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VOLUME 93 Spring 2017 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 In Memoriam for May Delle LeBeau Friends 5 In Memoriam for Christine Custer Friends 10

Articles

Coleridge: A Life Illumined Coralee Frederickson 14 Eurythmy: An Art That Makes Visible the Inaudible Kate Reese Hurd 18

Reports

Regional Reports EANA Council Representatives 19 Eurythmy Spring Valley ESV Faculty 35 Reflections on Pursuing an M.A. degree in Performance Eury. Virginia Hermann 39 Lemniscate Arts Marke Levene 40 ARCHÉ Project Gail Langstroth 41 Soulful Sparks Radio Marta Stemberger, MA 41

Reviews 42 Letters to the Editor 44 Announcements 44 Calendar 51

Front Cover: Linda Larson performing a Vivaldi piece in eurythmy at the Santuario de Guadalupe, Santa Fe, New Mexico. In search for eurythmy images online, the Editor came across this amazing photo of Linda and asked her to write about it. “The Santuario de Guadalupe is the oldest standing shrine in the U.S. The tone of high C was being moved in eurythmy when Linda’s gesture embraced the image of the Virgin of Guadalupe, the central figure on the full-wall Altar painting, merging her hands with that image in the very brief second that this photo was taken. A sacred image still there from the 1770’s, a timeless merging of the distant past with the present moment! The eurythmy opened the Santa Fe Waldorf School December Festival evening (mid-1990’s) and was followed by the school faculty performing a play in celebration of the Christmas Season.” Inner Back Cover: Students of John Hinkle, Credo Waldorf H.S., perform at Sonoma State University. Outer Back Cover: Gabrielle Armenier performs at Lincoln Center and Carnegie Hall, NY, NY, and at the University of Texas. www.eurythmyagency.com 4 Eurythmy Association of North America Letter from the President Ann Arbor, Michigan, who lived to be 103 years old. Blessings! Dear Friends, Sheila Shapiro has been a tremendous help with this I have the chance to take a trip to India this month and issue, with her contributions and by contacting eurythmists. I am very excited about this possibility. At the same time I My heartfelt gratitude goes to Sheila, who will no longer am very much looking forward to the workshop in Portland serve on the EANA Council. May she continue to contribute this summer, August 4-16. The EANA Council will meet in as a ‘roving reporter’! Fortunately Victoria Sander has person for the first time in several years (as we wanted to agreed to join the work of the Council as the Regional give monies to our groups or workshops and not to plane Representative to the Northeastern Region. You will read companies), but in the light of this event, we are using this more about Victoria in the fall issue of the newsletter. opportunity to come together on your behalf, as well as My great fear is that someone may feel left out of a ours. We are making every possibility for some travel assis- publication. If your contribution was lost in the Inbox, tance to the workshop; contact Gino Ver Eecke to begin the please forgive me. This is a group process and it is not procedure to request funds. possible without the efforts of all our dear Reps! Please come to the EANA Annual General Once again I am so grateful for everyone takes the time Meeting on Monday, August 7, in Portland ,Oregon! to write about eurythmy. I sent out some fifty Thank You cards to Society Best wishes, members this year for contributing to EANA, some of them Maria Ver Eecke never seeing a performance in their area or rarely doing eurythmy. So we are very grateful for this idealistic support of our art. If there are members in your areas please do be in touch with them, invite them to performances or work- Eurythmist Hermes H. Vannak shops. They are anxious to see this “little bird that flew into April 26, 1912 - October 14, 2015 the Anthroposophical Movement.” There are exciting † ventures happening in our eurythmy world which Maria has From the Archives: President’s Letter, Summer 2000 no doubt found out about and includes them here. On Mother’s Day we had a meeting in Chicago that is We were very saddened to learn about Mary Delle Le perhaps a microcosmic picture of this aspect of the Beau who crossed the threshold in January, quite unexpect- Eurythmy Association. We have thirteen eurythmists in the edly and so quietly and still. Sheila will write about her and area and nine of us met to do eurythmy together and share I only wanted to add: when I lived in Los Angeles I would a conversation. The highlight was hearing from Hermes drop over to her little house in South Pasadena to look at her Vannak, an 88-year-old eurythmist from Estonia who lives beautiful garden. She not only loved eurythmy and the near Chicago. Hermes told us she was born in 1912; the Russian language and modern poets, but loved the world of same year eurythmy was born. She shared with us many the elemental beings. Her garden was gently laid out so that indications from her early training and also her current they moved in growing and becoming, in dying down and plans for developing eurythmy. It was very stimulating to seeding so that as you walked with her, their seasonal have such a span of time — the whole life of eurythmy — secrets began to tickle at your steps. She was never senti- there before us in Hermes with her strong living intentions mental about them or her plants, but very objective about for the future in eurythmy. One of Hermes' projects is a book why what was where. She had expressed the wish to write she is writing about her experiences in eurythmy. something down about this work so that others could find a Barbara Richardson relation to these little beings. Recently her friends in Pasadena gathered to celebrate Mary Delle’s life at one of Corrections her favorite places, Eaton Canyon Nature Reserve. Greetings! See you in Portland! With best greetings, from Alice We have just received our new edition of the EANA newsletter [Fall 2017]. I just got a chance to glance over it Letter from the Editor and I wanted to alert you to an error: Our photos of the So many of you have contributed to this spring issue; Cascadia Society Fairy Tale include children from the the work of invisible hands, but many combined voices. To Vancouver Waldorf School of Vancouver B.C., not the remember Mary Delle LeBeau and her destiny with Russia; Seattle Waldorf School, as printed. to reflect on memories about Christel Custer and Mary Thank you for noting the correction. Delle; to recall our connections in eurythmy; these are our Best, recollections. And we honor eurythmist Hermes Vannak of Laurel Loughran Eurythmy Association of North America 5 In Memoriam And it was in 1982 that I first met Mary Delle. We both were in the School of Eurythmy in Spring Valley, N.Y. Mary Delle LeBeau Mary Delle was in J course, her first year, and I was in G October 24, 1951-December 15, 2016 course, preparing to graduate. I also played piano for her Caterpillar on passion flower classes. Impressions of her strong being come back to me winter calls spring from our first meeting. She had not only a wonderful smile, chrysalis cracks into butterfly but a strong southern accent. She carried herself as a chol- eric with a very strong presence and walk, with a disciplined Untie the choking chords of youth will, and a caring knowledge. Our lives parted when I grad- black into ash and flee uated in 1983 and left for Europe. Mary Delle graduated in into the possibility of you 1986. Written by Mary Delle Le Beau Beth Usher shared that Mary Delle lived in the Harlemville area after graduating. She taught not only eurythmy, but also French and Russian. She and Beth performed with the New England Eurythmy Group together. Beth shared that Mary Delle worked in such a dedicated and disciplined manner. Hanna Kress told me that Mary Delle took a trip to Russia with Colin Young in 1990. Hanna recalls seeing Mary Delle beaming when she returned from this trip. And so, Mary Delle connected with others and helped establish the eurythmy training in Moscow from 1993 until 1997. [Tanya Strizhak, therapeutic eurythmist in Moscow, worked in various schools and homes for the handicapped in Moscow and after perestroika she was instrumental in Mary Delle at The Eurythmy Academy, June 1994 setting up the Eurythmy Studium that eventually became the Moscow Eurythmy School.] An appeal letter that Beth Mary Delle was taken from our earth too early in her Usher shared from Mary Delle will follow and this letter can miraculous life. She was born in El Paso, Texas, on October give you a glimpse into her life and time in Moscow. 24, 1951, into a very charming southern family as was When Mary Delle returned to the U.S. and settled in related to me by Beth Usher. I did not know her as a child, Chatham, New York, she began to study for her M.A. in but could she ever have imagined that she would help start Russian Studies in Albany, N.Y. a eurythmy training in Moscow in the 1990’s? We came together again in 2001, as I was living close Mary Delle wrote: “Also, I was recently chosen to by in Saratoga Springs, N.Y. She taught me Russian euryth- appear in Who’s Who of America. I really couldn’t figure my and we performed poems by Marina Tsvetaeva, along out why, as I’ve not yet gotten the Ph.D. nor have I ever with a Scrabin tone piece and a few others in a candle-lit published anything. It’s got to be for helping to start the hall at the Harlemville School. It was quite an amazing and Moscow Eurythmy School. And that is indeed thanks to the memorable experience! Her professor from her Master’s happy presence of eurythmy in our world and the desire of Degree studies recited for us. Mary Delle had a way of others to learn more about it. I add this also as a note of introducing eurythmy to the scholarly world, which she did encouragement in view of the falling enrollment in again when she moved from Chatham to California, where eurythmy schools including my alma mater, the Eurythmy she passed her Ph.D. examinations in Russian studies in School of Spring Valley.” From the EANA Newsletter, 2005. Her dissertation was on the topic, “Facing Death; a Spring 2004 Comparative Study of Russian and Western Literature”. Serena Merrill, a very good friend of Mary Delle’s shared with me that she first met her in 1978 at the Waldorf Report on Russian Eurythmy Institute in Detroit. Mary Delle had discovered anthroposo- by Mary Delle LeBeau phy through a study group in Austin, Texas. She already had One of my professors asked me to talk about my a degree form a University in Texas and had taught at a experiences teaching eurythmy in Russia and to give a short Balck Magnat High School in Texas. After discovering demonstration/performance of Russian eurythmy. This will anthroposophy, Mary Delle knew she would study be presented at a Slavic department retreat in late September eurythmy which she started in 1982. and repeated in early October in the Pasadena Anthroposophical Society building. 6 Eurythmy Association of North America Professor John Bowlt from the University of Southern Mary Delle will participate in the 100th celebration of California will speak on Kandinsky. Kandinsky knew about eurythmy that we are just beginning to formulate with the Rudolf Steiner and was probably influenced by his work on Los Angeles Branch of Anthroposophy. Mary Delle will color. In my part of the presentation I will describe my work also perform a Prelude by Bach for the Day of the Dead in in Russia, talk about eurythmy itself, and discuss sounds November.” Lynn Stull, From the EANA Newsletter, and soul gestures that I will use in the poems to be Spring 2011 presented. I will also demonstrate the expression of color in eurythmy. This will he followed by a short per- Mary Delle LeBeau performed formance of four Russian poems by the poets Anna a Russian poem by Marina Akhmatova and Marina Tsvetaeva, interspersed Tsvetaeva in the Day of the Dead with music of Scriabin and Rachmaninoff, One of event at the Branch [Los Angeles]. my fellow students, Oleg Minin, will speak for me. Lynn Stull, From the EANA This whole program arose out of my participa- Newsletter, Spring 2012 tion in a course on avant-garde movement in Russia. There I was asked to talk about eurythmy. Mary Delle spoke to me on the The main thing about eurythmy that proves to be phone one month before she exciting to scholars is the use of color. So I’ve passed away in November 2016, focused on describing that. When I have time, I Mary Delle in Moscow, June 1995 not knowing she would be leaving hope to have a scholarly article published on color in this earth so soon. She had decided she would not be doing eurythmy. So few dance scholars know what eurythmy is anymore eurythmy and offered to send me her red and pur- other than part of the “cu1t” anthroposophy or related to ple eurythmy dresses and a few veils. She was going to send Dalcroze’s eurythmics. Hopefully, I’ll be able to dispel a bit the others to a eurythmist in California. I thought it would of that and give a truer picture of eurythmy and what it has be an honor to wear one of her dresses as she was such a to offer to the dance world.” strong individual, and especially since I have not done any Mary Delle LeBeau, eurythmy in public since Dornach, 2013. We were going to From the EANA talk again in December during the holidays. That conversa- Newsletter, tion never took place as she passed away on December 15, Spring 2004 2016. Besides her dedication to eurythmy and Russian stud- “Joining in with ies, those of us who knew her recently remember her as hav- Mary Delle LeBeau’s ing an extraordinary relationship with nature and the ele- wonderful report: her mental world. And of course, her precious colorful small program at the Branch birds!! She wrote many poems and the two I included are was so well received; it short, but full of meaning. Her life was short, but oh, so full brought new friends to of meaning. the Branch, and intro- And as her life biography unfolded, when she went to duced Russian euryth- California around 2002, she met her beloved soul mate Gary my!” Stalcup, whom she married around ten years ago. Our Alice Stamm, thoughts and prayers are with him for this unexpected loss. From the EANA Newsletter, From Verses and Meditations for Friends who have Mary Delle inCalifornia Spring 2004 passed through the Gate of Death by Rudolf Steiner “Mary Delle LeBeau will celebrate 100 Years of Translated by George and May Adams Eurythmy through bringing an introduction to Russian May love of hearts reach out to love of souls, eurythmy and artistic performances of Russian poetry at a May warmth of love ray out to Spirit-light. festival celebrating the music of Sofia Gubaidulina at sever- Even so would we draw near you, al venues in the Los Angeles area, including the Rudolf Thinking with you Thoughts of Spirit, Steiner Community Center in Pasadena. Sofia Gubaidulina, Feeling in you the Love of Worlds, a Russian composer, currently lives in Germany. Her music Consciously at one with you has been performed at the Goetheanum. Mary Delle will Willing in silent Being. perform three poems of Marina Tsvetaeva that Gubaidulina Sheila Shapiro has set to music. In addition to her Russian artistic work, Saratoga Springs, NY Eurythmy Association of North America 7 Some thoughts shared by Gary: ”Many of you knew Her smile, positivity and readiness for cooperation Mary Delle through different activities that reflected always helped us to learn with enthusiasm the beginnings of different interests. All of you knew her for her warmth, wit, our new profession. It would stay forever in our memory friendliness and love that seemed to imbue all of her how she recited with her American accent: interactions. She spent years studying eurythmy leading to Я пришел к тебе с приветом, performing and teaching it. Many of her friends in the Рассказать, что солнце встало, anthroposophy community were touched by that work. Что оно горячим светом Along with eurythmy she also loved to write, producing По листам затрепетало . poems, prose, and translations which were read and appre- ciated by many. She brought an artistic flair to everything I have come to you to cheer she put her hand, as is known by anyone who has seen her And to tell that sun has risen, gardens through the years. Her flair extended to her bright That its blatant light so sheer yellow house with her beloved Russian art pieces and her Trembles leaves for no reason. beautiful, if oversized, furniture. Lately she had been gifted Mary Delle was also actively in contact with some students with the opportunity to lead nature walks at Eaton Canyon. from the Singing Faculty of The Gnesin Institute of Music. I cannot do justice to the joy and inspiration she derived More than once we went with her to their graduation from leading groups of school children through the canyon, concerts. In a very sincere and lively way she took interest while describing the natural wonders through which they in the world of Russian theater, painting, music. were walked. The enthusiasm with which she handled this Mary was also very attentive to us, to our students prob- gave her energy and happiness that left her younger for it.” lems and helped us with word and deed. She defended the Gary Stalcup, interests of our gamma-group at the Collegium of the Husband of Mary Delle Eurythmy Academy. Even after our graduation she kept in touch and exchanged letters with some ex-students on Mary was one of our first guides into the world of the Facebook sharing with us her interests and giving again her beautiful art of Eurythmy. She taught us during the first two particular unforgettable smile. I am very glad and proud to years both Tone and Speech Eurythmy. There were of have Mary Delle next to me at the very beginning of my course other wonderful teachers: Reiner Wagner, then Tille professional life and work. It was fortunate! Barkhoff and Evamaria Rascher. Natalia Frolova, Syktyvkar

The first graduation of Gamma-group, The Academy of Eurythmy, 1993 Mary Delle (standing in center, eighth from right); Photo courtesy of Natalia Frolova 8 Eurythmy Association of North America

Thank you to Beth Usher for submitting this letter. Ed. This will be the last year that I teach full time in the Fall 1996 Moscow Academy. During my years there we have made Dear Friends, great strides in establishing and consolidating the school. This spring the Moscow Academy of Eurythmy graduated We have passed the first stage of the accreditation process its first group of eurythmy students. They have all found for the Cultural Ministry. The trend at present in most position teaching eurythmy to adults or children in the Russian businesses and organizations is that positions orig- Moscow area. We look forward to observing and supporting inally staffed by foreigners gradually be filled by Russians. their progress. In addition, the school will begin classes this This actually is a very healthy change, as Russians must September with an enrollment of approximately eighty stu- find their own way of forming new institutions in their dents, maintaining its position as one of the largest euryth- county. It is particularly the case with the Academy, sup- my schools in the world. Upon graduation, our students will ported and in part formed by the Cultural Ministry of the be qualified to teach in public or private Russian schools, as Russian government. We have trained Russian colleagues their diplomas are recognized by the Cultural Ministry of each year so that, beginning in 1997, it will be possible for Russia. these colleagues to carry the task of teaching in the I have taught in the Moscow Academy of Eurythmy for Academy. Their work will be supported by periodic visits three and a half years. Each year I have to turn to my by more experienced teachers, very likely the three foreign American friends for financial support as the salary that the colleagues who have carried the work of the school for the academy can provide is minimal, approximately $75 a past year, or other foreign teachers. month. Funds from Europe have dwindled to a very small Please consider making a contribution toward this amount, so that this salary is what which the Russian work. By spring 1997 I will have spent four and a half years Cultural Ministry can afford to pay. Inflation in Russia is still high. Unfortunately our salaries do not keep pace with of very fulfilling and challenging work helping to establish inflation, so that we are paid far below the amount needed The Moscow Academy of Eurythmy. I look forward to to live in Moscow now. My total expenses for this year will assisting the Academy in making its next step in its own be approximately $18,500, which includes expenditures growth. It is, however, only possible with the support of made in America each year when I return, as well as the friends such as you. It is more important than ever that this basic living expenses in Moscow. Each year in America I institution continue to grow and stand for anthroposophy in must purchase many items to take back with me that are Russia. either not available in Moscow or are three or four times Warmly yours, expensive as here due to import duties. With this letter I am Mary Delle LeBeau trying to raise the $13,000 still needed to meet my expenses. Eurythmy Association of North America 9 Dear Mary, I do believe you hear us! Mary, what are you like for me? Strict and joyful, December 23, 2016. We, our Eurythmy group, Studio always inspired, present in this moment of life. Thank you Theatre of Eurythmy, are standing in the circle ready to for the light and joy, for the music and inspiration, for your begin the rehearsal, in a few days there is the performance. smile and tears. When your mother died you were in Olga Gerasimova is leading. Moscow, and you cried...Your pain was our pain too. With Olga we have been together in eurythmy since I have been working as a eurythmist for more than 15 May 1994, when we joined The Academy of Eurythmy Art. years now, on the stage and at school. Mary, if you have As we are about to start, suddenly Olga seen how beautiful says, “Please, can we begin today with the children are Halleluiah. Mary Delle has crossed the when they do Threshold of the spiritual world.” eurythmy! You`d And then something happens. Time like it very much! stops for a moment. My mind is not ready One can see their to accept and the soul to admit—how can it angels in this be that the sun disappears? It`s just not pos- beauty...in the way sible! Mary represents the feeling of the I do eurythmy with Sun! And in me there is a big question – them in the lessons, how is it? How? there is also your There are people whose departure is particle. You are inconceivable for me, so much they are with us. And I alive even after passing over. And Mary is Mary Delle in Russia believe that you the one! Though she`s been living far away from me on the hear us. I love you so much, dear Mary! other continent, and since 2001 only letters have united us, Svetlana Artamoshina, telephone calls, and brief greetings on Facebook. I often see Saint Petersburg Waldorf School her big shining eyes, her chestnut curls and the sunniest Centre for the Art of Education smile. I hear the ringing tone of her voice. Eurythmy has come into my life like the sun, to this light I flew to Moscow, to Eurythmy Academy, and met there those who were bringing this sun to us: our teachers from very different parts of the world, Holland, Australia, Britain, Germany, Russia, America. They gave us this sun as our profession. And Mary was one of the sun beings! She became my first Tone Eurythmy teacher, who delicately and with care, but very consciously helped us to do our first steps in this wonderful art of the future. More to this Mary could speak Russian, she had been translating Russian poet Olga Sedakova into English.

Christmas festival at The Eurythmy Academy, December, 1994; Mary Delle, seated third from right “When I am in Russia, I feel that I live in the midst of a battleground of incredibly powerful forces that swing between good and evil. The only solution I can see is to continue to work, despite the difficulties. Many students come to us with the same sentiment – we must continue.” Mary Delle, in a letter to Beth Usher, 9/20/94

Photos courtesy of Svetlana Artamoshina, former student of Mary Delle Le Beau. Christmas Celebration, “Red Riding Hood” Thank you to Sheila Shapiro for contacting by the teachers, 1994; Mary Delle on right. eurythmists in Russia on behalf of EANA. The Editor 10 Eurythmy Association of North America In Memoriam er in a Christian Convalescent Home on the Hasliberg. I almost landed, unasked, in the Diakonissen Training [as a Christine Custer novice in a convent], but my mother rescued me from this November 4, 1922 - September 20, 2016 by signing me up in the Eurythmy School directed by From an autobiographical sketch; Reprinted with Isabella de Jaager. permission form the Newsletter of the Section for Thus at 18, I began my life’s path in eurythmy, but the Performing Arts, Michaelmas 2016, No. 65 combined with many hardships because it was still war time, I had various jobs, amongst others, in the Eurythmy was the guiding star of my life. Before my Philosophisch-Anthroposophischer Verlag [Publishing birth both my parents were Firm] to make ends meet. active with eurythmy. My father, Helmut Lauer, an The English Language architect, was allowed to At the conclusion of the training, 22 years old, I perform eurythmy that he had received an offer to teach at the Waldorf School in Ilkeston, worked on with Marie England. I prepared intensively, when the unexpected news Steiner on the stage of the came that there was a misunderstanding, that the eurythmist Goetheanum. And my pianist there was remaining and that I was not needed. I stayed in mother, Emmy Custer; it was Dornach and was accepted by Marie Savitch into the stage her greatest wish to have a group, in which I was active for 40 years. A highlight was child who would dedicate her the symphonic work. Later, the group was led by Lea van life to eurythmy. Thus I der Pals, followed by Angela Locher. Apart from my stage came to earth, in Zurich, CH. activity I was a teacher in the Lea van der Pals’ Eurythmy In 1924 our house was built next to ‘Friedwart’, in School. which I lived for seventy years. From my third to sixth year I had a strong destiny connection to the English lan- I was the first of many foster children that followed under guage, and so tasks came my way in various countries: the care of Antonie Ganz, the gardener, who had been 1950-1951 in Camphill Scotland, where I taught the semi- employed by Rudolf Steiner for the care of the grounds narists, worked on programs with the other eurythmists around the Goetheanum. At the age of three I started taking there, and we performed for the various houses. Later I part in the children’s eurythmy. worked with Marguerite Lundgren in London, teaching and taking part in the performances with the group. There fol- The Path to Eurythmy lowed various blocks teaching at the Eurythmy School in For six years I went to the Rudolf Steiner School in Spring Valley, U.S.A. Basel, an extremely difficult and wild child. I had great On all the tours in every town I was to be found in the problems with the eurythmy teacher. For this reason, when museums and churches. During my frequent visits to I then attended the Friedwart School [a kind of finishing London I was able to attend countless concerts, theaters, and school] for three years, I was determined not to attend the drama performances. eurythmy lessons. But then a miracle occurred; Marie Grodeck tamed my wildness with iron strictness and, made Cultural Travel enthusiastic through the guidance of her teaching, after the A deep source of enrichment, for the whole of my life, first lesson in eurythmy I declared that I wanted to be a was the art journeys to Greece, Turkey and Egypt together eurythmist. with two friends. With the outbreak of the war there followed the oblig- As my forces diminished I retired from the stage at 67, atory attendance at a Housekeeping School (Haushaltslehre) but remained connected to the work. For many years I gave in the ‘Buendner Frauenschule’ in Chur for half a year. a weekly tone eurythmy lesson for eurythmists and my last Then I rebelled against a stay in ‘Welschland’ [presumably eurythmy activity was working with the Foundation Stone to become fluent in French as was the custom in those days] Meditation in Milan, Italy. by simply getting myself employed by the gardener of the When the time came for me to leave my beloved little Goetheanum. Amongst other things it was my task to supply Custer house, due to age, I moved into Haus Martin. The lettuce and vegetables to the soldiers who were billeted in open view from the Jura Mountains across to Basel with the Goetheanum. wonderful daily play of nature, wonderful sunsets with their The following winter I helped in the house of relatives glorious colors, magnificent cloud formations and changes, in Winterthur and in the spring I became the private garden- wonderful lightning and sparkling stars, are all gifts from heaven. Eurythmy Association of North America 11 Memories of Christel Custer tell stories of her great friends at the zoo. In January, at a memorial during the Eurythmy School Teachers’ When I came to the States in 1980, my good friend, Conference in Dornach, people spoke fondly about her and teacher and colleague, Christel Custer, came to help out her single-minded dedication to Rudolf Steiner, with teaching a few times. (In those days the faculty Anthroposophy and eurythmy, deciding to forego marriage changed every term!) Christel was very clear, serious in to be able to follow her calling and be of service. With her everything she did, but not without humour. She was very crossing, another of the great pillars of eurythmy has left us enthusiastic and convinced about all she had to bring so the and we can only hope to be able to carry on in her spirit. students felt wonderfully secure. Christel was an out spoken Barbara Schneider-Serio melancholic-choleric, strict, straightforward; flattery was not in her nature, but her honesty was never hurtful. She was an Anglophile and therefore loved to teach in English, the Christine Custer – 19 January, 2011 dramatic element being her special strength both in teaching Chor der Weiber from Osternacht and performing. Christel’s enthusiasm for art as such, I have just come back from my first meeting with especially the visual arts, was a dominant characteristic; she Christel Custer. She lives in Haus Martin, in the new wing loved visiting museums and churches wherever she went. of the building, in a lovely small corner room on the top Indian Rock was a favorite place in the area. All the students floor, which (to her pleasure) has a clear view to the south and stage work benefitted greatly from her presence and she entrance of the Goetheanum. The space is bright and airy, also loved being here. and decorated with beautiful eurythmical objects such as Dorothea Mier many old eurythmy figures, which she calls her family! Without too much of an introduction, she asked if I had When Christel Custer arrived in the early 80’s, she took brought my copy of Faust, and we began straightaway to our very large and somewhat obstreperous group in stride look at the Chor der Weiber, which comes right after the and got us working in second year on tone eurythmy, then Prolog Im Himmel during the so called Oster Nacht. Right in the upper years on speech eurythmy. What really sticks in before the chorus of five women appears, music is heard my mind are the soul forces from the Mystery Dramas and from behind the stage. Frau Custer showed me pictures the Archangels from Faust’s Prologue – we all threw our- from her own album and gave a basic description of the selves into discovering Truth, Beauty and Goodness. quality of movement for the women. They are dressed alike Always halted and corrected by her strongly Swiss-accented in long, simple, white cotton dresses with chords for belts. voice – “and now feel your wings” and with great astonish- These are tied and hang down in front like tassels, in a ment: “And why are you wiggling?” or something similar, Medieval fashion. They wear white silk cloths over their always good humored, but straight shooting; you couldn’t heads, which hang down around their shoulders. With three- get away with a thing. We were all enthusiastic, also when fold stepping, they enter from stage left, one after the other she worked on head and foot positions and zones, Zodiac in a row, the first leading in a little curve over the front (see and big English group forms, and a strong rendering of ‘Ash Marie Savitch’s description of their threefold steps in her Wednesday’ by T.S. Eliot for graduation (determined to cut book Eurythmie in Rudolf Steiners Faust-Inszenierung). out any phrases she deemed ‘too catholic’) . They end in a row with the last one closest to Faust, who sits Always clear, always to the point, and still I can almost at his writing desk center stage. The women enter in the soul move her forms even after more than 35 years. I also gesture of sadness with their heads slightly tucked inward remember her dramatic presence on stage in the last scene and downward on the right shoulder. Their gaze too is from Byron’s ‘Manfred’. inward, into themselves, not out into the world (“blick wie I saw her in the intervening years at conferences and in sich hingekert”) in keeping with the Medieval conscious- more recently during the fourth-year meetings in Dornach ness. In German, Frau Custer described their quality as every summer. She would be there, present at all the presen- “Mittelalerisch scheu” (Medieval shy), with a “demütlichen tations, full of questions, opinions, and valuable critique, haltung” (humble posture). always speaking English with relish. And you always The women form (through gestures) the emphasized heaved a big sigh of relief when you were able to live up to vocalic sounds (and also a few rather soft consonants) of the her exacting standards. When I visited her in her room in the text within the soul mood of sadness as they walk . The arms retirement home, she proudly showed me the gorgeous view are not fully outstretched in large gestures, rather the elbows of the Goetheanum she enjoyed from her room, and she are kept close to the body so that the gestures are formed would remember everyone in Spring Valley, tell me about mainly out of the lower arms. The palms are facing upward, the latest outrage in eurythmy and her conversations with except for the words in the last line “Christ nicht mehr those in charge, recount her recent exploits in museums, or hier!” Here Frau Custer showed the last “i” with the palm 12 Eurythmy Association of North America facing downward, in what appeared as a gesture of Café. I wore my white dress and Christel wore her red dress negation. All of these gestures are made with a warmth and we blew out the candles together. toward the middle of the stage, which is to the right for the At that point in my eurythmy life, I never could have women, but the “I” in “Christ” is shown upward to the left imagined that one day, I would be in the Goetheanum Stage (palm up), a Steiner indication not only in this passage in Group moving with Christel Custer. But that did happen Faust but also, in the fourth panel of the Foundation Stone after I graduated. There I was even moving the same viola Meditation. Another special gesture in this chorus was for parts with her in Dvorak’s New World Symphony in “Ach”, where Frau Custer showed that the right foot steps Dornach and being in the Zodiac twelve moods and backward and the “a” is formed over the back, as if gently Goethe’s Faust. There were so many pieces, I cannot name throwing a coat off of one’s shoulders, with the arms low them all. It was amazing to have seen her perform her Bach down, and palms upward. Of course it must not be too dra- Cello Solo and Olaf Osterson, amongst many other pieces. matic because it must stay within the Medieval mood, but it Well, once again I never would have dreamed that I must convey the deepest grief and despair for the loss of the would be with her for her 90th birthday, as I celebrated my beloved. 60th birthday. I was in Dornach in 2013, and I visited When the “Chor der Engel” speak, the women accom- Christel often. She was so happy to have visitors, especially pany with three soul gestures of reverence, sadness, and English-speaking visitors. At 90 years old, she still would inwardness. These are formed slowly over one or two lines, go into Basel by herself and go to museums and to the zoo. sometimes more. I have indicated this in the text. When the She told me she loved to watch the penguins. “Chor Der Jünger” speaks, again the women accompany, Years before, when she had to move into Haus Martin first with a low “a” with palms facing upwards for the first for the elderly, she was not very happy to leave her place, four lines, then with the same soul gestures as before, as I but the room she lived in, allowed her to view her beloved have indicated in the text. The Chor der Engel now comes Goetheanum. And indeed, that meant so much to her as she for the last time. At this point, all the angels come onto the had spent her life dedicated to the Goetheanum, eurythmy stage and the background turns a fiery red through the light- and anthroposophy. ing. The women accompany the angels with vowels, some- The year she was turning 90, she also was so overjoyed times meaningful consonants which alternate right and left. when she was interviewed. She was able to share her life’s This passage was not so clear in Frau Custer’s memory. stories and I believe some of that is being printed in the When the chorus repeats in song, the women include the Eurythmy Newsletter. soul gesture of high festivity with a few sounds which I It has been an honor to have known Christel Custer, and have indicated on the text. now I continue in my quiet way, in my own room, alone, to A further note about the quality of Frau Custer's move- still work with Christel Custer. She has touched many and ment: there was a softness and wholeness to her gestures, she continues to do so. so that her hands seemed part of her arms, which extended Sheila Shapiro from her middle, and carried very simply and easily with Saratoga Springs, NY absolutely nothing unnatural or extra, the inner mood she was demonstrating. I found it very beautiful to watch such Christel’s way of teaching was as indelible for our train- an elderly woman (she is 90 years old) show these almost ing as was the content of her lessons. She brought the Soul holy qualities of soul. There truly was a feeling of purity Calendar verses as dramas of color, with a great conversa- there, where nothing was fabricated or assumed artificially, tion between the colors creating each form in an unique but where the inner simply became the outer. way. Dramatic eurythmy became filled with dozens of foot Victoria Sander positions and strong head positions, as well as soul gestures, Harlemville, NY and development of text within the line or mood of the soul gesture. The zodiac lessons organically followed several I first met Christel Custer in 1980 in my second year of chapters in the Speech Eurythmy course. Our solo work was the eurythmy training in Spring Valley, New York. And greeted with encouragement (“That was well worked!”) and what a meeting that was, as she moved our class with such a chance to go on a step (“Can you try....?”). She was ninety, strength, warmth, and joy, wearing that glorious red dress when she told me she often recites aloud the Ariel scene of hers! She came from Dornach, Switzerland, and just from Goethe’s Faust to stay active in the work. loved the English language and eurythmy. I can still remem- Beth Usher, ber and feel how she took the space with her as she turned Austin, Texas on the double curved musical opening form, the I U Ah. And then I discovered that we shared the same birthday, November 4th. A celebration was held in the Threefold Eurythmy Association of North America 13 Remembering Christel Custer Christel Custer – A Guide on the Path Little did I know that Christel Custer would become a My strongest early recollection of Christel Custer was in beloved friend and lifelong inspiration when we first met having her as our speech eurythmy teacher in the second her in 1981. At the Spring Valley Eurythmy training, we year of the ESV training. Back in the early 1980’s, Dorothea were presented with a very proper Swiss German Frau with had rotating teachers from Europe making up the faculty, so a steely sharp gaze, a very direct teaching style and a strong each term was an entirely new experience. Before we even lilting Swiss German accent. However, not too long into our stepped into our first class with Christel, she held something lessons did we detect a “twinkle in the eye,” which gave of a unique position as here we would be learning from the way to a subtle and delightful sense of humor. teacher of our teacher, Dorothea! From the first moment of The order and precision that we encountered through learning from her, I was both captivated and enchanted by her teaching was like a tonic for our movement – bringing her powerful presence, her deeply artistic approach, and her clarity and weight. Her depth and understanding of the prin- love of every element she covered. It was an unforgettable ciples of eurythmy penetrated everything she taught. experience when she introduced us to the form of the ballad, Christel’s unedited (some might say harsh…) honesty in through working on Lord Randall, an Anglo-Scottish ballad. the classroom soon became known far and wide. “Did you “O where have you been, Lord Randall, my son? swallow a eurythmy rod for breakfast?” was one of her O where have been, my handsome young man?” observations in her effort to help us grow. We both wel- “I have been to the wildwood; mother make my bed comed and feared her comments and over time, she became soon, beloved and revered. For I’m weary with hunting, and fain would lie down.” Peter and I soon learned that she had a passion for Christel drew us into the medieval world of this museums. We, having a car, often drove together to the poem in a way that awakened our sense of the deeper story Cloisters to visit the stunning medieval sculptures and that eurythmy can tell. This ballad holds a conversation architecture. “LOOK! What a beautiful ‘AH’… you see… between a mother and son, which slowly reveals a haunting !?” “THAT is the gesture for reverence.” Etcetera… conclusion. Each class, when Christel walked in to teach us etcetera… We followed her around in awe, seeing through this archaic story, she was so at home in the qualities it her eyes – the movement in the stone. It certainly helped us unfolded of sound, rhythm and inherent movement that she grasp the ancient depths of eurythmy. Eyes radiant with invited us into that world as well. I remember looking down delight, she was filled with childlike enthusiasm. It is some- at the forms on the page and grasping how eurythmy forms thing we will never forget. can actually speak. We will hold in our hearts, with love and respect, the While I saw Christel only occasionally after she no memory of our dear teacher Christel Custer. longer taught in the school, as she lived in Dornach, it was Peter & Stella Elliston always a very special event to have tea with her. One of the Great Barrington, MA last times I sat with her, she strongly encouraged me to carefully observe all sides of the charioteer found in the museum in Delphi, Greece, where I was going. She said to pay particular attention to the area of the shoulder blades. After spending time with this ancient figure, I realized that Christel could see the invisible wings on this bronze cast, and what they signify for all of us living with eurythmy daily. I feel so deeply fortunate to have started the path of eurythmy with her as one of my guides. Eurythmy Spring Valley, ‘F’ Course, Beth Dunn-Fox circa Autumn 1981, on the balcony of the Pomona, NY Threefold Auditorium (from left to right) Coralee Fredrickson, Barbara Reade Neumann, Christel Custer, Daniel Roth, Isabel De Angelis Suedhof, Joanne Moeschl, Diane Tatum, Beth Usher Photo courtesy of Beth Usher. 14 Eurythmy Association of North America Coleridge: A Life Illumined helping initiate. In his autobiographical account of his vocation, Footsteps 2, he reveals the quality of interest in the Dr. Coralee Frederickson Other that has become the driving impulse of his work. Originally Published in the Golden Blade, 2000 Holmes follows his subject quite literally, actually travers- In recent years, an astonishing number of new biographies ing the landscapes, entering the houses if possible, where of major poets of the nineteenth century have appeared: of these poets lived out their “brief Drama in the Flesh.” (E. the Romantic poets, Keats, Shelley, and Coleridge; of the Dickinson) As well as other influences, Holmes takes into American Transcendentalist, Ralph Waldo Emerson, as well account the formative effect of landscape and atmosphere as of the visionary poet, William Blake.1 Although these on the romantic poet’s sensibility, realizing that, as poets cannot be categorized neatly under one rubric, all can Coleridge writes, “One of the most noticeable and fruitful be said to be part of one “movement”, one upsurging of cre- facts in psychology is the modification of the same feeling ative energy, one flood of inspiration for humanity that by difference of form. The Heaven lifts up my soul ,the sight arose in England during the volatile time around the French of the ocean seems to widen it…” (Coleridge, Anima Revolution, and ultimately played itself out in America Poetae) Holmes takes such observations seriously; he notes through Emerson, Thoreau, Dickinson, and Whitman. in a footnote that “Coleridge’s passion for climbing hills and We might ask ourselves why just at this time these scaling mountain peaks … seems to have some deep imag- poets’ lives and poetry are being re-evaluated. What has inative correspondence with his metaphysical inquiries. The prompted this outpouring of interest in the lives and works panoramic view from a peak…often brings moments of of these representatives of the Spirit of our Time? Do they intense vision.” 3 Richard Holmes understands that life is a perhaps have a message for us in our time? Are we being journey through an inner as well as an outer landscape and given an opportunity to hear something particularly relevant that the latter gives us a symbolic language for experiences to us now as we face the enormous challenges confronting of the soul. Therefore, he complements the rigors of his us? For all these poets champion nature and the human soul, scholarship with actual experience of the backdrops against the imagination, and the individual inner activity that not which his players have enacted their earthly lives. only can save us from soul death, but also is the first step At the same time as Holmes can enter experientially toward unfolding consciously latent higher capacities with- into the biography of his subject, he also demonstrates in us. objectivity and tolerance; for example, Coleridge’s opium We might also wonder what can be said that is new addiction or Shelley’s tragic amours are treated honestly about these poets that one cannot find in existing biogra- and non-judgmentally, indicating that both the biographer’s phies. In fact the difference between earlier biographies and and our boundaries of understanding have evidently modern ones lies not so much in the biographical data as in expanded and that we have perhaps learned something of a new sensibility or consciousness that pervades these re- acceptance and compassion through the hard experiences of interpretations. Readers today have clearly changed and the this century. Holmes does not flinch from describing the biographers are responding to the need of a new generation most unpleasant physical symptoms of Coleridge’s opium with new capacities for grasping both the spiritual content addiction, but is able to weave these details into the fabric of the poets and the complexity of their lives. Let us turn our of his life and higher striving. As a result, we become aware attention to one modern biographer in particular, Richard that a judgmental attitude is petty in the face of the richness Holmes, who has written biographies of Shelley and of life itself. We achieve a kind of spiritual perspective from Coleridge, and who also appears to have a capacity for which we can appreciate that our struggles on the physical meeting these poets and presenting them in a way that opens plane are part of a larger picture of spiritual development. up at once the man, his life, and the eternal message of the Furthermore, in his mission statement, Holmes work to the readership. We will focus on his two-volume implicitly acknowledges that the details of a great person’s life of Samuel Taylor Coleridge, Early Visions and Darker life of personality and destiny ultimately serve “the work”, Reflections, first looking at the biographer’s approach and the artistic substance that is generated as the artist pursues then examining the content to see why Coleridge is vitally his inner quest passionately through life, examines it with relevant to us today. Finally, we will explore possibilities for intensity and immediacy in journals, letters and lectures, the future of biographies of the poets. and concentrates and potentizes it in poetry. “I believe passionately that one of the main purposes of a literary life Richard Holmes and Romantic Biography is to renew the appreciation of – no, the love of – a Called “the most romantic of contemporary biographers and neglected literary work, and to make it alive for a new probably the most revolutionary in spirit and form” by his generation.” 4 But the door to the work can be opened fellow-biographer, Michael Holroyd, Holmes is also the through a sympathetic relationship with the bearer of the most articulate about the new trend in biography that he is message and this has become the role of biography. Eurythmy Association of North America 15 It is enlightening, in connection with these observa- been perceived as “otherworldy” and therefore out of touch tions, to look at what Rudolf Steiner has said regarding with our daily reality. “Bringing the angel to earth” means present and future human capacities. In The Work of the at once humanizing him and elevating him to his stature as Angels in Man’s Astral Body, as well as in other lectures, an inspiring individual with a significant message for us Steiner describes new impulses that human beings will today. Then these poets can remind us that living words can receive from their angels, “…Out of the spiritual world men change the world and that lives that over-brim with enthusi- will receive an impulse through their Angel that will kindle asm for the spirit can inspire and lead humanity forward in a far deeper interest in every human being…By a sudden the age of the consciousness soul. impetus a certain secret will be inspired into man from the spiritual side namely, what the other man really is.” (p. 14) Coleridge’s Path When Holmes applies himself with such loving interest to In fact, Richard Holmes’ his subject, immersing himself in the words and deeds of approach to biography emulates another person through years of study, he arrives at an expe- just those characters of Coleridge rience of “what the other man really is.” He finds himself in that he describes when he says what he calls an imaginary relationship”, a “relationship of Coleridge “actively hunts down trust” between himself and his subject. He comes to recog- the otherness of being.” As nize the “integrity” of character, “the moral continuity Coleridge himself so vividly puts between the inner and outer man”; in other words, he has it, “It is easy to cloathe Imaginary intimations of the questing human spirit that soars beyond Beings with our own Thoughts and Feelings; but to send the exigencies of the earthly destiny and of the individual ourselves out of ourselves, to think ourselves in to the mind’s path of inquiry or the karmic question which impels Thoughts and Feelings of Beings in circumstances wholly the life. “There is between (the biographer and his subject) & strangely different from our own: hoc labor, hoc opus: a ceaseless discussion, a reviewing and questioning of and who has achieved it? Perhaps only Shakespeare.” 7 motives and actions and consequences… It is fictional, Coleridge recognized that Shakespeare’s power to become imaginary, because of course the subject cannot really, liter- one with other forms of being, be it cloud, or rose, or char- ally, talk back; but the biographer must come to act and acters in his plays together with “his endless activity of think of his subject as if her can.” 5 thought” were primary elements of imagination, of poetic As a result of this deepened imagination of his subject, power. Coleridge himself cultivated these higher imagina- a new picture of the poet’s personality emerges for him and tive faculties through an active self-training in observation the subject can actually begin to work on the biographer. of the nuances of growth and change in the natural world. For example, having followed Shelley on his restless wan- For, as Coleridge knew, we have latent capacities that can be dering through Italy, Holmes is stirred to new idealism him- developed if we apply ourselves. “In short, all the organs of self. “I left my balcony at San Terenzo early one crisp Sense are framed for a corresponding World of Senses; & November morning, determined to bring the angel to earth, we have it. All the organs of Spirit are framed for a corre- and to do justice to Shelley’s lifelong dream of a better sponding World of Spirit: & we cannot but believe it. The world here below.” 6 Infidel proves only that the latter organs are not yet devel- Nowadays we are looking for living ideals that can oped in him.” 8 Those familiar with Steiner’s exercises for work into our daily lives. Shelley’s real significance for us developing higher consciousness will recognize correspon- has been damaged by the effete image of him that was per- dences with his exercises for developing imagination petrated after his death and which contrasts strikingly with through plant or cloud observation. As Holmes emphasizes the robust, impassioned character of unshakeable ideals in this regard, Coleridge was a most extraordinary observer Holmes brings to life in his biography, The Pursuit . of nature for what it could reveal of the workings of the Likewise, Coleridge lost credibility by being cast as the divine in our world and for the metaphors that could actual- sedentary “sage of Highgate” but through Holmes’ two-vol- ize his insights into the nature of the human soul. He was ume biography we meet and are inspired by the passionate particularly attentive to shifts of light, the movement of young Coleridge who regularly strode the 20 miles over clouds, the play of water, observations which he seized Dunmail Pass between Keswick and Grasmere in all weath- upon imaginatively in the moment of apprehension and jot- ers, notebooks in hand, in his ardor to see the Wordsworths, ted quickly into his notebook in vividly alive, almost panti- as well as by the charismatic lecturer and conversationalist ng “shorthand”. For example, “River Greta near its fall into who could hold his audiences rapt through the power of his the Tees – Shootings of water threads down the slope of the presence and brilliant intuitive thought. The result of huge green stone – the white Eddy-rose that blossom’d up “romanticizing” or actually sentimentalizing these poets in against the stream in the scallop, by fits & starts, obstinate the past has rendered them less effectual because they have in resurrection – It is the life that we live…” 9 16 Eurythmy Association of North America Here Coleridge exhibits the attention to detail of a scientist, the colors and movement of the water-snakes, he can find the interest of a nature enthusiast, and the wonder of the the power in his heart to bless and it arises in him like the poet and the child. Elsewhere he describes a poet’s capaci- Eddy-rose at the foot of the waterfall. Thereby he releases ties: “…for all sounds & forms of human nature he must himself and Nature from the evil he as the representative have the ear of a wild Arab listening in the silent Desert – human being has perpetrated in the world. the eye of a North American Indian tracing the footsteps of A spring of love gushed from my heart an Enemy upon the Leaves that strew the Forest: the Touch And I blessed them unawares… of a Blind Man feeling the face of a darling Child.” 10 Filled Later in “Dejection: An Ode”, the same inner “foundation”, with child-like reverence, Coleridge was uniquely attuned which is “joy”, is that spiritual power within that can renew to metamorphic changes where as one form passes over into not only our perception of Nature but Nature herself. another the spiritual can be perceived working in the “Joy, Lady! Is the spirit and the power, processes of Nature as an invisible formative power within Which wedding Nature to us gives in dower all manifest forms. “Starlings in vast flights drove along like A new Earth and new Heaven…” smoke, mist, or any thing misty without volition – now a Not only can our own souls find life through such circular area inclined in an Arc – now a Globe – now from capacities in the human heart amid the desolation of modern complete Orb into an Ellipse & Oblong – now a balloon consciousness, but Nature too is dependent on the discovery with the are suspended, now a concaved Semicircle – & still by human beings of the fount within, their own inner pow- it expands and condenses, some moments glimmering & ers of resurrection. shivering, dim & shadowy, now thickening, deepening, “O Lady! We receive but what we give blackening.” 11 Accurate observation was always a stimulus And in our life alone does Nature live…” to imaginative thinking for him. That is to say, we must now actively “give”, i.e., initiate Such self-initiated exercises in perception, born of love engagement with the world around us not only to keep our for nature and the spirit, revealed to Coleridge the creative own souls alive but also the Soul of the World. spirit of the universe weaving in the vital activity of the As Coleridge passes into the later phases of his life we world and in the creative mind of man, the divine Word that can trace a path from participatory perception through speaks through the created universe. Speaking to his infant imaginative thinking to apprehension of the spirit. Through son in “Frost at Midnight”, he foresees the future of his the struggles and pain of his arduous life, he came to recog- “Child of Nature” who will grow up reading that divine nize that the heart’s infinite powers of resurrection in the script: midst of desolation and despair are “the healing powers of …so shalt thou see and hear Christ.” 12 Further, in the Biographia Literaria, he defined The lovely shapes and sounds intelligible the creative power of the poet, Imagination, “a repetition in Of that eternal language, which thy God the finite mind of the eternal act of creation in the infinite I Utters, who from eternity doth teach AM.” Rising into metaphysical heights, he transcends Himself in all, and all things in himself… Reason or thinking and achieves direct spiritual insight or What he has apprehended imaginatively in his poem above, the realm of “Religion”. he later interprets thus in his Religious Musings: “For all “…Religion passes out of the ken of Reason only where that meets the bodily sense I deem Symbolical, one mighty the eye of Reason has reached its own Horizon; and that alphabet”, expressing philosophically what he had earlier Faith is then but its continuation: even as the Day softens uttered poetically. away into the sweet Twilight, and Twilight, hushed and As one follows the course of Coleridge’s life in breathless, steals into the Darkness. It is Night, sacred Holmes’ biography, one can actually participate in Night! The upraised Eye views only the starry Heaven…and Coleridge’s creative process as his nature observation re- the outward Beholding is fixed on the sparks twinkling in emerges transformed into poetic imagery. The “Eddy- the aweful depth… only to preserve the Soul steady and rose…obstinate in resurrection” that struck him as an image collected in its pure Act of inward Adoration to the great I of Life itself offers another example of how perception AM, and to the filial WORD that re-affirmeth it from becomes poetry and later philosophy in the life of thought Eternity to Eternity, whose choral Echo is the Universe.” 13 of Coleridge. We find that the central images of both “The So we see how Coleridge forged a path from beauty to Rime of the Ancient Mariner” and “Dejection: An Ode” truth, from the imaginative perception of nature to the evoke this picture of “the Life we live” from his journal. In reality of the spirit through his own alert and questioning the first, The Ancient Mariner, “alone on the wide, wide heart-thinking. “I teach a real existence of a Spiritual World sea”, abandoned by God and by Nature, burdened by his without a material.” 14 Holmes biography inspires us to guilt and surrounded by death, come to a point of utter recognize in Samuel Taylor Coleridge the archetype of the bleakness and despair. Yet, even then, stirred by beauty, by self-initiating seeker fired by the inner power of active Eurythmy Association of North America 17 imagination that can inspire and give direction to the astounding flash of insight, he perceives a connection modern consciousness soul individual. Then Coleridge’s between the bonfire on the island in Grasmere Lake that words seem to leap the gap between his time and ours as if inaugurates the Romantic movement when Wordsworth and it were for us he had lived and written. If indeed the times Coleridge and their families danced joyfully around the fire, have called forth such biographies that speak so resonantly and the bonfire on the beach at Lerici twenty-one years later to us, confirming the spiritual dimension of the human which consumed the drowned body of Percy Shelley, also quest, we can imagine that spiritual forces can pour into our marking the end of the most poetically productive years of time through such conduits, helping to break the spell that Wordsworth, Coleridge, Shelley, of course, and Keats who has a stranglehold on our feelings, thinking and will, freeing had died in Rome the year before.17 Here symbolically we us to become the active co-creators it is our destiny to catch a glimpse of the interconnectedness of all these indi- become. The lives and works of Coleridge and these other viduals in the one great surge we call the Romantic move- poets burn with the fire of enthusiasm for the Imagination ment, that embraced other poets, artists, and thinkers in united with highest idealism and spiritual seeking. Such other countries in one in-pouring of spiritual insight. These biographies can open up to us sources of inspiration when poets represent a powerful spiritual impulse, a last evoca- with honesty and open-mindedness, the biographers let their tion of the old imaginative consciousness and a vision for light shine, a beacon for our time. the future, that is re-entering present-day culture through renewed interest in their lives and work. Woven together by The Future and Biography invisible threads, this network of individuals was fulfilling At the end of his entry on Biography in The Oxford a common purpose of significance for human development. Companion to English Literature, Richard Holmes refers to Perhaps not one of them was conscious of the role they the last forty years as the “Golden Age” of biography, but is shared in common, but together they focused the beams of uncertain about its future. Will it become outmoded with the heavenly insight into a kindling ray that can light our way “increase in electronically available historic databases”? into a future they foresaw for us. But he concluded, “…it is possible that the English form, ______which combines so wonderfully the imaginative and the References critical spirit, has triumphs yet to come.” 15 1 Motion, Andrew, Keats, Faber and I suggest that biography may even evolve new forms as Faber, 1997; Richardson, Robert, humanity begins to awaken to questions of destiny and the Emerson, The Mind on Fire, University spiritual tasks of individuals and groups of individuals who of California Press, 1995; Ackroyd, share a common task. For example, will we one day have Peter, Blake, Sinclair-Stevenson, 1995; the capacity to penetrate with insight the significance of Holmes, Richard, Shelley, The Pursuit, those earthly “meetings” between Coleridge and his con- Harper Collins, 1974; Holmes, Richard, Coleridge: Early temporaries: Keats, Emerson, Wordsworth, as well as the Visions, Penguin, 1989; and Holmes, Richard, Coleridge: possible meetings that never took place on the earthly plane, Darker Reflections, Harper Collins, 1998 such as between Coleridge and Shelley or Blake? And what 2 Holmes, Richard, Footsteps: Adventures of a Romantic of the kinship with precursors who kindled the poetic spirit Biographer, Vintage Books, 1985 in the poets of a later generation and inspired the recogni- 3 Holmes, Richard, Early Visions, p. 324 tion of their own tasks in the unfolding spiritual life of 4 Holmes, Richard, Darker Reflections, p. 563 humankind? Will we one day get beyond talking of “influ- 5 Holmes, Richard, Footsteps, p. 66 ences” and develop “biographies” that trace the spiritual 6 ibid., p. 198 kinship of Coleridge to Shakespeare, for example, or 7 Holmes, Richard, Early Visions, p. 66 Shakespeare to Spenser or Chaucer? Furthermore, could 8 Holmes, Richard, Darker Reflections, p. 253 karmic research one day unfold for us the significance of 9 Holmes, Richard, Early Visions, p. 247 Italy, for example, for Coleridge, Shelley, Keats, and 10 ibid., p. 326 Emerson, for whom Italy in different ways represented life 11 ibid., p. 253-4 and health and inspiration as Steiner describes it did for 12 Holmes, Richard, Darker Reflections, p. 359 Goethe? “Goethe could not live without having seen Rome 13 ibid., p. 412 and a culture which, however antiquated, still enshrined the 14 ibid., p. 460 spiritual in the sensory-physical…” 16 And finally, in the 15 The Oxford Companion to English Literature, OUP 1998 “web of lives” that weaves between individuals brought ed. M. Drabble, see Biography together for some greater cultural end, can we foresee a time 16 Steiner, Rudolf, The Arts and Their Mission, when we could recognize what forces of world destiny are Anthroposophic Press, 1964, p. 54 at work? Holmes hints at such a possibility when, in one 17 Holmes, Richard, Early Visions, p. 277 18 Eurythmy Association of North America Eurythmy: An Art That Makes ing of words – of sounding-meanings – we make visible the Visible the Inaudible, Invisible and processes at work in nature, in poetic speech and in our soul experiences. Unsounded Contents of Poetic Speech In tone eurythmy, we make visible our objective and and Wordless Singing richly-differentiated experience of our own singing of Kate Reese Hurd melody. Each tone bears in it all manner of musical relation- ships: its role in the scale to which it belongs, its relation to Because of my book-writing activities, I’ve necessarily other tones as a temporary upper or lower tone in the move- had to make some coherent statements (hopefully) about ment of melodic intervals, its membership in three different what the art of eurythmy means to be, especially since it is triad harmonies that it holds as potentials that ‘sound’ to the public-at-large with whom I want to communicate, not inward perception in response to the other tones of the just my colleagues in the sister arts of eurythmy and speech. melody, its role in the melody’s movement in time, in the I know that we are all challenged to answer this question, so meter, and in rhythmic motives, etc. Our task as eurythmists here is my contribution to it at this time. I’ve enlarged upon is to express all of these inaudible relationships that are what I wrote in Endnote Two of my detailed report on the present even in a single line of melody. Speech Sound Etudes and my eurythmy gesture work, and In both speech and tone eurythmy performance, a Endnote Eight of my book, The Speech Sound Etudes, speaker or musician expresses the audible flow of the poem Volume I. (The report is newly-revised and re-posted in our or piece of music while the eurythmists move. This gives website’s artistic section and is now available as a booklet.) the onlookers the best chance of grasping the inward union The etymology of the word ‘eurythmy’ is: ‘eu’ – good, between the audible expression and the silent eurythmy well or true, plus ‘rhuthmos’ – proportion, measure, recur- movement expression. The eurythmists’ role is to express ring motion, rhythm. The name is therefore taken to refer to their richly-known experience of the inaudible elements of harmonious movement. But many forms of movement can poetic speech or of music as discovered through their own be characterized as being a kind of eurythmy when they are speech, singing and movement activity and research. harmoniously coordinated, such as in modern dance and Together, they bring out the key features of each piece in the ballet. But the art of movement that Rudolf Steiner began to creation of an artistically-integrated whole. usher into being in 1912, that bears the name eurythmy, is Because eurythmy can bring the vitality of the not this kind of eurythmy. Its harmony is to spring from a formative forces forth via the speech sound gestures, and different source altogether, as is pointed to in my report. In via the gesture expression of the intervals and other ele- the case of the expression of poetry through eurythmy ments of musical experience, it is included in the Waldorf movement, the harmony to be expressed by the performers school pedagogy to foster the healthy development of grow- is to have its origin in the nature of our own being and of all ing children; and it is applied in modified form as therapy living things. It is to spring from the fact that each per- for disease conditions and developmental problems. And former has been able, independently and together with each when extended in the broadest ways, eurythmy’s reinvigo- other, to grasp in spirit the movement-impulses of the rating power can revitalize not only our language and musi- speech sounds. These distinct impulses are expressions of cal expression, but our entire earthly realm. the life forces, the formative etheric forces through which the Logos – the Word – lays hold of the mineral world to continually create and recreate the orderly organic form and Corrections functioning of plants and animals, and of our own form and Hello everyone! I’d like to provide two corrections to two being as human beings. The aim in eurythmy is the harmo- of my articles. Upon preparing my booklet, A Quartet of nious expression that is possible when, through direct, Articles on Eurythmy and Speech-Work, I realized that in objective, inner perception and cognition of this higher real- my article, “Eurythmy as a Critical Art,” in the Fall 2016 ity, which is all around us and in us but not perceptible to Newsletter, p. 17, one of the page numbers is incorrect. It our five lower senses, eurythmists grow to meet each other should read “14ff” rather than “17ff” – “In this first set of within the moment-to-moment necessities of this reality as advices, Steiner included the stamping of alliterations and it expresses itself in the elements of poetic speech – and of jumping the Agrippa positions (see Siegloch, How the New music, or song without words. Therefore, this eurythmy is Art of Eurythmy Began, HNA, pp. 14ff).” not self-expression, nor is it coordinated, agreed-upon sets And in the Spring 2015 Newsletter, in my article on of movements or a catalog of inherited gestures, no matter walking, my description of the sideway walk was not clear how pleasing or personally meaningful these might be. Nor enough (see p. 11). I think the following explains it much is it a kind of mime. In expressing the sound-architecture of better, especially in the word pattern I give: the gesture-impulses of the sounds themselves in their form- “Here is what I’ve discovered: this turning isn’t neces- Eurythmy Association of North America 19 sary. If I keep myself centered between my ‘front-ness’ and ing J. Donald Melcer, who died in June at age 88. Early my ‘back-ness,’ my weight can pass from side-to-side November, Robert Logsdon was in Austin, Lazuring a new through my forward-placed foot via the heel when it serves medical office for a new anthroposophic doctor, and he as the ground foot, and side-to-side through my backward- asked me to present a color demonstration and perform a placed foot via the toes area when it is the ground foot. color verse by Rudolf Steiner, to follow his adult education Beautiful! And then my artistic sense and inner experience color lecture. Audience members were invited to participate of the direction manifests freely through my whole being, in a short lesson after the demonstration/performance. They and my experience of my direction is supported and were so beautiful, after having been in a color-imagination affirmed by the “word of my feet” through their contribu- bath for nearly two hours! tion of a right technique. Mid-November, I was in St. Louis as guest artist for two “Counting for the three phases of the sideways step pieces in another faculty recital at Webster University. focusses on what the ground foot does, and differs for the Violist Anna Lachschewitz played the Max Reger Suite for front-placed foot and the back-placed foot, as they alternate. Viola Solo, Op. 131d No.3, and I did the first and third Going rightward with the right foot as the back-placing foot movements with a costume change between. Some of you (the reverse for leftward): may remember Anna from years when she and her cellist Right foot moves: “Leave – Free – Meet...” husband lived near the Threefold Community. St. Louis Right stays: “Left-heel – Mid-heel – Right-heel...” flautist Jennifer Mazzoni and I performed five of the eight Left stays: “Big-toe – Toes-arch – Little-toe…” pieces for Solo Flute by Paul Hindemith. Amazingly, Kate Reese Hurd Jennifer was in the same studio at Indiana University with my Austin flautist, Amy Casper, when they were still stu- Report of SW./Mountain Region dents, years ago. By the way, for those who know me, Hindemith has redefined what I mean, when I say “I’m Congratulations to Chaparrel Eurythmy! busy...” Chaparral Eurythmy will have a ten year jubilee anniversary Barbara and I find our therapeutic work asking in 2017, after over 75 solo and ensemble performances and continually more, so Chaparral activities have sailed into events. Though many euryth- comparatively calm seas, but we are anticipating new mists, musicians and speech eurythmists in the Austin Waldorf community in the next artists/recitation volunteers years, to fill the shoes of Jacob and Marie Harlow, who have have joined us through these relocated to faculty positions in Colorado. We will then years, Barbara Bresette- need time to find a way to go forward, whenever they arrive. and I have steadily car- Mills Beth Usher ried the eurythmy and admin- Utah istration, the Steve Usher I’m in Salt Lake City, Utah now. We’ve opened a new recitation and in recent years, Beth & Barbara Public Waldorf School called Wasatch named after the , piano. Melanie Richards mountain range nearby. The building was only completed We began ten years ago with a performance in a last summer. Emily, the administrative director, and I (ped- Foundation Stone conference and (the next day!) a agogical director) spent a year working with the architect, Shostakovich Centennial performance in an on-campus developer, and others to design the school. We have classes recital with University of Texas Voice Professor Nikita from pre-school to grade eight. They are triple tracked Storojev. We have recently been invited back to be in anoth- through grade three, double tracked in grades four and five, er recital with Prof. Storojev, date pending. Tentatively, we and single tracked in the middle school. It is so exciting to are preparing for this recital the andante espressivo from the have teams of colleagues in every grade to help with plan- Sergei Taneev Piano Trio in D Maj Op. 22. ning and preparation of the curriculum. Eurythmy Spring We prepared for Austin’s Novalis Branch of the Valley came and christened our stage with performances for Anthroposophical Society an Easter Festival in 2016, with our children and an evening performance. It was a wonder- text from the “Visit” scene in the non-canonical fragment, ful experience. We hope they will come back every year! The Gospel of Peter. I continued through the summer work- We opened our school with Raven Garland as our eurythmy ing on my Faust project, developing and presenting two lec- teacher, but she has since taken an orphaned fourth grade tures and nine lessons in lay courses, covering Faust Parts I class and loving it. Our new eurythmist, Rita Kavetska, will and II. In September, the Branch celebrated Michaelmas, be joining us in February. We are so blessed to have a including my eurythmy solo. Chaparral’s annual eurythmy eurythmy program at our school with a beautiful, large gift to the Novalis All Souls’ Celebration brought poems space to work in. from the poet Novalis (forms by Barbara), specially honor- Prairie Adams 20 Eurythmy Association of North America I am now living in Salt Lake City. I am teaching eurythmy collegial exchange with visits from Seth Morrison and at Wasatch Charter School, a school of 540 students includ- Andrea Marquardt-Preiss and participation in Jan ing K-8. We had a wonderful time hosting Eurythmy Spring Ranck’s Therapeutic Tone Eurythmy course in Chicago. Valley in October while they were on their tour with The Last summer she taught in the Therapeutic Eurythmy Tide Is Turning program. Training in England (Stroud) and in TETNA (Copake), Raven Garland where she been asked to take a more active role. She continues to teach eurythmy in the International Colorado Postgraduate Medical Training (IPMT) where she also Carla Beebe Comey has moved from the Mountain Region teaches an introductory course in prescribing therapeutic to the Northeast where she joined the full-time Waldorf eurythmy. Last fall, she and David-Michael traveled Teacher Training faculty at Antioch University New together to Colorado Springs once a week to bring eurythmy England (AUNE) in Keene, NH. The AUNE faculty is in many ways to the children, faculty, and parents at the excited to once again have a full-time eurythmist on faculty Mountain Song Community Carter School. as eurythmists played a fundamental role in founding the program. Sound Circle Eurythmy has reduced its presence in Boulder greatly this year, especially since there were not Marguerite McKenna is teaching eurythmy K-12 at the enough students to continue its full-time training. At Honolulu Waldorf School half the year and pursuing an present David-Michael offers intensive eurythmy classes to M.A. in Eurythmy Therapy from Alanus Hochschule a small but steady group of eurythmy enthusiasts. We through the Eurythmy Therapy Training of Great Britain. continue with our collaboration with other artists for the She is doing her eurythmy therapy practicum at Beaver Run Denver Anthroposophical Branch events, performing the Camphill in Pennsylvania this spring and teaching a Luciferic and Ahrimanic thought-forms from Scene 6 from eurythmy block in Paonia, Colorado, this summer. the “The Guardian of the Threshold” for the Michaelmas Celebration and contributing to the Celebration of All Souls. David-Michael Monasch taught an Intensive Course in the For the first time in years, there will be no touring program. fall, a major portion of which was a weekly exploration of the week’s Soul Calendar verse, often with colored veils to Thyria Ogletree continues to teach at Shining Mountain help participants get a sense of the interplay of the forces at Waldorf School. The high school expanded their eurythmy work as they moved through one another. Last summer he offerings this year and she is working with her high school again taught at theGITA Training in San Miguel de Allende, colleagues to connect eurythmy to the material in the Mexico, and for the first time, in Guatemala. In the late fall, morning lesson blocks. Thyria and two eurythmy he spent six weeks teaching at the Santa Cruz Waldorf colleagues, Cristina Geck and Elizabeth Uppenbrink, School, working with kindergarten through eighth grade, created an All Soul’s offering for the community. They are culminating in several contributions to the Winter Assembly anticipating working together again for the upcoming just before the Christmas break. He returned to Santa Cruz celebration of Rudolf Steiner’s birthday. In November, we for a second six-week block from January to February, at welcomed Eurythmy Spring Valley as they gave the end of which ALL the classes, as well as the faculty performances for all of the students, as well as an evening (with whom he is also working once a week) will perform. performance and a workshop for the broader community. He is also working with Szilvia Budai on brief eurythmy pieces for Camphill California’s color-light therapy Cristina Geck writes: I’m in my third year of teaching at program, and they will contribute to the SCWS Eurythmy Boulder Waldorf Kindergarten and Shining Mountain Assembly in February, as well. When at home in Colorado, Waldorf School. Together with my colleagues, I enjoyed he keeps himself busy by continuing to drive for Uber and bringing pedagogical and therapeutic aspects of eurythmy Lyft, by managing a steady stream of Airbnb visitors, and to the faculty. I also teach a weekly adult class. baking weekly rye-barley bread. One question I continue to explore: does more emphasis on a playful/creative/imaginative movement with Glenda Monasch continues her work at Shining Mountain improvisational aspects at a young age (starting in second or Waldorf School where she works in small groups, with third grade) have a positive effect on the quality of children from kindergarten through grade four, and eurythmy in the middle school? How can we preserve and participates in the school’s Educational Support Circle. Her transform the eurythmic enthusiasm and creative working private therapeutic eurythmy practice serves patients from with movement archetypes of a fifth grader into the middle Denver, Boulder, and the surrounding area. She was most school? Collegial feedback welcome. happy for the intensive therapeutic eurythmy practice and Eurythmy Association of North America 21 Report for the Midwest Region Warmest greetings to all and I hope that this New Year brings new strength and joy! Ohio Connie Michael Warmest greetings to All from Connie Michael in Cincinnati! In Cleveland, Julie Hoehnen is continuing in her fourth I am continuing to do what I’ve done before; teaching year teaching Early Childhood, first grade (3 students), third Nursery through Grade Eight at the Cincinnati Waldorf grade (6 students) and fifth grade (10 students) at the Urban School, Foundation Studies, and holding an Oak Waldorf School. She is enjoying being a mother to her Anthroposophical Study Group. At school, we managed to six-year-old daughter, Nora. She is finding her way in this form a small Faculty group of six to perform the unique teaching situation, but would appreciate any “Hallelujah” and a verse in our upcoming Student mentoring or insights, as it can be very challenging on a performance. I will be ending my thirty-third year of being weekly basis! Please contact her 1-440-942-2828, connected with the Cincinnati Waldorf School this year, and [email protected]. Thank you! I am enjoying the time I have remaining to teach and hoping for a successor to carry on this very important work! Chicago, Illinois I had the great opportunity to lead a eurythmy workshop This year I’m teaching grades 1-8 (our first graduating 8th this summer in Detroit at the AWSNA conference and make grade!) and continuing with a modest program of new friendships and refresh old ones. It is always renewing Therapeutic Eurythmy, as time and energy allow. I am par- to see colleagues and be immersed in that atmosphere. ticularly interested in a growing collaborative sharing There were several eurythmists there, about eight, and we among colleagues working in the class room; it was invalu- managed to have a Eurythmy Meeting. able for me to have visited two colleagues this fall and I am also grateful that I was able to attend the Summer observe their lessons. The artistic work with the Midwest Pedagogical Course, led by in Spring Laura Radefeld Eurythmy Group and Arcturus continues. Valley. I learned so much from the presenters, John Holmes Johanna Rohde, (Master Grades Pedagogue) and Annette Conlon (Bammer), a therapeutic and pedagogical eurythmist, who Patricia (Tish) Pierce is in her second year of middle shared wonderful sensory exercises by Jorinde Stockmar, school and high school eurythmy teaching at the Chicago designed for both class teachers and eurythmists. I came Waldorf School. She continues to be happy in the heartland away feeling not only prepared for work, but also very of America after having lived most of her life on the East appreciated and acknowledged by the others in our work. It Coast and briefly on the West Coast. Tish and her colleague, was inspiring to see the younger generation of teachers, in Alla Bikchurina, work collaboratively together and are both private and public school settings, who are just begin- fruitfully sharing their experiences of the children and the ning their journeys along with the veterans of our trade! curriculum. shared her wisdom, both musically and Dorothea Mier It has been a very busy year for Tish teaching, as well philosophically each day, and challenged us to really “listen as being involved in the organization of a significant confer- and sense” in a variety of exercises. ence on the healing influence of therapeutic tone eurythmy I continue to serve as the Mid-West Representative for that occurred in Chicago in the fall with Jan Rank. She and EANA and I had the good fortune to connect with some of her colleagues continue to examine the Eurythmy the eurythmists in my region at the conferences. During Curriculum for the Grades, and have rewritten it for presen- August an EANA meeting was held in Spring Valley and tations to the faculty and parents, as well as an evaluation and brought reports and Maria Ver Eecke Susan Eggers process for ASWNA. She enjoys working together with anecdotes regarding the background of EANA, along with Peter Vine, Allison Biagi, Johanna Rohde, and Barbara new initiatives and impulses to make a stronger connection Bellg in the Mid-West performance group. “I am truly to AWSNA in supporting eurythmy programs in Waldorf enjoying my new colleagues and especially my new stu- schools and eurythmists, in general. This work is currently dents in Chicago!” in progress with AWSNA and Susan Eggers as the coordinator. Leonore Russell is offering a second round of Alla Bikchurina is the lower grades and early childhood the Eurythmy Mentoring Training at CFA. eurythmist at the Chicago Waldorf School. This is her sec- Also, one of our mid-west regional members, Lynn ond year of teaching three early childhood classes and she just published a book after two decades of research, Stull, continues with the elementary grades one through grade six. called, Wonders at the Veil, Creating a Living Relationship Due to declining enrollment, her salary was cut to 90%. with your Loved Ones who have Died (see her report). I This decision was based on enrollment from 16 students to highly recommend working with this book. 24 in some classes. She is also active artistically with the 22 Eurythmy Association of North America Midwest performance group. The performing group contin- eventually be published in a Waldorf Journal Project. It is ues to meet and work weekly. The Midwest Group will have the intention of this effort that these articles will generate an upcoming Easter performance. Alla continues to do pri- interest in those who know little about therapeutic eurythmy vate therapeutic eurythmy work. such as the parents, teachers, and administrators in the various schools. Michigan Susann continues to be the liaison to AWSNA on behalf Claudia Fontana in Ann Arbor. Claudia Fontana works of the Detroit Waldorf School. part of the year in China where she teaches eurythmy to adults and part of the year she spends in Ypsilanti (near Ann Wisconsin Arbor) where she has a house. Mary Ruud now is living in southern New Mexico, where She writes: This year was my second time spending she volunteers in a small desert community. Christmas in China. From outside there is little support regarding a Christmas mood. There are the occasional fake Lynn Stull, in the Milwaukee area Christmas trees adorned with glitzy ornaments and ‘jingle In 2016 I released my book, Wonders at the Veil, Creating a bells’ can be heard resounding from everywhere...or so it Living Relationship with Your Loved Ones Who Have Died. seems to me. All the more precious was my experience I devote a chapter in the book to eurythmy and its special during my Christmas holiday which I carved out for myself relationship to those who have died. When I give talks about and spent in Macau with friends. the book to groups (often outside of anthroposophy) I am One night before the hotel room became available, I able to share the importance of eurythmy and its connection stayed with an adorable kindergarten teacher. We had a to those who have died. I feel very blessed to be able to do marvelous ‘conversation’ in spite of the limited knowledge this work. I continue to bring eurythmy to adults, including of each other’s language. Before breakfast the next morning sessions at Uriel Pharmacy and Camphill Village Minnesota she tried to tell me something which I simply did not under- — it is a joy to see eurythmy so lovingly embraced. stand. Then she formed a little heart with her hands on her chest and I understood!! She wanted me to speak the Kansas Christmas Verse from the Soul Calendar in German. She Lisa Meisinger writes: I am between New York and wanted to speak it in Chinese. We both knew it by Kansas. heart...and indeed, we felt “enzaubert”...awakened from The work transforming our horse farm to a butterfly, enchantment...as a nourishing Christmas communication bird, and bee sanctuary requires seasonal attention that was jubilantly celebrated in balmy Macau. means every spring I hurry back to Kansas. Since that cur- [Macau is an autonomous region on the south coast of tails the school year, I focus on teaching blocks for schools China, across the Pearl River Delta from Hong Kong. The that otherwise don't have eurythmy (or need a substitute) in Editor] the New York/New England area, and when I have time, I teach at the Spacial Dynamics Institute. Susann Herb-Eddy is the pedagogical and therapeutic I am developing a practice in therapeutic Spacial eurythmist at the Detroit Waldorf School. She works with Dynamics and occasionally have the opportunity to teach a Pre-K through eighth grade and offers a weekly eurythmy Bothmer Spacial Dynamics class along with eurythmy for lesson to a group of enthusiastic parents who surprised their middle or high school students. I am inspired by the integral children with a performance at last year’s Spring Assembly. relationships of eurythmy, Bothmer and Spacial Dynamics During the school year, she teaches eurythmy at the in the Waldorf curriculum and find those three weave into local teacher training program (WISM) and gives courses an etheric intention along a path for me somewhere between for students in the remedial training (AHE). She also works those of my two mentors, Molly Von Heider and Marjorie independently as a therapeutic eurythmist with children at Spock (or, at least, I like to think so). the Detroit Waldorf School and with adults who are mainly This year I am teaching first through eighth grades at patients of Dr. Rentea and Dr. McMullen. River Valley Waldorf School in Upper Black Eddy, PA, Dr. Andrea Rentea has recently visited the Detroit eighth through twelfth grades at Waldorf School of Saratoga Waldorf School for child observations and professional Springs, New York (while Holly Brashares is on development for the Educational Support Teachers. This sabbatical), kindergarten through sixth grade and adult provided tremendous support and increased awareness for classes at Ithaca Waldorf School, New York, and then off to the value of the therapeutic eurythmy work. the gardens back home to study with the elementals. After seven years, this is Susann’s last year as a member of the ATHENA Board. Last year she engaged in collecting articles on therapeutic eurythmy with the goal that they will Eurythmy Association of North America 23 Report for Eastern Canada Ontario Transitioning from intensive full-time training to my current Nova Scotia life has been a difficult and strange process. Looking back, The wind blows, dancing round the compass, making waves it has only been a mere six months since my graduation leap! Somehow one can sense the elements actually listen- (School of Eurythmy Spring Valley) in June 2016, but it ing when eurythmy is done. At the session in December feels like I have been ‘not moving’ for much longer. With no after working on the rainbow colors in a weekly verse, a engagement with a Waldorf school or active anthroposophic rainbow appeared just on the horizon! So nature does bring community, a strong sense of responsibility impelled me to consolation! We had a great year, preparing a small confer- seek to share eurythmy to the public in my local area, plant- ence in August (see report). Arthur and I went to the ing more seeds. In the fall of 2016 I offered a series of adult Anthroposophical Conference in Ottawa, and eurythmy workshop over four Saturdays: Harmonious Movement figured in a big way. Firstly we met some Canadian col- with Music. leagues, and and , and watched Coco Sylvie, Helen Monika The comments from one participant at the workshop them in action too! Fantastic! Then Eurythmy Spring Valley speaks clearly of how eurythmy lives in every individual: “I did the Foundation Stone which was repeated on several felt blessed to be part of the group and to learn some basics occasions. Mighty! And a selection of a Midsummer Night’s about this art form, of which I had no previous experience. Dream...Puck and fairy kings and queens. Divine! How can I enjoyed what felt like moving and breathing with my anyone live without seeing eurythmy? My present dream is whole body—not just my head or my legs, and feeling the to work artistically on a story, which could be shared with music within my body. I also appreciated being able to dis- children. I think their hearts’ are open to understand! cern this breath and movement both as an individual and as Margaret and Arthur Osmond part of the group, back and forth between the two as that is Dartmouth, N.S. how we live life every day. It was also refreshing to engage in activities/movements that are typically reserved for chil- This fall I once more did a eurythmy block at the South dren in our society—I got to be a kid again! Thank you Shore Waldorf School in Blockhouse, Nova Scotia. This again for your introducing me to this lovely art form, I am will be my fifth spring teaching there. I still teach almost grateful for the experience and hope my awareness of it con- entirely speech eurythmy with a little bit of recorder in tinues to bloom and grow.” moments, but I have hope that the next block taking place in My personal life has two physical locations, one to the the spring may be able to have music integrated. The school north, in Canada, and one to the south, in the Bahamas. In has renovated a barn with the hope of having a space for January 2017, I offered a weekend workshop in Canada movement and assemblies. This provides the potential for themed on the vowels as inner harmony in man, fitting for having a pianist or another musician. My next block will be the winter season. (A workshop themed on the consonants starting mid-March. as outer harmony of man in nature is planned for June when In the meantime I will continue teaching eurythmy to the spring/summer season comes.) my lovely class of eight, combined eighth, ninth, and tenth Taking things even further “into an unknown land” graders at the Lunenburg County Independent School. In (Markings, Dag Hammarskjöld), I am planning to bring eurythmy we have been working on thinking, feeling, and eurythmy to the Bahamas very soon. I shall report on that willing forms, as well as many rod exercises, and a number experience next time. of short poems. I have a number of students this year who Coco Verspoor are brand new to eurythmy and they have taken it up with Ottawa, Ontario/Hope Town, Bahamas great enthusiasm. I had the pleasure of doing a eurythmy workshop for Last year, to deal with the very wide range of eurythmy skill both the foundation studies group at the South Shore and knowledge in the high school performance group Waldorf School, as well as at the Waldorf East conference. caused by an influx of new students, I opted for something Both had good turnouts; the first focused on the human extravagant: the first movement of Beethoven’s Fifth being as an instrument of the cosmos, while the second was Symphony (for piano). I even roped in my seventh and an exploration of eurythmy pedagogy. eighth grade students, who each had a theme reprise in the Thanks to Margaret and Arthur Osmond I was able to be middle of the piece. So we had 56 performers (that’s a lot of a part of the ‘Eurythmy by the Sea’ exploration week and costumes!), three performances, including one over-the-bor- presentation, which was a great pleasure. Overall it has been der show at the Aurora Waldorf School. a good year here on the South Shore of Nova Scotia. The year before, Maria Ebersole, the Aurora Waldorf Tesia Brown School eurythmist, had brought her eighth grade students to Chester, NS perform “The Snow Queen” for our students on our stage at 24 Eurythmy Association of North America the Toronto Waldorf School. Afterward, in the more casual bringing new life to the festivals through what eurythmy can context of the eurythmy room, the Toronto Waldorf School bring to these celebrations in the community. I should also students from grades seven through twelve shared their credit Spring Valley and all those tireless eurythmists for “work in progress” material. It all ended with a closing inspiring this work, and I highly recommend it to others. exercise with the participating students from both schools. Festival celebrations in Spring Valley and at the Fellowship It had all been very positive and had certainly generated still resound in me. a lot of excitement. It was nice, as Maria put it, to have the Cynthia Gelder students meet for an artistic gathering, as they already meet Barrie, Ontario for different sports events. Aurora WS does not have a high school, but even the Toronto WS middle school students Report for the Northeast Region were impressed by the behind-the-scene look at the HS Being the Regional Representative for the NE eurythmists group in action. has been an enlightening experience. I find life biographies Wanting to repeat and capitalize on that success, we fascinating, and one of the major responsibilities of the rep- looked at various possibilities. Since I had my Beethoven resentatives is contacting the eurythmists in their area and symphony project in the works, we decided to bring the asking for a report or thoughts they would like to share. event to AWS. In front of the whole school gathered in the Some of the eurythmists have been doing the same work for auditorium, the TWS students performed, and Maria pre- years, teaching in a Waldorf school, others are retired. Some sented a solo. After lunch, AWS seventh and eighth graders have had phases in their lives in which eurythmy has been and all the TWS students gathered in the gym for a work in their main focus. Every hour of the day in one form or progress sharing by the AWS students, an attempt at an over another, and at other times, where eurythmy is hovering in seventy person harmonious eight, and a closing exercise. the background of their lives. The latter is where my life is This year, Gaberiele Schneider will be joining us on at the moment. Wednesday, March 29, with her seventh and eighth grade Thinking about those eurythmists who have passed students from the Waldorf Academy in downtown Toronto. away, I also know I must remember those who are coming The chosen piece is the dynamic “Dance of the Knights” to the earth and being born every moment of the day. I pon- from Prokofiev’s Romeo and Juliet. We are looking at each der, which one of them will become a eurythmist? For that school specializing in one of the three main themes in the is the future – the young. And at the same time the present piece, so that when we come together, the students can teach and past work of each eurythmist is a treasure to hold in each other their parts and unify into an over eighty person one’s heart and being. choreography. We three eurythmists are very excited by this Victoria Sander was asked by me to join the work of project, which we are slowly shaping into existence. We, the EANA Council as the next representative for the along with Angelika Warner and Sylvie Roberge, are also Northeast Region and she gracefully accepted. continuing our artistic work with the Northern Star Thank you to the Council of the Eurythmy Association Eurythmy Ensemble. What a joy and a blessing to be able to of North America. Thank you to Maria, for her exceptional work with colleagues! We are grateful for the school com- dedication and expertise! munities’ continued support as this new movement art of Sheila Shapiro eurythmy brings refreshing vitality to all involved. If there are any other schools interested in future Maine continues to teach eurythmy as part collaboration for Middle School and High School eurythmy Barbara Richardson of her work for the Foundation Studies Program of the classes, do not hesitate to contact me, Maria or Gaberiele! Center for Anthroposophy. She also has private clients in Jonathan Snow teaches grades 4-12 therapeutic eurythmy and works as a mentor for eurythmists eurythmy at the Toronto Waldorf School. in various locations. She has been involved in the develop- Contact him at [email protected]. ment of the large project by Lemniscate Arts. She has recently been a founder of the Thyme Fund which has been In addition to my work in eurythmy therapy, this year, the created to support students of full time trainings in the production of the Mystery Drama, “The Portal of Anthroposophical Performing Arts. Initiation”, in Toronto, has been a catalyst for exploring the continues to develop the international roles of Lucifer and Astrid. Barrie is about an hour north of Marke Levene tour project, please see: www.inthespiritofsteiner.com. A Toronto which allows for connecting with the eurythmists report will be forthcoming following the Holy Nights’ meet- there. I am also preparing a performance with Christian ing on the project updating everyone on developments and Nold on the Bruce Peninsula at Easter this year. That’s a planned audition process for eurythmists and actors. Marke three-hour drive northwest. Also, a new initiative has has been teaching local community members the sprung up here as many Branch members have joined me in Eurythmy Association of North America 25 Foundation Stone in Eurythmy. The group that has per- I’m finding my program rhythm and establishing some formed the Foundation Stone through Lemniscate Arts will ‘eurythmy traditions’ now that I’m in my third year at the be working together again in Portland, Oregon, in the school. Eurythmy is always shown by at least one class at spring. our fall and spring parent assemblies. Festivals also provide Barbara and Marke have recently opened a new studio a chance for the seventh and eighth grade blocks to present in Freeport, Maine, The Rudolf Steiner Arts Studio. It is culminating performances. So eighth grade does speech and hoped that this will serve as a location for work in tone work as Michael’s angels in our all-school Michaelmas Eurythmy, Speech, and Acting as opportunities present Tableau. Then, during Advent, the fourth grade shows their themselves. frontal star with flower petals for our Advent morning assemblies. They wear white, carry candles and make a New Hampshire lovely offering to ‘unto us a child is born’ for the whole After teaching eurythmy at High Mowing School for 15 school. Another Advent tradition is a seventh grade seasonal years, my focus now, as it has been for the past five years or tableau as a culmination of their dramatic eurythmy block so, is on writing poetry, tutoring high school students, and (they also do an eight-page book with text, forms, and draw- teaching creative writing in adult education settings— ings to document their experience.) M. L. King and Easter particularly in the Healing Arts in Education program at festivals provide more opportunities for showing work. Antioch University New England, and, alternately, at The In all this I am strongly supported by my school and Center for Anthroposophy’s Renewal program. I bring ele- their steadfast commitment to eurythmy. Stella Elliston and ments of eurythmy into some writing workshops, and to the Seth Morrison offer therapeutic eurythmy to our children Nativity at High Mowing, which I still direct. It’s also been and faculty and my fantastic pianist Mrs. Memrie Kelly interesting to introduce speech eurythmy to writers who supports eurythmy and singing with her years of experience have no knowledge of it, but who are already sensitive to on Broadway and in the NYC public schools. My colleague the sounds and energies of words. Thanks again for being Jong Won Choi at Hawthorne Valley School is very interested in my path! generous in letting me borrow costumes for our work and All the best, Patrice Pinette my mentor and colleague Rebecca Morrison is a great source of pedagogical and artistic collaboration. (In fact we Thank you, Sheila, for your message. I am retired mainly are working on a tone duet that we hope to share on Rudolf because both hips must be replaced, one this February and Steiner’s birthday in February.) I am refreshed and inspired the other in April. Then perhaps I might be able to establish each summer by the pedagogical week at ESV and I draw a therapeutic eurythmy practice once again, we’ll see. continuously on the strong pedagogical training I received Barbara Sim at ESV during my time as a student there. Lyndeborough, NH I love to read about eurythmy happenings all over the world in the EANA newsletter (thank goodness they now Vadim Guitman has been continuing his Therapeutic have paypal.... maybe I can finally get those dues in on Eurythmy work at Plow Share Farm and Tobias Community time!) I look forward to hearing about other’s activities and here in New Hampshire, and Inner Fire in Vermont. It has insights, especially from the Northeast. been a rich experience for him and he has learned a great Warmly, Patti Regan deal. He is filled with gratitude for therapeutic eurythmy and what it brings into the world. I am in my 27th year teaching K-8 eurythmy at The Hartsbrook School in Hadley, Massachusetts, with a short Karen Guitman has continued to teach grades K-8 at Pine block in the High School this past fall, culminating in a Hill Waldorf School and is celebrating her ninth year at this performance to open the HS Solstice Pageant before the wonderful school. She will be stepping down from her holidays. Having successfully passed on the baton of the position at the end of this coming year, open to the new College leadership, I can now focus more on our Teacher adventures and opportunities that will unfold. Development Committee and Educational Support Group. With all of the after-school meetings, my therapeutic work Massachusetts is limited to one afternoon a week, but it continues to be After graduating from the training at Eurythmy Spring fulfilling. At 65, I now bow to the inevitable necessity of a Valley, I am in my third year as a full-time eurythmy teacher weekly Pilates workout with a wonderful teacher, who at Great Barrington Rudolf Steiner School. I teach surely knows her way around the skeleton, ligaments and Kindergarten through grade 8, as well as the middle school muscles. Of course, teaching eurythmy every day isn’t such chorus. The students at my school have a good diet of a bad way of staying on my toes, either! eurythmy and they are making wonderful progress. Polly Saltet 26 Eurythmy Association of North America I finished up at the Great Barrington Rudolf Steiner School I am working in both schools, Hawthorne Valley, in Ghent, last June, 2016. I was teaching kindergarten there, and NY, and Great Barrington Rudolf Steiner School in doing therapeutic eurythmy with the ‘rising first-graders’ in Massachusetts, as well as, with autistic adults in the Great the early childhood program. Stella Elliston is also working Barrington Community. This will be the third year that I there and Seth Morrison on occasion. My intention was to have taught the eleventh grade a block on “Therapeutic work with each of the older children and give them one Eurythmy” in the Berkshire Waldorf High School in block of hygienic/therapeutic eurythmy before they started Stockbridge, MA. first grade. I would take them right after lunch, but before Warmest Greetings, their rest time, so that they could come back in and rest for Stella Elliston one hour on their mats with the others in the class. I had good success doing this, and parents could see the results. Dolores Kaufmann, in her 90’s, is as vibrant as ever! She The children also enjoyed it, and were sad when their is still doing eurythmy and painting. Alys Morgan, who “special eurythmy” block was finished. Since this was dur- was in the New England Performing Group in the 1980’s ing the school day I did not charge the parents, for I was with Dolores, travels once a month to Stockbridge, being paid by the school to be there anyway, as a kinder- Massachusetts, to do eurythmy with Dolores in her home. garten teacher. I could have done it differently, and seen Dolores is such a positive force in the world! children after school, for which I would have charged the parents, but I usually didn’t have a lot left in me by the end Connecticut of a long day with 17 kindergarten children, committee I am not doing eurythmy at the moment except for myself work, and meetings! and my bees – two hives – I do Hallelujah for them from Anyway, I left that school because I was asked to move time to time. We have a study group in my house, which is to Charleston, SC, to start the first Waldorf School in that small but dedicated. state. I am the kindergarten teacher here, and of course I Our farm in Connecticut feeds over 200 people organic teach eurythmy to the children as well. My husband’s son food so we are helping a little bit by supporting the farmers. and daughter-in-law and grandchildren – aged 8 and 10 – It is harder and harder to bring anthroposophy to people live in Charleston, so we have a connection here. (I married today. However, just taking in the content through study and Anthony Nordoff three years ago; his mother was the meditation helps the whole evolution of the world and it is eurythmist Sabina Nordoff.) I moved down in the summer, important to remember that. and we started school in September 2016 with three Anne E Bingham children. We now have 14 students, between the ages of 3 and 7 years old, although they don’t all come every day; I Nigel Harrison continues to work at the Housatonic Valley don’t have more than nine on any one day, at this time. We Waldorf School in Newtown, but only working as a thera- are working hard to get the word out about Waldorf, as most peutic eurythmist. This is a part-time job and it allows him people have never heard of it here – there are many, many to teach a few early childhood classes at Apple Blossom Montessori schools, but no Waldorf school until now! We School and Family Center, in Newtown. He is also looking rent a room in a church. to expand his eurythmy therapy work in the surrounding The good news is, Dr. Renee Meyers lives in area and so far has a few bites. Nigel is looking forward to Charleston. She is an anthroposophical doctor, so I have a fruitful, fun and fulfilling year ahead. someone to work with! Her mother, Dr. Traute Page, also lives here, although at age 97 she is retired. Renee’s New York grandson, Winston, is enrolled in my kindergarten part- I live and work in Camphill Ghent, a new Camphill commu- time. The Meyers have been generous supporters and nity of five years. Here I offer eurythmy for the elderly in benefactors of our little school, The Acorn School of groups; do therapeutic eurythmy with residents and people Charleston. Renee will be retiring from her job with the who come from outside the community: and with my col- Veterans Association this summer, and hopes to expand her leagues Lynne Stolfo and Christina Bould contribute private practice. I look forward to collaborating with her on eurythmy to the festivals. I do the Color Light Treatment in therapeutic eurythmy in the future! Camphill Village Copake once a week. I also continue to All the best, teach in and support the Therapeutic Eurythmy Training in Christi Pierce Nordoff (formerly Inglis) North America. Anna Rée Eurythmy Association of North America 27 I am still working with therapeutic eurythmy at Camphill concise chapters on facets of the work and an appendix on Copake and also in private practice. I teach some seminar the movement-impulses of the eurythmy gestures. It is enti- eurythmy classes for Camphill. I have been working artisti- tled, The Speech Sound Etudes, Volume I, Revelations of the cally mostly on my own this year, though am part of a group Logos. And since then, I have also published two booklets working on soul calendar verses and also with another as essential companions to the book. The first is A Quartet friend on vowels and English eurythmy, too! Every day of Articles on Eurythmy and Speech-Work, and the second is doing eurythmy is such a blessing. How is it possible that the detailed report of 2014 in booklet form. some people work in offices behind computers and we get So I am delighted and relieved to be able to say that I to explore and move to sound and tone?! have completed this intensive project of preparing the Jeanne Simon-MacDonald treasure I’ve found, to make it sharable in print for the benefit of all of us. I continue to enjoy my work at Camphill Ghent full time For those of you who haven’t been reading my articles and performing for festivals with Anna Rée and Christina in the Newsletter here, that now appear as the Quartet book- Bould. It is a very special community. I also teach eurythmy let, each of them describes breakthroughs I’ve made into in the Alkion Teacher Training program, where everyone aspects of our speech and/or eurythmy work. Notably, some looks forward to the graduation performance. The highlight of these are: the activity of the ground foot in three-part of my week is working on soul calendar verses with Jeanne walking, the activity of our attention in the rod exercises, Simon-MacDonald and Karen Derraumaux. the discernment of the sound-moods and poetic elements in THANK YOU! poems for their best expression, and the direct relevance of Lynne Stolfo The Philosophy of Spiritual Activity to the work of eurythmy. I share these wonderful experiences and invite Hanna Kress still lives in Hillsdale, N.Y. She is teaching you all to explore these aspects for yourselves. eurythmy to a home-schooling group and mentors other I’m sending Gino Ver Eecke images of the cards I’ve eurythmists. She also continues to be a First Class Reader in prepared that announce the book and booklets, along with the School of Spiritual Science. three small documents to email to everyone. These docu- ments are: the Contents and Preface to the Etudes book, the Susan Elmore and Holly Breshares continue to teach a full Preface to the Quartet booklet, and my biography pages program at the Waldorf School in Saratoga Springs, N.Y. from the book – this third one is because people often want to know how it is that I came to be doing this work; and this From Victoria Sander: I am still living in Harlemville and explains it! I’m also sending the announcement for the for- I am teaching eurythmy and German to a first grade in a mal presentation I gave in November. At that event it new school initiative. I continue to teach eurythmy in Hans warmed my heart when a young poet told me that she felt Schumm’s Painting School. Jeanne Simon-Mac Donald “so excited” hearing me recite the etudes! I had opened with and I meet once a week, researching speech and tone a sequence of seven resonator consonants, three etudes for eurythmy together. Of course, my main work is my two- each. These were: M V voiced th Z dz zh (e.g. beige) and year old Gabriel, who is growing beautifully and quickly. ng. I then presented a sequence of dental sounds, that moved from plosive to breath, a sequence of the wave and rotating Kate Reese-Hurd writes: Just like 2014 and 2015, my year sounds, and a sequence of vowels, all moving from the lips of 2016 has been full of writing, formatting, editing, stitch- backward (as did the resonators): T ts ch (e.g., chew) ing and publishing. Ever since I discovered that my compo- unvoiced th S; W wr R Y L; and u o ô (e.g., awe) ah. sition and use of poetic miniature etude sentences for the My intent was to give my listeners a strong focus with each vowels and consonants – such as Steiner had originally sug- of the discrete sequences, to help them orient themselves in gested that Lory Maier-Smits would compose and use to the sea of speech sounds rather than feeling lost in the diver- explore the vowels – really do lead into direct experiences sity, and to help them begin to hear and feel the distinct of the gesture-impulses of the speech sounds, I have felt a qualities of the sounds and divine their relationships with responsibility to make this work known to everyone. each other. It worked! I closed with Edna St. Vincent I took my first step toward fulfilling this responsibility Millay’s poem, “Wild Swans,” leading in with L etudes and in 2014, by writing a detailed report on this work, The closing with é etudes (e.g., day). Speech Sound Etudes: Feeling the Gestures and Finding the In May this year, I am scheduled as a formal presenter Figures, which I offered at our website at Michaelmas that at the Woodstock Poetry Society meeting (second Saturday, year. My recently revised version of it is posted in the artis- 2 p.m. at the Golden Notebook store on Tinker Street). So, tic section. Then in May this last year, I published a pithy now that the writing and publishing is accomplished, I’ll be manual that presents these poetic miniatures along with getting out to do more presenting…after a rest! 28 Eurythmy Association of North America Another presentation highlight was my recitation (by in learning poetry by heart and also how to use my voice in heart as usual) of “A Visit From St. Nick” at our community the classroom. Barbara Renold is a master teacher and I am tree lighting in early December. Under the stars and shining lucky enough to live ten minutes from her. In February I Venus on that very cold night, I drew my hearers in with the will return to Camphill Copake to continue therapeutic lively anapest, dancing vowels and consonants and chang- eurythmy training. Come April 2017 I will begin another ing moods of this poem. The unfamiliar commotion of the block position in Wisconsin and I am also applying for full- feedback from the mic system being used, and people mov- time positions around the country. ing forward to flash their cameras, threw me off a couple of Ma Prem Sudip Peterson times, but the spirit held fast and to my surprise and joy I heard voices joining me for the last line! The mood of gen- Brigida Baldszun: In the year of 2016 I did five intercon- erosity in the poem was contagious and we all called out, tinental trips (Europe and China) on behalf of eurythmy. I ‘‘Happy Christmas to all, and to all a good night!” am very grateful that I was able to experience personally A couple of bookstores are now carrying my books, and that and how eurythmy is an original HUMAN activity. The the Turose Gift Shop in Harlemville NY has a small supply more I am able to do it in a genuine way the more people of on hand. My focus will also shift toward doing more work different nationalities and races will understand it. This in eurythmy – and after all, laying a new foundation for my holds true for performances and teaching. My daily work is eurythmy was the reason I undertook composing the etudes rooted mostly in Spring Valley. The year of 2017 might be on the speech sounds in the first place! And I will be contin- similar to the previous one. The truth is I am a freelance uing to compose the poetic miniatures for Volume II and eurythmist and enjoy working in more than one field. Volume III of the Speech Sound Etudes, which bring the combination-consonant and vowel-to-consonant transitions Denise Crane: I am still working at the Rudolf Steiner to life. School in Manhattan, teaching eurythmy to nursery through Kate Reese-Hurd grade six. Currently we are preparing for our Spring Assembly, which is the only time we have a venue large Report from Spring Valley Area enough to perform eurythmy on the stage. I am grateful for my wonderful colleagues and collaborating with them on Hello, my name is Ma Prem Sudip Peterson. I am a recent class plays and festivals. One highlight of the year was not graduate from Eurythmy Spring Valley, New York. During in the eurythmy department, but collaborating with this 2016/2017 school year I have begun teaching eurythmy Alexandra Spadea, my wonderful eurythmy colleague, in for the first time as a paid teacher. While I have taught getting the whole school up to the Cropsey Farm in before my experience was nothing like classroom time as a Rockland County to work on the land for our Michaelmas eurythmist. As of right now I can attest to the fact that being Festival. a eurthmy teacher is a wonderful profession. In September 2016 I began visiting Maria Ver Eecke of the Waldorf Annelies Davidson: This last year has been full of the usual School of Garden City. Twice monthly I drive to Long tasks for me. The third- and fourth-year students and I had Island to visit her classroom and observe. When Maria a great time discovering more and more, deepening more learned of my block-teaching position in St. Louis at the St. and more. Also writing a little piece on doing eurythmy in Louis Waldorf School, she offered to look over my lesson English, and speaking for it, with the help of Jennifer plans. I worked on lesson plans for pre-K to eighth grade on Kleinbach was an interesting experience. Maybe this rather my evenings and one day a week off from work. sober piece will appear in the Section Newsletter. Early in In October 2016 I began my first four-week block in St. the year my partner of eight years, Miklos Gratzer, passed Louis. In January 2017 I returned to the school. I am now away. One knows that death always teaches one a lesson finishing off a three-week block teaching pre-K through about life (gratitude and humility certainly), about the future eighth grade. I love it here and find that the Waldorf fac- and about the spirit. And so one is made to learn. ulty and parent community to be quite special. During my After a wonderful graduation and a very relaxed first block the entire school helped keep me well fed with family-and-friends oriented vacation in the Netherlands, daily homemade meals, which I happily ate. On Jan. 27 I I embarked on the new term in September doing a little less. end my seven weeks here in St. Louis and will return to Wonderful! I can recommend it to anyone, but it’s only New York. allowed if you are above a certain age and if your feet need At home I take three lessons weekly in Speech a bit of time off sometime during the week! Elsa Macauley Formation with Barbara Renold. I believe that speech for- is having to pick up the slack and is a trusty colleague. mation is essential to my life as a eurythmy teacher. I have At this moment, in January 2017, having recovered found that the exercises have given me a strong foundation from a second visit to Taiwan (those flights!) after working Eurythmy Association of North America 29 happily with Hsin-Shih’s students, I will soon pick up work In spring of 2016, while employed by one of the oldest again here in Spring Valley. I look forward to seeing the Volvo car dealerships in North America, I was invited to third- and fourth-year students do some more beautiful hold a eurythmy workshop for a group of the dealership’s things. customers and friends. The event took place in the new car showroom with the All New Volvo XC90, featured in the Linda Larson is active in New York City, mainly practicing background. It was an interesting and meaningful experi- eurythmy therapy with children and adults. She is the ence introducing eurythmy to people outside of the usual therapeutic eurythmist at the Rudolf Steiner School and anthroposophical context. There was a lot of enthusiasm facilitates adult eurythmy workshops at the New York and many participants expressed interest in doing more Anthroposophical Branch, where she takes part in festivals eurythmy in the future. Hopefully, more opportunities like and other activities there. She feels very much at home in this are on the way. the city and is involved in other aspects, for instance, singing with the Oratorio Society of New York, with most Leonore Russel teaches in Foundations Studies program at of their concerts in Carnegie Hall and some in the Cathedral the Waldorf School of Garden City and in the post graduate of St. John the Divine. Also she does therapeutic eurythmy Department of Education at Adelphi University. This fall with students at the Waldorf School of Philadelphia. she was invited to be ‘Artist in Residence’ for the Music Department at Adelphi. She was asked to introduce euryth- Melissa Rose Ooka: Valentine’s Day, 2017, was my son, my to each of the music courses and many students enjoyed Adam’s, sixth year anniversary at Green Meadow Waldorf doing eurythmy. “The music is not just in my head; I can School. Six years ago, we moved to Chestnut Ridge, NY, so feel it in my whole body!” was heard in several different that I could complete my training at Eurythmy Spring ways. But interestingly, it was voiced by a young man who Valley. Adam was only five years old and in his first year of started the experience in utter sleepiness and emerged wide kindergarten and now he is eleven years old and in fifth awake. Each course participated in two classes. It was good grade! It has just begun to feel like home. to have the second class, because the students had absorbed For the past four years, a yearly ritual that has nurtured the content and they were much freer in their engagement. me as a eurythmist, is my participation in the Threefold By midweek, they were invited to a performance of tone Family Christmas Festival. Somehow, someway, a group of eurythmy. Leonore, Maria Ver Eecke, and Alexandra local eurythmists find the time to practice together from Spadea each performed a tone solo, followed by a talk and September to December. This year, Melissa Lyons, Cezary demonstration, and then a repeat of the piece. The Music Ciaglio, Sue Hiertz, Ana Lipkovitz, Natasha Moss Laeticia Faculty was enthusiastic and all came to the performance. Berrier, Brigida Baldzun and I met regularly on Fridays, They are interested in learning more. Saturdays and some Sundays, to work on the Calendar of Leonore continues with consulting, mentoring, and the the Soul Verses 38 and 39. Dorothea Mier, kindly stepped in making and selling of copper balls and rods. This business to artistically fine tune and Jennifer Kleinbach, also very donates a minimum 7% of net profits to education and to the generous with her time, was our speech artist. It is such a arts. Last year eurythmy activities received donations. gift to be able to work on these verses and perform them at A new Mentoring Training for Eurythmists with Christmas. Thanks to all involved for Christof Wiechert and Leonore and guests will begin at the making it possible! Center for Anthroposophy in Wilton, NH, this June. In January of 2013, I went to Dornach Experienced eurythmy teachers are invited to join. Please to attend Annemarie Ehrlich’s weeklong see the Center for Anthroposophy bulletin for details, course in Aesch. During the summer of that same year, I completed the training Maria Ver Eecke writes: Since the Eurythmy Pageant in with Annemarie in The Hague, December at the Waldorf School of Garden City, the Netherlands. It was a very inspiring trip, Annemarie &Melissa students are eager to present eurythmy on the large stage. working on a project, which focused on the Peace Dance. “Arrow to the Sun, a Pueblo Tale” involved 180 students Being only minutes away from the Peace Palace, home and was presented to the parents during the Winter Concert to the International Court of Justice and the World Peace Evening in December. The sixth and seventh grades classes Flame Monument, I was able to bicycle to the World Peace from the Brooklyn Waldorf School joined us for the dress Flame almost every day. It became a ritual for me to visit rehearsal the day before. Dr. Dale Stuckenbruck and his this eternal flame, symbolizing the enormous power of light wife Haewon Kim played indigenous flutes and drums, and the longing in people’s hearts for connection and love. rattles and thunder sheets to create a dramatic effect. What could be more inspiring in preparing a presentation on Eurythmist Leonore Russell took center stage to help with the Peace Dance! the transitions between the six classes. 30 Eurythmy Association of North America The eighth grade class took the parts of the main The following statements are individual comments. characters. The Boy was a solo role; five of the tallest Teachers: “The mood was great.” “One could see the students played the Lord of the Sun; five girls were the gestures of giving and receiving in the Evoe, which is Maidens; six students played the mob scene with sticks; healing for our community and perhaps for the whole eleven students presented the Corn Planter; nine girls were world.” “The introduction was necessary to prepare the the Pot Maker; and three students were Arrow Maker. parents. It was good to ask the parents to move their hands The story is about a young person on a quest, in search in darkness, white, and the rainbow colors.” for his heritage, and is emblematic of a rite of passage. The Parents: “Ms. Russell made the entire room move archetypes of the three soul forces are represented in Corn (Zodiac).” “This will give the children something for the Planter as will, the artistic Pot Maker presented as feeling, rest of their lives.” “The forms were like form drawings.” and the thinking aspect of the human being as Arrow Maker, Students: “When we first performed at the who is wise enough to send the Boy to the Sun. “And so the Thanksgiving assembly, it was only the beginning of the Boy became the arrow.” When he reaches the sun the story and it made a difference doing it three times, so that it mighty Lord challenges him to undertake four trials, saying: all makes sense.” “We were somewhat clunky the first time, “You must pass through the four chambers of ceremony.” but each time we became more and more graceful.” “I gained confidence being on stage.” During the winter when the sixth grade showed signs of conflict; the pedagogical form “We struggle fiercely with each other” created social harmony within the class. They presented this form for twelve to all four verses of Rudyard Kipling’s “A Song to Mithras” at the Evoe by the fifth grade midwinter assembly. The triangle form was a transition The four elements are the archetypes behind these four between each verse, so that everyone could have a turn as trials. The first was the Kiva of Lions, and the fourth grade ‘captain’, as each person at the apex of the triangle was a dressed in red costumes presented the form “Wir suchen ‘captain’ for one verse. The colors worked well with purple uns” to drum beat, representing an earth trial. The second for the first verse, followed by red, orange, and then blue for trial of the Kiva of Snakes was presented by the third grade, the consecutive verses. Then the second grade asked if they dressed in green, smoothly moving the form, “Wir wollen could be on the ‘big stage’ and they strongly presented St. suchen”. The air trial was presented by the sixth grade Patrick’s “Rune at Tara”. students, who had practiced moving the hexagon and hexa- For the spring assembly the eleventh grade is preparing gram, now dressed in yellow with black belts, as the Kiva of the verse from “The Mystery of Ephesus” by Rudolf Steiner Bees. The Kiva of Lightning was presented by the seventh and two Preludes by Chopin. Since there are 34 of them, grade dressed in black. After their dramatic zig-zag move- small groups will represent each one of the planets for the ments, the students circled Ms. Russell as black clouds of speech eurythmy and they are divided into three groups for thunder. In standing, they did the colors of the rainbow, the music eurythmy. accompanied by harp music as the climax of the story. When the Lord of the Sun acknowledges his son, he is Sea-Anna Vasilas: In Chestnut Ridge (Spring Valley) there asked to return to earth to bring his spirit to the people. This are at least 30 eurythmists, and 21 in training, living within is celebrated by the Dance of Life. The fifth grade class, a few minutes of one another. Through the pedagogical, dressed in natural muslin costumes, presented “The Weaver performance, social, and therapeutic arts, eurythmy is of the Sky Loom” by the Tewa People, followed by the incredibly alive in this little place! … And yet I cannot help Evoe to flute and organ music. Many people told me that but long for more collaboration between us, not only here, they cried at the children’s grace and beauty in the Evoe. but across the continent. Being buried in my own work These pedagogical forms had been practiced by the (teaching, performing, organizing tours, tutoring, and classes for several months. There were a few glitches during pursuing an MA in Eurythmy), I understand that it takes so the dress rehearsal, but during the evening presentation much just to meet what is in front of each of us. Perhaps it everything went smoothly and the energy level was up. If is simply enough to know that we are all carrying this art of anyone is interested in the story and how I developed it, eurythmy into the future, each in our own ways, and through please contact me directly. this we are absolutely connected. However, I want to keep Many people have expressed how deeply moved they encouraging us all to find new ways to engage in conversa- were by this story. Most importantly for me, the children tion and collaboration around this art of eurythmy, because looked happy and joyful on stage, so excited to be a part of it truly makes such a difference to experience and make a large project. It was a deed for community building. visible the living substance between us. Eurythmy Association of North America 31 Report for Southeastern Region is tricky, trickier than one thinks... Otherwise we are busily engaged in developing a light group tone piece (having fun Maryland with this!) and further fine-tuning our other group pieces. writes: I continue to teach eurythmy to Noris Friedman In November we had a wonderful collaborative experi- nursery through eighth grade at the Waldorf School of ence in which we were joined by Eva Maria Rascher and her Baltimore. Also I offer a weekly Book Club to all interested pianist, Bonnie Cohen, both from England; Jean Simon- in the community. This is the third year for the Book Club; MacDonald and Natasha Moss, both from our shores! A some of the books we have studied have been: The program was shaped out of their offerings and ours and then Education of the Child, The Four Temperaments, The offered at the regional gathering of the Anthroposophical Power of Stories, Waldorf Education, Teaching from the Society held at Camphill Kimberton Hills. We certainly felt Inside Out. Next we will be tackling The Soul of Discipline that this is something so worthwhile doing. An enriching by Kim John Payne. She also offers a yearly adult course, experience and clearly appreciated by our audience. which runs for seven weeks. We’ve worked with a number Happy 82nd Birthday to Eva Maria Rascher on March 13! of themes, poems, music, rod exercises. This year the school hosted its first big Alum Weekend and a eurythmy class was offered. We had so much fun with many alums and spouses Report for Southern California in attendance, from those who had done a lot of eurythmy to In September the Waldorf School of Orange County those who had never done eurythmy before. This year’s welcomed as the new high school eurythmy adult course now has alumni enrolled. How exciting! Lilith Dupuis teacher (grades 7 - 12). returned from her Especially when one alum says that eurythmy is so much Elisabeth Beck sabbatical to resume teaching the lower school (pre-K fun. Having taught eurythmy here at WSB for 34 years, I through grade 6). After a year of a reduced program with no am looking to retire and also help mentor a successor. The eurythmy in the high school and upper grades, the school eurythmy room is beautiful and the faculty, staff, parents, community welcomed both teachers very warmly. and students are quite supportive of eurythmy. The second grade presented the “Old Spanish Christmas The three eurythmists at the Washington Waldorf Carol” from Molly van Heider’s book Come Unto These School, Bethesda, MD, are Susan Walsh, Corinna Gittel, Yellow Sands, which is a long-standing tradition at WSOC and Kurt Faeber. Kurt is working with 12th grade on the to their parents. The seventh grade is doing “The Boy Who fairy tale “The Golden Goose“ to be performed March 17. Was Never Afraid” in eurythmy as their class play. The par- Susan Walsh continues working as therapeutic euryth- ents of our high school students are looking forward to see- mist and librarian, as well as teaching kindergarten euryth- ing their children participate in eurythmy at the upcoming my at Acorn Hill. It was a pleasure and inspiration to attend high school Arts Festival. Many comments received at the the World Therapeutic Eurythmy Conference in May 2016 beginning of the school year showed that eurythmy is a in Dornach. Thanks to ATHENA and my school for the well-established part of WSOC and was greatly missed dur- financial support to go. Fellow ‘Q Course’ Susanne ing the last school year. Some parents are attending adult Zipperlen and I shared housing and conversations. eurythmy classes offered during Main Lesson and in the

evening. Pennsylvania Elisabeth Beck Felicity Jeans is executive director and village co-ordinator of Camphill Village Kimberton Hills. Fortunately there are writes: It is my third year at Highland Festivals, Conferences and Academy courses that all are Andrew Dzedulionis Hall Waldorf School where I teach ECC and first through enhanced with a touch of eurythmy to enliven the sixth grade. I want to share my highlights with several imagination, body and spirit. grades. With the fourth grade I am working on “Kalevala” Raymonde van der Stok-Fried writes that she loves the Finnish national epic, where students themselves are teaching the teenagers! She is working on a fairy tale with saying the poem in the original language (Finnish). The 12th grade, an orchestral piece with 11th grade, poetry study class is divided in two groups; one group is reciting and with 10th grade, polarities in 9th, a ballad in 8th and many stamping in a rhythm while the other group is doing the exercises and sequences with 7th grade. She is teaching eurythmy form and gesture, then the groups switch. It is a tragedy and comedy in morning lesson with 9th grade, as very interesting experience and the students are very the drama portion is at least 50% of the block. After that engaged in this work. The fourth grade will open their play comes the 8th grade play and then 11th play, Hamlet. She with this piece later in spring. directs the high school chorus and eurythmy club. The sixth grade is working on a poem “If” by Rudyard The PA Eurythmy Ensemble is currently researching Kipling in groups of two and three. The students are options for a middle school program. Finding the right piece 32 Eurythmy Association of North America exploring various ways of doing the form and the sounds daily to get a eurythmy piece ready, in very short order, for gestures with the poem. We will see what the final result of our Martin Luther King Assembly. They performed a small the piece will be and we will present it at the end of year section from one of Dr. King’s speeches which was very assembly. As well we are working on a play “Robin Hood” well received. Now on the evening of February 15 PWS will with some music and speech eurythmy in a play. Other have our first-in-a-long-time, and my first-ever, eurythmy grades are working on interesting poems and music pieces. assembly, where grades 3-8 will perform selections of their Besides teaching three Saturday`s each months at the work this year for the rest of the school, their parents and the school, I work at WISC (Waldorf Institute of Southern community. As we do not have a space on campus to hold California), where I have over 40 participants at my euryth- so many people, the assembly will take place at a local my classes. We are working on various poems and music Senior Center. Organizing such an event off campus and pieces; I bring some aspects, affect and impact of pedagog- outside of school hours has been a real learning experience ical eurythmy for each age group. Classes are well attended for me. Fingers crossed that it goes off smoothly! and I have so much feedback and many question, as well as Rachael Abbott desire for more eurythmy from the WISC students. Maui, Hawaii Once a month I teach a two-hour adult eurythmy class I am teaching eurythmy and anthroposophical studies to at Anthroposophycal Society LA Branch in Pasadena. adults. I am beginning therapeutic work again, which is hap- Besides teaching there I do perform for various events, lec- pening very slowly, as contacts with the local Waldorf tures, workshops at the LA Branch. school have had to be re-established. I am in conversation Andrew Dzedulionis with the school about offering pedagogical eurythmy to the pre-school groups next year. (The school here on Maui only I am in my 18th year of teaching eurythmy at the Sanderling had a block of eurythmy through the fall term. This was also Waldorf School. This year we have three kindergartens and true of the Honolulu school on Oahu. I am not sure yet of for the first time, we have stand-alone grades 1-8. This com- these schools’ plans for the coming school year.) I also give ing June we will be graduating our third eighth grade class. weekly classes to a special-needs adult community. In November my colleagues Johanna Laurelin and Chelaine I give continued thanks to all those who helped support Kokos and I performed eurythmy at “The Celebration for Sheri (Reiner) and me, both through her illness and death, the Dead” Festival which was sponsored by the San Diego and now in her transition. We had a community celebration Branch of The Anthroposophical Society. Throughout the of her life on the first Advent Sunday. year I invite the families of our students to attend several in- Michael Hughes house eurythmy plays and student work from the current term. In addition, I hold two parent education mornings to Report for Northern California present the eurythmy curriculum for kindergarten through As I start this year of Red Rooster with clear and calm third grade and fourth through eighth grades. In the spring, perspective, I feel that the universe is asking us to find love I will hold an evening Eurythmy Performance with presen- and courage for each other in action. This school year, I’m tations by faculty and students. In May, I will hold a week teaching eurythmy lessons to kindergarten through eighth of open lessons in which parents both participate, as well as, grade at Sierra Waldorf School and continue my private see presentations from their children. Amy Schick therapeutic eurythmy practice combined with Rhythmical Massage Therapy (RMT) especially focused on the organ This is my second year teaching eurythmy at the Pasadena treatments. I’ll finish the RMT training this spring at the Waldorf School and my first year full time. I am teaching IPMT session. It’s been a wonderful opportunity for me to pre-school through eighth grade and had a block in the tenth deepen the study of physiology and therapeutic insights grade in the fall incorporating eurythmy into their History of based on anthroposophical medicine. Much more so for a Poetry Main Lesson block. Since January I am also teaching personal development. once a week in the ninth grade as part of their Poetics I also enjoy helping ATHENA membership and English track. I have been working this year on incorporat- participate in their studies and workshops. The shared ing eurythmy back into the community and cultural life of knowledge and experiences certainly strengthen our the school. In November I worked with a group of seventh community of eurythmy. Anyone can sign-up as an graders in an extra lesson once a week to prepare a piece for associate member from eurythmytherapy.org and receive the Thanksgiving Assembly. The performance at the assem- the newsletters. Compassion and collaboration are much bly went well and I feel it is important for the development needed in the world of eurythmy and beyond! of the eurythmy program in the school for the younger With Joy and Hope, grades to see the older ones performing eurythmy. In Miyoung Schoen January some of the eighth graders worked with me almost Eurythmy Association of North America 33 John Hinkle writes: Hi everyone! I am still teaching at and medical colleagues to broaden and deepen their knowl- Credo High School and Stone Bridge School in Napa. edge and experience of it. Credo, the public Waldorf HS in Sonoma County is growing Here back at home nothing much has changed with my very fast and I am having loads of fun teaching the students work. My private practice in therapeutic eurythmy tends to there. The eurythmy highlight for me this year is going to shift venues from time to time, requiring scheduling blocks happen this Wednesday, Jan. 25, in Weill Hall at Sonoma at different schools, besides working out of my home stu- State University. Some eighth graders are going to be doing dio. All continues quite well. Last year I reached retirement eurythmy to “Eurydice” age and am entertaining the thought of slowing down a bit by Dame Edith Sitwell and finding more breathing space, but it seems this will not and as a prelude, along be for a while. Being President and interim Treasurer of with a cool Credo orches- ATHENA takes a good amount of time to keep on top of tra group, three eighth everything. However, my second (and last) three-year term grade Rose Buds will be on the ATHENA Board will be coming to its end in another doing “The Unforgiven year or so and I am looking forward to handing the baton on II” by Metallica. Hope all to other colleagues. Warm regards, Dale is well with everyone. John Hinkle with students Alice Stamm writes: I am enjoying my work with little Jazmin Hicks writes: This is my eighth and last year at children here in the Sacramento area, as well as with some East Bay Waldorf School teaching K-8 grades Eurythmy clients. I hope that they will write, as I was grateful to and 5-8 grades Woodworking. It has been a pleasure Nancy McMahon for getting two colleagues together to do learning from all the beautiful children here how to be a Albert Steffan’s poem about the Threefold Kings with good teacher and working to keep the school going behind forms from Kari van Oordt during the Holy Nights here. the scenes. I am going to miss them so much. They will also perform it for children at the Waldorf School. I am moving to Northern Wisconsin to be with my I want to encourage colleagues to attend your February sweetheart—woodspirithandcraft.com— making a craft workshop and to consider going to Portland this August for life, and traveling some, maybe teaching blocks in that the Twelve Moods workshop with Michael Leber and region. It’s really exciting! Meanwhile I hope we find a Dorothea Mier. I have also applied again for a grant to sup- fantastic person to take my place. Check out Waldorf Jobs port our performing and high school groups which are so to see the posting. wonderful in getting eurythmy to our children and the greater public. Best greetings from Alice Dale Robinson writes: 2016 has been an exciting year for Eurythmy Therapy with the Second World Eurythmy Anne Cook writes: I continue to see children and adults for Therapy Conference in Dornach last May. I gave an eight- therapeutic eurythmy each week, while holding down a full- hour course there over four of the days, presenting research time administrative job with my sons. in therapeutic eurythmy that I have been doing in conjunction with Dr. Susan Johnson. It was a lot of Isabela Guardia Ferragutti writes: This is my fourth year preparation and material to go through, but very worthwhile teaching at the Waldorf School of the Peninsula. This year and well received. An understanding of how therapeutic I’m teaching preschool up to fifth grade eurythmy, as well eurythmy works in and through our etheric and astral nature as a Folk Dancing/Spanish immersion class to first through into the developing physical organism is proving very third grade. The Eurythmy program feels strong; children helpful in addressing the present Waldorf teacher and parent are doing such beautiful eurythmy! Growing with the class- consciousness that we meet today. es and knowing the children so well is a great advantage. I Last year, as well as this year, I was asked to do euryth- truly enjoy seeing every stage of their development. The my workshops at the February New Impulse Conference in folk dancing class has been a great success as well and I Marin. Being part of ATHENA I also helped organize and find it to be a perfect balance for the eurythmy, as it is more participated in several 2016 events open to the anthropo- earthy and grounding, but still works on form and joy in sophical medical community – the ATHENA Pre-IPMT movement. I also continue to teach blocks between two Workshop last April in Fair Oaks and the AAMTA Summer schools in the Bay Area and that’s going well. It is refresh- Conference in Petaluma, CA. I’m organizing another Pre- ing to visit another school and children one a day a week. IPMT Workshop in April where we will be looking at how Our work is essential in these tumultuous times and we, as eurythmy therapy can work with common neurological con- teachers, are very lucky to have children reminding us of ditions. All these events posed and continue to present great qualities of soul such as joy, wonder and love. Many opportunities to bring Eurythmy Therapy to our educational blessings on your work! Isabela 34 Eurythmy Association of North America Report for the Northwest Oana Havris-Brown has been teaching at Cedarwood Waldorf School this year, as well as Mother Earth School Portland, Oregon and Olympia Waldorf School and she has even been sharing In the spring of 2016, Portland Eurythmy took its “Woman eurythmy stories and magic with the little, little ones at her of the Sea” program to regional schools including Portland husband’s pre-school. Since her health is better she feels Waldorf School, Waldorf School of Bend, and Eugene excited to bring eurythmy to anyone, anywhere! Although Waldorf School. The students of the Micha-el School and Portland is a rainy city at this time of year, Oana and the first graders from Shining Star Waldorf took a field trip to Cedarwood children have been experiencing lots of sun- Portland Waldorf School to see our performance as well. shine and good times. There is nothing like good health and The week ended in a public performance at Cedarwood a second chance for one to do what one loves to do. Many Waldorf School to a very appreciative audience. Besides the blessings on this new year to everyone! Irish tale, the program included tone pieces by Grieg, Leiviska, Barber, and Reger and speech pieces by de la Seattle, Washington Mare, Hughes, Matthias, and Machado. A special thank you Linda Povinelli is back working just in the corporate world, to Natasha Moss for spending a week with us prior to the but is enjoying staying active in eurythmy through the tour to help fine tune our work! Eurythmy Northwest Ensemble in Seattle. In October 2016, we repeated the program at Portland It has been another busy year, full of eurythmy activity! Village School, Cedarwood Waldorf School, and Rose The seeds of each year’s work are germinated in the Schnitzer Manor, an assisted living facility. The enthusiasm Summer Eurythmy Intensive with Michael Leber. I was and deep emotion of the residents was heart felt. This was honored to host again last summer, and I look forward to our third visit in three years and one that has become a supporting this great week as the course returns to Portland group favorite. for the 2017 session. I continue teaching at the Seattle Currently, we are working on several pieces including Waldorf Grade School, as well as weekly sessions at the Dr. Steiner’s, “Washing of the Feet”, by Morgenstern; a Sound Circle Teacher Training. It was a special opportunity native American poem, “Who Shall be the Sun”; a to teach for the first time at the Bay Area Center for Waldorf Schumann piece; and Leiviska (reworked), all woven into Teacher Training in July. Eurythmy Northwest began 2016 the adapted story, “The Wind that Wanted to Rest", by with performances of “The Dreamsong of Olaf Asteson”, Sheldon Oberman. We hope to take this program to younger inspired by our work with Michael Leber. Our spring audiences (K-5) in several schools April 3-7, with a public schools’ tour featured the Jataka Tale, “Banyan and performance on April 8. Branch”. As we came toward the end of 2016, Eurythmy Additionally, we are also looking to perform a “Studio Northwest traveled to Vancouver to offer two pieces in the Program” for the older audience tentatively scheduled for inspiring Cascadia Society Event that has been shepherded April 29, 2017, which will entail a collection of pieces and by Ruth Tschannin for so many years. I closed 2016 with solos by eurythmists of Portland Eurythmy, in addition to several eurythmy performances at the Magical Strings local eurythmists within the community including alumni Celtic Yuletide performances, bringing my young students from PWS and adult community members. to the Seattle show. With gratitude and wonder, I look Continuing members include: Francine Adams, Meta forward to more Eurythmy in 2017! Bruner, Jolanda Frischknecht, Amanda Leonard, Don Bonnie Freudlicht Marquiss, Carrie Mass, Mary Sutton (accompanist), Alberta, Canada (speaker), and (lighting). Christa Macbeth James Knight Auriel eurythmy began with a group of five in 2013, performed with us for the “Woman of the Maya Neumann offering initially an intensive eurythmy experience in eight- Sea” program and is taking a hiatus this year. day modules three times a year. After two years of modules NEWS BULLETIN! The Portland Eurythmy Intensive and ongoing work in between the intensives, the equivalent is a new initiative under the umbrella of Portland Eurythmy. curriculum of full-time first year eurythmy training had Led by Jolanda Frischknecht and Carrie Mass, they look to been covered. The original group is still meeting for mod- lay a broad foundation in eurythmy focusing on the guide- ules three times a year and has been joined by two more par- lines created by the Section of Performing Arts in Dornach, ticipants. The Auriel courses have been hosted by the Switzerland, so that the students may seamlessly move on to Calgary Waldorf School, the Edmonton Waldorf School, the the final years of training once they are ready. Part-time Nelson Waldorf School and this Easter will be hosted by the classes begin September 2017. For more information, view Ak Lu’um Waldorf School near Playa del Carmen were the website at www.portlandeurythmyintensive.org. Please Auriel also offers workshops to people new to eurythmy. view Portland Eurythmy’s website at portlandeurythmy.org We see this work as fostering love and support for eurythmy for the latest in updates and performance information! wherever we are being hosted. Eurythmy Association of North America 35 Nina Wallace-Ockenden who is living in Edmonton, dedicated to the arts, with evenings of speech, drama and Alberta, has carried most of the teaching load so far, but will eurythmy, including the Michael Imagination and the be joined this fall by Dianne Wells, former eurythmy Foundation Stone by the ESV Ensemble. teacher at the Portland Waldorf School. Nina also teaches In October, we were fortunate to have among us some eurythmy classes at the local Waldorf School. Evamaria Rascher, who had carried the Camphill Eurythmy School in Danby, England, for decades. Evamaria gave Vancouver, British Columbia classes to the whole school, as well as a course for euryth- At the Cascadia Society for Social Working, British mists, sharing her research into the healing quality of tone Columbia, Canada, Ruth Tschannen is continuing to bring with her accompanist, Bonnie Cohen. It was wonderful to eurythmy to a wide audience with the yearly Fairy Tale experience this seasoned team of eurythmist/ pianist and performances. Professional eurythmists, local musicians how easily they managed to take everyone on their wings. and speaker, students and children from the Waldorf School, During this term, the third-year students went on their first as well as people with special abilities from Cascadia work pedagogical observation weeks at Waldorf Schools, and the side by side toward three performances in one day! touring ensemble went off to the Midwest and Southwest to The question of aging and the threshold are themes in perform, while the students had a singing course with society at large. How can eurythmy be a beacon of light Shannon Boyce and sculpture with Michael Howard, amidst within this theme and how can we bring it to people out in all of the regular curricular courses. the world? Eurythmy plays into everyday life as a house November brought us the beginning of the third-year mother with taking care of four adults with special needs, students’ biography presentations, which finished in over- seeing a biodynamic garden within an urban setting, February 2017. What inner and outer landscapes we all tra- as well as, creating mosaics in and around Cascadia. Every versed in these months! Starting with French painter, aspect of life is enriched through the fact that we have William-Adolphe Bouguereau, moving to Taiwanese com- eurythmy, a true gift from the spiritual world! poser, Tyzen Hsiao, Camphill Founder, Karl Koenig, eury- thmist and farmer, Marjorie Spock, author, C.S. Lewis and, Laurel Loughran and Jason Yates continue their work in lastly, sculptress and close collaborator of Rudolf Steiner’s, Vancouver, BC. Laurel is enjoying teaching eurythmy at Edith Maryon. The students deeply immersed themselves in the Vancouver Waldorf School, feeling very grateful to be the lives of their chosen subjects, which was evident in the part of such a warm and supportive faculty. Jason serves on question/answer periods after every talk. Each had all of the the Board of Athena, and is currently in his second and final biographic details at their fingertips and had clearly gone year of the MA course for Therapeutic Eurythmy with through inner changes by living inside another’s skin. These Alanus University. Laurel and Jason continue to live and Monday evening talks were eagerly looked forward to and work as house parents with The Cascadia Society for Social brought rare gems. Working. At the beginning of the winter term of 2017, the Laurel Loughran fourth-year class went into seclusion while preparing their eurythmy demonstrations on themes from the curriculum, Report for ESV utilizing their class mates as demonstrators. Once they pre- sented their demonstrations to the school community, a Life within the School of Eurythmy panorama of eurythmic elements opened up, starting with Barbara Schneider-Serio tone intervals, moving into many themes in speech and tone The fall term of 2016 was remarkably rich with courses, eurythmy and ending with soul gestures. We were amazed visitors, and talks by the third- and fourth-year students at at the creative ways the students discovered for building up Eurythmy Spring Valley. In August, the rising and graduated demonstrations that included accomplished artistic pieces. It fourth-year students completed their pedagogical training was a celebration for the whole school and an eye opener for course work with a splendid presentation of eurythmy the younger students. During January, Coralee Frederickson throughout the grades, guided by Laura Radefeld. Once continued her work with the students on poetics, this time school commenced in September, the fourth-year students illuminating the transformation of language in Chaucer’s presented their ‘What is Eurythmy’ talks to the faculty, time. Over the coming months, the students will have cours- offering very individual and interesting talks, while the first es with Christiaan Boele, on uncovering the voice, painting year worked in the garden with Mac Mead, finding their with Hans Schumm and an immersion into William relationship to the earth they live on. After our Michaelmas Shakespeare with Coralee Frederickson. And, of course, all celebrations, we all attended the Annual General Meeting of of the daily classes will continue. After a full end of term in the Society, this time held in Spring Valley. It was a very December, we are now looking toward Easter and beyond, festive event with many meetings and lectures, but also as graduation beckons! 36 Eurythmy Association of North America Festivals as a Doorway to Learning at ESV – make one’s own tone forms “properly,” experience a cham- Beth Dunn-Fox ber music piece with different instruments, and work with a Festivals offer essential learning opportunities in the large biblical text. We were rewarded with many solo Dr. process of the ESV training. For a number of years, the sec- Steiner forms, including pieces by Chopin and Mozart, ond-year curriculum has focused on the development of Longfellow’s the Arrow and the Song, and Shakespeare’s community festivals, to support students in learning how to “Poor Soul” in a group form. build potent and meaningful events of this kind. As our stu- Dorothea Mier brought Steiner’s archetypal tone form dents discover, so often the resident eurythmist is central to as a springboard for making our own. This culminated in a developing festival celebrations for a school or community Loeillet trio, arranged for flute, cello, and violin, which we that contribute to the deepening of individual and cultural shared at the End-of-Term and Christmas Festival. As some- life. This work with the students begins with studying one one who has played the violin for many years, it was a joy of the festival lectures by Rudolf Steiner, to step into the to finally experience the instrument through eurythmy. The content and inherent awakening that each festival offers. collaboration with my two colleagues, Emmanuelle De This year, we do not have a second-year class, so our Koning (cello) and Joanna Dry (flute), was filled with ini- Advent Festival was carried by students in the first, third, tiative, listening, flexibility and respect. With each person fourth and fifth years. The lecture they studied to develop on their own instrument offering different qualities, it was a celebrations for each of the four Monday mornings during wonderful balance of group work and individual growth Advent was, “The Birth of Christ Within Us,” Lecture VIII through Dorothea’s guidance. from The Festivals and Their Meaning. Many students who were not native English speakers, Each advent, the cultural backgrounds of the students or had trained in another language were very eager to engaged in festival work shines through the prepared cele- explore English eurythmy, to which Natasha Moss and brations. This year brought us a stunning festival celebra- Annelies Davidson brought their expertise on the qualities tion through the rich musical and culinary offerings of of the English consonants and vowels. Natasha gave us a India, as two of our first year students are from India and a deep experience of the dress, veil and character, while third has spent a substantial amount of time there. Taking Annelies shared her passion for the Great Vowel Shift and the theme of light, they integrated elements of the Indian the elusive nature of diphthongs. Annelies also brought to us Festival of Light with an advent children’s verse by Rudolf Marguerite Lundgren’s form for the story of Cain and Abel Steiner. Opening with the collective silence that began as from the Old Testament—an original form for nine euryth- one entered a building, we experienced the blend of east and mists. The clean, pure geometry of the forms lends the piece west as we progressed through the festival, ending with a powerful, striking quality. Our work deepened as we homemade sweets characteristic of Indian festival offerings. experienced each character out of the primary colors: the It is through the international character of our student body Lord as yellow—shining, clear; Abel as blue—devotional, that we are continually drawn into the unique contribution spiritual, protected; and Cain as red—willful, with sustained that each culture brings to anthroposophical work. intensity. At the heart of our work was our review of all the ele- Post-Graduate Work – Ivilesse Esguerra ments of eurythmy with Dorothea and Annelies, supported A diverse, international group comprised the postgraduate by our study of the speech and tone courses by Rudolf program at Eurythmy Spring Valley this year, with students Steiner. As Dorothea said to us, the fundamental elements of representing five continents, hailing from as far as eurythmy are our bread and butter. It is not enough to sim- Australia, South Africa/Switzerland, Germany, France, the ply read the lectures once or twice and then expect to Netherlands and the Philippines/United States. Many had “know” eurythmy. “We don’t only eat breakfast once!” she been working as eurythmy teachers and therapists, seeking quipped. Returning to the themes again and again gives us renewal in artistic work, while others came fresh out of the fuel to renew eurythmy from its original source. Then training, or had been working artistically in Europe for a Dorothea brought quotes from 19th century composer few years. As some came for shorter periods, we worked in Gustav Mahler and architect Antoni Gaudi, who echo this configurations of six, four and finally three who stayed until idea: the end of the term. “Tradition is not the worship of ashes, but the continuation The gesture of a postgraduate experience at ESV of fire.” – Gustav Mahler reminds me of the famous expression, “The world is your (“Tradition is nicht die Anbetung der Asche, sondern die oyster.” In the first week, the faculty listens to the postgrad- Weitergabe des Feuers.”) uates’ requests and provides the possibility of working out “Originality means returning to the origin.” – Antonio of these intentions. Our group had a strong wish to delve Gaudi. into Dr. Steiner forms in both speech and tone, learn how to For me, it was striking to experience the elements again, Eurythmy Association of North America 37 because having reviewed it the year before in my graduating view of eurythmy and how it is developing in the world, and year, I could now take a step beyond the what: “These the contributions to the art made by eurythmists on this con- elements are familiar to me; now how can I really play with tinent, were a few of the themes explored. It was through them artistically?” shared meals, moving together or in meetings over mutual As the fourth- and fifth-year classes were combined in concerns that distances melted away and we could strongly these review classes, we had the fortune of moving with a sense the threads that hold eurythmy, across lands and harmonious, cohesive group. Dorothea brought us into a liv- waters. Since that first visit, the capacity for this program ing, conscious process of creating a form out of Beethoven’s to become a bridge between this country and that of others, Sonata in E minor (First Movement), where all the elements has brought us new, fresh impressions of what is growing we were reviewing could be applied directly. We could con- and challenging our art now. Beyond Stefan Hasler’s visit, tinually ask ourselves, “How do we make the musical expe- we have had an opportunity learn from: rience visible to the audience?” In another realm, Annelies Coralee Frederickson, Co-Director of the Alanus M.A. Davidson worked tirelessly to help us make the sound Program, most recently diving into Beowolf and Old become the source of our movement. “The Sound Moves English in our poetics blocks. You!” she exclaims. We also traversed the cosmic expanse Volker Frankfurt, currently teaching in the School for of the Zodiac and its forming quality within the human Eurythmy and Art in Berlin, on strengthening Soul-Spirit being. We explored the contrast between breath and direct qualities through tone eurythmy. speech in David Wagoner’s “Lost,” and lived deeply into Michael Werner, co-originator of Vital Eurythmy, shar- the qualities of two key soul calendar verses: the inward- ing his research on the efficacy of this anti-stress approach. ness, quiet devotion and joy of Christmas, and the resurrect- Jan Ranck, founding director of the Jerusalem ing power of Easter—emerging from the depths into soaring Eurythmy Ensemble and the Jerusalem Academy of unity with the periphery. Eurythmy, gave classes on Hebrew, an unforgettable experi- Overall, the term was rich and rewarding, and I send my ence of diving into that ancient alphabet. best wishes to my postgraduate colleagues and the graduat- Finally, in January, 2017, our students caught their first ing fourth year! glimpse of the field of social eurythmy with Andrea Postgraduate students also included: Claudia Schneider Heidekorn, from Alanus University, presenting her research (Germany), Kate Greaves (Australia), and Renee Krenz on Eurythmy as a Social Art, as applied in many settings, (Netherlands). including businesses, elder care facilities, prisons and other social arenas. Our students were deeply inspired by out- Alanus M.A. Program – From the Perspective of ESV – comes described from this work and the direct dialogue they Beth Dunn-Fox had with someone currently very active in the field. In this EANA newsletter, you will find an update prepared by Shaina Stoehr, Co-Director of the Alanus M.A. Program 2016-17 ESV Waldorf Eurythmy Teacher Training – and Virginia Hermann, M.A. Program Candidate. From the Laura Radefeld perspective of hosting this program, we would like to give a The pedagogical eurythmy block of August, 2016, was glimpse of how meaningful it has been to have the M.A. the culmination of three years study weaving a beautiful Program’s faculty and students in our midst. When we synthesis of child development and eurythmy studies. The embarked on a collaborative relationship with Alanus final block was a review of early childhood through eighth University to host this program, we had a strong picture of grade pedagogy, an introduction to high school eurythmy, the value it could offer to eurythmists on this continent who and a short few days on the lower senses in relationship to wished to pursue advanced degrees in eurythmy. What we the early childhood and grade one and two student. There didn’t anticipate fully in the planning stages was that host- was also a thread of deepening our understanding of major ing of this program would bring a remarkable faculty to our and minor harmonies, which was offered over the three year doorstep that would make contributions to our entire euryth- summer blocks. Dorothea Mier, Annette Conlon, Raymonde my community. Fried, John Holmes, Susan Eggers, and Laura Radefeld The first M.A. block in September, 2015, brought us were the eurythmy faculty for this block. The students pre- Stefan Hasler, Leader of the Section for the Performing Arts pared written and oral presentations for early childhood in Dornach, Switzerland. While Stefan’s larger focus during through twelfth grade eurythmy lessons, including a devel- his visit was teaching in the M.A. sessions, he also gave a opmental picture of the student at each age, and written and class to our students and a professional course for euryth- demonstrated presentations of eurythmy for each age. mists. These different meeting points with Stefan provided A vivid picture of the developing human being came an invaluable opportunity to get to know him. The conver- alive in the presentations, and the eurythmy which grew sations about work in our respective communities, the wider more complex through the grades. 38 Eurythmy Association of North America The opening block of the new pedagogical eurythmy dren out there, captivated by a poem and a breath of music. cycle, for the ESV rising third year students, was an intro- Or older ones, pulled in by a longer story with more music, duction to Waldorf eurythmy pedagogy for early childhood the sounds of thunder and foul weather, and a princess and first and second grade students. The pedagogy was con- spreading out her wings to fly through it all. Or an adult pro- sidered through the lens of the lower senses and how to gram, probing the human experiences of identity and develop eurythmy lessons in relationship to this aspect of belonging in poetry and the passionate depths of music. child development. This block was taught by Susan Eggers, This last tour (October-November, 2017) took us to Annette Conlon and Laura Radefeld. such different venues, each with a different community. The The March, 2017, pedagogical eurythmy block of this Rudolf Steiner High School of Ann Arbor, its walls covered new training cycle will consider the nine year change from with student art; The Detroit Waldorf School, standing the point of view of eurythmy pedagogy for this important warm and fast in the tough city; Boulder, Colorado - high up threshold of childhood, child development birth to age nine there, shining bright and clear with several schools: Boulder or ten, and working with the temperaments. Students will Valley Waldorf School, Boulder Waldorf Kindergarten, also study lectures one and four of “The Study of Man” by Shining Mountain Waldorf School, and Tara High School Rudolf Steiner. Faculty for this block will be Brigida for the Performing Arts; Salt Lake City with a brand new Baldszun, Jon McAlice and Laura Radefeld. Waldorf-inspired charter school, Wasach Charter School, in The spring 2017 pedagogical eurythmy block, May 1- a one year-old building – with eurythmy as their first per- 5, 2017, will continue with the lower and middle senses in formance in the space; and The Santa Fe Waldorf School relationship to pedagogical eurythmy in grades three to six. and The Foundation Studies Program through The Center Child development will be brought from the point of view for Anthroposophy – nestled in the adobe desert on New of the class teacher and the general Waldorf curriculum. We Mexico. They all met us with the warmth of colleagues, are delighted that Annette Conlon will lead these eurythmy took us in, hosted us, and fed us. studies, with other faculty to be announced in March, 2017. I dare to think we all felt that the world needs this. What As shown in the announcements for ESV, this course is more could a wandering group of artists wish for? open to eurythmists wishing to join this work. See the course announcement for details. ESV Ensemble Performances, Festivals, Courses, and Also announced in upcoming events, is our Pedagogical Workshops, 2016/2017: Refresher Course, which will take place August 21 – 25, August 8-12 – Pedagogical Refresher Course for 2017. As always, the course will include a sharing of the Eurythmists with Annette Bammer Conlon work among participants, and, this year, will give time to a August 10-12 – Ottawa Anthroposophical Society new theme, Presenting Eurythmy to Parents. We are cur- Conference, La Cite Campus, Ottawa, Canada rently in the planning stages for developing this course and Four performances: Foundation Stone Meditation (3) and will announce further thematic details and the summer “Midsummer Night’s Dream” course faculty through our Enews and website in March September 20 – Heartbeet Lifesharing Conference, 2017. Hardwick, VT – Foundation Stone Meditation September 25 – Michaelmas Festival, Including the Eurythmy Spring Valley Ensemble – Autumn 2016 Tour Premiere of the “Michael Imagination” Reflections “Up, up and away...or, flying with Eurythmy” October 6-9 – Anthroposophical Society in America Christa Macbeth AGM Conference; Seven Performances that included ESVE When Eurythmy Spring Valley tours, their own wonder- Members: “Michael Imagination” (4), Foundation Stone, ful ‘home’ speaker is seldom able to go with them. In this “Midsummer Night’s Dream” and selections from the way, for more than a year now, I have found myself at a Mystery Drama, GMWS Rose Hall; Threefold Auditorium position downstage left as the voice for the performances, October 17-20 – Course for Professional Eurythmists wherever that may take us. It is a pretty nice place to be: part with Jan Ranck of it all, but also in a way apart (not one costume change to October 21-22 – Course for Professional Eurythmists worry about, no other speakers to practice and coordinate with Eva Maria Rascher with; just stay alert and carry the movement as best I can). November 1 – Festival for Those Who Have Crossed It is at once an exciting but demanding time. Up early the Threshold of Death to catch flights. Once we get there, a breathless preparation Dec 19 – Community Christmas Festival time as spaces get transformed to suit the needs of our per- Jan 14, 2017 – Agriculture Conference Performance formance. As much rehearsing as we can fit in. AND Evening Performance offered in a research conference for THEN... the audience arrives, our better half, and we give biodynamic farmers with public able to attend. and take as the program unfolds. Sometimes it is little chil- Eurythmy Association of North America 39 Jan 21 – Studio Performance of solos of ESVE mem- Reflections on Pursuing an M.A. bers, candidates in the Alanus M. A. Program and other local eurythmists degree in Performance Eurythmy Feb 11 – WECAN Conference Performance offered to Virginia Hermann early childhood educators. It is already a year and a half into the two-year, part-time March 3-4 – Course for Professional Eurythmists with Eurythmy MA, offered as a satellite program of Alanus Dorothea Mier University (in partnership with Shaina Stoehr, Coralee March 8 – Princeton Waldorf School Children’s Frederickson, and Eurythmy Spring Valley) which Cameron Performances & Pedagogical Workshop for Teachers and MacArthur, Sea-Anna Vasilas, and I began in September Parents, Princeton, New Jersey Two Performances: The 2015. All three of us chose to pursue a degree in Eurythmy Donkey for lower school children and the Traveling as a Performing Art, being members of the Eurythmy Spring Companion for middle school children Valley Ensemble for the past several years. Maiko Canard, March 10 – GMWS Children’s Performance, “The Waldorf HS teacher in Seattle, also enrolled in the Donkey” at Rose Hall, Green Meadow Waldorf School. Performance track, while Ute Heuser and Julia Alamo chose March 18 – Ensemble Evening Performance – Pedagogical and Jason Yates Therapeutic. The program ini- Premiere of “The Lady and Lion” Threefold Auditorium tially embarked with twelve students from across the United March 24-25 – Monadnock Waldorf School, States and Canada, but extenuating circumstances, and the Performance and Pedagogical Workshop for Regional intense demands of the program, diminished our numbers to AWSNA Conference, Keene, New Hampshire seven by the end of the second semester. In our five-block intensives thus far we’ve been privi- November 2-15, 2016, Fall Tour – ESV Ensemble leged to welcome a dynamic array of guest teachers. In The Donkey, The Traveling Companion, order of appearance we’ve worked with Stefan Hasler, and The Tide is Turning Leonore Russell, Steve Sagarin, Gerald Karnow, Shaina Interactive Workshop on Stepping into the Development Stoehr, Coralee Frederickson, Volker Frankfurt, Michael of the Child through the Eurythmy Curriculum Werner, Jan Ranck, and Andrea Heidekorn. Ingrid Everwjin November 2-5; Detroit Waldorf School and Rudolf was slated to teach a block last fall, but was unexpectedly Steiner School of Ann Arbor, MI – Five performances prevented from travelling to the States due to enforced visa November 5-9; Shining Mountain WS and Shepherd restrictions. In addition, one afternoon last spring, we had Valley WS, Boulder, CO – Five performances/workshop an inspiring and deeply impressing “history lesson” with November 9-13; Wasatch Charter School, Salt Lake Dorothea Mier, in which she shared reflections and insights City, Utah – Six performances and one workshop from her time teaching and performing in Dornach under November 13-15; Santa Fe Waldorf School, NM – Marie Savitch. With us every step of the way, and embrac- Four performances and one workshop ing the whole, Coralee and Shaina variously act as the moment demands, whether as program facilitators, euryth- Update on the ESV Parent/Teacher Education Project – my teachers, subject teachers (language arts, phenomenolo- Beth Dunn-Fox gy, art history), research mentors, cheerleaders, and evalua- As we have shared in the past two newsletters, ESV has tors. Their constant presence, creative enthusiasm, adapt- been actively involved in a project to build greater under- ability, and nuanced understanding of research have carried standing for the developmental foundations of the learning us all, fostering meaningful work, while their overall spirit approach in Waldorf education and the role of eurythmy in of collaboration and exploration have wrought a joyful that process. We are very excited to have moved into the mood of camaraderie, openness, honesty, and questioning. storytelling phase of the video segment of the project, which There are many aspects of my experience in this pro- is taking us into editing, scripting and website development. gram which I could elaborate, but what I feel most moved Once we step further into this critical part of the process, we to address in this first account is less a description of what will be able to set a date of when access to this work will be we’ve done and more my appreciation and growing insight available. We look forward to sharing fruits of this work for the kind of work this MA program has allowed and cul- when all is complete, and will announce access to the pro- tivated. It is work which I think will prove vital health for ject’s new project website through our email newsletter and eurythmy and its identity into the future. on our website. Though I wouldn’t profess that an MA degree is the www.eurythmy.org recommended path for everyone, or that academic work is equivalent to advancing one’s artistic training and instrument development, I do currently hold the opinion that 40 Eurythmy Association of North America the kind of probing, stretching, and consciousness-raising move into a picture of the development of culture with great inscribed into the MA curriculum is nourishing the very texts from history woven between music by Arvo Pärt. We core of my understanding of eurythmy and my own will also include a speech piece in the language of each development. The process of phenomenologically-based venue that we are visiting. We anticipate bringing Fairy research and reflection has provided precious time and Tales with us to meet the local school communities both in organic structure within which to digest and transmute my the Waldorf world and those who could be interested in the experiences of training, performing, and watching eurythmy general educational sphere. over the past fifteen years. Heading into my fifth year fully Auditions: May 2017 engaged in performance work, I feel that such a crucible of The most important news in this letter is the preparation that deepening, refining, and self-inquiry is both hygienic and took place during the Holy Nights about our audition vitally stimulating at this juncture. I have observed within process for both Speech Artists/Actors and Eurythmists. It is myself a strengthened feeling and devotion for the our intention to hold sessions for both sets of artists in May foundational principles of eurythmy; an enlightened and of 2017. If all continues to develop positively we anticipate broadened view of the cultural and historical landscape the company will start to gather in March/April of 2018 within which eurythmy is making a contribution; a more with the tour itself beginning late summer of 2018. individualized and empowered sense of artistic purpose and The auditions are expected to take place both in Europe responsibility; an affirmed conviction that the eternal grace and North America. For eurythmists we anticipate the audi- and power of eurythmy lies in the capacity to transform one- tion will be in Dornach and New York; for actors, in self through the elements; and, lastly, a growing will toward England and New York. Final location and dates are being more radical vulnerability, visibility, and collaboration determined now. If you are interested in attending the audi- which, as a rather fiercely artistic loner-type, is quite a tion, please send an email to Matthijs Dijkstra, remarkable inner happening. [email protected]. Matt will inform you directly of the final details once you have registered your interest with Lemniscate Arts him. We realize that no matter when and where we have the Fourteen people gathered Holy Nights’ Meeting in Maine: auditions, it will be problematic for some individuals. We for one week at the new Rudolf Steiner Arts Studio in will try and solve those questions but as I am sure you will Freeport, Maine. Many agreements were finalized and task understand those special arrangements will of necessity groups formed. We did eurythmy and speech together as need to be relativly minimal. part of our daily program. We went over finances, market- The assumption is that there will be approximately 20 ing and development ideas; program themes, auditions for actors and approximately 22 eurythmists. The constellation directors, actors and eurythmists; and the timeline for the will be a new one for this project. All participants will be Project. The results reveal themselves below. paid from the time rehearsals begin through the length of the The new web site www.inthespiritofsteiner.com Website: tour. This will include regular breaks and the cost of return- has continued to evolve still as content arises from our ing home for recovery times. All housing and food are cov- activity. ered during the rehearsals and the tour. We travel with our We have completed seven presenta- Readers Theater: own cook to be sure that individual requirements are cared tions as Readers Theater of the text of The Working of the for well. If our financing plan is not fully funded, then we Spirit. An important component of this process has been the will not be undertaking this adventure. We have made beginning of bringing the actual words spoken into a per- meaningful financial gains in the past months but still more formable format in terms of content and length. This work to do. process has made significant forward steps while not yet There are several new exciting developments which we being suggested as a final version. That will only come cannot yet publicize but we have been busy in the past about in the rehearsal phase. months and are still full of enthusiasm that such a bold ven- Working Eurythmy Program: ture is more needed now that it has even Title is What has been Kindled from been before. My hope is that the next the East through the West takes on communication will be relatively soon. Form. Our intention is to open with Our thanks to all of you for your a Beethoven Overture, allowing an continuing interest and understanding audience who may not be familiar that a project of this scope has required with eurythmy to hear and see a to time to mature properly. piece of music that they are most All the best, likely familiar with. We will then Marke Levene, Lemniscate Arts Eurythmy Association of North America 41 From My Laboratory And now, my prime BUCKET LIST project: ARCHÉ. After I left the priest training in 2005, I began to research Dear Eurythmy Colleagues, the Ancient Greek of the Gospel according to John. This Over the past two years I have had two epiphanies, in which work was and continues to be accompanied by Elsbeth the magic and uniqueness of Eurythmy allowed for a Weymann, a poet and scholar of Greek and Hebrew. She moment of grace. I experienced something which seemed to worked directly with Herr Altoff, with whom Dr. Steiner proceed from the Being of Eurythmy itself. had developed the curriculum for ancient languages in the The first experience was early May, 2015. I had just first Waldorf School. Upon entering the original Greek as premiered my TIERRADENTRO / TURF-INFINITE found in John’s Prologue, I realized that this, the highest of program in Madrid. The Monday following Saturday’s poetic hymns, is the Foundation Stone Meditation in performance, I was packing my bags in the back bedroom of eurythmy. Following that I realized why it was necessary a home where I often stay. While carefully laying my cos- for Dr. Steiner to enter and comprehend The Gospel tumes between layers of tissue paper, I was also jotting according to Mark before he could begin with the first down notes in my Chronic. This is an on-going record of indications of Eurythmy in September 1912. both the rehearsal phase and the performance/s of any proj- This winter I visited Frau Weymann in Berlin. We ect. When I looked out the window, a bright Spanish sun selected verses from each of the four Gospels. These verses shone on the green lawn, I felt as if invisible seed butterflies exemplify the individual Greek of the four writers. If we of light had been released into possibilities of a new and allow ourselves to enter through the Eurythmy into the greater life. formative flow of this language, we access an inspirational After all the work, the years, the research, trying this, life force. This work, ARCHÉ, will be showcased in April, trying that, the months of collaborating with my director, 2018, at the World Eurythmy and Speech conference in Wabei Mukwae, TIERRADENTRO presented a tapestry of Dornach. I am willing to share it in the form of movement profound poetic texts in seven languages and translations. seminars designed for both trained and untrained euryth- Now it was finally released; my limbs had let it go and mists. given it to those gathered for the premiere. I perceived how If you have any interest in ARCHÉ, please don’t Eurythmy had made the word and tone content transparent, hesitate to email or phone at [email protected] (trasparantado, a word creation of Juan Ramón Jimenez), or (727) 656-4087. transforming it into a more sublime Beyond. Wishing budding inspiration for the months ahead, I recognized that this experience had been made possi- Gail Langstroth ble through the uniqueness of Eurythmy. Most recently, February18, I sat in the guest bedroom of my friend’s apartment in the Bronx. The day before, I had Soulful Sparks Radio concluded the first rehearsal phase of a new project, The bit.ly/soulful-sparks-radio Heart Between Hammers, with percussionist/vocalist Fred In January, I began with a weekly radio show that airs live Johnson and director/actor David Deblinger. This produc- every Sunday at 9 pm EST. People can just enjoy listening, tion is the result of an ongoing discussion and close reading or join the live chat, and call in with questions and com- of Rilke’s “Duino Elegies” with Dr. Eva Maria Simms. On ments. Soulful Sparks Radio is intended for people who are May 13, 2017, our years of conversation and study will on the spiritual path, but perhaps not yet familiar with culminate in a weekend seminar and performance at eurythmy, anthroposophy, Rudolf Steiner. Each show Duquesne University. In the last months I faced the difficult begins with my verse for the upcoming week, inspired by task of choosing the stanzas from Rilke’s ten elegies, along Rudolf Steiner’s Calendar of the Soul, and ends with the with the task of translating Rilke’s syntax and voice into a I-A-O guided harmonious movement meditation. representative English. I sat, eyes closed, inwardly As the Sun enters a new Zodiac sign, I’ll share Rudolf reviewing rehearsal details. It was as if the word-cloak of Steiner’s verse from The Twelve Moods and talk about the Rilke’s genius had clothed me. It draped its cape around me. eurythmy gestures for the Zodiac sign, color, and conso- I was allowed to wear Rilke’s word-garment. nants, and the related eurythmy insights. One Sunday a Again, I was grateful to the Roots and Being of month will be for the practical implications of the vowels Eurythmy for this moment of grace. and planets, consonants and stars through Dynamic Name These epiphanies are gifts. They do not occur when I Mandala, the analysis of name and birth chart, which I feel rested and particularly hopeful; rather, when I am developed based on eurythmy. And every other week, I’d emptied and wondering . . . how to even continue. like to have a guest: a eurythmist once a month, and then When all is said and done, this is the greatest reward: once a month a person who knows about eurythmy, but these intangible butterfly moments. works in a different profession. 42 Eurythmy Association of North America The first guest was Gabrielle Armenier on January 15, and Dreams Fundraiser in February 2016. Specifically, the grant we talked about her performance at the Weil Recital Hall at funds were used to support the eurythmist, the accompanist, Carnegie Hall. and costuming. The eleventh grade students also worked on If you have a project, performance, program, fundraiser, speech and tone eurythmy during their Parsival block last let me know, and we can plan a date for you to be the guest spring, bringing the planetary gestures into their work cho- on Soulful Sparks Radio at bit.ly/soulful-sparks-radio. reographed to selected passages from the text as well as the Let’s spread the word about the beauty of the harmonious poetry of T.S. Eliot taken from Speech of the Grail. The movement art of eurythmy. www.hAmoves.net eleventh grade students also creatively applied the planetary Marta Stemberger, MA gestures to the game of volleyball (the Mars block, the Mercury spike and serve, the Venus dig, etc.); they were Reviews delighted to share their graceful ingenuity. The EANA grant supports the students’ artistic work in Cascadia Society for Social Working and the eurythmy and deepens their understanding and experience Vancouver Waldorf School present their annual event, of eurythmy. Last year’s graduating students spoke so elo- “A Fairy Tale Christmas” quently of their appreciation of their artistic work with the “The Shoes that were Danced to Pieces” was performed on eurythmy fairytale and how meaningful it was to perform November 25, 2016, at The Kay Meek Centre in West for the area’s Waldorf schools. They were amazed that the Vancouver. There were three performances; morning, after- children in the audience exclaimed “it is so windy” in noon and evening. response to their embodiment The story and original music are performed in the of the four winds. magical art of eurythmy. Hand bells, lyres and other Thank you again for the instruments add to the festive mood, to ring in the Christmas generous 2015-2016 EANA season. This performance is a collaboration between the grant; and the subsequent coworkers and mixed ability adults of the Cascadia Society, 2016-2017 EANA grant. Tara and students of the Vancouver Waldorf School. Now in its Performing Arts High School ninth year, this unique project is an artistic production that and I, as the eurythmy teacher has proven to be an unforgettable experience for all and artistic director, are participants. deeply appreciative! The fairytale is presented in eurythmy, which is With heartfelt gratitude, especially suited to fairy tales because the movements and Terryann Stilwell Masotti colors stimulate free and lively imaginative pictures in the Photo byTerryann viewers. It is always a marvel to see the drawings children make after seeing one of the tales performed in eurythmy. Eurythmy-by-the-Sea Music played on hand bells, lyres and other instruments, Having settled in Nova Scotia eight years ago, we are was composed by Lorna Fortin. continually amazed by the quality of the etheric We gratefully acknowledge the financial support of the environment, largely caused by the ocean and seasonal City of North Vancouver and the District of North rhythms – maybe something pristine from the earth’s child- Vancouver through the grants programs of North Vancouver hood has remained? Recreation & Culture, and the Eurythmy Association of So, the idea came to give something back – to create a North America (EANA). eurythmy event over a few days [August 17-20]. (Gabrielle Schneider had organized a wonderful conference at beautiful Novalis Hall in Ontario the previous summer.) Tara Performing Arts School Lured by the beauty of sky and sea and the love of We are so incredibly grateful for the EANA grant Tara eurythmy, a determined group of seven (including four received for the 2015-2016 academic year. The grant money eurythmists and three ‘enthusiasts’) carved time and space was used to support the eurythmy during the 2015 from their summer to work intensively and to live modestly, Christmas Candlelight Festival culminating in six perform- together. (Thank-you!) ances of the Annunciation, the Magnificat, and the appear- Our venue, much like a fisherman’s hut-by-the-sea, ance of the Angel to the shepherds in the Luke Gospel. invited us to ‘come unto these yellow sands’ and ‘see a The twelfth grade shared their work in eurythmy with world in a grain of sand…’ the fairytale “East of the Sun and West of the Moon” with Miraculously, speech artist Helen Lubin had been three free performances for the local Waldorf schools and planning a trip to Nova Scotia and selflessly synchronized it one evening public performance during their Dessert and to be with us…and placed artistic speech at the service of Eurythmy Association of North America 43 eurythmy. What a gift! (We are desperate for her to come alumna of Tara Performing Arts Waldorf School and back!) Adelphi University, who was visiting from Colorado for that one day only. The cellist and the eurythmist connected and Maria’s movement and gestures sang through from the Margaret Osmond, stage to the audience. I had the job of taking photos and I fourth was able to get many great stills even though I felt sad that from the I couldn’t relax and watch. left After another short introduction by Leonore Russell, Alexandra Spadea entered and performed the unique and A lovely local harpist, Ellen Gibling, moved us with her inspired Milonga Triste (on a theme of Sebastian Piana) inspired Celtic melodies. Thanks especially to Tesia Brown composed and played by Alex’s husband John McDowell. (living here in Nova Scotia) for leading these magical ses- The sound of the piano is so different from the cello that I sions in tone eurythmy. So it conspired that we were able to was excited to hear what the students might think, whether string together pearls of our arising work and previous solos they really saw how eurythmy changes and moves different- to offer a “Celebration of the Arts of Eurythmy, Music and ly depending on the harmony, melody, rhythm, and soul of Speech Formation” at a local church hall. Even a Lighter the music. I was able to take many photos of Alexandra’s jumped on-board, and became our most vocal advocate! performance as well, and felt a very stoic sense of responsi- And did we mention how eurythmist Kathe Stepenuck- bility, to capture as much of each performers’ work, even if Johnson came all the way from England, with a man’s white I missed the nuances of the in-between moments. eurythmy dress tucked in her luggage…from dear Chas Finally, Leonore Russell entered the stage to perform a Bamford, to lend to Arthur for Verse 21 of the Calendar of piano composition, Intermetzo op.76 no.4 in B flat by the Soul, a verse for three which looks like a red butterfly Brahms with form by Rudolf Steiner. Leonore had taught arising out of the ocean waves of blue and green. And now, the class for the entire semester. As their teacher, she treated knowing that Chas has crossed the Threshold in December, Leonore Russell the audience to a piano piece we feel his exquisite gesture of kindness extending to the that was classical and elemen- worldwide eurythmy community. tally different from the first two Underlying the time together, like golden sea-sand, was pieces; a beautiful and finely the reality of firmly found new friendships – a gentle anchor tuned eurythmy performance. I for future work. And...’the tide rises, the tide falls’. hoped that the students saw and Margaret & Arthur Osmond felt the differences, and how the human being can sing through Eurythmy at Adelphi University gesture and how important the musician is to the eurythmist. The eurythmy demonstration held on October 21, 2016, at After the three presenta- the Performing Arts Center, Adelphi University in Garden tions, Leonore spoke to the City, New York, was intimate and lovingly performed by students again about the three masters of eurythmy, Leonore Russell, Maria Ver elements of Tone Eurythmy. She invited Maria and Alex on Eecke, and Alexandra Spadea. The audience, made up of a stage to demonstrate an isolated musical element from each handful of music majors from the University and a few of their compositions. Tones, intervals and rhythm were others enjoyed and learned more about the art by watching highlighted. Each eurythmist presented the first line of her three completely distinct pieces. Most of the student piece with just the tones and then, with just the intervals, audience had never seen a eurythmy performance before. and then performing the complete piece a second time. From comfortable seats steeply raked, the audience looked Eurythmists and Musicians Finally I could watch with- down onto a light-toned wooden stage, with two out needing to take a single doors from which a performer could enter onto photograph and I enjoyed the small stage. Meant to showcase musical per- and clapped vigorously after formances only, this setting was about to host each piece. The three euryth- the University’s third eurythmy performance. mists and the three musicians The stage had only natural white stage lights did very well and I hope they and the musicians shared the floor with the three gained a few more fans from performers. Maria Ver Eecke was the first to per- that presentation. form. Accompanying Maria that afternoon was Ma Prem Sudip Peterson Natalie Simpson, a talented young cellist and an Photos by Sudip 44 Eurythmy Association of North America Letters to the Editor Announcements Dear Maria, Master’s Degree Course in Eurythmy I received the newsletter yesterday and want to thank you The purpose of this article is both to let people know about for the lovely design work! The Angel looked good, and the the possibility of pursuing a Master of Arts in Eurythmy in Morgenstern was special to have there on the same page! English, and to publish a list of MA papers on various All in all, this newsletter gave me a good impression of themes that might be of interest to colleagues. what is happening, on ‘both sides’ of our threshold. Such a In the autumn of 2014 fifteen students began a part-time sign of our times! Much gratitude for your continued work Master’s Degree course in eurythmy at Emerson College in with the newsletter, in addition to so much else!! England, most of whom have now finished their degrees. It With much appreciation, and warm greetings, has been a wonderful journey together. Six of these euryth- Michael Hughes mists work in the field of eurythmy in education, six are working as eurythmy therapists, and three are engaged with Tone Eurythmy Therapy Course in Chicago eurythmy as a performance art. They have each explored Every day for ten days, we practiced simple tone eurythmy their own questions, learned a lot about how to carry out exercises, as in a first-year training at Eurythmy School… research, and have initiated many eurythmy projects within repeat and repeat until sounds begin sounding in a body. the context in which they live and work. Hearing from them And, there were momentsfull of intense and deep meaning in their own words is perhaps the best way to have a glimpse (sometimes too deep for me to follow). After a few days, into what this process has been. I felt myself being healed. The harmony was so unique with other participants, including very experienced eurythmists, “When I embarked on the MA I had decided that I wanted doctors, Society members, and other artists. to be able to stand more strongly in my profession as a Jan’s approach was strong and focused. Thank you so eurythmy therapist, to feel able to represent it in the world… much to her and to all who supported this workshop at the it has taken me a long way toward this goal!” community in Chicago: Tish Pierce, other eurythmists, the Christian Community, and The Anthroposophical Society. It “I wanted time to deepen my performance work, to become was an unforgettable autumn in Chicago. more professional in the field of performing, and to “be at home” with what I am doing. I also experience that it is highly fruitful to have the specializations together in one course - eurythmy with all possibilities is present in a very concrete way.”

“Doing the MA started an exciting confirmation of theory and practice: honing the research questions, providing challenging new information, and giving the wonderful opportunity of working together with colleagues to deepen Photo by Janine or Debra Barford our understanding.” Now in Taiwan, I already taught first to twelfth grades in English and Japanese. This school has English and “Being able to leave the course with a degree that is gener- Japanese programs beginning in first grade. They really ally respected gives me hope for the future of eurythmy.” appreciate my incomplete English as a big gift. I will never “Exploring Eurythmy from different perspectives - with the forget Maria Ver Eecke’s support last year. help of inspiring teachers, lively exchange with colleagues Also I am teaching in the Waldorf Teacher Training and experience of other movement disciplines - has brought course. This is due to Shiori’s influence, a pioneer here, who new depth and insights to my understanding of Eurythmy.” did a very good job. They treat me very well as they did Shiori. Also, Taiwanese citizen generally welcome Japanese The following are the themes of the students’ final Master’s and other foreigners. This country’s openness comes from a works: tough history and perhaps, the climate. Of course, I am Katherine Beaven: Eurythmy Therapy in Stroke always connected with other artist in Taiwan, sculpture Rehabilitation artist, contemporary dancers and an International Rakugo Elizabeth Carlson: Does eurythmy help to integrate story teller, to name a few. See what happens! primitive reflexes? Regards, Diana Constantin-Skinner: Return to the Centre – First Takae Matsuo stages of establishing a Eurythmy training in India Eurythmy Association of North America 45 Katharina Ellsasser: Complex-Post-Traumatic-Stress- practice placement settings, or employment within schools. Disorder, an Action research on the qualitative impact of This can be done in stages throughout the two years of the Eurythmy with youths with C-PTSD course. This teacher training pathway will take place within Rozanne Hartmann: How does the manifestation of the the primary MA blocks, with some shared sessions and Etheric in Eurythmy Therapy relate to the flow of the Tides Master Classes with other MA students and some smaller in Craniosacral Therapy? group work. At the end of each block there will be one addi- Georgie Howlett: Catching a moment of truth – tional week for the teacher training students, which will be Integrating different rehearsal techniques in a eurythmy focused on this specialization. ensemble working process Entry interviews will take place in Spring Valley on Michele Hunter: Independence in Adolescence – a May 6 and 7 for those who wish to apply for the MA at student-based eurythmy project Emerson College, autumn 2017. The course will cost £6500 Inga Neimane: Dialogues between Mothers and Sons – in total with an additional £500 for those needing to com- An exploration of the creative potential in Eurythmy and plete a BA (integrated into the first six months) and an addi- Drama tional £500 for the extra teacher training blocks should you Brenda Newton: Exploring the use of weights in be enrolling for this. If you are interested in finding out Eurythmy Therapy more please contact us at: [email protected]. Rebecca Paten: Can eurythmy be an effective tool for Shaina Stoehr and Coralee Frederickson care workers to develop and maintain empathy toward their disabled clients? Eurythmy Training Initiative Somia Rhilam: Eurythmy as visible speech – between A new Eurythmy Training Initiative in Portland, Oregon is philosophy and the culture of performativity forming. We are starting with a part-time Eurythmy Kristina Tucinska: Performance and paper: “I am also Intensive, which we hope to grow into a first- and second- only a human being” year of Eurythmy training in the future. Gabriella Vasas-Turnbull: The contribution of eurythmy to the development of life skills in the Waldorf school Classes are starting in September of 2017. Ursula Werner: Expanding the practice of Eurythmy Open House: March 4, 2017 From our mission statement: By recognizing the need and Eurythmy Therapy in the public domain of the UK, for Eurythmy and eurythmists in the world, this new initia- Challenges – Experiences – Possibilities tive exists to provide a way for people to embark on a path Mervin Wilk: Methods of Assessment of Eurythmy in of Euythmy. The Portland Eurythmy Intensive will lay a Steiner Schools in Norway broad foundation in Eurythmy focused on the guidelines If you would like an electronic version of one of these created by the Section of the Performing Arts in Dornach, papers please contact us and we will be able to put you in Switzerland, so that the students may seamlessly move on to touch with the author. their final years of training once they are ready. Currently there is a group of seven eurythmists in the The multi-faceted curriculum brings various subjects in Master’s course taking place in Spring Valley who are in the addition to Music and Speech Eurythmy with guest teachers final year of their degree. We look forward to their comple- in subjects, such as anatomy and embryology, painting, tion of performances and projects, some of which will be music theory, creative speech and projective geometry. We presented at venues in the USA. will bring this by teaching with warmth, integrity and a Our plan is to begin a new course in the autumn of commitment to collaboration between our students and 2017. This will take place again at Emerson College in six teachers. blocks over a two year period, consisting of a total of eight Values: Portland Eurythmy Intensive will work deeply weeks. We will unfortunately not be able to run the program with the foundation and basic principles of Eurythmy. We in the USA any longer due to regulations of the university. hold warmth, integrity and a commitment to collaborations In addition to the three pathways for professional the ground from which we work. eurythmists of performance, therapy, or education/social art, For more information contact: it is also now possible to do an MA pathway in Eurythmy as [email protected] Education and Social Art as a training for teaching in Carrie Mass and Jolanda Frischknecht schools. This is open to anyone, including those coming www.portlandeurythmyintensive.org directly from eurythmy training. This teacher training will be practical in nature, with input from tutors on child devel- opment, teaching methods, and age specific curriculum, and include self reflection processes and personal mentoring. The aim is that students find their own observation and 46 Eurythmy Association of North America Eurythmy Mentoring Seminar: As a harmonious art of movement, eurythmy plays into pedagogy, therapy, stage performance, and in the social Strengthening Eurythmy Teaching in sphere. Today the study of eurythmy is taught in 22 centers; our Waldorf Schools, June 25-30, 2017 bachelor’s and master’s degrees can be achieved; there are A new Mentoring Training for Eurythmists with Christof 19 training courses from South America, to Europe, to Asia. Wiechert and Leonore Russell and guests will begin at the One of the matters of thought for Aban Bana and Dilnawaz Center for Anthroposophy in Wilton, NH, this June. Bana, the two initiators of the World Eurythmy Day, was In this course we will immerse ourselves in a deepening that each year on September 24, the possibilities for euryth- of our understanding of the human being out of anthropos- my are discussed. In their discussion, they wrote, “What is ophy, while actively strengthening eurythmy programs in the most complex and challenging instrument that a human our schools. The intention is to inspire eurythmists through can sound and play? It is that, which all humans share.” collaborative work with adults and peers, sharing socially They meant that which sustains life, and in times of illness, healing exercises out of “Eurythmy in the Workplace” that heals. The date, September 24, is the day in 1912, that Marie will help us discover new pathways into our daily lives and Steiner, with Rudolf Steiner, named this art of movement, work. Mentoring will be offered through practical demon- Eurythmy. The word was not a new creation; it had been strations, reflection, and active participation that will strive used by Johann Wolfgang Goethe and Émile Jaques- to enrich our role as eurythmists in our schools and commu- Dalcroze, with a somewhat different meaning. nities. Stefan Hasler, first a worldwide eurythmy professor Exercises will invite us to share experiences and to from the Alanus-Hochschule in Alfter, Germany, and today actively explore our perceptions through movement, discus- the leader of eurythmy for the Section for Spoken and sions, role plays, and creative activities: together we will Musical Arts at the Goetheanum, supported the idea for a seek the hidden truths that will support our work. There will Eurythmy Day. “After 100 years, Eurythmy has become a also be time for sharing questions, successes, and reality. Greatly thanks to the worldwide spread of Waldorf- challenges as eurythmists, as well as artistic work which we Steiner schools and the artistic ensembles, eurythmy is will share with the Renewal community. practiced around the globe, 24 hours a day.” All eurythmists This seminar is reserved for eurythmy teachers, who are called to gather in their circles for eurythmy, either exer- will need a letter of recommendation from their schools to cised together or done as a performance. participate. Daily morning lecture by Christof Wiechert. Leonore Russell – M.A., Adelphi University, adjunct East Bay Waldorf School is Seeking faculty at Antioch University New England and Adelphi University; Director of the Franz E. Winkler Center for Eurythmy Teacher K-8 Adult Learning. Practicing eurythmist and pedagogical East Bay Waldorf School is currently seeking a trained mentor of eurythmists; formerly high school humanities and experienced eurythmy teacher at approximately 80% teacher and administrator at the Waldorf School of Garden time in grades K-8 for the 2017-18 school year. City. Author of Kinesthetic Learning for Adolescents. CfA We are looking for someone who is positive, creative, High School Teacher Education Program Courses: has strong organizational skills, and communicates well Eurythmy, professional seminars Renewal Courses: with colleagues, administration, and parents. We value Eurythmy, Organizational Development excellent teaching and classroom management skills, artis- http://www.centerforanthroposophy.org/programs/ tic integrity, and a deep understanding of child develop- renewal-courses/course-listings/week-1/ ment. We have a comprehensive and contemporary program along with an accompanist.Eurythmy has been a strong program at the school and the children are receptive and First Worldwide Eurythmy Day, joyful in class. Lessons are taught in a bright room with September 24, 2016 bamboo/cork flooring and a Steinway piano. East Bay Waldorf School is an independent AWSNA- From the Life at the Goetheanum and WECAN-accredited school, located in El Sobrante, By Sebastian Jüngel; Translation by Anya Thaker California in the beautiful, thriving East Bay hills – just As an initiative from eurythmists, Aban Bana and Dilnawaz minutes from Berkeley and San Francisco. Our site com- Bana, both of Mumbai, India, and with the support of Stefan bines the best of two worlds: an idyllic natural setting with Hasler, Leader of the Section for Performing Arts at the open fields and gardens, adjacent to regional parks and wild Goetheanum, there has come about the first Worldwide lands, and within thirty minutes of the major cultural and Eurythmy day on September 24, 2016. urban centers of the San Francisco Bay. Eurythmy Association of North America 47 Our school was founded in 1980 and offers a complete Since the beginning of ESV's winter term, our students Preschool-8th Grade Waldorf education, as well as thriving have been immersed in learning the many elements at each Parent-Child and Parent Education programs. For the 2016- stage of the training. It is always remarkable to see the clear 2017 school year EBWS will serve over 180 students, from steps of development and refinement inherent in the train- infancy through Grade 8. We have excellent teachers, an ing, through watching our student presentations from the active parent body, a strong board and serve as the campus first class through the graduating year. We invite you to join for the Bay Area Center for Waldorf Teacher Training. us in celebrating their work at our Winter End-of-Term Ideal candidates have completed a full Eurythmy Festival. training and a Bachelor’s degree, have experience teaching, and are committed to collaborative work with colleagues A Public Workshop with Dorothea Mier! and self development. Our full time base salary is $50,000 An ESV Fourth-Year Dornach Fundraiser with increments for teaching experience and health, dental, Friday, April 21, 2017: 7:30 p.m. – 9:00 p.m. and tuition remission, mentoring and financial support for Saturday, April 22, 2017: 9:00 a.m. – 1:00 p.m., School of professional development. Eurythmy. Workshop Fee: $75. Pre-registration is required. Candidates should familiarize themselves with the Our spring workshop for the public is a unique opportu- school via this website prior to applying. Please send your nity to experience the joy and substance of eurythmy with resume, along with a letter of interest, highlighting your Dorothea Mier, director emeritus of ESV. Out of her lifetime teaching experience, life experience, qualifications and of working with eurythmy, she will share her insights in this strengths. In addition, please include three references that open course suitable for beginners, as well as for those who we may contact. Please submit an email resume to have a long-standing love of eurythmy. Join us for this rare [email protected]. opportunity to experience her refreshing approach to accessing the deep, sustaining value of eurythmy. Eurythmy Spring Valley Events Concert with Pianist Marcus Macauley and Cellist Claude The Lady and the Lion: A Premiere by the ESV Ensemble Gilbert – An ESV Fourth-Year Dornach Fundraiser Saturday, March 18, 2017, 8:00 p.m. Threefold Saturday, April 22, 2017, 8:00 p.m., Threefold Auditorium. Auditorium. Tickets: $15 / $9, students and seniors Suggested donation: $20/$10, students, seniors/$5 children Join us for Eurythmy Spring Valley Ensemble’s premiere of Spring is on its way, and we look forward to an exciting their newest program, The Lady and the Lion! This action- concert by cellist Claude Gilbert with pianist and composer packed tale, adapted from a Brothers Grimm fairytale, leads Marcus Macauley! The program will include Bach’s Suite us through many inner and outer landscapes before, with No. 3 in C Major for unaccompanied cello, and selections beating hearts, we find the lady and lion transformed at the from Sir Edward Elgar’s Cello Concerto in E Major, op. 85. end. Join us for this captivating tale, which will be sur- Currently pursuing his undergraduate degree at SUNY rounded by a selection of other pieces. Purchase, Claude Gilbert began his cello studies in third grade at Green Meadow Waldorf School. Seattle-born Eurythmy as Melody in Music and Poetry – A Public Marcus Macauley won his first concerto competition at age Eurythmy Course with Annelies Davidson 11, performing with numerous orchestras and winning six Saturday, March 25, from 9:00 a.m. – 4:00 p.m. national composition awards before entering college at the Course Fee: $60. Eastman School of Music. Since 2009 he has been a resi- Sing in gesture and movement, with “songs” by Schumann dent musician for Eurythmy Spring Valley and has toured and Shakespeare during this one-day workshop with with eurythmists in Europe, Asia and the United States. Annelies Davidson. As spring draws us outdoors into greater activity, we are offering a course to help us awaken Frontier Eurythmy Part-time Training Course: to the new season through eurythmy! This Saturday course with Annelies provides an opportunity to experience the New Class Forming for April 2017 rejuvenating capacity of eurythmy, the art of movement that First Training Block: Sunday, April 23 through April 29, is both naturally therapeutic and an invaluable doorway to and Second Training Block: June 18-July 1, 2017 deepening our sense of self and the world. Beginners are In April 2017, we are beginning a new class in our Frontier very welcome; no prior experience is necessary. Part-Time Training, which has been a doorway for many of our students to start their professional training in eurythmy. School of Eurythmy – Winter End-of-Term Festival The Frontier program is ideal for those who want to begin Thursday, March 30, 7:30 p.m. Threefold Auditorium their studies in professional eurythmy while honoring other Donations welcome. existing commitments. Unlike the full-time training at 48 Eurythmy Association of North America Eurythmy Spring Valley, we do not offer a new Frontier William Shakespeare: Sonnets and Plays – A Poetics class every year, so if you’ve been thinking about beginning Course with Coralee Frederickson, Ph.D the eurythmy training, this is your best opportunity to enroll Monday, May 15. 9:35 a.m.-2:55 p.m. (three sessions with in the new class of our part-time training program. a lunch break) and Tuesday, May 16. 9:35 a.m.-12:25 p.m. (two sessions), School of Eurythmy. Course Fee: $75. 30th Anniversary Celebration Performance of the Shakespeare, the greatest poet and dramatist in the Eurythmy Spring Valley Ensemble English language, stands on the shoulders of his predeces- Saturday, April 29, 2017, 8:00 p.m. Threefold Auditorium sors who tilled the soil and planted the seeds that he reaped Tickets: $15 / $9, students and seniors so abundantly. In this poetics block, we will trace the devel- In the fall of 1986, the Eurythmy Spring Valley Ensemble opment of the sonnet from its origins in the sonnet cycles of began its work, which over decades has taken us to commu- Petrarch through the works of the early sonneteers, Wyatt nities across the continent, as well as on tours in Europe and and Surrey, and culminate in Shakespeare’s sonnets. We Asia. Join us for this singular performance, celebrating both will then transition to the poetic language of Romeo and the history and members of the Ensemble, who have made Juliet and A Midsummer Night’s Dream. All are welcome! its continuous work possible over three decades A graduate of ESV, Coralee has been the School Leader at Den norske Eurytmihøyskole, in Oslo, Norway, as well as Pedagogical Eurythmy Course with Annette Conlon the Program Director of their B.A. Completion Program, Monday-Friday, May 1-5, 2017, 8:15 a.m.-3:00 p.m., which was hosted over two cycles at ESV. Coralee is now School of Eurythmy, Chestnut Ridge, NY the Co-Director of the Alanus University M.A. Program in Course Fee: $400. Eurythmy. In May 2017, we will be opening the spring block of our pedagogical eurythmy training to eurythmists who would Fourth-Year Graduation Solo Performances like to join the course. We are very happy to have Annette Sunday, May 21, 2017, 4:00 p.m., Threefold Auditorium Conlon with us again, continuing the work on the lower and We warmly invite you to join us as the students of the middle senses, now in relationship to the pedagogical Graduating Class of 2017 present their solos in preparation eurythmy curriculum for grades three through six. During for the graduation performance on June 3, 2017. Each stu- this course, child development will be brought from the dent will perform a speech and a tone solo as the culmina- point of view of the class teacher and general Waldorf cur- tion of an intensive, individual artistic process. It is a festive riculum. Faculty for this segment of the course is still to be event, and the whole community is invited to share in this announced. Annette Conlon is a therapeutic and pedagogi- special first step towards graduation. Donations welcome. cal eurythmist who taught for many years at the Pleasant Ridge Waldorf School in Viroqua, WI. She has recently Join us for the Graduation Performance! re-located to Berlin, so we are delighted to be able to offer Saturday, June 3, 2017, 8:00 p.m., Threefold Auditorium this workshop with Annette to eurythmists in our region. Donations welcome. On June 3 our fourth-year class will present their graduation A Lecture by Bastiaan Baan: How to Know, Confront, and performance at the Threefold Auditorium for family, Work with Evil – An ESV Fourth-Year Dornach Fundraiser friends, and all who have supported them on this incredible Saturday, May 6, 2017, 8:00 p.m., School of Eurythmy journey! Our eight students in the “LL” Class hail from Suggested donation: $20 / $10 students and seniors China, Germany, Canada and the United States. Their grad- Once again, we are thrilled to have Bastiaan Baan uation program will include works by Ludwig van bringing themes out of his research, particularly on a theme Beethoven, Rudolf Steiner, Edith Sitwell, Mary Oliver, that is deeply relevant to the human experience and our Antonin Dvorak’s Dumky Trio, a beautiful Brothers Grimm time. Bastiaan Baan is currently the director of the fairytale, “The Nixie of the Mill-Pond” and many other sur- Seminary of the Christian Community in North America prises. Seating is limited, and tickets must be reserved in and has worked as a priest in the Christian Community for advance from the Eurythmy School office. 35 years, both in the Netherlands and the United States. He For reservations, please call Eurythmy Spring Valley at has written several books, including his most recent 845-352-5020, ext. 113, or email: [email protected]. publication The Chymical Wedding of Christian Rosenkreutz: A Commentary on a Christian Path of Excerpts from the ESV Graduation Performance of the Initiation, published by SteinerBooks. Class of 2017 Wednesday, June 7, 2017, 4:30 p.m. Location to be announced. Donations welcome. For those of you unable to attend the graduation Eurythmy Association of North America 49 performance of the ESV Class of 2017, this afternoon will Van der Pals/Kirchner-Bockholt provide another opportunity to experience their culminating Tone Eurythmy Therapy Course work. The performance includes music by Ludwig van Held in English by Jan Ranck Beethoven and Antonin Dvorak, poetry by Mary Oliver and July 20 – 29, 2017 Edith Sitwell, with many other beautiful and humorous Camp Hill Beaver Run, Glenmoore, Pennsylvania selections. Please join us for a color-filled afternoon. The course is warmly recommended for trained eurythmists, eurythmy therapists, medical doctors, music therapists and Spring End-of-Term Festival students in these fields. Thursday, June 8, 2017, 7:30 p.m., School of Eurythmy The course is sponsored by ATHENA and therapeutic Donations welcome. eurythmists who are members are eligible to apply for As another school year comes to a close, our students grants via [email protected] are pleased to share with us the fruits of their labors. It is Members of EANA may inquire about travel grants here that we glimpse the work that has prepared them to step through Gino Ver Eecke at [email protected]. into the next year. Please join us for this demonstration of Information and Registration: [email protected] (in their work during the spring term, at the close of our train- the subject field please write “Beaver Run” and your name) ing year. Inspired by Rudolf Steiner’s indication that tone eurythmy therapy should be developed in addition to speech Summer Eurythmy Week: Exploring Eurythmy in Nature eurythmy therapy, eurythmist Lea van der Pals and and in the Inner Life of Soul – A Summer Public Course Margarete Kirchner-Bockholt, M.D., worked together in the Sunday-Friday, June 18-23, 2017, School of Eurythmy, late 1950’s to develop a sequence of exercises in connection Course Fee: $450, if paid by registration date of June 19 with the diseases discussed in Rudolf Steiner and Ita ($450 after registration date). Wegman’s book Extending Practical Medicine. Come herald in the summer with a rejuvenating week of This course, which includes a review of all of the eurythmy! ESV faculty members Natasha Moss and Sea- elements of tone eurythmy, was taught for many years by Anna Vasilas will lead the course, weaving themes between Lea van der Pals within various eurythmy therapy trainings, the outer world of nature and the inner life of soul, augment- and the effectiveness of the exercises was shown in practice. ed by other complementary arts. Nature is resplendent with When for health reasons Lea van der Pals was prevented poetry, especially in the spring, when the beauty of the from continuing to teach, she passed the torch to Annemarie world reveals itself everywhere. We will explore the ele- Baeschlin, who took over holding the course and assisted ments of speech eurythmy in nature, working with poets Lea van der Pals in bringing the material into book form. who sought to exemplify the creative forces that live behind At this time Jan Ranck held the practice sessions within the world of our senses. Come explore music as it sings Annemarie Baeschlin’s courses, and was also involved with through the movement of the human body and discover the compositional and editorial suggestions for the publication brilliance found within the essential elements of tone Ton-Heileurythmie, Verlag am Goetheanum 1991, published eurythmy. Beginners very welcome! in English in 2009 as Tone Eurythmy Therapy by the Medical Section at the Goetheanum. Save the Date! Summer Refresher for Eurythmists on Jan Ranck was born in America, where she studied Waldorf Pedagogy music and comparative arts at Indiana University in Monday through Friday, August 21-25, 2017 Bloomington. She accompanied the London Stage Group on School of Eurythmy. Course Fee: $450. their 1976 USA tour and went on to study eurythmy in Eurythmy Spring Valley is actively involved in the planning Dornach with Lea van der Pals. She was a faculty member of this summer’s pedagogical refresher course for euryth- of the Eurythmeum in Dornach and The London School of mists, and will announce both the theme and faculty in Eurythmy. After completing a eurythmy therapy training in March, 2017. Beyond the focus on this year’s theme within Stuttgart in 1989 she moved to Israel and is currently the the eurythmy curriculum and child development, we will founding director of the Jerusalem Eurythmy Ensemble look at presenting eurythmy to Waldorf parents, as well as (1990) and the Jerusalem Academy of Eurythmy (1992). have time to share material with one another and discuss She is also an instructor in the Jerusalem Waldorf Teacher topics of current concern and interest. If participants have a Bachelor Program in David Yellin Academic College, and a eurythmy solo to share, it would be lovely to make time for guest teacher in various venues worldwide, including the sharing artistic work with one another. For information Goetheanum and the MA Program in Eurythmy held in about the course, or to register, please call 845-352-5020, Emerson College and Spring Valley. She is the representa- ext.113, or email: [email protected]. tive for Israel in the International Department of Eurythmy www.eurythmy.org 50 Eurythmy Association of North America Therapy (“Eurythmy Therapy Forum”). Besides the mate- with all participants contributing from their various profes- rial mentioned above, Lea van der Pals’ book The Human sions. The accomplished pianist, John Paul Pendowski, who Being as Music (Robinswood Press 1992) published in played for the sessions daily, gave two outstanding solo German in 1969 as “Der Mensch Musik”, is highly recom- recitals. In the last, Jan Ranck and Christina Beck joined mended as background reading for the course. him to perform solo eurythmy pieces by Claude Debussy (Claire de Lune) and Arvo Part. We also had an evening to Reports on Therapeutic Tone Eurythmy Course visit the extraordinary and famous Chicago Art museum. This was the US first public course offered by Jan Ranck, Jan will offer another course this summer from July 20- who has held these specialized workshops in Europe and 29, hosted in Camphill Beaver Run, PA, and a West Coast beyond. The diverse and vibrant Windy City in the late course is hopefully forming. If you have not yet experienced autumn provided a fitting venue for this Midwest native. this work, I would like to recommend that you take the time While designed as a professional course for eurythmists for this intensive practice, whether you are able to bring it and physicians, it was also generously open to all who work to your patients or not. It is a focused discipline to reorient with and are dedicated to music and the singing soul, within the instrument and thereby to reach the life stream of music and through the human instrument. Hosted in the Chicago that heals and renews. Christian Community and the Anthroposophical Branch Glenda Monasch, TE Center of Chicago, it was attended by eurythmists, thera- peutic eurythmists, music therapists, physicians and those I would like to join Glenda in giving the endorsement of a interested in tone eurythmy. Those from out of town, (one physician participant to the course of Jan Ranck. For the participant even came from Germany), were warmly wel- physicians attending it was definitely also a special treat. I comed and hosted by the local participants. Peter Snyder- was able to be present for the entire ten days and it could not Vine was tirelessly energetic in his care and considerate have been time better spent. help with the organization. It is one thing to think, read or meditate on the astral body, Jan is a profoundly patient teacher, remaining carefully it is another altogether to actually experience the musical within the lawfulness of the tone eurythmy elements them- sounds and to give them expression through one’s own body selves, and true to Rudolf Steiner’s tone eurythmy course. in eurythmy. Unexpected was the realization of how much With her stringent guidance in attending to our experiences intensive and repetitive work it takes to have the tone in the instrument and a healthy dose of humor, she led us eurythmy impulses “sit” and take root in oneself. I defini- through specific focus to intensive engagement and new tively recommend to any physician who is interested in experience. Her artistry always tended toward clarifying the practicing anthroposophical medicine to partake in such a soul within the instrument and she guided us to course. Jan Ranck seems to have the destiny to bring thera- mastering ourselves in the movement, freeing, breathing. peutic tone eurythmy to the world – or at least to the She provided excellent examples for us to enter into the English-speaking one. She deserves our support. Her musical elements. Repetition and nuanced practice helped method and the content is not always easy to keep up with us transform our instruments, and over the time we as a lay person, but she struggles valiantly to bring even developed strength and capacity. those unfamiliar with this world of tones in eurythmy (like Intensive, challenging, and transforming for all, the me) along. course was structured in such a way as to lead us from artis- All physicians present, Cathy Sims-O’Neal, Andrea tic engagement into the intensive practice and then to the Rentea, Mark Kamsler and I felt that we were much closer therapeutic application. As such it was accessible for all, to being able to both understand our patients in their while at the same time, provided a specialized development suffering and to understand anthroposophy (the astral body) for eurythmy therapists. The nine fundamental exercise as a consequence of the course. groups developed by Lea van der Pals and Dr. Kirchner We had a young chiropractor participating, Sorina Bockholt address the medical conditions/complex of Rentea DC, who, although a Waldorf school graduate, has Rheumatism; skin (eczemas); heart and circulation had very little exposure to anthroposophy as such. She not congestions; sugar (diabetes), protein, and fat, digestion only learned a lot but expressed at the end,“I actually like anomalies; mineral deposit tendency/gout, arthritis, this and want to continue exploring it.” deformations. Jan Ranck deserves a big thanks that she lets physicians The course also allowed us to receive inspiring presen- participate. The cooperation between physicians and tations by the attending Anthroposophical physicians Drs. eurythmy therapists cannot flourish unless both sides share Cathy Sims-O’Neal, Ross and Andrea Rentea, and Mark experiences together. All in all, the course is to be Kamsler. These led to lively questions and conversations recommended highly. Ross Rentea, MD Eurythmy Association of North America 51 Summer Eurythmy Conference Rudolf Steiner’s Twelve Moods with Michael Leber and Dorothea Mier Friday, August 4 to Sunday, August 13, 2017 This summer, August 4 through 13, 2017, Michael Leber of Eurythmeum Stuttgart will again come to the West Coast for a week long Eurythmy Course. Dorothea Mier will join him this year to work on Rudolf Steiner’s Twelve Moods, includ- ing the Satire! A Tone-piece might also be worked on. This will surely be a very exciting and special workshop with a theme that many of us have been wanting to work on for some time. The course will be held in Portland, Oregon. Course fee around $500. Travel funds available through EANA. More details to come. Jolanda Frischknecht, for Portland Eurythmy www.portlandeurythmy.org

Students of John Hinkle, Credo Waldorf High School, perform at Sonoma State University. “As is the Sun in the void firmament…” from “Eurydice” by Dame Edith Sitwell. Calendar 2017 for Eurythmy Spring Valley March 3-4 Professional Workshop with Dorothea Mier March 4 Talk by Michael Howard,“The Spiritual Service of Art in the Digital Age”Fourth-Year Dornach Fundraiser March 11 Concert with Emmanuel Vukovich, Fourth-Year Dornach Fundraiser March 18 ESV Ensemble Premiere, The Lady and the Lion March 25 Public Course with Annelies Davidson March 30 Winter End-of-Term Festival April 21-22 Public Course with Dorothea Mier – Fourth-Year Dornach Fundraiser April 22 Concert with Marcus Macauley and Claude Gilbert – Fourth-Year Dornach Fundraiser April 23-29 Frontier Eurythmy Part-Time Training Course, First Training Block; New Class Forming for April 2017 April 29 ESV Ensemble 30th Anniversary Celebration May 1 – 5 Pedagogical Open Course for Eurythmists with Annette Conlon, as Part of our Pedagogical Training May 6 Lecture by Bastiaan Baan – Fourth-Year Dornach Fundraiser May 15-16 A Poetics Course with Coralee Frederickson May 21 ESV Fourth-Year Solo Showing June 3 ESV Graduation Performance June 7 Excerpts from ESV Graduation Performance June 8 ESV Spring-End-of-Term – Showing of the Students’ Work SAVE THE DATES! June 18-23 Summer Eurythmy Week – Weeklong Intensive Course for the Public August 21-25 Pedagogical Refresher Course for Professional Eurythmists www.eurythmy.org; 845-352-5020, ext. 13 Gabrielle Armenier www.eurythmyagency.com

Lincoln Center David Geffen Hall

Saturday, January 14, 2017

Performing Arts Educators presents Tenth Anniversary Invitational Festival of Dance

(photo to the right)

FESTIBA: Sculpture Inside Out University of Texas

Eurythmist Gabrielle Armenier joins pianist Svetlana Smolina and violinist Lee Chin in performance at Carnegie Hall.

U.S. Premiere of Singaporean composer Kam Kee Yong’s Kuang Xiang Qu

February 8, 2017 8:00 p.m.

FESTIBA: Sculpture Inside Out

Sculpture and Eurythmy in conversation one with the other, a presentation on the arts of sculpture and eurythmy by Stephen Hawks and Gabrielle Armenier.

Thursday, March 2, 2017

University of Texas, Rio Grande Valley