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VOLUME 92 Autumn 2016 OFFICIAL PUBLICATION OF THE EURYTHMY ASSOCIATION OF NORTH AMERICA NEWSLETTERNEWSLETTER 2 Eurythmy Association of North America Mission Statement The Eurythmy Association of North America is formed for these purposes: To foster eurythmy, an art of movement originated and developed by Rudolf Steiner out of anthroposophy; to foster the work of eurythmists on the North American continent by sponsoring performances, demonstrations, and workshops; and to maintain, develop, and communicate knowledge related to eurythmy and the work of eurythmists by means of newsletters and publications.

The Eurythmy Association of North America is a non- OFFICERS OF THE EURYTHMY ASSOCIATION profit corporation of eurythmists living and working on the President North American continent. Any eurythmist holding an Alice Stamm, 916-728-2462 accredited diploma recognized by the Section for Eurythmy, Treasurer Speech, and Music at the Goetheanum, may join the Gino Ver Eecke, 845-356-1380 Association as a member. Eurythmy students and non- Corresponding Secretary accredited, but actively working eurythmists, are warmly Alice Stamm, 916-728-2462 welcomed to join as Friends. Recording Secretary The Newsletter is published two times annually. Vacant Annual dues are from January through December. Newsletter Editor and Archival Secretary Membership subscription is $45 single/ $50 for euryth- Maria Ver Eecke, 845-356-1380 mist-couple; for eurythmists living outside of North America it is $50 single/ $55 for eurythmist-couple; for all REGIONAL REPRESENTATIVES friends, musicians, or speakers the subscription is $30. Eastern Canada Single issues are $6 a copy. Please make checks out Margaret Osmond, 902-466-7735 through a bank with a branch in the United States. Northeast The Council members believe that financial concerns Sheila Shapiro, 518-937-0425 should not hinder eurythmists from membership. Spring Valley Area Eurythmists should feel able to contribute a lesser amount if Sea-Anna Vasilas, 909-496-6308 they cannot afford the full annual contribution. We hope that Southeast others will also contribute more to support our work. Raymonde van der Stok Fried, 215-410-1403 All checks should be made payable to the Eurythmy Northern Midwest Association of North America and mailed to the treasurer: Constance Michael, 513-961-7455 Gino Ver Eecke Southwest and Mountain 34 Margetts Rd. Cristina Geck, 303-402-9030 Chestnut Ridge, NY 10977 Northwest Email: [email protected] Laurel Loughran, 778-508-3554 Articles, announcements, news items, poems, and Northern California forms should be sent to the editor at least one month before Isabella Guardia Ferragutti, 669-233-924 publication. Deadline dates for the two annual issues are Southern California October 1 and March 1. Items may be faxed or sent via Rachael Abbott, 747-258-8266 email. Photos sent by mail will be returned. Photos may be Coordinator of Grants emailed as attachments. Carsten Callesen, 610-455-2038 Please mail to: Member-at-Large EANA Newsletter Editor Christina Beck, 919 643 2066 Maria Ver Eecke Representative for Performing Arts Section 34 Margetts Rd. Helen Lubin, 916-966-5749 Chestnut Ridge, NY 10977 Eurythmist-in-need fund Phone: 845-356-1380 Alice Stamm and Raymonde Fried Email: [email protected] Liaison to AWSNA www.eana.org Susan Eggers, [email protected] Although welcomed, the viewpoints expressed in the EANA Newsletter are not necessarily those of the publisher. Eurythmy Association of North America 3 CONTENTS FROM THE COUNCIL

Letter from the President Alice Stamm 4 Letter from the Editor Maria Ver Eecke 4 EANA Annual General Meeting Alice Stamm 5 ThymeFund Lemniscate Arts, Inc. 6 Minutes from the East Coast Meeting Constance Michael 7

In Memoriam: Dr. Mark Eisen; Gerda Kott 9 In Memoriam: Sheri Reiner Michael Hughes 10 In Memoriam: Tertia Gale Elan Leibner 12 Articles

“Bear the Christ Word to Man” Martina Maria Sam 14 Eurythmy as an Art and Therapeutic Eurythmy Truus Geraets 15 Eurythmy as a Critical Art: What This Means for Its Future Kate Reese Hurd 16 Reports and Reviews

A Lifetime of Eurythmy Norman Francis Vogel 21 Pilgrimage Continues… Marta Stemberger 22 Eurythmy, a Project in a Public School Brigida Baldszun 23 NW High Schools Eurythmy Festival Maiko Canard 24 Encountering Our Humanity Virginia Hermann 25 In Honor of William Shakespeare’s 400th Birthday Maria Ver Eecke and Brigida Baldszun 27 Celebration of Annemarie Ehrlich’s 90th Birthday Mami Saphir 28 Letters to the Editor 32 Resources 33 Announcements 33 Calendar 38

Front Cover: “Angel”veil painting by Sheri Reiner, courtesy of Michael Hughes Inner Back Cover: Annemarie Ehrlich’s 90th (!!!) Birthday Celebration, Den Haag, Netherlands Outer Back Cover: Social Eurythmy Circle at Pilgrim Hill, Central Park, NYC, with Marta Stemberger, (top of page) Photo by Eric Ferrar; ESV Graduates at the Goetheanum, (center page) Photo by Alexandra Spadea; ESV Graduates (Left to Right) Ivilisse Esguerra, Coco Verspoor and Yenling Yeh, Photo by Bill Day 4 Eurythmy Association of North America Letter from the President Letter from the Editor Dear Friends, Michaelmas Greetings! This Michaelmas Season has brought 100֯ weather to Much good work is being done that gives hope for the California inlands but the nights’ coolness tempers the day’s future! The contributors in this issue voice their concerns dragon’s sulfuric air. One can imagine all the Michaelmas and offer suggestions for practical support of Eurythmia and verses rising up to the Heavens from all the classrooms and for eurythmists. plays in our schools or in meeting the patients, or in just The EANA newsletter allows us to document and going out the door in this tumultuous time. To do the name archive our work. How grateful I am for those who partici- “Michael” in eurythmy is so inspiring out of the Zodiac: pate in this effort. When that Inbox becomes full at every Aquarius’ harmonizing gesture of unique movement in the deadline, it is like opening gifts from under the Christmas quiet stars; the mercurial “E” or moon “ei”; the sharp quick- tree! Thank you for these presents. It is especially moving ening “K” overcoming centurion forces; Venus’ moment of to read about the lives of our dear colleagues in eurythmy. wonder “Ah” and the transformative power of “eL” all point The work of the EANA Council is stated clearly in the to his name – who is like God, the Countenance of God. I By-Laws: “The Incorporators of the Association (Eve Olive, recall doing this with children and they were impressed after Ruth Pusch, Danilla Rettig, Alys Morgan Samuels, singing the Michaelmas songs and now seeing his name in Marianne Schneider, Alice Stamm, and Joanna Van Vliet) eurythmy. Third graders, I recall. desire that the needs, endeavors, initiatives and achieve- The Portland Eurythmy Group will host a Eurythmy ments of each of the members shall constitute the life of the Workshop next August 5-15 on the Twelve Moods and Association; and that the services rendered by the Satyr, as well. Dorothea Mier will join Michael Leber, I am Association shall enhance the work of its members, to the told, to lead this wonderful event. I have asked the EANA end that Eurythmy shall effectively take its place in the Council if we can co-sponsor this in order to make some cultural life of our time.” This is a mighty task! And we modest funds available for travel and needs for members. must ask ourselves if or how Eurythmia has taken a place in These verses have such a power to transform one’s own the cultural life of our time. forces for a lifetime! One awakens to the archetypal forces Please get in touch with the representative of your of the cosmos, the Word indeed through the year and in one- region, whose most up-to-date contact information is pub- self. One slowly sorts out “being” and “existence”, lished inside the front cover of every issue. Every spring “essence” and “power” from the German words, but it will issue includes reports from the regions. It is our intention to be done in English! include all eurythmists in these reports! Years ago Ursula Ziegenbein in Stuttgart, shared her And view our website: www.eana.org! Gino Ver Eecke experience learning all the verses by heart! A client of hers keeps it updated with current events. Not only is he the cur- had asked her to teach them to him. She began with the rent treasurer for EANA, but also as a master of Information verse for Virgo which she thought was really a eurythmist’s Technology. Thanks to him, the newsletters go to print, are verse. It awakens the soul to the world, a world of gesture, collated, and posted in timely fashion... definitely a team of Beingness, of creativity in life, and above all, creating out effort! of the will. Blessings, (Sun) Behold the World O soul! Maria Ver Eecke (Venus) May the soul comprehend the Worlds (Mercury) May the spirit grasp the Beings Correction (Mars) Work in the throes of life. For those who have already acquired the book recently (Jupiter) Build out of the life of Will published, Five Articles from the book Der Toneurythmie (Saturn) Trust the blossoming of Worlds Kurs von Rudolf Steiner, edited by Stefan Hasler, I have (Moon) O Soul, know the Worlds! noticed that there are three words missing on page 4, at the It also is hoped to work at some indications of poems or end of sixth paragraph. It should read, “The ‘realization’ of verses or tone pieces where one can see what a dynamic ele- the polarities of major and minor is the foundation of the ment is brought through Steiner’s insights. Werner Barford whole of music as such.” brought this to a workshop some years ago and it was amaz- Please correct this in your copies, although it is, I think, ing to see how “boring” the pieces were without the indica- implied, the extra mention of the ‘polarities’ strengthens the tions, often connecting head, fingers and feet, and the form. sentence, and it is anyway in the German. More will be forthcoming in the next newsletter. So Thank you so much, save your pennies for this remarkable event! Dorothea. With best greetings, your Alice Stamm Eurythmy Association of North America 5 EANA Annual General Meeting Best greetings for new Michaelmas challenges with dragons and such, as his garment is being woven in the Seattle, Washington; August 9, 2016 cosmos above out of silver and gold. Dear All, Respectfully submitted by Alice Stamm Summer is ripening in preparation for teachers now and I hope that it has also brought richness and renewal. For me Welcome to Laurel Loughran, it was wonderful again to move with colleagues on hand at Michael Leber’s workshop. Nine of us attended the AGM. our new NW Representative Welcome to Laurel Loughran from Vancouver who is I grew up in Oregon and graduated from the Eugene taking over from Catherine Padley, Northwest Waldorf High School in 1995. I attended the University of Representative. Thank you to Catherine for your past three Oregon where I received a bachelor’s years of work and organizing things up there in Seattle. And of art in Fine Art with a minor in best wishes to Laurel, as you begin teaching at the English Literature. I worked various Vancouver Waldorf School. Thank you to Maria for getting jobs and traveled a bit until deciding info and helpful tips to her. to pursue a eurythmy training. After Michael reported that now in Europe Alanus, Witten, completing my Foundation Year at and Stuttgart remain as trainings, with a new impulse begin- Rudolf Steiner College I entered the ning in Avignon, France. In China there is growing interest eurythmy program atRSC, paying my and trainings beginning and growing with ties to Jena, way through the four years by work- Sweden. Michael had just come from China, Taiwan, and ing as a sign artist at Trader Joe’s. Korea. The East is eating up eurythmy! It must be lifting Tai After graduating in 2010 my partner Chi into an artistic realm. and I joined the Märchenensemble of Some business: Our Treasurer’s report was approved at the Eurythmeum in Stuttgart, our meeting. Gino tells me that he has put $5,000 into a Germany. Here we had the unique and wonderful opportu- travel fund for this coming year. We have about that amount nity to perform professionally throughout Germany, Italy, $5,169.40 in the Eurythmy-in-Need Fund. In the past years Switzerland, China, Taiwan and the UK. I stayed with the this Travel Fund has covered requests for the World fairy tale group for two years and then joined the Else-Klink Eurythmy conferences, as well as my flight to the AGM, Ensemble for one year. either East or West coasts. In this light we spoke about Then, after three years of performance life, I felt very future possibilities for EANA to undertake a larger ready to get my hands on some real, practical work! We conference and helping to support travel. came here to Canada where my partner completed his ther- Topics: Michael Leber would be willing to offer a apeutic eurythmy practicum work and I worked as a volun- workshop in English of the Twelve Moods and Satyr! He teer for the urban Camphill Community of Cascadia in the suggested that he and Dorothea Mier could collaborate on city of North Vancouver. After one year of full-time volun- this. We could look also at Rudolf Steiner’s indications, teer work, we were hired on as co-workers for Cascadia. what they are for different pieces, and how does it look with For the past two years my partner and I have been house them and without these indications. Werner Barford did this parents to a young man with autism and bi-polar disorder. some years ago and it was amazing; it spoke! Michael Some of my many tasks at Cascadia have included running showed us some of the indications for Faust; and these ele- the weavery, teaching group eurythmy lessons, and assisting mental beings or mythological figures’ movements are in the annual eurythmy fairy tale production, directed by amazing! This could be inspiring for teachers and children. Ruth Tschannen. Pedagogical pursuits: you have received the reports This past spring I was hired on at the Vancouver from Susan Eggers who again, please receive our thanks Waldorf School to teach eurythmy full-time to pre-school and gratitude for this. She has made some suggestions and I through grade 5, and also grade 8. My partner and I will am hoping that with summer they did not get lost in transla- continue to be house parents and he will stay on with tion. What can EANA Reps do practically now? At the very Cascadia, while I will move into my work at the school, least does everyone know the AWSNA Delegate in your thereby strengthening the bridge between the two commu- school? Can we be helpful in articulating what it means for nities. I am very excited to take on this challenging and eurythmy to be in a school? I know how busy everyone is important task of teaching eurythmy to children. Having with terms beginning, but how can we support what Susan been a Waldorf student myself, I do hope to find my way has brought? It is very important that Susan and her into meeting the children where they need to be met. colleagues stay in touch; that we feel there is a group caring Warmly, Laurel for this. One or two key steps would seem to be helpful.. 6 Eurythmy Association of North America

LLemniissccaattee Arrtttss Inc. [email protected] One International Blvd. Suite 400 Mahwah, NJ USA 07495 August 17, 2016

Dear Friends, thyme Eurythmy is a unique gifftt ffrorom Rudolf Steiner. It supports spiritual self-f-development in the life of so many initiatives arising from his Waldorf Education, Anthroposophic Medicine, Social Science and Organizational Development, the Mystery Dramas and other works which benefit from the practice of Eurythmy.

Along with its sister art, Speech Formation, Eurythmy enlivens and sustains those who practice it, as wwell as the work they dod together in their organizations. And yet the shortage of trained eurythmists in Norrtth America is acute. At this time there are over 15 eurythmists needed in Waldorf schools in the Northeast alone. In our travels to Walddorf schools, we meet many young teachers who love eurythmy and wish to have it in their schools. Somee express their desire to undertake eurythmy training but cannot imagine funding such a venture. As a result, schools go without eurythmy, and recognized eurythmy training programs are sufffffeering dwindling enrolll ment. If this spiraling trend continues, eurythmy could disappear ffrrom this continent altogether in a matter of a few years.

In conversatioons with interested friends, we have formed a plan to remedy this situation. If a group of individuals as wew ll as all the schools who are interested and able gather donations for the next five years, we can reverse this trend and renew the culture of eurythmy in North America.

To this end, we have set up a ffuund to support students in the anthroposophical performing arts training programs. We are calling it the Thyme Arrtttss Fund. Thyme slowly and continuously spreads year by yeaar soffttening the borders of earth and rocks. Thyme plants, with names succh as Silver, Creeping, Woolyy, Elfin and Mother of Thyme, are hardy through harsh winters and bloom with their purple or white flowers in summer. The spread of Thyme takes time as does the transformational ddevelopment of a Eurythmist or Speech Artist.

As of today we have raised $3,000 with the promise that these donors will contribute the same amount for ffoour more years, giving us a start-up ffiive-year fund of $15,000. We have begun the process of formulating parameters for the collection and distribution of funds to support students in the Eurythmy and Speech Formation trainings recognized by the Goetheanum. We are in coonversation with representativev s of RSF Social Finance about their holding the ffuund, as well as with the leadership of the Anthroposophicaal Society in America to secure their support. We hope to have the Fund set up during the Autumn of 201616 and operational for the school year 2017/18.

If you can support this Fund at any level with a 5-year commitment, pleases send your donation±±made out to ³/HPQLVFDWH$UWV´ ZLWK WKH QRWH ³Thyme Arts Fund´±±to Lemniscate Arts, One International Blvd., Suite 400, Mahwah, NJ 07455. Lemniscate Arts is a registered 501(c) 3 non-profit organization. All gifts are tax deductible ffoor US taxpayers. Once the Fund is set up all donations will go directly to the RSF Social Finance account.

May we give generously to sustain these artistic gifftts ffrorom Rudolf Steiner~

Wooly $100 Creeping $250 Elfin $500 Silver $750 Mother $1000 and above

Sincerely,

Barbara Richardson Marke Levene Susan Eggggers Douglas Gerwin

Barbara Richardson Marke Levene Susan Eggers Douglas Gerwiw n Eurythmy Association of North America 7 Minutes from East Coast Meeting Spring Valley, Oct 28-29. Gail Langstroth will present her in-depth research into language, including the origins of the Spring Valley, NY; Thursday, August 10, 2016 word through Greek and Latin languages. The theme is Attendance: 34 eurythmists and Jack Michael, Treasurer around St John’s and Mark’s Gospel and moving the Logos. of the Anthroposophical Society Alexandra (Rudolf Steiner School in NYC) and Laura Opening: Eurythmy Mediation spoken by Susan Radefeld (Green Meadow WS) collaborate to join the eighth Eggers, who chaired the meeting grade classes for a mutual event of eurythmical experiences, Remembering those who have crossed the Threshold social experiences, and a performance. It is a seed project of Death: Ruth Finser, Carla Groot, Dr. Mark Eisen, Gerda that they hope to continue and they encourage others to do Kott, Sheri Reiner, Tertia Gale and Jakob Ghaznavi so. They invited the teachers of the Brooklyn Waldorf Hallelujah in eurythmy created by all School and the Waldorf School of Garden City. In Chicago, Jan Ranck is giving a Therapeutic Tone Report for EANA Newsletter, by Maria Ver Eecke Course, Oct 21-30 at the Christian Community: The Eurythmy Association of North America was founded Fundamentals of Music and Therapeutic Eurythmy. Fee: in 1976. As stated in the By-Laws...”the services rendered $500.00. Participants will include eurythmy students, music by the Association shall enhance the work of its members, to and eurythmy therapists, and anthroposophical doctors. Tish the end that Eurythmy shall effectively take its place in the Pierce is coordinating housing. Jan Ranck will be teaching cultural life of our time.” at ESV in the fall, as well. Alice Stamm is currently President of EANA. Maria Maya Neumann spoke about the work of Portland Ver Eecke has served as Newsletter Editor and Archival Eurythmy in Oregon. The performing group has an active Secretary since 1998. Helen Lubin is Section Leader for the group of 11-15 members who perform each spring in Performing Arts Section. Portland and travel to various Waldorf schools and venues There are nine regions in all. Catherine Padley will in the surrounding areas. complete her term as representative of the Northwest Laura Radefeld reported for Beth Dunn Fox on the film Region. The Council members welcome Laurel Loughran project including the work of the Eurythmy High School into this position. Laurel is living and working on the West Film. Filming is complete, waiting on editing, and the proj- Coast and she will begin teaching at the Vancouver Waldorf ect will be completed by end of the year. The film shows a School in the fall. wonderful integration of the high school curriculum through development of the human being, with eurythmy as a main Treasurer Report, by Gino Ver Eecke component. Narration is by John Wulsin. Carsten Callesen is Coordinator of Grants. Donations are received from the Waldorf Education Fund and then passed Pedagogical Committee through Anthroposophical Society to us in the summer and There is a newly forming initiative within EANA in con- then the grants are dispersed in the fall. Grants are given to junction with AWSNA for supporting eurythmy in the various performing groups and initiatives, such as the Waldorf schools. The aim is to strengthen existing programs Foundation Stone Meditation and high school performing as well as supporting developing plans for schools without groups. Monies also are allotted toward East and West Coast eurythmy programs. Coordinating this work as Point Person Conferences and Foundation Stone performances. Please for EANA and AWNSA is Susan Eggers. contact Carsten for a form for grant proposals. One project in its beginning stages is work undertaken Gino encourages eurythmists to submit applications for by AWSNA on behalf of English-speaking eurythmists of traveling reimbursements. Receipts are necessary. translating three books on eurythmy pedagogy by Helga Membership of EANA Newsletter is over 200. Recently Daniel. Gino recruited around 20 lapsed members. Waldorf schools AWSNA will also include in the schools survey this fall and anyone can become members as Friends; memberships several questions about the presence of eurythmy in include musicians and speech artists. Dues were increased member schools, including the opportunity for schools to last year. Payment can be done easily with Paypal. Total mention their challenges in developing or maintaining Equity is approximately $32,000. Members can allot funds eurythmy in their curriculum. While not an exhaustive to desired areas, as in Eurythmist-in-Need Fund. Thirty-one survey, these questions will create a basis of knowledge for issues of the newsletter are sent out gratis to friends, sup- the Pedagogical Committee and other groups interested in porters of EANA, training centers, and retired eurythmists. supporting eurythmy to set goals for the future. A new grant fund for trainings in eurythmy and speech Reports of Activity of Members formation has been born out of the initiative of Leminscate Alexandra Spadea announced a workshop to take place in Arts. Already some seed money exists, which will be 8 Eurythmy Association of North America administered by the Rudolf Steiner Foundation once the Opportunities for adults to witness the students’ love of guidelines have been established and the fund, called the eurythmy in performances, plays and other activities. “Thyme Fund,” becomes active. Look for more information Program and Scheduling of the Eurythmy Program in the near future. Loans for eurythmy teacher training are It was found that eurythmy programs are most successful also available through AWSNA. Eurythmy students who when the students experience eurythmy as a consistent part become teachers will have these loans ‘forgiven’ after sev- of their curriculum, according to the following: eral years of teaching eurythmy. Preschool and kindergarten classes have 10-20 minute Susan briefly shared a survey she did in July of Waldorf lessons once per week in their classrooms. school websites, looking at the presence of eurythmists on Grades one through three have one to two full subject the faculty, as well as, whether and to what extent eurythmy period lessons per week. was represented in each school’s curriculum description. All Grades four through twelve have two full subject period pedagogical eurythmists are encouraged to make sure that lessons per week. eurythmy is described as fully as possible. Check your own Classes in grades six through twelve with more than website as well as those of other schools! It is most com- twenty-four students are split for lessons, and each half of pelling when the curriculum is related to the developmental the class has two full lessons per week. needs of the children in the various grades. An effective procedure is arranged for the students to Regarding employment of eurythmists, the most vibrant enter the eurythmy classroom wearing their eurythmy programs had the subject in EC-12, with two full-time ped- shoes. agogical eurythmists and a full-time therapeutic eurythmist. Classes are scheduled according to pedagogical indica- Susan described the Accreditation process with AWNSA tions by Rudolf Steiner. and encouraged eurythmists to become delegates for their schools, so that the voice of eurythmy is represented. Schedule and Duties of the Eurythmy Teacher Also on the websites for both AWSNA and EANA, It was found that eurythmy programs are most successful there are a growing number of “shared resources” for when the eurythmy teacher (and the therapeutic eurythmist) education, research, professional development, etc. The are fully integrated members of the faculty and community, research projects of MA and BA students will be published. and the following are taken into consideration: There will soon exist on the ASWNA website a file of 14-16 lessons of eurythmy per week is considered as a resources on eurythmy, which will include a document, maximum for a full-time teacher, with other classes and Effective Practices for Eurythmy. responsibilities as per the culture of the school. Through the Pedagogical Refresher courses and other The eurythmy teacher welcomes the class teachers to resources, it is important for every experienced eurythmist attend the eurythmy lessons, but maintains authority and is to reach out to new eurythmy teachers, who need help with responsible for discipline in the eurythmy lessons. lesson plans or materials or just advice. These are the build- A school with a preschool through grade 12 employs ing blocks for supporting the eurythmists in the schools. two eurythmy teachers to cover the full program. Also, for every scanned/copied document, try to make it The eurythmist participates in parent education and pro- a practice to have two conversations! This comes out of the vides opportunities for the adults in the community to expe- research of the Pedagogical Section working on the theme rience eurythmy. of “Technology”. Respectfully submitted by Connie Michael Qualifications and Professional Development of the Eurythmy Teacher Effective Practices for Eurythmy It was found that eurythmy programs are most successful when the eurythmy teacher has the necessary training and Programs in Waldorf Schools mentoring, such as the following: Compiled June, 2012, by AWSNA A diploma from a recognized eurythmy school, a peda- Eurythmy in the Life of the School gogical eurythmy training and, preferably, a B.A. It was found that eurythmy programs are most successful Mentoring and evaluation on a regular schedule with an when a love of eurythmy lives in the life of the school and experienced pedagogical eurythmist. the following are made available to the community: Support from the school as outlined in the AWSNA A variety of eurythmy performances for the students Model for Professional Support and Loans to complete any and community members throughout the school year. necessary training and/or degrees. Opportunities for adults to participate in pedagogical, Support from the school in continued professional therapeutic, social and artistic eurythmy. development. Eurythmy Association of North America 9 Resources for the Eurythmy Program In Memoriam It was found that eurythmy programs are most successful Mark Joshua Eisen when the eurythmy program has the resources and class- room space to support the program, such as: April 1, 1953 - May 12, 2016 A classroom with enough space for the students to move Dr. Mark Joshua Eisen prescribed freely, and a floor with enough flexibility to avoid injury for and practiced therapeutic eurythmy in the teacher and the students. his family medical practice in Chapel A piano, a pianist and percussion instruments to ensure Hill, N. C. the full curriculum can be taught. Mark was born in New York City, Eurythmy shoes, copper rods, and availability of cos- earned his medical degree from the tumes have been found to be essential. University of Michigan and did his Weekly period for the teacher and the accompanist for residency in Family Practice at Duke. preparation and/or artistic work. While in college Dr. Mark was intro- A dedicated budget, comparable to budgets for other duced to anthroposophy. He studied specialty programs, available to purchase the materials Anthroposophical Medicine here in mentioned above. the US with practicing doctors and from texts as well as in In Conclusion Europe. He studied therapeutic eurythmy and rhythmical In gathering information from a wide range of eurythmy massage in Germany and worked with doctors and pharma- programs, the differences among the programs were great. ceutical companies in Germany and Switzerland. Those most successful were those where a recognition of After post-doctoral studies in Germany, he established a the essential nature of a successful eurythmy program was homeopathic family practice in Chapel Hill, where he saved recognized, and a goal to incorporate eurythmy as a part of lives, improved lives, and gently fixed what was broken for the school life was present. Some schools incorporated a myriad of patients until 2011 when illness forced the eurythmy from their founding. Each school was in the closing of his medical practice. Mark was active in anthro- process of growing, or had grown, their program over time posophic communities nationwide. He was involved in the in a way appropriate to their community. The most success- founding of the Emerson Waldorf School in Chapel Hill. ful programs followed the Effective Practices outlined Mark forged close friendships with community members. above. In Memoriam Gerda Gwendolyn Kott December 16, 1954 - April 14, 2016 Gerda Gwendolyn Kott was born in Germany and Celtic Prayer she was one of ten children. Gerda loved children. Her greatest passion by Andrew Keith and vocation was teaching at the Charlottesville Christ, King of the Elements, Waldorf School and Richmond Waldorf School. Hear me! She taught eurythmy, handwork, German lan- Earth bear me. guage, recorder and music in Kindergarten Air, lift me. through eighth grade. She served on many school Fire, cleanse me. committees and was always one to provide addi- Water, quicken me. tional guidance and help to students. She was a beloved Christ, King of the Elements, teacher whose influence will live on in many students for Hear me! many years to come. Her life’s interests included studying, I will bear the burden of earth with Thee, traveling, and playing music. She was inspired by the works I will lift my heart through the Air to Thee, of Rudolf Steiner, fairy tales, poetry, Mozart, Bach, and I will cleanse my desire for love of Thee. exploring the mysteries of life through spiritual texts. I will offer my life renewed to Thee. Gerda died of cancer on Thursday, April 14, 2016, in the Christ, King of the Elements! warmth of her home, in Richmond, Virginia, and surround- Water, Fire, Air and Earth: ed by loving friends and family. She is survived by six Weave within my heart this day, brothers and sisters, three very dear foster siblings, Eveline, A cradle for Thy birth. Els, and Hans, a wealth of friends and colleagues in many corners of the world. 10 Eurythmy Association of North America In Memoriam “Mecca” of the 1960’s – San Francisco. Then she hitch- Sheri Reiner hiked up to Portland, where she spent the winter selling handmade hats and underground newspapers for money. November 17, 1950 - July 12, 2016 While there she became very ill and was hospitalized for months. Her parents brought her back to New York and cared for her. When she was well enough, Sheri moved to Spring Valley, which she had previously visited during a summer conference. She lived with the Scharff’s in the early days of the Fellowship Community and also cleaned home of the architect Walter Leicht. It was here that she began her study of eurythmy in Lisa Monges’ living room (I believe also with Christina Root and Kristin Hawkins). Also that year in Spring Valley she was part of a group preparing for the 1972 Youth Conference in Dornach on the theme of “The Threshold.” Immediately following the con- ference she made her way to Glencraig Camphill in Northern Ireland, where she already had been accepted for work in the three-year curative education seminar. It was a strenuous time and one of great growth. At that point the workers had only a half day for themselves, amidst a very Sheri was born in New York City, and her childhood was full and active life. Here Sheri was able to delve deeply into spent in Brooklyn. Her father ran a small family-owned the cycle of the year and the celebration of the festivals, neighborhood grocery store. Her mother, who might have which became central to her life. Deep, lasting friendships had a promising professional singing career, passed that up formed during these years. to raise her two children, later becoming a bookkeeper. She A longing for art and eurythmy continued to tug at brought a love of music to Sheri, singing to her the popular Sheri. Ultimately she applied to the Camphill Eurythmy songs of the 1940-50’s. Decades later, Sheri knew many of Training in England, which began a new course every other the words to these songs still! year, and she had a year to wait. Sheri took this opportunity Sheri spent a good part of her teenage years in to deepen another great interest – the world of color. This Greenwich Village, to the dismay of her parents. This was led her to Emerson College and a year of painting and color an era bursting in poetry and music, which she soaked up. studies with Ann Stockton. It was here that we met (mutual During these high school years she had the wish to attend friend, Robert Logsdon, had suggested this meeting to me), the High School of Art and Design in Manhattan, into which working in the summer painting the new building on she transferred. It was here that she met her life’s path, campus. That year our mutual destiny revealed itself, as we through Daisy Alden, who taught literature, poetry and had both independently applied to and were accepted by the creative writing. Daisy was herself a creative genius, and same Eurythmy School. Sheri is one of many artists who, as students, were encour- We were married on Whitsun 1976, a date specifically aged and inspired by Daisy. chosen by Sheri. And we began both our life and our Sheri was also one of a much smaller number to whom eurythmy training together. All who have done a eurythmy Daisy introduced the world of Anthroposophy. She invited training know the gifts and challenges such a path brings. Sheri and Curtis Wheeler to a poetry reading of her transla- Sheri had more challenges than many, as health issues tions of Albert Steffen at 211 Madison Avenue, the home of continued to plague her; yet with determination and support the Anthroposophical Society at the time. It was there they from teachers, she was able to go through all four years. first saw eurythmy. Sheri noticed the name Rudolf Steiner, After our training we moved to Germany, where I was and some days later asked Daisy who her favorite philoso- beginning to train in therapeutic eurythmy. Ultimately our pher was. Daisy laughed, and said, “Rudolf Steiner.” time in Germany was short-lived, though we both managed Sheri herself started writing poetry around this time and to teach separate special needs and lay classes with our lim- for a number of years one could see the sensitivity to ited ability in speaking and understanding German. There language, the thoughtfulness, and the deeply Christ-filled Sheri also gave her first course in “Color Eurythmy” to a influence of Albert Steffen in these poems of hers. group of painting students. Before leaving Europe we visit- As a young person, Sheri said she had a wish to “meet ed the Camphill in Northern Ireland where Sheri had done everyone,” so it is not surprising that soon after high school the curative seminar. At the age of thirty, she was christened she left home, hitched rides across the country to the other there (having been born in a Jewish family). Eurythmy Association of North America 11 At the end of the school year of 1980-81 we found our- soon asked Sheri if she would bring eurythmy to the adult selves back in America, exploring eurythmy possibilities. classes we was offering. So began a rich time of working We visited a number of different locations and possibilities, with adults here, and Sheri expanded her teaching to include but it was the wonderful cultural mix of lively children at painting, speech work, handwork and anthroposophic the Detroit Waldorf School which captured the hearts of studies. Ultimately I joined them, and we became both of us. co-directors with our colleagues in a small program which That summer we were in Spring Valley for the large nevertheless over the years has touched many, as well as conference with the Vorstand. While there we experienced producing a number of Waldorf teachers. Throughout most the death of our friend [speech artist and teacher at the of these years Sheri was also one of the main teachers to a School of Eurythmy] Peter Menaker. We did a pedagogical wonderful young person with health challenges, who there- eurythmy course. So we began the first of many years of fore was home-schooled. She brought her many gifts, as teaching eurythmy in Waldorf schools. At that time there well as parts of the Waldorf Main Lesson curriculum to him was still a scarcity of eurythmists, and we taught also at the for a number of years. He wrote to her in her final weeks, Ann Arbor Rudolf Steiner School and other venues, and saying she “brought art to his life, and he learned to love gave regular adult classes. At times, Annelies Davidson colors and to bring beauty into everything he did.” would join us artistically in collaborating programs. In late 2011 Sheri noticed a hardness in one of her Gradually we were able to join and be joined by other breasts, which led to a diagnosis of an invasive cancer, and eurythmists: Diane Elizabeth (Mamroe) and Suzanne Herb- the breast was removed at the beginning of 2012. Thanks to Eddy locally, and also in “joint programs” with our Chicago the incredible support of friends, we were able to visit a Eurythmy colleagues, of the “Midwest Eurythmy cancer clinic in Mexico, where Sheri was given alternative Performing Group.” treatments to chemo and radiation and therapies she could Toward the end of our stay in Detroit, Sheri had the take home and add to. Thus, I believe her creative years vision of performing Goethe’s fairytale of The Green Snake were able to be extended. However, in 2015 we knew the and the Beautiful Lily as a pageant within the fledgling cancer was spreading. Sheri continued both teaching and Anthroposophic branch. The branch needed a boost when her own creative work until April of 2016, when she began the Waldorf Institute moved to Spring Valley. It was a suc- to experience a general loss of energy. We enrolled in cessful production, with some cast members even joining Hospice, and Sheri was able to be at home the whole time, the Society, and subsequently several friends moved into art having a peaceful death on July 12, 2016. The day before trainings themselves (Julie Lamb and Hilary Hafner in we had said our farewells, and she passed away in sleep Eurythmy, and Katherine Thivierge in Speech). Then while I was reading poetry to her from Eve Olive’s wonder- toward the end of the 1980’s we returned to Europe for a ful book, Cosmic Child, inspired writings from the year of further nourishment in the art of Eurythmy. Henry Threshold of Birth. Barnes was so generous in helping us secure funds for this. There were certain themes which occupied Sheri After this year, and a final visit to one of our “adopted throughout her life, and I would like to conclude with one homelands” — Greece, we moved to Northern California to of them. One of her first Anthroposophic books, around the create together a eurythmy program at the Live Oak end of high school was the Hamburg cycle on the John Waldorf School. We lived in Northern California for 18 Gospel. This heightened in her over many years a strong years, teaching at that school for the first 12 years. Also we relationship to the two John’s, and their unique roles not again taught elsewhere, gave adult classes and performed only at the time of the Mystery of Golgotha, but also their with colleagues in the area. Roark Elherman, Nancy long, long commitment to human and earthly evolution. McMahon, Dale Robinson, among others, come to mind. So she now joins other active helpers across the During these years we participated in Branch life both in the threshold, seeking with abiding love to further humanity's foothills and in Sacramento, and endeavored to enhance the great work of transformation. life of the festivals, as well as anthroposophy. Sheri then Michael Hughes, Makawao, Hawaii stepped away from school teaching, continuing other inter- ests, which were then supplemented with a large garden I have seen MAN in his innermost presence, (how she loved flowers!) and weaving. At the turn of the I know the world and its primary essence. millennium Sheri also took the opportunity to further her I know that love, love is its vital core painting activities by doing a three-year part time training and that I live to love, love more and more. with Leszek Forczek. My arm, as HE has done, I open wide. In the summer of 2006 I applied to the Waldorf School Like him, I'd like to clasp the world inside. on Maui, Hawaii, to create their eurythmy program, and we Christian Morgenstern, arrived there on Michaelmas. A dear friend and colleague translation by Brigitte Knaack 12 Eurythmy Association of North America In Memoriam life. Her brother Peter was away in boarding school, and her Tertia Gale sister Joan had already finished college and was living away from home. Hence festivals were important times for the October 31, 1945 - July 23, 2016 young girl, since it was only during those times that her siblings were home. Joan was an especially large figure in her life, and Tertia adored her “like a goddess.” The family attended the local Presbyterian Church, and Tertia was quite devoted to it. She was, in fact, the reason that the family began attending church, and this was a sig- nificant change from the way her siblings had been raised. She was the only one to be baptized and confirmed, though after confirmation she only attended the church a few times, primarily as a member of the youth group. Contrary to the intention of confirmation, she felt that with that ritual the role that the church had to play in her life was complete. A second impetus of great importance that Tertia gave to her own life was the decision to go the Putney School in Vermont. She found out about Putney from a book she saw at home, and convinced her parents to let her go there despite the fact that the informal setting there was not at all what her father had in mind when contemplating a boarding Mary Eliza Gale was born on October 31, 1945, in Wilkes- school. She spent two years (tenth and eleventh grades) at Barre, Pennsylvania, in an anthracite coal region. The mines Putney, and forged a third set of life-long friendships. Those were still operative when she was born, and a real feature of two years, while also marked by loneliness and homesick- the geography were the mine fires and frequent land ness, greatly broadened her perspective on life and subsidence. enhanced especially her appreciation of the arts. It was also She was the third child (hence “Tertia”, which was sug- the first time that she engaged in practical work, and that gested by her sister Joan) coming rather late to her parents. engagement became a source of pride in a job well done and There was the aforementioned older sister Joan, 18, and a of joy in the camaraderie that practical work generates. She brother Peter, 9. Joan was in her final year of high school. also continued her field hockey “career” that began in the Tertia’s father, Eureka, was a general agent for Mass Mutual ninth grade in Wilkes-Barre, and one of her fondest Insurance Company, and her mother, Gladys, was a home- memories was arriving at competing schools on Putney’s maker. manure truck, with a deep growl for a group cheer. It fed her During Tertia’s first year, her parents purchased a house competitive spirit and her rebellious nature. at Bear Lake in the Poconos, twenty miles from their home, But Putney proved too lonely for her, and she decided and that house was to play a central role in her life and con- to return home for senior year. This decision, coming sciousness until she was 18. It was a large Victorian house against the advice of both teachers and parents, took almost with balconies and numerous rooms, and the lake was a as much gumption as the decision to attend Putney in the short distance down the lawn. The family would relocate to first place. the lake house every summer, and while the father commut- Senior year was back at Wyoming Seminary and while ed to work every morning, Tertia’s entire summers were the schooling did not leave deep impressions on the young spent there. It was a small community with numerous woman, driving her father’s Porsche certainly did. children about her age, and their group formed life-long Clandestine afternoon trips to Bear Lake, often in a friend’s friendships. With the exception of a twelve-year interval vehicle, became another favorite activity, a fond memory. after her father sold the house, Tertia spent time at the lake For college, Tertia decided to attend Sarah Lawrence. every summer of her life. She spent just one year there, feeling that the coursework When Tertia was five or six, she suffered a sunstroke was not answering her life questions. The presence of many while playing outside on a particularly hot day, and fell Putney friends in nearby New York City was also quite a unconscious. As an antidote she was placed in a dark room distraction. At the end of that year, Tertia traveled to Europe for several days, and she always felt that the experience was with the Sarah Lawrence choir, but decided to move to the significant somehow. city upon returning. This was another decision that caused She attended a private day school in Wilkes-Barre, and consternation at home, but the stubborn young woman friendships from that school also continued throughout her would not be told otherwise. She got a job and an apartment Eurythmy Association of North America 13 in NYC, and proceeded to support herself. to travel to British Colombia in order to join friends from During the following year (1964-65), her parents decid- the Maine commune. But conditions there were even more ed to sell the house at Bear Lake. This decision, taken with- primitive than in Maine, and the Mountees were aware that out consultation with the children, was cataclysmic for her. Americans were present without proper documentation. She spent her last visit at the family house crying for an After a few months, a visiting friend convinced Tertia and entire weekend. The lake was the center of her universe, and Eugene to return to the East Coast and get more involved in she felt a gaping hole at the thought of its absence. But from anthroposophical work. They made their way back, and in that crisis a seed was planted in her: she would need to find December of 1971 joined Paul and Ann Scharff who were something to replace the lake, and that something would starting a community to care for the elderly in Spring Valley, need to be even stronger for her; she felt an odd certainty NY. Thus began a whole new chapter in Tertia’s education: that she would find that thing, though she had no idea what medical care, cooking for a large crowd, gardening, and it would be. intense community life. They remained at the Fellowship Back in New York, a young man that she had first met Community for ten years, the most memorable parts of at Sarah Lawrence through a mutual friend became a special which were the arrival of a second son, Lucas Anthony, and friend. His name was Eugene, and before long they were caring for her mother and grandmother at their passing. She living together, a fact that they hid from both sets of parents. worked at the medical office and learned a great deal about Tertia was taking classes at City College, and appreciated anthroposphical remedies and therapies. The small but both the literature classes and the college’s excellent choir. intense circle of co-workers formed yet a fourth cohort of During the spring of 1966, the young couple was surround- people with whom enduring friendship formed. Intensive ed by friends who were active in the protest movement studies in anthroposophy were also a strong characteristic of against the Vietnam War, but they remained on the periph- these years. ery, waiting for a calling that would engage them more fully. In 1981 Eugene took a job as a class teacher at Green In the fall of that year, they went knocking on the doors Meadow Waldorf School, and Tertia fulfilled a long-held of superintendents on the Upper West Side, looking for an wish by entering eurythmy school. There followed four apartment. In one of those buildings, the super was out, but years of “the agony and the ecstasy” as most former euryth- his young son came to the gate. He said that, “he had been my students would surely agree. Eurythmy school included waiting for them,” that there were no apartments available, classes in poetry, recitation, music theory, and anthroposo- but there was something he wanted to show them. In his phy, and felt like a natural progression of many threads that apartment were huge paintings of his, and bookshelves full had interested Tertia up to that point. of books that they had never seen before. All of those books During the fourth year of eurythmy school, she was were by an author named Rudolf Steiner. The young man, approached by Caroline Phinney to join a new Waldorf Angelo, was of Cuban and Puerto Rican heritage. He was a school opening in Princeton, NJ, as a eurythmy teacher. deeply spiritual man, and also heavily involved in drugs, Despite some hesitation, Tertia accepted the invitation, and and had just been released from prison. A few days later, thus began a twenty-three year career of teaching eurythmy Tertia went back to his apartment and borrowed a few at the Waldorf School of Princeton. During those years books. She instantly recognized that Steiner’s work was the Tertia also served in many leadership roles, including facul- new center that she had been seeking. ty chair, College of Teachers chair, and Board member. There followed a few years during which Tertia and Since she was well connected in Waldorf circles, particular- Eugene tried to figure how their relationship to anthroposo- ly in the Spring Valley area, one of her specialties was phy would grow beyond teacher recruitment. It was in Angelo’s influence. They were that capacity that she contacted married in 1968, and moved to a young Israeli trainee named Colorado where Eugene could Elan during the spring of 1990, continue his MA studies. After urging him to apply for the Colorado they joined a back- first grade position at the to-the-land commune in St. Princeton school. Francis, Maine, and there, after Her personal life was a harrowing winter in a log strained during those years. cabin without electricity or The marriage was under stress, running water, Noah Benjamin and she was commuting back was born (May 1971). and forth between Spring When Noah was six weeks Tertia surrounded by Kathryn MacCormack-Roth (L) Valley and Princeton. She was old, the young family decided and Anne Bingham (R) at Green Meadow WS even teaching in both schools 14 Eurythmy Association of North America during the 1989-1990 school year, as well as performing “Bear the Christ Word to Man” with other eurythmists. So it was that what began as a Martina Maria Sam collegial friendship between her and the young recruit became the seed of a second marriage. Tertia moved in with Published as “Nachrichten für Mitgliede” from Elan in June of 1991, and they were married at her beloved Anthroposophy Worldwide 40 / 06 Bear Lake in July of 1998. They lived in the same house in (The first part of this article deals with intricacies and dif- Hopewell, NJ, for the duration of the following twenty-five ferentiations which arise out of a knowledge of German years, excepting a one-year stint at Emerson College, UK. grammar. Interesting and important as this is, the main gist Their collaboration on plays was a source of particular sat- is also clear in this second and more accessible, perhaps, for isfaction for both of them. Elan would write them for his English speakers.) class, and Tertia was intimately involved in most aspects of ….When we enter completely into this language of the productions. The highlight of that collaboration was a mantric verse, we discover that it leads us into a world of play, The Death of Baldur written specifically for eurythmy, multiple meanings. In the spiritual world – and this holds and performed with a fourth grade in the spring of 2002 good already for its lower levels – the active subject and the following the tragic events of the previous September. object acted upon can no longer be separated from each In the fall of 2002 she was first diagnosed with a rela- other. There, unlike in the sensory-physical world, one does tively rare cancer. She underwent two major surgeries in not stand as ‘I’ over against the alien “other”. Rather, the 2003, and additional ones in 2012 and 2015. The effects of “other” am “I” myself, and my ‘I’ becomes for me the alien. the surgeries restricted her movement somewhat, and she The usual distinction between ‘I’ and the world is no longer decided in 2008 to retire from the teaching of children. She possible there at all. continued to teach adults, however, right until the last year And so, in mantric verses, one will very often encounter of her life. “ambiguous formulations”, or even contradictions. Our In 2000, the first of who would ultimately number seven utmost inner activity is called upon if we are able simulta- grandchildren was born to Lucas and his partner, Kiran. neously to think and experience these contradictions or mul- Lucia was joined, in time, by a brother, Theo, and a sister, tiple meanings. At one point Rudolf Steiner expresses this Annabelle. Noah and his wife Bonnie started a little later, relative to the two “contradictory” statements that “God is but caught up and passed Lucas and Kiran, bringing four in us” and “We are in God”: “The two statements are set wonderful children of their own: Noah Jr., Finn, Katie, and opposite each other. Both are true: God is in us and we are Lila. These seven grandchildren were central in Tertia’s in God… The real, the whole truth lies between them. And consciousness. She thought and spoke of them often, and the essential being of any battle of ideas in the world is delighted in every occasion to visit or just use modern based upon the fact that people always tend toward a one- technology to see and speak with them. sidedness that is true, but in fact a one-sided truth, whereas Tertia’s final days were marked by a remarkable series the real truth lies between the two opposing contentions. of conversations and encounters among those who were One must acknowledge both, if one wants to arrive at the closest to her. A mood of serene and peaceful acceptance truth.” pervaded the home as Noah, Lucas, Elan, brother Peter, and Thus one can say: Mantric verses especially are con- a small group of other family members and friends structed [angelegt ] – thoroughly and down into the smallest surrounded her, cared for her, and met one another in the details – to express meaning and significance. But this holds most redemptive and freeing process imaginable. It was a good, in fact, only from the viewpoint of the spiritual world period of grace that most befitted the elegance and grace and is not always immediately achievable for our one with which she lived her life. dimensional, everyday logic that is geared to clear-cut ideas. Elan Leibner “A wound awoke me, Thinking Two Things at the Same Time Opened the lids that lie closed Let us return to the linguistic-grammatical “problem” Over the eyes of the longing addressed above relative to the “Michael Imagination,” and That lives in the sleeping soul put before ourselves again the question: Which of the two To be whole; versions is the correct one? Must we read that: “The Christ- And a word woke me Word bears you brilliant beings of ether-worlds unto man? To reach Or better yet that: “ You bear the Christ-Word to man”? Into the wounds of the world – Against the background of what has been indicated thus And the wounds far, one might attempt the following answer: Both versions Became speech.” are correct, and this in fact in their complementary Christy MacKaye Barnes fulfillment of each other! Simultaneously thinking the two Eurythmy Association of North America 15 versions – that the brilliant beings of ether-worlds are borne The most healing sequence is the big M gesture in all unto man by Christ, and at the same time that these beings directions with the following words: themselves are the bearers of this Christ-Word – can lead us There is Peace before Me (followed by Peace before into the spiritual reality, in which bearer and borne (subject Me, above Me, below Me, beside Me, Within Me, all and object, in fact) are not so easily differentiated from each around Me and Within Me) other as in the physical world. I created the following words mainly for giving the chil- “Unclarity”, ambiguity, do lie in this sentence through dren more expression for their feelings in: the fact that it says “you [Ihr] beings of ether-worlds [i.e. (L, Ah) Life is full of wonder the beings as subject] “instead of: you [euch] beings of (L, Oh, Uh) Life is oh so beautiful, ether-worlds [i.e. the beings as object] “and through the fact (L, Uh, M) Life is full of mystery, that it says “treagt” [third person singular] instead of “tragt” (M 3xs, plus P) So much for me to ponder. [second person plural]. But this “unclarity”, this ambiguity, For quite a while I used “I reach for the Stars, so the does not want to be resolved in the direction of one single Stars can reach me”. This changed now into what could be meaning, but rather in a possible way reading that points in seen as doing the therapeutic AUM exercise: two directions to a spiritual reality. (Ah) We reach for the Stars who, benevolently, With a closer meditative observation of the “Michael (Uh) Reach down to us. Imagination” one will still find many similar “linguistic (M 3xs) A Miracle wrapped up in Musical Mystery. unclarifications” that tend in a similar direction. Rudolf I became more and more convinced that the U sound is Steiner consciously intended these “unclaritifications” in very much needed with the children of today. This translated order to be able to translate a portion of spiritual reality into into a sequence like the following: language. These linguistic formulations with multiple I stand in Good Relation to the Earth meanings, in fact, create “unclarity” only when regarded (starts with U from above down) from this side of the threshold. Seen from the other side of I stand in Good Relation to the Heavens the threshold they constitute a portion of spiritual truth, into (U down for this line) which they lead us, if we enter into them meditatively. I stand in Good Relation to the Beauty of the World Translated by Dorothea Mier and Friends (U on horizontal level) I stand in Good Relation to you, I stand in Good Relation to myself. The Important Link between I am alive; we are alive. Eurythmy as an Art and (This last part with smaller L and bigger L)

Therapeutic Eurythmy In public education, which includes the Waldorf-inspired Truus Geraets Charter schools, one is not allowed to use any word that is not from the realm of the material world. Neither the word Even though I had decided, when turning 80, that I was heaven, nor angel, or anything of the immaterial world. through with teaching eurythmy with whole classes, it so When working in such a Charter school I started to use the happened that at 84 I am still doing three eurythmy classes image of gold dust sparkles we are reaching out in Ah, in one small school. trying to gather in A, point to a special sparkling one with Because the healing aspect has always been the basis for Ee, embrace all of them in Oh, and then feel, like in the all my work, some exercises I have done with the children story of Stargold, how we are receiving a completely new within the school setting, could be seen as a marriage ‘outfit’ made of gold dust sparkles (U). between the therapeutic and the artistic aspects of eurythmy Also in public school education one is not supposed to Here are a few examples: ever touch a child physically. I started then to use the image This poem I use with the B gesture on the first two lines, of rowing a boat together, with the hands of teacher and followed by Ah on the last two lines, while returning again child against each other. I was glad that this was an accepted to the B in the repetition of the first two lines. way of touch. In doing this ‘game’, it is paramount that the A House the Stars have built for me child sits unsupported and that the feet are firmly on the Of Silver and of Gold, ground. It is then that we move with M in between the adult Through many windows I can see and the child and vice versa. To keep the rhythm going, the What once the Angels told. child needs to take the lead to move my hands in the direc- (Repeat first two lines) tion of my shoulders. I, in turn, take the lead, when moving Words as a poem or song by Michael Wilson in his or her direction. I give a more thorough description of Details on page 15 of “Artistic Movement” this in “The Healing Power of Euryhmy”. 16 Eurythmy Association of North America Boys have a way of pushing hard away from themselves Eurythmy as a Critical Art: and then get suck there, the girls can easily disappear, leave their body, and have a hard time standing their ground. What This Means for Its Future In situations where schools have eurythmy, but no ther- Kate Reese Hurd apeutic eurythmy, this could be used by the teachers with a The successful work that I have been doing, of evoking the specially demanding child for or after the lesson. speech sound gesture-impulses from within by immersing I have witnessed deep changes in children, who could not myself in the sounds through intensive speech-work, has led sustain a rhythm, but were then able to get it. The M togeth- me to many insights into the condition of eurythmy in our er with the B and the D are the three most important sounds time. But before I share these insights and discuss Steiner’s in the early years. description of the “naive” approach to art compared to the For younger children, who are new to Waldorf I do the “critical” approach, I want to lay some ground work. exercise with ‘Row the Boat’, after a while changing to In his editorial for the Michaelmas 1999 Goetheanum ‘Slumber (2x), float on a starry stream’. (The entire verse Newsletter for the Section for the Arts, p.1, Werner Barfod with musical connotation on page 29 of “Artistic summoned us to attention: “What do you see as necessary, Movement, Circle Games”.) With older children I may use and how can it be done fruitfully[?] What can we do that the a copper rod or a big wooden pole between our hands and crisis of our arts can become fruitful? How do we work on still do M but now on “Who will ferry me over the river”. new ways of working in our arts? Who has positive experi- That can be done better while standing. ences that he/she would like to report to us all?” These are a few examples from effective Eurythmy I think that Werner Barfod was right to have used the Exercises I have done with groups of children or with word “crisis.” A group of forty-four third-year students from individual ones. twelve European schools held a five-day conference that I would like to share a big adventure!...that I have started year and echoed his alert with their “Open letter, To all to use the internet for crowd funding. The effort is to get eurythmy trainings” for the Newsletter (p. 105). They funds for the Lakota Waldorf School, the only Waldorf wrote: “Eurythmy is in a crisis and it also lies in our [stu- School which serves Native American children. Do we dents’] responsibility whether or not it will have a future. realize that the life expectancy in the Pine Ridge And because we do share and would like to share this Reservation is 48 years for men and 52 years for women? responsibility with you all, we have composed this open let- And that even in the Waldorf community around the Lakota ter. This crisis is expressed probably in all realms of work of school there still has been a suicide of a teenager in the last eurythmy, but also precisely in the trainings. In the euryth- six months? How do we give hope to these friends? How my-training, we meet students and teachers. From the latter can we who know more of the good side of life, be part of we expect ability and knowledge of their subject, but today this? I have a need to share this story, because I have such we can no longer learn eurythmy through imitation. We deep respect for what the people of the Lakota Waldorf today can only connect ourselves by going through the eye School have accomplished over the years: They are of the needle of our own conscious training in the feelings… preserving the dying Lakota language, while giving the During the training, we start to search for the eurythmist in children new hope for the future with a lively, creative ourselves, not for a general, ideal image.” These are Waldorf approach. The Campus Master Plan is ready. Michaelic voices; they befit the Age of the Consciousness In case you would want to be part of this effort, please Soul. go to the website www.gofundmecom/g5n4ig where more In our EANA Newsletter for Spring 2016, Susan Eggers of the story and a picture of the Master Plan for building pointed to the challenges that eurythmists face in Waldorf class rooms in the form of Tipis can be see there. By schools, where they struggle to gain consistent support from December 2014 some 100 people, some known to me, most the school community for eurythmy as a mainstay within of them unknown to me, have already donated almost the curriculum. She suggested that our Waldorf colleagues $4,000. We opt for $ 10,000 so that the first tipi can be built. “need to experience, appreciate and understand eurythmy as What a proud signature that will be for their culture within the unique art arising completely out of anthroposophy” (p. the Waldorf frame work. 24). And Laura Radefeld echoed this with similar concerns My latest website is called... in her article on “The Overall Health of Eurythmy.” She www.healingthewoundsofsociety.com. wrote: “work[ing] locally to make our eurythmy programs That is what this is all about. more vibrant, more colorful and attractive is essential.” We Truus Geraets see that the resolution of the crisis has not yet come about; Books mentioned can be obtained by Truus and this is despite start-up initiatives in many places around E-mail: [email protected] Tel 949 646 6392. the world, enthusiasm for formal certification programs and 2201 PacificAve. A2, Costa Mesa, CA 9627 Eurythmy Association of North America 17 wonderfully skillful and captivating performances. With these words, the template was established for how I want to contribute what I can to our understanding of she would enter the speech sound gestures: he instructed this crisis. Healing can’t be assured without knowing, first- her, described the sounds, demonstrated key features and ly, the nature of the illness, and secondly, what to do to sup- urged her to “learn to feel this” as i, or as V, etc. (pp. 38-39). port a restoration of health, and not only that, but hopefully This same basic template has guided the teaching and learn- a new and enhanced condition of vitality. Taking steps ing of eurythmy ever since. For the most part, like Lory, we toward healing this crisis in eurythmy has been an impera- take our start with learned movements; and as Siegloch tive for me personally, too, because I have suffered the pain explained on p. 38, we strive toward achieving a “sensitive of this crisis and impasse and it led me to quit eurythmy just perception of [our] own movement while doing the sound in a few years after graduating. My work in the present has eurythmy,” i.e., while doing these given gestures. In short, changed all of this. I have uncovered means to surmount we build up our eurythmy on the basis of the movements we this impasse and move toward healing this crisis in a big are shown, together with the mental images, imaginations way, and these means of relief are the reason for my article and meanings that we have been given for them. These – not now. our direct experience of the gesture-impulses of the sounds So, firstly, I want to consider certain features of the themselves from their source in the movement of the Logos birth of eurythmy. I have an intimacy with this birth, this within our speech – are the basis of the feeling-perceptions beginning, because my recent work has involved making a that we acquire when we “learn to feel” what is in the fresh start in speech eurythmy by following Dr. Steiner’s learned gestures. These are the feeling-perceptions we use first advices to Lory Maier-Smits, and in particular, his when we seek to ‘ensoul’ our movement and expression; advice that she should write sentences for each of the vowel and these are what our onlookers witness. As a student, I sounds, use these sentences to do what she referred to as understood that I was to ‘feel into’ the given gestures and “speech exercises,” and try to “dance” them. In this first set work to ‘make them my own’ as strongly as I could, with the of advices, Steiner included the stamping of alliterations expectation that they would in due time become real to my and jumping the Agrippa positions (see Siegloch, How the experience, perhaps even as objectively real as my audible New Art of Eurythmy Began, HNA, pp. 17ff). speech is. In Eurythmy as Visible Speech (EVS, Lecture 2, Lory wrote sentences for the vowels, spoke them and near end), Steiner told us that it is “very necessary that you tried to “dance” them. Perhaps she preserved these in her should gradually feel your way into the real nature of the notebooks; but if so, I don’t know of any that have been sounds,” which “could in no way be other than they are.” passed down to us. With the support of her mother she Steiner knew them as objective realities. worked diligently and energetically to unfold her extensive So, where has this template brought us? The signs and capacities for this new art, “utterly open,” with a heart full symptoms of our relation to eurythmy are evident. Bringing of trust in Steiner’s directions (HNA, p. 37). She was just clarity to them with sincerity will help us through this crisis: about to turn nineteen years old. About this speaking and 1. We hunger for more inputs from outside. We seek more dancing exercise, she recorded: “…I tried […] to express remnants of Steiner’s anthroposophical activity, unearthing these mainly dynamic experiences that I had in speaking the new documents, revisiting old ones and gathering up all sentence […] by walking, springing, hopping, dragging – possible indications and ideas from those who received his but, frankly, mainly with the legs. With my arms and the rest direction. This is fine; but our need to absorb, elaborate and of my body I merely gently indicated the upward or forward incorporate these into our movement suggests that our own or downward motion.” She was not able to sense and did not process has not led us to direct and full experiences of the bring forth discrete movement-impulses for the vowels. “real nature of the sounds” at the well that is within each of Seven months later, she and her mother went to Munich, us. Therefore, instead of using these valuable resources only where Steiner hoped to begin her lessons. Upon arriving, as references relative to our independent foundation work, she was immediately summoned to participate as a ‘dancer’ we still lay our foundation on Steiner’s direct experiences. in his mystery drama, The Guardian of the Threshold. 2. In performance, eurythmists can be seen to move out-of- Steiner was eager to assist the development of this new art time with their speaker or musician. To me, this is a sure form and have it be seen. He gave Lory one brief lesson sign that the gestures are not newly, freshly experienced introducing the three vowels, i, ah and o. As Siegloch wrote, from the source within; because to my experience, failure to his personal instruction of her “was the only training which be in unison with the spoken word or music must result in a [he] himself carried out. The exceptional configurations of painful dissonance, just as much as if one’s expression were destiny made it unique” (p. 36). Lory recorded that he began audible – one therefore feels driven to prepare and rehearse with i (ee) and told her: “Stand upright, ...and try to feel a sufficiently with the speaker or musician to avoid this. If we column from the balls of your feet to your head. Learn to don’t, we cheat our onlookers because the correspondence feel this column, this uprightness, as i” (p. 31). between gesture and audible sound is gone: ‘eu-rythmy’ is 18 Eurythmy Association of North America gone and we’ve given them a bad check and false promises! us, our deft expression of them will be perceived and shared Our disregard for their need shows a lack of understanding by our onlookers; and nothing more is needed. Without this for what our ‘job’ is in performing eurythmy. We can be fresh, vibrant, direct experience of objective facts, we easily seen to give unconscious expression to certain sounds, e.g., fall into the false attractiveness of arbitrary personal styles, the e of foot-crossings. And we often refrain from giving the choreography and doing our own thing. formative force of the plosives expression with definition; My experiences tell me that all of these developments for example, we damp down the prompt, yellow movement- cannot be otherwise. We’ve reached an impasse of our own impulse of B with a green or reddish hue that dissolves and making, just as modern philosophy and science do when blends all movements into a seamless, vowel-ish stream they assume that nothing can be known beyond the reach of (see EVS, Lecture 4, end; Occult Science, Ch. 5, Part 5 ~ ⅖ the five physical senses. Of necessity, they and we reach an in). Our lack of response to the distinct movement-impulse impasse and fall into decay when we refrain from building color of each sound suggests that we’re missing out on feel- our sure cognitive foundation from within by developing ing these gesture-impulses from within; so we’re also miss- and conducting our own primary anthroposophical activity. ing out on the beauty of the crucial transitions between In our case, in eurythmy work, we rely instead on Steiner’s them. We might want to recall that Steiner said that these are anthroposophical activity as our surrogate bedrock. But in the truly spiritual element in eurythmy (see EVS, Lecture 8, the absence of understanding, embracing and strengthening pp. 1-2; Lecture 4). Often missing too, are the fresh spiritual our innate human possibility, our gift, for anthroposophical impulses that initiate lines and shape phrases. And, sadly, activity, and in the absence of sufficient means for doing our we often miss out on the rhythmic changes of heavy and own primary foundational work with the gesture-impulses light, long and short, when we melt them into a same-size in both speech and tone eurythmy, we cannot do otherwise. sweep of gesture-movement that also endows all verbs with How are we to surmount this self-imposed impasse and soulful duration, excludes the prepositions – the invisible crisis? I think we could each find abundant help through spiritual relationships – and blurs major and minor. examining our relationship to this precious art. And one way 3. Onlookers who are not initiated into the code (and even to do this would be through exploring how we shape this those who are) often go away mystified about the real value relationship and determine our actions relative to it with the of this eurythmy. But as Annemarie Ehrlich said, “eurythmy help of what Steiner wrote in Chapter 9, “The Idea of is present in each person” (please do see our EANA videos Freedom,” in his book, The Philosophy of Spiritual Activity. page for her conversation with Leo Stronks). Hence, our In this chapter, he discussed two basic factors that govern onlookers’ bewilderment can only mean that the eurythmy our activity as human individuals: our Motives and our that is in us as performers is not alive and strong; because if Characterological Disposition or Driving Force. it were, it would summon resonance in the eurythmy that is In my own words and using examples within the con- present in our onlookers. As participants – not spectators – text of eurythmy, I’ll try to explain these two factors (please they would experience something moment-to-moment that do consult the chapter itself). Steiner outlined four levels of is truly new and different from what they see in dance. It is motives, which are the ideas – the mental pictures, thoughts, no good telling ourselves that their ether bodies are just too envisionings, concepts and imaginations – that serve as the hardened. Inside our eurythmy circles, we tend to assume reasons that stand behind our actions, i.e., our moral con- that our movements express what we think they do – we duct; and four levels of dispositions that provide the driving know the code: when I move like this, I express L; when I force for actually taking action, i.e., those factors in our move like that, I express the note G#. But others don’t know nature that lead us or enable us to rouse and act on a given the code; and their tepid, puzzled responses suggest that the motive. Our activities can summon different levels and nature and quality of our expression is not what we think it mixes of motives and driving forces; but I think it is impor- is. There is also the problem of faking it: I know I faked it tant in eurythmy work to recognize which motives and together with a classmate for a part of a piece at graduation! driving forces are typical for us. (These distinctions become 4. Performances can be designed to make things clearer to clearer after working with them for a while, so fret not!) onlookers by showing what we have in mind, through over- The lowest level of motives involves mental images of moving, turning to face a direction, miming, slashing and the personal (i.e., egotistical) gain to be had either directly stabbing the air as though striking bells, detailed costuming, or indirectly, as benefit or pleasure or by avoiding adversity etc. But these deeds of compensation reveal that our direct or pain. Motives in eurythmy at this level would include the feeling-perceptions are too weak to support our expression; prospect of joy in movement, belonging to an elite group, because when the gesture-impulses and the sound- using poems and music as vehicles, dominating others, or sequences of the words – where ‘awful,’ ‘fall,’ ‘flaw,’ ‘flow’ escaping discomfort by winging it or following blindly, etc. and ‘flee’ are distinct images – and the directions, harmonic The next higher, second, level of motives is rooted in changes, and so on, are inwardly clear and compelling for principles set forth by authority, as in the family, church or Eurythmy Association of North America 19 state, as in eurythmy practice, also. We do not question their awaken through our feeling-perceptions to everything that source and validity. Internalized, they form the conscience. lives in poetry, music and movement, and since these feel- A third level of motives is achieved when we examine ing-perceptions are to be objective in quality, how do we tell these principles or rules that stem from external authority by the difference between these feeling-perceptions and our giving them thoughtful consideration, to determine why we ordinary subjective feelings? In eurythmy, whatever feel- should base our actions upon them. Our ideas of the cultural ing-perceptions our “heart” provides to us are meant to “rise and human benefits our eurythmy can provide, and our self- up into [our] head” (Steiner, HNA, p. 38) – i.e., we are to chosen moral goals in the art, become set principles for us, know what we are responding to: we are not to rest though in some cases we might still seek personal gain. enveloped in feeling-awareness as animals do. This means The fourth and highest level of motives is reached when that we are to work at a considerably higher level than per- we determine our reasons for acting on a case-by-case basis ceive-and-do or sense-and-do as in level one, or feel-and-do in relation to each perceived circumstance. Our actions are as in level two. However, to complicate matters, there are informed by a fresh, cognitive grasp of the action to be two different kinds of feeling-perceptions that pertain to our taken. In the case of a eurythmy gesture, this would mean expression of the elements of eurythmy: one kind is based that my gesture is not what gives me pleasure or spares me on the feeling-perceptions we can gain by ‘feeling into’ and effort to do, nor is it what I was instructed to do, nor yet is exploring the objective qualities belonging to the positions it the one I’ve personally decided is correct to do for the we take with our body. We approach the Agrippa positions sound: I carry it out the way I do because I’ve perceived and this way, and also the planet and zodiac positions which we cognized the gesture-impulse for that sound directly from have little power to come to on our own. The other kind is its source within myself, and I bring it forth freshly in every based on the feeling-perceptions we can have of the move- instance – likewise with all elements in eurythmy. We are ment-impulses of the sounds – vowels, consonants, tones as then capable of grasping the nature and features of each new scale degrees – as these arise from their source in the Logos piece without imposing preset ideas, styles and treatments at work in our own speech and singing activity, and for all upon it. We have become capable of conceiving of ideals of the inaudible, unspoken and invisible aspects of move- without examples to fashion them upon, and of acting on ment, poetry and music, e.g., the parts of our being, direc- them purely on the basis of our clear and enduring grasp of tions, colors, harmonies, pitch, intervals, phrasing, beat, the idea-content itself, without any other motivation. This is soul moods, etc. For me, it has been crucial to realize that because it contains in itself all the richness of feeling and eurythmy is visible speech (or wordless singing), not visible will that it requires. At this level, we act out of love for our heard speech (or singing) – see Steiner’s Practical Advice to ideal, which is born through our intuitive cognitive activity. Teachers, Lecture 2 ~ ⅓ in. The feeling-perceptions I’ve The characterological dispositions and driving forces gained from the gesture-impulses themselves show me that have to do with our responses to the perceptions we have. this is my most direct means of knowing the gestures. In They govern our readiness to act on the motives that suggest comparison, I’ve found that the results of ‘feeling into’ the themselves to us, and shape how our action comes about. At inherited gestures are shallow, unreliable, frustrating and the lowest level, our responses happen immediately, without unnecessary. I’ve also found that they block my perception thought and without feeling. Included would be responses to of the delicate gesture-impulses, which are easily silenced. instincts, biological needs, and urges – among which I think The third level of driving force is that of “practical would be the urge to imitate, as well as blind movement experience,” as Steiner called it: through living, we store up urges that are followed arbitrarily in eurythmy. On a higher mental images and thoughts about what we’ve done and level, this is the realm of tact and of established habits, such what we’ve perceived others to do – such as gestures in as eurythmy gestures that become habitual and automatic. eurythmy. When we meet with the sounds and notes we In the next higher, second, level of driving force, our associate with these, we call up our mental images and will is stirred by the feelings that we have come to associate descriptions and apply them. However, when we use these with the things we perceive. Our fright when we see a child to make ourselves feel what we think we should feel while run toward a busy street stirs our action. If I’ve associated doing the gestures, we impose our head on our heart; this is good feelings with the dance floor, I’ll be likely to stir my the reverse of what Steiner advised, and it is unhealthy. will to act on the idea, the motive, that eurythmy would be Also, when mental referencing and copying is habitual in a healthy to do. In every case, these feelings are personal and field of activity, it can exclude both thought and feeling and subjective. At this level, in shaping my eurythmy expression descend to the lowest level of driving force. I will want to favor gestures that I have subjectively ‘lived At the fourth and highest level of driving force, action into’ in ways that please me, that I associate with a feeling doesn’t arise in us as an automatic sense-and-do response, of grace, or of power, etc., and I will gloss over those that I nor as a feel-and-do response, nor through the suggestion of don’t. But the question arises: since eurythmy requires us to mental images from past experiences. Our will is no longer 20 Eurythmy Association of North America activated or informed by these factors. This level of driving form of subjective dance expression and entertainment – all force becomes synonymous with the fourth and highest of our gestures and movements must be objectively reborn level of motives, so that in our work, we are also no longer resonantly from within us, every moment. And what stands governed by personal gain, rules or our well-considered as proof of their reality – together with the resonant and goals: the piece alone speaks to us. Since our actions are not grateful communion of our onlookers – is our well-trodden dictated by anything other than our pure intuitive, cognitive and completely surveyable path to and from their source grasp of what we wish to make manifest, this is the realm of that becomes second nature to us, not the finished gestures. freedom in human activity, the highest level of our moral I believe that only this level of activity gives us the possibil- conduct. Our daily deeds are usually a mix of the levels; but ity of guiding eurythmy past this present impasse and crisis, only conduct arising at the fourth level bears the stamp of while bestowing upon it the vitality it needs to flourish freedom. At this level in eurythmy, nothing but our direct, throughout all future time. We dare not hang back! objective feeling-perceptions and cognition sustain us in our But this independent level of work requires us to have work to know what lives in poems and pieces of music, and effective means for gaining deep and direct experiences of to express this through the lawful movements of our body. our human speech and singing, to find our bedrock through Looking at these levels of motives and driving forces, our own anthroposophical activity. It seems to me that when we can see the life of our Sentient Soul at the lower levels, Steiner initiated the art of eurythmy, his efforts centered where we focus on the sensations and subjective feelings of upon attempting to give Lory (and us) the means to imagine our body and soul. In the middle, our ego works on these as and feel what it would be like to experience the gesture- it develops our Intellectual Soul through thinking. And at impulses directly from within, as he did – like trying to help the fourth and highest level, we develop our Consciousness a blind person sense what it would be like to see something. Soul through seeking truth – that which is permanent, which But I’ve found that with sufficient means, I can have these gives us the means for spiritual communion with each other gesture-impulse perceptions directly, in detail. I do not need (for descriptions, see Theosophy, Ch. 1 ~ ½ in, and Occult to rely on elaborating the things that have been passed down Science, Ch. 2 ~ ½ in,). Therefore, only through our truth- to me from him. The poetic miniature speech sound etudes seeking Consciousness Soul activity can we engage in the that I’ve written in response to his suggestion to Lory have direct ‘human wisdom-grasping’ work of anthroposophy. proved to be exactly these means. And anyone who is suffi- So now, at last, turning toward what Steiner wrote about ciently determined, sensitive and persistent can write these. the naive and critical approaches to art (with his emphasis): (The ones contained in my book, The Speech Sound Etudes, “In all of our activities, two things must be taken into Volume I, however, are well-honed and have stellar track account: the activity itself, and our knowledge of its laws. records.) In my report on my work (see at our EANA web- We may be completely absorbed in the activity without wor- site in the artistic section), I described my composition and rying about its laws. An artist is in this position when he use of the etudes, and discussed the inner support that was does not reflect about the laws according to which he cre- necessary for me to meet with such good success. ates, but applies them, using feeling and sensitivity. We may Thusly prepared, I did Lory’s tasks; and I found that the call him ‘naive.’ It is possible, however, to observe oneself, sentences of pure vowel assonance can evoke our inward and enquire into the laws inherent in one’s own activity, experiences of the vowel gesture-impulses; the alliterative thus abandoning the naive consciousness just described sentences that I wrote for the consonants evoke those for the through knowing exactly the scope of and justification for consonants; and the Agrippa positions can open us to the what one does. This I shall call critical…Critical reflection scale degree (and interval) experiences if we begin with an then is the opposite of the naive approach.” (see Truth and attentive standing position for the first degree and end with Knowledge, end of Ch. 3) a no-jump standing position as the octave. I do the positions For Steiner, this critical approach to art was clearly no both ascending and descending, either with jumping as emaciated exercise in mental futility. On the contrary: it Steiner suggested – calling my will into the work – or with leads to deep satisfaction within the life of will and feeling jumping only for the 5th, 6th and 7th positions of these far beyond anything that naive art can offer. It involves the eight, for the upper tetrachord. highest levels of motive and driving force. To me, his use of This speech-work with the sentences has also taught me the word, “justification,” points to our independent proving the three distinct roles that the colors play in the gesture- of these laws, i.e., engagement in our own anthroposophical impulses. I found that the ‘veil’ and ‘character’ colors do not research and verification. Then our artistic work stands act as movement colors like the ‘movement’ color does (see upon the bedrock of our own process, not upon the surrogate more in my report). Also, among the many non-physical, bedrock of Steiner’s anthroposophical process. In order for odd-but-real gesture details that I now experience directly – eurythmy to be valid as a “completely anthroposophical art” as Steiner also experienced directly and showed in the – rather than as a naive art that falls into place as yet another Figure drawings – are: the head lumps of V, the way the feet Eurythmy Association of North America 21 move to plant themselves in F, the untamable feeling of R, And please take note of Felix Lindenmaier’s article on the stretched head of K, the peculiar, narrowed feet in P, the the tone angles in the Easter 2016 Goetheanum Arts Section soft envelope of H, the shoe heels of e, the bare head and Newsletter. It is well worth our study! pigeon-toed feet of B, the ear angles of o. I make no setup, no physical preparation, for any gesture: there is no need. A Lifetime of Eurythmy One note that I would like to add about the nature of the I was born on September 7, 1928, in Far Rockaway, Long speech-work is this: I am not advocating speaking while Island, New York City. My brother and I were taken to the doing eurythmy movement in general: that practice would beach every day in the summer by my mother – a wonderful be depleting and even destructive when the gestures are early childhood! I went to a public grade and high school in automatic, without feeling and carried by the speaking. But Flushing and Bayside, Long Island, which I found boring! with quiet, inward poise, speaking assonant and alliterative When I was 17 years old I began college (Michigan State etudes such as these evokes the gesture-impulses within us; College) with a major in music theory and composition. and when these impulses are clear, strongly felt and known, There I met and married my first wife, Lucille, and had two we are then able to bring them forth as nuanced gestures of children. There I also met my future teacher in composition, any size that speak completely. There remains no urge to Paul Nordoff, who lived in Spring Valley. When I finished speak, nor any need for the habit of speech suppression: one college, my wife and I moved to Spring Valley, and I studied dwells in pure eurythmy movement. And this is marvelous, with Nordoff for two to three years and was introduced to because the bottom line in eurythmy is this: we can only anthroposophy. consciously, truthfully express what we actually experience. A few years later I met eurythmy in a lay course and The quality and depth of our eurythmy expression and knew I had to learn this. There was no eurythmy school in its receptive resonance with our onlookers depends entirely America at that time, so I left my family and began my on the quality and depth of resonance of our direct experi- studies in Dornach. I finished the training in eurythmy and ences of all of the elements that hold sway in our art. Let us therapeutic eurythmy in Vienna with Trude Thetter. I was take inspiration from what Steiner told us in the first lecture invited with my second wife, Anne Maidlin, also a euryth- of his cycle, Eurythmy as Visible Singing, pp. 1-2: “From mist, to join the Zuccoli performing group in Dornach, the side of the eurythmists themselves, much can be done which we did for a few years. with a view to increasing a right understanding of eurythmy. In holiday times we were invited to substitute in thera- And here it is most important to bear in mind what is per- peutic eurythmy in many homes and hospitals. I worked in ceived by the onlooker. The onlooker does not only see the various institutions in Germany, Australia, Norway, movement or gesture that is carried out by the eurythmist, Denmark, South Africa, Ireland, England, and Austria. he also sees what the eurythmist is inwardly feeling and During the second year of the School ofEurythmy, Spring experiencing. This makes it necessary that every movement Valley, my wife and I were invited to teach there. We came or gesture on the part of the eurythmist should be an actual and stayed a few years and taught. experience, and this is more especially when anything is to In 1980 my wife and I started be performed. In speech eurythmy we must experience the a eurythmy school in Stourbridge, structure and formation of the sounds, and in tone eurythmy England, which was approved of the structure and formation of the tones.” And in the fourth by Dornach. I closed the school lecture, about ⅔ in, he reiterated: “For the onlooker can when my wife died in 1999. Since differentiate quite clearly – he is not aware of this, for it then I have been living in Dornach does not penetrate his consciousness – but unconsciously with my third wife, Simonetta the onlooker can tell quite clearly whether a eurythmist is Soffientini (eurythmist and rattling off the movements automatically or whether they Norman & Simonetta pianist) and I am still teaching classes. are permeated with feeling” – meaning objective feeling- Eurythmy today, in it‘s very youthful phase, is making experiences, of course, not our personal feelings. In support visible mostly what one hears. One of my teaching of the deepening of these objective experiences, I have also principles for the last 40 years is to work step-by-step in the begun to work toward developing the means to evoke the direction of trying to make visible the music and text that movement-impulses for tone eurythmy from within through one doesn‘t hear! Rudolf Steiner says the music and texts wordless singing, alone and in harmonies; and as always, I that one hears is not the music or text (Tone and Speech am supported by the wise counsel and encouragement of the Eurythmy courses). The music and texts for eurythmy in the Eurythmy Meditation; it affirms me in my engagement of future will be what one doesn‘t hear. all three of my soul forces in service to this remarkable art. Respectfully submitted, Let’s all do what we can; and let’s keep in touch! Norman Francis Vogel 22 Eurythmy Association of North America Norman Francis Vogel has produced several books on The Presence of the Logos eurythmy: Rediscovering the Sources of Eurythmy. We are only mouth. Who sings the distant heart A Workbook. With Class Lesson Notes by Anne-Maidlin that dwells entire within all things? Vogel. Verlag am Goetheanum. 2002. Its great pulse lives in us divided into lesser beats. And its great pain, Therapeutic Eurythmy for Children from Early Childhood like its great joy, is too great for us. to Adolescence with practical exercises by Anne-Maidlin So we always tear ourselves away again Vogel. Preface by Michaela Glockler. SteinerBooks. 2007. and are only mouth. But suddenly the great heartbeat enters into us invisibly The “Inaudible” in Eurythmy and we cry out… From Eurythmy as Visible Singing And then are being, change and countenance. “The more you are able to bring out that which cannot be heard, the more you use the audible as the vehicle for the The Word in the Beginning inaudible, so much the more is the music permeated with To keep silent. Who has kept more the soul.” Rudolf Steiner, Lecture 3 silent inwardly “The spirit also lies between the words. Furthermore, touches the roots of speech. the sounds we hear in words are only the sensory impres- Some day each sprung syllable sion; when we speak, too, the spirit lies in the inaudible will be for him a victory realm. Rudolf Steiner, Lecture 4 over what is not silent in silence, Note from the Editor: Our roving reporter, Sheila over mocking evil; Shapiro, when visiting the Goetheanum last spring, met up that he may untie himself without a trace with Norman Francis Vogel. Norman Francis and Maidlin the word was shown to him. Vogel were my eurythmy teachers in the training at the Rainer Maria Rilke School of Eurythmy Spring Valley from 1976 until 1979. When speaking to Sheila after her return from Dornach, Pilgrimage Continues… I suggested that she contact Norman Francis and ask him to Marta Stemberger, M.A. write his biography for the newsletter. What he writes is indicative of his integrity to focus on eurythmy and how we Each month, I spend three to four afternoons distributing must be continually striving as eurythmists to listen and to postcards with information about my eurythmy circles to the inaudible between sounding. And for that I am grateful. selected yoga, dance, acting studios, holistic bookstores and centers, and Waldorf schools in New York City. Two to three Sheila Shapiro writes: I met Norman at the Goetheanum in times a month, I attend holistic bazaars, talking about 2013 when I spent three months performing with Beatrice eurythmy. I’m saddened again and again how few people Schupbach’s group. I met him the first weekend I was there, have heard about Rudolf Steiner and Waldorf education, let because he needed a pianist to play for the eurythmists he alone eurythmy. And my determination strengthens: I have was working with at that time. I often saw him sitting in the to continue spreading the word. Eurythmy is the movement cafe area of the Goetheanum preparing or taking a break. modality of the future. Through one conversation, we found that we went to the People are desperately searching for the benefits of the same beach and ocean as a child, but in different years. I harmonious movement, they just don’t know where to look. also met, for the first time, his present wife, Simonetta, and By now, majority of people are aware of yoga, tai chi, did eurythmy with her also. Last year, April 2015, Dolores meditation, but the harmonious movement art of eurythmy Kaufmann and I spoke to him on Easter Sunday. is a novelty for all. And I go on, step by step. The process is The following quote is from the Wild Harmonies, the slow, financially draining, yet spiritually rewarding. autobiography of Helene Grimaud, pianist. Since April 2016, I’ve been offering public eurythmy “Did music seize hold of me because it is the extension once a month at the Balance Arts Center in Chelsea, NYC. of silence – the silence that always precedes it and that The monthly circles are held at 7:00 pm on a Wednesday resounds at the heart of every piece? Music offers access to after the Sun enters a new Zodiac sign. The theme for each something outside speech, something that speech cannot class thus arises around the consonants, colors, and energy express and that silence can, by silencing it. What is noise, of each star constellation. We move on poetry and piano but music without silence.” music for one hour and a half. I’m grateful to work with Eurythmy Association of North America 23 Jonathan Bell, a wonderful pianist and composer. He played Eurythmy, for eurhythmics before, but has never come across eurythmy. He is fascinated by what I do. And intrigued by a Project in a Public School Leopold Van der Pals’ compositions. Brigida Baldszun The weekly Eurythmy Lunchtime Flow circles began in June 2016, and are part of the Edgar Cayce Center’s Background Movement for Body and Soul program. We move on poetry A family has their two children enrolled in the Princeton during the one-hour session each Thursday at 12:15 pm. I Waldorf School. When the father, the principal of the Bronx open with a couple of social eurythmy exercises, using an International High School, sees his son performing array of roundish shaped objects (balls of yarn, sea shells, eurythmy and hears the comment that eurythmy has an rocks; I cannot afford to buy copper balls yet). Then I intro- influence on the ability to think, he said: “That’s what my duce some of the elements from the current monthly circle. students in the Bronx would need.” All monthly and weekly sessions end with the IAO exercise. The circles are still tiny: up to four people so far in the Report of What Happened paid classes. But I had a nice group of twenty people in July Introduced by Susan Eggers, the eurythmy teacher of the at the Edgar Cayce Center’s annual picnic at the Pilgrim Princeton WS, I followed up on this comment and visited Hill in Central Park. It was a free sample class for about the school in the Bronx. thirty minutes. I bought a big bag of oranges, and we moved One of the four schools in a huge brick building from a few social eurythmy exercises, and closed with IAO, of 1897 is the International HS. It has about 400 students who course. have only recently arrived in the US. Let me share what people have said about experiencing I was introduced to a group of twelve ninth graders. eurythmy: They had tested very poorly in reading and writing skills “I came to Marta’s (even in their mother tongue) and were grouped in a class as a beginner, not “bridge class” and received all their lessons in English. I knowing anything about was advised by the principal to do coordination exercises. this style of dance After many months I was finally engaged as a contractor to movement. Her passion teach what turned out to be a block of 11 sessions. and deep understanding On my first teaching day I arrived with 25 tennis balls of mind in motion is not knowing how many lessons I would teach nor to whom. incredible. I never knew After an hour of waiting I was led into the math room I could feel and move in because nothing else had been arranged. such an easy, but com- I ended up giving a little demonstration of eurythmy plex way. I believe it during a math lesson dedicated to the planetary system. The opened spaces for more Photo by Jonathan Bell students were spellbound as I walked the form of a small creativity and joy in my life!” (Mia from Florida attended a square and engaged three other students to be able to show Eurythmy Lunchtime Flow session while visiting NY.) four squares at the same time. Those students who watched “Marta is a passionate, giving, kind soul, who centered saw each of us going in different directions and yet it me, calmed me that day with eurythmy moves. I was sneez- seemed to make sense (double mirror forms). ing all day, and it stopped completely at her presentation. I They understood immediately the lawfulness of this used to watch eurythmy a lot—my daughter went to a exercise although (with teacher’s luck) I had selected those Waldorf school—but actually doing it is a completely differ- students with very low academic skills to be “on stage”. ent experience.” (Marija from New York attended the first (Yes, it felt to me as if I was digging new paths into the evening eurythmy circle in April.) ground of lazy habits and into the fallow land of thinking.) I also continue writing the weekly blog Soulful Sparks In that same lesson we tossed and bounced the anapest of Inspiration, inspired by Rudolf Steiner’s Calendar of the rhythm with the tennis balls. “Paying homage to the four Soul. The sparks are published on my website soul- elements of earth, water, air and fire” (by bouncing the ball fulsparks.hamoves.net, the Canadian Crystal Wind, and the on the floor, guiding it at heart level around the body, toss- Huffington Post, where they are now featured regularly in ing it up in the air and throwing it to a partner). several curated sections. I visited the school regularly for ten more sessions. I Marta Stemberger, M.A. taught during math and science lessons in the assigned Photo above of Marta with group; Soulful Wizardess Cancer Eurythmy Circle at Balance rooms and although the tables and chairs got pushed to the New York, NY Arts Center, Chelsea, NYC, June 2016 side, there was never enough room. www.hAmoves.net 24 Eurythmy Association of North America The students though, being used to frustration, misery Watching this process of transformation made me shake and foolish misunderstandings, knew each other so well that with excitement and I am living with the question: “What they didn’t mind stepping over each other’s feet. No music was evoked in them by doing eurythmy movements without and for some time no poetry, no blackboard, no wooden an intelligent explanation?” Where they able, despite the floor, no eurythmy slippers... was it worth the effort? social and political conditions, to instantly experience the When I asked them individually from where they came divine origin of the eurythmy movements? Or did they have their behavioral armor fell for a brief time and they smiled a true learning experience out of movement? in a very personal way. They were from Togo, Bangladesh, Honduras, Dominican Republic, Mali, Senegal, Gambia and Guinea. Waldorf Schools of Portland, Vancouver, and Seattle Personal Comments Share Eurythmy Of course the students became loud and wild with the tennis balls, playful and rude. How would I tame them? On April 25 and 26, 2016, the two schools from the nearby Showing the arm gestures of the colors and the sounds region, Portland Waldorf School and Vancouver Waldorf was very transformative. One by one the students stood up School came to Seattle for our annual High School and did the sounds gestures for their names. They were Eurythmy Festival. Sarah (PWS) and I have been hosting amazed, and though they were silly too, became trans- this grade 11 event, now for three years, and we were happy formed. that Sonia (VWS) could bring her class to join us this year. Soon a split in the group was noticeable between those The program included a wide array of repertoires from students whose intelligence was sparked by the eurythmy the big classical pieces by Beethoven and Chopin to a more movements and those who had no interest in learning. One popular theme song from the Game of Thrones. There were girl got so excited about the sound gestures that she learned poetry solos, as well as a light-hearted piece featuring the them all after only seeing them twice because she wanted to theme music from the Pink Panther. Wearing pink was never learn the whole alphabet. so much fun! The range of ability in movement and thinking skills Eurythmy teachers from the three schools, Sarah Rehm was vast! Another tendency was that during the warm-up (PWS), Sonia Plewa ( VWS ) and I were all taken by the movements the students fell into rough movements and loud sincerity the students had put into their work, as well as, the use of their voices. It was time to recite a poem, and that artistry and creativity each individual contributed to put this helped. Usually it was easy to surprise them, but very hard festival together. It was wonderful to see the forty six to make them practice to improve. juniors in colorful eurythmy costumes, expressing them- In order to introduce the five-pointed star I wanted to selves confidently through movement. It was truly inspiring cut an apple in front of their eyes. But I was not allowed to for the students to have the opportunity to see their peers in bring a knife into school (same rules as at the airport). The eurythmy and I am grateful for the collaboration and rough cut with a plastic knife did the job, and it was a joy to colleagueship we are starting to build between the three see that those students with low academic skills knew very schools. The visiting students enjoyed a brief excursion to well the structure of an apple core! downtown Seattle, a movie night hosted by our very own In their eyes it was a reasonable task to walk the shape film club, and they were especially impressed by the break- of the walls of the apple core and also the proper star. Again fast provided by the SWS juniors on campus. I am already the teenagers became quiet and humanized. looking forward to our Festival next year in Portland! Maiko Canard, Seattle Waldorf High School, WA

High School Eurythmy Festival Eurythmy Association of North America 25 Encountering Our Humanity sculpture and even architecture. Then a one-man perform- ance of Leo Tolstoy’s “A Confession” was presented, where Virginia Hermann we fell into caverns of darkness and rowed our way toward On behalf of the Eurythmy Spring Valley Ensemble and the the light, played by Peter James Haworth and directed by cast of Barbara Renold’s project of Shakespeare’s A Julie Le Gal. Wednesday was an open-mic style Coffee Midsummer Night’s Dream, I would like to offer a few House night hosted by the youth section. We revealed the words about our recent experience in Ottawa at a large con- rich economy of soul living in the conference participants as ference called Encountering Our Humanity. Inspired nearly they sang, spoke, clowned, and strummed their special way three years ago by Arie van Amerigen, the General until near midnight. Thursday brought virtuosity, with Secretary of the Anthroposophical Society in Canada, then Emmanuel Vukovich on violin and Jean-Philippe Sylvestre artfully and extensively prepared by the Canadian Society, on piano, as soloists and as a duet. Friday took us into the eight-day conference was a sincere and joyous festival silence as the Spring Valley Eurythmy Ensemble presented of knowledge – the knowledge of striving together to a sober and energizing expression of Steiner’s Foundation embody the consciousness of our humanity. In the planning Stone Meditation, followed by an exuberant excerpt of group’s own words – out of the recognition that for more Shakespeare’s A Midsummer Night’s Dream, the contrast than a century “the spiritual knowledge of the human being between the two pieces was quite remarkable. according to Rudolf Steiner has made it possible to enrich Friday, Venus’s day, Our final evening. and recreate one’s relationship to oneself, to society and to Elizabeth Carmack and her Cambridge Music Conference, the world” – the conference sought “to explore the observa- was a synthesis of aspects from the previous contributions, tions, results, and questions pertaining to the various fields bringing the world into conversation about healing through of life where anthroposophy is at work.” arts. Native American First Nations Squamish Elder Wendy To this end, each day flew under the banner of a desig- Charbonneau’s spirit-invoking drumming and singing, held nated field: Karma and Biography, Education, Medicine, and nuanced by Kairos Eurythmy Group’s silent supporting Science and Biodynamics, the Arts, Community Building movements. The program went on, swirling eurythmy and and the Social Arts, and last but not least, Religion, modern composition for Piano (Yawen Wang), Oboe (Jinny Meditation, and Spirituality. One might imagine that such a Shaw) and Cello (Evan Lamberton), including contribu- feast of variety might leave the conference-goer either tions by Jinny Shaw, and conference presenter Nigel yearning for more focus, or unable to digest each day’s new Osborne. Nigel’s Dedication to Syria, written with the chil- fair, but, to the contrary, I found that the wealth of offerings dren in Syria whom he works with, is a musical approach to built up a global feeling of the vitality of anthroposophy in healing the war-torn communities of the world. the world. And it was through being immersed in this larger As a member and participant in the gathering of the picture of the collective, unfolding, life-body of anthropos- Youth Section, running concurrent with the conference, I ophy that I experienced being embraced by the presence of was moved, encouraged, and at times admittedly surprised, the corridors and lecture-halls of the School of Spiritual by the sincere appreciation for eurythmy expressed by the Science. young people, particularly in the case of the Foundation Besides the morning lectures to the day’s theme, other Stone Meditation. aspects contributing to the auspicious and inspirational Through gracious accommodation by the conference mood included, in my view, the presence and participation planners we were able to perform the Foundation Stone from five of the six members of the Executive Council at the three times, giving both the audience and ourselves the rare Goetheanum; presentations from individuals with extensive and exquisite opportunity to deepen the experience through and pioneering experience; the well-facilitated spaces made successive repetition. It was first shown on Thursday for whole-conference plenums; afternoons devoted to a evening before Emmanuel Vukovich’s concert, again the myriad of rotating research presentations from individuals following morning before the lectures, and lastly that same in every field; a growing culture of active intergenerational evening before A Midsummer Night’s Dream. I’m sure I interest and conversation; and, last but not least, perform- echo my colleague’s experience in saying one could feel the ances every evening highlighting artists working out of the substance and quality of encounter between audience and anthroposophy. eurythmists grow tremendously with each successive Here is a touching description of the evening perform- performance. In the first one we were face to face – the wax ances written by a friend, Frank Agrama, for the Youth was still cold – speaking from outside into the space of their Section newsletter: listening; by the last one we were melded – the wax warm Opening night brought us into an anthroposophically and flexible – speaking almost as if from inside, together inspired gallery of artwork curated for the conference. with the audience, out to the periphery. Spiritual researchers presented art in paper, fabric, wood, 26 Eurythmy Association of North America This was the first performance of the Foundation Stone in with the English in a way that never happens when she sees over a year, with Cameron MacArthur and Gabriele the meditation in German. The second was a compliment Armenier assuming a place in the first three panels. Due to from a HS Drama teacher, well versed in Shakespeare, who Shiori Ogihara moving to Taiwan and Elsa McCauley’s reflected that seeing the elemental fairies embodied in August obligations in Therapeutic Training, this new con- eurythmy made them understandable in a more true form figuration was arranged in the spring in anticipation of the than anything else she had experienced until then. Ottawa conference. The intensity of preparation to bring With immense gratitude to Arie van Ameringen and the substance and skin around this new grouping, in such short Anthroposophical Society of Canada for their commitment time, was demanding yet galvanizing. The anticipation and to the arts, and to the artists in this conference, and for all adrenaline of such a debut, the extra measures of determina- their efforts to coordinate and provide for all the needs of tion eked out in last-chance rehearsals in the stairwell, the the performers they hosted at the event. I hope I speak for discipline required to focus the group’s attention, weave all of us when I say that it was an honor to be included and between the conference hub-bub, and attend to all the a joy to be graced with the knowledge that there were details necessary to prepare the space, the costumes, and encounters, at least for some and maybe for many, with the ourselves for performance was, at least for me, the familiar essence of what makes eurythmy real. but special joy of the active muscle of devotion that defines ---- the performing artist both aliving and exhausting itself, in Foundation Stone Meditation*: Spoken by Jennifer the best sense of the word, in service to its own element. Kleinbach with eurythmists from Eurythmy Spring Valley The performance of A Midsummer Night’s Dream was (Gabriele Armenier, Beth Dunn-Fox, Virginia Hermann, no less exciting, though on many accounts less delicate, Cameron MacArthur, Natasha Moss, Barbara Schneider- having already been performed on a few occasions. The Serio, Sea-Anna Vasilas). sudden burst into the dramatic wiles of Shakespeare’s fairy *Form, costume, and lighting indications by Rudolf Steiner kingdom after the Foundation Stone felt like a hot fudge sundae after a nourishing bowl of nettle soup. Not quite an A Midsummer Night’s Dream*: Eurythmists: Brigida obvious pairing, but both wonderful and rich; and a great Baldszun as Puck, Virginia Hermann as Titania, Cameron opportunity, as Frank remarked, for showing the contrasting MacArthur as Oberon, Sea-Anna Vasilas as Fairy and fairy styles. Luckily, Barbara Schneider was able to grace the attendants; Speech Artists: Jennifer Kleinbach as Fairy, transition with her solo, Debussy’s “The Girl with the Oberon, and Bottom (acted), Barbara Renold as Puck, Flaxen Hair”. It was quite an experience of perseverance Titania, and fairy attendants. and inner calibration for those of us stepping directly from *Form and costume indications by Rudolf Steiner Foundation Stone into Shakespeare’s drama. And for the others it was perhaps a bit tenuous: with everything else Lighting by Ethan Sudan going on there hadn’t even been time for a full run-through before the performance – on a considerably raised stage sat- urated in immense blinding lights! And we just managed, hours before show time, and without too much rancor, to collaboratively improvise the entire stage setting, including Brigida and Barbara Renold foraging into the trees to gather boughs and branches for our woodsy atmosphere! With the heightened concentration of pre-performance preparation testing our reserves and calling upon our inner forces, all the performances were imbued with an earnest- ness and desire to bring the best of what we had to bear into the whole of what the conference was building-up. In the days following the performances, stimulated by people’s comments and questions, many valuable conversations about eurythmy were able to come about. There were two comments in particular, I’d like to share. The first from Constanza Kaliks, Brazilian member of the Executive Council and current leader of the Youth Section, who was quite touched by the beauty of the Foundation Stone in English and had had the remarkable experience that the Virginia Hermann of Eurythmy Spring Valley Ensemble words of her native Portuguese arose in her in resonance and Threefold Educational Foundation Eurythmy Association of North America 27

In Honor of William ‘The evolution of consciousness as expressed in drama’ is one theme addressed during the conference. The following Shakespeare’s 400th Birthday is posted on the website of anthroposophy.org. On Saturday, April 23, a troupe of eurythmists and speech “Under the direction of Barbara Renold and Beatrice artists performed Shakespeare Medley at The Threefold Voigt, speech artists and eurythmists are rehearsing scenes Auditorium, Spring Valley, NY. The event was to honor from Oedipus Rex, a Shakespeare Medley, A Midsummer ‘The Bard’ with eurythmy, speech, sonnets, dramatic mono- Night’s Dream, and The Trial of the Soul to be performed logues, and more. It featured special guests John McManus throughout the conference. and three high school students from the Rudolf Steiner Sophocles, Shakespeare, Steiner: Evolution of School, and included the premiere of Act II from A Consciousness through Drama Midsummer Night’s Dream done mostly in eurythmy (with “These two evening performances outline the evolution of an actor playing Bottom). All was sponsored by Threefold human consciousness as expressed in drama of three differ- Educational Center. ent ages: the Ancient Greece of Sophocles, the Elizabethan The Cast of Characters included five eurythmists. England of William Shakespeare, and the twentieth-century Barbara Renold and Jennifer Kleinbach were the speakers. Europe of Rudolf Steiner.” Jennifer made smooth transitions from the podium to the Complied by Maria Ver Eecke stage when she appeared as Bottom, transformed with the head of a donkey. Delightful music was created and A Voice from the Stage performed by Christiane Landown on recorder and lyre. Puck follows the order of his master, Oberon; otherwise he Rudolf Steiner created the eurythmy forms for the will do something very unexpected. He is able to create the elemental beings. And the following eurythmists played most unlikely situations. Because of his mischievous nature these parts (to be precise, they did eurythmy). he is called by many names: Puck, sweet Puck, gentle Puck, • Cameron MacArthur played Oberon: Titania’s husband Droll, Hob Goblin, Robin Good-fellow, and possibly more. and King of the Fairies. He can wait in stillness for the right opportunity for his • Virginia Hermann played Titania: Oberon’s wife and action and he can be very quick to “put a girdle round about Queen of the Fairies. the earth in forty minutes”. That's how he noticed that •Brigida Baldszun played Puck: servant to Oberon and ‘the Bottom the Weaver had to pee during rehearsal and went jester of fairyland’, also known as, “the shrewd and knavish into the bushes. Whoops – he puts the mask of a donkey on sprite called Robin Goodfellow”. Bottom’s head, and pray thee, where did that come from? •Sea-Anna Vasilas took the parts of all Titania’s four fairy I suggest learning to think that Puck’s age and size are servants: Peaseblossom, Cobweb, Moth, Mustardseed. flexible. When moving this character eurythmically on •Jennifer Kleinbach played Bottom, the Weaver, trans- stage one should never stand upright nor in full height but formed by magic with the head of an ass. be crouching, lurking, hiding, hopping, skipping, running, The Spring Valley Community was invited to Open dancing and laughing with hands and feet. One should do as Dress Rehearsals for the following performances. many sounds as possible with the feet and only a few with Friday, July 29, 7:30 p.m.: Scenes from Oedipus Rex the arms, fingers held in a specific manner. Puck has big and a Shakespeare Medley ears – to hear and sense everything happening in earth, Friday, August 5, 7:30 p.m.: Scenes from A Midsummer water, air and fire, to notice what is happening between the Night’s Dream different elements and what is happening socially among Then the troupe took the show on the road, plants, animals, fairies, gnomes, and human beings. performing at the North American Whenever he shakes his Anthroposophical Conference, entitled head between two words his ears ‘Encountering our Humanity’ in Ottawa (the swing and wiggle, a sign for the capital of Canada), Ontario, from August 7 to state of amusement and “super- 14, 2016. natural alertness”. The next performance of A Midsummer This is written out of the Night’s Dream will be presented at the Annual effort to portray Puck and General Meeting of the Anthroposophical includes indications by Rudolf Society in The Threefold Auditorium, Spring Steiner. Valley, NY. This conference takes place from Brigida Baldszun, October 7-9, 2016. Chestnut Ridge, NY

Titania and Puck, Photo by Gino Ver Eecke 28 Eurythmy Association of North America Eurythmy at the United Nations 100th birthday! I performed my Bach cello solo (Sarabande) and I was very happy that my daughter Mayu played the cello for me. We were really together, and it was a highlight of my life! I had tried my best to encourage my teenage daughter to practice together as often as possible. Oh! I heard a lot of complaints from her…but we made it! So I really thank Annemarie for giving me this opportunity to work together with my daughter in this way for the first time. Annemarie reminded me before the performance began, not to forget to thank my cellist (my daughter) while still on stage. A really nice photo was taken while I was thanking my daughter after my solo was finished when I came to bow to the audience – and pointing sideways to my cellist. Takae Matsuo performed Haiku in eurythmy at the United Nations on June 4, 2016. Suffering with a bad cold and cough, she prayed not to make a mistake. While waiting at offstage, she watched Master Shozo Kato’s Iaido Enbu (http://shidogakuin.com/iaido.html). She said that she felt the air of stage was changed, as his movement made the stage a sanctuary. “After that, I didn’t worry about cough- ing. I could believe the Haiku poem itself will come to stage, not me. Martial art’s pure spirit has a incredible power. Also, deep thanks for good stage management and recitation of Haiku Kaori-san, with good voice Haiku recita- tion Yoshi-san, and good advice at rehearsal, 123 writing artist-TomoSaito, and my guardian angel Hikari. The eurythmy dedicated to the soul of a Haiku poet.” T. Matsuo

Celebration of Annemarie Mayu Saphir performs in “Magic Moments” Ehrlich’s 90th Birthday Eurythmy Project “What Moves You”, Berlin, Germany

I attended Annemarie Ehrlich’s A few months later, it was Mayu who was on stage. She 90th birthday celebration on March spent four weeks in Berlin participating in the Eurythmy 23, 2016, at the Den Haag Waldorf Project “What Moves You”. Seventy-two young people School. This was a big celebration between the ages of 16 and 23, coming from at least 14 – more than 250 people from all countries, lived and practiced together, finally performing over Europe were there. Schubert’s Symphony in C-major in one of the Opera houses The story began, when I told in Berlin, accompanied by a youth orchestra from Moscow. Annemarie Ehrlich in June 2015 Mayu learned the names of all the participants, staff, and that I would like to come to Den volunteers, and made many new friends. She was happy she Haag and offer my eurythmy solos could practice her German, English, Japanese, and French for her birthday as a birthday gift. Founder of Eurythmy- besides the several hours of eurythmy practice every day. Then Annemarie came up with the in-the Workspalce I really want to thank project leader André Macco and idea of a performance to celebrate all the staff and volunteers who organized and ran this won- her 90th birthday. She organized it herself by writing letters derful project. Several participants from previous projects to eurythmists in various places who might like to con- have become eurythmists or are currently studying tribute their eurythmy for this occasion. eurythmy, and Mayu was amazed that ten of her fellow are Eighteen eurythmists performed their solos, duets, trios going to study eurythmy now. I guess the title of this year’s and group pieces – Bach, Goethe, Humoresques, and other performance sums it up in two words: “Magic Moments” poetry and music. What I learn from Annemarie is gratitude indeed. Mami Saphir and joy (and more) in eurythmy! I wish we can celebrate her Dornach, Switzerland Eurythmy Association of North America 29 Sound Circle Eurythmy introductions to eurythmy and the tour itself, and then the whole company arrived to perform and give more work- Currently shops, classes and the performances for adults and children. We just completed performing the first forms for eurythmy We were delighted to have our pianist, Kevin, tour with us choreographed by Rudolf Steiner, for Scene 6 of The to Mexico; and were joined by Octavio Reyes (General Guardian of the Threshold, as part of the Michaelmas Secretary of the Mexican Anthroposophical Society) and Celebration at the Denver Waldorf School, during which the Heather Harper as speakers and Joel Aragon (eurythmist) as whole scene was presented. For that performance the lighter for our time in Mexico. We performed and taught in Ensemble consisted of David-Michael and Glenda Mexico City (at CENART, the National Center for the Arts), Monasch, along with Carole Hanlein and Anya Paris. Guanajuato (at the Teatro Principal) and Cuernavaca (at the Preparations have now begun for the annual All Souls’ Museo de Ciudad Cuernavaca). Hundreds of people of all Celebration, which, like last year, will once again be offered ages SAW and/or DID eurythmy for the first time – and the at the Denver Waldorf School. As has been our practice for reception to all our efforts was quite extraordinary, with many years, we follow a ‘festival sequence’ suggested by many people also expressing an interest in helping to found Rudolf Steiner, consisting (in this order) of vocal music, a Mexican eurythmy training! instrumental music, speech, eurythmy, speech, instrumental music, and vocal music. The potency of this menorah-like Future symmetry for such a program has proven itself over and At this moment, and for the first time in many years, we over again, and we highly recommend interested colleagues have decided not to pursue creating a new touring program try it! The final ‘personnel’ for this performance has yet to for the spring. And we shall see what will be next. We have, be confirmed. however, decided to retain our non-profit status, so that we will be able to perform and tour in the future and to ensure Touring that any gifts and grants to support our work will continue Last May we did a brief Colorado tour with our bi-lingual to be fully tax-deductible. Spanish-English program Shapeshifting/Transformaciones (with the Borealis students as apprentices, just before their Graduation). We were joined on this tour by Terryann Sound Circle Eurythmy Training Comes to an End Stilwell-Masotti, one of our graduates from the Aspen At the end of May, the three students of the Borealis class cohort of our Training, as well as Stanford Paris as our of the SCE Training presented their graduation program. speaker, pianist Kevin Lufkin, and Anja Paris as our all- The three were Chelaine Kokos, Elizabeth Uppenbrink, and around support person. Lauren Schowe, formerly part of the Silvia Wend. Highlights from their program included Joan Borealis class, was also a huge help, speaking for us of Arc’s final speech from St Joan, by George Bernard throughout the rehearsals for this tour. Our program includ- Shaw, Of Rivers by Langston Hughes, two Soul Calendar ed poetry by Paz and Jimenez and music by Albéniz, verses, Llego con tres heridas (in Spanish) by Miguel Granados and Piazzola, as well as, a Catalan fairy-tale. We Hernández , Girl’s Roundelay by Rodion Schedrin, managed the lighting with a number of different people, Contrapunctus #1 from The Art of the Fugue by J.S. Bach, which always made for nail-biting uncertainty and adven- Oriental by Enrique Granados, #6 from Six Short Piano tures! The variety of venues included beautiful professional Pieces by Arnold Schoenberg; as well as Tone and Speech theaters like the Lakewood Cultural Center, with its full solos from all three graduates. lighting system and a professional lighter (very enthusiastic Then, at the end of June, after touring with the SCE to be lighting artistically for eurythmy for the first time!); to Ensemble to Mexico, the final event of the SCE Training transforming a public school gymnasium into a beautiful was the visit to the Goetheanum in Dornach, Switzerland, to performance space with our portable curtains and be part of the annual Abschlusstreffen (Graduation rented lights; as well as very simple and intimate Meeting). The Borealis performed spaces like our ‘home’, the Kelly Barn, where excerpts from their Graduation program, children simply sat on the floor in front of us and and SCE directors David-Michael and we performed with just the sunlight streaming in Glenda performed as part of the Faculty through the windows! evening performance in the large Hall – Then, in June, immediately following the always a privilege and an honor! After Borealis graduation, we undertook a tour to three that everyone dispersed, to continue cities in Mexico with several versions of the Elizabeth Uppenbrink, travels in Europe, and on returning Shapeshifting/Transformaciones program. David- Silvia Wend, and home, to take up their new tasks and Michael went a week ahead to give workshops and Chelaine Kokos (L-R) further eurythmic work. D-M. Monasch 30 Eurythmy Association of North America ESV Graduates at the Goetheanum new meaning to accepted forms. For instance, a few drawings raised the question as to which way the arms Ivilisse Esguerra might rotate in the gestures for ‘Sun’ and ‘Venus’. We were After the wondrous and transformative experience of a four- asked to keep a space open inwardly for these findings and year eurythmy training, attending the Eurythmy Conference test them, coming to conclusions based on our own of newly graduated eurythmists in Dornach, Switzerland is experience of the gestures. both a crowning experience and a final rite of passage. This The Soul Calendar sharing took place on the second year, over 70 graduates from 15 schools attended from all day. With a partner from another school, we shared an over Europe, North and South America, and Israel. element in our working process: what was the relationship After a 21-hour journey, we arrived to an atypically of the different colors in our verse? How did they lend to, sweltering Switzerland. Dazed and jet-lagged, but too tired for instance, the expansive element of summer? We took to sleep, we walked down Dorneckstrasse, and as the road this into our awareness as we watched our colleagues. It was opened, the majestic structure of the Goetheanum, with its a rare and beautiful treat to see the verses performed one breathing shell of concrete emerged magnificently against after another, experiencing the rhythm of the year, the the backdrop of a clear blue sky. We climbed the hill and I change in colors and variation of the mood and forms. One thought of Marie Steiner, being wheeled up there everyday only wished to be able to see it again! These preparatory for rehearsals. Pushing the massive doors, we wandered into exchanges created an open and encouraging space in which this cavernous structure, with its multiple-angled walls and to share our work for the first time. colorful, echoing stairwells. Reaching the top and entrance It was such a revelation to see the range of styles and to the Grosse Saal, we stood quietly in awe of the Rose characteristics each school brought to the table in their window, where a few others sat, meditating on its forms and programs. One could see different impulses at work. Some penetrating color brightened by the sun. styles were formed, penetrated, serious and virtuosic, others Having arrived a few days before the conference, our full of enthusiasm, joy. The Hannover School brought a director Barbara Schneider-Serio arranged practices on the wonderful humoresque to a text by the Dadaist, Kurt stage so we could grow accustomed to its carpeted floor and Schwitters, which had the audience in stitches. The entire bright lights. We kept our costumes backstage, with its Stuttgart School accompanied their graduates and provided cathedral-high ceilings and massive theatrical equipment. a rousing speech chorus for one of their pieces. Others Each day as the conference approached, I enjoyed watching explored the boundary between eurythmy, dance, and the number of colorful dresses and veils increase, until a contemporary performance art. These impulses were seen few hundred of them lined the walls. One could hear again during the faculty performance in the Great Hall. The English, German, Dutch, Spanish, Slovenian, Italian, and living question that arose in me was, “What are the more. From the quiet of our first days, the atmosphere boundaries of Eurythmy? How can each of us find our way became lively, with the continuous smell of sweat and hair- to serve this art form in a modern context, while still staying spray and incessant ironing. Snippets of grand, romantic faithful to its true impulse?” pieces seeped through the walls of the many practice rooms. My class made particularly strong connections to the The four-day conference had a full, yet breathing Berlin and Eurythmy West Midlands schools and met with rhythm. The first half hour in the mornings was a space them separately for two meaningful exchanges. Upon see- exclusively for students to meet and share exercises. Quite ing our performance of a piece by Dag Hammarsjkold, the a number of them brought warm-ups, which they had Berlin graduates told us that they had learned the piece in learned from Dorothea Mier. As ‘local recipients’ from German and wanted to share it with us. We compared how Spring Valley, we were delighted to see how much others the sounds in the two languages changed the nature of the also enjoyed their harmonizing effects, providing an poem, and were surprised to experience that the strong con- opportunity to breath and ‘tune’ with one another. At 9:30, sonants in the English version had an urgent, driving quali- the teachers arrived, and each day, two from different ty, while the prominent vowels (ei/ai) softened the text in schools gave a lesson. Topics ranged from experiencing German. We also met with a Malaysian eurythmist from the melos, breath, major and minor, the renewing quality of ‘L’, West Midlands School in England. She shared her Chinese and observing how the space changes as we move in solo, while CoCo Verspoor and I shared our Chinese Duet, relationship to a partner or group, wherever they may be in originally performed with text and shakuhachi flute. We the room. invited other Chinese and Taiwanese eurythmists and At midday, various activities took place. Stefan Hasler students for an engaging conversation on the Chinese and Martina Maria Sam shared their research into the indications, how we worked with them, and the future of Steiner Archives, showing how juxtaposing the notes by eurythmy in China. individual eurythmists and the stenographer’s could bring Our own performance night was a great celebration. Eurythmy Association of North America 31 Having begun my training at the Botton Village Camphill Eurythmy breathes and lives in other parts of the world…. Eurythmy School some years ago, it was very special to It was incredibly moving to be in the Goethanum itself.... bond with the Colorado and West Midlands-Botton schools, One is simply awestruck to see the statue of The as we warmed up before our shared English Evening. My Representative of Humanity in person, a renewed reminder class and I sang through our program with great joy, as this of what it means to be human and our tasks with one would be our last performance together. And if this weren’t another, imbuing our life and work with love and balance.” enough, we also enjoyed performing at the informal solo gathering in the Schreinerei that same night, where graduates could express their own individual voice more distinctly and share current experiments. While much of our energy was focused on the confer- ence, we also found time to take a class with eurythmist Hetti Kalteneger, and visit sites in the Goetheanum and around Dornach, including hiking and scrambling up the ruins of Dorneck and Parzival castles. It was incredibly moving to behold The Representative of Humanity, towering in its full majesty with great earnestness and love. In the quiet intensity of Rudolf Steiner’s Atelier, the silence was palpable, and I was filled with incredible gratitude for Fellow graduates from the Berlin School shared the the contribution of this human being, who has influenced German version of one of our pieces by Dag Hammarsjkold. and shaped so many lives, giving purpose to existence, and the meaning of our task as human beings. A graduate from On our last day together, we were delighted to receive Eurythmy West a personal tour of Haus Hansi, the home of the Steiners, Midlands and a and Albert Steffen and his family. The mood was light and second-year student from a carefree. In a joyful sweep of enthusiasm, my class ran part-time down the fields behind Haus Duldeck with great abandon training in China and laughter. We shared our goodbyes with three joined the Halleluiahs at the Gedenkhain, where the ashes of Rudolf graduates for a and Marie Steiner, Christian Morgenstern, and many early meaningful anthroposophists now rest quietly. conversation The conference in Dornach was a true exchange, expe- about Chinese riencing eurythmy in other languages, forging new Eurythmy and connections, and meeting new colleagues, ready to bring Photo above by Ivilisse Esguerra how to work with eurythmy with great enthusiasm into the world. The fourth Steiner indications. year was a rite of passage indeed, and the birth wondrous and filled with gratitude. I look forward to what is to come and what is now emerging.

Class of 2016 – Dornach Conference This summer, the School of Eurythmy cele- brated the graduation of “KK” class in Dornach. In addition to the evening performances, the graduates organized separate sharings with stu- dents from Berlin and a Malaysian graduate from Eurythmy West Midlands. Together, the gradu- ates marveled at the qualities of language and its impact on eurythmy. 2017 graduate Ivi Esguerra reflects, “The Coco, Ivilisse, Yenling The graduates made sure to have time to conference in Dornach was an invaluable Photos by exchange, awakening us to the experience of how Alexandra Spadea frolick in the meadow by Haus Duldeck! 32 Eurythmy Association of North America Letters to the Editor Dear Maria, Ute Grimm was at the AWSNA conference in Detroit and Dear Editor, then sent these photos. I think you might like to put it in the It’s fascinating how certain spiritual truths appear in differ- newsletter with the fresh, green eurythmy smocks and her ent cultures across the globe. The IAO is one of them. I’m idea about the “ski equipment and eurythmy equipment.” grateful that Beth Usher brought our attention to Christ and All the best, Barbara Richardson his application of IAO. Coordinator, Foundation Studies When I came across the mention of IAO in Hank Center for Anthroposophy Wesselman’s ethnographic account of the Hawaiian elder Hale Kealohalani Makua in The Bowl of Light: Ancestral Wisdom from a Hawaiian Shaman (Sounds True, 2011), I was stunned. I stared at the page in disbelief. At that time, I was in the middle of my eurythmy training, I knew the Rudolf Steiner’s IAO exercise, I read the Werner Barfod’s IAO and the Eurythmy Meditations (Mercury Press, 2001). I was also aware of the anthroposophical caution regarding shamanism. Yet, there it was: “’IAO, the sacred name that implies Infinite Light and thus the Light of the World.” I would like to share with you the excerpt from the Bowl of Light, pertaining to IAO: “The word Teave is derived from two words—Te’a Hello Barbara, Ute Grimm with students which means glowing orb, flame, source of light, or I hope this finds you well, after the wonderful conference. I progenitor, and Ve, the one who sees all. Teave was also would like to express my gratitude for welcoming me so called ‘Io, which has implications to do with the soul of warmly into your circle of eurythmists. I felt quite at home the world and inner self within us, our Higher Self, there, and it was very interesting for me to hear about the which is and will forever be our personal ‘Aumakua.” challenges and accomplishments in all the different euryth- “Teave was also called Mauriora, the heart of life or my programs. Please find attached two photos that were breath of life, and is known as well as ‘IAO, the sacred taken at the beginning of last school year in second grade. name than implies Infinite Light and thus the Light of These children did not even know that a word like eurythmy the World. The seed of light that we received when we exists. When they asked me about the gowns, I said that took our first breath is a fragment of the one Source, they would be dressed specifically to go skiing or to gym- Teave, that exists in its own level above and far beyond nastics, too. In a sports town like Whistler, they really the spirit world of Ke Akua. Yet paradoxically, it is understood this and did not question the gowns again. everything” (p. 184). Warm regards, Ute Hank Wesselman, PhD, is anthropologist whose spiritual experiences led him away from the successful academic career to Hawaiian shamanism. He worked closely with the highly respected Hawaiian elder Hale Kealohalani Makua, who crossed the threshold in 2004. I took a couple of work- shops with Dr. Wesselman before I met eurythmy on my spiritual journey, and came to appreciate how he approaches spiritual experiences with scientific rigor. Marta Stemberger, MA New York, NY

Greetings, Maria and Gino! I am loving the newsletter!! There is always lots and lots of reading and it is very riveting! I loved the history of Artist-in-residence at Adelphi University ESV...how it was so humble and hopeful and carried in the Leonore Russell has been invited to be Artist-in-residence hearts of a few strong individuals...and how something great in the Music Department at Adelphi University. This unfolds. Just wanted to share our appreciation!! October she is to introduce eurythmy in all the music cours- Margaret and Arthur Osmond es and give a small performance. Leonore is a professor at Adelphi in The School of Education, postgraduate level. Eurythmy Association of North America 33 Resources Music that Moves Me Pedagogical Eurythmy Book List Truus Geraets We are happy to announce the new publication of 1. Eurythmy : A Creative Force in Humanity, Sylvia Bardt “Music that Moves Me” by Truus Geraets (OWL) Subtitle: Eurythmy from a Musical Perspective 2. Eurythmy for the Young Child, EstelleBryer (available together with a demonstration video and from WECAN) 39 songs in musical notation 3. Come Unto these Yellow Sands, Molly von Heider This working book is especially helpful for all who work (available from Waldorf Publications) with children, like kindergarten teachers, parents, grand 4. Leaving Room for the Angels, Reg Down (OWL) parent, nannies, teachers, curative educators. It emphasizes 5. Kinesthetic Learning for Adolescents, Leonore Russell the importance of the singing voice as the most expressive (OWL) sound and its effect on the social, on the middle realm. 6. Eurythmy for the Elementary Grades, Francine Adams Overview of Chapters: Marquiss (OWL) Part I “Music in My Heart” 7. Vikings, Gods and Giants Resource Pack, Diane Tatum Part II Meeting the Child’s Real Being (specific to grade 4) Part III Festivals 8. Bewegt ins Leben, Helga Daniel (teaching grades 1-4) Part IV The Essential Value of Rhythm 9. Übung macht den Meister, Helga Daniel (teaching Part V Meaningful Floor Patterns grades 5-8) Part VI Working with 4- to 7-year-olds 10. Sein oder nicht sein, Helga Daniel (teaching grades 9- Part VII Musical Movement for Ages 7-11 12) Part VIII Musical Expression Ages 11 to 13 Part IX Eurythmy with the Elderly Music for Eurythmy (In addition to our old favorites by Cost of book plus video: $34 plus postage. 30% discount for Leopold van der Pals, Margarete Kempter and Max stores. The book can be ordered directly from Schuurman) [email protected]. Going though Truus’ website 1. Musik für pädagogische Eurythmie (Volumes I and II), www.healingartofliving.com you will find how to pay with Luci Bittrich PayPal. Otherwise you can send a check made out to Truus 2. Allegro: Music for the Eurythmy Curriculum, Elisabeth Geraaets, 782 E. Mariposa St. A, Altadena, CA 92627, Lebret (OWL) USA; Tel +1 626 219 6010 3. Notensammlung fűr den Eurythmieunterricht (in 4 vol- umes), Jűrgen Havix Announcements 4. Music for Children’s Eurythmy and Dance, George World Eurythmy Day Metaxa September 24, 2016 The books marked OWL are available from Which is the most complex and challenging instrument Waldorf Publications and also as free e-books at to tune and to play? It is the instrument that we all share as The Online-Waldorf Library. human beings. The sounding of our instrument may be The web address is now waldorflibrary.org tuneful or discordant and is affected by many things, includ- ing how we respond to our times and our own destiny Other books of interest on topics of child development events. • On the nine-year change Integrated with our physical instrument is the etheric o I am Different from You, Peter Selg body or the life body, giving the possibility for growth and o Encountering the Self, Hermann Keopke renewal. The etheric formative forces are active in the o Rhythms and Turning Points in the Life of the Child, movements of eurythmy, given by Dr. Rudolf Steiner, and Eugene Schwartz strengthen and support our entire being. Just as eurythmy stimulates the healthy embodiment of etheric forces, allow- • On adolescence ing the divine world to be active within us, eurythmy also o Between Form and Freedom, Betty Staley has the potential to heal and to harmonize the environment. o A Grand Metamorphosis, Peter Selg We feel a great need, particularly at this moment in time, to do something healing for the world. In this spirit we Susan Eggers would like to encourage the creation of a global eurythmy Waldorf School of Princeton, NJ community for an annual “World Eurythmy Day”. 34 Eurythmy Association of North America The intention is that this “World Eurythmy Day“ will Project ARCHÉ begin in the year 2016, and will be celebrated each year on September 24, the day on which “Eurythmy“ was given its Dear Colleagues, name by Marie Steiner. Many of us have found our lives to be enhanced by How we each contribute to this particular day is entirely eurythmy. The first meeting of and dedication to the muse our own free choice. We may organize a eurythmy program of eurythmy has for each individual its own story and mean- or work with eurythmy exercises in groups, including for ing. example the “Halleluiah” and “Evoe”. We may also work What makes us continue our learning and exploration individually on our own, with the focused intention of giv- strikes me as manifold an answer as there are entry points ing an enlivening impulse to the inner self and the outer into the study of eurythmy. This also counts for the reaching environment through verses and music. There are many out and being connected to other parts of life through possibilities. eurythmy. In my case, I have my own practice, and am In this way we hope to unite in our effort to bring a working daily with 12-18year old students – which I love! healing influence to the environment and to strengthen the That said, I always feel a major boost to my being when etheric forces for the benefit of the earth and future I get to move, explore and converse with other eurythmists! generations. I appreciate what it takes to follow a certain eurythmy With best wishes, thread over years and a lifetime, and to engage in one’s own Aban Bana and Dilnawaz Bana research. When such findings are shared with other euryth- Section for the Performing Arts, Goetheanum mist, and I happen to be “in on it”, I always count myself very fortunate. Eurythmy Training Initiative On that note, one such researcher is Gail Langstroth. Over the years I have had many conversations with Gail A new Eurythmy Training Initiative in Portland, Oregon is about her work and explorations with languages, words and forming. We are starting with a part-time Eurythmy movement, and how to make it all come to life. Gail does Intensive, which we hope to grow into a first and second that beautifully in the writing of poetry, sound, sacredness year of Eurythmy training in the future. Classes are starting and eurythmy. She travels the globe to bring eurthmy to in January or September of 2017. audiences, many of us have never heard about. She captures From our mission statement: sound and space with words and movement and goes deep By recognizing the need for Eurythmy and eurythmists in in her explorations. the world, this new initiative exists to provide a way for I am grateful, that Gail has allowed me to encourage her people to embark on a path of Euythmy. The Portland to share her research of something very close to her heart, Eurythmy Intensive will lay a broad foundation in which is the work with the Gospels in the original Greek Eurythmy focused on the guidelines created by the Section language. Her entry point is a unique one, wherefore, at this of the Performing Arts in Dornach, Switzerland, so that the point it may be best to read her answer to my question students may seamlessly move on to their final years of about, when and how the work with the Gospels began training once they are ready. began for her. The multi-faceted curriculum brings various subjects in Here is an excerpt of the answer Gail wrote to me at the addition to Music and Speech Eurythmy with guest teachers beginning of the year: in subjects as anatomy and embryology, painting, music “In the fall of 2001, with seven performance projects in theory, creative speech and projective geometry. We will three languages on three continents . . . and in the aftermath bring this by teaching with warmth, integrity and a of 9/11, something shifted in me. I listened. A year later I commitment to collaboration between our students and left the stage and my European career as a free-lance eury- teachers. thmist, teacher and performer to enter the Priest Seminar of Values: Portland Eurythmy Intensive will work deeply the Christian Community in Hamburg, Germany. with the foundation and basic principles of Eurythmy. We I agreed to what my teachers and mentors at the hold warmth, integrity and a commitment to collaborations Seminary asked of me. I was to refrain from my practice of the ground from which we work. eurythmy for the time being. And I willingly did. I knew For more information contact: that if I really wanted to see if becoming a priest was the [email protected] next stage of my life, I had to let go of my past. Two and one-half years I sat on a bench. Epiphany after Carrie Mass and Jolanda Frischknecht epiphany transpired. It was as if all the magnificent poetry www.portlandeurythmyintensive.org and esoteric verses I had performed over the years began Eurythmy Association of North America 35 now to be moved inside. I began to do EURYTHMY Odyssey Journeys 2017 INSIDE. Egypt: March 25-April 9, 2017 A profound and intimate study of the ancient Greek lan- Temples, pyramids, Sekem Community guage, prophetic Hebrew, the four Gospels of the New Sail the Nile in a traditional dahibiya. Testament, and mantras as spoken in the ancient mystery Inquiries by September centers began to speak as living thought movement. In 2005, through a difficult but rigorous listening, I Greece: June 26-July 28 decided to return to the arts. And now the real work began. With Van James This journey led me to research the roots of eurythmy in Athens, Delphi, Patmos, Ephesus, and more relationship to Rudolf Steiner’s own biography, and to pen- Contact Gillian Schoemaker etrate the roots of this art as perceived in The WORD/ The 610 469 0864 or [email protected] LOGOS. Through learning the beginnings of both the Mark and John Gospels by heart in the original Greek, I experienced a Eurythmy Spring Valley Events truth: The Prologue of the John Gospel is eurythmy’s Foundation Stone; By entering the unique language of the Festival for Those Who Have Crossed the Threshold of Mark Gospel the eurythmist can reach into the creative Death word force that permeates Dr. Steiner’s eurythmy indica- Tuesday, November 1, 2016, 8:00 p.m., Threefold tions.” Auditorium, Chestnut Ridge, NY. The month of November I am pleased to announce that on October 28-29 Gail leads us over the bridge from Autumn into Winter. The stars Langstroth is looking forward to sharing her research with are closer, as are the dead. The Festival for Those Who Have us! This will be the first of a series of intensive sessions to Crossed the Threshold of Death will offer eurythmy, music, explore the gospels in Greek through eurythmy. reading of the names, and a short address. Due to the quiet Please join us to conclude the month of October, which nature of the event, doors will close at 8:00 p.m. is so deliciously rich in workshop offerings at ESV and All are welcome. Donations welcome. For information, Threefold. please call Eurythmy Spring Valley at 845-352-5020 ext. 13 or email: [email protected]. I hope to see many of you there, Alexandra Spadea Building a Speech Chorus at Threefold: Polyhymnia with Jennifer Kleinbach Project ARCHÉ Six Saturdays, November 5 – December 10, 2016, 10:00- When: Oct. 28-29 11:00 a.m. Threefold Auditorium, Chestnut Ridge, NY. Friday 7:00-9pm, Introduction and workshop Course Fee: Sliding Scale, $10-$150 for the block. A second Saturday 10am-6pm, workshop block of speech chorus with Jennifer Kleinbach is starting Where: Green Meadow, Arts Building/Eurythmy room, on Saturday, November 5th! For six Saturdays the chorus Chestnut Ridge, NY will work toward the Christmas Festival on December 17th. Friday intro $25/students $15 In the spring a longer block will be offered from March Entire weekend: $100 /students $60 to May. This course will continue building a foundation of choral speech through exercises and seasonally themed Registration: pieces. The fall and spring blocks may be taken separately. Contact Alexandra Spadea We will start small, but we will slowly build over years [email protected] toward the capacity to take up performance of grander works, particularly Rudolf Steiner’s great Foundation Stone For more information: Meditation. “Speech formation creates healthy words, and Gail Langstroth each single healthy word creates a healthy being. Every [email protected] group which practices such activities creates larger healthy www.wordmoves.com beings who move through the world healing and sacrificing themselves to repair those things which other humans have “I envision a group of active, questioning eurythmists previously damaged. They neutralize the evil powers.” ready and willing to embark on PROJECT ARCHÉ. Rudolf Steiner, “Nature Spirits and What They Say.” We will attempt experiencing both ancient and For information, and to register: Contact Virginia contemporary works of LOGOS ART.” G.L. Hermann at [email protected] or 845-352-5020 x18; or Jennifer Kleinbach at [email protected]. 36 Eurythmy Association of North America Rummage Sale to Benefit the ESV Fourth-Year Dornach ESV End-of-Term Festivals Fund of Eurythmy Spring Valley Wednesday, December 14, 2016, 7:30 p.m., and Thursday, Friday, November 11, 2016, 2:00 - 6:00 p.m., Saturday, December 15, 2016, 7:30 p.m., at Threefold Auditorium. November 12, 2016, from 10 a.m.- 4 p.m., and Sunday, Donations welcome. Join us for a showing of the pieces our November 13, 2016 from 10 a.m. - 2 p.m., Location to be students have worked on throughout the fall term. This announced. Please donate your gently used and good quality festival is a wonderful opportunity to glimpse the work done clothing, books, furniture and other household items for in the eurythmy training. For more information, please call resale. Drop off your donations. Thursday, November 10, 845-352-5020 ext.13, or email: [email protected]. 3:00 - 6:00 pm, Friday, November 11, 11:00 a.m. - 1:00 p.m. and Saturday, November 12, 9:00 - 11:00 a.m. Note: We are Threefold Community Family Christmas Festival not able to accept strollers, cribs, mattresses, or undergar- Sunday, December 18, 2016, 4:00 p.m. Threefold ments. All proceeds benefit the ESV Fourth-Year Dornach Auditorium, Chestnut Ridge, NY. Donations welcome. Join Fund. For information, please call Eurythmy Spring Valley us for this year's Community Family Christmas Festival. at 845-352-5020 ext. 13 or email: [email protected]. The joy and quiet of the season will be shared through story, singing, poetry and eurythmy. For more information, please What the Planets Say – A Public Eurythmy Course with call 845-352-5020 ext. 13, or email [email protected]. Annelies Davidson Saturday, November 12, 2016, from 9 a.m.- 4 p.m, School Conferences and Workshops of Eurythmy, Chestnut Ridge, NY. Course Fee: $50 The planets are in our lives, in the sky and even in our Van der Pals/Kirchner-Bockholt language, as eurythmy can show us. Those inner dynamics Tone Eurythmy Therapy Course of soul reveal themselves also in music. Join us for this one- Held in English by Jan Ranck day exploration of Planetary Eurythmy with Annelies The course is warmly recommended for trained Davidson. Beginners very welcome! Annelies Davidson eurythmists, eurythmy therapists, medical doctors, was born and educated in Holland. In 1986, Annelies emi- music therapists and students in these fields. grated to the U. S., and from 1986 until 2002, she worked as USA October 21 – 30, 2016 in Chicago, Illinois at 2135 a faculty member and stage artist at Eurythmy Spring West Wilson Avenue (In Chicago some free accommodation Valley. From 2002 until 2008, Annelies was active as a is available on a first-come first-serve basis) freelance eurythmy teacher, and enjoyed teaching and England April 17 – 26, 2017 in Peredur, East Grinstead, directing in different settings in the U.S. and abroad. She near London rejoined the faculty of Eurythmy Spring Valley in 2008 and USA July 20 – 29, 2017 in Glenmoore, Pennsylvania at has been a core teacher in the training and in giving public Camp Hill Beaver Run courses since that time. Pre-registration is required for the Information and Registration: [email protected] course. (in the subject field please write “Chicago”, “Peredur” or To register, please call Eurythmy Spring Valley at 845- “Beaver Run” and your name) 352-5020 ext. 13 or email: [email protected]. Inspired by Rudolf Steiner’s indication that tone eurythmy Eurythmy Spring Valley Ensemble Performance therapy should be developed in addition to speech eurythmy Saturday, November 19, 2016, 8:00 p.m., at Threefold therapy, the eurythmist Lea van der Pals and the medical Auditorium, Chestnut Ridge, NY. Tickets: $15/ $9, Students doctor Margarete Kirchner-Bockholt worked together in the and seniors. Last spring, the ensemble’s evening perform- late 1950’s to develop a sequence of exercises in connection ance provided a partial sneak preview of their new middle with the diseases discussed in Rudolf Steiner and Ita school program, The Traveling Companion, a mysterious Wegman’s book “Extending Practical Medicine”. Danish Tale. In their upcoming fall performance the full tale This course, which includes a review of all of the ele- will be performed, surrounded by the works of Frédéric ments of tone eurythmy, was taught for many years by Lea Chopin, Dmitri Shostakovich, Mary Oliver, H.D and others. van der Pals within various eurythmy therapy trainings, and Join us for this evening of eurythmy, music and speech, just the effectiveness of the exercises was shown in practice. following their return from touring in the southwest region When for health reasons Lea van der Pals was prevented of the U.S. from continuing to teach, she passed the torch to Annemarie For information, please call us at 845-352-5020, ext. 13, Baeschlin, who took over holding the course and assisted or [email protected]. Lea van der Pals in bringing the material into book form. At this time Jan Ranck held the practice sessions within Eurythmy Association of North America 37 Annemarie Baeschlin’s courses, and was also involved with Taiwan, Sweden and England. Jan put us through our paces compositional and editorial suggestions for the publication by bringing us back into contact with the basics of Tone “Ton-Heileurythmie”, Verlag am Goetheanum 1991, pub- Eurythmy—beat, rhythm and pitch, major/minor triads, lished in English in 2009 as “Tone Eurythmy Therapy” by ethos/pathos, scales, intervals….If one had been listening at the Medical Section at the Goetheanum. keyholes, one might have thought we were in training for Jan Ranck was born in America, where she studied the circus as we ‘swallowed our rods’, swung on trapezes, music and comparative arts at Indiana University in and held acrobats on our arms (we even attempted to Bloomington. She accompanied the London Stage Group become Octopi!)—all images calling for great inner - outer on their 1976 USA tour and went on to study eurythmy in activity! Having laid the basic foundations, Jan then Dornach with Lea van der Pals. She was a faculty member brought us through nine sequences of tone eurythmy exer- of the Eurythmeum in Dornach and The London School of cises developed in relationship to specific illnesses, empha- Eurythmy. After completing a eurythmy therapy training in sizing the importance of our own skill and mastery of the Stuttgart in 1989 she moved to Israel and is currently the elements of eurythmy in order to convey them to the patient. founding director of the Jerusalem Eurythmy Ensemble In addition to Jan’s demanding yet entertaining approach, (1990) and the Jerusalem Academy of Eurythmy (1992). we had the privilege of having the concert pianist Michael She is also an instructor in the Jerusalem Waldorf Teacher Zelevinsky at the piano, also from Jerusalem. It was a great Bachelor Program in David Yellin Academic College, and a joy, especially for the many of us who work without accom- guest teacher in various venues worldwide, including the panists, to move to music so beautifully and sensitively Goetheanum and the MA Program in Eurythmy held in played. Every evening Michael gave a recital on the Emerson College and Spring Valley. She is the representa- Steinway grand, a rare opportunity to feed one’s soul! tive for Israel in the International Department of Eurythmy We are indebted to Gina Poole for having the idea of bring- Therapy (“Eurythmy Therapy Forum”). ing the training to English-speakers and to Camphill Besides the material mentioned above, Lea van der Pals’ Ballytobin for their generosity in giving us the free use of book “The Human Being as Music” (Robinswood Press Castalia Hall for our work. Thanks also go to the 1992), published in German in 1969 as “Der Mensch Anthroposophical Society in Ireland for their generous Musik”, is highly recommended as background reading for donation towards covering costs. Most especially we thank the course. Jan for bringing this training to the English-speaking world. Funding from ATHENA It was the deep feeling of all of the participants not only that Members of ATHENA and AnthroMed may apply for the course be repeated one day in Ballytobin, but that others grants. The Category 4 funds can only be given to therapeu- may imitate Gina’s initiative in other locations world-wide. tic eurythmists who are Full or AnthroMed members of Jan confirmed that she is open to the idea. Thank you Jan! ATHENA and who go through the grant application process Roxanne Leonard with ATHENA. The funds in Category 4 are for Professional Development and can be used toward travel and tuition expenses only.

Report from the course held in Ireland English Speakers Take Note! This spring, a unique event took place in English for eurythmists from all over the world. In Camphill Ballytobin, Ireland, eighteen eurythmists came together from 1-10 April under the invigorating guidance of Jan Ranck, founding director of the Jerusalem Academy of Eurythmy, to learn and expe- rience the Tone Eurythmy Therapy Course as devel- oped by Lea van der Pals and Dr. Margarete Kirchner-Bockholt. Long held in German by Annemarie Bäschlin, this is the first time since the 80’s that it has been accessible in English. There were eight eurythmists from Ireland, five from Jan Ranck (lower left of circle at 7:00) with group of eurythmists Australia, two from Japan and one each from 38 Eurythmy Association of North America Summer Eurythmy Conference December 2016 Wed. & Thur. 14 & 15 Eurythmy School End of Term Rudolf Steiner’s Twelve Moods Sunday 18 Threefold Christmas Festival with Michael Leber and Dorothea Mier Friday, August 4 to Sunday, August 13, 2017 SAVE THE DATES! This summer, August 4 through 13, 2017, Michael Leber of January 2017 Eurythmeum Stuttgart will again come to the West Coast for Sat. 14 Agricultural Conference – ESV Ensemble a week long Eurythmy Course. Dorothea Mier will join him Performance this year to work on Rudolf Steiner’s Twelve Moods, Sat. 21 Studio Program Performance including the Satire! A Tone-piece might also be worked on. February This will surely be a very exciting and special workshop 15 - 3/10 Winter Tour: Eurythmy Spring Valley Ensemble with a theme that many of us have been wanting to work on TBC for some time. March 2017 The course will be held in Portland, Oregon. Course fee Sat. 18 ESVE Evening Performance around $500.- Travel funds available through EANA . More Sat. 25 Eurythmy Public Course – Intensive details to come. Thursday 30 Eurythmy School End of Term Jolanda Frischknecht, for Portland Eurythmy April 2017 Sat. 29 Post-Graduate Program Performance May 2017 Project ARCHÉ Sunday 21 Graduation Solo Performance Oct. 28-29, Friday 7:00; Saturday 10am-6pm June 2017 Contact Alexandra Spadea: [email protected] Sat. 3 Graduation See page 35 for announcement. Wed. 7 Fourth Year Performance – Selections from Graduation at the Fellowship Community Calendar Thurs. 8 Eurythmy School – Spring End of Term 25 - 30 Summer Eurythmy Week Eurythmy Spring Valley 26 - 30 Dornach Conference www.eurythmy.org November 2016 845-352-5020, ext. 13 Tuesday 1 Festival for Those Who Have Crossed the Threshold of Death Saturdays 11/5-12/10 Speech Chorus with Jennifer Kleinbach Fri.-Sun. 11-13 Rummage Sale to Benefit Graduates’ Dornach Trip Saturday 12 Public Course with Annelies Davidson Saturday 19 ESV Ensemble Performance, “The Traveling Companion”

A Midsummer Night’s Dream Ethan Sudan, Lights; Barbara Renold, Director; Sea-Anna Vasilas; Virginia Hermann; Cameron MacArthur; Jennifer Kleinbach; Photos by Gino Ver Eecke Christiane Landowne, Musician; Brigida Balsdszun Birthday Celebration for Annemarie Ehrlich’s 90th! Den Haag, Netherlands Social Eurythmy Circle in Central Park

Eurythmy Abschlusstreffen At the Goetheanum in Switzerland

Graduates of Eurythmy Spring Valley, NY