Eurythmy, A Worldwide Gift

by Sue Simpson

Sue Simpson is both a eurythmist and General Secretary of the Anthroposophical Society in New Zealand.

Eurythmy has grown up out of the soil of the Anthroposophical Movement, and the history of its origin makes it almost appear to be a gift of the forces of destiny.

Rudolf Steiner, Penmaenmawr, 26th August 1923

It was nearly one hundred years ago when this gift was first received. We have long since moved on from the excitement and challenges of the early years. Despite the passage of years, eurythmy is still a child in development; nurtured in the anthroposophical movement, it is only gradually finding its place in the world. It too faces the challenges of modern life. In Magdalene Siegloch’s biography of Lory Maier-Smits, How the New Art of Eurythmy Began, it is amazing to read how committed and engaged she remained over the next years as she worked in isolation. She immersed herself deeply into every instruction given and gradually she mastered each exercise. Lory not only worked with Steiner’s instructions, she brought her own initiative to the work. On a number of occasions, out of her practice or study of ancient Greek dances and art, she discovered something behind an exercise or explored new gestures or movements. Demonstrating these to Rudolf Steiner, she often met with his affirmative and supportive response.

Lory became the teacher for the first interested young women. A number went on to become eurythmists, developing the artistic, educational and therapeutic eurythmy. World War I interrupted the continuity of her work. From the beginning, Marie Steiner took on responsibility for the nurturing and development of this young art and, in 1914, she took on the training. Over the years, a stage group was formed; eurythmists from approximately 20 nations came. Performances were given regularly in Dornach and also toured throughout Europe.

The primary impulse of eurythmy was the artistic aspect. When eurythmy was inaugurated in 1912, there was no thought of its developing along any but artistic lines. When the Waldorf School was founded in 1919, its educational significance and benefits were soon realized. The subject was compulsory for all students. Not long after the school had been founded, a group of young doctors found their way into the anthroposophical movement and they, recognizing the healthy nature of eurythmy, requested exercises that could be given in the treatment of illnesses. As for the social aspect of eurythmy, it had been there from the beginning and, over the years, eurythmists deepened and evolved exercises for adult courses and for taking into the workforce.

The initial growth was tentative and, as was the way with many professions, working out of anthroposophy. World War II saw the doors of many anthroposophical initiatives and organizations close. For a number of years, work could only be carried forward in a quiet way and often in isolation.

A number of biographies, essays and anecdotes have been written describing the early days and the individuals who carried eurythmy into the world. Right up to the 1980s, eurythmy schools bore the strong signature of particular individuals through which diverse impulses came. Many of the early teachers had direct connection to the founding impulse through Rudolf Steiner or the first eurythmists. A number of them knew and worked with Marie Steiner. There was not always harmony and agreement amongst them but they were inspired and burned with enthusiasm for eurythmy. They held a strong sense of purpose and direction in their work.

After the Second World War, the movement reformed; schools, curative homes, medical practices and various trainings opened. The call for eurythmists and the interest in eurythmy grew. By the 1970s, new eurythmy schools opened and it seemed like eurythmy was really finding its feet in the world.

The 1970s and 1980s were a time when the eurythmy trainings flourished and classes filled with enthusiastic people searching for eurythmy. Students streamed from around the world, for the most to study in Europe or England. In time, trainings also opened in America, South Africa, Australia and New Zealand. Many eurythmists went into schools or curative homes, and it was common to see regular artistic performances in many of the organizations. Stage groups formed and travelled widely. In particular, the Stuttgart group led by Else Klink performed in Japan, the Americas, South Africa, Australia, and New Zealand. At the end of the 1980s, something changed. Returning to Europe in 1989 after seven years absence, I was full of anticipation to see and experience the forward strides of eurythmy. It was puzzling to see gymnastics, dance, pantomime, and drama integrated into many of the performances and often I struggled to find the eurythmy. I was left with the impression that the etheric forces had receded; the movement was often reduced to the physical body and rarely streamed out to the periphery. In one conversation with eurythmy students, I was asked if I thought eurythmy was an art. This floored me as my experience has been that the educational, social and, I assumed, therapeutic eurythmy, is enhanced through the artistic work. I learned that a growing number of people entered eurythmy trainings for personal development. On reflection, these experiences portrayed what was happening in life and especially in Europe. It was as though the life forces in nature were dying as self-interest dominated world consciousness. The confusion and mixing of movements continued to evolve and can still be seen. On the other hand, eurythmists challenged by what they were meeting, took steps towards opening new doors by exploring the possibilities of eurythmy, taking their movement and exercises to new depths and expanses. In recent years, it has been wonderful to see groups such as the Dornach and Stuttgart stage groups join together for major productions. Once again, major eurythmy productions have been performed on the stages of Europe, Asia, and America. There are Olympiad performances of fourth year students completing their trainings. Some trainings now offer university degree status, others remain with diplomas. Eurythmists can now achieve a master’s degree. Eurythmy is finding a footing in the world and, to do this, eurythmists are taking up the challenges and possibilities of modern life.

Reprinted (abridged) from Sphere, a quarterly journal of Anthroposophy in New Zealand.

The Else-Klink Ensemble performing at the Goetheanum