The Origin and Development of Eurythmy 1912–1918

GA 277a — 10 September 1915, Dornach

The Apollonian Course XXI

The notes for this hour contain different variations of the Tiaait / Tiaoait given on that day, which are documented below. Erna var Deventer reports that Rudolf Steiner said, “These movements in the Tiaoait are these sounds” (see p. 518).

Tiiaaiit and Tiaoait

These are the forms for the sounds Tiiaaaoaaaiit. (Good for children and young people, so that their thinking does not become “confused”).

This form can also be danced between the individual verses of ceremonial poems. It can also be practiced as a preliminary exercise: Tiiaaiit.

tiaoait: these are the forms for the sounds Tiaoait, suitable for sublime cosmic poetry. You can also practice Tiaait, “so that your thoughts don't get tangled up.”

Tiaait

Sept. 10 / Tiiaait / Tiaait / change / change / Tiaoait / the complete cross

The positions [of the 6 people] in the room correspond to the formation of the sounds.

t = standing (1st row)
i = first unwinding spiral (2nd row)
i = second unwinding spiral (3rd row)
a = the two front pairs move apart, creating an angle in the space, while the back pair remains standing. (4th line)
a = the back pair remains standing, while the two front pairs perform the next form twice. (5th and 6th lines)
a= the angle forms again
i = first enveloping spiral back
i = second enveloping spiral back
t = standing in the starting positions

Variation of the Tiaait

tiilaaaoaaaiit-upbeat for odes, for Goethe's “primordial words,” biblical creation story.

The first part of the form is performed as in the previous form up to the double a. Then the two front pairs, with the rear pair remaining stationary, form the sound o in a semicircle in the rear space, so that the angle now opens to the rear (7th line); the exact mirror image of the front form is then performed until everyone arrives back in a straight line at their starting position with t.

Variation of the Tiaoait

Tiaaoaait