wakeful imaginative consciousness. In his Bergen lecture of October 11. We must ‘put them on. that for a short while. they are real images of truth (Wahrbilder) in that they show.

Teacher Preparation Every eurythmist must at some point ask the questions: How shall I teach this art? How can I process it for myself and with other people? We need to identify some leading thoughts. eurythmy done out of clear consciousness. And how do we do eurythmy? Much of it is done through imitation. 26 . Steiner described an approach to this task in words that can serve as guidelines for us. In the latter case. This sleeping eurythmy contributes to our health. builds up future forces for the world and for every individual. We must find connections in the here and now with our spiritual origins. the present. Eurythmy must lead the individual to the human in him/herself. And finally. the past. learned. taught. performed by using the ego forces. what we do can be repeated. is satisfying in the here and now. We can then bring out completely new capacities in the person. we move our physical body according to those laws. intended to lead the spiritual in the human being to the spiritual in the universe. Thus we can say: • • • Eurythmy done primarily out of the force of imitation heals what in us is old. Eurythmy performed primarily out of the feeling realm. But so do the adults. repetition over extended stretches of time. Children do it. We can also do eurythmy dreamily.How shall we bring out and school these surplus forces of movement slumbering in each one of us? When we do eurythmy. we are dealing with mobile life forces. Even at a beginner’s level. This in turn changes the physical body. it enriches our formative forces. drawn from a higher perspective and showing as many roads and directions as possible. even though they were meant for anthroposophic work in general: Anthroposophy is a path of knowledge. we can try to do the gestures in as wakeful a fashion as possible. find something like a land map or a star map. through empathy: this too can be beneficent and is often very beautiful.

The way we teach—implicitly.It arises in the human being as a compelling heartfelt necessity. and it finds its justification in its ability to satisfy this need. Anthroposophists can only be human to the extent that they experience a vital need to answer this question about the being of Humanity and of the world. The human figure is organized in six geometric positions: 1. we can say that eurythmy can be accepted only by those who find in it something they urgently seek from the depths of their feeling disposition. Its entire justification must be seen in its ability to satisfy this need. Arms horizontal at shoulder height—feet closed 2. Echoing the leading thoughts again. We can say about eurythmy that it appears in the human being as a heartfelt necessity. If we allow this quote to guide us in our work. a compulsion to move. These phrases will help us even in the method of our teaching. we can take quite literally the saying: We want to lead the spirit in humanity to the spirit in the cosmos. without explanations—must justify what we are doing. which is for many eurythmists a daily archetypal exercise (Ur-Übung). in all our students. Arms at larynx level—feet slightly spread 27 . a need as vital to them as the experience of hunger and thirst. Let us look at a basic eurythmy exercise. Human beings can be eurythmists only if they carry that particular question about the being of humanity and of the world. we want to guide our movements in such a way that they are related to cosmic movements. Only so will the unique and incomparable beauty of eurythmy be accepted and acknowledged.19 Regarding the questions that concern us here. a need as vital for them as hunger and thirst. we plunge (or rise) into realms where joy and inspiration flow into all our doing. and to move eurythmically. There lives in all human beings. Only those individuals can accept anthroposophy who find in it something they feel compelled to seek from the depths of their feeling (Gemüt). no matter how young or old.

5 – Series of eurythmy forms given by Steiner (after Agrippa von Nettesheim) 28 . Arms parallel vertically.3. feet closed as in 1. and a more or less quadrangular figure appears 5. Fig. Arms and legs spread—fingertips and toes are aligned vertically. Arms raised so that the connecting line between them touches the cranium 6. Arms at heart level—feet open wide enough to form a pentagram 4. creating a very thin rectangle.

How different the exercise now becomes! Now. I feel myself in myself. clear thoughts connect with limb movement. A clear. I am on the way to the spirit within myself. a sense of well being grows out of what was until now “just an exercise. At first. Steiner kept to the pure geometric forms. Only now does the totality of thinking. he gave a sentence for each position: 1. 3. 5. feeling and willing appear. 4.” Fig. warm sensation.20 who had first assigned them to his students. thinking is led into will movements.Steiner adapted for eurythmy these positions drawn in the 16th century by Agrippa von Nettesheim. I think speech. 6 29 . 2. I have spoken. I seek myself in the spirit. I speak. 6. Reading the connection to the human being. Later (1924) he loosened the rigid form and transformed it into an exercise for the modern human being.

But things can go astray in education. The gesture acquires a will-full character. on earth. Both ways lead inwards. something “radiates” in us. The form consists of two spirals. The sculpting of the curve requires the strength to stop.In a different manner we can study the relationship of thinking and willing activity in the eurythmic exercise. it is as if the ground slipped from under our feet. This (choreography) requires clear representations. The “seeking” comes to a focal point. We can experience in our own practice how deeply the serious and regular performance of these exercises forms us in our humanity. Steiner explained that human beings develop morally to the extent that. which are brought together in the person doing eurythmy. and. The soul radiates for us. clear thinking activity and strong will-imbued actions.21 How then can we approach our assigned task of schooling these capacities in an authentic. but in human beings it must become a moral deed. What does it mean to work with children in this manner? With children between the seventh and the fourteenth year. when living out of the forces of imagination and imitation. If we engage to excess with this action. they are related to all three of the soul activities. as a result of seeking. moving forward. we must work in such a way that thinking gets rightly connected with the will. The spirit radiates in/for us. the child does it primarily by 30 . they have the opportunity to connect their thinking with their will. We seek the soul. Age-Appropriate Exercises with Children We have noted in passing that when he founded the field of eurythmic exercises. “We seek the soul. a second form is attached. This connection is natural in animals (insofar as animal thinking has a ‘dreamy’ quality). the form such that at any moment its direction must change in order for the inward sweep to attain its goal. child-appropriate manner? What can the child do. through a veritable schooling. moving backwards.” The words spoken in connection with this exercise open up a higher dimension. no matter how clear our thinking. Steiner offered them to adults. feeling included. To the first form. to bring about a confluence of the streams of thinking and willing? At first.

We plunge with the child into images. If adults—teachers or parents—have trained their observation. when we do eurythmy in preschool. we had come to the point where the crafty frog must be thrown against the wall. takes place. A four-year-old demonstrated to me how unbounded the work of images is in these first seven years. Steiner described it thus: “The streaming of the forces of growth from the head downwards is predominant in the young child until the seventh year. only when thinking becomes emancipated at the change of teeth. the child is ‘imaging’ in its carefully guided limbs. the head does everything. the Dwarf or the Horse pours into the child’s soul and body. when it learns to walk. The entire bodily organization starts out from the head-organization. At that age. For the four-year-old. images are still so powerful that this particular child couldn’t throw the frog. We can rightly say that in preschool a process of ‘limbifying. no remembering. they see how wonderfully the thinking forces from heaven flow at that age.guiding the old head forces into the young limbs.’ an embodiment of the spirit. it ferries the past over to the future. but became the frog. What did he do? He threw himself at the wall—so hard that we had to rush and put some ice on a big bump before the now-released King’s Son could stand in front of us. the Moon. formed and shaped by the images of movement streaming directly into them. there is no practicing. Eurythmy has such an immediate effect of building up the body because there is no ‘filter’ to block it.”22 31 . and then with a K and a T from the word klatschen (clap). Until the seventh year. forming and creating it. There is as yet no threshold of consciousness. no movement consciously guided by the will is possible or meaningful. no knowing in the later sense. In the Frog-King play. no active will to dam the stream of images. The life-filled spiritual image of the Sun. does the head too get released from this powerful descending force. We enclosed him into a careful O. we clapped him with our hands against the wall. Thus the limbs are built up with spirit. In the first seven years. we live in the immediate presence of the spirit in physical activity.

imaginal forming. becoming visible. After the fourteenth year. Each child has his or her own place and cannot stand anywhere else. Life and practice take place in the region that is half-born. one notices how differently the children experience it.Fig. it is momentous and must be experienced with utmost alertness. and copying. not yet purely in the ascending stream. Now our concern must be to allow these whirling movements to live strongly in forceful yet orderly fashion. Starting school is a huge step! Now the children no longer gather around the eurythmy teacher like chicks around the mother hen. To the outside observer. 7 The gesture expressing most purely the incarnation of the spirit in the first seven years can be drawn as follows (left). leading to whirling. It sets obstacles to earlier movement. appears at first like an intrusion or an obstacle rising from below. this gesture will completely reverse itself (right) In the early grades. Very often. moving forms. Whenever one repeats after the seventh year an exercise that was done before the seventh year. but for the teacher’s consciousness. only partially engaged in reality. this is merely a subtle difference. the key to a successful lesson lies in the transition from peaceful order to strong movement. In the kindergarten. contraction and expansion can be 32 . however. we stand between the two gestures: no longer in the purely descending stream. rising into the life of dreamy imitation. The will impulse. its effectiveness. swinging. which are in contrast to the almost holy smooth flow of the first years.

together with dreaminess and wakefulness. a first stirring of the active. I must consciously develop the activity. go down slowly—and now I stand quite firm!” If I don’t want to wobble. The curriculum aims at teaching the movement of the Ego into the World. the situation is now such that thinking and will must be brought together in practical ways. From a biographical point of view. catching up later is possible but only at great cost. Let us remember that. For the choreographic form of the word ‘I’ is a straight line going out into space and returning on itself. This big novelty is a first exercise in independence in the first grade.e. one component of the curriculum is the biblical story of Creation treated as the evolutionary history of the human ego. I must do something about it. evokes. The eurythmic ‘I’ is to walk the path from spiritual world to earthly world and back. it must learn to practice walking backwards. when a young child walks through the room. with the world. “if I must walk backwards. as can be seen in an example that would have been inconceivable earlier. it happened as if by itself. At this age. he or she always moves in one direction—from back to front. If one misses this turning point in the ninth and tenth years. call upon something above myself (Übermir). During the ninth and tenth years of life.accompanied by the verse “I am hidden—I am here!” When they do this. with the ‘We. But. Here we see how eurythmy flows out of the being of humanity.’ One new development at this age is that children start to walk the circle frontally. which is a way of practicing the idea: “I am a formative part of the 33 . we express a relationship with space. and also as the teaching of historical epochs.. from invisible to visible. ascending will: “I can stand on tiptoes. i.” In order to offer the child a field of practice allowing it to build a strong and healthy relationship with the self and the world. overcome myself. One might say: The child was ‘being walked’. The same movement. when done in the first grade. By contrast. from spiritual world to earthly life. whenever we walk a circle or any other closed form. we need to practice more and more the starting point of a movement. his activity was passive. children experience themselves as alternately round and dreamy or wide-awake and happy (see chapter: Sphere and Circle as Moving Gesture).

and act. The ‘I’ appears expansive and radiant in the first version. The second path. we speak of the possibility for the movement to make dynamics visible.”23 This allows the overcoming-of-my-own-weakness to be absorbed into my habit-body. instead. Such are the secrets concealed in such a simple exercise! We must look elsewhere to see the effects of the ascending and descending forces in the higher grades.” These words actually describe in general the existential situation of that age.” Walking the circle and many other spatial forms always frontally connects spiritualizing of the body (walking backward) and embodiment of the spirit (walking forward). How then shall we do the exercise? The first path brings us backwards. Let us consider from this point of view an exercise for the seventheighth grades on the words: “I will—I cannot—I must do it. Its strength determines its qualitative expressiveness. actively—from here to something in the spiritual realm. underlines the gesture. by walking the circle. Starting from ninth grade. The line’s expressive power speaks in space through form and direction. ‘pulled myself up’ by my own hair like Baron Münchhausen. a qualitative element in the movement itself is increasingly at work. as it were. in ‘polarized’ versions. overcome myself. or my inner weakness. the movement is filled with spirit. i. this.e.whole. Having. We finish the exercise by clapping. but I am unable to handle either the strength of my body. I trace eurythmically speaking—an E and “the E fixes the ego in the etheric. After the birth of the astral body. For every time I touch my own body. ‘drops’ me down into the earthly front space. and shrinking. I apply all my force in all directions. A line may start softly and end powerfully. it describes an ascent leading to 34 . rather than an exception. the student can perform an outwardly identical gesture twice. forward. wilting. The movement parallels the soul’s experience: I will experience myself. when the soul becomes individualized.. yet I must attempt it. which expresses a different mood than the same line started boldly and running out to a whispered ending. it makes this effort into a life-habit. Help does not come principally from outside. as it were. the second time around. In one case.

stumble or fall according to the demands of the work of art. In the second case. The short step awakens me.) The raindrop falling is short. waking and sleeping still slide into each other. season-steps and (short) dwarf. To the extent that human beings return to the forms of the divine creative word. There are (long. (Children yawn when they spend too much time with giants. The child unites waking and falling asleep.”25 How literally should we take these words from Steiner? Much of what he said in the first lecture of the Speech Eurythmy Course can already be found in things he had said a year earlier. especially in the Middle School years.or ant-steps. But there soon appears a beat-like—not yet dynamic—rhythm. rising and falling. they continue the work of the gods.resolution. the long step makes me sleepy. produces the human form as the outcome of eurythmy. The ‘language’ of the feet requires long cultivation before we come to the point of really “speaking with our feet” in eurythmy. if qualities are to be not just perceived but actually formed in a conscious manner. not just in the ascending and descending direction of the walking but also in the length of steps. it requires thorough preparation by the teacher. half-awake. “God does eurythmy. dragon-. In the ninth year. slow) giant-. float. We can follow the way the two streams are expressed. Until the ninth year. the same round form will breathe in its surroundings. from the human being’s living breath. the fog rises slowly. In the Twelfth year. The quality of the movement is connected with rhythm. half-dreaming life. A new life appears in the middle sphere: a strong. being an ego and being the world at the same time. It must flow down into the feet and up into the arms. instead of just mumbling along. The feet must be able to glide. and in so doing.24 Letter and Word We have come to the point in the development of movement and its differentiation where we must explore the meaning of the spoken and heard word. speaking as a 35 . If gestures are to be differentiated. It practices in its own body living and being lived in. All movement must start from this central point. each step is an image. the counter-rhythm appears.

Ultimately. I shall listen. the spirit of the sound is. At the end of the first grade. much human power. a mountain. There is a very narrow threshold on which it is decided whether at night the words. What the earth tells me. All consonants are movement and sensation. and also. etc. we rely on archetypal images and simplicity. warming.”26 Vocalizing in eurythmy brings the body almost to rest. shaken out. We take an elementary approach to the sound and the gesture of consonants and vowels. it is clear to all of us that a car has much less power than a stone. forming. let alone topple us. creating. How then should children spell the letters to satisfy the requirements of this anthropological condition? In the first three years. tractors. connecting it with the child’s forces of growth. A true embodiment of the spirit takes place. We can see this in the following example from a first grade. 36 . I shall learn in the world. rolled. waved. if we so choose. I will listen to what the heavens. At the beginning of the year. This takes us directly to the essentials of language. we may find a starting verse like the following: I will be still. In the process. much devil’s power. whereas consonants objectify forms. the body is burned through by the spirit. We can then say: We have much heavenly power. The sensation of the word’s spirituality streams into the body. I often ask: Where shall we seek our strength today? The answers tell me unmistakably the mood of the class. For instance. Clearly ‘consonanting’ spiritualizes the body. for the airplane is manmade and the flowers are created by God.pedagogue. suggestions always come from the technological sphere: We look for strength in airplanes. inward register. “All vowels sound at a deeper. As a way of tuning the children’s souls and bodies at the beginning of a lesson. This is true in every eurythmic action. But the devil’s power must be used in such a way that it doesn’t oppress us. the sounds and the movements reach the real sphere of truth (we might call it the angelic sphere). the moon or the flowers. as it were.

A too looks different depending on context: If we work the series backwards from G to A. The plunge into the original powers of sound is a more wakeful one. will then have acquired the winged power allowing us to converse at night with beings of the higher worlds. poppek (Serbo-Croatian) bimbo (Hungarian) bottone (Italian). Thus bud (English) can be translated as kalyx (Greek). spiritualizing and enlivening the body. We tie in directly and actively with the gods’ work. Or soul (English) is Seele (German). Working on the same themes in the ninth grade is very different. “What does H look like?” The answer must come from the light-filled open space created by G and it must prepare the ground for I. We discover anew the many different laws with which we had interacted practically: The consonants are trace movements of the outside world and the vowels are the lively expression of the inner world. Which stories hide in the sequence LMNO? We experience successively divine wings. we develop a more wakeful relationship to our own movements and speech. silmu (Finnish) Knopp (Norwegian). with the formative forces active in the universe. curiosity and O—how good to have all these things! If we succeed in practicing in this way.and concept-free speech. how we approach the alphabet in the fourth grade. This speech. For instance: The same meaning can be expressed by different words in different languages. anima (Italian). The H-gesture is ‘demanded by’ the alphabet. Let’s see. 37 . a deep satisfaction takes over the class. strengthened and working into the body and the spirit.Now the image carries the speech: Vowels and consonants are linked in the word and we must fulfill their task of forming. In the grades also the path leads us through a sound series. Such series provide us with the extensive experience of image. for instance. When we work eurythmically with foreign words or with entire poems. In curative eurythmy. constantly repeated. psyche (Greek) ame (French). whereas A placed at the beginning of the series has a gesture of wonderment. we work with the effects of single sounds and series of sounds. We walk from A to G and then ask. we end with an in-breath. human breath.

the body ‘paints it’ so vividly and soberly that this ‘painting’ can be seen and judged (objectively). the image of the sound moved in the bodies. Can we make visible in ourselves light and darkness? Can we light up the darkness in the direction of blue? darken down the light in the direction of yellow? The second step consists in expressing these qualities not only in my own body but also working with others as a group. thoughts. At the core. The bony. and the Italian anima—focused on the central I. There are many more exercises to awaken new perceptions. 38 . we might start as follows: We attempt to explore a new quality through movement. we can penetrate in an artistic process whereby we can bring to expression in our limbs (the material of spirit) the ideals. the character of the letter F must be reproduced through the arm and the entire countenance. sound-images (the matter of the word). the extent to which I can really succeed in being true to the form of the words. Working with the eleventh grade. The feeling that the same old hat at last makes sense touches even children of that age for whom eurythmy is not necessarily the focal point of interest. The color is created in my inmost being and expressed through the body. arising as the source of art. At first. an open A at both ends and joyfully breathing N and M. Now the essence of the sound is made visible in the body.These differences spark the children’s interest. an interest for the world whereby children perceive with wonderment how different the gesture of the German Seele is. insofar as I experience my own movement. Continuing the work. This awakens interest for the self. the processes of embodiment and enspiriting now become fused. we have the geometric figure of the rhombus. awkward forms of the students resist becoming transparent for the spiritual meaning of a sound. with its long strong E caught between the mysterious S and the embracing Ls. they can excite even a blasé fifteen-year-old. for instance. born from the meeting of two triangles. Looking at the process of spelling we can see how it is turned inside out depending on the students’ age. my own formative gesture. In the upper grades.

must the will be fulfilled. At last Speak yourselves free of the dread. And every tomorrow a vision of hope. Ehe noch des Unheils Ende und ein neuer Stern erschien. The joy of growth. muss ein Wille sich vollziehn. Nur Gewissheit wird den Stein heilger Kräfte neu entbinden. Müssen wir die Zukunft sein! We might. instead. At the center of the work. 39 . For it is life. Zwar in Asche sinkt die Welt. Only conviction will give birth to the stone of sacred forces. Stund um Stunde sind verkettet Ehe uns die Zukunft rettet. therefore. doch Geschlechter werden bauen was vor unserem Blick zerfällt. The very life of life: In its brief course lie All the realities and truths of existence.We also work with the qualities of the past (back and down). True. We are the future! We can only find what we believe. and of this entire field. The splendor of action. Even before the evil ended and a new star appeared. the world sinks into ashes. Look well. And tomorrow is only a vision. we might use Marie Luise Kaschnitz’s poem Future: Endlich Sagt euch los vom Grauen. but future generations will rebuild what crumbles before our eyes. For yesterday is but a memory. muss im Herzen sich die Wende. But today well lived Makes every yesterday a memory of happiness. must the heart prepare the turning. choose to use the Sanskrit poem: Look to this day. future (front and up) and present. Nur Geglaubtes lässt sich finden. The glory of power. to this day! Hour after hour is linked Before the future saves us.

From the very first gesture, the poem opens up; the expanse of the world must become real for me. Endlich! (At last!): Here, we make a great E, embodying the spirit of the world within us. In this sense, we apply to the poem things we had previously practiced experiencing their qualities more strongly. To wrestle to ascend into these struggles, students are plunged body and soul into the true meaning of the word. At the conclusion of the poem, this wrestling can be sealed: Reaching above my head with the right hand, and with the left hand to the earth, standing on one foot, I indicate that I am not standing in place, but that I am ‘on my way.’ The zodiacal fishes grow out of the text (see chapter First and Twelfth Grades), admonishing us to see ourselves as mediators between heaven and earth.

Fig. 8

At these points in the High School, no matter how often we fail, we experience again and again that the rustle and whisper of daily speech can be transformed, here and now, by the individual, into the sound of the trumpet, and more beautiful yet, into the sound of the orchestra when we travel the entire way together, as a group.


Eurythmy in Preschool
We all know how existentially crucial eurythmy is for the child in the first seven years. For the child to cover her face with her hands means, for the sense of life, “I am hidden, in the dark, no one sees me!” Movement and being are one, the child rejoices with her hands; she is angry with her feet; when the soul moves, she claps and stamps. Little people make no distinction between their inner feeling and reality. Just as inner and outer being still flow into each other, so too their body and the surrounding world. For the child, objects are beings. The table ‘hurts’ just as the child’s forehead does. Only gradually do children experience the human sphere and the outer sphere as separate. We assume that what we feed children makes a difference for their sense of taste and well-being. The same is true of the clothes we put on them. Do we pay the same attention to the important questions as to whether and how our movements around the children matter? Great things are revealed in human movement. Stance and gait reveal a friend’s state of mind and health. Consciously or not, we read in the tilt of a head modesty, pride, aggressiveness or attentiveness. And how strong the acoustic impression made by sounds! Not only can we hear who is walking down the hall, but we can even sense if the person is excited, angry or tired. Adults can read movements. Children feel them, imitate them. They absorb them much deeper, because they lack the protection provided by being able to interpret them. They have an immediate impact on their soul and feeling life. But whenever we take something in, it gets transmuted into form! Nutrition is one example of this fact: Whether it is too little food or


an unbalanced diet, everything has an effect on the formation of the organs. Why should it be different with the ‘ingestion’ and ‘digestion’ of movements? It only differs to the extent that the absorption of movements is deeper yet, more closely linked with the person’s soul. It doesn’t just affect the body, but affects strongly the highly fragile structure of the child’s soul-life. This is true of all movements, for children live incessantly in movement. Whereas we adults ponder and listen quietly, children ‘think’ with their hands and feet; they are constantly active and can only listen without moving for very short periods of time. All games are learning opportunities: jumping, skipping rope, skating, balancing, running fast. These games are always successful if the children participate in them with their whole being, joyfully. The body becomes active, healthy and untiring. Nothing else happens when we do eurythmy with preschool children. We hop, we stamp, we run fast and light-footed, together or alone, just as we do when we play. The eurythmic impulse, the contents of the movement isn’t just on the body: It is primarily located in inner experience. Eurythmy can start more or less like this: We open arms and legs wide and jump happily: “Yes, yes, yes, here we are!” Joy, openness radiate throughout the movements. Then we reach up to the sun to gather strength. We clasp our arms to our chest, then relax and reach above our heads. We make a eurythmic O, we take the sun in our arms, The eurythmists speaks: “Let’s get a lot of strength from the sun,” or “We look for strength in the earth.” The sentence is similar, gestures too, now narrow, now wide. But when she says, “Let’s get a lot of strength from the earth,” instead of forming a sunny O (above our heads), we reach down to the ground with a strong D gesture and a vigorous explosive sound. If it is stormy outdoors, and the children come in winded, they may wish for the power of the wind. This gathering-in of forces can be repeated in every lesson, along with the alternation of contraction and release. Every time the same, yet every time new, according to the children’s needs. The eurythmist working with young children is called upon to be wide-awake in soul, flexible and absolutely sincere. The soul coloring


the adult must participate! The adult’s ‘mantle of movement’ must be wide and enveloping enough for all the children to be carried along in it.” Slowly. close our fists on the reins and off we go: “My white horses. experienced inwardly. Ai.is passed along to the children’s souls and bodies through the teacher’s gesture. with empathy. Now we go down. How can we do this? Not with sermons. We want to induct the children in their use. they love to go slow. Ai. then on pine needles. We stroke the little horse. with measured step along the way. In any case. wooden sticks. stepping on soft moss.” The eurythmic gesture for the sound Ai. horsey. Allowing the children to move in a manner copied from technology would be like giving them stones instead of bread. in which one hand or arm glides in front of the other. come!” With our arms we form a loving O. or the sound of bells. “Come. but with an image: We are walking through the woods. takes them all into her spirit-.” Then we sit up. How easily said: a human being in harmony with his deeds! And how rarely we adults manage to be in harmony with ourselves and with the world in our thoughts and deeds! We have before us an archetypal model of humanity. “Ai. never allowing them to become mechanical. now on stones. We want to ride. come. This places us before a momentous responsibility to perform our own movements in a meaningful manner. “Ai. a harp or a recorder. subtly. what a beautiful coat you have. carried aloft by the spirit. is self-evident for the children who pick it up gaily. soul. Ai. we are both rider and horse. The child is open to all the movements in her environment. The images must be strong. 43 . and now we come to a brook and jump across it and at last we come to the meadow. The child’s surrender to the environment facilitates the wonderful capacity we call imitation. healthily. in harmony with the self and with one’s actions. feet extended like hooves. knees raised. They can be accompanied by a verse. We call the horse. We clearly experience the children pulling inward through these images. humanely. upon which all learning rests.and physical-constitution by reproducing them. skipping happily. We grasp the world with our hands and feet.

From this anniversary a stream of life flows over the entire year. a resurrection in the child’s future biography. If this is successful. we are entitled to hope that there will be an Easter. we must dedicate our entire attention and responsibility to this enchantment of Beginning. then the highest forces truly come to inhabit the growing body. with speech and with contemplative music appealing to the feelings. In our education of the young child’s movement. connecting heaven and earth in the human being.We have such an image before us at Christmas when we celebrate the birth of the Child and of Christianity. If we connect the movements with that which contributes to human skill and strength. The person will be able to spread wisdom and blessings into old age. 44 .

Every external form. or through word and movement—all this leads us to Art. sculpture or poetry. the greatest? Which food. builds on the idea of transformation. Another motto.The Curriculuma Work of Art Correspondences between the Developmental Phases and the Eurythmy Curriculum In his treatise on Plant Metamorphosis. then the artistic creation is not music. and not a one resembles the others. The secret laws of the various ages are revealed quite individually in each person. but also every soul and spirit form in the human being points to the ‘secret law’ of humanity. painting. in clay. At every age. The true art of education. And thus the chorus points to a secret law. this you must be willingly.” To sense the processes of growth. as understood by Waldorf pedagogy. of metamorphosis. What the plant is without applying her will. the whole human being in his/her temporal and spatial form. Yet if the material of this art is not just a component of the world but a world all to itself.” This describes from another point of view the fundamental gesture at the root of pedagogy. if this material is the human being. musical tones. it asks one question: What is now the highest. the greatest? The plant can teach you. to perceive them imitatively and to lend them form and expression in colors. differentiated in each individual. wood and stone. but the art of education. Goethe wrote: “All forms are similar. What a glorious task is thus assigned to pedagogy! The educator’s ever-renewed preoccupation is the search for the generality as reflected in the particular. which material and which method does the child need now in order to develop 45 . this one by Schiller can also be of help: “Do you seek the highest.

to be ‘read’ from the development of the growing person and aimed at his/her formation in the most comprehensive sense. Head. the Waldorf curriculum represents a totality. it becomes clear that it plays a mediating role. soul and physical body. using the foundation of those early years. external activity and imitation. they practice grammar and syntax..e. How do the different totalities look? The current stage of life determines the choice of materials. the children start to write. In the middle grades. Eurythmy builds bridges between the subjects and within each subject matter (see below). it is a very rich one. But in the person 46 . The adolescent needs strong challenges and stimulation guided by the intellect. i. differentiated according to age. the curriculum has to be a fine-tuned composition. leaves and flowers. Just as the human being is an articulated being of spirit. This construction based on the totality could be followed in detail for all subjects. autonomous intercourse with the language—appropriate to individual and age-related capacities—is now possible. will in the realm of action. or French. Middle childhood demands primarily a penetrating attention to the feelings. Chinese. whether Spanish.this highest capacity out of his own will? In this manner. feeling in its multiplicity and intellect. so too we must determine the subjects to be taught in such a way that they are articulated yet well related to each other. hand—science. It is a work of art. art and religion—are connected and in balance if the teaching is anthropologically sound. and it has far-reaching consequences. This articulation is also at work in the composition of individual subject matters. When teaching foreign languages in the early grades. A free. the children speak and sing. In order to do justice to human beings developing in the stream of time. If we now train our gaze to the teaching of eurythmy. one needs to work especially out of the will. its roots. Indeed an attempt is made to match individual lessons with the human archetype. In the first years. In this fashion it is possible to build up in the higher grades the structure of speech on the foundation of a feel for language. Russian. and auditory material is introduced through movement. heart. the curriculum has a wide sweep. If this aspiration is sound. In this way.

In sixth or seventh grade physics. 47 . eurythmy embarks on the independent elaboration of poems. Or again. the rod gets thrown and caught in a beautiful rhythm. We shall select one motif to throw light on this Gesamtkunstwerk (unified work of art) concept. It can’t be just a matter of piling things upon each other. feeling and thinking. movement ‘falls out’ of eurythmy and it turns into simply dance or gymnastics. Spatial forms for a sonnet are contrasted with forms for blank verse. are required. For instance. For instance. between doing. which are most markedly related to the children’s developmental age. Using copper rods about three feet long requires a great deal of precision and skill. If one of these soul activities is missing. one could say that eurythmy acts like a kind of burning-glass for the entire pedagogic process. circular movement. prepared in the learning of literature and composition. fairy tales get picked up in the form of playful. If it is truly a totality ‘read’ from the being of humanity. we shall now attempt to show the compositional unity of the curriculum. feeling and volition. we might think of fairy tales in the first grade. it is necessary that there be a square angle between the rod and the outstretched arm. Eurythmy mediates between the subjects to the extent that the themes of the main lessons. Fractions in the fourth grade are picked up in the form of differentiated spatial forms and stepping series. helping the child to literally embody knowledge. then the respective sections must have a well-proportioned relationship to each other. its task is to create in movement a kind of quintessence of the most diverse subjects.too. and to express it in the body. Precision and empathy. When the tenth grade works with rhymes and meters in poetry. If this is successful. alone or in groups. can be elaborated eurythmically. not arbitrary willfulness. Whereas we mentioned earlier the unity of life-stage and teaching material. Eurythmy takes up the themes of each age and treats them in the whole person: thinking. eurythmy is constantly building bridges. Adolescents are challenged to apply their personal sense of style. In eurythmy. Ideally. It is not just by approximation that the curriculum builds on the fact that schooling goes on for twelve years. the first laws of mechanics translate into the rod exercises practiced in eurythmy.

it should also be possible to demonstrate a correspondence between the second and eleventh grades. It is a momentous developmental step when. but is pure praxis: One can only narrate through concrete examples how this praxis is exercised in this or that case. on her own. While the child is round and heavy. they happily skip on one leg. And with a little luck they catch the ball. For Waldorf pedagogy is not something one can learn or discuss. awakens to her own movements from impact with the environment. During their admissions interview. The child discovers balance and educates it further. 27 What do we read in the gait of a three-year-old child? Is its step heavy because it is still awkward. still bumps into things. for this or that need. The goal of greater accuracy appears in the movement body. or can we observe softness. an arc reaching from the first to the last grade. Yet in the detail she is not yet secure. roundness? The child bounces like a little ball. First and Twelfth Grades First Grade The most important thing is to learn to ‘read the child.’ And a really practical knowledge of the human being oriented towards the body. This quality disappears over the next two years. And if these are fitting. hurts herself. with joyful trust. her gestures have something featherlike. and similarly between the other ages. on the whole she already knows her way and can be quite coordinated. Exercises of ‘body-geography’ 48 . they walk up to the teacher on the first day of school. What delight when the little boy manages to stand on one foot! What jubilation with the first jump! Jumping from a chair into the adult’s arms comes early. the child jumps from a stool or a stair and manages to maintain her balance! And now to the schoolchildren! Goal-oriented.There must be an attempt to build a vault. This is what makes it so difficult to speak about ‘Waldorf pedagogy’ in general. the soul and the spirit helps us learn to read the children. They are familiar and at ease in their body. it is a leap into the process of shooting up.

Some of the suns do not seem visible at all. How short a step then to using movement to engage in a conversation with the body. Precisely there. As we can see. Many of the children’s arms touch their heads. the teacher calls: “Sun. The arms are rounded high above the head. warm. This very habit 49 . an approving nod or a stern glance can help along many a developmental step. Everybody sees everybody else. Here it is important to discern: Is the child tired? Is she getting sick? Or is the connection between spirit-soul and body still weak? It is good for the class teacher to observe eurythmy classes without teaching them. little arms get quickly tired.are easily started and can be continued with ever-greater expectations of success: left hand to right eye. almost filled by the head. left foot to right knee. poise and confidence. Many hands rest on the head. The movements give us many clues about the relationship between the spirit and the physical body. colorful in their mood. seemingly simple gestures allow the teacher to read quite clearly how smoothly the children have slipped into the instrument of their bodies. and so forth. we attempt to awaken soul images through movement images. they are barely suggested—and yet the eyes tell us that the sun is shining. Here is one concrete example: The children stand in a circle. because the head is big and the arms are still short. Each child knows where he or she belongs. The children need for their practice to be accompanied by many people. The children’s arms follow suit: Small suns appear. In a natural but measured voice. the child’s movement informs us about her maturity. This makes for security. The connection between inner image and external image can be established by the magic of imitation which children still control when they first enter school. its developmental steps. They learn from their environment. the children always stand in a circle during eurythmy class. and use this opportunity to ‘read’ the children. What happens in the first grade? To put it abstractly. A loving word. sun come forth!” Doing so. he form a generous O-gesture filled with life. soul and physical being. to nurture and educate it! This eurythmic education of the movement must always aim at imbuing the child’s entire being: spirit. At that stage.

The assigned place in the circle acts like an authority. The children still hang from golden threads. To a certain extent. With habit. the circle in first grade is still a vault. because it is economical. a golden sphere. They live powerfully in the periphery. With my two feet The earth I greet.allows free movement to unfold. Right and left also are super-ordained in the universe. One theme of the first grade is the discovery: Where in myself is the right. 9 The gestures flow out of an overarching image into each single child. Much 50 . it takes less time to get the class in good order. Through the power of imitation. individual style. There it becomes singular movement. the children are completely oriented to the teacher. How strongly the imitation of movement penetrates the children is expressed not only in their bodily motions. Universal laws become the child’s possession. even self-will. but also in the way they move through space. Fig. First the busy one Then the nimble one. where is my left hand? With my two feet The earth do I greet First comes the right Then comes the left. the atmosphere (set by the teacher) are easily absorbed and are extraordinarily effective. At that stage. the mood. This is empowering.

or of the castle courtyard through which the animals canter. all these actions and the quality of movement they represent are practiced to the accompaniment of various verses. 10 There is another angle from which to consider the fact that the child ‘moves toward herself ’ out of the heavenly vault. they are nimble and fast. The children move individually and freely. To bend and stretch. And they can hide quickly. to point. but within the great image and law of the general forms. This one doesn’t like to get up (make a fist) (spread out) (spread out) (hands behind the back) (little finger) (index finger) 51 . with archetypal forms like the circle. or the narrow steps across the brook in Little Brother and Little Sister. out of the periphery: She approaches herself. Sometimes light. not from space. to hide. but from the outer boundary of her own body. He is the smartest. to wriggle and reach. This occurs in a great variety of finger games and foot exercises which humanity had used since time immemorial to educate its young. They can stretch. the straight line. If we think of the spiral staircase in Snow White’s castle tower. My fingers. Fig. Sometimes dark.of what we do in the first grade lives out of the images and mood of the fairy tales. He is the smallest and cutest. And they can crane. or the vault of the sky in which birds are circling. the spiral.

the tall figures crossing the schoolyard suggest a depressed. in space.Except to get a ring. inviolable. it goes without saying for the first grader that all the children must jump at exactly the same spot where the teacher did. busy with the experiences of the latest lesson. sacrosanct. It can take a while before every single child gets there. These central forces must be understood as 52 (ring finger) . the color of that age in relation to eurythmic movement. This one is the strongest And we use it a lot. Their steps are sluggish in their heavy boots. but this is irrelevant—time doesn’t count. (thumb) (closed hand) The human being lives on earth in space and time. The word directs the movement. in imitation. Posture and mood are clearly influenced by the individual soul disposition. The Twelfth Grade To the casual observer. Space plays an enormous role—the child’s memory is still bound to space. space is essential! A few years later. This should be sufficient to suggest the working style. this sphere of individuality is. We shall now turn to the conclusion of eurythmic work in the school. How shall we understand the contradictions? In the first grade. inaccessible to anyone else. Ten-year-olds all jump at the same moment. If the path we follow through the woods and meadows crosses a brook. We saw how powerfully the instinct for movement grows from the periphery. no matter where they stood when the teacher mentioned the brook. But the other fingers Must keep him warm and safe. we lived in the periphery. an awkward leap. But suddenly there is the sound of raw joyful shouts. however. that is an aspect of the circle. It is important now to take the students at their most fundamentally individual. subdued mood. not the imagined event in space. The twelfth graders are intensely involved in conversation. in twelfth grade. the child’s relation to time and space will be transformed. This personal space. Their shoulders are slouched. from the child’s environment.

They sense. at first without any corrections. Faust wants to find out what it is “that inwardly holds the world together. Eurythmists construct six very different positions according to strict geometric laws. This inner disintegration affects all of us nowadays. A circular form is created through and out of the human being. tracing different configurations. Founded on an inner impulse. but one that must lead to the outside.”28 These words of Steiner can strengthen us as we work with adolescents. in biology. Once again: The essence of the exercise is precise position.” The students take up six positions. This transforms thoroughly the larger meaning (Gestus) of the movement. must be tuned and coordinated with its user. right and left within the circle and in my own body need to be exercised. the theme is a survey of world religions. this exercise is one of the best curative exercises to help harmonize the soul in all cases where it so dissipated that this condition is expressed physically in a variety of metabolic illnesses. This can start around the eighteenth year. strong consciousness and wakeful sensations. We find in the twelfth grade curriculum many indications based on this new quality of the circle. inner motivation. This is where the work must take place. however. In the eighteen-year-old. Quietly holding a position enables clear. like any instrument. This instrument. Now this imitation from the inside out is taken up with the verse “I think speech. Praxis shows that twelfth graders can become completely absorbed by this very demanding exercise. The limb is always stretching out. ‘Method’ 53 . In the first grade. arms and legs. the human form is largely developed. When the gestures are practiced in sequence. In religion class. This is not an external process. simply by translating contents in movement. the human being as crown of creation. hands and feet get coordinated. not fluid motion. these positions are formed out of the person’s own body-form.the individual ego-activity. the most varied relationships between arm and leg movements. “When we teach eurythmy to adults and we start them out on this exercise.” This is a central theme of the twelfth grade. This Gestus can now be both content and method. they are sure to find their way into eurythmy. instead of the impetus coming from the periphery to the person.

From the outside. he is shy. The quality of the Capricorn—an active wandering 54 . students gather everything related to the Capricorn: the sign. will-full activity. the colors. he leaps with great surefootedness. The sun is at its nadir. high overlooks. At Christmas we deal with the Capricorn. This also determines the style of the work. This investigation must be done in speech.in this case means: What gets done is determined by the music. he seeks wide views. The only authority is that of the material itself. Again and again. the quality of that moment in the year: dying. the spatial gestures related to this theme? We interrogate the formative forces surrounding us and we seek them in the zodiacal cycle. the month. cold in nature. the season. but strong. spreading is white. the slow ascent has started. students choose the theme of birth and death in its many representations (Conrad Ferdinand Meyer’s Chorus of the Dead. Clenching is black. The ascent into this conversation can be facilitated by the season. the birth of the Most High. the teacher can only be a helping instigator. whatever medium ‘constitutes’ the work of art. What are the forms. in the course of a class conversation. Now. 11 – The sign of Capricorn Contraction Nadir of the sun Shyness Small platform Expansion Turning of the sun Courage Big leap We can find polarities in colors also. which provides peace and spaciousness. Fig. Christmas: joy. Nelly Sachs’ Chorus of the Unborn). we isolate the Capricorn’s qualities: He stands up high. on a tiny ledge. Chopin’s Funeral March. But also. the text. It must be free and objective. We notice qualities of this constellation that run in polarities. rejoicing. although it shouldn’t be ‘frozen’ as typical of a final stage. shrinking.

looking out. constituted of red. Through conversation. The insights must be authentic in order to work with them and apply them artistically. opened at the end of the outstretched arm. an intuition can surface that the build of our body is related to forces of which the visible planetary bodies are merely an external expression. the circle as ideal form must emerge in the twelfth grade. Many students follow this guided yet autonomous Fig. In doing it. Full of radiant power When day and night are equal. 55 . on the left side. knee and hand look out into the world. When it awakens in the sign of the Capricorn. a holding back—an inward quality and an outward one. L is very easy to do and not very big. these colors produce the almost holy color of human incarnation (Inkarnat = peach blossom. the newfound oneness is to become a theme for artistic work. Some years we can go through the whole zodiac with the students. The step corresponding to the sound originating in these gestural qualities.29 Eternally wandering in light. a front and a back. Mixed in the right proportion. If the all-encompassing factor. The legs are spread as if ready to jump.between polar opposites—is red. left knee locked. On the right side. yet firmly planted. The sun is on the way And it appears in every position On the arc of the sky. as for instance in the following verses from Dante’s Divine Comedy. right hand forward. we can find the eurythmic posture suggested by Steiner for the zodiacal sign of the Capricorn: left hand closed at the forehead. It is not an easy form. white and black). 12 path.

When green breaks out. There must be distance. 13 – The sign of Aries This sign. is formed by the circling individuals. fast and lightfooted. something erupts. reminiscent of spring…” A state of equilibrium demands contrasting formal qualities. There is a radial quality. full of radiant force. the symbol of Aries. their weaknesses and comforts? 56 . It radiates life far and wide. The circle turns towards the sun. All temporality contained In the image of eternity. there is wakefulness. The conclusion of this eurythmic exercise can be formed by communal work determined by the qualities of the text.Like the intuition of spring. for it says in the poem: “When day and night are equal. to the people in front of me and in back of me. unhesitating! This requires from every single person a wide-open consciousness: I must attend to myself. and how narrowly bound will they remain to their singularities. What is weaving between the text and the class? To what extent are the individuals and the group able to reach for the generality. the circle changes. with an almost attacklike quality. and to the center that holds us all! When we awaken in the sign of Aries. The theme of this work cannot be merely the result of fancy. to the circle which we all run. but it soon disappears again. forming and building. Fig. facing to the front. The sun pours onto earth Its strongest force of form Creating. When the Creator’s great becoming Newly creates the entire realm. young and jubilant Out of the tender bud’s sheath. but must be relevant.

14 – The sign of the Sun Every verse moved in the first grade—insofar as it had been brought in word and image and reinforced through imitation—every one of these verses can now be interpreted eurythmically. Stars give me my life. And when the sun shower comes They jubilate in it. In the twelfth grade. everything starts with the individual person. I will gladly give thanks to the world through my deeds. Fig. Day after day from the cosmos. 57 .After twelve years of eurythmy. S econd and Eleventh Grades Second Grade We turn toward an inner tier of the curriculum’s vault. which enables our life on earth. the sign of the sun. The sky is their blue home. one may succeed in concluding the work in the sign of the circle. Shake their wings. The sun shines in and out. Swallow Song The swallows. Catch pearls of rain. the relation between second and eleventh grade. the swallows They fly in all directions.

we the swallows”… quickly. Each child builds its own heavenly vault and stands in its midst. for bed. Provided the moment isn’t prolonged to excess. All the children are involved. church spires. as befits raindrops. dark rain clouds.And when the evening bells ring. A new strong movement starts. They are all dry again. the swallows are gathering on telephone 58 . Differentiation starts in the next lesson. for bed. Now the entire poem can be interpreted as a eurythmy play with many changes from animated movement to quietude. tiny steps. to bed! The sun touches them with its last rays And darkness falls on golden space And silence. Another example can lead us still deeper into the work with the second grade. raindrops. It is late summer. silence. And whistle by like hurricanes Around the house and the church steeple And call each other to the race: To bed. as high as the sky. It all ends with a big B. the breath is deep. we leap higher and higher. We laugh at the swallows. Then they stop and create a big L gesture. to bed. – Martin Lang All the children ‘fly’ in a circle. Arms clasped around our bodies. we repeat this L. arms outstretched. every child changes from raindrop to jubilating swallow. then their arms sink to their sides in a flowing motion. alternating between one group of children and the rest of the class. “We the swallows. A satisfied peace settles on the class. We are no longer swallows! We are raining! A large R flows over our backs and down our heads. After the vigorous movement. Again and again. All the children turn around. it is a delight for all involved. sometimes in the form of thick. We form different groups: swallows. many children’s heads leaning to the side. The gesture is ‘placed’ in front of them. We walk in silence. Peace has returned: time for bed. a healthy life-sense reigns. silence— Thus is God’s will. sometimes as drops and swallows. at head level.

several circles. and which ones rarely are. the second grade is ready for an exercise with profound pedagogical effects: a kind of Dionysian round. completely alive in the animal’s Thou. We often have in front of us ‘masters of the beasts. the others look on: What is it? An eagle! But it hardly beats its wing (the child’s face looks severe. In the first grade. among other things. It is part of the normal development at that age to make oneself the center of interest in a healthy fashion. which is one of the exercises described by Steiner: I and You / You and I / I and You / Are We ! There is an intensifying repetition up to the We. the main effort went into creating of a healthy unity. supported by imaginative unity. concealing sheath still gives order and security. ominous). In the second grade. then separating. Silence/rest follows the vigorous movement. Community was the biggest concern. Yet today other birds fly through: What might they be? Some children fly. coming together. to create. The I and You exercise draws out the individual but quickly restores him/her to the whole. Is it a sparrow which constantly interrupts flying to hop on the ground and shake its wings? Is it a parrot with his screechy calls? Animals provide an inexhaustible theme—autonomy. the second part of the movement mirrors the first.wires. The protective. the mutual encounter. always changing. We speak about them. We observe very closely which children are often (perhaps too often) ready to demonstrate for the group. At the We.’ children who quite strongly step into an animal’s essence. Then we repeat our swallow play—always. exchange observations. a strong home for the class spirit. As in the text. When most of the children can take this in stride. they cross paths. the circle. In the second grade. we must work harder on differentiation. The children move across the space diagonally and in pairs. The single person has the main 59 . become dominant. Then the words get reversed: “You and I / I and You / You and I” and we are back where we started.

Each child walks its own path. Von seinem ewgen festen Thron Ist Er herabgestiegen. in a crib. we are distributed through the room. we see again the theme I and You. but each person is most important! We notice here a strong social and therapeutic effect. He who fills heaven and earth. The circle turns into a square. Simple spatial forms walked by individual children and by the class as a whole. in a strikingly new form. He will lie hidden Small and weak. The theme is I and Thou writ-large! The human being as an Ego between the Thou of the angel and the Thou of the animal. the community gets formed. In Windeln eingehüllet Der allen Sternen gibt den Schein Der Erd und Himmel füllet. Let us consider the stories that are told in that class.role. We have both qualities in ourselves: something of the saint and something of the clever sly fox and greedy wolf. when the I and Thou is revealed as its key 60 . but since all the children want to participate. Swaddled in cloth. Er will verborgen liegen In einer Krippe schwach und klein. large festive arm gestures can be connected to a beautiful Silesian Christmas carol. We take up and choreograph sacred festive texts. Eleventh Grade In the following text by an eleventh grader. Out of many single activities by the existing group: the group is transformed into a community. The inborn Son of God. We learn to understand what Steiner meant when he described the exercise as being effective against ambition and envy. Hallelujah. Der eingeborne Gottessohn. the path evolves into the form. The children stand in two circles. Hallelujah. hallelujah! Accompanied by the text or by the melody. It opens up to the listener after repeated reading or speaking. Thus in the second grade. He who gives stars their radiance. yet the form as a whole is cohesive. hallelujah! From his eternal mighty throne Descended He.

But who is a child? – Marco Walker 61 . Your waiting for God’s guidance.Fig. We must seek a new God Who will of us make a world and out of the world an ‘I. He is the goal of all our life. We are alone at first. 15 You will lose your gods. Either we go under or we flower in eternal light. Your dreams of certainty in this life. The one waiting for us Wanting to be experienced. Your hope. Destiny was put into our hand. We are responsible for every deed.’ We must find the one. Yet only to our children will we be able to transmit some hope in God’s guidance.

The goal of our attention is conscious posture. well centered above the body? Can I feel my shoulders. We loosen the foot. which is after all quite familiar. 16 62 . we can experience on a small scale how to remain clear-headed. we work on this walking. a stream rises up to the head across the back. how not to run like a chicken without a head. The class starts. Here in the eurythmy class. The front carries the head. in the loosened step. The text. it also flows through the earth! The foot placed in front gives a backward impulse and enlivens the back foot for the next step.Young. We stand in a circle. the wonderful space around my head. We can experience this simple encouraging pace in almost archetypal. Now we direct our attention to our walking. Further practice makes clear that the stream of walking doesn’t just flow over the person. with its vault of the skull. Observing. this supposedly empty space? This ‘nothing’ in ourselves is getting more and more interesting! We observe: What happens when we all move to the middle? How do we carry our heads? Are we carrying them at all. written by an eleventh grader was handed to the teacher with a gesture of indifferent abandon. or do we ‘lose our head’ when we walk? We all know this ‘headlessness’ from our daily lives. Fig. In this fashion. the front takes along the head. each step connects me with the self and with the earth. we get reacquainted with this walking. A few weeks ago. fashion. the hair now shorn was shoulder length. How do I stand? Is my head. studying in action. dark. describing. and the stream of movement flows back down our front to the foot. erect and awake. neck and shoulders where a connection is established with my comrades? This shell. serious eyes gaze with a grave smile.

Say. We came up with the miracle of sleep. with the students approaching their eighteenth years. Sage. Welches das meine verdrängt. they must become colors. The students no longer stand in a circle. each of them has found his/her place 63 . consolation. da nahst du dich leis. Riesenhaft fühle ich’s weben. Full of lights and of stars: In the eternal distance. and in the eleventh grade. Rising and ebbing life. Steigendes. Is it moving colors? Color in lyrical literature? Is there something for us. At the end. Voll von Lichtern und Sternen: In den ewigen Fernen. Already the first flowing and swelling L can radiate a sacred mood. in which “there is nothing. Students experience that they have arrived at the center of the realm of self-knowledge and self-education. Welling. in Hebbel’s Nightsong? Quellende. The gestures must breathe. hope and readiness. Pushing aside my own. Few words are needed. what awakened there? Heart in the breast becomes tight. say. Schlaf. protection and warmth. Sleep. For eurythmy. the Practice. but rather on the Way. Wie dem Kinde die Amme. there you enter as softly. schwellende Nacht. We must strive to satisfy this readiness. Often we can sense something like a mood of friendly reserve over the eleventh grade. For many classes this year represents an inner high point. there is something deeply satisfying about my own walking. Gigantic the pulse I feel. And round the pale flame You draw the sheltering circle. was ist da erwacht? Herz in der Brust wird beengt. neigendes Leben. swelling night. As the nurse to the child.Walking is an open secret. Und um die dürftige Flamme Ziehst du den schützenden Kreis.” in which the soul expands. this means seeking the way which this particular class must follow. The focus is not on final exams and graduation requirements. The answer of the starry world sinks into the opening soul. Being. the mystery of time. Now students can work independently and wakefully on the mystery of the upright posture and of the free step.

is a solitary return to oneself. To be independent means working with a will that is increasingly my own and increasingly free. then the work should remain a ‘study. In the eleventh grade we seek metamorphosis. rather than being an outsider. rhythmically articulated. night. In the second grade. then a rest. intensification—these are the life of the poem. Students work on the inner qualities of the words and movements. some people will always imitate. Every person in the room tries things out. the theme was I and Thou.in the room. Experience shows clearly that this theme lends itself to intensive solo work. the personal start-out-on-the-way is contained the theme! The swelling gestures become a motif. but rather what will be done. mixes in sincerely with the seekers and practitioners. Do we want to have a performance? If we take our collaborators (the students) seriously. young people are very thin-skinned. We constantly work with these in eurythmy. The question is not whether something will be done. each of them alone with the poem. How do we select the pace? Where do we move? Where do we stop? Which path should we walk in order to make more visible for ourselves and for the spectators the nocturnal quality of the piece? Not everybody will be active: As in ordinary life. Not imitation. Appropriate free choice can be practiced. The teacher must not be simply an observer. color qualities. two growing intensifying Ls appear. it is wonderful to let as many students as possible do solos if they so wish. When conditions allow.’ This is important. It is part and parcel of this grade not to work in the circle. Young people experience the solitary seeking. Rhythm. the courage isn’t there. a breath. Consequently. but now in the light of the stars. Individual quest. it is particularly important to monitor one’s own feelings. Thoughts are perceived. We practice and discuss stylistic issues in relation to walking. for at that age. The mood of the work is greatly augmented when the teacher too.’ and we should feel satisfied. it is right and necessary that they should be consulted. If despite pep talks and encouraging nods. two expanding Ls. whether successful or not. but the personal quest. A second time. feelings are realities. without conveying any sense of ‘resignation. as a teacher. 64 . then a rest.

Who will start alone. we hear two notes. the child stood in his experience via images and stories of being between angels and animals. These words by Anna Iduna Zehnder describe poetically the mood we experience among third graders. young people see themselves and others very clearly.How differently the work proceeds now! We must find texts. Third and Tenth Grades Third Grade Had there never been any angels Human beings wouldn’t live either. In the second grade. This is like a friendly nod. At that age. Working artistically through eurythmy means using the body as an instrument. The artist in the human being can set to work. a greeting with 65 . At the beginning of the lesson. with the brilliance that characterizes that age. For in the human being. my own thinking as artistic media: Through art. but the experience of the Ego and of the World. In eleventh grade. Especially by the end of the year. at which spot? Who will draw the movement and demonstrate it? Who wants to start with the teacher? Can someone find the sound-gestures in order to understand the poem in greater depth? As in life. always the same interval. we can ring these bell-tones of the heart. we no longer have images. Each bell sound announces That the two ally themselves. played on a flute or a xylophone: It is a Major Third. Yes! Your angel sings. through movement. the person reaches down to a very deep layer of self-perception and self-education. And your heart bell tones. my own feelings. the beautiful one. very different courses will be embarked on. an angel resides Like the clapper in the bell.

lower arms and hands waving through the room. like a wafting. It starts to breathe and metamorphose. of the sheath. or stretch out into an ellipse. Adam and Eve. until the expulsion from Paradise. the circle. the circle grows a little smaller for the Minor Third. Inner life turns into spatial movement. almost by themselves. The sounds are always turned inward. Then comes the house-building Main Lesson. the corresponding gestures move close to the child. more inward. It can be doubled or multiplied. we can use the elements to build our own house: stories about mountain. Due to the variety in the world. As a result. carry us forward and yet in the musical Third there is like a delicate breath of our deepest experience. air and light… Human beings assemble into their houses many components of the world. The image. wood. two sounds greet us as we enter at the beginning. arms and hands fluttering towards the child. The teacher tells the story of Creation: unity of the world subdivided into nine units: day and night. The children soon learn to distinguish between the two intervals and to perform them. Other Old Testament stories tie in with it. we built upon the bell. wafting toward the body.. Inner life is expressed in armmotions. the sound of the Fifth. 66 . They sound different. water and earth. of the circle. Now we live within it. a smile matching the movement. the quality of the circle changes. it moves outward when the Major Third appears in sound and movement. In the next lesson again. In the first two grades. In autumn. etc. the musical Fifth. water. It might turn into a lemniscate. warmth. The children follow evolution through these images of human history re-experienced in the Major and Minor Thirds. but the third grade still lives in the circling movement. This throws some light on the eurythmic investigation of space. This is the Minor Third. The gesture of the Third is also present in the Main Lesson. sometimes near the eyes. even when the teacher doesn’t demonstrate it in that way. as if determined by the sound. Spontaneously. we pick up house building motifs.

Now all sing and rejoice. Nun jauchzt und singt man überall. 17 67 .Du hast. o Gott. You allowed rain to pour down So that. The splendor of the earth is shining. each child must follow his/her own angular and smaller path. in the dark earth ripened The stalks could sprout. There is no hunger anywhere. A big job now lies ahead of the children: Although the circles must be preserved. Now the wheat ripples in the valley. Nun wogt das reife Korn im Tal. For you gave us bread. Du hast das ganze Jahr erfreut. O God you crowned the year In your power: The seeds of the field welled up. Fig. des Jahres Lauf Gekrönt in Deiner Macht: Der Felder Samen gingen auf. Denn du gabst uns das Brot. Es glänzt der Erde Pracht. Du liesst den Regen fliessen. You brought joy to the whole year. It is no longer possible to dreamily follow the general movement. – Elisabeth Gräfin Vitzthum One way to give form to this poem is as follows: The children stand in two concentric circles. Upon further examination. Dass aus der dunklen Erd’ erneut Die Halme konnten spriessen. we notice that they actually form many squares. Nun gibt es keine Not.

yet the exercises must become bigger and more diverse if they are to lead to autonomy. Imitation goes a along way. children need and enjoy that! The children are changing fast. a completely different—more energizing— approach appears when the teacher says: “With my hands I am calling a name. it was the poppy in the meadow or the rose in the garden. and we must keep abreast of these changes in our eurythmy teaching in order for our methods to meet them. on the second line. reality and wishful thinking mingle: Gisela who would so like to be called upon and Tim both raise their hands. 68 . For instance. The path ferries them over from the image of things to a kind of ‘moving symbol. German. A whole new world.’ The path followed by humanity in its evolution from spoken to written word is more or less completed in the third grade. Jonas recognizes himself. at that age. English. I clap – – ! Whose name is it?” A slew of suggestions come up. At last. the children have the pleasure of success: We can speak with our arms—it is like a new language. only the inner circle. bright red and small. on the first line. and now Eurythmican! These sequences nurture the ninth year of life! Fun. Again. orderly spunk and jokes are moods that the children expect. Russian.The forms are such that the children always return to their own square. The O was the golden sun. it gives them a satisfying sense of security and order. or—a bit darker—the full moon. when every time things get more difficult. A little abstraction is needed: The name must be recognizable in the rhythm. How nice. The sound-gestures are completely alive from the images dreamily absorbed and imitatively felt. when every lesson brings something new. expect more independence. only the outer circle moves. One can also have the children perform different arm positions in the inner and outer circles. Another step forward is taken when a name is spelled out. We can then make it more challenging yet. It may be the end of the year before the majority of the children can read in eurythmy.

Only occasionally does the teacher accompany the gestures: They are completely legible from the picture. this separateness is merely a delicate. ever-anew. who now starts to stand apart from the world. Ganz sicher nicht. To the extent that there is a correspondence between the third and tenth grades. Important we the tailors are!’30 The giant of our imagination stands in the middle of the circle. Master Yarn in his traveling coat Will not pay him the toll. the giant actually appears! He might be the teacher or a High School student! Now the giant’s gestures and the tailor’s are completely different. a tiny O for the toll gate. the latter brings out a new wakefulness. Wants to collect the toll. Der Riese sitzt am Brückenhaus. It represents an intensification of what was experienced in the third grade: There is a new relationship to the world. A cheeky I (pronounced ee (for Ich.” I stroke the coat with cozy relish. In the third grade. Whenever the sound I appears. the tailor). imaginative shading. it becomes a central motif. in the next grade. 69 .’ The environment is no longer a part of the child. independence is practiced verse by verse in a kind of ‘soul-calisthenics. toll there! I shall not pay I will not pay. the O for the small coin. What laughter when a tailor moves the giant’s sound. I) for the giant. I won’t pay! Again the I of the Giant. But on another day. at “traveling coat. or the giant absentmindedly hops along with the little people! From session to session. Meister Zwirn (Master Yarn. ‘Zoll hin. Was haben denn wir Schneider Auch gross für ein Gewicht’! The giant sits at the toll-gate.Humorous material makes it especially easy for the children’s awakening and growing independence. Der Meister Zwirn im Wanderflaus Will ihm den Zoll nicht geben. The strings of imitation need to be wound back. Und will den Zoll erheben. it no longer flows into the child. Zoll her! Den zahl ich nicht. all the children point at themselves. so that the children who have ‘slipped into’ the story have no trouble remembering the lines. ‘Toll here.

visible speech and visible song can seem to present them with unwarranted expectations at that age. This fact in itself can occasion long conversations. In this situation. Everybody addresses them differently. or else we hear colorful voices. not always ‘speaking’ perhaps. a new star appeared to show me the way. So oft mein Ziel im Dunkel mir And every time my goal disappeared entschwand. Bald wandr’ ich hin durch meilenweiten Some days I wander through vast Sand sands und bald durch blütenquellende and through gardens overflowing Gehege. It takes too much courage to reveal oneself through movement.Tenth Grade Ich bin mir selbst ein unbekanntes I am to myself an alien land. for truthfulness. but in any case very audibly expressive. as opposed to Du). they reveal themselves without makeup. mortally wounded. Land. honestly. The students clearly feel that eurythmy pierces through their disguises. verriet ein neuer Stern mir neue Wege. more secure. hiding places. they pull back. 70 . – Christian Morgenstern Morgenstern’s lines set the mood for this age. When human beings move in eurythmy. One would like to hide. Tenth graders feel that. und jedes Jahr entdeck ich neue and each year I discover new Stege. one dresses up. with flowers. in darkness. brooding and dreaming alone or in groups. To the ear. with the polite Sie. They seek refuges. paths. When young people 16–17 years old move. even those who long taught the child in the lower grades. they are barely audible. Eurythmy. until they feel stronger. The eurythmic expression of that age group confirms unambiguously what Steiner described: Education through eurythmy is an education for honesty. it often feels as if they are wearing gloves. students meet the teacher in a new way: Now teachers address them like adults (in German. top boots and oversized coats.

There is in the form something protective. What can we do to make visible in space the ‘memory of the I’? Students who have connected the points of this investigation and are gaining some degree of selfunderstanding find that the straight line retracing its steps is the form for ‘I.Eurythmy makes it possible to bypass the debates by working with personal pronouns. more indeterminate. yet I always know that I am this I. This produces the spatial form of the loop. Fig.’ And what about ‘You’? I know the ‘You’ well. or be in pain.’ which I always know as long as I am in good health. This quality can be expressed by a curved line curving backwards. yet always remain aware of myself in the process. have fainted. she. Fig. but also something a bit unfree. I surround it. this inexchangable ‘I. 19 How different the qualities are that live in the third-person pronouns: he. he/she is left free to step by him/herself into the protective sheath of the curve. In fact. How should I walk to express ‘I’? “I walk” is very different from “You walk. it and their plural forms! These pronouns are more vague. 20 71 . The one being addressed is not being protected. 18 all sides. from Fig. it is the mysterious word which only I can use to speak about myself.” This is particularly true since ‘I’ is used as a substantive. also more comprehensive. I may be in a foreign country. Many years may pass.

in the tenth grade. of unspoken ease. How are they approached in the tenth grade? It is easy to see from various life situations that at that age. Again. or even impose it on me? For the young child. We can feel these soul qualities in art. We practice to find the style of the spatial form expressing it. they change directions with every step. the question appears: Who am I? What does it mean that people now offer me this new form of address. thoughts and deeds. the young person is addressed differently. Eurythmic work is of a piece with the person’s being. active at every moment. the answer came from the outside. often out of alignment with each other—clever arguments and thoughts are expressed. A new beginning takes place. If we work on texts from this point of view. the person needs to be awake.Students who arrive to class ‘hungover’ may leave forty-minutes later spreading an aura of satisfaction. How different the form must be when thoughts are being expressed! Clarity. Thinking. Feeling and Willing risk drifting apart. totally contradicting the deeds. In the third grade. this kind of work represents a significant step toward autonomy. Six years later. This results in many different kinds of practices. “I am for myself an alien land. Feeling oscillates between the poles of seething will and controlled thinking. This produces the following forms: 72 . Will-forms are round. A round form is different at every instant: If it remains unchanged. Strong feelings hide behind crude or absurd actions.” How satisfying for us to have the straight-line ‘I’ out of conscious recognition of what it represents. goal-directedness reveal qualitative changes in intellectual activities. it must come entirely out of deeply intimate experience. If we are dealing with an expression shaped by the will. A range of feelings. the work finds new motivation. A kind of practical self-knowledge has been born. the Minor and Major Thirds resonated as a soul experience coming in from a distance. it soon becomes straight. Sensations experienced in various degrees of truth strengthen the students and carry them along! Let us remember the third grade: A delicate germination of the questions “Who am I? and Who are You?” was answered in the stories of Creation. the adolescent is at odds with him/herself. For more than one person.

In many classes. this is Man. Light of the surging Strength: Lo. the human figure. a mixture. We are constantly being challenged to establish lively connections.In the will. We see this in the greatest work of art. the middle sphere is a middle sphere. The pole of will is at home in straight limbs. feeling and willing can serve as the motto of this age group: It is a kind of 73 . 21 Speaking becomes important in all subjects. so too there are few life situations in which cool thinking will be sufficient.the strength of Will. In the Head . Webendes Leuchten. In den Gliedern kraftet Wollen. In the human figure we find the incarnation of the phenomenon expressed by Steiner in his Ecce homo.31 In dem Herzen webet Fühlen. round forms In thinking. Leuchtendes Kraften: Das ist der Mensch. In dem Haupte leuchtet Denken. the straight lines In feeling.the loom of Feeling. How can we do this in art? By practicing! Never one-sidedly.the light of Thinking. the union of round and straight Fig. In the Heart . In the Limbs . Kraftendes Weben. Just as poems can rarely be represented entirely through straight lines. Strength of the Weaving. Anatomically also. The urge to move when dealing with the soul activities of thinking. The pole of thinking is at home in the head. profound questions appear. including eurythmy. Weaving of radiant Light. pointedly dealing with the theme of thinking/feeling/willing.

the entire alphabet stood before us. his sky. his god! The next methodical step can involve asking the group: “Who will draw what he/she walked on the blackboard?” We pass from doing to 74 . By the end of the year. we are human. the next step is Grammar and Syntax. I and You and You an I in the second and eleventh grades. They had the teacher’s attention previously. In the Main Lesson. with a very gentle emphasis on awakening and encouraging nascent autonomy. we work hard. God. We walk in circles: Each child forms his own universe. Each child attempts to walk in such a way that one sees clearly that it really is a big. an encompassing word: Universe.threshold beyond which students discover their Zeitgenossenschaft (their own place in historic evolution). We are here. Fourth Grade Ten-year-olds stand before us. If we remember the way children learned to spell in third grade. overarching word. we observed an imitative plunge into movement-images. but at this age it is important for the children to feel noticed. In most schools. Sky. Fourth and Ninth Grades The widely separated age groups revealed their unity to us when we looked at them from specific points of view: periphery and center of the circle for the first and twelfth grades. How can we make the transition in eurythmy from sound to word? How can we move Grammar? We look for a ‘big’ word. Now attention and watchfulness must shape the teaching methods in different ways. most of the children were more or less able to move with it. First name and simple imagery were formed consciously by the child. the classes are now divided for eurythmy: The children need more room and they need to be under the clearer observation of their teachers. they knew it intellectually and in their bodies (see chapter on Thoughts on Teaching Eurythmy in the High School). They radiate pride and joy.

– Volksgut May the pine green. This moment—the first time the children consciously perceive the role of the blackboard in the teaching of eurythmy—is very important and satisfying for the child. The dreamy doing is awakened. We make important things visible. The sound gestures of the word are full of life. the following Miner’s Prayer: Es grüne die Tanne. different from the way they are commonly perceived. alive. For instance. yet at other times it’s easy—so we must move from front to back and into the distance. The children feel deeply satisfied. So. May God give us all A happy heart. The children themselves can find a form for a verse. Something is weaving and waving.g. it feels strong. Es wachse das Erz. May the iron grow. we walk it backwards in the space. actions that don’t require much work on my part. I can do it alone. meaning and feeling ever-new. – Folklore 75 . We spell W-O-R-L-D. “I sleep” is straight forward.seeing. Eurythmy is not just for little kids. We look for spatial forms that express something concrete like house or mountain. The form leads us to the horizontal. or. we ask ourselves: Is it an active verb? If so. When looking for verbs. They feel latently that what we are doing is important. heavy yet full of light. it sometimes takes work. Now we have a circle on the blackboard. and is much more work than walking as usual. We find that a spiral in various sizes and open in front fits the purpose. put differently. “I work” is straight backward. But what about “I live”? This should last long. it is fitting. This requires strength and effort. Active and passive are treated like qualitative values. Gott schenke uns allen Ein fröhliches Herz. This way of working with meaningful forms is expressed in walking. forward for passive words.. e. Eurythmy is true. from activity to sign to abstraction. Now we can bring speech to light out of a deeper layer. The movement has truly been raised to the surface when it can become visible speech. the warmth of the movement is cooled by the narrow chalk line.

turned toward the world. of harmony that comes from feeling that I am at one with the world. expanding. This loss often leads to insolence. with its qualities. one stands frontally. these adults. This is also why. A circle has neither front nor back. What lives in the circle is the turning.” What is required is not subjective taste but a general law. in spiritualized yet concrete eurythmic forms. In real life.” Apollo is the carrier of the spear of light. Children increasingly lose the sense of security. when we work in this manner with the children—joyfully. What a tall order! The children accept it. He brings the light of thinking. around me? Questioning and grieving appear. neither left nor right. Space. begins to play a new role. a vortex. We connect with him in our very body. fourth graders like to face us. contracting.Fig. Quite literally. cosmic. and questionable. We must console and attempt to answer the questions—tactfully! 76 . They ask: What happens if I am dishonest? Will it be noticed? What does death mean to me? Who are these people. It would be irrelevant to work on Apollonian forms in the round. Joy and pleasure in one’s own proficiency can accompany this work. the ‘body’ of space and our own bodies. 22 Steiner called this kind of formative work “Apollonian. thoroughly and strongly—a sense of contentment sets in. It is a breathing form. meaning that they are testing us: Who are you? How far can I go? This is why we must show them where to go. Fourth graders become “Apollonites (devotees of Apollo). When one steps out of the circle. prankishness and much that is questioning. the ten-year-old children sense that the world deserves to be questioned. whirling.

each of them completely involved. the children become merry. to wake up. Those who can do it are ‘life-artists. then eight in the same bar. acquires the qualities of rhythm due to constant changes. without stamping. what determines the form is the Apollonian element. The law of music. not the child’s subjective feeling. change. with footsteps corresponding to eighth notes. Beautiful! Each step is as long as the child sees fit. 77 . the beat. When they walk slowly. the feeling moves to pleasure. it is indeed so. I know that your world is failing. Again. pride or eagerness. 23 Sixteen children live in a common form. happiness. It can address the child and say: Yes. but it is not the end-all and be-all of the exercise.’ We practice together: Fig. In the course of the exercise.Eurythmy can do this. these things give color to life. without tumbling. Only full notes are played. there are similar experiences to be found in music. but they must be mastered. then four. Its frequency matches the sound. And now for a change! Things are just as in life: to sleep. with all their strength. Listen. Then come two steps. the entire class gets dreamy. the children step slowly. but also listen with your feet.

Frontal walking of forms. grammatical forms. pitch Rod exercises. noise and somber brooding spread. to their own active work. and with acting in the realm of Will. it specifically does not want to reveal itself. interval. And they must take big steps in the realm of movement if eurythmy is to be of real help in developing the art of living. and that we must therefore count on them and work with them.”32 If this connection is successfully made. We must acknowledge these moods. And it can fail.Children in their tenth year cross a big divide to a new shore of life. the joy of movement seems to have diminished. beginning exercises with the copper rods and work on alliterations constitute important new accents. rhythm and beat 78 . musical fractions—these exercises play an exemplary role at this stage of life. We gather everything that we have learned up to this point in eurythmy and we write it on the board: • • • Sounds. Pleasure and displeasure. yet we must take seriously the fact that feelings now play a determining role. The Ninth Grade The fourth grade is at the threshold of Lower and Middle School. It is therefore essential to make a big push in the direction of positive thinking. The ninth grade is the gate to the High School. even if. but not take them at face value. new capacities and a new readiness emerge in the ninth grade. We should not jump to conclusions when the ‘eurythmy-is-no-fun’ feeling arises. all these are due to a strong self-protective urge. The fact that students’ speech is often crude and rough. or that it takes stenographic form. it contributes to their stance in relation to inner activity. it wants to hide. vowels and consonants Tone. It is crucial. the realm of feeling. And this new beginning is significant in the students’ sense of life. The trigger of the movement must come from the middle realm. on the surface. that they want to appear. “It is a matter of bringing the child’s thinking into the right connection with the willing. But how shall we do it? This middle is vulnerable. Aside from that musical foundation.

” Discussion can clarify what was done out of feeling—the teacher may walk the form for the students to judge. design forms to match texts of our own choice. The choice of texts clearly expresses the ninth graders: There is fun stuff. For the next session. Contentment settles on the class. This can proceed as follows: Soul gestures. that is the students. so that they can be put into the practical realm. the student completes and corrects the form.and sixteen-year-old to move in a sober way. foot and head positions Forms to express substantives and verbs Exercises for presence of mind and community Geometrical exercises 79 . but also very sensitive lyrics for instance Goethe’s poem An den Mond or Eichendorff ’s Mir war als ob der Himmel. the forms we design more and more appropriate. This influences the working style as a whole. Activity and inward participation are stimulated by the work already done. sparse expressions. Every day. a form designed by one of the students gets drawn on the board and then discussed together. on most occasions it needs to be simplified in order to be executed. How wonderful the word move in its double meaning: I am moved—I move. aphorisms. We really must succeed in getting the fifteen.• • • • An astounding diversity appears: We have done a lot. humor.” or “I don’t know why I drew it like that” or “I guess I just like it. What more can we do to be true to the task of linking acquired capacities with the newly found feeling life? Connecting movement with one’s most intimate feelings is the task of this age group. We can work autonomously with the things we ‘know how to do. The group becomes more and more knowledgeable. Sensitive matters have been thought through and formed.’ We. And the students themselves contribute many eloquent poems.’ meaning: Is there a fit between the content of the poem and the spatial form? How did the student come up with this form? Very often the answer will be: “It just happened. Now forms prepared by the teacher for a fast musical piece are considered critically and alterations suggested. Should the form be walked? Is it beautiful to look at? Does it ‘work.

Feeling is called upon as a technique for movement. Now an unfurling spiral looks quite different depending on whether it expresses liberation or torment. after puberty. semantic laws were expressed formally in reverential sobriety. In drawing. So. Now. This is no longer Apollo—now Dionysus is at work. or to gain an overview. perform the same movement in such a way that the beginning is clear. we have again the shaping of spatial forms. but the activity of the feeling ranges from the tender to the strong. Feeling must somehow be included. the two paths look as follows: Fig. This is difficult. it calls upon the whole person. but the end fades out. Dynamics is the magic word at that age. There is no helping it. with one’s own body. da bin ich zuhaus. Outwardly the spiral may look the same. if in the fourth 80 . The students first encountered the development of spatial forms in the fourth grade. Where there is danger. This possibility must now be used in space. with a clear beginning and a clear end. Da wachse ich aus der Erde. This age requires dynamic. witchcraft and devilry—but also catchy aphorisms like this one by Friedrich Nietzsche Wo Gefahr ist. I am at home. Graphically. dramatic impulses—ballads. 25 A new style must be developed. Next. but from the intimate experience.Try to walk a line. We now are in the situation where we start from scratch again. 24 Fig. dynamics as method and as style. the arms must be included. students have learned from the cross-hatching technique that it is possible to express many subtle nuances of the transition from light to darkness. I grow out of the earth. There. It won’t go? Try it. out of my own dreams. He must be effective and yet reined in by the young person.

There thus occurs a meeting between the astral body working musically and the etheric body working sculpturally. hitting—even in the absence of meanness or specific anger. a soothing stop after the big ‘flying-away’ Third? Intervals change. a consonance. and through this connection. something remarkable occurs. I gain a healthy awareness of my own 81 . the intervals —what happens between the notes—have also shaped the movements. Does this chord carry me away? Does it tear me apart? Do I jump out of my skin. sometimes literally so? The chord is then a dissonance. in the ninth grade they experience the inner impulse. Something ‘clicks’ in the person.. What if the sound then leads me through a minor key to myself. influenced by my surroundings. out of the development of the person. I can give the chord a form. into myself.e. We have shaped tones and melodies eurythmically since the seventh grade. We have prepared something. There is yelling. Now we are looking for chords. sometimes forcefully. And chaos becomes music! We practice finding chords of at least three notes. the simultaneous sounding of several notes. which in the healthy developing person must follow puberty. when I master myself. they can be overpowering. All the things one had understood in pictorial form now arise in full clarity out of intimate wellsprings. In tonal eurythmy. when they go wild? In musical terms: It is a badly tuned polyphony. Many a student may come to the conclusion: I too am changing. must be formed. depending on the environment in which they live. not built according to laws. Steiner threw light on this situation in the following words: “And then. This is an understanding by the human being of the human being as such. I look at myself in the passage to the intellect. Chords are very powerful. which lies around me like a mantle. a protection and consolation? Or does the sound radiate out beyond me. we take hold of this life reality.grade the external impulsion of the movement was experienced. i. This power can be ‘mastered’. the independent understanding of what one already possesses. pull me increasingly into the surrounding moods. held by the Third or the Fifth. so that the interval of the Fifth is experienced like an anchor. How does chaos happen? What happens when a group of sixteenyear-olds is loud.

And thus connecting the two sides of my nature. but increasingly individual in form. by understanding itself. movement first takes its origin in the space of the soul. This verse. Ensouled gestures. Confidence I impress into my thinking. it comes to experience freedom. originally given for class teachers and mostly studied in eurythmy classes. I as human being have the first true experience of inner freedom. These five give me my life. starting with the fifteenth-sixteenth year.being after puberty. where it appears as newly discovered independent work. works like a very fertile seed. With certainty I tread the path of life. something turns around in the gestures: gradually. the word begins to echo from the person’s intimate being. With the ninth grader. shy. (reverence) (left leg) (right leg) (left arm) (right arm) (head) The Bridge Years Fifth Grade Speech and music resound from the periphery of the world. for the teacher to speak while the children perform very subtle postures. A seed was sown in the fourth grade and it can grow into the independent work of the High School. The highest achievement one can prepare in the developing child is that at the right time of life. and until the third/fourth grades. Coming from the outside. the first true understanding of something which until then I had only seen from the outside. the child takes up these sounds and soundimages through imitation.”33 Steiner gave a verse for the fourth grade that almost has the quality of a mantra. The ninth grader’s movements are secretive. Love. ensouled movements arise. a nourishing world of sound forms and shapes the person. Slowly we watch 82 . Steadfast I stand in the world. These five lead me toward my goal. I cherish in the depth of my being. Hope shall be in all my deeds. We described how.

sixth. This is the context in which we can understand Steiner’s formula about eurythmy being “soul-gymnastics. seventh and eighth grades. they encounter a well-prepared soil in the soul and are processed again with hand and foot. the Egyptian and the Greek cultural epochs. agriculture. The stream of movement was living in the periphery.” We could also speak of a “soul-calisthenics. in a few words or verses. Be a fighter for the light! Love the earth! 83 . out of the periphery— we might think of the finger games in the first grade. expression of one’s own soul. the children have experienced in story-form the procession of humanity through cultural epochs to the present time. firm yet loose.the appearance of independent expression. there lie four highly significant years. Carry the sun into the earth! You. constitute the Middle School. In the process. attention is increasingly drawn to the entire body. these men who placed at the center of their life the love of earth. images he paints. the child acquires security. he lives for a while in the Old Indian. We can hold a staff. There is great pleasure in the sense of life: I am here! When the Ancient Cultures Main Lesson does its job. cattle-raising? Steps must become forceful. In Main Lessons. experiences are embodied. earthy. the Persian. These years bridge between the stages of imitation and autonomy. By the fifth grade. texts which he speaks.” The origin of movement moves deeper and deeper into the child. Man. Between these two polarities of movement. Through stories which the child hears. These four bridge years between the age of eleven and fifteen in the fifth. Eurythmy makes it possible to approach these past cultural worlds briefly. and simultaneously experiences his own evolution. use it to guide vocal gestures—movements must become strong. expression of the work of art. How do we move when we dive into the culture of the Old Persians. are placed between light and darkness. feels secure in life. which assume a mediating role.

Fig. but well formed movements. It takes an effort to enter this world of clarity and seriousness. The children might make matching headgear for themselves. Fingers closed. Transform yourself. We want to try and catch in our stern geometric gestures the forces of the stars. 26 84 . The space is a plane. It is open to the one who remains silent. eye and head neither raised nor bowed. we must move like a bas-relief. Transform the animals. only a twist in our carriage can achieve this. How differently one’s movements feel when instead of my everyday head I wear a Persian one! A completely different mood appears with the Egyptians! Measured. strongly expressive. stern. everything steady and controlled.Transform the plant Into a luminous jewel. The clothes are red-brown. not flowing. He will find the well. calculation of their path was an intrinsic part of life. When the silent one comes. Minutes last long when we work like this! Thou sweet well for the thirsty in the desert. More than the Chaldeans. It is closed to the one who speaks. the Egyptians lived with the stars.

the descending octaves lead us back downwards. until there was only one star. The pentagram is an inexhaustible theme in the fifth grade. we want to teach him again. Musicality. Then we did it with ten people. We are stars. There is hardly any lesson in the sixth grade where this interval isn’t offered to the children. beautiful child’s figure stands before us. then four. Musically speaking. We don’t want to cultivate an otherworldly culture. We can read this perfection in the physical body. The human being is the star on earth. Sixth Grade In the sixth grade. we turn our attention to the “Master in the House. All the teachers were invited to watch the ‘lighting’ of the star. four more followed. how to pray. I form it. Each rising octave raises us closer to this origin. A well-balanced. but also its slow burning out. this means getting connected with the sound of the octave. the five-pointed star illuminated the Christmas season in many different ways by. thirty-five children in all. then fifteen and by the time vacation arrived. When we work with the pentagram we can see clearly that the musical Fifth—the skin and housing of the children—is built and present in all its beauty and perfection. seven children for each leg. for one fifth grade. either in gesture or sound.” To put it provocatively: He needs to be reminded where he comes from. I myself am a star. agility and charm are easily awakened and educated. two children … and then. it fits the anthropological situation of this age. the last child stepped back with a deep breath. The twelve-year-old children have now arrived in the realm of the prime. the whole class was participating.Astral forces. We can soften the distress of the time in which the children are growing if we succeed in allowing the most sublime to be present in daily life through activities and movements. three. One child began. We are now in the age of joy in movement. the spirit in us is the Higher Octave. until the fivepointed star appeared. Eurythmy must be a path of practice for the here 85 . Its rays shape me. Turning to the divine above us. divine forces still live in us. Accordingly. very concretely and very unconventionally.

allow the rounded end to shrink until it contains only three people. carried by the meaning of the verse. indeed. 86 . to participate in the forming. We might give the following instructions: • • • Walk the circle clockwise. Walk it counterclockwise.and now. The following form for the TIAOAIT comes from Steiner himself. spirals. formed by the arms and legs. the circle is as small as possible. • This is moving geometry. the so-called TIAOAIT. We walk circles. close with the round O. when he offered one large symmetrical form for a festive opening. we are doing a kind of moving geometry. Next: • Walk a horizontal lemniscate always facing forward. the finished form. We connect with it in eurythmy and so prolong the work of the fifth grade. The children like to show off quick reactions and presence of mind. Make sure that when you come back to your starting point. When we recognize what we are doing.” The gestures of the sounds correspond to the form of the group. he recommended it to eurythmists as a help against “disheveled thinking. • Walk the lemniscate and at the same time change its orientation. the children have their first geometry lessons using ruler and compass. Do the same thing again but after half a turn the circle must be small. lemniscates. Steiner attributed much value to the faultless walking of large. This is movable geometry. Every child is called upon to think along. we see that the far and near are connected to the teaching of geometry. We ‘catch constellations’ by drawing them. the vertical of the I and two perpendicular lines in space for the T. In the sixth grade. then turn it big again for the end. The main concern now is not the endpoint of any particular movement. The open angle of the A. always from the point of view of transformation. lawful forms. Rather. Without changing orientation.

Just like the fountain at the edge of the road. As from the fountain standing by the road! And may I give to all. whether good or bad. Speaking of love. The octave and the ground tone sound at the same time. standing watch by the road. give me love in abundance That I may be like the fountain by the road! May giving flow out of my heart. Prayer for Love O God. O God.Fig. Just like the fountain. feeling and deed when we combine it with a text. by day and by night. the text is connected with the lawfulness of the form unfolding in space. 87 . The following text by Michael Bauer displays again the character of the Octave. Also may I be ready. We elevate to an art form the consonance of thinking. the divine. 27 This formal principle of a spatial form proceeding logically and returning to its original source can be elaborated very meaningfully with twelve-year-olds. I beg of you! Grant me the abundance of love. This form is carried intellectually by its inner logic.

28 Seventh Grade On a daily basis. living with thirteen-year-olds is not always harmonious. the upper thigh. in the true sense of the word. There ensues a sense of heaviness and confinement. There is plenty of moody drama. something else is happening: a fine vibration of the feeling soul. The human being has. is inner movement connected with bodily movement? We place in our mind’s eye the children’s movements: They come closer and closer to the body. as if opaque. It cannot be otherwise. in the knee. and we note the uncomfortable fact that dramas must be played out. We should pay particular attention to the origin and the quality of movement. Personal feelings. Legs. From the soul’s point of view. “slid into its corporality. They are no longer carried from outside. walled off. in fact we should feel alarmed if there were no chaos! How. We want to learn how to read the children’s movement-habitus. then. Upon closer observation we see that the seventh grader’s center of gravity is in the elbow. or else in the upper arm.Fig. hands and feet are almost deaf. pressing feelings live in the 88 .” The strongly centripetal forces—seen from the point of view of physical movement—operating in earlier years have come as far as they can go.

indeed they must be expressed. Between these two streams. In eurythmic terms. In something like a gesture of antipathy. understood. chaotic. a conversation must now start. We can contrast what is fighting within the human soul: Fiery thinking Timid hesitation Girlish bickering Fearful complaining Will not end suffering Will not make you free. decisive in the biography. it wants to be loved. they want to. flowing out and protectiveness in their many variations. The flowing away and the encapsulation live in the alternation of short and long. but they are necessary. If there is no exchange between the soul life and the outer life—and here we can equate the outside world and the physical body—it leads to rumination and escapism—in our time. it wants to connect with soul and spiritual elements in its environment. the young person risks turning boisterous. so as not to be lost in a vacuum. spirit can meet spirit. It is now decisive whether soul can meet soul. When the physical body has too few occasions to connect with the spirit soul. the escape into addiction to music and drugs. or else gives up and becomes lazy. no! no! no! no! no! no! sympathy. front and back. But soul seeks sympathy. Now rhythmical walking and the postures of antipathy and sympathy take an imaginative quality. lethargic. A tender inner force fights off strongly formed. Every rhythm includes both antipathy and sympathy. antipathy. To make allies Never to bend To show strength Calls the gods’ arm To the rescue. yes! no! yes! yes! yes! 89 . often controversial. Conversations are encounters pregnant with meaning. the body removes itself from the harmonious chord in which it was living until then. we can see attitudes of antipathy and sympathy when we practice openness and closure. conflicts also belong to the stream of sympathy.child. ponderous limb forces.

listening to the intervals and investigating on our own body. the turning of the upper arm starting from the clavicle. The sound of the Fourth. astringent. reaches all the way down to the root of the hand. but rather the space between them. can barely be performed by the students of this age. The foot positions of “Yes” (a half circle traced in the front space) and “No” (half circle described in the backspace)—illustrate the text. suffered and enjoyed. this means that the age of intervals has begun. with the repeated “Yes. The self-sufficiency of the Prime note. Feelings of sound are linked with qualities of movement. the situation of the person going through puberty is expressed in all its passionate pain and questioning. the movement very close to the torso. The movement itself. Pleasure verging on silliness can be experienced with the Seventh. There is no restfulness there. The lower arm and hands hang as if deaf. takes place in the betweenspace. tormenting questioning of the Second in the turning of the upper arm. The octave led and accompanied us in the sixth grade as a bridge between heaven and earth. In the third grade. the 90 . an interval which children of that age always smile about. That which cannot be heard must be taken in.The second strophe. form. The path of the intervals flowing into the intimate space leads to the Fifth. The art of every educator lies in hearing the unspoken! Musically. the Third was the first touching of one’s own inner space. is followed by the painful. a rousing. Now we go on. Coming out of it. god and man. it comes close to the bone! In this interval.” fires up sympathy. we find the Sixth. show what the soul experiences when we hear the words. which takes place after the spoken word has died. in the inaudible realm! So much remains unspoken at that age! Criticism and questions often remain mute. The Second affects the person very much. The movement. In the first grade. the children met the musical Fifth in the glockenspiel. until at last the new homeland. But it is still worth practicing it. everything dances and wiggles. Children no longer should hear one sound after another.

Once a fourth grader said that walking turned to the front ‘felt good’—which was saying that it corresponds to “my life-situation”! What feels good for the fourteen-year-old in the realm of movement? If we were to ask eighth graders. the time of learning as a group is ending. In the eighth grade. lots of action!” Now movement must have its own character. joy in experimenting. out of a disciplinary concern.. “Not moving at all. This is like the path from birth to death. Eighth Grade A great arc comes to an end. Yet in so doing.Octave unites all the sounds and movements in its greatness and majesty. visible links can be found with the other ‘endyears. the so-called difficult classes are often kept immobile.’ fourth grade and twelfth grade. many of them would answer. contour and expression. we actually increase the problem and the concerns. Middle School and High School. Then the biography can turn into a work of art. a fear of arousing the spirits of movement and not being able to get rid of them. Undoubtedly. Steiner described the difference in the movement depending on whether it is performed out of feeling or out of the character of the sound. The practice hearing of the intervals teaches about a wide path of evolution. ‘Ensouled gymnastics’ cannot always be still and orderly. 91 . At this age. let me be!” or “Walking fast. Inside and outside must remain connected through sound. we experience frontal walking of forms as the expression of the child’s new relationship with the world. We must repeatedly give the students the opportunity to connect with the intervals through listening. what to do? What does it mean that movement should have character? In the context of the ‘I’ sound. then the art of movement-eurythmy helps the human being walk artistically the path of incarnation. through a completely internalized path. These are the concluding years of respectively the Lower School. In the fourth grade. Concretely. class teachers need courage in the face of chaos. Intervals and soul gestures in the realm of eurythmy are magical words for the thirteen–fourteen-year-old.e. i.

they sweat. Eye of newt and toe of frog. The tensed muscles feel like a kind of constant prickliness This gives the movement character. In the cauldron boil and bake. Adder’s fork and blindworm’s sting. Effort is tension. The students are challenged bodily.”34 Here belong humorous poems requiring a great deal of movement in their performance. tense muscles. Fillet of a fenny snake. blocked movement can be experienced. they should reach out with the arm in this direction so that the arm feels as if very lightly floating in air. To fire up all the forces. they make an effort. Double. Double. and in the other arm. that under cold stone Days and nights has thirty-one Sweated venom sleeping got. abrupt stops. Toad. the residual force of will keeps shooting into the body. double toil and trouble. Lizard’s leg and howlet’s wing. Tension belongs here and cannot be done away with. muscle tension is character in movement. not carried by inner force.“The third thing (besides movement and feeling) is that the eurythmists should be able to take things so far with their feeling that when for instance they do an I. For charm of powerful trouble. Here this arm is raised by levity. so that they feel like a spur on the muscles—you can’t do this while walking at an even gliding pace! When one stops after intensive movement. but also fast. Fire burn and cauldron bubble. 92 . Boil thou first i’ the charmed pot. double toil and trouble. Wool of bat and tongue of dog. Like a hell-broth boil and bubble. Fire burn and cauldron bubble. The other arm should feel as if all the muscular forces were fired up and set into the arm. We need this ‘character’ if we practice the following excerpt from Shakespeare’s Macbeth where the witches chant: Round about the cauldron go: In the poison’d entrails throw.

a main motif of biography. In the twelfth grade. It will then bear fruit all life long. this seed can grow to a hopeful tree.This requires fast transformations in the forms and in the impulse of the movements. the eighth graders feel it well. and no one can take it away. it is part and parcel of them. No one can force me to do it. ‘read from the body’ and experienced now. One consequence is that the choice of the texts to be worked on must be chosen individually for each class. or is something of a moving nature streaming into me?” Here we have the parallel with the twelfth grade. 93 . So we work in the sacrosanct realm: the intimacy of the individual. I am the one deciding whether my muscles are tense or loose! Freedom. The student must explore: “Am I moving myself in my bones and muscles. appears in the curriculum. This inner impulse.

Kepler described it as in the highest sense perfect. the Son is the surface. basically. Many epochs of human history will have to pass before we have a fully conscious representation of what we say when we pronounce the words ‘I’ or ‘Self. “The sphere represents the Three in One. In many variations. The Father is the center. To feel the circle in the plane. if we go from the purely mathematical knowledge of a form to a feel(ing) for the form. children have played and still play with hoops and balls. for instance as toys.’ If it is clear to you that. race or language. the Spirit is the equal distance from center to circumference. From time immemorial. the I. pushed. for the person who really feels things in a living fashion. we shall experience the ‘I’-ness. The unconscious educator of humanity works wisely. independently of country. it is a mysterious thing. holding many potentialities for play. the ‘I. The ball in particular is a great educator.’ But we can experience the Self. in the (circular) form. He said. we encounter the circle. the radius. the Selfhood in the circle. So we find informative a description by Steiner given in Dornach (1914) to architects and farmers: “There is no denying that by simply saying ‘I’ or our ‘Self. the sphere in space means to feel selfhood.”35 In each movement class in the simplest arm movements and in walking around the shadow of the sphere. specifically. when looking at a circle.S phere and Circle as Moving Gesture The circle and the sphere appear in many forms and guises as educational tools. Our task is to become ever more conscious as educators. To feel the circle means to feel the Self. It is not by accident that there should be so many circular motions.’ human beings nowadays can’t think anything much yet. thrown and caught. the feeling 94 . it gets rolled. the sphere appears. Small children touch it.

By second grade. The humus of consciousness must be laid down for something new to prosper.” And when he says. snowballs. As if their arms are suspended from golden threads. the mountain and hiding places all surround the child.’ and moves to the castle yard. all eurythmy takes place in the circle. eurythmy occurs within the sphere as in a golden sheath. the sky. with images of balls in fairy tales (The Frog Prince or The Crystal Ball ) but also games using balls. All arm gestures are such that they are suspended from above. Instincts nowadays are drying out in the sand like water. legs spread wide. To touch the circle. makes himself into a ball: “I’m hidden. protected by the circumference. The child bends his body. I put these thoughts about the sphere as a foundation for my attempt to show the transformations of the ball and circle in the eurythmy classes. This was the case. Unconsciously. In eurythmy teaching. soap bubbles and many other spherical shapes.” he jumps out of the sheath. the cycle of the sun. to touch the ball. The king’s castle. 95 . for instance.of ‘I’-ness emerges in the soul—the feeling of selfhood so that even when seeing only a fraction of the circle or part of the sphere. means to touch the ‘I’—this should be a guideline that can enrich eurythmic work from a methodical-didactic point of view.”36 Humanity has been unconsciously educated with the help of spherical images. It develops out of a grape. “I am here. surrounds himself with his own arms. we learn to live in the form. from the heavenly vault. we use balls made of copper or wood. We want to touch consciously what in earlier times was instinctive. The question then is: How does the element ball and circle get transformed in eurythmic work over the years? At the kindergarten age. he or she will feel that it points to autonomous selfhood. arms extended. The task of adults in our time is to illuminate this path lying in the twilight. The young child is always the center of the world sphere. They make it possible to perform beautiful exercises with rhythm and in group work. marbles. and the child stands at its the center. the young child also encounters its developing ego. Whenever we feel this. The sphere surrounds the child. they build something like a colorful spherical world around him. All movements in space are circling movements. Pure joy is revealed. out of ‘hen and chicks.

asserting his/her own 96 . The lemniscate appears. in the ball. Outwardly and inwardly they live in their own vault. in which two spaces are hidden. beginning where the child herself is standing.Fig. They are Rumpelstiltkin dancing around the fire. Now the ‘You’ appears. even if the child in front follows another path. the world penetrates the circle. 29 the children do not get tired when they succeed in ‘playing with these golden threads. It is not yet something one can oversee as a whole. the encounter with the other person. looking in and questioning. the child is more and more standing at the periphery. Now its relationship to space and the environment changes fundamentally. around the house.’ They are then in the action. it is always the path ahead of the child. Insofar as it must remain an ‘I’ and not get lost in the ‘You. they do not just pretend.’ it must retain its own course. Slowly. around the garden. the ‘I’ is reinforced. following her own nose. Until the tenth year. In the process. the ball rolls ever closer to earth and turns into a circle. Slowly the circle opens up—to enfold a new space. In the course of the early grades. The child walks around the world. the child experiences the circular and spherical qualities in this way. in the bell. As does the child’s relationship to the surrounding world. He/she also offers the world resistance. The crosspoints of the lemniscate and the rounding of the circles become strong experiences for the child. so his/her soul life changes.

They all reckon with the possibility of sharing with an audience (facing forward) what has been achieved. Front/back and right/left take on new meaning. the shadow of the sphere. more and more complex forms will appear. They become anchored deeper inside of the person. forms are now walked frontally (facing forward). so the circle can now be behind the child. In regard to eurythmic movement. we still have in front of us well proportioned. If we follow the buildup. The qualities of sphere and circle are connected with the person in many new ways. The students plunge deeply and gladly into this gesture and its experience. When it sounds. inwardness must awaken. she risks not only falling down to earth. Here we unite the form and the gesture of 97 . as soon as the child learns to walk frontally. This interval is in its purest form the sound of the human being working on itself. The interval of the future. a sphere. When it resonates. but indeed becoming swallowed up by the world’s gravity. a new relationship must be found to the form. beautifully built young people. we walk a circle. The circle must not only become form.will. or the side or in front. remember your origin! We must accompany the birth of the new feelings arising day after day. She becomes heavier. In the sixth grade. Constantly. must be practiced in the twelve-year-old. They are like seeds from which a multitude of forms can develop. which we first intuit. the tone which encounters itself as it rises. we form the organs of our souls with our arms. Until now we encountered two forms—the enveloping circle and the circle as a plane form. and inwardness must answer. One would like to call to them: Come. it also must become a musical form: through the octave. This means that the visible circle that had been practiced until now must resonate! Its sound must penetrate all movement. In the twelfth year. Harmony and order must intervene in the chaos of often overwhelming emotions. it becomes clear that things are more complex. The greatness and significance of this phase of childhood would in itself be obvious from the admonishment to work with the octave at that age. the raising up of the circle. And in this movement. the child is on the threshold of puberty. liberated from the circle. come down! But always remember how beautiful you are.

in dreams And could not see whom I was following. or else the tension gets lost. it does not come to me from the outside as a harmonious consonance. If the circle loses its tension. bravely. I must attempt to be where I am. at each step. ideally an orbit. From now on. You who have escaped me year after year! I followed you uphill and downdale. And if things now go slowly. the circular form must. High tension is will ! It is the language of form derived from the circle to help sixteen. I seize you by the bridle. which. This work requires a lot of practice. This will-formative force can resurrect only 98 . well-rounded figures. we look at the poem Self-Determination in which Erika Beltle describes the inner situation. as much as possible. an element of the straight line has infiltrated it somewhere. We have a threshold situation. spirals and clearly defined. what we attain will be our own. The circle is no longer harmonious. If we now taken one big step ahead to the high school. of the sculptural circle must connect with the young person’s being. the life stance of the sixteen–seventeen-year-old. a lot of humor and a lot of strength. A curving line. we shall follow only the clearly traced goal. is always under high tension. We’ll put our shoulder to the wheel.the circle and sphere. we can help form if we work with the required consciousness on the octave chords. wild horses. As a tenth grader I must now create it anew. The walking of forms. Now. To represent this poem. take the form of whirls. In each moment. free land. But enough now! The blind standing and traveling. the unexamined fool’s errand are over. The time has come: The strengthened hand shall hold the reins. as eurythmy teachers.and seventeen-year-olds educate themselves through movement.

outwardly visible. It is then possible to work together on the cosmic cycle as a group. If the practice acquires this intimate dimension. from inside. the body ‘grows wings. an important developmental stage has been reached. this space is related to the impulse behind every eurythmic movement. The region of the shoulder blade. wings are not external organs. What illuminates us as the Spirit. so this walking and moving requires strong inward and outward impulses. What we experience as the soul. In concrete work with twelfth graders one observes how great the need is for young people to experience more deeply the higher forces in humanity.37 99 . the clavicle and the breastbone must be felt and consciously used as the point of impulse of movement. The work on the zodiac crowns the eurythmic schooling until the nineteenth year. This can take place at the end of the eleventh grade or early in the twelfth grade. If this succeeds. This process is very concrete. Then the circle in the human being connects with the cycle of the cosmos. Shall we succeed in finding texts that we can connect with these questions and the work with the zodiac? Will we succeed in finding answers to the latent question of youth? Can we make these words visible when we give them eurythmic form? If we can. It can help the persons doing eurythmy perceive from inside their own movements. We might take as a mantra the following lines by Steiner about working with the zodiac: What stands before us as a human being. they will become real. eurythmy will become a creative life-building force.after it has penetrated deep into the human being over many years. From a technical point of view. It flew ahead of the gods for many eternities And its intention was To gather from all the worlds’ forces That together create the human being. What precisely happens now in the realm of movement. perceive that their arms. Then. and also their ‘wings’ grow eyes.’ In human beings. to learn more about the foundation of eurythmy. through human beings and for human beings. not least from a strictly technical point of view? A new space opens up. and hands.

It is not meant to suggest that we should practice the Wolkendurchleuchter in class. Er durchsonne. 100 . even into specific movements of the feet. A higher thing comes to inhabit the human being.” The verse describes a ladder of transformation up to the turning point. penetrates it.to 14-year-olds. May He glow-through. Er durchglühe. May He warm-through Us too. we form the circle as a breathing form. It is reproduced here to alert us. The Cloud Illuminator: May He shine-through. Er durchwärme Auch uns.38 which could stand like a motto for the age of concern to us here and now: Der Wolkendurchleuchter: Er durchleuchte. the image of something super-ordained. relinquishes itself to the person—and then goes away. Steiner gave a verse during a eurythmy training course. 1913. with 12. in an artistic way. The eurythmists raise themselves up to this higher being and bring it down to themselves in the form of gestures.Education of the Movement Organism through Eurythmy Ages Twelve to Fourteen On April 26. If we present this verse in eurythmy. “May He warm through” means “May He make us capable of returning to the world something of what He gave us. the metamorphosis where it involutes. something whole. May He sun-through. to the life conditions of that age.

the movements of forces that form the organism. are concentrated the forces that are particularly effective during the years in which imitation plays such a great role. formative forces reside in the brain.and toe-tips. and from there the human being moves out into the world. Steiner said: “Please note that the human being adapts to the world. it is the same soul activity that later works in the soul as reason and memory”40 There we have. Imitation too has a circular 101 . into the torso and the limb organism. Let us follow this path in the archetypal form of the circle and its transformations through the life-stages. all the person’s forces are applied to the skeleton.”39 And in the second lecture of Meditative Studies on Mankind. Everything that radiates from the head into the child is soul activity. ultimately giving the human being its corporality through encounter with the world. By the twelfth year. Until the ninth year. And everything else happening in regard to the formation of the rest of the organism in the torso and the limbs. everything is an effect of the head radiating throughout the entire organism. sketched out. into the physical body and the etheric body. in its structure and movements. right into the finger. very concretely. 30 In a lecture on pedagogy. in the very young child. the sculptural. radiating from the head. despite its source in the physical body. and radiate out of it.Fig. The muscles then take over. to a certain extent. the circle is the child’s spatial form. The human being ‘travels through itself ’ and thus gains a connection to the entire world. Steiner described in the following manner the young child’s anthropology: “In the head.

The circle is evolving: Fig. The world encounters the circle. 31 Fig. 32 Fig. something rhythmically articulated starts toward the beginning of the ninth year. we follow the circle all the way to its reversal. these evolving forms could equally well be derived sculpturally from the sphere.character: It should flow as smoothly.41 This is at first meant symbolically: Something that breathes. Thirds resonate in the Fifths of the early years. as possible between the teacher’s movements and those of the children. 33 102 . In the demonstration below. as uninterruptedly.

space. Now—around seventh grade—the space for personal movement must be experienced anew. such as an equilateral triangle. We do this in three ways: 1. as it were. 103 . As this progresses. During the process in which the impulses move more and more from the muscles into the bones and sinews. for instance when vowels are formed. but also with groups of children placed in the room: • • • The U: narrowing Fig. he or she moves completely into the skeleton. pushed into space by its bodily growth. If we feel our way through the formal metamorphosis that had begun. balanced in the soul realm. the lines break through. the child is. not just in arm positions. insofar as geometric forms are transformed. 34 The A: a wondering opening The O: the circle as loving enfoldment Insofar as the space is thus permeated with feeling. the students form together—following the shortest path. leading to a well-proportioned division of the circle into three. the forms of the vowels and other geometric forms. For instance. there arises a connection between what is personally felt and the objective element in the world. sensing how the world penetrates ever deeper. awakening to thinking.Let us remember: Once the human being reaches the twelfth year. harmoniously. The space is penetrated with feeling (durchfühlt). We are looking at the relationships of forces in the fifth or sixth grader: harmonious in physical form. Space is thought-through. the enclosure of the circle slowly breaks open and the outer pushes further in. 2.

insofar as the rods help us create and familiarize ourselves with spaces around our own bodies: quadrangles. from home base. anyone seeing how these were developed in the child will also note how it works back on the entire human being in the child. ‘spirit-filled’ gymnastics. not earlier. We note that the capacity for cognition 104 . In all will-related subjects. not verbal explanations. an expansion in fact of what is most human in us. this justifies our using eurythmy—originally developed as an art—as a form of ensouled. cones. we tend to rely much too long on imitation: In the case of eurythmy. But the remedy is the transparency of the whole. But those who can look into human nature.42 Steiner went into details about the pedagogical potential of eurythmy: We can have the experience that. eurythmy students must now awaken to what they are doing. this is a frequent cause of boredom and lack of discipline. rectangles. those who can observe how things that were educated in the child can be organically incorporated.3. insofar as they are led to eurythmy at the right age. there is a soul-spiritual aspect. spherical sections. these exercises are from an anthropological point of view. and since all teaching and all education must be a grasping of the human being by the human being. Actually. through an education of the eurythmic capacity and combined with music and the sculptural arts. As in all other subjects. it is still difficult to see this from an external viewpoint. Thus we see that entering a new relationship with space is a condition for a new relationship to my own body. This is why the time around the twelfth year is an ideal time for rod exercises. This represents a substantial expansion of the person’s humanity. Now. children feel just as self-evidently at home in eurythmic activity as the very young child feels in the awakening of vocalization and of verbal speech. A will-full takeover of the space occurs during copper rod exercises. Besides the physical aspects described above. In an introductory lecture before a school performance. For it works back on the entire human being in return.

can be formed through the right kind of eurythmic exercise. more spiritual person and the lower. Thus eurythmy will have counter-effects—in the direction of mobility. and mere speech provides many occasions for discouraging children from lying. when we allow soul expressions to become visible through everything that goes into the body. interest and truthfulness—on the capacity for cognition and willing. it is impossible to lie. more physical person. Anthroposophy intends to affect immediate practical life. And thus we can say that through the perception of this inner harmony between the upper. and it gives the soul much in return…. So much depends on the human being’s perceiving itself as a totality while doing eurythmy. But eurythmy used in the right way can be very useful in dealing with a childish mischief-like lying. In eurythmy we thus have the possibility of affecting the life of representations in such a way that the children can approach on their own initiative precisely what teachers are trying to introduce to them. words can be used to lie. as an effect of eurythmic practice in the school. The child develops a more flexible imagination. and we shall see that the child’s entire world of representations becomes more malleable and filled with vivid interest as a result. On the other hand. and on the mood that is affected by the capacity for cognition and willing. on the perception that we do not have a body on one hand and the spirit on the other hand. which is what the child perceives 105 . Eurythmy shows that. the property of the human will which is of such immense ethical relevance. “Matter is precisely the thing we don’t understand in today’s life. eurythmic exercises feed back very powerfully into the will. The possibility of lying stops when we get the feeling of all that it entails. True. We can already see what it is that eurythmy makes of the child. more receptive. when we speak eurythmically in visible speech. because we no longer perceive the spirit in matter. But this is something that can be perceived only in the doing. We see that truthfulness. when we allow words to flow into the body movements. he or she is more likely to turn to things with love. And thus we can say: Eurythmy is a gymnastic drawn out of the soul.becomes more mobile. into the most intimate properties of human will.

3. We can show. 4. they would also forget it faster.practically when doing eurythmy. the students could learn this form faster by drawing it. the path of such conscious practice. Forms need to travel through the Set-up and description of the forms Individual and collective walking Finding the appropriate qualitative sounds Perceiving the commonalities between form and sound Fig. from the example of a large symmetrical form. but the method also must be truthful and knowable. 35 106 . It goes as follows: 1. And this is something which we must educate ahead of all other things nowadays. Not only is the subject matter important. In the precious sixth grade. will initiative is created. Precisely this connection between eurythmic movements and truthfulness affects immediately the eurythmy teacher’s self-education. 2. Of course. children must be able to comprehend in their minds what we and they are doing.

limp and shriveled movements will be the consequence. they can engage themselves. Precisely in the sixth grade. the sixth grade bridges over to the High School. there is a price to pay. There is a law at work: self-mirroring. the guideposts are set for the following years’ work. Things have lightened up. through the doing and into the feeling. the students understand what they are doing. They do so again and again. 107 .thinking. Suddenly. After repeated listening. here and there. when everything still goes smoothly on the surface. the doing remains stuck in imitation. Is not our present time characterized by the fact that part of the soul remains disconnected from physical activity? We see much—and don’t react very strongly. linkages with my own body and with space. In this realm too. The students follow the pitch with their arms. the body of the earth. We cannot make any concessions about the honesty of the method. then perhaps during a following practice. While standing. In this respect. one student draws the melodic line on the blackboard. their thinking is given assignments and nourishment. and also by rising on their toes and down again to match the melodic line. they must ‘serve’ and feed the whole person and lead him/her to a true human encounter. the melody is shining into our minds. We hear—and perceive very little. eurythmy should take a hold of the movement organism and educate it. on the other hand. their will acquires warmth and strength. If. If. even though it still seems a long way off. at this age. we listen to a repeating melody. someone smiles. their feelings are freshened. If this deep encounter doesn’t take place. Now everybody recognizes it: The melody mirrors itself. they will stand straighter. if not immediately. resistances will appear. What is heard should be transformed into connectivity.

36 For the next step. Something appears. but this path is more winding. forming the tones with our arms.Fig. that is intertwined. Again. a key of G. We can describe it front and backward. alone and in groups. Fig. we walk. 37 108 . yet harmonious. we keep to the principle of rising and descending along with the melody.

Fig. 38

Let us look at the metamorphosis of the circle again. We used this metamorphosis to follow the child’s evolution up to the twelfth year, and had found a well-balanced, threefold form. If we sense the development of this form as it continues past the initial reversal, we experience a tug between imbalance and tightness on one hand and expansion to the point of pulling the form apart on the other hand. The form expresses an almost unbearable tension. The holding force of the old is still minimal, the new is pushing and pulling but is still fettered. This form is like an image of the human being’s inner condition at the onset of puberty.

Fig. 39


What can eurythmy do here? How do we approach the requirement to restore balance and harmony? Only rarely and with great difficulty is it possible to stand on one’s toes without wobbling and keep one’s balance. Is it conceivable that the search for different centers of gravity could be the starting point for eurythmic work at that age? The fields of tension between rising and falling, contraction and expansion, inside and outside become the working themes. The spreading is a stretch in which the will reaches out, accompanied by a release of vital force. There is an active movement outwards, not a loosening in which the breath runs out. This stretching must be felt and experienced in the soul like being-contractedwithin the circumference. The gesture is incorporated into the physical body with great determination. It acquires character; the students feel their muscles and sinews. We are back in familiar territory. We hear minor chords and find out together that the entrance of a minor chord in us and its soaking through our being has the same effect as the vowel A. When we open up to the world, the entrance of the minor chord feels so strong that our inner being cringes, it hurts—but the pain awakens us. We know this sensation; it is the sensation of the E. How differently it is with major chords: my soul rejoices with the chord—or towards it. It become narrow and ready to accept, it jubilates in an U form, or else it feels like expanding and embracing the world in an O gesture. So we find with the students the inner concordance of chords and vowels. We discover in Major and Minor a stretching and contracting, a waking and sleeping. It is not so much a matter of virtuoso performances, as it is one of our hearing being ‘true.’ This causes a certain kind of levity, even when the general mood of the group is very somber. Children hear well with their limbs! When we work with musical intervals, it is often the case that children’s gestures display a more secure understanding than their attempts to describe their experience in words and concepts. Making them aware of this fact helps increase their self-assurance in action. Another area of soul-gymnastics is opened by postures, positions completely rooted in soul-sensations. We call them “soul-gestures.” We


encourage the students: You are someone, show it! Show that you are incredibly smart-compassionate-questioning-grandiose-sad-silly! Show us! Go ahead, show it! The vital question at that age is after all: Who am I? How am I? The question lies in the students, even when they don’t ask it. Which is why we need to incorporate it into these ‘soul-gestures.’ The soul-transformations must be quick, move at virtuoso speed, for that is their nature! Recall how quickly laughter turns to tears, or love to hatred! It is important that soul and body be close and connected consciously with the capacities and skills. It is important that the fourteen-year-old who is trying to become ‘master in his house’ should practice self-determination, deciding how to get along with his feelings— right into his very body. Steiner speaks of ‘ensouled gymnastics.’ It must be done artfully, skillfully and easily. Right/left, back/front—learning the dimensions of space with one’s own body—all this provides the ‘shelter’ for my feelings.

At the end of Middle School and beginning of High School, it becomes clear how successful we were at incorporating the soul into the heavy, empty body through the practice of soul postures. Are there capacities, even though the limbs are still awkward? Has a new originality grown? Can one divine a lighter, freer soul-form—as was the case in the circle above? Is the new space slowly breaking through its bonds and becoming free in the language of forms? In the ninth grade, we jump into High School. One observes at first braver, more far-reaching movements. One feels more courage in the face of assignments: Here is a text—remember what you know! To contract and expand is all you need, but you need to be independent. Where does the text pull you in, where does it expand you? And out of what feeling: anger, pride, despair?


I am and remain myself And will stay so till my last breath. If I fall. Ich bin immer ich. a general human law. Will mich irgend etwas beugen. The A opens up.Ich Sklaverei ertrag ich nicht. We learned about laws. it will help us understand anthropological development and stimulate a eurythmic education really true to movement. For us here. If we don’t just follow its general form. I am always I. Kommt des Schicksals Härte Oder Menschenmacht. etc. Ich bin immer ich. [Fig. Let us turn to what we know rather than merely being of the mind. In the face of harsh destiny Or of human power. a new circle can exist. so fall ich ganz. (With seventeen. so bin ich und so bleib ich Und so bleib ich bis zur letzten Kraft. Work in the high school must build on this further. for instance with vowels. We encounter an element of freedom. the O surrounds. a new life can begin. 40] The metamorphosis of the circle has reached its end goal: The fetters are loose. the poem that costs me so much effort. Steige ich. I shall rise high. 112 . Lieber breche ich. I Slavery I will not accept.41] I am always one. it will be all the way. but experience it as movement come to rest. And if I have to bend. If I rise. Hier. I am always I. If eurythmy ‘works’ when things ‘fit’ rather than being mere speculations. I would rather break. [Fig. then doing the gestures should mean that I am able to understand in greater depth and with more feeling the text. we realize that this circle turned inside out now has changed direction. so steig ich hoch.and eighteen-year-olds it is entirely possible to practice this transformation as a complete series. Falle ich. – Ingeborg Bachmann (written when she was 16) The last strophe expresses a law. Vowels can be formed in space. Darum bin ich stets nur eines.

Steiner—in connection with exercises on the forms of the third person singular pronoun er—had given the verse which began our considerations: The Cloud Illuminator (Der Wolkendurchleuchter). I am always I. 40 What we have observed in adolescent development can also apply to the development of eurythmy in its historical beginnings. Precise foot positions help anchor them in the earth. The gestures stream through the body from top to bottom. Already in 1913. (durchsonnen = feet in O) May he glow-through. If I rise. If I fall. (durchglühen = feet in Ü) 113 . I am always one. May he shine-through. it will be all the way. (durchleuchten = feet in Eu) May he sun-through.Therefore. always only one. I shall rise high. Fig.

. create a vessel in which higher forces can stream. strong inner feeling. but rather that in the meditation something of what stands in the words gets fulfilled. This may happen by meditating on what stands in the words with full inwardness. It can be the case that the eurythmists’ meditation about the mysteries of the human organism will allow them to enter this inner experience.43 With eurythmists also.Fig.e. i. which they were to use themselves. 114 . It can help strengthen a community. Eleven years later. Steiner gave eurythmists another verse. 41 Intended for teachers working with other adults. not for their teaching but for their personal development as movement-artists. one year before his death. so that we don’t just meditate words and concepts. it can be a matter of repeatedly awakening in oneself a particular soul mood to make oneself receptive to the feeling and sensation of the corresponding gestures. this exercise was offered at the birth of the eurythmy.

thinks. The young child’s movement lives in its environment and streams into it. forces pour into the human being. And Heaven’s light tells me Through the thinking of my head How the world. air and light. singing. Earth’s gravity tells me Through the word Of my feet. The life of creative powers. After such a meditation. Es sagt mir Der Lüfte Formgewalt Durch meiner Hände Singen. I seek within my Self The working of creative forces. Spricht. Like in the Wolkendurchleuchter. Der schaffenden Mächte Leben. and sensing mind. Again and again. if you arouse this mood in yourself. the repetition of the word durch (through) is striking. singt. Wie die Welt im Menschen. you will come into eurythmy. Es sagt mir Des Himmels Lichteskraft Durch meines Hauptes Sinnen. In human beings. lies in the person’s inner being. There they live and work anew and can be freely used by the human being. he will make himself ever more into the gate through which the world-logos enters and becomes effective. the person’s activities—his speaking. The wolkendurchleuchter stands at the child’s age of eurythmy as young movement art. Es sagt mir Der Erde Schweremacht Durch meiner Füsse Wort. tone and word must be formed in inwardness: “I seek to work in the inner realm of creative forces. The force of sound. you will see that you can think of yourself as having awakened from the world’s sleep into the heaven of eurythmy. Through the singing of my hands.Ich suche im Innern Der schaffenden Kräfte Wirken. Speaks. on the other hand. sinnt.” The development of human being and the development of eurythmy go hand in hand. The air’s wafting forms Tell me. the way one awakens from night into the day. If the person follows the admonition contained in these words. But now the gesture is turned around: Now through the earth. 115 . The onset of movement in the young person and the adult. sings.

There are many diverse reasons for this. Rejection and receptivity. We encounter them every day. we can sing a song of praise. with the curriculum. But all lie in the purview of eurythmy. If we compare high schoolers nowadays with those about ten years ago. but also more critical. Antipathy and sympathy nowadays are sharply opposed. more imaginative. every hour. The result is that on one hand we must direct extreme sympathy and openness to each individual student: A warm. Eurythmic activity must become increasingly understandable to and intellectually replicable by 116 . wakeful attention for the individual is an existential condition for the teacher. Yet none of those reasons has to do directly with eurythmy. each lesson must be illuminated by the experience of a generally valid supra-personal lawfulness. prejudice and spiritual openness often are present in eurythmy lessons without any transitions. we see distinctly that we are now looking at young people who are more prepared in the deeper layers of their soul. more concerned about truthful judgment. As well as a lament. On the other hand. Especially in eleventh and twelfth grades. testing becomes more rigid. Hearing gets corrupted. The teachers’ training is insufficient.Thoughts on Teaching Eurythmy in the High S chool Eurythmy teachers all have tiresome experiences doing eurythmy with High School students. they are interested in concrete human and pedagogical questions: Why did she have us do this exercise? What did we do in Lower School? Why? The teacher must be able to answer these questions. They are more open to art and the anthroposophical aspects of their subjects.

This was a fertile time for eurythmic work in the high school. The series begins with B of which Steiner said. to move.S . experience them? Or am I expected only to believe in them. Increasingly.. and the Wellenlaut (wave sound) L and ends with the sibilants S. translate the work. “It gives strength and the ability to overcome.e. M. But the same theme re-emerged as a heavy melancholic pressure in the High School.H . We really experienced the grace of the dire need of that time. We did many practices with the series given by Steiner to Tatiana Kisseleff in 1914.M . The students eagerly took up this evolutionary series B .G . and we studied it from numerous points of view.” The next sound.F . “Protection in something. we have to develop our teaching out of a ‘translation. i. 117 .L . They must slip under the skin of the group and of each individual within the group. Which movements strengthen the life forces? Do they work only on me? Do they work for the earth? For the universe? Can I actually feel them. like so much else? These were questions we were able to meet through practical exercises. H and the “remarkably radiant” form above for demonstrating T. They must also interpret.the students. we come to D. what it means to become.N R . The path starts with the plosives. They asked direct questions and begged to experience in this context what life is. The High School students’ concrete life sphere was affected when the AIDS epidemic spread through Central Europe.44 It consists in twelve consonants that between them constitute an evolving conversation. moves over the Zitterlaut (vibrating) R. The activity provided something akin to consolation and security. We must take a serious look at the times: What is it the current time demands of the young? How can eurythmy answer these demands so as to be of help? There was a time when this need became particularly obvious: the days and weeks after the Chernobyl reactor accident. must be felt. Then it faded.Ch . It must be related concretely to life. practical for each age group.” From B through M.T.D .’ translation in two respects: Teachers must translate their materials into the being of the students. individually and age specifically.

And the spirits of form. The angels form images in the human astral body.g. a transformed humanity. Nelly Sachs’ Chorus of the Unborn was met with readiness and a strong engagement. (Bodhisattva) 118 . 1918. if others next to him are unhappy. Zurich): We should first develop in images what the spirits of form want to attain with us by the end of earth evolution and. Regarding the search for motifs and the quest for sources to stimulate one’s own enthusiasm. Whenever we observe the angels doing this work—this may sound peculiar. And these images can be pursued. we must answer the questions: How can I translate the insights I receive from anthroposophy? How can I make them so concrete that they will provide the motivation that is appropriate for our time? One example of bridging through eurythmy from spiritual science to the life of young people comes from Steiner’s lecture “What Is the Role of the Angel in Our Astral Body?” (October 9. a transformed reality will later arise. out of these images. they want to create in the human astral body the kind of images that will produce very specific social conditions in future human social life. but it must be said—the angels have a very specific intention for the future social shaping of human life on earth. very specific principles. We then shall see that these images are formed according to very specific impulses. Human beings may resist acknowledging that angels want to release in them ideals for the future. images that one can attain with a thinking developed into clairvoyance. working through the angels are already forming these images in our astral body. another kind of translation seems important and essential for the High School eurythmy teacher. artistic work on texts. In fact a very particular principle is at work in this imageforming activity—the principle that in the future no human being should be able to quietly enjoy happiness. further. If we want to master the task of doing eurythmy with today’s young people.. e. They are formed in such a way that the way in which they appear contains to some extent forces for humanity’s future evolution. yet that is the way it is.Similarly. It is the translation of spiritual scientific knowledge into practical eurythmic exercises.

in immediate life practice. to cross through thinking over the abyss on the way to an experience of spiritual reality. And still a third thing: to give human beings the possibility of attaining the spirit by way of thinking. To raise one’s consciousness up to a particular level—one does that when one does eurythmy. They emerge clearly the moment one attempts to find their trace. religion for the soul. They are articulated and cannot be separated from each other. not just in theory. this is the music resounding through the spheres through the angels’ work in human astral bodies. Spiritual science for the spirit. This belongs to human evolution … and it must become practical human wisdom. the angels’ intend with the images they imprint into the astral body that in the future every human being should see in every other human being the hidden divine. while doing eurythmy. it will have very specific consequences. All free religious feeling to be developed in future humanity will rest upon the fact that each human being recognizes in every other human being the image of God. fraternity for the body. they appear ordered as a trinity. And once this is realized. really so. These three themes can be elaborated in the upper grades. I might say that one only needs to raise one’s conscience up to a particular level to feel oneself translated inside the angels’ wonderful workshop in the human astral body. as seriously as possible. it resides in the nature of art.”45 How does the work look in actuality? The new beginning of eurythmic work in the ninth grade contains great promises as well as great dangers.… Human beings should more and more consciously come to understand what I just told you. as strongly and understandably as possible—this is what the angels put into the images. although they know about 119 . This resides in human nature.But there is second impulse yet … regarding human soul life. Or as it was put: “One feels as if transposed into the wonderful angelic workshop. The students know quite a bit.… To conceive the human being as an image revealed out of the spiritual world. In tone eurythmy. it means continuing the gods’ work.

Some of the quality reflected in the words “with the help of thinking. “How did you hit upon this?” we are likely be met with a shoulder shrug and. in the ninth grade eurythmy class. The teachers and the students’ ‘chance’ now rests in the metamorphosed approach of familiar material. I pull inward. they should be short. or else I pull slowly from my inner space out into the world. without knowing that they know it. poems and proverbs. ballads. to cross the abyss to the experience of spiritual reality” must appear at the beginning of high school work. the place for the audience marked with a P. i. They actually know a large number of poems in a dreamy kind of way. it feels right to just keep moving relaxedly. it just happened. They have encountered the gestures for all the sounds. This means that the beginning of the form is marked with a small circle. They have practiced scales and intervals.e. Correspondingly. matching spatial figures with grammatical rules and movements with various soul-conditions. the danger consists in continuing automatically what ‘was done before’ (the same old things). 120 . fairy tales. The permission to learn from one’s mistakes can be used as a lure into making a start. They have practiced individually and in groups. When we ask students. This will please even ninth graders in eurythmy class. How can this consciousness-raising occur? Students can find texts of their own choice.” Now we go patiently from the text to the form drawn on the board by the student. Now. A feeling of helplessness surfaces. “I dunno. just as concrete reality is in front of me. using texts. Now students can and must become conscious of what they know. If I have a question. Elementary formal rules are thus raised to awareness by way of the feelings and the will—all of which the students really know. following the rule: “Unfolding spirals express questions. In the conversation that follows. We must strictly follow the apparent rules of the drawing. seeking answers. we have the joy of discovery and fun. They have been exposed to a large repertoire. the end with an arrow. Each student should draw at least one of these into forms.. we develop knowledge derived from the sense of movement educated over the years: If there is a passive verb.” Divine or spiritual reality is definitely above or behind me.it rather than knowing it in practice. Needless to say.

– Lao Tse The net of heaven reaches far and its meshes are wide. dennoch entgeht ihm nichts. How often I was broken. we can turn to the divine concealed in human beings. – Christian Morgenstern Fig. Was alles liegt in mir verwelkt..Two examples are given here: Wie oft ward ich gebrochen. brach mich selbst. Yet irresistibly it keeps growing. 43 But there is a second impulse. broke myself And still I go on living irrepressibly. must be completed by us. The cosmic word created the human being. Concerning human soul life. yet nothing escapes it. It stood at the beginning of Creation. Indeed we become one with it when we do eurythmy! 121 . the goal for the future in which every human being will see a hidden divinity in every other human being. verdorrt. the angels follow through the images they imprint in the astral body. dry. humanity must awaken to it. Und dennoch leb’ ich unverwüstlich fort. Fig. which they perform without our being conscious of it. The angels’ activity in our astral body. Doch unaufhaltsam wächst es drüber hin. 42 and Das Netz des Himmels reicht weit und seine Maschen sind gross. How much lies in me withered. With the sounds underlying this creative force. The realm of speech and language reaches into this region.

then the spark will be transmitted to the students on a daily basis. the world logos.”47 In the ninth grade. If we look at the quality of the 122 .In the course of the school years. the wisdom of humanity would be standing before us. Let us take the first nine letters of the alphabet as an example. all humans. Step 1: We remain standing when we hear a vowel. Now the entire world is with us. all animals. but can experience enthusiastically in the sounds the force of resurrection. we move in any direction whenever we hear a consonant. Once this knowing and this experience46 and this thought have all been present in one lesson. when most children know the sound gestures. and even angels and God. the alphabet will blow through the class. One possibility is to investigate and ponder in a practical way the series of sounds in the alphabet with respect to its lawfullness. As fast as the wind after a few weeks of practice. solemnly. we approach these gestures on a new level. all plants. the human being in the cosmos. quite concretely in one fourth grade. applying understanding to the essential nature of the sounds. the children will never forget to ask for it “again”! So we practice. for there is nothing in the world that is not contained in the alphabet. We are all in it. this path can be walked ever more consciously. in his bodily shell … and by the time we arrived at Z. the human being in his house. for the etheric body is the wisdom of the human being. Step 2: We see a first emerging ‘sequence. and even sometimes saucily and irreverently! Each child gets his/her personal sound in the circle and it can go around faster and faster. Now it is very much a matter of awakening understanding. what Steiner described as follows in his Speech Eurythmy course: “And we could go through the entire alphabet. The alphabet can be practiced—slowly. each of us lives it. and we would have spoken the entire secret of humankind in the sound gestures. If we as eurythmists are not content with teaching merely the sounds.’ It is possible to build a triangle after each pause. The experience of the letters’ creative power can occur by the fourth grade. gaily.

the second trinity has the sequence: sibilant/occlusive/sibilant. 44 and 45 The students know these formal elements from the ‘peace and energy’ dance in the sixth grade. This is a big thing! I feel it in my bones. to overcome myself—all of this is a part of me. we get two very different triangles: an obtuse triangle BCD and an acute triangle FGH. The laws of speech connect us all in our inner beings. my heart.consonants we see that the two trinities are very different. But one shouldn’t ask them direct questions.’ It is always pleasant to meet old acquaintances in new environments. In the first one: occlusive/sibilant/occlusive follow. my foot! For the ninth grader these experiences can be developed simply by working on the alphabet. According to these sequences. and yet —to the extent that it also common to others—not just me. and this would be particularly noticeable and familiar to children. but simply practice these series. whose life of feelingsensing is at the flowering stage. Figs. not to struggle. Energy and peace have to do with me: To stand and ponder. Feeling memories emerge: Yes! This is connected with me. 123 . its path is very short. There is something satisfying about their reappearing as ‘laws. Can we test in the walking how a sibilant moves? It flies! And how does an occlusive move? It stamps and doesn’t really go anywhere. A feeling can be particularly acute when the sensing person is at rest.

absolute unity of humankind. graced and strengthened us. 1912. but through the O that follows we form a loving connection with it. In his lecture of September 22. which is supra-personal. in a way.” i.e. The wind and the water elements or the armies in ballads receive their expressive power from the common activity. one shouldn’t do it too often. The greeting has transformed. going faster and faster.. It is followed by V. related to F. The king’s castle is built by the children’s wakeful hands and feet. Thus we travel from the singular to things wisdom-filled. ”We seek each other out and we have found each other. “the sound fixating the ether in the etheric body. Some groups never manage to go beyond a very measured tempo. Something like it happens in the greeting E-V-O-E. In September 1924.If we attempt to test further how “the divine image can truly be recognized in everything through immediate life-praxis. we are dealing with an archetypal practice field. 124 . without working to create art forms of and for the community. Anyone who has gone around a circle. the law that “in the future. the gods’ high castle is built through the stamping of the rods in the rod-verses. that sets us as an ego being into our existence. always spill out. knows that this is one of the hardest exercises in form-walking. We not only recognize the other being.”48 Each handshake says. and do the E-V-O-E exercise.” Eurythmy raises the encounter to the highest human level. without a recognition of the community. for boys and girls will fall in love as a result. There is never any lesson. even in the first grade. can we follow in full consciousness the urge to work within this process of “absolute brotherhood. as we often do in tenth or eleventh grade.” We now turn back to the circle as archetypal form. either out of fearfulness or because they are trying too hard. Some students always break the circle.” Here. human beings won’t be able to rest in their happiness as long as others are unhappy. There remains the question of the third quality. Steiner described how one can encounter concretely the ‘greeter’ in this greeting process. Steiner described the F as the wisdom of exhalation. Yet only in the upper grades.” we can form a circle. although he cautioned: “With boys and girls. And we return to the E feeling enriched. It begins and ends with E.

i.e. the T in Leo. in his/her thinking. intuitions come up. but also with the creative forces of the zodiac. In conversations and through practice. but now expanded: Cosmic forces live in speech. Speech connects us with other human beings. we find the R in Taurus. cosmic forces live in every human being.and others never produce anything. We should not be afraid to perform the 125 . Once a path has been followed over several weeks. 46 Going back to sound gestures: In the twelfth grade we seek the letters in their respective cosmic homelands. speech lives in me. For what is the precondition of success? That every single person retain the totality in his/her consciousness. feeling and doing. But the technique for forming in a group of twelve people a harmoniously swinging circle. which can’t possibly all be described in the space of this book. Fig. the M in Aquarius and the Z in Scorpio. this is high school work. There are many ways to find these with the students. real higher level work. as they did in the fourth and ninth grades..

zodiac movements quickly, in agile, flowing motion; and in the process also moving quickly and nimbly in our consciousness through the entire twelve-fold circle. Out of this zodiac work, the desire awakens to reconnect with the cosmos, to be a gate for cosmic forces in the planetary world, to be completely here, completely in the other, completely above ourselves. In this way, the student can experience: I am a contemporary human being (Ich bin ein Zeitgenosse), I am a human being among other human beings, I am a cosmic being. In a first artistic step, this exercise can be raised further in connection with the work on the planets. For instance: • the sun’s movement as encompassing circle in all spatial direction: top/bottom, front/back, right/left, all-encompassing wisdom, white, AU • the moon’s movement as movement come to rest, silence, concentrated force, mirroring, violet, EI • the Four-Headed Beast as a four-fold human being—Lion, Eagle, Bull and Angel in harmony with the sun and moon, establishing the human being on earth, establishing it in space and time. The spatial forms interpenetrate and turn inside out. Doing this can awaken the consciousness of a sublime community to a very high level of cooperation. We can practice an introductory form leading to the work on cosmic poems. Which texts to choose for one or another class depends on the individuality of the class. What is generally valid is work on the movement of forces in circle. If it is successful there is no need to refrain from using the many different proposals from the students. They are what allows us to ‘read’ whether the quality of this very challenging exercise in community has truly been experienced.


The Professional Picture of the Eurythmy Teacher
The eurythmy teacher in a Waldorf school has in many respects a particular position. (S)he teaches a special subject, currently without equivalent in any other school system. The art of eurythmy, which is still very young and in the formative stage, needs to be supported by the entire school community—with teachers, parents, students and school board—securely and with solid skills. At the same time, eurythmy and its representatives the eurythmy teachers, must be incorporated in the school as a whole. They all must be trusted, and hired on the basis of their sound knowledge of the subject. Teaching in schools requires training in eurythmy, sealed by a diploma from a recognized training institution (see listing in Eurythmy Training Centers). Additionally, general pedagogical training is recommended. Possibilities for the latter are varied. Regarding work in the school, one can generally assume that one teacher will cover all the grades from 1 through 12. In many schools, one needs to add classes in the kindergarten and courses for parents and teachers. The teacher’s role thus goes beyond the school age. Personal artistic practice is part of the teacher’s preparation. It is also a part of the teacher’s responsibility, since it makes it possible to contribute to festivals and performances. Once the eurythmists are in place, administrative duties in the school’s self-management await them, which they can take up in very individual fashion. Anthroposophical training allows the eurythmists to be valuable contributors to Collegium work. The eurythmists can contribute greatly


as organizers of festivals, performances and class plays, to name only a few activities. Almost every Waldorf school also needs a curative eurythmist in collaboration with the school doctor. They work together with both individual children and small groups. Therapeutic eurythmy is prescribed for a number of illnesses, but also for constitutional factors which can create psychological, learning and social difficulties. Therapeutic eurythmy training continues for one and half years following the fouryear foundation course. Aside from schools, eurythmy and curative eurythmy are also offered in a wide range of institutions: anthroposophical training institutions, clinics, sanatoria, therapy and medical practices, curative homes, special education schools and day-programs. In many places, there are also eurythmy classes open to the community. After World War II, eurythmy began to be introduced in a few businesses and in apprenticeship training programs in Europe. Although these developments have been slowed down by the shortening of the workweek and other economic difficulties, there have been some successes and future prospects for eurythmy in the workplace.


September 16. Goetheanum. Steiner Die Entstehung und Entwicklung der Eurythmie (The Birth and Evolution of Eurythmy). Ibid. Truth-Wrought Words.htm. in Bottmingen. Jelena KahlKoch. GA 276. 8. 1983. p. 1982. Stuttgart. 4. 1991. Vassili Kandinsky and Arnold Schönberg. A reproduction of the The Harvesting of the Fishes appeared in 1932. 200. Dornach. p. 130. The text of Der gelbe Klang (The Yellow Sound) is reproduced in the correspondence between Schönberg and Kandinsky. First day of the course. dtv Kunst. 38. Munich. Ibid. Lory Maier-Smits. Margarita Voloshin reports on this conversation in her autobiography. Lecture. Rudolf Steiner Das Künstlerische in seiner Weltmission (The Arts and Their Mission). in the portfolio Das Licht schien in die Finsternis. GA 277a. ed. The Green Snake. 38. Bilder und Dokumente einer aussergewöhnlichen Begegnung. p. Cf. 7.at/4_ exhibits/asc/Kandinsky/letters–e. Die erste Eurythmistin.Endnotes 1. Eugen Fink Verlag. http://www. 9. Magdalene Siegloch. Stuttgart. 1997. Freies Geistesleben. 6. p. see note 3. 2. Dornach. 12. Briefe.schoenberg. Dornach. 3. 11. Dornach. p. 1923. 1965. Die Anfänge der Eurythmie. p. GA 40. Kristiana. Rudolf Steiner.. 10. 5... 1993. 19. 39. May 16. Vassili Kandinsky in Of the Spiritual in Art. Ibid. 1912. 129 .

p. cit. It contains Agrippa’s idea of the universe with its three worlds or spheres. pursued in teaching positions all over Europe. Gegenwärtiges Geistesleben und Erziehung (Spiritual Life of the Present Time and Education). Lecture. 18.. 16. which had grown up around the simple doctrines of Christianity. See note 10. 294ff. 1913. GA 60. 19. Rudolf Steiner. De Occulta Philosophia. 114. 2. Okkulte Untersuchungen über das Leben zwischen Tod und neuer Geburt (Occult Research on Life between Death and a New Birth). 21. and wished for a return to a more personal religion. Ibid.” Lecture. German writer and physician. Ibid. p. Agrippa von Nettesheim (1486– 1535). p. August 9. (English version). Originally a physician to King Maximilian I. p. Dornach. p. Munich. In Agrippa von Nettesheim. 1910. early September 1912 in Die Entstehung und Entwicklung der Eurythmie. Lecture. He denounced the accretions. vol. 130 . 18. GA 300. November 17. 2 (German version). Rudolf Steiner. GA 26. Conferences with Teachers of the Free Waldorf School in Stuttgart. 17. 1959. GA 140. Rudolf Steiner. Dornach. p. Ilkley. 1989. 1970. 88 (English version). GA 307. Rudolf Steiner. The Inquisition sought to stop the printing of De Occulta Philosophia (1550). 20. 1923. 14. Berlin. 14. Drei Bücher über die Magie. he began to take a lively interest in theosophy and magic. p. 1975.. Lecture. Der Erkenntnisweg der Anthroposophie (Leading Thoughts in Anthroposophy).. 1987. op. Das Michael Mysterium. 38ff. Dornach. His works published in 1550 have been reprinted frequently over the centuries. Dornach. October 11. Anthroposophische Leitsätze. Nördlingen. p.13. Dornach. Rudolf Steiner. 358. 86. 22. “Menschengeist und Tiergeist. In Antworten der Geisteswissenschaft auf die grossen Fragen des Daseins. 1973. reputed to be an alchemist and magician. a defense of magic by means of which mankind may come to a knowledge of nature and of God. Rudolf Steiner. Bergen. 15.

The Impulse of Spiritual Powers in World Historical Events. p. See note 21. Gedichte für Kinder und Kenner. Lory Maier-Smits comments in Die Entstehung und Entwickelung der Eurythmie (Origins and Development of Eurythmy). “Die Prufung der Seele. Rudolf Steiner. 1959. Dornach 1979. Dornach. 57ff.. 1921. Dornach. Evening Lecture. 31. Dornach. GA 14. 1973. 1924. April 13. p. 29. 1950. cit. January 13. Die Methodik des Lehrens und die Lebensbedingungen des Erziehens. 14. 38. GA 286. Berlin. 32. p. op. GA 315. Dornach. Heileurythmie (Curative Eurythmy). 121: “I seek in the inner. GA 277a. Dornach. 1962. p. June 24. 1923.. 27. 1965. Bertelsman. 103ff. See Akasha Research: The Fifth Gospel. Gütersloh. p. see p.” in Vier Mysteriendramen. Rudolf Steiner. 25. 131 . 34. 1986. op. p. London: Penguin Classics. “Und der Bau wird Mensch. 1914.…” Rudolf Steiner. p. April 10. op. Rudolf Steiner.” Lecture. March 11. Ibid. vv. Dornach. Lecture. 1923. Lecture. Die Eurythmie als sichtbare Sprache (Eurythmy as Visible Speech). Dornach. GA 307. 34. cit. 30. Eurythmie als sichtbare Sprache. Rudolf Steiner. 192. Lecture. In Wahrspruchsworte. Ilkley. cit. p. p. 24. p. Dornach. 37. GA 222. Alighieri. 1973. GA 158. 248. 36. p. June 28. Dornach. Lecture. Lecture. 73.23. 26. 1914. In So viele Tage wie das Jahr hat. Divine Comedy. Dante. 28. GA 308. Gegenwärtiges Geistesleben und Erziehung (see note 2). p. 33. “Der neue baukünstlerische Gedanken. Dornach. p. 28.” in Wege zu einem neuen Baustil. 1975. 121. Gegenwärtiges Geistesleben und Erziehung. Dornach 1976. Rudolf Steiner. Rudolf Steiner. August 10. Dornach. 46. 1982.. 76. 185. GA 279. 1924. 35. collected and edited by James Krüss.

In the German language there are two forms for the English ‘‘to know”: können = to know how to do something and kennen = to know a person. in Der Tod als Lebenswandlung. 1979. Seventh Course Day. 44. Dornach. 41. 1911. Eurythmie als sichtbare Sprache. GA 279. 1912. 47.. a piece of music. Dornach. commented by Armin J. 54ff. September 16. p. Dornach. p. in Der musikalische Bau des Menschen. 46. Reprinted in GA 304a. pp. 1978. 48. Die gesunde Entwickelung des Leiblich-Physischen als Grundlage der freien Entfaltung des Seelisch-Geistigen (Healthy Development of the Physical Body as a Foundation for the Free Unfolding of the Soul-Spirit). October 9. cit. Steiner’s suggestions to Tatiana Kisseleff reproduced in facsimile in Die Entstehung und Entwickelung der Eurythmie. 26. 40. Dornach. 43. Rudolf Steiner. Dornach 1977. Address. September 22. 40. Dornach. 1976. 1993. Stuttgart. Rudolf Steiner. The basis for this is in Steiner’s indications. Rudolf Steiner Meditativ erarbeitete Menschenkunde. Anthroposophische Menschenkunde und Pädagogik. 238. 1923. March 27. Stuttgart. and so forth. 59. Eurythmie als sichtbare Sprache. “Was tut der Engel in unserem Astralleib?” Lecture. cit. a concept. GA 302a. 57–59. 1918. Lecture. 42. Rudolf Steiner. GA 303. Lecture. pp. Bottmingen.. 132 . p. Rudolf Steiner. p. January 2. op. GA 182. 1920. Rudolf Steiner. op. p.39. p. 205. 140–143. Husemann. Stuttgart. Entwurf einer plastisch-musikalischen Menschenkunde. 45. 1979.

steinercollege. CA 95628 Tel: 916-961-8727 marketing@steinercollege. Box 90425 Austin.impulse-eurythmy.O.org www.edu rsc@steinercollege. TX 78709-0425 Tel: 512-426-5974 info@impulse-eurythmy.edu www.eurythmy.Eurythmy Training Centers (partial listing) U.org Im-Pulse Eurythmy P. NY 10977 Tel: 845-352-5020 Fax: 845-352-5071 info@eurythmy.A.org Eurythmy Training at Rudolf Steiner College 9200 Fair Oaks Blvd.org www.edu 133 . Fair Oaks.S. School of Eurythmy Spring Valley 285 Hungry Hollow Road Chestnut Ridge.

de www.de Alanus Hochschule für Kunst und Gesellschaft Fachbereich Eurythmie Johannishof 53347 Alfter Tel: 49-02222-93210 info@alanus.de Eurythmie Witten/Annen Institut für Waldorfpädagogik Annener Berg 15 58454 Witten Tel: 49-02302-79673-0 info@wittenannen.alanus.edu www.eurythmeumstuttgart.wittenannen.de www.de www.Kunst Argentinische Allee 23 14163 Berlin Tel: 49-030-8026378 Fax: 49-030-80908263 eurythmieschule.eurythmie-berlin.de Schule für eurythmische Art u.edu Reifestudium Berufsbegleitende Eurythmieausbildung Alanus Werkhaus Johannishof 53347 Alfter Tel: 49-02222-4103 Fax: 49-02222-938842 Andrea-Heidekorn@web.berlin@t-online.de 134 .GERMANY Eurythmeum Stuttgart Zur Uhlandhöhe 8 70188 Stuttgart Tel: 49-0711-2364230 info@eurythmeumstuttgart.

MerZ-Theater Hannover Bühne und Schule für Eurythmische Kunst Brehmstr.4d-eurythmie.com EGYPT School of Arts Sekem Academy P.de Eurythmie-Ausbildung Nürnberg Heimerichstr.d 4.merz-theater.de www.com 135 . T. 9 90419 Nürnberg 0911-337533 info@eurythmieschule-nuernberg.eurythmieausbildung-nuernberg.de HUNGARY Akademie für Eurythmie Budapest Nagymezo u.e.sekem.de www. Heliopolis Cairo. Box 2834 El Horrya.O.D raum für Eurythmischec Ausbildung und Kunst Mittelweg 11-12 20148 Hamburg Tel: 40-41331644 info@4d-eurythmie.de www. 30. 1065 Budapest Tel: 36-01-312-2730 Fax: 36-01-312-2730 huneuritmia@hotmail. Egypt Tel: 20-55-2880550 Fax: 20-55-2880550 christoph.graf@sekem.com www. 10 30173 Hannover 0511-815603 merztheater@t-online.

net.euritmie-denhaag.nl www.ch Eurythmée Lausanne Case Postale 569 CH-100 Lausanne Tel: 41-21-8062168 136 .eurythmie-zuccoli. 9a CH-4143 Dornach Tel: 41-61-7018466 Fax: 41-61-7018558 www. Israel Tel: 972-2-5344639 Fax: 972-2-5344679 abdalma@012.ch www.il NETHERLANDS Euritmie Academie Den Haag Riouwstraat 1 NL-2585 GP Den Haag Tel: 31-70-3550039 euritmieopleiding@hhelicon.ISRAEL Jerusalem Academy of Eurythmy Moshar Bet Zait 99 90815 Jerusalem.nl SWITZERLAND Akademie für Eurythmische Kunst Baselland Apfelseestr.ch Eurythmeum Elena Zuccoli Hügelweg 83 CH-4143 Dornach Tel: 41-61-7064431 Fax: 41-61-7064432 info@eurythmie-zuccoli.eurythmie.

peredureurythmy.camphilleurythmy.org.com 137 .uk www. Stourbridge DY8 3SA Tel: 44-1384-442563 Fax: 44-1384-442563 eurythmy.wm@ukonline.uk Peredur Eurythmy West Hoathly Road East Grinstead RH19 4NF Tel: 44-1342 824109 info@peredureurythmy.uk Camphill Eurythmy School Botton Village Danby/Whitby North Yorkshire YO21 2NJ Tel: 44-1287-661257 Fax: 44-1287-661254 camphill.org.FRANCE Eurythmée-Paris 1 rue Francois Laubeuf F-78400 Chatou Tel: 33-13-0534709 ENGLAND London College of Eurythmy Rudolf Steiner House 35 Park Rd London. extension/208 lceurythmy@freeuk.eurythmywm.co.net www.eurythmy@virgin.com Eurythmy West Midlands at the Glasshouse Arts Centre Ruskin Arts Centre 10 Kohima Road Dr.com www. NW1 6XT Tel: 44-20-7723 4400.

eurytmi.AUSTRIA Bildungsstätte für Eurythmie Wien Tilgnerstr.com 138 . 30 N-0260 Oslo Tel: 47-22-443290 Fax: 47-22-436629 dne@eurytmi. Steinerhögskolan 15391 Järna Tel: 46-8551-50770 Fax: 46-8551-50685 goran.no FINLAND Eurytmiakoulu c/o Antroposofinen Lütta Undenmaankatu 25a 00120 Helsinki Tel: 35-896987698 Fax: 35-896802591 ann-marie.no www.krantz@steinerhogskolan.se www. Dahls gt.somero@welho.3 A-1040 Wien Tel: 43-15-048352 SWEDEN Eurytmilärarutbildningen R.steinerhogskolan.se NORWAY Den norske Eurythmihoyskole Prof.

RUSSIA Institut für Musikalische Plastik und Drama Nikolai Konowalenko Povarskaja 20 RU-121069 Moskau Tel: 70-95 2915039 Fax: 70-95 3124008 UKRAINE Eurythmie-Ausbildung Kiev c/o Kunstschule Turchaka Tiraspolskaja 49 Kiev Tel: 38-44-5526059 kuhjuerg@web. Switzerland Tel: 41-61-7013640 Fax: 41-61-7011802 BRAZIL Nucleo de formagáo en Euritmie Rua Romilda Margarida Gabriel 178 / Apt. 18 4144 Arlesheim.com.br SOUTH AFRICA Center for Creative Education Iziko Labantu be Africa PO Box 280 Cape Town ZA-7800 Plumstaed 139 .de Eurythmie-Ausbildungsprojekt Odessa Reichensteinerstr. 802 045-30-090 Sáo Paulo Brazil Tel: 55-11-30792776 Fax: 55-11-30792776 renatenisch@nol.

Cape Town Eurythmy School Empire 15 ZA-7800 Hout Bay JAPAN Eurythmieausbildung Tokio Eurythmie Haus Okubo 2-10-2-102 Yamazaki-Bil. Shinjuku-ku Tokyo Tel: 169-0072 Fax: 0081-44-95 42 156 AUSTRALIA Aurora Australis P.O. Box 18 KEW 3101 Victoria Tel: 61-3-94971979 140 .

5 x 8 inches 94 pages .Other Titles on Eurythmy Available from AWSNA Publications LEAVING ROOM FOR THE ANGELS: EURYTHMY AND THE ART OF TEACHING by Reg Down ISBN 1-888365-00-5 6 x 9 inches 240 pages EURTHMY FOR THE ELEMENTARY GRADES by Francine Adams ISBN 1-888365-07-2 5.

5 x 11 inches 50 pages COME UNTO THESE YELLOW SANDS by Molly von Heider ISBN 0-945803-30-3 8.5 x 11 inches 11 pages .ALLEGRO Music for the Eurythmy Curriculum by Elisabeth Lebret ISBN 1-888365-08-0 8.5 x 11 inches 227 pages Rudolf Steiner College Press EURTHMY ROOM DESIGN by Reg Down 8.

BASIC PRINCIPLES OF EURYTHMY by Annemarie Dubach-Donath 8.5 x 11 inches Mercury Press 279 pages EURYTHMY Making Movement Human DVD produced by Hagen’s Recording Studio EURYTHMY FOR THE YOUNG CHILD by Estelle Bryer ISBN 0-9722238-5-1 8.5 x 11 inches WECAN Publications 119 pages .

org publications@awsna.KINESTHETIC LEARNING FOR ADOLESCENTS by Leonore Russell ISBN 978-1-888365-89-4 5.5 x 8.whywaldorfworks.5 inches 132 pages AWSNA Publications www.org 518 / 634-2222 .

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->