Van der Pals/ Kirchner-Bockholt Tone Eurythmy Therapy Course to be held in English

by Jan Ranck

April 1-10, 2016, at Camphill Ballytobin, Ireland

The course is warmly recommended for trained eurythmists, eurythmy therapists, medical doctors and music therapists.

Information and Registration:
As space is limited, early registration is recommended.

Inspired by Rudolf Steiner’s indication that tone eurythmy therapy should be developed in Continue reading

Why Do Our Schools need Eurythmy? An Introduction to Eurythmy and Its Healing Influence in Schools

By Leonore Russell
One of the first questions parents ask when they come to learn about a Waldorf school for their child is about the movement art taught in most Waldorf schools: eurythmy. What is it? Why does my child have to do this? After many years of working as a eurythmy teacher and in the administration of a Waldorf schools, I find myself still answering these questions. Yet the answers grow and develop as the years pass and new knowledge both in science and education are bring light to bear on the questions.
First of all, what is eurythmy? It is a movement art, living in the family of movement arts such as mime and ballet yet standing midway between these two arts. It shares meaning and gesture with mime, yet it is married to sound rather than objects or recognizable actions, and shares the moving to music and words with dance, but seeks to follow the invisible movement within sound rather than move to it or juxtapose itself against it. It is the expression of the human soul through gesture and movement.

A student once asked: “who thought this up?” after seeing the same gestures in the great art of the past.  He had stumbled on the truth of the expressive gestures that artists such as Giotto and Michelangelo had mastered in their paintings. In the early part of the twentieth century Rudolf Steiner pointed us towards these gestures to learn their meaning and to find a new art of human movement. He worked with first a young girl and then an ever growing group of interested artists to develop this new art of movement. Continue reading

The Speech Sound Etudes: Feeling the Gestures and Finding the Figures



At last it is time for me to bring forth what I’ve been cultivating for the past year and a half. I have been laying a totally new foundation for my re-approach to Eurythmy after having laid it aside for two and a half decades. This Report shares in detail how my work unfolded through going about to follow one of Rudolf Steiner’s earliest instructions to Lori Smits, our first Eurythmist – before he began to give her gestures – and the unexpected treasure and joy that has come through doing this.

Before studying Eurythmy, my background had been in English Literature and Music. I served as a pianist for the other classes at the Eurythmy school in Spring Valley NY during my attendance there, and I worked with third and fourth year students on their Tone Eurythmy solos and performed these pieces with them. These were wonderful experiences. My class was the ninth to graduate from the school – we were ‘I’ Course.

During my first three years out, I taught lay Speech Eurythmy; but something was lacking and I couldn’t continue. Now I know what that lack was, and my work and process are fulfilling my deeply felt need. In my Report I am beginning to share that abundantly rich blessing. This blessing is good news not only for all of us who are Eurythmists of any kind; it is good news for our fellow artists, the speakers and actors, too, and for anyone who feels enthusiasm for the Word.

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