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VOLUME 91 Spring 2016 OFFICIAL PUBLICATION OF THE 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 out of ; to foster the work of eurythmists on the North American continent by sponsoring performances, demonstrations, and workshops; and to maintain, develop, and communicate knowledge related to eurythmy and the work of eurythmists by means of newsletters and publications.

The Eurythmy Association of North America is a non- OFFICERS OF THE EURYTHMY ASSOCIATION profit corporation of eurythmists living and working on the President North American continent. Any eurythmist holding an Alice Stamm, 916-728-2462 accredited diploma recognized by the Section for Eurythmy, Treasurer Speech, and Music at the , 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. Catherine Padley, 206-465-4616 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 . Northeast The Council members believe that financial concerns Sheila Shapiro, 518-937-0425 should not hinder eurythmists from membership. Spring Valley Area Eurythmists should feel able to contribute a lesser amount if Sea-Anna Vasilas, 909-496-6308 they cannot afford the full annual contribution. We hope that Southeast others will also contribute more to support our work. Raymonde van der Stok Fried, 215-410-1403 All checks should be made payable to the Eurythmy Northern Midwest Association of North America and mailed to the treasurer: Constance Michael, 513-961-7455 Gino Ver Eecke Southwest and Mountain 34 Margetts Rd. Cristina Geck, 303-402-9030 Chestnut Ridge, NY 10977 Northwest Email: [email protected] Catherine Padley, 206-465-4616 Articles, announcements, news items, poems, and Northern forms should be sent to the editor at least one month before Isabella Guardia Ferragutti, 669-233-924 publication. Deadline dates for the two annual issues are Southern California October 1 and March 1. Items may be faxed or sent via Rachael Abbott, 747-258-8266 email. Photos sent by mail will be returned. Photos may be Coordinator of Grants emailed as attachments. Carsten Callesen, 610-455-2038 Please mail to: Member-at-Large EANA Newsletter Editor Christina Beck, 919 643 2066 Maria Ver Eecke Representative for Performing Arts Section 34 Margetts Rd. Helen Lubin, 916-966-5749 Chestnut Ridge, NY 10977 Eurythmist-in-need fund Phone: 845-356-1380 Alice Stamm and Raymonde Fried Email: [email protected] Liaison to AWSNA www.eana.org Susan Eggers, [email protected] Although welcomed, the viewpoints expressed in the EANA Newsletter are not necessarily those of the publisher. Eurythmy Association of North America 3 CONTENTS FROM THE COUNCIL

Letter and Report from the President Alice Stamm 4 Letter from the Editor Maria Ver Eecke 5 Memoriam for Ruth Finser Siegfried Finser 6

Articles

Condensed History of the School of Eurythmy Kristin Hawkins 7 Reflections on the First Eurythmy Training in the USA Alumni of A Course 13 Some Thoughts in Connection to Rudolf Steiner’s Notebooks Dorothea Mier 16 English Indications for Speech Eurythmy Cristina Beck 17 Eurythmy in the Middle School Laura Radefeld 18 Etheric Bodies are Moving to Speech Sound Etudes Kate Reese Hurd 20 Eurythmy at a Meeting of AWSNA Delegates Susan Eggers 23 The Overall Health of Eurythmy Laura Radefeld 24

Reports and Reviews

From the Section for Performing Arts Sebastian Jüngel 25 From the Trenches of NYC Marta Stemberger 26 In the Stream of Eurythmy: SFYET on Tour David Weber 27 EANA Regional Reports EANA Council Members 31

Letter to the Editor 55 Resources 55 Announcements 56 Calendar 58

Front Cover: Maya Neumann of Portland Eurythmy, Portland, Oregon Inner Back Cover: High School Students of Green Meadow Waldorf School, Chestnut Ridge, NY; Cascadia Society, Vancouver, BC, and Seattle Waldorf School, Seattle, Washington Outer Back Cover: Bay Area Eurythmy Ensemble, photography by Wendy Baker; www.wendybaker.com 4 Eurythmy Association of North America Letter from the President colleagues are up to throughout this continent. Thank you to all the Reps. for taking this time to contact, telephone, Dear Friends, email, cajole, and connect with everyone. We love to hear As I write this, Candlemas has just blessed our western about your work or, your retirement situation! All your shores with rain and spring weather. I had the joy to watch eurythmy activities and strivings are important to us all. So the High School Eurythmy Troupe perform many thanks all around. their program. For 21 years, Astrid Tiersch has been bring- I have asked Maria to share a new eurythmy figure. Dr ing together high school students and preparing programs, Gudrun Merker, from the Lake of Constance area, has spent which include classical music pieces, poems in many lan- some years working on the “C” sound. Reg Down also came guages and humorous selections. The troupes have gone to to a color combination relationship in his book and it is many different countries, Waldorf schools and communities interesting to see what each one has brought. Research is in those countries, performing for children and families. such a part of our work that it is wonderful to share such In the program just presented, because they will go to insights. Thanks to The International Journal for Eurythmy , , not only Beethoven began the program, Therapy for publishing this. but two poems from German poets were included. Plus, a Best greetings from Alice very funny Hauschka cosmetic piece (the Wala is close by in Eckwalden!) extolling the use of rose cream for the skin! Stuttgart is Astrid’s home place, school and training, so understanding the speech sound “C” this will be a festive homecoming I am sure. We wish Reprinted from The them Godspeed on this journey. They also will stop in International Journal for Dornach, so that the students can see the Goetheanum, Eurythmy Therapy 2015, No. 13 etc. One additional part of their program was the inclusion “In the primordial Word, the C is of a local artist’s work. This always has connected the the regent of health.” (R. Steiner) program to the greater art community and this year, a And it was precisely at a phase of whistler showed his amazing talent with some arias from exhaustion that the Imagination of operas. This was to the delight of many children in the the “C” [ts] came home to me. For a audience. long time already I had been living In addition, our Bay Area will welcome Marin Stott with Steiner’s characterization of the for a workshop at the East Bay Waldorf School. The East various speech sounds, including “C” Bay Eurythmy Troupe is sponsoring this event, which to of course. I succeeded in drawing the this date is sold out. On Sunday evening, Feb. 14, Marin Imagination – except for a depiction will give a solo performance, including Bach’s Chaconne of the left foot which, on the pre- and other pieces. Much gratitude goes to Isabela Guardia pared figure too, did not seem to cor- and Jazmin Hicks for arranging this. We are grateful for respond to the archetype within me. all this work here on the West Coast. Years later, when Anna Köhl learned of the existence of In the past weeks, I have been able to observe some col- the “C” figure, we examined the problem together and suc- leagues’ classes and how well they are managing the chil- ceeded in improving it with a small lengthening of the foot. dren. One form is always of interest to me – the Casini Anna Köhl included the wooden, colored model in her stu- curve, Wir Wollen Suchen or perhaps, We Go Looking. It is dio. In the meantime, some who have seen the figure have THE form for the nine-year change, corresponding to the felt the image to accord with their own experience of the cross stitch done in handwork in the fourth grade. From my sound. It can now therefore find its way into the world to experience, I would suggest that this form not be tried convey the raising of matter by the spirit, its power as regent before the nine-year change is under way. It is too difficult of health. for second graders, who still live in the circle-point relation- Rudolf Steiner’s characterization of the sound “C”: ship. An ellipse is truly a new step, with two focal points, as 1. Feeling: One will not be able to feel that what one in I and You, or I and the world. Following the German a bit, seeks to imitate when the sound “C” is at rest. Feel that this I have used: We Go Looking (E, O U), for Sweet Friends contains the following: it is somewhat light, matter is lifted from Afar (UI, Ah), We Know each other Well (O, A) the by the spirit. (GA 279, lecture 2) German vowels. It can accompany the children throughout 2. Sensing: You will best sense the sound “C” if you the fourth grade, and then, up into the upper grades as a kind imagine that in some inexplicable way there is something of opening tuning form, breathing between the children and lying upon the corresponding surface of your arm, and that the world. while you do the “C” gesture you are bringing this up into We look forward in this issue to reading what our flight. If you sense how something is lying on one of the Eurythmy Association of North America 5 surfaces of your arms and flies upwards through your C forces were Kristin Hawkins as Astrid, Alys Morgan as movement, then you roughly have the experience the C Philia, and Ruth Pusch as Luna. It is so poignant for me to movement can give you. read these accounts of that time, a ‘Golden Age’ at 3. Mood: In the “C”, lightness of being is imitated, Threefold, and of the life of Ruth Finser, who was a steady which is not heavy but light, the quality of levity. supporter of eurythmy . Thank you to Kristin for contacting 4. Activity: It (“C”) in a sense takes matter into the spirit her classmates and encouraging them to write for this issue. – intimating lightness of being (GA 279, lecture 3). When Thank you to all who contribute and to all our faithful the child crawls, then learns to stand and comes into an readers and subscribers! Blessings on our work together. upright stance, he has this wonderful experience: a lifting of Maria Ver Eecke matter through the spirit. *From his book, Working Together on the Mystery Dramas: 5. Relationship to space: When intoning “C”, a person Hans Pusch, a skilled actor and director and a leading mem- is endeavoring through speech to seek the spirit within an ber of the Goetheanum stage group, later becoming an early outer object. In eurythmy, you have a strong immersion in beacon of Anthroposophy in North America. Hans began the outer world. One does not wish to live within oneself. acting at the age of sixteen in Lucerne, Switzerland, where (GA 315, p.36 [German edition]). he performed in amateur productions of German classics 6. Quality: “C”: where one must blow, eurythmically with other young people during . His perform- this is a pushing – but nothing heavy… is something that ances caught the attention of the great film director Murnau, avoids sharp contours (GA 315; p.37 [German edition]). who offered to take Hans to and train him for an 7. Position: dental sound (impetus from the middle acting career. Later, in Santa Barbara, Hans opened a speech system); tone articulation (sharp) must pass into its polar studio and developed a repertory theater. In 1949 Hans opposite in the eurythmy movement. Pusch participated in a celebration of the 200th birthday of 8. Strength: Nature does this too, for sneezing almost Goethe, working with Faust presentations in the Santa resembles the “C”. Sneezing is a relief (GA 279, lecture 2) Barbara Repertory Theater. For the rest of his life, Hans 9. Form: about “C”: “…I don’t wish to speak of the Pusch worked tirelessly in the area to trans- letter forms, many of which are debased. The written letters late, perform, and promote Rudolf Steiner’s mystery dra- do not need to concern us in relation to eurythmy.” (GA 279, mas, as well as Goethe’s Faust, as expressions of the lecture 2) essence of Anthroposophy. 10. Movement: Something in movement is imitated Also see the website of Living Traditional Arts to read (GA 279, lecture 2). One allows oneself to sink into one’s more about Hans and Ruth Pusch. knees – making a wavelike upward motion – with palms http://livingtraditionalarts.com/who-speaks-hans- pointing upward… a sacrificing gesture; movement from pusch-and-practicing-the-spoken-word below upward. 11. Inner nature: “In the primordial Word, the “C” is the regent of health.” (GA 279,lecture 2). In Memory of Eva Lunde 12. Color: Movement – orange-yellow; feeling – sky- April 12, 2014- November 9, 2015 blue; character – mauve-white.. Our mighty Eurythmy-pioneer and the first head of the Dr. Gudrun Merker eurythmy training in Norway, Eva Lunde was 101.5 years www.heileurythmie-ausbildung.de when she crossed the threshold to the spiritual world in the early evening on Monday, November 9, 2015. She was Letter from the Editor buried on Saturday, November 14, by 14 clock at the Congratulations to all the members of A Course, who Christian Community in Oslo. graduated from the School of Eurythmy, Spring Valley, in Eurythmist Eva Lunde was a cofounder (with Jürgen 1976. I arrived in August of that year and was fortunate to Kroft) of the Norwegian Eurythmy School. During the War see some of the eurythmists on the stage. I vividly remem- World II, Eva Lunde lived in Sweden and worked in a home ber seeing a few scenes from the Mystery Drama for the for handicapped children in Järna. Already before the war, first time, including Lucifer and Ahriman. My mother was she had participated in eurythmy performances in Mikael- with me and I asked her what kind of a drama this was. She gården in Järna, together with Elena Zuccoli. In the autumn replied that the scene was a spiritual tableau (short for of 1946, she began her work as a eurythmy teacher in The tableau vivant from the French, literally a living picture). Rudolf-Steiner-School in Oslo. Eva Lunde was the sister of The director, Han Pusch*, was carried in on a litter. It Kari Lunde Van Oordt, eurythmist and teacher at Rudolf was November 1976. Eurythmy from the Mystery Drama Steiner School in New York City and at the School of was presented at his funeral later that year, the three soul Eurythmy, Spring Valley, NY. 6 Eurythmy Association of North America

Ruth Finser perhaps the most challenging of all. The hip replacement already in 1997 ended many of her activities, left her off- A Life of Transformation balance, and gradually bent her over to walk only a few October 15, 1928 - February 7, 2016 steps with pain. In 2007 Ruth was first diagnosed with colon cancer and she faced chemotherapy and radiation “for our sake” she said. A few months later, she had a mild stroke and then the years of reflux and nausea finally culminated in esophageal cancer. In Boston they removed the esopha- gus and pulled up the stomach for its connection with the remaining stump. Although thanks to the anthroposophical mistletoe therapy and her positive spirit she conquered both cancers, the reflux and nausea increased after that and she needed constant medication. All through this time Ruth developed friendships with her grown grandchildren, men- toring them and providing loving support. For those last nine years, she slept in a recliner at a 45 degree angle, suf- fering from constant bed sores. She stayed motionless through the night in order not to wake me. She suffered tire- lessly to spare us in those last nine years. Ruth’s most public and professional period were her 50’s and 60’s. As a therapeutic eurythmist, she helped countless men, women, and children. Every evening she In the early morning before sunrise of February 7, 2016, settled in with her pink eurythmy books around her and Ruth Elisabeth Maria Finser crossed the threshold with the carefully prepared what she would do with each of the same courage and clarity of soul with which she had faced patients the next day. She always consulted and worked every other challenge in her life. She had received the last with three doctors in those years. When she had finished a rites the evening before, graciously thanked the Christian session, the patient went to the room next door to rest and Community priest and made sure he was offered some let the eurythmy go on working. So many people have come refreshment. She wanted to make sure her husband, her up to all of us and expressed their gratitude for her healing three children and four of her seven grandchildren were ministrations. All of the children are now grown, many present. Her eyes took in each of them, already as from a highly productive and creative individualities, most of them great distance and her expression warmed. It was still remembering her helpful presence in their biographies. possible to look together at a few photo albums and she This professionally active period had its beginning with identified one or two none of us could remember. We sang one of the greatest challenges of her life. She was more than a few of her favorite songs. (Singing was one of her life- forty years old when she began her training in the School of long joys. Even as a child she was always asked to do the Eurythmy, Spring Valley. It was a very strenuous four-year solos.) She remembered the words when we faltered. After training, which she undertook as part of the A Group, the midnight Ruth asked what day and date it was and seemed first class to start the school in America and to graduate. She satisfied that it was Sunday and the 7th of February. Then had a slight numbness in one foot from earlier injuries to her she was tired and closed her eyes. ankle, and the teachers made no promises, sometimes even The family dispersed to their various places for the discouraging her. Her intensions were mainly to use euryth- night. Angela, Yohanna (her only granddaughter) and I my therapeutically. We and she also believed it was her stayed with her in the living room and slept. Early the next immense, intense anthroposophical clarity that helped to morning, Angela awoke, hearing a loud voice calling out pull her through. She persevered and once again overcame “take me!” She jumped up confused and rushed over to all obstacles with love, devotion, and determination. Ruth’s hospital bed. She was breathing very hard and her Many of us will remember Ruth in the earlier years, say heart was visibly laboring through her nightgown. Angela between the ages of 26 and 45. This was the period which woke Siegfried and hurried to get Mark, who had stepped began with marriage to Siegfried and was devoted entirely away momentarily, from his house next door. All four stood to the creating and managing of a unique family life. It was by her as she knowingly released herself from the connec- a fairy tale marriage in Marlborough, New Hampshire, at tion with her body and exhaled her final breath. Camp Glenbrook, complete with triple rainbows spanning This brought to a close the final years of her life, the chapel by a dark blue lake. We found curtain rings that Eurythmy Association of North America 7 not only fitted, but seemed to work as well as any precious them increasingly difficult challenges nutritionally, but metals. The following 60+ years of marriage are proof of mostly constant fear of being denounced as students of that. Torin was the first, and then came Mark, and lastly Anthroposophy. The eventual “liberation” by the barely civ- Angela. Each one is a wonderful story in itself. I should also ilized Russian army brought a whole new series of chal- mention the many, many children that came to us either as lenges and fears. Marga taught the sixteen-year old Ruth to foster children or just boarding for a summer or a month or say quietly to herself, “Christ in me.” The thought remained two. Ruth had a great love of children. She recognized in with her for a lifetime, even to the very end. them the salvation of the future. She was firm and loving, John Alexander, her biological father stormed into her interested in their lives, their experiences and stories. biography again in time to save both Ruth and her mother One day when he was very young, Torin came home from being shipped off to Siberia in the closing days of the from school really unhappy. “What’s the matter?” Ruth war. It is a story filled with terror and miracles that he found immediately sensed his distress. “Jan said that I came out of them and rescued them through the Russian checkpoint in a your stomach. Is that true?” Torin asked indignantly. “No,” bullet-riddled car. A short semester at School said Ruth, “I carried you in a special place under my heart!” in England followed and then to America with her newly Torin was greatly relieved, finished his snack and went out discovered father, who was made delegate to the United to play. Ruth always told the real truth. Nations, Economic and Social Council. Through the help of Every evening, the children prepared themselves for Henry Barnes and Hermann von Baravalle, she eventually bed, dressed in pajamas and dressing gowns and assembled started at Adelphi University and then finished her BA on the sofa in the living room. Ruth gathered them around degree at Swarthmore College. her so she could reach even the furthest one with her enfold- These are only the highlights of 87 years of courage and ing arms, and read stories and later whole books. After that clarity in overcoming a constant stream of challenges. She it was prayers, sometimes a few remaining conversations in faced them all with the same fortitude of soul and trans- bed and then, when the candle was put out, to sleep. So formed them each and every one into deeds of love. She many memories and stories of the family life that Ruth cre- demonstrated even with her last breath how a world beset by ated for all of us (and later the grandchildren) and sustained fear, doubt, and hate can be metamorphosed into acts of with her all abiding love and clarity. courage, love and devotion. This Ruth achieved despite the great challenges of her Siegfried E. Finser earlier life and her childhood. I first met her in New York Mill Valley, CA City in the study group Ruth had started after the first anthroposophical youth conference in Spring Valley, New Condensed History of the School of York. was the guiding light. Together we studied The Philosophy of Freedom for three years. It gave Eurythmy as Presented by us the foundation for living in tune with the spirit of our Kristin Hawkins at the school time. Of course that all occurred after she finished her BA in November 2015 degree at Swarthmore College and had worked for Time Life and a Literary Agency in New York City. Thank you for inviting me to speak to you today. I was At the request of her grandchildren, Ruth managed to asked to speak about my biography and the beginnings of complete some sketches of the story of her life, especially Eurythmy Spring Valley. Rudolf Steiner suggested that the earlier years. She was born in early in the morn- when anthroposophists meet, we share what were the events ing on October 15, 1928. Her mother was Marga von in our lives that led us here. In other words, he asked us to Gottberg and her father was John Alexander, who only later look at our life from a karmic perspective to become aware re-entered her life. Marga was enlisted by Frau Dr. Steiner of the red thread that joins the events of our lives. It is with to join her new speech school at the Goetheanum in that thought in mind that I share the following. Dornach, Switzerland, where she then acted on the stage. It is a bit of a miracle that during the Nazi era, when While her mother was absorbed completely in the speech everything anthroposophical was closed and strictly forbid- work, Ruth as a small child was mostly alone. She was a den, both my mother and one of my grandmothers, quite familiar sight wandering around the Goetheanum and vil- independently from one another, heard about Rudolf lage streets, moving often from rented room to rented room Steiner’s work. My mother belonged to a circle of women in the village. Eventually Marga was offered a teaching who quietly fed their Jewish neighbors when the Nazis for- position in Dresden, until the school was closed by the bade Jews to shop for groceries. My mother helped feed a Nazis, and then on to Danzig, which was eventually also teenager who first told her about the Waldorf School in closed despite many compromises. Berlin, where I was born. The war caught them both in Germany, which brought One of my grandmothers lived in Amsterdam. Probably 8 Eurythmy Association of North America around 1944 friends came to visit her. The husband was not mother’s best friend, was a down-to-earth person with a feeling well; during the night his condition worsened and great sense of humor. She was a very popular teacher; even his wife feared for his life. was the boys did beautiful eurythmy. This is an example of her called and Heinrich Ogilvie, one of the original priests, popularity: when our class developed a tradition in High came to perform the last anointing, at which my grandmoth- School to go on an annual camping trip, Ms. Klinkenberg er was present. She told us later that she knew right away was always invited to join us. It never occurred to us that we that what Rev. Ogilvie represented was what she had been might be depriving her of a vacation. In contrast, the looking for all her life. However, that new discovery would Therapeutic Eurythmist was very serious about her classes have to wait until the war was over. She was heavily and we did not eagerly go to them, but they were nonethe- involved in the Dutch underground and she felt that at that less very effective. I speak from personal experience. time, she could not take on anything new. The surprising After graduating from the Geert Groote School, I did thing here is that at a time when the Christian Community not go to Dornach. I had skipped a couple of grades and was was officially closed, there was a priest available to perform only sixteen years old. I felt that first I had some growing up the last rites. to do. So I attended a small women’s college where I At the end of World War Two, when Russia invaded majored in psychology and early childhood education. I also Germany, many people fled their Homeland. It was very spent some time in England to improve my English, and similar to what we see now taking place with people fleeing then accepted an invitation from an uncle and aunt to spend from the Middle East. Thousands, mostly women and chil- a year in New York City. dren, were winding their way West. My mother, sister and I When I arrived in New York in November 1954, euryth- were a part of that Exodus. Eventually we managed to reach my had been taught there already since 1923 and a small the Netherlands. We were extremely fortunate to receive study group had been meeting since 1910. The special visas, due to my grandmother’s war work, that had what they called their allowed us to remain permanently in the Netherlands. “Headquarters” in a converted carriage house at 211 When my mother and grandmother began to Madison Avenue. There were an extensive share their experiences since the time we had last Library and Bookstore as well as all kinds seen each other, it became clear that they both of artistic and cultural events taking place. had heard about Steiner’s work, one discovering Hans Pusch, an actor who played Johannes The Christian Community and the other hearing in the Mystery Plays in Dornach, was in about The Waldorf School. They began to have a the process of preparing a few scenes. He sense that, perhaps, there was a connection invited me to join the group of actors he between the two. What they found was quite was working with. But I had just been remarkable. The Amsterdam Waldorf School had Ruth and Hans Pusch accepted at the American Academy of been named by its founders after the medieval mystic Geert Dramatic Arts and could not join that initiative then. Almost Groote, without the word “Waldorf School” or “Vrye since my arrival in New York, I had participated in a weekly School” attached to it. This school continued to be active all eurythmy class given by Kari van Oordt. Now, in support of through the war without the Nazis ever realizing that it was Hans Pusch’s initiative, she began work on the Sixth Scene a Waldorf school. from The Guardian of the Threshold. Three of us were invit- My first day at the Geert Groote School was so memo- ed to portray the beings that accompany Lucifer. So it came rable that I can recall it in every detail over seventy years about that I was able to be part of that production after all. later. When I entered my classroom I noticed short sen- In 1968 my family and I moved to Spring Valley so that tences running along the top of the walls, each in a different our children could attend Green Meadow Waldorf School. I color. There were six sentences in all, one for each of the six am often asked what the situation was like before the cases or conjugations of Greek and Latin. The first sentence Eurythmy Training began. One of the characteristics was read “Athena est”, nominative case in yellow. The second that there were hardly any eurythmists. Lisa Monges, the sentence read “Athena is the daughter of Zeus”, possessive founder of this School, was retired. Marianne Schneider and or genitive case in blue. Dative was written in green, and so Alicia Tree were the only active eurythmists. They were the on. We had entered the world of the Greeks and Romans. I, eurythmy teachers at Green Meadow and alternated teach- who had until then been a student in the very rigid German ing a lay course, which was very well attended. We would schooling system, thought that I had entered Heaven. work on a poem or two and then share our work with the There were two eurythmy teachers in the school, one of community at festivals. Later, eurythmists came from all whom taught all the grades. The other taught the over to practice on Tuesday and Friday afternoons and Therapeutic Eurythmy lessons. They were both very effec- Saturday mornings. They were known as The New York tive in their own way. Nel Klinkenbrg, who also became my Performing Group. Even then, on occasion I was asked to Eurythmy Association of North America 9 join in less challenging pieces. This became a defining future husband, who was studying in Dornach. Sheri left to moment for me. I felt that if I was performing with euryth- study music therapy in Ireland; she later finished her train- mists, I should go through the same discipline and training ing in England. The next two students to join were Grace that would lead to a valid diploma recognized by Dornach. Ann Peysson and Ruth Finser. Whenever someone new Our children were just reaching the age at which I could joined us, Lisa kindly asked me whether we should begin a consider such an idea. new class for them. As much as I wanted to move on, I knew At that time there were two ways one could acquire a that was not going to be possible, because Lisa would not be training. One could go to Dornach for three years (the train- able to carry two classes. So we always began again from ing then could still be done in three years), which was obvi- the beginning. The other student to join us that year was ously out of the question considering my family obligations, Francesca Margulies, who had returned from Emerson or one could join a training in New York City, offered by College after completing her foundation year there. I Ilse Kimball, a former member of the Dornach Eurythmy believe Carol Ann Williamson arrived about that time. Later Group. Ilse had permission to give a training in Speech we were joined by Alys Morgan and Nancy McMahon. Eurythmy only. This also was not really possible for me. When it became clear that we had outgrown our space at What I was looking for was a complete, broadly based train- Lisa’s house, we moved to the Threefold Auditorium, where ing in both Tone and Speech Eurythmy and the subsidiary the side room and the stage became our classrooms. subjects. I was prepared that this might take more than three By the fall of 1972, A Course was now complete. Kari years. I am not sure that I would have became the Speech Eurythmy Teacher embarked on this journey if I would and Marianne Schneider, who had have known in advance that it ultimate- joined Lisa Monges previously, con- ly would take six years. I first spoke to tinued teaching Tone Eurythmy. We Kari about what I was looking for. She started once more from the beginning. referred me to Lisa Monges, because Lisa had kept Dornach apprised of our Lisa had permission from Marie progress and we now had our first visit Steiner to provide a eurythmy training. from Dr. Hagen Biesantz, then the I knew Lisa and made an appoint- head of the Performing Arts Section. ment to speak with her. At first she was We showed him several forms by Lisa. hesitant to accept me, because she was Threefold Auditorium, 1950’s Kari guided us through forms we had concerned that she might not have the strength to carry the worked on with her. I was assigned my first solo, the verse training to its conclusion. So we talked about it, sitting in by Rudolf Steiner called “The Ringing of the Bells” (To her beautiful living room, which had been built as a euryth- Wonder at Beauty) with forms by Lisa based on the indica- my room. There were just a few chairs placed around the tions for thinking, feeling, and willing. periphery of the room. A grand piano stood in one corner It was a very interesting and exciting time. In 1973 and a bank of windows made the room light and airy, offer- Norman and Maidlin Vogel came; Norman taught both ing a view into the woods behind her house. Lisa always Speech and Tone Eurythmy and Maidlin taught the rod and served juice or ginger ale when one came to visit her. So we pedagogical exercises. She also made us aware that a had our ginger ale and talked. When it was time to go, she wardrobe needs a lot of care. gave me a hug and said, “All right, we begin in the fall.” A Foundation Year and later a pedagogical course were Our first lesson began on October 3, 1970. A big sur- initiated by Rene Querido in 1976 with Siegfried Finser, as prise (perhaps six feet tall) awaited me then. This was administrator. Activities were thriving and many lecturers Siegfried Dreher, Lisa’s younger brother, a physician and passed through Spring Valley. These were mostly open lec- one of the founders of the Manheim Waldorf School in tures, but the lecturers also gave courses for the students at Germany. He had done lots of eurythmy since his student the Eurythmy School and Sunbridge College. The Waldorf days at the original Waldorf School in Stuttgart. Lisa Institute of Mercy College moved from Detroit to Threefold explained to me that one must always do eurythmy with oth- in 1986; the director Werner Glas changed the name to ers; that one can’t really train alone. Lisa had co-opted her Sunbridge College. brother to join me during the whole month or so that he was During our third and fourth year we were happy to have here. Thus he became the second person to take part in the Gretl (Margarete ) Proskauer visit us for quite long periods of course and was again present at the beginning of another time. She was also here to help us graduate in 1976. anthroprosophical institution. He also moved very beauti- In 1978 I travelled to Dornach to participate in my first fully, and it was a joy to be able to work together. Therapeutic Eurythmy Course with Daffi (Davina) Later in that school year, Christina Palmadessa Root Niederhäuser. Daffi felt strongly that some artistic Tone and Sherri Reiner came for a while. Christina left to join her Eurythmy should be part of the course to create a balance 10 Eurythmy Association of North America from all the therapeutic Speech Eurythmy exercises. That is from , worked with us on one of the “Letters to the how I met Dorothea Mier, who taught that course. What I Corinthians” under Dorothea’s guidance, who also provided mostly remember from that first course with Dorothea were Marie Savitch’s forms. Virginia Brett, a Speech Artist from the geometric square transformations. There were almost Dornach as well, came several times to teach speech in the enough people to do this exercise. I also joined her lay class school and speak for us in the Stage Group. Sarah Burton, a and discovered her special approach to Tone Eurythmy. former Broadway actress, read tirelessly for us until Peter On my return from Dornach, many changes had taken Menaker’s arrival. Peter had just completed his speech place. Norman and Maidlin were leaving to teach in training and was on his way to becoming a fine speaker, Stourbridge, England. Michael Leber was here and carried when he unexpectedly passed away in 1981. Willy Woldyk the school during this difficult interim period. The Stage came a number of times to teach pedagogical eurythmy. Group was very fortunate to receive his attention, as well. In conclusion, my thanks go to the teachers and friends He introduced us to the Pater Noster and who opened up the mysteries of Eurythmy and the Twelve Moods. Some years later, Anthroposophy to us. Above all, I would like to express my when we were working on The gratitude to my classmates in A Course, without whose Foundation Stone, Dorothea invited participation none of this might have happened. Sissy (Alice) Pracht to work with us on the special indications for this text. As a My Experience Being Part of the eurythmist, one feels incredibly grateful Alice Pracht A Group in the Eurythmy Training to have been a part of this work. Nancy McMahon In 1980 Dorothea’s name was brought forward as a possible permanent leader of the school. She came for a I joined the A Group at the beginning of their second year. I month to get to know us and made the decision to join had just completed a year and a half with Ilse Kimball at her Eurythmy Spring Valley. Under her guidance the school has eurythmy school in , NY, and though I still lived progressed beautifully and is now in the capable hands of in the same house in Englewood, NJ, with Ilse and Maulsby Barbara Schneider Serio. Kimball, I decided I wanted the more systematic and thor- Some teachers, not yet mentioned who should be ough training available at the training in Spring Valley. acknowledged: Helga Beck graduated the class of 1980, To begin with, in Spring Valley, the A Group had speech assisted by Don Vollen. In the Stage Group, she shared exer- eurythmy with Kari van Oordt and tone eurythmy with cises contrasting light and dark that had been worked out in Marianne Schneider. In addition to a lesson in each of these the former Zuccoli Group. We performed one of these exer- every school day, we had a practice hour of each lesson cises as a silent form with dramatic sounds. Later Christine every day, plus, among other things, lessons in anthroposo- Custer, also from Dornach, spent some time with us. I phy, speech with Sarah Burton, eurythmy forms with Lisa learned a lot when she asked me to try out forms she was Monges, and for those of us who wanted to learn German, preparing for the next semester in Dornach. Adelheid Petri, Lisa Monges offered German lessons in her home across Hungry Hollow Road from the Back Row: Kari van Oordt, Lucille Clem (pianist), Virginia Brett (speech artist), Lisa Auditorium. I still remember Monges, Marianne Schneider, Norman Vogel, Maidlin Vogel, Margarete Proskauer-Unger looking up at a long narrow shelf just below Lisa’s ceiling, where one by one all the eurythmy figures stood. They looked so lively to me up there. Frau Proskauer came over from Dornach to teach us a block of tone and speech eurythmy, and during our fifth year, we were able to work with Joanna Van Vliet, Michael Lee, and also Michael Leber. We also had some lessons in speech, and a few in speech eurythmy, with Virginia Brett. Shortly after our graduation, Ilse Klink came Front Row: Carol Ann Williamson, Grace Ann Peysson, Alys Morgan, Nancy McMahon, Francesca Margulies, Kristin Hawkins, Ruth Finser over and a conference gathered Eurythmy Association of North America 11 in Spring Valley to work with her in eurythmy. We also got eurythmy at Raphael House and the Sacramento Waldorf to work with short, choleric Willy Waldyk in pedagogical School and teaching a few groups of hygienic eurythmy at eurythmy. During our training, Maidlin Vogel helped us the Rudolf Steiner College. One thing Kari said to me at this sewing our veils, and during our fifth year, she taught us a time is that the artistic eurythmy will only come into its own pedagogical course and a hygienic course. in the far future, pedagogical eurythmy will find its place in Toward the end of the first year I was attending the the nearer future, but therapeutic eurythmy is the aspect of Spring Valley training, I began to volun- eurythmy which is most effective teer for a few hours once a week at the already in the present. I do not remem- Fellowship Community up the hill behind ber her exact words, but this was the Lisa Monges’ house. Over time, my hus- drift of what she said. From Kari, who band Patrick and I moved from was one of the finest stage eurythmists Englewood up to Meadow Wood Lodge I ever saw and an excellent teacher, in the Fellowship Community. Patrick this statement made a strong impres- had done the in-service teachers training sion on me, and made me treasure the at the NYC Rudolf Steiner School and destiny that has been mine to have then taught there, but soon began instead been able to do this work in this life- to teach at the new Otto Specht School at time. the Fellowship. Once we moved to I don’t know if everyone’s euryth- Spring Valley, I volunteered more fre- my group brings them big challenges. quently at the FC. The A Group, or one of my fellow stu- Norman Vogel came, and Kari Van dents (and we were a graduating class Oordt, Lisa Monges, and Marianne of seven) certainly brought me mine. Schneider all stopped being our teachers, In talking my struggles over with Kari, though I’m not sure any more of the exact Kari Van Oordt at one point she suggested I might go chronology. I know that we had both speech eurythmy and back a year and join the B Group, which was in any case a tone eurythmy lessons with Norman Vogel. Norman Vogel smaller class. I did actually take part in one session with brought a very different kind of teaching. I remember him them in the side room. However, the strong smell of perspi- telling us to GRIP the bass tones, and I can still visualize his ration in that room during that lesson made it clear to me hands as he demonstrated this. that I needed to stick things out with my own group. I don’t Though Kari was no longer teaching in the eurythmy know if anyone in the A Group was ever aware I had con- training, I was fortunate to be able to go once a week for sidered leaving it. lunch at her home just a short walk from the Auditorium. Looking back at my training in the first graduating class We read and studied the entire book Eurythmy as Visible in Spring Valley, I am so grateful for all that was available Speech together in those hours we spent at her home week to us, all the wonderful teachers who came to work with us, after week. These lunch visits continued during the three and even for the painful experiences, from which I know I years after I graduated from the training, when I became a gradually became a stronger person. Over the years, confer- full-time co-worker at the FC and, among other activities, ences have brought me into contact with classmates from A taught eurythmy to the members, co-workers, co-workers’ Group, which has always been very special for me, and one children, and the Otto Specht students. Kari was there for of my classmates and I are still in regular, if infrequent, tele- me when I once told her in a panic that Dr. Paul Scharff phone contact. wanted me to arrange the wheelchair members in a large cir- I still work with the occasional therapeutic eurythmy cle, and in eurythmy dress and veil, move between them client, and during the Holy Nights this year began practicing doing zodiac and consonants in eurythmy and ‘fan them eurythmy by myself and for myself daily, with a commit- with my veil’. This was nothing like I had learned in my ment to continue. I don’t know yet where it will lead me, but eurythmy training! Kari said to go ahead and try it, not this daily eurythmy brings me joy. I know that eurythmy, focusing on the fanning but on the eurythmy, and see how it which has been my profession, has also worked and contin- went. To my amazement, even the most agitated member sat ues to work in a healing way on me, and am, as I said, so quite calmly as I moved quite near her with a lively ‘F’, able grateful for the destiny which allowed me to live a life in to take it in. When Doctor Scharff came some time later to eurythmy. watch one of these sessions, he was visibly moved by how I realized that in the past decades I was always working these members were able to take in this eurythmy. to prepare for therapeutic eurythmy clients, or for teaching In the early 1990’s, Kari would occasionally call me. By a group eurythmy, or working on an artistic piece, never just now I was in Fair Oaks, California, doing therapeutic doing eurythmy for myself, by myself. The daily work I am 12 Eurythmy Association of North America doing in eurythmy now has already led to teaching a meet weekly here in the Casper Hauser Center in CVKH. I women’s group I attend, a hygienic class, and I know other offer therapeutic eurythmy when prescribed by the doctors things will follow. The important thing is how it comes alive and hygienic and social group sessions when requested. for me. I also have been reading Eurythmy: Its Birth and I also teach blocks of eurythmy in the Camphill Development. I feel as if I am discovering eurythmy anew. Academy, clay modeling and the foundation course called “Human Being I”, which aims to develop a fuller under- The Last Report Written by Ruth Finser standing of the Kingdom of Nature and our dependence and It is certainly hard to believe that it will be forty years since responsibility to and for life with gratitude and wonder. I we graduated and said goodbye to Eurythmy Spring Valley. collaborate with Mimi Coleman, a friend and art therapist. I think of all with nostalgia and love! After taking the ther- Up to now (over three years) the Academy only offers the apeutic courses with Daffi Niederhäuser in Dornach and first year of studies here in CVKH. This is for college credit. Trude Tetter from Vienna, I became very active working For more information, check www.camphill.edu. with children from the Hawthorne Valley and Great Jan Christopher Goeschel, PhD, in Special Education Barrington Rudolf Steiner schools. I also had an ever and Rehabilitation Sciences from the University of expanding practice at home, where my wonderful husband Cologne, is the main director of the program. He lives in had built me a beautiful eurythmy room. Drs. Incao, Stoff, Beaver Run Camphill Village, where they are able to offer a and Lups sent me patients. We had several study groups full four-year training with degree credit. It is very inspiring with the doctors. I also joined the artistic work of the New to be a part of this work with many young co-workers England Eurythmists. seeking this life path of learning in community. In 1991 we moved to Cape Cod, Massachusetts, and I The beginning of the School of Eurythmy was like gave up most of my work. We made two more moves after opening a hand-held fan with changing scenes. The people Cape Cod. One was to Florida, where we continued our who came as students, those who were teachers, those who weekly studies, especially with some of the key teachers of became teachers…it would be wonderful to hear other col- the new, budding Waldorf school in Boca Raton. The, hope- leagues’ recollections of the comings and goings, of ‘B’ fully, last move was seven years ago to Mill Valley, Course, as well. California, where our son Mark had found a house for us to We had begun our courses in the living room of Lisa rent just two doors down from his own home. It is not big Monges, with Kristin Hawkins, as the pioneer. When we enough for all of us to live in, but we enjoy our visits with were visited by Hagen Biesantz, Board member of the our three children and seven grandchildren. Some say “old General Anthroposophical Society at the Goethanum, age is not for sissies” and I certainly endorse that saying. I Dornach, Switzerland, we went to the stage in the Threefold miss Eurythmy! Auditorium to give a demonstration of our class work, in the hope to be recognized as a fully credited eurythmy training. From Grace Ann Peyson I think that was in 1971. There had been a large internation- al youth conference in Spring Valley in 1970, during which I’m in my fourth Moon Node this February; that’s four some of the leaders from several countries had attended. It times 18 years, 7 months and 11 days. Hallelujah! This is an was very exciting! It happened as we all hoped and for a amazing time to look back! couple years, we continued having our courses in the Having studied dance as a child into my teens, I was Auditorium, with blessings from Dornach. aware that art forms of movement in the early twentieth cen- We were fortunate to have guest teachers from Dornach tury were already developing in new ways, as people like over the years. Virginian Brett would come and work with Isadora Duncan, Loie Fuller, Martha Graham, Merce speech formation. Frau Margarete Proskauer-Unger taught Cunningham carried forward into this century. And tone eurythmy. We also worked with Hans and Ruth Pusch, Eurythmy, an art of movement for ages to come, thanks to a on scenes from the Mystery Drama. question put to Rudolf Steiner. We are so fortunate. At some point as the school grew, there were other I have endless gratitude that with Rudolf Steiner’s help, classes including foundation courses in Anthroposophy. The we can become co-workers; if you will, sisters and brothers white studio was renovated and our courses moved there. inspired by The Living Being ‘Anthroposophia’. (See the The graduation of ‘A’ Course culminated grandly with proj- book by Rudolf Grosse.) This book also refers to the seven- ect presentations, group work and tone eurythmy especially year periods of life. with Norman Vogel, Marianne Schneider, Maidlin Vogel, My present life situation is as a Co-worker in Camphill Kari Lunde-van Oordt, and Lucille Clem (piantist). Village Kimberton Hills, [CVKH] Pennsylvania. I am a In 1976-77, there were further courses, what was called member of the group of therapeutic-trained co-workers and a fifth year of study, which made it possible for us to further nurses, who are members of the “Casper Hauser Circle”. We develop the stage work. We had pedagogical courses and Eurythmy Association of North America 13 therapeutic eurythmy with Maidlin and Norman Vogel. It our teachers! Also to all who supported us…Endless was tremendous! Gratitude! During that year, I began teaching eurythmy at Green Meadow Waldorf School. I taught two kindergarten courses From Alys Morgan a week and third, fourth, fifth grade eurythmy twice a week, Every time I go to Spring Valley for a eurythmy conference, with blocks for the high school classes. In the beginning of I am warmed by the fondest memories of my school years the eurythmy training, our classes were in the afternoons. In there. These have grown so strong and loving over the the mornings, I was an assistant in the kindergarten that first years. I am continually inspired by the teachers I was so for- year. So it was possible to work in the mornings, as we had tunate to have: Lisa Monges, Kari Van Oordt, Norman eurythmy classes in the afternoons. Vogel, Marianne Schneider, Hans and Ruth Push, Maidlin I left Spring Valley in 1977, and when I returned in Vogel, and Rene Querido. I entered the new School of 1981, there had been huge changes during those years. Eurythmy in Spring Valley in the third year of my training, Dorothea Mier, who had come to the rescue, and Alice after having two wonderful years with Ilse Kimball. Stamm’s return, must have been another part of the help of I so enjoy being a part of the work that is at Eurythmy the Angels that changes could take place and Spring Valley and it is so wonderful to attend workshops Anthroposophia’s call of courage, love, and dedication given by Dorothea Mier and the pedagogical eurythmy could continue in the Threefold Community on Hungry conferences conducted by Laura Radefeld. Thank you to Hollow Road. The vision, the many individuals, the history, Eurythmy Spring Valley! oh, my! Blessings on your work, Grace Ann Peysson My Path to Eurythmy From Francesca Margulies Carol Ann Williamson After years in Balanchine's School of American Ballet and How did I end up in the A Course of the Eurythmy School? a professional stage life as a classical ballet dancer, I studied By a circuitous route, of course. It all started with a course anthroposophy and eurythmy at Emerson College. At first I in Anthroposophy at Goddard College in Vermont. was not impressed with the artistic value of eurythmy that A student by the nickname of Jack the Rat told me about Elizabeth Edmonds performed! But eventually I saw some- a professor. This teacher, Jack Thomas, taught a course that thing in her movement that was so clean and pure, so might interest me. His was a class on Anthroposophy. simple-a picture of what I wanted in my own soul life! Sometimes the universe has a wicked sense of humor! Who After the inspiring years in England, my children and I would have thought someone named after a rat, would be went back to our home in Spring Valley where the School my introduction into the higher worlds of Anthroposophy? of Eurythmy had been started. I joined with great trepida- The following year I attended Emerson College, from tion. Oh well, music, poetry in movement, Anthroposophy, 1970-71. This was a pivotal time for me. Through Emerson and my children at Green Meadow! After not being inspired College, I entered the culture of Anthroposophy. This was a by the movements initially, I began to feel a growing world I had been searching for! Not only was there art, but interest in the beauty of these unusual forms and a deepen- also a certain dynamism and light heartedness. I had not ing change within me. found these qualities in Eastern religions, which were part After graduating, I joined the London Eurythmy Group, of my previous searches. taught at Emerson College and trained for my therapeutic I returned to Goddard College and wrote my graduating license. After returning to the US, I taught for years at thesis on the Etheric Christ. This was, for sure, the key to Pinehill, Monadnock, and the Great Barrington Waldorf my whole existence. I was so proud of my work! However, schools and did more and more performing during those when I saw Francis Edmunds (the founder of Emerson years. College) later that year, he asked me what was I going to do My gratitude for this gift of Eurythmy has increased my with my life? I was flummoxed, and did not know the realization of the enormous change in consciousness that answer. can be developed doing eurythmy. Thinking of the intense The answer came when Ilse Baravalle Kimball came to work on the Geometric Forms and Sounds, music endless Baltimore, which was my home town. Ilse was Austrian and beyond three-dimensional space, we realize that we are one of the original eurythmists. She asked me to come to her Spiritual Beings, and that changes everything. eurythmy school in NYC. I followed her, but soon realized We can expand all our concepts and open our world to her school was not really a training. the phenomena of our existence. So much endless gratitude I then met Christina Palmadesso, who later married to the patience and spiritually artistic gifts given to us by all John Root, Jr. She told me about the training starting up in 14 Eurythmy Association of North America Spring Valley. I decided to join the group in the fall of 1972. the Foundation Stone Meditation was given by Steiner. Francesca Margulies (known then as Janice), was with me Hans was an engaging and lively teacher. I still remember at Emerson College. She also joined our group. him with great fondness. He would sometimes speak of Over time we became seven. We were all very different. Rudolf Steiner, and the funny things he did. (I still remem- Ruth Finser has now passed the threshold. As an indication ber Hans’ story of an air cushion and a lecture attendee. The of our totally different approaches, I remember wanting to man sitting on the cushion would let the air out loudly when do a form for Shelley’s “Ode to the West Wind”. This poem he thought Rudolf Steiner was ending the lecture. Steiner is powerfully elemental. Ruth said, “Why don’t you pick a purposely delayed his ending.) Hans died shortly after our poem called ‘The Fly’?” I was repulsed! I cannot think of a graduation in December 1976. greater contrast between cosmic and earthly streams than Kari van Oordt was another teacher. She was truly an this! Three of our members were mothers. I recall some of artist. Kari had strong Norwegian will forces. When she did them breaking down in tears at times, because it was all too an M gesture, one could see the M from her forehead down much! It was not an easy time. to her toes. I admired her strength. Kari had been a teacher I worked at what was then the Threefold Guest House. at the NYC Rudolf Steiner School, where I later taught. Kari Ide and Jim Bashaw were the managers. I cleaned the dining also was a warm hostess, and would often invite us for room and helped with meals. Charlotte Parker was the lunch at her place. She took us to some plays in NYC. Queen Bee (and co-founder along with Ralph Courtney of Marianne Schneider taught us tone eurythmy. Marianne Threefold Community). She sat at the head of the table with trained with , who was one of the original eury- the worker bees all around. This group could be awfully per- thmists. Frl. Klink founded the Eurythmeum in Stuttgart. snickety about food! I recall dashing from the dining room Marianne had a delicate sensibility in movement. She one time in my platform shoes. I ran all the way up the hill moved beautifully and with great feeling. Norman Vogel to my house (where the Coop is now) because I found them came later and taught our speech eurythmy class. Norman so upsetting! could be a fiery teacher. He loved the extremes of As I began my training, my parents embarked on a expression, as found in medieval times. I still remember his world trip as part of their sabbatical year as teachers. They blazing eyes! travelled to various schools and universities for ten months, We graduated in May of 1976. In one week, all seven of as I set forth on an entirely other tour of the etheric world. us gave our graduation workshops, in which we were also All beginnings involve a certain amount of breaking participating in the others. I gave my workshop on the life through a crust. This was certainly true of our eurythmy and poetry of Percy Bysshe Shelley. I used examples from school. I felt a kind of resistance from the general commu- his “Prometheus Unbound” to illustrate thinking, feeling nity to our group. It was hard slogging. We had to create and willing (all within the lyrical style). Then we gave two new forms. I remember enduring a lot of eurythmy put- evening of performances. This week was totally nuts! I down jokes. There was a certain cynicism about eurythmy would never do it again! in the community that I found painful. After our graduation, I went back to Emerson College. I was the youngest in my class. There were no students I took the pedagogical eurythmy course with Molly von in their twenties at Threefold, as there are today. The older Heider. This was wonderful! I owe so much to Molly’s members of the community did not initially embrace our insights and suggestions. Her course set me on a path where undertaking. I remember Carl Schmidt shaking his fist at me I was able to unfold and develop my love of teaching. every time I walked past his house, for example! (Carl Later I traveled to Dornach, and joined a student stage helped to build the auditorium, and did the lovely wood- group led by Angela Locher (the sister of Georg Locher, work inside.) It took time for the elders to accept our who both attended the Zurich Waldorf School as children). presence. But by our graduation, they came and were At this time, my good angel was shining down on me. I supportive. found myself as an ego being in Dornach, and felt so much We were fortunate to have teachers, who had known at home. After the struggles of Spring Valley, Dornach felt Rudolf Steiner. Lisa Monges was the original teacher. She like healing balsam to my soul. I learned how to be centered attended the first Waldorf School in Stuttgart. Lisa in eurythmy. I felt in touch with my inner being. Angela described Rudolf Steiner with great affection. The children Locher’s work enhanced the forces of the “I.” I discovered loved to gather around him in the playground. He would myself in Dornach. I gradually learned German, and also play string games with them. Lisa was a gifted eurythmist, taught in a curative day-home. I told Angela Locher my although not so gifted as a teacher. But her eurythmy forms German was not good enough to teach. She replied that were inspired, and I still use some of them to this day. these children’s German was not so good either! Hans Pusch was our speech teacher. He played During my time in Switzerland, I was able to travel. Johannes in the Mystery Dramas at the Goetheanum, where Twice I went to Greece. One time I boarded a train to Eurythmy Association of North America 15 Delphi. I was frantic, since the train was full. Finally I found Michael Jackson, and having a foreigner teach them! an empty seat next to a couple. I saw a book by Rudolf The following year, I attended the therapeutic eurythmy Steiner on the window ledge. I asked the woman what she course as a refresher. Taking this course was invigorating. was doing with a book by Rudolf Steiner. She replied that I was able to delve down deeper into the movements, as she had just completed her eurythmy training in Spring well as, in my understanding. I was fortunate to attend the Valley. Guess who this lady was? Our very own, beloved giving of reports on all the individual sounds. How nurtur- editor Maria! Ever since then, I have joked with Maria that ing that was! we were probably priestesses in ancient Delphi, feeding the I returned to America, where my husband (we had met sacred snakes in the Tholos. (They were rounded structures in Dornach) and I worked at Camphill Beaver Run. Then I that resembled the head system; the theatre expressed the worked at the Princeton Waldorf School. After the death of rhythmic system and the games arena represented the meta- my parents, we went to Florida. I taught in the School of the bolic limb system.) Suncoast, as well as, at the Sarasota Waldorf School. Mostly I taught for a year at the Michael Bauer Schule in I taught pedagogical eurythmy. Although I enjoyed teaching Stuttgart. This school is interesting, as they have two cycles groups of children, I longed to be doing more therapeutic of classes. One consists of the normal range of learning. The eurythmy. I returned to Spring Valley and taught at the Otto other cycle has children with physical, sou,l and learning Specht School when my husband taught at Green Meadow challenges. This was the first time I heard of environmental- Waldorf School. My husband’s job ended at Green Meadow, ly damaged children. After teaching at the Michael Bauer and we went to the Emerson Waldorf School, Chapel Hill, Schule, I returned to Dornach and took the therapeutic North Carolina. eurythmy course. This was Daffi Niederhauser’s last class. After some years away from Spring Valley, I returned She was the daughter of one of the original therapeutic eury- here in 2014. I have been more than happy teaching thera- thmists, Fr. De Jaager. Daffi had a special relationship to peutic eurythmy again. I work with children in the Otto color. The colors were present in the room as she taught. I Specht School, as well as having a private practice. I love will always remember the bath of colors Daffi brought to us, the Otto Specht School! This year I have been also teaching as part of her experience of the first Goetheanum. members at the Fellowship. I discovered that I enjoy Throughout the training, I loved learning the relation- teaching older folks too. Elders span the other part of the ship between the sounds and the functions and parts of the movement spectrum. body. I felt I had found my calling. For me this is true spir- Teaching eurythmy has allowed me to travel to exotic ituality, where the spirit enters and merges with the body. places. I taught in China at the Chengdu Waldorf School in How do spirit and body find and heal each other? Through 2007. Everyone was enthusiastic about eurythmy, and they therapeutic eurythmy! moved in a lovely way. I also went to Taiwan twice and was I returned to America, and taught pedagogical eurythmy at the Ci Xing Waldorf School. The first time I taught in the in a few Waldorf schools, including two in Hawaii. Soon I teacher training program. The second time I also taught found my way to the Rudolf Steiner School in NYC, where teachers, and did some therapeutic eurythmy with individ- I became their therapeutic eurythmist. I was thrilled to be ual children. Ding Ding, who trained in eurythmy at Botton, finally practicing therapeutic eurythmy. I was doubly fortu- was my translator. The children were very open and well nate in having the assistance of Dr. Gerald Karnow, who behaved. We even had a weekend seminar on curative edu- was the school doctor. I learned much of what I know from cation at Hwa Lian University. I showed them photos of the having worked with him. Thank you Gerald, for all your Fellowship and the Otto Specht School. They were patient tutoring! intrigued. Later, I taught at the Garden City, Baltimore and I feel privileged to have found eurythmy and anthropos- Washington Waldorf schools. I loved my work with chil- ophy in this life time. Although existentially hard, my life dren. I found the individual healing sessions with children has been immensely rich. I have been to the mountain top. I and adults immensely satisfying. hope I have brought some of this experience into my teach- I returned to Dornach in 1996 to take part in Roswitha ing. Thank you ever so much, Rudolf Steiner and Eurythmy Schumm’s graduate eurythmy course on the etheric world. Spring Valley, for giving me this life path! Fr. Schumm had been a member of the Lea van der Pals Carol Ann Williamson Eurythmy Group in Dornach. Later I ended up teaching in the Mayenfels Waldorf Schule outside of Dornach. We had a great care group, consisting of a number of different ther- apists in addition to a doctor. I could only speak High German, not the local dialect. Luckily the children could understand my German! They liked asking me about 16 Eurythmy Association of North America Some Thoughts in Connection to if possible, turning at the same time. It was impressive to see this (marveling at the courage and agility of the Rudolf Steiner’s Notebooks eurythmists). Stefan and I agreed – but is that an octave? Dorothea Mier Pondering on this, I had to think of Rudolf Steiner’s sketch for metamorphosis, going from simple to ever Stefan Hasler, our new Section leader, gave a short work- greater complexity (Drawing 2). The visible, sense percep- shop (Oct. 3, 2015) in Spring Valley of things from his tible, can only go so far, beyond that, it becomes supersen- intensive research. He has made many discoveries through sible and the visual becomes simple again, but transformed. studying Rudolf Steiner’s notebooks in connection to eurythmy, and found more letters and notes of eurythmists from that time. I would like to try and convey two things he brought. Firstly, the two lectures from The Inner Nature of Music and the Experience of Tone.* Up until now, it was always related that they were held for the music teachers of the Waldorf School and eurythmists were allowed to attend. What always seemed a bit strange to me, was the fact that the interval forms for eurythmy were given to the musicians. Now it has been discovered that it is just the other way around. The lectures were given to the teachers of the eurythmy training/school and the musicians, and other teachers were invited to join, which makes much more sense. Drawing 2 Rudolf Steiner’s notes in connection with these lectures This of course still does not answer the question why Rudolf contain a sketch for the interval forms, including the octave. Steiner did not mention anything about the octave. I hope that our zealous eurythmists are not going to start following the indications from the notebook, as being the real thing. Also the other forms going back to the ‘original’ does not seem right. Elena Zuccoli reports how the forms Rudolf Steiner drew on the blackboard stayed there for so many weeks, as no one wanted to erase them. (The organiz- ers had omitted, to put black paper over the board, which was usually done to preserve Rudolf Steiner’s drawings.) The drawings were deeply imprinted onto those who had Drawing 1 lessons there. She was among them. So I think we can trust the drawings in her book, which differ somewhat from the The question arises and I expect for most people, when see- notebook. (Drawing 3, from Ton und Laut Eurythmie durch ing Rudolf Steiner’s notes: Why did he not bring all of this Elena Zuccoli, already translated and waiting to go to print) into the lecture? In this instance, why did he leave out the In her courses, Zuccoli strongly emphasized especially the octave! I personally never missed a form for the octave. form for the fourth, that the curve be very slight, not half a After the journey from prime to seventh, after the seventh, circle, which has a very different character. Also note how something completely different must happen. We have also Rudolf Steiner corrected this in his sketch (in Drawing 1). ‘used up’ the whole arm. We have bones ‘formed’ by the intervals until the seventh – and only in our next life, Rudolf Steiner tells us, the head is formed out of the whole Gestalt (without the head) from this life. (See the drawings in Das Menschliche Skelett by Dr. L. F. C. Mees, Urachhaus.) So I was quite satisfied, after the intense activity of the seventh, Drawing 3 to stand – almost in shock. We can do all we can up until the It also is interesting to remember that these forms were seventh, but achieving or attaining the octave, is grace. done with the angle gestures, which nowadays we designate In the workshop, many eurythmists moving the form of as tones. The interval gestures came ten months later. the octave, which is given in the notes, were leaping the Another thing that Stefan brought was the esoteric qual- loop in the middle of the circle form. A leap into the air and ity of the lecture course Eurythmy as Visible Singing. He Eurythmy Association of North America 17 pointed out that not only were there few present, euryth- language and for the English Doctor-forms. She worked in mists and musicians, but all had attended The Christmas Dornach with Annemarie Dubach-Donath, Ilse von Conference, were members of The School for Spiritual Baravalle-Kimball, Flossie Leinhas-von Sonklar, Rie Science, which had started only days before, and more Class Lewerenz, Lucy Neuscheller-van der Pals and Tatiana Lessons were given during the course. So when studying Kisseleff. Later she also included some of Marguerite these lectures, we could bear in mind the esoteric niveau. Lundgren’s own research. Some of this work is published in These lectures were surrounded by these other activities and Volume No.7 of Rudolf Steiner’s Eurythmy Forms for all present were living in this mood. English Poems. Many eurythmists have worked with the It also is noteworthy that Rudolf Steiner does not men- richness of these and other fascinating indications for this tion any of the indications previously given for tone language that bears the development of the consciousness- eurythmy, with which the eurythmists were familiar. This is soul. Rudolf Steiner put considerable effort into the devel- in contrast to the speech eurythmy course, where Marie opment of eurythmy in the English language. When we Steiner had already asked Rudolf Steiner to go over the explore the varied indications, we can come to our own basic elements again as various indications had been given questions and carry this development further, which is of to different individuals. He not only brought the familiar, course our rich task. but also new treasures. The first person pronoun ‘I’, as an in-winding or out- We can be so grateful to Stefan Hasler and his col- winding spiral experienced with the entire body, is an indi- leagues for all the research they have done and are doing. cation from Rudolf Steiner given to Flossy von Sonklar. The next three years, he will devote his research to speech English sounds arise from far away with the quality of com- and speech eurythmy, as he has done for tone. In 2018, he is manding the waves (from a 1924 lecture by Rudolf Steiner planning a large conference at the Goetheanum devoted to published in the introduction to English Eurythmy Forms, speech eurythmy. Vol. VII). These and other indications help us in a eurythmic *I compared my German version (1969) of The Inner conversation with self and surroundings that is unique to Nature of Music and the Experience of Tone with the revised English. Especially in working with the “doctor forms” we edition on which I presume the English translation is based. help develop the “body” that the Being of Eurythmy needs. It is interesting that the stenographer was Karl Schubert, a We have so many forms for Shakespeare’s work, that teacher for those children with special needs in the Waldorf great genius. According to Rudolf Steiner, Shakespeare’s School. One assumes that it was he who transcribed the text language and Imagination will endure and bear fruit for a which is much more elaborate than the shorthand. The still further future than our time. Next in number to the revised edition is from the shorthand. I can image that he Shakespeare Doctor Forms – which are many – come the expanded it, maybe remembering the mood, knowing that Fiona Macleod forms, eleven in all! Therefore these poems he had only written down the minimum. The main thing I also play a significant role in the development of eurythmy want to emphasize, is to realize or to be aware that there is in the English language. no difference in the content as such, it is more a question of style. So for our work, the present English edition is still News from the classroom valid. Chapel Hill, North Carolina Christina Beck English Indications for In the eurythmy room, the eurythmy figures are on a Speech Eurythmy high shelf. There is not room for all, perhaps twelve at a time, so various groupings appear. Here are the children’s Christina Beck questions and their own answers from a grade four. Many indications, most in fact, for eurythmy in the English “What are those?” language were verbal. Rudolf Steiner gave them to euryth- “They are saints.” “I think they are angels.” “I know! I mists who performed and taught them both in England and know! They are the eurythmy sounds.” America. There are some different indications for America It is a class of 22 children. There are some with chal- than England. This is interesting and points to the connec- lenges in attention, the social realm, left/right orientation, tion of landscape and language. Molly von Heider, who in speech disturbances and post-traumatic stress disorder. the 1970’s and ‘80’s trained many English-speaking euryth- Some have learned at home to do only what they want to do. mists at Emerson College, Sussex, England, attended the They tend as a class to be naughty and hop about like Freidwardt School in Dornach and then trained in Dornach grasshoppers. AND they become still as the velvet midnight with Isabella de Jaager. Molly made it her work to gather as sky when doing sounds and tones. many indications as possible for eurythmy in the English 18 Eurythmy Association of North America The following quote is from Annemarie Baeschlin in Norse mythology, to spoon carving out of hard wood. They her own English translation, hand written as a handout for have passed through what we call the “golden age of child- English-speaking attendees at a workshop. The original hood” – that magical fifth grade year of balance and joy German can be found on page 17 of her book Die embodied most vividly by the Greek athlete – beautifully Eurythmie-figuren von Rudolf Steiner, Rudolf Steiner, proportioned, interested in everything, and able to pick Verlag, 1987. themselves up and engage with any and everything with “The following recommendation Rudolf Steiner made ease. when children are reluctant to do eurythmy: A special joy Then the student grows out of the golden age of child- would be impulsated, if one does not only let children see hood and enters the challenging, sometimes disorienting eurythmy performed very often, but if one also shows them time of puberty as they head toward adulthood. If they were pictures of certain moments of eurythmy-movements in the early childhood in a Waldorf school, they have been (Augenbilder). These pictures will be imprinted and have an nurtured by the devoted care of the early childhood teachers enlivening (befeuernd) effect on the eurythmic abilities. and schooled in spaces set up to stimulate each student to do ...not just reflections, but characteristic, artistic pictures.” things – to imagine, to build, to play. In the early grades, the The Steiner quote is from a talk with teachers in connection students are immersed in the arts, developing imaginative with the founding of the first Waldorf School on the 29th of thinking, discipline, and skills that encourage their partici- August 1919. pation and individual involvement. the class teacher and the Eurythmy raises capacities; it allows standing, speak- other teachers lead them through the arts and their imagina- ing, and thinking to develop in harmony. Eurythmy passes tions into skillful participation. from etheric body to etheric body. It is alive. It is an always One goal of from early childhood in becoming recognition of the non-material world that cre- through high school is that the child develops out of them- ates this visible world. selves, the ability to move, to self-initiate movement. In Eurythmy removes hindrances through doing, not early childhood we design programs and spaces where a through speaking about the difficulties but through doing. child’s self-initiated movement capacities are nurtured, This is our joy and this is our challenge. encouraged, and developed. Simple, natural materials stim- In the darkest night ulate children to build worlds born out of their imagination. The earth shall be light In grades one through eight, we nurture the child’s capacity and shall gleam like a star. for self-initiated movement in relationship to an authority. W.M. Von Heider The children learn to love their teachers and are led to Shall it? Shall we play our part in creating the gleaming develop themselves and integrate new capacities in a multi- star? tude of ways under the loving care and guidance of these teachers. In the high school students are supported to devel- Eurythmy in the MIddle School op capacities of self-initiated movement in thought. The youngest children’s capacity to build and create things in Laura Radefeld their environment become the capacity to internalize the If you are a parent of a middle vivid stories of the grade school--the stories of the highest schooler you may have heard per- ideal and capacities of humanity, and in the young adult plexing reports and daunting ques- these capacities become the tools for sound moral judge- tions about what is happening in the ment, higher cognition, and the will to act on the impulses mysterious class, “eurythmy”. You born of sound judgement and insight. This developmental probably have wondered once or path is one of movement, and one of learning to still inner twice what is going on there? What movement, to ponder, reflect, and give birth to new ideas. are they doing in eurythmy, and why And so the question of how eurythmy supports the mid- – especially in the middle school? dle school child must be answered recognizing that for all of Eurythmy is a healing art, first and foremost, and more Waldorf education the pedagogy is based in movement. One of a performing art as students progress in the high school. verse by Rudolf Steiner directs the teachers to “bring to The intention is always to provide healthy movement that young human beings/Bodily strength for work, Inwardness will support the growing and developing child—helping the of soul, Clarity of spirit.” This is a concise statement of the child to build their inner architecture, step by step. But the aims of Waldorf education and also of eurythmy in the cur- question remains – what and why? riculum. Healthy activities throughout the day, early child- A young person reaches the sixth grade with a wealth of hood through high school, address the aim of bodily experience under their belts from knitting kittens and baby strength for work: having a job every day, working in the buntings to dressing as a god in a dramatic rendering of garden, creating practical objects in handwork, chopping Eurythmy Association of North America 19 vegetables, baking bread, hiking, sports, practicing a musi- phrase lengths. It is hard to describe in this context, but cal instrument, and so on. imagine ice forming, melting, and reforming, and you are a In eurythmy it is not primarily physical strength that we piece of this tapestry, in a very specific way. address, but the strength of mastering your own movement Imagine the beautiful drawings of the sixth grade with skillful dexterity and purposeful clarity and strength. “divisions of the circle” always featured in Waldorf calen- Through rhythm and repetition, children learn to become dars or greeting cards,and now imagine one of these beauti- aware of their own gestures and to make them stronger, ful forms in space and in movement. Eurythmy for this age clearer, and to imbue them with meaning. is brought to clear expression through the task of creating Inwardness of soul is developed throughout the curricu- objective geometric forms, in movement, with others. How lum in the balance of moving and quiet activities – the abil- do I move as a part of a whole, strongly and dynamically, ity to move from one thing to another masterfully, and then and also be in synch with fifteen other dynamic selves? to quiet yourself, to listen, to take action, to reflect, to recall, “In order to become true educators, we must be able to to integrate new ideas. In eurythmy, students are led through see the truly aesthetic element in the work, to bring an artis- developmental skill progressions that ask them to move tic quality into our tasks...if we bring this aesthetic element, dynamically and then, out of themselves, to quiet them- then we begin to come closer to what the child wills out of selves, to come to a point of balance and to hold themselves its own nature.” Rudolf Steiner, A Modern Art of Education quietly within that space. Picture someone, who is skilled on Lastly, by demanding that students create harmonious a balance beam, and then imagine this skill set as inner beauty in their movement together, an objective quality capacities – to be able to move within yourself like a gym- demanded by the geometry itself, we help them to regain a nast in perfect balance, while maintaining a strong center of quality gifted to each of us in childhood that we need to stillness. build for ourselves as this falls away in puberty and The aim of “clarity of spirit” is also developed through- throughout life. Through our own inner resources, inner out the curriculum in the stories that take students through movement, we regain balance and order, built through our the development of great cultures, great individualities in own efforts, and through shared efforts with our classmates. history, the highest ideals of humanity, and how ideals are This language of movement and form is the language of made manifest in practical life. This is the work of the mid- the spirit – that which in us wills to connect with the world, dle school faculty and the high school faculty – to inspire make it better, more beautiful, more just, simply more. In students out of the highest ideals and accomplishments of eurythmy, we begin simply and without drama to indicate humankind, enabling students to feel a connection to these how individuals need to stand and to move in relationship to developments, and to experience that the work can and must the great tasks and ideas that they will set for themselves. go on – through them. How inner balance and stillness is perhaps the most potent And so, as children navigate the challenges of being a human force, and how we each have to struggle in ourselves twelve-year-old (or the student in middle school generally) to develop this. Equally important, we learn that we can what does eurythmy specifically address? Developmentally help each other on this way, and experience how much we children are ready for big challenges – movement that need one another to move ahead. demands skill, presence of mind, and dexterity. They need movement that warms the muscles and leads them to expe- Germany: 2015 Education Congress rience their own mobility and strength, and to experience these things in objective movement-patterns as geometry. “There is someone who stands by me” The middle school is a time for making the beauty of move- A daily challenge is, for parents, child care workers, and ment one of objective angles and clear forms. The expres- teachers, the children entrusted to them. They bring new sive soulful gestures will come later. Expression of dramatic experiences, and adults must begin to find a way to deal gesture and romantic music is built upon a strong founda- with these. The Stuttgart conference on “Spiritual tion of geometric movement: clear, objective and thought Experiences in Children and Young People” on January 16– filled. 18, 2015, brought suggestions for understanding these chil- One exercise, developed by Rudolf Steiner specifically dren. for sixth grade eurythmy (and beyond) is called the “dia- Michaela Glöckler, pediatrician and leader of the mond transformation”. Students move geometric patterns Medical Section at the Goetheanum began by noting that that are crystalline one moment, then dissolve into fluid evidence of consciousness could already be found in the movement, then reappear in a new constellation in a differ- embryo—its own thoughts beyond mere reflex. In the third ent location. Everyone moves their own pace (there are four year of life this consciousness culminates in a conceptual different tempos along three different paths) and everyone is experience of the I: “I know I am here.” Around the ninth bound by the objectivity of the accompanying music and its year this experience is supplemented by the feeling: “I am 20 Eurythmy Association of North America alone as an I.” At the same time, any potential clairvoyance Leading a donkey can bring an experience, for instance, of still present vanishes. At 16 the will-related experience of how sure we are in our will. Children have a secret wish to the I is added: “I am responsible for myself.” Although arrive on the earth to change it, so it becomes alive. Then today’s children awaken mentally at an earlier age, they still new capacities are also created: for example, forces of tol- need protection, not least because the rest of their develop- erance can arise from a blossoming individuality. But these ment does not keep step. However, Michaela Glöckler noted new forces must be permeated by the will—that is why real that we experience freedom only when we have felt the work like gardening is so important. Schulze cited a verse ground taken from beneath our feet. But those around the by Rudolf Steiner that can help trace the impulse of one’s child should help the children feel “at home.” own will Interest in the Child as He Is, in order to better under- Verse and application in GA 265, p. 461: stand the being of the child, curative educator Karsten “Catch the moth. Massei recommended looking at the forces revealed in a Send it to icy heights biography (“Life draws its own pictures”) and reading the Where cosmic spaces reign. capacities there. In being open to the earth and the other per- If it becomes a bird for you son, we listen to the other as though through ourselves, and You have done half the work. we ask: What is supposed to happen through me? Doing this Plunge the bird requires trust in what the other can reveal to us. It brings Into ocean depths great pain for a child when he is told that he needs to accept Where cosmic will is at work. something— thus, adapt to it—and that he might not fit in. If the bird drowns Instead, the child needs to experience how people are inter- You have more to do. ested in him as he is (“There is someone who stands by Burn the bird’s body me”). Children also would like to be able to identify with In purifying fire. the personal experiences of adults. Then consume the ashes Testing, Not Teaching And you are Referring to phenomenology, experiential teacher Michael The light in cosmic darkness.” Birnthaler suggested paying attention to a “firm gaze,” Gabriela Jüngel wildness, adventurousness. Children want to experience Dornach, Switzerland that something counts in life— they need a chance for test- 2016 Education Congress: “Children need time—so do ing (though a task). If the “heavenly” impulses are not adults,” January 15–17, 2016; Stuttgart, Germany brought out in the child there is a danger of their sinking to the instinctive level and becoming violent. Etheric Bodies are Moving in Waldorf teacher Johannes Greiner spoke about the pos- sibility that much of what should be worked through spiri- Response to the Speech Sound Etudes tually might become open and freely available to the media, Kate Reese Hurd and then the individual’s inner pictures are choked off. For most of this last year, I have not only continued my There is another sort of danger when the awakened I finds work of sounding our language with the speech sound no community that will accept it in a good way. The child etudes, but have been deeply involved in preparing the needs another I, if he is to have the capacity to connect his etudes for publication and in writing the detailed sections of earthly existence to something. As Michael Birnthaler had text that accompany them in the book I am bringing out, The emphasized, great injury is done to a child who remains Speech Sound Etudes, Volume I (to be in print in March unrecognized as a spiritual individuality. 2016). In the midst of my intensive focus on the book, a Pedagogy of Initiation shift came about in the scope of my activities: I realized that Education researcher Manfred Schulze continued with the without my being aware of it, this work with the etudes had theme of becoming conscious of oneself through the body, quietly developed in me all manner of the skills that are so and connecting with the cosmic stream of will. Ultimately necessary for fathoming the structures, rhythms, soundings this requires a pedagogy of initiation insofar as a conscious and key features of poems. Feeling this new-found treasure crossing of each threshold is involved. If the child is to live within myself, I set about to share this richness by preparing out of his will there must be a school which offers more than poems for speaking, and I have called upon the etudes to sitting in closed rooms and viewing the world intellectually. evoke sound-moods as frames around them. I have been He said a farm with its animals and its own qualities is an presenting this work at poetry gatherings in my local area. example of a place that offers a diverse experience: the It has been deeply gratifying to find that at every gathering, human being owes his existence to the animals, “to the a number of people have responded strongly, and have come chickens (for instance) if we can think—birds do not think.” Eurythmy Association of North America 21 to tell me what it was like for them to hear what I gave voice etudes, I have learned how to experience the sounds from to. I gather from what they say and how they speak, that within and to lead their gesture-impulses into my speech … they have felt it as nourishment; and since that is how I feel or into bodily gesture, into eurythmy. Because of this, I have about it, I’m not at all surprised! We are all delighted, no need to take an active role in forming the speech sounds though for their part they admit that they don’t quite know mechanically or in pressing them forth: simply and with why – but I do: their etheric bodies have been moved. inward poise, I cooperate with them. My sense is that this So I am reporting that modern people possess etheric man was able to receive the experience of all of these key bodies that can still be moved – that are even eager to be sounds directly, i.e., he experienced the sounds themselves, moved – with adequate prompting. One man told me that he rather than me in the role of feeling-producer and form- was brought to the edge of his seat by my recitation. I maker. Of course, my development of this work is ongoing. already knew that, because my work is by heart and I look In my book, in the Appendix on the gesture-impulses of at my audience. But it was deeply moving for me to hear the sounds, I pointed out: “When the gesture-impulse of o is him say so. The poem I had prepared was Edna St. Vincent evoked from within through speaking, there is no need to Millay’s “Conscientious Objector.” As with all of my pres- fill the emerging movement with feeling: it comes forth entation preparations, I had perceived the sound moods that filled with feeling. When the gesture-impulse of B is evoked hold sway in the poem, and these led me to accompany it from within, there is no need to endow it with form: it with etudes in the keys of D and M. Eurythmists present announces its formative activity and its form. Our task is to speech sound gestures during their silent Vortakt and perceive these objective facts and follow them where they Nachtakt, to lead into the poem and draw it to a close. In lead us.” And Steiner said that it is through our hearing that like manner, I speak a set of etudes before the poem I pres- our speech organs are adjusted.1 This is exactly what I have ent and another after. I have found that the setting of these found in my speech-work: the sounds find their forms and sound-moods has a profound impact on everyone. For me, I resonance of their own accord. know that I have made an effective selection when the And in his Speech and Drama lectures, Steiner told etudes set me in the right vocal-sound-mood to enter the actors and speakers that a good knowledge of eurythmy poem and speak it well, and this is in spite of the fact that would help them in their work.2 I believe I know what he the images in the etudes do not usually relate to the poem – meant, because when I experience the H as I do now, the and for this reason, I give the poem room with a sense of space behind me and zones in my body are alive with it. I musical timing when moving between the etudes and the do not move as in eurythmy to express these experiences, poem. The set afterward carries reverberations of the yet I have had it confirmed that my onlooker does in fact poem’s soundings and prepares the release. I alert my listen- perceive my experience of the H right along with me, ers that they will hear sound-moods before and after in the instantly. Speech-work and eurythmy are sister arts that form of poetic miniatures on the speech sounds; I offer them nourish each other. Artists who awaken to these inner this opening to move with me into the mode of listening to gesture-impulses and become adept at following them can the soundings, consciously. easily choose which direction they will take them – into The four opening D etudes of my presentation of this speech or into eurythmy movement. And I believe that good poem by Millay built up by steps from the gentler “Dim eurythmy needs to begin with good speech as experienced dew-dots…” to “Diligent dedicated divas do delicate daring from within. I wrote the etudes to ground my eurythmy deeds – dilettantes don’t.” The M etudes afterward began work, but the beauty of this body of speech-work is that with “Mightily maddened...” and calmed to end with “Misty through the etudes, these impulses can be stirred awake by moonlit mizzle …. Magnificent!” The man who spoke to anyone. All speakers literally ‘have it in them’ to experience me was rightly riveted by the many D, M, H, B, W and wh the spoken word, from within. sounds and the iterations of äi (ah-i) – and a few of potent In her poem, Millay described Death’s activities: “I hear P – that shape the poem with muscular strength. For anyone him leading his horse out of the stall; I hear the clatter on the who wishes to get a sense of the courage and determination barn floor. / He is in haste; he has business in Cuba, business it would take to serve in something like the Underground in the Balkans, many calls to make this morning.” My Railroad, this poem conveys that moral resolve. speaking of these lines comes alive with the movement of But this man – and others – was not responding solely my consciousness during these H, B and M words. When I to the nature of these sounds as we usually understand them say, “I hear him,” H takes my attention into the space such to be. He was responding to the fact that I am not wielding that I am in fact one with the concept, ‘hear.’ And though I my powers of speech to form the sounds and make much of have not moved a eurythmy form for ‘him’ in space, I do them. Hence, I do not call what I do, “speech formation.” I convey the inaudible quality of ‘he-ness’ – which is so inte- believe that this name is misleading as regards the nature of gral to this poem – through the manner of my expression of artistic speech. I call what I do, “speech-work.” Through the H and i in full awareness of ‘he.’ And the “loving living- 22 Eurythmy Association of North America within speaking, a speaking that bears thinking itself on its my breath and make the transitions through the power of wings” is restored to speech activity.3 conscious intent and timing, not punctuated by the breath. The rhythmic and phrasing flexibilities which the And there is magic in this: I have found that the quickened etudes have cultivated in me hold me in good stead in my stillness that is present in all transitions manifests itself – first approaches to poems, for I find that in each one, my just as it does in cycles of waves. And the rhymes sing out, first task is learn its rhythmic and phrasing architecture and as I connect each one with their past or future repetitions. flow. Many factors come into play when fathoming these. The complexity of tidal shifts grows with these diverse The sounding-meanings give clues as to which words cycles and gathers unrushed momentum, and the rhythms of receive the stresses. For example, in the repetitions of “I the sounds and syllables pulse with the wealth of move- will not” in the Millay poem, one can sense when the stress ment. I can feel and smell the sea when I work on the piece falls on äi, “I,” (first full stanza), and when it falls on W, well, and I feel the sadness of the retreat of the “Sea of “will” (second and third full stanzas) – or on D, “do” Faith.” I find that the key lines are: “Let us be true / To one (second stanza) – and this makes all the difference when another…” – they hold the fulcrum, the place of resource bringing out the poem’s sounding-meaning-movement. The and stability within all of this “turbid ebb and flow.” qualities of the personal pronouns lead us to find the The principle quality of the sounds is resonance, and emphasis on “you” in the last line, and this governs the this quality knits the poem together. Nearly all of the reso- critical phrasing transition to that line, “...never through me nators resound in it: N, M, L, ng, V, voiced th and R. These / Shall you be overcome.” I close the poem with the final M sounds take us into the time element of the waves and the unreleased.4 mood is sustained without effort. I sense that the strongest I am currently preparing “Dover Beach,” by Matthew of these sound-moods are L, ng, unreleased N, and, with its Arnold. At first, I found the poem to be rather prose-like; it quality of fullness, the vowel ô. I have called upon the larger is so irregular: irregular line lengths, broken lines, irregular body of etudes that I have composed, to recreate etudes in ô rhymes, irregular stanzas, no set rhythm and soundings that and in L that include words that sound the ng, N and M, e.g., go all over, from frontal vowels and labial consonants to the dawn, song, calm, linger, lonesome, etc. These etude sound- dental sounds, to full middle sounds and to the guttural con- moods open and close the poem well. In my speaking of the sonants. The poem seemed to lack musical qualities, but I poem, I also sustain the mood by favoring the ô in words persisted. Now I know why the poem has always drawn me: such as “upôn,” “Sôphocles” and “melanchôly,” instead of though the soundings wander, I found that they wash for- sounding them with the open and brighter ŏ, e.g. hot. ward and backward in large and small cycles, outward and Presenting this speech-work of poems and etudes and inward, and they eddy in smaller movements within the discovering that my listeners do in fact perceive the sub- larger ones, just like the waves that Arnold was depicting! tleties of my experiences and expression – just as Steiner The whole poem is awash with the tidal movements of the said they can and would7 – is an inspiration to me. In speech sounds. And the soundings make magnificent cycles response to my presentation of “Heaven-Haven,” a member between the personal feeling of the lyrical, the conversation of my audience told me, “You must keep on doing what of the dramatic and the grandeur of the epic styles.5 The you’re doing!” I feel heartened to know that my foundation larger, whole-line impulses of lines 6 through 10 stream for- work in the arts of speech and eurythmy can already bear ward, backward, forward, backward, forward: this worthy fruit. “Come to the window, sweet is the night air! Here is a brief log of the poems that I’ve presented thus Only, from the long line of spray far, with the etude sound-moods that I’ve chosen, that set up Where the sea meets the moon-blanched land, and frame them before and after: Listen! you hear the grating roar John Keats, “Ode to Autumn,” with S before and voiced th Of pebbles which the waves draw back, and fling,...” after, with keen attention to its pentameter and its many S- And line 12 moves in smaller eddies that circle around, for- related sounds. ward, back and middle: “Begin, and cease, and then begin James Whitcomb Riley, “When the Frost is on the Punkin’,” again….” One can feel the gently-repeated iambic of the with è (e.g. rest) before and H after; it is more musical when unreleased N as it gathers to itself a new wave impulse.6 the iambic feet alternate as heavier and lighter. Mastering the irregular, broken-line structures is cru- Gerard Manley Hopkins, “Pied Beauty,” with G before and cial. I have found that in these broken lines, an impulse F after – the mood of G leads in beautifully! begins, unfolds and subsides, and then, with wonderful tim- Gerard Manley Hopkins, “Heaven-Haven: A Nun Takes the ing, another begins and streams to the end-rhyme. Each line Veil,” with äi (ah-i) before and S after. is one whole breath, one whole gesture. The first few lines Edna St. Vincent Millay, “Conscientious Objector,” with D of the poem set this tidal mood. In order to express these before and M after, and no pressing on M. within-the-line breaks, I have found it oddly essential to still Matthew Arnold, “Dover Beach” – in progress, as above. Eurythmy Association of North America 23 Endnotes hearts and minds carrying these concerns have grown sub- 1 See p. 37, pp. 67-68 and p. 86 in Creative Speech: The stantially over the past year, though, and individuals in the Formative Process of the Spoken Word: a Selection of Pedagogical Section Council, the Teacher Education Lectures, Exercises and Articles by Rudolf Steiner and Network, and the leadership council of AWSNA have also Marie Steiner-von Sivers, Rudolf Steiner Press, , pledged to look carefully at ways to support eurythmy— England, 1978, 2013. and, let us not forget our colleagues in the field of artistic 2 See a few pages from the end of Lecture 11 in Speech and speech formation, who are even more endangered! Drama, Rudolf Steiner, nineteen lectures, Dornach, The Mid-Atlantic Region of AWSNA includes the September 5 to 23, 1924. Waldorf schools in Pennsylvania, New Jersey, New York 3 See pp. 4-5 in the lecture by Steiner, “The Lost Unison (with the exception of Aurora WS in Buffalo), and Between Speaking and Thinking,” Dornach, July 18, 1915, Connecticut. It is a very established region, with eleven full- found together with “The Realm of Language,” Mercury member schools, one candidate school, three developing Press, Spring Valley NY, 1984. schools and two teacher training institutes. Its schools 4 In the unreleased M, we simply stop our resonant sound- include some of the oldest in North America, and overall, ing of the M while keeping our lips closed. We typically eurythmy is well-grounded in these schools, with most keep M closed like this before most other consonants, e.g. schools having full eurythmy programs with full-time hamper, but we open our lips and release it with its charac- eurythmists. The Mid-Atlantic’s circle of delegates has teristic style of release if a vowel follows, e.g. make. consistently had two to three of these eurythmists represent- 5 See pp. 76-96 in Creative Speech, where Steiner spoke ing their schools. The variety of vocations represented in a about our experience of the movement of the speech sounds delegates’ circle is part of its strength, for delegates not only within our speech organization in poetic speech. represent their schools, but also their professions. Thus, the 6 See endnote 4. In the unreleased N, we stop our sounding eurythmists have regularly been called upon to lead of the N while leaving our tongue in place behind the teeth. eurythmy during our regional meetings, and keep their ears We typically do this when another consonant follows it, e.g., open for opportunities to collaborate and support eurythmy into, instead of releasing the N in its characteristic way, e.g., in their region. now. Following discussions at the AWSNA conference last 7 See the lecture material by Steiner, “Veils, Dresses and summer on the challenges facing eurythmy in schools, Colours,” Dornach, August 4, 1922, and “The Eurythmy Carol Bärtges, the Mid-Atlantic region’s representative to Figures,” from lectures in Dornach, August 4, 1922, and AWSNA’s Leadership Council, offered a full afternoon in Penmaenmawr, August 26, 1923, contained in Eurythmy as our fall meeting to focus on eurythmy in the schools in a Visible Speech, 1984 edition. three-part format including doing, sharing experiences, and studying. Carol invited her colleague from the RSS, Alex Eurythmy at a Meeting of AWSNA Spadea, to lead the group in doing eurythmy. Carol chose Alex because she is an enthusiastic and inspiring eurythmy Delegates of the Mid-Atlantic Region teacher of students in grades 7-12. Material for the study Susan Eggers was emailed to participants ahead of time, and the refer- For those who love eurythmy and are ences are at the end of this article. deeply committed to bringing its Our meeting was hosted by the WS of Brooklyn, a enlivening forces to children in Waldorf thriving developing school housed in a former Catholic schools, the question of how to support school building. Following an intense morning devoted pri- pedagogical eurythmy is a topic for pas- marily to reviewing the proposed Principles for Waldorf sionate discussion and a field full of Education, we broke for lunch, and reconvened in the possibilities for individual initiative and school’s cavernous gymnasium. In introducing Alex, it was collaborative activity. Here is just a sample of the issues: mentioned that she, along with Sabine Kully (delegate from Declining enrollment in eurythmy schools threatens their the WS of Garden City) had recently been awarded their BA existence at the same time that schools cannot recruit eury- in Eurythmy, and it was significant to introduce this profes- thmists to fill vacant positions. Sometimes the positions that sional step to the circle of delegates. are available are not full-time, and positions have been Accompanied on piano by Helen Butkov, Alex per- reduced due to budget shortfalls. Rather shockingly, schools formed the Adagio movement from Beethoven’s Sonata can be accredited as full member Waldorf schools without Pathetique, so beautifully performed that you could hear the eurythmy in the curriculum, and without even a plan for the collective deep outbreath of wonder and appreciation. Alex development of a eurythmy program in the future. The quickly changed back into ‘teacher clothes’ while we moved chairs away for our movement experience. Alex led us in 24 Eurythmy Association of North America the EVOE, with soul gestures and then into a simple group We were challenged to put more resources into peda- form for the well-known text, “The Sky Loom.” What a gift gogical eurythmy training and on-going professional devel- to all of us of joyful, intentional, soul-filled movement. opment opportunities. There is recognition for the reality Alex’s humor put everyone at ease, and she wove in com- that a eurythmy training, even with pedagogical studies ments about the adolescents with whom she had worked on embedded within it, is not enough preparation. New col- these pieces, giving us a little glimpse into how students leagues may need support for several years, and experi- might experience such work. enced colleagues benefit from new perspectives and collab- Movement was followed by group discussion, which oration. Our region is so fortunate to be the home of Spring Alex introduced by asking us to review how we were feel- Valley, which offers its students as well as teaching euryth- ing, and to compare that with how we felt when we gathered mists classes and workshops each summer and periodically right after lunch. Here’s a sample of the comments: I feel during the year. larger; I feel the connections among us; I’m breathing more Celebrating eurythmy as a performing art was another deeply; Eurythmy is an exercise of the mind and the heart; theme. Many looked back at the tour of the symphonic There’s more space in my head; Before, I was preoccupied, eurythmy project in 2005 as a high point for eurythmy on now I feel more present; I feel socially courageous and more this continent, and take every opportunity to host touring sensitive. Everyone present could imagine how experiences groups from near and far. Making an effort to have high of this nature—seeing and doing eurythmy—could engen- school groups share their performances with each other was der a culture of appreciation and support for eurythmy’s also seen as an important way for adolescents to deepen place in the whole community of the school. their appreciation for artistic eurythmy. Next, Carol asked the three eurythmists in the circle One participant posed the question, “How relevant do (Alex, Sabine, and Susan) to share briefly why we had people feel that eurythmy is in their lives?” This quickly led studied eurythmy; what it is like to teach eurythmy; how we to the request that we become better at speaking about feel that we are part of our schools; and what we have eurythmy. While fully acknowledging the challenge, one experienced that eurythmy does for the students. Perhaps participant wanted to know, “What’s your elevator pitch for for the first time, who we are as eurythmists, standing in and eurythmy?” Thankfully, we don’t have to be limited to for our professions, was apparent for our peers. speaking about eurythmy. We all can find venues to intro- Then we opened a conversation around questions of duce or deepen through experience the understanding and how these teachers and administrators experienced support of eurythmy with faculty, college, board, and par- eurythmy, both personally and within their schools. What ents. we thought would be a brief check-in, before heading into I share this report with gratitude to Carol Bärtges for her studying the lecture together, turned into the rest of the commitment to Waldorf education and her leadership in our allotted time. Questions and suggestions came respectfully region, to Alex Spadea for the eurythmy, to Leonore Russell and thoughtfully, and here are some of the themes we (who helped plan the study, but then was unable to attend) addressed. and to all of the Mid-Atlantic delegates. Let’s keep sharing I’ll start with an ‘easy’ question: What can schools do to our efforts to ‘make a joyful noise’ about eurythmy. attract eurythmists? Answer: Offer a full-time position, with Resources offered in preparation for the discussion benefits, allowing the eurythmist to be fully within the life included “Introductory words by Rudolf Steiner at a per- of the school. Eurythmists also need professional develop- formance of eurythmy given at Dornach, December 12, ment opportunities comparable to other teachers, ranging 1920”; “Introduction to a Eurythmy Performance of the from support to attend pedagogical eurythmy workshops, Waldorf School Pupils, Stuttgart, March 27, 1923” (pp 88- in-service days to observe other eurythmy teachers, and, as 93 in Waldorf Education and Anthroposophy 2: Public necessary, coaching, mentoring, and evaluation. Lectures 1923-24); “Teaching Eurythmy, Music, Drawing There was the suggestion to deepen eurythmy in teacher and Language” Basel, April 28, 1920 (one of a series of lec- education programs. Eurythmy offers so much to the tures given to public educators in a forum organized by the teacher-in-training, particularly when the approach is simi- Basel Department of Education, printed in The Renewal of lar to that of our AWSNA study. Teachers need to experi- Education, pp 99-114). ence, appreciate and understand eurythmy as the unique art arising completely out of anthroposophy by doing euryth- The Overall Health of Eurythmy my, seeing artistic performances, and by studying the role of eurythmy in the curriculum. In part-time trainings, this is Laura Radefeld certainly challenging, but it is necessary to cultivate teach- Do not fear—every illness is a call from destiny for self-edu- ing colleagues, who will support the eurythmist and advo- cation. Make use of the time and do not fear. Consider, he cate for eurythmy in their schools. is resilient who knows the limits of his abilities, yet within Eurythmy Association of North America 25 these boundaries expends his forces with regal gesture. But, assess all the material for eurythmy made available up until know, through this self-restraint the boundaries become 1925. The Centre receives funding from the Software AG stronger and expand. Otherwise they will tear and weak- Stiftung, an independent charitable foundation. ness consumes the life forces. Use the time well and do not Eurythmy is conveyed through demonstrations, lessons fear! Given to Ilse Rolofs (an early therapeutic eurythmist) and performances, through notes taken by participants dur- by Rudolf Steiner ing the courses and lectures Rudolf Steiner gave on euryth- This quotation came to me through a friend and it has my, his own notes and the knowledge passed on orally by become a useful seed-thought in relationship to the current the first eurythmists. “A hundred years later, the diverse struggles of eurythmy in schools. The issues with eurythmy sources available open up insights into indications (some of teachers in schools are the same issues that are experienced them personal), movement intentions and explanations with ALL teachers in schools. Issues of leadership within given by Rudolf Steiner,” Stefan Hasler says. Waldorf schools are tremendous, and the tendency toward Rudolf Steiner worked with a variety of methods, handing over leadership to a school director has taken hold depending on the individuals who had found their way to in many schools, which makes eurythmy especially fragile, eurythmy. This also became apparent during the reediting of as it puts the decision making power for curriculum deci- his course on tone eurythmy: Stefan Hasler, Felix sions, formerly in the hands of a College of Teachers, into Lindenmaier and Martina Maria Sam showed in how differ- the hands of a head of school, who may or may not have a ent a light this course appears when one evaluates all the relationship to anthroposophy and eurythmy. available sources. It is the only way to find out more about The overall health of each Waldorf school mirrors the the context in which particular statements were made. overall health of eurythmy in that school. Schools that are Stefan Hasler and Martina Maria Sam will both lead the secure in their foundation of anthroposophy, recognize Eurythmy Research Centre. eurythmy as an essential subject. Where the foundation of Stefan Hasler helped set up and taught in the eurythmy anthroposophy is less secure, this will also be reflected in department at the Alanus University of Art and Social the school’s curriculum. We can see this time as a call for Sciences near Bonn (DE) and carried out research projects. eurythmy teachers (and all teachers) in schools to work even Since 2015 he has been leader of the Section for Performing more strongly within the boundaries of their schools to Arts at the Goetheanum. Martina Maria Sam, who is a doc- strengthen the roots of anthroposophy generally. Of course, tor of philology and a eurythmist, has worked as an editor this is also true for teacher training institutions. The issues and published a comprehensive work on the history of of eurythmy in schools are inseparable from the overall eurythmy based, for which she conducted thorough health of the schools, and the work locally to make our research. Other coworkers will be consulted depending on eurythmy programs more vibrant, more colorful and attrac- the subject in question. tive is essential. To know that much can be done locally within our own communities I think is wise, as the above Authentic documentation quotation indicates. The anxiety about eurythmy in schools According to Stefan Hasler the Centre “aims at providing is a call for action, and a call to set aside fear—a call for us publications for practical use and at meeting scientific to be more excellent—better collaborators, artists and expectations”. Martina Maria Sam added that “documenta- spokespersons for the Being of Eurythmy—within the tion on how Rudolf Steiner spoke with the eurythmists and strengthening boundaries of our schools and communities. how he worked with them should be as authentic and com- We have good allies within AWSNA and the prehensive as possible”. Pedagogical Section Council, who hold eurythmy as the The Eurythmy Research Centre will first evaluate all precious gift of destiny that it is, and who are working to the material available before starting work on a new edition strengthen eurythmy on that level. Let us “make use of this of the documents on tone eurythmy as part of the Rudolf time and do not fear!” Steiner Gesamtausgabe (complete works). Rudolf Steiner’s addresses for eurythmy performances will also be newly the Section for Performing Arts arranged and complemented by speeches that have so far not been published. As a means of supporting the teaching Sebastian JÜngel of eurythmy the Centre also plans to collate all of Steiner’s Reprinted from Anthroposophy Worldwide, no. 12, 2015 indications regarding eurythmy and publish them in various Eurythmy Research Centre languages, including English, French, and Russian. In October a research centre for Eurythmy was established Contact: Stefan Hasler: [email protected], as a joint venture of the independent Alanus University phone +41 61 706 43 (DE) and the Section for Performing Arts at the Goetheanum (CH). As one of its first steps the Centre will 26 Eurythmy Association of North America Reporting from the Trenches of NYC on the wisdom inherent in the planetary and zodiac wheels we learned in the third and fourth years of the eurythmy Marta Stemberger training. I call the approach Dynamic Name™ Mandala. As Yes, it feels like walking muddy trenches of a battle field, eurythmists, we take this knowledge for granted, but for full of injured and weary soldiers of the never-ending those outside our communities, it’s new and different. At the commercial wars. New Yorkers are locked into their Awaken Wellness Fair I attended at the end of January, my electronic devices on the streets, subways, offices, homes. Dynamic Name™ Mandala was admired by the new and Their etheric forces barely present, stiff, even if the physical seasoned light-workers alike. Even I’m still in awe at the bodies are in good shape. It’s rare for anyone to lift their profound insights that are revealed when seeing people’s eyes off the computer screen to say a genuine: “Hi, how are names through the lens of the harmonious movement art of you?” Fingertips are busy typing away dead words, eurythmy. forgetting how it is to shake hands. “A hug? What’s that?” At some bazaars, organized by Match My Spirit at locations where there’s more space, I lead sample eurythmy sessions with some basic social eurythmy exercises. At the yoga studio in Forest Hills, Queens, owned by a former eurythmy student—yes, we do pop-up at the oddest places—I had about sixteen participants in the room. We were passing around an imaginary ball of light (since I don’t have cooper or beanie balls) on a short poem by Emily Dickinson. Then I guided the group in a simple chain form on the rhyme “What is Your Name?” People were intrigued. It was all new to them. And also challenging. Many had a hard time uncrossing their arms when standing, and they wanted to pass the “ball” to the other person by crossing the arms. I had to stop and explain that there’s no crossing in Forest Hills, Queen, NY this exercise because the aim is to meet and connect with Yet, you also find people who are searching, desperate- each other. They were grateful that they had the opportunity ly. Is there more to life than endless commute and constant to open up in interactive movement. We closed the circle by meaningless work to pay the rent? There are yoga studios, doing IAO three times. wellness centers, and some institutions offering deeper The gifts of eurythmy are sorely needed in the concrete spiritual explorations. But they are isolated from each other, and electronic jungles across the world. Yes, it’s vitally struggling to keep their businesses afloat. important to keep the Waldorf educa- I was surprised and relieved to come tion alive and help children properly across a holistic network Match My Spirit develop with the aid of pedagogical (www.matchmyspirit.com), led by tireless eurythmy. But adults beg for atten- Naini Nakagawa. Her mission is to bring tion too, for harmonious movement various wholesome practices for to soften their hardened and disap- body/mind/spirit to different locations all pearing etheric forces. They are over the five boroughs of New York City. searching. I’m trying to introduce There are networking events for holistic them to the harmonious movement in practitioners of all sorts, and mini bazaars the formats that they can digest, featuring essential oils, water purifiers, while honoring the essence of self-development tools, and now also eurythmy. eurythmy. As a member, I can participate at all the events, Marta Stemberger, MA at least two every month, often one per week. Soulful Wizardess Dressed in full eurythmy attire, I talk with the visitors, www.hamoves.net presenting and answering questions about harmonious movement art. My table displays the Soulful Sparks Calendar 2016, created from my weekly blog Soulful Sparks of Inspiration, inspired by Rudolf Steiner’s Calendar of the Soul, published at my website soulfulsparks. hamoves.net and the Huffington Post (bit.ly/huffpostMS). And I give people information about their names, based Eurythmy Association of North America 27 In the Stream of Eurythmy: Astrid’s intuition that this group of students should visit the Goetheanum was beautifully confirmed the next The San Francisco Youth day by their experience. From the great sculpted concrete Eurythmy Troupe on Tour in building itself to the details of windows, doors, staircases, light effects, and more, we imbibed a new and purposeful Switzerland and Germany aesthetic. The conceptions behind these works were imagi- David Weber natively pictured for us by Thorwald as we sat in the great hall gazing at sculptured columns and architraves, immense Knowing our tour would take us to Switzerland and carved colored windows depicting man’s relation to the cos- Germany, Astrid Thiersch crafted a full-length program for mos, a vibrantly painted ceiling with scenes from human 2016 that included a Beethoven sonata, poems in German, a evolution, and a great stage, where we witnessed a rehearsal classic Grimm’s tale, a Dr. Hauschka humoresque, and of a scene for a new production of Goethe’s “Faust”, with many more delights. Under her direction, the San Francisco commentary by Margrethe Solstad. Youth Eurythmy Troupe, high school students in grades ten, The tour unfolded in chapters, with time out for tea eleven, and twelve, rehearsed for five months to produce and cookies, and included special features such as the two shining performances on February 2nd and 3rd in San depths of the heating plant and the area under the roof. Francisco. Attendance was high and audiences were most Among the amazing realizations was the environmental enthusiastic, so we left a week later for a tour of five consciousness that went into the building in 1925, with a performances in Stuttgart with great anticipation and excite- 94% efficient heating/cooling system, and plant-dye colors. ment—twenty-six students with Astrid, our Artistic Navigating the building, we also ran into a number of Director, Lilia Zheltova, our talented accompanist, Lisa Astrid’s old friends, several eurythmists and the venerable Anderson, for whom all is possible, and myself as speaker. and amazing Virginia Sease, for whom we sang a setting of For over twenty years these tours have been text from “Faust” by Jürgen Schriefer. Virginia invited us inspired and guided by Astrid’s artistic vision, and made into her office/study room, where students were delighted to possible by a dedicated group of supporters on three hear of the Foundation Studies year in Anthroposophy and continents, to whom we are immensely grateful. On most of Art. This amazing place made itself felt and heard, and it our tours, as in Asia, we are bringing something rather new was a profound experience. Afterward there was time for to the schools we visit; this time we were going into the wandering the town, and the rain held off until we had heart of Eurythmy so to speak, where they have seen and loaded the bus for our journey to Stuttgart. done it all. A foolhardy venture? Perhaps, but Stuttgart was There we found fine clean rooms in a top-of-the- also Astrid’s cradle, culture, and community, from the line youth hostel, from which we could walk to four of our Kräherwald school with eurythmy abschluss, to the five performances. We had a day to get to know the city of Eurythmeum under Elsa Klink as a student, performer, and Stuttgart. Pleasant and prosperous, it is the capital of Baden- teacher. Stuttgart was where the forces of eurythmy nur- Württemberg, and the place where Gottfried Daimler tured and formed her artistry and teaching—perhaps we invented the automobile. Old castles and parks mingle with could give something back. modern buildings and residences; it is a very walkable city The anticipatory airport buzz stayed with us in a lower key as we dozed, read, videoed and chatted our way to Frankfurt on a ten-hour flight. A connection put us on a tiny plane for the short flight to Basel-Mulhouse- Freiburg—exiting the airport in any of three directions puts one in Switzerland, France, or Germany. Bus and driver were in place for a ride over the Rhine to little Dornach; we could see the Goetheanum building perched high on its hill from miles away. We were met by Thorwald Thiersch, Astrid’s uncle, for whom nothing was too much trouble to see us com- fortable and well fed in our cozy quarters in the Youth Section house. Everyone was in good spirits, and feeling the atmosphere of this special place. SFYET at the Goetheanum, photo by Thorwald Thiersch 28 Eurythmy Association of North America with good public transportation. The students dispersed in students’ heartfelt engagement in eurythmy, the beauty of groups to amuse themselves in bakeries, shops, museums, the choreography, and the delightful varied program. and playgrounds. In the evening we walked to the famed At a small reception with some of the teachers after- Stuttgarter Ballet for a program of three pieces by different ward, Michael Leber told our students that his eurythmy choreographers: Forsythe, Goecke, and Scholz. The first students had just returned from practice teaching, where two were quite avant garde, and the universal favorite was they saw that eurythmy teaching can be difficult; he then the last, set to Beethoven’s Seventh Symphony. It was most said that with our group they could see a possibility of suc- interesting and instructive to imagine these pieces in euryth- cessful eurythmy with high school students, and this was my and note the differences. very important in their training. In the afternoon, on a tour On Sunday morning, we walked through the led by the high school music teacher, we had a look into grounds of the first Waldorf school to the Eurythmeum some of the amazing spaces of the Uhlandshöhe Waldorf Stuttgart, where we were most warmly greeted by Michael school, including extensive stone carving and woodworking Leber and Crista-Maria Schmidt. We got to see Bella rooms, music rooms, classrooms, and the great performance Serrano and Phillip, and met Julian Clarke, an acclaimed hall, where we listened to part of an orchestra rehearsal of pianist and old friend of Astrid’s, who would play the Beethoven’s Fifth Symphony. Beethoven in our performances. As there were no classes Tuesday brought another early start to give two per- we had the run of the house, and spent the whole day in formances at the Eurythmeum for students of the preparation: rehearsing all of the pieces in the program, Uhlandshöhe Waldorf school, with a full house (about 200) ironing costumes, creating a lighting plan, and preparing the for each performance. We began with a shorter program for space. Everything was in order by early evening, and we the little ones—double classes of first, second, and third were seen out by Astrid’s colleague Hayo Dekker, returning grades, including the Beethoven sonata and “The Queen to our hostel for an early night anticipating our first per- Bee”. As with grade school students everywhere, they formance in the morning. watched entirely entranced, with little eruptions of delight at Early Monday morning we plunged into the almost- the ants, ducks and bees. (Later we encountered the first familiar pre-performance preparations at the Eurythmeum. graders playing ants at recess). The teachers were thrilled Our 10:00 performance was for a very friendly audience of with the experience, and expressed warm thanks in person the teachers and students at the Eurythmeum, and various and with gifts of roses and chocolates. Then came the full- friends and relatives, including Astrid’s mother, Maja-Lisa, program performance for the high school and a frisson of her brother, Alexander, and her high school eurythmy anxiety—how would the older students react? Their euryth- teacher, Sylvia Bardt. The students did our full program my teacher, Angela Christof, had enthusiastically supported without intermission, bringing beautiful intensity and pres- our coming, and told us later that a group of her students ence throughout. The audience was most enthusiastic! One wanted to create a program and tour to San Francisco! A few of the poets in our program and a long-time supporter of the titters were heard as our students made their entrance for the Troupe, Helga Drews, sat in the front row and led a standing Beethoven, but a beautiful silence fell, and when it contin- ovation, thanking the students and giving each of them an ued through the next piece, a silent movement, we knew that inscribed booklet about Stuttgart. Comments ranged from the audience was with us completely. The reaction was amazement that we brought such culture to Stuttgart from enthusiastic; it was clear that the audience gave full credit to San Francisco, to many expressions of appreciation for our our students’ accomplishments and commitment to euryth- my. Much applause, warm smiles, a short conversation, and more roses and chocolates sent us on our way. In the afternoon we traveled across the city to the Kräherwald Waldorf school, Astrid’s alma mater, to pre- pare costumes and lighting and rehearse on a larger stage in the school hall for the next morning’s performance. It is a lovely campus spread out on a hill on the opposite rim of the Stuttgart bowl, with extensive grounds and gardens. A eurythmy teacher of long standing, Renate Einert (once Astrid’s student), made us very welcome and helped us prepare the costumes, stage, and hall. On Wednesday came our final two performances, each very different and each fulfilling in its own way. We Freie Waldorfschule am Kräherwald, Stuttgart, were at the Kräherwald school early to prepare for a 10:00 photo by David Weber performance for more than seven hundred students, from Eurythmy Association of North America 29 grades four through twelve. Not all students love eurythmy, stand the large and modern main buildings of the WALA, as we know, so we felt a challenge to bring intensity and where the business is run and medical and cosmetic prod- meaning in the performance. The stage was large and so was ucts are created. The Hauschkas and Astrid’s grandparents the hall, but our performers managed to fill the space with were founders of the company, and we were afforded a very their gestures and their enthusiasm. We did the complete warm welcome. program—a bit of a stretch for some of the audience—yet Marijke Vermeulen had planned our visit most both the hush during the pieces and the energetic applause thoughtfully, and she and Dr. Johannes Stellmann, the CEO, told us we had hit the mark. A group of tenth graders joined met us on arrival, and ushered us into an elegant hall look- us for lunch and a tour of the school, and we marveled at the ing out over the fields, with refreshments. He gave us an facilities that they consider normal. introduction to the company and its overall goal of promot- Frau Einert felt that we had brought a ing health on three levels: the individual human being, the transformative force, both for the eurythmy earth, and society. The products, medical and cosmetic, are program and for the school as a whole. all in aid of promoting individual health. Working with bio- dynamic (Demeter) sustainable Back across agriculture to grow the plants town that evening was used in the preparations is healing our final performance at for the earth. The social level of the Eurythmeum. The healing is primarily economic: crowd came early to get the company is owned not by seats, and filled the hall. individuals or shareholders, but There were many famil- by a foundation whose member- iar faces, from Astrid’s ship includes every citizen of family to eurythmy Germany, and all profits are used teachers to faithful soci- for research and development of ety members to children new products. who brought their par- A introduced us ents to see the show Free Human Being, photo by Evan Smith to the processes used in making again. Our students were very aware that this was the final the products. The rhythmical treatment of harvested plants performance, and rose to the occasion in magnificent fash- yields extracts that last indefinitely, and each product goes ion. The Beethoven was thrilling both times, the tale through exacting methods and testing to insure the highest sparkled, and the smaller pieces were earnest, delightful, quality and purity. Dr. Ralf Kunert then introduced us to and hilarious by turns. Astrid was at her charming best, some of the projects in other parts of the world to produce speaking of the high school students and the task of euryth- materials as diverse as roses and rose extract, castor oil, my today, adolescent development, our tours and programs, quince seed extract, and almonds. These projects have two and our warm reception in Stuttgart. An audience-participa- goals: insuring quality materials for WALA, and creating tion demonstration of what eurythmy is and is not was a highlight. The audience was so responsive that we found there was one thing we had not prepared for— curtain calls! The Eurythmeum friends hosted a reception after- ward, and many guests wanted to meet and thank our stu- dents. Some who had seen three performances commented on how each performance seemed to grow in assurance and beauty, and many said they had never seen high school eurythmy performed at this level, and did not know it was possible. It felt like a small triumph, and a very warm one, full of hospitality and gracious appreciation from a well- educated eurythmy audience. Our visit to the WALA/Dr Hauschka company the next day was one of amazement and discovery. A bus ride south from Stuttgart showed us the rolling fields, hills, woods, and villages of the German countryside in glorious sunshine. At the entrance to the tiny village of Ekwälden WALA/Dr Hauschka company, photo by David Weber 30 Eurythmy Association of North America sustainable farming cooperatives in places like Afghanistan, ner. Guests included Michael and Crista-Maria from the Romania, Turkey, and Africa. The farmers are helped to Eurythmeum, Julian and his wife Seraina, Astrid’s mother, expand beyond WALA’s needs to find other markets, so Maja-Lisa, eurythmy teachers Renata and Angela, Astrid’s they can be independent of a single buyer. All projects are eurythmy teacher, Sylvia, and Astrid’s best friend from both organic or biodynamic and free trade. Eurythmeum days, therapeutic eurythmist Evelyn Warnet, We responded with some along with Lilia’s sister Tamar from Stockholm. singing and our Hauschka As we sampled a plentiful buffet of Swabian dishes, eurythmy humoresque, Astrid introduced each guest in turn, graciously invoking which were well received, their influence in her life and eloquently thanking them for and were treated to a wonder- the gifts they had given her. Many guests then spoke spon- ful lunch. Last came a short taneously to the group, expressing appreciation for Astrid’s lesson in using the cosmetic products by staff aestheti- Hauschka humoresque, cians, gifts for all, and some photos by Marijke Vanmeulen time in the shop (some students had long shopping lists from home). A short walk through the traditional village brought us to the building where it all started. Sadly, the original garden was in its winter sleep, and not open to visitors. In all, we could not have been more gra- work and for the students’ eurythmy; many felt they had ciously received, and rode back to town pondering con- seen student eurythmy at its best—the complete dedication scious and practical business methods that promote sustain- of each student to the art of eurythmy, and their striving to ability and health. bring it to life on stage. On our last day we dispersed in groups for Stuttgart Many students spoke of highlights of their tour— adventures. Art museums, history museums, automobile seeing the Goetheanum and the Waldorf schools, perform- museums, schlosses, vantage points, monuments, clothing ing in Stuttgart, meeting extraordinary people—and emporiums, chocolate shops, outdoor and indoor food mar- expressed much gratitude to our hosts in Stuttgart, and to kets, bakeries, and cafés were all thoroughly explored and Astrid for the tour and for her work with them. One student enjoyed at leisure throughout the day. spoke movingly of his realization that impulses in eurythmy Later we all gathered in resplendent dress at the and Waldorf education given by Rudolf Steiner a hundred Stuttgarter Rathskeller (where else?) for a celebratory din- years ago had been furthered by many talented and dedicat- ed souls and found their way to San Francisco, where they are changing the lives of our stu- dents. The realization that we were all engaged in a transfor- mative work for humanity hung in the air like the reverberation of a great bell. It felt as though the glowing past was ushering in the promising future, and for a grateful suspended moment, we knew we were all part of a process greater than ourselves. All stage performance photos are by Evan Smith. Bee Guys (above) and Waltz (left) Eurythmy Association of North America 31 Regional REports Report for the Northeast Region Over 40 eurythmists live in the Northeast, and as the new representative, it has been a joy to have received reports from so many eurythmists. There is so much eurythmy work being shared in this region. A few eurythmists did not respond, and perhaps in the future they will have something to share. And, of course, let us not forget those who have retired and done so much for eurythmy during their active eurythmy years. Sheila Shapiro

New York Karen Derreumaux: My newest, and probably the most challenging one, is my engagement with the Association of Anthroposophic Psychology Seminar which takes place in Fair Oaks, California, and Hudson, New York three times a year in each place for three years. This is where I am doing research in eurythmy. I am inspired by this opportunity. Likewise I am bringing eurythmy to a year-long Foundation Study in Music with ‘Resonare’ locally in Philmont, NY. Otherwise I am teaching a number of classes, from play- groups to adult groups locally in a variety of contexts. I am also enjoying the intensive work with the All stage performance photos are by Evan Smith. ‘Grasshopper Production Group with Jeanne Simon Lark (above) McDonald, Patti Regan, Ran Shimzu and Jong Won Choi. and two of QueenBee (below) We are just getting ready to offer our eurythmy content in local performances in December and January. Jeanne Simon-MacDonald: Two years ago I was offered a part-time posi- tion as therapeutic eurythmist at Camphill Copake. I see 16 indi- viduals weekly. This is work that I cherish every day. It is inspiring and challenging and very interesting. When I started, I gave up the nursing job and have not Jeanne Simon-MacDonald looked back. I am performing with colleagues here: Karen Derreumaux, Jong Won Choi, Ran Shimizu and Patti Regan. We are now in the midst of local performances with our program ‘Tis the Gift…’, which includes the Beatitudes from the Matthew Gospel and a Jataka tale, “The Brave Little Parrot”, along with music by Bach, Chopin, and Schumann. Jong-Won Choi has been teaching eurythmy in the lower grades at the Hawthorne Valley Waldorf School since 2010. She has been performing with Jeanne Simon- MacDonald’s group for one and a half years. She has been a therapeutic eurythmist since 2014. 32 Eurythmy Association of North America Raven Garland: This past year has been very full with I am fortunate to have found good ways to serve euryth- teaching eurythmy to kindergarten through twelfth grade. I my further in my position. On a weekly basis I am providing have been traveling between Nashville, TN; St. Louis, MO; eurythmy at the beginning of the Taconic-Berkshire branch Fairfield, IA; and Wilton, NH. I have also had the privilege meetings. On a seasonal basis I bring eurythmy to the paint- of working with groups of adults and performing in those ing weekends and weeks which Hans Schumm leads from same places. My goals for the coming year include more the Wagner Foundation at Windy Hill (also our home!). I am courses for adults, who are interested in developing a prac- moved by how much the people I work with understand and tice of eurythmy for themselves and their community. are able to experience in our short sessions of time together. Lynne Stolfo: I am working in Eldercare at Camphill This spring I will teach eurythmy to the senior class of the Gent. Love for therapeutic, social & artistic endeavors have Hawthorn Valley Waldorf School for a five-week mandato- come together for me here. Working with hospice patients & ry Arts Block, which should be a great challenge, as it is those with dementia give me much opportunity to nurture something I have not yet experienced. Jong Won Choi is an sensitivity & creativity; eurythmy is always available as a admirable colleague, who is very supportive of my taking healing force. I also appreciate the opportunities to perform on this project. I am very grateful to have met a kindred at Festivals in traditional Camphill style. My other main spirit in Jeanne Simon-Macdonald, and look forward to focus is teaching eurythmy classes for the Alkion Adult exploring artistically with her as it becomes possible. Until Education program in Harlemville, NY. Currently, I am then I practice patience and ripen within. teaching, mentoring & working therapeutically with three Victoria Sander (ESV '09) levels in the Waldorf teacher training program. Anna Rée writes: I have been living in Camphill Ghent, Kate Reese Hurd, eurythmist and speech-work enthusi- a community with the elderly, for the past four years. There ast in High Falls, writes: For me, 2015 was full of speech I do group eurythmy with the elderly, artistic eurythmy for sound etudes work and book writing, and within the month our festivals, and therapeutic eurythmy with individuals. In of March 2016, I should be busy sewing the bindings on my the summer, Seth Morrison and I will begin a new therapeu- first volume of etudes. The title has changed some since my tic eurythmy training course (the fifth one). description of the coming book in the Autumn 2015 Susan Elmore writes: Holly and I are still covering the Newsletter. Many people have told me that the etudes would full-time eurythmy classes at the Waldorf School of be of great value to people at work in quite a range of pro- Saratoga Springs located in Saratoga Springs, N.Y. Holly fessions. So the cover now reveals that this work fills needs teaches 8 through 12, and I teach kindergarten through far beyond those of eurythmists and speakers: “The Speech seventh grade. I do a little bit of therapeutic eurythmy also. Sound Etudes, Volume I, Revelations of the Logos,” and Patricia McAlice is a therapeutic eurythmist living in below in smaller font, “Poetic miniatures for sounding our the Harlemville, N.Y. area. Presently she is homeschooling language: A body of speech-work for speakers, actors, eury- her children. thmists, poets, writers, singers, teachers, therapists and Victoria Sander: I am now living philologists.” It will be $30.00 plus NY State tax / shipping. in Harlemville, NY with my partner My work on the etudes and this pithy primer book on Jordan and our 14-month-old son, the sounds and their gesture-impulses has been so fruitful Gabriel. Mostly I am at home being that in September I began to prepare and present poems a mother, a path of surprisingly colos- along with the etudes at poetry gatherings, and I have been sal challenges for all of its common- getting wonderful responses from a number of people in ality and quiet anonymity. It has been every audience. My article in this Spring 2016 Newsletter a bit of a shock to transition from a elaborates on these experiences and on what my preparation world stage in Dornach to the con- of the poems involves: “Etheric Bodies are Moving in fines of my backyard so to speak, and Response to the Speech Sound Etudes.” I must admit that I have never had to Victoria & Gabriel I have begun to study what Steiner had to say about muster my courage and faith in life quite so much as now. It lecturing, because one of the next steps for me is to begin reminds me how freely we traverse worlds when we are giving presentations concerning the work of evoking the actively engaged in artistic soul activity, and how barren life gesture-impulses through speech-work with the etudes. The can seem when we are not. Gabriel is a delightful, strong, responses I’ve received after my poetic presentations sug- beautiful boy though, and clearly he has come here to earth gest to me that many of these individuals could easily be with great conviction, and so I strive to see how our lives open to eurythmy. And after all, doing eurythmy was the can co-exist, with curiosity as to how it will all unfold. I try reason I began to compose these etudes in the first place, so to look for what there is to learn in this situation, and how I readying myself to lead others to the gesture-impulses, to can deepen my humanity in humility. eurythmy movement, will be another facet of my unfolding Eurythmy Association of North America 33 work. I hope to be working with individuals in private les- Seth Morrison is the director of TETNA and he is start- sons also, to help them with speaking poetic or dramatic ing another three-year course this July 2016. He works in texts with more awareness of the richness and music they private practice with Dr. Kathleen Lazare, and at Camphill hold, so that the spoken word can once again resound. Copake, as well as at GBRSS with the kindergarten through Maria Ebersole is still teaching full-time at the Aurora eighth grade students. Waldorf School in Buffalo, N.Y. In addition, she is working Liaat Zehavi is still teaching at the Waldorf School of with her private therapeutic practice. She continues to work Lexington, MA. This will be her tenth year there. She also artistically, sharing her solos with the school. Last year, she is doing therapeutic eurythmy at the school with individual started a middle school eurythmy exchange with the students. Toronto Waldorf School. She said how wonderful it is for the students to share eurythmy with each other! New Hampshire Mark Ebersole has expanded his travelling eurythmy Thanks to Sheila for taking on the work of EANA. Together blocks, which includes Louisville, KY; the area; with my colleagues, who both teach at the Monadnock the Ann Arbor-Detroit, Michigan area; and Tucson, Arizona. Waldorf School, in Keene, NH, Carol Spindler and Juan Carlos Lancellotti, we have established a regular working Massachusetts together on a weekly basis. In addition Carol and I, who Now in my 26th year here, I continue to teach kindergarten have worked together for several years now, are preparing a through a mixed-grade group of high school students at the demonstration on the subject of “Thinking, Feeling and Hartsbrook School in Hadley, Massachusetts. In addition, I Willing” which we want to bring to local faculties and inter- have a small private therapy practice on the side one day a ested adults. Otherwise, I taught at the American Eurythmy week after school, with a special interest in dental eurythmy. School this fall and worked also with the graduates of the I’m also part of a group of therapists from various disci- school on the Pater Noster. Greetings to the Saratoga plines, who meet monthly to support each other, the Springs eurythmists! Mollie Amies in Peterborough Collaborative Therapies Group of the Pioneer Valley. Victoria Soodak writes: We moved out west to be near Pushing myself to make our discipline clear to others has our son and grandchild. At present I am not practicing been a good exercise, and we all really appreciate the input eurythmy. I had to stop when my brother became too ill. He from so many sides as we discuss our clients. Polly Saltet had accompanied me to all the practices and events when I Patti Regan has been teaching at the Great Barrington was part of the Monadnock Group directed by Mollie Amies Waldorf School for the past two years. She loves teaching! 2012-2014. I took care of him for eight years after my par- Patti teaches the seventh & eighth grade Chorus, as she is ents could no longer care for him; he had Down’s syndrome. also a music teacher. In addition to her teaching, she is per- I thought I would take him with me to Washington, but he forming with the Grasshopper Productions group directed became too ill and passed away on May 7, 2015. by Jeanne Simon-MacDonald. Now I am trying to build a life here with Bill and adjust My name is Christi Pierce Nordoff (at my school I am to this big change in our lives. We are in Twisp, Washington, called Christi Pierce) and I am a kindergarten teacher at the in the beautiful Methow Valley, surrounded by snow Great Barrington Rudolf Steiner School. I am also a trained covered peaks and lots of great cross country ski trails! Our therapeutic eurythmist. I have been working with kinder- son and his wife have a little farm; they use horses for the garten children in our school this year, in my spare time farm work and they do excavation work. We helped them all when I am not teaching my kindergarten class. I use euryth- summer while we lived with them and got to know our my therapy for developmental issues. We are fortunate to grandson quite well. He is now just over a year old and is a have Dr. Cooney, an anthroposophic physician in our school great joy to us. I care for him once a week. Otherwise I am community; and many of the families here have him as their doing elder care and working in the local health food store. doctor. We are also fortunate to have other therapeutic eury- Bill is working at our nephew’s restaurant and riding his thmists working at our school, including Seth Morrison and bike. Life is good. Stella Elliston. All the best, Christi Carol Spindler writes: I am in my second year of teach- Rebecca Morrison writes: I am currently a class teacher ing part-time at the Monadnock Waldorf School, Keene, at GBRSS, a Waldorf school in the Berkshires, and I have NH. This year I am working with children from early child- been with my class of now 23 students for four years now hood through grade two. Periodically through the year, I (4th grade). I occasionally teach eurythmy classes in the also teach adults in the teacher training programs at teacher training program, with faculty, or substituting. It is Sophia’s Hearth Family Center and Antioch New England a great benefit for my students to do eurythmy every day in Graduate School. Our Monadnock Region Eurythmy group our circle /warm up exercises at the beginning of the day; has dwindled somewhat in the last several months, but a few they also love it! of us continue to meet weekly for artistic practice together. 34 Eurythmy Association of North America We are focusing on a demonstration for faculty on the with much warmth and enthusiasm. aspects of thinking, feeling and willing. I have enjoyed vis- From Barbara Richardson, Freeport: This past year I iting and observing eurythmists in nearby schools this fall have been continuing my work coordinating Foundation as I continue to build a picture of what this work can be. Studies in Anthroposophy and the Arts through Center for Tari Steinrueck writes: After leaving Chestnut Ridge Anthroposophy in Wilton, NH. I have seven clusters in and my position as administrator at Green Meadow Waldorf different Waldorf schools this year and include as much School, I took a two year sabbatical and worked with adults eurythmy and speech formation, from local teachers, as I with special needs at the Lukas Community in Temple, NH. can in each program. This entails that I travel to the schools While there, I did a bit of eurythmy for festivals with Lory for Information Sessions where I do eurythmy each time. and Michael Widmer. I have just stepped into the position of One participant said, “After doing eurythmy I always have school director at the Monadnock Waldorf School. that feeling I experienced when I walked into a Waldorf kindergarten for the first time.” Connecticut Teaching Sensible Science (most recently in Ann Arbor Nigel Harrison writes: There have been many changes to and soon in River Valley WS in PA) and the AWSNA my work life here at the Housatonic Valley Waldorf School Midwest Mentoring program (also in Ann Arbor) are (HVWS) in Newtown, Connecticut, from a modest six ther- intensive, theme-specific groups that meet over several apeutic sessions and a couple of eurythmy classes a week in extended sessions from one to three years. The eurythmy, the first half of 2015 to teaching eurythmy to grades 1-8, twice a day, helps them hygienically to get through the long retaining my six therapeutic sessions and an early childhood days and helps them have insight into their studies. As these class down the road. My colleague Laetitia Berrier- are seasoned teachers already, I encourage them to think Saarbach left for new pastures and Takae Matsuo has about doing the eurythmy training. Hopefully some of them thankfully joined me to teach the two kindergarten classes will take this up! I am mentoring a few eurythmists in the at HVWS. She is truly a Godsend! I am busy in some form NE and two young doctors. I am also active in the or fashion with eurythmy 19 periods per weeks. On Lemniscate Arts project. We have had some adult eurythmy February 4, the eighth grade is doing their final eurythmy sessions in Freeport, Maine, as well. performance. After that they will use those periods to pre- pare for their Shakespeare play. Working at the Housatonic Report for Eastern Canada Valley Waldorf School is still a pleasure after almost 15 Ontario years, where eurythmy is an important and well respected Sylvie Richard from Ottawa writes: In brief, I am writing discipline. I wish all of my colleagues well, as we go into my Master degree in Waldorf Education thesis, on “The the New Year. Teacher as Artist—Unveiling the Artistic Process”. I still Ann Bingham’s farm is feeding 100 families and pro- teach in blocks in Ottawa at the French public school, K-8. viding jobs. This year because of the lack of work in Ottawa after the collapse of the two private Waldorf schools) I have been Maine invited to teach blocks in USA. I taught grade 7-12 at Marke Levene of Freeport: My current work is the contin- Emerson Waldorf School in the fall. I will return there in uing efforts to bring the Lemniscate Arts International April for four weeks. I will also teach in Ann Arbour, Festival Tour into being. If you want to familiarize yourself Michigan in March, grades 9-12. with our intentions please go to www.theworkingofthespir- I am organizing the eurythmy workshop in Ottawa with it.org to read more about the project. We have entered a new Christina Beck as a pre-conference to the Ottawa anthropo- phase of preparation including anticipation of the auditions sophical Conference (please see announcement). for the Symphonic Eurythmy portion of the festivals. I will be assisting Donald Hall, in his workshop Carina Schmid and Benedikt Zweifel have agreed to “Picasso and Leonardo Da Vinci, The Individuality between direct the symphony. We are still in discussion about the Darkness and Light” at the Center for Anthroposophy from Speech Eurythmy direction, which will be primarily in July 3-8 in Wilton, NH. The eurythmy portion will explore English. If you are interested in auditioning for the project the four elements and relationship to space, as it relates to please join the web site. It will be the first place for painting. announcements about time and location of auditions. Cynthia Gelder, from Barrie, Ontario, shares her initia- Barbara Richardson and I have recently taken the tive to make eurythmy more visible in her area. The per- initiative to work with a group of current and former formers were myself, Helena Syrovatkova, Christian Nold, Waldorf school teachers who have had experience with and Michael Chapitis, with speaker Mark McAlister. eurythmy to work on a public effort to do the Foundation From Cynthia Gelder: I began working toward this Stone in Eurythmy for the local community. This has begun Eurythmy Association of North America 35 performance in the summer out of a desire to give eurythmy number of small pieces together and are currently beginning a stronger presence, which led me to invite other euryth- some of Steiner’s Shakespeare forms. On top of this, the mists in the area. Christian Nold, our Swiss contingent, students have each been working on individual solos, which lives up north in Dyers Bay, but agreed to work together on they chose and drew forms for, and are in the tricky process a story, a Native American Legend, and a Verse by Steiner. of combining the form with the sounds they have chosen. I Gradually one after another, others joined in and brought was lucky to have worked with this group for the past two solos, or worked on group pieces; Michael Chapitis is cen- years in eurythmy before taking them on as a class, which tered in Toronto, Helena Syrovatkova is in Burlington, both meant that we had already experienced a deeper side of one experienced and gifted performers. another and it was a good foundation for creating a strong, We worked together on weekends, and then by artistic working environment in all aspects of class life. ourselves, a model which is probably used among other far- Margaret Osmond invites you: Even little ripples can flung eurythmists. I think we were amazed by how it all make a wave! We hope to make a splash with... came together. We were blessed with a lighting person, Eurythmy by the Sea – a summer conference in speaker, and musicians – all with their enthusiasm and Halifax, August 17-20. devotion to eurythmy. Because we lived relatively far apart, Come be inspired by the sea and sea words! it was hard to coordinate and find work spaces. For one For more info contact: [email protected] rehearsal, I drove three hours north, for others an hour or more south – we all did this kind of thing, and we Report for Spring Valley Area wondered…would anyone come so close to Christmas!? Brigida Baldszun writes: After I resigned from the job at Fortunately, we had excellent attendance, and a very the Brooklyn WS, I found out that there were jobs available enthusiastic audience. We were all glad that we had in Spring Valley. So when the performances for the BA persevered with it, despite some struggles, busy schedules, program in Eurythmy in Oslo were finished, I prepared to and worries. I am learning the importance of including sto- work with therapeutic eurythmy at Green Meadow WS, and ries or fairy tales, which have a great appeal and are more the children love it. [Presently Brigida is in China.] easily taken in by audiences unfamiliar to eurythmy. The Maria Ver Eecke teaches eurythmy and has a private Weekly Verse from R. Steiner, fittingly ended with, “And in practice in eurythmy therapy at the Waldorf School of becoming, mold me into true existence.” Garden City, Long Island. This is the second year that Leonore Russell invited Maria to perform with her at Nova Scotia, Canada Adelphi University. Leonore Russell teaches in the Tesia Brown from the South Shore reports: Prior to Education Department of the Masters’ Program at Adelphi Christmas, I finished ten weeks of teaching eurythmy at the University, also sponsoring students, who are interested in South Shore Waldorf School in Blockhouse, NS. I have eurythmy, for their independent studies. Leonore is the been teaching there off and on for the last three years and it director of the Foundation Studies at the Waldorf School of is always an adventure. The school does not have a Garden City. Further afield, she teaches at Tara Performing designated space for eurythmy or assemblies, which means Arts High School, Boulder, Colorado, and at teacher train- squeezing into rooms with desks pushed to the sides and ing centers in New Hampshire, Brazil, and Mexico. Many barely enough room to lift your arms. As you might years ago when Maria began teaching, Leonore was her imagine, this creates certain barriers to overcome in mentor in eurythmy (1981-1983). Leonore is an official teaching eurythmy, including the challenge of creating and mentor of AWSNA and Maria recommends her highly as a holding an atmosphere which supports the spiritual. It also mentor of eurythmy! means that when I’m there the students only get to Leonore Russell writes: This year has again been a experience Speech Eurythmy and not Tone, since there is busy one. I am so happy that the Waldorf School of Garden neither funding nor space for a musician. Despite this I have City School has eurythmy again in the elementary school had the opportunity to form a bond with the lovely children and just reintroduced it in the ninth grade with Maria Ver at this small rural school and it has been a joy to see their Eecke. She and I managed three successful performances relationship to eurythmy develop and grow. I have said last year, one at Adelphi and two at the Waldorf School. This goodbye to the children from SSWS for now and will return school year we repeated the performance at Adelphi. It was to them for another ten-week block starting in April. an ending celebration for my college class in eurythmy. In the meantime I will continue teaching eurythmy to They said “now it all fits together” and they loved it. They my own small class of eighth\ninth graders. It is the inaugu- were excited to recognize many movements that they now ral year of the Lunenburg County Independent School and I know and love. We are planning a short performance for the am working as the class teacher for this small group of blos- Winkler Center’s 20th Year Celebration of its Foundation soming adolescents. In eurythmy we have worked on a 36 Eurythmy Association of North America Studies in Anthroposophy Program this April 9, with Dr. Annelies Davidson writes: In short, Eurythmy Spring Gerald Karnow as the speaker. We hope to expand our pro- Valley has been the mentoring, ‘godmotherly’ entity sup- gram for another venue before the school year is over. porting Taiwan Eurythmy, one of two eurythmy schools in Taiwan from its beginning, some five years ago. There, Hsin-Shih Lai is at the helm. Dorothea Mier went there twice to help teach the students and lend a hand with other school matters but now, this wonderfully interesting task has been transferred to me this time and so, I found myself in Taichung from Jan 1-18, teaching eight eager students all manner of eurythmy things. The city Taichung is busy, vibrant, full of bustle new and old, traffic, parks, low-build side streets with a Japanese flavor (they ruled the Island for fifty years) and the ten-story Leonore (second from left) with teachers training, São Paulo high buildings in the street where the school finds itself, has Teaching has also been exciting! I have completed my many little stores and markets; thousands of scooters buzz fifth trip to Sao Paulo Brazil to work with teachers training along, in, through and around them. As many again are to be Waldorf high school teachers. Several eurythmists are parked all over the place, especially in the middle of the participating. The level of eurythmy in Brazil is very high sidewalks! I enjoyed walking to school every morning. It and I will be writing on what they have accomplished there. gave me a chance to see life up close. It is awesome. These trips are in collaborations with The school is located on Douglas Gerwin and the Center for Anthroposophy in the sixth floor and its clear Wilton, NH. Eurythmy figures large in this training. Half fresh rooms breathe an air of the work is with eurythmy and other artistic and social serene and quiet concentra- activities. I use Annemarie Ehrlich’s Eurythmy for Adults tion; quite a contrast. and in the Workplace and my training in working with Coming back directly into adults as a basis and then, we move forward with artistic my teaching duties here in and pedagogical eurythmy. They are wonderful in move- Spring Valley took some ment and I learn so much. adjusting (I had also been on Laetitia Berrier Saarbach began teaching at the Annelies & Hsin-Shih my nearly annual trip to Waldorf School of Brooklyn this school year. She created a Australia for a visit to my brother) but, knowing those peo- eurythmy program around the story of Rumpelstiltskin with ple on the other side of the earth, with their fiery enthusiasm the eighth grade and took it on tour to the Waldorf School and warm devotion, gives one more strength for the job at on Long Island. All of the students in the class were hand in one’s own little realm. It was also very nice to see involved, several sharing the main parts of the miller’s Hsin-Shih in her element again after eleven years in Spring daughter, the king, and Rumpelstiltskin. Groups of students Valley! moved to musical selections Virginia Hermann writes: It has been seven years since to “The Spinning Song” by choosing to enter fully into a life defined by eurythmy and Albert Ellmenreich (when the anthroposophy, beginning with im-pulse.eurythmy interna- straw was spun into gold) and tional eurythmy training in 2008. I am now rounding out my Faure’s Pavane Op. 50 (when fourth year in the Threefold Community, and my third year the miller’s daughter was as both a member of the Spring Valley Eurythmy Ensemble weeping). The students were and graphic designer and initiative developer for Threefold so alive in their eurythmy! Educational Center. The touring and performing life of the And at the Waldorf School of ensemble and satellite projects has brought me great joy this Garden City, the students past year, and I hope that the artistic work grows, as we (grades one through eight) continue to mature as a professional performing group. I thoroughly enjoyed the half- have also found new depth and inspiration through the work hour program of eurythmy on I am doing for an MA in Performance Eurythmy through the large stage. Laetitia is so Alanus University, fortunately being offered in English here creative! Congratulations to in Spring Valley. The theme of my research paper explores Laetitia and the eighth grade! Laetitia with students at the the relationship between moral imagination and eurythmy Maria Ver Eecke Hudson Heights String in an artistic performance. Academy, NYC Elsa Macauley has been working teaching eurythmy at Eurythmy Association of North America 37 The Otto Specht School and Eurythmy Spring Valley and Eurythmy is doing well in the school and Virginia Efta has been performing with the Eurythmy Spring Valley sees students for therapeutic eurythmy sessions. Ensemble. She had a wonderful time touring the West Coast At the school’s final assembly in June, 2015, seven this past fall and can’t believe that the group is heading to members of the faculty and staff practiced and performed Taiwan and China to perform in February! She will be the HALLELUJAH on the crown form in white silk. continuing this work as she also begins to study Therapeutic Everyone was so attentive, and they did a beautiful job. We Eurythmy in the UK in April. named them the “Eurythmy Ladies” and look forward to Barbara Schneider-Serio is in a busy stretch – enjoying another offering. working with the three upper classes at the Eurythmy I offer adult eurythmy courses annually and they have School – preparing, among others, pieces by Bach with the been well received. Last winter to spring we did the four third-year class, Brahms with the fourth, and Haydn and elements with poetry, music, and choreography. This winter Debussy with the fifth; the new Scandinavian tale for the to spring, I hope to do a course on thinking, feeling, and stage group is also in process and we are all having fun willing. For both my classes and courses, I have the delight figuring out flying princesses and dangling skeletons. to have my accomplished accompanist, Ms. Choo Choo Hu. She is a graduate of Peabody and has been playing since she was five years old. Choo Choo is an inspiration for the lessons with her beautiful playing, original improvising, and interested attentiveness. We all have a lot of fun. In October, I was fortunate to have a student teacher for three weeks, Corinne Horan. She had done a week’s observation during the last school year and now she came and observed, brought material to teach, and taught a couple of lessons on her own. I am hopeful that she or someone like her will come to be mentored in when I retire in a few years’ time. It is so important for pedagogical eurythmy to contin- ESV Ensemble on tour in Seattle with Bonnie Freundlich ue and continue strongly and with liveliness in the schools. Sea-Anna Vasilas writes: It has been an incredible jour- I feel very fortunate to have such a supportive school. ney to bring eurythmy into the world through touring with This is my 34th year teaching eurythmy at the school! It the ESV Ensemble, performing locally and also organizing continues to be a joy to teach the children, always looking the tours. It is equally as powerful to share eurythmy within for new ways to bring the curriculum with joy and interest. the life of the Eurythmy School through teaching first- and I am so deeply grateful to my teacher Molly von Heider, second-year tone eurythmy, and exploring the art together who instilled this sense for joy in teaching during my train- with the students. I am hoping to continue to integrate my ing. training in Biography and Social Art with my eurythmy After all these years of teaching it was a pleasure to work. Currently I am pursuing a Master’s Degree in teach during the summer refresher course in Spring Valley, Performance Eurythmy through Alanus University, with and I look forward to that opportunity again in the future. I gratitude for the infinite opportunities for learning and have also had the privilege of supporting/evaluating some transformation which never cease to amaze. eurythmy teachers at different Waldorf schools. That is something that I also really enjoy; I learn so much; I offer Southeast Regional Report help; and I get to experience a different Waldorf school, dif- ferent students, and different teaching styles. It has been First, we can happily report that the Waldorf School of fruitful, and I look forward to having the opportunity to con- Baltimore hosted the Pennsylvania Eurythmy Ensemble in tinue this work, even after retirement. Eurythmy is truly a November. They did two performances: one for Children’s central part of any Waldorf school and that should remain at Garden through third grade and another for grades 4-8. the forefront of people’s consciousness. Parents were warmly welcomed to attend either or both Thank you, Noris Friedman performances. Residents from a local senior home came and thoroughly enjoyed the show. The students were Ute Heuser writes: I currently teach eurythmy classes mesmerized during each performance, especially the older for high school and grades 3,7+8 at Camphill Special ones, which was delightful. It’s such a treat for our school School, Beaver Run. I carry out the movements for our community to be able to see eurythmy performed color-light treatments and am involved with other aspects of professionally. We look forward to the next time that they community life. I am a member of the PA Eurythmy come to Baltimore. Ensemble and toured with the group last November. In 38 Eurythmy Association of North America October I joined the part-time MA Program in eurythmy, tenth grade drama block which will culminate in multiple offered by Alanus University, which takes place in Spring performances late February. Valley. Many greetings, Ute Ensemble work continues, and is a much appreciated Holly Kofsky continues to teach eurythmy classes at source of enlivening. To be able to work on elements and Camphill Soltane and practices therapeutic eurythmy at develop pieces is a continuously challenging and inspiring both the Kimberton Waldorf School and Camphill Soltane. activity. And right now the Ensemble is researching music In both class eurythmy with individuals with special needs pieces and exploring new program content. and therapeutic eurythmy with all. Holly strives to meet Raymonde van der Stok-Fried each individual where they are and support their develop- ment and healing toward balance and harmony. Observation skills, creativity, study, thought and humor are always at the Midwest Regional Report heart of what Holly works with in herself and hopes to bring Ohio to each individual. Volunteer work is very important to Hello All! Connie Michael is in Cincinnati. I am continuing Holly who is in her 11th year serving on the Board of the to teach nursery through eighth grade at the Cincinnati Autism Society, working with families and government to Waldorf School, where I have been involved for many further understanding and support for those on the autism years. I have mainly taught eurythmy for children with adult spectrum and their families. courses interspersed. This year a Foundation Study was not Dear Raymonde, Thank you for asking how things are able to come together but Jack, my husband, and I are hop- in relation to life through the eye of Eurythmy. I slightly ing for a new group to form in the 2016. Instead, many sheepishly think, “Oh, I am doing so little artistically,” but I excited and interested parents are involved in a High School am also so appreciative that the skills I have developed endeavor and we have formed a High School committee. through eurythmy are so helpful in my Ever Evolving Role We are conducting a study on adolescence, having Michael of Administration, with all the levels of multi-tasking, prior- D’Aleo as a speaker on High School, as well as, attending itizing, interpersonal relationships that this position asks of the high school workshop available in Ann Arbor in March. me. That having had the intensity and pleasure of the I will be doing eurythmy this summer in Detroit at the eurythmy training, so helps with the juggling of tensions AWSNA conference and have been actively involved with and needs that abound. With that I still bring artistic ele- the Eurythmy Mentoring group to mentor eurythmists, who ments and some eurythmy to the Social Therapy course of teach in Waldorf schools, as well as look together at the sit- the Camphill Academy in Kimberton Hills, to the uation of eurythmy and the arts in Waldorf schools. Along Colleague-ship for the renewal of the village impulse, an with EANA and AWSNA, we all hope to improve the state ongoing study group, occasional conferences, and associa- of health and viability regarding Eurythmy and the Arts. tion meetings and such things as the need arises. Wishing In December, our children performed in their yearly you a fulfilling Year to Come! Felicitations, Felicity Jeans eurythmy performance and I did a small poem by Fiona Raymonde van der Stok-Fried has been teaching at MacLeod, “Moonrise”, and music piece by Kabelevsky, KWS since the 1989/90 school year. This year after having Waltz. I was inspired to re-engage artistically because of my been a part of this fully established program, which she built dear colleague and friend, Beth Usher, who invited me to up with colleagues many years ago, she had to experience do a small piece together with her at the AGM this past what it is like to have one’s job significantly compromised October in St. Louis. Beth’s performance was an amazing and not because of inadequacies as a teacher, but because of gift to us all and a reflection of her work and dedication to financial issues at the school and a decision to slash all the eurythmy the past three decades. Equally touching was a arts equally more or less. Life must go on and the students piece done by Brigida Balzun. I also was inspired by the were her comfort. They crafted a petition which all the high many beautiful eurythmists who brought performance school students signed. This they submitted to the govern- pieces and planetary exercises for the theme at the ing team...We wait to see what happens! ATHENA conference in Chicago this past summer. Meanwhile Raymonde has added a couple of tasks to I will continue to serve as the Mid-West Representative her list which now includes: co-teaching HS chorus, ninth for EANA. I am challenged these days in learning to make grade Tragedy and Comedy main lesson; two hours of a life transition with eurythmy. I want to continue with this eurythmy classes in Beaver Farm (the transition program at art and work, and am feeling out this path. I think what I Camphill Special schools), and last but by no means least, need is a lighter set of responsibilities from what I’ve held an ongoing adult course for interested people in the local at the Waldorf school, and more time to pursue artistic work community. These things on top of her regular twice weekly and adult teaching. I would appreciate any guidance or classes in seventh and eighth, and the once weekly classes sharing in this respect from other colleagues. Please call or in ninth through twelfth, and then she currently is also in her Eurythmy Association of North America 39 email with any ideas or support! 513-739-5070 or gotten since Atlantis! But the abbot who sat next to me dur- constanceamichae;@yahoo.com ing the concert wrapped his cashmere cloak around me and Warmest greetings to all! Connie Michael all was well and is well with me as I am working on my In Cleveland, Julie Hoehnen is continuing in her sec- schedule for 2016…in China. ond year teaching EC, grades two and four at the Urban Oak Susann Herb-Eddy is the pedagogical and therapeutic Waldorf School. She has very small groups, five in grade eurythmist at the Detroit Waldorf School. She works with two and seven in grade four. She is finding her way in this pre-K through eighth grade and offers a weekly eurythmy unique situation but would appreciate any mentoring or lesson to a group of enthusiastic parents, who surprised their insights, as it can be very challenging on a weekly basis! children with a performance at last year’s Spring Assembly. Please contact her [email protected]. Thank you! During the school year, she teaches eurythmy at the local teacher training program (WISM) and gives courses for Illinois students in the remedial training (AHE). She also works Johanna Rohde, Chicago independently as a therapeutic eurythmist with children and I am currently teaching grades 1-7 at Urban Prairie Waldorf adults who are mainly patients of Dr. Rentea and Dr. School, in Chicago, as well as therapeutic eurythmy. I am McMullen. part of the Midwest Eurythmy Group. There are currently Susann is a member of the ATHENA board and the six of us who work together once a week toward festival school liaison to AWSNA. She is currently engaged in programs for the Branch and the schools. I am also teaching collecting articles on therapeutic eurythmy with the goal in Arcturus, the Waldorf Teacher Training program in the that they will eventually be published in a Waldorf Journal Chicago area. Project. It is the intention of this effort that these articles Patricia (Tish) Pierce is the new middle school and will generate interest in those who know little about high school eurythmy teacher at the Chicago Waldorf therapeutic eurythmy such as the parents, teachers, and School. “I am happy to have landed in the heartland of administrators in the various schools. America after having lived most of my life on the East Coast and having lived briefly on the West Coast. I am for- Wisconsin tunate to have Alla Bikchurina as my colleague, as we are Mary Ruud in writes: I still teach therapeutic very fruitfully sharing our experiences of the children and eurythmy at Tamarack Waldorf School in Milwaukee and at the curriculum. It has been a very busy year for us as we Prairie Hill Waldorf School near Milwaukee. I am again reexamined and rewrote the curriculum for the grades for teaching eurythmy blocks at the Madison Waldorf School. our presentation to parents; evaluated our existing program I work in teacher training at Great Lakes Waldorf for ASWNA; and worked together with Peter Vine, Allison Institute, Lifeways Early Childhood training, and at several Biagi, Johanna Rohde, and Barbara Bellg in the Mid-West charter schools with my colleague in transformational performance group. I am truly enjoying my new colleagues teaching. I have had the privilege to join True Botanica for and especially my new students in Chicago!” their yearly conference. And I continue teaching therapeutic horsemanship which connects me to a wide and wonderful Michigan community. I appreciated the ATHENA conference in Claudia Fontana in Ann Arbor, MI. has spent seven months Chicago. The sharing with one another was so mutually of 2015 in China. “I did not do this all in one visit, but actu- inspiring and everyone was so supportive of each other. ally traveled there three times. The flight is long...14 hours nonstop, but the rewards are worth the jet lag on either end!! Lower Midwest/Mountain Report What could be more satisfying for a eurythmist when her Austin, Texas work is needed, wanted, and appreciated? In this last year, I From Barbara Bresette-Mills: My work in Austin continues traveled to two new venues, Fuzhou in the south with to keep me busy. This includes some teaching at the Austin glorious hot weather and a remarkable experience of frogs Waldorf School, a local homeschool groups and private concertizing. Yes, frogs concertizing throughout every eurythmy therapy sessions. Beth Usher and I (Chaparral night!! It actually sounded like dogs barking, but I was Eurythmy) continue to offer eurythmy for local festivals corrected. In Wuhan, high in the mountains was a confer- with Novalis Anthroposophical Branch. We perform out- ence for Chinese/English teachers to which I was invited. It reach programs in conjunction with local music camp, an was held in a monastery where monks all play stringed orphanage and noonday concert series downtown. In the instruments (violins, celli, etc.) and also sing. At the end of therapeutic realm, I’m pursuing the study of the therapeutic the conference,they gave us a concert. Wonderful! The chal- eye eurythmy in courses with Margret Thiersch. Never a lenge there was the fog, the intense thick fog, and I caught dull moment! a terrible cold as I was not used to breathing water. I had for- 40 Eurythmy Association of North America Beth Usher has been studying Faust for various presen- encouraged him to write down other memories.. tations, preparing performances for local events with Shining Mountain Waldorf School is lucky to have four Chaparral Eurythmy and for solo programs, continuing with eurythmists on the faculty. Thyria Ogletree and Cristina private practice eurythmy therapy and mentoring individu- Geck teach pedagogical eurythmy in each grade of the als in the anthroposophical Foundation Studies for the school. They continue to explore how eurythmy can best Center for Anthroposophy. meet today’s children. Currently, Cristina is discovering how wonderfully the creative and playful language of Dr. Utah Seuss is suited for eurythmy as she is working on a version Prairie Adams has recently taken the position of of “The Lorax” with her eighth grade. Glenda Monasch and Pedagogical Director at the Wasatch Public Waldorf School, Carol Hanlein work together as part of the Educational which will open this fall in Salt Lake City, Utah. It is the Support Circle. first Waldorf school in Utah. We are building a new building The school year began with a wonderful Michaelmas on a small piece of property surrounded by a park, trees, and Festival, with eurythmic offerings by five middle and high it has a stream running beside it. Our plans include a per- school grades. A professionally done film clip demonstrates formance space with a stage large enough for teaching many highlights of the pageant. (movhttp://shiningmoun- eurythmy! We are looking for a eurythmist. If you or anyone tainwaldorf.org/the-tale-of-michaelmas/) All festivals, you know is interested in bringing this art to a new endeav- including the Harvest Festival and the Advent Assembly or, please contact me at padams.wasatchwaldorf.org were enlivened by eurythmy offerings. Cristina recently I am enjoying my work and have found a home with a began a eurythmy class for parents at the school, offered living room large enough to hold a small eurythmy class. once a week. All of us are grateful for all the opportunities It’s a great place to practice. I am also involved in the devel- to speak about eurythmy at parent evenings. opment of the Gradalis Teacher Training which will have Terry Ann Stilwell Masotti teaches at Shepherd Valley more than thirty students coming to Utah for the two-week and TARA Performing Arts High School. Like her summer intensive, 2016. For some it will be their fourth colleagues, she is living with the question “how best to meet semester and for others their first. Our faculty totals 15 class and serve the children who come before her?” She is teachers and artists. happily working with the twelfth grade on a eurythmy fairy- tale, “East of the Sun and West of the Moon.” Terryann Colorado holds a weekly community eurythmy circle that shared the Carla Beebe Comey continues to serve as the Faculty Grimm’s fairytale “Star Money” during Advent. She is con- Administrator for the Waldorf School on the Roaring Fork tinually grateful for the many opportunities that unfold that in Carbondale Colorado. Fortunately her job includes teach- deepen her work, and for the wonderful mentorship of her ing eurythmy in the two kindergartens and two preschools, colleagues near and far. so four days a week are blessed by visits to the early child- The annual All Soul’s Celebrations in Denver and hood classes. Boulder, which included eurythmy, were well attended and Melody Van Hoose moved to Carbondale, this summer appreciated by the community. In January, there was a mini- to teach eurythmy from first to eighth grade at the Waldorf workshop in Boulder, with Leonore Russell; the focus was School of the Roaring Fork. She feels lucky to live in such on the high school eurythmy curriculum. a beautiful place and work with such wonderful people. She Currently David-Michael Monasch is finishing the still misses and thinks fondly of Santa Fe and hopes some- SCE Training and Ensemble work (including much organi- one is able to take over the eurythmy teaching there, as the zational time and collaborative efforts). He continues his school is hiring for the coming academic year. teaching in Mexico, giving occasional courses and helping Robin Mitchell has continued to work with elderly and in the slowly-growing development of an organizational disabled people as an employee of Catholic Charities in structure to support eurythmy in the country, possibly to Denver, and also trains new employees who wish to serve include some form of local training. And he loves learning the community. He enjoyed working with the Sound Circle Spanish! Eurythmy group as their touring stage lighter in 2015, and Glenda Monasch: While continuing her ‘hygienic/ as their speech artist later in the year. He has been asked to therapeutic’ work at Shining Mountain Waldorf School go on tour with them again this year and is looking forward (including numerous presentations and meetings with both to it very much. Now that he is seventy-three, he has decid- faculty and parents, as well as an increased focus on the ed that it might be time to begin writing more about his kindergartens). Added to her private therapeutic eurythmy memories of working with various eurythmists. (His contri- practice at home, Glenda finds herself ever more busy; for bution to Melissa Harwood’s book of reminiscences of example, summer teaching at the West Midlands School of “was well received”, and this has Eurythmy in the UK and at the Bay Area Center for Waldorf Eurythmy Association of North America 41 Teacher Training (BACWTT). Glenda’s work in the fully capable of supporting greater creative leadership. medical training field continues and is expanding; as the Jolanda Frischknecht and Francine Adams, have put togeth- eurythmist for the IPMT doctors’ training, in ongoing er our 2016 program, with support from various members. research work in Denver, and, upcoming this summer, in The Woman of the Sea, and The Legend of Knockmany make joining the Therapeutic Eurythmy Training in Copake, NY. up the core stories. Fiona McCleod’s, The Rune of the Four Cristina Geck Winds to Steiner’s form, music pieces by Grieg, Leiviska, and Barber and other light and humorous pieces fill out the program. This new working makes it possible for more Northwest Regional Report collaborative artistic Portland, Oregon efforts to emerge within Hello Everyone! This year I was invited to help Portland the group while main- Village School (a Waldorf public charter in northern taining the mission of Portland) inaugurate the first year of its eurythmy program Portland Eurythmy, starting with eurythmy for kindergarten through third grade which is to bring euryth- (the school is double tract, K-8). The children and I are my to the Waldorf having a lot of fun (and learning lots all ‘round’) and it’s schools in Oregon and been a great pleasure to be welcomed and supported by the the wider community, lovely PVS school community. You can see a few pics and whenever possible. read a brief interview in our school’s ‘Woven’ newsletter Continuing mem- posted online at www.portlandvillageschool.org. bers include: Francine Meanwhile I’m still moving and sharing with the dear Adams-Marquiss, Meta people of Portland Eurythmy and thrilled to be setting down Bruner, Shannon Foby, roots at the feet of our majestic Cascades! Jolanda Frischknecht, Best Wishes! Maya Neumann Amanda Leonard, Don Portland Eurythmy Marquiss, Carrie Mass, In the fall of 2015, Portland Eurythmy finished its 2014-15 and Maya Neumann. Jolanda Frischknecht White Duck program with three performances in Portland: The wonderful Mary Sutton continues as our main accom- The Portland Village Waldorf Charter School, Rose panist. Christa Macbeth of Chicago will graciously join us Schnitzer Manor’s Robeson Hall Retirement Community, on our spring tour as our speaker. and Cedarwood Waldorf School’s Magical Winter Faire. Two additional performances were carried out in the early Seattle, Washington summer of 2015 during the Portland Children’s Festival, Eurythmy Northwest produced by PE. During the course of the year, we This year’s work included performed the White Duck program a total of 12 times! the production of “The In October, we hosted Eurythmy Spring Valley for their Dreamsong of Olaf Portland visit of The Tide is Turning and The Donkey. They Åsteson”, which the group gave two public performances and one children’s perform- began preparing two years ance at Cedarwood Waldorf School. The visit was a great ago under the guidance of success and very well received by the audiences. Michael Leber. The troupe June’s inaugural Portland Children’s Festival was a performed Olaf in Canada successful outreach to the wider community in support of and Seattle. The troupe will Bonnie F. and Andrea Preiss eurythmy and related arts. It was a tremendous effort and we also perform Banyan and Branch, A Jataka Tale, throughout are evaluating whether we can continue the initiative. the Seattle area. This performance season, we are transitioning from the In January 2016, Eurythmy Northwest, with Vancouver founding artistic direction of Reg Down to the artistic speech artist Patricia Smith and concert pianist Wolfgang direction out of our own membership. We are grateful to Wortberg, presented “The Dream Song of Olaf Åsteson” at Reg for his many contributions and for giving us such a the Seattle Waldorf School. This Norwegianfolk saga was strong foundation from which to grow. We wish him much choreographed into eurythmy by the Austrian artist, success in his writing and publishing endeavors! philosopher and scientist Rudolf Steiner and set to original Portland Eurythmy will launch a new 2016-17 spring music by Jan Stuten in 1921. Vancouver speech artist and fall program. We have seen a tremendous amount of Patricia Smith is an old friend of the group and delighted to growth in the group, with the present PE way of working accompany them in this unique and wonderful story. 42 Eurythmy Association of North America Eurythmy is a tradition at Magical Strings Celtic Report for Northern California Yuletide Concert. Melissa McCall and Bonnie Freundlich Dale Robinson writes: Last year started out with the gradual performed eurythmy at the 37th Annual Celtic Yuletide’s conscious passing over the threshold of a long-standing Grand Gala at Town Hall in December 2015. This year’s anthroposophical friend, Phil Wharton. In his younger Celtic story, “Wee Christmas Cabin of Carn-na-ween”, was years, he had attended the Priest Seminary in Stuttgart, performed by students with their teacher Bonnie Freundlich where he came in contact with and grew to love Speech from the Seattle Waldorf School. Formation. He eventually became an inspired actor in the Bay Area. During every one of the Holy Nights of 2014- 2015 and about a week beyond that time, he wrote some very beautiful and moving poems and one of his dying wishes was to see at least one of them performed in euryth- my. The two poems that I eventually took on proved to be truly inspiring and rejuvenating for the artistic, performing side of my life. Besides at Phil's deathbed and memorial, there have been several wonderful occasions where I have performed them, including at the ATHENA National Conference in Chicago this last summer and early this year at an event honoring his spirit and his death on February Bonnie Freundlich with students at the Gala 14, 2015. Vancouver, BC In my fourth year on the board and third year as presi- The Cascadia Society for Social Working is a Camphill vil- dent of ATHENA, I continue to enjoy working with my lage located in the city of North Vancouver, BC. Each year fellow board members every month at our Skype-type meet- we put together a full scale eurythmy program, with a fairy ings. We also find inspiration, in another way of course, as tale as the main feature. This is a collaborative project, together we try to give a stronger voice to Eurythmy which involves the eighth grade students and some high Therapy in studying together, through sharing world school students from the Vancouver Waldorf School. This perspectives and concerns about TE, by preparing state- year we presented, “The Devil with The Three Golden ments and grants for TE and by conference planning. We all Hairs”, and it was one of our most successful productions to look forward to several events this year where we will be date. The students were especially keen and talented this deepening and sharing our work with anthroposophical year, and our busy backstage organization of approximately doctors, one event especially among them being the Second 80 people went very smoothly. Bonnie Freundlich from World Eurythmy Therapy Conference in Dornach this com- Seattle’s Eurythmy Northwest also joined us, offering a ing May. On a personal note I have been asked again to lead Debussy solo as well as taking part in the fairy tale. Our eurythmy workshop sessions at the New Impulse (Teacher) music is composed by Lorna Fortin especially for The Conference in Marin, CA, in February. Lastly, I can report Cascadia Bell Choir, and this year we enjoyed the addition that my Private Practice continues to go well, although as I of a trumpet and a mandolin. The co-workers and compan- am now at the traditional retirement age, I am happy to ions of Cascadia also presented EVOE, with 18 enthusiastic begin cutting back on long drives and on long days. movers in all. John Hinkle teaches Eurythmy 9-12 Credo HS and 5-8 Our entire Stone Bridge School in the North Bay area, CA. He writes: production is put The 75 students in this years ninth grade class at Credo are together under the very excited about eurythmy; more so than any other ninth- direction of Ruth grade in my 12 years of teaching high school. This has been Tschannen, with very inspiring for me. The Eurythmy program at Credo, support from which is the first public Waldorf high school in the US, has Laurel Loughran taken a big step forward this year with strong support from and Jason Yates. the staff and community and lively engagement from the This project is as students. My HS performance group, Credo Rose Eurythmy much a social endeavor as an artistic one, bringing people of is doing well and we are planning local performances later all ages, abilities, and experiences together. Our perform- in the spring. ance this coming year will take place on American Alice Stamm continues to be active with teaching, some Thanksgiving day, and we welcome anyone who is interest- performing, and some therapeutic work. She writes: I have ed to come and see what we are doing! been interested in watching some good work at the Laurel Loughran for The Cascadia Society Eurythmy Association of North America 43 “American Eurythmy School” in Weed, (Mt. Shasta) CA, This coming summer, I will journey to Cuernavaca, because often some of their graduates find their ways into Mexico, for my third year of teaching eurythmy at the schools. They bring a great love of eurythmy. As anyone Waldorf Teacher’s Conference. Over 160 teachers come responds to warm genuine interest, they seem to be more from all parts of Latin America, a very encouraging sign open to exchange and conversation about eurythmy and that Waldorf education and eurythmy is gaining a sturdy what other eurythmists are doing, as well. foothold there. Last summer, I performed one of my tone I have been particularly interested in the Bay Area solos at the conference, and hope to bring a violin piece by Eurythmy Ensemble and their work in schools; their per- Dvorak next August. An invitation to Argentina is on the formances are of excellent quality and program planning. horizon, to take up more work in Spanish eurythmy, which Having just finished writing the EANA Grant to WEF, I am I would very much like to do! thrilled at the extent of performance work in this country. Finally, I have found much inspiration in applying a In addition to beholding good work, I enjoy mentoring daily seven-minute routine mornings and evenings, thanks several colleagues and teaching adults here at Rudolf to a pocket-sized booklet found in Mexico, Euritmia, El Steiner College; kindergarten eurythmy in private and pub- Arte de Movimiento Curativo by Ilse Horny, translated by lic schools, and helping with other adult trainings. I think it Heidrun Spath (Original title: Eurythmie, Die Heilende is important for as many young children to have eurythmy Bewegungskunst) Of eurythmy and its place in our lives, she as possible and that suits retirement mode very well. says, “Qué tarea más seria y a la vez alegre nos es dada.” Miyoung Schoen: This year, as a visiting teacher, my Isabela Guardia Ferragutti writes: I’m still teaching work at the Waldorf School Orange County has been very preschool through fifth grade eurythmy at the Waldorf much fruitful and rewarding. The emphasis? How important School of the Peninsula (WSP) as well as teaching blocks it is to interact and laugh with children while encouraging once a week at two different schools, Singing Stones School their initiatives and creativity during the lesson! in Walnut Creek and Golden Bridges School in San At the conclusion of the fall semester, I shared many Francisco. The children bring such joy to my life. Every day performances with the school community. The second grade I feel thankful for the opportunity they are giving me to continued their tradition of doing Christmas play in euryth- develop myself; to always see things in a new, fresh and my. Most classes performed their semester work to their enlivened ways. I must say that being in the same school parents. Many other classes eagerly attended the perform- (WSP) for a third year in a row has been the most enriching ances and were excited by what they saw. Several eurythmy experience. Seeing how the children have grown into doing pieces were also shared at the whole school assembly in eurythmy and how capable they are, blows me away! I must January. The rod exercise by the six graders was a big hit. constantly push myself to be ready to meet their fast grow- The class teacher wrote: “What fun that was today!! ing capacities. I’m inspired by them, by their beautiful Delightful … and your little spiel with the cart...loved it :) movements and their natural joy for movement. Through Thank you!” I’m also doing therapeutic eurythmy. eurythmy, we have the gift of seeing the children’s precious Karen Gallagher writes: Warmest Greetings from souls and higher selves. What else can we ask for? Chico, California! After a whirlwind year of studies, travels, Barbara Newman writes: I am still enjoying teaching performances, and a BA graduation ceremony, I now find classroom eurythmy and doing therapeutic eurythmy at five myself quietly landed in the northern valley of California. It Bay Area schools. It is a joy to watch the children grow and has been good to be quiet and calm for a time, and to dis- develop. Because of illness in my family and moving to a cover that the being of eurythmy gently calls, even still. new home, the only artistic work I participated in was for an There is a lovely Waldorf school here in Chico, Blue Oak All Soul’s Day gathering. It was a very special and beautiful Charter School. It is fifteen years old, serving over 400 event, and I look forward to being part of it again next year. students, kindergarten through eighth grade. In October, I was asked to draw up a proposal to teach a block of euryth- Southern California and Hawaii my in Class 7. So, I did! Although she has relocated and is no longer living in Blue Oak has never experienced eurythmy as part of the Southern California, Bonnie Maffei had this report of her school's program. Here, the opportunity was being given to activities to share: I have close connections to Camphill me to introduce this much-needed subject to the school. I Communities California, in Soquel, and also with the wider found a wonderful pianist, Alice Dilts, and dove into the Anthroposophical community. Currently, I collaborate with work with twenty-five curious young teens. We had a mar- two local Santa Cruz Anthroposophical physicians, Dr. Ida velous time together, and proudly presented our work to the Leong and Dr. Patricia Reber. I will be doing therapeutic third grade buddy class. Thus, the seeds were planted! Since eurythmy with two or three individuals during the coming then, word is spreading and eurythmy is finding its place at months. Apart from that, I love to paint, write and teach Blue Oak Charter School. More eurythmists, please! 44 Eurythmy Association of North America English to speakers of foreign languages. I lived in the gram. These are offerings to parents, faculty, staff and Santa Cruz area about ten years ago for quite a while, friends of eurythmy, painting, anthroposophical studies, moved away, and came back again. I've been living in Waldorf pedagogy and more. We are very pleased Andrea Soquel for about three years now, and hope to stay put this Marti is teaching at the school, and try to be supportive of time. her. In San Diego, Johanna Laurelin is continuing her Unfortunately, after three years of actively keeping can- work at the Waldorf School of San Diego, teaching K cer at bay, Sheri this year has the cancer spreading to other through eight and a block for the senior class, as well as, parts of her body. We are at a 'challenging point', and are conducting the middle school orchestra. She also continues again exploring additional alternative therapies. Anyone her work with the Teacher Training course WISC San wishing to assist Sheri financially can donate at the website: Diego, as both teacher and co-director. www.HealSheri.com. In Pasadena, Rachael Abbott reports: I moved to Thank you, Michael Hughes and Sheri Reiner California in September 2015 to begin teaching eurythmy at the Pasadena Waldorf School which has been longing to The Bay Area Eurythmy Ensemble build up its eurythmy program again. For this school year, The past November 8 – 13, 2015, the Bay Area Eurythmy eurythmy is offered in two eleven-week blocks for the first Ensemble was very fortunate to make their one week tour through eighth graders, while the pre-school and kinder- possible! The ensemble members are Monika Leitz (San garten will have eurythmy weekly from September through Francisco Waldorf School), Ruth Bucklin (Camellia April. Waldorf School), Jazmin Hicks (East Bay Waldorf School), The first block, for the first, third, fifth and seventh Michaela Bergmann (Waldorf School of the Peninsula) and grades, concluded late in January with small sharings by the Isabela Guardia Ferragutti (also from the Waldorf School fifth and seventh grades attended by the fourth and sixth of the Peninsula); five of them full-time eurythmists. They grades, along with parents and faculty. These were quite performed their new program, “The Tale of the Golden well attended by parents, despite occurring in the middle of Fish”, around the Santa Cruz, Sacramento, and Bay Area. the school day, and seemed to be well received. They began to prepare their new program mid-July 2015 The new block for the even numbered grades began in and were very fortunate to have Michael Leber as a special the last week of January and we also hope to conclude this guest to direct one of the tone pieces and to give some one with a sharing from the fourth, sixth, and eighth guidance with the other pieces, as well as, the fairy tale. graders. We are also hopeful that the High School Elective Our program included: Forest Scenes, op.82 by Robert Eurythmy Class from our neighbor school Highland Hall Schumann, “Light of the Sun” by Rudolf Steiner, “The Tale will be able to share their work with our Middle and High of the Golden Fish” after Aleksandr Pushkin, Sonata no.30, Schoolers at that time. op.109, Prestissimo by Ludwig van Beethoven, “Invictus” Eurythmy can so often be a mystery to parents and the by William Ernest Henley, Ondine by Claude Debussy and broader school community. In an effort to de-mystify, I have concluding with “I wish…” by G.K. Chesterton. been offering an open eurythmy class for parents and com- “The Tale of the Golden Fish” brought the theme of munity members on Friday mornings after drop-off. The water to the new program, and with that, the thought of idea was to create an open format for parents to drop in having some poetry and music that had a connection to the when they could and get a sense for what eurythmy is. In water element. The final piece titled “Ondine” (water this class I do not present pedagogical eurythmy, but rather spirits) by Claude Debussy was choreographed by Michael introduce the basic elements of eurythmy formatted for Leber. This piece was the perfect addition to conclude our adults. The first session was attended by at least 15 parents 40 minute program. decreasing steadily each week and stabilizing with around The children from all the schools we teach at, Marin five attendees in recent weeks, though new people are still Waldorf School as well as the Camphill Community in coming each time, and the feedback has been very positive. Soquel and the Bay Area for Waldorf Teacher Training were Also in my effort to make eurythmy accessible to the com- delighted by the tale as well as the whole program, and I munity, I held a talk on the ever-recurring theme of ‘What must say, it was very special for us, the performers, to move is Eurythmy?’ sketching out the history and development of our pieces together for five consecutive days! eurythmy, its artistic goals, and finally its pedagogical appli- All these performances were made possible by the cations, ending with a 30 minute demonstration lesson Eurythmy Asscociation of North America, Local Waldorf allowing attendees to experience one exercise or element schools and teacher trainings. Big thanks to all who from each of grades one through eight. supported this initiative here in the Bay Area! In Hawaii Michael and Sheri continue giving courses Isabela Guardia Ferragutti to adults on Maui under the Adult Waldorf Education pro- Eurythmy Association of North America 45 Sound Circle Eurythmy children’s programs in Baltimore, and while he was not in costume with us, it was wonderful to have him help create The three students of the current fourth-year group, the the magic mood leading into the programs and then working Borealis class, completed their three-week teaching practica with us as speaker. After Baltimore, he returned to in California, New York, and Colorado on January 22. Kimberton and the tour continued without him. Then, back in Boulder, the work toward the end of their As we reflected back on this tour which then took us to training intensifies greatly. They will join the small SCE New York state, back to Pa., then to Spring Valley, NY, and Ensemble for touring of Spanish-English lower school, finally to Camphill Ghent, NY, we realized that we were middle/high school and evening programs in Colorado in blessed by the warmth and caring that each hosting place so April, prepare for their graduation in May, hopefully reprise generously afforded us. The level of care and appreciation the April programs in a tour to Mexico in the middle of June made our very busy fast paced tour that much more possible (still pending!) and attend the Graduation Meeting and allowed us to return to our awaiting tasks energized and (Abschlusstreffen) in Dornach at the end of June. grateful. And, as there is no new first-year group of students, that Grateful, yes! will be the end of the SCE Training. The Monasches have Because the audi- chosen to remain in Colorado for at least another year, dur- ences want these ing which time they are eager to see what might lie ahead! eurythmy perform- In 2016-17, the currently running Intensive Course will ances. They want to most likely continue on several afternoons a week, while be uplifted, to be new formats are being considered for a variety of short inspired, to be courses including weekend and/or week-long Intensives for touched, to be invit- beginners, professional development for eurythmists around ed to join in and specific themes, etc. In the past year, most of SCE’s activ- share moving and relevant content. As a little three-year-old ities have shifted from Boulder to Denver, where a fruitful child said after seeing eurythmy for the first time: “Again!” collaboration with the Denver Anthroposophical Society Yes, indeed! Again, and again! We must not give up this Branch and its Mystery Play study group has begun to co- task of bringing eurythmy to those hungry audiences! That create Whitsun, Michaelmas and All Souls’ celebrations at sweet little girl was not the only one to say “again”, she just the Denver Waldorf School and/or Christian Community. said it so simply and so purely! Humbly, Raymonde David-Michael Monasch Grasshopper Productions Pennsylvania Eurythmy Ensemble “Tis the Gift…Music, Storytelling, Eurythmy” directed by Challenged by health issues, complex schedules and oh-so- Jeanne Simon-MacDonald was a eurythmy program full of busy lives, the Ensemble members were actually amazed hope and reverence. This program was performed five times that we were able to find an extended week in which to take and I was overjoyed to have been able to have seen it at our program on tour. Dates had also been hard to arrange, Camphill Ghent in Chatham, N.Y. and places were off and on again, times were juggled, etc. The program included the Beatitudes from the Matthew As if that weren’t all enough, our treasured speaker had an Gospel, music by Bach, Chopin, Schumann, Debussy and a overseas engagement which would only get her on board Shaker melody, “Tis the Gift to be Simple.” A Jakata tale, one day into our tour! Oh, and our delightful, creative “The Brave Little Parrot”, was performed in a playful and lighter turned up on crutches, so could not be as helpful in magical way. It touched on a current theme of how to the hefting of equipment and such. But Laurie Portocarrero, respond to great danger when you feel inadequate. our speaker, arrived from England in one piece and carried This was truly a program of healing and ensouled herself with such poise, buoyancy and purpose despite the movements. I could just imagine those in the spiritual world jet lag. And Ethan just knew how to navigate effectively on enjoying this nourishment. And, as well, the children and crutches. Calmly, unflappable, he worked his way into the adults, who were able to experience this program were filled content of the program, organizing the lighting sequences, with the magnificent beauty of the movement and colors and putting his artistic instincts to good work. along with the music and Word. The Ensemble, Carsten Callesen, Gillian Schoemaker, Thanks go to Jeanne Simon-Macdonald, Jong Won Ute Heuser, and Raymonde van der Stok-Fried, with Helena Choi, Karen Derreumaux, Sofia Mancini, Patti Reagan, Syrovatkova joining us from her new home in Canada, was Ran Shimizu, Stephen Steen, Jordan Walker, and the many intact more or less. For the first short leg of our tour our others who helped, including Gregor Simon-MacDonald. John Holmes joined us to do the speaking for the two Sheila Shapiro 46 Eurythmy Association of North America Winter Studio Program at ESV a year in Stuttgart earning her Master’s degree in eurythmy. Gabrielle performed two waltzes from Valses nobles et This studio program was a festive event, coming at the end sentimentales by Maurice Ravel. of a week of studies for the eurythmists in the Master’s An inmate in Pennsylvania submitted his writings for Program hosted at Eurythmy Spring Valley. The Master’s the Anthroposophical Prison Outreach Program. Brigida Program is under the auspices of Alanus University of Arts Baldszun presented this poem, “I try to walk upright” in two and Social Sciences, Alfter, Germany. At least seven guest distinctly different styles. At first she appears in dark pants artists joined the local eurythmists on stage, for a total of 23 and sweatshirt with the hood over her head. The dramatic artists, including thirteen eurythmists, four musicians, four moment, as a contrast, is when she invokes the planetary speakers, and two for lighting! Eurythmists from afar joined gestures as a transition in the development of the poem. the audience, as well. The house was full and the audience There is a musical interlude, before she appears again, in audibly appreciative and generous in their response. white dress and veil. This artistic statement works with Co-carrier of the Master’s Program, Coralee polarities by contrasting dark and light, weightiness and Frederickson, performed Shakespeare’s Sonnet No. 65, uprightness, as the writer leads us to an experience of displaying her artistic mastery. Volker Frankfurt of Berlin morality. performed Beethoven’s “Adagio from Sonata in F Shiori Ogihara of Eurythmy Spring minor, Op. 2. No. 1. Both Volker and Coralee taught in Valley performed several pieces, Gluck’s the Master’s Program during the week. And on Melody from Orfeo and Eurydice, Saturday, Volker gave a workshop on music eurythmy. Massenet’s Meditation from Thais, and a His ability to draw his solo form from memory on the Chinese Zen monastic spring poem, spo- chalkboard was remarkable! We were fortunate to see ken by Pang-Wei Yin, and followed by both master artists perform just the evening before. Haru no Umi by Michiuo Miyagi, played I must say that I remember Coralee when we were by Peter Alexanian on a shakuhachi students together at the School of Eurythmy. She had (wooden flute). Shiori’s costume had veils just received her Ph.D (Doctor of Philosophy) in as kimono sleeves for these period pieces, American Literature from the State University of New which were breathtakingly beautiful. York at Binghamton. In fact, Dr. Frederickson taught the So many different styles of music poetic courses in the training, while she was a student. and poetry of thirteen solo numbers! As a Since then, she has performed and taught at the London most satisfying conclusion to the program, College of Eurythmy, The University College of we were feasted with Bach’s Sonatine Eurythmy in Norway (Den norske Eurytmihoyskole), from Actus Tragicus. This beautiful music, and Alanus University. Many of us are grateful to her for played by Ivilisse Esguerra on violin and providing courses for Bachelor and Master’s degrees in Marcus Macauley on piano, was eurythmy. Thank you, dear Coralee, on behalf of us all! performed in eurythmy by Barbara This year’s candidates for their masters’ degrees, Schneider-Serio, Beth Dunn-Fox, Jennifer Franz Eilers, Ute Heuser, Andrea Preiss, and Alexandra Shiori Ogihara Kleinbach, and Melissa Lyons. As Jennifer Spadea, joined the studio performance. Franz performed said at the beginning of the program, this was a party of “Cloths of Heaven” by Yeats. Ute presented Adagio from eurythmy! Sonata in F major, K. 332. Andrea performed two pieces, Maria Ver Eecke “A Prayer” by Clarissa Pinkola Estés and Brahms’ Intermezzo in Bb major with Steiner form. Alexandra Spadea gave an introduction to her process Milonga Triste – A Joyful in developing a Milonga. (Milonga is a musical genre that Exploration in Eurythmy originated in the Río de la Plata areas of Argentina and Last Year as my BA studies tone solo, I chose Milonga Uruguay. It was very popular in the 1870s. It was derived Triste by John McDowell on a theme of Sebastian Piana. from an earlier style of singing known as the payada de con- For many years, Milonga Triste, by Piana, has moved and trapunto. Source: Wikipedia) John McDowell, her husband, inspired me, and I never grew tired of it. By virtue of living composed the Milonga Triste as Variations on a theme of with my husband, John, I was privy to his exploration of the Sebastián Piana. Having known and performed with Alex music on the piano and eventually his variations on Milonga for some time, my impression was that she was transformed Triste, the theme was born. I have had the opportunity to by the music. Alex describes her creative process in her own hear the piece grow and sound in different ways and with a words in the next article. variation of instruments. When it came time to choose a Gabrielle Armenier returns to the Threefold stage, after Eurythmy Association of North America 47 tone piece for the BA, I knew I had to do this Milonga. And tive Eurythmy party, as said Jennifer Kleinbach, who so per- with that I began to get to know the piece on an entirely new fectly set the tone in her welcome to a beautiful evening of level. so many fine offerings. With this choice I was about to get to know this long We all know it takes two to tango, loved music through eurythmy, and that was, and continues and in eurythmy we get to move with to be, a most cherished study and practice. I have a classical others, which to me is the Best! I feel background, training and dedication to the pure core of that this fun Milonga Triste solo asks to eurythmy, and my deepest wish is to let everyone feel the be moved by more than one person and I joy and grounding this art has to offer. would love to find the opportunity to My work in Eurythmy with the Milonga Triste actually moves this piece with all of you. Perhaps began in Italy with Gia van den Akker, in the summer before someday… Thanks I started the BA course. Gia’s encouraging feedback and for all the Eurythmy that is cultivated in support in the very early stages and considerations of this Spring Valley and around the world. piece were the foundation for my following decision to take Gratefully, Alexandra Spadea it up musically in a serious way. Pomona, NY During the final BA session in Oslo, each of us had two sessions with Michael Leber. Michael encouraged me to go Meeting Poetry of the 21st Century even deeper into the style of the music and not to shy away Our editor asked me if I would describe how I have worked from adding some ‘drama’ especially with my head ges- with a poem which was published in 2014. How did I find tures. So I incorporated that quality of intensity and more the poem? For some strange reason I read the mail from the countermovement into the piece. Michael was a fantastic Anthroposophical Society, including the newsletter from the mentor, however brief our actual work together. Prison Outreach. Because I have never danced Tango for real, I had noth- Meeting a poem, which is only a few months old, I see ing to ‘worry’ about in terms of slipping into ‘tango dance three levels to work with: moves’ (this shows you my worry of later getting feedback 1) The content of the poem; “that was not eurythmy”). Luckily my Waldorf upbringing 2) The biographical situation of the writer; and ensuing career had it in store for me to fully dedicate 3) The biographical situation of the eurythmist. myself to eurythmy, which is indeed my movement vocab- 1. The content of this poem is brought in the personal ulary. form of “I”. It starts without a title, directly with the confes- The Milonga choreography is naturally tapping into all sion: “I try to walk upright.” Later on we learn that the the elements we practice daily – from rod exercises, to head writer’s hands have done something wrong in the past. He positions, contraction/expansion, beat, rhythm, pitch, color, simply says: “My hands are always extended to greet, to major/minor, motif schwung, and more….There are mainly give, to share, and that’s the only way my hands should be ‘straight tones’ in the piece, but some sharps, and a few per- used.” I felt that the phrase “never look down but always up fectly placed e- and b- flats and great interval moments. I to the sky …. to higher consciousness” opened up the am working on showing different parts of the music and possibility for an exploration with eurythmy. “counter movement" with legs/feet, and arms singing, soar- 2. The writer was, at the time of composing, in a very ing and clearly showing time and space. With the head limited situation; he was in jail. During the time of gestures I am expressing more of a mood, and I think there imprisonment he came into contact with the material of is one part toward the end of the piece, where I just always Anthroposophical Prison Outreach. I only know his first feel the biggest smile…I wouldn’t be surprised if it showed. name, but I was unable to find out where he is now. At the recent studio performance in Spring Valley on 3. I myself was emerging from a difficult time and January 29, I decided to show the Milonga, with my hus- therefore the poem spoke to me. The opening words “I try band John McDowell at the piano. It was a joyous occasion to walk upright” had been washing through my soul in var- for us to share this part of our lives with the Threefold ious tones, like moaning, grumbling, pleading, etc. As I was Community, friends and colleagues from around the quite free in choosing my pieces for artistic work, I started. Eurythmy World. That Friday also concluded a week of the I try to walk upright Master Course studies held at ESV, by virtue of which in spite of stumbling down Coralee Frederickson of England and Volker Frankfurt of never look down Berlin and others were also part of the evening’s perform- but always up ance. I said that evening in a brief introduction to the to the sky Milonga Triste, (Milonga, which is a fast dance and the to the stars source of Argentinian Tango) and it was indeed a very fes- 48 Eurythmy Association of North America to the sun Professional Eurythmy Conference to the moon to higher consciousness Maren Stott, Eurythmy West Midlands sometimes The Professional Eurythmy Conference was held at the East I just stumble Bay Waldorf School in February. Twenty eurythmists, and fall arrived from various locations—many from California, but but my thinking a few from as far away as the East Coast and Canada. Maren my consciousness Stott led the artistic sessions. She has taught in eurythmy arises in me trainings in England for over twenty years and has per- to walk upright formed in several eurythmy stage groups: Ashdown and my hands Eurythmy, London Stage Group, Anderida Ensemble, are always Kosmos Eurythmy extended and Eurythmy West to greet Midlands. Our confer- to give ence coordinators, to share Jazmin Hicks, euryth- and that’s the only way my teacher at the East my hands should be used Bay Waldorf School I sit, I smile, I think and Isabela Guardia and the joy would always surround me. Ferragutti, eurythmy Ruben, White Deer, PA (in Prison Outreach, Spring 2014) teacher at Waldorf Jazmin, Maren, and Isabela Already in the first days of practice, I had the idea of School of the doing the poem twice, once in street clothes, wearing a Peninsula, also both members of the Bay Area Eurythmy black hoodie to relate to the situation of the misdeed, and Ensemble, created a thoughtfully planned conference that then in a white eurythmy dress with a white veil to show the included performances, tone classes, pedagogical sharings, potential of spiritual growth. solo masterclasses, delicious homemade lunches, and For some time I used the same gestures in each cos- fabulous informal conversations! tume. But soon I moved in the quality of color of the cos- The conference opened on Sunday evening with a per- tume and the fact that my head was covered in one version formance by Maren Stott. The program was beautiful and and free in the other enhanced the expression. The style of diverse, and included Blow, blow thou winter wind and exiting became a highlight for me, it summarized the Sonnet 65 by William Shakespeare, Five Unfinished approach: in the black outfit I turned my gaze slowly down Memoirs composed for Maren by Nigel Osborne, and onto my hands and followed these hands of flesh and blood closed with Chaconne by JS Bach, with solo violinist Joe toward the exit. In the white outfit, I ‘opened the back- Edelberg, concertmaster of the Santa Rosa Symphony. Alan space’, lifted my arms and moved backward, following Stott, Maren’s husband, was both speaker and pianist, also those hands I could not see. The audience was often sur- from Eurythmy West Midlands, Stourbridge, UK. prised by the whole project, they were quiet, but deeply Afterward, we formed a circle for a brief discussion. moved. Each morning of the conference consisted of two tone The more I worked with this poem the more the words classes. After our wholesome lunch, we had one hour of an became for me, Words of the Threshold. They were so direct open Solo Workshop and an hour and a half of Pedagogical and clear. Living with the content the question arose: what Sharing. During the Solo Workshop, the group watched as happens after? Will the person have the strength to free his two three participants shared their solo pieces and listened thoughts and feelings from the tightness of the physical to the skillful suggestions of Maren Stott. Our Pedagogical world and perceive the spiritual world instead? If not, will Sharing was facilitated by Monika Lietz, eurythmy teacher he get entangled amid the obstacles and problems of daily at San Francisco Waldorf School and member of the Bay life and stumble and fall? Area Eurythmy Ensemble. Stories, music, concentration For future artistic work with this poem, I entertain the pieces, footwork, rod exercises, group choreography for idea of doing it as a duo, one person in black, the other in preschool through high school were shared—often with white. That would allow us to expand the artistic expression much laughter and a good deal of sweat! of the reality of the threshold and how we live there with On Monday, we also had an afternoon plenum in which everything we do. we shared a bit about our biography and our current work in Brigida Baldszun eurythmy. In the evening we had a group excursion and ate a wonderful meal together at Comal, a hip restaurant in Eurythmy Association of North America 49 downtown Berkeley. On Wednesday afternoon, a few join us, and they fuelled the work with their enthusiasm! I encouraging guests arrived to be our audience for our final realised how lucky I am to be a trained eurythmist…and that sharing that included two of the group pieces we learned eurythmy needs to be shared in the world. A real circle of during the conference—one smaller ensemble piece by friends grew out of the heartbeat of eurythmy. Bach and one full ensemble piece by Schubert, as well, a Professional eurythmists from the east and west of variety of solo and ensemble pieces contributed by the Canada met in the centre. Johanna Rohde from Chicago and participants. Marjorie Taliano Nordaas from the north (Oslo, Norway) completed the compass making us fourteen participants. Marjorie had been touring her M.A. program “Remembering Fuego” with her gifted concert pianist Jie Zhang, who incidentally played for some of our tone classes and my Schubert “Nocturne” solo! Marjorie gave a profes- sional performance, a tremendous master class on Grieg’s tone form, leading us into the elemental quality of Norway, and also shared indications for flute. One afternoon, we bathed in the sweet sounds of a lyre duo, John Billing and Chio, who made a stop on their inter- national tour. Other fun moments included roasting potatoes on the campfire, washing endless dishes, modelling clay, There was a feeling of harmony and warmth throughout observing the cows (which Gabrielle called the “kinder- the conference. Valuable sharing took place between first garten”) and chatting in the changing room amidst the flurry year teachers and experienced professional eurythmists of dresses and veils. I can’t wait to see “Nymph and Goblin” alike. The conference felt nourishing and energizing on again, and the four Elements” by the Barrie Group. What many levels. We experienced truly beautiful, deep and an achievement! delightful eurythmy for four days. We hope that this will be Moving forward in the same spirit of community build- an annual event! ing through eurythmy, I would like to announce a summer Julie MacArthur, Eurythmy teacher, preschool through eurythmy conference for Eurythmists and Enthusiasts, here sixth grade at Sacramento Waldorf School in beautiful Nova Scotia! Jazmin Hicks, Eurythmy teacher at East Bay Waldorf Eurythmy By The Sea, School and Bay Area Eurythmy Ensemble member August 17-21 For more information, contact Eurythmy in Ontario me on 902 466-7735 or email margaret_osmond @ live.ca The Summer Eurythmy Week August , 2015, in Angus, Margaret Osmond Ontario, was full of surprises! After driving past endless Halifax, Nova Scotia, Canada fields, hills, cows and forests, it was a miracle to arrive at tranquil “Camphill Nottawasaga!” My mouth dropped open when I saw the “Novalis Hall.” What empowering architec- Eurythmy Spring Valley ture! The beauty, the wooden floors, the grand piano, and Annual Report the wonderful stage…all waiting! My ideal eurythmy holi- ESV’s touring ensemble is in its 29th year, and as our 30th day was just beginning. The nicest surprise was the genuine anniversary approaches, we are in the midst of our busiest welcome! Standing on my point of the seven-pointed star, I performance year in well over a decade. At the moment of felt I belonged. Thank-you to all who shared their space preparing this report, the ensemble has just completed with us, prepared our lovely meals, put us up, and applaud- performances in Taichung City, Taiwan, and is now in main- ed our performances. Gabriele Schneider held the many land China preparing to perform in three different cities. practical, artistic and social strands together with her light This tour only arose as a possibility in mid-fall, so with help touch. She led us through many basic exercises such as “I of many hands it was organized very quickly and has and You”, “The Energy and Peace Dance”, “The wishes of become one of the great journeys of discovery for the the Soul”…and we found them inwardly nourishing and ensemble this year. The ensemble has never performed in formative. Taiwan or China before, so all of the members are excited And, surprise! We had to do two public performances. to experience the work in the different Waldorf communities That meant we had to work and not shirk, during our inten- that they will visit. sive days together! Gabriele also invited her public class to 50 Eurythmy Association of North America Much like the touring ensemble, we are also having a eurythmy after a full summer, it contains many presenta- year of “firsts” in the school. Part of our good fortune at tions by the upper class students. The third-year students ESV is to experience the insights of colleagues from near have the task of presenting a biography of an artist or person and far, presenting their work in the context of the training of a different calling, who truly inspires them. The talk of and in our professional courses. This year has already been each student is a public event, in which they have the task very potent, not only through experiencing the research of to speak freely and to bring out the essential ‘red thread’ of our own faculty members, but also that of Stefan Hasler, the particular person’s life and work. Each year we are sur- Coralee Frederickson, and Volker Frankfurt, and we will prised at the choices and have the opportunity to hear some soon have the opportunity to gain from Ute Medebach’s truly amazing life stories, as well as seeing new, surprising work with The Michael Imagination and Michael Werner’s sides of the students in their lives as speakers. With a stu- with Vital Eurythmy. dent body from around the world, our horizons continue to Whether it is through seeing school eurythmy programs be expanded. This year we heard about , at home or on tour, or through the contributions of col- , Anna Pavlova, Farley Mowett, Emily leagues from other initiatives, we sense that so much sub- Carr, Christian Morgenstern, and two Chinese poets and stantive work is unfolding in the larger body of eurythmy sculptors, Lin Huiyin and Gu Cheng. Each biography was now. In our own work at ESV, which is filled with the steady unique, and each one opened new doors, with poetry trans- progress of our students and the creative unfolding of activ- lated from Chinese and German, pictures of the famous bal- ities of the ensemble, we find the same to be true. Eurythmy lerina, Pavlova, treatises about the environment and is growing in ebbs and flows through the striving of dedicat- Canadian pictures, experiences of a friend of Rudolf ed eurythmists in every corner of the world. Steiner’s…a grand tapestry indeed. Alongside the biogra- Standing side by side with this picture is also the pro- phies, the fourth-year students presented their talks on, found challenge to our art form of sustaining the work of ‘What is Eurythmy’, and, although given annually, it is how eurythmy trainings in different countries, cultures and lan- the students frame their thoughts and bring their ‘take’ on guages. With all of the prolific activities underway at eurythmy that is always refreshing and fascinating. Every Eurythmy Spring Valley, we are a living model of this polar- year in January, the fourth-year students also present their ity. Our training and performing work is stronger than ever, demonstrations on eurythmy themes, with their classmates yet we work daily to tackle the obstacles of sustaining a full- demonstrating the eurythmic elements under the direction time, art/movement training in North America. In this of the presenter. This year, Dionysian themes and vowels report, which has been prepared collectively, we would like and consonants came to life and were explored both in depth to share a glimpse of how our life and work is progressing, and also lightheartedness to the assembled school. both through the strides and the obstacles. Festivals Eurythmy Spring Valley Training – 2015/2016 As we have shared in the past, Eurythmy Spring Valley has A shift has happened in our diverse, international student a long standing tradition of students caring for the school body that is most evident when you walk into our school building and creating a festival life. Through this work the between classes. While the majority of conversations you students come to own their relationship to the school and might hear would be in English, you could easily encounter carry social life and seasonal rhythms in a deeper, more students conversing in Chinese, now the most prevalent for- meaningful way. The festival life is cared for by the second- eign language in our school. This year we have a wide range year students, who have the responsibility of creating festi- of continents represented by our 25 full and part-time stu- vals for our winter and spring End of Terms. dents, who come from the U. S., Japan, Taiwan, Korea, This year, the second-year students at Eurythmy Spring China, Canada, Peru, France, Germany and Australia. Valley studied “The Birth of Christ in the Human Soul”, a Adding the faculty, we also have the Netherlands and Christmas lecture by Rudolf Steiner. In this lecture, Rudolf England, included. For many years, the multi-cultured char- Steiner speaks of the thought of Christmas and the thought acter of our school has reflected the ethnic diversity of the of Easter as two pillars of the Spirit. From this the students country in which we live. The following updates on of work prepared a lovely Advent and Christmas festival for the within the school have been prepared by Barbara Schneider- school, including music, shared thoughts, and a game where Serio, Beth Dunn-Fox, Elsa Macauley, Laura Radefeld, and we could experience for ourselves a guiding light through Julia Alamo. blind-folded interaction and movement. We all had rich Professional Four-Year & Post-Graduate Trainings experiences and a joyous closing of our first term! Students Graduation The fall term at ESV is the longest of our three trimesters, Presently, the fourth-year class is busily engaged in and besides getting to know new classmates or returning to fundraising activities for their Dornach trip, and they have just put on a lovely piano concert at the Threefold Eurythmy Association of North America 51 Auditorium. The upcoming events planned by the class are and Dickinson. Volker Frankfurt from Berlin, who was also a lecture by Christian Community Priest, Bastiaan Baan, teaching in the M. A. Program, gave a weekend workshop Developing a Relationship to the Etheric World, a piano for professional eurythmists on the inaudible element in concert by ESV ensemble musician, Marcus Macauley and tone eurythmy, delving with lightness and depth into the an Art Auction. All upcoming events will be found on our subject matter. We are looking forward to Dorothea’s return website. At the same time the class is in the midst of prepar- from Europe, and we welcome Ute Medebach who will ing a fairy tale, verses, solos, and dramatic tone and speech teach in the Eurythmy School after the mid-winter break. As pieces for their graduation performance on June 4, 2016. noted above, Ute will also lead an ESV professional work- So far, pieces by J. S. Bach, Rudolf Steiner, Dag shop on the Michael Imagination, out of her decades of Hammarskjold, Johannes Brahms, and a story about destiny, experience, on March 4-5, 2016. On May 7, 2016, we are are in the mix for their graduation program, with much more excited to have Michael Werner bring his work with Vital to come! We hope that many of you can join us for the Class Eurythmy in an all-day professional workshop at ESV. of 2016’s graduation performance. Please be sure to call or More details on his workshop will be on our website in email the ESV office to reserve a seat if you are able to March, 2016. attend. Pedagogical Post Graduate Course The summer 2015 Pedagogical Eurythmy Course focused As with almost every year, our post-graduate program is an on pedagogical eurythmy for grades three through eight international meeting ground of nationalities and training with returning master Waldorf eurythmy teacher trainers, backgrounds, working together to explore artistic develop- Cristina Geck of Shining Mountain Waldorf School in ment with the guidance of ESV faculty. As a program, our Boulder, Colorado and John Holmes of Kimberton Waldorf post-graduate artistic year is meant to give time and space School. Noris Friedman of the Baltimore Waldorf School, a for exploration, deepening skills and gaining an understand- eurythmy teacher with over thirty years teaching experi- ing for the art through one’s own insights, without the pres- ence, joined the pedagogical eurythmy faculty for the first sure of graduation or the demands of daily work in euryth- time this year and brought a wealth of insight to questions my. This year’s class has been a mixture of partial program regarding the curriculum of the middle school. The summer and full-year students. We have three full-time students at course was a study of the “nuts and bolts” of eurythmy ped- the core of the program from the U. S., Peru and China. In agogy for the middle of childhood. the fall, three students from Australia and Germany joined The course was organized to support developing teach- these three full-time students for the first term and now a ers to learn what is indicated in the Waldorf curriculum for student from France will take up the work of the second and these grades, why activities of the developmental curricu- third terms, which is focused on preparing for the spring lum are well suited to students developmentally, and how to post-graduate performance. Julia Alamo, from Peru, has bring this material--how to build it up from year to year, given a short preview of what their program will hold: week to week, lesson to lesson. For speech eurythmy, we are working on a meditative Each student spent three weeks in October 2015 in a poem by Rudolf Steiner, modern pieces such as, “Thanks” Waldorf school with an experienced eurythmy teacher-men- by W.S. Merwin and “Last Days” by Mary Oliver, as well tor, practicing the principles and methods learned over the as a light story about a dog and a cook, along with other past two years. Students experienced the challenge of meet- humorous pieces. For tone eurythmy, we are immersed in ing particular classes with well-prepared lessons, and under- developing a beautiful, flowing piece by Debussy, standing the children’s response to their lessons as eloquent “Reverie”, and a playful trio for flute, violin and cello by feedback. This is the best learning—direct contact with stu- Haydn. We are also preparing both speech and tone euryth- dents to experience one’s own strengths and challenges as a my solos. Our performance will be on April 30, 2016. We teacher, and to formulate questions to lead one further on are looking forward to sharing a colorful bouquet of artistic the path of teaching. pieces with all who can join us. This work will continue in the 2016 summer course Visiting Faculty with a comprehensive review of pedagogical eurythmy We are in the middle of the second term of the school year from early childhood through grade eight and an introduc- and have had a very rich beginning with many visitors from tion to high school pedagogy with Raymonde Fried of around the world: Zvi Szir from Basel spoke on art’s mis- Kimberton Waldorf School and Laura Radefeld of Green sion in the world today, Stephen Sagarin introduced art his- Meadow Waldorf School. Lastly, students will look at the tory with his vast knowledge, many slides and amusing overall gesture of the Waldorf curriculum to see how the anecdotes, Coralee Frederickson, alumna and in-town for eurythmy curriculum supports and is supported by the the Alanus M. A. Program, gave a course on the seminal Waldorf curriculum. The summer course will end with stu- ideas of Emerson, and then dove into poetry by Whitman dent presentations of early childhood through twelfth grade 52 Eurythmy Association of North America eurythmy. moving in and out of Waldorf communities, to a Camphill, The distinguished core faculty of experienced faculty a large public school and a beautiful theater in the Sierra from across the US serving on the Pedagogical Eurythmy foothills. We were particularly heartened by the response Course is a wonderful development. The course is organ- from the children in the public school in Washington State, ized to present varied approaches to the curriculum so that as they were very enthusiastic about our performance, students learn different ways to approach the developing which featured “The Donkey,” by the Brothers Grimm. As child, helping students to realize that their own approach to shared above, the Ensemble is currently on a tour to Taiwan the task must be individualized out of their own understand- and China. This tour came about as we were to perform for ing and deepening insight in child development. the 20th Anniversary celebration of the Leichuan The sixth sequence will begin this summer as this fifth Kindergarten in Taichung City, Taiwan, which was the seed sequence draws to a close. for the Leichuan Waldorf School and the Shishan College. The Challenges of Sustainability With this invitation, others began to arrive, and the ensem- Each year, in our annual letter to friends, we seek to give a ble is now in China for the second leg of the tour. Having comprehensive view of our journey as a eurythmy training completed performances in Taichung City, Taiwan, and and an ensemble. As a training, we work in the specialized Shanghai, China, they are now moving on to Hangzhou and field of eurythmy, which has its own world context, yet we Beijing, China. Both tours have brought many meetings must also reckon with being a non-profit arts organization in with new and old friends, and it is with deep gratitude that the U.S., which presents a different set of factors that we the ensemble members have had the privilege to take part in must work with. Looking from the view of eurythmy train- the lives of other “human beings seeking the same goal.” ings worldwide, it has been a very challenging few years This also has been a year of transition for the membership with the closure of trainings in both England and Norway. and program development of the group. Having worked Each eurythmy training brings a unique contribution to the very intensively over two years with the pieces in their pro- art of eurythmy, so the closing of these trainings changes the gram, The Tide is Turning, the ensemble will put that explo- landscape of eurythmy itself. Just as the approach in each ration to rest at the end of their current Taiwan/China Tour. training is different, so is its organic structure and chal- At the same time, we will all say a very warm farewell to lenges. In our case, since the late 1990’s, we have had to Shiori Ogihara, who will be leaving the group and faculty of carefully navigate each year, programmatically and finan- ESV to step into teaching in Taiwan. We look forward to cially, to continue. It is not in calm seas that we often oper- hearing about all of Shiori’s activities in that area of the ate, but rather in a fair amount of wind resistance that we world! Joining the group for the new programs under devel- must hold our course. Critical to continuing our work over opment is Gabrielle Armenier, an alumna of Eurythmy the past two decades has been the support of many devoted Spring Valley. Welcome, Gabrielle! Previews of the new friends and foundations in this country. The question of sus- programs will begin to emerge in the remaining perform- tainability is a long term one for us that must include new ances of this year, and be fully ready for touring in fall. areas of support for stability to secured. As we work on Parent/Teacher Education Project those possibilities, we send our heartfelt thanks to our As we have shared in recent issues of the EANA Newsletter, eurythmy colleagues and friends of eurythmy for the inspi- Eurythmy Spring Valley is working on a project to shed ration and support that you give to our daily strivings at light on what eurythmy actually does for the developing ESV. child in each year of school. In this multilayered project, we Ensemble are seeking to show how eurythmy works in concert with Since the ensemble’s year began in September, 2015, the other subjects in the Waldorf curriculum to uniquely support roster of activities and performances has been very rich and the child’s journey through growth. Our current focus in the varied. With three festivals, two tours to the west coast and project is the high school years, developing videos for ninth the Far East, four local performances, a children’s perform- through twelfth grades. We are excited to have turned a cor- ance at Green Meadow and the development of a new tour- ner in January, 2016, as the majority of filming has been ing and children’s programs, the pace of moving from pro- done within the classrooms and we are now moving into the gram to program has been a training in versatility! next phase of completing interviews with teachers and stu- The work of the ensemble is in a dynamic period of dents, developing the scripts and completing the video edit- growth that has already taken them to four regions in North ing. We are deeply grateful to Laura Radefeld, John Wulsin America and three different countries, since September, and the high school faculty of Green Meadow Waldorf 2015. For the first time in several years, the group had an School, for their tremendously helpful support in develop- extensive tour to the West coast in the fall and was thrilled ing this project. to experience the life and work of that region! Their travels Another segment of the project, developed for the tour- took them to California, Oregon and Washington states, ing ensemble, is the offering of live, interactive events to Eurythmy Association of North America 53 Waldorf schools that take teachers and parents into the From the Victorian to the Modern Poets – A Poetics developmental journey of the child through movement. We Course with Coralee Frederickson, Ph.D have already begun offering these events on tour and found Continuing on from her course on American Romantic that they can open another avenue of dialogue about the Essayists and Poets, Coralee Frederickson, PhD, will draw efficacy of eurythmy in school communities. us from the Alfred Lord Tennyson and Gerard Manley For information about these events, contact our tour Hopkins, in the late 19th Century, into the modern, poetic coordinator, Sea-Anna Vasilas at [email protected]. voices of 20th Century, beginning with the work of Wilfred Owen, a representative of World War I poetry. The diverse styles of e. e. cummings, Dylan Thomas, and Seamus Heaney will be explored in this course, among many others. Join us for this rich immersion into the poetry of the modern era, a course within the Poetics studies at ESV. All are wel- come! A graduate of ESV, Coralee has been the School Leader at Den norske Eurytmihøyskole, in Oslo, Norway, as well as the Program Director of their B. A. Completion Program, which was hosted over two cycles at ESV. Coralee is now the Co-Director of the Alanus University, M. A. ESVE Members receive flowers from fans in Taiwan Program in Eurythmy, which is based in Alfter, Germany, ESVE Winter Tour 2016 – Taiwan and China and is also bringing a cycle of their program to our campus. February 19 – Shi Shan College, Taichung City, Taiwan Thursday–Friday, April 28, 2016, 9:35am-2:55pm February 20 – Shi Shan College, Taichung City, Taiwan (Three sessions with a lunch break) and Friday, April 29, February 22–China Fu Yuan Waldorf School, Shanghai 9:35am-12:25pm (Two sessions.) Course Fee: $75. February 27 – Hangzhou, China February 29 – Beijing Chunzhign (Spring Valley) Ning Post-Graduate Course Performance March 1 – Beijing Nanshan School Our post-graduate students are hard at work preparing for their final performance, which promises to be a rich and Eurythmy Spring Valley Events unique evening of eurythmy. Their program will include works by Rudolf Steiner, W.S. Merwin, Claude Debussy, School of Eurythmy—Winter End-of-Term Festival Joseph Haydn, Mary Oliver, as well as a light story about a Since the beginning of ESV’s winter term, our students have dog and a cook, and other humorous pieces. You are warmly been immersed in learning the many elements at each stage invited by the faculty and the fifth year to join us for this of the training. It is always remarkable to see the clear steps culminating performance of their year-long course! of development and refinement inherent in the training, Saturday, April 30, 2016, 8:00 p.m., at Threefold through watching our student presentations from the first Auditorium. $15/ $9 students and seniors. class through the post-graduate year. We invite you to join us in celebrating their work at our Winter End-of-Term Vital Eurythmy – Professional Course for Eurythmists Festival. Wednesday, March 23, 2016, 7:30 p.m. with Michael Werner We are delighted to have the opportunity to experience Piano Recital by Marcus Macauley – FourthYear Michael Werner’s work with Vital Eurythmy in a course for Dornach Fund Raiser eurythmists at Eurythmy Spring Valley. As Michael Spring is on its way and we’re delighted to have a Sunday describes, “Vital Eurythmy is an anti-stress method and afternoon a piano recital, to welcome in the season! Come includes three dimensions: movements (of the sounds), with your family and enjoy this special concert offered by awareness and mental focus. It can help people to get a new pianist and composer, Marcus Macauley,to support the perception of the body and the fields of energy around and Fourth Year, “KK Class of 2016” Graduation trip to in it. We use these fields of energy to support people to Dornach, Switzerland. Marcus’ program for the afternoon recover from their daily stress at work and in their lives. The concert will include Three Preludes and Fugues from Bach’s exercises of Vital Eurythmy are well proven and in this Well-Tempered Clavier, Brahms’ Four Piano Pieces, workshop we will build them up, so you can use them in Op.119, and, after intermission, Schubert’s Piano Sonata in your life.” Michael Werner, Christiane Hagemann and B-flat Major, D.960. Sunday, April 17, 2016, 4:00 pm, Annette Bopp have just finished their book about Vital Fellowship Community, Hilltop House Dining Hall, Eurythmy, which will come out in April, 2016. We hope you Chestnut Ridge, NY. Suggested donation: $20 / $10 students can join us for this rare course. Saturday, May 7, 2016, 9:00 and seniors / $5 children. am-4:00 pm, School of Eurythmy, Course Fee: $75. 54 Eurythmy Association of North America Astronomy from a Human Perspective: Patterns and complementary arts. Details on Summer Eurythmy Week Rhythms of the Cosmos 2016 faculty and activities are still being completed and will A Series of Lectures with Michael D’Aleo be posted in our enewsletter and on our website in mid- This course will explore the dynamic movements of the March, 2016. If you haven’t signed up for our enews, that stars, moon sun and planets as seen from earth. Beginning can be done on the contact page of our website, www.eury- with basic observations as seen with the naked eye, we will thmy.org, by following the link on that page. Join us for this follow humanities’ understanding of how the realities of week-long course focused on giving each participant a time and space unfold here on earth. A key aspect of the direct experience of the health-giving benefits and depth course will be the discovery of finding the time and location that eurythmy can provide. you are presently at on earth, once you know the patterns Sunday-Friday, June 19-24, 2016 and rhythms of the stars. This will be a dynamic, interactive School of Eurythmy course. Course Fee: $400. Thursday-Friday, May 19 & 20, 2016. Six sessions at the School of Eurythmy. Summer Refresher for Eurythmists on Waldorf Course fee: $90 / $15 per individual class session. Pedagogy 2016 Bringing a wealth of experience to our Pedagogical Graduation Performance Refresher Course in August, 2016, Annette Bammer will On June 4, our fourth-year class will present their gradua- lead participants through simple, playful movements tion performance at the Threefold Auditorium for family, addressing the four lower senses in a musical, rhythmical friends, and all who have supported them on this incredible way--essential movement helping children settle into their journey! Our three students in the “KK” Class are from “physical home”. Taiwan, Canada, and the U. S. Their graduation program Annette has worked in main lessons with children to do will include works by, J. S. Bach, Rudolf Steiner, Dag this foundational work. Additionally, she will work with Hammarskjold, Johannes Brahms, a story about destiny, and pedagogical eurythmy for early childhood and grades one many other surprises. and two children in relationship to the lower senses and will Seating is limited, and tickets must be reserved in share her experiences and insights regarding working with advance from the Eurythmy School office. Saturday, June 4, the fairy tale as a project in eighth grade eurythmy. 8:00 p.m., Threefold Auditorium, Donations welcome. Annette’s themes will also include how to prepare the eighth grade project in seventh grade, through working with soul Save these Dates for other Graduation Festivities gestures and the ballad, the development process, etc. Children’s Performance by ESV Graduates – Tuesday, Annette Bammer is a therapeutic and pedagogical euryth- June 7, 2016, 4:00 p.m., Threefold Auditorium mist who taught for many years in Viroqua, WI, Pleasant Excerpts from the ESV Graduation Performance of the Ridge Waldorf School. She has recently re-located to Class of 2016 – Wednesday, June 8, 4:30 p.m. Berlin, and so it is a special treat that we can offer this work- Location to be announced, Chestnut Ridge, NY. shop with Annette. Dorothea Mier will continue to deepen the theme taken up for four years, and continued each sum- Spring End-of-Term Festival mer since, on understanding tone eurythmy through As another school year comes to a close, our students are major/minor/dissonance. Laura Radefeld will present an pleased to share with us the fruits of their labors. It is here evening program on the presentation of eurythmy to parents that we glimpse at their culminating work that has prepared or non-eurythmists. As always in the refresher course, we them to step into the next year. Please join us for a demon- will have time to share material with one another and dis- stration of their work during the spring term, at the close of cuss topics of current concern and interest. If participants our training year. have a eurythmy solo to share, it would be lovely to make Thursday, June 9, 2016, 7:30 p.m. time for sharing artistic work with one another. School of Eurythmy, Chestnut Ridge, NY. Monday through Friday, August 8-12, 2016 Donations welcome. Course Fee: $400

Save the Date! – Summer Eurythmy Week 2016 For information on all events and courses: 845-352-5020, Spend a summer week at Eurythmy Spring Valley moving ext. 13, or [email protected]. Please check our website with others who, too, enjoy the width, depth and pleasure for updated information: www.eurythmy.org. eurythmy can bring. As the activities of the school year come to a close, there is no better way to rejuvenate and refresh than with a week of eurythmy, augmented by other Eurythmy Association of North America 55 Letter to the Editor free of the physical spine. (How the New Art of Eurythmy Began – Lory Maier-Smits, The First Eurythmist. Dear Editor, Magdalene Siegloch. Temple Lodge Press, London c. 1993, To expand on Marta Sternberger’s concluding statement, page 31.) “From Hawaiian shamanism, we learn that ‘IAO’ is the For more information about Hawaiian traditions and sacred name for the Infinite Light, the Light of the World” sites, see artist Van James’ guidebooks on travel in Hawaii. (Eurythmy at the Institute of Noetic Sciences, EANA The following excerpt from his Maui volume, Ancient Sites Newsletter, Vol. 90, Autumn 2015), we could turn in several of Maui, Molokai and Lanai (Mutual Publishing, c. 2002), directions. Many of the following examples were, no doubt, was sent from Mr. James, the current General Secretary of included in Ms. Sternberger’s exhibit. This response will the Anthroposophical Society in Hawaii: not address shamanism. Ka pali kāohi kumu ali‘i o ‘Īao. The ancient Gnostic writing commonly titled Pistis The cliff of ‘Īao that embraces the chiefly sources. Sophia begins Division IV, A Fifth Book (probably written [‘Īao, Maui, was the burial place of many chiefs of high in the first half of the third c. AD) with a conversation rank who are the ancestors of living chiefs.] (28/165) between the resurrected Christ and his disciples: “At that —Hawaiian saying time Jesus stood with his disciples on the water of the Ocean Beth Usher, and made invocation with this prayer, saying: “Hear me, my Austin, Texas Father, father of all fatherhood, boundless Light: aeēiouō iaō aōi oia...And Jesus made invocation, turning himself Resources toward the four corners of the world with his disciples, who Music that Moves Me by Truus Geraets bings together the were all clad in linen garments, and saying: “iaō iaō iaō.” human voice in singing and the singing of the whole body This is its interpretation: iōta, because the universe hath in movement. Truus Geraets created this book, based upon gone forth; alpha, because it will turn itself back again; her deep love for music, and especially for singing. All ōmega, because the completion of all the completeness will inspired by a life-time working with Eurythmy as an Art and take place.” (Pistis Sophia, originally Greek, translated into as Therapy. English from the Coptic Gnostic document by G.R.S. Mead. A self-help book, with demonstration video, showing John M. Watkins, London, c. 1921. p. 295, 296.) how the materials can be used working with individual chil- Rudolf Steiner included a meditation on IAO, begin- dren as well as with groups of younger and older people. ning with a new, non-physical streaming uprightness and 51 Pages Text, 41 Songs in Musical Notation concluding three pages later with a sacred mood, for his Cost $ 34 + shipping and handling early esoteric pupils. (From the History and Contents of the Payment possible through PayPal or send check to: First Section of the Esoteric School 1904-1914 edited by 782 E. Mariposa St. A, Altadena, CA 91001 Hella Weisberger, Anthroposophic Press, Hudson, NY, p. Also available: “The Healing Power of Eurythmy” as an E- 166-168.) book ($43 +sh/h) Orders to [email protected] or by We are grateful to Werner Barfod for his book IAO and phone 626 219 6010 the Eurythmy Meditations, (Mercury Press, Spring Valley, NY. c. 2001), for his depth of insight and research. This is A Treasure Trove of Free Resources a remarkable extract from his fourth chapter, IAO – the First Eurythmic Exercise, p. 30, referring to wonder, love and for Eurythmists conscience: In the context of a parallel with these moral Did you know that AWSNA has made many wonderful qualities and IAO, Barfod writes, “In the course of downloadable resources available to us? Go to www.wal- mankind’s development, these forces are taken hold of in dorfeducation.org, and click on the link at the bottom of the succession. With the appearance of Christ on earth, in par- homepage for the Online Waldorf Library (owl). There you ticular through his death and resurrection, it became possi- will find ebooks of Rudolf Steiner’s lectures on education, ble for the human being to internalize these three forces and as well as the following AWSNA publications: Leaving make them his own.” Room for the Angels, by Reg Down; Eurythmy: A Creative At the end of his lecture cycle, Initation, Eternity and Force in Humanity, by Sylvia Bardt; Allegro: Music for the the Passing Moment, part of the Mystery Drama confer- Eurythmy Curriculum, by Elisabeth Lebret; Kinesthetic ence, Rudolf Steiner invited Lory Smits and her mother Learning for Adolescents, by Leonore Russell, and backstage for “the first definite indications for the vowel- Eurythmy for the Elementary Grades, by Francine Adams. sounds I A O...While I was trying it he [repeated]: ‘The If you search further, you will find back issues of Gateways, weight rests on the balls of the feet, not on the heels’...” He the journal for Waldorf Early Childhood education, with was asking Lory to experience a non-physical uprightness, articles on all aspects of early childhood development and a 56 Eurythmy Association of North America wealth of poems and stories suitable for adapting for the we hope might be interested in that aspect of the project. eurythmy lesson. Issues of the Pedagogical Section Michael Burton’s U.S. Tour: Michael is now in Newsletter are also available. There is much, much more for Chicago, heading to Milwaukee, WI, Chapel Hill, NC, your perusal and use. Fairly soon, back issues of Renewal Asheville, NC, Princeton, NJ, New York, NY, Austin, TX, will also be available. Marianne Alsop, who manages the Phoenix, AZ, Tucson, AZ, and , before he Online Waldorf Library for AWSNA is continually adding returns to Australia. He will be back in May for the more resources, so check back regularly! Readers’ Theater and will perform again as is possible. His Other resources will soon be available for eurythmists one man Shakespeare performance has been very well working at schools that are members of AWSNA. A pass- received. word-protected area for members is in development, where Readers’ Theater: The play will have its first public there will be message boards and sections on “Shared reading at Whitsun in Fountain Hall, Camphill Copake, NY. Practices.” This area was formerly called, “Effective This will take place on Saturday, May 14. This will be fol- Practices,” and had housed an updated (2012) document on lowed by subsequent readings in Chicago (May 21 or 22) Effective Practices for Eurythmy. I am in the process of and on the West Coast, May 28 or 29. It is our hope that updating the file, to include resources that can be of these events will give us an opportunity to meet new actors particular use in preparing for presentations to the school who might be interested in the project. We will have some community. Among the items I hope to include will be some of those who have been part of our work in the past, either of Rudolf Steiner’s references to eurythmy in schools; a from days of Portal Productions or from the work last year sample eurythmy curriculum; Thomas Poplawski’s articles in Spring Valley with all four of Rudolf Steiner’s Mystery on pedagogical and therapeutic eurythmy published in Dramas. The process of expanding the company of stage Renewal over the years; suggestions for building up a artists in anticipation of the tour will be started, as we travel eurythmy program in the schools; and an updated list of to each location. We anticipate something similar happening eurythmists available for mentoring and evaluation. Please in Europe, probably in England, in the summer and in the let me know if there is something in particular that you southern hemisphere some time after that. would like to find in this file. Eurythmy: I expect that a similar type of announcement Susan Eggers will be made soon about how the Eurythmy constellation Waldorf School of Princeton, NJ will be developed. The directors of the symphonic eurythmy production will be Benedict Zweifel and Carina Schmidt. Announcements Finances: We had new members who work on the finan- cial side of the process with us for this meeting and a further Lemniscate Arts refinement is underway in the overall financial planning and International Festival Tour communication. Work is underway toward the sources of The Latest Developments in Plans for an larger funding organizations and individuals, but it is the International Festival Tour combination of multiple sources that give us the hope that We have taken a significant step forward in the development we will be successful. of our planned Festival Tour. A group of 16 of us met in Ann Gift Tickets: On the financial side we have had an idea Arbor, Michigan, at the administrative office building of the for some time now but have only begun to open it up now Anthroposophical Society in the USA for over four days. in coordination with Michael Burton’s one-man The New Mystery Drama: We read through the sixth Shakespeare performances. This new idea is in the form of edition of The Working of the Spirit and came away with the a Contribution/Ticket. As I am sure you will understand, we agreement that, as written, the play is the basis of our next need substantial funds to get to the opening of the tour and steps. We recognize that it will go through a further as part of that, we have developed our own “crowd funding” tightening both as preparation for publication and with concept. In principle the idea is that if we sell enough tick- reworking for stage presentation. ets, the project will work well financially. We are asking Shakespeare Decision: After serious consideration and people to make a donation of $100 now, knowing that there discussion about which Shakespeare play will serve our is no guarantee that we will actually get the full funding Vision and Mission statements, which were reconfirmed in necessary to bring the tour into being. We are hopeful, but the meeting, we have arrived at a decision. A Midsummer it is a big project. If we succeed in accomplishing the tour, Night’s Dream will be the production, along with a then the numbered card that has been issued can be Symphonic Eurythmy program and The Working of the redeemed anywhere in the world, for one ticket of value up Spirit, that form the heart of our Festival Tour. to $100. In essence, we gift the funds back to you. We have Directors: We have created a short list of potential theater been surprised at the very positive response that this has artistic directors and will begin to contact individuals that generated and funds have begun to flow to keep us going. Eurythmy Association of North America 57 Do you want to help? If you are interested in this idea Israel in the International Department of Eurythmy Therapy at the moment you can make a contribution on the web site (“Eurythmy Therapy Forum”). She is also an instructor in and put in a note that it is for a contribution/ticket. We will the Jerusalem Waldorf Teacher Bachelor Program in David send you the document. Eventually, we will have this avail- Yellin Academic College, and a guest teacher in various able fully electronically. Having discovered that it works, venues worldwide, including the Goetheanum, and the MA we are just beginning to add this mechanism into our work. Program in Eurythmy held in Emerson College. The mood is a very positive one for those who have Besides the material mentioned above, Lea van der been working on this for the past three years. Pals’ book The Human Being as Music (Robinswood Press All the best in your work, 1992), published in German in 1969 as Der Mensch Musik, Marke Levene is highly recommended as background reading for the www.workingofthespirit.com course. Anyone interested in initiating such a course in their Van der Pals/Kirchner-Bockholt own country may contact Jan directly at: [email protected] Tone Eurythmy Therapy Course Held in English by Jan Ranck Master’s in Eurythmy April 1-10, 2016 The first Master’s program in eurythmy is well underway in Camphill Ballytobin, Ireland Spring Valley. The first two weeks of this part-time course The course is warmly recommended for trained eurythmists, took place last October, the third week was in January and eurythmy therapists, medical doctors and music therapists. the final week of the first year of this two-year program will Information and Registration: [email protected] be in May. Each block is five days long and on four morn- As space is limited, early registration is recommended. ings, “master classes” in eurythmy ensure that this Master’s Inspired by Rudolf Steiner’s indication that tone eurythmy course holds the balance between eurythmy practice and therapy should be developed in addition to speech eurythmy reflection on practice. Guest teachers for the first year have therapy, the eurythmist Lea van der Pals and the medical been Stefan Hasler, Volker Frankfurt, and Steve Sagarin. doctor Margarete Kirchner-Bockholt worked together in the Shaina Stoehr, and Coralee Frederickson, the course early 1970s to develop a sequence of exercises in connec- carriers, also contribute to the morning sessions, mentor tion with the diseases discussed in Rudolf Steiner and Ita individual students, and guide the development of the skills Wegman's book Extending Practical Medicine. needed for the MA thesis/project. All three specializations This course was taught for many years by Lea van der are represented: Therapy, Education (which includes Social Pals within various eurythmy therapy trainings, and the Eurythmy) and Performance. Between blocks, students are effectiveness of the exercises was proven in practice. When busy writing and preparing oral presentations, as well as for health reasons Lea van der Pals was prevented from with eurythmy practice. continuing to teach, she passed the torch to Annemarie This is the second Alanus Master’s in Eurythmy in Baeschlin, who took over holding the course and assisted English that Coralee and Shaina have been responsible for Lea van der Pals in bringing the material into book form. in the English-speaking world. The first cohort of 15 At this time Jan Ranck held the practice sessions within students is now entering the final phase of the MA Annemarie Baeschlin's courses, and was also involved with project/thesis in the UK and will be finishing around compositional and editorial suggestions for the publication September 2016. Their dissertations and projects cover a Ton - Heileurythmie, Verlag am Goetheanum 1991, pub- range of themes relevant to their professional lives in lished in English in 2009 as Tone Eurythmy Therapy by the education, therapy or performance and promise to be a Medical Section at the Goetheanum. contribution to the presence of eurythmy in the fields of Jan Ranck did her eurythmy training in Dornach with therapy, education, and art. Lea van der Pals, and her thera- On the whole, we have found that two themes recur in peutic eurythmy training in this course: first, the need for a language that can facilitate Stuttgart. She was a faculty mem- communication with parents, patients, and the general ber of the Eurythmeum in public, and secondly, the value of understanding related Dornach and The London School disciplines and approaches to research that are compatible of Eurythmy. She is the founding with eurythmy and anthroposophy. director of the Jerusalem The next Alanus Master’s in Eurythmy in English will Eurythmy Ensemble (1990) and begin in September 2017 in England (Emerson College) or the Jerusalem Academy of Järna, Sweden. For more information, contact Coralee and Eurythmy (1992), and represents Shaina at [email protected]. 58 Eurythmy Association of North America Eurythmy in the Workplace Four Day Workshop for Eurythmists and March 23, 2016, is Annemarie Ehrlich’s 90th birthday. She Rising Fourth-year Students will celebrate with a birthday party organized by Mami Wednesday, August 3 through Saphir in The Hague. The party will be a eurythmy perform- Saturday, August 6, 2016 ance! Annemarie has begun to set up a website for Ottawa, Canada Eurythmy in Working Life, and the address is: ewl-insti- Master classes and individual work in the elements of tone tute.com. Annemarie’s current courses are listed there…still and speech eurythmy with Christina Beck, USA. Ottawa teaching at 90! Her address is Dedelstraat 11, 2596 RA Den will be beautiful in August! Haag, Netherlands. An anthroposophical conference, with presenters from Barbara Richardson Dornach and elsewhere, including professional eurythmy performances follows in Ottawa, Aug 7-14. Italy Odyssey A minimum enrollment by May 15, 2016, will be need- June 27 – July 12, 2016 ed to cover costs of the eurythmy workshop. with Margot Amrine and Gillian Schoemaker Please contact Sylvie Richard Contact Gillian Schoemaker for infomation at: [email protected] 610 469 0864 or [email protected] Phone: 613 292 0060

Conferences and Workshops Summer Eurythmy Conference Eurythmy Spring Valley for Eurythmists and Enthusiasts in Nova Scotia May 7 – Professional Eurythmy Workshop with Michael Eurythmy By The Sea Werner on Vital Eurythmy at the School of Eurythmy August 17-21 June 4 – Graduation Performance 8:00pm For more information, contact Margaret Osmond at Seating is limited, and tickets must be reserved in advance 902 466-7735 or email margaret_osmond @ live .ca from the Eurythmy School office. June 7/8 – Children’s Performance by ESV Graduates June 20 – Summer Studio Performance for Sunbridge Institute Programs and ESV Summer Eurythmy Week - Performance of solos of ESVE members with other local eurythmists. Threefold Auditorium, Chestnut Ridge, NY August 8-12 – Refresher Conference for Pedagogical Eurythmists, School of Eurythmy, Chestnut Ridge, NY

Children perform eurythmy at Credo Rose Eurythmy with John Hinkle at the Waldorf School of Orange County Stone Bridge School, North Bay area, CA with eurythmist Miyoung Schoen High School Students of Green Meadow Waldorf School

Four Scenes from “The Devil with the 3 Golden hAIRS”: Cascadia Society; the Seattle Waldorf School Bay Area Eurythmy Ensemble