By Rudolf Steiner
Chatting with the academics on the first Waldorf institution in Stuttgart, Steiner asserts that the unlucky presence of dishonesty and alienation in society this present day can't be addressed with out a thoroughly renewed and holistic schooling. He states proven fact that winning instructing calls for a dwelling synthesis of the "spiritual gymnast," the "ensouled rhetorician," and the "intellectual professor." of those, the formative impact of the rhetorician's cultivation of creative speech is an important. "It's most unlikely for precise instructing to be boring," pronounces Steiner, and he bargains numerous examples of ways academics can notice a usual phenomenon so in detail that its inventive lifestyles can circulate the youngsters via a teacher's personal phrases within the lecture room. He additionally describes, in non secular medical intensity, how the activities of academics at once impact the physiological chemistry in their scholars. From this angle, schooling is actually remedy, reworked to a better point, and will be obvious as heavily with regards to the therapeutic arts. Steiner additionally exhibits how the conception of hidden relationships among schooling and the techniques of human improvement can kindle a heartfelt enthusiasm and a feeling of accountability in academics for the far-reaching overall healthiness results that academic actions can produce.
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Extra info for Balance in Teaching (Foundations of Waldorf Education, 11)
If one studies education as a science consisting of all sorts of principles and formulas, it means about the same thing in terms of education as choosing to eat partially digested foods. But if we undertake a study of the child, of the true nature of the human being, and learn to understand children in this way, we take into ourselves the equivalent of what nature offers us as nourishment. And in the practice of teaching there will awaken in us, out of this knowledge of human nature, the art of education in a quite individual form.
Here the battle is fought more consciously, whereas the other two proceed more in the subconscious. This third and more conscious battle reveals itself when the other battles—the exchange between the human being and the sculptural on the one hand and what pertains to speech 26 B A L A NC E I N T E AC H I NG and music on the other hand—work themselves out and become a part of the etheric body. Taking hold of the astral body, this new force then moves more toward the periphery or outer boundary. From this originates everything that shoots through our fingers when we draw, paint, and so on.
It comes to expression in a remarkable way, and in order to make it clear I should like to remind you of Goethe’s theory of color. Besides calling the red-yellow half of the color world “warm” and the blue-violet part “cold,” Goethe brings color perception and tone perception closely together. He sees, as it were, a different kind of “sounding” in the red-yellow portion of the spectrum from that in the blue-violet part, and this connects, for instance, with major and minor in music— that is, with certain more intimate aspects of tone experience.