Address on Eurythmy

The same applies to the color scheme. Here, I have depicted the veil, shape, color combination, and so on for each individual sound. In a poem, you have to have a basic note, so to speak. The basic note then determines the color of the veil, the entire composition that you have to maintain throughout the poem, otherwise the ladies would have to constantly change their veils, constantly throw off veils, put on other veils, and things would become even more complicated than they already are, and people would say they understand them even less. But it is certainly the case that once you have the sound mood, you can maintain it throughout an entire poem, varying only the movement, the transition from one sound to another, from one syllable to another, from one mood to another, and so on. Now, since I have educational and didactic purposes today, I have arranged the eurythmy figures here so that you can see them in the order in which the child learns the sounds. From an early age, children learn sounds in such a way that the first sound is essentially the one that sounds like “a.” Progressing in this order, approximately of course—there are all kinds of variations among children—but in this order approximately: a, e, o, u, i are the vowels that are learned on average by small children. When children are allowed to practice this visible language of eurythmy in this way, it is like a resurrection of what they experienced when learning sounds as very young children, like a resurrection on another level. The child experiences once again what it experienced earlier in this eurythmic language. And it is a reinforcement of what lies in the word, through the means of the whole human being.