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Teaching Language arTs in The WaLdorf schooL

Teaching Language arTs in The WaLdorf schooL

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78<br />

<strong>Language</strong> Arts Compendium<br />

<strong>The</strong>n I expla<strong>in</strong> that a beg<strong>in</strong>n<strong>in</strong>g like this can also be found <strong>in</strong><br />

other words. I say, “If you say, ‘band,’ you also start like this; if you<br />

say, ‘bow,’ like the bow some people wear <strong>in</strong> their hair, you aga<strong>in</strong><br />

start <strong>in</strong> the same way. Have you ever seen a bear <strong>in</strong> the zoo? When<br />

you beg<strong>in</strong> to say, ‘bear,’ you breathe the same sound. All these words<br />

start with the same sound.” In this way I try to lead the children<br />

from the whole word to the beg<strong>in</strong>n<strong>in</strong>g of the word by f<strong>in</strong>d<strong>in</strong>g the<br />

transition to the s<strong>in</strong>gle sound or letter, always tak<strong>in</strong>g the <strong>in</strong>itial letter<br />

from the whole word.<br />

It is important that you yourself try to develop the <strong>in</strong>itial letter<br />

<strong>in</strong> a mean<strong>in</strong>gful way out of the draw<strong>in</strong>g element. You will achieve<br />

this very well if you simply use your imag<strong>in</strong>ation. Just th<strong>in</strong>k that<br />

the people who first saw such animals as beavers and bears drew the<br />

animal’s back, with its h<strong>in</strong>d paws on the<br />

ground and its forepaws lifted up. <strong>The</strong>y<br />

drew an animal <strong>in</strong> the act of ris<strong>in</strong>g on its<br />

h<strong>in</strong>d legs, and their draw<strong>in</strong>g turned <strong>in</strong>to<br />

a capital B. You will always f<strong>in</strong>d that the<br />

<strong>in</strong>itial letter of a word is a draw<strong>in</strong>g, an<br />

animal or plant form or some external<br />

object. You can give your imag<strong>in</strong>ation<br />

free reign; there is no need to delve <strong>in</strong>to<br />

cultural histories, which are <strong>in</strong>complete <strong>in</strong> any case. <strong>The</strong> fact is that<br />

if you go back <strong>in</strong> history to the most ancient forms of Egyptian writ<strong>in</strong>g,<br />

which was still a type of sign writ<strong>in</strong>g, you f<strong>in</strong>d many copies of<br />

objects and animals <strong>in</strong> the letters. Not until the transition from the<br />

Egyptian to the Phoenician culture did the change take place that<br />

brought about the development of the picture <strong>in</strong>to a sign represent<strong>in</strong>g<br />

a sound. It is this transition that the children must experience<br />

anew. Let us therefore ga<strong>in</strong> a clear idea of the theory of it ourselves.<br />

When writ<strong>in</strong>g first began to develop <strong>in</strong> ancient Egypt, every<br />

detail that was written down was written <strong>in</strong> picture writ<strong>in</strong>g; it was<br />

drawn, although the draw<strong>in</strong>g had to be as simplified as possible. If<br />

someone employed <strong>in</strong> copy<strong>in</strong>g this picture writ<strong>in</strong>g made a mistake,<br />

if, for <strong>in</strong>stance, a holy word was misrepresented, the scribe was<br />

condemned to death. We thus see how very, very seriously anyth<strong>in</strong>g

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