The Origin and Development of Eurythmy 1918–1920

GA 277b — 29 May 1920, Dornach

70. Eurythmy Performance

“Veni Creator Spiritus” by J. W. v. Goethe
Saying from the Calendar of the Soul (8th) by Rudolf Steiner
“All” by C. F. Meyer
Saying from the Calendar of the Soul (9th) by Rudolf Steiner
Opening “Look within” with music by Leopold van der Pals
“To the Moon“ by J. W. v. Goethe
Opening ‘Look Within’ with music by Leopold van der Pals
”Joy“ by J. W. v. Goethe
”Melody“ by Ludwig Jacobowski with musical accompaniment by Leopold van der Pals
”Swallows” by Christian Morgenstern
A saying from the Calendar of the Soul (10) by Rudolf Steiner
“Forest Concerts” by Christian Morgenstern
Children's performances of all kinds, with music by Leopold van der Pals
“To my calf” by Fercher von Steinwand
Children's performances (anapaests with music by Max Schuurman; “A Riddle” by Rudolf Steiner;
“Lenz Triumphator“ by C.F. Meyer)
”Kleiner Tanz“ by J. S. Bach (children's group with eurythmists)
”Den Originalen” by Christian Morgenstern Children's performances with music by Max Schuurman
The ‘Elster’ series by Christian Morgenstern
Opening of the conference with music by Leopold van der Pals

Eurythmy performance for the members of the “Evangelischer Lehrerverein Baselland und Baselstadi”, who had previously been given a tour of the Goetheanum by Rudolf Steiner.

Dear ladies and gentlemen!

First of all, allow me to express the deepest satisfaction - both for myself and for the Executive Council of our Goetheanum - that you have been able to honor us with your visit today. It is a special pleasure for us to find interest in your circle, in your association for our weak attempt to introduce you to modern spiritual development. We will now, since you have only a little time left, take the liberty of briefly demonstrating some of our eurythmy for you.

I will not say many words in advance, but just say that this eurythmic art has two sides. In particular, it has the artistic side, then the pedagogical-didactic side, which I do not want to touch on here in particular, and it also has a hygienic-therapeutic side. First, I would like to talk about the artistic side. Our eurythmic art is indeed a kind of artistic language, studied on the basis of Goethe's view and attitude towards art in the tone sequences and movements that underlie visible language. This eurythmic art, this silent visible language of eurythmy, I may well just briefly hint at today, is also something that will play an important role in the future. Likewise, the pedagogical-didactic direction will acquire a special significance. This art will, once people start thinking about these things a little more objectively, certainly find many friends and attract interest from onlookers.

With regard to the pedagogical-didactic part, we can say that we have already had the best experiences with it, since we have added eurythmy to the curriculum of the Stuttgart Waldorf School as a compulsory subject, as a kind of soul gymnastics. Not to replace gymnastics, but alongside ordinary gymnastics, this eurythmy class goes hand in hand with it, in a sense, a form of gymnastics for body, soul and spirit. While ordinary gymnastics is more of a physical education, this eurythmy as a spiritualized form of gymnastics has an effect particularly on the initiative of the will, on the shaping of that which is human soul initiative. I just wanted to say that in advance in relation to the presentation.

Due to the limited time that is left for you, I am unable to say anything specific about children's eurythmy. We can only give you a few examples. But I would ask you to consider what is coming in eurythmy and, in general, what can already be given today, as well as everything else here, as something that is only just beginning. Much is still in the process of development. We are our own harshest critics, but we know that this art can continue to perfect itself. And if it finds the interest of our contemporaries, then this eurythmic art will establish itself over time as a special art alongside the older sister arts. In the same way, the significant pedagogical and didactic side of educating young people will be able to play a major role in the future. I hope that you will be able to turn your interest to our events and that we will not have to disappoint you completely with our performances, which, due to the limited time, can only be a few.