Teaching Language arTs in The WaLdorf schooL
Teaching Language arTs in The WaLdorf schooL
Teaching Language arTs in The WaLdorf schooL
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Writ<strong>in</strong>g<br />
101<br />
<strong>The</strong> child will say, “Fish.” <strong>The</strong> teacher responds, “Let’s make this<br />
fish simpler.” Aga<strong>in</strong> one will ask the child to sound only the first letter,<br />
<strong>in</strong> this way obta<strong>in</strong><strong>in</strong>g the letter F. And so, from these pictures, we<br />
lead to abstract letter forms.<br />
<strong>The</strong>re is no need to go<br />
back <strong>in</strong>to history to show<br />
how contemporary writ<strong>in</strong>g<br />
evolved from ancient pictography.<br />
For our pedagogical<br />
purposes it is really unnecessary<br />
to delve <strong>in</strong>to the history of civilization. All we have to do is f<strong>in</strong>d<br />
our way— helped along by w<strong>in</strong>gs of fantasy—<strong>in</strong>to this method, and<br />
then, no matter what language we speak, choose some characteristic<br />
words that we then transform <strong>in</strong>to pictures and f<strong>in</strong>ally derive the<br />
actual letters from them. In this way we work together with what<br />
the child wants <strong>in</strong>wardly dur<strong>in</strong>g and immediately after the change<br />
of teeth. From this you will understand that, after hav<strong>in</strong>g <strong>in</strong>troduced<br />
writ<strong>in</strong>g by draw<strong>in</strong>g a pa<strong>in</strong>t<strong>in</strong>g and by pa<strong>in</strong>t<strong>in</strong>g a draw<strong>in</strong>g (it is good<br />
for children to use color immediately because they live <strong>in</strong> color, as<br />
everyone who deals with them knows), one can then progress to<br />
read<strong>in</strong>g. This is because the entire human be<strong>in</strong>g is active <strong>in</strong> writ<strong>in</strong>g.<br />
<strong>The</strong> hand is needed, and the whole body has to adapt itself—even if<br />
only to a slight degree; the entire person is <strong>in</strong>volved. Writ<strong>in</strong>g, when<br />
evolved through pa<strong>in</strong>t<strong>in</strong>g-draw<strong>in</strong>g, is still more concrete than read<strong>in</strong>g.<br />
[<strong>The</strong> Child’s Chang<strong>in</strong>g Consciousness, pp. 59-61, 73-76.]<br />
7. From A Modern Art of Education (1923), 1972 edition<br />
In the previous lectures I have shown that when the child reaches<br />
the usual school age at the transitional time of the change of teeth,<br />
all teach<strong>in</strong>g should be given <strong>in</strong> an artistic, pictorial form. Today, I<br />
propose to carry further the ideas already put before you and to show<br />
how this method appeals directly to the child’s life of heart and feel<strong>in</strong>g,<br />
and out of this life develops everyth<strong>in</strong>g.<br />
Let us take a few characteristic examples to show how writ<strong>in</strong>g<br />
can be derived from the artistic element of pa<strong>in</strong>t<strong>in</strong>g and draw<strong>in</strong>g. I<br />
have already said that if a system of education is to harmonize with