Spring 2016

Newsletterof the Association of Great Britain and Ireland

Ed i t o r i a l Te a m : Elisabeth Bamford,Chas Bamford, Christopher Kidman [email protected]

Reflections from the Council At the full and exciting Annual General Meeting (AGM) event in Stroud last October – still much in my mind but described elsewhere in this Newsletter so I won’t say more about it – we even managed to squeeze in an abbreviated council meeting. We welcomed Maurice Manning to the team. He, along with Tomie Ando (and with Michael Mehta helping when needed), will be specially concerned with any issues that come up in relation to eurythmists’ employment in schools, as well as being our direct liaison with the Eurythmy Outreach initiative. Roxanne Leonard, our other new council member, could not be present due to the Irish eurythmy tour [see page 3]. She will bring Ireland into the council, which will hopefully make us more aware of what is going on in that part of our Association. For instance, had anyone outside that island heard of the Irish eurythmy tour or known of the CONTENTS ongoing work there on the Foundation Stone Meditation? Refections from the Council...... 1 We are still honing our individual roles on council; learn- ing how to balance out responsibility for our own areas Eireann Eurythmy Ensemble...... 3 against collegiality and consensus. As everywhere nowadays, Eurythmy in the Mystery Dramas... 3 it seems that simple communication – ha, simple! – is the golden key. Eurythmy Association AGM Event.. 5 Working in India...... 7 On which note, not so long ago it seems that simple Speech formation and eurythmy.... 10 I needed to contact a member so I looked up their telephone communication – Eurythmy Outreach online...... 16 details on the Association da- ha, simple! – is the Eurythmy in Gloucestershire...... 17 tabase. When I called that number I was informed that golden key. A greatly accomplished Welshman..18 the person I wanted to talk Poetry with eurythmy in mind...... 19 to had not lived there for the last four years! So obviously our database needs some at- Eurythmy form by Marguerite Lundgren.. . 20 tention. Willemien Erenga, our treasurer and membership Whitsun eurythmy festival...... 24 secretary, is going to prepare an alternative layout of it. All of you who work in a particular geographical area will Vitaleurythmie…………………. 24 be in a section together; then one or other council member Eurythmy Therapy training…….. 25 will be getting in touch – if they are able! – to check your contact details. On occasion this might lead to a phone con- Vacancies………...……...... 27 versation like the ones we had several years ago when we Diary………………………...... 28 asked you about your thoughts on future conferences. Instead, we began to talk about all manner of things eurythmical that Summer newsletter deadline….. 28 were currently on our minds. Catching up, in fact. Now, some really good news. After a sort of trying-out period to see what it entails, Elisabeth and Chas Bamford have formally agreed to take on the editorship of the Association newsletter, moreover saying they would be delighted! That ‘delighted’ is especially encouraging and bodes well for the newsletter’s next few years. They have experience in this area and new ideas. You can see from the autumn edi- tion that they are approaching the task creatively. They will be joining council for part of our February meeting so we can have an in-depth discussion on how the newsletter might develop and how best to afford this. [You can contact them at [email protected]]

By the time you read this, the council meeting at the Barbican will probably have already happened. We have received many enthusiastic reviews of our AGM event last October and I’m sure the widely- expressed wish for a follow-up will be a major point on the agenda. May I just say again that if any of you have anything you think council should be discussing, please do get in touch via our secretary, Gabriella Vasas-Turnbull. Our next meeting will be in June.

Finally, I hope that those of you who are currently working, or thinking of working, on an artistic eurythmy presentation or programme are keeping in mind that this year of 2016 is the 400th anni- versary of the death of William Shakespeare and this is being widely cele- brated. It can only serve our precious eurythmy to get on board. What a good excuse to dig up some of the lovely eurythmy forms by or indeed to make some new ones for some of the greatest poetry in our language. Recently I was drawn again to some of the lyrics from the plays and was aston- ished anew at just what magical things they are: Rudolf Steiner’s eurythmy form for Where the bee sucks (bottom of the drawing is the front of the stage) Come unto these yellow sands... Where the bee sucks, there suck I... Tell me where is fancy bred? Who cares who Shakespeare was? Whoever he was, he caught the highest spirit of the word in English!

Christopher Kidman 01425 482416 (for the Eurythmy Association Council: Gabriella Vasas-Turnbull, Willemien Erenga, Tomie Ando, Maurice Manning and Roxanne Leonard) To contact the Council - an email to [email protected] will be sent simultaneously to all Council Members

2 was it a place in Byzantium, or was it a picture of The Eireann Eurythmy the body as Temple? And within the Temple there Ensemble burns a lamp, as expressed in the fery poem by Tagore, Touch me with Thy fre. The programme was framed beginning and end with music on the The eurythmy group from the northern parts of Irish harp. Ireland — Kazuhiko Kimura (Mourne Grange), Brigitte de Rhoter (Clanabogan), Gyongyi Slonszki Feedback from audiences was positive for both (Ballybay), along with Tom and Roxanne Leonard the programme and performance and we have (County Clare) — made a three-day tour of the been warmly invited to return. northern Camphill communities at the beginning of November 2015. As a group we bonded through travelling together and sharing meals and good conversation. And The Celtic theme of the programme included three the question arose, what do we call ourselves? Soul Calendar verses, a blessing of the Triune Eventually we arrived at a name which is inclusive and some poems by W.B. Yeats. These led into the of both north and south – The Eireann Eurythmy dramatic and pictorial Song of Amergin in which this Ensemble. hero of ancient times approaches Eireann from the nine-waves’ distance to conquer the land with a Roxanne Leonard resounding, ‘Yes!’. The programme culminated with [email protected] a poem by Tagore. Unique to the event was the recitation to harp The Eireann accompaniment of two poems by Yeats: The Song Eurythmy of Wandering Aengus and Sailing to Byzantium. Ensemble Overarching the program was a feeling for the (with harp expanse of the heavens, as seen in Yeats’ He second from Wishes for the Cloths of Heaven. Under this starry the left) canopy, one had the experience of a Temple —

Eurythmy in the mystery dramas, a workshop with Werner Barfod

This October weekend organised by The Stroud Mystery Drama Group took place in the Centre for Science and Art in Stroud and was full of creative activity. Actors and eurythmists attended, as well as eurythmy students and teachers from Eurythmy West Midlands.

Werner Barfod took as his starting point the balanced human being as expressed in IAO and Light streams upward, weight weighs downward. Then he led us into the expression of the various beings in the Mystery Dramas: Lucifer, Ahriman, the Soul Forces, the Double, the Guardian of the Threshold, and the Spirit of Johannes’s Youth. Working with the colours and the dramatic gestures, we developed a common space where acting and 1. Thinking, feeling, will; Astrid, Philia, eurythmy could speak together. There was a mood of eager Luna; sagittal plane, horizontal plane, interest and a feeling of anticipation of future work together. frontal plane 3 This was the frst of a series of fve Stroud weekend workshops focussing on different aspects of the Rudolf Steiner’s Fourth Mystery Drama in preparation for working on it.

Marie-Reine Adams [email protected]

I found it intriguing to be able to get closer to understanding the rôle eurythmy plays in drama, specifcally the Mystery Dramas. It was wonderful to get a practical understand- ing of how movement is to be used by the different beings 2. Mercury planetary seal as form basis for Maria, Luna, Astrid and Philia; light streams up- that populate the scenes by being those beings ourselves! It wards exercise as basis for sylphs and gnomes. was incredible fun and powerfully informative.

Werner Barfod was happily joined in the afternoon by Richard Ramsbotham, who introduced speech and dramatic elements. Richard showed how to integrate specifc dramatic movements with specifc styles of speech. I found that as soon as speech and movement were combined, a new world opened up which we explored in a wonderful way.

There were diffcult moments of uncohesiveness and misunderstandings between speech and eurythmy, but overall I loved how Richard and Werner worked so well bringing those two worlds together in the intense scenes from the fourth play.

It was good to be around a solid group of eurythmists. This brought a strong sense of learning as a group. Thanks to all who organised this event. 3. Lucifer and Ahriman: O and A; periphery and centre; curved and straight Ryan Kouroukis (the actor who played Johannes in the recent Stroud production of the Third Mystery Drama)

Werner Barfod’s workshop was very inspiring, not just in relation to the Mystery Dramas but also for real life! After all, what unfolds in the mystery drama also speaks of our own journey seeking to grow towards what we truly are. It was so amazing to get more acquainted with the different forces at play in the human being. I also felt it helped me for my whole eurythmy work. On behalf of Eurythmy West Midlands, thank you for organising this workshop and making it available for us! Raphaelle Voruz (student at the Eurythmy West Midlands)

Four blackboard drawings by Werner Barfod made during the sessions 4. The Guardian of the Threshold: frontal plane 4 Eurythmy pass more or less all the questions and suggestions! The main focus was a workshop of two substantial Association of Great Britain afternoon sessions on how better to recognise and and Ireland express the epic, lyric and dramatic aspects of poetry. Jonathan Reid (eurythmist) and Brenda AGM Event, Ratcliffe (speaker) as co-teachers attempted to October 2015 in Stroud bring us to a better understanding of these elements as they come to expression in partly different The Council had the idea to make the 2015 ways in speech and eurythmy. There were words, AGM event as attractive as possible by surrounding among others, by Dylan Thomas, W.B. Yeats and it with artistic content. Questions and suggestions the living English poet Alice Oswald; there was The went out to members, and ideas and offers of Ballad of Semmerwater and The Dream Song of artistic work poured in! The offerers were very Olaf Åsteson – wide-ranging poetic inspiration in- supportive of one another’s ideas, and quite soon deed. [See separate report on page 11– Ed] a programme began to emerge. There was an evening master class where anyone was free to share artistic work in different stages Miraculously, this programme was able to encom- of progress, though some spontaneous sugges-

The magnifcent Centre for Science and Art building in Stroud, venue for the AGM event tions came from those watching. a meeting arranged and hosted they can be fostered and possibly We saw a Prelude and Fugue by the Eurythmy Outreach initia- coordinated across the land.... by Bach and a poem by Vernon tive, founded last year to make And the AGM meeting itself Watkins. There followed a pres- the future of eurythmy in Britain covered valuable ground, again entation of the ongoing work and Ireland more secure and with updates from Eurythmy Out- with eurythmy in the Mystery bring a greater awareness of it reach and a discussion about fnd- Dramas which asked for audi- to the wider public. This meeting was ing a Performing Arts Section ence participation (I had to get for those (it turned out to be almost Representative for these islands. up and speak for Ahriman at everybody) who wanted to discuss very little notice!)…. There was public eurythmy courses and how In the light of this, it may be appar- 5 ent that what came to be called astically to help – to put people sharing evening: the AGM Event was a glorious up for very reduced rates or noth- Some of us had attended a occasion! I think that, if you read ing at all and to cater, organise weekend with Werner Barfod the paragraphs of appreciation and host all the beautiful meals three weeks previously to work below by some of the people and breaks (considering all our on the archetypal gestures of who attended, you will agree different dietary requirements). the characters from the Mystery that that is a fair assessment. For this, Marie-Reine Adams, Dramas who are portrayed in There was a strong sense of a Sandra Genatowski, Elisabeth eurythmy. We were able to bring real ‘happening’, maybe even and Chas Bamford – I feel sure the results of that somewhat hot of something new, of a seed being I can thank you so very much in off the press. So we explored sown. But there was something the name of everyone present! these gestures, starting from the more which was surely just as IAO exercise: Lucifer, Ahriman, important. We were about 30 Christopher Kidman the Double, the Guardian, and people, mostly eurythmists but (Co-ordinator of the council the Spirit of Johannes’s Youth. also a couple of speakers, coming of the Eurythmy Association of Even though it was already 9 from very different artistic traditions but Great Britain and Ireland) p.m., a good ffteen or so peo- there was a great joy in meeting! ple joined in and were happy We were talking, talking, talking to stand and move.... We then to one another. There was warmth, Now, some impressions of par- showed part of Scene 4 of The openness and sympathy alongside ticipants: Souls Awaken with some people and through the gained inspira- speaking the different charac- tion and new artistic experiences Mignon Manning on the workshop ters from the script while others we had together. (Do you think, with Jonathan Reid and Brenda moved them. It was wonderful for instance, it’s easy to stand up Ratcliffe: for those watching to experience in front of your peers and of- We entered another world – the how very quickly we could enter fer your incomplete work to their familiar and beloved realm of into Johannes’s inner world, seeing gaze in a gesture of questioning?! And poetry in movement, a world it portrayed there in front of us. yet at the end of that evening where time is at once infnitely I overheard someone say, “We long and passes by unnoticed Elisabeth Bamford on the must do much more of this and in the wink of an eye. There we sharing evening: at a deeper level!”) The feeling were all together engaged in- Some of us showed eurythmy of collaboration which had char- tensely in an exploration of as- work in progress and there was acterised the whole preparation pects of poetry – a meeting on a an opportunity for feedback period continued throughout the much deeper level. It was a warm from the people attending the AGM Event. up, a focussed exploration, a event, including council member diving into rhythms and sounds. I Christopher Kidman. A potentially Perhaps most importantly of all, particularly appreciated the al- daunting challenge proved to be the council were worried how to ternating of speaking and mov- a kindly space of interest and feed and accommodate people, ing. I also discovered new ways warmth. Useful comments were hire rooms, and cover fees for the of looking at the familiar epic, made, and it was a pleasure to two-day event as well as keep lyric and dramatic aspects of be allowed to get a glimpse of the costs down. How about if the poetry. Apart from the effect it work in the becoming. Association helped subsidise the had on me personally, I found it event? But do we have any mon- an excellent way of bringing us Rebecca Voge on the public ey? Well, believe it or not, we together for fruitful sharing, con- classes meeting: had recently received some un- sideration and decision-making Individual eurythmists are offering expected extra income from dif- at the next morning’s AGM. public classes across the country ferent sources! Yes, truly. And then generally experimenting with people stepped forward enthusi- Marie-Reine Adams on the different target audiences, what 6 to call the classes, the charging Finally, Melissa Harwood: who have served on the coun- structures, the content etc. We When a large group of euryth- cil of the Eurythmy Association agreed that it would be helpful for mists met in Botton in 2006 to throughout the years, this was a such information to be formally collat- re-found the Eurythmy Associa- great joy to witness. For those ed with the view of creating an tion of Great Britain and Ire- who are taking on new initia- overview as well as encouraging land, there was hope that a new tives, we support and applaud professional sharing and debate. enthusiasm for working together them. Would it even be benefcial to try would be engendered. This has and offer a somewhat unifed proven to be the case as wit- [A slightly longer version of this experience of eurythmy to the nessed at the AGM which took report appeared in the December users of public classes within Great place in Stroud on the weekend ASinGB newsletter] Britain and Ireland? I agreed to of 30-31st October. There was draft and send out questionnaires an ethos of sharing experience to eurythmists, frstly those who and learning from one another belong to the Eurythmy Associa- throughout the two days as well tion, to begin the process of fnd- as looking forward to the future ing out. development of eurythmy in all its manifestations. For all those

The refounding of the Eurythmy Association, Botton Village, 2006

This jewel of a continent is culturally rich and steeped in ancient tradition. Working in There seems to be a special quality in the light, the sound of the birds India over and the beauty of language, art, music and religion. But there are also great challenges accessing day-to-day necessities of life; for example Christmas clean water, breathable air and a reasonable supply of electricity, to and New mention but a few! Year There is a strong interest in eurythmy within the Waldorf movement in India but as yet there are no trained Indian eurythmists active.

7 Dan Skinner, Diana Skinner and I were invited back to Hyderabad to work again in the Prerana Wal- dorf School, one of four Waldorf Schools in that region.

Through working intensively for three sessions per day with a large group of teachers, two or three parents, and some of the oldest pupils in the school, we progressed quite quickly. After fve days we were able to stage a moving performance of what had been worked on. We also integrated the par- ticipants, combining drama, eurythmy and music, into a production of Shakespeare’s scenes from The Tempest featuring Prospero, Ariel and Caliban!

At a workshop

We experienced a wonderful commitment on the part of the participants and our hosts. The days were flled with joy, humour and enthusiasm. People had the ability to dive into eurythmy and drama with inner experience and feeling, showing a propensity for movement which surely comes from their great traditions of classical dance. There was tremendous excitement about the performance aspect of the work.

The work of creating the performance together and bringing it to a resounding conclusion was invalu- able in further deepening the experience of eurythmy and its potential.

A special gong was installed outside the hall in order to call people in; the press were invited to in- terview us, and great attention and time were given over to the preparation of the set and the lights.

We also participated and taught in the annual fve-day Humanising Education Conference in Kharghar, Mumbai. This took place at Vishwajyot High School. Along with Waldorf teachers from Australia and New Zealand, an Indian Anthroposophic doctor, and founder members of the Indian Waldorf move- ment, a faculty was formed to steer, carry and deepen this precious impulse which is growing in strength in several parts of India. We are thankful that it was possible to teach eurythmy to about 65 people during our time in India and returned tired, but inspired, just in time to join the British New Year!

Chrystal Hayn [email protected] 8 This painting of a eurythmy fgure hangs in Juliet Hurner’s eurythmy room at Ringwood Waldorf School next to the well-known Greek relief of a woman walking. Juliet (who painted it from a photo she found on the internet) very kindly let us reproduce it.

Is the girl doing ‘R’? The Editors 9 Speech Formation and Eurythmy: the Challenge of Collaboration Articles on the experiences of speakers for eurythmy were intended to appear in the Autumn 2015 edition of this Newsletter. This was not possible due to the change of editors around that time. But it seems especially relevant for this issue which follows on from the workshop at the AGM event last October that was co-led by Jonathan Reid and Brenda Ratcliffe, a eurythmist and a speaker.

A written contribution from Brenda and Jonathan follows below and two further articles on the theme com- plement this. We are expecting a further contribution on the theme for our summer issue.

In addition, in April 2018 there will be an international conference at the for eurythmists, speech artists and eurythmy therapists on the different ways that speech and eurythmy sound and work together. We have two years to prepare!

But frst, to provide some context, here is a poem… The Editors

Speaking Four Here goes then… Along sinuous sentence-streams... I’m speaking for eurythmy, Commas plashing, fsh-leaping full stops, Or is eurythmy speaking for me? Stanza wonder-vistas.... Am I speaking for you? Are you speaking for me? I’ve travelled a lot, but this journey is something else... Are we speaking together? All these steps... iambic mostly... blow me down! Here’s a choriambus... keeps us on our toes (or heels).... Hang on; shouldn’t it be the Poem that’s speaking...? Well, yes… but…. Thanks for spotting that one, Way-companion. It isn’t… yet… is it? But now the way seems to go backwards... all those Don’t we have to fnd it? pictures! Well, haven’t we found it already...? Page 134 in your Now forwards again... that picture’s dancing in anapaests, book, no. 96 in mine? Shimmering consonants, and shot-silk vowels, to the But have we found it? chime How can we fnd it? Of a rhyme!

Sounds like a journey’s needed, getting kitted up, setting It’s all a bit overwhelming. out, going the distance.... So, we’ll be travelling together? Sleeping bags out under the stars, We’ll need to, to fnd the Poem. And when we wake up, the air’s clearer, Does that mean you’re the leader? The Poem’s voice is growing stronger, Because I’ve heard that this kind of journey needs me And somehow, to be selfess... This journey’s giving me all the breath I need…. So I guess I’d get us lost. Who said this was selfess work!

No, we both need our selves. What do you mean, “Look behind you”?

But then there’ll be tussles, you know: My goodness! Could it be? This way, my way, not your way! “Do I have the honour of addressing Mr. John Keats?” But if the Poem’s calling us, we should fnd the way, the Poem’s way. Brenda Ratcliffe, January 2011 Anyway, the Poet will come along too... after all He knows where the Poem lives… he’s been there before.

10 The Challenge of Collaboration 1. Epic, lyric and dramatic – giving a poem what it deserves

A collaborative research project in speech and eurythmy led by Jonathan Reid and Brenda Ratcliffe at the Eurythmy Association (GB & Ireland) AGM, Stroud, on the 30th & 31st October 2015.

Jonathan: The working relationship between speakers and eurythmists can scale the heights of joy and plumb the depths of despair and frustration – be an alchemical wedding or a Punch and Judy show (the speaker is invariably in the Judy role). Many eurythmists, when they are teaching speech eurythmy, must assume the role of speaker for their classes, but how many do so on the strength of having really immersed themselves in, and practiced, the art of speech? Or in the realm of performance, how often do euryth- mists ‘prepare’ a poem by submitting themselves to both disciplines? The intention of this course was not only to address a specifc poetic theme but to do so via both the disciplines required to bring any such research to artistic fruition: speech formation and eurythmy.

We began with eurythmy, exploring three different metres – trochee, iambus and amphimacer – as a means of establishing an underpinning rhythmic dynamic for, respectively, epic, dramatic and lyric verse. Three poetic samples were used, all lyric in nature, so as to explore the rhythmic differences with- out the distraction of the stylistic ones. The measures were not used to articulate the syllables (except in the case of Blake’s Spring), but to give a signature to a whole line or phrase of each poem.

Trochee (Columcille: translated from 8th century Irish) • Listening for the source of the line or phrase at the periphery (‘pre-schwung’) • Gathering/collecting/leading down the line or phrase (the ‘long’) • To a point of conclusion/arrival/rest (the ‘short’)

Iambus (The Song of Wandering Aengus: WB Yeats) • Finding the point of origin at an inner place of poise and wakefulness (short) • Sending out/impelling the line or phrase from that point (long) • Releasing the line or phrase towards the periphery (‘post-schwung’)

Amphimacer (Spring: William Blake) • Listening at the periphery (‘pre-schwung’) • Collecting/gathering in the line/phrase/syllable (long) • To a mid-point of full wakefulness/incarnation/concentration (short) • Leading out the ‘tail’ of the line/phrase/syllable (long) • Letting it return to the periphery (‘post-schwung’)

N.B. The stress-value that is bound up with the time-value of the rhythms is actually reversed in these exercises – the ‘short’ is experienced as having more weight, concentration and density, the ‘long’ is lighter and more diffuse.

Then, with deliberate abruptness, the eurythmists were asked to step into the speaker’s world….

Brenda: The many eurythmists dived attentively into an exploration of lyric, epic and dramatic as they fnd their basis in the speech instrument. Through the threefold exercise By miner wafer we explored the lyric

11 placement, the furthest forward, which weaves from the lips to enable us to say, “I want to tell you how it feels”. We considered the tendency which can arise for eurythmy teachers working on lyric/feeling to push their speech upwards accompanying the eurythmy movement with the result that the vowels swell, and lose the forming covering movement of the fne consonants, giving a sentimental effect. In spoken lyric the vowels still need to be covered and moved by the consonants, however fne those consonants may be.

Then followed the dramatic/thinking placement from the teeth and hard palate, radiating with the urgent wish: “I want to understand my destiny through struggling with you”. We then explored the round warm dark epic placement at the back of the mouth, from which the forming consonants enable us to say: “I want to tell you what happened”*. We worked on weaving these three together in Rudolf Steiner’s verse Ecce Homo and applied what we had practiced to speaking in the three styles in The Ballad of Semmerwater.

*I am grateful to Dawn Langman’s The Art of Speech (Temple Lodge, 2014)

Jonathan: The next step was to return to eurythmy and explore The Ballad of Semmerwater in movement, with hopefully an enhanced attunement to the subtleties required of the voice in sounding the alternating qualities of epic, lyric and dramatic. Throughout this section of the work, the participants divided into two groups, alternating as speakers and eurythmists, and thereby creating three interwoven tasks:

1. incorporating the rhythmic dynamics of trochee, iambus and amphimacer into the epic, dramatic and lyrical elements of the poem (eurythmy), 2. working the voice techniques to the same purpose (speech), 3. trying to create a concordance between the two by a deep listening (both).

From The Ballad of Semmerwater, we turned our attention to The Dream Song of Olaf Åsteson (English translation by Timothy Edwards from the German text used by Rudolf Steiner). Here we have a more traditional ballad, in its form at least, with a choreographic treatment by Steiner that, to my mind, clearly distinguishes the elements of epic, lyric and dramatic. One eurythmist has the role of narrator, another represents the spirit- at the outset it was being of Olaf (my interpretation), and a circle of fve fgures represent the soul of Olaf. From this point on in our work, given important that the the time at our disposal, we allowed the eurythmists to get on with eurythmists recognised eurythmy and the speaker with speech; but whereas the elements what a challenge the of epic, lyric and dramatic are, for this poem at least, parcelled out between the eurythmists, the speaker has to encompass and speaker has on do justice to all three, blending them or giving due prominence to their hands each as appropriate. It may seem like a simple thing but just taking time to acknowledge that fact allows a feeling of respect for one’s speech colleague to develop, and that can only beneft a working relationship.

On the basis of that respect and awareness for the speaker’s task, can the eurythmists – each with a different rôle or onus in the eurythmic expression of this poem – really understand and tune in to the speaker’s treatment and modulation of the three different styles so as to actually ‘hear’ their role? Here are some of the challenges issued to speaker and eurythmists by this work on Olaf Åsteson:

• Each section of the ballad has its own refrain, a pause in the drive of the narrative that is 12 descriptive of the background mood or atmosphere – clearly lyrical. Here, the circle should take prominence, swinging into and out of the phrasing (the amphimacer gesture). The narrator, by con- trast, can ‘retire’ a little; perhaps merely indicate the formative, consonantal elements in the refrain by way of the Zodiac gestures.

• The rôle of the narrator is essentially descriptive (they must work exclusively with consonants). Although (or because) this eurythmist is standing for long sections of the ballad, they can endeavour to create an underlying trochaic dynamic in how they shape the speech – summoning the phrase from a periphery behind them (it might be above or below) and focussing it through themselves like a lens – trying to show the speech as something that is perpetually arriving.

• If a verse or section of the poem refers to Olaf in the third person singular (‘he’), this invites the narrator to be more prominent and emphatic in their expression; whereas, when the storyline hangs on the frst person singular (Olaf as ‘I’), the narrator can perhaps give way a little to the Olaf fgure.

• In those sections of the narrative that are couched in the frst person singular, the Olaf fgure, though predominant, can nevertheless pay attention to whether the ‘I’ is active in the realm of the senses (lis- tening, beholding), the will (grasp- ing, walking, crossing), or in feeling-experience. In the frst case, ‘Olaf’ can perhaps allow the narrator to take a great- er share of the sound-forming than in the second, and in the third, the encircling, atmospheric- lyrical soul-element can amplify the movement and gesture of the Olaf fgure.

And so on, and so on, but the pursuit of all these subtleties Rudolf Steiner’s eurythmy form for verse 17 of The Dream Song of can only approach success Olaf Åsteson (bottom of the drawing is the front of the stage). through deep and intimate collaboration between the two arts of speech formation and eurythmy and their representatives.

The fnal phase of our work was to dive headlong and headstrong into the work of Alice Oswald, spe- cifcally her treatment of The Iliad. This involved trying to hold on to our understanding of epic, lyric and dramatic and at the same time fnd a fexible, experimental way of working with it in the context of a modern piece where the poet has deliberately (and for sound poetic reasons) dismantled an epic form and re-cast it as a series of elegiac lyrics. This requires a separate article, and I’m going to end instead with some fnal refections on the mode of our work, rather than its subject matter.

13 I believe the creative potential of speech formation and eurythmy working together is huge, but more potential than actual. From the work we attempted at the AGM, it seems to me that, to further realise this potential, we would need to take some concrete steps: • The frst key step is to step into each other’s art – for the eurythmist to practice speech and the speaker, eurythmy – and to do it together. This creates an understanding for the other art and a respect for the other person. • The second is collaborative preparation of performance work. How often does an eurythmist come to the frst rehearsal with a choreography all prepared and they haven’t even spoken the poem aloud themselves, never mind asked a speech colleague to ‘sound it out’? Eurythmist and speaker need to explore together their own inner picturing of the poem – it’s meaning, imagery, sound, structure – and the contrasting, or converging technical demands these ask of their respective arts. • All this should build listening faculty. In the extended moment of performance, all the prepara- tory work, however collaborative, is useless unless it has resulted in enhanced listening faculty. Only then can the two arts become concordant and complementary in the moment.

Brenda Ratcliffe [email protected] Jonathan Reid [email protected]

The Challenge of Collaboration 2. When I speak for eurythmy

For me working with the eurythmists is a very creative experience, a wonderful conversation which begins in stillness as we gather in a circle and start to move together.

At present we are privileged to be working on a programme of Vernon Watkins poetry: Night now transfgures, walking in the starred ways, Tears for the living.

Our dialogue with the poet is a quiet and interior one. There is a lot of mutual respect, indeed we work in the spirit of devotion. I speak; they move; and we begin to listen to each other and to the poems.

I feel immediately all my work to breathe life into these poems is deeply enriched by their movement. I become more aware of how sounds are singing, of the potential that lies within – the pauses – how and where a line fows – how the thoughts and pictures are unfolding and colouring the space. And, yes, I do slow down but never in a way that compromises the character and meaning of the poems. Rather it allows the poems to arrive, to be received and to sound in the space.

My seeking soul is stretched, and in our mutual striving I believe something of the sheer magnifcent beauty and truth of these poems can begin to appear!

And I always feel enlivened by our working together – it is a great joy and I carry this joy into my world and share it with the people I meet.

Elizabeth Ramsbotham

14 The Challenge of Collaboration 3. Collaboration with speakers

The editor asks for some statement of how I collaborate with speakers. The recent little performance I prepared with Geoffrey Norris could serve as an example.

Through my artistic partner’s connection with Shakespeare, the invitation came to help launch the Shakespeare Academy, a non-residential impulse to promote the ideas that Shakespeare, our national Bard, taught.

We discussed the programme – the audience would be entirely new to eurythmy. Geoffrey has a keen sense of form. Should it be 20 minutes or 30 minutes? I have known Geoffrey for decades; as a speech artist he has eurythmy in his bones and feels passionate about this art. So, after having practised my part, I welcome sessions where I hear mostly‚ “I can’t yet see the intention, the feeling, the dynamic”, and so on. He also makes suggestions to fre my imagination, tries things himself, and insists until he sees it. This devotion and persistent criticism is what I think Debussy meant when, with his letter-opener paring away at his blotter, he declared, “Like this, until I get it right”.

Maren Stott, Eurythmy West Midlands

Bestwood Lodge and gardens, venue for the launch of Shakespeare Academy

Eurythmy in Nottingham

On the 19th November 2015 the artists in residence at Bestwood Lodge, Nottingham presented a varied programme of events to celebrate the founding of The Shakespeare Academy, a project inspired by Shakespeare to enliven the middle realm in the ever-more desperate situation of our civilisation. The evening was led by the international scholar Charles Beauclerk and was supported by a range of paintings, sculptures, a short flm, choral work and speeches spread over a suite of fve rooms in the extensive Victorian hunting lodge, dating back to the1860’s.

After these initial presentations, it was the Chapel Hall that witnessed, as the scheduled crowning gift for the Academy, an offering of speech and eurythmy performed by Geoffrey Norris and Maren Stott from Eurythmy West Midlands. The performance comprised Jaques’s Seven Ages of Man, Under the Greenwood Tree and other songs from As You Like It along with a selection of sonnets.

15 The change among the crowded audience, sitting, standing and squatting on the foor was distinctive. This was no longer Shakespeare for a ‘modern’ cause – whether sociological, political, or even for something like the wisdom of Nature (one of the themes of the overall celebration). For many, perhaps for the frst time, the spiritual word was heard and seen in form and movement, and the experience was nothing short of stunning.

Neil Franklin, South Devon [email protected]

… thanks for your stellar contribution to our launch on 19th November. The response to the eurythmy was overwhelmingly positive; to many it came as a complete revelation. Hopefully we can do more in the future

Charles Beauclerk, writer, author and presenter

To me I think it worked so beautifully as the mover (Maren Stott) appeared as the soul of the reciter (Geoffrey Norris). It worked so seamlessly that there was an almost eerie quality to it. For me the most notable event of the evening was Geoff’s programme of eurythmic dance combined with his own expert rendition of some of Shakespeare’s greatest monologues. To see Geoff’s passionate and insightful delivery of these famous words immediately refected in physical movement was an uplifting and deeply moving experience. The mimetic dance display seemed to penetrate to the heart of the text, modelling the ebb and fow of emotional weight and tension that moved through the poetry. A masterful and unique contribution to our appreciation of the Bard. Alexander Newly, artist

Eurythmy Outreach Online Eurythmy Outreach is committed to develop and ex- tend the online presence of all aspects of eurythmy in Britain and Ireland. We have been seeking funding for this, we have drawn up a budget to support the work, and some funds have already been secured.

On the 5th February, we decided on some frst steps. We hope they will be in place and reaching wider au- diences by the time you read this.

Three of the members of the Outreach core group are coordinating these steps which will be to start: • a Facebook page called Eurythmy in Britain • a Twitter account called Eurythmy in Britain • a YouTube account of regular video clips

Heidi Pedersen will manage, collate and curate the content. Sigune Brinch will collect images and organise the making of videos and short clips. My intention is to start a blog to accompany these projects.

We would like to promote your events, classes, trainings and offers to the wider public, so please help us. Please send details of your events, your pictures and your updates to Heidi Pedersen at [email protected]

Review, feedback, consultation and further planning will take place in the middle of April, so do get in touch be- fore then with your comments and feedback. Chrystal Hayn (on behalf of Eurythmy Outreach) [email protected] 16 Eurythmy in Gloucestershire The Outreach Group reported their plans to the Eurythmy Association AGM. We are now ex- ploring how to extend this work locally, developing the profession through mutual support on all possible levels. Elisabeth Bamford [email protected]

I would like to share news of our second meeting Sandra Genatowski, Marie-Reine Adams, Elisabeth of local eurythmy colleagues, which took place on and Chas Bamford), who are working on a small 15th January 2016. eurythmy project based on the poetry of Vernon Watkins. This has involved a certain amount of We were a circle of eight, and we begun by describing pioneering effort, bringing together all the ele- our present areas of work, in and around Stroud. ments needed: practise and performance space, a speaker, a musician and a rehearsal schedule. It Some key questions which emerged were: was heartening to hear about this work. • How can we make eurythmy more avail- able publicly? Some of us are working in other areas: teaching • How can we uphold the values and strengths in Waldorf Schools or special education, holding of eurythmy in a marketplace shared with oth- public classes and working with eurythmy therapy. er forms of movement? • Is it wise to focus on themed public courses This meeting enabled a commonality to arise and for limited blocks? we resolved to meet again in spring, and to in- • Should our charges be higher? clude movement and study. • Can we gather information together from all the working eurythmists in the area, and Jane Abel produce a poster or leafet for the public? [email protected]

We heard of soundScape eurythmy, Stroud (with

A greatly accomplished Welshman Vernon Watkins is a poet who deserves to be better known. His exquisitely fne, musical poetry is full of the quality of listening. In 2017, ffty years since his death, a new biography written by Richard Ramsbotham will be published.

Vernon Watkins was a close friend and colleague of Dylan Thomas. They collaborated all through their lives, sometimes changing each other’s poems line by line. They inspired each other and their work is contrasting but complementary. Thomas called Watkins ‘the most profound and greatly accomplished Welshman writing poems in English’. Watkins wrote of Thomas, ‘His writing was, I understood from the frst, the exact complement of mine.’

17 soundScape eurythmy, Stroud are exploring Watkins’ work and fnding rich material that springs into life and movement through eurythmy. In collaboration with Richard Ramsbotham and others, sound- Scape are presenting a programme of eurythmy, speech and music named from a line in Watkins’s poem Rhadamanthus and the New Soul:

“Life is a Tree that Blossoms in the Stone…”

There will be an introductory talk to help people begin to enter Watkins’ world before the rest of the programme.

Presently involved in the project are Sandra Genatowski, Marie-Reine Adams, Elisabeth Bamford, Chas Bamford, Elizabeth Ramsbotham, Richard Ramsbotham, Trevor Smith (piano), and Maren Stott (advisor).

So far we have these performance dates (subject to alteration): 4th March 2016 Christian Community, Stroud, Gloucestershire 18th March 2016 The Grange Village, Newnham on Severn, Gloucestershire soundScape eurythmy, Stroud 23rd March 2016 Botton Village, Danby, North Yorkshire “Life is a tree Elisabeth Bamford [email protected] that blossoms in the stone”

Vernon Watkins, a celebration of the poet’s life and work, with eurythmy, music, and poetry and an introduction by Richard Ramsbotham 7.30pm Friday, 4th March 2016 , 73 Cainscross Road, STROUD GL5 1HB (tel: 07873 953940) £10 (concessions £8) A proportion of the proceeds will be for the new church 18 Poetry with Eurythmy in Mind

The following poems are a celebration of the consonantal world! All three are charged with the dy- namic force of nature. In the frst, spring growth is fashioned by the Evolutionary Sequence; in the re- maining two, the sounds – belonging to earth, water, air, and fre – give access to the elemental beings which inhabit them.

Hilary Kidman [email protected]

1 2 bound in the beech-bole Under the earth not blithe yet, behind bark grows the seed but past rock and stone beginning to breathe and move brightness about its roots dig down. perhaps Green fames comes a murmur shoot from the dark a mention sprout and sing a miracle of much and of many a green spark. that moves far above the magic has dripped All the leaves down through the dark drenched with the fall and the tale of the dawn was told to the of dew and rain everything all greeness grows. that would be Seeds fy known new again air and light spring is here wings in the wind night’s needs are over spring is here twirl out of sight. reach up with the pull of the rising sap February 1982 and roll out the leaves gradually greatness begins to be born and groans become lightness all’s rushed to the farthest and free-est shot out to the tips of things hear how the sap sings

spring is here blessings be a tree May 1976

19 3 [Congratulations to Hilary Kidman, also known as Rock bound stone Hilary Stobbs, who has won frst prize in the 2015 the world’s bone Grey Hen poetry competition. This annual competition a gnome’s home. is open to women writers over the age of 60 who have not had a previous collection or pamphlet published. Rivers and wells The judges wrote: full streams and falls wave over ‘What a pleasure to receive so many excellent en- wave under tries. It was a hard job making the fnal decisions… come live in the water. Hilary Stobbs’s winning entry was the one I kept returning to. My attempt to cut down the number of adjectives to Bird song, bright sky describe her work was a failure – I needed them all. cloud colours far and high Spare, lyrical, haunting, exquisite, musical, intriguing fnd our home? and just plain beautiful. ... brilliant stuff. A very Then you must fy. accomplished poet and I am delighted to be the first to publish her work in book form.’ Dance ferce red fre fame a wall, singe a roof Hilary’s winning poems are to be published in chapbook crackle a door form by Grey Hen Press: spark windows http://www.greyhenpress.com consume The Editors] enough. May 1991

Easter Eurythmy Form by Marguerite Lundgren This form by Marguerite Lundgren, former leader of the London School of Eurythmy, contains many aspects of basic eurythmy including expansion/contraction and straight lines/curves. In this form everybody always needs to be especially aware of the space between and the movement of the form as a whole. As always, you can adapt the form to suit the numbers. This form is for 10 but I also have it for 6 and 8 and it could be changed to any number of participants. The sounds you choose can be simple – perhaps fnding the main sound/s for a line or as complicated as you wish – depending on who you are working with. It is a lovely form to do and to teach! Melissa Harwood [email protected]

Isiah (Chapter 53, 1-5) Who hath believed our report? and to whom is the arm of the Lord revealed?

For he shall grow up before him as a tender plant, and as a root out of a dry ground: he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him.

He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him; he was despised, and we esteemed him not. Surely he hath borne our griefs, and carried our sorrows: yet we did esteem him stricken, smitten of God, and afficted.

But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.

20 21 22 23 Whitsun EurythmyFestival As outlined at the Eurythmy Association AGM in Stroud in October, I am hoping to put together a short festival in late May (sometime between Friday, 27th and Sunday, 29th inclusive) under the joint auspices of the Eurythmy Association and Eurythmy Therapy Association. The exact details are still to be fnalised but would probably consist of three elements:

1) A sharing and presentation of recollections (lectures, workshops, impressions) from the 2nd World Eurythmy Therapy Conference which will have been held in Dornach one week previously (16th–21st May). Therapists and other interested eurythmists will hear fresh impressions from those who were able to attend the conference.

2) Presentations and/or workshops from the students on the English ‘stream’ of the eurythmy MA course offered by Alanus University, Bonn (taking place at Emerson College). The fnal taught modules conclude on 27th May. There are some 9 participants from Britain who have undertaken research in one of three areas: eurythmy therapy, educational/social eurythmy, or eurythmy as a performing art. They could share some of the fruits of their research with everyone present.

3) A sharing of artistic eurythmy work continuing the successful master class format that began at the Autumn AGM. Those presenting would offer some background into their working process and also receive comments/coaching from experienced colleagues. Do please let me know if you have something that you would be willing to share.

There is also the possibility of having a conversation space to look at other issues of interest. The likely location is the East Grinstead area and I hope details will be fnalised by Easter. Please note these dates now. Further information and booking forms will be circulated around mid-April.

Michael Mehta 020 7638 3202 [email protected]

I also understand from Michael and Christiane that Vitaleurythmie their available dates for 2016 are now limited. In view of this, I hope to talk to them further at In the autumn Newsletter I wrote about the possibility the World Eurythmy Therapy Conference in May of inviting the creators of Vitaleurythmie, Michael and see if a date in 2017 might be possible. This Werner and Christiane Hagemann, to give an would also give a chance to apply for some ad- introductory course in Britain in Spring 2016. In ditional grant funding to help support the costs. the interim Michael was able to offer a one-off introductory afternoon at Emerson College in mid- I will remain in contact with those that contacted November as he had been invited by educational me expressing interest but am happy to hear from eurythmy colleagues for other reasons. Around ten others who may be interested in taking part in the people attended this workshop. future.

As a result of the article and this short workshop, Michael Mehta nine people expressed interest in a more formal 020 7638 3202 introductory course. With this number the cost per [email protected] person would be £180–£200.

24 22nd – 25th March (Tuesday to New Eurythmy Friday, mornings only) Lectures on Health and Illness with Dr. Michael Therapy Training Evans Course 11th – 14th April (Monday to Thurs- day) Embryology with Dr. Maria We will begin van den Berg. Eurythmy with Ursula a new course Browning in eurythmy 1st – 5th August (Monday to Fri- therapy this day) Child development with Dr. March. As usual Hedda Joyce. Eurythmy with Glenda it will be held in Monasch Stroud and run in blocks until the spring of 2018. 22nd – 26th August (Monday to Our frst block runs from March 21st to April 15th, Friday) Metabolic system with Dr. our second from August 1st to September 2nd. David McGavin. Eurythmy with the trainers This time students will receive a Masters in Eurythmy Therapy with international recognition. Dates to be confrmed: Rhythmic system.

After this we do not plan to begin any new course For more information and to apply, before 2019 so, if you wish to join now, please please contact us at: do get in touch and visit our website: [email protected] www.eurythmytherapytraining.org.uk Ursula Browning and Shaina Stoehr Please note: Eurythmy Therapy Training in Great It will be possible for trained eurythmy therapists Britain, 143 Slad Road, Stroud GL5 1RD and doctors to join individual weeks of the train- ++44 (0)1453 750137 ing: www.eurythmytherapytraining.org.uk

Exploring the ‘Felt Sense’ with Matthew Harwood

This workshop will be of interest to therapists in particular, but also to anyone working in the feld of movement and the inner life. Matthew will give an overview of various techniques of body/mind work that he has been involved in.

The ‘felt sense’ is a concept that relates to how the life of feeling and bodily experience are in- tertwined. Matthew will give us an experience of these different branches of practice and also show some videos. The workshop at Emerson College on February 20th is open to any eurythmist. It will cost £30 for the day and, if participants want lunch, they need to book with Emerson for the cost of £8.

Shaina Stoehr [email protected]

25 EXPLORING THE ‘FELT SENSE’ Matthew Harwood Jungian Analyst & Psychotherapist

Over many years of working as a Jungian Analyst, Matthew has become more and more convinced that true change only occurs when something happens inside the body at the cellular level.

In the depths of the body there is an inner wisdom, an inner ‘knowing’, that communicates itself – for those who know how to tune into it – by something called the ‘felt sense’.

As Eugene Gendlin, who first articulated the felt sense, has written: ‘A felt sense is not a mental experience but a physical one. Physical. A bodily awareness of a situation or person or event. An internal aura that encompasses everything you feel and know…. A felt sense doesn’t come to you in the form of thoughts or words or other separate units, but as a single (though often puzzling and very complex) bodily feeling.... It is an unfamiliar deep-down level of awareness that psychotherapists (along with almost everybody else) have usually not found.’ (Focusing pp 32-33)

This workshop will consist of explanation, video demonstrations and practical exercises exploring the theme of the felt sense and its relationship to self-development.

DATE & TIME: Saturday, February 20th 2016 9.00 a.m. to 4.30 p.m. VENUE: Emerson College, Forest Row, E. Sussex ENQUIRIES & BOOKING: [email protected]

------

MATTHEW HARWOOD (www.matthewharwood.co.uk) is a Jungian Analyst in private practice in Bath & Bristol. He has a Diploma in Analytical Psychology from the C.G. Jung Institute in Zürich. He is a senior training analyst with the Independent Group of Analytical Psychologists (IGAP). In his work he likes to integrate techniques from Focusing, Internal Family Systems (IFS) and Pesso Boyden Psychotherapy. He has lectured widely, both in the UK and internationally.

26 VACANCIES As of February 2016

Vacancies for educational Educational Eurythmist Educational Eurythmy - Eurythmy Therapy eurythmists in the Brit- (Part Time KG to Class Other Institutions Vacancies ish Isles are also often 8 - 16 Lessons/week) Educational Eurythmist Part time Eurythmy posted on the website for immediate start (Special Needs) - Part Therapist of the Steiner Waldorf Time for Children/ Schools Fellowship. Please St Paul’s Steiner Young People/Adults The position is offered School with severe learning on the basis of being a check the following link 1 St Paul’s Road, diffculties and complex “live-in” co-worker in for information: http:// LONDON needs (Ages 6 to 25) the Community work- www.steinerwaldorf. N1 2QH ing with residents and org/steiner-teachers/ Tel + 44 (0) 20 7226 NB Temporary Cover but may co-workers/employees. teaching-vacancies/ 4454 become permanent - ability to Email hr@stpaulsstein- offer other subjects would be Newton Dee Educational Eurythmist erschool.org helpful. Camphill (Educational Eurythmist www.stpaulssteiner- Community (Part Time KG to Class stchool.org Sheiling School - Bieldside, 3/4 - 4 hours/week) Ringwood ABERDEEN Horton Road, AB15 9DX Alder Bridge School RINGWOOD Tel +44 (0)1224 Mill Lane, BH24 2EB 868595 PADWORTH Tel +44 (0)1425 russellpooler@ RG74JU 477488 Corine van yahoo.co.uk Tel +44 (0)118 Barneveld www.newtondee. 3240055 Email cvb@thesheil- co.uk Email sarah.wilkin- ingringwood.co.uk son@alderbridge. www.thesheilingring- org.uk wood.co.uk www.alderbridge. org.uk

E urythmy A ssociA tion Di A ry mArch - sEptEmbEr 2016

March 2016 of eurythmy work from Steiner/ 07873 753740 (Chas & Elisa- Waldorf Students in Britain beth Bamford) [email protected] Friday 4th 7.30pm: Performance Venue - Rudolf Steiner House, 35 - “Life is a Tree that blossoms in Park Road, London NW1 Saturday 19th: Monthly Eurythmy the Stone” A celebration of the life Organiser - Sigune Brinch 07825 Workshop 10am to 4pm (for and work of Vernon Watkins with 140119 [email protected] eurythmists and public) with eurythmy, music and poetry. Intro- Maren Stott £40 duction by Richard Ramsbotham. Friday 18th: Performance - “Life Venue - Glasshouse College, Venue - Christian Community, 73 is a Tree that blossoms in the Stourbridge Cainscross Road, Stroud Stone” A celebration of the life Organiser - Eurythmy West Mid- Organiser - soundScape eurythmy and work of Vernon Watkins with lands 01384 442563 07873 753740 (Chas & Elisa- eurythmy, music and poetry. Intro- [email protected] beth Bamford) [email protected] duction by Richard Ramsbotham. iary Venue - Grange Village, Newn- Sunday 20th 7.30pm: Eurythmy Friday 11th 3pm to 6pm: Youth ham on Severn Performance for Palm Sunday Eurythmy Festival - Presentations Organiser - soundScape eurythmy (including works by Shakespeare, D 27 E urythmy AssociA tion Di A ry mArch - sEptEmbEr 2016

Nigel Osborne and JS Bach Term Festival - Students of May 2016 June 2016 - Chaconne for Violin) with Eurythmy WestMidlands Malcolm Allison - Violin Venue - Glasshouse Col- Saturday 14th: Monthly Friday 24th June: End of Venue - Glasshouse Col- lege, Stourbridge Eurythmy Workshop 10am Term Festival - 2ne & 3rd lege, Stourbridge Organiser - Eurythmy West- to 4pm (for eurythmists and Year Students of Eurythmy Organiser - Eurythmy West- Midlands 01384 442563 public) with Maren Stott £40 West Midlands Midlands 01384 442563 [email protected] Venue - Glasshouse Col- Venue - Glasshouse Col- [email protected] lege, Stourbridge lege, Stourbridge Organiser - Eurythmy West Organiser - Eurythmy West Monday 21st to Friday April 2016 Midlands 01384 442563 Midlands 01384 442563 15th April - Eurythmy [email protected] [email protected] Therapy Training in Britain Friday 1st to Sunday 10th: (Block I) Tone Eurythmy Therapy Monday 23rd to Saturday Saturday 25th June: Gradu- Venue - Old Town Hall, Course with Jan Ranck (Je- 28th MA in Eurythmy - UK ation Festival - 4th Year Stroud rusalem) Course (Block 8) Students of Eurythmy West- Organiser - Eurythmy Venue - Camphill Ballyto- Venue - Emerson College, Midlands Therapy Training in UK bin, Callan, County Kilkenny Forest Row Venue - Glasshouse Col- (01453 750137) Organiser - Gina Poole Organiser- Alanus Universi- lege, Stourbridge enquiries@)eurythmythera- [email protected] ty of Arts & Social Sciences Organiser - Eurythmy West pytraining.org.uk (C Frederickson 07511 Midlands 01384 442563 Wednesday 20th: Forum 814501) [email protected] Wednesday 23rd: End of on the theme of Albion [email protected] Term Festival - Students of (Eurythmy Contribution from Peredur Eurythmy soundScape eurythmy) Friday 27th to Sunday 29th September 2016 Venue - Peredur Centre, Venue - OpenHouse Com- TBC - Late Whistun Euryth- East Grinstead munity Hall, 1 Gloucester my Festival - to include Monday 1st to Friday 5th Organiser - Peredur Euryth- Street, Stroud reports on the International September - Eurythmy my 01342 824109 Organiser - soundScape Eurythmy Conference & Therapy Training in Britain [email protected] eurythmy (Chas & Elisabeth Eurythmy MA Presentations (Block II) Bamford) 07873 753740 Venue - TBC probably East Venue - Old Town Hall, Wednesday 23rd: Perform- [email protected] Grinstead Area Stroud ance - “Life is a Tree that Organiser - Michael Mehta Organiser - Eurythmy blossoms in the Stone” A Saturday 23rd: Monthly for EA & ETA 020 7638 Therapy Training in UK celebration of the life and Eurythmy Workshop 10am 3202 (01453 750137) work of Vernon Watkins to 4pm (for eurythmists and michael.mehta@eurythm- enquiries@eurythmythera- with eurythmy, music and po- public) with Maren Stott £40 yassociation.uk pytraining.org.uk etry. Introduction by Richard Venue - Glasshouse Col- Ramsbotham. lege, Stourbridge Venue - Botton Village, Organiser - Eurythmy West Summer 2016 Newsletter Danby Whitby Midlands 01384 442563 Copy Deadline Organiser - soundScape [email protected] eurythmy 07873 753740 Saturday 21st May 2016 (Chas & Elisabeth Bamford) Please send to: Elisabeth and Chas Bamford [email protected] [email protected] Thursday 24th: End of Eurythmy Association of Great Britain and Ireland Gabriella Vasas -Turnbull; Council Secretary Tel +44 (0)1287 636 832 Fax +44 (0)8717 145925 Email: [email protected] www.eurythmyassociation.uk 28