# Art and Anthroposophy The Goetheanum Impulse: Summer Art Course 1921

## GA 77b — 22 August 1921, Dornach

### 8. Eurythmy in Education and Teaching

Dear attendees, We will take the liberty of presenting a performance of eurythmic art to you, one that will be performed by children, in order to illustrate the pedagogical-didactic value of eurythmic art. Since today we are dealing primarily with the educational and teaching side of eurythmy, I will present what needs to be said about eurythmy as art in particular at our next performance on Wednesday and will limit myself today to saying only what relates to eurythmy as an educational tool and subject of instruction. I would like to say a few words in advance to the effect that eurythmy is a truly inaudible, visible language, a language that is performed by the moving human being, that is, by movements of the human limbs, the whole human body, or that is also expressed by groups of people in space. What emerges as the eurythmic art, what is achieved on the basis of a visible language, is not an ordinary play of gestures, nor is it something in the ordinary sense of mimicry and least of all a dance art. Rather, it is a truly careful study of what the human organism wants to do, tends to do, by revealing itself in speech or song. The movements that the larynx and the other speech and singing organs are predisposed to perform are transferred to the whole human being according to the principle of Goethean metamorphosis. And because we are dealing with human movements that are natural and elementary way from the essence of the human organization itself, as language is taken in a natural and elementary way from the laws of the human organism, that is why eurythmy is also a means of education and teaching.

At the Stuttgart Waldorf School, which Emil Molt founded and which I direct, we have introduced this eurythmy as a compulsory subject from the earliest elementary school lessons up to the fourteenth or fifteenth year, as far as we have come with the Waldorf School so far. And it has already become apparent during the [two-year] existence of the Waldorf school that the children take this subject on with a special inner satisfaction. If we disregard the artistic aspect for the moment, we could call eurythmy in this respect: soul-inspired and spiritualized gymnastics. And as a subject, it is added to ordinary gymnastics like soul-inspired and spiritualized gymnastics. This ordinary gymnastics is, after all, only a logical consequence of the physiological study of the human organism, of the study of physicality.

The movements that children perform in eurythmy do not arise from this one aspect of the human being, the physical body, but from the body, soul and spirit, that is, from the whole human being. That is why the child also feels what it is doing as a soul-inspired gymnast, as if it has been taken out of the full human being, and it lives into these movements with particular satisfaction.

If we want to understand how this is, we need only think of how, for someone who is able to intuitively place themselves within the laws of the human organism, every possible movement that the body is striving towards is already present in the resting human form. The one who can see in this way sees in the resting human being how this being is constantly seeking to merge with the organism in movements that are already expressed in their formation in the formative or in the calm form. One only sets the human form itself in motion by moving from the observation of the sculpture of the human organism to this moving sculpture of eurythmy, which is at the same time a visible language. Anyone who is able to study the movements of the human being, which arise from the element of will deeply rooted in the subconscious, these possibilities of movement that lie within the human being, will find everywhere that these movements are nothing other than what, in turn, wants to come to rest in the same way as the human organism, when it rests, stands quietly or sits quietly, shows its calm form. You only need to look at a hand and the adjoining arm: If you look at the shape of the fingers, the forearm or anything else, you cannot imagine that it is meant to be at rest. Its resting shape is such that every possible movement and mobility is already expressed in the resting shape.

And when a person's arms and hands are moving, we see how only movements that are natural and elementary are possible, and these in turn point to the calm form of the hands and arms themselves.

The child senses that everything in eurythmy is derived from the inner laws of the human organism. That is why, as we see at the Stuttgart Waldorf School, they perform these eurythmic movements with such great enthusiasm, as spiritualized gymnastics.

And if we look even more at the soul, we have to say that ordinary gymnastics can actually only get out of the human being that which lies in his physical organization. One day we will think about these things more objectively, without today's prejudices. Then it will be seen how one-sided ordinary gymnastics is. I certainly do not want to go as far as a famous physiologist, perhaps even the most famous in Central Europe, who once sat here, listened to such an introduction, and who later told me: So, you consider gymnastics in general to be a one-sidedness that is taken out of physiology? I, as a physiologist, said he, I regard gymnastics as it is practiced today not at all as a subject for instruction, but as a barbarism.

Now, out of courtesy to our culture — one must always be polite too — I will not say that gymnastics is barbaric, but I would like to say: it is one-sided, it is only taken from the physiology of the human organism, while this inspired gymnastics, which occurs in eurythmy, is taken from body, soul and spirit, from the full human being. That is why it is used as a teaching tool, as an educational tool that brings out in the child what the present and future generations in particular will need very, very much, namely the will initiative, the initiative of the soul life.

This has already been demonstrated in the Waldorf school through the teaching of eurythmy, how the development of the will, the will initiative, is released from the subconscious depths of human experience during childhood. This has been achieved because eurythmy does not neglect the physical side, only address the soul and spirit, but takes into account all three elements of human life, developing the spirit, developing the soul, developing the body. that the child experiences eurythmy as something so natural that when it is brought to the child, the child learns to love it out of an equal inner urge, as is the case with speech. Just as with speech, when it is presented to the child, the natural urge in the child to reveal the speech is there, so too with eurythmy, when it is presented in a natural way, there is such an urge in the child to engage in eurythmy as in speech. And so we can hope, ladies and gentlemen, that eurythmy will be increasingly recognized as an educational tool in the pedagogical and didactic fields. What our time lacks, what our time needs, is for the introduction of eurythmy into the curriculum to be seen as a matter of course.