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Teaching Language arTs in The WaLdorf schooL

Teaching Language arTs in The WaLdorf schooL

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Read<strong>in</strong>g<br />

165<br />

1. <strong>The</strong> Benefits of Wait<strong>in</strong>g to Introduce Read<strong>in</strong>g<br />

We receive the children <strong>in</strong>to our school from their parental homes.<br />

Today, we live <strong>in</strong> an age when writ<strong>in</strong>g and read<strong>in</strong>g have produced<br />

conventional symbols no longer bear<strong>in</strong>g any direct <strong>in</strong>ner relationship<br />

to the human be<strong>in</strong>g. Compare the abstract letters of our alphabet<br />

with the picture writ<strong>in</strong>g used <strong>in</strong> ages past. What was fixed <strong>in</strong>to<br />

written forms <strong>in</strong> ancient times still bore a resemblance to people’s<br />

mental images. But writ<strong>in</strong>g nowadays has become quite abstract. If<br />

we <strong>in</strong>troduce children directly to these abstract letters <strong>in</strong> read<strong>in</strong>g and<br />

writ<strong>in</strong>g lessons, we <strong>in</strong>troduce them to someth<strong>in</strong>g alien to their nature,<br />

or at least someth<strong>in</strong>g <strong>in</strong>appropriate for six-, seven-, or eight-year-olds.<br />

For this reason, we use a different method <strong>in</strong> our Waldorf school.<br />

Instead of beg<strong>in</strong>n<strong>in</strong>g with the letters of the alphabet, we engage our<br />

young pupils <strong>in</strong> artistic activity by lett<strong>in</strong>g them pa<strong>in</strong>t and draw; that<br />

is, work with colors and forms. In this activity, not only the head is<br />

engaged—which would have a very harmful effect—but the child’s<br />

entire be<strong>in</strong>g is <strong>in</strong>volved. We then let the actual letters emerge out of<br />

these color-filled forms. This is how our Waldorf pupils learn writ<strong>in</strong>g.<br />

<strong>The</strong>y learn writ<strong>in</strong>g first. And only afterward do they learn to read, for<br />

pr<strong>in</strong>ted letters are even more abstract than our handwritten ones. In<br />

other words, only gradually do we develop the abstract element, so<br />

necessary today, from the artistic element which is more closely allied<br />

to life. We proceed similarly <strong>in</strong> other subjects, too. And we work <strong>in</strong><br />

this way toward a liv<strong>in</strong>g, artistic pedagogy that makes it possible to<br />

reach the very soul of the child. As for the nature of what we usually<br />

th<strong>in</strong>k of as plant, m<strong>in</strong>eral, and so forth, this can be fruitfully taught<br />

only after the child has passed the turn<strong>in</strong>g po<strong>in</strong>t just characterized<br />

and can differentiate itself from its surround<strong>in</strong>gs.<br />

Work<strong>in</strong>g along these l<strong>in</strong>es, it might well happen that some of<br />

our pupils learn to read and write later than pupils <strong>in</strong> other schools.<br />

But this is no drawback. On the contrary, it is even an advantage.<br />

Of course, it is quite possible to teach young children read<strong>in</strong>g and<br />

writ<strong>in</strong>g by rote and get them to rattle off what is put before their<br />

eyes, but it is also possible to deaden someth<strong>in</strong>g <strong>in</strong> them by do<strong>in</strong>g<br />

this, and anyth<strong>in</strong>g killed dur<strong>in</strong>g childhood rema<strong>in</strong>s dead for the rest<br />

of one’s life. <strong>The</strong> opposite is equally true. What we allow to live and

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