Spring, 2007 Vol. 12 #2: Reading in Waldorf Schools, Part III: Beginning in Sound and Form
By Arthur Auer
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Children, and Lessons a Musical or Sculptural Flowforms
Warm flow, movement, and rhythmic circulation are the means by which the human spirit builds and sculpts an embryo and a growing child, washing out unneeded hardening elements. Teachers join in this awe-inspiring work of nature and spirit by meeting a child—who is made up of a much higher percentage of water than an adult—with moving, breathing lessons that embody musical flow and that shape sculptural forms. In almost all of his major lectures on education, Rudolf Steiner speaks of lively new
processes by which to teach writing and reading.1 Each time Steiner approaches the subject, he does so undogmatically and from a new angle. For me, a key to all his suggestions about method is the way in which movement magically congeals into visible form. Both of these elements, movement and form, are accompanied by sound. Steiner’s demonstration to teachers in Switzerland illuminates these three principles using two different approaches:
We must give [the child] an opportunity to give vent to this innate artistic drive by, for example, letting him run a curve (see diagram). When we draw the child’s attention to the fact that his legs have run such a curve on the floor, we lift up his will activity into a semiconscious feeling. The next step would be to ask the child to draw the curve he had run into the air, using his arm and hand. Now another form could be run on the floor, again to be “written” into the air. Thus the form that in the first instance was made by the entire body of the running child is subsequently reproduced merely by the use of his hand. The teacher asking the child to pronounce words beginning with the letter “L”could follow this. (The German word for run, laufen, begins with “L”.) Gradually, under his or her guidance, the child will find the link between the shape he has run and drawn, and the sound of the appropriate letter “L.”
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