Sylvie Richard has recently completed her eurythmy training in Spring Valley, and she is not letting grass grow under her feet in Ottawa. She is already giving public performances of tone eurythmy and leading adult workshops - in English and in French! Of particular interest is the Arbor Vitae project...
I have prepared an artistic project called ARBOR VITAE project which I am promoting for the Waldorf schools and eventually for any group of children as well as to adult groups interested in participating in this artistic production. As the tittle alludes to, I use the very rich stories and images, poetry and music that exist around this reality of the Tree of Life. This is meant to be a co-creation with my participants so already the children in grade 6-7 at the Ottawa Waldorf School have created their own short poems about trees directed by their teacher in their exploration of the four elements (earth, water, air, fire) which we will be weaving into the fabric of the production. The format of work is in block of 4 weeks (ideally 3x/week), and we will have 4 phases in the project. Phase 1 is to work on skills which will allow the participants to be sufficiently comfortable with eurythmy gestures and forms. Time will be used as needed toward this goal- depending on the group. Since it is a co-creation I am very interested in the creative unfolding that will emerge through the different phases of the project. Some of my own artistic work solo will be weaved as well in the final production, so that one will be able to experience a multi-level of artistic capacities.I believe very deeply in the artistic capacities that live in the human being, and that is so very alive and mobile in children. We have started this week at the OWS with the grade4-5 and 6-7 classes and it is already full of promises!
Wednesday, November 18, 2009
Performance Makes Strong Impressions
"...And there are those like you and me and many many othersWho can never forget the Man with the Broken Fingers.
His will, his pride as a free man, shall go on.
His shadow moves and his sacred fingers speak...."
The Remembrance Day program by Grasshopper Productions at the Toronto Waldorf School left very strong impressions on the audience. The Carl Sandburg piece, "The Man With The Broken Fingers" was especially powerful. In this post, I am restating (largely in my own words) some of the comments I have heard from high school eurythmy students. I have also invited other audience members to submit their own articles...MM
"Not bad.." This was meant as a compliment - the performance was actually very interesting to him. "Edgy...surprising...shocking..." It seems that the students were gripped, and they really felt engaged with what was happening on the stage. The eurythmy was not just happening "out there", but "in here". They used words like "weight...grounded...immediate...," and seemed surprised when they remembered they were talking about eurythmy.
There has been some discussion about the relationship between eurythmy and drama. It was very effective when the speaker very ceremoniously put on the boots, and began the Gestapo investigation. But when the costumes are so realistic, is it still eurythmy? Does the speech take over? Do we lose the power of eurythmy, and enter a realm of purely physical drama? Does it matter?
The students appreciated the artistic sequence. The Levertov pieces, which opened and closed the program, involved a rhythmical interplay of different elements, and provided a balance to the more visceral parts of the program. One student felt that the eurythmists somehow managed to maintain a spiritual quality while entering a very physical realm.
I have heard very little about the tone pieces...perhaps this is slowly working on a deeper level...
I asked, "if we showed the piece on YouTube, would people have a similar experience?."
They replied (in so many words), "No."
Sunday, November 1, 2009
Youth Movement - Part Two
This summer, at the Whitehorse Conference, I enjoyed a performance evening by Marjorie Taliano-Nordas. Marjorie spoke with affection and gratitude about her first eurythmy lessons with Christa Kuehn in Montreal. She is now the Director of the Eurythmy School in Oslo, and feels an enduring relationship to Canada.Lori Scotchko, also from Canada, is currently studying at the Oslo school, and has promised an article about her experiences at this excellent school. I have also heard recently from Marie-Eve Piche, who is studying in Spring Valley. (Marc-Antoine Brodeur is studying in the UK, and you can see his earlier post here.)
It's wonderful that they are using the Internet (email and blog postings) to reach out. Although each of us often feels isolated, it's inspiring to re-discover tha we are part of an international community. We have so much to learn from each other, and this is a great way to start.
Monday, October 26, 2009
Grasshopper Productions - Ontario Tour
Program at Toronto Waldorf School -Wednesday, November 11, 2009
For details, call the School at 905-881-1611
11am - High School Performance of No More Lies . Reflections on War. This program features eurythmy to poetry (including Two Threnodies and a Psalm by Denise Levertov, Dolce Et Decorum Est by Wilfred Owen, and The Man With The Broken Fingers by Carl Sandburg) and music (including Intermezzo in A Minor by Johannes Brahms, and Prelude/Wartime by Gregor Simon-McDonald).
2pm - Lower School Performance of The Wild Geese, a story from Lapland.
Tickets will be sold at the door: adults $10, students $5. All are welcome.
Program at Novalis Hall, Camphill Nottawasaga on Friday November 13
For details, contact Treasa O'Driscoll
For details, call the School at 905-881-1611
11am - High School Performance of No More Lies . Reflections on War. This program features eurythmy to poetry (including Two Threnodies and a Psalm by Denise Levertov, Dolce Et Decorum Est by Wilfred Owen, and The Man With The Broken Fingers by Carl Sandburg) and music (including Intermezzo in A Minor by Johannes Brahms, and Prelude/Wartime by Gregor Simon-McDonald).
2pm - Lower School Performance of The Wild Geese, a story from Lapland.
Tickets will be sold at the door: adults $10, students $5. All are welcome.
Program at Novalis Hall, Camphill Nottawasaga on Friday November 13
For details, contact Treasa O'Driscoll
Practical Things Like Stories and Eurythmy
Grasshopper Productions will soon be presenting a Fairy Tale in eurythmy at the Toronto Waldorf School, and Jonathan Snow wrote this piece for parents in the school newsletter as a general introduction. - MM
Fairytales have been used from the dawn of mankind to convey wisdom to new generations of listeners. Raised to the status of "Volksgut" - cultural heritage of a people - by the scientific endeavours of men like the Grimm brothers during the Romantic era, they became used to convey moral lessons to children. A century later, modern psychology revisited tales and myths, using them as maps of the forces at work in the human psyche, most of which remain largely hidden from our waking consciousness. C.G. Jung argued that each of the different characters in these stories represented archetypal forces active within the soul of a single person. Rudolf Steiner indicated that the characters in fairytales may be direct representations of invisible but very concrete forces, which we can call spiritual beings, which are represented using imagery from the world perceptible to our everyday consciousness. In any case, we have slowly rediscovered that fairytales are not mere childish trifles, but are vehicles of great wisdom from which we as adults can profit.
Eurythmy, which strives to make visible that which normally remains hidden, is a medium of choice for conveying the many sheaths of a fairytale to an audience. It easily frees itself from representational realism, where clothing, mannerisms, etc. of a specific culture are reproduced as accurately and authentically as possible. Rather, eurythmy gives itself the task of conveying an accurate picture of the deeper truths embedded as seeds in works of art. To do this, it uses different qualities of movement and colours (in costumes and lighting), to show visual archetypes and create various moods, and thus speaks a language that reaches us beyond our intellectual comprehension.
The spoken word as conveyer of wisdom is not limited to a role of preserving past tradition. Poetic endeavours in all times seek to capture the essence of our world - visible and invisible - as the poet in all his modernity perceives it. Again, in poetry as in fairytales, we have a language that addresses far more than the human intellect. That which a text wishes to convey may be amplified by eurythmy using the same means as for fairytales. And, whereas fairytales offer us a plot to hold on to, poetry may leave us with no such anchor. So for those of us who have difficulty finding the entrance into modern lyrical art, eurythmy can serve as a kind of subtitles for the messages between the lines.
Fairytales have been used from the dawn of mankind to convey wisdom to new generations of listeners. Raised to the status of "Volksgut" - cultural heritage of a people - by the scientific endeavours of men like the Grimm brothers during the Romantic era, they became used to convey moral lessons to children. A century later, modern psychology revisited tales and myths, using them as maps of the forces at work in the human psyche, most of which remain largely hidden from our waking consciousness. C.G. Jung argued that each of the different characters in these stories represented archetypal forces active within the soul of a single person. Rudolf Steiner indicated that the characters in fairytales may be direct representations of invisible but very concrete forces, which we can call spiritual beings, which are represented using imagery from the world perceptible to our everyday consciousness. In any case, we have slowly rediscovered that fairytales are not mere childish trifles, but are vehicles of great wisdom from which we as adults can profit.
Eurythmy, which strives to make visible that which normally remains hidden, is a medium of choice for conveying the many sheaths of a fairytale to an audience. It easily frees itself from representational realism, where clothing, mannerisms, etc. of a specific culture are reproduced as accurately and authentically as possible. Rather, eurythmy gives itself the task of conveying an accurate picture of the deeper truths embedded as seeds in works of art. To do this, it uses different qualities of movement and colours (in costumes and lighting), to show visual archetypes and create various moods, and thus speaks a language that reaches us beyond our intellectual comprehension.
The spoken word as conveyer of wisdom is not limited to a role of preserving past tradition. Poetic endeavours in all times seek to capture the essence of our world - visible and invisible - as the poet in all his modernity perceives it. Again, in poetry as in fairytales, we have a language that addresses far more than the human intellect. That which a text wishes to convey may be amplified by eurythmy using the same means as for fairytales. And, whereas fairytales offer us a plot to hold on to, poetry may leave us with no such anchor. So for those of us who have difficulty finding the entrance into modern lyrical art, eurythmy can serve as a kind of subtitles for the messages between the lines.
More on Renate Krause
On October 6, Renate Krause decided that she had recovered sufficiently from an operation to resume her eurythmy work, and she opened our study group with a stimulating group eurythmy exercise. We were putting away chairs at the end of the meeting, when somehow she fell in a corner, with the result that her arm was broken. She has been in considerable pain, but she has recovered sufficiently to return home, and she is able to drive when she needs to. It's quite incredible how undaunted she seems by these difficult trials...
Sunday, July 5, 2009
Feeling Our Feet
Here is an excerpt from an interesting review of a book about barefoot running in The Toronto Star. The author has done extensive research and learned that athletic shoes are doing more harm than good, and says we should be paying much more attention to natural foot movements..."LEONARDO DA VINCI observed that the human foot is 'a work of art and a masterpiece of engineering.'
Each foot/ankle combo contains 26 bones (both sides comprise one-quarter of the bones of the human body), 33 joints and more than 100 muscles, tendons and ligaments. Thousands of nerve endings also make our feet extremely sensitive – one of the reasons torturers throughout history have whipped the soles of prisoners' feet.
It's amazing that our feet can sustain the constant shock of walking, let alone running. Especially since, according to some scientists, we've been wrecking our feet. Our shoes, whether stilettos or cushioned, spring-loaded, gel-padded, air-bubble-infused sneakers, make us walk in a way that is not natural for our feet, studies say.
Watch a baby take those first steps. There's a natural way we all walk, with short strides, landing softly on our heels or the balls of our feet before our toes spring us forward.
Now walk in your best running shoes. You'll likely take longer strides and, due to the padding in the heels, strike down harder, unable to roll to the side because of the thick sole and inflexibility of the shoe. This rigid base also stops your toes from springing you forward, so your legs have to work harder.
We're also not feeling what's really going on with our feet. High shock-absorbing footwear prohibits our sensitive plantar surface from sending pain and pressure impulses that would naturally allow us to alter our gait to reduce stress.
"There's a benefit to barefoot running, I really think there is, no doubt," says Dr. Jack Taunton, the chief medical officer for the 2010 Olympic Winter Games. Taunton, director of the Allan McGavin Sports Medicine Centre at the University of British Columbia, has conducted studies on injured runners and basketball players that show with less support, the body heals faster. The foot and ankle are forced to build muscles that support the ailing area.
It's just the old adage, he says: 'If you don't use it, you lose it.'"
Wednesday, June 3, 2009
Introducing Pascal Jouneau
Bonjour,
Je suis Pascal JOUNEAU, (formé à l'école de La haye en Hollande/ PaysBas) eurythmiste au Québec dans les deux écoles:
* Les enfants de la terre à Waterville près de Scherbrooke et
* L'Eau Vive à Victoriaville.
Je suis aussi eurythmiste Thérapeute formé en Suisse.
"I am Pascal Jouneau. I did my training in The Hague, and am now working in Quebec. I am teaching eurythmy in two schools: Les enfants de la terre in Waterville near Sherbrooke
and L'Eau Vive in Victoriaville. I am also a therapeutic eurythmist trained in Switzerland."
Je suis Pascal JOUNEAU, (formé à l'école de La haye en Hollande/ PaysBas) eurythmiste au Québec dans les deux écoles:
* Les enfants de la terre à Waterville près de Scherbrooke et
* L'Eau Vive à Victoriaville.
Je suis aussi eurythmiste Thérapeute formé en Suisse.
"I am Pascal Jouneau. I did my training in The Hague, and am now working in Quebec. I am teaching eurythmy in two schools: Les enfants de la terre in Waterville near Sherbrooke
and L'Eau Vive in Victoriaville. I am also a therapeutic eurythmist trained in Switzerland."
Monday, June 1, 2009
Eurythmy Association UK
Stories and information about eurythmy in the United Kingdom are available at their website. You can also find a copy of their current newsletter on the site.
Sunday, May 31, 2009
Youth Movement
Marc-Antoine Brodeur is studying eurythmy in UK, and hopes to return to Canada when he's finished. Here is his report about a recent practicum...MM Teenagers and Dissonance in Oslo
I arrived in Oslo, Norway just after a few days of deep snowfall and so the city was beautifully white and rounded. The land of alliteration met me with icy clearness. I was coming from Botton Village in green England, in my third year of eurythmy training, and about to plunge into ten days of teaching practice. My mentor Tatiana Magnussen, a Russian pianist turned eurythmist, was most inspiring to watch with the children. She had a solid strength about her and warm eyes that met them all with joy. The different moods she was able to create from kindergarten to the tenth grade demonstrated not only her understanding of the needs of the growing child but also her capacity to translate these soul and body needs through music and poetry into living expression. The children and teenagers loved it. She was also very respected by her colleagues.
Teenagers and dissonance
During my time in Asker Steiner school, Tatiana asked me to introduce the tenth grade to the worlds of major, minor and dissonance. She suggested I use 'The Death of Ase' from the Peer Gynt Suite (op.46) by Edward Grieg. This slow piece in 4/4, an Andante doloroso, proved to be very effective as it gave the necessary breadth of time to live into the new movements but also delivered all the intensity you would want for a teenage soul! The questions I asked myself included: how do I get the students to move what they are feeling at this time of their lives? How can I do this in a way that is fun and yet so intense that they forget about being cool but just dive in?
Just the Boys
I had a first class just with the young men-in-becoming. After a full eurythmy body and soul warm up, I had them in two lines, far apart, facing each other. They were to listen to the gentle major or minor rolling arpeggio and move towards each other with the appropriate gesture; they had to listen as they did not know what mood would come. Then, as a louder dissonant chord sounded, they were to plunge jumping down (with their legs) through the other line (who were doing the same in the opposite direction) while stretching and tensing with their arms forward and backward and all the while keeping very vertical and awake, eyes forward. Then, once having pierced through, they would slow into another major or minor in calmness, then breathe out, listening inside to what had just happened. Sometimes they laughed hard and other times there was a brief stillness that ensued; difficult to describe. They seemed to have had great joy in this and other variations.Teenage Girls and Boys
The next day I did the same exercise with the whole class. The boys were quite well behaved but were so sure of their movements that they made it a bit too rough for the girls to be able to experience it with as much inwardness. Having known this might happen, I would have asked for a separate class with the girls so that they might have the chance to also have the tender experiences of minor and tearing dissonance.
Forms without Forms
When we came to 'The Death of Ase' I felt that what worked best (having been inspired by three weeks work with Dorothea Mier), was to have the students listen to the music and then move it in two groups guided by my hands with forms previously worked on with Tatiana. This we did many times, then slowly bringing in the gestures. Only later, if necessary, were the forms illustrated on the board. This guiding with the hands, until they knew the form without me, I think left them more free to experience the movement in space (getting out of their heads) and especially to be sensitive to moving together with their compatriots. It was touching to see them, through this whole process, come to a real experience of the music and to be able to express it with their bodies, right to the fingertips and toes.
A Teacher
It is with gratitude that I was able to observe Tatiana in her humble, devoted and energetic work. She was able to bring children and teenagers to real experiences of the essential nature of music and poetry. She was a solid rudder for the teens' tempestuous souls and a revealer of the joys of incarnation for the younger ones. Her inner calm and outer versatility met them in their growing needs and this they responded to with joy. So after a rewarding time in Oslo I bade them a warm farewell, put away my woolly mittens and returned to lush fields of England.
Wednesday, April 8, 2009
MONEY FOR PERFORMING
Who said there is no money for eurythmy???The Waldorf Education Fund (WEF) grants money every year to support eurythmy performances. Why not put some of this money to work in Canada? For details and application information, see the posting on the Association website. Deadline for submissions is October 15, 2009.
Friday, March 20, 2009
Solstad Visit - Update
When Margrethe and Trond Solstad visited Richmond Hill last Fall, I showed them the construction site for the new Richmond Hill Centre For The Performing Arts., and mused, "wouldn't it be nice if you could perform there, along with some local talent?" Michael Grit is the very innovative Theatre Manager, and he is very interested in developing new audiences and would probably be quite supportive. Maybe we could even sell the 600+ tickets and fill the place!
Upon reflection, I saw that this idea was premature. I have been getting similar responses from other centres in Canada regarding the possibility of another Solstad visit. "Yes, it would be wonderful, and maybe we could even get an audience, but then what? How do we follow up? We simply have no resources to support the development of eurythmy."
I will keep you posted as plans for the Solstad tour develops. If they don't come to Canada, it may be possible for some of us to see them in Spring Valley...
Note: The image is a rendering of the main theatre at the Richmond Hill Centre. I experienced a production of Tosca recently, and was really impressed by the acoustics and many other features of the hall. (So many of the modern halls are pretty much dead!) Do you think the stage would be suitable for eurythmy?
Upon reflection, I saw that this idea was premature. I have been getting similar responses from other centres in Canada regarding the possibility of another Solstad visit. "Yes, it would be wonderful, and maybe we could even get an audience, but then what? How do we follow up? We simply have no resources to support the development of eurythmy."
I will keep you posted as plans for the Solstad tour develops. If they don't come to Canada, it may be possible for some of us to see them in Spring Valley...
Note: The image is a rendering of the main theatre at the Richmond Hill Centre. I experienced a production of Tosca recently, and was really impressed by the acoustics and many other features of the hall. (So many of the modern halls are pretty much dead!) Do you think the stage would be suitable for eurythmy?
Tuesday, March 3, 2009
Working Capital For The Arts
Creative Trust is a Toronto-based organization that helps arts groups to raise working capital. Representatives from member companies attend workshops and training sessions, and learn how to manage the business side of their program. As they become better stewards of their limited resources, donor confidence increases and the IMPOSSIBLE starts to become POSSIBLE. (See Creative Trust Website)Could this kind of knowledge be helpful to the development of eurythmy in Canada? Can we begin to develop a network of business/finance people who could contribute insights, connections and skills? Please post your comments, or contact me directly if you are interested.
Friday, February 27, 2009
Foundation Stone Performance - April 5
The eurythmists of Northern Star Eurythmy are honoured to announce a visit by Patricia Smith, of Vancouver, for the weekend of 3-5 April 2009, for a performance and working rehearsals of the Foundation Stone Meditation.
The schedule for the weekend will be:
Friday 3 April, 7:30 – High School Performance
Saturday 4 April, 9:00 – 6:00 – rehearsals
Sunday 5 April, 9:00 – 11:30 – rehearsals
Sunday 5 April, 2:00 p.m. -Performance of the Foundation Stone Meditation
All events are at the Toronto Waldorf School.
Speaker: Patricia Smith (Vancouver)
Lights: Brian Searson (Richmond Hill) and Gioia Helms (Richmond Hill)
Eurythmists: Michael Chapitis (Toronto)
Maria Walker-Ebersole (East Aurora)
Mark Ebersole (East Aurora)
Angelika Warner (Richmond Hill)
Tatiana Lungu (Barrie)
Maria Helms (Richmond Hill)
Donations are very much appreciated, as is spreading the word that this performance is now brought to Canada.
Tuesday, February 24, 2009
Texas Eurythmy
Here is an inspiring story from Texas. They started from scratch 10 years ago, and now look what's happening! (Click here for more details.)
In November 2006, the Austin Eurythmy Ensemble celebrated its 10th Anniversary as a professional eurythmy troupe. This is a milestone which the members mark with awe and delight for a past filled with incredibly satisfying performance work, whirlwind tours, amazing professional collaboration, important alliances and relationships, and, most of all, enormous gratitude for their many, many supporters.
For those who have been fortunate enough to travel some of this 10-year journey with the ensemble, this is a milestone in which you can take particular pleasure. Over the course of those years, the ensemble has grown by incredible leaps and bounds on many different levels. From their beginnings as a 4-member troupe with little or no budget and no local peer support (moving from Spring Valley, New York, rife with eurythmy, to Austin, Texas, theretofore void of eurythmy!), they have indeed grown into a mature troupe of professional artists complete with a devoted Circle of Friends and deeply satisfying professional relationships. The supporters of the Austin Eurythmy Ensemble, and in fact of eurythmy in general, can take delight in these accomplishments.
There are, indeed, many important accomplishments to be celebrated. Having been granted the unique position of artists-in-residence upon their arrival in Austin, Markus and Andrea Weder and Jolanda Frischknecht have been able to continue their work as professional eurythmists while at the same time enjoying the immensely satisfying work of teaching eurythmy at the Austin Waldorf School. Providing the school with consistent, high quality eurythmy instruction has not only benefited the school, resulting in programs such as the Austin Youth Eurythmy Troupe, an extra-curricular high school troupe, and the first ever International High School Eurythmy Festival, it has also fed a particular passion of the eurythmists to work intensely with youth. The reciprocity of this relationship is one that has in no small way lent to the momentum that has fueled the AEE’s work as an ensemble.
And work they have. Since their inception, the group has produced and performed over four different evening programs and numerous children’s programs, traveling across the U.S. and Canada in at least seven performance tours. Much to their delight, audiences have been readily complimentary with praise, commenting on the depth, eloquence, sophistication and precision that the ensemble brings to the stage. But more important than those individual elements of their programs is the quality of cohesion that the ensemble has achieved; indeed, a history of 10 years together has provided the space in which the members have been able to grow into more than the sum of its parts. As Rachel Andrews, former eurythmist at the Summerfield Waldorf School, succinctly stated upon the occasion of attending an AEE performance of Voices of the Hereafter, “A true Ensemble, one can experience [with the AEE] a strong collaboration between the artists not always present in eurythmy performances.” And from Mary Barhydt of the San Francisco Waldorf School upon witnessing the program Among the Ashes, “Of all the aspects of this group which is paramount in my memory, it is the truly ensemble quality of this group’s work.” These reflections are indicative of a high level of maturity and underscore the importance of longevity when considering the quality of performance art.
It is here necessary to point out the relationships the eurythmists have cultivated and enjoyed with their collaborative artists, for the nature of eurythmy to make visible the world of music and speech would make it impossible to practice it without supporting musicians and speech artists. Fellow eurythmists Barbara Bresette-Mills and Annette Heinze, pianist Dr. Anthony Tobin, speech artists Katherine Thivierge and Ellen Burke, violinist Rebecca Browne, and pianist Christina Lunceford are some of the many who deserve recognition here. They have offered their talent and time with generous hearts and their collaborations have helped to shape the ensemble into its present form.
In that present form, the ensemble pursues many opportunities to further develop the presence of eurythmy in the world. Along those lines, one of the most important manifestations of the past 10 years has been the Summer Eurythmy Academy. In these recurring month-long intensives, graduates of Waldorf education can more fully explore the art of eurythmy as it relates not only to performance work but also to self-development. The young adult has an opportunity to further his or her understanding of the soulful quality of eurythmy in the light of anthroposophy, as introductions to that topic are made and discussed. This has been an enormous success story, and the momentum of this work has carried it to the point that opportunities for the students to perform their work with the ensemble in a professional capacity are being explored.
In another effort to bring eurythmy more visibility, the ensemble has branched out into the public sphere with workshops, lecture/demonstrations, and public performances at local venues such as theaters and museums. The future holds more such work, and the ensemble is thrilled to be a part of the movement to bring eurythmy to a larger audience.
As they continue into the next decade, touring and performing across the U. S. and Europe and mentoring youth, the ensemble remains devoted to bringing eurythmy ever more fully into human consciousness. Taking a look back over their shoulders now
they can recognize that its many supporters and advocates are in no small way responsible for their success. The support of the Austin Waldorf School has been instrumental in the ensemble’s ability to pursue their goals, and their gratitude for this relationship is monumental. Many organizations and foundations have been steadily and consistently providing practical, monetary support needed for such work, and they are (in no order), the Eurythmy Association of North America, The Mid-States Shared Gifting Group, the Waldorf Educational Foundation, and the Rudolf Steiner Foundation. And to their dedicated Board of Directors, Circle of Friends, and the many, many others who have offered their support, both financial and otherwise, the ensemble wishes to offer a tremendous Thank You!
For those who have been fortunate enough to travel some of this 10-year journey with the ensemble, this is a milestone in which you can take particular pleasure. Over the course of those years, the ensemble has grown by incredible leaps and bounds on many different levels. From their beginnings as a 4-member troupe with little or no budget and no local peer support (moving from Spring Valley, New York, rife with eurythmy, to Austin, Texas, theretofore void of eurythmy!), they have indeed grown into a mature troupe of professional artists complete with a devoted Circle of Friends and deeply satisfying professional relationships. The supporters of the Austin Eurythmy Ensemble, and in fact of eurythmy in general, can take delight in these accomplishments.
There are, indeed, many important accomplishments to be celebrated. Having been granted the unique position of artists-in-residence upon their arrival in Austin, Markus and Andrea Weder and Jolanda Frischknecht have been able to continue their work as professional eurythmists while at the same time enjoying the immensely satisfying work of teaching eurythmy at the Austin Waldorf School. Providing the school with consistent, high quality eurythmy instruction has not only benefited the school, resulting in programs such as the Austin Youth Eurythmy Troupe, an extra-curricular high school troupe, and the first ever International High School Eurythmy Festival, it has also fed a particular passion of the eurythmists to work intensely with youth. The reciprocity of this relationship is one that has in no small way lent to the momentum that has fueled the AEE’s work as an ensemble.
And work they have. Since their inception, the group has produced and performed over four different evening programs and numerous children’s programs, traveling across the U.S. and Canada in at least seven performance tours. Much to their delight, audiences have been readily complimentary with praise, commenting on the depth, eloquence, sophistication and precision that the ensemble brings to the stage. But more important than those individual elements of their programs is the quality of cohesion that the ensemble has achieved; indeed, a history of 10 years together has provided the space in which the members have been able to grow into more than the sum of its parts. As Rachel Andrews, former eurythmist at the Summerfield Waldorf School, succinctly stated upon the occasion of attending an AEE performance of Voices of the Hereafter, “A true Ensemble, one can experience [with the AEE] a strong collaboration between the artists not always present in eurythmy performances.” And from Mary Barhydt of the San Francisco Waldorf School upon witnessing the program Among the Ashes, “Of all the aspects of this group which is paramount in my memory, it is the truly ensemble quality of this group’s work.” These reflections are indicative of a high level of maturity and underscore the importance of longevity when considering the quality of performance art.
It is here necessary to point out the relationships the eurythmists have cultivated and enjoyed with their collaborative artists, for the nature of eurythmy to make visible the world of music and speech would make it impossible to practice it without supporting musicians and speech artists. Fellow eurythmists Barbara Bresette-Mills and Annette Heinze, pianist Dr. Anthony Tobin, speech artists Katherine Thivierge and Ellen Burke, violinist Rebecca Browne, and pianist Christina Lunceford are some of the many who deserve recognition here. They have offered their talent and time with generous hearts and their collaborations have helped to shape the ensemble into its present form.
In that present form, the ensemble pursues many opportunities to further develop the presence of eurythmy in the world. Along those lines, one of the most important manifestations of the past 10 years has been the Summer Eurythmy Academy. In these recurring month-long intensives, graduates of Waldorf education can more fully explore the art of eurythmy as it relates not only to performance work but also to self-development. The young adult has an opportunity to further his or her understanding of the soulful quality of eurythmy in the light of anthroposophy, as introductions to that topic are made and discussed. This has been an enormous success story, and the momentum of this work has carried it to the point that opportunities for the students to perform their work with the ensemble in a professional capacity are being explored.
In another effort to bring eurythmy more visibility, the ensemble has branched out into the public sphere with workshops, lecture/demonstrations, and public performances at local venues such as theaters and museums. The future holds more such work, and the ensemble is thrilled to be a part of the movement to bring eurythmy to a larger audience.
As they continue into the next decade, touring and performing across the U. S. and Europe and mentoring youth, the ensemble remains devoted to bringing eurythmy ever more fully into human consciousness. Taking a look back over their shoulders now
they can recognize that its many supporters and advocates are in no small way responsible for their success. The support of the Austin Waldorf School has been instrumental in the ensemble’s ability to pursue their goals, and their gratitude for this relationship is monumental. Many organizations and foundations have been steadily and consistently providing practical, monetary support needed for such work, and they are (in no order), the Eurythmy Association of North America, The Mid-States Shared Gifting Group, the Waldorf Educational Foundation, and the Rudolf Steiner Foundation. And to their dedicated Board of Directors, Circle of Friends, and the many, many others who have offered their support, both financial and otherwise, the ensemble wishes to offer a tremendous Thank You!
Wednesday, February 4, 2009
Warm Thoughts For Renate Krause
Renate has continued to teach adult eurythmy classes in Thornhill, and she also brings eurythmy into the monthly Branch meetings. In her quiet way, she helps people to get a rich inner experience, and we no longer feel that we are just waving our arms about. In recent years, she has worked extensively with zodiac gestures, and seems to be able to make them meaningful even to novices.
Renate is suffering with illness, and will soon be having surgery. Let us send warm thoughts for her at this time.
Renate is suffering with illness, and will soon be having surgery. Let us send warm thoughts for her at this time.
Wednesday, January 28, 2009
A Conversation In Montreal
It was really a pleasure to see Christa Kuehn again. Many of Canada's eurythmists had their first classes with Christa, including veterans such as Renate Krause! Christa has been a very active publicist and performer of eurythmy in Canada, and she inspires (challenges?) the current generation do more eurythmy with the public.
Claudia Maurice and Andree Lanthier were also part of the conversation. They are each working hard, overcoming obstacles and loving their work. We focused on some of the practical aspects relating to a eurythmy career, such as salaries, working/performance spaces, funding sources, and the deceptively simple question - How do I write a poster?
What is the priority, and how can we develop relationships with influential friends who can help?
Helene Besnard greeted us at the beginning of our meeting, and went off to give some last-minute coaching to her students. Later in the afternoon, we were treated to a workshop performance of parts of the Foundation Stone meditation. The audience (members of the Anthroposophical Society in Montreal and from across Canada) formed a circle in the performance space afterwards, and held a conversation in the eurythmy afterglow...
Claudia Maurice and Andree Lanthier were also part of the conversation. They are each working hard, overcoming obstacles and loving their work. We focused on some of the practical aspects relating to a eurythmy career, such as salaries, working/performance spaces, funding sources, and the deceptively simple question - How do I write a poster?
What is the priority, and how can we develop relationships with influential friends who can help?
Helene Besnard greeted us at the beginning of our meeting, and went off to give some last-minute coaching to her students. Later in the afternoon, we were treated to a workshop performance of parts of the Foundation Stone meditation. The audience (members of the Anthroposophical Society in Montreal and from across Canada) formed a circle in the performance space afterwards, and held a conversation in the eurythmy afterglow...
Tuesday, January 27, 2009
Event this Sunday in Thornhill!
Here is the Invitation to the recent workshop-performance in Thornhill. If you would like to make a donation to Northern Star Eurythmy, please see "Foundation Stone Meditation" on the sidebar.
Northern Star Eurythmy is presenting a workshop and performance around the Foundation Stone Meditation in Thornhill at 2pm on Sunday February 1 at the Toronto Waldorf School. See below for Invitation details.
The group would like to acknowledge the support of the people at the Ita Wegman Foundation and the Camphill Foundation who have been so helpful and encouraging during the launch of the Northern Star Eurythmy project. Thank you!
INVITATION From Northern Star Eurythmy
Eurythmy Performance and Workshop around the Foundation Stone Meditation of the Anthroposophical Society, Sunday, February 1, 2009, 2-3pm, Toronto Waldorf School
Rudolf Steiner dedicated his life to bringing spiritual knowledge into the realm of modern scientific thought, personal meditation and transformative work, with the goal of renewing human beings, society and the earth itself. His last, and many consider his greatest effort to bring this about, was the renewal of the Anthroposophical Society at the Christmas Conference in Dornach, Switzerland, at Christmastime 1923-24. As the heart of this renewal he gave the mighty Foundation Stone Meditation, which, he said, brought together the central knowledge and wisdom of Anthroposophy.
In the months following the conference he gave a eurythmic choreography for this Meditation, which was performed exclusively in Dornach for many decades. In the 1990's then the decision was made to carry this work out into the world. As part of this impulse Dorothea Mier, from Eurythmy Spring Valley, came to Toronto, Canada, in November, ‘05, to work on the Foundation Stone Meditation eurythmically with all who were interested.
Out of this workshop a group, varying in number and participation from meeting to meeting, went on to continue this work for the next two years. Slowly but surely a knowledge of the forms, the gestures, the rhythms and other aspects grew between us. In Spring, 2007, this work group received the invitation to perform the Foundation Stone Meditation at the “Encircling Light, Expectant Silence” Conference of the North, to be held in White Horse, Yukon, Canada, in August, 2009.
Out of this the decision was made to found ourselves as a performing group dedicated to work on the Foundation Stone Meditation, Northern Star Eurythmy. Now, a year later, we are prepared to begin sharing this work. Next Sunday, February 1, we will be conducting a workshop and performance, open to all who are interested, at the Toronto Waldorf School in Thornhill. The whole group will be invited to explore motifs of the movements of the different sections of the piece together, after which we will perform parts of the Meditation on stage, in proper costume.
The workshop may provide deepening to those who have studied the Meditation on their own, and a dynamic introduction to those who are interested in exploring it for the first time. We invite everyone to come and join us!
In addition to sharing our work, we are hoping to raise much needed funds to cover the costs of costumes, lighting, conference fees and flights to the Yukon. We will be asking for a free-will donation–we suggest $20 per person as a guideline. We are a project of the Ita Wegman Foundation, a Canadian charity, and donations are eligible for tax receipts.
For further information, please call Maria Helms (905-883-0323) or Mark McAlister (905-883-3409).
Northern Star Eurythmy is presenting a workshop and performance around the Foundation Stone Meditation in Thornhill at 2pm on Sunday February 1 at the Toronto Waldorf School. See below for Invitation details.
The group would like to acknowledge the support of the people at the Ita Wegman Foundation and the Camphill Foundation who have been so helpful and encouraging during the launch of the Northern Star Eurythmy project. Thank you!
INVITATION From Northern Star Eurythmy
Eurythmy Performance and Workshop around the Foundation Stone Meditation of the Anthroposophical Society, Sunday, February 1, 2009, 2-3pm, Toronto Waldorf School
Rudolf Steiner dedicated his life to bringing spiritual knowledge into the realm of modern scientific thought, personal meditation and transformative work, with the goal of renewing human beings, society and the earth itself. His last, and many consider his greatest effort to bring this about, was the renewal of the Anthroposophical Society at the Christmas Conference in Dornach, Switzerland, at Christmastime 1923-24. As the heart of this renewal he gave the mighty Foundation Stone Meditation, which, he said, brought together the central knowledge and wisdom of Anthroposophy.
In the months following the conference he gave a eurythmic choreography for this Meditation, which was performed exclusively in Dornach for many decades. In the 1990's then the decision was made to carry this work out into the world. As part of this impulse Dorothea Mier, from Eurythmy Spring Valley, came to Toronto, Canada, in November, ‘05, to work on the Foundation Stone Meditation eurythmically with all who were interested.
Out of this workshop a group, varying in number and participation from meeting to meeting, went on to continue this work for the next two years. Slowly but surely a knowledge of the forms, the gestures, the rhythms and other aspects grew between us. In Spring, 2007, this work group received the invitation to perform the Foundation Stone Meditation at the “Encircling Light, Expectant Silence” Conference of the North, to be held in White Horse, Yukon, Canada, in August, 2009.
Out of this the decision was made to found ourselves as a performing group dedicated to work on the Foundation Stone Meditation, Northern Star Eurythmy. Now, a year later, we are prepared to begin sharing this work. Next Sunday, February 1, we will be conducting a workshop and performance, open to all who are interested, at the Toronto Waldorf School in Thornhill. The whole group will be invited to explore motifs of the movements of the different sections of the piece together, after which we will perform parts of the Meditation on stage, in proper costume.
The workshop may provide deepening to those who have studied the Meditation on their own, and a dynamic introduction to those who are interested in exploring it for the first time. We invite everyone to come and join us!
In addition to sharing our work, we are hoping to raise much needed funds to cover the costs of costumes, lighting, conference fees and flights to the Yukon. We will be asking for a free-will donation–we suggest $20 per person as a guideline. We are a project of the Ita Wegman Foundation, a Canadian charity, and donations are eligible for tax receipts.
For further information, please call Maria Helms (905-883-0323) or Mark McAlister (905-883-3409).
Wednesday, January 21, 2009
Something A little Different...
Now I know why Lois has not been able to submit her article about eurythmy and destiny...She's been getting ready for an exhibit at the upcoming interior design show. Here's some eurythmy at work in a new way...
"The most startling new furniture design premiered here is a transparent rendering of the rococo writing desk that appeared in an 18th Century Fragonard painting. Lois' design translates iconic decorations into clear recyclable acrylic. The fabrication of its base, that not only curves on two planes but has the strength to support a white marble top, was a year in development.
...Italian gardens of the 1750's have been a prime source of inspiration for my designs. Joining with Ian Morton of Nor-Am to create a glass garden pavilion for IDS09 was a natural pairing. We have been planning and developing this booth for 2 years."
...Italian gardens of the 1750's have been a prime source of inspiration for my designs. Joining with Ian Morton of Nor-Am to create a glass garden pavilion for IDS09 was a natural pairing. We have been planning and developing this booth for 2 years."
Lois Macaulay draws from icons of art history to shape her furnishing line and design projects. Her store at 98 Avenue Road is open from 10 to 6 Monday to Saturday, with the exception of Tuesday, open by appointment. http://www.loismacaulay.com/
Friday, January 16, 2009
Michael Chapitis - New Directions In Therapeutic Eurythmy
Michael Chapitis currently works with Kindergarten to Grade Eight students as a part time therapeutic/curative eurythmy specialist at the Alan Howard, Halton and Trillium Waldorf Schools in Ontario, Canada.. His work addresses the application of eurythmy in areas of physical and emotional imbalance in learning. Michael received much of his mentoring and further training with renowned educator Marjorie Spock, who witnessed the birthing of eurythmy under Rudolf Steiner in the early 1900s and founded Waldorf Schools in North America. Through this further development, Michael offers annual courses in Switzerland to eurythmists and physicians. Michael takes referrals for adults and children through the anthroposophical physicians of Pegasus Therapeutics, the medical centre in Thornhill, Ontario.
Some Notes And Updates
Cynthia Gelder took her Masters of Science in Education in 2008 and she is currently teaching a class in Kuwait... Angelika Warner is working full time at the Toronto Waldorf School as both a pedagogic eurythmist and therapist. Her two sons are grown and starting their personal journeys, and she feels that she is perhaps now wise enough to begin appreciating life in wholly new ways...Maria Helms teaches eurythmy full time at the Toronto Waldorf School and also leads community events and adult workshops. She is a leading member of the Northern Star eurythmy group....Alexandru and Patricia Doroftei in Calgary are enjoying the antics of their young daughter, and periodically finding opportunities to do eurythmy with members of the Waldorf community. Ingrid Kohler has recently been married and may soon be moving from Ontario to the West Coast. Tatiana Lungu is working at Camphill Nottawasaga and is gradually finding opportunities for artistic work and performance.
Thursday, January 8, 2009
Eurythmy and Destiny
What happens when a eurythmist enters a new profession? Is eurythmy now just a fond memory, or does she come to life in new ways? Stay tuned...(Where's Lois?)
Margaret and Arthur Osmond - Welcome!
Margaret and Arthur have recently moved from the UK and settled in Nova Scotia. (Now we have eurythmy from coast to coast!) They are starting to feel settled, and by the time you read this posting, Margaret will probably have given her first public workshop. Good luck!
Sylvie Richard
Once I complete my training (soon!) I will be very interested in networking with my fellow Canadian eurythmists.
I also wanted to acknowledge the Anthroposophical Foundation of Canada which came forward with a grant which I will apply to loan re-payment from Eurythmy Spring Valley. I felt wonderful that an anthroposophical body could support eurythmy that way.
I also wanted to acknowledge the Anthroposophical Foundation of Canada which came forward with a grant which I will apply to loan re-payment from Eurythmy Spring Valley. I felt wonderful that an anthroposophical body could support eurythmy that way.
Helene Besnard
Happy new year with strength and imagination!
This is my report.
Eurythmy: I give a regular adult course, once a week. We work on basics and, very humbly, parts of the Foundation Stone meditation forms. We want to be connected to the general work in the anthroposophical movment on the same theme. Most are anthroposophists and carry the soul stone in their hearts. Plus, workshops at the year's festivals.
Education through movement: I am often invited to present rhythm, rhymes and rounds to child educators in public daycares, and also Waldorf. Some class teachers come to me for help in their rhythmic morning part.
Writing: Three of my books are published: one on rhymes, rhythmics, dances and games. The second one is about the musical Mood of the 5th with stories and songs; the third one has fairy tales for 3 to 9 years's old.
This is my report.
Eurythmy: I give a regular adult course, once a week. We work on basics and, very humbly, parts of the Foundation Stone meditation forms. We want to be connected to the general work in the anthroposophical movment on the same theme. Most are anthroposophists and carry the soul stone in their hearts. Plus, workshops at the year's festivals.
Education through movement: I am often invited to present rhythm, rhymes and rounds to child educators in public daycares, and also Waldorf. Some class teachers come to me for help in their rhythmic morning part.
Writing: Three of my books are published: one on rhymes, rhythmics, dances and games. The second one is about the musical Mood of the 5th with stories and songs; the third one has fairy tales for 3 to 9 years's old.
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