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EurythmyEuryythmy ~ Christ tina Beck Speeech/Acting ~ BeatriceB Vo Mussic ~ Several co ollaboratin

Performances/Workshops Begin Fal l 2018 Sponsored by Lem niscate Arts

Tax deductible do nations may be made to: Lemniscate Arts a 501(c)3 corporation tion (#20-2307129) noted for Amaranth th Eurythmy Theater and sent to 114 Tuscarora Dr., , Hillsborough, NC 27278 or online at amarantheurythmytheater.org ntheurythmytheater.org

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AMMARANTTH E U RY YT TH M Y TTH EEA AT TE R

VOLUME 95 Spring 2018 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 main- tain, 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 Emeritus 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. Laurel Loughran, 778-508-3554 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 Victoria Sander, 518-672-4289 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. Anna Ziegner, 267-495-9887 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 Grant Proposals 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. Laura Radefeld, [email protected] 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 Emeritus Alice Stamm 4 Letter from the Editor Maria Ver Eecke 4 International Conference at the Goetheanum, April 2018 Stefan Hasler and the Preparatory Group 5 Tribute to Carina Schmid Sebastian Jüngel 5 Celebrating a Life in Eurythmy – Jean Schwarzkopf Isabela Guardia Ferragutti 7 Memories of Hélène Oppert Christina Beck 7

Articles

Finding Unison in Vowels: The Hope and Blessing of Whitsun Kate Reese Hurd 8 Creating an Event: “Ancient Egyptian Culture Andrew Dzedulionis 11 Rising Up in High School Eurythmy Maria Ver Eecke 13

Reports and Reviews

Lerne zu Erleben – Learn to Experience Gail Langstroth 14 West Coast Eurythmy Teacher Conference with Carina Schmid Cristina Geck and Susan Strauss 14 The Fourteenth International Eurythmy Forum, Witten Cristina Geck and Thyria Ogletree 15 Report from The Bay Area Eurythmy Ensemble Ruth Bucklin 16 High School Eurythmy Ensemble Michaela Bergmann 16 Report from the Waldorf School of Orange County Lilith Dupuis 17 Inner Sun Eurythmy Initiative Laura Radefeld 18 Report on the Tone Eurythmy Therapy Course with Jan Ranck Linda Larson 20 Eurythmy Festival at the Cascadia Society for Social Working Ruth Tschannen 22 Eurythmy Spring Valley Faculty and Students 22 Books and Publications 26 Events 28 Announcements 30 Calendar 33

Front Cover: Amanarath Eurythmy Theater Inner Back Cover: Photo of Inner Sun Eurythmy Initiative; Thyme Arts Fund, Lemniscate Arts Outer Back Cover: Eurythmy World Tour, www.stormsofsilence.org 4 Eurythmy Association of North America Letter from the President Letter from the Editor Dear Colleagues, Spring Greetings! Next year 2019 will celebrate 100 years of Waldorf I am thinking of all the eurythmists, speech artists and education. Milestones of 100 years have been guiding our friends heading to Dornach for the International Eurythmy Anthroposophical Movement now for some time. We conference at the Goetheanum. May it be enriching! And remember 2011-12 and 100 years of eurythmy. And we look may we hear about your experiences in the next issue of the forward to 2023 and 100 years of the Foundation Stone newsletter. Meditation Conference. The impulse for eurythmy as a In this spring issue Kate Reese Hurd gives thoughtful result of that Event, continues to guide our work worldwide. consideration to language in “Finding Unison in the That the verses for the Foundation Stone were then Vowels,” and then she remarkably leads us to “The Hope performed in eurythmy shows the modern, public nature of and Blessing of Whitsun.” I am grateful that she has become the Society even while carrying the open secret of deepest such a steady contributor to the newsletter. Andrew esoteric work. Dzedulionis shares his journey developing a program on The need to perform modern texts, stories, prose work verses of Ancient Egypt. And there are many possibilities can nevertheless carry the background of the WORD of the for artistic renewal in workshops, retreats, and conferences, spirit of the Goetheanum. as well as, performances by The Bay Area Eurythmy Waldorf Education has been as a sister to eurythmy. In Ensemble, Amanarath Eurythmy Theater, ESV Waldorf schools around the globe, many eurythmists have Graduation and Post-Graduate Stage Training, and their first experiences teaching this art. Would the children Storms of Silence World Tour! love it and their teachers? Would eurythmists find Carina Schmid has enlivened many of us on both coasts themselves in performance work on behalf of their school with the original source of eurythmy. Thank you to Gail communities, and then, to a greater public? Would Langstroth, Cristina Geck and Susan Strauss for their eurythmy support teachers’ work with plays and courses, reviews. If you wish to see a video of Carina in perform- enriched by eurythmy movement? And would the ance, the trailer of “Spiegel im Spiegel” may be found on therapeutic eurythmy begin to support children in YouTube at www.youtube.com/watch?v=5nGyN2BB4ZU. approaching milestones in child development, from Carina is the eurythmist in the center of The Lord’s Prayer. changing of teeth to constitutional challenges? I would hope Carina helps us return to the source of eurythmy with that where we are eurythmists in Waldorf schools we can her recollections from Lory Maier-Smits. In our workshop, heartily support this celebration with gratitude for the Carina introduced and spoke of the zone called Memory. opportunities given to eurythmy to unfold in the world and This is a gesture that I learned from Alicia Tree, who direct- to make such a difference in children’s lives. I recall at ed us in a fairy tale during my eurythmy training. The Highland Hall Waldorf School, after the spring eurythmy gesture is created with a rounded torso and palms up at assembly where grades 2-12 showed different pieces, a either side of the body. This is the gesture/zone that I use parent coming to me afterward and saying: “I saw the whole during the words, “Once upon a time.” Carina told us that curriculum in one fell swoop!” And so it continues. Memory was meant to be included in the first panel of the Now we look forward to the Dornach Eurythmy Foundation Stone Meditation with: “Practice spirit- Conference in April. Looking at the myriad courses, recalling”. She said that Lory was disappointed that the lectures, and performances, one can be grateful for the zone for Memory was lost. How meaningful it was for me immense amount of work being done in the world and by that Carina’s workshop occurred during the Forty-sixth our friends in the Section in Dornach. New resources are week of the Verse from The Calendar of the Soul, in which becoming available, notes and treasures newly discovered the phrase speaks: “You, Memory, now step forth, out of to enrich our experience of our art form. This will also be a depths of spirit shining and strengthen in me the beholding.” joyful “wiedersehen” or seeing friends again from the Thanks to Kate Reese Hurd for the rendering of these lines. world-wide movement. Congratulations to Dorothea Mier on her 86th birthday! There will certainly be a report forthcoming for the next Students and colleagues created a celebration for Dorothea Newsletter but until then, I send you best spring wishes for at the School of Eurythmy on March 19. this year. Make sure you do not miss the surprise Announcement Your Alice Stamm, on page 32, “Traffic Jam.” It could be called...“Lift, carry, President Emeritus roll!” Thank you Cristina Geck for the element of humor. The art of eurythmy is touching many lives, as reflected Correction from the pervious issue: The names of ESV in this issue of the newsletter. Blessings on our work! graduates are Corinne Horan and Luna Erdmann-Brendel. Maria Ver Eecke Eurythmy Association of North America 5 International Conference at the Werner (right) from the preparatory group, whom I have asked about the meaning of the meeting. Goetheanum, April 2018 Michael: “Today we no longer feel at all what five or ten years ago we believed was secure. Till recently tradi- Invitation to Eurythmists, Eurythmy Therapists, tion conveyed meaning and happiness.” Stefan adds: Creative Speech Artists, and anyone interested “Hardly anyone today can speak any more of a supporting All eurythmists, eurythmy therapists, formative speech wind in our backs, but instead one can and will find in the artists and all those interested in speech and movement, are daily work and contexts what it all means. From this point warmly invited to the international conference in 2018: the Conference will take its starting point. Michael ‘Speech-Movement’ at the Goetheanum. We look forward described “eurythmists in schools as solitary warriors; in to intensive days of sharing, meetings and further education. Conferences they experience that through meetings and The subject of speech and language touches us concrete work together things balance out – out of this a every day in so many ways; it is a formative force in the new basis is formed for the future.” way we relate to one another and it builds us as human And he emphasized this with a few catchwords: beings. In eurythmy and formative speech it is the bearer of “Open the windows; dialogue on all levels – in this I see the artistic ;, it is the agency in eurythmy and speech therapy. meaning of this Conference.” I recall the World Conference There will be morning lectures and then demonstra- at the Goetheanum, Autumn 2016, and the great conference, tions in various languages in plenum. The different aspects ‘The Social Future’, in the Bochum Congress Centre: of the conference will be shared in over 30 workshops, as Earlier, anthroposophists built up a foundation, in order that well as professionally mixed workshops. We have the “we” today can working together. By sharing questions and ‘market’ where you can experience many colleagues with ideas, our failures and resurrections, a new identity is seen their own particular slant on speech and movement. Other to grow. Michael speaks again of tradition: “I visit many interesting themes can be found under the ‘free initiatives’. schools in Germany: many eurythmists report that hardly There will also be a report on the new edition (in German) anyone in the Collegium listens when one justifies euryth- of the book: ‘Eurythmy as Visible Speech‘. Two eurythmy my out of its history. Eurythmy is a tremendous subject – of performances (Goetheanum Ensemble and Stuttgart Else- that we should and would like through our meetings to be Klink-Ensemble) as well as three mixed programs conclude convinced afresh.” each day. Stefan adds that he particularly welcomes the The Easter 2018 Section newsletters are a form of Dionysian form of movement, if to the daily “marketplace” preparation for this conference. Link to the Conference 30 initiatives could be presented, leading to a discussion. In website: www.2018.eurythmie.net actual fact 6 times 30 = 180 contributions, out of which The Preparation Group: every participant can choose a few. Stefan: Almost daily Stefan Hasler, Angelika Jaschke, Hanna Koskinen, some further offers are being made. Stefan then adds further Ulrike Wendt, Michael Werner, Agnes Zehnter moments that he would welcome: “Normally two‐thirds of a eurythmy performance consist of music. We plan two From Newsletter 1 at the Goetheanum about the evenings during the Conference with many short contribu- International Conference in April 2018 tions, all speech eurythmy, in almost 30 languages. This Wolfgang Held in conversation with variety in the realm of the word – in speech and eurythmy – Michael Werner and Stefan Hasler in the history of eurythmy is probably unique.” Warm greetings from the Goetheanum, Wolfgang Held

From Newsletter 2 at the Goetheanum I recently met Ulrike Wendt, a member of the group organ- izing the upcoming conference for professional eurythmists and speech artists, at an event with the performance artist Hansjoerg Palm. I had heard that she has joined the group preparing the conference because she is particularly inter- ested in the subject of eurythmy and speech. In six months’ time 700 eurythmists, eurythmy therapists, It became evident a short while ago at the Solo‐Duo and speakers arrive at the Goetheanum for a professional festival that eurythmists tend to prefer moving to music. Conference. Each month we focus on this (hopefully) great She considered it courageous to be devoting a meeting – this time with Stefan Hasler (left)‚ and Michael 6 Eurythmy Association of North America whole conference entirely to speech, including the evening Tribute to Carina Schmid performances, and was reminded of Traces of Blood, a From the Life at the Goetheanum, 2008 dramatic project for the stage that she and Dorothea Maier By: Sebastian Jüngel, Transl. Anya Wilson, Marcel Nick had created: «We were told that it would not work without Marcel Sorge and Benedikta Schradi join Carina music, but in fact it did.» Schmid in her last month as leader of the Eurythmy The conference will need to have a growing sense Ensemble at the Goetheanum. Interviews, practices and per- of anticipation and excitement for it to work: We will need formances give insight into her personality and way of to combine young and experienced artists, the dramatic and working. the lyric, in interesting ways in the performances. But a Carina Schmid in conversation good number of languages will be represented, from with Benedikta Schradi Chinese via Georgian to Brazilian. I asked how the eurythmy gestures were found for these and other languages: «Rudolf Steiner gave suggestions for eurythmy in English and French, but for Thai or Icelandic, for example, research is still needed. Finding ways of giving expression in eurythmy to the wide range of languages is a huge subject. This was the reason why the Section for the Performing Arts’ last newsletter but one featured articles in which a number of eurythmists shared their research into their own language.» As this shows, eurythmy is becoming more and more a global art, and this will be strongly evident at the conference in April. Ulrike remembered some of the special features: a group in Israel has been working with the With her programs which have been viewed by over 90,000 Hebrew language for a long time; two eurythmists have spectators, involving the three Symphony-Eurythmy proj- been building a strong relationship to Ancient Greek. Then ects in cooperation with the Else-Klink Stage group from there is silent eurythmy, which can clearly demonstrate the Stuttgart, Carina Schmid has gone down in Eurythmy histo- independent character of its language without an accompa- ry. Benedikta Schrade reveals the person behind the career niment. and what drove her to develop a kind of “ritualistic euryth- Then Ulrike mentioned the relationship between my”. From this came the Apocalypse program, whose task, Creative Speech or Speech Formation and eurythmy: «It is Carina Schmid showed, was to hold one’s own I, even when exciting that there will be several groups of artists at the demons threaten to take away one’s “moment of freedom”. conference who may be able to show us how new, freer Early on she was interested in movement and heal- forms of co‐existence can be developed here.» ing, but her graduation standing did not allow her to enter My last question to Ulrike was about what it would medical school. After studying to be an oral-translator, she mean for eurythmy if new gestures are now created: «There studied under the first eurythmist, Lory Maier-Smits. She are two steps: firstly, I need to individualize everything I honored other colleagues because she found something have acquired during my training. It is the same as with valuable in all their approaches. Her ability to enter into an singers and their voices: it can take a good few years before other shows when Carina would describe her teachers in a eurythmists find their own individual eurythmic language. humorful manner . And just as there are orchestras which specialize in playing Benedikta Schradi experienced Carina Schmid to Beethoven and others which focus on experimental contem- express, “royal sovereignty,” and “soothing generosity,” porary compositions, eurythmists pursue different direc- combined with clear goals. As leader of the Eurythmy tions in their work, too: some would like to continue to take ensemble at the Goethanum, she wanted to keep the tradi- classical eurythmy to the height of its potential, others to tional stream while creating a program appropriate to our make quite new discoveries in eurythmy. The conference is time, as a counter balance to previous Avant Garde a place where for a brief moment we can demonstrate that approaches, and without confrontation, she wanted to build each of the two directions can have its own place and thus a bridge to the coming generation. Self-confident and mod- have the chance to inspire each other.» est, she said, “Of course I am a good eurythmist, otherwise Warm wishes from the Goetheanum, it would not go, I have a color, and others have their colors”. Wolfgang Held Also in her practices, her stance was clear: she would give open suggestions, and make proposals that she Eurythmy Association of North America 7 sometimes realized, “just didn’t work”. She was driven by have called it.” Her Eurythmy Hall, which her husband her goals and her concern was to get the best out of others, Friedemann Schwarzkopf built for her work had been given through an approach that asked: “what is revealed through the name “Charis Hall” at the completion of its construction you?” because, she said, “then you get respect for others”. in 1984. DVD: Carina Schmid. A portrait on film, by Marcel Isabela Guardia Ferragutti Sorge and Benedikta Schradi, 1 hour 53 minutes, 24 € Memories of Hélène Oppert Celebrating a Life in Eurythmy Héléne’s Irish-American, French, and Asiatic roots all Jean Schwarzkopf played a part in her many sided gifts and contributions. Since Jean is not doing very much eurythmy these days but Following on the tribute to Héléne from Jeanne Secretan just occasionally when requested, she thought she would that appeared in the last issue of EANA, I want to share instead tell us all a beautiful story that happened to her. Two some personal memories. years after she left Hollywood and an acting career that was I met Héléne Oppert in Portland, Oregon at a sum- ready to unfold, she found herself deeply disappointed in mer conference organized by Natasha Moss and Don the training she was undergoing, in eurythmy. Somehow, Marquiss in the early years of 2000. I experienced her as a she thought it would have more substance spiritually. She master of eurythmy, of teaching, and especially of the wasn’t sure what it was that she expected, but she knew that artistic process. Héléne had total command of the life and what she was studying wasn’t quite the truth for her. death forces in the artistic process, she could coax eurythmy Therefore, she spoke with a friend, who was a eurythmist, into being, encouraging the birth process through her deep and she suggested to her to speak with an older eurythmist, penetration of the eurythmic elements and she could bring who had been trained by Rudolf Steiner, and lived directly strong form to the process thereby letting the essential style across the street from where Jean lived. of a piece be revealed. I was struck by the process in which Jean bought some flowers and rang the bell of the Héléne worked with the eurythmy elements as she formed old eurythmist’s apartment; the door opened and before her a piece, but in no way ever allowed the piece to be a demon- stood an angel-like being, with the sweetest kind face. Jean stration of the elements. No, she was working to incarnate introduced herself and the old eurythmist invited her in, the piece, the one glorious, individual piece. Later Helene then invited her to go into the room where her husband came to Washington D.C. and worked with the Novalis Günter Schubert lay, at rest, having just died the day before. Eurythmy Ensemble. With her as director we developed a They stood at the foot of his bed and the old eurythmist told eurythmy performance, eurythmists were Corinna Gittel her that some days before he began to speak to her in [Clark], Natasha Moss and myself. Héléne was pure joy to English, something he had never done before, in all their work with. She was unstintingly demanding yet her warm, years together. The old eurythmist said, “Günther why do humorous nature gave wings to the demanding growth you speak to me in English.” He replied, “Because you are process that accompanies performance work. Later as a going to need it, my dear Ilona.” teacher at The School of Eurythmy Spring Valley, I Jean’s studies with Ilona Schubert, Friedel attended the summer conferences in Dornach for eurythmy Simmons Thomas, and Dora Güttbrot began shortly there- trainers, I was privileged to work with Héléne again. after. All of these great ladies had been trained by Rudolf Here follows a little bit out of my notes from that and Marie Steiner. From the moment the group began it felt work. “Rhythm is not a separate exercise for eurythmists. right and true, but how did she know that? She then realized We are penetrating into the World of Life. Rhythms are not that we all have the knowing deep inside and if we access it just quick and slow, not like machines. There is a polarity we will always find our way in destiny. Jean continued her that we change according to our soul. Life is inserted into studies in Dornach. After four years she received her diplo- this polarity. Imagine all the polarities, cosmic polarity and ma to go on to teach children, train adults, perform euryth- human polarity. The whole universe is held in equilibrium my, and help to heal many young and old people with the through the cosmic polarities. No second of delay! But for knowledge she gathered from Duffy Neidehauser and her us as humans the interesting thing is that the polarities are mother Frau Deaga, who was trained by Ita Wegman and present outside and inside. Black and white, or an elephant Rudolf Steiner. and an ant are outside. But then I as a Human Being experi- Jean was given a unique training and has been able ence sadness and happiness as a rhythm inside.” to work and help many people, for which she is deeply Life and Death is the biggest rhythm we experience. grateful that destiny has been very kind to her. She has had I send my gratitude to Héléne for her friendship and a career in Eurythmy for 40 years, and now can reflect back inspiring life’s work for eurythmy. onto it and know it was grace, “Charis, as the Greeks would Christina Beck 8 Eurythmy Association of North America Finding Unison in the Vowels: ‘ä’ that they use for the vowel in ‘Hände;’ but this is English, not German. Different languages do use the same The Hope and Blessing of Whitsun diacritics differently, so why can’t we do the same? Kate Reese Hurd You will see in my list of markings below, that I have split the vowels into three groups, which may be new It was a pleasure to read Reg Down’s thoughtful article last to many of you. In her fine book, Uncovering the Voice, the fall on the vowels and the International Phonetic Alphabet singer, Valborg Werbeck-Svärdström, gave me the key to (IPA), spurring us to give the vowels further consideration. opening my speaking, hearing and understanding to the nat- During my writing of the introductory chapters for The ural relationships that exist between the vowels. In Chapter Speech Sound Etudes, Vol. I, I had investigated the IPA, 6, about two-thirds in, she presented three sets of vowel looking for ways to notate the differences and relationships sounds that “flow one from the next” and move between between vowel sounds clearly. Like Reg, I found that it goes back and front. As a result of working with these three sets, beyond my needs in speech-work and eurythmy. So, what to my grasp of them in English is (see soundings further do? In dictionaries, pronunciations are not generally given below): for regional or class-based accents (we all have accents); 1) ä ô o u plus ŏu (hers: A, Å – ‘awe,’ O, U) and in the end, the very fact of the diversity of accents in 2) ŏ ă è é ĭ i plus äi oi (A, Ä – ‘cat,’ E – ‘ay,’ I – ‘ee’) English underscored my starting point in my work with the 3) ŭ K ů plus iu ui (A, Ö, Ü, Y – very focussed ü) sounds and their gesture-impulses: I must begin with and What I experience is as she said: the first set I stay true to my direct experience of the sounds themselves, would describe as having a middle, full placement and however it is that I speak them. How I then notate them is a quality; the second a brighter, broader quality; and the third clerical matter, external to the absolute relationship between a darker, taller, lowering quality. Though I am not focusing each sound and its innate gesture-impulse. But by making on the skeleton and muscles, I agree with her that in the notations, I am making the differences between sounds and third set, “the lower jaw and its muscles play a much greater between gestures clear to myself. And this clarity helps me role.” to bring these to other people, too, in direct exchanges, not So, for my American English, as I speak it, I’ve set- by what’s on paper but by the clearness of the sound I utter tled on these diacritical expediencies for the three sets: and the gesture it leads me to. It is here that we meet. 1) ä = swan Unlike in some languages, in English, our letter ô or ȃ = scoff, saw forms don’t always stand for a single sound – hardly! With ō = bone vowels, the discrepancies are the outcome of the pronunci- ū or ōō = dune, snoop ation revolution that came about during what is called The ŏu or ŏw = out, cow (or a hill crescent over ou or ow) Great Vowel Shift,* which occurred in England from the 2) ŏ = stop time of Chaucer’s Canterbury pilgrimages in the 14th ǎ = mat century until about the 18th century. People became more è = web (diacritic adapted from French) mobile and pronunciations mingled (and mental life woke é or á = they, fade (diacritic adapted from French) up, too). We can’t rely on spellings to tell us our soundings ĭ or y̆ = sit, hymn as can be done in many other languages. In English we are ē or plain i or plain y = breed, thief, easy obliged to transcend spelling! But for speech-work and ī or ȳ or äi = like, by, haiku (or place ~ over i, y, ai or ei) eurythmy, I’ve had to find simple means for marking sound- 3) ŭ = run, sublime (first syllable as unstressed ŭ/ǝ) ings right in my manuscripts, since my purpose in rehearsal K = foot; or this same bowl crescent over u, o, ou is to reveal the music of the vowel sounds, the assonant = push, wolf, bouillon repetitions and vowel-moods, regardless of spelling. I find ů = spur (or this same small circle over i, e, ea, o or y) that the IPA symbols are not useful for this, so I want to = bird, her, earth, work, myrrh (the ů is always share what I’ve come to. *(See “PHY117 – The Great followed by R in English) Vowel Shift,” Jürgen Handke’s YouTube presentation, to ēu or ēw = iu – feud, ewe hear the brightening and diphthongization of the vowels; we or ue or whe = ui* – sweet, queen, wheat posted December 7, 2012.) For ui linked to a consonant and vowels where diacritic In at least two popular American English dictionar- marks can’t serve, I put italic slant marks as an alert before ies, the open ah, ‘father,’ is indicated as ‘ä.’ Some dictionar- and after the letter(s) in question, e.g., /a/mid, m/u/te, or I ies indicate it as ‘ah.’ Since a simple diacritic mark to insert write the actual sound above the written vowel. *(As we above the letter is what I need, I have settled on using ‘ä.’ know, Steiner pointed out this ü-like English vowel, as in For the vowel in ‘hat’ we often use ‘ă,’ so that’s easy. I real- ‘sweet’ – see the footnote in Lecture 7 about two-thirds in, ize that German writers will find it a bother to reassign the in Eurythmy as Visible Speech. I sense the u of the W being Eurythmy Association of North America 9 kept so forward by the i that follows, it can easily move use a tiny superscript t to notate it before the vowel or the T. toward ü and leave the W incompletely fulfilled.) So there’s something right in feeling an urge to You might notice that I acknowledge three open insert a consonantal activity along with the short-duration ŭ. sounds at the back (as did Werberk-Svärdström), two e And I believe that the flick that we can think belongs to it sounds and two i sounds, but not two ŭ sounds. In the pair, stands for this consonantal activity. But like all vowels, the è and é, the vowels are commonly referred to as simply short-duration ŭ only intones. This fundamental singing ‘short’ and ‘long,’ but I have always found them to be dif- nature of vowels is why they correspond with the degrees of ferent sounds, though closely-related. I find that the so- the diatonic scale. And further, in the spirit of sharing and of called short ĭ and long i are likewise different, though also nurturing the good, if I use my head to flick or nod with the closely-related. But with short-duration and longer-duration short-duration ŭ, I feel that I mark that syllabic beat with ŭ, that both appear in the words, ‘adjust’ and ‘among,’ I find this flick, like my head’s acknowledgment of conjunctions: no difference in sound, only in duration. With this vowel – ‘and,’ ‘so.’ Is that what I want to express? No: I want to stir as in “Puck’s lush runs flood the dusk, rush from hummock myself to meet the challenge of giving real-time gesture- t’ hut. Hush!” (this is one of my assonance etudes for ŭ) – I expression to the short-duration intoning of the vowel ŭ, just feel something gentler and more personal than in the open as I would for the short-duration o in ‘odiferous,’ the ‘ah’ in vowel ‘ah,’ not perky or bright, either, like the open vowel ‘Swahili,’ the ī in ‘isosceles’ (triangle) and the è in ŏ. ‘embark.’ I need only be inwardly agile – and determined! Since I find that all three colors involved in a given As an aside, I want to say that I realize that it might gesture-impulse are present instantly no matter what color seem ungiving of me to share no real indication here of my they are, I would like to report that what I find to be bright experience of the gesture for this glottal T sound, or for the yellow when I speak and work with short-duration ŭ, is the ŭ. In my book, I also do not lay out how-to formulas for the inner agility, the quickness that I myself must have in my gestures, though I discuss every sound voiced in the fifty- consciousness, if I am to succeed in expressing a short-dura- seven sets of etudes, including this glottal T – e.g., “That pet tion vowel of any kind: I must be lightning quick in tuning cat, it might eat a lot! Drat!” I ask the sounds themselves to myself to its inner gesture-nature, and equally quick in my tell their story in the etudes, and in the Appendix where I set abandonment of this to tune my consciousness to the fol- a direction of inquiry for each gesture-impulse, where the lowing sound’s gesture-nature. words themselves are the medium for my descriptions of the What I’ve found is that I must always work to nature of each impulse. Since the impulses must come from detect the source or sources of the feeling-perceptions that I within, I am loath to give how-to instructions. I bring this receive. What is it that might lead me to believe that the same spirit to Steiner’s Figure drawings. They serve me by short-duration ŭ wants a flick of some sort? It is not my pur- corroborating – or not – my independent research; and they pose to discomfort anyone by bringing this question. My give me prompts for that work: do I feel this color in this mission is to get to the heart of these matters so that we can configuration or place in my own inner experience when I meet each other in truth and smooth our ‘entangled veils’ – speak this sound? My intelligence doesn’t guide me to inter- as Reg described it so well. One factor is its shortness. I can pret them pre-scriptively or to move ‘as if’ I had the experi- mistake the inner challenge of giving quick expression to ences. It is the reverse: I bring the gesture-impulses that short-duration vowels as belonging to the sound rather than have awakened in me through the speech-work to the to myself. Just think of it: singers and instrumentalists don’t Figures. Gradually my silent movement can become as sure intone short notes sharper or add percussive noises to them as my audible speech, transcending semblances entirely. just because they are short. That would never do! This path requires patience, but it bears real fruits. Another factor is that when we speak a word that But back to my main discussion…What about this begins with a vowel, unless we deliberately breathe out a ‘ǝ’ symbol, the schwa? In the American Heritage subtle H before it we do in fact make a consonantal sound Dictionary’s “Guide to the Dictionary,” the schwa is identi- at our larynx: we make a glottal stop or what I call the ‘glot- fied as the weakest-stressed vowel value, not as a specific tal stop T,’ such as the T in ‘catnip.’ Only the finicky would vowel sound. This schwa sound can vary depending upon form this T at the teeth. This glottal T that precedes the which vowel is reduced to the weak stress condition. Its vowel in ‘adjust’ and ‘among’ inserts a consonantal element apparent etymology appears to be ‘to even out.’ We can hear that tends to escape our ears and our differentiation process. how these weakened-stress vowels even out by slipping I heard an Irish writer make free use of this glottal sound for toward a neutral sound. Nevertheless, the weak vowel the T in words, even for the T at the beginning of some sound in ‘profess’ is not quite the same as the weak vowel words! It gives a pertness or abruptness to the speech. I have sound in ‘believe.’ With ever-increasing perceptive sensitiv- gladly, gently, acknowledged its voice in my work with ity and artistic ability, we can deal with these nuances in our Emily Dickinson’s poem, ‘A Bird Came Down the Walk.’ I expression. And isn’t it the shorter and longer intoning of 10 Eurythmy Association of North America vowels that governs the rhythmic short-long aspect of become so attuned that we perceive the difference immedi- poetic meters, as distinct from the light-heavy aspect ately, ready and able to speak that sound, reproduce it accu- promoted by the consonants? Through achieving real agility rately and find the gesture for it, no matter how we would in changing our inward gesture-consciousness, we can bring notate it – if that is the sound that will be spoken. the syllabic rhythms of both the short-long and the light- We have the opportunity here of working toward heavy aspects into the stream of our revelation of the Word. the creation of the new higher group soul as human beings; The result is truly rhythmic speech made visible, and it is our achievement of unison in our experience of ‘eu-rythmy.’ Some of you know how much I rely on the rod spiritual fact that enables this blessing to be bestowed upon exercises for the cultivation of this inward agility, from us. This is the Whitsun experience. Steiner gave a wonder- reading about my approach to them in my article published fully clear and inspiring description of this experience at the in the Fall 2015 issue of the EANA Newsletter. end of his lecture in Cologne on June 7, 1908 (see The In my book I also share how I note both light-heavy Festivals and Their Meaning, Whitsun section; Adams, and short-long rhythms: I use the superscripts ˇ and ˣ for Davy and Osmond were the translators): “Already nowa- light and heavy, e.g., ˣˇcavern, and I add superscript dashes days men [i.e., all of us] are no longer held together by spir- and dots for long values and dotted rhythms (as in music), itual ties. Each one has his own opinion, his own religion; e.g., ˇˣ―abound, ˣ˙ˇˣmystery. I mark rhythms only as I need indeed, many see it an an ideal state of affairs that each to. should have his own opinion. But that is all wrong. If men It is through speech-work that the dramatic contrast make their opinions more inward, then they come to a com- between vowels and consonants has come clear to me. The mon opinion. It is a matter of inner experience, for example, vowels are formative by merit of their singing, intoning res- that 3 times 3 makes 9, or that the three angles of a triangle onance – singing from the very start to the very finish – make up 180 degrees. That is inner knowledge, and matters while the consonants are formative through their shaping of inner knowledge need not be argued about. Of such a activity: building, dispersing, stopping, undulating, rotating. kind also are all spiritual truths. What is taught by Spiritual It was quite a surprise to find out how lacking in depth my Science is discovered by man through his inner powers; experience was of such a seemingly self-evident sound as along the inward path man will be led to absolute agreement ‘ah’ – a sound I had spoken for a lifetime already! I hadn’t and unity. There cannot be two opinions about a fact without actually gotten beneath the surface of this primary vowel one of them being wrong.* The ideal lies in the greatest pos- sound. This is even more so the case with subtler sounds sible inwardness of knowledge; that leads to peace and like ô, or like ŏ which is usually hemmed in by consonants. unity. …In the past, mankind became free of the group-soul. No longer can I be tempted to treat the vowels as I used to, Through spiritual-scientific knowledge mankind is now for when I kept my arms narrow during consonant movements the first time in the position to discover, with the utmost cer- to suggest the u sound in a word, or wide to suggest the ‘ah’ tainty of purpose, what will unite mankind again. When in a word, and so on. Expressing the actual succession of the men unite together in a higher wisdom, then out of higher sounds is a completely different matter from coloring a line worlds there descends a group-soul once more. …[when] or a whole poem with the mood of a specific vowel, as hearts stream toward wisdom as the plants stream toward Steiner discussed at the end of Lecture 4 in Eurythmy as the sunlight…we give a dwelling-place to the group-soul.” Visible Speech. *(Note: and it is also possible that both might be wrong.) I find that only when I can reproduce a sound clear- On the fiftieth day beginning with Easter, on ly with my own speech can I begin to lay hold of its true Pentecost, Whitsunday, the Apostles, “aglow with a com- gesture-impulse. And like what Reg wrote, it’s clear to me mon feeling of fervent love and devotion, were met together that we can only come into agreement collectively if we lay for a common deed: Then the sign was given, the sign that hold of the same gesture-impulses for the same sounds. To could show man with overwhelming power how in unity of me, this means that each of us needs to begin by honing our soul he could provide a place for the incarnation of the com- ability to reproduce each sound accurately in our speech. mon spirit. …That is expressed when it is said that the Holy Speaking and hearing each specific vowel clearly and pure- Spirit, the group-soul, sank down as it were into incarnation. ly in concerted, intentional poetic assonance has summoned …The Easter event gave man the power to develop these and strengthened in me the experiences I always wished to experiences; the Whitsun event is the fruit of this power’s have, that make perception of the objective gesture-impuls- unfolding.” es possible and ever easier. Do write these sentences of Precisely in our current time, it is more urgent and assonance for yourself, as Steiner first advised Lory to do. imperative than ever that we come to certainty about the Always, the spoken sound needs to be met with its actual human process of knowledge-grasping, ‘anthropo-sophy,’ gesture-impulse moving within us. And if our speaker so that we are able to get a grip on objective facts and there- speaks a sound otherwise than we expect, we need to have by restore our sanity and foster our fully-human develop- Eurythmy Association of North America 11 ment on earth. Eurythmy – harmonious, truthful movement Creating an Event: – is a beautiful medium through which to make abundant use of the remarkable inner power granted us by the Easter “Ancient Egyptian Culture” event, through which we may devote ourselves to this soul- Andrew Dzedulionis uniting Whitsun work. Hail…divine god, Who created himself, Who came as one god And transmuted into millions, All gods came from him. Great hidden one, whose likeness is unknown, Head of the entire ennead. Who rising in the sky, causing his rays To lighten the earth with gold, Who comes in the morning Made anew into a child Who is rejuvenated and traverses infinite time. “Whitsun Verse” He who emerged from the primeval waters, Given by Rudolf Steiner in his Whitsuntide lectures at As the earth lay in darkness Vienna and Dornach on May 6 and 22, 1915. The German The gods came out of his mouth, can be found in Verses and Meditations and The Festivals The people from his eyes … and their Meaning. Translation Draft by Kate Reese Hurd. He created the earth to settle on it The first time he emerged, Where senses’ knowing ends, Who created this land and all things brought forth There stands for the first the portal, And provides for those who are in it. That opens up to soul-being From Teichmann, Frank, The Sacred Mysteries of Egypt, The realities of life; Floris Books, 2016, p. 87 The soul fashions the key, On February 24, 2018, I When she strengthens in herself was part of the event “Ancient In the struggle, with the world powers Egyptian Culture” at the That human forces carry out Anthroposophical Society, Los On her own ground; Angeles Branch in Pasadena, CA. When she through herself drives away Linda Connell gave a talk on The sleep, of the forces of knowledge Ancient Egyptian Culture, with Enveloped with night of spirit slides and my contribution was At her senses’ boundaries. four pieces in Eurythmy. My speaker was Philip Mees, pianist Kate holds degrees in music and English literature. She Lindsay Aldana, and lighting played a number of musical instruments in her youth and design by Michael James. later served as a pianist while studying at The School of I have performed Eurythmy, Spring Valley, where she graduated. For several Egyptian Eurythmy on stage tour- months she also served as a pianist for one of the schools in ing during my years in Europe. It Dornach. She has published The Speech Sound Etudes, was very nice once again to Vol. I: Revelations of the Logos emerge and explore the rich and in 2016 and two booklets since great Culture of Egypt. then. For the past two and a Very seldom these days half years she has been recit- have we had the opportunity to see ing poems and the poetic Egyptian Cultural Epoch pieces Andrew Dzedulionis miniature etudes at poetry done in Eurythmy. Dr. Rudolf gatherings in her local mid- Steiner’s indications were that you do the gestures sideways Hudson region and has a web- in profile, as we see the drawing on the walls at the Temples page at her poetry home base, in Egypt. I had the great honor to learn all the Cultural the Woodstock Poetry Society. Epoch Eurythmy indications by Dr. Rudolf Steiner from one 12 Eurythmy Association of North America of the greatest eurythmists, Anita C. Zingg (Dornach, but my favorite piece was, “Prayer of the dead Pharaoh, as Switzerland). You have to transform yourself physically a Star Fading in the Dawn”, Pyramid text 216, source, (through the profile, sideways body formation, position) Hymns, Prayers and Songs, an Anthology of Ancient and ethericly into that spirituality of time and space. You Egyptian Lyric Poetry, translated by John L. Foster. For this develop a different connection and relationship with the piece I used a veil to cover my head and transition into space on the stage, audience and the gestures you are doing, underworld as a dead Pharaoh. I did not feel sorry or sad for as well as to take into consideration the costumes and in par- myself, being dead. My heart was full of gratitude, respect ticular the head pieces (Pharaoh, Priest) hats, crowns, which and inner peace. “… Gone am I, caught by the underworld, are quite big. I did only one piece sideways in profile at this Yet cleansed and alive in the Beyond…” I connected myself performance. with the Spiritual world through the words and through the movement. It is very beautiful and well-translated poem. Prayer of the King as a Star Fading in the Dawn, Pyramid Text 216: I have come to you, O Nephthys I have come to you, Sun Bark of night; I have come to you, You who are Just in the Reddening; I have come to you, Stars of the Northern Sky— Remember me.

Gone in Orion, caught by the underworld, Yet cleansed and alive in the Beyond; Gone is Sothis, caught by the underworld, Yet cleansed and alive in the Beyond.

Gone am I, caught by the underworld, For this performance I wanted to emerge into the Yet cleansed and alive in the Beyond. Egyptian texts written by Egyptians primarily. Linda Connell was a great help with the source of Egyptian texts. It is well with me, with them, I have never been to Egypt, yet my imagination and It is quiet for me, for them, admiration is so great about the whole Egypt culture, the Within the arms of my father, lives the Pharaohs lived through books, photos, and tele- Within the arms of Atum. vised documentaries. To transform yourself into a Pharaoh, it is an Selected poems were: “Prayer to God”, source, The interesting process. You have to separate yourself from this Sacred Mysteries of Egypt, by Franklin Teichmann; modern world we live in, and illuminate yourself to connect “Prayer of thanks to the Nile River”, source Ancient with the Nature and Gods. See, think, and move through the Egypt on 5 Deben a Day by Donald P. Ryan; eyes of Gods incarnated into a body of Pharaoh. In some “Prayer of the dead ways it means to become a divinity yourself, but with the Pharaoh, as a Star Fading in great power of Love. Each gesture I was doing was poured the Dawn”, Pyramid text with love of that creative power living in me as an artist of 216, source, Hymns, Prayers Eurythmy and creating the art of Eurythmy in this modern and Songs, an Anthology of time. Every day I am amazed and in awe of a power of Ancient Egyptian Lyric Eurythmy and how it lives and grows through me as a Poetry, translated by John L. eurythmist and as individual. Foster. I was proud of myself to incorporate some new ele- ments of eurythmy. As I was High Priest praying to a river Nile, I started my piece being on my knees on the floor. In the text I have a word “earth” and for the word I touch the floor with my palms while still being on my knees. And with the name Ra I did rise up and continue the poem with the created form. Each speech piece selected in this program I love, Eurythmy Association of North America 13 Ancient Egypt on 5 Deben a Day, Donald P. Ryan When the eleventh grade at The Waldorf School of Garden Praise to you, O Nile, that issues from the earth, City began working these two verses of the poem, we and comes to nourish Egypt… worked out of the polarity of contraction and expansion, and That waters the fields that Ra has created to nour- of darkness and light. It is a very strong experience when ish all cattle, the circle contracts with the first two lines, and then each That gives drink to the desert places which are indificulal rises up with the words, ‘I am’. from water, This poem has been in my ‘back pack’ for many That makes barley and creates wheat, so that he years. I chose it for the eleventh grade when I was looking may cause the temples to keep festivals... for a poem with the seven vowel-sounds to give an When he rises, the land is in exultation and every- experience of the planetary influences. In doing research body is in joy… before presenting the poem to the students, I discovered the He that brings victuals and is rich in food, that Invictus Games. creates all that is good. After telling the students about the author, I asked them how a poem published in 1888 could still be relevant My challenge was to find Egyptian music today, as these words live on for many. With so many young representing that period transcript for piano, what is not a people serving in the military and returning to civilian life, typical instrument used at that time. I found and used sound- this poem expresses a reality for those who continue to track music from a movie, which title I don’t know, only the suffer the horrors of war, as they are affected with music piece title: “Pharaoh Ramses II” by Derek Feichter. posttraumatic stress disorder, and often they return to After the performance and all impressions, compli- civilian life dismembered or disfigured, as the best of ments I have received, I got home but inside I was still medical care is given on the battlefields to minimize living the moments on stage, being in Egypt. The next day I numbers of the death toll. Rehabilitation is long and reflected on how and where it all started, from day one to arduous. The Warrior Games were created for service men the day I was performing it. Looking into the journey of and women who have overcome their ‘handicap’ and are transformation from choosing the pieces and becoming a ready to challenge others in competitive games. Pharaoh, a High Priest, I was very thankful for having this When Prince Harry visited the Warrior Games in amazing gift to live through Eurythmy each and every day. the USA in 2013, he was inspired to become a founder of I am very happy that I have few more opportunities Invictus Games, which is the only international sporting to bring this performance to San Diego June 24, 2018, and event for injured Service people. “The Prince sees the still looking into a date for Santa Barbara. Games as an important part of a broader legacy of support, I am open to invitation to bring this performance to through a combination of on-going care, training and other states outside California. employment opportunities, to the well-being of those men Andrew Dzedulionis and women who have served their country.” [From the e-mail: [email protected] website for InvictusGamesFoundation.org] The inaugural Invictus Games was held in London in 2014; Orlando Rising Up in High School Eurythmy hosted the games in 2016. The event drew 540 competitors from 17 nations last autumn in Toronto. The fourth Invictus Maria Ver Eecke Games will be held October 20-27 in Sydney, Australia. How can we create an experience in eurythmy that In choosing music to be presented before strengthens the individual ‘I am’ for our high school the poem Invictus, Prelude No. 20 in C minor by Frederick students? I believe the poem Invictus has accomplished this. Chopin came to mind. The Prelude is only Invictus three lines of music, but it is challenging to William Ernest Henley hear the harmony of the chords. In music eurythmy we practiced major, minor, and Out of the night that covers me, dissonance. The form is based on the Black as the pit from pole to pole, harmony. The red thread of the form is a I thank whatever gods may be diagonal line from upstage left to downstage For my unconquerable soul. right and the students will be costumed in dark colors. The next two lines are higher It matters not how strait the gate, and lighter, which will be presented by How charged with punishments the scroll, students in white and yellow costumes, entering upstage I am the master of my fate, right and moving a half circle to downstage left. The music I am the captain of my soul. finishes with an octave, moved together on the circle. 14 Eurythmy Association of North America The story behind “Invictus” by W.E. Henley tree, rather a specific tree we can actively envision. Now we Invictus is a poem which focuses on the human spirit and its reach down, extend our arms into the roots, feel how the ability to overcome adversity. It is a rallying cry for those roots draw the water out of the depths of the earth up into who find themselves in dark and trying situations, who have the trunk. The fingers are to be cupped, shaped to actually to dig deep and fight for their lives. It was written in 1875 hold the water. Once our cupped hands have carried the and published in 1888 in his first volume of poems, Book of water up the trunk to about the level of our head, the fingers Verses, in the section “Life and Death (Echoes).” quickly turn, palms facing outward, reaching up to the Born in Gloucester, England in 1849, Henley was crown of the tree. After releasing our hands, our arms fall to diagnosed with tubercular arthritis at the age of 12 and went our sides. The tree with its crown of leaves stands before us. through years of pain and discomfort. W.E. Henley wrote The indications were specific and detailed; all “Invictus” while in hospital undergoing treatment for tuber- movements based in the real world, accompanied by an culosis of the bones, specifically in his left leg, which had image, a picture. to be amputated from the knee down. He was still only a The intense and joyful hours with Carina affirmed young man at this time. He managed to save his right leg by my intuition about certain aspects of eurythmy. Some of the refusing surgery and seeking an alternative form of treat- original indications have been lost. They are our gold. We ment from a Scottish doctor, James Lister. must practice them. They point to the lasting modernity of It was during his time in Edinburgh that Henley met this art. the writer Robert Louis Stevenson. They became friends and corresponded on a regular basis. Stevenson later admit- West Coast Eurythmy Teacher ted that he had based his character Long John Silver, from the book Treasure Island, on Henley, with his wooden leg, Conference with Carina Schmid strong rasping voice and forceful personality. Cristina Geck and Susan Strauss Carina Schmitt was a delight to all who attended the Lerne zu Erleben Eurythmy Conference held at East Bay Waldorf School, Learn to Experience February 20-23, 2018. Eurythmists from south and north of the Bay Area and as far afield as Boulder, Colorado came to Gail Langstroth be nourished by her expertise and heart-filled wisdom. We These words express the tone of eurythmy’s beginnings. In were eighteen eurythmists who were very excited to her workshop, Spring Valley (February 16-17), Carina participate in this first conference with Carina Schmid in the Schmid shared with us the indications that she had received US. directly from Lory Maier-Smits, the first eurythmist. The When Carina was a young student of eurythmy, she words Joy, and Practice, the sentences It must be real, You studied with Lori Meyer-Schmitt, who was an elder and still must use the body, You must see the tree, the bush, the brook, teaching. Carina recounted stories shared by her teacher, were repeated over and over again. Lori, of Dr. Steiner’s initial, imaginative explanations to I stood in awe watching and listening to Carina. It young Lori, of the first eurythmy sounds. It was exciting became clear to me that Rudolf Steiner worked with enthu- and novel to learn of these first indications. siasm, joy, and Geistesgegenwärtigkeit (spirit presence in Among other exercises we moved the DFGKH and the moment) as he began to establish the movements and LMNPQ - R sequences and the first vowel indications. We gestures for eurythmy. practiced Dionysian, Apollonian, and Cosmic form princi- Carina shared each of the distinct Halleluiah ples, as well as the different zones and the Halleluiah, which sequences that Dr. Steiner gave, one each for Lory Maier- was a special treat. Smits, Ilona Schubert, and Tatiana Kiseleff. I realized how It was striking how vivid the sound gestures were his indications were drawn from the biography of each of and how strongly they came out of a nature experience. these women. Ilona’s L’s were different because Dr. Steiner Eurythmists know how hard it is to describe movement, recognized she had a relationship to the Parsifal/Grail mys- here is an attempt to describe the L: We bend over into the teries. Tatiana’s L’s were centered around the heart because forward space, head follows the arms, the hands very much of her Russian soul. sculpting, always changing, bringing etheric life force This affirmed that we must work even harder to find upward, while we become upright, hands turn relatively our way into each sound, each gesture, rooting it in our bod- quickly (Carina, “Yes, nature makes jumps”), into a rapid ies and accompanying it with a picture. blooming, then it’s over. Imagine Lory’s journey into the consonant sound L, Tone eurythmy followed. Carina related music of as told to us by Carina. First we picture a tree, not just any different composers to the elements. Tone eurythmy streams Eurythmy Association of North America 15 through the human being. We practiced streaming outward younger man. The young man’s soul forces were portrayed with the rising melody (major) and streaming inward with by three members of the ensemble. They were experiment- the falling melody (minor), which was in itself a great exer- ing with having the speaker move in and out of the perform- cise. We practiced this separately with arms, legs, backs, ing space. feet and fingers. In a next step, Carina brought music inspir- The main purpose for their visit was to experience ing movement based on the four elements with Beethoven the 14th International Eurythmy Forum, which took place in (fire), Bach (water), Mozart (light) and Chopin (air). It was Witten, Germany. Every year, hundreds of high school stu- a fascinating experience. dents, eurythmy trainees and professional eurythmists come A theme that went through all the lessons with together to celebrate eurythmy and to share the fruits of Carina, was, that eurythmy is really done with the whole their artistic endeavors. body, we need to be thoroughly in the movement and the Over the course of four days, on a tight schedule, movement in us. fifty-three groups performed a diverse program, among them thirty-nine high school groups. We watched a twelfth grade student presenting her eurythmy project, which con- sisted of a study of a Kandinsky painting and how to express the visual color experience through movement. This presen- tation might have been followed by an acclaimed stage group from the Goetheanum, Dornach or an experimental avant-garde group from Berlin. A group of about thirty lay eurythmy enthusiasts came on a bus from Budapest; at home, they practiced for months at 7 am, before commuting to their day jobs. They presented a spirited, twenty minute exploration of a rod exercise with much dedication, and made a lasting impression on the audience. High school groups (and a few middle school groups) attended from Carina Schmid is fourth from the right, front row. Brazil, Japan, Ukraine and numerous other European coun- It was wonderful that several eurythmists had an tries. The event definitely had a festival feel to it. Students artistic piece to present, which Carina critiqued. The after- camped out on the Waldorf school grounds. Workshops noons were filled with opportunities for pedagogical ranged from all kinds of eurythmy topics to drumming, exchange. Brazilian dancing, and yoga; all were especially popular We are grateful to Monika Leitz for all her hard with the high school students. At the after-parties, there was work in organizing this conference and her vision of bring live music at the forum’s cafe. For the teenagers, it was a Carina to us. Thank you also to Isabella Guardia Ferraguti fabulous opportunity to meet peers from all over the world. for helping with organization. We hope Carina will return They found that the high school performances were to the US for more soon. most compelling and satisfying when students were co- creating the artistic realization of their piece. The students chose topics that were on their minds and hearts, for The Fourteenth International instance the theme of war, conflict and peace. By intensely Eurythmy Forum, Witten, Germany working and experimenting together, students came up with unique choreographic ideas, which touched the audience on Cristina Geck and Thyria Ogletree a profound level. Clearly, these young people were forming Shining Mountain eurythmy teachers, Thyria Ogletree and and developing their ideals and higher aspirations by giving Cristina Geck were granted a very special professional them a voice through eurythmy. development this May. They observed a number of euryth- Out here in Colorado, there is less opportunity to my teachers in three different Waldorf schools. They also stay current with teaching methods and to remain in touch visited Alanus University. They were invited to watch the with the development of eurythmy as an art form. It was second- and fourth-year classes. The fourth-year class was inspiring and invigorating to connect with colleagues, par- preparing several pieces they would be performing later for ticipate in workshops and to experience the variety of styles their Abschluss and for the International Eurythmy Forum and teaching methods. It was especially impressive to wit- in Witten. Their work and idealism was very inspiring. The ness the strengthening and structuring impact eurythmy had students, along with their teacher, were expanding the on these young women and men and how they were able to boundaries of eurythmy. They were working on a specially inwardly grow through the power and potential that commissioned love story, about an older woman and a eurythmy has. 16 Eurythmy Association of North America Cristina and Thyria gained many new impulses for formance, slated for the Faust Branch in Sacramento. And their teaching and are full of gratitude to Shining Mountain so, we came up with the idea of having Sandra Dill under- Waldorf School for making it possible to participate in this study her role as the Prince, so that she could step in for that uplifting event. last performance. On a side note, although attendees came from all Our former warmly collaborative group was made over, North America strangely has been mostly absent from even more harmonious by the addition of Daniel, Susan and this event. The organizers would very much welcome us to Julie, with whom I was personally lucky enough to share the participate. As a humble start, a student or two might be commute from Sacramento to East Bay. A grant from interested in taking a solo or duo to the international stage. EANA meant that we could plan to fly out our former accompanist, Cindy Chung; with the cooperative sponsor- ship of our home schools and the Faust Branch in Report from The Bay Area Sacramento, and the everlasting can-do attitude of Sandra Eurythmy Ensemble Dill, we made it happen. As before, we selected the week of Veteran’s Day to Ruth Bucklin take our show on tour between our home schools, with an Having taken a year off to (respectively) get married, have extra evening performance in San Francisco with a pre-per- a rest, see to family needs, remodel a house, and meet the formance talk by Daniel, entitled “Moving Words”, spon- beloved of her dreams, the five original members of the Bay sored by the Bay Area Anthroposophical Society. The Area Eurythmy Ensemble reconvened in June 2017, minus warmth of our reception in each place, the generous appre- the fifth, Jazmin Hicks, who had followed her beloved to his ciation of our work by all audiences, and the movingly home in Wisconsin. With us were Julie MacArthur, who for beautiful participation of students who clearly were enjoy- a semester taught eurythmy to K-12th grades at Sacramento ing themselves, made the entire week a deeply satisfying Waldorf School, but who regularly teaches K–6th grades, experience. “What will they think of next?” So stay tuned! and Sandra Dill, who has been our lighting expert and con- stant, resourceful support and friend from our earliest days. We were a group in search of a fairy tale, exploring, High School Eurythmy Ensemble as well, the particular tastes and longings which had arisen Michaela Bergmann in us during our break. Isabela Guardia Ferragutti longed to Eurythmy Teacher for Grades 6 - 12 do something with a Brazilian flair. Michaela Bergman The Waldorf School of the Peninsula High School heard, in the “I dreamed a dream” song from Les Mis, a Eurythmy Ensemble had their annual performance earlier potential duet between cello and piano, and Monika Leitz this month for schoolmates and the wider community. The expressed the desire to see if we could put Aschenputtel ensemble is comprised of a group of eleven students from before the children, billing it and producing it in such a way ninth through twelfth grades, who worked on this program that no one confused it with any preconceived ‘Cinderella’. for the entire year with the goal of introducing the art of And this year, we committed to including our students in Eurythmy to the school and wider community. each performance, as birds, dovecote, and dancers at the ball. Monika undertook the writing and choreography of the script, and who better, we thought, to speak it than her husband, Daniel Polikoff. “Oh and by the way he plays cello beautifully”…and so our program was begun. At nearly every point we felt the absence of Jazmin, who had in pre- vious years done so much to write, set to music, costume and promote our work. But it was good to have a new flavor of scripting and direction in Monika, and we collectively were able to costume and organize the rest. We were fortu- nate to have East Bay Waldorf School as our continuing host for weekend rehearsals beginning as early as August, and later to add to our number Susan Strauss, who had The Ensemble first performed the “Sorcerer’s Apprentice” stepped into the teaching position vacated by Jazmin. by J. W. von Goethe. This poem begins as an old sorcerer Susan, having made her decision to take that posi- departs his workshop. His apprentice is tired of fetching tion so late in the year, had already scheduled gigs in other water all the time. He enchants the broom to work for him. cities that meant she would not be with us for our final per- Eurythmy Association of North America 17 Later he realizes that he cannot stop the broom, because he The ensemble also performed to the Sonata 20 in e- does not know how to do so. minor by L. Beethoven, one of his most beautiful sonatas. This piece is very difficult for the performers to differentiate between upper and lower voice. As their last piece, the students performed the Russian fairy tale, “Firebird,” which is about a magical, glowing bird that can be a blessing or a curse to its owner.

“Hugh,” an Irish song by Triona ni Dhomhnaill, was a piece for which the students developed the choreography them- selves. It was very touching how they fused with the music and enthusiastically practiced it for hours. Senior ensemble member, Nammy, accompanied the performers on the piano.

At the end, we acknowledged that four of the founding members of the WSP Eurythmy Ensemble are graduating this June: Alanta, Gina, Sarah and Savannah. We wish them well in the future.

Report from the Waldorf School of Orange County Lilith Dupuis Local eurythmists Elisabeth Beck, Taiya Ryan, Sebastien and Lilith Dupuis prepared several pieces in eurythmy and came together with musicians from the Waldorf School of Orange County faculty to offer a Cultural Evening to the wider community in November 2017. The event was well received and we have been asked to do it again. We continue to recognize how important it is that our students see euryth- my performed. Ten students of the WSOC High School par- ticipated in the eurythmy elective this year and they were honored to perform at the World Eurythmy Day celebration that Truus Geraets held in Pasadena in September. The younger students delight at the opportunity to perform as Next they performed to the poem “Cellphone,” by well, as was evident in the annual second grade eurythmy Gianni Pintus. In this piece the students practice the differ- play, An Old Spanish Christmas Carol. ence of a computed movement and the ensouled movement. The twelfth grade students from WSOC hosted the Much to the surprise of the audience, they entered the stage seniors from San Diego Waldorf School with Chelaine completely absorbed in the digital world with cellphones in Kokos, and Desert Marigold School (Phoenix, AZ) with hand, some even with earbuds. As it began, they moved in Rachel Schmid in January 2018. The three senior classes hardened and computed movements to the sounds of the performed their eurythmy fairy tales for one another in the words, but as it continued they transformed into the free and first annual High School Eurythmy Slam. expressive ensouled movements. 18 Eurythmy Association of North America Are there others who might like to join in the develop. We met weekly on Tuesdays after school and had future? Contact [email protected] rehearsals on Saturday as the date of our performance approached. The group was four young men and four young women, all with deep pockets of experience in eurythmy. Here is one way they described themselves. “We would like to share a poem that has inspired our name and our mission: ‘Knighthood of the 21st Century There is a knighthood of the 21st century Whose riders do not ride through the darkness of physical forests, as of old, but through the forest of darkened minds. They are armed with a spiritual armor, WSSD presents Snow White and Rose Red And an inner sun makes them radiant. Out of them shines healing, Also of interest to Waldorf seniors: the University of Healing that flows from the knowledge of the human being California approved WSOC’s course description for as a spiritual being. eurythmy and now includes eurythmy grades when they They must create inner order, inner justice, figure a student’s grade point average. Any school that Peace, and conviction in the darkness of our time. would like their students’ eurythmy grades recognized by They must learn to work side by side with angels.’ the UC system can now adopt the WSOC course Karl König” description. (From our gofundmepage/Innersuneurythmyinitiative) Our first year we decided on the theme “Orpheus and Eurydice” and worked with varied poems on the theme, woven together, and music by Christoph Gluck. Our “battle cry” was from the Ode on St. Cecilia’s Day by Alexander Pope which closed our program: “...Thus song could prevail O’er Death, o’er Hell, A conquest how hard and how glorious! Though Fate had fast bound her…. Seniors of the Waldorf School of San Diego Yet Music and Love were victorious.” It was a strong experience for everyone involved. In Elisabeth, Sebastien, and Lilith continue to work on our solid, stable eurythmy program the initiative was a a piece to perform together for the students when Elisabeth seedling of new growth, and finishes teaching eurythmy at WSOC this spring after 18 for Seattle it supported new years here. We hope to continue our artistic work together growth in their newly devel- for years to come. oping program. In the second year our theme was ‘The Inner Sun Eurythmy Initiative Sun” and we worked with the poems Who Shall be the Sun Laura Radefeld by David Wagoner and Truth It has been a great adventure! by Gwendolyn Brooks as our In September of 2017 Maiko Canard, the Seattle cornerstones. Waldorf High School eurythmy teacher, asked to bring a “And if sun comes eurythmy group to our community to perform. I wondered How shall we greet him? if we had a group that could reciprocate their visit, and Shall we not dread him, asked the eleventh grade students if they wanted to take up Shall we not fear him Seattle WS a similar initiative. Many eleventh grade students expressed After so lengthy a Photo: Paul David interest in this, and before long they had winnowed the Session with shade?....” group down to eight dedicated eleventh grade students, From Truth by Gwendolyn Brooks forming the Inner Sun Eurythmy Initiative. As a new We all celebrated the continuing development in the impulse in the school, I limited participation to the eleventh Seattle program and at Green Meadow we have come into a grade so we could keep it small and see how things could new springtime for the eurythmy program in the high Eurythmy Association of North America 19 school. Everything appears more vivid and life-filled. The students were inspired, and dedicated themselves to an artis- Inner Sun Eurythmy Initiative tic project, at the exclusion of other after school activities in Seattle Oregon (robotics met the same day). Photographer: Paul David Students deepening their eurythmy experience through the elective group allowed a fresh expression of eurythmy at Green Meadow. I am grateful to Antje Ghaznavi, who as the Toronto Waldorf School eurythmy teacher, brought a troupe to the Chicago Waldorf School in 1997, which inspired Chicago’s two-year-old high school eurythmy program. It changed the eurythmy biography in the school encouraging a dynamic, life-filled eurythmy program. Thank you Antje and Maiko.

Photo of Solo (R) at Green Meadow Waldorf School: by Fernando Lopex 20 Eurythmy Association of North America Report on the Tone Eurythmy gradually focused on specific exercises developed for nine different areas of health, from rheumatism, skin concerns, Therapy Course with Jan Ranck heart and circulation disorders, to sugar, protein, fat- Linda Larson digestive concerns, mineral deposits, arthritis and deformations. The practical sessions were interspersed with Camphill Beaver Run, PA, July 20-29, 2017 sessions dedicated to introducing the medical background These summer days devoted to experiencing the Tone of the illnesses as well as sharing notes and questions with Eurythmy Therapy approach developed by Dornach Jan and with each other. Having participants with varying eurythmist, Lea van der Pals and medical doctor Margarethe experiences and backgrounds in eurythmy helped wake us Kirchner-Bockholt were enlivening and refreshing. We up to ways and methods of conveying the exercises to were a group of eight plus guests at times, including euryth- patients. While it was made clear that non-professionals mists, therapeutic eurythmists, Waldorf teachers and some were not qualified to bring the exercises to others, it was individuals who were coming out of their interest in uplifting to experience the transformation which this Anthroposophy. Going over the basic elements of music, intensive immersion in tone eurythmy brought to all of us, and Tone Eurythmy (melody/pitch, rhythm and beat) and regardless of our backgrounds. practicing them as groundwork for our Tone Eurythmy Near the end of the course we all greatly enjoyed an Therapy exercises, was a wonderful way of tuning our inspiring evening of piano music from our fine young human instruments for this work. We also explored other accompanist Elvira Kobzeva. She was joined by Dmitry and aspects of music and tone such as intervals, and the Alisa Borisovsky, two musician colleagues from relationship of these elements to our different bodies, and Philadelphia, for this concert in Rose Hall at Kimberton the path to health through tone. Hills, which opened with a short introduction to tone eurythmy and a eurythmy performance of Claude Debussy’s “Claire de Lune” by Jan, accompanied by Olga Borisovsky. Given the richness and breadth of the content, it was felt by some of us that in an ideal world the course could have been several days longer with a day break in the middle for breathing out and visiting some place of interest in the area, and yet we also felt the very intensity of the course was part of what caused it to be so deeply transfor- mative. We were also very supported by the special atmosphere at Beaver Run with the lovely green surround- ings, the gently sloping hillsides and the nourishing spaces Jan Ranck in the center in which our sessions took place. And the entire course was carried so strongly by Jan’s dedication to the material, to the I have always been deeply grateful to have had the purpose of healing, and her encouraging sense of humor. privilege to complete my five-year classical Eurythmy The Tone Eurythmy Therapy course will be held in training in Dornach in the 1980’s with the master eurythmist the USA again this summer from June 22 to July 1, 2018, in Lea van der Pals, a woman who had such a strong presence, Portland, Oregon. a life-long destiny with eurythmy and who brought so much to the world through eurythmy. As a result, during the Reviews by Participants course I could at times see Lea van der Pals doing some of I left Jan Ranck’s Tone Eurythmy course feeling like a well- the exercises in my mind’s eye. Having received much of tuned instrument. The relationship she helped us develop to the Tone Eurythmy Therapy Course from Annemarie each aspect of music penetrated my form deeply and trans- Baeschlin as part of my Therapeutic Eurythmy Training at formed me on every level. Because we are all created out of Peredur in England also in the ‘80’s, it was wonderful to the music of the spheres the content of the course is acces- have this reactivated and brought to life once again by our sible to anyone of good will, regardless of their previous facilitator and guide, Jan Ranck, who after long work with training. I see the exercises from this course meeting my both Lea van der Pals and Annemarie Baeschlin, developed high school students’ needs for help with incarnating her own unique approach to helping access and understand healthily. Jan’s warm, demanding, and enthusiastic teaching the genius lying behind this sequence of exercises. style is an inspiration to me as a teacher. I cannot wait to The course covered a lot of material in the days take this course again! between July 20th and 29th. After deepening our experience Lilith Dupuis, Eurythmist, Costa Mesa, CA and command of the basic elements of tone eurythmy we Eurythmy Association of North America 21 Although study-blocks of eurythmy therapy material were Thanks again for the great course, which was a refreshing included in my eurythmy training [Zuccoli School, mid- review for me! I got out my violin again when I returned 1970’s], I am not a eurythmy therapist. I am a eurythmist home. This course with its “where there is the will, there is and was very happy to attend, with twelve other partici- a way” approach has inspired me to take it up again to get pants, the Tone Eurythmy Therapy Course at Peredur Centre music back into my sessions. I’m going to invest in an alto for the Arts in April 2017. Led by Jan Ranck, the course was xylophone. I once even used an Irish tin whistle for one lady a ten-day study of the deeply insightful work of Lea van der for five years with the eczema exercise, and this lady prac- Pals in this realm, who together with anthroposophical med- ticed faithfully at home and her eczema left her! She could ical Dr. M. Kirchner-Bockholt, developed tone eurythmy hear the music ‘inside’ eventually! therapy exercises in response to Rudolf Steiner’s repeated Susan Harrison, Eurythmy Therapist, Scotland promptings to further this work. I found the material of the course, the elements of This was a great course and it is wonderful that Jan is doing Tone Eurythmy, to be ‘simple’ (as in based in what is essen- such a good job of bringing the important work of this tial), though never easy. The task was always to bring these impulse into the world. I have already started using new movement elements of life, to life. In her fine and light- knowledge and skills with my special needs friends in filled style, Jan Ranck has a gift to convey and to call for Nutley Hall in simplified version with lyres. and forth through exercise both: 1) technical integrity and Vladimir Havrda, Eurythmy Therapist, England discipline in body movement; 2) clear experience and understanding of each subject area of the work. These I feel blessed to have attended Jan’s course in England. Jan ‘simple’ basics exercises, however, were intensive work. is a warm dynamic teacher, sharing van der Pals’ exercises One important learning experience I gained from through her own depth of wisdom. I left feeling nourished, this course is a refreshed concept of what is meant by polished, bathed in the beauty and profound relevance of ‘schooling the etheric body’. In looking at any disorder, a eurythmy. very clear distinction between the existing condition and the Beth Christensen, Pedagogical Eurythmist, Australia ideal condition comes into view, as well as an increased idea or question about an origin of the problem. Precisely The course has given me the insight, inspiration and the fuel because the exercises we did are so simply designed, the to work with clarity and inner strength. The exercises led to experience of powerfully affecting the etheric body through clarity of thinking and the ability to observe objectively. them stood out all the more clearly. I think this is a most I recognised from this experience that the exercises have essential point in learning or working in eurythmy. awakened other capacities within me. I am extremely grate- Nevertheless, I cannot remember when I have ful for this opportunity and tremendous gift. Rhythm is the laughed so much, possibly as a result of not only Jan’s key ingredient and it’s already providing the power and wonderful inclusion of humour in her teaching, but also of inspiration needed for my eurythmy training. the health-giving effect of the exercises. It seems to me it Anna Kotanidis, Third-Year Eurythmy Student in England could be potentially valuable to have a course like this, which was so thorough and clear in revealing eurythmy, as The course was full of information and the wisdom of well as possibly its parallel in pedagogical eurythmy, eurythmy and I am fully nourished by that. The most (which I have also had the opportunity to experience with impressive thing I experienced was Jan’s way of teaching. Jan), as part of new students’ first years of eurythmy We were allowed to make mistakes and were corrected in a training, in order to give them a compatible experience of forgiving and encouraging way which I believe is the best the scope of eurythmy early on in their learning. For, as we and the anthroposophical way for teaching people. It was heard in the words of Rudolf Steiner, in Tone Eurythmy utterly therapeutic. Another impressive thing was that the there is no distinction between therapy and art. course didn’t exclude non-eurythmists and thus spread the Virtuoso concert pianist Michael Zelevinsky, also wonderful knowledge without limitation. Even though I from Jerusalem, accompanied all of our lessons for eight cannot use what we learnt as movement therapy, I can apply (academic) hours a day, but in the evenings played Liszt, the basic knowledge in the visual art realm, so that the only Rachmaninoff, Chopin, Beethoven, (and more) for us with difference is what medium we use, movement or visual/tac- an incomparable skill, talent and fervor. At the end of one of tile creativity. I was very happy to find this out in the course. the evening concerts Jan also contributed a selection in Also, all of the music, painting and visual images used in artistic Tone Eurythmy. These days of work and transforma- the course were very impressive and suited the theme well. tion were surely spent with much richness, inspiration, wis- Thank you for giving us nourishment on top of eurythmy. dom and life force, which I highly recommend to anyone! Izumi Maeda, Anthroposophic Arts Therapist, England Elizabeth Carlson, Eurythmist, Cardiff, Wales 22 Eurythmy Association of North America Eurythmy Festival at the Cascadia their arms in time with the artists. Sitting at the back of the audience, I listened to the story of “The Lady and the Lion” Society for Social Working as though ‘through’ my students with added depth. Ruth Tschannen The program for the High School showcased many different aspects of eurythmy, with solo and duet, as well as This year’s fairy tale was Iron Hans, a great tale for large group pieces to music by Chopin, Burghardt, and Max adolescent students. The energy and the joy were palpable Reger, and poetry which brought to life the austerity of a in our rehearsals. We had amazing moments of transforma- Shakespeare sonnet, the dreamlike world of Yeats and the tion happening. The boy as the main character was a student somber scenery of TS Eliot’s Wasteland. who had a difficult time to concentrate. Children of all ages told me, “I love it!” The gar- On the day of our performance people were stunned dening teacher said that she could see the etheric movement, by how he managed to bring out very subtle movements to which makes it so important for the students to see. Parents show the depth of the story and be completely absorbed in and teachers kept telling me how beautiful the eurythmy the story. His mother was in tears when she saw her son per- was, to see flowing movement in sync, costumes so form. He was in all three performances. colorful, with colors ever-changing under the lights. One In the evening we were joined by Eurythmy four-year-old boy liked the ‘boy-eurythmist’ and asked his Northwest, our faithful colleagues from the states. The mother, why not more boys? Perhaps next time! evening performance was well received with an outstanding I have seen ESV perform the Chopin Ballade in G performance by Eurythmy Northwest (see program), the Minor many times, and I always look forward to seeing it EVOE as well as the Hallelujah. Eurythmy, speech and again, as it is so full of life and created anew. My pianist music were well represented. As part of the closing we all knows the piece well enough to play it by heart, so it was gather on stage for “Light streams upward; weight bears exciting for her to see the music made visible! The ESV downward” to bring closure to our working together. This is Ensemble made a huge impact on my school community. now something the audience is looking forward to as the entire cast is present. Then we all say: “Thank you for eurythmy, speech and music.” Life Abounds at ESV! It is touching to hear and read all the comments of Barbara Schneider-Serio the students who were able to come to Cascadia and work As arctic cold spread across the East Coast during together with our special needs individuals. [Photos may be Christmas and New Year, with temperatures near zero viewed at www.bahtiphotography.com/gallery/Iron-Hans/] degrees, it was a perfect time to stay inside and allow all that Ruth Tschannen happened in the fall term to reverberate during the Holy Nights. Looking back at moments that lit up in the fall term, School Performances at WSGC fourth-year students returned, transformed and enthused from teaching children during their fall practicums at Maria Ver Eecke different schools. The Eurythmy School and Seminary This year’s highlight at The Waldorf School of Garden City collaborated for the first time on a course on Chartres with was the performances of Eurythmy Spring Valley Ensemble Bastiaan Baan, filling the Christian Community to capacity. in March. The ensemble arrived at 7:00 am, after digging The post-graduate class began to grow together and prepare out of two feet of snow. Since the school had been closed for their performance of Corelli's Christmas Concerto for the previous day due to the storm, all preparation had been the Community Christmas Festival. The school building left until now, but with smiles and good will, the ensemble sprouted greenery, stars and candles, as the Second Year members set to work with ladders, brooms, screwdrivers, prepared Advent, and the First Years began to find each irons and boards to prepare the space. They are a very deter- other in eurythmy and work towards their first end-of-term mined group! I was happy to join them in ironing the 50- festival. plus costumes and then to watch the run-through, once the As soon as we returned in January, the Fourth Year lights were set. Dr. Stuckenbruck, who gave up his orchestra presented their demonstrations to the entire school commu- room for their dressing room, told me that he could sense nity, which is always a highlight to suddenly see a whole the creativity of so many eurythmists together. new side of each student. Though performances and How magical it was for me to see the glowing faces fundraising events took place throughout the fall, they came of my student as they watched eurythmy! Students in grades fast and furious in the new year, beginning with the ESV fourth and up know the exercise “Humpleman, Ich bin da.” Ensemble performances for the Agriculture Conference and and when they saw it on stage performed by Virginia and for nearly four-hundred enthusiastic kindergarten teachers, Sea-Anna, the sixth grade students couldn’t help but move who arrived here for the annual WECAN conference in Eurythmy Association of North America 23 February. The Winter Studio Program also transpired, with means of gaining new insights, ways of understanding its very own dramatic flair of solos and duos, followed by nature, the Christian year (the Calendar of the Soul already benefit concerts with wonderful musicians, a lecture by Jon being introduced every week), and then crucially, making a McAlice, and a lovely Valentine surprise afternoon with modest beginning in appreciating a totally new look at music, speech and eurythmy gems. We closed the first part Christianity through Rudolf Steiner's world-encompassing of the winter term with the first pedagogical introduction for wisdom including the evolution of consciousness, history, first and second year students on the child's movement from religions, all focusing light on a spiritual understanding of birth to 21 with Jane Swain. Fourth-year students accom- the Christ Being for the present. plished their final speech presentations, with the Kalevala Starting in the first days of November, joined by a being a major part of it. Carina Schmid arrived from member of the faculty, this group of students comes togeth- Dornach, bringing our students and local eurythmists a most er weekly, having read a chosen lecture by R. Steiner, ready delightful course of the indications of the first eurythmist, to share it together and voice thoughts and questions, com- Lori Maier-Smits, leaving us inspired with rich imagina- ing to terms also with how lectures can be approached as tions and true liveliness! study material. Often the student is new to anthroposophy As we faced more snowstorms, interspersed with and wishes to become familiar with its content also through shy spring breezes in the following weeks, we had several lectures. (There are weekly study periods for all the students wonderful singing days with Christiaan Boele, a few irrespective of the time of year in which we work with the evenings of Chinese eurythmy with one of our post-gradu- fundamental books by Rudolf Steiner.) ate students, and an afternoon of Taiko drumming, before This past Christmas the theme that arose out of the we now madly prepare for the fast-approaching end-of- shared lecture was the kingly vision of the stars and all that term. We also had the chance to see all the wonderful work that implies, with in contrast, the shepherds’ revelation of of the Green Meadow Waldorf School high school students the earth's being, each showing deep truths of the life of next door in the Inner Sun Eurythmy Initiative. Together soul, the course of development historically and also the with the visiting Seattle students in the Seattle Waldorf High occult background to the sciences so important today. Here School Eurythmy Troupe, they performed their collabora- is a completely revolutionary view of traditional good-old tive project with aplomb, beauty and tenderness. This was a Christmas celebrations! And a forever fresh revelation for truly remarkable achievement by Green Meadow Waldorf newcomers and old ones like me. High School teacher, Laura Radefeld, and Seattle Waldorf The students create an Advent festival out of this School teacher, Maiko Canard. study and lead, on each Advent Monday morning the whole The next term at ESV will be equally rich, with a school in a fifteen-minute, ceremony-like preparation for rare public course, offered by Dorothea Mier as a 4th-year the Christmas Festival: the first Monday on the theme of fundraiser; another color-filled week with Hans Schumm, Star revelation, the second on the shepherds' devotional further exploration in poetics with Coralee Fredrickson, and connection to the Earth. The culmination of these Monday one last block of pedagogy for the first and second-year stu- mornings is brought on the closing day of school, when we dents with Helga Daniel from the Netherlands and Laura look ahead to Christmas proper. Radefeld. And this leads us to the grand chase toward the This year we have students from India, China, fifth-year performance, their regional tour and ... the fourth- Europe, and America in the second year, all joining forces year graduation festivities and conference in Dornach! in presenting festivals in this way on the closing days before Christmas and Easter. They give us deeply felt events built Celebrating the Year at The School of Eurythmy up through song, the spoken word, music, and other activi- Annelies Davidson ties. Having had practice in creating festivals and directing As the year unfolds in the Eurythmy School in Spring a larger group in celebrations like this in the midst of their Valley, the main Festivals of the Christian year, approached four-year process of life with eurythmy, will help them from a cosmic point of view, are celebrated with the whole unfold their future tasks, possibly as Waldorf teachers, school. At Michaelmas, when everyone is still trying to get members of study groups, branches, and in the public used to a new beginning, each group of students shows the domain. They will be able to offer their communities ways very first results of work embarked on in the classes, a very to enhance celebrations with beauty and meaning. moving moment especially for the First-Year class, requir- This year it was my privilege to be part of this ing much courage. There will also be brought some process and it was a great joy, as faculty members take it in thoughts on the Spirit of Michael and his importance in our turn and benefit from joining these study groups. Next year work. no doubt a different theme will be brought to us by the next Christmas and Easter are first prepared in a quiet Second-Year class, to experience yet another aspect of the study group with the students of the Second Years. This is a Mystery of the Birth in Winter and Death in Spring. 24 Eurythmy Association of North America Post-Graduate Stage Training ESV Sixth Cycle Pedagogical Training 2017/2018: Clara von Recklinghausen The fourth block of this cycle, August 14-25, 2017, integrat- We are a group of eight eurythmists from five dif- ed eurythmy curriculum studies with the overall gesture of ferent countries (Germany, Sweden, China, Canada and the the Waldorf curriculum, with a focus on the eurythmy United States) and have come together for a stage-training curriculum for the fourth through sixth grades in the first year at Eurythmy Spring Valley. At the moment we are week. After building an approach to the transition into working on a program, which we plan to tour in May 2018. frontality in fourth grade, the ESV students moved into the middle of childhood in fifth grade, the objective being to support their future students in living in this golden period as long as possible. Moving into the sixth-grade year, at the time of dramatic physical and inner growth, the students discovered how the eurythmy curriculum brings about a natural balance for the student through geometric forms with clear boundaries and consequences, as in the Roman culture. Also covered were the festivals of Michaelmas, Spring festivals, and Maypole dances, for students in the middle of childhood, grades three to six. A vigorous and joyful approach was offered for teaching eurythmy to this age of students as they navigate the tender and formative heart of childhood. Cristina Geck and Laura Radefeld Our program consists of a wide range of classical guided the studies for this week. and modern pieces in both speech and tone eurythmy. The second block week in August 2017, moved into Among a variety of tone pieces, we are working on “A the middle senses in relation to eurythmy pedagogy for Theme with Variations” by Ludwig van Beethoven, explor- grades six to eight, and the higher senses in relation to ing how the sound of a melody can change with accompa- teaching eurythmy in the high school. Through the doors of niment, and through this, how each variation possesses its the senses, the human being relates and feels connected to own unique quality. A large group piece by Jean Sibelius, the world, anchoring his or her own reality of existence. In called “Romance,” captures a great variety of emotions, and the work within the eurythmy middle school curriculum, “Stars” by Peter Sculthorpe brings us into cosmic vastness. students discover forms that correspond to the different With the 20th century Hungarian composer Zoltán Kodály senses, work with poems that relate to specific senses and and his piece, “Tranquillo,” we experience a large range of explore the sound qualities of the consonants in relationship pitch (melos), while still feeling connected from within. We to the senses. This coursework provided the foundational are also working on poems by Kathleen Raine, David understanding for our ESV students that “Sensory education Wagoner, William Everson, and a group of Russian poets. is always – and it is just that – education of the whole Included is also an assortment of small humoresques and a human being.” (Gottfried Herder) Faculty for week two Brothers Grimm fairytale, “The Queen Bee.” included Annette Conlon and Laura Radefeld. With our program, we will tour the Northeast Coast of the In October and November 2017, five students of United States, as well as the Toronto area of Canada. The this training cycle completed three-week practicums in premiere of our program debuts on April 28th 2018, at the Green Meadow Waldorf School, Hartsbrook Waldorf Threefold Auditorium in Spring Valley, NY. School, The Waldorf School of Garden City, Kimberton We are looking forward to bringing Eurythmy to Waldorf School and Rudolf Steiner School in New York new and familiar places. If you are interested in seeing our City. In these practicums, our students engaged in three program, feel free to ask for our tour schedule. weeks of practice teaching under the guidance of capable [email protected] and experienced mentoring teachers. The students were deeply inspired, humbled, enthused, and altogether eager to ESV Eurythmy Teacher Training Program continue to learn about the art of teaching. The mentoring Laura Radefeld and Beth Dunn-Fox teachers were generous in their support of each student in As we have shared below, our ESV pedagogical training guiding them to see how they can approach their next steps program has two cohorts of students studying in the school in developing themselves as teachers. year. The reports provided below give a glimpse into the ESV Seventh Cycle Pedagogical Training 2017/2018: process and content underway in the two training groups. Our seventh cycle students began their pedagogical training with a one-day course, The Human Being's Spatial Development from Birth to 21, with pediatric physical ther- Eurythmy Association of North America 25 apist, Waldorf movement educator, and Spatial Dynamics Celebration, which brought together the Berkshire/Taconic instructor, Jane Swain, based at Sophia's Hearth Family Branch, Camphill Copake, many participants from the local Center in Keene, New Hampshire. Beginning at birth, the Waldorf communities and Eurythmy Spring Valley. The students learned by direct experience how babies acquire evening interwove between the performances of the skill through self-initiated movement. Through an introduc- Foundation Stone and shared insights on themes living tion to the Threefold human being, Jane brought the first within the Mantram, by John Barnes and Barbara movements of the newborn into the context of healthy pro- Schneider-Serio. For the Ensemble members, this festival gressive growth, correlating what we can see in a child’s held a potent quality that has remained with us and we have movement to developmental milestones and challenges. since heard feedback from many participants about the Throughout the course, she gave a view into what we are memorable quality the event had for them. able to read out of the three spheres of the human being in Every three years or so the ensemble goes into a a child’s movement, providing an ideal first step into the period of development when we build new programs for all observation skills needed to work as an educator. The sec- of our tour offerings: early childhood, lower/middle school, ond part of the one-week pedagogical block for this cohort high school and our adult program. During this period we will take place from May 1-4, 2018. This course will give are in a phased transition of saying goodbye to old programs an overview of the essential aspects of pedagogical euryth- that have traveled with us to many locales and premiering my with a further emphasis on developing the capacity to new ones, while still maintaining a full performance roster. understand the child through their movement. The faculty Over the past year, we have introduced new early child- for this four-day course will be Helga Daniel from Germany hood, lower and middle school programs, and are in the and Laura Radefeld, ESV Pedagogical Program Director. process of finishing the pieces for our new evening program to be premiered in fall 2018, which will also provide the New ESV Youth Eurythmy Summer Intensive for basis for our new high school program. In the ESV Young Adults 16-20! Ensemble Programs section below, we give a glimpse of Virginia Hermann these new stories now being performed on tour. Sunday, August 5, - Sunday August 12, 2018, School of The shape of the ensemble performance year Eurythmy, Chestnut Ridge, NY, Eurythmy Spring Valley changed unexpectedly in early January when the hosts of faculty and stage group members Sea-Anna Vasilas, our tour to Taiwan had difficulties with the theaters for our Virginia Hermann, and Cameron MacArthur, with guest winter tour performances, causing them to postpone our faculty Laura Radefeld of Green Meadow Waldorf School, visit scheduled for February and March 2018. Fortuitously, are offering an artistic, performance-based summer euryth- an unexpected set of performances were added to our roster my intensive for high school and gap-year students aged 16- this year through an invitation to perform at the World 20. Intensive daily eurythmy rehearsal will be augmented Conference on Eurythmy and Speech in Dornach, with poetry writing, art, music, games, swimming in the Switzerland, in April 2018. We are delighted to have the pond, and an outing in New York City. The week will cul- possibility of performing at this conference, as it is presents minate in a performance of the eurythmy program created a rare opportunity to share our work in the context of other during the week. Participants will stay with a chaperone in international offerings. the Holder House dormitory on Threefold Educational Center’s campus, and all meals and necessary transportation As always, our performance work this year spans different will be provided. See ESV Events for more details. programs, regions, countries and audiences. We have shared below a picture of our performance roster for 2017-‘18. ESV Ensemble 2017/2018 – Building New Programs, Regional Tours and Easter in Dornach Performances, Festivals, Courses, and Workshops, Beth Dunn-Fox 2017 - 2018: The first event of the ESV Ensemble performance year August 14-18: Pedagogical Refresher Course for brought us a picture of the growing potential for collabora- Eurythmists with Cristina Geck, School of Eurythmy, tive work between communities and disciplines. Since August 21-25: Pedagogical Refresher Course for 1990, the ESV Ensemble has worked with the Foundation Eurythmists with Annette Conlon, Laura Radefeld and Stone Meditation, offering it annually to communities both Dorothea Mier, School of Eurythmy, Chestnut Ridge, NY on this continent and internationally. Last summer 2017, Sept. 29: Michaelmas Festival, Two performances of the through a conversation with the Berkshire/Taconic Branch, Foundation Stone Meditation and a presentation by Barbara we were invited to perform the Foundation Stone Schneider-Serio, Camphill Copake, Copake, NY Meditation as the core focus of their Michaelmas Sept. 30: Michaelmas Festival – Centered on the Michael 26 Eurythmy Association of North America Imagination, performed by the ESV Ensemble, with a lec- ESV Ensemble – Children and Young Adult Programs! ture/demonstration by Dorothea Mier with ensemble mem- Children in kindergarten can enjoy our delightful English bers, Threefold Auditorium nursery tale, The Cat and the Mouse, where a whole village Oct. 13/14: Course for Professional Eurythmists with of people and animals is necessary to help the mouse on her Dorothea Mier on the Twelve Moods, School of Eurythmy quest to retrieve her tail from the cat. Rhythm and rhyme Oct. 21: Ensemble Evening Performance, Lady and the playfully carry the characters through their adventures of Lion, Threefold Auditorium, Chestnut Ridge, NY collaboration and harmonious work, and at last our heroic Nov. 1: All Soul’s Festival for the Those Who have mouse has her own tail again! Story music by Marcus Crossed the Threshold of Death, including Pater Noster, Macauley, a verse for children and the Mozart piece help to Threefold Auditorium, Chestnut Ridge, NY create wonderful inner pictures in this program. In the Fairy Tale, The Lady and the Lion by The November 8-16: Fall Tour – ESV Ensemble Brothers Grimm, first through third/fourth graders are invit- Children’s Performances, The Lady and the Lion and The ed into the magical journey of the courageous Lady, whose Traveling Companion at the following schools. quest to save her father’s life leads her to the castle of a Nov. 8: Brooklyn, NY, Brooklyn Waldorf School fierce lion. After seven years of trials, her open heart and Nov. 10: Glenmoore, PA, Camphill Special Schools bright spirit free the Lion from his enchantment. This story Nov. 11: Phoenixville, PA, One Evening Performance, The is woven throughout with music by our own pianist, Marcus Traveling Companion, Rose Hall, Camphill Kimberton Macauley, accompanied with a verse for children by Paul Nov. 14: Great Barrington, MA, Great Barrington Rudolf King and a short tone eurythmy piece by Mozart. Steiner School For our middle school program (Fourth/Fifth Dec. 17: Community Christmas Festival, Threefold through Eighth grades), we are excited to offer The Auditorium, Chestnut Ridge, NY Traveling Companion, Hans Christian Anderson’s retelling Jan. 13, 2018: Agriculture Conference Performance, of a Danish folk tale full of mystery, courage and transfor- evening performance offered in a research conference for mation. Poor John meets a magical stranger on his voyage, biodynamic farmers, Threefold Auditorium. who becomes his traveling companion and guardian. This Jan. 27: Studio Performance, evening performance includ- new friend mysteriously saves his life from an evil princess ing solos of ESVE members and other local eurythmists, who is bewitched by the ferocious mountain spirit. Through Threefold Auditorium, Chestnut Ridge, NY John’s good deeds, he is able to free the princess from Feb. 10: WECAN Conference Performance, evening per- enchantment, and thus give rise to the liberation of the formance offered to early childhood educators, which is not whole kingdom. open to the public. Threefold Auditorium Feb. 16/17: Course for Professional Eurythmists with Books and Publications Carina Schmid on Indications by the First Eurythmist, Lory “In Africa a rope comes down from the sky Maier-Smits, School of Eurythmy, Chestnut Ridge, NY to climb up, they say, when you die.” Winter Tour 2017: Venues beyond Taiwan Postponed From “White Flutter”, by Annelies Davidson March 9/10: Taichung, Taiwan, Three Children’s With mystery, with precision, and with existential reckon- Performances, Cat and Mouse, early childhood, The Lady ing, the poems in Annelies Davidson’s recent publication and the Lion, lower school, and The Traveling Companion, Lines: 65 Poems (Mercury Press, 2017) indeed come to the middle school, high school and adults. Shi Shan College, reader like ropes ‘from the sky’, inviting one to enter a Taichung, Taiwan world of subjects vast, curious, and rarefied. March 3: Ensemble Evening Performance, Premier of new At times perplexing, at others profoundly straight- evening program pieces, Threefold Auditorium forward, the poems are so remarkably diverse and far-rang- March 8: Garden City, NY, Children Performance: The ing in theme (Shakespeare, love, passionate confession, Lady and the Lion. For the high school: Selections of poetry cats, fish, city life in Taiwan, Easter, Death, Birth, Bruckner, and featuring Chopin’s Ballade in g minor, Waldorf School door hinges, friendship, to name a few) while still attaining of Garden City that unique quality of intrigue one finds in reaching for the April 2-6: Two Performances by the ESV Ensemble at the heavens or across a threshold of knowing. What is a word World Eurythmy Conference, Goetheanum, Dornach, or image actually? Switzerland This question and mood arose in me repeatedly as I June 26: Studio Performance for Sunbridge Institute read through the poems, each one seeking to be understood Programs, performance of solos of ESVE members with as it presented itself in one light, then seeking again as other local eurythmists, Threefold Auditorium unexpectedly the light could turn into another. Eurythmy Association of North America 27 Words, like carved stones, or like crystals reflecting Book Review for THE ONE of the Emerald Tablet light through their sharply formed contours, stand so simply Weaving together varied streams and topics Dr. Anna Lups and, at times, so unrecognizably, that the invitation to seek has written a book titled THE ONE of the Emerald Tablet. anew would call out to me and be met with further curiosity And who is this ONE she speaks of? It is each and every and interest. Things known and things unknown, much like one of us, of course, as we come into this world and struggle the rope and its source – so familiar, so of this world, and to engage with the world humanly and fully. The book is yet so surprising – fill this volume of remarkable poems, or peppered with autobiographical sketches to illustrate points gemstones really. as well as sketches of certain patients she has known and The great majority of the poems are in English, with worked with, but it is not an autobiography in a traditional some written in Dutch only (the poet’s mother-tongue), and sense. Her interest is to elaborate and elucidate aspects of some appearing in both languages. Speaking no Dutch our incarnation on earth – different stages and possibilities myself, I can only combine my experience of the English from conception through to the end of life and hints of what texts with images and experiences I have had in the comes beyond Netherlands to come to understand the uniqueness and for- She begins with The Child Artist’s drawings in eignness of those particular poems. This Dutch-ness gives which she recognizes themes and images related to alchemy further insight into the world of the volume as a whole: and to the incarnating individual. The Emerald Tablet is immense grandeur side-by-side with the most everyday, the from the writings of Hermes Trismegistus, an ancient drab. I can’t help but feel the glory of a seascape from the teacher and master. Elaborating the qualities of the numbers Dutch Golden Age, while comforting in the ever-at-home, 1 through 6 – she brings in Rudolf Steiner’s understanding cozy flatness of the Dutch landscape. The shape-changing, and teachings. Then she leads all of these themes together in sea-god Proteus, comes to mind, newly becoming and five moving sections Ah Eh EE Oh and U elaborating always essentially different – a heavenly thing here, a most- embryology and incarnation. I quote from her introduction earthly thing there – and through it all one experiences how to these sections: free and how simple can be a ‘sea-change’ between the “With Ah sounding, the human body (column of realms of body, soul, and spirit. living water) opens up to what surrounds it. What is outside “What will we be when time changes?” the poet is allowed to enter, expand, and fill me. Its gesture inspires asks in the poem “Garden of Eden”. “Now it’s hard to fath- me; it becomes a deep experience of adoration and desire to om how deceived we could be by the flesh/ of an apple/ that be one with all. has long hidden what could be a rotten core”, she continues. In the sound Eh, a flowing motion is established as The image, the fruit itself, the immediacy of the fateful an exhalation occurs. I exist as a polarity of right and left moment in the garden are then widened throughout the and crossing of the two opposites. Through this, I establish poem in space and time and then beyond: “When time boundaries expressed in the warning of the staccato sound changes...ourselves running the system/ according to what “hey”. This sound is twofold: streaming and interruption. we have become,/ the idea of earlier and later adjusted to a The point of interruption, or silence, creates room for a new better notion of time/ and space altogether gone/ will we all condition. This is a creative sound.” know ourselves; will I?” With some rather Eliot-like power, Included in this section are gems on womanhood the poems are so educated and so educational in how they and motherhood in the Oh chapter. In Dr. Anna’s words: speak that I can find myself feeling shy. Am I prepared to “Here is a short evaluation of the vowel sequence used as a start asking myself these inspired questions? Will I allow scaffold in the biographic maturation. Ah for expansion and them to speak to me? In the end, she asks: “...will I be able growing, Eh for confrontation with the other, EE for authen- to ask who it was that made me say I?/ Will there be a tree ticity and self-discovery, Oh for the urge to commune, and standing next to me?” U for the realization of the finite as opposed to infinite real- With a directness of words we don’t often ity.” It is deeply moving to have a physician write about the encounter, the language of “Garden of Eden”, as well as the vowels with such insight. overall volume of Lines: 65 Poems, indeed acts like It is hard to try to indicate the depth, breadth and enabling ropes dropped down to us from the sky. If we are richness of this extraordinary book full of wisdom, anec- ready, we can here begin a climb, discover new limits, be dotes and illustrations from Dr. Anna’s life and studies. surprised, sometimes tickled, laugh even, and through all How did she manage to bring so many aspects of our lives the layers of meaning and understanding and interpretation into one coherent whole?! I can only encourage you to that poetry affords, can be offered a simple (and destined) immerse yourself in the imaginative world of THE ONE of apple. That’s a remarkable journey. the Emerald Tablet. [Available at Amazon.com for $28.65] Cameron MacArthur Jeanne Simon-MacDonald Book of 65 poems published by Mercury Press, $15.00 28 Eurythmy Association of North America Short Stories and Small Miracles agent for healing, and vital in the art forms of eurythmy and by Jean Schwarzkopf, Ms. (Author) speech formation. At the conference, over 30 workshops With these inspiring autobiographical sketches, Jeane will transpire, in addition to morning lectures and demon- Schwarzkopf presents snapshots of an extraordinary life. strations in various languages for all participants. There will From New York to the Hollywood stage, from rituals with also be a ‘market,’ where one can experience individual native American elders in the desert to Rudolf Steiner’s approaches to speech and movement, supplemented by a work in Dornach, Switzerland, from participating in space for ‘free initiatives,’ where groups can share work Mikhail Gorbachev’s State of the World Forum to meeting informally. Stefan Hasler and Martina Maria Sam will also the Dalai Lama, from studying breath work with Stanislav present the newly revised (German) edition of Eurythmy as Grof to shamanistic work with Alberto Villoldo, Jeane’s life Visible Speech. has led her to deep and profound experiences of the reality During the morning plenum, Annelies Davidson, of the spiritual world. She tells how she has come to under- together with Eurythmy Spring Valley Ensemble, will bring stand that we can awaken to consciousness in multiple a demonstration on English speech eurythmy, focusing on dimensions beyond the awareness of the merely physical Rudolf Steiner’s indications for eurythmy in the English world, and how we can use our heightened awareness to language: “Lightning into the earth, be above on the help, to heal, and even to alter our course of events. wave.”* This theme explores the relationship and dynamic Available at Amazon for $15.99 interplay of the vertical and the horizontal, where one is https://www.amazon.com/Short-Stories-Small-Miracles- “conscious of self and conscious of the periphery, wholly in Schwarzkopf/dp/1519794797 yourself and yet at the same time in the surrounding world.” Using texts from William Shakespeare’s The Tempest, A Midsummer Night’s Dream and Percy Bysshe Shelley’s Ode “A Healing Art: How Eurythmy to the West Wind, the demonstration will show how the Lives in the World” horizontal and vertical speak to one another, especially in Congratulations to Linda Larson on her recent publication! the sounds (u)w, th, r, sh, (t)ch, and dge; and how silences The Soul of the American Actor, America’s Artists’ between words are full of movement, as breaths and Newspaper, Volume 12, No. 1, is their Twentieth-year silences play a crucial role in English speech eurythmy. The Anniversary Issue. The publication is for actors, directors demonstration will end with an excerpt from T.S. Eliot’s and theatre people and Linda was asked to write an article. The Wasteland, a poem that well-illustrates these Linda’s article is entitled: “A Healing Art: How characteristics. Eurythmy Lives in the World.” It will be in print later on, There will be eurythmy performances to conclude but remains online for at least three months. each of the five evenings, opening with the Stuttgart Else- The web address is: www.soulamericanactor.com Klink-Ensemble and ending the conference with the Scroll down until you see the title: “A Healing Art: How Goetheanum Ensemble. Three mixed programs comprise Eurythmy Lives in the World,” click on it and it will open the other evenings, when Eurythmy Spring Valley Ensemble the full article. Make sure you check out this worthy article will perform Chief Seattle (reimagined), sharing the online. The Editor evening with other ensembles from around the world. ESV Ensemble is honored to participate in this rich, vital Events for ESV exchange and sharing with our international colleagues. Eurythmy Spring Valley Ensemble at the April 2018 *Quote taken from Vol. VII, Eurythmy Forms for ‘Speech-Movement’ Conference in Dornach, Switzerland the English Texts, ed. Eva Frobose. – With a Lecture Demonstration by Annelies Davidson and Performance of Chief Seattle Frontier Part-Time Training Course: New Class Forming Monday, April 2 – Friday, April 6, 2018, Goetheanum, April 2018! Dornach, Switzerland. Eurythmy Spring Valley offers a part-time training program This April 2018, Eurythmy Spring Valley Ensemble will be in which the first year of training is completed through participating in an international conference called ‘Speech- block courses at ESV in the span of two years, in addition Movement’ at the Goetheanum for eurythmists, eurythmy to working with a regional mentor. If you know of any moti- therapists, formative speech artists, and for all who are vated public course students or parents who may be interest- interested. The conference celebrates speech and language ed, please share our course description below: in its essential and manifold forms – as a formative force First Training Block: Sunday, April 15 – Saturday, April 21, building human beings, and as a vessel for communication. 2018. Second Training Block: Sunday, June 17 – Saturday, The ‘Word’ is also a bearer of artistic expression and an June 30, 2018, School of Eurythmy, Chestnut Ridge, NY. Eurythmy Association of North America 29 In April 2018, we are beginning a new class in needed for a comprehensive view. our Frontier Part-Time Training, which has been a doorway Early on, Rudolf Steiner often spoke of the for many of our students to start their professional “Logos.” This talk will look at some elements in the early training in eurythmy. The Frontier program is ideal for those teachings about the “Logos,” bringing them together with who want to begin their studies in professional eurythmy, related principles from Indian Philosophy. This will be while honoring other existing commitments. Unlike the full- rounded out by considering experiences closer at hand to time training at Eurythmy Spring Valley, we do not offer a see in what way our more individual experiences are related new Frontier class every year, so take advantage of this spe- to these sublime cosmic realities. cial opportunity! Human Sole: Bearing the Soul through the Carry of the Freeing the Music that Lives in All of Us - A Public Foot Workshop with Dorothea Mier! – An ESV Fourth-Year Thursday and Friday, May 10 and 11, 2018, 8:00 p.m., Dornach Fundraiser Threefold Auditorium Friday, April 20, 2018: 7:30 p.m. – 9:00 p.m. and Saturday, Please join Cameron MacArthur for the two presentations April 21, 2018: 9:00 a.m. – 1:00 p.m., School of Eurythmy of his Alanus University Eurythmy M.A. graduation project. Workshop Fee: $75. Cameron will give a brief introductory talk about the cre- Our spring workshop for the public is a unique opportunity ative process and intentions explored in his project on to experience the joy and substance of eurythmy with Thursday evening. The following evening, he will perform Dorothea Mier, director emeritus of ESV. Out of her lifetime his M.A. Project Solo Program, with contributions from of working with eurythmy, she will share her insights in this Virginia Hermann and Sea-Anna Vasilas, followed by a con- open course suitable for beginners, as well as for those who versational feedback session. We hope you can join us for have a long-standing love of this art form. Join us for this this culminating event of Cameron’s research work in the rare opportunity to experience her refreshing approach to Alanus University M.A. Program. accessing the deep, sustaining value of eurythmy and the music that lives within us. Pre-registration is required for Emerson, Thoreau, Whitman and Dickinson - An ESV the course. To register, contact us at 845-352-5020, Poetics Course with Coralee Fredrickson, Ph.D. ext.113, or email: [email protected]. Monday, May 14, 2018, 9:35 a.m. - 2:55 p.m. (three ses- sions with a lunch break) and Tuesday, May 15, 2018, 9:35 Join us for the Eurythmy Spring Valley Stage-Training’s a.m. - 12:25 p.m. (two sessions), School of Eurythmy, Postgraduate Performance! Course Fee: $75. Saturday, April 28, 2018 at 8:00 p.m., During the 19th century, a time of upheaval in America, Threefold Auditorium, Tickets: $15/ $9, students/seniors. these four individuals were laying a visionary philosophical This term, the stage-training has been diligently preparing and poetic foundation for American cultural life. At the their evening program and planning their tour. Hailing from heart of their vision was the renewal of the English language China, Germany, Sweden, Canada and the U.S., the eight as a vehicle of spiritual truth: “Wise men pierce this rotten post-graduates are eager to share their culminating work diction . . .” (Emerson). Emerson called for a “living, leap- with the community and warmly invite you to their pro- ing logos,” a vital language that could convey original gram, with pieces by Jean Sibelius, Kathleen Raine, a thinking. Thoreau’s insight into the processes of Nature Brothers Grimm fairytale “The Queen Bee,” and more! compelled an equally alive creative speech. Dickinson plumbed the dimensions of the soul in living words tied The Threefold Logos and World Becoming - A Talk by Joe again to their roots, and Whitman’s all-embracing heart cre- Serio as a Benefit for the School of Eurythmy. ated a poetry that breathed with the dynamics of the spoken Monday, April 30, 2017, 8:00 p.m., School of Eurythmy word. Perhaps more relevant today than ever, these Suggested donation: $20/ $10, students and seniors. poets/philosophers can inspire a renewal of the truthful In his early forties Rudolf Steiner gave private lessons and word and a vision for America. lectures that were very different in character than his later We are delighted to have Coralee Frederickson, “Anthroposophical” researches. He often spoke in these Ph.D., to bring once again her rich background with these early years in terms of ideas; cosmic thoughts, categories, poets and essayists into the Poetics Studies at ESV. A principles. Later, the lectures and lessons of his graduate of ESV, Coralee Frederickson has been the School “Anthroposophical phase” were characterized by images Leader at Den norske Eurytmihøyskole, in Oslo, Norway, as gained through clairvoyant vision. If the first period gave well as the Program Director of their B.A. Completion the cosmic principles, the images of the second showed Program, which was hosted over two cycles at ESV. Coralee beings and processes in manifestation of these. Both are 30 Eurythmy Association of North America is now the Co-Director of the Alanus University M.A. ESV Youth Eurythmy Summer Intensive for Young Adults, Program in Eurythmy, which completes one cycle of studies 16 -20! on our campus in May 2018 with the final thesis presenta- Sunday, August 5 - Sunday, August 12, 2018, School of tion by Cameron MacArthur. Eurythmy, Chestnut Ridge, NY. Summer Intensive Fee: $750, including tuition, food and lodging. Fourth-Year Solo Performances At ESV we are inaugurating a new artistic, per- Sunday, May 20, 2018, 4:00 p.m., Threefold Auditorium, formance-based summer eurythmy intensive for high school Chestnut Ridge, NY. Donations welcome. and gap-year students aged 16-20. The faculty for the We warmly invite you to join us as the students of the course will include Sea-Anna Vasilas, Virginia Hermann, Graduating Class of 2018 present their solos in preparation and Cameron MacArthur from our ESV faculty and ensem- for the graduation performance on June 2, 2018. Each stu- ble, with guest faculty, Laura Radefeld, of Green Meadow dent will perform a speech and a tone solo as the culmina- Waldorf School. The course will include intensive daily tion of an intensive, individual artistic process. It is a festive eurythmy rehearsals, augmented by poetry writing, art, event, and the whole community is invited to share in this music, games, swimming in the pond, and an outing in special first step toward graduation. NYC. The youth eurythmy intensive will culminate in a per- formance of the eurythmy program created during the week. Join us for the ESV Class of 2018 Graduation Participants will stay with a chaperone in the Holder House Performance! dormitory on Threefold Educational Center’s campus, and Saturday, June 2, 2018, 8:00 p.m., Threefold Auditorium, all meals and necessary transportation will be provided. Chestnut Ridge, NY. Donations welcome. Minimum enrollment is seven for the intensive to On June 2 our fourth-year class will present their graduation run. For more background on the course, please feel free to performance at the Threefold Auditorium for family, call us with any questions. Also, inquire about available friends, and all who have supported them on this incredible scholarships and payment options at 845-352-5020, ext. journey! Our seven students in the “MM” Class hail from 113, or email: [email protected]. China, Taiwan, Korea, Brazil and the United States. Their graduation program will include pieces by Ludwig van A Wellspring Within: Eurythmy as an Art to Cultivate our Beethoven, Rudolf Steiner, Elizabeth Bishop, Edvard Grieg, Humanity – Summer Eurythmy Week 2018 a delightful Chinese fairytale, “The Golden Sheng,” and Sunday, August 12 – Friday, August 17, 2018, School of many other surprises. Eurythmy, Chestnut Ridge, NY. Course Fee: $400, if paid Seating is limited; tickets must be reserved in by registration date of June 9, 2017 ($450 after registration advance from the Eurythmy School office. date). Through eurythmy, music, poetry and nature observation, Excerpts from the ESV Graduation Performance of the we will connect with the renewing and regenerating activity Class of 2018 that is at the core of our humanity. How can we cultivate the Wednesday, June 6, 2018, 4:30 p.m., Rudolf Steiner wellspring of rejuvenation within and around us, offering a Fellowship Community, Chestnut Ridge, NY. Donations counterbalance to the ever increasing activity of our time welcome. that threatens to do just the opposite? Please join us for a For those of you who are unable to attend the graduation week of immersion into a healing and life-serving inner and performance of the ESV class of 2018, this afternoon will outer movement; eurythmy with Sea-Anna Vasilas, Clifford provide another opportunity to experience their culminating Venho, and other faculty to be announced. Beginners very work. Please join us for a color-filled afternoon. For infor- welcome! mation please contact 845-352-5020, ext. 113, or email: For information, or to register, please call 845-352-5020, [email protected]. ext.113, or email: [email protected].

Spring End-of-Term Festival Announcements Thursday, June 7, 2018, 7:30 p.m., School of Eurythmy, Chestnut Ridge, NY. Donations welcome. Pedagogical Initiative! As another school year comes to a close, our students are The eurythmy teacher pipeline recently passed the news of pleased to share with us the fruits of their labors! It is here another well-established Waldorf school downsizing euryth- where we have a glimpse of the elements that have prepared my from their educational offerings. Eurythmy in schools them to step into the next year. Please join us for this is, and has been, vulnerable in recent years. The Association demonstration of their work during the spring term, at the of Waldorf Schools recently published a position paper in close of our training year. support of eurythmy in Waldorf Schools, declaring that it is Eurythmy Association of North America 31 an essential subject area! (See EANA website for this Amaranth Eurythmy Theater paper.) presents a Program of eurythmy, speech and drama. It is also true that eurythmy as a “special” subject, Christina Beck eurythmy and Beatrice Voigt speech/drama is vulnerable as schools everywhere face financial realities Preview performances/workshops: that require that “something has to go” from a school pro- Asheville N.C. March 16, 17. Contact Elizabeth McKay: gram. Private schools struggle to sustain their enrollment [email protected] and full program offerings, due to trends in enrollment that Ottawa Canada, May 25, 26, Contact Sylvie Richard: affect not only Waldorf Education, but all private schools. [email protected] Enrollment in private schools for grades pre-K to 12, Fall 2018 Performances continue. Contact Christina Beck. including parochial schools, dropped by 14%—to 6.3 mil- [email protected] lion in 2016 from 7.3 million in 2006, according to data For more info: amarantheurythmytheater.org from the U.S. Census Bureau. In 1995, private schools edu- “I Go Where I Love” H.D. [20th century American poet cated 14% of the nation’s student population; they educated Hilda Doolittle 1886-1961] 11% in 2016, according to the census data.” (Wall Street H. D. met experiences in war time London that led Journal, December 29, 2017) her into an awareness of a spiritual presence that is never So much uncertainty! What is certain is that the absent. Her scholarly and artistic work has deep roots in the healing impulse of eurythmy has never been more relevant, Egyptian and Greek mysteries, within the Greek particularly and that the needs of children are changing, and that every those of Ephesus. Her life was tumultuous leading her close child needs teachers that understand healing teaching meth- to death inwardly and outwardly. In 1960 H.D. received the ods, delivered through imaginative pictures and healthy American Academy of Arts and Letter award of Merit movement. medal. The program traces her unique path artistically As eurythmy teachers, we require so much vitality through excerpts from her life, interspersed with her poetry and continual self-development to face the forces of oppo- and others, with music from Arvo Pärt and Mozart. The pro- sition that rise up to meet us! Let’s meet to talk about these gram is approximately one hour. things! It is time to gather ourselves for a Colloquium of Eurythmy Educators to share our thoughts, needs, insights Workshops for the Public Speech work for teachers and master classes for euryth- and questions. We need a strategic plan for the next chapter mists. In addition a program of storytelling and eurythmy is of eurythmy in schools! available for schools, including “Namarie” Galadriel’s Do we have the right continuing education/profes- Farewell in Lorien, in the elvish from Tolkien. sional development offerings to support us in our work with We are most grateful for the sponsorship children? How can we be more active in our own self-edu- of Lemniscate Arts, Inc. cation in the fundamentals of Waldorf pedagogy that inform Our work is a juggling act with the balls of rehears- eurythmy teaching? Do we articulate the impact of euryth- al, development, fundraising and marketing bouncing mer- my on children clearly enough within our communities, and rily. A strong aspect of our work is the intensive collabora- demonstrate it well? Do we understand the effects of tech- tion of speech and eurythmy. Generally the speech has not nology on ourselves and the children well enough to address been added to the eurythmy, but the two have grown togeth- this impact in our teaching? Have we changed our teaching er. I also have done a little work on the music pieces with enough to meet the needs of our changing world and how Chiharu Zeng, a pianist and musicologist living in Ottawa. can we do more? How can we support one another more Ms. Zeng has been inspired by eurythmy to do research into strongly? Steiner’s forms for tone eurythmy. We hold the wish that the Please come to a Colloquium of Eurythmy amaranth seed will grow to include more artists, both eury- Educators! Held during the week of August 6th, in Spring thmists and others in the future. Local eurythmists are Valley, NY, Contact one of us if you are interested in attend- warmly invited to be an opening act for “I go where I ing. Those of us who will gather will develop a program to Love...” include study, conversation, eurythmy together, and envi- sioning and strategic planning. Funding may be available to support travel. Laura Radefeld and Susan Eggers [email protected] [email protected] 32 Eurythmy Association of North America Traffic Jam Van der Pals/Kirchner-Bockholt Stuck for hours on I-70 just before the tunnel, on the way Tone Eurythmy Therapy Course home from lovely, lonely Needles District in Canyonlands PORTLAND, OREGON National Park after a long winter weekend, there is plenty of June 22-July 1, 2018 leisure time to contemplate the physics of traffic jams in with Jan Ranck, founding director of relation to the application of eurythmy in the world. The Jerusalem Academy of Eurythmy A bold statement was proclaimed – if every Driver’s Dr. Joan Tacaks has invited Jan Ranck, founding Director of License applicant were to pass not only a driving test, but the Jerusalem Eurythmy Ensemble and the Jerusalem also a Eurythmy Test, the common traffic jam would be Academy of Eurythmy, to offer the van der Pals/Kirchner- close to extinct. Bockholt Tone Eurythmy Therapy Course at her clinic in There are huge gaps in time and space between Portland, Oregon, June 22 to July 1, 2018. sluggishly accelerating vehicles – a thing of the past for Jan may also offer a course in Chicago, IL, in eurythmy scholars! Miles of cars and trucks would be August 2018. Those interested in attending either course capable of rhythmically moving together, by applying “Lift- may inquire at [email protected] carry-place”, as the eurythmy novice learns in the basic While this professional course is for eurythmy ther- exercise of three-fold-walking. Imagine hundreds of drivers apists and medical doctors, the insights it provides into the simultaneously lifting their feet off the brake, then deliber- human being and the deeply transformative effect it has on ately carrying and gently placing their foot on the gas pedal, the participant can benefit and enrich the life and work of every driver aware of the other and moving together. artists, teachers, music, art, and physical therapists, as well No more soloists, feverishly switching lanes back and as the student or lay enthusiast. Applicants who are not forth, living under the illusion of finding salvation earlier eurythmists will be admitted as space allows. than everyone else. The eurythmy student has deeply expe- The 56 course-hours qualify as AnthroMed rienced the wisdom that lies in Heraclites’ word: “All Professional Development Hours (PDHs) flows” and has acquired the understanding that the harmo- nious movement of the whole will also benefit the individ- Summer Eurythmy Retreat in the ual in the most rewarding way. The successful eurythmy student will strive to always Berkshires see the whole picture, beyond the next bumper, and further- During the last week of July (22-28) we will be offering an more raise awareness and social consciousness for all lanes, artistic eurythmy retreat in Harlemville, NY. We will be some day perhaps, from coast to coast. based at Mettabee Farm and Arts here, a center with a beau- Cristina Geck tiful large converted barn space with gardens and animals; (the donkey sometimes makes herself heard)! There are Festivals Alive Barrie accommodations available here at Mettabee, as well as Festivals Alive Barrie is seeking additional eurythmists to kitchen facilities. Other rooms will be found locally. build an exciting Summer Festival Event! If you have the We are excited that during the mornings we will work desire to contribute solo work, and have a holiday too, come with Dorothea Mier on tone eurythmy. We will focus on join us, all expenses paid! For one week here in Barrie. Your Ave Verum by Mozart with a beautiful Steiner Form. travel costs will not be covered, though. Afternoons we will have just one more session – around the Your pieces would have to be ready to go when you arrive. theme of how we support our artistic lives in the midst of Timing: End of June, beginning of July (still open) our work, in order to keep ourselves at our creative best! We For more details, please call Cynthia Gelder at 705 will experiment with some shorter texts trying out different 242 0105 or email: [email protected]. forms and gesture possibilities, having also time for conver- sations. Eurythmy by the Sea Evenings will be free for Tanglewood concerts or Eurythmy by the Sea will offer again a Summer School hol- Shakespeare and Co. or one of the many other summer iday for eurythmists and enthusiasts! offerings here in the Berkshires, such as hiking and swim- Friday, August 3 to Monday August 6, 2018. ming. The tide rises! Cost: Sliding Scale: $300 - $450. We hope to have For more information, contact Margaret and Arthur Osmond some scholarship funds available as well. Please be in touch 902 466 7735 or [email protected]. with us for any questions: Jeanne Simon-MacDonald, 518- 672-7367 or [email protected]; Victoria Sander, 518-672-4289 or [email protected] Eurythmy Association of North America 33

Rudolf Steiner’s Mystery Dramas around the World Performing, Experiencing & Exploring Destiny Community July 21-25, 2018 Summer Conference for every interested person, with English translation, at the Goetheanum, Dornach The Threefold Mystery Drama Group Spring Valley will perform the final scene (15) from The Souls’ Awakening. Director: Barbara Reynold; Bendictus: Gino Ver Eecke; Secretary: Lori Portocarrero, Ahriman: Brigida Baldszun and Speaker for Ahriman: Marke Levene To register for the conference and for further information: www.goetheanum.org/8690.html To register for workshops, please visit the website. Section for the Performing Arts

Calendar for Eurythmy Spring Valley ESV Post Graduate Tour 2018 Monday, April 30 Rudolf Steiner Fellowship Community Thursday, May 3 Hawthorne Valley Waldorf School Sunday, May 6 Camphill Kimberton Friday, May 1 Rudolf Steiner School of Ann Arbor Monday, May 14 Novalis, Camphill Communities Ontario Tuesday, May 15 Waldorf Academy, Toronto Wednesday, May 16 Toronto Waldorf School Thursday, May 17 Halton Waldorf School Friday, May 1 Halton Waldorf School Wednesday, May 23 Pine Hill Waldorf School Mon.-Fri. April 2-6 ESV Ensemble Performances at the April 2018 ‘Speech-Movement’ Conference in Dornach, Switzerland Sun.-Sat. April 15-21 Frontier Eurythmy Part-Time Training Course, First Training Block; New Class Forming for April, 2018 Fri.-Sat. April 20-21 Public Course with Dorothea Mier – A Fourth-Year Dornach Fundraiser Sat. April 28 Stage-Training Postgraduate Performance Mon. April 30 Lecture by Joe Serio Thur.-Fri. May10-11 Cameron MacAurthur’s Brief Introductory Talk & M.A. Project Solo- Performance, with contributions by Virginia Hermann and Sea-Anna Vasilas Mon. - Tues. May 14-15 Poetics Course with Coralee Fredrickson, Ph.D. Sun. May 20 Fourth-Year Solo Performances Sat. June 2 ESV Class of 2018 Graduation Performance Wed. June 6 Excerpts from the ESV Graduation Performance Thu. June 7 Spring End-of-Term Festival – School of Eurythmy

For information on all events and courses: 845-352-5020, ext. 113, or [email protected]. Please check our website for updated information: www.eurythmy.org.

International Graduate’s Meeting of the Eurythmy trainings, with Speech and Drama Trainings at the Goetheanum, June 25-28, 2018 34 Eurythmy Association of North America

Summer Rettreat foor Professional Euurythmists

Sunday evening, July 22 through Saturday lunchtime, July 28, 2018

Eurythmy lifts the physical body into the realm of the etheric, bringing life - and levity! Our aim in this retreat is to encourage, support, and enliven artistic work in the midst of busy lives. Let the beauty we love be what we do . . . Rilke

We are excited that every morning Dorotheaothea Mier will lead us deepereper into the elements of tone eurythmy through Avve Veerum by Mozart, which hass a beautiful Steiner form! Dorothea will offer masterr classes for the last half hour evvery morning as requested. Let us know if you have a piece you would like to woork on with her. PiPianist i MMarcus MMacauley l will ill play l ffor the h retreat. In the afternooons there will be a choice between: Painting with HHans Schumm or: Speech Eurythmy with Christina Beck aand Jeanne Simon-MacDonnald.

Hans writes about the painting workshop: “Fundamentally speaking, colorolor may be said to be the outerer expression of our life off feeling. Our feeling-life is objjecti ed in the outer world as color” (R.St. Lecture 6, E. as Vissible Speech). We will expl lore the inner nature of color. Painting with speci c watercolor sequences, we will see howw gesture and form arise oout of color. What do yellow, bblue, or red try to tell us? How do colors interact with one another? nother?

Christina will lead us in an exploration off eurythmy indications in the English language, Steiner form ms, and sound indications gatherg ed by Molly von Heider from early eurythmists: Dubacch-Donath, Baravalle-Kimball, Leinhas-von Sonklar, Neuuscheller-van der Pals, and Kiisseleff among others. With Jeanne eanne we will work with vowwels as “inner stance” andd consonants as “movement,”” looking at how this indicattion suggests zone, gesture, and also the creation of fforms. We will work with cont temporary poetry and Emily Dickinson among others.

Cost: $300 - $450 for retreat, snacks, and vegetarian evening meals (breakfasts and lunches not included). Housing will be arranged locally at an extra cost. Free camping is available. Travel grants are offered through EANA! Appply to Gino ver Eecke. For registration or more information please contact: Victoria Sander at [email protected] 518-672-4289 or: Jeanne Simon-MacDonald at [email protected] 518-672-7367 Inner Sun Eurythmy Initiative

Students from Green Meadow (pictured above) and Seattle Waldorf Schools visit and perform eurythmy for each other and their communities. A Scholarship Fund for Training in Eurythmy & Creative Speech Notho ing in nature is hurried. Just as yme is resilient and hardy it still requires time to deepen its roots and spread. So too, does a student of Eurythhmy or Creative Speech need the proper time to penetrate these arts. is fund has been established to support th hose undertaking the journey of training at an internationally recognized four-year Eurythmy or Creative Speech program.

e yme Arts Fund is seeking generous donors to sustain these artistic giftts from Rudolf Steiner. With your commitment of an annual donation for five years, students with tuition partially covered by this scholarship can rely on sustained support for the duration of their studies.

For more information on donating to or applying for the yme Arts Fund please visit our website: www.l. emniscatearts.org/thymeartsfund Lemniscate Arts or send your tax deductable contribution to: One International Blvd. Suite 400 yme Arts Fund, c/o Rudolf Steiner Social Finance, Mahwah, NJ 07495 1001 O’Reilly Ave., San Francisco, CA 94129 [email protected] VISIBLE MUSIC. VISIBLE SPEECH. 7KHĆUVW World Wide Performance Tour of the Arts of Eurythmy and Creative Speech in their 100 Year History STORMS of SILENCE Symphonic Eurythmy featuring storms Beethoven’s 5th Symphony, of Arvo Pärt’s 4th Symphony, 1st movement silence including the poetry of Dylan Thomas and D.H. Lawrence

Featuring artists from 17 countries with 80 performances in 22 countries

SAVE THE DATE for a performance near you eurythmy world tour Pro gram and venue l ocat ions subj ect to change See websi te for updat ed inform at ion

North American Tour 2019 Celebrating March 5 – Honolulu, HI March 8 & 9 – Phoenix, AZ the freedom and dignity March 15, 16 & 17 – New York, NY of the individual human being. March 20 – New Orleans, LA A program inspired by March 22, 23 & 24 – San Francisco, CA Rudolf Steiner’s insight that March 26 – Salt Lake City, UT March 28 – Ann Arbor, MI throughout world civilization March 31 – Denver, CO “What was kindled in the East, April 4 – Auburn, WA April 6 & 7 – Santa Monica, CA through the West takes on form” April 10 – Washington D.C. — Rudolf Steiner April 11 – Philadelphia, PA April 13 & 14 – Annandale-on-Hudson, NY Lemniscate Arts April 16 – Pittsburgh, PA One International Blvd. Suite 400 April 18 – Raleigh, NC Mahwah, NJ 07495 [email protected] April 26, 27 & 28 – Chicago, IL Formed and Produced by Lemniscate Arts May 1 – St Louis, MO Artistic Direction May 3 – Cincinnati, OH Eurythmy — Carina Schmid and Benedikt Zweifel Speech — Kim Snyder-Vine May 8 – Portland, ME May 14 – Sarasota, FL

WWW .STORMSOFSILENCE. ORG