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CONTENTS
of the Eurythmy Association of Great Britain and Ireland
NewsletterSummer 2017
Editorial Team: Melissa Harwood, Elisabeth Bamford and Christopher Kidman [email protected]
From your editors
From Your Editors........................................ 1
News From the Council ............................ 2
Michèle Hunter’s MA Work ...................... 3
Weights in Eurythmy Therapy................... 4
Stroke Rehabilitation .............................. 4
John in Jordan by Jonathan Reid.............. 5
Third Youth Eurythmy Festival ................. 6
Workshop on the Four Ethers ..................... 9
Review of Anne Marie Ehrlich’s Worksop.... 9
Jan Ranck’s Eurythmy Therapy Course...10
Thoughts for the World Situation............11
My help as a Eurythmy Pianist ............. 12
Byzantium ................................................. 12
The Magic of WB Yeats.............................13
Some Observations of a Eurythmy Pianist....13
News from the North............................... 14
Poetry with Eurythmy in Mind..................16
Book Review................................................17
Working Trips to India and Australia.....17
Part Time Eurythmy Training......................18
Upper Esk Music.........................................19
Dawn of a Dream..................................... 20
Vacancies.................................................... 21
Diary............................................................ 22
Spring Newsletter Deadline.................... 24
Welcome to our Summer newsletter, and thank you to all our contributors!
For this issue we have received so many interesting articles about your eurythmy activities and we thank you for sharing these with colleagues around the UK and Ireland.
It is the greatest pleasure to bring you news of the Youth Eurythmy Festival, and to present abstracts of some of the recent MA work. Hopefully more will follow in forthcoming issues. Then there is news of recent courses, and of eurythmy developments overseas, and two treasured eurythmy pianists offer their observations.
We have received so many contributions that we cannot fit them all in this issue and so are saving some for our Autumn newsletter. The main theme of our next newsletter will be how the arts influence eurythmy and eurythmy the arts in our lives. So do please send in your thoughts about this.
Please note that the Everyday Eurythmy Book by Barbara Tapfer and Annette Weisskircher, translated by Matthew Barton, has just become available from Floris Books (£14.99).
And Stroud Mystery Drama Group is embarking on Rudolf Steiner’s Fourth Mystery Drama The Souls Awaken, to be performed in 2018. We need eurythmists to join the cast! Please come forward! (contact me Elisabeth Bamford on 07751 000 188 or email [email protected].)
We hope you enjoy the Summer Newsletter!With warmest wishes to you all,
Elisabeth Bamford, Melissa Harwood and Christopher Kidman
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News from the CouncilDear Colleagues,
COUNCIL MEMBERSHIPAs many of you are aware, the Council has been constituted such that one third of current members retire by rotation at each AGM. This process was designed to achieve a balance of experience (from existing members) and fresh ideas (from newly joining members). It has always been open for those Council members retiring to put themselves forward for a further term of office (approximately three years).
At the last AGM, the Council consisted of six members. Christopher and Willemien stood down by rotation after three and six years service respectively. Unfortunately, we were unable to fill the resulting vacancies at the AGM. At the meeting, approval was given for remaining Council members to approach members directly to ask if they might consider filling the vacancies.
At the last Council meeting in late March, we were very pleased to be joined by Saraphir Qaa-Rishi (Edinburgh) to explore if she might be willing to join. Unfortunately, due to unexpected last-minute personal circumstances, three of the remaining Council members could not attend this meeting. We have subsequently been in ongoing email discussion as to how best to proceed. We will meet next on 30th June. We are delighted that Saraphir has agreed to fill one of the vacancies and can attend. However, not all the other Council members can be present.
This is the first time since the re-founding of the Association in July 2006 that Council vacancies have been unfilled. We have therefore decided that Saraphir should be co-opted onto the Council for the time being, and be formally approved at the next AGM. It would however be considered that she began her term as from the last AGM. Please let us know if you have any concerns or further thoughts about this.
FORTHCOMING ITEMS FOR CONSIDERATIONAt the next Council meeting, we will look more generally to see how the Council can continue to work. At the next AGM, Tomie and Gabriella will stand down by rotation and
both have confirmed that they will retire at this point after 2 terms in office. As you can see, we have an urgent need for new members. We would ask all of you to consider if you are willing to join the Council to enable it to continue. Following consideration of recent Council work over the last 18 months, a picture is beginning to emerge. It would seem that one or more individuals need to be willing to act as clear co-ordinator/chair to hold the “consciousness” of the Association.
We will also make a decision on the timing of the next AGM. We are currently considering 2 possible options: the first half-term weekend in October 2017 (20th to 22nd) or the second weekend in January 2018 (12th to 14th) as this year.
At the beginning of April, we wrote to all members from whom we have not received a financial contribution this year. We asked everyone to respond by the 5th May - a five week period. The suggested contribution is £30/year for an individual or £40/year for a couple living at the same address. To minimise time spent chasing payments, we ask that contribution is paid by regular bank transfer. For membership contributions, cheque and cash payments are becoming very time consuming.
As discussed in several AGMs, we have always taken the view that finance should not be a bar to membership of the Association. The ask is that individuals contribute what they feel able, or inform the Association if they are unable to do so. At the time of writing we have received no response from nearly 25 members. Subject to final confirmation at the next Council meeting, we have now taken the view that these people will no longer be considered members of the Association.
Again, if you have any thoughts on any of the above points please contact us.
EDUCATIONAL EURYTHMYFollowing the pre-meeting in January and subsequent discussion at the formal AGM, we now have an English translation of the document prepared by the German
Steiner/Waldorf Schools Fellowship on best practice for eurythmy teachers in Steiner/Waldorf schools. We are working through the document again to clarify the language and to address some of the different school contexts that exist in the British Isles. We are hopeful that this can be completed and presented to the Steiner/Waldorf Fellowship and Performing Arts & Education Section co-ordinators in the coming months.
EURYTHMY ASSOCIATION WEBSITEFinally, a reminder that the members’ area of the website contains a growing archive of documents. As well as Council & AGM minutes and financial statements, previous editions of the Newsletter and Conference documentation are all available to download. If you need a reminder how to access this area please contact us. Please be aware these
documents are for members’ personal information only and contain confidential personal information that is restricted.
With all best wishes
Michael Mehta for and on behalf of the Council: Tomie Ando, Roxanne Leonard, Maurice Manning & Gabriella Vasas-Turnbull
An abstract of Michèle Hunter’s MA work
While the arts and dance continue to fight for their corner in mainstream education, eurythmy, a new art form of movement, appears to be facing similar challenges in Waldorf education. Whilst most efforts in dance research indicate that the tendency is to focus on “justifying” its position, the purpose of this research paper is to draw attention to what this art form actually offers that is meaningful, purposeful and valuable to education out of its own lived experience. Hence my research question is: does eurythmy foster independence in high school adolescents? Therefore, the purpose of this study is to examine whether eurythmy does foster independence in high school, and investigate what it contributes to the development of the adolescent in their school life and beyond. This is discussed in relation to dance and Gardner’s Multiple Intelligence Theory.
A group of ten high school students worked on a eurythmy project for two hours every day during a period of four weeks. This resulted in a public performance. Their
experiences, impressions and expressions were recorded and analysed. This thesis also suggests potential ways forward for eurythmy teachers to take into their work with high school students, based on the findings of the research.
While much more research is needed in this field, this study already hopes to bring a valuable contribution to general knowledge about eurythmy, about teaching eurythmy and about adolescent development.
Keywords: eurythmy; independence; adolescence.
Michèle teaches at St. Michael Steiner school in Hanworth, the whole school from kindy to class 12. She is a coordinator along with two other colleagues (Sigune and Kelly) for the Youth Eurythmy Festival.
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Exploring the Use of Weights in Eurythmy TherapyAbstract of the MA study contributed by Brenda Newton
The overall research aim in this study is to investigate whether the use of weights in eurythmy therapy has an effect on a person’s therapeutic process. It is to advance an understanding of what impact weights, when used, can have on a person and if or how they affect the person’s experience of themselves within their body.
The research was conducted with fifteen participants who were asked to work with five exercises with and without weights for a block of six weeks. Participants were asked to attend a weekly therapy session and practice regularly by themselves at home. Data was collected through a combination of questionnaire forms filled out by the participant after doing the exercises and observations of the researcher. Additional material was gathered from interviews with each participant once the project was completed. Data was analysed using a thematic method of separating the data into categories and observing whether there were any developing patterns and themes. Data
from other colleagues working with weights was received.
Without weights participants’ movements were expansive and connected to the space around them. Weights brought in a physicality and awareness to their movements. Struc-ture of gestures were clearer. Five main categories were identified:
MovementBalanceThe sense of wellbeingThe experience of touch and pressureThe experience of presence
The main conclusions were that individual participants’ bodily relationship to the element of gravity or levity effected data. Weights in eurythmy therapy helped the client develop more awareness of the physical body when moving. Balance improved. Inner strength and the experience of being more grounded were enhanced. The resistance of weights offered the ego-organisation the opportunity to deepen its involvement with the physical body.
Brenda Newton has worked in many different settings, from Steiner schools, special needs, medical practices and Cotswold Chine. She has also taught on the Eurythmy Therapy Training.
Eurythmy Therapy and StrokeRehabilitation
“It brings her back to herself”The focus of this research is to look at the ways in which eurythmy therapy can contribute to a stroke patient’s rehabilitation in a multi-disciplinary rehabilitation clinic. Such a study is the first of its kind and it could be a useful reference for eurythmy therapists working in this field. It could potentially also help stroke survivors who are considering alternative therapies in their rehabilitation. And finally it could support those rehabilitation clinics that chose to offer eurythmy therapy to stroke patients as an adjunctive therapy.
A case study research approach was adopted and the findings are based on three stroke patients. The research included both qualitative and quantitative data. The findings from this research provide evidence that eurythmy therapy can address a broad range of problems. Improvements in movement were identified including increased strength, flexibility, co-ordination, control, body awareness, uprightness and balance. In addition, improve-ments in the patient’s inner state of being were identified and these included an ability to relax, a possible reduction
in anxiety and depression, increased motivation and a higher self esteem.
The main conclusion drawn is that eurythmy therapy has a unique potential to meet a patient’s physical, emotional and spiritual needs as a whole and can therefore make an im-portant contribution to a patient’s rehabilitation.
Katherine Beaven completed her eurythmy training in Berlin in 1989, she went on to tour and perform with Ashdown Eurythmy and English Eurythmy Theatre for five years. After having children and completing the Bothmer Gymnastic training she trained as a eurythmy therapist in the UK. In 2006 she began her career at the Raphael Medical Centre where she continues to work part-time. She also has a small private practise in Forest Row.
Katherine Beaven
On May 3rd, we understand Katherine gave a poster presentation of her
research at the World Congress on Integrative Medicine and
Health in Berlin.
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John in Jordan
It was midday when the flames flew up, and people said:
“What need have we of this man’s fire in such hellish heat,posturing God’s imminence in this god-forsaken place?”
But the Word in him, unleashed, like a pestered nest of hornets
poured out over their sabbath-day stickiness,their picnic of malice and desperation
and drove them –
drove their motley of robes and tassels, tatters and rags,Rabbi and beggar and taxman –
drove them down to be doused in the river,down to the shot-silver hem of mother-blue Jordan.
………………………………………………………………………………………….
Hand over Hodur’s woundhe bent each Baldur to the brink of light -
precipice of brightness, sheer and searing –
held each one down until,
sodden as the fuel on Carmelwith only the core left fit for kindling,
their flickering lives,
from salt and stagnant Judahto the sweet springs north of Galilee,
had journeyed the length of Jordan.
And with a jolt like tinder and flinthe hauled them up
and searched deep in their driftwood eyesfor the signal spark of a heart’s desire
for a cresset to catch fire. Jonathan Re id
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The Third Youth Eurythmy Festival atRudolf Steiner House
London on the 24th March 2017 The theatre was packed full of young eurythmists, their teachers and supporters, forming one huge glowing bubble, breathing between excited cheers and silent concentration. The teachers (from six Steiner Waldorf schools and one Camphill Community) were all very different individualities and so were their students with their styles, programmes and costumes. The Greenwich School children performed all in white, and then South West London Steiner School children appeared in red, marking Red Nose Day! The colourful theatrical and musical presentation of Frome Steiner Academy’s lunch club and the classical eurythmy performances with veils by Brighton, Michael Hall and St Michael’s schools were a delightful contrast.There were solos, small and large groups, and fairy tales. The children performed confidentlydespite little time to prepare at the theatre. It was very special that the St Michael’s upper grade children were encouraged to share their work-in-progress, on stage and seeing all 19 children of Michael Hall’s class 8b moving Grieg’s soulful music together was very touching. Altogether it was a celebration of the Art of Eurythmy and of Waldorf Education. We were all filled with hope and joy and deep gratitude for all the effort everyone put in, and look forward to the fourth festival in the spring of 2018.
Saeko Soya-Dijkstra
More about the YouthEurythmy FestivalAlready as I approached Rudolf Steiner House I became aware that something unusual was taking place inside: the window next to the fire exit had been colourfully blocked out in order to create a changing area for pupils. A joyful energetic buzz of conversation greeted me on all sides: a festival atmosphere reigned.
The pupils were walking around in multicoloured costumes, and the teachers circulated, calmly sorting out any last minute details. We filed into the auditorium where the large central block of seats was occupied by all the pupils who were participating. It was the largest festival so far, and a veritable feast of contributions.
Class 5 from the Greenwich school opened the programme with Three Singing Birds by James Reeves. This was followed
by a piece from Mozart KV398. Both of these items were simply conceived; the pupils were at home with work that they had practised long and hard to achieve, delivering it with a natural grace and joy of movement. This was an excellent introduction that set the standard for the rest of the festival. Thank you to their teacher, Zlata Zaludova.
This was followed by pupils from classes 5 and 6 from the S.W. London School. They showed an Arietta by Joseph Haydn, followed by The Witch, a cheeky, humorous poem which was clearly en-joyed by all present. Through the choreography given by their teacher, the children were able to experience and create an impressive and demanding complex geometrical structure in space. Thank you to their teacher Ute Boelke Wooge.
Then a eurythmy club from the Frome Academy in Somerset came on to the stage. This comprised of a large
number of pupils drawn from classes 5 to 7 who were dressed in multi-coloured costumes with contrasting headscarves. They moved amongst each other to the Tritsch Tratsch Polka by Strauss, followed by a lively rendition of The Wraggle Taggle Gypsies, speech eurythmy performed to the lusty singing of a “backing choir”, an altogether lively contribution to the festival which demonstrated much promise for the future. Thanks go to their teacher Diana Constantin.
After such a motley group, the stage emptied as if by magic, and one brave pupil from class 6 at the Brighton
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School emerged to perform a wonderful solo to Von Fremden Laendern und Menschen by Robert Schumann. It was so impressive to see such a courageous act, as she per-formed this piece with such dignity and grace. Thank you! Then filed on a class 5 group from the Brighton School in the most wonderfully coloured costumes, to show us Brahma Vishnu Siva by Rabindranath Tagore with music by Ravi Shankar played on western instruments. This was very exacting work which was well done and appropriately appreciated. Thanks to their teacher Kelly Williams for both of these items.
Then it was the turn of a small class 9 group from St. Michael’s School as they performed I know why the caged bird sings by Maya Angelou. This was beautifully presented, and it was clear to see how they connected with this poem, it was such a good choice for that age group. Thank you to their teacher Michèle Hunter.
Then class 8 from Michael Hall presented a mighty piece that they had worked on during their class 7 year, and “refreshed” especially for the festival, a movement from the Holberg Suite by Grieg! It was noticeable how the piece had gone deeply into the pupils; there was real maturity to be seen in this presentation. Thank you to their teacher Philip Beaven.
Then once again the stage was emptied and this time the soloist was Michèle Hunter, the teacher from St. Michael’s London. She performed Soy Marco by Alberto Iglesias, a simple but well executed solo giving pupils a good standard that they could emulate. Then followed a very beautiful piece: Traumerei by Robert Schumann, performed by a young girl from the Mount Camphill community in Wadhurst, supported by two volunteers. Chrystal Hayn their teacher made an announcement before they came on stage that the central performer was a young girl with special needs; all were respectful and very supportive of their piece. This was such a delicate example of good choice of material, as the young girl was able to “dream her way into” this music. Thank you to their teacher Chrystal Hayn.
After this some pupils from the class 11 from the St. Michael School gave an accomplished performance of Chopin’s Nocturne no.2. What a joy! As a finale we were shown a fairy tale by a group of pupils from classes 5 and
7 from St. Michael’s School in London. We were told that they had nagged Michèle for a year to work on a story until she had finally given in and helped them to stage The Snow Queen by Hans Christian Anderson. It was a big challenge for them all, but it was again simply but very beautifully performed, and it was wonderful to see how they were all completely immersed in the drama of the tale. Thank you once more to Michèle.
On reflection, the whole afternoon brought many different experiences from the various schools, but the enduring
feeling that has remained is the richness and variety of the work. If schools unable to attend, we hope they will come next year. Then a new, larger venue will have to be found, as Rudolf Steiner House was barely able to accommodate all this year. I saw many pupils who could become the
And more....Rudolf Steiner House abuzz with excitement. Scores of young people....veils pinned, hair set to rights, a colourful array of costumes. The endangered species of eurythmy teachers in our English schools had been tirelessly preparing for this event.
The afternoon opened with a finely accomplished poem Three Singing Birds, then twinkly humour in The Witch, then the deep despair of Maya Angelou’s
Caged Bird. The Wraggle Taggle Gypsies offered by a school’s eurythmy lunch time club - SO many colourful gypsies on stage who sang and performed with joy and vitality. I could not believe that eurythmy would marry so well with song - and that children come to a eurythmy club! A special mention for the 4 class 11 girls from St Michael’s School London, working on Chopin’s Nocturne as part of their Steiner Certificate, who moved with a fine and fluid maturity. And Class 5’s dignified Brahma Vishnu Siva (R. Tagore) was a feast for the eye, performed in shimmering red Indian dress.
A special needs student performed Schumann with an expansive joy and dignity - and the biggest of smiles at the curtain call! And finally a class 7 presented The Snow Queen. Spring and winter, joy and sorrow, youth and old age, held by a strong Gerda and Kay’s striking stage presence. The children’s happiness in their artistic accomplishment shone through.
I returned home to Cambridge with three wishes: that the children present will have been struck by the myriad of possible eurythmy experiences - even bringing a couple to consider eurythmy as a future profession? And finally the fervent wish that our Cambridge Steiner School will once again find a eurythmy teacher for our children.
Ute Towriss
And more about the festival!....Finally it was time for the performance to begin. The audience and participants stood up and all did the vowels to music and a verse by Rudolf Steiner. It was a wonderful way to begin the performance; it united us all and prepared us.
When children perform eurythmy I find it very special to see their seriousness, yet also their great joy – one really sees their true being shining and raying out. A favourite for me was a Haydn piece done by Class 5/6 from SW London where they did a form based on the Kosmische-Auftakt with tone-angles. I saw how the lawfulness and precision were so healthy for that age, allowing the children to connect with what they are doing and enjoy it. What was also encouraging
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eurythmy teachers of the future, both boys and girls, who will remember the joy and enthusiasm they brought to that day, as they performed, or warmly and sometimes thunderously applauded others’ work. I think they will hold that in their hearts and go on to inspire others in the future. For me remains the awareness of the hours of preparation and practice constantly carried out with the pupils by the teachers.
Special thanks go to the Youth Eurythmy Festival team for the event’s third year in Rudolf Steiner House: Sigune Brinch who is the Performing Arts’ co-ordinator in GB and teachers Michèle Hunter and Kelly Williams.
Mary Watson
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and special to see was Class 11 performing a Chopin piece for their SCC (Steiner Schools Certificate).
Eurythmy is still very young and having to struggle for its survival, acceptance and appreciation by humanity. In so many places, it is watered down, pushed out, not recognised, or even changed and mixed with elements that do not belong. It is constantly a question how we can help eurythmy’s roots become ever deeper and stronger in what it truly is and its blossoms ever more beautiful and radiant, reaching many spheres of life.
This youth eurythmy celebration was very helpful for the life of eurythmy. The children were able to experience that eurythmy is fun and beautiful and not simply a subject that
they have to do at school.
A big thank you to all the participating schools and organizers! May this forum continue to grow and flourish in the coming years!
Report written by Joanna Dry who trained in Dornach, graduated in 2014 and since January 2017 is the Middle and Upper School eurythmy teacher at Wynstones Steiner Waldorf School.
Workshop on ‘The Four Ethers’ with Ulrike Wendt at Peredur
10-11 March 2017
This has been one of the most fruitful and nourishing weekends I have experienced. It may have to do with the material we looked at, the four ethers and also with the way Ulrike Wendt led us through various exercises. She has spent years researching the ethers forms given by Marjorie Spock and has worked extensively together with Dorian Schmidt on the ethers, how to recognize them, meditatively looking inside, but at the same time firmly rooted in reality. The beautiful thing is: everybody can recognize them, everyone has after-images that are non-personal and universal, everyone can experience the ethers...Ulrike and Dorian awaken you to those forces already present in yourself.
This was the third time she came to the UK, and many present had done a fair amount with her already. For me it was the first time, and on Friday it took me a while to ‘get’ the movements, but surprisingly on Saturday, already they seemed so familiar, organic, rhythmical, just astonishingly beautiful! As if they are part of yourself. You sense immediately the power these movements have, for oneself and the surrounding, without a doubt healing.
I thoroughly enjoyed all the preparatory exercises, to experience the body, to find your true ‘I’ in a free way, the wealth of images that arose, the content Ulrike brought in such a short time. I have read about the ethers, listened to someone talk about them, done a workshop with Dorian, always felt an interest but never got round to applying
all of this to daily life and daily work, until this workshop. Ulrike gave me plenty of experiences to deepen, my understanding of the warmth, light, sound and life ethers is much, much more real for me, not in an intellectual way. What a gift!
Straight away on Monday I applied some of the exercises in my lessons, totally works.
May this inspire you to come next time! Another workshop is planned for the 6th and 7th of October 2017 in Stourbridge. It will probably be in a similar form to the weekend in March: we start Friday evening, and finish Saturday evening.
If you are interested in joining, please mail me on [email protected].
Even if you can’t think so far ahead, it is good to know if there is interest altogether!
Rita Kort
Some more reflections of Ulrike Wendt’s workshop:
I appreciate the feeling of coming out of our narrow boundaries and joining mighty streams of movement.Elisabeth Bamford
I found Ulrike`s presentation of the Four Ethers as a basis for eurythmy excellently presented and beneficial to bringing consciousness, clarity and deepening to our art of movement. Thank you! Denise Gell
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Tone Eurythmy Therapy Course in April at PeredurLed by Jan Ranck of the Jerusalem Academy of Eurythmy, the course was a ten day study of the deeply insightful work of Lea van der Pals in this realm. I found the material of the course, the elements of tone eurythmy, to be simple though never easy. The task was always to bring these movement elements of life, to life. In her fine and light-filled style, Jan Ranck has a gift to convey and to call for and forth both 1) technical integrity and discipline in body movement and 2) clear experience of each level (physical, etheric, astral and ego) and each subject area of the work, in exercises. Nevertheless, I cannot remember when I have laughed so much, possibly as a result of not only Jan’s wonderful inclusion of humour in her teaching, but also of the health-giving effect of the exercises.I must not fail to mention virtuoso concert pianist Michael Zelevinsky, also from Jerusalem, who accompanied all of our lessons for 8 hours a day, and in the evenings played Liszt, Rachmaninoff, Chopin, Beethoven (and many more) to us with an incomparable skill, talent and fervour. At the end of one of the evening concerts Jan also contributed a selection in artistic tone eurythmy. These days of work and transformation were surely spent with much richness, inspiration, wisdom and life force, which I can highly recommend to anyone! In the coming months the course is scheduled to take place in Camphill
Beaver Run near Philadelphia, PA, USA from July 20 – 29th and in Little Yarra Steiner School near Melbourne, Australia from Sept. 22 – Oct. 1st, 2017. For more information contact [email protected].
Elizabeth Carlson, Cardiff
More comments about Jan Ranck’s tone eurythmy therapy course:
Thanks again for the great course – I’m going to invest in a wooden alto xylophone, so I can start with some of the exercises straight away!!Susan Harrison, eurythmy therapist, Scotland
I feel blessed to have attended Jan’s course in England. Jan is a warm dynamic teacher. I left feeling nourished, polished, bathed in the beauty and profound relevance of eurythmy.Beth Christensen, pedagogical eurythmist, Australia
The course has given me the insight, inspiration and the fuel to work with clarity and inner strength. The exercises propelled within me clarity of thinking and the ability to observe objectively. Suddenly there is a part of my inner self standing slightly up and behind directing into the future. The exercises have awakened other capacities within me. I am extremely grateful. Rhythm is the key ingredient and it’s providing the power and inspiration needed for my eurythmy training.
Anna Kotanidis, eurythmy student, England
The course was full wisdom of eurythmy and I am nourished by that. The most impressive thing was [the] teaching way. We were allowed to make mistakes and we were not corrected by strict critical way. It was therapeutic, which all eurythmy lessons should be. The course was open to non-eurythmists. All the painting and visual images used were very impressive and suited the theme. Thank you for giving us nourishment through eurythmy. Izumi Maeda, art therapist
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Review of the workshop with Annemarie Ehrlich:
How do I find my Source?February 12th-19th 2017
The ‘how’ to teach eurythmy to adults—not the ‘what’-- was the guiding principle in this workshop. This method of working socially with groups of people, devised by Otto Sharmer and called Theory U, has had widespread success in the business world and fruitful application in other realms. The steps given in Theory U guide us toward being open to what comes to us out of the future.
How as a eurythmy teacher can you engage the participants to each find their own way to solve a problem? We eurythmists were asked to prepare such an exercise in collaboration with helpers, some of which were non-eurythmists.
Two participants in the course, both non-eurythmists have made the following comments:
“Through simple tasks and exercises, we were able to reach profound levels of meeting and working together….a wonderful way to meet the future with eurythmy as one’s tool, companion and guide. Very inspiring!” P. S.
“From experiencing Annemarie’s evening classes I came away absolutely convinced of the value of practising eurythmy in the workplace as a means of raising consciousness - of one’s individual place in the whole and the of the honour of the space in between.
Something I will always remember is the palpable sacred quality of the silence when a group works in harmony. Having an experience of something like that happening is transformative. It creates a level of knowing, of certainty which is unassailable and which can be revisited. That was the greatest treasure of the course for me. “ J. W.
Gale Ramm lives in Stroud and offers eurythmy to local study groups, seminars and worskshops.
Thoughts for the Wor ld Situat ionA venture in practical anthroposophy is developing in the Middle East. Can we train people there to help themselves to use renewable healing forces?
Eighteen months ago, I joined Step Together, a special-needs centre outside Beirut, to start work – alongside my work as a eurythmy therapist – with a small eurythmy training for five students. One student had already been doing eurythmy for eleven years in Sekem, Egypt. I was involved in helping Mohammed Zacharia achieve his diploma and he now teaches eurythmy to the children in Lebanon. The others began their training. The adventure went ahead; we are now coming to the end of the second year.
With no Arabic under my belt and finding it very hard to learn the language, the students and I have moved on with the work, learning to listen for the wonderful quality of this language and its expressive nature.
There have been four modest performances, received with joy and laughter by the children and staff, where the training takes place. The graduation performance included a little fairytale in Arabic, a fable in English, some Arabic and English poems, and two pieces of music. It was difficult with no musician. We had to make do with my basic recorder playing, or even with one finger on the piano. Yet the students still forged ahead. Now finally we found a pianist and will endeavour to catch up with music eurythmy.
Our aim is to bring the students to the International Eurythmy Conference, Easter 2018. To experience the wider cultural context is an essential step. We need help for flights to, and accommodation in, Dornach. We would much appreciate hearing of affordable possibilities!
This training is mentored by Eurythmy West Midlands. Maren and Alan Stott have been out four times to oversee the work and to introduce music eurythmy. To support further work, please contact either Maren Stott or myself,
Judith Byford,[email protected]
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My help as a Eurythmy PianistAt the age of 20, it became clear to me that piano playing would be a hobby and not a professional career. But I have particularly enjoyed it when people asked me for help.
In the late 1960’s and 1970’s, at the Camphill Grange Village in Gloucestershire, I played the piano for eurythmy sessions with Helga Rasch, Erika Nauck and others. So I first got to know about eurythmy and have since studied some of the Rudolf Steiner’s lectures on eurythmy.
When Judy Bailey joined the Grange Village in 1984 I started help regularly. It has always felt more like enjoyment than my work in the office, basket making workshop, car driving, and so on.
Judy and I sometimes rehearsed a story for several weeks for a festival. At times other eurythmists came, Helena Phillips, Yvonne Greenaway and Ursula Browning. I also helped Judy at Oaklands Park, the George Café in Newnham, and at William Morris College. Judy used to spend time with me working out eurythmy movements, asking me if this or that music is major, minor or discord.
In 2011, I retired to Stroud and started playing at the Christian Community services. Jane Abel asked me if I could help with her eurythmy sessions.
I have never found that doing eurythmy was really “up my street”, but it has always been a great joy to me to be able to help at the piano, and I hope to do so as long as health and strength allow, and the standard of my piano playing is helpful to the eurythmist – and for that matter the priests and congregation at the Christian Community!
Michael Woods (Stroud, June 2016)
ByzantiumOver the past year and a half, a few of us—speaker, eurythmists, musicians— have been working at a program of Yeats’ poetry, with a view to bringing his work to life in ways that would be in harmony with the poet’s sense of beauty, aesthetic and spiritual beliefs. In his day, Yeats experimented with bringing music into his poetry recitations, by having Florence Farr play the psaltery, a small bowed instrument. We found that the haunting melodies of some of the traditional Irish airs, played on the harp, suited the rhythms and moods of his lyrics, while the more mysterious and other-worldly poems were enhanced by the eery sound of the glass harp. Yeats wrote plays for dancers, and because of his deep interest in the occult, we feel he would have been very pleased to see his poems expressed in eurythmy. We are four in the group: Tom Leonard, speaker; Roxanne Leonard, eurythmist and harpist; Maria Luisa Zahonero, eurythmist; and Cormac Griffith, glass harp player. Last November, we presented a small part of our program in a winebar in
Limerick, as part of a poetry reading evening where it was well-received. We did not include the eurythmy pieces on that occasion, but presented the full program—The Magic of WB Yeats—in Castalia Hall, Ballytobin Camphill Community, on the 2nd April. The following is a review of that event.
Roxanne Leonard
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The Magic of WB Yeatsby ByzantiumByzantium is a unique group of performance artists consisting of a trained speech artist, a harpist and eurythmist, a glass harp player and a eurythmist. They brought us an enchanting evening of twenty-four of Yeats’ poems, which covered the whole span of the poet’s creative life from the 1890s to the 1930s. Simple props like a rose, a staff and a mask carried some of the spoken words. Other poems were accompanied by the harp – The Song of the Wandering Aengus travelled along with the bright music. The beauty of Hewishes for the Cloths of Heaven and The White Birds were brought into graceful movement in eurythmy. Sailing to Byzantium was carried on the harp, adding to the rich imagery of“Those dying generations – at their song “ The salmon-falls, the mackerel crowded seas.”
However for atmosphere nothing was to be compared to the glass harp playing. This instrument was invented by an
Anglo-Irishman in the 18th century and uses waterfilled glasses to produce clear resounding tones which float with a mystical disembodied mood. These tones opened a new dimension to “ Have you not heard our hearts are old / That you call in birds, in wind on the hill / In shaken boughs, in tide or the shore? / O everlasting voices, be still.”
Yeats’ own words were read as continuity so that we were moved with a deep and warm impression of Yeats’ endeavour and the fruits of his searching life as we met his poems in a unique and novel way.
Alan Potter(from the Camphill Community Newsletter, May 2017)
Some Observations of a Eurythmy PianistIn the Spring term of 2015 I took up the position of eurythmy pianist at Elmfield School. As I was new to eurythmy, Tomie explained that it enables pupils to learn to awaken their expressive capacities through movement, stimulating them to bring imagination into a physical space. Balance, coordination, and concentration are all strengthened and pupils learn to understand pitch and rhythm. The upper school pupils were already half way through a music module and were using Prokofiev’s March of the Knights as their study piece. All my experience and skills were immediately put to use. Many pieces were required for performance at the up and coming eurythmy festival. My work schedule with private pupils and university tuition was already very busy…. it was just about to become even busier! I didn’t have the luxury of preparation time so my sight-reading skills were very much in demand. Of course, as in instrumental practise, eurythmy requires many repetitions and this is advantageous for the pianist to fine-tune and deepen knowledge of both the music and what the eurythmy teacher wishes to achieve.
Observing pupils practising eurythmy I frequently see the positive effects on their nature. I recall on one occasion we had a very reluctant teenage pupil, new to the school, who was very shy and certainly didn’t want to take part in the eurythmy class... Usually for the music module the pieces selected are from the classical repertoire and chosen for their fine melodic, rhythmic, harmonic and importantly their emotional qualities. Pupils are encouraged to look for a comfortable space, relax and listen to the music being performed and are are then asked to select which piece they would most like to perform in eurythmy. It always surprises Tomie and myself which work they choose. On this occasion I believe it was Rachmaninoff. I spoke with the class to give them an idea of what was going on in Rachmaninoff ’s life at the time of composition and of course mentioned his age. He was only a young person himself...Day by day this very shy reluctant teenager gradually began to take part...movements that began slouched and painfully uninvolved slowly became more outwardly and expressive, the eurythmy, music and Tomie’s encouragement really inspired her. She would be the first at the door for class every morning. The change in her was a joy to see...she wrote comments in her feedback book of how eurythmy and the music had made her feel so much better about herself and her place in the world… inspiring confidence with her peers and how she felt much happier!
I see the benefits of eurythmy every day, I’m so glad I said yes to Tomie to join her as a eurythmy pianist...And of course Tomie and I have become very good friends as well as colleagues, and exercise a wonderful synergy.
Levi FrenchFCLM
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News from the North When, in the opening lectures of Eurythmy as Visible Speech, Rudolf Steiner begins to elucidate the individual sounds of speech, he repeatedly references or draws examples from the dialect of his youth. I’ve always taken an especial delight in this fact as it chimes with my own experience growing up in the rural north of England (Cumbria) where the language of everyday life was (and still is) a very vigorous and distinctive dialect. I also enjoy turning over in my mind the thought that, in introducing a subject of such profound importance (whether one calls that subject ‘eurythmy’, or something more grandiose like ‘the renewal of the Word’), Rudolf Steiner can illustrate that subject most effectively by using the language of the farmer and fishwife rather than that of the intelligentsia. This makes the little socialist in me jump up and down excitedly because it deflates the assumption that ‘important things can only be said in an important voice’.
There used to be something called ‘BBC English’. Until the 1960s, a public broadcaster had to speak English in a particular way: one which was the outcome of a private education and a privileged, or at least culturally aspiring upbringing. The English royal family (I refuse to use capitals) were supposed to be exemplars of this way of speaking. It was, in short, a class dialect deliberately projected and mistakenly supposed to be ‘proper’ English. For example, Her Majesty the Queen (ironic capitals) resides, by her own admission in a ‘hice’ (several large ones, actually). I, on the other hand, prefer to live in a ‘house’ though I will, when visiting Scotland, tolerate being accommodated in a ‘hoose’. Estate agents tend not to discriminate in these matters, sadly, as I’m sure we’d all like to know whether a residential property we might be interested in has an ambience that is lunar, solar or saturnine. Anyway, BBC English began to climb sulkily down from in pedestal in 1964 when the UK citizenry elected a Prime Minister with a northern accent.
When I was growing up, if someone (typically a local farmer) asked after my health and well-being, they did not say: ‘How are you?’ but ‘Hoo ‘st tha garn orn?’ (Literally: ‘how are you going on?’) It’s not just an enquiry, it’s an interjection, an outburst of the soul. It’s vigorous and robust and one was expected to be likewise as robust in order to accept in the right spirit a greeting that can feel a little like having a bucket of water thrown at you. Certainly, people of a nervous disposition might feel it inappropriate for their psychiatrist to begin a counselling session with such a torrential outburst (though it might be just the tonic they need.)
‘Hoo ‘st tha garn orn?’ is a typically northern phrase in that it has strong consonants and vivid vo-wels, neither of which are tinged or corrupted by the other. In other parts of England one will also still find pockets of dialect where, though the formative and vocalic qualities will vary enormously, the words will clearly have a definite sound-value as well as a meaning-value. But the Southeast is now dominated by what has been termed ‘estuary English’. The estuary referred to is that of the River Thames, and the phrase aptly suggests a river of language that has burst its banks and is filling its floodplain with a turgid, grey-brown substance that is three parts
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liquid to one part mud. It serves to circulate the flotsam and jetsam of information, but its consonants are blurred and its vo-wels vague and insipid. Worst of all, like flood-water, it is homeless and has forgotten where it comes from, and because it doesn’t belong anywhere in particular, it seeps in everywhere.
However, before this begins to sound too parochial (and consequently of no interest to anyone out-side the Brexit-zone), let’s take a step back. Maybe the phenomenon of ‘estuary English’ is only a caricature of a tendency inherent in the language itself. After all, it has seeped into every corner of the world and established itself as the default lingua franca of culture, politics and commerce. Historically, it is a fusion of Germanic and Romance tongues which has gone on to celebrate and en-hance its mongrel pedigree by devouring and assimilating elements of many other languages without so much as a hiccup. But perhaps one outcome of this voracious appetite is that English has become a little pale.
The early bird hurt the worm
How is a eurythmist to approach the gestural formation of this phrase, particularly the vowels? One well-trodden way is to avoid the problem altogether by applying the German ‘umlaut-o’ throughout.
Menschen moegen es hoeren!
But that really won’t do. In speaking, the umlaut-o requires a definite and distinctive formation, and therefore also in eurythmical gesture. In this English phrase, the vowels, which all sound the same despite their spelling, have no such clear formation when they are spoken and if they shift their placement at all in the speech instrument, it is because the consonants are pushing them around. So does the eurythmist just ignore them altogether and focus on the consonants? Here, regional accents and dialect can help.
In Scotland, ‘early’ rhymes with ‘fairly’, the composite vowel A/E. In Northumberland, ‘worm’ sounds like ‘warm’, the composite O/A. Futhermore, the Scots roll the R, which makes the vowels in the phrase short and clipped. In English pronunciation, the R is not sounded, but serves to stretch or lengthen the vowels and may even play a part in erasing or smudging the distinct vocal identity of each. So the eurythmist can begin to work with this phrase in such a way that the vowel as written is approached or indicated through its gesture but then, before it can be realised, dissolved or erased by the ‘R’. This gives each vowel a similar yet subtly different gestural expression and surprisingly (or unsurprisingly) looks not unlike ‘umlaut-o’, though it feels completely different. This takes a lot of practice (hurrah!) but is, for my feeling, a valid and authentic way of approaching these grey-brown English vowel sounds, and one which requires and enhances one’s appreciation for greys and browns. This can be complemented visually by picturing the five ‘pure’ vowels A –E – I – O – U emblazoned in their planetary colours, green – red – yellow – orange – blue, then beginning to mix them in imagination to create a coloured background of planetary conjunctions and oppositions for all the intermediate and indeterminate English vowel sounds.
This research is not motivated by an attempt to reach back to or recover some kind of definitive English pronunciation (either eurythmically or speech-wise) as there never was such a thing. It is rather an attempt to be discerning and creative with what has been given. English spellings are random and capricious. In the 13th and 14th centuries, spellings were as many and various as pronuncia-tions. It was only when Henry V decided that English was to supplant French (and Latin) as the language of government, and his clerks began to transcribe and draft official documents accordingly, that decisions had to be taken as to whether ‘church’, ‘cherche’, ‘chorche’, ‘chyrche’ or even ‘chrch’ was going to be the definitive spelling. Who knows what discussions were involved in plumping for the first of these, but someone, probably with a deadline, did so. It is not difficult to imagine that a population’s initial acceptance of a standard spelling whilst continuing to use regional pronunciation should gradually metamorphose, with the advent of increasingly lettered generations, into a standard, indeterminate pronunciation.
May human beings hear it!Jonathan Reid
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Poetry with Eurythmy in MindRemembering Chas and his delight in the humouresque, has prompted me to include a rat poem. I had always imagined Rat 1 and Rat 2 to be performed with both speaker and eurythmist on stage. Firstly, the rat listening with increasing outrage and secondly a sort of interview where the rat grows in ‘ratish’ stature and proves himself the better party! Maybe enough said to trigger the imagination…
Rat 1
‘not a rat in sight’ emailed Paulunease rises with the memory – rat tails on plump buttocksdisappearing under green leavesof tomato plants
I never saw the beginning of a rat, only the end
brown organically well fednuzzling orange peelswhiskers wet with vegetable stockteeth biting pasta
they breed in potato peelingstails thrashing in delight
I check the green houseagain.
Rat 2A conversation between Hilary(H) and The Rat (TR)
H How do you feel about Rat 1?
TR It has an energy about it but it shows a very one sided knowledge of The Rat.
H I’m not feeling comfortable.
TR You’re not feeling comfortable! Well I sympathise if all you can imagine is the need for a Pied Piper type rodent catcher … mind you that poem contains keen observations of our variety.
H You seem to know things about me.
TR Absolutely.
H And I didn’t expect you to know about poetry.
TR Of course I do. There you go again, ready to hark on about sewers, foul smells and other limited imaginations of The Rat.
H I’m sorry.
TR We’re more than you think. Leaving a sinking ship is just the beginning.
H I suppose it’s the sheer number that gets me and words like ‘overrun’.
TR I’ve been very patient. Listen. Look at me – all of me. Not just ‘rat tails on plump Buttocks’. PLEASE. There are limits. Now,
Glossy fur that ripples as I move a proud tail nose close to the ground whiskers that twitch teeth that gnaw through most things and bright eyes, black holes in a rat cosmos.
Rats are focussed, pointed, horizontal, efficient, quick learners and let me tell you, become very faithful friends.
H. I’ve got it wrong.
TR. Well, don’t beat yourself up about it. Just remember the individual not the mass.
Mind you, there’s nothing like running with fifty noses to the ground, the surge of ratness.
H. That’s when I get afraid.
TR. Live and let live I say. Go on with your poems sometimes they’re quite good.
H. You’ve been listening!
TR. Of course. You really don’t get it do you – you’re afraid because I’m your inner rat.
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ReviewUntil it Rains by Hilary Stobbs won the Grey Hen Chapbook Competition 2015 and the editor at Grey Hen Press, Joy Howard, made the following comment:
My attempt to cut down the number of adjectives to describe her work was a failure – I needed them
all. Spare, lyrical, haunting, exquisite, musical, intriguing and just plain beautiful. Her portrayals of living women chimed with poems taking as their starting point fragments from the Chinese (an imaginative tour de force) as did her exploration of the real lives behind female protagonists of
famous paintings. Other poems conveyed a sense of place with an immediacy of detail which often felt like shorthand for something much deeper (and occasionally threatening). Brilliant stuff. A very accomplished poet and I am delighted to be the first to publish her work in book form.
If you wish to purchase a copy of Until it Rains please contact either Hilary ([email protected]) or Christopher ([email protected]). Copies cost £4 each.
Hilary Kidman, now Stobbs, trained as a eurythmist in the Camphill Eurythmy School and has spent her working life in various Camphill Communities. She has been writing poetry for many years and is now a published poet. Hilary is retired - happy to have time to write - and living in Newton Dee.
Working Trips to Indiaand Australia Since leaving Kings Langley Rudolf Steiner School, I have been travelling to India and Australia to Steiner Schools and a new eurythmy training.
First I was invited to Hyderabad, Southern India to teach on the second module of a new eurythmy training initiative run by Chrystal Hayn, Diana and Dan Skinner.There are currently fourteen very enthusiastic young (mostly Indian) students on the course. I thoroughly enjoyed teaching them, although it took a bit of getting used to the heat and pollution in Hyderabad.
After this I taught eurythmy, geometry, form drawing and music in The Abhaya Waldorf School (Hyderabad), for seven weeks. The children were very receptive and I felt proud when they shared their work at the end of term festival. I have been asked back to three schools in India.
After Christmas I flew to The Andaman Islands to teach on an upper school oceanography course run by Waldorf Worldwide. I stayed three weeks on Havalock Island teaching a group of Dutch, Indian and Chinese students. The Andamans are tropical islands often subject to storms, cyclones and tidal waves. They were flattened by the 2004 tsunami, but have now recovered. Most coastal houses are
being rebuilt. It was an amazing experience to be there. Some of the islands are still inhabited by primitive tribal communities who have resisted modern civilisation to this day.
The oceanography course was a great success and will be repeated again next year.
I then flew to Australia to The Newcastle Waldorf School, just north of Sydney, for a geometry main lesson (Class 6/7), eurythmy and form drawing throughout the school. I enjoyed working with these earthy, grounded, often cheeky children. We ended with some wonderful eurythmy on stage at the Easter festival. Strange to be celebrating Easter as the Autumn leaves fall..!
I directed and composed music for Prospero Players’ production of A Midsummer Night’s Dream. Although it was hard work, in the end it was a great success.
I have been invited back to do a pedagogical eurythmy course in the Sydney area.
So, basically I have been kept busy since ‘retirement ‘ began!
Warmest greetings,
Dan MaslenTo contact Dan, email [email protected]
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New part time Eurythmy Training in England
This training is offered as a joint venture by Peredur Eurythmy & Eurythmy West Midlands.
*It gives a unique opportunity to begin a eurythmy training without giving up one’s job.
*It is for committed, enthusiastic people who are unable to join a full time eurythmy training.
The weekend sessions take place at the Glasshouse Arts Centre, Stourbridge, West Midlands: the blocks at Peredur Centre for the Arts, East Grinstead.
Successful students will complete the training with a Diploma in Eurythmy issued by the Section for Performing Arts in Dornach, Switzerland. At various stages part time students are able to join the full time training. The part time training will take at least five years.
Eurythmy Tutors
Sigune Brinch eur. Dip. Zuccoli School Dornach, MA eur. Performing ArtsGeorgie Howlett eur. Dip London School of Eurythmy MA eur.
Performing Arts, Dip Eurythmy TherapyRita Kort eur. Dip. Botton Eurythmy School, Dip. Eurythmy Therapy
Maren Stott eur. Dip. Eurythmie Schule Nürnberg , MA eur. Performing Arts
There are specialist tutors in the other core curriculum subjects: speech formation, music lessons, anthroposophical studies, anatomy and art.
Training Dates for the first year & Summer School 2017Summer block : 3weeks, 31st July–18th August
First week: 31st July–5th August also open as a Summer School for anyone interested to experience eurythmy
Third week: 14th-18th August is offered as a ‘refresher’ week for trained eurythmists who want to work on group/solo forms in both music and speech eurythmy.
Weekend sessions: starting Friday afternoon 5pm until Saturday evening 5-6pm
September: 14th–16th 29th – 30thOctober: 13th –14thHalf-term week block: Sat. 21st –Sat 28thNovember: 10th –11th. 24th-25thJanuary: 12th-13th 26th–27thFebruary: 2nd–3rd
Half term week block: Sat. 10th–17thMarch: 2nd–3rd 6th–17th 30th–31st April: Easter – one ½ week block: 2nd –11th 20th–21st May: 4th–5th 18th –19thJune: 1st–2nd 15th–16th
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Eurythmy West Midlands Graduation tour 2017 DAWN OF A DREAM
The fourth year students are preparing their graduation performance with scenes from Alice in Wonderland and Alice through a Looking Glass by Lewis Carroll, texts by ee cummings, Alice Oswald and Kathleen Raine, music by Claude Debussy, Igor Stravinsky, Peter Sculthorpe and Amadeus Mozart. Plus Snow White and Rose Red a fairy tale by the Brothers Grimm.
Monday 22 May: school performance and evening performance at Waldorf Schule Evinghausen, GermanyWednesday 24 May: school performance at Waldorf Schule Bochum-Langendrehe, GermanyFriday 26 May: Forum Eurythmie at Witten-Annen, GermanyWednesday 7 June: school performances at Elmfield School, StourbridgeFriday 9 June: school performances and 7.30pm evening performance at Totnes Steiner School, Hood Manor, DartingtonSaturday 10 June: Wynstones Steiner School 4pm: Snow White and Rose Red7.30pm Evening performance Dawn of a DreamWednesday 14 June: school performances and 7.30 Dawn of a Dream at Michael House Steiner School, Ilkeston.Friday 16 June: school performances at Hereford Waldorf Academy, Hereford.Saturday 17 June: 7.30pm GRADUATION PERFORMANCE, Glasshouse College, StourbridgeWednesday 21 June: school performances and 7.30pm evening performance at Exeter Waldorf AcademyFriday 23 June: 3pm Glasshouse College performanceMonday 26 June: 8pm Goetheanum, Dornach Switzerland at the fourth years’
Vacancies for educational eurythmists in the British Isles are usually posted on the website of the Steiner Waldorf Schools Fellowship. Please check here for information: www.steinerwaldorf.org/steiner-teachers/teaching-vacancies/
VACANCIES
Eductional Eurythmist Part time (Classes 5 - 8 & Modules for the Upper School)
Elmfield SchoolStourbridgeTel + 44 (0)1384 [email protected]
Educational Eurythmists2 posts full time (mix of classes from Class 1 to Class 12) NB One position is maternity leave cover.In addition to being a qualifed eurythmist a training in Waldorf Education is also desirable. Salary £23,771 to £27,002 dependent on experience. Closing date 26th May 2017
Rudolf Steiner School Kings LangleyTel +44 (0)1923 [email protected]
Educational Eurythmistfull time (or possible 2 part-time job share) (mix of classes from KG to Class 11)Salary £19.500 (inclusive of administrative duties)
South Devon Steiner SchoolTel +44 (0)1803 897377employment@south-devon-steiner.orgwww.southdevonsteinerschool.org
Educational Eurythmistpart-time for Classes 1 - 3 and combined 4-5 & 6-75 Sessions per week @ £25/session plus travel costs
Cambridge Steiner SchoolTel +44 (0)1224 832727school@canbridge-steiner-school.co.ukwww.cambridge-steiner-school.co.uk
Educational Eurythmist part-time for Classes 1-815 sessions per week @ £20.58/session plus 12% holiday pay
St Paul’s Steiner SchoolTel + 44 (0) 20 7226 4454schooloffice@stpaulssteinerschool.orgwww.stpaulssteinerschool.org
Educational Eurythmist(Special Needs) & Eurythmy Therapist (combined position) for children/young people/adults with learning difficulties and complex needs (aged 6 - 21)
This position is offered on the basis of being a live-in co-worker in the community
Camphill Special School - Beaver Run1784 Fairview RoadGLENMOOREPA19343USA
Tel +1 610 469 9236 (Ext 331) - Gillian [email protected] www.camphillspecialschool.org
Eurythmy TherapistThis position is offered on the basis of being a live-in co-worker in the community
Newton Dee CamphillCommunityBieldsideABERDEENAB15 9DXTel +44 (0)1224 [email protected]
Eurythmy Therapist [See Camphill Special School - Beaver Run above]
Educational Eurythmist Overseas Educational Eurythmist (KG to Upper School) to start September 2017
Ecole Rudolf SteinerLausanne Route de Bois-Genoud 361023 CRISIERSwitzerlandTel + 41 (0)21 6480111candidatures@ecolesteiner-lausanne.chwww.ecolesteiner-lausanne.ch
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May 2017
Monday 22nd to Friday 26th: Graduation Tour of Students of Eurythmy WestMidlandsAdult Programme: “The Dawn of a Dream” & for Children & Families: “Snow White & Rose Red”Organiser - Eurythmy West Midlands 01384 [email protected]
In Germany:Monday 22nd May: Waldorf Schule Evinghausen - School and Evening PerfomancesWednesday 24th May; Waldorf Schule Bochum-Langendree - School PerformanceFriday 26th May: Waldorf Schule Witten-Annen - Evening Performance (Part of Eurythmie-Forum Witten)
Saturday 27th 10am to 1pm; Movement and Metamorphosis - Eurythmy workshop focusing on working with forces we meet in our lives and on forms that we experience in flowfoors or by formdrawing.Venue - Orwell Arts, 17 Orwell Place Edinburgh EH11 2ADOrganiser - Moving Presence - Saraphir Qaa-Rishi 07513 [email protected]
June 2017
Wednesday 7th to Monday 26th: Graduation Tour of Students of Eurythmy WestMidlandsAdult Programme: “The Dawn of a Dream” & for Children & Families: “Snow White & Rose Red”Organiser - Eurythmy West Midlands 01384 [email protected]
In England:Wednesday 7th June: Elmfield School, Stourbridge - School PerformanceFriday 9th June: South Devon
Steiner School, Totnes - School and Evening PerformancesSaturday 10th June: Wynstones School, Glouester - Family and Evening PerformancesWednesday 14th June: Michael House School, Ilkeston - School and Evening PerformancesFriday 16th June: Steiner Academy Hereford - School PerfomanceWednesday 21st June: Steiner Academy Exeter - School PerformanceFriday 23rd June: Glasshouse Colleage, Stourbridge - Evening Performance
In SwitzerlandMonday 26th June: Goetheanum,Doranch - Evenign Performance (extracts) - Part of the Eurythmy Student Festival 2017)
Saturday 17th June 10am to 1pm: Eurythmy for Social AwarenessVenue - Orwell Arts, 17 Orwell Place Edinburgh EH11 2ADOrganiser - Moving Presence - Saraphir Qaa-Rishi 07513 [email protected]
Saturday 17th June: Graduation Performance - Students of Eurythmy WestMidlandsVenue - Glasshouse College, StourbridgeOrganiser - Eurythmy West Midlands 01384 [email protected]
Saturday 24th June: End of Term Festival - Students of Eurythmy West MidlandsVenue - Glasshouse College, StourbridgeOrganiser - Eurythmy West Midlands 01384 [email protected]
Friday 30th June - 8pm: Performance - “Sea Voices” Peresentation of MA work in artistic eurythmy directed by Georgie Howlett
Venue - Peredur Centre, East GrinsteadOrganiser - Peredur Eurythmy 07825 [email protected]
July 2017
Saturday 1st July - 3pm & 5pm: Family Peformance for children & adults - The Celtic Tale of “Tamlin and the Fairy Queen” - Students of Peredur EurythmyVenue - Peredur Centre, East GrinsteadOrganiser - Peredur Eurythmy 07825 [email protected]
Friday 7th July 11.30am : End of Term Festival - Students of Peredur EurythmyVenue - Peredur Centre, East GrinsteadOrganiser - Peredur Eurythmy 07825 [email protected]
Monday 31st July to Friday 1st September: Eurythmy Therapy Training in Britain (Block IV)Venue - Old Town Hall, StroudOrganiser - Eurythmy Therapy Training in UK (01453 750137)[email protected]
Trained eurythmy therapists and doctors are welcome to join one or more of the following blocks:
31st July to 4th August: Eurythmy therapy with babies (Ursual Browning); Children (Brenda Newton) and work on retained reflexes (Marianne Korsgaard)
7th August to 9th August: Eurythmy therapy in connection with substance abuse (Alfred Busch)10th August to 11th August: Gynaecology (Dr Jana Varobachova & Ursula Browning)14th August to 18th August: Curative Education (Dr Maria van den Berg & Angela Ralph)
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28th August to 1st September: Cancer / The Physiology of Eurythmy Therapy (Dr Broder van Laue, Ursula Browning & Shaina Stoehr)
Monday 31st to Friday 18th August - Part-time eurythmy training in Great Britain (Block 1)Venue - Peredur Centre, East GrinsteadOrganiser - Peredur Eurythmy/Eurythmy WestMidlands 07825 140119 / 01384 [email protected]@gmail.com [email protected]
Future blocks will take place as follows:
W/E -weekend starts 5pm Friday until 6pm Saturday at Glasshouse College StourbridgeF - full week blockat Peredur Centre East Grinstead
September 14th to 15th (W/E) September 29th to 30th (W/E) October 13th to 14th (W/E) October 21st to 28th (F) November 10th to 11th (W/E) November 24th to 25th (W/E) December 8th to 9th (W/E)
Continuing in 2017:
January 12th to 13th (W/E) January 26th to 27th (W/E) February 2nd to 3rd (W/£) February 10th to 17th (F) March 2nd to 3rd (W/E) March 16th to 17th (W/E) March 30th to 31st (W/E) April 2nd to 11th (F) April 20th to 21st (W/E) May 4th to 5th (W/E) May 18th to 19th (W/E) June 1st to 2nd (W/E) June 15th to 16th (W/E)
August 2017
Monday 14th to Friday 18th: Intensive Eurythmy (refresher) week for qualified eurythmists - Group work on poetry and music and master classes for music and speech solos. Venue - Peredur Centre, East GrinsteadOrganiser - Peredur Eurythmy/Eurythmy West Midlands (Carriers: Sigune Brich, George Howlett, Rita Kort and Maren Stott) 07825 140119 / 01384 [email protected] [email protected]
September 2017
Saturday 2nd to Sunday 3rd: Eurythmy Course with Carina Schmid und Barbara MrazVenue - Goetheanum, Dornach, SwitzerlandOrganiser - Section for the Performing Arts, Postfach, CH-4143 Dornach, [email protected]
Saturday 23rd to Sunday 24th: Social-artistic eurythmy with Rachel MaederVenue - Goetheanum, Dornach, SwitzerlandOrganiser - Section for the Performing Arts, Postfach, CH-4143 Dornach, [email protected]
Sunday 24th Memorial Festival for Chas BamfordVenue - Glasshouse Theatre, StourbridgeOrganiser - Rita Kort 07584 446784 / Truus van Vliet 07929 [email protected] / [email protected]
Sunday 24th World Eurythmy DayVenue - all over the worldOrganisers - Aban Bana and Dilnawaz Bana - Goetheanum, Dornach, Switzerland
October 2017
Saturday 7th to Sunday 8th: Eurythmy and Motives of the Class Lessons with Ursula Zimmermann (bring blue cards)Venue - Goetheanum, Dornach, SwitzerlandOrganiser - Section for the Performing Arts, Postfach, CH-4143 Dornach, [email protected]
November 2017
Saturday 11th to Sunday 12th: The Michael Imagination of Rudolf Steiner, eurythmy course with Barbara MrazVenue - Goetheanum, Dornach, SwitzerlandOrganiser - Section for the Performing Arts, Postfach, CH-4143 Dornach, [email protected]
December 2017
Saturday 2nd to Sunday 3rd: The Tonspiral of 1915, music eurythmy course with Stefan HaslerVenue - Goetheanum, Dornach, SwitzerlandOrganiser - Section for the Performing Arts, Postfach, CH-4143 Dornach, [email protected]
April 2018
Monday 2nd to Friday 6th: World Conference: “Speech-Movement”: A workshop on speech and language today. For eurythmists, eurythmy therapists, creative sppech artists and anyone interested.Venue - Goetheanum, Dornach, SwitzerlandOrganeiser - Section for the Perfomring Arts in co-operation with the Medical Section & Pedagogical Section +41 61 706 [email protected]
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Summer 2017 NewsletterCopy Deadline
Saturday 23rd September 2017Please send to: Elisabeth Bamford
Eurythmy Association of Great Britain and Ireland
Gabriella Vasas -Turnbull, Council Secretary
Tel +44 (0)1287 636 832
Fax +44 (0)8717 145925
Email: [email protected]
www.eurythmyassociation.uk