Shams Puppetry Thesis

2
Contents
Part A. The Theory Page
Introduction 4
Chapter 1. What children need for healthy development 5
Chapter 2. What children receive – sensory damage, particularly from television 33
Chapter 3. Puppetry and how it can heal sensory damage 57
Conclusion 63
Part B. The practise
Chapter 4. The genuine fairy tale 69
Chapter 5. Music, songs and narration for puppet shows 79
Chapter 6. Some practical guidelines for puppetry performance 84
Bibliography 98
Appendix
1. A definition of terminology page 100

2. Evolution of human consciousness page 103
3. A history of music page 106
4. A history of puppetry page 111
5. Fairy tales and stories by season page 118
6. Some possible interpretations of fairy tale images page 120
7. “Choosing fairy tales for different ages” by Joan Almon page 122
8. Colour suggestions for puppets and marionettes page 125
9. Directions to make tabletop (free-standing) puppets page 127
10. Directions to make marionettes page 129
11. Tips for performing page 139
12. Some scientific information page 143
3
Introduction
“Puppetry is the healing for the ills of modern civilisation.” These intriguing words
of Rudolf Steiner provided the starting-point for this research. As such ills affect
children more than adults and as it is children who are more likely to watch puppet
performances it is primarily children who have been kept in mind.
The senses are children’s only source of learning and knowing. This study
therefore begins with an examination of the needs of the young child for healthy
development and particularly in terms of the development of the senses, and of the
kind and quality of the child’s sense impressions. In reality most children are
bombarded daily with strong and inappropriate sense impressions deleterious to their
health and development. These particularly come from modern technology, mainly the
visual media and principally from television. In the context of the young child the words,
“…the ills of modern civilisation” can therefore be interpreted today as the damage
caused by machines and in particular by television, computer, films and electronic
games. The negative effects of television and its damage to the delicate, developing
senses of the young child are examined in depth in the second chapter.
The essential quality of a puppet is that it moves. Even a piece of knotted fabric is
sufficient to make one. A puppet’s composition and any technique are overlooked by
those watching who focus on the character. A puppet is captivating, it rivets the
attention. It is a marvellous stimulation to the imagination. Puppet theatre is made up of
two parts, the second being in the minds of the audience. Puppet shows are discussed
next to show how they can provide a unified sense experience of high quality, a rich
and enlivening sense nourishment. The experience of Waldorf school puppetry
performances for the young child is described to attain an understanding of how
puppet performances address and can heal the child’s senses, rhythm and breathing.
A genuine fairy tale such as one collected by the Grimm brothers is an ideal story for a
puppet show. The healing to the soul of the child that fairy tales can bring is also
recounted. How the words, ”Puppetry is the healing for the ills of modern civilisation”
ring so true today is argued in the conclusion.
In the second half of this thesis some practical guidelines are given for potential
puppeteers to help those who would wish to bring this healing to young children.
Genuine fairy tales are examined as their portrayal by puppets brings the deepest
healing. Additional relevant information and data collected in this research is
contained in the Appendix.
4
Chapter 1. WHAT YOUNG CHILDREN NEED FOR HEALTHY DEVELOPMENT
Introduction
As children grow and develop from birth to the age of 13 or 14 they repeat the stages
of human consciousness through which humanity passed over aeons of time. Good
education seeks to meet a child’s needs and nurture developing capacities in a
manner appropriate to his/her stage of consciousness. Waldorf education attempts to
do this. The child’s stage of consciousness primarily depends on his/her biological
age, (s)he cannot be hurried without serious repercussions, in particular on health in
middle age. This means that in every aspect of homecare and education (– stories,
games, gym, sport, handwork, puppet shows, out of school activities, and so on)
appropriateness to the child’s stage of consciousness must be borne in mind.
According to Rudolf Steiner, the child develops in three seven-year stages. Each stage
is a maturational stage culminating in a ripeness, a readiness for the next stage, which
cannot be accelerated without serious consequences. Respect for these stages of
natural development means, for example, that reading and writing should not be
taught until the second stage. These stages are now detailed giving greater emphasis
to the young child because the younger the child the greater the effect of his education
and upbringing. The twelve senses are then examined one by one explaining what is
needed for their healthy development in the child. The chronolological development of
the senses is given at the end of the chapter.
The First Stage of Birth -7 years
After the birth of the physical body it is the turn of the etheric body1 to be developed and
then unsheathed or “born” after seven years. Each seven-year stage is based on the
preceding stage(s) so this first stage is clearly the most important and has the most far-
reaching consequences. Within this first stage, again the beginning is the foundation for
the later part.
The Needs of a Baby
Respect for a baby’s natural and unique development is paramount. It means holding
back, waiting and observing to take cues from the baby as to what his needs are. It
means allowing the baby freely to move, act and explore his new world as comes
naturally to him and following his own interest. This precludes interference, distraction,
propping baby in a position he could not manage alone and standing him on his feet
before he can walk. The various kinds of motor co-ordination which are foundation skills
for academic learning later will then be learned naturally and not omitted. Babies and
young infants need a calm, quiet, slow and predictable life; one that would seem boring
to an adult is fine for them. A description of a respectful method of raising babies is
given in a book by Magda Gerber2, based on her work with Emmi Pikler. By that method
the habit of observing and “reading” the child can then be continued as the child grows.
Self-esteem is developed by mastery of challenges which entails the caregiver holding
back and allowing a small child to solve his own problems as far as possible, struggling,
1
Body of life forces, termed by neurologists the phantom body
2
“Your Self-Confident Baby” by Magda Gerber
5
failing, getting frustrated and trying again; if help is given at all it should be the smallest
facilitating step, enough for the infant to figure out the solution.3
The less consciously the child perceives the deeper do sense perceptions penetrate,
even to the subconscious where they form a foundation affecting moods, feelings and
behaviour with which (s)he will go through adult life. The spirit in which the parent or
caregiver does things (for example, lovingly or carelessly, willingly or begrudgingly,
whole or half-heartedly, gently or harshly) makes a big difference, for it is the message
behind the spirit in which something is done that is absorbed into the subconscious.
Thus for the first year or so of life it is the spirit of morality (of the parent or caregiver)
which has the greatest influence on the child. After that, the way language is spoken
assumes an even greater importance. If the mother tongue is spoken well in all its
richness the child can form a close relationship to the language in his/her very core
whence it will affect his/her personality and spirituality.
The Development of the Etheric Body
In the first seven years of life it is the etheric body (for a description, see
Appendix) that is particularly developing, to become unsheathed or fully born after 7
years of life. A baby is not born with internal organs that correspond in miniature, in
shape and relative position, to those of an adult. It is primarily in the first 7 years that
they are sculpted and brought towards a proper and harmonious functioning by the life
forces of the etheric body. The child also sculpts outwardly, firstly in sand and mud, later
in modelling beeswax; this plants a seed that can ripen later into artistic originality. In
this period the body inherited from the parents is gradually replaced by a more
individual one, aided by the fevers of childhood illnesses which burn down the old
enabling a strengthening of the immune system and a rebuilding into a more unique
individual. As the teeth are the hardest element their transformation takes the longest;
at around age 6 the teeth, which look just like other children’s, begin to fall out to be
replaced with a unique, permanent set. Intellectual work during this first stage would
harden children and take forces away from their task of developing a healthy body. The
loss of the milk teeth was the traditional signal that the inner sculpting stage is finished
but today children are losing their first teeth ever earlier so many other factors must be
taken into account to decide when this stage is completed. One sign is the lengthening
of the limbs so that the child can reach over his head and touch the opposite ear. Once
this first stage is completed the etheric body is unsheathed and life forces have become
available for memory and learning. The child is then “ripe” or ready to enter first grade,
usually in the seventh year (that is after the sixth birthday, typically about six and a half).
The All-Important Need for Rhythm
The etheric body gives us our sense of time and is also termed the habit body. A
consistent, daily rhythm with meals, nap and bedtime at the same time every day is a
basic, fundamental need. It develops an inner rhythm in the child that brings health both
then and throughout life. Rhythm in classroom life and other daily, weekly, monthly and
annual rhythms are also important. Children thrive on routine. Predictability brings
security and stability at all ages, besides making children more accepting of discipline.
Waldorf teachers in the grades plan rhythm into every lesson and every day so that
school life is both predictable and interesting. Over the years these rhythms in
classroom life give children tremendous stability. Rhythm strengthens among other
3
Gerber, M., ibid., p.166
6
things the rhythmical system of breathing and blood circulation. The only thing that
strengthens children for “real life” is this strengthening of the rhythmical centre which
provides an inner strength so (s)he can fit in anywhere; it seems to provide a strong,
centred, stable core so that a person can better withstand the trials and tribulations of
destiny.
Children need the rhythm of alternating exercise and rest over the day, an
alternation of expansive, exerting activities (such as free play indoors and out) and
contracting, restful activities (such as listening to a story). Singing games, with their
constant repetitions, and free play go together like sleeping and waking. Rhythmic
repetitions strengthen the will. Physical security comes from the body receiving
nourishment and rest at the same times every day. The rhythm active in the realm of the
soul is that of sleeping and waking. On falling asleep our soul and spirit leave the
physical and etheric bodies in bed and melt away, into and together with other beings,
then on waking we come to ourselves and carry on with life as individuals, alone. This is
a breathing rhythm.
Healthy habits ingrained in the years from birth to seven are the last to be lost and
forgotten by patients with Alzheimer’s disease. Similarly bad habits learned before
seven enter deeply and are the most difficult to unlearn.
Small children’s sense of time is much slower than that of adults. They need to be
given extra time, for example for getting ready to go out and not to be told to hurry up.
This means that parents, caregivers and teachers need to be patient and, in particular,
process- not goal-oriented.
The Young Child needs Live, Human Models

Imitation is the prime means of learning for small children and is of tremendous
importance even until the age of 9. It is unconscious and, in healthy children, automatic.
Children drink in the world and mirror it back, to the occasional chagrin of their parents.
First the parents and caregiver, then the teachers are the child’s representatives of the
human kingdom, his models for imitation. Both their outer and inner activity (in terms of
inner development) affect the child. Thus their whole manner and tone is of critical
importance. In kindergarten and the early grades teachers carry out household tasks
and the rhythmical gestures of craftsmen for children to imitate, usually in songs and
games. It gives children a broader range of human role-models doing meaningful work,
it enables an absorption of archetypal human activities (such as growing, reaping,
threshing and grinding grain and its transformation into bread), besides unconsciously
providing a historical perspective of times with less technology
For a small child an old person provides a contrasting role-model of what it is to be
human. Possibly small children have more in common with the elderly as in some ways
old age can be seen as a re-iteration of early childhood. The elderly too sorely need
unchanging daily rhythms above all with meals and bedtime at the same time every day.
Having less control in the fingers they need help to dress, put on shoes, a necklace, etc.
They have difficulty opening packets, jars and cans. They may be incontinent and wear
diapers. They may walk only slowly, unstable and holding onto something. They may
easily fall. They need to wear extra clothes to conserve their life forces and even a knee
rug anchoring them to their chair. Their concept of time can accord with that of the
young child. Just as a small baby lies for a long time watching the play of light beams so
7
too the elderly may spend hours day after day watching the sky and the sunset.
Whereas parents move quickly constantly busy, the elderly move only slowly when they
do move. They may spend long hours simply sitting, a rock of stability to whom the child
may return at any time. Studying the head of an old person the child sees spots, bumps,
wrinkles and folds of skin, receding eyes with a twinkle and perhaps silver hair like a
benevolent witch. With typically cold hands but a warm, loving heart the elderly can
listen, play a game and best of all tell stories (particularly of their own youth) that fire the
imagination. Siting a kindergarten near an old people’s home can be mutually beneficial.
How the Young Child Thinks

An adult gains knowledge by the separated elements of cognition, that is, by
perception and thinking. He feels separated from the world around and at the same
time, by perception and thinking, establishes his connection with it. The young child is a
perceiving being only and his perceiving has a different quality than that of an adult.4 As
the thinking develops it is still not separated from perception so cognition is a unified
process. This means that the child does not consider himself as separated from the
world around him but united with it, his ego consciousness not yet developed, and only
through his senses can he make sense of his world. He is completely a perceiving
being, a sponge absorbing sense impressions that do not stop at the sense organs but
continue far into the body. The child can hear in his fingertips and taste in his toes.
Often the earliest memories are of sense impressions. Sense impressions affect his
whole being. If, for example, up to the fifth year the child witnesses a raging adult, then
this sense impression will affect the etheric body in such a way that the whole physical
organism is damaged with consequences for health later on.
The etheric body in addition is a general organ of perception from which, between
the fifth and seventh year, develops imaginative thinking, a picture-like thinking, an inner
perception endowed with fantasy in which thinking and perception are still one.
Young Children Need Exposure to the Four Elements and the Four Kingdoms
The four elements (earth, water, air and fire/warmth) are active forces working in
the world and in us and can be said to be the essence of which the world, both living
and inanimate, is composed. The four kingdoms (mineral, plant, animal and human)
inhabit the earth. Thus the world can be seen as being fundamentally composed of four
elements and four kingdoms. From birth to seven the child is pre-occupied with
discovering these entities. When shown a beautiful view (s)he will likely focus on a
stone or plant right in front of him/her.
In kindergarten the kingdoms and the elements pervade the nature stories and
fairy stories told to the children. The shelves housing play materials may have rocks and
stones on the bottom, wood and other plant products on the next shelf, stuffed animals
higher still and finally dolls on the top. Children’s play –to an adult – can seem like an
endless series of experiments with those elements and those kingdoms, discovering
their characteristics and whether and how they respond, the beginning of physics, of
caring for plants and animals and building the foundation of social relationships; for the
child it is unselfconscious participation in all that is around him/her, (s)he experiences
4
Willi Aeppli, “The Care and Development of the Senses”, p.37
8
things as if they were alive and an extension of him/herself, (s)he is “in” them. Thus the
small child needs a safe world – with earth (s)he can dig into, sand, water, trees,
bushes, logs and rocks, a ditch, a hillock, a place to garden and other children with
whom to play – all in view of a caring, observant, non-intrusive adult. A teacher needs
an attitude of reverence and love for all the kingdoms of nature, ready to explore and
experience the world with knowledgeable yet awe-filled joy. The earth is a living home
for seeds, worms, beetles and much more. It is exciting to closely watch an ant carrying
a seed home and to see the rainbow in a dewdrop. Rain, wind and sun all fill children
with pleasure. It is astonishing how children flourish when given plenty of time outdoors
every day, whatever the weather.
Children need a God

A child needs to know that the world is one and it is good and that there is a God
who created, loves and cares for all. Parents can create a simple bedtime ritual with a
candle and a prayer or poem so that the child can enter sleep with peace of mind,
reassured of his/her being kept safe. Young children have some inkling of the spiritual
world from which they have recently arrived and they need an acknowledgment of the
spiritual dimension.
The Child from 7 to 14 years

In this period it is the turn of the astral body to develop before becoming
unsheathed or “born” at puberty. The three forces of the soul are thinking, feeling and
willing (i.e.volition/resolve). Although they act in concert, the child up to 7 years old
shows the developing will predominating (in imitation and movement), the child 7-14
year old shows the particular development of feeling and the 14-21 year old that of
thinking. Whereas children birth-7 years old learn almost exclusively by imitation, the
child 7-14 years old learns almost exclusively through authority.
Decision-making is a higher-order activity, in that it entails thinking at a more
intellectual level. For children aged 7-14 years the authority of the teacher and parents
is stressed and it is they who should make the decisions. When a child’s life is
rhythmical and predictable and he is told what to do (provided considered judgments
are made by parents and teachers) the child is fine and life continues smoothly. As soon
as a child is given choice the astral body (for a definition see Appendix) is called on to
take decisions. It is as if the child is momentarily at the stage after puberty when the
astral body has become unsheathed; this is imposing too much responsibility, it
accelerates the child’s maturity making him grow old too soon. It may explain why
migraines are now seen in children whereas they used to happen only after the age of
21. Negotiating before puberty is detrimental to children’s health. Steiner said that giving
children choice before 14 years (puberty) is destructive to their health. Children who
receive authority up to that age are able to guide themselves and make decisions for
the rest of their lives. The reason parents now give children so much choice is because
they themselves have problems making decisions. If parents do not give a child any
choice on just one day a week they find the child falls asleep more quickly that night, the
other days there is too much astrality, (s)he is too excited to fall asleep quickly. Waldorf
teachers may begin to give children choice at about age 12.
9
Until the age of 7 the temperament a child shows is a response to the parents’
temperaments. In the child aged 7-14 it is clearly seen which of the four temperaments
are dominant (often today it is a combination of two). The teacher consciously works
with this fact. (S)he may well seat all the sanguine children in one cluster, all the
melancholics in another and so on; this way they would each have a more extreme
experience of their own temperament and want to become more moderate. In telling a
story the teacher would make sure that the children of each temperament would be
addressed by some part or another and have those individuals in mind as (s)he told that
part.
The four elements and the four kingdoms are dynamic categories, intellectually
true yet applicable to all ages. They “weave in and out of the Waldorf curriculum like
musical themes”.5 Characterising the phenomenal world in this way enables the child to
grasp the facts of the world clearly and with reverence and love. In these middle years
children are engaged in a great deal of practical work related to these themes, for
example in arts and crafts, house-building, farm visits and gardening.
. In a child of age 7 the sense perceptions are amazingly fresh and alive because
the sense processes are still mostly life processes. The deep relationship between
perceiving and thinking continues until between the ninth and tenth year when the child
experiences a crisis in development. A child at around 9 years old may ask himself, “Do
I really belong to this mummy and daddy or was I adopted?” – a sign that the child has
taken that step in consciousness of self termed “the nine-year change”. Some call it the
“Fall” (from Paradise) because the child no longer feels connected, a part of the
wonderful world around him but feels apart, he suddenly sees that the world is not so
wonderful and notices faults, foibles, dandruff and so on. At this time perceiving and
thinking separate, inner life deserts the thinking as it becomes intellectual and the life-
processes have by now mostly withdrawn from the sense-organism with which they
were closely involved.6 Perceptions must now be digested by thinking. The divine sense
of unity with the world begins to dissolve to be replaced by the first feelings of
separateness and the objective experience of the world “out there”. The child no longer
needs to learn by imitation but by practising. The imitative forces become to a certain
extent transformed into a new relationship with language, and so speech exercises are
begun. The first step in the incarnation (unsheathing) of the ego (for a definition see
Appendix) was when he first used the word, “I”. This nine-year-change marks the
second step. A third occurs at puberty and the final unsheathing of the ego or “I”
happens at 21.
The development of the soul force of feeling is fostered by a great deal of artistic
activity and by the artistic way in which subjects are presented. Teachers take in the
subject material, in a way pre-digest it and then present it to the children in a state
appropriate for the children’s thinking at that age. There are no textbooks in Waldorf
schools until grade 8, children write their own. In grades 1 and 2 reading, writing and
mathematics are pervaded by the elements and kingdoms as expressed in nature and
fairy tales. The teacher will draw pictures to show how a particular letter came into
being, in keeping with the pictorial thinking the children still have. In 3rd grade when the
child begins to separate him/herself from his surroundings there is much practical
5
“Waldorf Schools: Vol.1 Kindergarten and Early Grades”, p.180
6
Aeppli, W., ibid., p.42
10
activity with the themes of farming and house-building, situations which Adam and Eve
faced on leaving Paradise. In the 4th grade the animal kingdom is studied, in 5th grade
the plant kingdom and in 6th grade the mineral kingdom; this is in keeping with children’s
becoming more and more down-to-earth. In 7th and 8th grade, subjects that were first
studied macroscopically are now studied microscopically, for example, in physiology.
World geography provides the macroscopic picture of the inter-relationships of the four
elements and kingdoms; the basic interdependence of the natural world and human
beings is clearly seen.
During the middle school years there is much artistic activity. The more music
children make the less precipitous is puberty. Drama presentations stimulate the
feelings and enable children to empathise with the joys and tragedies of others.
The Child from 14-21 years
The eruption of the permanent teeth (around age 6) marked the first stage of
hardening and the unsheathing or “birth” of the etheric body. Puberty (around age 13)
marks the second stage of hardening and the birth of the astral body. Modern
technology hardens children and causes puberty to occur prematurely. Research in
Germany showed that girls in Waldorf schools reach puberty a year later than girls in
other state schools; the benefits of an extra year of an artistic, imaginative education
before the hardening stage of puberty must be considerable. The child 14-21 learns by
reason, thinking and conscious acceptance of the knowledge of his teachers. Although
the soul forces of thinking, feeling and willing act together, at this stage there is a
preponderance of thinking – particularly about the human world, an inner pondering.
Young people of this age need time to daydream.
The Twelve Senses

I will now proceed to examine the senses in depth and particularly in relation to
children’s needs for healthy development. The school of thought put forward is that of
Rudolf Steiner, in particular as developed and expounded by Albert Soesman and Willi
Aeppli. Although now presented individually a sense never works on its own but always
in concert with others. When we touch the ground with our feet, for example, we use our
sense of balance at the same time. If someone touches a hot dish the temperature
sense and sight are involved as well as the sense of touch. To use any of the senses
we must want to observe, hear, etc. There must be interest. It is the province of the
astral body this curiosity, interest and urge to investigate something. In the case of
many senses we usually take them for granted and only notice them as a result of
painful experiences. The twelve senses are summarised in the table that follows.
11
(1) The Sense of Touch
Touch gives only the awareness of the boundary of one’s own physical body. In
the pleasure of touch we experience the desire to make an intimate connection. Touch
makes us conscious of being separate and thereby also separated from the divine world
with which we were united. An inner longing to be re-united with the divine means we
need to express all intimacy through the sense of touch7 and have a deep longing to
touch things – to reach their spirit and paradise again. Touching something beautiful
can make us gasp with awe as if we would like to inhale the beauty and hold it there.
At birth a baby does not know where his/her body ends and outer objects and
people begin. Consequently (s)he has no self-consciousness, no boundaries but is
united with everyone and everything around, even with the entire cosmos, like a drop of
water in the sea. The sense of touch is so very undeveloped that (s)he is not yet ticklish.
With the development of the sense of touch comes the experience of the body’s
boundaries and the gradual withdrawal from the cosmos.
Love and touch go hand in hand. Young children need love above all to live and to
thrive. Without it they sicken and die. They need to be cherished and caressed by
parents and caregivers so they can be helped to “leave paradise without losing the
desire to return”.8 Bouncing, dandling and tickling games all show the child (s)he is
loved and develop the sense of touch at the same time. They help to develop the sense
of a boundary before the time when the child’s arms are long enough for him to touch
himself all over, about the age of 2 or 3; it is at this stage that (s)he takes the big step in
self-consciousness of using the word, “I”. (However, some consider tickling an infant
invasive, with the tickler in a position of power and the child forced to laugh, whereas
“laughter should come from the soul and be a sign of happiness, contentment and
7
Albert Soesman, “The Twelve Senses”, p.29
8
Soesman, A., ibid., p.18
12
joy”.9) Caregivers can warm and enliven children’s hands and feet by massage, foot-
clapping and finger and toe games.
To develop and keep healthy the sense of touch, what a child touches is of
paramount importance. The sense of touch is of tremendous importance for babies.
There is a great difference between touching the breast and nipple when feeding or a
plastic bottle with rubber nipple. Some bottle-feeding mothers expose the breast to the
baby’s cheek when they feed to try to compensate. It takes much more effort to suck
from the mother’s nipple and that effort develops will. It makes a difference as a baby
crawls whether his fingers touch materials natural and warm (such as wool, sheepskin
and wood) or synthetic in carpeting and flooring. "Everything a child touches has at that
moment a deep truth for him."10 The sense of touch is most acute in the fingers, the
density of nerve endings is enormous there. “The brain discovers what the fingers
explore”.11 It makes a great difference if a child’s clothes are made of natural rather than
synthetic fibres, handmade and better still home-made with love and warmth knitted into
it, likewise if his toys are made of wood rather than plastic. Synthetic materials,
particularly plastic, dull the sense of touch but materials that were once alive (such as
wool, cotton, silk and wood) are enlivening and life-enhancing. Additionally the colours
of natural materials are more satisfying to the eye and nourish the sense of sight.
When an adult is ill he may become so sensitive as to have an inkling of how the
young child feels. Take clothing as an example. When an adult is feverish he may not
bear to have synthetic fabrics next to his skin – a difference he is unaware of when well.
The young child is sensitive all the time and needs to have natural fabrics touching his
skin. There are many reasons for this. One is that they enhance the sense of touch.
Another is that what was once alive still has some life forces and is life-enhancing. A
third reason is that all matter emits subtle energy vibrations; vibrational medicine finds
that of all the synthetic fabrics nylon is much worse for the health in this regard than,
say, acrylic or polyester.12
(2) The Life Sense

Scientists term the “proprioceptive sense” the sense by which the sympathetic and
parasympathetic nerves help in observing the life processes. Steiner calls it the life
sense. With it we experience our own constitution and so how well or not we feel. It
tells us when we are hungry, thirsty, tired or in pain. Pain gives us a warning that
something is not right. Pain is meaningful, often as if it’s saying, “Change or be worse!”
Behind every pain is a message and that usually concerns learning restraint.
Pain teaches us to avoid danger, falling, getting hurt and so on and thus gives us
an orientation in everyday life.13 From pain the toddler learns to avoid bumping into
things. From painful experiences in life we can learn and develop inwardly considerably.
Pain and suffering cause a contraction and concentration, a turning inward and a
deepening of the soul; this inward growth comes to fruition in wisdom. With pain comes
9
Gerber, M. &Johnson, A., ibid., p.145
10
Soesman A., ibid., p.134
11
Prof. Matti Bergstrom, p.9
12
Jack Temple, oral communication
13
Albert Soesman, ibid.,p.25
13
the impulse that produces compassion and conscience14 - and on the latter, the future
of humanity and of the world depends.
All learning is painful, without pain we would learn nothing at all.15 Many modern
parents try to avoid their children experiencing pain. For example, if a child wants food
or a treat or a question answered then that is given immediately and the pain of waiting
avoided. An infant may be picked up every time (s)he cries. Even fairy tales may be
edited to remove the frightening and gory parts in order to spare the child pain or
anxiety. Children are weakened by always getting what they want immediately and so
are later intimidated by the least challenge.16 Waiting gives practise in restraint; a prayer
or blessing before meals provides a few moments and having no snacks between meals
can give regular practise.17 Instead of suffering and addressing pain and sorrow there is
a modern trend to avoid pain at all costs, not only does this cause a lack of conscience
but pain in one’s destiny must take a different, sinister route.18 Readily available
narcotics offer the temptation of instant freedom from the pain of destiny. “People who
can put up with everyday pain, can also accept the pain of destiny.”19
The small child experiences the feeling of well-being through the sense of life,
particularly in free play. The process of play helps children digest their sense
experiences. Play is part experimentation with self and the world and part imitation of
the adult world, of whatever (s)he sees adults doing. Given versatile play materials –
from any one of which all manner of things can be created – their play can blossom to
full competence. The key words of the period from 3 to 6 years are “initiative” and
“industry”, it is when play reaches a peak. One sees masterpieces of imagination! The
central element is imitation of action and speech, the children taking the role of real
adults and trying to reproduce the adult world20 making sense of it in the process. One
can assess how well a child is developing by the quality and richness of his play.
Dramatic play can be technically defined as involving role play by imitation, make-
believe with objects, actions and situations and shows persistence of role play for 5 – 15
minutes or more. Socio-dramatic play includes these elements and besides has
interaction and verbal communication with other child(ren) involved.21High quality play
would be socio-dramatic, showing fantasy and imagination such that the initial theme is
developed for 30 – 45 minutes or more.
A child’s play reflects the development of his/her imagination. The first stage of
this development lasts from about age 2½ until about age 4½ or 5. Until about age 2½
the child’s will is very much connected with the parent’s/caregiver’s activities, imitating
everything (s)he does. From about age 2 ½ the will becomes more and more connected
with the child’s imagination. Fantasy and imagination appear together, for when a
memory picture is joined to an object fantasy results. (S)he sees reality through his/her
imagination thereby creating unending fantasies. For this new kind of play children no
longer need realistic objects (for example, a sweeping brush) but instead need simple
14
15
16
17
18
19
20
Sara Smilansky, “Children’s Play and Learning”, p.19
21
Smilansky, S., ibid., p.19
14
versatile objects which the child’s fantasy can transform into whatever the situation
requires (for example, a rope can be a horse’s reins, a prince’s golden belt and a
telephone cord at different times). Around age 4½ or 5 fantasy play suddenly loses its
appeal. A new kind of play appears. Instead of the child seeing an object and thinking of
a game (fantasy stimulated from the outside) the child thinks of a game, decides what
(s)he will need and then goes in search of the objects. Thus after 5 the will forces have
to make an extra, inner effort as the will joins with both mental image and well-
developed fantasy to create new objects which appear in his/her mental image without
an outer stimulus.22
Building is a characteristic of the play of small children; it can be seen as a
reflection of what the child is doing inwardly, building his own physical body. By the age
of 4 a child is able to build a house (for example with chairs, a big sheet and pegs or
ties) and play in it with a plan. By 5 years the child no longer needs props around
him/her to provoke a plan but can arrive in kindergarten with the plan inside him/herself.
In play children exercise and develop the will in an unconscious way. Toys mould a
child’s relationship to play. The simpler the toy the more it challenges the child to
develop by stimulating his imagination. A rag doll with minimal facial features is an
example. A finished toy impedes the imagination. A finished doll with a fixed smile, for
example, is hard to imagine feeling any other way than happy. Moreover finished toys
give the child the expectation of being entertained.
(3) The Self-movement Sense

Scientists term this the kinaesthetic sense or muscle sense. It is the sense with
which we notice our own motion. We know when we are moving our hand voluntarily
without having to check. With this sense we experience movement and the potential for
movement in our own body, and observe as movements our own expressions and
emotions.23 When someone runs his hand over a wooden bowl becoming aware of its
shape and how rough or smooth it is, the sense of self-movement is engaged as well as
the sense of touch. Looking at a circle the eye follows it round and the sense of self-
movement is engaged.
According to Steiner this ability to move is conferred by the astral body that is our
source of energy. (Plants do not have an astral body and so cannot move.) To try to
explain a movement the intention behind it must be included, that is the plan in the mind
of the person moving. The plan comes first and the movement follows. Each little plan is
part of the whole life plan or karma, a task we have each set ourselves. This biographic
life plan lies deep in the subconscious, in the depths of the soul, and is deeply
connected with all our movements.
All developments in the child’s movement are development of the child’s will, that
soul faculty which involves action (or inaction sometimes)/ resolve/ volition and which
corresponds to the bodily realm of the limbs and metabolic system, including digestion.
Steiner maintains that in our will we are asleep – for example, we are completely
unconscious of what goes on in our muscles when we move. Those great steps in
learning – to walk, to talk and to think – are made unconsciously with the help of super-
sensible beings. The creator beings not only provide us with our physical and
22
Jaffke, F., “Significance of Imitation and Example for Development of the Will”, p.4
23
15
psychological make-up but also our forward-striving will and our dynamic impulse to
play, practise, develop and grow. According to Steiner the will comprises the whole
realm of what Freud terms the unconscious and much beyond, including the digestive
system, limb mobility and our intentions. (Steiner contends that there is no unconscious
as the whole universe is permeated by consciousness and when a person is
unconscious higher consciousnesses flood into him.)
It is important that, as far as possible, the movements of a baby or infant be self-
directed and not prescribed by an adult, bar selective intervention to prevent a child
being hit or hurt. It is essential for a child to discover as much as possible for himself,
and thereby joy. Piaget said,” Every time we teach a child something we keep him from
inventing it himself”. Allowed the freedom to experience his environment in his own
individual way the child gains improved co-ordination, competence and a sense of
peace, playing at child time not adult clock time, with no need for encouragement or
external rewards such as praise. Uninterrupted play promotes concentration and a long
attention span. A child’s play is his “work” and is a serious matter demanding respect. In
play he works out his conflicts and current challenges and persists till he achieves the
next step in mastery for which he is ready. Interruptions by adults are distractions
causing the child to focus on the adult instead. In Waldorf kindergartens more time is
given to free play than to any other activity. Attentive observation of a child(ren) playing
freely affords the watcher an excellent opportunity to know and understand the
child(ren) better. “Observation is the father of thinking.”
With the freedom to move naturally – by being left flat on his/her back on the bed
or floor for much of his/her waking time – a baby’s movements will develop properly out
of his/her own volition. On his/her back she has complete postural support so is able to
raise the hands in the air above the face, as if playing with the light beams, the
beginning of eye-hand co-ordination. When the hands meet at the vertical midline the
left side meets the right side and so begins bilateral integration. Eventual manual
dexterity could depend on this simple, early activity. (Being propped up, however,
inhibits most movements of the body and articulating the hands in front of the face
would be impossible. That inhibition of movement also precludes development of vision
even though the eyes are forward.)24
A baby’s movements cause pathways to develop in the growing brain and develop
the responses of the central nervous system. The automatic grasping reflex of the
newborn is in response to something touching the palm of the hand, this reflex needs to
be gradually lost so that later there will be no instinctive avoidance of the palms
touching say dough, clay or even a pencil which would result in a peculiar grasp. Left to
move freely, a baby learns to turn over onto his/her stomach, to raise his/her head and
look round, to turn back again, to push him/herself into a sitting position and, once (s)he
has trunk stability, can reach for something without falling over. (S)he learns to slide
along the floor pushing with his/her big toes and/or lizard-like, using hands and legs.
(S)he may shuffle along on his/her bottom. Next (s)he will crawl on open hands and
knees. While crawling the palms are being touched but the weight prevents closure in a
grasp and the grasping reflex naturally disappears. The ability to stretch, grasp and
release develops in stages until soon after a year old (s)he can pick up something small
24
Carla Hannaford quoted by Ingun Schneider, Gateways (Waldorf KG Association) 41, p.8
16
using only the tips of his/her thumb and index finger, and without the other hand also
closing.
At first, hand movements are intimately connected with head movements. For fine
motor activity of the hand, such as writing with a relaxed grip, the head and trunk have
to act as a centred, relaxed and stable foundation. For the head and trunk to be so
requires maturation of the early movement patterns.25 Left to move freely, to crawl on
hands and knees, to stand, walk and eventually run, the gross motor development
provides the postural basis for fine, fluid, relaxed movements of the hand. Furthermore
the child’s exploration of three-dimensional space (by horizontal movement in contact
with the floor, by crawling on hands and knees and by walking) develops an inner
connection with space later used not only for physical exercise but also to orient
him/herself to the page for reading, writing and number work.
This is archetypal movement development. Unaided by others the infant struggles
until (s)he becomes gradually ready to try to master the next ability. This way (s)he fully
masters each step at his/her own pace so that later (s)he has steadier balance and a
more controlled postural system. Developing the body by his/her own effort and without
interference the ego is able to leave a deeper imprint.
The development of the feet is intimately connected with that of the hand. The
more dextrous and flexible are both hands and feet the better the cognitive centre in the
brain develops and thus the stronger the child’s ability to learn.26 Foot clapping games
are delightful and help to connect the infant with his/her feet. Foot exercises can be fun.
Marbles, a handkerchief, socks or daisies can be picked up with the toes and put in a
basket. Children can walk like fairies on tiptoe, then on the heels, on the outside of the
soles like gnomes and then on the inside of the soles. Children with hand-writing
problems can learn to write with their feet and their hand-writing will be automatically
improved. Foot exercises often result in laughter which is healthy (laughter causes the
astral body to leave temporarily giving more room for the etheric body).
The young child relishes movement. Unrestrained (s)he moves almost
continuously. The will impels him/her to explore this new physical world, to touch and
make move whatever catches his/her eye, to move as if constantly testing the limits of
his/her body and of his/her physiological make-up, ever trying to extend his/her abilities.
The movements of the toddler are expressions of energy and drive (part of the
unconscious will) then in the third year it becomes obvious that movements are more
intentional.
Children run, tumble, climb and crawl. They practise over and over again
movements they have learned, doing better each time. A child exercises muscles,
persistence and imagination when (s)he keeps banging one stone against another until
finally one breaks into two and (s)he can find who is inside. Children need opportunities
to develop both the gross and fine motor movements that are intelligence-forming, the
basis for creative thinking when older. Children need unpaved space outdoors to run,
climb, crawl and roll, to walk on mud and in sand, to build with sand or branches and to
balance on logs and planks. All these activities are physiologically necessary involving
stretching, articulation, balance and much more in a meaningful context.
25
Ingun Schneider, Gateways (Waldorf Early Childhood Association) 41, p.9
26
Molly von Heider, “Looking Forward”, p.2
17
Jobs outdoors are good and help others also, for example digging, raking leaves
and shovelling. Examples of indoor activities involving both large and fine muscle
movement are: kneading dough, grinding grain, cleaning windows and shoes, scrubbing
and polishing tables and chairs, cutting vegetables and washing napkins. These have
both social and moral components in that “work is love in action”.27 Tying shoelaces and
buttoning up clothes involve fine motor movements and a feeling of increasing self-
esteem. The same can be said for stitching a simple gnome, finger-knitting a belt for a
sword or making a jumprope with double finger crochet.
There is a pressing need to influence the unconscious forces of the child’s will.
Traditionally physical punishment and moralising were used to keep children still and
quiet with the result that children were intimidated and may have grown into adults who
felt insignificant. Today most try to argue and reason with a child – almost worthless as
his consciousness is growing only slowly and is incapable of dealing with that approach,
so bewilderment and confusion are produced and in adolescence moral insecurity can
result. Today modern technology (such as television, computer games and electronic
games) is widely used to keep children still and quiet as an “unpaid babysitter”.
However, these easily destroy imagination and creativity besides inducing lethargy and
giving children the idea that life is about being entertained. An alternative, as practised
in Waldorf schools, is to plan for the child’s will in activities that take place in the child’s
surroundings so that (s)he can use his/her drives and impulses in imitation of useful and
challenging activities over the day. This helps the child to humanise his/her movements
and to individualise them. Waldorf teachers cut down greatly on telling children what to
do, particularly before age 7. Healthy children and in particular those who do not watch
television have a strong impulse to imitate. Waldorf teachers try to have only
harmonious and meaningful movements, their gestures and bearing worthy of imitation
and thus to positively affect many aspects of the child’s growth and development.
When a young child’s fingers gain dexterity his thinking after puberty will be
enhanced. It is expressed in the old saying, ”Nimble fingers make nimble thoughts”.
Neurological literature well documents that gross and fine motor development are the
foundations of learning readiness. The neurological system cannot organise for
cognitive learning until the development of the body’s physical systems is completed.
This depends on, among other factors, the child having been given since babyhood the
freedom to move on his own initiative and not placed in positions which he could not get
into and out of by himself. This precludes infant seats that prop the baby up, baby
positioners, bouncers, swings, walkers and other contraptions, all of which confine the
infant, inhibit his/her natural development and co-ordination and cause tensions in
compensation. All movements are important for neurological development. A spiral
movement is involved during traditional domestic work and cooking (such as shaking
flour round a baking tin or wringing out a sheet). The spiral is the fundamental
movement of the astral body with its soul powers of thinking, feeling and willing. Ideally
children make this spiral movement in kindergarten in imitation of their teacher and thus
also nurture the forces of intelligence.28
Having been given adequate opportunity to develop gross and fine motor skills, a
child in his/her 7th year (around age 6½) reaches that ripeness when (s)he is ready to
27
Meyercourt,M & Lissau, R.,”The Challenge of the Will”, p.19
28
Audrey McAllen, “Sleep”, p.55
18
enter school and begin cognitive learning. The growth forces then loosen and, in part,
become intellectual forces. It is a step in the birth of the intellect. After that step all
movement that takes children off the ground helps – skipping, hopping, jumping and
climbing, for example. Skipping is a wonderful exercise for co-ordination and a favourite
playground activity of children aged 6-9.
Knitting taught in first grade, before reading and writing, improves bilateral motor
co-ordination and communication of messages to both sides of the brain besides eye-
hand co-ordination, visual tracking and visual attending. Knitting also uses perceptual
skills that encompass both spatial relationships and figure ground recognition. Without
the perceptual foundation, reading and writing are difficult to acquire, if they can be
acquired at all. In addition, the training in concentration which knitting provides
considerably helps persistence and problem-solving later.
(4) The Sense of Balance

Whereas the first three senses concern the inside of the body, the sense of
balance concerns the world outside – we keep our balance relative to a gravitational
field. The organ that monitors balance consists of three semi-circular canals at the base
of the skull; the canals are at right angles to each other and so represent the three
dimensions or planes. They give us a position in space and from them we know what is
left, right, front, back, up and down, both internally and externally in the environment.
Only a human being is in a straight, vertical line from which (s)he can determine a
standpoint and also a spatial sense, a sense of common space, of community.
Looking at a fully upright person with An erect human being

arms at his sides we can see that the joints
of ankle, knee, wrist, hip, elbow, shoulder
and jaw are in a straight line together with
the organ of balance.
Our uprightness, in balance, is an
expression of our “I”. No animal has the feeling
“I exist”, only man has “I-consciousness”. We
experience ourselves most intensively when we
stand up straight and most activities are best
done in a standing position. The child does not
stand upright and walk as a biological necessity
– he needs a trigger. That trigger is the other
humans he sees walking, his models for imitation.
When a crawling baby, unaided, first manages
to stand there is a sense of triumph, as if (s)he
has become truly human.
Babies need time to gradually bring themselves into a relationship with gravity and
to develop the muscular co-ordination to orient themselves freely in space. A toddler will
spend much time mastering steps and stairs and will try climbing into boxes. Other
children will seize the opportunity to climb and balance on whatever is available -
furniture, stairs, logs, poles, pipes and so on. They are as if driven to practise improving
their balance. Children allowed freedom to move outdoors and to develop physically
19
without restraint were found to have less fractures and concussions than wealthy
children who were kept indoors and brought up by a nanny;29 clearly their gross motor
development was better with better balance and co-ordination.
If logs are set vertically in soft ground in the playground a child will not attempt them
until (s)he is nearly ready to master walking on them without overbalancing.
That stage is about age 5½ - 6½ and is one of many signs suggesting readiness for
1stgrade.
(5) The Sense of Smell

The nose has a remarkable form of mucous membrane with nerve cells that pass
through the bone directly into the brain. This accounts for the immediate effect of an
odour. There is no choice with the sense of smell –an odour enters unasked and is
pervasive, reaching every part. Generally speaking children feel intensely the pleasure
or disgust coming to them through the senses of smell and taste.30 A baby or toddler
encountering a strange smell such as blue cheese may feel it as a disaster, down to
his/her toes.
For human beings the sense of smell is the last remnant of instinct. As it is mainly
unconscious it is difficult to describe an odour except as good or bad. Smell enables us
to judge between good and evil, whether hygienically or morally. Smell forces us to
make a judgment and at a deep psychological level.31
(6) The Sense of Taste

By tasting we should be able to tell if what we are taking in is wholesome or not
and whether it is exactly what our body needs at that moment. Taste is the sense that is
the most misused and degenerate. Sweet foods in babyhood start the decline. Sugar
causes among other things the teeth to rot from the outside via bacterial plaque, it
leaches valuable minerals, produces toxic metabolites and ages the body.32 A small
child if given no sugar whatsoever until at least the age of three is unlikely to ever have
a great liking for sweet foods. A sweet taste gives a general sense of well-being, it
“satisfies our immediate desire for egoistic well-being”.33 It is typically women rather
29
Gerber,M. & Johnson,A., ibid., p.14
30
Adam Bittleston, “Loneliness”, p.15
31
Soesman, A., ibid.,p.63
32
Phillip Day, “Health Wars”, p.115-117
33
20
than men who crave sugar and chocolate, perhaps from their lower, on average, self-
esteem. Possibly babies treated with respect and given freedom to move and play
outdoors become self-confident and have less need for sweet tastes. Furthermore with
minimal salt and no sugar in their food children are better able to develop an ability to
notice subtle differences in taste.
A sour taste is refreshing and activating, it awakens something in us. Salt is
strongly awakening and connected with thinking. Thinking explains something outside
itself and the thinking per se is forgotten, just so does salt enhance other tastes and
flavours without drawing attention to itself. A bitter taste provides resistance for the will,
for the will must be engaged to cope with bitterness. Children need bitter foods
occasionally to become vigorous. To a small child rejecting a bitter food can be said,
“You will like it when you are older”.
The whole atmosphere where we eat is important and it is healthier, when
possible, not to eat alone. The plates, details, ambience, gesture of serving and the
blessing, can all show a reverence for the sacred matter at hand. Children need to
imitate and enjoy helping, for example, by chopping vegetables for soup, making bread,
mixing ingredients for cakes and setting the table. Without the effort (will) to chew slowly
and thoroughly, less benefit is derived. Adequate chewing enlarges the jaws so that
braces are not needed later. To develop the will raw foods such as crudites (sticks of
celery, carrot, etc.) are better than spooned foods such as porridge. Children find
vegetables and in particular raw vegetables the least attractive food. In a group situation
such as occurs in the kindergarten, children eat foods that they would not eat at home;
as their eating of them then becomes a habit they usually grow to like them.
Young children often prefer to eat, for example, their fish, peas and french fries
separately in order to have a clear taste experience. This phenomenon can be
considered in relation to the other senses also. Each sense-impression (colour, taste
and so on) is a tone in a range of experience. All are new to the young child. Thus for
example in kindergarten the teacher may offer only one colour for painting to give
children a clear experience of that colour, perhaps for weeks or months on end and they
are content.
A toddler can be given a small chair at a low table for meals so that (s)he can
choose to sit and eat or not. Simple rules (such as: if he tips it out he loses it, if he
leaves the table it is the end of the meal) should be consistently kept, the child never
forced to eat and no food offered when he is no longer eager. The goal is for the child to
be in control and know when he is hungry and when he is full. Overfeeding destroys the
feeling of satiation.
The verb “to digest” is used not only for food but also regarding food for thought –
an idea, a book or a lecture. Thus we do not distinguish between earthly and spiritual
nourishment. Taking in food for thought (substance from the macrocosm) nourishes us
in a way like a fertilisation or fructification. In turn we fructify the world with our culture –
by taking the products of nature and raising them to a higher level, for example in
building, decorating, dressing, cooking and in arts and crafts. The expression, ”in good
taste” is used for these activities in which culture is formed with an outward taste.
(7) Sense of Sight

Most sense organs are created in embryo from the outside inwards by a small
21
area of skin becoming specifically sensitive and subsequently connected with the
brain.34 The eye is the opposite. The eyes are actually extensions of the brain having
been created in embryo from two brain protrusions. This may explain why they are
particularly associated with thinking and can be tricked, for example, by an optical
illusion when what the thinking expects to see is added. It is the only sense that can be
fooled. All the other sense abilities are connected with the eye. When we look at a
triangle, for example, we use the sense of movement as we “walk it” with our eyes. It is
more difficult to keep one’s balance with the eyes closed because two of the six eye
muscles are connected to the organ of balance. When we look at something it is the
organ of balance which tells us if that something is level or not. The life sense can judge
whether what we see with our eyes is pleasant or not. The sense of taste describes
something we see as sweet, attractive or dirty. Thus the eye is considered the all-
encompassing sense.
It is said that the eye is the window of the soul. We cannot meet more directly than
eye-to-eye. Mothers are recommended to not wear sunglasses so that their small
children can see their eyes. Our eyes show our feelings, our happiness and our
tearfulness.
Children exercise the eyes when they move them – rather than stare – and when
they change their focus. In the early grades Waldorf teachers support the development
of peripheral vision (as opposed to focussed vision) by many diverse classroom
activities, with less importance assigned to focussed, abstract work such as reading and
writing, and by time spent daily out of doors. Children in Waldorf schools are therefore
less likely to need spectacles.
In regards to looking at colour, with black, white and grey one is really only
looking at the outside surface of things, the inner being of such things is hidden. With
only black, white and grey it is very difficult to express a mood. That they are currently in
fashion is perhaps no surprise given that today’s pervasive media and advertising
convey a vogue for superficiality. When colour is revealed we experience that the inner
essence of nature appears.35 With colours we experience an emotion, an involvement,
a change of mood. The colour of prison life and mood is grey but when the hostage in
Lebanon, McCartney, found an orange in his cell it was as if he had been given a sun in
miniature, he knew he would never eat it; it nourished his soul and lifted his spirit for a
long time.
Goethe’s colour theory explains that colour arises from the interaction between
light and darkness. There are two possibilities – either light overcomes darkness and
the active colours (red, orange and yellow hues) arise or darkness prevails, creating
blue and violet. For example, as the sun sets the colourless, invisible light in the
distance overcomes the gradually darkening foreground, so first yellow, then orange,
then red are created. When we look up at the sky we look through light to the darkness
of outer space and see blue.
Colours can be arranged in order in a self-contained circle so that, for example,
from red one can pass through all the other colours and reach red again. With no other
sense impression (tone, odour and so on) is that possible. If one looks at a colour for
some minutes and then closes the eyes, one sees the complementary colour (that is,
34
35
22
the colour opposite it on the colour circle). Until the age of nine a child responds
physiologically to the complementary colour of the colour (s)he him/herself is wearing.
This phenomenon of reversal at the physiological level means that, for example, an
overactive, boisterous six-year- old could be dressed in red so that he would respond to
the complementary colour, blue, and be calmed. An example of this reversal occurred
when a boy imitating a dragon was running round the kindergarten, another child
dropped a red cloth on him, the boy stopped still for several minutes then pulled off the
red cloth and crestfallen said, ”That cloth took all my fire!” One can speculate on the
physiological response to some modern clothing colours – such as fluorescent yellow –
that are garish, attracting the eye and holding it. Whilst useful to protect roadworkers
from accidents they are inappropriate for young children. Colours that also appear in
nature are pleasant and restful to see. Only white and pastel colours are really
appropriate to dress babies fresh from the spiritual world, hardly having arrived in this
world of matter.
Waldorf teachers dress appropriately for the age of the children they teach. In
kindergarten teachers wear solid colours, loose and somewhat formless clothes, to
some extent like a mother earth figure. This way they can almost melt into the
background and least disturb the child in his world. The dress colour is not black or grey
and probably not white but likely a retiring shade of colour. Some teachers wear a
different colour each day of the week according to the respective planets. Such an
alternation would suit those children who are particularly affected by colour.
Mineral-based colours in wall paint give a solid, uniform colour causing the eye to
encounter a barrier, and that relatively near. The walls of a Waldorf classroom instead
are typically painted in a manner termed “lazure” (“zure” as in pleasure). After initially
being painted white, a coat of colour is put on with a special brush (or a sponge) applied
with a lemnoscate movement so that not all the white is covered and the effect gives a
certain depth of vision and a feeling of movement, the eye does not come to a stop. The
colour is specific to the age of the children (and geographical location is borne in mind)
for example, in nursery it is pink, in the kindergarten red-orange.
Other items in the classroom children would see are made of natural materials –
wool, cotton, silk and wood – and natural colours (from plant dyes) which mix well,
without clashing, and are restful and pleasing to the eye. In the kindergarten the nature
table is an attractive focus. Some would make it “perfect”, even cute. Most contend that
cuteness is only for adults and that what is important is the love, care and effort of the
teacher (in making the characters, collecting the materials from nature and assembling
the scene) that affects and nourishes the children.
(8) The Warmth or Temperature Sense

When we touch something of the same temperature as ourselves we sense it with
our sense of touch only. To experience it with our temperature sense there must be a
flow of heat. For example, when we hold something cold we experience it as being cold
because heat flows from us to the object until the object reaches our own temperature.
Likewise if we hold a hot object we feel it to be hot, whilst the flow of heat is reversed.
A long time ago some animals possessed a so-called “third eye”; in fact it was not
an eye but an organ of warmth. In humans it has evolved to become the pineal gland
23
which begins in the embryo just under the fontanelle. It is significant that everything we
absorb with our twelve senses is gathered up in the pineal gland.36
Ordinary nerves under the skin detect when warmth from the skin flows to, or
from, the capillaries. These unspecialised nerves could be called “interest nerves”. “The
essence of any nerve is that it radiates interest, to see what comes back.”37 Our soul
shows interest in the world with this sense. By our interest in others and the world, it is
as if we are putting out feelers, looking out for warmth; if warmth comes back we feel
involved, stimulated and enthusiastic, if we get nothing back we experience cold,
contraction and exclusion. Thus the temperature sense operates both on the physical
and soul levels.
Small children are less aware than adults of whether they feel hot, cold or
physically comfortable. As the child’s etheric body is not unsheathed until the seventh
year its protection is particularly important for both the child’s immediate and later
health. Such children need adequate, weather-appropriate clothing to keep warm and
dry at all times; their wearing one or two layers more than the adults around can be a
guide. For handicapped children this applies even more.
Waldorf kindergarten teachers particularly try to bring warmth to the children and
in all manner of ways. It is in the eurythmy “B” gesture that underlies all the kindergarten
teacher’s work and is exemplified by Raphael’s Sistine Madonna, a symbol of the ideal
parent, caring, supporting and nurturing with unconditional love. Warmth is in the
wooden or carpeted floor rather than tiles, stone or marble. It is in the natural fabrics of
the play materials and curtains. Chairs and tables are wooden and sometimes also
panelling on the walls. The children feel warmth literally in the hot mid-morning snack
and the enforcement of weather-appropriate clothing. Warmth is in the teacher’s words
and tone of voice and the love she has for all the children. (The teacher’s love, among
other things, counteracts the effects of being yelled at at home and hearing an unloving
tone there.)
(9) The Sense of Hearing

Although sight makes us aware of the surface of things, with hearing we can reach
the reality, the inner nature of something. Thus we can tell crystal from glass, silver from
other metals and so on. It is with the cochlea of the inner ear that we hear. The cochlea
and the organ of balance (the three semi-circular canals) have the same origin in
embryo because they are polar opposites. The organ of balance connects us with the
earth so that we are oriented in earthly space, and with our hearing we enter the
spiritual realm, the cosmos. When listening to music we eliminate our external, physical
balance in order to exercise our inner balance as the music moves between high and
low, slow and fast. Just as there are three outer dimensions in balance (height, width
and depth) so there are three inner dimensions – music in balance having the right
pitch, the right tone length and the right volume.38 The organ of hearing is the
transformed organ of balance so improved development of the sense of balance in the
child will be reflected in an improved sense of hearing.
36
37
Soesman, A.,ibid., p.97
38
Soesman, A. ibid., p.112
24
How the young child experiences music was researched by Helmut Moog with a
thousand pre-school children beginning in 1968. He found that from age three onwards
concentrated listening is part of the child’s experience. He found that young children
reacted to words more strongly than to songs, music or noise. He found that children
experience music and speech together. They experience rhythmic speech like music –
for example, a nursery rhyme would be heard as music and they had no need to find
meaning in it. Perhaps we should expect children to experience speech as music if we
consider the theory that “…in very ancient times of man’s earthly evolution, his sound
and tone expressions were not differentiated into song and speech; instead they were
one” and “man lived less in the nervous system; he dwelt more in the breathing system,
and for this reason primeval speech was more like song”.39 We can tell that spoken
nursery rhymes are still experienced by 5 and 6 year olds as music because they will
say to their teacher “sing that again”. Moog found that most children’s development
showed the clear order of first speech (of rhythmic songs and poems), then rhythm
(very simple 1 – 2 – 1 – 2) and lastly by 4 years of age tone height (a simple, inaccurate
going up and down with the melody or simple humming).40
Steiner said “…the child easily understands the element of melody, but (s)he
begins to understand the element of harmony only when (s)he reaches the age of 9 or
10”.41 This is what Moog found, that young children were unable to hear harmonies but,
instead, hear and experience a total sound. A big body of sounds is not something they
can imitate and when the child cannot imitate, something is blocked within him, as if he
cannot digest it; so even if an adult plays a beautiful harmony it is blocked off within the
child.
Julius Knierim investigated deeply over his lifetime the relation between the child
and music, working with handicapped children who present so clearly the needs which
all children have. He said; “Before their ninth year, children will generally sing on their
own at a much higher pitch than the sounds they hear in their environment, and also
faster than what would correspond to the rhythmic sense of an adult. Usually their
singing is not yet rhythmically ‘correct’ because their pulse/breathing ratio has not yet
settled at 4:1, and because their voices are still light, non-resonant, hovering and
silvery. They feel completely satisfied and fulfilled when presented with music consisting
only of a single melodic line. They feel nothing lacking in this experience, as adults
usually do. They long for a variety of instrumental sound and timbre, seeking less for
resonance in the sense of several voices or instruments sounding together than for the
tone characteristics of the materials which compose the instrument. They wish to hear
the sounds of the wood, the metal, the air, the string. They love sounds not simply for
the joy of making them – even if it often seems that way - but because the sound gives
them exciting news about the inner structure of the object, and it thereby stimulates
repetition. In their unprejudiced state they perceive in particular the “sounding
movement” which manifests the nature of the object when it is touched, knocked or
dropped.”42 Consequently up to first grade (6½ years) singing and playing an instrument
39
Rudolf Steiner, “The inner nature of music and the experience of tone”, p.32 &35
40
Nancy Foster quoting Helmut Moog, “The musical experience of the pre-school child”
translated into English 1972
41
Steiner, R., ibid., p.67
42
Julius Knierim, “Quintenlieder”, p.2
25
are not done simultaneously, in order for the child to have a clear tone experience. In
summary the musical experience of the young child is one of a single melody line with a
simple rhythm.
“All rhythm is based on the mysterious connection between pulse and breath”,43
that is, a ratio of 4:1 in adults but most children do not reach this steady ratio until 9 or
even 11 years of age. Around the age of 5 the rhythmic system (that is, the breathing
and circulation) reaches a more mature stage in its development, the growth forces then
leave it free so the child may want a certain swinging quality in the songs; this is not a
strong rhythm but a gentle rocking much as when one pushes a child on a swing. What
is called beat can wait until after the age of 9.
“For an adult the ground tone, the tonic, is almost always the reference point, the
foundation of the melody. For the child the melody moves around a note but (it is) one
which to the ear never sounds fixed in the way a tonic does. The child’s interest is
focussed on the intervals between the notes, these intervals are open to him in every
sense.”44 The most appropriate music for children up to 9 years old is pentatonic, a sub-
section of which is termed “mood of the fifth (interval)” and is particularly appropriate for
children up to seven. (For further explanation see the Appendix.)
(10) The Language Sense

The language or speech sense opens up a world different from that of the musical
element that we simply hear. Hearing a language we disregard the musical element, of
how it is spoken, and focus on what is said. The vowel A can be said at any pitch but
listening we would disregard the vibrations we hear and also the whole musical element
to reach something of a higher order than music – language.45
It is not known how a child learns his mother tongue. It is not something automatic
or completely instinctive, for without hearing the language he cannot learn it. Somehow
babies seem able to understand intuitively what is said to them. There is a large gap
between the language a small child can understand and the language that child uses.
Babytalk, the nonsense sounds which parents may make to the baby, is disrespectful
and futile. The second and third years are especially important for language
development. When a child is able to say “I” for the first time it is a miracle of inner
understanding, the first step in consciousness of self, the child is not thinking in
imitation. The child needs to frequently hear conversations, first-hand and grammatically
rich, with him/herself and with others – together with songs, nursery rhymes, dandling
rhymes and so on, all repeated over and over again. Its importance cannot be
overestimated. Traditional nursery rhymes, games, songs and stories seem ideal for
infants to acquire a wide vocabulary, a sense of rhythm, a sense for numbers, a feel for
language and a deepened imagination.46 The quality of the verbal environment has a
great effect on play, subsequent reading ability, learning and higher-order thinking.
Speech begins with babies playing with sounds and mimicking adults. A two year
old may say, for example, “Ann, no!” when she touches something she ought not to.
Termed "egocentric speech” it becomes internalised as inner speech between the ages
43
Steiner, R., Ibid., p.69
44
Norbert Visser, Appendix “Live music and recorded sound”
45
Soesman, A., Ibid., p.121
46
Martin Large, “Who’s Bringing Them Up?”, p.39
26
of 3 and 7, ages 3 to 5 being especially important; as the prefrontal cortex matures the
child says words to himself (not out loud) bringing them under his own control until
eventually inner speech becomes an instinctive tool with which to think, to think before
speaking and to communicate thoughts as in speech and writing. Using inner speech
effectively enables children to better remember information and events, solve problems
(by talking through the steps in their heads), organise and apply information, study for
exams and understand and remember what they read.47 It may be that inner speech
“feeds” the development of the frontal cortex that will later be responsible for abstract
thought.
To develop inner speech children need rich language models and particularly
exposure to spoken, reflective thinking in adults in meaningful, everyday contexts, “a
linguistic environment which is co-ordinated with the visual environment the child is
experiencing”.48 Research on the development of auditory abilities shows that children
of even 6 years old are still immature in their ability to discriminate frequency and
duration in speech; what they need is slow, repetitive talk with emphasis on word
inflections.49 Kindergarten teachers speak particularly slowly and clearly. Parents know
how much children like hearing repetition. Somehow most parents seem able
instinctively to use language with the child which is just one step ahead of the child’s
current ability, as if somehow always preparing him for the next step. The stage from 3
to 7 years is particularly important for the development of inner speech and
understanding of oral language. Once these are mastered the child is ready for all later
learning including reading with understanding. Although it is common today for progress
in reading to fall off after third or fourth grade many studies show that children who are
superior in oral language in kindergarten and first grade later excel in reading and
writing in the middle grades. After third grade, reading comprehension is much more
closely related to overall listening comprehension (for example, the ability to understand
and remember stories or reports they have heard) than it is to the ability to read the
words themselves.50 A major factor in both poor reading and poor spelling is poor
critical listening abilities.51
Teachers need to speak with clear enunciation and good breath, almost as an
instinct, to give children good models for imitation. Parents need to be told that children
need a rich foundation of language. More and more children now are “linguistically
malnourished”52 and most learning disabilities are related to underlying language
problems. Not all children learn to develop inner speech. The poor quality of day-care
(in the U.S. 50% is inadequate53) is one likely reason, time spent watching television is
another.
The vowels vary between languages and dialects and correspond to our
expressive and emotional movements and feelings. With the self-movement sense we
can observe as movements our own expressions and emotions. It is the opposite of the
language sense for which we must not only erase the vibrations we hear and our own
47
Healy, J., ibid., p.185
48
Levy quoted in J. Healy, ibid. p.214
49
50
51
52
Vail quoted by Healy, J., ibid., p.102
53
B. Brazelton quoted by Healy,J., ibid., p.43
27
expressions and emotions, but also the musical element and we must disregard
ourselves completely in order to observe in another person the emotional and formative
elements of language. The organ of the language sense is the reversed sense of own
movement so the better the child develops his/her sense of self-movement, the better
will be his/her language sense later.
(11) The Concept Sense

No one can say exactly what he means. A person will only be understood when
his words are overrided because the listener has gone further, to the idea behind the
words. This ability uses the concept sense to reach the meaning, concepts and ideas
that lie behind what is said and live in a silent world, on a higher plane than language. It
is through the transformed organ of the life sense that the concept sense functions.
Thus the concept sense can be considered to be opposite the life sense, the sense for
one’s own constitution, the sense that feels pain. The more the life sense is developed –
and so the more there is to be sacrificed, to be completely forgotten – the better one
can enter the world of ideas with the concept sense.
If someone passes through a phase in life when there is much personal suffering
then the non-essential dross of material life falls away and truth arises, (s)he finds what
is not important and who are true friends, (s)he sees life from a new, truer perspective.
People develop a sense for truth from situations where there is much suffering and
grief, that is why “wisdom is crystallised sorrow”.54 It is very important that children
sometimes suffer the pain of waiting, of having to do things they dislike and of not
always getting what they want. Only when someone has experienced inner pain through
his life sense can (s)he erase or sacrifice this feeling, this experience, to feel pain when
someone does not speak the truth.55 Efforts of will practised in childhood call forth the
capacity for sacrifice later on.56
(12) The Ego Sense

This sense perceives the ego of another person. Like seeing and hearing it does
not depend on a conclusion. The perception is a simple fact, a direct, real, independent
truth. We especially notice the ego of another when we have a disagreement or fight
with him/her. A person (rather than a dog) stepping on our foot is a direct fact, we
immediately perceive the ego of another and may feel angered or insulted. It seems that
we notice so many senses as a result of painful experiences.
The sense of touch needs to be well developed in childhood as it lays the
foundation for the ego sense. With the ego sense we meet the conductor of the “super-
concert”, which is language,57for we become aware of the ego or “I” of another, of
someone else as an individual. It tells us of the individuality behind the language he
uses, behind the meanings and concepts of his words, in other words the intent,
conviction and honesty of the speaker. It tells us whether he really means what he says
or has a hidden agenda. It tells us if someone such as a politician or leader can be
trusted and relied upon to lead us.
54
55
56
57
Soesman A.,. ibid., p.133
28
We experience our “I” as being within our physical body (although it is not) only
because of the sense of touch. With the touch sense we confront the world and close
ourselves off from it. With the ego sense it is as if we undo that, unconsciously we let go
of the link with our own “I”, to erase completely the fact that oneself is an individuality so
as to become directed outward to break through the physical nature of the other, to
meet the “I” of that other person. The “I” of both persons should remain free but two
mistakes are often made that are tremendous attacks on the “I”. Firstly in a less than
wakeful state we allow ourselves to be misled, for example by advertising. Secondly
instead of leaving the “I” of the other free so he can judge for himself and make up his
own mind we try to foist our opinions and convictions on others.58 It is a very wakeful
process to perceive the “I” of others, we need to be completely awake spiritually, a
capacity first acquired by a sound development of the sense of touch.59 The motionless
human form makes the sense of touch most available to be used in reverse for the ego
sense.
The Development of the Senses

The childhood years up to 21 can be considered the time of the physical
development of the senses, nevertheless the senses are active capacities that can be
developed throughout life. In each seven-year developmental period of the child certain
senses develop more than others. In the first such period it is the four will senses that
are the first to be active and particularly develop. In earliest infancy the life sense tells
the baby when he is hungry and he cries. It seems that the sense of smell tells the
newborn where is his mother’s nipple; at first, feeding seems to involve the senses of
touch and smell rather than taste. The sense of balance is the last of the will senses to
develop. The will senses are the bodily senses directed inwards to the child’s physical
body. The child in this period is generally in movement and can be characterised as a
“doer”.
It is the middle, feeling realm of the child that is particularly developed in the
middle period from seven to fourteen. The child now looks out into the world with the
four soul senses in particular. Beauty is especially important to him. The arts are now
much needed. Painting is central to the development of all four middle senses. The
plastic arts of modelling, sculpture, woodwork, etc. particularly involve the will senses
but relate them to the feeling life. The arts involving music and language (including
drama and poetry) particularly involve the spiritual senses but bring them into the
sphere of feeling.60 Through speaking and singing in a foreign language the sensitivity
and delicacy of the senses of hearing and language are enhanced.61The child in this
stage can be considered an “artist”.
The senses of language, concept and ego are particularly developed after puberty
when the astral body is unsheathed and abstract, intellectual thinking is born. The
period from age 14 to 21 is a stage of turning inward with the thinking, a time of
pondering on the human world. The adolescent is a “thinker”. The organs used for the
will senses enable, by their transformation or reversal, the use of the four spiritual
58
59
60
John Davy, Appendix to “The Twelve Senses”, p.159
61
Bittleston, A., ibid., p.49
29
senses. Thus the quality of the spiritual senses developed in this period depends very
much on the quality of the will senses developed in the seven years from birth. Again it
is the earliest years that form or not the foundation for what follows.
Table 2. Progression of erasures for the higher senses
Sense operates in erased are
Hearing the world of sound - oneself (own movements,

expressions and emotions)
Language the world of language - all the above,

also musical element
and individual letters
Concept the world of concepts/ideas - all the above,

also language
Ego - all the above,

also concepts, ideas and opinions
30
31
32
Chapter 2. What Children Receive – Sensory Damage, Particularly From Television
Page
Introduction 34
Light and its Effects 35
Some Effects of Television Light, Pictures and Images:

(A)The rapid firing of TV pictures – what happens in the brain 37
(B) Television as sensory deprivation 38
(C) Confusion of reality with fantasy 39
(D) Television lessens individuality 40
(E) Images have power – we become what we see 41
(F) Characteristics of television pictures and programmes 43
(G) Violence 45
Particular Effects of Television on Children:

(H) Brain growth and myelination 46
(I) Attention deficit and hyperactivity disorder, learning & behaviour 47
(J) Damaged development of language skills 48
(K)Delayed gratification and a sense of time 49
(L) Noise bombardment, beat and loud music 49
(M) What children really see on television 50
(N) Perspective 50
What Children Forego By Watching Television:

(O) Loss of imagination, children’s consequent inability to play 51
(P) Loss of ability to imitate 51
(Q) Loss of movement 52
(R) Children’s hands – development hindered and lack
of touch experiences 53
(S) Sleep 53
(T) Young children need a god 54
(U) Television shatters family life 54
Treatment for TV-damaged children 55

Giving up the TV habit 55
Sense Disorders in Adulthood, Implications for Society 55
33
Introduction
For adults the powers of thinking and of judgment serve as a dam against the
flooding in of sense impressions. An adult can reason over his/her sense experiences
and transform them into a soul experience, with his/her physical body largely
untouched. It is not so with the young child. (S)he cannot stop an impression and think it
over, (s)he has nothing to protect him/her from the continual bombardment of sense
impressions, the effects of which go physiologically right into the physical body. In an
adult only a representation of light gets beyond the eye but “in the child each blood
corpuscle is in some way inwardly stirred by the light”.62 The child’s tasting extends far
beyond his stomach, liver and spleen. (S)he hears music “less with the ear than with
his/her whole body which vibrates and lives in this musical element”.63 A few adults can
remember the taste of a story heard when very young.
In practise most children in the West suffer a daily bombardment of the senses.
Typically they may: eat breakfast with the television on, ride to school in a car with the
radio on whilst also hearing noisy traffic, in school sit under fluorescent lights, hear a
sudden loud voice over the tannoy system, on the way home be taken shopping to a
supermarket or mall and in the evening watch television and play electronic/computer
games. Obvious results from the stress of this over-stimulation of the senses are
various symptoms of hyperactivity, with lack of groundedness and difficulties in playing
and learning, as well as being difficult to live with.
Modern technology in its many forms is the prime cause of over-stimulation of
children’s senses. Television is now singled out for study as it is so prevalent – most
homes have at least one – and because the total hours spent by children watching it are
so high.
Watching television causes over-stimulation of two senses (mainly the visual, also
the hearing) and sensory deprivation for the others. Both play and behaviour are
affected. The play-deprived child “lacks sensory experiences and needs play therapy in
kindergarten; this does not depend on socio-economic background but on the amount of
family TV viewing”.64 The epidemic of children with learning disabilities of various kinds
is unique in that for the first time the rich are affected almost as much as the poor, the
common factor is the changed lifestyle – that they all watch a great deal of television.
They lack language skills; television is not interactive and cannot tailor conversation to
the needs of the child.
Kindergarten teachers find many children arrive less able to talk, listen and move
and with fewer social skills. Grade teachers in both the U.S. and Europe say that
instead of teaching one class of twenty children they now have to teach twenty
individuals, each demanding attention, unable to wait, impulsive, lacking self-discipline,
motivation and task-persistence, they have a short attention span and are
disorganised.65 Additionally children have a problem integrating what they learn
because they lack personal experiences and so lack, as it were, the pegs in the brain on
which to hang the new information. Possibly the majority of children today in the U.S.
62
Steiner, R., quoted by Aeppli, W., ibid., p.40
63
64
Martin Large, ibid., p.46
65
34
and Europe lack reverence and curiosity and have a withered capacity to wonder, yet
the ancient Greek dictum holds, ”All knowledge should have wonder for its seed”.
Light and its effects
Since time immemorial the sun has been considered a being of fire, a being of
power and a being of light and has been worshipped. It is a revelation of the divine. The
outer physical sun can be likened to an enormous cosmic magnifying glass, a focal
point in which all the energy, heat and light of the cosmos is concentrated and
distributed again.66 Whatever is out in the cosmos is also in us, in some way, in
miniature. Among other things the sun enables the growth of plants on which we and
animals depend and provides the light by which we see.
From a purely scientific viewpoint, light is seen as electromagnetic radiation.
Visible light comprises wavelengths of about 380 nanometres (violet) to about 800 nm
(red); 3% of light is invisible, the ultraviolet, from around 180–380 nm. We need all
these frequencies in one way or another to promote our health and reduce disease.
Sunshine is an essential nutrient. The modern habit of using sunglasses has a negative
effect on our health67 as also do sunscreen creams (they deprive us of vit.D and
ingredients are potentially harmful), but sunhats are recommended and overexposure
(sunburn) is harmful.68
Heliotherapy, by which patients are exposed to controlled amounts of sunlight to
cure or alleviate illness, was a successful treatment of a variety of serious illnesses for
about 75 years until the mid-20th century. Sunbathing early in the morning coupled with
a nutritious diet produced the best results. With the growth of the pharmaceutical
industry heliotherapy fell into disuse. A modern notion that sunbathing risks skin cancer
(malignant melonoma) is a fallacy. Outdoor workers seldom contract it. “Sunbathing is
dangerous for those who are on a standard, high-fat American diet or who do not get an
abundance of vegetables, wholegrains and fresh fruits”.69 However, babies up to twelve
months need to be kept out of the sun and children need to be protected from intense
sun exposure to avoid possibly developing melanoma in later life.70
Besides producing images via the retina of the eye, light rays pass via
neurochemical channels to the principal light-reception glands (the pineal and pituitary)
and in turn affect the hypothalamus which then regulates hormones involved in
regulation of sleep, mood, puberty and ovarian cycles. The hypothalamus also causes
the pituitary to stimulate the endocrine system and its multitude of hormones and
therefore affects also sexuality and fertility.
Light absorbed by the eye is ultimately absorbed into all the body’s cells.71
Photobiology – the study of the effect of light on living things – shows that light is a kind
of food, so changes in light wavelength change the nourishment that reaches the
cells.72 This fact is used in medicine, for example blue light is all that is needed to cure
66
Friedrich Benesch,”Easter”, p.18
67
Dr.John Ott, “Health and Light”
68
Dr.Richard Hobday, “The Healing Sun”quoted “What Doctors Don’t Tell You”,12,no.4,p.p.3
69
Dr.Zane Kline,“Sunbathing could save your life” quoted “What Doctors Don’t Tell You”,ibid.p12
70
“What Doctors Don’t Tell You”, ibid., p.2
71
Mander, J., “Four Arguments for the Elimination of Television”, p.174
72
Ott quoted by Mander, J. ibid., p.177
35
neonatal jaundice.73 Light interacts with food at a cellular level as the pigments in food
have their own wavelength resonances.74 Herpes infections and psoriasis represent
imbalances in the ultraviolet range, their treatments combine light therapy with ingestion
of certain herbs and foods.75 There may be an interaction of wavelength resonance
between chemical food additives (for example, artificial colourings and flavourings) and
the television or other artificial light a child’s body takes in, resulting in hyperactivity and
allergies.76
Modern lifestyles mean many now work under fluorescent lighting. These lights
may be a main cause of melanoma,77among other things. They are banned in German
hospitals and other medical facilities because of the raised levels of stress hormones
they cause. When fluorescent lighting in the classrooms of handicapped children was
replaced by full-spectrum lighting, behaviour and hyperactivity were much improved.78
Another study found a 32% fall in hyperactivity when fluorescent lights were removed
from classrooms. Switching to full-spectrum fluorescent lighting also caused dental
cavities in the children to fall by two thirds; other studies have shown the more sunlight
children are exposed to, the fewer their cavities.
Many imagine that any effect of television light occurs solely through the eyes.
However, the fact that the above results with handicapped children were highly
significant for blind and sighted children equally, shows that light affects us strongly and
not only through the eyes. Scientists have produced much evidence that light in the
body provides the energy, the driving force, for all the molecules in the body (see
Appendix). The light photons are distributed over the entire range of electromagnetic
frequencies and perform different functions at different frequencies. Photons switch on
body processes like a conductor bringing each instrument into the collective sound.
DNA, which is an essential source of photon emissions, seems to be the master tuning-
fork of the body. Photons offer an explanation of how cell co-ordination and cell
communication occur, how carcinogens cause cancer and how homeopathy and
acupuncture work. All living things emit light as photons in electromagnetic waves
(termed biophoton emissions), in a characteristic way for each species. Humans emit
the fewest biophotons. If a person is healthy the emissions are in a very coherent
pattern. The human pattern shows internal rhythms and also reflects the rhythms of the
world and of the universe. Stress causes the emission rate to increase. The emissions
of a cancer patient have lost both coherence and the natural periodic rhythms.
Research is sorely needed to measure the effect on biophoton emissions of a person’s
watching television; such research could give a scientifically acceptable measure of
television’s damage to health and possible causing of cancer.
Inside a (cathode ray) television a 25,000 volt gun fires an electron stream at
phosphors on the screen which then glow and their light is projected into the viewer’s
eyes;79 only the narrow spectra of red, blue and green phosphorescent light are
projected. Furthermore television screens emit electromagnetic waves that affect people
73
Wurtman quoted by Mander, J., ibid., p.187
74
Feingold quoted by Mander, J., ibid., p.180
75
Mander, J., ibid., p.186
76
77
“What Doctors Don’t Tell You”, 12, no.4, p.3
78
Ott, John, “What Doctors Don’t Tell You”, ibid., p.4
79
36
in the room even if they disregard the screen, as well as creating zones of disturbance
that affect people in rooms above and below for several storeys (see Appendix).
Some Effects of Television Light, Pictures and Images
(A) The rapid firing of television pictures – what happens in the brain
A slowed-down film of a TV screen would show only one dot at a time of cold,
fluorescent light. Dots are turned on and off in rapid succession as a grid of lines is
scanned to the bottom of the screen and back to the beginning again. The speed at
which dots are sequentially turned on and off – 12,500,000 per second – means that the
television projects thirty sequential images per second.80 This high speed causes the
eye to see simply a meaningless flicker of light. Babies’ and infants’ sight is developing
and sensitive, it is likely that the flickering electronic light of the television screen is
particularly stressful for them. The eye instead of focussing reacts by staring blankly as
it would to a blank surface, its muscles as if frozen. Hundreds of studies show the direct
connection between eye movement and thinking. In moving the eyes seek information
and actually cause the person to be alert and active in his mind. Conversely when the
eyes do not move but stare obliviously, thinking is diminished.81 This explains why it is
so hard to remain mentally alert whilst watching television.
The rapid succession of dots entering the eye causes a picture to be reconstituted
in the brain, in fact a series of pictures so fast (about ten per second) that only a small
percentage can be consciously registered. Most go immediately into the subconscious
which is strongly affected.82 Thus television bypasses consciousness – for images need
no thought, as long as the eyes are open they enter and are automatically recorded in
the memory.83 As the images go in unconsciously they are not “filed away” and so are
difficult to recall. It is not surprising that half of viewers watching a news programme
could not recall a single item of it just a few minutes afterwards.84
Exactly why this happens has been made clear by the Emery’s comprehensive
research. The left side of the brain is where language, communicative abilities and
cognitive thought (comprehension) are organised. “The nature of the processes carried
out in the left cortex and particularly the common integrative area are unique to human
life. It is the centre of logic, logical human communication and analysis, integration of
sensory components and memory, the basis of man’s conscious, purposeful, and time-
free abilities and actions. It is the critical function of man that makes him distinctively
human”.85 The Emerys showed that people habituate to repetitive light stimuli so that
the brain stops processing the information going in, the common integrative area in
particular goes into a holding pattern, meanwhile “the right brain (which deals with more
subjective cognitive processes such as fantasy, dream images and intuition) receives
the TV images but as the bridge between the right and left brains has been effectively
80
Yeager quoted by Mander, J., ibid. p.194
81
Mander, J., ibid. p.201
82
Rainer Patzlaff, manuscript translation. P.3
83
84
Stern quoted by Neil Postman, “Amusing ourselves to Death”. p. 152
85
The Emerys quoted by Mander, J., ibid., p.206
37
shattered, all cross-processing, the making conscious of the unconscious data and
bringing it to usability, is eliminated “.86
Because the eye is staring at a single dot of light it causes physiologically a state
of absent-mindedness and sleepy drowsiness, no matter how interesting the images
might be. Research shows that the repetitive light stimuli of television cause the brain to
shut down as the beta waves characteristic of waking consciousness are replaced by
the slower, alpha waves of someone not paying attention to anything, in a completely
passive state, unaware of the world outside the pictures in his head.87 Irrespective of
the content of the programme, the brainwaves quickly change over to alpha –
characteristic of meditation, trance and sleep-walking.88 The difference is that during
meditation the consciousness is directed inwards and the ego actively and freely
creates true, living, inner pictures within the soul, which thereby connect thinking with
feeling, heart with mind, and affect the person in his inmost core.89 Watching television
is pseudo-meditation; the ego (or “I”) on which we rely for our interest in the world ever
awake to sense impressions and supervising our every action, inaction and attention,
"the boss", relegated to the sidelines, inactive, whilst other people’s pictures stream
continuously into the subconscious or soul.90
Many imagine that watching television is relaxing. A tired mind generally results
from a single pattern of thinking. Working in an office a person may have focussed
thoughts in line, objectified, analytical, isolated from the senses and feelings. Obsessive
thinking continues when work is over. Sport, meditation and yoga open alternative
realms of mental awareness but many choose alcohol, drugs and/or television.
However, television only gives escape from obsessive thought patterns, filling the mind
with the thoughts and images of others and leaving it weary.91
(B) Television as sensory deprivation

Watching television, people are isolated from one another and almost cut off from
their own senses. Only sight and hearing are functioning and then only in a very narrow
range, sitting in dim light with the eyes staring at an electronic light for hours, the body
functions stilled.92 It is a kind of sensory deprivation and could be seen as a form of
torture.
Watching television gives people a feeling comparable to that experienced during
hypnosis. The conditions of sensory deprivation are able to cause people to set aside
ordinary reality substituting the reality the television offers.93 To deliberately alter the
state of consciousness of a person (for example, to brainwash him) his pattern of
ordinary awareness must first be disrupted (disassociation) and then a new pattern
substituted (restructuring) to reassemble the disassembled pieces; drugs, Sufi dancing,
repetitive mantras and television can all induce this state.94 For this reason television is
86
The Emerys quoted by Mander, J., ibid. p.207
87
Peper quoted in Mander, J., ibid. p.209
88
Emerys quoted by Rainer Patzlaff, Manuscript translation, p.2
89
Patzlaff, R., ibid. p.3
90
Patzlaff, R., ibid. p.4
91
92
Mander, J, ibid. p.168
93
Hilgard quoted by Mander, ibid. p.196
94
Tart quoted by Mander, J., ibid. p.196
38
ideal for advertising – with a few simple techniques the existing mental set of the viewer
is shattered and in the restructured awareness a product is incorporated as the solution
to a psychological need of the viewer. Only fifteen or twenty seconds is needed.
Advertisers pay U.S.$ 100,000 for one such commercial. This is indubitable proof that
television changes behaviour with the power of its images.
(C) Confusion of reality with fantasy, between concrete and imaginary

“Seeing is believing” as the saying goes. The fact that the senses are intrinsically
believable is the foundation of human knowledge, the base of human understanding of
reality, of sanity. It gives a position in space and the qualities of the world around. A
person trusts the information his senses give to be accurate and if something does not
correspond to his previous experience he becomes suddenly attentive until he has
sorted out the reason and the new information is incorporated into his picture of the
world. (Difference is at the base of all knowledge.)
The senses process perceptions in exactly the same way, whether they come
from natural life or artificial smells, tastes, sights and sounds. So much information
comes to us indirectly, already processed by other minds. With the electronic media
information is further removed from reality as we see images altered in time, speed and
sequence, doing things which could never happen in reality yet our senses take it in and
treat it the same regardless. The naïve and automatic trust we have in the reliability of
images leaves us open to exploitation by all media, especially the moving-image media,
because we can so easily believe their questionable sensory information.95
It is clearly natural for humans to see all things as real. Adults find it almost as
hard as children to separate what is on television from what is life.96 Over a five-year
period a quarter of a million viewers wrote letters to a television doctor, mainly asking
his advice, although he was a fictional character.97 Viewers sent a flood of presents
after a wedding on a popular U.K. soap opera.98 In Brazil after a popular character in a
soap opera was murdered on television the public was outraged; the actor who had
played the role of the murderer was in real life hunted down and killed.
The real and the unreal are much intertwined. An historical drama, for example,
will have some truth in it, but the viewer is unable to tell what is true and what is not;
most will not even think about it. Most viewers give concrete validity to what they see on
television at least most of the time.99 There is so little inter-personal sharing of intimate
problems today that it is not surprising that viewers use the fictional content of soap
operas, situation comedies and dramas to solve problems in their own relationships.
Heavy viewers, in particular, have a distorted view of reality. An American study
found they are likely to overestimate the proportion of world population living in the US,
they seriously overestimate the proportion of the population in professional jobs and
they drastically overestimate the number of police and the amount of violence.100
95
96
97
98
“More Lifeways”, p.84
99
Mander, J.,ibid., p.254
100
Gerbner and Gross, quoted by Mander, J., ibid., p.255
39
Propaganda works on the same principle of disassociation and restructuring as
hypnotism, brainwashing and advertising. With viewers sitting in conditions of sensory
deprivation with others’ images streaming into their subconscious, an ideal situation is
provided for the implanting of propaganda and the imposition of autocracy. Like the
hypnopaedic machine in Aldous Huxley’s “Brave New World”, the moving-image media
channel much of people’s information directly into the mass subconscious. Gerald
Levin, chairman of Time-Warner, said “A human being defines himself through the
newspapers he reads, through the films he sees in movie houses, through his favourite
TV programmes, and through the music he listens to. If our digital network will permit
people to consume more information and entertainment in a purposeful way, they will
grow as persons”.101 According to him it seems many people identify themselves
through consumption and entertainment, and the moving-image media and Internet are
supposed to help them “grow”. Individualities are supposed to “have a nice life in a
collective mind” according to Bill Gates, chairman of Microsoft, who often speaks of
“striving towards a collective mind” and who “welcomes the beginnings of a collective
society”.102 Watching television, people are seeing the same, thinking the same, feeling
the same and even going to the toilet at the same time when the programme is over;
they are unified within a second-hand, reconstructed experience. In Huxley’s world
people are controlled by the infliction of pleasure. They love the oppressive technology
that reduces their capacity to think. Today information overload (and misinformation)
reduces people to passivity and egoism. Truth is “drowned in a sea of irrelevance and
culture becomes trivial”.103 The human appetite for distractions means that tyranny can
enter by the back door, appearing surreptitiously. Steiner feared that love of comfort
would be man’s undoing.
(D) Television lessens individuality

When watching television, people are unified within the same, second-hand,
reconstituted experience. The individuality of children is likewise reduced as they all
have the same experience. Such a collective consciousness arising in childhood is even
more alarming. Indeed, research on 13-15 year olds shows that 65% of the content of
their consciousness and experience stems from the mass media, principally
television.104
The consciousness which television-watching promotes is a second-hand,
spectator consciousness, whereas what both the individual and society need is a first-
hand, participatory consciousness.
101
Felix Schultz, “The Computer Network and the Future of Humanity”, p..21
102
Schultz, F., ibid., p21
103
Postman,N., ibid., Foreward
104
Heinrich quoted by Buhler, W., ibid., p.8
40
Illustration 2
TV experiences are
second-hand. The
real thing is much
better.
(E) Images have power – we become what we see:

A wealth of evidence of the effects of image and form is presented in an excellent
treatise written by the Samuelses. They make clear how the images in our mind affect
us physiologically and psychologically and how we slowly become these images.105
There are three processes by which this happens:
1.Images affect us by the processes used in meditation and visualisation

Hermes Trismegistus stated that a person who holds a sacred image in his mind
experiences the effects produced by the specific energy of that image.106 Many ancient
peoples have had similar views, holding that there are concrete powers inherent in form
and colour. They created sculptures to ingest the images and retain them in the body as
a system of energies, with states of mind and systems of belief thereby created. Thus
seeing sculptures created states of mind and systems of belief.107 In many religions (the
Hebrews aside) images continue to be used up to the present day to inform universal
understanding.108
It is a fundamental principle of yoga that focussing the mind upon objects, whether
outside the body or in the mind, affects the entire body. In an advanced yogic state
there is a union with the object or image (such as an egg or mandala); the image is
energy which travels as light via the brain to all the cells.109 In the religious expression
of non-western cultures certain forms are held in common (for example, the egg and the
mandala). These represent universal energy formations. It is claimed that the image of
the egg, the seed of life, enters the body and mind and “eggness” in terms of perfection,
calmness, and centredness is instilled in the observer.110 The egg image is central to
many meditative practices that use imagery.
105
Mander, J., ibid.,p.219
106
107
108
109
110
41
Someone who contemplates a sculpture of Buddha for long enough becomes
mentally more like the Buddha. No thought is necessary. The image goes in and causes
it.111 Someone who observes the rectangular form of a high-rise building literally
ingests, absorbs, remembers the image and adopts its character.112 On the subject of
architecture Steiner wrote, “Many people believe that the materialism of modern times
comes from so much materialistic literature being read. But….this is but a minor
influence. What the eye sees is much more significant, for it influences the dynamics of
the soul on a more or less unconscious level”.113
2. Images affect us at a cellular level by biophysical processes

For the majority of people in the world, image, form, colour and symbol are
concrete, physical and real, capable of affecting the viewer.114 Neurophysiologists have
shown how the viewer is affected. From the cerebral cortex where images are stored
there are neural connections to the autonomic nervous system (which controls
breathing rate, blood pressure, pulse, sweating, etc.) which in turn is connected to the
adrenal cortex and pituitary (which secretes hormones regulating secretion of other
glands especially thyroid, sex and adrenal glands). The adrenal glands secrete steroids,
which regulate metabolic processes, and epinephrine (“adrenalin”) which causes the
fight or flight reaction.115 Television is provoking, but direct reaction would be
nonsensical. Instead viewers are left passive and frustrated while their pulse, blood
pressure, hormone levels and so on are changed.116 Within the viewer’s body is a
continuous alternation of activation and repression which is stressful and to no purpose.
It seems to be a major cause of hyperactivity in children – as soon as the television is
switched off they burst into fast, aimless movement, overactive, irritable and
frustrated.117 Another cause of hyperactivity is the stream of technical effects used to
jolt the viewers’ attention and keep them watching.
There are many practical applications of the physiological effects of images in the
modern world. In all kinds of sports visualisation can be used to rehearse a competition
and has been found as effective or better than practising physically.118 Meditation and
visualisation have been used successfully in the treatment of cancer. Autogenic training
uses visualisation together with standard treatment and has been widely used in Europe
to successfully treat a variety of diseases.119
3. By emulation we become our images

If the image watched is a person – such as a popular TV or film star, for example,
Batman – then his character is absorbed, and the viewer becomes more Batman-like.
Watching a newscaster we absorb, besides the verbal information and ideas, “his
111
112
113
Rudolf Steiner, GA290, quoted by Martin Riedel, “Some notes on the effects of architectural
forms”, p.3
114
115
116
117
118
Suinn quoted in Mander, J., ibid. 228
119
42
image, behaviour, movements, mannerisms, forcefulness or peacefulness, tone of
voice, way of relating to others, the kind of person he is, his seriousness, lightness,
joyfulness and so on“.120 We absorb it all and the more we watch the more we become
like him.
Young children in particular imitate. It continues automatically as emulation
throughout our lives. Husbands and wives, for example, grow to resemble one another.
Slowly we turn into what we see.121 Unconsciously we absorb from newspapers, books,
advertisement billboards and television throughout our lives images, stereotypes of, for
example, how other people would have us be – the ideal subservient housewife, or the
unemotional, hard-working, bread-winning man. It is inevitable that the images be
translated into reality unless one is conscious that the image in the mind is implanted.
(F) Characteristics of television pictures and programmes

A distinct picture is hard to achieve so all programming must be skewed towards
subjects which give the biggest contrast of foreground and background, signal and
noise, colour and tone. Thus the images shown tend to be larger, less detailed, not
subtle but simple and obvious.122 Many TV images are close-ups of the human face
because that gives the clearest image. Sound quality is poor, in part due to the high-
pitched whistle that issues from the set.123
Subtle feelings do not come across well so programmes must be limited to
stronger emotions that can be conveyed in larger facial expressions or body
movements.124 TV drama needs human crises to be able to deliver feeling. Violence is
best as it clearly delivers fear.125 It is an artificial fear that over time dulls responses, yet
the viewer can become more paranoid about the real world. Competition comes over
well, power-sharing and teamwork do not. Images of living things lose the vitality of first-
hand experience. Life is too subtle to be conveyed well on television, death comes over
much more clearly as it has high visual definition and conveys a strong emotion. To
show an event, for example, on the news, much is lost in the editing (nuance and much
more due to limited time) so the result is distorted.126 Most problems of modern society
are too subtle and complex for television to convey, if an attempt is made then a single
starving family makes better television than the world food problem (because the faces
can be shown), as do the living conditions in a poor area rather than housing policy.
Thus the constraints of the medium create a bias against viewers’ understanding of
society.127
The technology of fixation – to keep the viewer watching – means that technical
effects (such as zooms, pans, changes of angle, cut to a different scene, images
superimposed, words on the screen, music and a voiceover) are used for emphasis–
otherwise boredom would set in. To emphasize the commercials vis-a-vis the
120
121
122
Mander, J.,ibid. p.269
123
124
125
126
127
Birt quoted by Mander,J., ibid. p.321
43
programmes, commercials contain double the number of technical effects (that is, about
20 per minute*).
Poor visual resolution means that large body movements show best, so sports
and conflict are particularly suitable subjects. A study of a single day’s news found that
conflict and violence comprised 50% of the television news but only 20% of the radio
news. Television is suited to objective data, brief, packaged information. It is not suited
to subtlety or complexity. To keep viewer ratings high a programme must firstly be self-
contained (requiring no sequence or continuity), secondly not be perplexing
(contentment of mind is paramount) and thirdly avoid exposition at any cost.128 The
news is a discontinuous collection of stories with insufficient facts to form a judgment.129
The television presents information in a form that is “simplistic, nonsubstantive (not
having substance/reality), nonhistorical and noncontextual; that is to say, information
packaged as entertainment “.130 Instead it tells stories with dynamic images and music.
It is the “bread and circuses” of today, amusements pacify discontent.131
“He who pays the piper calls the tune.” In the U.S. it is the big corporations in
particular that finance television, primarily the oil and chemical companies. All is geared
to keeping viewers watching, ”hooked”, feeling psychological satisfaction, contentment,
good about themselves, so they will see the commercials that will change their buying
habits and keep the corporations in profit. Only a tiny fraction of the potential subject
matter is shown. Television best delivers “the grosser kinds of programmes: sports,
violence, police action, as well as quiz shows, game shows, soap operas, situation
comedy and news about murder, conflict, war, power politics and charismatic
leaders”.132 It is not public taste, it is the limits of this low-definition medium.
Good news does not make good television. Television itself is not neutral for it
predetermines who uses it, how they use it, the effects on individual lives and the sort of
political forms that will inevitably emerge.133
Public discourse is very restricted by television. “Something in the nature of TV
imagery allows form to supersede content.”134 A study showed that in 1977 American
voters had less knowledge of the issues on which they were voting than voters had
thirty years earlier. Lippmann said, “There can be no liberty for a community which lacks
the means by which to detect lies”.135 When public issues are confined to television the
public cannot process the information and politicians must avoid content and
concentrate on style. Like commercials “image politics is a form of therapy and that is
why charm, good looks, celebrity and personal disclosure predominate”; each candidate
must present his image in a way which makes voters feel good about themselves.136
Indeed “all great television commercials create for viewers a comprehensive and
128
Neil Postman, Ibid., p.147-8 *1977 when Mander was writing
129
Yeager, J., “More Lifeways”, p.187
130
Postman, N., ibid., p.141
131
132
133
134
135
136
Postman, N., ibid. p.135
44
compelling image of themselves”. 137It is no wonder that in all the U.S.presidential
campaigns from Nixon onwards only those politicians who neglected content in favour
of TV image won.
(G) Violence
A comprehensive research study published in Harvard Magazine found that the
homicide rate in Canada and the US almost doubled between 1945 (when television
appeared) and 1970. In South Africa the white homicide rate declined gradually
between 1945 and 1970, television was allowed in 1975 and from then until 1983 the
white homicide rate increased by 130%. The statistical implication is that television itself
is a cause of violence and not simply the violence on television.138
Over-stimulation causes desensitisation, yet the world needs people to be more
sensitive. The desensitisation means an even greater stimulus is needed to have the
same effect. This seems to be the case regarding violence in films for adults, as more
and more blood and murder are demanded; non-network programmes in the US now
depict 13 – 19 violent acts per hour. Surprisingly more violence is shown on children’s
programmes, with 25 violent acts per hour in cartoons and toy commercials. As young
children usually cannot follow what is happening nor are they following the dialogue
then perhaps more violent action is needed to keep their attention.
“Parents and children increasingly resort to aggressive styles of communication
and problem-solving. They view violence and bullying in a passive and disengaged
manner, tolerating and even condoning its destructive consequences”.139 One result is
that the general public is less likely to get involved when bullying or violence is
witnessed in real life.
It is naively imagined that what we see and hear are one world. When we are ill
we realise they are not the same, it is we who make it one. In reality all the senses are
different worlds and we have to put them together. The world of hearing works in one
way and the world of vision in exactly the opposite way.
Illustration 3
Hearing Vision
It is as if what we hear It is as if what we
enters through the limb see enters the head,
system, passes to and passes to the middle
is understood in the system and then on
middle system of to the limb system
feeling and pulse,
then is remembered in
the head system
137
138
Joan Almon, “Violence and the Media”, p.7
139
Hickman, R., “More Lifeways”, p.196
45
Using the vision helps the incarnation of the ego; the teacher may make use of
this to help children incarnate every morning. When, however, a child becomes too
deeply incarnated then the ego is lost, enslaved by the physical and can become
criminal. Ideally children in grade school are taught with energy and enthusiasm so that
what is taught is interesting and alive. Otherwise surplus thinking forces rise up, and as
they are unmet descend and bring about hard-heartedness, finally filtering all the way
into the limbs. Mindless violence can result – “When the light goes out in the head, the
gun goes off in the hand”.140 Whilst watching television the visual overrides the aural.
This means that with inadequate correction by the thinking consciousness what enters
through the eye can directly lead to violence by the limbs.
Particular Effects of Television on Children

(H) Brain growth and myelination
The brain, like a muscle, is developed with use and particularly so during the
critical years from birth to 7. At birth the brain is a quarter of its adult weight, at age 7 it
is 90%.141 Mental stimulation – such as from physical movement, play, conversation,
exploration and sensory stimulation of all kinds – causes the nerve cells to enlarge,
send out new branches and make more connections, within and between areas.
Branching in an area (and new connections) continues as long as stimuli come in to that
area. When the stimuli stop the branching stops. We each have a different pattern of
branching depending on our childhood experience, that is, what we did every day, how
we thought and responded to the world around us, what we learned and what we chose
to give our attention to.142 Although some neural systems already enable basic activities
such as eating, most of the brain is uncommitted tissue developed by the child’s
responses to his/her particular environment. Profound differences have been found in
the structure of the brain depending on what was taken in by the senses.143 Thus the
way a child uses his/her brain causes change in the structure and function of the brain,
and thereby also in his/her ability to learn.
Schematic representation of branching and connections in a child’s brain
(a)healthy branching (bushiness) (b) heavy viewer, one pathway overused,

and connections (horizontal) lacks branching and connections
140
Eugene Schwartz, public lecture
141
Healy,J., ibid., p.65
142
Healy, J., ibid. p.51
143
Klivington quoted by Healy, J., ibid., p.51
46
Specific skills in different areas of the brain are developed at different stages in
brain growth. Myelination (the creation of a waxy, insulating and protective coating
around the outside of neurons) begins before birth with the primitive systems, such as
those for sucking. It signifies maturation of an area that is then less able to adapt and
change its functioning. The majority of myelination has occurred by the age of 3 or 4.144
There appear to be sensitive periods in the brain’s development critical for learning, if
the chance is missed – for example by spending time watching television instead – it
may be impossible to make it up later. The process gradually continues in a fixed order
to increasingly higher-level systems until lastly the association areas responsible for the
manipulation of highly abstract concepts are coated and myelination ceases in the
twenties. No region operates efficiently until it is myelinated. Perhaps for this reason
students confused by algebra in High School can find it easy in graduate school.145
Making children master academic skills before the appropriate area is myelinated can
cause a lower brain system to do the task. The control centres of the large muscles of
the limbs take considerable time to develop and this occurs before those for the fine
muscles of the extremities (such as the fingers) are developed. A child made to write
before the appropriate neuromotor development will hold the pencil in his fist, close to
the palm;146 the habit will likely stay for life and the lower brain area involved is
unavailable for more appropriate use. Clearly a school curriculum must be
physiologically related addressing the developmental needs of the child’s body, soul
and spirit.
(I) Attention Deficit and Hyperactivity Disorder (ADHD), Learning and Behaviour
In the first three years the child learns to walk, to speak and to think. This period
is crucial for the rest of his/her life. (S)he absorbs sense experiences “like blotting
paper”.147 All sense impressions experienced at that time are incorporated into his/her
sensitive body. Any deprivation then – sensory, emotional or physical – retards the child
for life. Too much excitement causes a child to be over-stimulated. Over-stimulation,
such as from television or video, makes the child nervous, discontented and restless.148
Furthermore all the details of his surroundings become his standard of acceptability for
his future life and future family.149
Watching television is one of several factors that can cause hyperactivity, learning
and behaviour problems (for other factors see Appendix). There is a clear link between
ADHD in children and alcoholism later in life.150 ADHD can be thought of not as an
attention disorder (for full attention can be given to video games) but as an intention (or
will) disorder because the child is unable to carry out and finish a task.151 The critical
period theory of development holds that there is an optimal time for particular types of
144
Sir David Winkley, “Grey Matters – Current Neurological Research and its Implications for Educators”,
p.3
145
146
Healy, J.,ibid., p.68
147
Large, M., ibid. p.36
148
Large, M., ibid., p.37
149
Eva Frommer quoted by Large, M., ibid., p.37
150
“What Doctors Don’t Tell You”,magazine,11, 7, p.12
151
Kline, Waldorf Kindergarten Newsletter, autumn,1997, p.12
47
learning and that if the environment does not give the essential stimulation at the time
for learning that concept or method of thinking, then the opportunity may be irretrievably
lost or only made up later with great difficulty. Regarding the potential function of
specific areas of a child’s brain, one could say, “Use it or lose it”. The brain seems to be
developmentally ready to learn task mastery at age three and four. The current ADHD
epidemic could be linked to the fact that most three and four year olds are passively
watching videos and television instead of actively creating, focussing, concentrating and
mastering tasks.152
(J) Damaged development of language skills

Television is a poor teacher of language. It is not interactive and cannot tailor
conversation to the needs of the individual child. “Television is the thief of time”, that is,
time that for children would be better spent doing a variety of things with parents and
siblings including family conversation that builds language and listening skills. Children
without inner speech are handicapped in many ways; such children may learn to
decode letters and words, to “read”, but without comprehension. Children must have
good language development before they can get the meaning of what they read. Many
modern children have difficulty with mathematics when a problem is written in words yet
can do it if written solely in numerals and signs, this suggests a limitation of inner
speech or higher order thinking.
Words enable a kind of feedback, whether they are read, written, mulled over
alone or spoken to an understanding person. Understanding develops as patterns are
noticed, correspondences made and meaning derived so that experiences (whether
seen, heard, felt, tasted, touched or read) are given a contextual basis and incorporated
into one’s understanding of the world at one’s own pace. Television works against the
gradual building up of a child’s own view of the world, the present-centred medium
provides images and fragments of information at great speed and without continuity or
context so that they can be neither incorporated nor later remembered. Remembering
needs a contextual basis.
Sesame Street is a TV programme designed to help children learn to read. Sadly
many parents believe it is educationally valuable. In fact it has the same attention-
grabbing visual effects as other programmes (variety, novelty, action and movement), it
lacks meaningful dialogue, the characters’ speech is poor in pace, volume and clarity
and besides has extra noise, vivid colour and slapstick comedy.153 It has rapid changes
of context defying sequence or logic so the viewer cannot see cause and effect or hold
a train of thought, all in direct opposition to the sustained thinking needed to connect
ideas and to understand a written text.154
Whilst watching television the brain is in the alpha wave pattern – virtual shut
down. Whilst reading, the brain is very active and blood flow to many areas is
increased, with good readers using both hemispheres and the prefrontal systems.155 In
other words, whilst reading many different areas are engaged and connected. The brain
is like a muscle in that it develops with work and clearly reading challenges it to work.
152
Kline, ibid.,p.14
153
154
155
Segalowitz quoted by Healy, J., ibid., p.215
48
When a child reads, a continuous process is involved of creating pictures in his/her
mind of people, the scene and surroundings, the feeling in the atmosphere, the tones of
voice and so on. Yet television works against the creation of mental pictures. Studies
show a decrease of 20% in children’s creativity as a result of regularly watching
television. Dutch research shows that television has a negative effect on reading skills
particularly for more advanced abilities needed for higher-level comprehension. It was
found that television: 1) displaces leisure reading and so inhibits the growth of reading
skills, 2) needs less mental effort than reading, 3) may shorten children’s task
persistence for intellectual problems and 4) has particularly negative effects for heavy
viewers, socially advantaged children and intelligent children.156
(K) Delayed gratification and a sense of time

The present-centred medium of television, with its non-sequential, discontinuous
programmes and psychologically penetrating commercials, gives only a sense of the
moment, the instant, now. It promotes instant gratification with no waiting. Children need
to develop a sense of time, of history and of the future so that patience can develop as
gratification is delayed, a heightened mood of expectancy then leading to a greater
pleasure finally. Freud considered the ability to “delay” as one of the most significant
early milestones in emotional development. More recently a group of 4 year olds were
offered the choice of eating one marshmallow immediately or having two marshmallows
later; the children were followed up and in their teens the differences were startling. The
children who had waited for two were significantly better adjusted; those who had poor
control and could not wait, in their teens coped poorly with stress, were less self-
confident and showed much less initiative.157
Difficulty delaying gratification and working toward future goals is one symptom of
people with damage to prefrontal areas of the brain and also of children with attention
problems.158 Such children may have shortcomings in those areas of the brain because
of lack of appropriate stimulation such as would have come from reading and does not
come from watching television.
(L) Noise bombardment, beat and loud music

Babies both before and after birth are “really bothered by beat and loud music, but
they like soft classical music particularly Vivaldi”.159There are irreplaceable structures in
the ear that can be permanently damaged during the early years by loud noise,
including music.160 A child needs regular times of peace and quiet to digest, order and
reflect. An environment that an adult would not consider particularly noisy can
permanently affect the development of language, listening and even reading abilities.161
Music with a strong regular beat may set up a rhythm in the brain that interferes with
normal processing, the brain is unable to break its rhythm, to desynchronise and think –
so the ability to think is blocked.162 Continual exposure to arrhythmic beats may also
156
157
Winkley, D., ibid., p.8
158
159
Luddington-Hoe quoted by Healy, J., ibid., p.174
160
161
J. Mills quoted by Healy, J., ibid., p.173
162
49
irritate the brain whatever the volume.163 Many children are subjected to constant noise
from television, radio, etc. in the car, shops and so on; it contributes to the overload of
sensory input on their nervous systems, their brains not yet able to filter it out are
overwhelmed, they either “tune out” or become unmanageable.164 Adults are less
affected but those working with constant background pop music, such as in shops, take
half an hour longer to unwind after work.
Physical education teachers note that more children today are lacking a basic
sense of internal rhythm. What children need is to be rocked, patted, stroked or danced
with at the same time as they hear beat in music in order to develop the feel of the
beat.165Children exposed to too much strong, external beat “may become “disoriented”
and develop attention problems because they are having difficulty reconciling their own
inner beat with the outside stimulus”.166
(M) What children really see on television

To understand any picture or symbol children must be able to both create mental
pictures and to reach back to past events that they have made part of their experience
by thinking. To interpret close-ups a considerable amount of analysing and symbolising
capacity is required of children. To follow complicated time sequences and multiple
presentation techniques demands great concentration and combining ability.167A study
in 1955 showed that films were not comprehended, as a totality, generally speaking
before the age of 10.168 Today’s television with more technical events is even more
difficult for a child to understand. Children younger than 10 years merely see one
picture replacing another with no connection in time, a senseless mish-mash. Whereas
adults have sufficient experience, memories and presence of mind to tune in only to the
content and decipher the flickering images, for children the technical peculiarities of that
which they perceive are as significant as the content.169 Research on 5 and 6 year olds
watching a television programme where the commentary was changed part-way
through showed that virtually none noticed – they were not able to link the visual with
the auditory in any case.
(N) Perspective
It was the artists of the Renaissance who first mastered the ability to reproduce
perspective, that is, to transfer three dimensions to a two-dimensional plane. “The
receptivity of perspective proportions and ability for perspective drawing first sets in
between the eleventh and twelfth years of life”.170 Watching television damages this
capacity by its mechanism which negates perspective, it flattens depth, its two-
dimensional screen continually requires a three-dimensional grasping; “any premature
speeding-up (untimely development) of dormant abilities which should only gradually
163
164
165
Weikart quoted by Healy, J., ibid., p.172
166
Weikart quoted by Healy, J.,Ibid., p.172
167
Buhler, W., ibid., p.9
168
Gerhartz-Frank quoted in Buhler, W., ibid., p.9
169
170
Wilmar quoted in Buhler, (translation) Sozial Hygiene – Merkblatter zur Gesundheitspflege im
personlichen und sozialen Leben, Nr.27, p.10
50
ripen weakens or corrupts… those abilities causing disharmony in the whole
organism”.171
What Children Forego By Watching Television
(O) Loss of imagination and resultant inability to play

Play characterises childhood and is also the signal of maturity. It gives zest to
adult life, providing interest, even harmless excitement. We lose unwanted tension and
breathe more easily. Play transforms logic into creative imagination. We play with ideas,
invent and find solutions so problems melt away. Doing things in the spirit of play is
ideal, it makes light of work, it is love for life. Steiner tells us that freedom in play and
movement as a young child leads to freedom of thought and action as an adult. In
nursery and kindergarten, Waldorf school methods try to establish the fully active and
creative spirit of play so firmly that it will set the tone for the rest of life.
“Play is the highest expression of human development in childhood.”172 The
benefits of play are manifold – physical, emotional, social, moral, linguistic and aesthetic
to name but a few. As a child develops and different faculties unfold, the character of
his/her play changes continually, something new constantly appears. His/her entire
being is involved and given the opportunity play would occupy all his/her waking
moments. Once the young child reaches the stage of being able to create his/her own
mental pictures (about age 4) then (s)he becomes able to create with versatile play
materials all manner of fantasy-play – that is, if (s)he does not watch television.
Otherwise play is reduced to a re-iteration of what (s)he has seen on television, over
and over as (s)he struggles to digest it, limited and limiting, uncreative and unsatisfying.
Without orderly will forces creative fantasy play will not happen, indeed nothing
worthwhile will happen in play. Children who cannot thus play need to be taken back a
step to experience and imitate the rhythmic, meaningful work of an adult and need the
strong rhythm and warm atmosphere of the kindergarten.173
Sadly children’s capacity for play is gradually disappearing. Kindergarten teachers
need to show children how to play. Play both builds and depends on imagination. The
materialistic onslaught particularly of television and modern toys results in a withered
imagination or none at all. This is perhaps the greatest loss caused by television – loss
of the ability to imagine, to create pictures in the mind.
(P) Loss of ability to imitate

Young children, in particular from birth to 7, learn about the world by first
absorbing every sense impression into their inmost being and right down to their toes
and then they imitate. Their play is largely based on imitation of the people and animals
they have seen. It is a digestion of their sense experiences and an incorporation of them
into their understanding of the world.
The best environment for normal development of infants is “sensitively interactive
with the young child, responsive but not overwhelming and one which provides
psychological warmth, low punishment and encouragement to develop in culturally
171
172
Friedrich Froebel quoted Gateways, 41, p.29
173
Jaffke, F., ibid., p.3
51
relevant ways”.174 A machine cannot provide this. Throughout the early childhood years
a child needs a model for imitation, an example for language and gesture, a living
example of what it is to be human.
It is natural for the young child up to 9 to imitate and this is their main means of
learning, even for walking, talking and thinking that are perhaps the greatest
achievements of a human being. The young child uses his powers of imitation, in his
own imaginative and artistic way, to attempt to do what he sees adults around him
doing, so how and what teachers and parents do is very important. They need to act as
models worthy of imitation. Thus the young child is primarily educated through his
unconscious will, through the actions of teachers and parents rather than from their
words or any artefact such as a machine.
The perception by the child of someone doing something is immediately passed
over into bodily movement, if possible. Passively watching television shatters that unity.
Thus more and more children enter nursery and kindergarten severely handicapped in
that they are unable to imitate. All addictions, including television, cause paralysis of the
will. Russian research on non-imitators showed they had either stiff, red fingers or soft,
”doughy” fingers 175; warmth and massage of the hands and feet resulted in a growing
ability to imitate sounds and so gradually to learn to speak. Until about forty years ago
(the advent of television) kindergarten teachers took children’s ability to imitate for
granted and it was their prime means of teaching. Sadly today the child unable to
imitate, almost as if frozen in time unable to join in, is common.
(Q) Lack of movement

Movement early on facilitates intellectual ability later. Physical movement causes
the creation and stimulation of pathways and connections in the brain. All manner of
playful movements in babyhood and infancy count. Babies who never crawl may well
suffer later from dyslexia. German research with schoolchildren shows that unless a
child can do certain physical movements he is unable to carry out certain mathematical
processes. Certain physical exercises, the so-called “floor exercises”, that mimic for
example the turning over by a tiny baby and the crawling of a nine-month-old can be
done daily in school for six weeks (after the seventh birthday, cautions Audrey McAllen)
and thereby the number of children with learning difficulties is reduced.176 Sensory
integration therapy for children with learning disabilities is based on this relationship
between children’s movement and learning ability. Moreover learning to manage their
muscles gives children feelings of control, a sense of mastery and promotes self-
esteem.
Television robs children of time spent in movement. U.S. research proves that
depriving children of healthy physical movement causes various stuntings of the body
(such as skeletal deformation and muscular atrophy), damage to the nervous system
and “devastating weakening of visual memory” that disturbs perceptive ability and
greatly impairs learning ability.177 Besides, physical exercise is health-promoting at all
174
Winkley, D., ibid. p.6
175
von Heider, M., ibid., p.2
176
Mary Jo Oresti, “Zoo exercises”, oral communication
177
Buhler, W., ibid. p.2
52
ages. The reasons are many, one is the beneficial effect of deep breathing, one
consequence of which is the better flushing of cerebro-spinal fluid over the brain.178
Weakening and paralysis of the will is a characteristic of all addictive drugs; TV-
damaged children show it by their lack of interest, motivation and initiative. They are
bored, learning-disabled and play-disabled. The inappropriate passivity of children
watching television leads them to shirk accepting responsibility. Watching television
causes progressive weakening of the creative will so that initiative declines and the child
is unable to entertain him/herself by independent, imaginative play. Research showed
that children are slower and less able to respond to an emergency after watching
television.
People are 75% less physically active now than in 1900179and obesity has risen
phenomenally. Children need plenty of natural play – outdoors, with children of all ages,
with sufficient supervision by a non-intrusive adult to prevent harm. Playing naturally
(without adult organisation) children develop visual and auditory attention, body co-
ordination and the motor-control centres of the brain180 and are then able to profit from
academic learning in school at an appropriate age. Additionally, physical movement
helps children develop an internal sense of “beat” that seems to be related to reading
and math abilities.181 Play leads to the later ability to play with ideas and think
creatively182 and its importance cannot be overemphasised. As Froebel said, “Play is
the highest expression of human development in childhood”.
(R) Children’s hand development hindered and they lack touch experiences
A child’s hands have the potential to move in limitless ways in practical capacities
using tools, expressing feelings and following creative pursuits. The most spiritual part
of us, freely giving, the hands enable us to be truly human. By contrast the movements
- mainly pressing buttons - on keyboards, joysticks, electronic games and mobile
phones could be termed “monkey movements”, they are so simple and repetitive a
trained monkey could do them. Worse still, whilst watching television the hands do
nothing. If a child’s ability with his/her hands is not waxing it is waning.
Psychologists and teachers report that modern children are increasingly
“touch-starved”, that is, lacking touch experiences. This may result from their having
less direct, sensory experience because of time not lived fully, watching television, and
also from the manipulation of physiological “arousal mechanisms” (such as “flight or
fight”) that separate brain and body.183(Whilst watching television the viewer neither
fights nor flees.) One effect of the over-stimulation of watching television is to remove,
as it were, a layer of protection around the child leaving him insecure, vulnerable and
oversensitive. he may well respond aggressively to minimal provocation such as when
another child brushes past he lashes out, feeling that he himself was first hit.
178
Andrew Weil, M.D., “Spontaneous healing”, p.35
179
Weikhart quoted by Healy, J., ibid. p.171
180
Weikart quoted in Healy, J., ibid., p.171
181
Healy, J.,ibid. p.171
182
D. Winkley, ibid., p.6
183
53
(S) Sleep
In an environment of sense deprivation a person becomes more conscious of the
life sense, he hears blood rushing and other sounds; prolonged it is torture and drives
him crazy. Conversely, over-stimulation of the senses makes someone less conscious
of the life sense so that, for example, becoming tired can go unnoticed; in this way
viewers are more tempted to stay up late at night watching because they do not realise
how tired they are. In fact children and adults now sleep less because they stay awake
to watch television or sit at the computer. The proportion of car accidents due to
tiredness is now estimated in the U.K. to be 40%. Canadian research shows
adolescents sleep 20% less than they did 40 years before. It is not uncommon for
children to fall asleep in class in the mornings. Additionally sleep is delayed and less
tranquil as a result of watching television. U.S. research on nearly 500 children aged 4 –
8 years old showed that after watching television 40% had problems getting to sleep
and others woke in the night.184 Television causes nervousness and fear of the dark so
that many children now need a nightlight on all night, yet hormone production and eye
development need seven hours of complete darkness.
How well or not we feel depends partly on our getting adequate rest and sleep.
During sleep the life forces of the physical body bring about growth, repair, healing and
replenishment; in addition the absent soul and spirit bring back revitalising cosmic
forces just before waking. The prevailing, materialistic mind-set denies the sanctity of
sleep.
(T) Young children need a god

All problems of the will, for example anorexia and bulimia, are religious problems.
Deep down the wish not to live and fully enter this world comes from the lack of a
spiritual dimension that gives meaning to life, making it understandable and worthwhile.
It is comforting to know that whatever happens there is someone above loving and
caring about you. Sadly anorexia is now occurring in children as young as six years of
age.
Small children need religion, they need something to worship and will find it come
what may. Often the television is effectively the child’s temple experience on which
(s)he sees his/her hero’s latest exploits. If neither a religion nor a spiritual dimension is
provided by the parents or the school (s)he will look up to such figures as Barbie or the
person in the poster above his/her bed. Almost any religion is better than none for the
small child.
(U) Television shatters family life

Family ties are weakened as the family sits passively in a line, their attention
elsewhere, rather than say in a circle around a game or the meal table, communicating.
Television displaces quality time together engaged in conversation and all kinds of
interactive activities such as playing games, story-telling and going on outings, all of
which give children the positive attention they need.185 Family time can satisfy the child
physically, mentally and emotionally. Family activities can involve what television does
not – using peripheral as well as focussed vision, practising both gross and fine motor
184
BBC World Service radio, Autumn, 1999
185
Hickman, ibid., p.195
54
skills, using all the senses, asking questions and practising communication, being
challenged, solving problems, exercising initiative and imagination, being creative and
constructive, feeling motivated, feeling satisfied with one’s achievements186 and feeling
loved. In a survey 10 year old German children were asked what they would most like to
have for Christmas, 80% of them replied, “that my parents spend more time with me”.
Beyond the family the social fabric of communities is also considered to have
been ruptured by television.
Treatment for TV-damaged children

Clearly parents need help to understand the problem and then curtail or
preferably stop the child’s viewing, substituting appropriate activities. In the US there
are clinics for such children. In Waldorf kindergartens teachers have found that what
helps these children are real work activities such as grinding grain, churning butter,
sawing wood, scrubbing, cleaning and so on, which they do at school and which
develop a healthy will. Besides this, all children need beautiful sense experiences and
these they get from artistic activities such as watercolour painting, beeswax modelling
and watching an artistic puppet show. Some kindergarten teachers have watercolour
painting several days a week for some weeks to give a stronger healing experience.187
Giving up the TV habit

It falls primarily to teachers to inform parents of the effects of watching television.
The basic message could be “Your children may be watching too much television, which
may be preventing them from reaching their full social and intellectual potential”.188
Television contributes to the rising tide of intellectual mediocrity.189 In the U.S. a media
awareness campaign called “Home Together” supports teachers and parents in cutting
down on viewing. Several countries have an annual “TV-Turnoff Day”. Schools in the
U.S. that organise a TV-turnoff week have found that families that go without television
for one week watch less television ever after.
Sense disorders in adulthood, implications for society

According to Steiner the moving picture weaves materialism into people’s
perceptual habits and mechanises the soul-spiritual constitution. A healthy development
of all twelve senses is important for several reasons, not least to avoid the disorders of
sense perception seen in adults today. One danger to the senses involves morality,
where greed and addiction are the extreme result of the senses tempting to indulgence
(for example, in food, drink, sex, foreign travel or luxurious living), to egotism and to
excessive attachment to worldly pleasures. It manifests in the economic growth of rich
countries and in excessive consumption. Addiction can be defined as the “enslavement
to appetites and sensations which have got out of hand” so that a person becomes
dependent and ill.190 Advertising via the television is an obvious target for blame.
186
Rosamund, “Waldorf Kindergarten Newsletter”(USA), Autumn 1997
187
Almon, J., ibid., p.10
188
Hickman, R., ibid., p.196
189
Hickman, R., ibid., p.196
190
John Davy, Appendix to “The Twelve Senses”, p.151
55
Now that for adults the play motif is downgraded and missing for all but a few, life
has lost its zest. Bungee-jumping (that besides ignores the delicate, exquisite
sophistication of the human body) is just one of the ever more thrilling recreations and
amusements created to try to put spice back into life by means of sensation. Exotic
“adventure holidays” are another example. However, “It is not really thrills we desire, but
fun; not really escape, but buoyancy”.191
A proper development of the senses enables a healthy waking consciousness, a
“coming to our senses”. Alienation is the opposite, a dreamy wakefulness and lack of
being grounded and centred, an inner loneliness and isolation, a lack of trust in others
and a sense of being out of touch with the world.192 Alienation has much increased in
recent years and points to sensory damage and/or deprivation. Television and
computers are blamed.
With the evolutionary development of the nervous system and brain, sense
experiences have grown ever paler. The senses are deadened and will become more
so. Less and less people can perceive subtle nuances of colour. As the colour-sense
becomes ever more blunted there is a danger of it being lost in the future.
A second danger to the senses stem from modern technology. Wonderful in its
way, it assaults the sense-organisation. The cognitive and will senses are particularly
affected by the media, irrespective of content. (In any case poor content damages the
soul not the senses.) Two further examples are illuminated advertisements that weaken
the eye and the noise of engines, such as traffic, that weakens the hearing.193 Pollution
of the senses is a concept hardly recognised yet.
Steiner points out that one condition for real culture is the healthy application and
development of the four upper, cognitive senses.194 He says of the six upper senses
that they “furnish experiences which nourish the spiritual life, if there is a spiritual life
within the soul”.195 He points out that these six senses formed the foundation of the old
oriental culture, whereas western culture is essentially founded on the six lower senses.
(The four will senses perceive all that can be determined by number, measure and
weight, which is the basis of science and mathematics.) Yet we “will not be able to live
in a human way with the one-sided culture of the lower sense-man”.196 Modern science
and philosophy consider the feelings subjective and the upper sense realm one of belief
and not of knowledge so an “empty, manipulative knowledge has arisen working with
the ‘laws of nature’ but empty of moral laws”.197 Thus the modern, body-centred,
materialistic society, where the rich get richer and the poor poorer, is to be expected, as
is a lack of moral standards, emotional security and meaning in life. It is not surprising
that so many young people feel enervated.
191
John F. Gardner, ”Waldorf Schools: Kindergartens and Early Grades”, p.51
192
Davy, J., ibid., p.152
193
194
Steiner, R., “Man as a Being of Sense and Perception” quoted by Aeppli, W., ibid., p.34
195
Steiner, R., quoted Aeppli, W., ibid., p.34
196
Steiner, R., quoted by Aeppli, W., ibid., p.34
197
Davy, J., ibid., p.158
56
Chapter 3. PUPPETRY AND HOW IT CAN HEAL SENSORY DAMAGE
How puppetry affects the child’s senses

We obtain essential nourishment from three sources. Food and water provide the
coarsest and most physically obvious kind. Secondly, air provides the finer nourishment
of oxygen. Thirdly a still finer, sense nourishment reaches us as the distinct sensations
of smell, taste, colour, sound, warmth, movement and so on. Each sensation is
differentiated as a range and provides entry to a different realm of experience. The
nourishment from the senses feeds the soul, the inner life, and provides “content for our
thoughts, sensations for our feelings, an essential support for our actions”.198 The
healthy daytime consciousness of children, as well as their healthy growth and
development, is thus determined by the quality of sense nourishment in their
surroundings. A consideration follows of the quality of sense nourishment brought by
puppetry as performed in Waldorf schools.
All senses need interest. Puppetry raises interest so that senses dulled by
television and plastic toys can bristle and perk up again. Children react instinctively to
receive the nourishment they need; as a puppet show begins the group is hushed, their
bodies stilled with attention transfixed. First a beeswax candle is lit, its effect is as if to
cast a spell on those in the room, its fragrance has a calming effect on the children.
Simple, pentatonic music in delightful, spiritual tones is played as a silk veil covering the
stage is lifted to reveal a setting draped with plant-dyed silks. The props, scenery and
puppets themselves lack angularity (such as a wooden Pinocchio would have) the
better to show the world where the action takes place and to not inhibit the flow of
thought as can happen when the eye reaches a right angle (square corner). The
characters are depicted truthfully in a wholesome form without exaggeration or
caricature. All are made of materials that were once alive and are therefore life-
enhancing.
The movements made on stage are smooth, flowing and graceful. They often
consist of curves such as an S-shaped journey, a dance in a circle and birds flying may
make a lemnoscate. Puppets do not jump up onto the stage but make smooth,
horizontal entrances and exits. Graceful movement is mirrored in the children’s later
physical activity and has an inwardly harmonizing, physiological effect. Steiner said the
experience for the child of the movement of the puppets is like that of eurythmy, that
“the puppets do eurythmy”.
A child spends most of the time surrounded with the trappings of modern life that
suit adults, but puppet shows address a child at his/her level, with pentatonic music
appropriate for his/her stage of consciousness, living as (s)he is in pictorial imagination.
The musical tones should come from the same source as the fairy tale so the
instruments are chosen accordingly. The kinderharp calms the nerves, chimes or a
metal xylophone resound with a pure, bell-like quality and the pipe/recorder, the
shepherd’s instrument from long ago, seems distantly familiar. Music in the mood of the
fifth begins and ends on A, the child’s home tone (see Appendix). It does not culminate
in a resolution but is open-ended leaving the child free to continue his dream-like
consciousness. Music for a journey or wandering is an improvised succession of
pentatonic tones (they cannot clash). Songs have simple, pleasant, light tunes in the
198
Davy.J., ibid.,p.148
57
tone range of the child. Children often come out of a puppet show singing one of the
songs.
The healing power of colour is increasingly recognized today. Ordinary, mineral-
based colours create a barrier to the depth of vision of the eye causing something to be
pushed back so there is a hardening and consolidating in the child. The plant-based
colours used to dye the puppet fabrics and silk scenery have a translucence which does
not block the eye. The colours, being natural, are life-enhancing and cannot clash but
are pleasing, restful and satisfying to the eye. Ideally artificial lighting is avoided by
using a sunlit-flooded area so that the richness of the colours can best be seen.
Otherwise full-spectrum artificial lighting is the next best alternative. A puppet’s colours
are chosen to show an aspect of the inner soul qualities, the moral intention of the
character and so are truthful and educate the moral qualities of the child.
Puppet shows usually enact one of the genuine fairy tales as they provide the
most concentrated soul nourishment. Beautiful, precise language is a hallmark of such
fairy tales rather than unrefined, everyday language. For example, the word “concealed”
would be used rather than hidden, “commanded” rather than ordered and “affliction”
rather than trouble. The language reflects the child’s stage of consciousness in paying
scant attention to the feelings and the thinking behind the action and emphasizing the
action itself. The living forces in the live speech of the narrator are ensouled by the
puppeteer in the puppets. Language can be confrontational and accelerate the process
of self-integration, it can cause a consciousness of self which sooner or later can result
in one of several symptoms of insecurity (insecurity because of prematurity). The
narrator does not try to directly impress the children, to excite or frighten them, but
instead speaks out in a level voice almost as if calmly addressing the empty space just
above the children’s heads.
The consciousness of the protagonist reflects that of the watching children, (s)he
is naïve and does not “smell a rat” but walks straight into a predicament. Neither does
(s)he show good or poor taste. The senses of smell and taste are under-stressed with
the emphasis on action, the will, to which young children can immediately relate.
Warmth is expressed through the caring character and warm colours of the parent
puppets, the joyful songs and the sources of help. There is besides a soul-satisfying
warmth that is felt when all is well in the end.
The child’s moral development begins with gratitude, the basic virtue developed
up to the change of teeth. From gratitude, the activating impulse of love can be
developed between the seventh and fourteenth years. Then, from out of what has been
experienced with love, the impulse of duty199 can develop over the next seven years.
Gratitude is encouraged by imitation of the grateful gestures of the adults around. It is
fundamentally gratitude towards the cosmic powers for life and a place in this world. It
goes hand in hand with reverence. Puppet shows are performed reverently and subtly
instil in children a gratitude and reverence for life. A grateful attitude can lead to
awareness of meaning in life. Puppet shows can be magical and “By endowing things
with magic, enchantment is the means of access to sacredness.”200
The scenery and characters are deliberately depicted somewhat vaguely. The
puppets usually have blank faces without features and a tree may well be a cardboard
199
Steiner, R., ”Understanding Young Chldren”, p.36
200
58
cone draped with green silk. This way as much as possible is left to the child’s
developing imagination. Eye contact can hinder the inner activity of picture-making. The
puppeteers focus completely on the puppets and on the action on stage, the narrator
too watches the action on stage and may simply cast a casual sweeping glance over
the audience occasionally. Similarly any recording by photograph or video would be
disturbing so it is not allowed. Besides, video recording would cancel the enchantment
and substitute entertainment.
For children up to age 8 the strings of marionettes are clearly visible so that their
control does not appear to be by magic. The fact of their being controlled from above
subtly conveys the idea of the existence of the spiritual dimension and of control by a
spiritual being. It acknowledges what children may vaguely know and experience but
probably do not talk about. As the children sit open-mouthed drinking it all in they can
absorb the positive qualities of the hero(ine) and look up to him/her with admiration and
awe. In today’s push-button culture it is good for children to experience ego-endowed,
alive human beings causing the performance even though the children appear not to
notice the puppeteers, their attention riveted and wonder written on their faces. The
ancient Greeks said that all human inquiry must proceed from wonder, or rephrased,” all
knowledge must have wonder for its seed”.201 Nurturing the child’s ability to experience
wonder lays the foundations for his spirituality as an adult.202The expressions of the
children in the photograph on page 63 show wonder and much more besides.
How puppetry affects the child’s breathing

“The purpose of all teaching should be the education of the breathing of the child.”
Steiner here meant both the breathing of the physical body and an inner breathing of
the soul. Rhythm (as described on page 6) enables a proper breathing of body and soul,
it is also important for the development of the etheric body and brings security and
stability at all ages. The physical breathing with related movement of the ribcage causes
a rhythmic flushing of cerebro-spinal fluid from the spine up over the brain. This action
partly explains why walking is such a stimulus to the imagination. In Japanese-owned
factories workers do physical exercises every half-hour to keep their minds alert.
Traditional Chinese medicine, Tibetan medicine and Cranio-sacral Therapy all consider
that the cerebro-spinal fluid is the seat of the vital life force which orders and integrates
all cellular and tissue function, maintaining health and healing.203
Some activities such as academic work make the child concentrate, focus and
contract. The body is largely passive with small muscle movements at most and the ego
incarnates strongly. One result is quick, shallow breathing in the uppermost part of the
lungs almost as if the breath is held, trapped. Thus Waldorf teachers term such
activities “in-breathing” activities. Too much of such concentrated work causes
complexions to pale, learning ability to diminish, discipline problems increase, asthma is
promoted and the children become jaded yet bursting to compensate with movement.
An adult example would be a concert audience where the instruments have been tuned
to A at 444, creating extra tension and excitement without a release. The opposite pole
is expansive activity (such as free play) which in excess causes a lack of groundedness
201
Steiner, R., ibid.,p.99
202
Pyzer, Deirdre, U.K. Kindergarten Newsletter, no.37,p.18
203
Weil, A., ibid., p.58
59
or centredness, with likely wild, uncontrolled behaviour because the ego is loose so the
child cannot give will and direction to his/her actions.
It is a fundamental rule of balanced teaching that children be given the
alternation they need between these two opposite poles. Teachers variously term these
poles contracting and expansive, passive and active, thought work and doing work,
academic work and free play/artistic activities, in-breathing and out-breathing, or even
incarnating and excarnating (referring to the ego). Waldorf grade teachers use poems,
songs, rhythmic exercises and games of a few minutes each sprinkled through their
lessons to bring a balance and lighten the mood so that the lesson “breathes” properly.
In the kindergarten the main out-breathing activity is creative free play, apart from
singing, painting and tidy-up time. (Snack-time is half in-breathing, half out-breathing.)
Kindergarten in-breathing activities are story-time, circle-time, eurythmy, speaking,
music, beeswax modelling, bread-making, handwork and watching a puppet show.
(Note that inbreathing activities do not necessarily involve physical passivity.)
Nevertheless within each of these activities should be some “breathing” or oscillation
between the poles. For example, circle-time should have a balanced mix of speaking
and singing and a puppet show should have lighter moments that release tension.
Indeed it is most important that every puppet show have an element of surprise. As the
children laugh or exclaim there is a lightening, a release. Laughter empties the lungs
well then a deeper breath is taken, it also loosens the astral body or soul making it more
mobile. Steiner said that children need to laugh deeply at least once a day. Some would
argue that middle-class children in particular do not laugh enough.
There is an intimate connection between the breathing and the blood circulation
as reflected in the 4:1 ratio of pulse to breaths. Puppetry therefore affects the blood
circulation via the breathing as well as through the emotions and by the refreshing,
enlivening, inner activity it creates. Puppetry brings a beneficial effect to the whole
rhythmic system of breathing and blood circulation, that is, to the middle realm of
feeling. From ages 7 to 14 it is the four middle senses that are particularly ready for
development. The central theme of in- and out-breathing of the soul, learning to breathe
in inner contraction and expansion, in sympathy and antipathy, must be considered in
order to develop those senses of the middle realm. Waldorf education seeks to educate
not only physical breathing but also inner soul-breathing. “Where there is balance lies
the potential for freedom.”204
The psychological benefits to children of fairy tales

Puppet shows in Waldorf schools usually portray a genuine fairy tale such as one
collected by the Grimm brothers. Such fairy tales come from a very deep source, the
same wellspring as poetry, and reflect psychological and spiritual truths. They have
implications for the whole sweep of one’s life and for humanity. They are tales of
initiation and illustrate the evolution of human consciousness.
Fairy tales, like Shakespearean plays, can be appreciated on many levels. The
fairy tales speak simultaneously to all levels of a person including the subconscious.
Young children take them literally on an objective level and have no problem with a frog
turning into a prince or a princess who sleeps for a hundred years. At the same time
204
Schwartz, E., ibid., p.15
60
they make an enormous contribution to the inner growth of the child 205 and give a
sense of security – everything is fine in the end. The tales address children’s
unconscious fears, for surely nothing could happen to a child in “real life” as bad as that
which happens in the fairy tales where problems such as losing one’s parents, growing
old, death, being buried alive and a host of evils are confronted. Yet in the tales a
person of goodwill always overcomes these problems and triumphs in the end. How
very reassuring for the child ! (S)he is certain to be all right.
Contrary to most children’s literature, evil as well as good is ever present in the
fairy tales, as it is in life and in each of us. Each of us is sometimes clever, sometimes
stupid, sometimes industrious, sometimes lazy, sometimes beautiful, sometimes ugly,
sometimes good, sometimes bad and so on. (The child too can be conscious of this
ambivalence, for example, when he obeys whilst wishing not to.) Whereas we have the
polarities within us, the fairy tale portrays each aspect of us as a separate character
thus rendering our ambivalence in an objective simplified fashion understandable to
children. Fairy tales enable children to differentiate (not consciously in concepts but in
their normal state of dreamlike, experiential consciousness) between good and evil,
selfishness and unselfishness, love and hate and so on. The fairy tales give the child
the idea, “I’m O.K., l have all these positive and negative qualities, they’re all part of me
and I’m O.K.”; thus the child can be honest with himself instead of hiding some aspects
and needing to work them out later in adulthood.
The fairy tale shows that if one finds true adult love, a truly satisfying bond to
another person, this is the ultimate in emotional security and permanence of relation;
besides addressing the child’s separation anxiety it can transcend the fear of death.
Consider the further, unconscious fears that fairy tales address and the reassuring
spiritual truths to be learned from them. Fairy tales prepare the child’s unconscious
resolve for whatever difficulties (s)he will certainly meet with the assurance that there is
a path through these problems, there will be guidance on that path and by meeting them
resolutely (s)he will be victorious in the end. In other words, they develop resolve, inner
strength to meet the world and trust in the universe, all of which lay the foundations of
wisdom. A struggle against severe difficulties in life is unavoidable but by meeting them
steadfastly we will overcome them and at the end emerge victorious.206 When someone
good in heart is hungry and unable to get food, somehow food comes. When there is an
insurmountable problem and all attempts to overcome it fail, no one good in heart dies
but from somewhere help comes. When someone is unloved and isolated, from
somewhere love comes, comforts and makes the world right. When evil is encountered,
good triumphs, the wrongdoer is punished and all ends well. Whatever happens, one
can succeed. It is possible to be blessed with pure joy. Change, development and
metamorphosis can be amazing. Nothing is impossible. Put simply – whatever the
problem, guidance and help come to someone of goodwill. They enable children to live
in trust in the ever-present help of the spiritual world. Of the whole range of children’s
literature fairy tales are found by children to be more satisfying than all other children’s
stories.207
205
Bruno Bettelheim, “The Uses of Enchantment”, p.12
206
B.Bettelheim, ibid.,p.8
207
Bettelheim, B.ibid., p.6
61
The small child cannot tell us what he needs because he lives completely in the
world around him/her in a “dream consciousness”, an unselfconscious participation and
identification with all aspects of nature, the weather and everything and everyone
around him/her. As Tolstoy said, “Until the age of five l did not look on nature. I was
nature.” To know what a child needs we need to “read” the child (from the way he
moves, speaks, eats, holds himself, gazes, makes friends, from what he does, etc.) that
is, we should intuit what he is asking of us, then we can provide the fairy tale he needs
so that he will feel “understood and appreciated deep down in his feelings, hopes and
anxieties”.208 Clearly fairy tales satisfy a deep psychological and spiritual need. Witness
the sigh of well-being and satisfaction from a child when he has had a good spiritual
meal in the form of a fairy tale.209 The young child up to age 7 has a great need to
experience reverence and gratitude; this happens when they listen to a fairy tale that
opens the door of wonder in their souls.
To overcome the psychological problems of living and of growing up the child
needs to create daydreams that may or may not be acted out in play. Thus the child’s
unconscious is not repressed but given vent in the story elements that are ruminated
over, rearranged and fantasised about in his daydreams. This way the child is able to
bring sense, order and even calm to his mind and at least some future problems are
avoided. Fairy tales help children to find meaning in life.210 Fairy tales create an
unending stream of mental pictures, indeed “The folk (fairy) tale is the primer of the
picture language of the soul”.211 They develop the intellect, arouse curiosity and provide
a wealth of new ideas, an enriched vocabulary, a tremendous stimulation to the child’s
imagination and an unlimited source of material for his daydreams and his play.
Certainly it is not solely at a mechanistic level that his play is enhanced. Whilst the tales
are particularly appropriate for ages 4 through 9, older children and adults also find
great meaning in them. Like the legendary chalice of the Holy Grail, the fairy tale gives
to each what he needs.
In addition the fairy tales teach morality. They do so not only because they show
that good triumphs in the end, the wrongdoer is punished and crime does not pay but
because the child is attracted to and identifies with the good hero(ine) who undertakes
an exciting, hazardous journey and inspiringly wins through in the end.212The good
hero(ine) is the child’s model for imitation. In contrast the cautionary tales preach
morality, each clearly conveying a specific moral lesson, and so are appropriate for
older children, particularly ages 7 through 9.
208
Bettelheim, B.,ibid., p.19
209
Roy Wilkinson, “The Interpretation of Fairy Tales”, p.12
210
Bettelheim, B.,ibid. p.3
211
Joseph Campbell, postscript to “The Complete Grimms Fairy Tales”, p.864
212
B.Bettelheim, ibid., p.9
62
Illustration 5. Children at a puppet theatre213
213
Eisenstaedt, Life Magazine, 1963
63
CONCLUSION
Artistic activity, whether active or passive, vivifies the senses and ensouls the life-
processes. The arts can be said to have the special mission of keeping the senses
healthy in spite of the damage of modern technology.214 Puppetry stimulates fantasy
whose creative form-giving power is a soul force intertwined completely with the forces
of growth in the first seven years of life. That power of fantasy comes from the senses,
the child’s only source of learning and knowing.
That modern civilization is inimical to children is beyond doubt. There is a daily
bombardment of the fragile, developing senses by which the child experiences the world
and with his/her inner pictures makes sense of it. In the early years whatever sense
impressions are around the child are absorbed inexorably and permeate the entire
body. The relentless invasion of the body by a stream of sense impressions
inappropriate to his delicate, physiological state can permanently impair the
development of the sense organs and of the internal organs making them dull and
passive and leading to illness later in life. These strong, inappropriate sense
impressions increase the child’s stress-load and cause learning and behavioural
problems and hyperactivity. Furthermore they accelerate physical (sexual) development
whilst delaying emotional (soul) development (for example, children are less able to
delay gratification, have lower self-esteem, less self-confidence and less initiative).
A technological instrument such as the television in daily use weakens the life
forces at the time of watching by the images formed from rapid light movements, by
negating the three dimensions of space that give us awareness of self as ego in a
physical body and by its twice-duplicated sound which destroys the delicate harmonies
sounding in the etheric body.215In addition television is damaging to children’s health
and like all addictions paralyses the will. To be able to use any of the senses, we must
want to observe, hear, etc. but television reduces interest. Indeed it provides a kind of
training in not reacting, in not responding, so that the modern generation of children
appear to have been anaesthetised and to lack the enterprising dynamism that should
characterise childhood. “Entertainment is the means of distancing ourselves from
sacredness” yet young children need a god. However, “…by endowing things with
magic, enchantment is the means of access to sacredness”216 and as puppet shows
can be endowed with magic they can compensate to some extent.
Food nourishes the body and sense experiences nourish the brain and central
nervous system, they are all grist for the mill enabling pathways and connections to be
made as the child digests and makes sense of the world around him, particularly
through play. From experiences he develops concepts and thereby can pay attention
because he can make sense of what people say, (s)he builds up a vocabulary of
experience, of human activities and speech and gets a picture of what it is to be human.
Time lost from play in this period is lost for good.
There are critical periods in brain development when experiences must occur
while the brain is most open (0 - 4years) and before the area is myelinated, otherwise
214
215
Audrey McAllen, “Sleep”, p.12
216
64
that area of the brain may never be able to function normally.217 Thus watching
television in the first four years could cause one or more critical periods to be missed
and so permanent impairment result.
Children experience sense impressions differently at the various stages of
development. Birth to seven is the most sensitive period when the whole child is like a
sponge soaking up sense impressions. Profound differences in the structure of the brain
have been shown depending on what was taken in by the senses.218 Watching
television in that first period contributes greatly to the high proportion of children with
learning disabilities and hyperactivity. Television works against the gradual building up
of a child’s own view of the world; it provides images and fragments of information at
great speed and without continuity or context so that they cannot be incorporated or
remembered later.
A child naturally moves from morning till night unless he is sickening for
something. The passivity of the television-watching child is totally abnormal with a
negative effect on all bodily processes and on the growth and development of the
organs including the brain. The younger the child the greater the damage.
The senses are the child’s only means of knowing and learning. It follows that the
quality of sense impressions the young child absorbs is of paramount importance for
his/her physical and mental health, growth and development and learning. The younger
the child the more important is that quality for the greater is his/her sensitivity and
his/her physiological response to sense impressions. A puppet show can provide a
unified sense experience of high quality giving a nourishment that modern children so
badly need and that to some extent can negate the deleterious effects of over-
stimulation from modern technology. It is a meaningful wholeness in three dimensions.
It strengthens the etheric formative forces in the child, which serve the organs’ growth
and development and their harmonious functioning. It gives joy, pleasure and
satisfaction and has a certain magic with which each child can enter his/her own world
of creative imagination. Rich impulses for play result. The child takes in unconsciously
the fact that the puppets in a fairy tale are archetypal human characters. Such tales give
the feeling deep down that throughout life we are each a developing being, struggling, in
metamorphosis, and that whatever adversity arises whoever is honest and good will
succeed.
Not only does puppetry provide an antidote and healing for children exposed to
modern life and the visual media in particular, it also helps to better prepare them for life
and to solve the problems of the world ahead. Egotism encouraged by the media and by
increasing materialism since the Second World War pushes back collective
responsibility. Puppet shows discourage egotism because children identify with the
protagonist and (s)he only succeeds if unselfish and humble. The watching children
may grow into more socially responsible citizens.
Arguably the worst problem today is that the visual media bombard children with
other people’s images, so depriving them of their image-making powers and limiting
their ability to have a world of their own. Yet the image in thinking is all-important. To
develop imagination and educate the feeling-intellect and emotional rationality, growing
children need an environment rich in sensory experiences of high quality. Puppetry
217
Winkley, D., ibid., p.5
218
Klivington quoted in J. Healy, ibid. p.51
65
provides these generously and condensed into a few minutes. It helps to fulfil the highly
important educational task of developing strong, self-directed image-making powers.
Einstein said that problems cannot be solved with the same kind of thinking that created
them. Puppetry helps provide the rich source in early development on which later
creative imagination depends. It is divergent thinking – creative, imaginative, flexible
and, above all, lively – on which there will be ever greater call to solve the world’s
problems.
Surely the ultimate proof of the healing value of puppetry is evident in one
particular example. Staff in psychiatric hospitals and troubled state schools have
commented after a Waldorf silk marionette show that there was a stillness and attention
in the audience that had never been seen before.
66
67
68
Part B. The Practise Chapter 4. The Genuine Fairy Tale
Origin
“Mankind’s knowledge of the spiritual world, of creation, and of the meaning of the
earth, of fate and life’s task was imprinted by the ancient mysteries”219 – from initiates’
experience on the astral and higher planes220, “from the imaginations of mythology and
from the inspirations of religious traditions. The fairy tales are the remains of those
mystery languages”.221 The great myths of the gods can be understood when we realise
the huge, comprehensive circumstances of the cosmos underlying them. Fairy tales can
be understood when we realise that the different happenings and pictures are simply
the repetition of astral events”.222 Put another way, the fairy tales show the history of
humanity as a development and metamorphosis of consciousness.223
Definition of a fairy tale

A fairy tale is defined as “a wonder tale involving marvellous elements and
occurrences, although not necessarily about fairies”. Indeed, fairies rarely appear. The
name arises because they involve the “world of faerie “, the elemental, supernatural
world. A fairy tale is enchanting and full of wonder, bringing delight to children without
their quite knowing why. It is neither fiction nor non-fiction. It is not fantasy derived from
folk imaginations. It has been suggested that the greatest evil of modern times is
literalness – taking things at face value, considering the superficial, shallow, outer
appearance and ignoring what lies behind and within. Fairy tales have fallen victim to
this literalness because they are not true in a literal, physical sense. However, the fairy
tale can instead be called “truer than true“ because it reflects psychological and spiritual
truths. It shows these in a simple pictorial way that can be understood by both adults
and (unconsciously) children. Some see in it a symbolic rendering of crucial life
experiences224, but it is not symbolic – it originated long before symbolism; only with the
help of spiritual science can one reach beyond symbolism towards its vast significance.
It concerns archetypes and imaginations, it pictures our most profound experiences of
soul, resonating deeply where it speaks to something we already know. It echoes our
inner soul processes. It does not have meaning, it awakens meaning.
What may pass as a modern fairy tale lacks the all-important genuine essence
and contains a surfeit of sentimentality. The main, or only, recent writers of genuine fairy
tales are Goethe (1749 -1832) and Novalis (1772-1801), both people with the spiritual
insight to reach the depths from which they flow. Novalis described fairy tales as “the
primary and highest poetical creation of man”.225 Goethe, to reveal his most profound
perception of the subconscious roots of human soul life, used only the language of the
fairy tale; the “Tale of the Green Snake and the Beautiful Lily” was the result.226
219
Helmut Von Kugelgen, article “Marionette Theater: Posing a Task for Socially Oriented
Education”, p.1
220
Rudolf Steiner, “The Poetry and Meaning of Fairy Tales”, p.48
221
Von Kugelgen, H., ibid., p.1
222
223
Von Kugelgen, H., ibid., p1
224
Bruno Bettelheim, Ibid., p.179
225
Joseph Campbell, ibid., p.835
226
69
“A true fairy tale is like a living organism: the sequence of images unfolds with the
same obedience to law as a plant grows from a seed to develop leaf and blossom and
fruit.“227 Genuine fairy tales, such as were collected by the German Grimm brothers,
have much action. They are characterised by a wonderful and elegant simplicity with no
unnecessary description, no sentimentality, no flowery cuteness. With few adjectives
but many verbs, they are filled with action - so like the young child who is very active in
his will but does not yet have personalised feelings. Typical are the words from
“Cinderella” (after her mother’s death) “every day she went out to her mother’s grave
and wept”. Fairy tales contain much dialogue that enlivens the story; children grow and
develop through stories told with direct speech, whereas their attention wanders during
indirect speech.
“Great art results when what is most difficult to understand is put in the most
clearly perceptible form”.228 Fairy tales and poetry arise from the same source, more
profound than that of other works of art.229 A Greek tragedy, for example, presents one
individual at a certain time of life in a particular difficulty, one individual with his unique
destiny, “only a particular, circumscribed sphere of life”230, it appeals to our intellect and
our sympathy, we suffer with the hero. The effect of a fairy tale, on the other hand, is
spontaneous, elementary, archetypal and unconscious; it is universal, addressing all
ages in all cultures. Every character, even animal, reflects something deep inside us231
so we identify with every character. In each of us is something of the king, something of
the stepmother (materialism), even something of the wicked witch.
The fairy tales are a language of the human soul and spirit that speaks to all
people. “Cinderella”, a tale collected by the Grimm Brothers, has been found to exist in
234 versions throughout the world; they would have arisen about the same time, they
have the same underlying themes, simply the cultural details differ.
“The most significant fairy tales have been proven older than the traditional
European sagas”.232 There was no need for fairy tales when all people had a primeval,
atavistic clairvoyance and so had astral experiences. As this ability was gradually lost,
they were expressed as fairy tales.The first to tell fairy tales were priestesses, priests,
seers and initiates in pre-Christian times. As time went by they were passed down from
one to another.
The Grimm brothers (born 1785 and 1786) mainly collected their tales first-hand
from those who still had a direct connection to the spiritual world and could relate what
they saw as their own astral experience. In other cases they had to collect many
versions of a single tale and delicately and systematically bring them together without
altering basic points or giving embellishment. Besides this they studied medieval
manuscripts. Always they worked with the utmost care and attention to the original
details. Other collectors such as Perrault, La Fontaine and Gianbattista Basile, did not
have first-hand sources and in addition took considerable liberties with the tales so their
results are much altered and less genuine.
227
Ursula Grahl, “The Wisdom in Fairy Tales”, p.130
228
229
230
231
Carl Jung quoted by Ruth Putsch in article ”What To Do About Witches” in “ An
Overview of the Waldorf Kindergarten”,1, p.52
232
70
In the late Middle Ages and early part of our modern epoch, the initiates of certain
occult groups such as the Templars and Rosicrucians wrote down fairy tales as a
means of preparing future humanity for the battles to come. Most or all of Grimms’ tales
were carefully collected by the brotherhood of Christian Rosencreutz. They realised that
these tales were accurate pictures of human soul life and of human physiology. They
saw that these brilliant word pictures portray accurate events.
Explanation of fairy tales
After children hear a fairy tale it should be allowed to resonate in their souls with
no interpretation whatsoever, nor questions later. Analysis by adults needs an
awareness that dissection of a work of art can kill it dead; mindful of its delicate and
sublime nature a certain gentle reverence is appropriate.
The fairy tales are signposts and difficult riddles to solve. Study of their meaning can
help adults awaken to spiritual realities and so be better prepared for the future when
sooner or later all will have threshold experiences. It is a challenge to seek beyond
symbolism for the essential integrity of a fairy tale.
To unravel the meaning of a fairy tale only anthroposophical wisdom can help and
even then no one can reach the bottom of it – there is always someone else’s fresh
perspective to take one deeper still. For example, entombment and subsequent release
– such as being shut in a cave or coffin or swallowed by a wolf – one person may
interpret as a death and return to life and perhaps connect it to the death and
resurrection at Easter, another is reminded of the Passover followed by the freeing of
the Jews and a third sees in it a picture of winter followed by the coming to life in spring,
a fourth sees the soul engulfed by evil forces and a fifth sees an initiation process
reminiscent of Jonah and the whale – and they can all be right !
All fairy tales show the evolution of human consciousness. Certain characters
represent former human stages of development. Giants, for example, are remnants of
our very distant past, in the time of Atlantis. They are the lumbering power of ignorance,
strong and stupid, representing humanity at the time when each person was physically
very strong, not yet withdrawn from the forces of nature, and not yet able to use an
intellectual soul.233 Constructive “wise women” or “sisters” represent the next stage in
the evolution of human consciousness, the stage when people had an intellectual soul
but not yet a consciousness soul. The modern stage (that is, since 1413 AD*) of the
developing consciousness soul is characterised by shrewdness, the ability to overcome
rough strength by intellectual cleverness; this stage is often represented by a tailor,
sometimes by a dwarf, who is a clever, logical, critical, brave character who dissects
and rearranges and is interested in the physical world.
Some fairy tales show just a portion of human history but many encompass
the entire sweep from Paradise lost in the remote past to Paradise regained in the far
distant future. Thus they are the story of the journey of the human soul, both individually
and collectively.
After the words, “Once upon a time….” (that is, in time immemorial) a fairy tale
typically begins with a king and queen living in a castle. Someone may consider them
representing mankind living in Paradise, our common wealthy origin, whilst another
*The date given by Rudolf Steiner from astronomical calculations

233
71
sees in this our common beginning in the spiritual world before we came down to earth.
The king and/or queen can also be seen to represent the old way of doing things which
is no longer appropriate, so sooner or later they usually step aside (by dying or handing
over the kingdom). They long for a child, or may have several children on the youngest
of which hinges the tale. This tiny baby, youngest child or Thumbling (from Grimms’
fairy tales) represents the newest human faculty that needs to grow and develop, a new
spiritual seed – ego consciousness.
As already stated, all characters are an aspect of one person, of any human
being, each character being archetypal. Some tales begin with a mother figure who
represents the divine world or the feeling depths of the soul.234 A stepmother is the
earthly world or sense-bound knowledge and may represent the hard forces of
materialism.235 A widow is someone left desolate and sad, abandoned by the divine
powers and cut off from the spiritual world.236 If the person making the journey is of
humble background it simply means a person whose parents have already fallen from
spiritual heights, and were already on the path of the evolution of human
consciousness.
The main character – a prince, princess, girl or boy – either at puberty or around
the age of seven leaves or is forced out into the world, innocent and ignorant. (S)he
encounters a series of problems which are always physical (such as chopping wood,
spinning straw into gold, gathering thousands of hidden pearls in one day) but which
develop the spiritual, so the character learns, changes and matures. Finally (s)he
reaches a (second) castle, confident, knowing and free and a marriage takes place (in
which can be seen the union of soul and spirit) then “(they) lived happily ever after”. The
fairy tale has a central theme of rebirth to a higher plane whereby something dies
(narrow selfhood) –represented by a king/queen/mother/father early in the tale – and
something else (the higher self) is born. This birth is implicit in the marriage at the end
of the tale that can be seen as the union of the advanced soul (usually girl or princess)
with the advanced spirit (usually male, the boy or prince). To gain the princess’ hand
and become king at the end means one has found one’s higher self or attained higher
knowledge. The union of soul and spirit means the human being is complete, his entities
harmonised, he has reached the end of the evolution of his consciousness and thereby
the ultimate purpose of life. Thus all fairy tales are to be interpreted in terms of the path
of evolution of human consciousness and as a tale of initiation.
Many fairy tales finish with such words as “the marriage was solemnized and they
lived happily ever after” or, “they were married and if they have not died are still alive
today”. The reason is that these tales not only reflect the sequence of evolution of
human consciousness up to the stage reached today, but continue into the far distant
future. Thus these tales are valid for perpetuity. After many thousands of years of trials
and tribulations (reflected in the challenges met in the woods or forest of the fairy tale),
through the pain and suffering of physical existence in several earthly lives we shall
develop our higher self to the point where the union (marriage in the fairy tale) of soul
and spirit can take place and thus we will regain Paradise (the castle and kingdom). In
234
Wilkinson, R., ibid., p.9
235
236
72
the future by self-development and the transformation of thinking, knowledge of the
spiritual world will be attained in full consciousness, and we will thereby experience
Paradise once more.
Often in a fairy tale there is a search for a bride/bridegroom, for someone as close
as possible to the ideal, to perfection. Alone in the physical world it cannot be done
because with ordinary consciousness the main character would pass by the right
person. In other words, as the right bride cannot be found in the outer world, one must
turn to the inner world. Needed is the guidance of the “wise woman” type of spiritual
being who lives a quiet, secluded life, and is a “soul-shepherd” who knows the secrets
of the forces guiding human beings to the spiritual world and “will awaken the deeper
forces within the seeker”237. Such a person may appear as a hermit, a wise old man or
woman, or as a dwarf who may give the seeker a magical talisman. In ordinary life we
may have a decision to make where we could easily err, but if we reconsider it each
night for three nights before falling asleep then first thing in the morning we may be able
to bring a wise answer back with us from that intermediate state we were in just before
waking. Just so in the fairy tale, where normal waking consciousness is inadequate,
other states of consciousness are needed. Where a magical talisman ostensibly solves
the problem(s) it is actually other state(s) of consciousness (when the external senses
are silenced and thus the soul comes to life) which call forth genuine vision.238
A different state of consciousness is often shown by crossing to another realm. It
may be depicted by water – crossing a river or entering a lake or well – suggesting the
moon and night-consciousness as opposed to day-consciousness. In “The Shoes That
were Danced to Pieces”, a soldier goes through a process of initiation in order to cross
a lake at night (that is, to penetrate the world of sleep, the spiritual world, in full waking
consciousness); he brings back cosmic knowledge to the earthly world and as an initiate
solves problems, so he is able to marry the princess and inherit the kingdom.239 The
hunger of “The Billy Goats Gruff” is a spiritual hunger, their crossing the bridge to where
the grass is greener means to cross over to the spiritual world, which the young
innocent ones are still easily able to do whereas the mature one needs to meet evil and
overcome it first.240 Often the seeker’s journey goes through a forest. The forest can
signify the spiritual world and thus another state of consciousness. In “Iron Henry”, the
forest can be seen to represent a border realm between the sense world and the
spiritual world and finding the way through the forest means finding the way to the
spirit.241
Bewitchment is common in fairy tales. The bewitched state represents the half-
truth, that is, only the physical aspect; once the spell is broken the complete true being
is revealed. A person or thing will be bewitched until the seeker through the trials and
other states of consciousness reaches an advanced stage of inner development and
can then see the truth. “The basis of the realm of the fairy tale is the established belief
that everything around us is bewitched spiritual truth and that we attain the truth when
237
238
239
240
241
73
we break the spell”242 or, rather, when we attain the truth the spell is broken. “The Frog
Prince” provides an example: the prince has been changed into a frog whom the
princess does not recognise as her own “bewitched” higher self; through the trials the
princess/soul can awaken and recognise its higher self so breaking the spell, and the
gates to the spiritual world open once more.243 In “Snow-White and Rose-Red” the
prince (the higher self) is bewitched as a bear until the girls who represent thinking and
perception develop soul forces so as to recognise and overcome evil, then the spell is
broken leading to realisation of the higher self.244
When we look at a tree what we see – its physical component – is only part of the
story. The other aspect of the tree – its spiritual nature and the spiritual forces involved
with it – is veiled from our sight. The same holds if we look at a thing, an animal or a
person. The breaking of a spell provides a second marriage theme behind fairy tales:
what is perceived with other states of consciousness by the intellectual soul is united
with what is perceived in ordinary day consciousness. Thus there is a “marriage”, a
union of the night-form with the day-form.245
The theme of transformation or metamorphosis can be seen in every tale because
every tale is a tale of development. It is clearly seen in “The Poor Miller’s Boy and the
Cat”. The role of a miller or a baker symbolises the process of metamorphosis. “In
everyone there is a miller, not only transforming earthly substances but also digesting
experiences”.246 To inherit the mill can mean to gain insight into the inner workings of
substance and destiny.247 The boy serves a cat (representing the senses) for seven
years, working with silver tools and building a silver house (silver is connected with the
moon so working with silver suggests working under the influence of the moon, that is,
not fully consciously), after which the cat is transformed into a princess, the youth
having transformed his senses into higher faculties. Transformation or metamorphosis
is also seen in the tale “Hans in luck”: Hans several times trades down his lump of gold
and joyfully each time – first for a horse, then a cow, a pig, a goose, grindstones, finally
loses those and is overjoyed. Shedding burdens is a joy, each time Hans’ heart
becomes lighter until his soul is cleared of all hindrances and he can experience the
spiritual – his gold has been transformed into a golden faculty of heart.248 In many tales
there is a loss or sacrifice because part of us has to be sacrificed in order for something
else to be born.
The tasks demanded in a fairy tale, corresponding to trials and tribulations, can
mean mastering the different elemental realms. For example, in “The Queen Bee” the
third son manages first to collect the thousand pearls (the mineral realm) by sunset with
the help of ants (who live underground in the mineral realm), next he obtains the key to
the princess’ bedroom from the realm of water (the bottom of the lake) with the help of
ducks, masters of that realm, and finally for him the queen bee (master of the air realm)
spots which of the youngest of the princesses had fallen asleep after eating honey. All
three realms are overcome through kindness and love. Another viewpoint sees the bee,
242
243
244
Wilkinson, R., ibid., p.34,35
245
246
247
Wilkinson, R., ibid.,p.55
248
74
which changes vegetable/sun-substance into honey, as a symbol of turning earthly
experiences to wisdom, portraying awakening powers of consciousness.249 The three
brothers of this tale could represent the three stages of human development – sentient
soul, intellectual soul and consciousness soul- the last and youngest having “sufficient
knowledge as well as reverence and responsibility for nature to overcome the trials
(which could represent stages of spiritual development), marry the princess and inherit
the kingdom (that is, the soul finds its higher self)”.250
In many fairy tales threefoldness can be found. There are often three scenes, a
beginning, a middle and an end - past, present and future. The trials to be undertaken
typically number three. The three soul forces of thinking, feeling and willing can be seen
in “Spindle, Shuttle and Needle”. The spindle can be seen to represent thinking
(thoughts revolve in the head), the needle with its forces of iron represents the will
forces (which bring about a transformation) and the shuttle with its golden thread a path
of illumination that represents feeling (feeling connects thinking with the will and the
shuttle connects and creates a harmonious pattern).251 In Goethe’s “Tale of the Green
Snake and the Beautiful Lily”, three kings each represent a future soul faculty: a brass
king - a future ability to act (freely out of a sense of global community, Fraternite), a
silver king – a future feeling (selflessly loving others and the world, compassionate,
Egalite) and a gold king - a future thinking (more free to trace the truth, Liberte),252. The
three physiological divisions of the physical body can be seen in “Little Snow-White”
where the Queen, Snow-White’s stepmother, first tries to stop her breathing and
circulation system by lacing her so tightly that she cannot breathe, next she attacks the
nerve-sense system with a poisonous comb and lastly assaults the metabolism with a
poisoned apple. The three human bodies – physical, etheric and astral (soul) – may be
reflected by a mantle of copper, a mantle of silver and a mantle of gold respectively.
There is a fourfold division of the human being since we comprise a physical body,
an etheric body, a soul and a spirit. One interpretation of “The Bremen town musicians”
sees the donkey as the physical body, the hound (dog) as the etheric body, the cat as
the astral body/soul and the cockerel as the spirit. The robbers in that story can be a
picture of the negative present before the physical body, etheric body, soul and spirit get
their act together. From another viewpoint the tale shows a metamorphosis of the lower
instincts.
The number seven, a human number related to time, is seen in the days of the
week and from their traditional names, the sun and six planets, in the seven human
organs which correspond to them, in the seven Christian festivals and in the seven
colours of the rainbow. In “The Wolf and the Seven Little Kids “, the seven kids can be
seen as the seven major organs of the human body, and thereby as the seven planets
also; the youngest kid – the most tender and childlike of the soul forces – took it upon
himself to save himself and also the others; he hid in a clock case which can be seen to
249
Wilkinson, R., ibid. p.10
250
251
252
M. Burton, New View magazine, 1999, 2, p.37
75
represent the human heart 253, which reflects the sun forces, the light and warmth of
love, and through this power comes salvation.254
The number twelve is a cosmic number, being the number of constellations in the
zodiac and as the sun passes through each of these in a year, is also the number of
months. We pass through the twelve constellations on our way to incarnate on earth;
the twelve regions of the zodiac are active in our twelve senses. In “The Sleeping
Beauty”, there are twelve good fairies, some see in them the twelve signs of the zodiac
out of whose forces the human being is constituted.255
In some fairy tales the feminine character usually a girl or princess is in a receiving
gesture, for example, “Sleeping Beauty” is a classic picture of the soul waiting for the
spirit to awaken it. Walt Disney chose to film primarily those fairy tales where a girl is
weak, helpless or bewitched and a male figure meets trials and liberates her. In other
tales it is the soul that is active. For example, in “The Seven Ravens” a girl sets out to
find and free her brothers; in “Snow-white and Rose-red” the action of the two girls
breaks the enchantment. For children a variety of tales best shows the full range of
human capacities.
In every fairy tale there is egotism, whatever its disguise. It is particularly obvious
in “The Sea-Hare” whose princess has uncontrollable pride with the power of all-
knowingness, she is a complete head-being with no feelings (all head and no heart); the
youngest brother makes her first uneasy, then alarmed, then she feels innocent wonder
and pleasure in his sea-hare disguise so that her proud egotism gives way to
compassion and she is won.256
In almost every fairy tale are found greediness, cruelty, inhumanity and plain evil
perpetrated by the likes of a witch, stepmother or bad fairy. They are archetypes of the
evil in each of us, in every human being. They are typically cold, cruel, greedy, angry,
deceptive or imprisoning or all of these. Of the stepmother in “Little Snow-White” Beckh
wrote, “The stepmother is hard, physical matter, through which the temptation to envy
and pride can enter a light-filled soul. We know that it is the crystallization and
hardening of light that has created matter. In this are held the forces of hate, in contrast
to the forces of cosmic love active in the warmth of the sun. The wonderful mirror into
which the stepmother gazes is the moon-related mirroring power of matter which
awakens egoistic self-knowledge and envy in the heart.”257 In other words the evil
character presents an aspect in each of us against which we must struggle in order to
become a truly human being, so that our imprisoned spirit may be freed. We each have
to battle against the traditional temptations, besides the modern day institutionalised evil
and materialistic thinking. A counterpart to the witch/stepmother/bad fairy in the modern
world could be said to be the forces of materialism through advertising and the media
which feed our egotism and tempt us with gold (as money, shares, air tickets, designer
clothes, second car or home, swimming pool, etc.) to harden our hearts and disregard
those who are in greater need of our money and attention.
253
Rudolf Meyer, “The Wisdom of Fairy Tales”, p.143-144
254
255
256
Ruth Pusch, “About the Sea-Hare”
257
Beckh quoted by Ruth Pusch, “What to do about Witches” , Overview of the Waldorf
Kindergarten, p.52
76
Some parents would like to spare their children from the evil in fairy tales. It is
impossible to shelter a child from the power of the witch258, in everyday life the child
senses her in an angry tone, a glinting eye or a sly grin. The child can find consolation
in the fairy tales as they bring images of the overcoming of evil and its redemption. An
example is seen in the tale, “Rumpelstiltskin”; an elemental being seeks to gain control
of the new forces of the future (the baby), yet he gives the queen the opportunity to
defeat him. The reason is that evil forces have a place in the world yet ultimately they
seek redemption and that redemption only comes through human beings. The way to
freedom for the individual and at the same time the way to redeem evil forces, lies firstly
through recognising these forces – knowing the name of something means recognising
its nature.259 Only after evil has been recognised can it be overcome and transformed –
and thereby redeemed.
Adults’ need of fairy tales

Just as good food gives an enjoyable taste to the tongue and then goes on to
nourish the body without our awareness, so too do fairy tales give us a pleasant
experience and go on to nourish the soul. The soul hungers to enjoy picture-images of
its unconscious experiences.260 If adults have a “healthy, open-hearted mind” they will
“happily turn back to fairy tales”, thus not giving up “the deepest and most important part
of their nature – what is incomprehensible for the intellect: a sensing within ourselves, a
sense for what is pictured in the fairy tales and in the simple, artless, primordial fairy tale
mood.”261
Since the Second World War two generations have grown up by and large without
fairy tales – they were abandoned in favour of the media and stories in keeping with the
rationalism and materialism of the times. One of the consequences was that young
people in the 1960’s satiated themselves on Tolkien’s, “Lord of the Rings” instead.
Those who miss out on fairy tales will later devour them readily, at any age.
Joseph Campbell rigorously researched world myth, he included the collected
tales of the Grimm brothers, the various Grail legends and the work of Carl Jung who
said, “Myth is more individual and expresses life more exactly than does science”.
Campbell realised that myths and legends represent something profound: he
discovered that the symbols of mythology are “not haphazard inventions and neither
could they be incorrectly applied or permanently suppressed”.262 He compared
hundreds of tales and tribal legends from many cultures and epochs and discovered an
archetypal plot common to all stories. Presented in his book, “The Hero with a
Thousand Faces”, the archetypal plot consisted of nineteen episodes which all myths
wholly or partly contain (although not always in the same sequence).
A Hollywood researcher, Vogler, read Campbell’s book and later enthused, “(hero)
stories are accurate models of the workings of the human mind, true maps of the
psyche. They are psychologically valid and emotionally realistic”.263 With Campbell’s
258
Pusch, R.,ibid., p.3
259
260
261
Steiner, R.,ibid., p.23
262
J.Campbell quoted New View magazine, 1999,1, p.7
263
C.Vogler, ”The Writer’s Journey “ quoted in New View Magazine, 1999,1,p.7
77
book Vogler discovered the “success factor” underlying the plots of successful movies,
he reduced the nineteen steps of Campbell’s hero to twelve and his writing on this is
now required reading for all movie screenwriters. The screenwriter of “Star Wars” first
studied Campbell’s book deeply and the resulting film is a perfect example of a hero’s
journey. It seems that when people return again and again to see the same movie, “as if
seeking some kind of religious experience…(it is) because they reflect the universally
satisfying patterns Campbell found in myths”.264 Perhaps certain Hollywood movies are
the new fairy tales to satisfy our soul hunger.
Goethe’s Wilhelm Meister, “points to the truth that mastery of life is not conferred
at the end of the “apprenticeship years” and henceforth an inalienable profession, but is
a ceaseless wandering in which the goal turns out to be the way, and the way the
goal”.265 Thus our life in modern times can be said to correspond to only a part of the
journey in the fairy tale, for many that is a succession of interminable problems.
Perhaps that is why so many modern stories do not give a sense of long, long ago and
in the end everything being fine, yet the middle-aged and elderly today sorely need
stories with a happy ending. By hearing a fairy tale we are reminded of our long-
forgotten origin and reassured of our future. Tales showing that someone can be
blessed with pure joy are heartening. For adults the fairy tale highly recommended is
Goethe’s “Tale of the Green Snake and the Beautiful Lily”, it is a “parable of the human
condition, full of relevance to the social future of humanity at the end of the twentieth
century… a blueprint for social change” 266 - a profound and meaningful gift for adults
today.
Summary
The content of fairy tales “portrays soul experiences, cosmic truths, the
process of the individual’s development, the elemental world, folk wisdom and
apocalyptic imaginations” 267 or, more simply, our physiology, our soul life and our
spiritual history. They present the problems of existence in a form in which the child can
digest them268 so that the child is inwardly strengthened to face whatever challenges life
serves him, with the assurance that whatever happens he can succeed. Providing soul
nourishment for children and adults alike, fairy tales touch our subconscious memories
of the distant past, provide reassurance for the present and promise a distant, shining
future for humanity.
At the deepest level fairy tales answer the great riddles of existence, such
as: What is man? What is the purpose of human life? Where have we come from and
where are we going ?
264
Vogler, C., ibid., p.7
265
Encyclopaedia Britannica, 20, p.185
266
Burton, M., ibid., p.36
267
268
Bettelheim, B., ibid., p.9
78
Chapter 5. MUSIC, SONG AND NARRRATION FOR PUPPET SHOWS
Creating songs for puppet shows

Every puppet play needs at least one song, preferably two, three or more. The
mood of a song is usually established by the words, consequently the words are
decided upon before the music and not vice versa. For a song to be interesting to adults
it must be sophisticated but small children need it kept simple. Putting two notes per
syllable is considered intellectual so should only be done rarely or left until the children
are six or seven years old. Without thinking we adults try to create a “normal” melody in
the mood of the third and with the security of a key, so for young children we must
consciously avoid the G major and E minor keys that can creep into our pentatonic
creations. (For example, going up and down in thirds – such as A to top D – and ending
on a G would produce a G major key; beginning with E, then G and B would give an E
minor key.) The fourth interval has tension and is very awakening, many marches begin
with fourths and it is used for sirens; examples are D – G, E – A, A – top D, B – top E
and these should be avoided as far as possible. The sixth interval (such as D – B)
should be avoided at all costs.
A song can be created easily: first the words are written – perhaps a verse of
speech already given in the fairy tale or a short verse from a poem or one can be made
up. Next by walking to the words one can tell if it needs a double rhythm ( 1 – 2 – 1 – 2 )
or a triple rhythm ( 1 – 2 – 3 , 1 – 2 – 3 ). A double rhythm is a waking and walking
rhythm, whereas a triple rhythm is a waltz and has a calming, restful quality. Better than
using a conventional time signature for mood of the fifth music is to use one of the
following:
These signatures give some freedom to minimise the beat and mean that each
measure may take up the whole line of music, the bar lines are minimised and may be
written simply as a dotted line. If a song begins with the words, “The” or “A” then it
should start on an upbeat (in other words, the first note of the song is the last and only
note in the first measure). Lastly a simple mood of the fifth tune can be created or taken
from a book of mood of the fifth music such as “Quintenlieder”269or “Let us form a
269
Knierim,J ., ibid.
79
ring”.270 It is sung without an instrumental accompaniment so that the child can hear one
tone at a time. An example- a simple song created to accompany the sun in,
“TheSevenRavens”:
A second song can accompany the morning star in the same story:
A good song to finish a puppet play is: The bells are all ringing
The voices are all singing
Today is the day of the wedding feast
We’ll dance and we’ll sing and we’ll drink and we’ll eat.
Singing exercises
“Simple songs well sung” was Steiner’s advice to teachers. With exercises and
practise teachers can sing accurately with freedom and joy, all of which will be imitated
by the children. Originally people sang solely to give appreciation to God. Now, when
singing for young children we need to feel joyful, open and full of wonder. Smiling
improves the quality of tone and is especially important for the high notes. It is important
to warm up the voice for singing before a puppet show.
Music for puppet plays

Music before the play begins lifts the audience out of the everyday world and takes
them so to speak where the story might have happened. Music frames the play at the
beginning and the end, it can accompany a puppet on his/its journey when there is no
dialogue and least action. It can reinforce a surprise, for example, in “The story of
Akimba “ when the cow opens her mouth and a gold coin falls out. Examples of some
appropriate instruments follow.
Kalimba or finger piano. This African instrument is

obviously particularly appropriate for African
folk and fairy tales such as, “The story of
Akimba” and,” The winning of Kwe Langa”.
270
Nancy Foster “Let us form a ring”.
80
Glockenspiel or a wooden xylophone.
A simple tune can accompany a journey. The
C and F tones can be removed, to ensure it is
pentatonic.
Chimes can tinkle to sound like water.

A light swipe of all the tones can
reinforce a salutary moment in the story.
The pentatonic flute could accompany a shepherd, or child

puppets when they do a little dance. It is played with the
mouthpiece totally encompassed by the lips, not like a regular
recorder. The mouth is completely relaxed and the
finger touch light. A Native American flute/recorder could
accompany a Native American folk tale, such as “How Glooskap
found the summer “.
Bell. A tinkling bell could accompany water, a journey

through a meadow or a call to heaven.
The kinderharp
(children’s lyre) has a gentle tone. Its
traditional shape is like an angel’s wing.
Children quickly become quiet and listen
when it is played. As it has no resonating
body (soundbox) the tone is especially
clear, without reverberations, and is more
in keeping with mood of the fifth than any
other instrument. It is ideal for the
beginning and ending of the puppet show.
Standing it on a table makes it a little
louder and easier for the audience to hear.
The teacher in the classroom needs to not
look at the strings but to be open to the
children and looking at them. However,
for a puppet show (s)he can choose to
look at the strings or stage and thereby
help the children to focus their attention.
81
Playing the kinderharp
It is held almost upright by the outstretched left hand so that the back of the
curved resonance body rests in the palm and the fingertips curve round the frame; the
player can thus feel the instrument vibrate. The right wrist is more or less straight with
the heel of the hand near the base of the kinderharp (not up the side) so that the fingers
roughly parallel the strings. (It is never played horizontally as its tone would be
completely different.) Some use the left ring finger to play E and the left index finger to
play B, others only play with the fingers of the right hand. The left thumb is not used to
play a tone but may be rested on the left side. Each tone is played with a light stroking
by the underside of the fingertip in a leftwards movement so that the finger comes to a
stop on the next string. A position midway along the strings is used, otherwise it would
sound more metallic. Tone A is always played by the right index finger and is the first
note to become automatic for the person playing, it being the home tone, the starting
point.
Temperature changes, humidity variation and dust all reduce the quality of the
tone. It should not be played outdoors and when not in use is best wrapped in silk in its
case to help avoid fluctuations in temperature.
Tuning the kinderharp

In the time of Bach and Verdi all tuned tone A to 432 Hertz (cycles per second),
and adjusted the other notes accordingly. With the modern intellectual age and the
speeding up of the pace of life today most tune A to 440 Hz. Some orchestras even
tune to 444, and that makes the strings sound glorious. Unfortunately today many
people are likewise “highly strung “ as a permanent condition. At 444 the experience is
brought up into the head, with tension and excitement, with the breath trapped inside, all
very exciting for an orchestra’s audience. In other words at 444 the space between the
tones has a quality of tension, not harmony. It damages the voices of opera singers to
sing at 444 and in Italy there is a movement to return to 432. In an isolated setting the
kindergarten teacher can tune to 432 but most people play alongside other instruments
on occasions so they will need to always tune to 440, like the others.
The Narration
Once the audience is seated, settled and quiet and the puppeteers have shown
with a nod or eye contact that they are ready the narrator begins the show. A candle is
lit to give a special tone to the proceedings, heralding the beginning of the magical
atmosphere, the start of a journey away from the here and now. The audience’s
attention becomes focussed – simply looking at the flame can mesmerize children and
adults alike. If the candle is of beeswax its fragrance will have a calming effect on the
children.
The narrator plays introductory music while the puppeteers, one at each end of
the stage, gently lift the silk veil (not so fast that it balloons with air) and reveal the
scene. The veil is folded and put backstage or simply folded lengthways and put on the
floor in front of the stage. The presence and removal of a veil enables a swift entrance
into an unexpected setting, into another world.
The text, marked with pauses for music or action, is hidden in a beautiful folder or
gold-edged book that the narrator now picks up, opens and begins to read. Although
82
she appears to read from the text at least part of the time, it is preferable that she not
only memorizes it but knows it by heart. When the story is part of her she is free to have
her head up much of the time and with an awareness of the audience she watches the
action on stage, adjusting the pace of narration as necessary. If a hitch or accident
occurs she pauses and may tide things over with music or even a few extra, appropriate
words.
Whether or not there is dramatization in the narrator’s voice depends on the age
of the children. For kindergarten children (that is, up to about 6 ½ years old) there
should be no dramatization whatsoever but clear, calm, level, even speech – even when
violent action is described. For first grade children (6-7y.o.) there is some variation in
the level of pitch and some dramatization so that the narration is just a little exciting.
The intonation and dramatization are increased until for fifth grade children (10-11y.o.)
the narrator is no longer limited in any way. For an audience of both kindergarten and
elementary children the narration would best be as for kindergarten.
The narrator, Steiner said, should be a person of (inner) beauty.
Warming up the narrator’s voice is worthwhile even if it can only be fitted in

several hours beforehand. The following phrases can be recited whilst standing, taking
a deep breath before each. Saying them a little slowly can help enunciation of each
vowel or consonant, constantly accompanied by the outward breathstream. Picturing
even the very last syllable reaching the far end of the room can help the breathstream
continue to and beyond the end of each phrase.
Breath exercise
Teachers need to speak with clear enunciation Reforging gales
and good breath, almost instinctively. This Through foghorns
can be helped by regular practise Hails through surges
(for example, ten minutes a day, Through whirlpools
three times a week) In wavering
of these three exercises.271 Whales in quavering
Waves gaping
Articulation exercise Gaping wheezing
Fluency exercise Nimm neat nuns now In freezing
Lulla leader limply On nimble moody mules Freezing breathing
Liplessly laughing Cleaving
Lumbering laggardly loiterer lurch
271
With grateful thanks to Barbara Renold
83
Chapter 6. SOME PRACTICAL GUIDELINES FOR PUPPETRY PERFORMANCE
Readiness for Fairy Tales

Following nursery rhymes, dandling and bouncing rhymes, parents’ lullabies,
songs and rocking games comes a readiness for fairy tales. There is no precise age; it
depends on the child. A general guideline is not before 3 and probably 4. The child
needs to be observed attentively to see when the moment has arrived when (s)he can
be inwardly active to follow the sequence, the storyline. The child has to stretch himself
inwardly to follow a story, giving fairy tales too soon would impair life forces during this
paramount phase of the first seven years when tremendous physical growth and inner
sculpting of the organs takes place. When the child is able to follow a story then he is
ready to sit and watch a puppet show. A foreign child still unable to follow a story told in
the second language may be able to follow if told through a puppet show. It is in the
ninth year that the child’s thinking changes from a picture consciousness to an
intellectual thinking, so the fairy tales become less appropriate after that.
Choosing an appropriate story

The story takes the child alone into another world. The dangers in the world of
each story must be assessed to decide if the child can safely enter. How much
confrontation is appropriate mainly depends on the child’s age. For a good guide to
choosing a fairy tale for different ages written by Joan Almon, see page 122. Bronya
Zahlingen has adapted some fairy tales and folk tales into puppet plays suitable for the
kindergarten.272 Birgitte Goldman has adapted “The Queen Bee”.273
In the kindergarten children are told stories such as the fairy tales which concern
the universal human being, laying the foundation for a sense of humanness. Although
the Grimms stories are German they are beyond Germanness, they simply come
through that culture to express the universal. In the Grimms’ collection there are fairy
tales suitable for children as young as 3, at which age they can cope with least dangers
in the story. Their ability to digest a story progressively increases until age 6 when they
are growing out of the safe world of early childhood, their thinking and perception takes
a big jump, they are less dreamy and faraway in their minds and are awake, present
and more conscious. Suddenly at 6 more complex problems and greater danger in the
story world correspond to their own new phase of inner development. Children do not
take the tales literally and unless there is dramatization they are not afraid of them. That
the donkey is really a prince comes as no surprise – they knew it all along.
The legends, more recent than the fairy tales, are placed in historical time, they
concern the identity of a people, an aspect of their history such as the life of a saint.
They are appropriate for 2nd grade (7-8 years old) when the child passes through a
particularly idealistic phase. The fables and cautionary tales address the foibles and
failings of the human being, they are stories with a moral behind them and also should
not come before 2nd grade. Hans Christian Anderson stories, more earthbound than the
fairy tales, are not suitable before 1st grade and best kept till the age of nine.
272
Zahlingen, Bronya, ”Plays for puppets and marionettes”.
273
Goldman, Birgitte, Waldorf Kindergarten Newsletter, fall, 1994, p.24
84
Often one particular child or group of children will need a particular story; certain
books are particularly helpful here.274Having studied in depth a number of fairy tales the
teacher, carrying the children in her meditations, becomes sensitive in choosing which
story would address a particular situation, such as a death in the family, or a particular
child or group of children may be very delicate and sensitive or rowdy and boisterous.
Sometimes the children return to school in September after a summer outdoors, overfull
of themselves, the tale, ”Sweet Porridge”, may be needed – it contains the magic word,
”Stop”. One teacher chose “The Swan Geese” when, and because, they were under the
flight path of migrating geese. For an exceedingly timid boy with a very overprotective
mother the kindergarten teacher chose the story “Shingebiss”, about a fearless duck
that refused to be intimidated by the great cold North Wind.275 “The Donkey” has great
therapeutic value in the kindergarten, we all have a donkey skin hiding the better part of
us and this tale can help physically and mentally handicapped and other children in the
class be accepted for who they really are behind their “donkey skin”.
Some stories are particularly appropriate at a certain time of year.
The Cycle of the Year and its Festivals

There is an outer yearly rhythm in the four seasons that is reflected in the
kindergarten by the seasonal (nature) table and in festivals such as Harvest. There runs
parallel an inner yearly rhythm related to our faculties of thinking and self-knowledge,
the microcosmic reflection of the macrocosmic processes underlying the yearly rhythm
of the earth.276
When we breathe in our body is in a state of tension (and we are ready for any
action needed). When we breathe out there is a lessening of the tension until, at the end
of the outbreath, there is complete relaxation. It is as if the earth takes one in-breath
from summer to winter solstices and one outbreath from winter to summer solstices.
When we sleep we lose consciousness as our soul and spirit leave our body and go out
into the cosmos and we regain consciousness on their return. In springtime the earth’s
soul and spirit gradually leave the body of the earth and “unite with the far distances of
space, drawing in their wake countless numbers of elemental beings”.277 Thus, at
summer solstice all activity in nature is above ground, the earth itself sleeps. With the
in-breath the soul and spirit of the earth together with elemental beings are drawn back
into the earth. Thus, wintertime for the earth is day, its most active, wakeful time.
Farmers know that without the activity which goes on underground in winter, seeds
would not germinate and grow in the spring as vigorously.
274
Perrow,Susan,”Therapeutic Storytelling” and Felce,Josie,”Storytelling for Life: Why Stories Matter and
Ways of Telling Them”
275
“Shingebiss” from Waldorf Kindergarten Newsletter, Spring 1991
276
Sergio Prokofieff, “The Cycle of the Year as a Path of Initiation”, p.12
277
Prokofieff, ibid., p.12
85
A Poem by Rudolf Steiner 278
Asleep is the soul of Earth

In summer’s heat,
While the Sun’s outward glory
Rays through the realms of space.
Awake is the soul of Earth

In Winter’s cold,
While the Sun’s inmost being
Lightens in spirit.
Summer’s day of joy

For Earth is sleep;
Winter’s holy night
For Earth is day
The focus of our inner life is self-knowledge made possible by thinking. Starting in
spring and particularly towards summer our thinking ability declines and to some extent
our faculty of self-knowledge similarly flags. With summer approaching we become less
autonomous and opposed to the world, we are more inclined to “go with the flow”, our
sense of self-knowledge longs to dissolve into a nature-consciousness. The focus of our
consciousness partly veers from thinking to willing, and as our power of thinking
weakens, our power of perception gets stronger with an increasing desire to be busily
active, such as spring-cleaning and gardening. In summer we live strongly in our
perceptions (which are moulded by our will) while thinking and self-knowledge are
somewhat reduced. Our ego-consciousness would tend to dissolve into a nature-
consciousness, somewhat like falling asleep. Indeed, lying on a beach in summer we
are almost out of ourselves.
The opposite gradually happens from summer solstice to winter. There is a
waning in strength of perceptions and will based on nature-consciousness. We find
ourselves able to think better and our faculty of self-knowledge is strengthened and we
sense ourselves as being more detached from the world around.279 If we were to live in
to nature too much we could be affected by the combustion, death and decay of autumn
and become inactive and depressed. With lessening interest in the world outside inner
life is enlivened and enriched. In addition, the spiritual element of thoughts is greatest at
this time of year.280 We are more inclined to the passive, contemplative than to being
physically active. It is as if with the coming of autumn our centre of gravity moves back
into us. The academic year rightly begins at this point when thinking is refreshed and
more fruitful.
“A person who experiences the spiritual in himself lives in the rhythm of the day”
(i.e.24 hours) while anyone who wishes to experience “the spiritual in the universe”
must learn to live consciously in the rhythm of the year. For such a person, life in
278
Steiner, R. GA40 translated by G.and M. Adams
279
280
Prokofoieff, ibid., p.12
86
connection with the macrocosmic rhythm of the Earth is not at all unlike the conscious
pursuing of the modern path of initiation; while the principal yearly festivals become for
him the great lamps that illuminate his path into the macrocosm”.281 Thus the teacher is
challenged to live more deeply into the cycle of the year and this underpins all her work,
particularly the seasonal festivals and puppet shows performed then.
1.Michaelmas
The period leading up to and around Michaelmas Day (September 29) is
connected to the Archangel Michael, who is associated with courage and is often
portrayed as a warrior who serves heaven by vanquishing evil. Michael is also
associated with harvest, it being that time of year and because of a legend that it was
Michael who gave humanity the first scythe for harvesting grain.
Evil is a strong element in the mood of this season. After the mood of summer,
with its devotion to light and the sensual attractions of the outdoors, we are challenged
to brace ourselves, to face our responsibilities and the inner dragon of our desires
(whatever they may be), to look inside, see them clearly and overcome them. Michael
who overcame and transformed the dragon is a symbol for what could be happening in
each of us at this time of year. With summer outdoors over we can choose to sit indoors
as “couch potatoes”, or (overcoming our plant nature) sink into our animal nature
(greed, pride, passion, etc.), or (overcoming our animal nature) struggle to be more
human – the annual task of turning inwards to the spirit and with self-will and discipline
rising to one’s responsibilities in a more human way.
If older boys in kindergarten receive strong healthy pictures of Michael and the
dragon in story form in September they benefit all year. It is important that in contrast to
Saint George, Michael does not slay the dragon but puts his foot on it and tames it; this
is a picture of the task of humanity today, not to stamp out evil (which cannot be done)
but to transform and redeem it. Stories where the hero needs great courage are suitable
for this time of year. “Rumpelstiltskin” is one such tale. Another is, “The Princess and
the Flaming Castle” where the hero has to overcome an earth mountain (willing), water
(feeling) and fire (thinking) to free the princess.
2. Advent
The weeks in December leading up to Christmas are the time of year of greatest
challenge to adults. In the first week the Archai withdraw from supporting us and the
second week the Archangels (folk spirits) do likewise. During the third week our
guardian angel gradually retreats so that the fourth week we are forced to confront
ourselves in order to have something new.282 When darkness is at its greatest we stand
alone facing tremendously active adversarial forces. At this very serious time our worst
may come out and our loved ones at home suffer whilst socially we are expected to be
jolly. There is solace in knowing that the twelve Holy Nights provide the most profound
moment of human freedom and much more besides. In Advent there is the maximum
opportunity for inner spiritual work of the whole year. This period can be seen as a
series of trials which provide the opportunity to build and cultivate certain qualities – that
is, the four Platonic virtues of justice, temperance (and prudence), courage (and
presence of mind) and wisdom.283
281
Prokofieff, ibid.,p.6
282
Steiner,R. quoted by S.Howard ,oral communication
283
87
The fairy tale, “Star Money” presents a profound picture of the human soul,
orphaned, standing alone at this time of year. It has the theme of sacrifice; we need to
sacrifice part of us in order that something else can be born. It tells of a little girl who
goes out into the darkness, in poverty, she gradually gives away her layers of clothing
(sheaths of the physical, etheric and soul members of the body). This giving at deeper
and deeper levels of herself comes out of her sense of richness, fullness and gratitude;
gratitude to the true sources of life is the beginning of the path and from that comes the
capacity to give. The story addresses and engages the higher being of the child. At the
end of the story the stars rain down on her, she is a transformed soul, a beautiful being
of light.
In the kindergarten despite the growing mood of expectancy there needs to be a
sense of quiet waiting; all activities need to be kept in the low-keyed, waiting mood of
Advent.
3. Easter
This is the festival that is a cosmic festival whose date is decided by the sun and
the moon. Many teachers tell the fairy tale, “Little Red Cap” (Little Red Riding Hood)
during Lent, the little girl takes the sacrament of bread and wine to her grandmother and
there is the theme of death and resurrection. Another suitable fairy tale is “Little Snow
White”; with its picture of Snow White rosy-cheeked in the glass coffin, it gives the
young child a wonderful picture of death and life in death.
A suggested seasonal listing of stories and fairy tales is given in the Appendix.
Multiculturalism
The young child needs to experience unconsciously the brotherhood of all the
human races, to experience that we are all one. Where the teacher has an inner attitude
of respect and reverence towards people of all cultures, religions and races the children
can unconsciously perceive this and imitate it.284
There needs to be some deep connection between the teacher and a tale or story
from another culture or it can easily be simply a token gesture. The minimum is for the
teacher to live in and form a positive relationship with that culture and story. It is better if
there is a child in the class from that other culture, the connection is easier and a story
or puppet show can be part of a celebration, for example, of his New Year’s Day.
An example serves best. A Thai boy was in the kindergarten, his teacher asked
his parents if they could bring something of their culture into class, for example, a
puppet show. The parents were very positive but then two years passed with no news.
Suddenly the parents announced the puppet show was ready. They came into class
and performed “The Crow, the Beans and the Sesame Seeds”, complete with songs. It
was delightful, and the Thai boy glowed with pride.
284
Janni,N., Waldorf Kindergarten Newsletter, spring, 1998, p.20
88
Some homework before a puppet show
In puppetry, as in everything else, it is the effort that counts. Reading the tale
several evenings before falling asleep enables waking up with new understanding of it.
The teacher in particular must avoid like and dislike, a fixed interpretation and being
distracted; it is a great responsibility to be as open and true a vessel for the truth of
these tales as possible. If a teacher feels an inner barrier to a tale, it should not be
tampered with. (S)he can simply choose a different tale instead.
If the narrator observes and studies each of the creatures in a fairy tale, his/her
narration will ring more true. The whole puppetry group needs to work deeply with a
fairy tale to understand it and fathom its meaning; on this condition the richness and life-
giving forces of the fairy tale will be available to the children. The narrator also needs to
be aware of the deep meaning of the tales because “what lives in the soul of the teacher
is more important to the child than the actual substance of what he teaches.285 If the
narrator merely memorises the words with her head only, the children will receive it in
their heads only and their behaviour will show they have been short-changed. Indeed if
a child afterwards asks, “Is it true?” it likely shows the teller has not worked with the tale
sufficiently, is not reverently aware of its deep content. An answer to that question is
“Yes, it is true; and one day, when you are older, you will be able to find the truth of it for
yourself”.286 To tell a tale from the heart and not the head one can practise telling it
while walking outdoors, this way through rhythmic, metabolic activity it is digested and
worked through and becomes part of the etheric (or habit) body so that the tale can be
given from the heart.
Parents’ concerns with fairy tales

The typical fairy tale hero(ine) leaves the castle, innocent and ignorant, goes
along a path beset with difficulties to reach another castle, confident, knowing and free.
Parents would like their child to be able to go from the first to the second castle without
the problems, yet they are inevitable. The purpose of life is inner change. That only
happens when a resistance is met. The fairy tale could be a metaphor to reassure
parents.
Frequency of puppet shows
In the kindergarten a fairy tale is always told in its entirety and at least five times
(usually more) so that it can go in deeply and really be consolidated. The memory of
children in first grade onwards enables them to take in and digest a puppet show in only
one viewing. Many kindergarten teachers tell a certain fairy tale three or four times a
week for three weeks and several months later bring it as a puppet show; this way they
allow the children to absorb the tale deeply and to create well the characters in their
imaginations before presenting the puppets that (except for the absent facial features)
confront the imagination with a fixed form. Conversely one teacher with a majority of
non-English speakers in her class, told stories solely through puppet shows, and each
of these four times a week for two weeks. A long-established school with a permanent
group of puppeteers performs the same puppet show weekly for three weeks and then
changes to a new one. One teacher performs a puppet show every Monday morning so
that something artistic meets and can counteract what the children are bringing from the
285
Steiner, R. quoted Wilkinson, R., ibid., p.11
286
Grahl, U., ibid., p.35
89
weekend. Some schools perform a show twice for the children in class and a third time
at a festival for the parents as well.
Choosing a puppet type appropriate to the story

The word marionette means “little Mary”. The stringed marionette occupies the
moral high ground of puppetry, being the most spiritual of the puppet types. From one
viewpoint all is moved by the spiritual world; this puppet is manipulated from above,
potentially by spiritual beings of light, understanding and wisdom. Made of silk (woven
sunlight) it moves by gliding or flying. Its stage is not absolutely flat but draped with silk
to recreate the etheric world. It transports us quickly into a remote other world, far away
from day-to-day matters. For this kind of puppet only the fairy tales are appropriate and
those few folk tales which have the hallmarks of a fairy tale, of which “The Winning of
Kwe Langa” is an example. Unless a folk tale is true for us all, the story of the universal
human being, it is best left for children over seven.
For a fairy tale marionettes or tabletop puppets are the best choice. The tabletop
puppet is free-standing and may or may not have arms. It is moved from behind by a
clearly-seen hand, or thumb and forefinger. The stage covering must be flat for its
movement. It is made of down-to-earth but natural materials- usually wool, wool felt or
cotton cloth. This puppet will suit any story and is easily made and moved.
Tabletop puppets give a fairy tale a more earthy physical quality and address the
will more clearly. Marionettes would give the same fairy tale a dreamier mood,
appearing more ethereal and addressing more the spiritual realm. An interesting
comparison between marionettes and tabletop puppets has been made for the same
fairy tale.287 Occasionally puppet types are mixed in the same production. An example
is “The Elves and the Shoemaker” where the cobbler and his wife may be tabletop
puppets but the elves could be small, peach, silk marionettes. Similarly Rumpelstiltskin
can be made of wool roving (as an elemental is less substantial) and the remaining
characters made of felt or cotton.
Puppets for Shows to Nursery and Kindergarten

1. With the utmost care Wilma Ellersiek has woven together speech, song, rhyme and
hand movements into delightful “finger plays” which are the very first puppet plays for
the very young child and suitable at least until the end of the kindergarten years (c.
6½).288 Human warmth, rhythm and the living forces of speech can be ensouled through
the human being in these movements.
2. Fingerstrips Silk or cotton strips (say,9” x 1”) can be tied around the fingertips of one
hand, each strip a different solid colour which can represent a different character. Adults
can wear and move them to a story, rhyme or song for ages 2-4.
3. Knot dolls Into a square piece of natural fabric is put a firm sphere of wool batting
and tied off to form a head, two or all corners are each tied in a knot and hey presto,-
there is a simple puppet !
287
Waldorf Kindergarten Newsletter, fall, 1994, p.23
288
W.Ellersiek’s fingerplays demonstrated by Kundry Willwerth, now available in the books ,”Giving Love
– Bringing Joy” and “Dancing Hand, Trotting Pony” available from WECAN Books
90
4.Fingerpuppets A finger fills the
hollow body. The head can be very
simply made without facial features.
Movement is primarily nodding and
bowing. They are especially suited
for shows for three and four year olds.
5.The tied handkerchief puppet suits the brief and simple story with one or few
characters. A piece of fabric is tied in front of the children to become a puppet. Such a
minimal puppet greatly needs the children’s imagination to complete it. It is suitable, for
example, for the first two stories given in Bronya Zahlingen’s book. A cloth wrapped
around the hand and arm can become a troll. Similarly for Bronya’s “The Hungry Cat”, a
single large piece of red fabric can be folded carefully over one hand so that two
corners protrude upwards as the ears, the remainder covers the arm as the cat’s body
and it’s ready; the remaining characters could be tabletop puppets.
6. Tabletop puppets (“cylinder dolls”) are simply made with a tube of wool felt for the
body, a head with no facial features is attached and the body stuffed with wool batting.
(Free-standing finger puppets are an alternative). One person can narrate and perform
single-handedly with several puppets of this type. Ideal for three year olds is a short
story, some of it in verse, with a very simple plot and lasting a maximum of five minutes
in total. For children of four and over these versatile characters can be incorporated into
many puppet plays of nature stories, folk and fairy tales.
7. The silk marionette or stringed puppet is appropriate for children of four years and
up. Being manipulated from above (and from one viewpoint, all is moved by the spiritual
world) they are particularly appropriate for the most spiritual stories, the fairy tales.
Children ready for 1st grade (e.g.6 ½`) are able to watch such a show of up to 25
minutes in length. For anything but the simplest story at least 2 people are needed to
move the puppets.
The imagination of children up to 7 badly needs exercise for its development. All
these puppets with minimal detail give the greatest scope for that imagination. For this
reason, facial features of eyes, mouth and so on are usually omitted.
As soon as a puppet show is over children will want to imitate. Most teachers do
not allow free use, or even any use, of the puppets they themselves use. One or two
simple cotton marionettes and several tabletop puppets or free-standing dolls can be
available every day during free play. Some give a marionette a base on which it can be
stood when the child tires.
91
Stage and Scenery
1. Laptop stage
The puppeteer can sit with a special apron with the puppets in the pockets or
simply spread a silk over her lap and reach behind her for the puppets. This human
stage can be extended on either side with chairs. Alternatively a playstand on each side
can be draped in the same colour as the puppeteer’s clothing so that she blends with
the background. This puppeteer is the most mobile, easily able to perform in public
places such as hospitals and libraries. The ritual of beginning and ending the play is
particularly important here to emphatically signal the transition to another world at the
beginning and the return to the present at the end; one puppeteer begins by removing
her jewellery (which could otherwise be eye-catching) and finishes by repeating the
series of opening actions in reverse order. When the children are kept waiting
unexpectedly one can produce a silk handkerchief or finger puppets from a pocket and
spontaneously perform.
2. Stage of a circle of children

Long pieces of fabric are stretched over all the (seated) children’s laps. A puppet
may make a journey around the circle and the older children could each operate a
puppet. For example, “Mother Holle” can be performed this way with single-stringed
marionettes and a blue cloth on the floor at the feet of the children to show the path.
3. Stage of table, chair or playstand

One or more tables is often convenient.
It needs to be low enough for the children
to see easily when seated on chairs or
the floor. Cardboard against chairbacks
can make the background, draped with
cloth.
Two or three playstands put together

and draped with fabric make a simple stage.
92
Chairs with a wooden plank across
offer a flexible arrangement that
can easily be taken by car. Thus the
play can be practised in one place,
dismantled, transported and performed
in another.
The cardboard background, its corners

cut into curves, is fixed with masking tape.
A bedspread or light-coloured sheet is put

flat against the background then silk, so that
the cardboard does not show through the silk.
It also makes the silk look less physical.
The entire stage is covered with silks

freshly ironed before the final performance(s).
For tabletop puppets to move smoothly
the stage must be flat. For marionettes
both stage and background are draped
with silks in an attempt to depict the
etheric world, that world of life forces
where all is in continuous, flowing motion. The
edges of the silk fabric are turned under, not to
show. Straight lines are avoided especially where
there is a change of colour.
Lastly landmarks in the story are placed on the stage, the simpler the better.
93
94
Concerning scenery suggested here for “The Seven Ravens”: The stage for a fairy
tale usually has two or three colours for each realm. The realm of the sense world,
which is often portrayed as a forest, in this case is depicted in green and brown. The
home area is part of the past and has not yet undergone transformation, so brown is
used there. The home itself is pink-mauve being a warm and good place with a good
mother.
Movement of the Puppets

A tabletop puppet is held low down on its body (never by the head). If it is held
solely by the thumb and forefinger (with three fingers folded into the palm of the hand)
then the puppeteer’s hand least obscures the puppet; this is especially important for
small puppets such as small animals.
Puppets should either face the audience or be at an angle of up to 45 degrees
away from a full frontal position. (If held sideways on to the audience some people
would see only a back view.) One exception may be when a puppet dances in a circle.
When a puppet walks along it is moved smoothly forward just above the stage, not
quite touching the ground and not so high that it appears to be flying. In order to spend
more time on the journey it can take an S-shaped path, meandering along in the limited
space available.
When a puppet talks it is tipped forward then upright, forward then upright, slowly,
while the narrator speaks the puppet’s words. As in eurythmy, action precedes the
words or music so the puppet can tip forward before the first words of its speech.
Similarly it can begin to travel before the dialogue tells us so. Besides human puppets
other characters and items may speak, such as a tree, a stream or an oven; each of
these likewise is tipped slowly forwards and upright when it speaks.
To show anger a puppet may, for example, jump up and down on the spot. If sad
a puppet may tip forward and turn a little from side to side as if weeping and shaking its
head. Puppets which are elemental beings should be especially lively.
Puppets left unmoving on stage appear lifeless, even dead. An unmoving puppet
can be removed from the stage, or hidden behind a piece of scenery or suspended
against the backcloth and a silk cloth draped over to hide it.
In countries where people read from left to right it is debatable whether puppets
should move predominantly from left to right on stage as the audience would see it, or
vice versa. It can seem natural to begin on the left, being the side of the heart realm. It
is almost as if we are inwardly predisposing the children forward to the right. This can
also be a preparation for later reading. For “The Seven Ravens” a famous puppeteer,
Bronya Zahlingen, put the home starting-point on the right instead, perhaps she saw the
journey into the night as a going back to the past. With the design illustrated here the
main character begins on the left, journeys right and returns home again, (however,
after the story ends one can easily imagine her going to the right, into the future).
95
Reviving an earlier puppet show
Even when puppets, props and scenery have been stored for a period very
carefully, reviving a puppet show requires the same careful preparation and almost as
much time. Although already made, the puppets will need adjustment (e.g. marionette
strings for a different stage or puppeteer). Always the success of a puppet show
depends on the depth at which it is carried by those involved. There is no short cut.
Puppets for children in grades 1 through 7 (ages 6½ - 13)289

In grade school children themselves make the puppets. The stringed marionette
continues to have a place all the way through school. For ages 9 and up the
marionettes’ strings are invisible. The marionette apart, certain puppets suit certain
ages.
The glove puppet is inappropriate before 1st grade because it is enlivened by an
unseen hand from below and so tends to show the lower side of human nature. Its
movements are very restricted, being limited to nodding, bowing, folding the arms and
hands , and grasping a stick or tool with which it can beat something or someone. For
1st and 2nd grade children (aged 6–8) it has a definite place, they enjoy making them,
creating dialogues and presenting a show to their classmates. It is particularly useful for
stories with much dialogue.
3rd grade children (aged 8–9) can make simple marionettes by folding a piece of
fabric in half, cutting a hole in the centre of the fold and pushing a puppet head up
through the hole. A single string is sewn through the head and a second string is
attached to two corners that become the hands. As the Old Testament is under study in
this year a puppet play could be written, for example, to show the life of Moses. For
beaded Egyptian hair parents could be called on to help. Songs between scenes
maintain the tempo. Thus puppets enable what the children are studying to be more
alive and to sink in more deeply. 4th grade children (aged 9-10) can also make
marionettes but with more strings so that the head can bow.
In the 5th grade (ages 10-11) both Asian shadow puppetry and hand-and-rod
puppets are appropriate and in keeping with study of ancient India. One teacher wrote
an hour’s puppet play of a story from the Ramayana for hand-and-rod (Javanese
“wayang golek”) puppets. Instead of carving the heads they were made by the
handwork teacher from a heavy rubber latex product called neoprene. A head was first
moulded in plasticine, a plaster cast was made of it, neoprene was poured into the
plaster mould and was ready next day. The bodies were cut from wood by adults and
shaped using a band saw. After the children had sanded the heads smooth they were
carefully painted by one parent using acrylic paints and lastly a glossy lacquer. The
children sanded the bodies, assembled the arms, sewed on fabrics and decorated
them. The work took 11 ½ hours in class per week for three months. The children
performed standing behind a 4’ 6” high curtain and simply held up the puppets with one
hand and operated the arms with the other. They sang a song in Sanskrit created by the
class teacher. Their performance for the parents was a delight to watch and each child
took his/her puppet home afterwards to keep.
The 6th grade child (aged 11-12) benefits from creating and operating jointly with
two other children larger-than-life puppets. To perform, one holds the body and the
289
With grateful thanks to Anna Vargas for this section
96
others an arm each. They make good pompous Roman orators and can be incorporated
into the sixth grade play.
With 7th grade children (aged 12-13) fully jointed marionettes with six strings and a
wooden control bar are possible. Puppet types could be mixed, for example, by
including trees each operated by three children, an appropriate joint activity for this age.
Their study theme, Medieval times, gives many ideas.
Illustration 6. Wayang golek (Javanese rod puppets) depict gods and heroes of
the Indian epics
97
Selected Bibliography and Sources Consulted
Aeppli, Willi, “The Care and Development of the Human Senses”, Steiner
Schools Fellowship, Great Britain,
Almon, Joan, “Choosing fairy tales for different ages “in“ Overview of the Waldorf
Kindergarten”, Vol.1, Waldorf Kindergarten Association of N. America
“Violence and the Media”, article,
Baird, Bil, “The Art of the Puppet”, Bonanza Books of Crown Publishers Inc.
Benesch, Friedrich, “Easter”, Floris Books, 1981
Bettelheim, Bruno, “The Uses of Enchantment”, Random House, 1989
Bittleston, Adam, “Loneliness”, Floris Books, 1987
Buhler, Walter (translation) Sozial Hygiene- Merkblatter zur Gesundheitspflege
im personlichen und sozialen Leben, Nr.27
Burton, M., New View magazine, 1999,2 , www.newview.org.uk
Campbell, Joseph, postscript to “The Complete Grimm’s Fairy Tales”,
Pantheon Books,1972
Constantini, Margaret, “Music in the Waldorf Kindergarten” in “Overview of the
Waldorf Kindergarten”, Waldorf Kindergarten Association of North America, Vol.1
Daniels, R., New View magazine, issue 13, 1999 www.newview.org.uk
Davy, John, in “The Twelve Senses” by Albert Soesman, Hawthorn Press
Day, Phillip, “Health Wars”, Credence Publications, 2001
Foster, Nancy, “Let Us Form a Ring”, Acorn Hill Children’s Center
Goldman, Birgitte, Waldorf Kindergarten Newsletter, fall, 1994
Grahl, Ursula, “The Wisdom in Fairy Tales”, New Knowledge Books.
Grimm brothers,”The Complete Grimm’s Fairy Tales”, Pantheon edition, 1972
Padraic Colum, editor.
Hall, Alan, “Water, Electricity and health”, Hawthorn Press, 1997.
Healy, Jane, “Endangered Minds”, Simon & Schuster, 1991.
Jaffke, Freya, “Significance of Imitation and Example for Development of the
Will” article.
Janni, N., Waldorf Kindergarten Newsletter (U.K.), spring, 1998
Kline, Foster, Waldorf Kindergarten Newsletter (U.K.), autumn, 1997
Klugman,E. & Smilansky, Sara, editors “Children’s Play and Learning”, Teacher’s
College Press, 1990.
Knierim, Julius, “Quintenlieder”, Rudolf Steiner College Press, 1994.
Large, Martin, “Who’s Bringing Them Up?”, Hawthorn Press, 1990.
Lebrett, Elizabeth, “Pentatonic Songs”
Lobel, Arnold, Music Association Newsletter
Mander, Jerry,”Four Arguments for the Elimination of Television”, Quill,1977
McAllen, Audrey, “The Extra Lesson”, Robinswood. 1992.
“Sleep”, Hawthorn Press, 1995.
Meyer, Rudolf, “The Wisdom of Fairy Tales”,Anthroposophic Press, 1989.
Moog, Helmut, quoted by Nancy Foster from “The Musical Experience of the
Young Child”, translated into English 1972
Patterson, Peter, “Spring”, Wynstones Press, 1983.
98
Patzlaff, Rainer, ”Bildschirm-technik und Bewusstseinsmanipulation” (manuscript
translation), Verlag Freies Geistesleben, Stuttgart, Germany, 1985
Pfeiffer, Ehrenfried, “On Rudolf Steiner’s Mystery Dramas”, Mercury Press, 1988
Ping, Janene, “A note from the Puppet Tree” in Chanticleer newsletter,
Berkshire/Taconic branch of the Anthroposophical Society, 5,Jan.1995.
Postman, Neil, “Amusing Ourselves to Death”, Penguin, 1985.
Prokofieff, Sergio O., “The Cycle of the Year as a Path of Initiation Leading to an
Experience of the Christ Being”, Temple Lodge, 1995
Pusch, Ruth, “What To Do About Witches” in “An Overview of the Waldorf
Kindergarten”, Waldorf Kindergarten Association of North America, Fall, 1993
Pusch, Ruth, translated “About The Sea Hare”,by R.Geiger, Mercury Press, 1990
Querido, Rene, “The Mystery of the Holy Grail”, Rudolf Steiner College, 1991.
Querido, R. and Glas, W., “Michael’s Struggle with the Dragon”, The
Anthroposophical Society in America, 1991.
Schultz, Felix, “The Computer Network and the Future of Humanity”,
Mercury Press, 1996.
Smith, Patti and Schaeffer, Signe E., ”More Lifeways”, Hawthorn Press, 1997.
Soesman, Albert, “The Twelve Senses”, Hawthorn Press.
Steiner, Rudolf, 1.“The Poetry and Meaning of Fairy Tales ”Mercury Press 1989
2. “The Inner Nature of Music and the Experience of Tone”
3. GA 290 quoted Martin Riedal, “Some notes on the effects of
architectural forms”.
4. “Understanding Young Children”,International Association of
Waldorf Kindergartens, Stuttgart.
Stevens, L.J. et al. “Essential fatty acid metabolism in boys with attention deficit
hyperactivity disorder” Am.J.Clin.Nutr.62,761-768,1995
quoted in Health & Nutrition, March 1998.
Visser, Norbert, Appendix “Live Music and Recorded Sound”
Von Kugelgen, Helmut, “Marionette Theater, Posing a Task for Socially Oriented
Education” article
“Fairy Tale Language and the Image of Man” in ”Overview of the
Waldorf Kindergarten,Waldorf Kindergarten Association of North
America, Fall, 1993.
Weil, Andrew,M.D. “Spontaneous healing”, Ballantine Books, New York 1995.
“What Doctors Don’t Tell You” monthly magazine published in U.K. www.wddty.com
Wilkinson, Roy, “The Interpretation of Fairy Tales”, Rudolf Steiner College
Press, 1993.
Winkley, Sir David, “Grey Matters – Current Neurological Research and its
Implications for Educators” seminar.
Zahlingen, Bronya, “Plays for Puppets and Marionettes”, Acorn Hill Children’s
Center.
Further sources recommended in 2013

Perrow, Susan “Therapeutic Storytelling”
Felce, Josie “Storytelling for Life: Why Stories Matter and Ways of Telling Them”
published Floris.
99
APPENDIX
page
1. A definition of terminology 100
2. The evolution of human consciousness 103
3. A history of music 106
4. A history of puppetry 111
5. Fairy tales and stories by season 118
6. Some possible interpretations of fairy tale images 120
7. “Choosing fairy tales for different ages” by Joan Almon 124
8. Colour suggestions for puppets and marionettes 122
9. Directions to make tabletop (free-standing) puppets 127
10. Directions to make marionettes 129
11. Tips for performing 139
12. Some scientific information 143
(1) A Definition of Terminology

(for those unfamiliar with anthroposophy)
The “spiritual science” or “anthroposophy” of Rudolf Steiner is an all-

encompassing philosophy that can be applied in any sphere of life or occupation. Also
termed “wisdom of man” it means bringing humanity into every aspect of all that one
does. Steiner maintained that properly developed, crystal-clear thinking is the key to
inner development and that the inner spiritual organs, lying dormant in every person,
can thus be activated. The spiritual world can thereby be studied as exactly as modern
science studies the physical world. He gave numerous approaches to his philosophy.
Some people find one or other of his five basic books holds the key. For others it lies in
the four, sequential mystery dramas he wrote (the performance of which totals 24
hours). Still others find it in the practical application of his philosophy within their own
sphere.
In response to a request from farmers he brought anthroposophy into farming as
biodynamic farming. Responding to a request for the medical field he brought
anthroposophical medicine and began the Weleda company. Today there are
anthroposophical doctors, anthroposophical nurses and “rhythmical massage”
therapists. He gave pedagogical courses and opened a school for the children of the
workers of the Waldorf-Astoria cigarette factory. Today there are well over 2,000
“Waldorf” or “Steiner” schools and kindergartens throughout the world. He taught
curative education and today there are a sprinkling of residential schools for
handicapped children, mainly in Europe, as well as a number of “Camphill villages”
which are residential homes for mentally handicapped adults. There are
anthroposophical banks, lawyers and social scientists. There are anthroposophical
speech, art, music and eurhythmy therapists. There are exemplary third world
development projects. Anthroposophical architecture is breath-taking to behold.
100
Responding to a request to bring anthroposophy into dance, Steiner created the
movement art of “eurythmy”. Some call it sacred dance. It is an art of consciousness
through movement, also termed “visible speech” and “visible tone” because each vowel,
consonant and tone has its own gesture. It is accompanied by live music from such as a
piano or lyre or by live poetry (where one letter from each word might be performed).
Each gesture reflects the movement in the larynx as that letter is spoken. Silk is
standard wear. Although it is very beautiful and moving to watch, performances are
uncommon (except in Dornach, Switzerland). Its primary purpose is the effect on the
etheric body of the person doing it. Children in Steiner schools have a weekly eurythmy
class from age four until eighteen to promote their health and bring them inner harmony.
Eurythmy also greatly helps co-ordination. Therapeutically it is done one-on-one for a
wide variety of conditions including asthma, crossed eyes and stammering, often with
amazing results.
Many writers, including the early Christians, consider the human being to
comprise a physical body, a soul and a spirit. The Ecumenical Council of
Constantinople in 869 AD declared that the human spirit does not exist but only a body
and soul. Today with the vast spread of materialism promoted by the media it appears
that many consider we have only a body. According to Steiner our body is four-fold with
firstly a physical body which appears at birth and is particularly developed up to the age
of 21.It has a mineral structure only and is therefore subject to the laws of the physical
world. Life is accorded to this physical body by an “etheric body” or “body of life forces”
termed by neurologists the “phantom body”. It includes the life processes and all the
formative forces and is subject to the laws governing growth and reproduction. It
particularly needs protection before it is “unsheathed” in the seventh year (the traditional
time of the change of teeth).
The soul is the seat of the emotions, it is “unsheathed” at about 14 around puberty
and is particularly developed between ages 21 and 42. The soul is concerned with
sensations, feelings, drives, instincts and passions and is the province of the
psychologist. It mainly comprises the astral body, a term which is often used
interchangeably with the word, “soul”. Part of the astral body is the “sentient soul” which
is concerned with the sense world, being the recipient of sensations from the senses.
The part of the soul outside the astral body is made up of (1) the “intellectual or mind
soul”, which is related to the laws and truths of the sense world and concerned with the
intellectual process of making decisions and plans. Humanity is now at an early stage of
development of a further part of the soul (2), the “consciousness soul”, which enables a
fully awake consciousness of the spiritual. With its development we can become aware
of what is eternally true and eternally good. It gives an awareness of a pure ideal, such
as tolerance, and awareness of whether or not oneself is putting that ideal into practice.
The soul is subject to the laws of the soul world. Thinking, feeling and willing (volition or
resolve) are considered the three forces of the soul. Thinking is connected to the brain
and nervous system which may be termed the head realm. Feeling is connected to the
breathing and blood circulation centred in the chest and termed the heart or middle
realm. Willing is connected to the limbs and metabolic system. Although the three soul
forces act in concert, the child up to age 7 shows the developing will predominating (in
imitation and movement), the child 7-14 shows the particular development of feeling and
101
the 14-21 year old that of thinking. Up to the age of 35 the feeling is particularly linked to
the will, whereas after 35 it is particularly linked to the thinking.
The spirit is the eternal part of a person. It is also called the individuality, the self,
the entelechy or the “I” (being the part of us that can say “I am”). It is “unsheathed” after
21 years of life and is particularly developed after age 42, hopefully gaining an ever-
increasing mastery over body and soul. It is the part of one that feels shame and shows
itself by its working on the soul to improve it. It is subject to the laws of the spiritual
world. Just as the soul receives sensations from the physical world as revelation of
physical things so does the spirit receive intuitions as revelation of spiritual things.
Nature subjects us (like the animals) to the laws of metabolism but human beings
alone subject themselves to the laws of thought and therefore human beings constitute
a spiritual order290, albeit the lowest one. (Thoughts are as real in the spiritual world as,
for example, a chair in the physical world.) Immediately above humans are the angels of
which we have one each, our guardian angel, watching over us much as a young child
needs a parent to watch over him/her. The order above the angels is that of the
archangels who are responsible for large groups of people rather than individuals. In
their domain lie language and the evolution of human consciousness in particular
periods of time. The order above the archangels is that of the Archai who together with
the Angels and Archangels make up the Third Hierarchy. The Dynamis, Kyriotetes, and
Exusiai make up the Second Hierarchy. The Thrones, Cherubim and Seraphim make up
the First Hierarchy. These denominations are also found in the Bible.
Above the First Hierarchy is the Holy Trinity. The first aspect of this is God the
Father, the influence of which was experienced more in earlier times such as those of
the Old Testament and today is a figure important for children up to age 7. The second
aspect is the Christ, also termed the Christ Being, the Christ principle or the Christ
impulse. It entered the body of Jesus at the baptism and lived on earth in that human
body for just over three years. The deed of sacrifice at Golgotha in 33AD meant a
unification with the earth and with humanity, causing a turning-point whereby the
evolution of human consciousness was turned away from ever deeper incarnation in
materialism and given the potential to become more spiritual. The Christ impulse lives in
potentia in every human being, challenging us to see and treat all others as brothers.
For children aged 7 – 14 the Christ is the most relevant figure of the Trinity whereas for
those aged 14 – 21 it is the Holy Spirit. Golgotha marks the turning-point in time when
there was the change from God without to God within and the key word changed from
revenge to forgiveness. The peace and reconciliation committees springing up in
various parts of the world signal a beginning.
The impression could be gained that Waldorf schools promote Christianity.
However, they strive to be spiritual schools that are not religious. For this reason they
appeal to parents of all faiths. For example the school at Boulder (Colorado) has a
parent population that is 70 per cent Buddhist. As they strive also to encourage
universally human qualities, such as courage, honesty and integrity, they appeal to
parents in all cultures.
290
Steiner, R.,”Theosophy”, p.30
102
(2) The Evolution of Human Consciousness
According to Steiner over ten thousand years ago thought was experienced as
divine inspiration that came from without and not as something created by the
individual. At that time every human being knew he was directly connected to the
spiritual world, he was conscious of his divine origins and of the cosmos. As time went
by this direct connection was gradually lost so religion arose to bridge the gap between
humans and the spiritual. In ancient Greek and Roman times a sense of self or
individuality slowly began to arise.
The Ecumenical Council of Constantinople in 867 AD issued a decree that in the
church’s ideology the spirit no longer existed. Thereafter a human being was to
comprise only body and soul.291 Later, Einstein’s work indirectly supported this notion,
from it came the expression, “everything is relative” implying there is no truth, no
spiritual substance upon which we can rely. Modern science has rejected the existence
of the soul as psychologists such as Freud traced all soul manifestations to bodily
functions. Marx’s atheistic ideas fostered the idea of the human body as a machine, a
product of physical forces. It is no wonder that today so many feel bereft, beleaguered,
isolated and floundering.
Just as a river may flow underground and later reappear, so knowledge of the
spiritual became hidden but since the turn of the 20th century is gradually reappearing
metamorphosed as a longing for understanding, a thirst for higher meaning, for a re-
connection to the spiritual.292 This can be seen in the great interest in spiritual books
(even though most misinform), in the proliferation of spiritual trainings, cults and gurus,
a growing number of people meditate and the word, “karma” has entered everyday
language. People are beginning to see the planet earth as a living spiritual being.
Ethical consumerism and voluntary simplicity have been born. Among modern-day
saints are those who give their lives to protect the environment and to defend the rights
of the poor. “As materialism loses its lustre individuals are encouraged to turn toward
inner paths of development in search of spiritual awakening….the awakening can only
occur individually.”293
According to Steiner’s epochs our present one (which began in 1500) in some
respects can be seen as a re-iteration of the ancient Egyptian epoch, but on a higher
level. The Sphinx was part eagle (representing the highest forces of thinking), part lion
(representing the purest forces of the heart, of feeling), part bull (representing pure will)
and part human. Thus the animal parts represent the human soul forces of thinking,
feeling and willing. A modern Sphinx would be distorted – much of man’s intellectual
thought is characterised by doubt, there exist cold-heartedness (witness homelessness,
hunger and refugees), denial and hate (for example, nationalism and neo-Nazism) and
the will may be paralysed by fear or be unbridled as in violence and fanaticism. All
addictions such as alcohol, drugs and television paralyse the will. Comfort and well-
being also serve to paralyse the will as we do not extend our consciousness beyond our
sphere. The big demand for psychologists can be said to reflect the modern soul’s
illness of doubt, hate and fear.
291
Rene Querido, “The Mystery of the Holy Grail”, p.16
292
Querido ,R., ibid.,p.5
293
Querido,R., ibid.,p.49
103
In olden days the Sphinx asked a question, a riddle. Humans unable to answer
were thrown into an abyss. Now that mankind has a consciousness of self, of
individuality, it is for every individual to ask himself the riddle of existence and then to
strive – if necessary for a lifetime – to answer it or face his own abyss.
Each epoch has its own mystery to solve. For the ancient Greeks and Romans it
was the mystery of life and death. Even today many have not solved that former
mystery – nearly half of Americans are uncertain of re-incarnation. In the next epoch
(3660-5820A.D.) the mystery will be the mystery of the word. The seed of that mystery
is seen today in the importance of the name. The mystery of the present epoch is the
mystery of good and evil. This explains why morality today is such a grey area. Solving
the mystery involves first a waking-up to super-sensible dimensions of existence, a
recognition of the forces of good and evil in many aspects of everyday life and then,
engaging in a fully-conscious battle against evil. In this epoch facts about evil and its
perception “must enter the consciousness of humanity or the aim of earth evolution will
not be reached.”294 With time a spiritual organ of morality can be developed. Evil can
never be beaten once and for all - like an air bubble that if pushed down pops up
somewhere else. Evil cries out to be transformed so that it can be permanently
redeemed. Ability to discriminate needs to be developed so that there can be active
perception of how evil works, particularly in relation to materialism and to the
development of the human being. Recognition precedes the transformation of evil.
Three dangers characterise the modern struggle with evil.295 Firstly there is a
danger, stemming from atheism, of animalisation of the physical body; modern sport,
boxing even by women, obsession with fitness, sexual permissiveness, rape, child
abuse and pornography are some examples. Many people (the elderly excepted) sleep
less than people did before television and computers, this shows a lack of
understanding of the importance of sleep for the growth, renewal and healing of the
physical body and also for the soul and spirit that meanwhile reap spiritual energy for
the body to use in the day ahead. Many small children, even as young as two years of
age, do not nap after lunch and have a late bedtime with the result that their health may
suffer both then and in later years. A current fashion means teenagers may wear no
coat in the winter’s cold and they may regularly not sleep until the early hours of the
morning. There is generally a lack of respect, care and concern for the physical body
which is such a marvellous creation and temple for the spirit.
A second danger characterising the modern struggle with evil is that of vegetation
of the soul. So many powerful distractions send the soul to sleep (including alcohol,
tranquillisers and drugs) and television mesmerises, the brain in the wave-pattern of
sleep. The visual media excel in the creation of illusion, a tool of evil. There is a jungle
of materialistic delusions. This vegetation of the soul can be overcome by fully grasping
and with warm feeling the concepts of reincarnation and karma.296
The third danger is the mechanisation of the spirit, that is, the fettering of the spirit
where it is used solely for utilitarian purposes. This is a side-effect of our wonderful
modern technology and the stress resulting. Institutionalised anonymous evil hides
behind the rules and regulations of our proliferating bureaucracies causing hardship and
294
Steiner, R., quoted by Querido & Glas, “Michael’s Struggle with the Dragon”, p.77
295
296
Querido,R. & Glas, W., ibid., p.30
104
injustice. We can overcome this danger by particular spiritual study to develop a
connection with the spiritual hierarchies (angels, archangels and so on).297 The dualistic
view of good and evil as two opposites needs to be discarded in favour of a trinity, for
evil tempts us in two directions and the good is the middle way between two extremes.
For example, between cowardice and recklessness lies courage and between passion
and apathy lies interest.
At night our soul and spirit separate from the body and cross the threshold into the
spiritual world. We do so unconsciously but in the distant future we will be able to do so
consciously. Crossing that threshold in wide-awake, crystal-clear consciousness is
possible now if one follows a freely-accepted inner discipline of concentration and
meditation (such as is given in the book,”How to Know Higher Worlds”) whereby the
soul forces of thinking, feeling and willing are consciously strengthened and
transformed. Study of anthroposophy also enables crossing of the threshold but
meditation is also needed so that the study can flow into the heart. Meditation and the
arts go hand in hand. Artistic activity based on initiation science enables the flexibility of
soul so needed today. Crossing the threshold involves meeting one’s double, a ghastly
apparition containing one’s own shortcomings from this life and all one carries as karma
out of former incarnations. Because mankind collectively is beginning to cross the
threshold, whether prepared or unprepared, many are having the shattering experience
of meeting the double in the guise of personal struggle. We meet the threshold in a
sense daily with the news and in relationships between people where there is
dissension, animosity or argument.
The rapid progress of science and technology has been accompanied by a most
acute soul-sickness of individuals.298 It is as if the head, heart and hands are no longer
synchronised, with the thinking ahead but narrowed, the feeling forces neglected (for
example, regular artistic activity is rare) and the will paralysed. The modern soul needs
to face the nothingness, the abyss within, in order to make the connection with the
spiritual world299 that gives life meaning. More and more young people are facing
meaninglessness in life today which is an outer reflection of an inner state of mind. For
most people today belief is not enough. They need the certain knowledge that comes
from the experience of treading an inner path, a path of inner death and resurrection.
However, it is painful to develop the higher self before crossing the threshold (as
egotism must die) so many choose an escape sideways, for example, by illusory
thinking (such as with drugs or virtual reality) or illusory feeling (such as joining a cult or
esoteric addiction) or illusory action (such as violence and destruction).
The legend of Parsifal presents that character’s adventures on the Grail quest as
archetypal images of soul experiences common today. He began with dullness of soul,
a profound lack of compassion, insensitivity to the suffering and even death of others, a
spectator consciousness and an unbridled will to action. Unconsciously he incurred
death and guilt. He underwent several ordeals in a long period of doubt and suffering.
Finally by a process whereby conscious death awakened new life he reached spiritual
enlightenment, blessedness. To succeed in the quest for the divine elixir of the Grail is
thus to free oneself from the shackles of past deeds, transforming inner darkness to
297
Querido, R. & Glas, W., Ibid., p.29
298
Querido, R., “The Mystery of the Holy Grail”, p.13
299
Querido,R., ibid., p.13
105
radiant light through consciously striving to obtain the highest, the purest truth and
goodness within oneself.
Every epoch offers the possibility of acquiring new dimensions of consciousness.
The esoteric and exoteric aspects of knowledge and experience can now be united and
spiritual knowledge previously known world-wide by only a few is open to anyone who
would look for it with the higher faculties of cognition possible in this epoch. Levels of
spiritual awareness as stages on the ladder of esoteric development were denoted in
the Middle Ages by birds. Firstly the goose represents earthbound consciousness, the
dullness limited to the physical senses. Secondly the peacock represents the stage of
Imaginative consciousness when the spiritual organs of sight dormant in us have been
opened to give spiritual sight or clairvoyance. (This can be achieved by an individual
striving through specific meditation, such as that given in the book, “How to know higher
worlds”, but if it is achieved in a group setting with a guru the participants will not be free
in what they see.) Thirdly the swan represents the stage of Inspiration or clairaudience
(spiritual hearing). Finally the pelican represents the ultimate, highest level of spiritual
awareness known as Intuition, of being totally at one with the essence of a spiritual
manifestation.300
The last stage in human evolution is to reach true freedom, inner freedom, the
inner maturity of soul that neither kills nor destroys,301 when one undertakes all
responsibilities freely rather that out of duty, where all physical limitations are irrelevant.
Only in the future in freedom can a particular sense organ be developed which will find
its centre in the physical heart and which will enable the perception and use of Divine
Love.
(3) A History of Music
The progression of human consciousness from an expanded to a more contracted state

is reflected in the history of music. During the time of ancient Atlantis man’s
consciousness was very much out in the cosmos and very little in himself, he
experienced music in tones a seventh interval* apart, that is, as continuing sevenths
through the full range of octaves. A person then could not hear tones set apart because
it was as if the music of the spheres swirled continuously round him, he experienced
music more in ecstasy out in the sphere of the gods. This experience of the seventh
continued into the early post-Atlantean epochs. With the deeper incarnation into the
physical body of human beings gradually over time, the experience of the seventh
became unpleasant, even “faintly painful”, and the fifth interval became the pleasurable
experience.302
*An interval is the distance between two notes, whether played consecutively or
simultaneously.
300
Querido, R., ibid., p.74
301
Pfeiffer, E., “On Rudolf Steiner’s Mystery Dramas”, p.34
302
Steiner, R., “The inner nature of music and the experience of tone”, p.51
106
For a long time the fifths throughout the tonal range of different octaves were
experienced; “…a scale composed according to our standards would have consisted of
D, E, G, A, B and again D and E”.303 There were no C or F tones, a feeling for them was
absent. The fifth interval had a transporting quality, so that a person felt lifted out of
himself. The central tone of the musical experience for the ancient Egyptians (2907B.C.
- 747 B.C.) would correspond to tone A, for the ancient Greeks it was lower at E and
now it is middle C (that is also the centre of the voice range of adults today).
For the ancient Greeks music could only descend from its origin on high – singing
began at the highest note, descended and after a pause began high again. They sang
melodies, not harmonies. Later, Greek music zigzagged down, so to speak. Music went
up for the first time with the early Christians who sang plainsong, without melody (that
is, with most words on the same note).
The interval of the fifth was important until the 1100’s and 1200’s. The third was
then considered a dissonance. The church considered the fifth the pure interval until
much later. Popular secular music first used the third interval in the 13th and 14th
centuries, and it gradually became comfortable.
“In the age when fifths predominated it was impossible to colour music in a
subjective direction.”304 With the third interval came the ability to express major and
minor moods in music.305 All modern music is in the third interval. “This is personal self-
expression, the opposite pole to the static chanting of a child, wide-eyed with looking
not at the human heart but at the world. Conscious personal expressiveness is born at
puberty, and then only gradually.”306 Up to the age of 9 children’s feelings are more
generic – they flash up and are gone – so ideally major and minor are not used before
9.
The child repeats the stages of evolution of human consciousness through which
humanity has passed. This is not a chronological repetition but is more a wandering of
the soul up to and including the consciousness of ancient Greece. For the first 9 years
of life the child’s consciousness corresponds more to those of ancient Egypt and
ancient Greece and thus pentatonic music with the fifth interval is the most appropriate
music for children up to third grade (ages 8 - 9). Music of the fifth interval enables
children to remain in a type of music which was experienced in the youth of mankind.307
With neither tone C nor F (and avoiding or downplaying the third interval) pentatonic
music with the fifth interval still has something of a transporting quality. Although for
many adults the fifth interval is empty (because the gods have withdrawn), it does have
light, space, objectivity and breathing room. Music of the fifth interval is appropriate for
children up to 9 because it speaks to him/her where (s)he is, the fifth interval brings a
feeling of God being in the human much like the child’s experience of oneness, of being
an inseparable part of all that is around him/her.308 The fifth interval is open,
uncommitted and starry-eyed, it lacks tension, sensuality and sweetness, it is vibrant
and rich, and like the child is dreamy but not sleepy.309
303
304
305
306
Patterson, P., “Spring”, p.6
307
Arnold Lobel, Newsletter, p.1
308
Nancy Foster, Waldorf Kindergarten Newsletter, Spring 1994, p.11
309
Patterson, P., ibid., p.7
107
This series of fifths: can be rearranged
(contracted)to
suit the voice
range:
Taking from the octave above and incorporating them as top D and top E gives a
seven-tone pentatonic scale which can be sung or played on a kinderharp or pentatonic
flute and which for the child’s ear has a warm, reassuring quality. With these tones are
four intervals of a perfect fifth: D – A, A – top E, E – B and G – top D.
A unique characteristic of this pentatonic scale is that whatever succession of
notes is played it sounds good. Thus a small child can experiment with a pentatonic
flute and it never sounds wrong. The explanation is that the dense, dissonant intervals
are absent because C and F are missing.
Pentatonic music has a dreamy quality, as if listening to it for long enough would
send one to sleep. It corresponds with the dream consciousness we see in the young
child, that is, with the unselfconscious participation of the child in everything around him.
There are, however, third intervals in pentatonic music and therefore major and minor
experience. Indeed much traditional pentatonic music emphasises thirds and fourths
and relates strongly to a major or minor mode. In addition the whole range of pentatonic
music typically has the gesture of starting at D, going up to top E and coming down
again, in other words it begins low, goes up and finishes low. The young child on the
other hand in the long process of incarnating is beginning high in the spiritual worlds
and coming down to earth, experiencing the transitions like a travelling through fifth
intervals.
The most appropriate music for the young child is termed “mood of the fifth”. It is a
sub-section of pentatonic music and reflects the descent in fifths. “Mood” in this case
refers to something objectively living within the interval.
The tones each have their own being with particular characteristics and each has
a planetary connection. Tone A we perceive as the tone related to the sun and therefore
also to Sunday (whereas B is related to the moon and to Monday, C to Mars and
Tueday and so on….). Playing only tone A will make a classroom of children become
very quiet and can bring adults to silence. The very first songs can be composed solely
of tone A (for example, ”Mill, oh mill”310) and then two tones (for example, “Rapunzel”311)
and these are perfectly satisfying for three and four year olds. Tone A is the home base
for small children, their starting and finishing point. It is also the centre of their voice
range today (- lower than it otherwise would be because mothers typically do not sing to
their babies). Circling around tone A gives a song a dreamy quality. All mood of the fifth
music begins on tone A, weaves around tone A in a lemnoscate and finishes on tone A.
The predominant notes are D, A and top E which enable a simple, three-note
310
Knierim, J., ibid., p.4
311
Knierim, J., ibid., p.8
108
lemnoscate (for example, A-D-A-top E-A). A five-note lemnoscate would include G and
B as well.
Mood of the fifth songs can

be pictured as a see-saw,
with tone A the centre
of balance
A lemnoscate
around tone A
Although there are third intervals within mood of the fifth music (such as E – G
and G – B) they are kept to the weaker beats of the bar so they are not stressed. Mood
of the fifth music always has an aspect of moving around and not moving progressively,
and when the music finishes on tone A it is not a culmination or resolution; this accords
with the natural movement of young children (up to 7) – when their teacher leads them
in a circle they tend to form and move as a bunch rather than individually forming a
circular line.
Mood of the fifth music is particularly appropriate until children leave kindergarten.
From 1st to 3rd grade (ages 6–9½) the Waldorf music teacher will bring pentatonic
music. The class teacher on the other hand may choose to use all kinds of traditional,
cultural songs as well as pentatonic in order to bring to the children their cultural
heritage. The children’s first musical instrument is the pentatonic interval flute played in
109
1st grade followed by the seven-note pentatonic flute in 2nd grade. Both require a
relaxed and open embouchere. In 3rd grade they begin the violin. After the nine-year
change the child begins to feel and unwittingly say, “I am on the ground”. Music in a
key has a grounding effect so the third interval and diatonic music are now appropriate.
Beat is added by the teacher only around the ninth year as the child enters the new
relationship between himself and the world. “At that time also the tonic is felt, the scale
comprehended and the triads (i.e. three-tone chords of superimposed thirds)
experienced. The child may hear and be aware of this much earlier on, but it does not
correspond to his stage of development. As has been well known for centuries one can
impart to the child a feeling for the beat, the tonic, the scales and the triads at a much
earlier age, but one thereby promotes premature sexual development.”312
In recognition of this step in consciousness at 9 the music teacher may give
children a round to sing, so that each child must sing his own part and hold his own
against the others singing theirs. The 9-year-old has pure soul questions that cannot be
intellectualised but can be answered by the teacher with major and minor keys, so
major and minor experiences are introduced in 4th grade. The 10-year-old needs to not
be engulfed in harmony that would cause a one-sided Dionysian development (that is, a
tendency in the direction of lack of control, of anarchy). In fact in 3rd and 4th grades
some pentatonic music would still be used, for example, English, Scottish and Irish folk
songs. “Speed bonnie boat” is one and fine for 3rd grade.
In 4th grade the diatonic C flute is played. The recorder, which needs a tight
embouchere, is played in 5th and 6th grades. The 12-year-old is so fully on the ground
that it is almost as if he is down in his feet – for the child who at 11 ran nimbly all over
the crowded playground, at 12 is clumsy with his feet and bumps into others even in an
uncrowded space. His consciousness corresponds to that of the ancient Roman; for
him power, laws and rules are all-important. The interval of the octave is now introduced
and he needs to be given great musical inspirations.
Electronically recorded sound compared to live music313
Both Tomatis and Steiner have shown the larynx to be an essential part of our
unified hearing apparatus. The Eustachian tubes connect the middle ear with the larynx
so that the hearing organs are united with the musical instrument (the voice) inside us.
What we hear is inwardly (unconsciously) accompanied by our singing or speaking and
so becomes audible to us once more.
A note heard directly from a musical instrument has the qualities of tone-warmth
and tone-light which depend on the physical materials of the instrument. The warmth
and light are recognised inwardly when we hear. In contrast, the sound from a
loudspeaker consists only of individual numbers of vibrations, so it can only produce
overtones. Its sound lacks the high-pitched light-tone connected with matter and the
dark, warm keynote connected with form. It gives the illusion of the experience of tone.
No technology could give “soul” to a loudspeaker because it cannot produce tone-
warmth or tone-light. Electronically recorded sound is particularly damaging to the
delicate development of children’s hearing. It is “junk food” for the ears. Electronic tones
isolate people and are possibly one factor in the development of autism.
312
Kneirim,J.,Ibid.,p.2
313
Visser, Norbert, Appendix “Live music and recorded sound”
110
(4) A Brief History of Puppetry
The roots of puppetry are to be found all over the world in the religious
ceremonies of the ancient civilisations. Puppetry began in antiquity in different societies
around the same time. In each case there was a progression from human mask in
religious ceremony to puppet mask and then to marionettes. The puppetry of the
American-Indians, Egyptians, and Indians stands out.
The earliest puppets appeared in the civilisations of ancient India (7277 – 5067
B.C.) and ancient Persia (5067 - 2907 B.C.) and were used by priests and priestesses
as a sacred and holy means to reveal powerful mysteries of God and the secrets of
life.314 Later in India, and for a long time, all marionettes re-enacted the two great
Sanskrit epics – “The Mahabatra” and “The Ramayana”. In a New Delhi museum is a
terracotta monkey puppet 4,000 years old from this period. “The Mahabatra” is the
main devotional and philosophical work of the Hindu religion, it is composed of about
90,000 couplets and includes “The Bhagavad Gita”. Gods, heroes, villains, wars, love
frailties and great deeds abound in these two ancient epics; the powers of humanity and
of nature are represented by such as elephant gods, buffalo demons and gods with
horses’ heads.315 Because it was thought taboo to impersonate the human being,
puppet drama was developed and performed for a much longer time in India than in any
other region; finally live drama was allowed there too. Meanwhile every kind of puppetry
was tried and developed in some part of India.
Religious themes still dominate today in performances by both professionals and
amateurs. Plays from “The Mahabatra” and “The Ramayana” are likely to be performed
in the grounds of a temple; articulated leather shadow puppets (which probably led to
Indonesia’s Wayang tradition) may be used. The shadow screen is simply made by
joining two sari’s together, so it measures 7’ x 21’ (2.10m.x 6.30m.).316 The play goes on
all night and takes several months to perform from beginning to end. Everyone in the
audience knows it by heart.317
Hinduism and puppetry spread together in Asia. The firm hold they took in
Indonesia meant puppetry survived the Islamic conquest of 1475.318 There are two
forms of “wayang” or shadow theatre: “wayang golek” has three-dimensional wooden
figures manipulated with rods (this may originate from the Bengali style of rod puppets),
more popular is “wayang kulit” which uses flat leather figures reminiscent of southern
India.319 Shadow theatre is purest in Bali where it still has a mystical and ceremonial
aspect. “Wayang” symbolises life and plays an important role in such celebrations as
weddings and birthdays.320 Good beings are to the puppeteer’s right and evil beings to
his left. The figures are 20-24” (50-60cm.) tall, a knot of string suffices for the shoulder
and elbow joints, horn rods attached to the hands enable the arms to be moved.321 “The
Hindu characters in Indonesia enact the struggle between good and evil, each
314
Ping, Janene, Chanticleer, 5,issue 5,Jan.1995
315
Bil Baird, “The Art of the Puppet”, p.46
316
Baird, B., ibid. p.55
317
318
Ibid
319
Ibid
320
Baird, B., Ibid, p.58
321
111
personifying his virtue or vice without shading or complexity.”322 To these are added
subordinate characters from pre-Hindu times (possibly ancient Indonesian gods which
over time have been degraded to a comic status) used to provide lighter moments with
themes reflecting current events. Although the Moslem community strongly
predominates (95% of Indonesians are Moslem) the shadow puppets are still
fundamentally Hindu and are an influential, established part of life.323
Illustration 7. Javanese Wayang Kulit shadow puppets
In Egypt evidence from the time of its ancient civilisation shows that puppets then
were still firmly in the hands of the priests324. Puppets were found buried in the tombs of
kings and queens near the Nile.325 A small marionette theatre was found in a Nile city of
the second century A.D.
Many writers of ancient Greece and ancient Rome mention puppets. In the first
century A.D. one describes a theatre in which a mystical tale of vengeance, fire, storm
and shipwreck was enacted entirely with automatic mechanisms326. The steadily
growing Christian religion took up puppetry between the seventh and ninth centuries.
Among the moving statuary in the churches Jesus was initially represented as a lamb
(the Lamb of God), later he was represented by a man.327 Later still puppets could act
out a bible story on stage while someone stood in front reciting. An eleventh century
abbot “denounced puppets as smacking of idolatry, and by the thirteenth century even
322
Ibid
323
Ibid
324
325
Ping,J., ibid.
326
Ibid
327
112
the Pope was inveighing against them – but apparently without success. Puppets had
slipped firmly into the educational pattern of the church”.328
By that time puppets were seen outside the church as much as inside.
“Showmen” wandered over Europe who entertained with juggling, mime and puppets.
There is a twelfth century woodcut showing two stringed figures fighting in armour and
operated by two boys.329 Hand puppet booths with castle turrets and crenelated walls
between are seen in (manuscript) illuminations. “Puppetry became an integral part of
medieval religious drama.330 There were two particular advantages to the church of
using puppets: they “avoided the vulgarity of live actors and enabled common people to
learn the eternal truths.”331 In summary, in the Middle Ages puppets entered the church,
spread and developed over a long period and were eventually expelled from it.
Religious plays began in France, spread to England and were at their height in the
15th and 16th centuries. A typical miracle show entitled, “The Mysteries of mid-August”
was performed in France at Dieppe in 1443 and every year on August 15th for the Feast
of the Assumption.332 There were marionettes and moving statues that rolled their eyes
or nodded. Together they marvellously portrayed the Virgin’s assumption into heaven.
Some angels were life-size, others stopped the priests snuffing out the candles at the
end and made everyone laugh. There was even a stringed clown. These plays began
with excerpts from the Bible or the lives of saints but in England developed into great
cycles of plays. Such plays and the Nativity story enacted by puppets were later played
by human beings. Christmas puppet plays took place in Poland, Byelorussia and the
Ukraine among other places.
In the 15th century arose morality plays – dramas in verse with the vices
personified. They were played by puppets, monks and actors. English groups toured
abroad from the 15th century onwards using marionettes for the devils, monsters and
flying animals.
Certain puppets became too theatrical or too vulgar for the church. Their clowning
and buffoonery meant that the whole play was moved out into the public square and
religious drama gradually made the transition to secular drama.333 The puppet shows of
Shakespearean England were called “motions” and were mainly the banished morality
plays “emphasising the slapstick and the bawdy”.334
In Italy from the 16th to 18th centuries besides the religious mystery plays a
comic tradition of character, farce, burlesque and improvisation evolved termed the
“Commedia dell’arte” that could be excellently portrayed by puppets. One character was
a braggart and coward called Pulcinella, destined for great fame. By 1573 Italian
puppetry had come to England. Although Cromwell and the Puritans closed all theatres
for eighteen years from 1642, puppet theatres were allowed to continue. In Germany
the legend of Dr.Faustus came into being and became the greatest puppet play of
Europe. That Goethe had made a written interpretation of Faustus meant that puppetry
was lifted off the streets into the theatre.
328
Baird, B., ibid., p.65
329
330
331
Baird, B., Ibid
332
333
334
Baird, B., ibid.,p.68
113
By the 18th century a certain famous puppet would appear in almost every show.
In France it was Polichinelle (who had evolved from the Italian Pulcinella). In the
Ottoman Empire it was Karaghioz. In Germany it was (Dr.)Faust(us). In England it was
Punch (via Pulcinella alias Polichinelle); Punch became a hand puppet which best
portrayed his belligerent character. By the turn of the 19th century Punch was
completely English and fixed with a particular costume, a big nose and a hunchback.335
In Italy the famous puppet was Orlando. In the 8th century a Frankish knight
named Roland served on the Breton border under Charlemagne. By the 11th century
his story had become a legend told in, “The Song of Roland” in which he was portrayed
as being Charlemagne’s nephew and the Basques were depicted as Saracens; he had
a sword called Durlindana with which he could wield magic. During the Renaissance an
Italian, Ludovico Ariosto, wrote an epic poem entitled, “Orlando Furioso”, a mix of
history, fantasy and imagination in which Orlando (i.e.Roland) is “furioso” from
frustration because his love, Angelica, marries another. It is a Sicilian marionette epic of
500 plays, “a rich feast of giants, dragons, witches, ogres, eagles, magic swords,
intrigues, transformations, heroics, betrayals, loves requited and unrequited, and deaths
noble and ignoble”.336 In Catania, Sicily the stunning marionettes were 4-5 feet tall,
weighed 80 lb. each and had brass-plated armour; the head joined to the body by a
hook so that a sideswipe could cause the helmeted head to hit the floor with a clank.
“The very proud, regal style of the knights dictates an elaborate language of gesture to
help convey their moods and feelings. The back of the hand to the cheek means
weeping, the palm to the face means thought.”337 In whatever country Orlando was
played Charlemagne’s court was played with local, native characters. In France in 1920
there were 69 marionette companies performing it as, “The Paladins of France”.
Illustration 8
Charlemagne’s Council,
National Museum of
Puppetry, Sicily
(Orlando is second
from the left)
335
336
337
114
In China there are marionettes, hand puppets and rod puppets but the most
highly stylised and beautiful are fine leather shadow puppets. Shadow plays began
there between the 7th and 9th centuries and reached the height of their developent in
the 11th century. The most sophisticated marionettes in the world must be Chinese,
with up to 40 strings they average 24 inches (60cm.) high and exhibit a wide range of
expressive movements with the mouth, eyes, individual fingers and even the eyebrows
moving.338 Many plays have female heroes. In the 20th century rod puppets came to the
fore. Classical Chinese drama continued in these plays with stories of heroism, battles,
betrayals, unrequited love and women wronged and saved. Since the arrival of
Communism additional plays featured “traitors, foreign invaders, depraved and unjust
emperors, greedy landowners, stupid officials and other enemies of the common
people”.339 The other side of the Communist coin was depicted in Eastern Europe
where clandestine puppetry flourished showing political satire rather than the official
news.
In Japan puppetry began as late as the 10th century. It has a tradition of hand,
string and rod puppetry. A puppetry style uniquely Japanese termed Bunraku evolved in
the 17th and 18th centuries and it is this that is most famous abroad. Each figure is 3½ -
4½ feet (1.05-1.35m.) tall. The main puppeteer is fully visible holding in front of him the
puppet that is dressed in a kimono with voluminous sleeves. With his left hand he
controls the head so that it nods and turns and with levers he moves the mouth, eyes
and eyebrows; with his right hand he controls the right arm, thumb and fingers. Two
black-hooded assistants move the left arm and the legs. In the 16th century puppetry
was used to spread Buddhism but late in that century it became secularised and was
transferred to the courts of Kobe and Osaka. Around the 17th century was a time of
such prosperity that lower-caste tradesmen could attend the Bunraku plays which
concern the life of the nobility; it was their one chance to have a taste of court culture.
In the courts of India, China and the Ottoman Empire puppetry was taken so
seriously that the most talented playwrights, poets and designers were employed. In
Europe, however, puppetry remained a folk art usually performed by a wandering
showman and his family. Even so, in 17th century Italy and Paris a few famous men
composed and produced some very popular puppet operas. In Hungary, Haydn
composed several marionette operas for court performances. For most of the 18th
century a shadow puppet theatre was extremely popular in Paris. In 1862 Bizet,
together with other musicians, artists, writers and poets, worked for a whole year to
produce puppet shows. The idea of getting together for fun was new. Others tried it in
Munich, Berlin, Rome and New York, resulting in sophisticated audiences.
Late 19th century Europe had spectacular plays with all kinds of trick effects, such
as cannons roaring and ships sinking in real flames. Some puppetry troupes performed
for a thousand people. Some toured Europe, others the world. In the United States
puppets travelled the vaudeville circuit, some with a puppet orchestra and puppet
spectators.
In the 20th century the general public found that puppets could create more than
surprise and laughter. Dramatic impact through story and character became as
important as theatrical effects and the mechanical-marvel style of puppetry began to
338
339
Baird, B., Ibid.,p.134
115
diminish in importance. Rod puppets appeared in Europe, though the best were made in
Russia. Nevertheless marionettes remained the most popular – in Czechoslovakia
alone there were more than 3,200 amateur marionette companies. During the time of
Nazi occupation there they performed illegally as part of the resistance, even in
concentration camps.
In Europe in 1919 the architect, Walter Gropius, founded a school which had a
profound effect on most 20th century design. Called the Bauhaus it was founded on the
revolutionary principles that : (1) function was to be the criterion of design, (2) art and
architecture could be fused, (3) in the machine age craftsmen must run the machines,
and (4) students should create and not simply copy someone else’s creations. There
was much opposition from artists and politicians alike. It changed the approach to
design, including that of puppetry, in the entire western world. Working and teaching
there were Klee, Kandinsky, Schawinsky and Schlenner all of whom influenced
puppetry. In 1933 Hitler came to power and suppressed the Bauhaus’ enquiring art, as
did Stalin later, suppressing the very important beginnings of stage design in Russia.340
In 1928 the Union Internationale de Marionettes (UNIMA) was established to
promote international cooperation and friendship. In the US in 1933 puppetry was
greatly promoted by Tony Sarg whose nationwide tour and Chicago Fair performances
were seen by over three million people. However from the 1930’s people preferred to go
to the cinema and from the 1950’s to stay home and watch television so puppetry
audiences have declined dramatically. Nevertheless puppetry is still popular in the East.
In Vietnam spectacular shows are performed by water puppets, the puppeteers waist-
deep in the water and hidden by a screen; a dragon with fireworks exploding from its
mouth must look very dramatic after dark.341
Illustration 9.
Vietnamese Water Puppets
From sacred beginnings puppetry over many centuries has sunk to the profane.
Nevertheless the 20th century saw the pendulum begin to swing back with many
beneficial and innovative ways of using puppets. They perform in shelters for the
homeless. In hospitals they help children to understand the treatment they are about to
receive. In some less industrialised countries the World Health Organisation uses
340
341
Video at the National Museum of Puppetry, Palermo, Sicily,
116
puppets in health education for women; there it is essential the puppets be dressed in
every detail like the local women in the audience so they can identify with them.
Preparations for the first multi-party elections in Tanzania involved the use of a life-size
puppet of a woman to show that voting day would mean choice, long hours in a queue
and being unable to work or feed the family that day. Finally in Waldorf schools the
world over sublime puppet shows are performed of the fairy tales.
117
(5) Fairy Tales and Stories by season
In the kindergarten a path of joy is walked through the seasons relishing the
changes on outdoor walks, the nature table and in nature stories. Fairy tales are chosen
which reflect the mood of the season. Michaelmas comes at the time of dusk in the
year, courage is needed to face the oncoming darkness both then and again at Advent.
Christmas comes at midnight in the year, with the birth of the light and the beginnings of
its growth. Easter falls at the dawn of the year and has the theme of resurrection.
The kindergarten teacher in working with the festivals aims to reach the children
on a will level only and not on a soul-feeling level as it would be inappropriate for their
age. Certain fairy tales and stories are particularly appropriate at a certain time of year;
some suggestions follow.
Autumn
Pancake Mill – from “Let us form a ring”, Acorn Hill Anthology
Sweet Porridge (a tale of abundance welcoming the young newcomers)-Grimm
The Donkey (a tale to shed pressures of upbringing) – Grimm
The Princess and the Flaming Castle (e.g.Sept./Oct.before Harvest festival) -
transl.Joan Almon,”Let us form a Ring”, Acorn Hill Anthology
Rumpelstiltskin – (autumn and Halloween) - Grimm
Spindlewood – “Let us form a ring”, Acorn Hill Anthology
Three Little Pigs -
Tom Tit Tot –
The Wolf and the Seven Little Kids – Grimm
Three Billy Goats Gruff – “Spindrift”, Wynstones
Advent
The Star-Money – Grimm
Snow White and the Seven Dwarfs (perhaps too long for kindergarten)-Grimm
The Golden Key – Grimm
The Elves and the Shoemaker – Grimm
Mary’s Child –
Hansel and Gretel – Grimm
The Hut in the Forest – Grimm
Allerleirauh – Grimm
Mary’s Journey to the Stars – “Winter”, Wynstones
Saint Nicholas – “Winter”, Wynstones,
The Tomten and Christmas in the Stable – both by Astrid Lindgren
The Shepherd – Helga Aichinger
The Little Advent Book – Ida Bodhatta
The Animals’ Christmas
Christmas and Epiphany
The Legend of Baboushka – from “Festivals, Families and Food”
The Three Gnomes and the Christ Child
Christmas Legends – “Winter”, Wynstones
King Caspar and the Lion’s Den
118
Winter
Mother Holle - Grimm
Little Hut in the Forest – (February e.g. Valentine’s Day) – Grimm
The Star-Money – Grimm (Lent)
The Three Spinners - Grimm
White Snow, Bright Snow – Alvin Tresselt
The Big Snow – Berta and Elmer Hader
The Three Little Men in the Wood – Grimm
Ollie’s Ski Trip – Elsa Beskow
The Snow Maiden –“Plays for Puppets and Marionettes”,Bronya Zahlingen
Easter
Little Red Riding Hood (Little Redcap) – (also Lent) – Grimm
Little Snow White – (usually too long for kindergarten) – Grimm
Spring
The Frog Prince – Grimm
Snow-White and Rose-Red – Grimm
Little Red Riding Hood/ Little Red Cap – Grimm
The Water of Life – Grimm
The Sea Hare – Grimm
The Seven Ravens – Grimm
The Six Swans – Grimm
Jack and the Beanstalk
Whitsun
Jorinda and Joringel – (for seven year olds) – Grimm
Cinderella – (for seven year olds) –Grimm
Summer
The Queen Bee – Grimm
Ladybird
Our Lady’s Little Glass – Grimm
Rapunzel - Grimm
For a birthday, Little Briar Rose - Grimm
119
(6) Some Possible Interpretations of Fairy Tale Images
Only in the light of anthroposophy and with an understanding of the evolution of

human consciousness can the profound significance of the fairy tales be recognised.
Many fairy tales begin with a king and queen who can reflect the time many thousands
of years ago when mankind lived in Paradise. A child representing a new soul faculty
faces trials, often in a forest representing our ordeals in the current materialistic culture.
Finally a long time in the future all is well and Paradise regained. Thus the whole
evolution of human consciousness – past, present and future – can be contained in one
short fairy tale.
The story is like a door that can open up to the meaning behind it. That meaning is
a reality. The need is to get beyond the door, to attain the reality. With the strict provisos
that every noun is an image not a concept and that, as already stated, the fairy tale be
understood as a unity and not symbolically, the following suggestions are made as a
possible help to begin unravelling its meaning. (As stated earlier, every character is an
aspect within each of us.)
King and Queen – two complementary, higher phases of oneself at a time in

the long distant past
Poor, humble parents – a later stage of humanity, may show they had already
descended from the spiritual world, they no longer have the
resources to go forward (as in “The Elves and the Shoemaker”)
Longing – longing for a child may be a longing for a new soul capacity that
enables the evolution of human consciousness to continue
- a donkey, for example, longs to play the lute (all animals serve from
the physical level of their being, with the longing to be ennobled
and transformed through the arts)
Child – always something new, usually a new soul faculty, the future, the way forward
Donkey – long-suffering, foolish, stubborn, earthly, carrying heavy loads over
rocky earth, can be a picture of the physical body, a middle-aged feeling
Dog – loyal, instinctive, orderly, predictable, a creature of regular habits related
to our etheric/habit body, to our life forces
Cat – a picture of astrality with irregular, unexpected movements, related to the
night when it becomes especially active, can be a picture of passion
and sexuality, and also of intelligence
Cockerel – announces the dawn, an awakening, may be a judge, the conscience
House – always signifies our human organisation (our body)
Tree – can be a picture of the sensory branching of our nerve-sense organism
Frog – lives in both worlds – water (fluid, etheric) and the dry, physical world, it may
bring news from that other, etheric world, may be able to foretell the future
Woods – often a picture of the physical, sense world
Stepmother – is a force within the soul, materialistic thinking, wants quick results
without effort, unable to realise that fruits come from an inner, qualitative walking
of a path, may place young, developing aspect of soul in jeopardy
Shoe – a picture of how we walk the earth and live our destiny,
a glass slipper suggests being so pure as to be transparent
120
Water – the fluid, etheric world
Fish – a picture of what lives deep in the fluid, etheric world
A gold item/person – picture of something noble, divine, perhaps wisdom-filled
Raven – big, heavy, physical bird, weighed down by matter,
dark, powerful figure (only recently do they symbolically portend death
or disaster)
- was the first stage for an initiate, the one who brought news of the
outside, everyday world into the temple
- goes to what glitters, the material world, and steals it
- a picture of the descent of human consciousness, clairvoyance ends,
period of darkness begins
Glass mountain – a picture of the crystalline, mineral thinking into which
humanity has descended
Ring – is eternal, a promise, a covenant with the spiritual world
The end of the world (a place) - the end of the sense world
Well – water is the medium through which life can exist,
can be a wellspring of life
Spinning – means spinning thoughts, spinning the thread of thinking, the thread
of destiny
To go up in a house, tower or castle – means to go up and up in the human body
to the old, mineral brain, up into the thinking where the child
begins to go at puberty
A “right moment” – this can happen when wisdom can work itself out.
An example occurs in “Briar Rose”, after 100 years
the hedge opens of its own accord
A Wedding – always symbolises wholeness, unity, a coming together of soul and
spirit, of the advanced soul and advanced, conscious forces of
thinking, a final resolution in the future
Inheriting the kingdom – following the unification of advanced soul and advanced
spirit, Paradise is regained
121
(7) Choosing Fairy Tales for Different Ages342
By Joan Almon
…Among the fairy tales there are stories of varying degrees of complexity. At the
simplest level there is”Sweet Porridge”. Children enjoy hearing of the little pot, so full of
abundance, which overflows for lack of the right word. A considerably more complicated
story is the beautiful French tale of “Perronik”, the simpleton in quest of the grail who
must overcome seven difficult obstacles. The latter is a tale for the elementary school
child, perhaps just as he is leaving the world of fairy tales around age nine. At this age,
the children themselves have a sense of life’s eternal abundance which one child
expressed to her mother in this way when told she did not have enough time to take her
out to play: “But Mother, I have lots of time. I’ll give you some”.
In almost every fairy tale there is either a problem that must be solved, such as
how to get the porridge pot to stop cooking, or a confrontation with evil, which can take
many forms such as the Queen in Snow-White or the various monsters which Perronik
encounters. The milder the problem the more appropriate the tale for younger children,
and conversely, the greater the evil the more appropriate the tale is for older children.
Another aspect of fairy tales is that the hero or heroine must undergo certain
trials or go on a complex journey before succeeding in his or her quest. In the original
version of the “Three Little Pigs”, the pig is nearly tricked three times before he is able to
overcome the wolf. Three is a number which frequently arises in relationship to the
challenges of the fairy tale. In this case the tasks are not portrayed as very ominous,
and the pig handles them with a good deal of humour, making it a tale well-loved by four
year olds. In the “Seven Ravens” the daughter must first journey to the sun, the moon
and the stars in order to restore her brothers to human form. This is a tale which speaks
well to five and six year olds. An even more complex tale is the beautiful Norwegian tale
entitled, “East of the Sun and West of the Moon”. Here too, the heroine must go on a
great journey to redeem her prince, and the journey takes her first to the homes of three
wise women. She is then aided by each of the four winds. Yet even when the north wind
blows her to the castle east of the sun and west of the moon, her work is not completed
and she is further tested before she is able to marry the prince. This is not a tale for the
kindergarten, but rather one for the first grade or beyond, when children’s own inner
struggles grow more complex and when they are nourished by the more complex fairy
tales.
With these thoughts in mind, I would like to divide some of the tales commonly
told in Waldorf kindergartens into categories of complexity. This is a somewhat
dangerous business, for the fairy tales are so alive that they do not rest comfortably in
one category or another. Even as I divide them up, I find myself constantly switching
them from one category to another. In the end one makes one’s decisions very much
with a particular group of children or an individual child in mind. Please accept these
divisions lightly, as mere indications, and take the time to develop your own judgments
in this area. You may find it helpful to read a few stories from each category as a means
of understanding the different levels of complexity.
342
From “Overview of the Waldorf Kindergarten” Vol.1,Waldorf Kindergarten Association of N.America
122
1 The three year olds in the nursery or mixed-age kindergarten are very satisfied with
little nature stories, or with a simple tale such as “Sweet Porridge”. The older threes are
often ready to hear the “sequential” tales such as the tale of the turnip. One finds many
tales of this sort which have a strong pattern of repetition and order. There are also
traditional songs which fall into this category such as “I had a cat that pleased me” or
“Had Glad Ya”, a song sung during the Jewish festival of Passover. Such sequential
stories have the added advantage of being relatively easy for a beginner story teller to
learn. A collection of tales for this age group includes the following:
Sweet Porridge (Grimm) Little Louse and Little Flea (Spindrift)

Goldilocks and the Three Bears (Russian) The Turnip (Russian)
The Mitten Little Madam (Spindrift)
The Gingerbread Man The Johnny Cake (English)
The Hungry Cat (Norwegian, in Plays for Puppets)
2 The next category of tales is slightly more complex, but the overall mood is usually
cheerful and without too much sorrow or struggle. The fours and young fives are usually
quite comfortable with these tales:
Billy Goats Gruff (Norwegian) Pancake Mill (Acorn Hill Anthology)

The Wolf and Seven Kids (Grimm) Three Little Pigs (English)
Mashenka and the Bear (Russian, Plays for Puppets)
The Shoemaker and the Elves (Grimm)
3. In the next category come many of the tales which we normally associate with the
term fairy tale and which we think of in relation to five and six year olds. These tales
contain more challenge and more detail. The main character often sets out in the world
with a simple task to perform such as in the “Miller Boy and the Pussy Cat”. Although
obstacles are encountered, they do not weigh too heavily on the soul of the individual.
Such tales include:
Star Money (Grimm) Frog Prince (Grimm)

Mother Holle (Grimm) The Donkey (Grimm)
Bremen Town Musicians (Grimm) Golden Goose (Grimm)
Spindle, Shuttle and Needle (Grimm) Queen Bee (Grimm)
Hut in the Forest (Grimm) The Seven Ravens (Grimm)
Snow Maiden (Russian, Plays for Puppets) Rumpelstiltskin (Grimm)
Snow-White and Rose-Red (Grimm) Little Briar Rose (Grimm)
Little Red Cap / Little Red Riding Hood (Grimm) Hansel and Gretel (Grimm)
Snow-White and the Seven Dwarfs (Grimm)
Princess in the Flaming Castle (Overview of Waldorf Kindergarten)
4. The final group are those fairy tales which are well suited for the six year olds who
are making the transfer to first grade. This is a time of stress for children as they lose
their baby teeth and sense a departure from the heart of early childhood. (Fortunately
123
they still have a few years before they make their final “fall” from Paradise.) Tales in
which characters have a personal experience of suffering or sorrow meet this new
phase of inner development in the children. Often these tales are not told in the
kindergarten at all but are left for first grade.
Jorinda and Joringel (Grimm ) Brother and Sister (Grimm)

Cinderella (Grimm) Rapunzel (Grimm)
A frequent problem which troubles kindergarten teachers is how to select tales for
a mixed-age group. If there are three year olds present as well as six year olds, will the
more advanced tales harm the little ones? My own experience and that of other
teachers, is that this is not a problem provided the story is appropriate for some of the
children in the group. This is an interesting phenomenon which seems to work as
follows. In a mixed-age group with children from three to six, one can choose a tale for
the five and six year olds and the three and four year olds will be attentive. They may
seem less focussed than they are with a simple tale, but they rarely grow restless
(though it sometimes helps to seat the youngest ones near the teacher or assistant). On
the other hand if one would tell the same complex tale to a group of only three and four
year olds, one would find that they do not attend to it well and easily lose interest. It is
as if there is no one in the group who can “carry” the story for the others. In a mixed-age
group one can also create a balance in the tales by telling some that are appropriate for
the younger children. The older children generally do not get bored with the simpler
tales, and they will laugh at the humorous parts while the little ones listen with full
seriousness.
When choosing a fairy tale another factor to take into account is whether a fairy
tale is generally well known in the society, even if it is known in an incorrect form. When
a tale is well known, children often seem to be ready to hear it at a younger age than
they otherwise might be.
The final consideration, and probably the most important one, is the story teller’s
own relationship to the story. Sometimes a story teller loves a tale so much that the
story may be told to children who are generally too young for it. It is as if the story
teller’s love of the tale builds a bridge to it. Thus, I knew a teacher who loved “The
Seven Ravens” so much she told it year after year to her class of three and four year
olds, a feat which I would not undertake. When this love of fairy tales is coupled with an
understanding of them on the part of the story teller, doors are opened to the whole
realm of life in which fairy tales are true and live forever. In the telling of fairy tales we
too are nourished and brought back into this realm. Rudolf Steiner describes the fairy
tales very beautifully when he says, “Much deeper than one might imagine lie the
sources whence flow genuine, true fairy tales that speak their magic throughout all
centuries of human evolution”.
124
(8) Colour Indications for Marionettes
gathered from Freya Jaffke, Margaret Meyerkort, Alice Gorge
The King golden yellow dress, purple robe, golden crown

Old King purple dress, mauve robe, golden crown
Wise King blue dress, golden robe, golden crown
Courageous King red dress, golden robe, golden crown
The Queen rose or golden dress, blue cloak, golden crown
Old Queen red-violet dress, purple/blue robe, golden crown
Wicked Queen sensuous colours: red, orange, green
Princess light blue or pink dress, golden or white cape, crown
pink dress, paler pink cape, golden hair or crown
Prince golden dress, yellow/gold/red cape, golden band
medium blue/ red dress, golden cape or stole, crown
Nobleman dark blue, with mauve or purple hat and cape
Noblewoman dark blue, with mauve or purple shawl o r cloak
Young Girl rose or pink or peach blossom dress, pale blue cloak
Mother Mother Mary colours: red violet to old rose, or red with blue
on top of it, yet softened (spiritualised)
Father warm, earthly colours- reds toward the purple, greens, browns
Maid green and brown, with dress, apron, and cap/kerchief
Cook, Kitchen Boy white dress, white apron, chef’s hat or cap
Wicked Dwarf clashing, bright colours: bright green (earth) and red cap
(thinking) or grey and clashing yellows
Witch cold, greyish colours – brown and grey rags
orange and green scarf - red, yellow, green dress, cape
Bad Fairy darkish grey dress and grey veils
Stepmother green dress, clashing orange cape or kerchief,
turquoise dress with scarlet cape
Animals be true to the nature of the animal, its qualities and its
gestures, to find the colour and form,
not an exact replica, not too formed or articulated
Every story has its own colour, its own meaning.
Colour Use in the Kindergarten
Prince (also good brother) – green/yellow/orange

Princess – pale yellow with pink/fuchsia
King – wine/purple
Queen/Mother – medium blue/ fuchsia
Older person – light blue/ lavender
Witch – light green or kelly green/purple
Jealous princess (false princess) – peach/lavender
Lazy brother – light blue/light green
125
Yellow is cheerful, happy, radiant but also magnificent
Blue is shy, yearning, repellent (if icy), reserved
Green is peaceful, calm, joyful and fresh
Orange is friendly, brave and vigorous
Magenta is loyal, festive and majestic
Colour Suggestions 343
The Temperaments: Choleric - red each colour in

Phlegmatic - green various degrees
Melancholic – blue and shades
Sanguine - yellow
Actions: Blue withdraws
Red presses forward
Green inclines to the peaceful
Yellow wants to dance
Conversation of Colours: red and yellow - happy together
red and blue – courageous, serious and strong
together
yellow and blue – secretive, create green
black and blue – sad and silent
black and red – burn with anger
blue and violet – humble and pious
Reds talk loudly
Blues talk softly, always modest and unassuming
Green is dependable (but depending on shade)
Violet is festive
Yellow is joyful, helpful
Black is silent (use sparingly, if necessary at all)
Further Colour Suggestions (for toymaking) 344

Courageous king – mainly bright red and yellow
Old king or queen –purple, mauve and gold
Prince – blue, red, gold
Princess – light blue, pink, gold
Noble knight – blue with bold red and yellow
Nobleman – dark blue, mauve, purple
Kindly woman – red, yellow, green
Wicked woman – dark blue, red, green and black
Witch – black, green and red
Devil – red and black Fire fairy – red, yellow
Evil character – black and green Water fairy – blues, green, purple
Gnome – green, brown, grey Air fairy – turquoise, yellow, pink
343
Koch & Wagner, “Individuality of Colour”
344
Alice A.Gorge, “Creative Toymaking”
126
(9)
127
(10)
(10)
128
(10)Directions for making silk marionettes
Wide-necked Narrow-necked
The narrow-necked style has a string below the back of its neck so that it can nod its head,
for example, when speaking; it is very sensitive and so needs an experienced puppeteer
or one prepared to practise. It is easier to give a wrinkle-free face to the wide-necked
version. The broken line shows the position of the body hidden inside.
To make the head

Take a 12”/30 cm. length of stretch cotton tubing (available from a chemist/drugstore) of
width 2 and 1/8 inches/5 ½ cm (i.e.circumference 11cm.). Close one end by tying a thread
around or sew across the end, pull to gather up and stitch. Turn the tube inside out and put
aside. Using carded stuffing wool/batting take two pieces each 7”/18cm.long, 2-2 ¾ “/5-
7cm.wide, place one on top of the other to form a cross, put aside ;(for the wide-necked
style the arms of the cross should be longer so as to create part or all of the neck). Take a
piece of the same wool batting, 36”/90cm.long and, say,1½-2”/ 3-5cm.wide; starting at one
end, roll and turn, roll and turn until the whole length has become a sphere. (For the wide-
necked style stop rolling before the end, the extra will form part of the neck.) Place the
sphere in the centre of the cross, bring the arms of the cross around the sphere and
smooth the head into a nice sphere (with no wool protruding for a neck if narrow-necked
style). The sphere is next placed into the far end of the cotton tube, smooth and squeeze if
necessary until the shape is a nice sphere. The head should be firm enough to hold its
shape but does not need to be very firm as if will not have rough treatment. Use strong
thread to tie tightly around the neck.
129
Body
Next a body (hidden later) is added so the figure can sit
without collapsing. Take a 15”/45cm. length of wool
batting, fold it into three and tuck a weight such as a lead
fishing weight or small stone (e.g. 1/3 oz./10g.) inside one
fold. Wind the other third round and round moving towards
the stone-weighted end. Insert into the tubing below the
head so that the weight is at the bottom end. Sew a
gathering thread around the tubing near the end, turn the
very end inside, out of sight, pull the thread tight and finish
off.
CLOTHES
(A) If the head and clothing are one colour:
Use silk of at least 10 mommi weight if possible, or use
two layers of 5 mommi. Take a large square (or circular)
piece of silk (e.g.26”-30”/65-75cm), fold in half twice and
put in a pin to mark the centre, unfold. Place the head in
the centre and bring the fabric around it, hold it at the
neck, choose the part to be the face then minimise facial wrinkles somewhat by moving
folds towards the back, tie a thread tightly around the neck. If wished, a half-circle of silk
can be attached at the top of the head as a veil, it can be attached at the wrist as well. A
double veil can be made with two silks of different colours, e.g. a thin, 5 mommi silk
underneath and a silk chiffon outside it. A cape is made by attaching a half-circle to the
back of the neck, it can be attached at the wrist also. Make hands of the same, main
colour. Add hair if wished, using coloured wool roving/”tops”.
(B) If head a different colour to clothing:
Choose an appropriate (flesh ?) colour for head and hands. Take a 9”/25cm. square piece
of silk for a head 2 ¾” /7.5cm.diameter, fold in half twice and put in a pin to mark the
centre, unfold. Place the head in the centre of the silk and bring the fabric around it,
choose the part to be the face then minimise wrinkles somewhat by moving folds towards
the back, tie the neck tightly at the back with matching thread. Keep the piece of silk for
the hands safely till needed. A veil or cape can be made as above and added at any time.
Main dress
Take a square or circular piece of silk (e.g.26”/65cm.square). Fold it in half twice then cut a
small central cross. Carefully put body through this central hole, only enlarging the hole a
little if absolutely necessary. Turn in the rough edge of silk, somewhat, at the neck and
stitch firmly.
Tunic/ tabard
Take a rectangle of silk (e.g.26”x9”/65cm.x23cm.), cut a cross or narrow hole in the centre,
put the body and main dress through the hole. Stitch the tunic neck hole in blanket stitch or
with a gathering stich. Put the body and main dress through the hole. Tighten the
gathering stitch if used. Sew the tunic at the back of the neck to stop it sliding round.
Garment layers may be best put onto first body then neck in reverse order i.e.outermost
tunic first, then dress, then undergarment/sleeves; they are then sewn in place undermost
first.
130
Hands
For the usual style take a small piece of silk,
e.g. circular or square (say, 2 ½” /6cm.square),
Take a weight such as a spherical lead ball used
for fishing or a stone (e.g. 1/3oz./10g.), wrap it in a
little wool, and put it in the centre of the silk,
bring the silk round it and tie it tightly.
There is no real need to hem the cut edges of silk
clothes because they do not get rough use, so
simply turn in the edge of the silk and fasten the
hand with pins in position (halfway between the
bottom of the back and the bottom of the front)
so that only the hand protrudes. Stitch it
firmly at the wrist.
The hands will appear to be a long way from the
head. You should be able to lift a hand up over the
head to touch where would be the opposite ear
(like a child ready to enter 1st grade/c.age 6 ½ !).
If when close-up the arms seem long then to the
audience the gestures look right.
If the main dress was made from a circle of silk
then insert the hand weight under the silk at the side
of the body, try tying it about 2”/5cm.from the edge
and check if the “arm” is long enough for the hand
to touch the opposite ear position.
Shape the hand of a fairy to be long, narrow and
a little pointed. A weight is probably not needed.
Whereas the head to body proportion of human adults
is 1:8, it is said that of a fairy is 1:12 so some would give a
fairy a particularly small head. For a marionette such as a
giant, King Winter or the Morning Star the simplest form -
no hand at all - is fine; the string is put in under the fold
between front and back, after turning under the edge.
Stringing a marionette - options
131
For children nine years old or more the strings should be transparent (fishing line is
fine). The strings should be visible for younger children – in grades 1 and 2 (age 6-8)
and kindergarten. (Younger children who cannot yet follow a story should wait till they
are older.) Use a thin, strong thread such as white, beige or grey linen, cotton or silk.
A single head string is fine, for example, for an all-red fairy bringing the colour red to the
kindergarten for painting today and also for a puppet for children themselves to use in
their free play (in this last case it may also be given a hidden, flat-bottomed base so the
child can rest his hand and arm when he gets tired). Place a pin at the very top of the
head. Thread a long needle with a very long thread (e.g.20”/50cm. at least), tie a big
knot in the end, pass it under the clothing and make it enter the head at the very back of
the neck (and hiding the knot). Let it come out at the pin at top centre. Adjust to final
length later by making a big knot or a loop. An optional bead can be attached at the end
to make it easier to pick up and hold.
Two head strings give more control of the head and prevent it accidentally turning.
Place two pins one each side of the head to mark a position halfway from front to back
and about a quarter of the way down from top of head to neck. Thread a long needle, no
knot, no need to cut it off, make the needle enter the head at one pin and exit at the
other; pull the thread through until the exit thread is probably too long (e.g.20”/50cm.).
Cut off the second thread to the same length. Tie a knot in each thread really close to
the head so the thread cannot slide through. Temporarily tie the two ends together.
If the length of all strings is adjustable then they can be altered to suit the heights of
different stages and puppeteers and to avoid tiredness. For children’s use during free
play two strings are convenient, with the strings making one big loop they are easily
handled and easily hung up on a hook when not in use.
Three strings mean the puppet can nod and bow. Add a third string to the above by
threading a needle with a long thread, pass it under the clothes, enter the back partway
down then carefully exit through the clothing at a point higher up in the middle of the
back, just below (say, ¾” / 2cm. or less) the back of the neck.
Hand strings
Thread a needle with a really long thread (e.g. 60”/ 150cm), pass it under the clothing,
enter at one wrist and exit from the top of the hand, now enter the top of the other hand
and exit from that wrist inside the clothing, remove the needle and make a big knot at
that end of the thread. Now adjust the length of the thread between the hands; if the
marionette is hung by the head strings from a hook then the hand string passed over
the same hook should be long enough to at least allow the arms to flop down at their
sides. If in doubt start with the hand string possibly too long, experiment making
movements and gestures (with a friend or a mirror) then shorten if necessary. Too short
a string would mean the puppeteer’s hand being too close to the puppet and thereby
within the watcher’s gaze. A position in which both the puppeteer’s forearms are more
or less horizontal is comfortable and looks right.
Hair and hats

Wool roving/”tops” is ideal for hair, it gives a less fixed image than a proper hairdo (this
latter would probably be more suitable for a folk tale than a fairy tale) and can be
pinned, adjusted and sewn into position with a few stitches in a short time. A marionette
132
princess345 was given pink hair, pink head and pink clothes, her two side braids/plaits
were wound round and round to cover her ears in a traditional German hair style; she
looked fine –there are no rules on this (see photo on page 134).
A hat/bonnet/headscarf, very simply made, can be sewn into position with tiny, unseen
stitches and then wool yarn/roving/”tops” pinned close to the hat and sewn with tiny
stitches.
Legs and feet (probably of the same colour) are
a possibility, if not a royal character, but they
are not at all necessary.
Sleeves
Take a rectangular
piece of silk,(e.g.16”/
40cm.x 3”(8cm),fold in
half twice (inside out)
stitch a little from each
end towards centre
(turn inside out again).
Fold in half and cut a very small
cross in the fold on the side away
from stitches. Insert the body
into the hole.Stitch it a little at front
and back both at neck and waist
to hold it neatly in place. Either
gather up the sleeve opening at
the wrist when you attach the hands
or close opening kimono-style(see
example on the left).
Length of dress
To correct length and cut main
dress level (if not circular originally)
hang up puppet with arms
outstretched and horizontal place
pins at equal distance from neck,
cut, no need to hem.
Mix and match ?

Generally a puppet show needs a single puppet type and unified
costumes of the characters. Elementals are different beings so may be different and
less distinct. For example, for Grimms’,”Rumpelstiltskin” human characters were
tabletop type made with cotton while Rumpelstiltskin was simply made with red wool
roving/”tops”. For Grimms’,”The Elves and the Shoemaker” all were tabletop type but
the two elves were pink/peach silk marionettes, very active they were small and thin
with legs and arms; it was surprising and funny to see them suddenly appear, for the
first time, on the roof of the shoemaker’s hut and slide down to the ground.
345
For “The Princess in the Flaming Castle”.
133
Decoration and detail
For “The Princess in the Flaming Castle” the
king (see right) was given a crown easily
made from gold cardboard with a
“jewel”/coloured tin foil stuck in the centre. A
small green “jewel” was stuck onto a heart-
shaped piece of gold cardboard, gold-
coloured paper looking like lace was stuck
around the edge and hung round the king’s
neck from a narrow strap 9” long (22cm.) of
gold cardboard.
The princess’ hair was braided and wound in
a spiral over her ears. A tiara was stitched
on, then a white chiffon train was attached
only at the back of the head (so it hid the
back of the tiara).
Baby boy
Made from a rectangle of yellow silk

with yellow face, hands each a knot,
small cap of yellow hair, laid on
wool in small, oval basket 2” high.
See page 138 for directions for a woollen baby, quicker to make.
134
To make animal and bird puppets
Knitted Simple knitted squares can be made into a variety of animals. Cast on 20
stitches and knit 20 rows with a plain stitch, cast off. Make a small, firm ball with wool
roving. Make the head by putting the ball under the knitted square midway between two
sides and nearer one end than the other, tie a length of yarn around to make the neck
and tie tightly. Next thread a needle with yarn and beginning at a corner, at the head
end, sew two sides together for a short distance to make a front leg. Repeat for the
other front leg so that the two legs meet in the middle. Do the same for the back legs
which usually need to be longer. There should be some distance between the front pair
and back pair and that will become the underbelly. Next stuff with wool roving, first the
legs and then the body, then sew the abdomen closed. Lastly add features that
distinguish the type of animal. For example, a rabbit would need long ears
(e.g.crocheted or felt) and a tail (insert a crochet hook and pull out a very little of the
white stuffing). A cat could be given crocheted ears, some whiskers (perhaps sewn) and
a long tail.
Wire-and-wool animal
Here are some suggestions for the sacred/magical bull in “The
Princess in the Flaming Castle”:
(A)Firstly one had best go and study a live bull for an hour.
Contemplating the animal brings home the archetypal qualities and
an insight into his fundamental nature, one notices his characteristic
pose and how his form differs from the more commonly seen cow,
the proportions of head, neck, shoulders and chest are greater, the
outline of head, neck and back is different – the top of the shoulders
is so much higher than the hind quarters which are almost spindly. If
a live animal is inaccessible then pictures can be studied showing it
in various positions and a photo nearby when constructing is a help.
Imbibing the archetype enables the creation of an animal clearly
showing bullness whilst lacking detail.
Make the frame by taking a long piece of wire (e.g.at least

50”/125cm.) and for the head bend it into two ovals/somewhat
flattened circles, separate them a little and so that they are further
apart at one end – so that the crown of the head will be wider than
the muzzle. Continue bending the wire so it forms the neck and
backbone, then bend it back so the backbone is double, at the
shoulders twist the wire round the backbone, down one leg and
double it back, round the back, down the other leg and back, twist
round the backbone to fix the shoulders then along to the hips, down
one leg and back, round the backbone, down the other leg and back
and finish by winding around the backbone. The legs should look too
long at this stage because wool forming the belly and chest will make
the legs become much shorter.
135
Next, to pad it out use many very thin, long pieces of wool roving, this
enables you to be more exact and to easily correct what does not seem right. Begin
padding at the head by winding roving around the head, probably twice, then the neck
then make a lemnoscate around the shoulders. For a moveable, jointed neck wrap the
head and neck with wool, enclosing a wool-wrapped weight in the head, and then cover
with stretch gauze. The horns of wire can be attached now or later (lastly they are
wrapped with a little pale yellow wool). (Wire for the golden horns of the goat in “The
Hungry Cat” was firmly fixed to the frame in the beginning because they would receive
rough use, then at the end they were wrapped with gold wool.) Front legs are wrapped
with wool beginning tightly at the hoof for a narrow leg then winding round the shoulders
and chest, the back legs similarly then around the hips. Next to make the belly deep
enough a roll of wool is made and placed below the backbone, then held in place by
wool wrapped around both.
Lastly if the neck is jointed
the head and neck are now
covered with a piece of silk.
Otherwise a single piece of
pale brown silk is put over
the back and head, pinned
under the belly, smoothed
around the head and
excess silk folded away
behind the head in the
groove between the cheeks.
It is stitched into shape and
in place there and at the ear
position. The four corners of
the silk can each cover a
hoof and leg and be held in
place with stitches.
Alternatively each leg can
be covered with a separate
rectangle of silk. Tail (a
single thick thread), ears
(optional) and a golden star
on the forehead are sewn
on and the horns fixed/sewn. For the optional eyes, each a single stitch, the thread can
pass through the head to the other eye and then be pulled tight and knotted out of sight.
Strings need to be extra long to allow space for the boy, also a marionette, to ride on it.
Or (B) more simply the wire frame can be made without legs. Instead legs are made of
silk (with possibly a very little wool inside and optional wool-wrapped weight), a knot
made in the silk at the end forms the hoof, an optional second knot higher up can form
the knee/stifle joint (allowed if the silk is really long in the beginning). Otherwise, as
above.
136
To make a dragon
Take a very long piece of stretch gauze
(e.g.2”/5cm.wide, i.e. 4”/10cm around)
and insert five sausage shapes each
made of rolled up wool and including a
stone/ weight (wrapped in wool),close
and sew at the mouth end, tie to
separate the segments. OR First make a
wire frame with five pieces loosely and
flexibly joined, add wool with
stone/weight then insert into gauze and
continue as above.
A very little wool in the other end of the

gauze makes the tail, then close and
sew. A single piece of (green?) silk fabric
is put over and pinned under the belly.
For each ear gather a circle (e.g.2
½”/10cm.diam.) of silk to make a bulge,
fix it with a few stitches. Make two
smaller bulges for the nostrils.
Something like a ruff around the neck is
optional, it can be made with a fold in the
silk. The four corners of the fabric are
each knotted to make a foot. Knobs are
made along the centre back from neck to
the segment of the back legs, each is a
twist of the silk, then sewn. The tail
simply narrows to a point. Close the
fabric by sewing along the length of the
abdomen. Insert strings (at least
20”/50cm/long) in abdomen to exit from
centre back and tie to sticks or dowel.
Whale for “How Glooskap found the summer”.

A simple wire frame is made to keep the flukes apart and
covered first with wool, then a light/medium blue silk is
placed over the top and sewn under the belly and
posterior edges of the flukes. An optional white silk
gauze can then be added - placed over the top and
sewn likewise, then a seam stitched to suggest a mouth.
Strings at least 20”/50cm. long to a single stick mean a
puppeteer can manage the whale with one hand and
make it dive and rise and with the other hand hold a
marionette, Glooskap, so he appears to ride on it.
137
Bird
For “How Glooskap found the summer” the loon can be
made with first a simple wire frame, wool wrapped
around head and neck, a roll of wool (which encloses a
wool-wrapped weight) is placed to form the body, then
wool wrapped around to hold that roll in place.
A teal blue silk covers the
top of the body up to the
neck and is sewn
underneath. A second silk
covers the head and neck
and then forms the wings
(it is sewn under the head
and neck and has a single
stitch near the tail). An
optional narrow piece of
white silk making a collar
around the neck makes it
look more like a loon. A
very long string connects
the wingtips to a long stick
so that the wings can be
made to flap as it flies.
A baby easily made from wool

Take a narrow piece of pink wool roving/”tops” or card wool
batting. Tie it in a knot in the middle, this becomes the head
(e.g.2cm.diam), arrange the face and tie lightly at neck. For
the arms take a narrower length of the same wool, tie it in a
knot in two places, these are hands (e.g. about 6cm.apart);
wind a very narrow twisted piece of wool round the wrists.
Insert one hand and arm below the neck between the two
longer pieces of wool which are then turned in and under so
their hidden ends are higher than the waist and the baby
ends as if with a bulbous pink skirt. Lastly, a very narrow
piece of wool roving (e.g. pale yellow) is wound once round
the neck, crosses over the chest to waist level, round the
back and round the waist once or twice, allowing the ends to
attach to this “belt” by simple pressure or by tucking in.
Place baby on undyed wool roving directly on the stage or in
a tiny basket or cradle.
138
(11) TIPS FOR PERFORMING
Puppeteers can easily become over-sensitive, uptight and nervous when involved with
marionettes. Time above all is called for, ample time for experimentation and
adjustment – for choosing and studying the tale/story, marionette-making, stage
construction, music, songs and rehearsing. This may mean an annual effort for a group
using marionettes, with shows for the rest of the year by a single puppeteer (who may
also narrate) using tabletop puppets(the same set of puppets can be used for several
different stories). While rehearsing have someone sit in the position of the audience to
comment, make suggestions and show appreciation.
The spiritual quality of the performance reflects the extent to which each person has
taken it to heart. There needs to be study and reflection alone, getting the story “under
one’s skin” so to speak, practising alone with a mirror, mulling over it in bed, and an
emotional involvement and commitment. The characters – people and animals – come
alive for you. How someone picks up your marionette matters (not by the head !). It is all
about caring, and for every detail, that makes the difference.
Music is played at the beginning and end. It can support a character making a long
journey. It can reinforce a salutary moment such as when the cow in “Akimba” drops a
gold coin from her mouth. It can be played when there is a pause in the action or a time
interval and may precede the words, “Many years later,……”.
Songs are important and absolutely necessary; they can intersperse the story and can
be as short as one line. Puppeteers and narrator can sing together, the standard of
singing is less important than that they care enough to make the effort and try. Often the
children leave afterwards singing one of the songs.
The narrator sits to the side at right angles to the audience. Her chair may be a nice
wooden chair or perhaps a chair draped with a cloth. Her table for instrument(s) and a
candle is draped with a cloth or piece of silk. (S)he has committed the tale to heart but
appears to read the text from a beautiful book which could be a simple folder covered in
beautiful paper appropriate to the story or a beautiful book with a ribbon bookmark at
the pages where the text has been stuck in. (S)he catches the eye of each puppeteer to
make sure each is ready before beginning by lighting a beeswax candle.
Movement of the marionettes
It is helpful if puppeteers each take their marionette(s) home and practise gestures and
movement in front of a mirror and/or audience. Watch its height above the stage so it
neither flies nor drags. Movement should be smooth not jumpy. When making an
entrance a character should appear at the same height as the stage, if possible, and not
jump up onto it (unless it is an elemental). If more entrances/exits are required than at
the ends of the stage then the background can be cut with a curved dip or an
overlapping break in it. For a long journey, or even all journeys on a small stage, make
an S-shaped path or even a lemnoscate to take longer. A puppet (almost) never turns
his back on the audience, (s)he is allowed to turn away from fully facing the audience by
up to 45 degrees only. Some slight movement at least is needed at all times on stage. A
marionette not being handled should either leave the stage or be hidden behind a prop,
such as a tree or hut, or simply hung against the backcloth and a silk draped over it.
A basic Stage Construction, such as some chairs and a plank of wood across them or
two or three playstands, can be carried easily in a car and enables rehearsing in a
139
different place than the performance. For a longer stage try two folding/trestle tables,
apart, joined by something stiff and strong across the gap (e.g. a suitcase divider).
Cardboard is added, fixed with masking tape, cut to give curves and interest to the
background, ease entrances and exits and rounds off the corners of the stage. A light-
coloured sheet put flat against the background and stage means the cardboard will not
show through the silk; next it is covered/draped with silks, freshly ironed before the final
performance(s)) to create the etheric world of the fairy tale. Edges and selvages of silks
on stage are turned under, a straight line where there is a change of colour is avoided,
curves and ripples are made yet the surface of the stage must be sufficiently flat to
allow smooth travel of the marionettes. Next, props are placed, for example a blue silk
for a pond/lake/well, three green silk-covered cones create a wood/forest and a warm
pink-fuschia-mauve silk draped to cover some of the backcloth and some of the stage
makes a good, warm home.
The end of the performance
Whatever sequence of actions began the performance are now repeated in reverse.
Thus at the end, for example, the narrator may close her book, then the puppeteers lift
the long veil and cover the scene from sight while singing the song they began the show
with (e.g. “Mother of the Fairy Tale”), then the kinderharp repeats the tune (rather than
both instrument and voices at the same time). Then the narrator puts out the candle
with a snuffer or perhaps a shell (blowing out a candle is not a good example for
imitation and children tend to blow out a candle from above – the direction most
dangerous), while the puppeteers (probably for the first time since the
performance began) make full and prolonged eye contact with the
audience whilst giving them a big smile and looking happy and relaxed.
Now everyone realises it is all over.
Hooks
on which to hang marionettes when off stage are useful, they
can be made with wire and fixed handily behind
the background or better still behind the
puppeteers, out of the way. Usually a puppeteer
can handle at most two marionettes at the same.
time
A group of marionettes can be moved by one person if they are
tied to an open oval made with very stiff wire (it can be covered
with wool or felt) or a wooden circle (e.g.from an embroidery
frame). Examples are the seven brothers in the Grimms tale,
“The Seven Ravens” and the flower fairies, the entourage of the Queen of Summer in
the American-Indian tale, “How Glooskap found the Summer”.
From a small branch of a tree or bush can be hung birds or
insects. Every puppet show needs an element of
surprise.This example shows the flock of swan-geese (each
made from a pipe cleaner and white wool roving), just three
in total, made for the tale, ”The Swan-Geese”.346 The
children were certainly surprised when they suddenly flew
up over the background and into the scene.
346
From “Plays for Puppets and Marionettes” by Bronya Zahlingen
140
After rehearsal of “The Queen Bee”,
Note – tree (dead branch with felt leaves, some would say too realistic but let’s not be
dogmatic), three ducks on lake (simple shape, no wings), cardboard castle to be
covered with grey silk, swarm of bees (strings not long enough?), puppeteers will dress
in a single, quiet, uniform colour and not wear watches or jewellery for the performance,
string length best so hands do not obstruct background (but be comfortable), one
puppeteer can operate at most two marionettes at once unless they are joined together.
Ideas for a puppet show for 3 – 4 year olds

A show of 5-10 minutes is plenty long enough. See page 108 for ideas for songs.
Create a scene from nature or use the nature table already there. Anyone can speak –
the sun, clouds, animals, plants, a rock or crystal, elemental beings and human
puppets. If you can spend a half-hour alone in nature, ideas will come. Perhaps you
watch a group of ants each carrying a grain bigger than itself to their hole, then
disappearing down in to their home – from that you can make a story. Or in springtime
flower children/fairies could each hold a flower then a small child puppet goes out,
collects the flowers (perhaps asking permission of each one first and then thanking
each), brings them home, gives them to someone who helps put them in water (each
flower could be made of felt with a green wire and felt stem).
141
A lamb feeling hot in his long woolly coat could be A Winter Nature Table Win
shorn for the first time on his first birthday, then frisk
about feeling cooler and ready for summer.
In winter a two-tiered stage/nature table could show
the gnomes on the lower floor at work finding
crystals/ beautiful stones and taking such minerals to
the plant roots ready for spring. A dead but intact rose
bush can be ideal to show both above and below
ground. The gnomes in the picture on the right are
easy and quick to make (six year olds could make
them). The ground above can be covered with a white
felt/silk. Add some small, coloured polished stones
and/or crystals below. In early spring the gnomes could
be removed and root babies tucked in places, Mother
Earth could search and find them and wake them up
one by one, perhaps with a little song.
142
(12) Some scientific information
Full-spectrum, flicker-free, fluorescent lights347

This type of daylight simulation lightbulb produces a light which is full-spectrum,
fluorescent and - very important - free of flicker. Canadian research with handicapped
children showed that this light compared with ordinary fluorescent light caused highly
significant results that affected blind children as much as the sighted.
Blood pressure was lowered and it particularly improved behaviour,
among other things it reduced aggression. The same research team
worked in mainstream schools for over a year, they found that
children under full-spectrum lighting were quieter, less moody,
less stressed, showed the greatest improvement in academic
and IQ test scores and were absent due to illness only one third
as often. Another study, by dentists, found children had 67%
less cavities with full-spectrum lighting. Animal studies have
been equally dramatic, for example egg-laying was prolonged
by at least three times. Elderly men in Boston given this
lighting for eight hours a day for four weeks absorbed 15%
more calcium. It is recommended for Seasonal Affective
Disorder (winter depression). This kind of light is more
gentle for the eyes, it reflects colours accurately and with
high contrast so visibility is improved. Artists and
craftspeople find colours and designs much clearer
and creativity is increased. It gives a cold, white light though.
Clearly this kind of lightbulb (made in Germany but also
available in the UK - in 2000) is recommended for Waldorf
schools and kindergartens(and for puppet shows) if natural
lighting is insufficient.
Light energy in the body, further data348349

The International Institute of Biophysics is composed of fifteen groups of scientists
from international centres from around the world. Fritz-Albert Popp was the first to carry
out a great deal of research on the effect of light on biological systems. He found that all
living things emit light (termed photons), even seedlings grown in the dark, and that that
light is very coherent. The higher the organism on the evolutionary scale the fewer the
photons emitted. Photon emissions from free-range hens’ eggs were far more coherent
than those from battery hens’ eggs. Photon emissions from food showed the healthiest
food had the lowest and most coherent light intensity. Photon emissions in the body
provide an ideal communication system for the transfer of information to the many cells
across the organism. Photon emissions offer an explanation of how cell co-ordination
and communication work and even of how a single cell can grow into a fully developed
adult. Popp found that living things take in light emissions from one another, so wave
347
Higher Nature magazine, Higher Nature Ltd., Burwash Common, East Sussex TN19 7BR,UK
348348
Lynne McTaggert, ”The Field: The Quest for the Secret Force of the Universe” given in “What
Doctors Don’t Tell You, 12, no.7
143
resonance may be used to communicate not only inside the body but between living
things as well.
Popp studied one person’s photon emissions daily for nine months and found the
body has biological rhythms at 7,14,32,80 and 270 days as well as following the world’s
biorhythms. The emissions of a healthy person are exceedingly coherent but cancer
patients have lost that coherence and those natural periodic rhythms. Popp wondered if
plant extracts could change the character of photon emissions from cancer cells (i.e.
make them lower and coherent) so they could communicate again with the rest of the
body. Of all plant extracts supposed to help cancer all but one actually increased photon
emissions. Only mistletoe appeared to help the body “re-socialise” the photon emissions
of the cancer cells and he was able to use mistletoe successfully to cure a terminal
cancer patient. Mistletoe is the plant Steiner said corresponds to cancer in humans and
should be used for its treatment. A potentised mistletoe extract (Iscador) may be
prescribed by anthroposophical doctors and in Germany and Switzerland (in 2012) half
of cancer patients received mistletoe alongside conventional treatment.
Light in the body causes photo-repair (healing by light). Popp found that photo-
repair works most efficiently at the UV frequency of 380 nm. When light of this
frequency is shone on an everyday substance the light passes through unchanged.
However, when that light is shone on a cancer-causing substance it absorbs the light,
changes the frequency and emits it at a new frequency. In other words, a carcinogen
scrambles light in the body. Thus it seems that a compound causes cancer by
permanently blocking this light and scrambling it so that photo-repair can no longer
work.
According to the discoveries of Popp and others we are each an energetic charge.
Human beings and all living things are a coalescence of energy in a field of energy
connected to every other thing in the world. This pulsating energy field is the central
engine of our being and our consciousness. There is no “me “and “not-me” duality to our
bodies in relation to the universe, but one underlying energy field. This field is the force
which finally determines whether we are healthy or ill, the force which must be tapped in
order to heal.
Radiations from television(written in 2000)
There are electric, magnetic and electromagnetic fields and other vibrational
disturbances generated by the television and the computer that affect the user’s health.
The electric field spreads out to the front and side of the screen reducing rapidly in
intensity and can be easily eliminated using an add-on screen and glare protector. The
magnetic fields are not strong. They spread out asymmetrically decreasing rapidly in
intensity. Both the computer and the television transmit quite high frequency radio
waves that are electromagnetic, travelling a long way in all directions. Additionally both
the television and the computer VDU have coils of wire used to create electromagnets
that generate zones of disturbance (as shown in illustration 7). Water vibrations are
disturbed in these zones. The balloon-shaped field in front of a colour television extends
for 8 metres, from a black and white computer screen it extends 2 metres, so all viewers
and users are affected.350 The strongest effect is caused by a vertical column of
degenerate, anti-clockwise vortices that appear to be an important component of
350
Hall, A., ibid., p.126
144
electromagnetic stress.351 The column extends for several storeys above and below the
television set, penetrating floors and ceilings. Thus in office or apartment blocks
someone may sit or sleep within the core of the field so vibrations will be transferred to
his body tissues (mainly through the movement of the blood, which spirals clockwise
through the blood vessels).352
The zones of disturbance around

a television set
The zones of disturbance around

a televison set (cathode ray
type)generated by degenerate,
anti-clockwise vortices.
These zones are additional to the
electric, magnetic and electromagnetic
fields created.
351
352
145
Attention Deficit and Hyperactivity Disorder (ADHD)
Children who are potentially learning-disabled can be helped by exposure to
good language (both at home and in school), a positively structured environment and
methods of instruction appropriate to his/her style of learning so that learning problems
may never materialise.353
Other factors besides television that cause ADHD include the mother taking drugs
or medication before conception or during pregnancy, the father doing so before
conception, toxins from seminal fluid during pregnancy, maternal stress in pregnancy,
the mother taking medication in childbirth, passive smoking, diet, pinworm (threadworm)
parasites,354 lifestyle pace and pollution of food, water and air. One study found that
boys with ADHD had significantly low levels of omega-3 and omega-6 fatty acids in the
blood as well as characteristic symptoms of fatty acid deficiency (thirst, frequent
urination, dry hair and skin).355 If a mother takes alcohol or nicotine (by smoking) or
benzodiazepine tranquillisers or other psychotropic drugs in pregnancy her baby is likely
to be an addict for life. In the U.K. a possible total of two million children born since
1960 are brain-damaged by benzodiazepine tranquillisers taken by their mothers in
pregnancy; they are born addicted and their state may be irreversible - research shows
over 90% of such children suffer ADHD in school and 70% become dependent on
alcohol or drugs.356 In the U.S. in 1990 it was estimated that at least one baby in nine
was affected by drugs taken during pregnancy.357 Yet today in the US psychoactive
drugs including tranquillisers are given to more than a third of all pregnant women!358 A
Swedish study looked at the effects of drugs for pain in childbirth; giving mothers
opiates (e.g.morphine or pethidine) or barbiturates within ten hours of delivery meant if
the baby once grown up chose to take drugs (s) he would choose from the opiate family
whereas giving a mother nitrous oxide gas at that time indicated the baby once grown if
choosing to take drugs would choose among amphetamines.359Thus from the family of
drugs given for pain in childbirth can be predicted the family of drugs which will be
chosen if the baby ever becomes a drug addict.
353
354
Dr. L. Litter quoted in” What The Doctors Don’t Tell You” mazagine, 10, no.3, p.3
355
Stevens quoted in health and Nutrition, magazine, March 1998.
356
“What The Doctors Don’t Tell You”, 11, no. 7, p.12
357
358
“What Doctors Don’t Tell you”, 11, no.7, p.5
359
“What Doctors Don’t Tell You”, 4, no.5, p.12
146

Shams Puppetry Thesis

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Shams Puppetry Thesis

Uploaded by

Copyright:

Available Formats

2

Part A. The Theory Page

Chapter 1. What children need for healthy development 5

Chapter 2. What children receive – sensory damage, particularly from television 33

Chapter 3. Puppetry and how it can heal sensory damage 57

Part B. The practise

Chapter 4. The genuine fairy tale 69

Chapter 5. Music, songs and narration for puppet shows 79

Chapter 6. Some practical guidelines for puppetry performance 84

1. A definition of terminology page 100

The First Stage of Birth -7 years

The Young Child needs Live, Human Models

How the Young Child Thinks

Children need a God

The Child from 7 to 14 years

The Child from 14-21 years

The Twelve Senses

(2) The Life Sense

(3) The Self-movement Sense

(4) The Sense of Balance

Looking at a fully upright person with An erect human being

(5) The Sense of Smell

(6) The Sense of Taste

(7) Sense of Sight

(8) The Warmth or Temperature Sense

(9) The Sense of Hearing

(10) The Language Sense

(11) The Concept Sense

(12) The Ego Sense

The Development of the Senses

Table 2. Progression of erasures for the higher senses

Sense operates in erased are

Hearing the world of sound - oneself (own movements,

Language the world of language - all the above,

Concept the world of concepts/ideas - all the above,

Ego - all the above,

Light and its Effects 35

Some Effects of Television Light, Pictures and Images:

Particular Effects of Television on Children:

What Children Forego By Watching Television:

Treatment for TV-damaged children 55

Light and its effects

Some Effects of Television Light, Pictures and Images

(B) Television as sensory deprivation

(C) Confusion of reality with fantasy, between concrete and imaginary

(D) Television lessens individuality

(E) Images have power – we become what we see:

1.Images affect us by the processes used in meditation and visualisation

2. Images affect us at a cellular level by biophysical processes

3. By emulation we become our images

(F) Characteristics of television pictures and programmes

Particular Effects of Television on Children

(a)healthy branching (bushiness) (b) heavy viewer, one pathway overused,

(J) Damaged development of language skills

(K) Delayed gratification and a sense of time

(L) Noise bombardment, beat and loud music

(M) What children really see on television

(O) Loss of imagination and resultant inability to play

(P) Loss of ability to imitate

(Q) Lack of movement

(T) Young children need a god

(U) Television shatters family life

Treatment for TV-damaged children