VII. Musical Physiology; the Point of Departure; Intervals; Cadences

Take some opportunity of observing two people engaged in eurythmy, of whom one makes the movements as if they were being carried out by an artificial, papier mache, mechanical person, whereas the other really feels the origin in the collar-bone, feels the keynote at the point of departure of the upper arm, the second proceeding from here (upper arm), the third in the forearm, and further out in the hand itself the fourth, fifth, sixth and seventh. We have to get out of ourselves in the hands. We are out of ourselves the most at the ends of the fingers. It is here that the seventh arises. The goal in eurythmy is not to invent worked-out movements, but rather to draw out the possibilities of movement that are inherent in the human form itself. This is where eurythmy differs from every other modern attempt to develop an art of movement. In none of these attempts do we find in what is practised the movements drawn out in this way from the human being himself. For it is necessary, in the first place, to know that the human arm with the human hand, from the point of departure through the collar-bone, is precisely the scale itself.