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2 | Anthroposophy Worldwide No. 4/13Phase 1Phase 2Phase 3■ GoetheanumGift ThermometerBuilding ProjectAs of March 19, 2013, 5.44 millionSwiss francs have been received forthe Goetheanum Building Project. Afterreaching our initial goal of 4.5 millionfrancs on January 30, 2012 on schedule,we have entered the second phase of fundraising.The goal is to reach nine millionfrancs by October 1, 2013.■ Anthroposophy in the WorldConference Initiative“Working Publicly”Individuals who are doing public relationswork in anthroposophical institutions andorganizations are often learning on thejob—in this they sometimes feel isolated.The first professional communicationsconference “Working Publicly” (“öffentlichwirken”) was held for them in 2011 with180 attendees. The second conferencewill take place in Bochum (Germany) onNovember 1–2, 2013. It is being organizedby anthroposophical enterprises and theweekly Das Goetheanum.Registration: www.öffentlich-wirken.de■ CorrectionMystery DramaEnsembleThe editor’s introduction on p. 10 inAnthroposophy Worldwide No. 3/2013(under the heading “Goetheanum Stage:Mystery Dramas”) listed Gioia Falk andChristian Peter as directors of the full Mysterydrama production and the performancesof individual scenes. However, thelatter are guided by the “Mysteriendramenhautnah” initiative circle. The designation“Goetheanum Stage” is not meant to indicatethat the Mystery drama ensemble atthe Goetheanum is a permanent ensembleof the Goetheanum stage—this ensembleperforms on the Goetheanum stage, andthe Goetheanum stage is “simply” the hostfor the group. | Sebastian Jüngel■ 2013 Annual Gathering and Annual General MeetingPreparation by the Executive Council and a Members’ GroupMotions, Meeting, Initiatives, AnthroposophyThis year’s annual gathering and Annual General Meeting owes its name to a cooperativeeffort by a members’ group and the Executive Council. The general focus was onlending the annual meeting more breathing space, chances to meet, a stronger emphasison members’ initiatives, and anthroposophical content.The atmosphere at the Goetheanumbefore an annual meeting is like apreview of the meeting itself. When thereare many motions pending the mood isstrained, a sign of dissatisfaction. Thistime I felt the mood was relaxed, quiet.One reason may be that—beginning infall, 2012—this annual meeting was preparedby the Executive Council workingtogether with a members’ group. Afterthis year’s annual meeting had concluded,Mathias Forster from the members’group told me how the work had begun:“We were received with open arms andcautious open hearts. That changed intoa warm, trusting heart quality.”Another reason is found in a situationallyappropriate generosity That came tolight, for instance, in the fact that therewas no time limit for speakers, and inthe way motions were handled. DanielMarston wanted to ask that abstentionsbe counted during the voting so that thisform of expression could become visibleas well. Technically speaking, his motionhad arrived too late to be considered, butJustus Wittich drew a connection betweenthe many votes that were taken atthe 2002 annual meeting and a motionadopted at that meeting; according to it,votes would be counted only if there wasno clear majority, and abstentions wouldabsolutely not be counted. Wittich said:“Of course it is important whether theentire hall casts a vote, or only a small majorityarrives at the decision. We will makea free decision to count the abstentions.”| Sebastian JüngelDear WMembers of the Anthroposophical Societyith these few lines we would like were so complex. These perceptionsto make you aware that a workinggroup (that includes Executive Council tant questions :have led to the following two impor-members Paul Mackay, Justus Wittich and 1. How can we assure that our futureSeija Zimmermann) has been formed with decisions have been prepared conceptuallyso that the various sides ofthe goal of discovering a new form for ourAnnual General Meetings. The starting the issues are illuminated and a basispoint for this cooperative effort is our for judgment is formed?shared feeling of dissatisfaction with 2. What can we do so that anthroposophythe fact that the consideration of motionshas taken up a significant amount can stand more in the forefront and beitself (meant to be culturally renewing)of time during the Annual General more clearly present in future meetings?We consider it necessary to pro-Meetings, and that concentration onmotions has had a strong impact on the vide a better opportunity for initiativesentire Annual Meeting. Much of what in the Society (but also beyond it) to belives within the Anthroposophical Society—positive,constructive, and inno-constructive contributions .seen, initiatives that make positive andvative elements—is lost from sight and Through this initiative we would like tocannot be developed further. It has also make a contribution to establishing futureAnnual General meetings that arebeen impossible to consider the very issues,concerns, or new ideas introduced permeated and carried by a mood thatby the motions themselves.is different from the mood of previousyears, and in making this effort weAnother source of dissatisfaction wasthat it became impossible to find sufficienttime and space to create a com-support. | The initiative group: Tatia-hope for your understanding and yourmon foundation for making a decision; na Garcia-Cuerva, Eva Lohmann-Heck,this was because there were so many Natascha Neisecke, Mathias Forster,motions, and the issues they addressed Thomas Heck, Christopher Schümann

Anthroposophy Worldwide No. 4/13 | 3The Meeting“Ears Like an Elephant and the Heart of a Giraffe”The Annual General Meeting of the General Anthroposophical Society began on March22 in an open plenum with the organizers; it closed on March 24 with a performanceof the Foundation Stone meditation in eurythmy. Seija Zimmermann was confirmedas an Executive Council member, and Joan Sleigh was added to the Executive Council.Initiative Forum: The 1,000 times 100 boothOne motif of the recent AnnualGeneral Meeting was the assertionthat the Anthroposophical Societyis what its members do. As a responseto that—and especially out of the painof “bumping into the forms” (NataschaNeisecke) and because the life of the soulfelt itself as if “choked” and “devalued”(Mathias Forster)—a group of memberstook the initiative of preparing almostthe entire meeting together with theGoetheanum Executive Council (p. 2).The Periphery Brings Strength andHealthOne concern was that the membersbecome visible with their initiatives.That was done with exhibits like those ofthe “Working Community on a Culture ofDying” (a subject area branch of the AnthroposophicalSociety in Switzerland),the Aerum Artists Association for a guaranteedincome, or the young physiciansgroup for its Whitsun meeting—i.e., advancedprojects by members’ groups.Strengthening the AnthroposophicalSociety is a goal. Rüdiger Krey pointed toseveral possibilities: strengthening theleadership, gaining members, or realizingthe potential in the AnthroposophicalSociety. He and Franziska Bücklershave chosen the latter in founding theZweigwerk initiative that organized themeeting in Cologne to commemoratethe 100 th anniversary of the AnthroposophicalSociety. Bücklers added: “… it[the Anthroposophical Society] doesn’talways just have to grow, grow, grow. Itmust be a healthy organism. Our opportunitylies in the fact that we can bringstrength and health from the periphery,that we create a circulation betweencenter and periphery. The members’group around Carina Vaca Zeller (AnthroposophyWorldwide, No. 1-2/2013)also carries this concern.Photo: Sebastian JüngelLaw and CultureAlong with a new visibility, therewas flexibility in form. Mathias Forsternoted that an “old form of thought orusage” must pass away “so that the essencecan be freed from the form, so thatpartial forms can arise.” Another memberwished for the courage “to cast thespontaneous element into words,” i.e., tocapture what can be experienced in themoment.The Annual General Meeting also hasa connection with civil law. Speakers likeHerbert Holliger and Daniel Marstonpointed out that the meeting has an (external)basis in law, and its rules need tobe observed. “We are,” said Marston, “aspecial sort of association. We often tendto emphasize the special more than theassociation.” On the other hand, AlexanderOverhage said that finances and bylawsshould, of course, be subject to vote,but that otherwise we should attemptto avoid voting on things like whether anew Executive Council member shouldbe accepted. This brought up the topic oftrust and trustworthiness. Paul Mackayinvited us “not to understand the Societysimply as an association—also right—but as a culture. A special quality in ourSociety is that it is an attempt to createa connection among people, among peoplewho are becoming free.” The task ofthe Anthroposophical Society was oftenreflected in its connection to the humanbeing: “an attempt to become a humanbeing” (Frode Barkved), the “human beingas an angel in training” (Rob Steinbuch),or Jean Michel Florin’s citation ofAntoine de Saint-Exupéry: “Every humanbeing is a knot in a web of connections.”This brought up a further motif from the2012 meeting: the point is found in realhuman connection—it is only connectionthat enables culture.Motions and a Culture of ConnectionIt became clear that contact withpresenters of motions prior to the meetinghelped them feel they had beenheard and their concern was already beingaddressed where possible. MoritzChristoph withdrew his motion on theAnthroposophical Society’s approachto money until next year in order to seewhether there was real interest in thisquestion he considered important (seealso the box on p. 5). Herbert Holligerhad introduced a motion for a more exactprovision in the bylaws of when andhow the Executive Council was to call anextraordinary general meeting. Based onwhat he and other members felt to bean unsatisfactory approach to the 2012motion on the Society’s responsibility toWeleda, and in a new trust toward theExecutive Council after conversationson this issue, Holliger withdrew his motion—hefelt the Executive Council hadissued an appropriate explanation “inregard to the minutes.” In that explanationthe Executive Council indicated ithad taken an unsatisfactory formal ap-

4 | Anthroposophy Worldwide No. 4/13■ 2013 Annual Gathering and Annual General MeetingPhoto: Sebastian JüngelGeneral Secretaries: Demonstration of eurythmy led by Margrethe Solstad (not included in photo)proach in this one instance, although itconsidered the current bylaw provisionadequate.Tatiana Garcia-Cuerva asked aboutthe oppositional relationship betweenBodo von Plato and Sergei Prokofieff. Inhis earlier talk, Bodo von Plato had explainedthat he no longer believed mergingopposite points of view should createa whole; instead, he thought that the importantpoint was “how we can find ourplace as individuals based on a whole.”Is the Life We Share Enabled?There was a warm and attentivesense of anticipation in the hall abouthow Bodo von Plato would answer thisdirect question. Despite his uncertaintyabout the audience’s reaction, he spokefrom the heart. In his Executive Councilwork with Sergei Prokofieff he had alwaysseen something “that extendedbeyond the two of us, something wecould relate to. I think the question of ourdifferences is justified only at a certainlevel.” Of course there were differencesin their social experiences— in SergeiProkofieff’s instance, growing up in atotalitarian state where esoteric workcould only be pursued secretly; and inhis own case an inverse “totalitarianism”where anything was possible. Butthere was also something in commonsince both had grown up in surroundingswhere conflicts and differences were notdiscussed—“it was part of being polite.”That prepared the way for the statement:“Perhaps we did not do enoughto bring our different lives together. Butfor me, what we share is greater. I askwhether there is a Society that allows—even demands—that we live the sharedelement and not emphasize opposition.Through what we share in our ExecutiveCouncil work I am confident that we canfind something in common.”Executive Council ChangesThe three changes in the ExecutiveCouncil demonstrated further nuancesin real human connection. In keepingwith a decision made at the 2011 annualmeeting, a seventh-year review of SeijaZimmermann’s work on the ExecutiveCouncil took place. Frode Barkved, GeneralSecretary of the AnthroposophicalSociety in Norway, told an anecdote inhis appraisal. He once got “cold feet” inthe truest sense of the word; he was notdressed for the weather. Physician SeijaZimmermann had not only seen that hewas cold, but he immediately supplieddry shoes and warm wool socks. In a secretwritten ballot she was confirmed foranother seven years with 334 in favor, 33opposed, 28 abstentions, and one invalidballot.Virginia Sease described how JoanSleigh was recommended for the ExecutiveCouncil based on professionaland personal encounters. She unitestwo streams: the Camphill communitythrough her mother, a daughter of KarlKönig; and the Christian Communitythrough her father who is a ChristianCommunity priest. Joan Sleigh provideda humorous moment in the meetingwhen she spoke about elephants and giraffesat the end of her comments. Theelephant (“a wonderful animal”) has bigears and a good memory—it can listenwell. Giraffes have the largest heart ofall mammals. “I would like to bring thatalong—elephant ears and a giraffe’sheart.” A large majority at the meetingvoted to add Joan Sleigh to the ExecutiveCouncil (with two no votes and sixabstentions.Honoring Sergei ProkofieffSergei Prokofieff had left the ExecutiveCouncil for reasons of health, althoughhe feels that he stands in the stream ofcontinuity represented by the ExecutiveCouncil. Virginia Sease also had the taskof thanking him while honoring his wishto keep it simple. She noted that SergeiProkofieff and his books are appreciatedaround the world. His study and researchput him in a position to become an interpreterof Rudolf Steiner, one who recognizesthe element that shines throughRudolf Steiner’s work. As interpreter,Sergei Prokofieff was able to “presentus with images” of the archetypal picturesfound in the sphere where RudolfSteiner stood. Virginia Sease closed witha request. If we imagine looking at SergeiProkofieff’s work in ten, twenty, thirtyyears, we see two tasks: To do more anthroposophy,and “not to wrap him in acloud of enthusiasm…for too much enthusiasmhinders a person in what theycan do.”In the open plenum prior to the meetingCarina Vaca Zeller had asked that thetheme for the year not be so tailored to

6 | Anthroposophy Worldwide No. 4/13■ Anthroposophical SocietyGeneral Anthroposophical Society: New Executive Council member Joan Sleigh“In every situation new decisions must be made”On March 23, the Annual General Meeting approved Joan Sleigh as a member of theGeneral Anthroposophical Society’s Executive Council. She has experience in South Africaand Germany, and as a Waldorf teacher. In her, the Executive Council will—for thefirst time—have a representative of the Southern Hemisphere and of motherhood.In 1962 Joan Sleigh was born in SouthAfrica where she lived in Camphill andattended the Waldorf School in CapeTown for a time. At the age of 20 she marriedand moved to Germany. There shestarted a family and studied to be a Waldorfteacher at the Institute for WaldorfEducation in Witten/Annen. Thirteenyears later she returned with her childrento South Africa. Since then she hasbeen active as a Waldorf teacher, and forthe past six years she has also been an instructorin the teacher training seminar.Sebastian Jüngel: How were you askedabout joining the Executive Council?Joan Sleigh: It was completely unexpected.I was “shocked” because I sawmy task as being in South Africa. It wasa while before I could even think aboutwhat it would mean to work on the ExecutiveCouncil. I looked back on my lifeand concluded that I would accept thechallenge. I have been guided and supportedmany times during my life, and Ihave the feeling that I might now have achance to give something back.Jüngel: How might we imagine the situation?Did the phone ring?Sleigh: I returned to South Africa fromBochum and found a message on my answeringmachine. In the telephone conversationthat followed Virginia Seaseasked me whether I could imagine acceptingthis task.Africa and EuropeJüngel: Africa and Europe are in the sametime zone—does this mean they havesomething in common.Sleigh: The two continents are very different.But their differences complementone another and form a whole. I have theimpression that every European ought tocome to Africa, and every African shouldbe in Europe at some point.Jüngel: What does Africa mean to you?Sleigh: To me, my life in South Africa wasan important preparation for the task atthe Goetheanum. South Africa has speciallife forces: everything is more openand immediate, experiences are moreintense and intimate, and the human elementcan be experienced more directly.One lives much closer to the threshold,and there is a need to be awake and present.The daily pain and the daily beautycontribute to a capacity to find in thedepths of my soul the power needed totake up this new task. I am interested tosee how I will get along with the “veiled”sun in Europe since I am a bit “sun-hungry.”Perhaps it will be possible to carry asun within myself.Jüngel: And your connection to Europe?Sleigh: Life forces and soul experiencescan be deepened in Europe. In Germany Ilearned to deepen my being and be morethorough. I hope I can bring a measure oflife force and enthusiasm to the Goetheanum.Perhaps I will have to go back toSouth Africa now and then to refill mytank with life force and “craziness.”Jüngel: Are Africa and Europe specialplaces for you, perhaps places wherecertain karmic tasks can be worked out?Sleigh: I don’t see any differences therein regard to karmic questions. To besure, we are born or “brought” to placeswhere we have karmic tasks. But the basicneeds of children are the same globally,for example. Of course, poverty andviolence in Africa produce needs that aredifferent from Europe. The needs in Europeare more on the level of the soul,while people in Africa are more stronglychallenged in an outer, existential way.Jüngel: What do you think about globalization?Sleigh: I find it important, but also dangerous.It is important to be “inclusive,”to look beyond the edge of one’s plateand be conscious of all mankind. At thesame time, it becomes more importantto be individually responsible, even downto the smallest decisions and actions.In Africa I learned that we must be awaketoday—we can no longer sleep. Everythingis changing and moving; in everysituation new decisions must be made;Living anthroposophy: Joan Sleighthere are no recipes. I am glad we live at acritical time, glad we are challenged andasked to be flexible and present!Center and Periphery—A Point at Rest and Little FlamesJüngel: What does the AnthroposophicalSociety mean to you?Sleigh: The Society at the Goetheanumis the heart for me, the hearth, the homefor the being Anthroposophia that canstream out actively and livingly into theworld, and work there. There is a space,a meeting point, at the Goetheanumwhere everything can connect and becomefruitful so that it can work activelyand with new power at the periphery.Jüngel: And what does the AnthroposophicalSociety in Germany or in SouthAfrica mean to you?Sleigh: It lives in the periphery like littleflames, separated from the hearth.These flames are very important foreach country, and they need a connectionto the center. In South Africa, for instance,there is a feeling of being alonein the battle. There we are all fightersfor Michael, but we need a connectionto one another—and that goes throughthe Goetheanum. A colleague once saidto me: We need an active life at the peripheryand a point at rest in the center, ahearth which would make that life at theperiphery possible.

Anthroposophy Worldwide No. 4/13 | 7Photo: Sebastian JüngelJüngel: But why is the AnthroposophicalSociety necessary if there are well-establishedinstitutions and active anthroposophicalwork in many places?Sleigh: Activity occurs in the limbs but isfed from the heart, the center. Peripheryand center need one another. The basicimpulse is cultivated and people canmeet at the center. On the periphery,people are active in applied fields. Activityrequires a point at rest for reflection.That is the center’s task. When consciousnessis held in stillness, energy canflow to the periphery; the pulse in theperiphery finds its source in the heart.Jüngel: What is your vision of the AnthroposophicalSociety?Sleigh: I am interested in human encounter.By that I mean the following: Thepoint in a human encounter is to makeroom for the other so that the other—theentire being of the other—can be seen,heard, and experienced rightly. In theprocess we learn to know ourselves. Seenin this way, human encounter is a givingand receiving, an awakening in ourselvesand also an awakening within the other.In this process I wish to address the humanbeing, member or not—to see thathuman being in his or her pure humanity.To do so I would like to meet peoplefrom every field of life, from every pointof view, and from every cultural group.That also means I want to accomplish mywork by living anthroposophy. Of course,we must also study and discuss it. To me,being a representative means opennessto all people, and also a deep inner connectionto Anthroposophia.A Stronger I—In Ourselves and OthersJüngel: What are your spiritual interests?Sleigh: I am concerned with everythingconnected with the social realm, andparticularly with the nature of the I. Thequestion of leadership is an importantpart of this: personal leadership, leadershipin a community, or the leadership ofall mankind. But do we need “leaders” atall? Every leader needs others who follow.Who wants to follow today? How dowe become “leaders” in ourselves? Thatbrings us to the question: Where is thepower of the I? How do we strengthenthe I in ourselves and recognize—acknowledge—itin other people? How dowe make it possible for other human beingsto grasp their destiny?Jüngel: You have already emphasizedyour interest in human encounter. Justhow does this occur?Sleigh: In the I and in the other, in the Iand with you.Jüngel: How does that look with the peopleof today?Sleigh: Children are much more individualistic,more in touch with themselves,more awake than when I was a child.They feel they can do anything. They alsofind it more difficult to be comfortablein the social sphere, in what happensbetween people. They need much moreunderstanding and recognition from us,and guidance through living examples.The point is to make it possible for themto develop their own unique nature andstill feel at home in a group. That we allhave to do so in our own lives can only belearned through practice.Human Development in EncounterJüngel: How do the people in South Africaview anthroposophy?Sleigh: There is great openness and interestin anthroposophy. For instance, Waldorfeducation is “blossoming” amongparents and pupils in the schools, in theteacher training courses, and in the societyat large. To be sure, there are not somany people who become members ofthe Anthroposophical Society or adoptanthroposophy as a way of living. Thepoint is that anthroposophy is then appliedas way of life, and not simply asa beneficial method. That decisive stepoften comes out of a personal encounter.Then it becomes possible to makeeach other aware of something spiritual,something deeper/higher—for developmentof the human soul does not takeplace through study; it takes place in humanencounter.During a co-worker’s meeting at theGoetheanum, Joan Sleigh answereda question about whether she knowswhat lies ahead: “The first thing is to supportVirginia Sease in the English Studiesprogram. I also have a sense that this isa large task and responsibility, and I willdo my best with it. I am not coming withflags flying, with some agenda. I want tokeep my ears open and get a feeling forwhat is happening here. I want to placemyself and my best efforts in the serviceto the life of the Goetheanum. ■Das GoetheanumThe German-LanguageWeeklyWide SpectrumTimely ThemesAnthroposophical AuthorsGoetheanum NewsI would like to subscribe toDas GoetheanumOne year € 98Name . . . . . . . . . . . . . . . . . . . . . . . . . . .Address (Including postal code). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Country . . . . . . . . . . . . . . . . . . . . . . . . .Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Signature . . . . . . . . . . . . . . . . . . . . . . .Please send to:Wochenschrift Das GoetheanumPostfach, CH– 4143 Dornach,SwitzerlandFax +41 61 706 44 65www.dasgoetheanum.ch

8 | Anthroposophy Worldwide No. 4/13■ Anthroposophy in the WorldPhoto: SuppliedTour in the Philippines: The audience was enthusiasticEvil spirits: Young people rehearse before the DolomitesPhilippines: Tour by theYouth Öirütmie EnsembleEurythmy witha Government OfficeFor three weeks in October 2012 theYouth Öirütmie Ensemble toured thePhilippines. 6,000 people attendedthe Eurythmy performances. The Ensembleconsists of nine young people,the leader Tanja Baumgartner, and tourmanager Eckart Grundmann.Red and green—that is Benjamin’sanswer to the question of Asia’s colors.When you can turn your gaze awayfrom the enormous, sprawling cities inAsia, the saturated green that radiatesinto the eye fades into a somewhat indistinctreddish shimmer that lies likea veil over the horizon; it disappears asfast as it came. This is not the golden,sustained radiance of the sun we Europeansknow from the palm groves in theMediterranean area.Bumpy Roads through Pineapple FieldsOne of the most impressive and memorableexperiences for all of us was thereception by the governor of Cotabato,a province with 18 communities on theisland of Mindanao. The person whomet us was not a stern old gentlemanbut rather an open, warm-hearted (andexhausted) woman. It was a very touchingexperience to do eurythmy for her, tohelp her ease her tensions, to have an entiregovernment office do the Hallelujah,and to see how open these people wereto something that was still completelyunfamiliar to them.This sort of Filipino openness wasalso an element that allowed our performancesto become moments in whichnew movements and experiences couldarise again and again—where a tangopiece could suddenly and without priorplanning be expanded into a movementof separation and reunion; or where empathyfor the same piece could instantlyfill 3,000 people in a basketball arenawith enthusiasm.Banal things like our trip together inan open pickup truck over the bumpyroads through pineapple fields led usinto a situation where we got to knowone another through psychological partygames. Even our simple “acceptance”of up to six meals in a day—so we wouldavoid disappointing the incredible hospitalityof the Filipinos—forged us intoa group that shared experiences with a“we” dynamic, and showed us what ispossible when individuals work together.Being AwakenedOf course, things were not alwayseasy. At the outset—when we still neededrehearsals to make our program readyfor the stage—it was not always easyto forget our own needs and give ourgroup and our project the absolute prioritythey demanded. We tried to “wakeup” the others, and be “awakened” ourselveswhen we were still dreaming,but not aware of it. As our leader, TanjaBaumgartner said, we want to bring ourshared child into the world; only thencan we turn to addressing our secondaryand very personal affairs.And I believe we might say: We did it!We brought a child to the Philippines—and although it still wears baby shoes, ithas taken its very first steps, supportedin the process by countless hands; it hasbeen seen and valued by so many eyes.| Mayra Bosshard (Switzerland)www.jugend-eurythmie.chItaly: Community Ecology Project OurMother Earth by La fabbricaEurythmy with YoungPeople and AdultsGia van den Akker has founded a eurythmystudio (La fab brica ) in the smallvillage of Cortiglione in Piedmont wheresummer courses, continuing training,presentations and meetings take place.Now the youth community eurythmyproject Our Mother Earth is being prepared.In Cortiglione I was viewed with alittle caution at first, with a certainsuspicion. But the village residents soonwarmed up to La fabbrica. Since then wehave been invited to help with villagefestivals.I am currently preparing a project thatbrings young people and adults, artistsand lay people together in a socialeurythmysculpture. This project arisesfrom various sources. I received a bookas a gift before Christmas, 2011. The author,Klaas van Egmond, is a scientist andwas a sustainability advisor to the governmentof the Netherlands. He presentsthe topic of sustainability in a newway—with a background and an outlookfor development.“Rhythm is it” and “Kotura” as ModelsDuring the twelve Holy Nights Iawoke from a dream determined to dosomething for nature. Earlier, I had readAbolina, a fairy tale from the Dolomitemountains. It is the tale of a noble maidenwho falls ill. A woman from the forestrecommends that she gaze at the dawn.This heals the girl. Then the woman tellsthe maiden to give the light back sincethe nature spirits would have to suffer

Anthroposophy Worldwide No. 4/13 | 9■ School for Spiritual SciencePhoto: Gia van den Akkerif she did not. But she fails to do so. Thegirl is abducted by the nature spirits andturned into a stone—until she gives thelight back to others. Later, when a soldierloses his way and calls for help, the girlgives him light to illuminate his path backto the valley.I was deeply inspired by the “Rhythmis it” project in Berlin, and “Kotura” at theGoetheanum. All these things mergedwith my intention of creating a socialcontext instead of simply offering eurythmy—performingit, and then going alongon my way.Social ActionI had met Bettina Knop and Roberto SebastianoRossi, leaders of an open youthgroup, at the Forum Festival 2 in Witten/Annen. In them I discovered two partners.There will be a conference in Turin and Milanentitled “La nostra madre terra” (OurMother Earth); it will offer artistic coursesand a roundtable discussion on sustainabilityand agriculture. After a meal oforganic foods, the day will close with theeurythmy performance of Abolina.We eurythmists are preparing the fairytale together with an actor and musicians,and with music by the Milanese composerSimone Fontanelli. The group choreographywill be done by students from theWaldorf schools in Turin and Milan, andan open youth group in Trento. Costumedesigner Katja Nestle sent us the patternsfrom Berlin; the groups will sew their owncostumes. This means that the teachers,parents, and students at the two schoolswill work together.Of course, beyond the actual productionthe project entails expenses for organizationand travel costs. At the beginningI thought that the budget would beimpossible to manage. Fortunately, theAnthroposophical Societies in Italy, theNetherlands, and Switzerland will supportus with a significant grant for the productionof Abolina at the Rudolf Steiner exhibitionin Rovereto. | Gia van den Akker,Cortiglione (Italy)Production: La nostra madre terra/Albolina:– May 5: Turin (Grugliasco)– Fall: Milan (October 19–20) and Colle (Datestill open)Performance Albolina:May 10 8:30 pm, at the Rudolf Steiner Exhibitin RoveretoInfo: www.giavandenakker.comGermany: School for Spiritual ScienceConference in ÖschelbronnQuality and ContactSince 2010, annual School for SpiritualScience conferences have been held at JohannesHouse in Öschelbronn. This givesresidents a chance to take part in a highqualitymeeting, and meet and discusswith many participants who come fromelsewhere.Of the c. 300 residents at JohannesHouse, 50 are members of the FirstClass of the School for Spiritual Science.On the first evening there is a public lecture,while the second day brought threeblocks of time with freely held Class lessons,and in between there are two periodsof eurythmy. There was anotherfreely held Class lesson on the third day,followed by eurythmy and a conversationwith the entire group at the close ofthe meeting.A Passage through the Mantra GroupsFrom the point of view of content, ourplaning for the last several years has followedthe inner structure of the Class lessons.We began in 2010 with lessons oneto seven, the “Path of exercises leading thehuman being to the threshold.” Serge Prokofieff,Hans Broder von Laue, WolfgangDrescher and Johannes Ziemann held thelessons. In 2011 Bodo von Plato took part;Jean-Sébastien Catalan and von Laue alsoheld lessons seven to eleven, the “Pathof exercises on this side and the otherside of the threshold.” In 2012 Seija Zimmermann,von Laue, and Drescher heldthe lessons: the “Path of exercises on thisside and the other side of the threshold:the third step on the path through the 19lessons—lessons eleven to sixteen.”We plan to work with Paul Mackay onlessons seventeen to nineteen: the “Pathof exercises on this side and the otherside of the threshold—the human beingin the realm of the cosmic midnight.” Thedates are October 11–13, 2013.The eurythmy offered each year byElke Elisabeth von Laue deserves specialmention. It is challenging to work on variousexperiences of eurythmy with sucha mixed group of people. The work inÖschelbronn consists of small, manageableelements. | Uli Molsen, Balingen(Germany)CroatiaA Decade for the SchoolKnowing One AnotherOn November 24, 2012, twelve Classmembers gathered at the Marija SofijaBranch in Zagreb. They met to look backat the work of the First Class of theSchool for Spiritual Science that has beentaking place in Croatia for the past tenyears, and consider its importance.Almost all those present had alsobeen there at the “incarnation”of the School for Spiritual Science, theMichael School, in a new country and anew language. The event also attractedpeople from neighboring countries, andcontinues to do so today. Unfortunately,Rudolf Moebius from Bad Boll, Germany—ourloyal helper and colleague in thefounding of the First Class here—was unableto attend because of health.The meeting began with eurythmyin a circle. This was followed by an intimateexchange on the question: Whatdoes it mean to me that I am a memberin the Michael School? This allowed usto experience all our friends inwardly.The exchange was marked by differentindividual experiences—we got to knoweach other better! Then we once againimmersed ourselves in movement: Underthe direction of eurythmist EnitaNurkiće we brought a poem by a Bosnianpoet to life.Spurred to Consciousness and ActionWe prepared the third Class lessonfor the meeting; on the next day in wasapproached in the way practiced oncea month in Zagreb. We spoke of our experiencesas we worked with the secondClass lesson, and thus we created abridge to the third.You could sense how being togetherin conversation, action, and eating gaverise to a mood in which each of us wasspurred to new consciousness and action,and a call for “more anthroposophy”could be experienced.The meeting culminated beautifullywith a report by Alen Guca (oneof our two Classholders) on the secondchapter in Sergei Prokofieff’s book TheFirst Class of the Michael School and itsChristological Foundations. | MladenMaljkovic,,Oprtalj (Croatia)

10 | Anthroposophy Worldwide No. 4/13■ Anthroposophy in the WorldCanada: On the Tenth Anniversary of Catherine Carmack’s Death (1957–2003)Cambridge Music ConferenceNine music conferences in twelve years—these are only the outer statistics for theCambridge Music Conference. Elizabeth Carmack brought the conference from Britainto Canada where it found a strong supporter in Philip Thatcher. The impetus for theconferences was the death of Carmack’s sister Catherine ten years ago.Sebastian Jüngel: What motivated youfor the Cambridge Music Conference?Elizabeth Carmack: The inspiration wasmy sister Catherine Carmack who diedafter a seven-year battle with breastcancer. My sister was a professional cellistwho researched the relationship betweenmusic and healing and wrote aMaster’s thesis at Cambridge Universityon the neurological development of thebrain. The Cambridge Music Conferencewas my attempt to celebrate the valuesat the heart of my sister‘s career.Although meant as a one-time event,the conference took a successful life ofits own in 2001. For instance, the BBCWorld Service covered the 2001 conferenceand that resulted in the ideas beingacknowledged internationally.Connection with the Grail ThemeJüngel: You now live in Canada, the newhome for the Conference. Why?Carmack: When I moved to Canada in2008, I was not sure about transplantingthe ideas of the Conference. But I carriedthe hope that I might be able to bring theimpulse back to its home. Catherine hadlived for many years in North Vancouver,where she had her music studio, and—more importantly — had been activein the Anthroposophical Society withconcerts and festivals. Shortly after myarrival I asked Philip Thatcher, then GeneralSecretary of the AnthroposophicalSociety in Canada, if he might be interestedin helping. Philip‘s lifelong studyof Wolfram von Eschenbach‘s Parzivalbecame the focus of the first conferencein Canada as we forged the new theme,Parzival‘s Grail Quest in Our Time.In 2010 the Greater Vancouver TherapeuticalSociety for AnthroposophicalMedicine had decided to take a breakfrom their annual autumn conferenceand. As a result they welcomed the Parzivalconference.Jüngel: Philip, what were your reasonsfor welcoming the Cambridge MusicConference to Vancouver?Philip Thatcher: My connection withCatherine and respect for Elizabeth‘scourage in bringing this impulse to Vancouverwithout the support network shehad cultivated in England. The chance toexplore Wolfram von Eschenbach’s tellingof Parzival from another perspectivedeepened my interest and commitment.I am exploring the Grail as an evolving realitythrough von Eschenbach‘s Parzivaland especially his insistence that thestory is grounded in events in the ninthcentury, (which Rudolf Steiner’s researchcites as a climatic moment in the descentof the Cosmic Intelligence). The destinyof the characters and the destiny of theGrail are both fluid and interrelated. Becausethe characters have to find themselves,the Grail also evolves (as Parzivaldiscovers at the close of the story). Workingcollegially with the composers andmusicians at in the 2010 Conference offeredme an invaluable opportunity todeepen this recognition.Impetus for New MusicJüngel: What was the most unusual orunexpected development of the CambridgeMusic Conference?Carmack: The most unexpected requestwas to host the first exhibition of RudolfSteiner‘s blackboard drawings inthe Great Britain. On behalf of the RudolfSteiner Archive I was asked to commissiona British composer to respondto his/her own selection of blackboarddrawings by Rudolf Steiner. The positiveresult of my efforts far surpassed anythingI could have imagined. I not onlyarranged and hosted the first exhibitionof Rudolf Steiner‘s blackboard drawingsin England, but my success in finding avenue in Cambridge resulted in a closeinvolvement with Walter Kugler for thewhole British tour. Nigel Osborne‘s newwork Dialogue for oboe and harp waspremiered within the context of the2003 Cambridge Music Conference, andthis unique work inspired half a dozennew pieces of music which were thenElizabeth Carmackpremiered at various exhibition openingsthroughout Great Britain.Jüngel: Philip Thatcher, what is your connectionto music?Thatcher: Music is an ideal form for presentingthe Grail as an evolving reality.The composers and musicians at the2010 Conference were superb in makingthat audible in the concerts. Along withwhat Nigel Osborne and oboist JinnyShaw contributed, their work expandedmy ongoing interest in contemporarycomposers, especially from Eastern Europeand Russia like Alfred Schnittke,Gia Kancheli, and Arvo Pärt. Last year Ibecame deeply familiar with the work ofSofia Gubaidulina.Music in PrisonsJüngel: Have you ever experienced anyfailures?Carmack: I have experienced a terribledisappointment, although not in thecontext of any conference or concert.Sara Lee, Director of Music in Prisonsfor Great Britain was supposed to runmusic workshops for inmates in Canadianprisons. One intention of the 2012Conference on Music and Transformationat Simon Fraser University wascommunity involvement and outreach,so that the ideas might touch the heartsand minds of those most in need ofhealing and support. With this in mind,Sara Lee had not only been invited tothe conference to showcase Beyond This(the 2012 London Olympic Commissionby composer Mark-Anthony Turnagewith inmates from Her Majesty’s PrisonLowdham Grange, but also to run musicworkshops in half a dozen prisons in thePacific Region of Correctional Services ofCanada. Although the music workshops

Anthroposophy Worldwide No. 4/13 | 11had already been organized regionally, aradical change in federal policy resultedin an escalation of tight restrictions andfinancial cutbacks throughout CorrectionalServices of Canada, and this preventedSara Lee from entering a singleprison. To compensate for this disaster,Sara Lee agreed to present the conceptand work of Music in Prisons UK withinthe community, accepting invitationsfrom Maestro Bramwell Tovey (VancouverSymphony Orchestra), Richard Kurth(School of Music, University of British Columbia),Owen Underhill (School for ContemporaryArts, Simon Fraser University)and Robert Gordon (School of Criminology,Simon Fraser University).Photos: SuppliedPhilip ThatcherMusic and MedicineJüngel: What new relationships, ideas,coincidences are behind the scenes atthe Cambridge Music Conference?Carmack: Although the first three CambridgeMusic Conferences arose frommy own initiative, I was delighted tobe asked to organize an internationalevent in 2005 that would feature a newwork by internationally renowned composerSir John Tavener. Although initiallyhesitant about working with Dr. PhilipKilner (heart-imaging specialist at London’sRoyal Brompton Hospital), I agreedto enter into a collaboration. Sir JohnTavener and Dr. Philip Kilner had receiveda £100,000 grant from the WellcomeTrust to discover whether composing anew work of music based on Tavener’sspiritual concept of the heart couldameliorate his heart condition, Marfan‘sSyndrome. Laila (Amu) inspired by themystic Sufi love poem, was composedout of John Tavener’s sense of the “cosmicheartbeat.” The work was commissionedfor the Random Dance ensembleand choreographed by Wayne McGregorof the Royal Opera House, Covent Garden.Could I have ever imagined my ownhumble efforts would have brought meinto contact with Sir John Tavener, letalone a healing initiative involving medicaldoctors and heart specialists whosecutting edge research advocated musicalcomposition as a means of healing heartdisease? I don‘t think so!The most unique evolutionary momentof the Cambridge Music Conference waswhen I consciously chose to develop acreative dialogue between new musicand eurythmy. For me, composing newmusic for the art of eurythmy was synonymouswith the quest of the Grail. Althoughmedieval literature portrays theGrail as ephemeral, eurythmy seemed toembody the healing agency of the Grailas the very essence of our being. It isnot only Rudolf Steiner, Kathleen Raineand Carl Gustav Jung who perceive theGrail as central to human existence andspiritual regeneration; Russian religiousphilosopher Sergei Bulgakov also understandsthat the Grail is there as the collectiveground of humanity. Seven newworks of music inspired by the Grail werecomposed between 2006 and 2010 forthree conferences in London and one inVancouver. This culminated in a specialprogram for the 100th anniversary of eurythmyin 2012. Although I found myselfunable to attend, I would like to expressmy gratitude to Ursula Zimmermannand Maren Stott (eurythmy), Alan Stott(piano), Jinny Shaw (oboe/oboe d’amore),Robert Davey (cello) and Geoffrey Norris(speaker) for their performance of theprogram Healing through the HigherSelf.A Time for the Consciousness SoulJüngel: And what is your connection toeurythmy?Thatcher: Eurythmy was my doorway todoing the foundation year at EmersonCollege in 1977/78. I had attended a eurythmyworkshop at the Christian Communityin Vancouver in the fall of 1976.Had I been ten years younger, I mighteven have considered doing a eurythmytraining. However, I have stayed connectedwith eurythmy in many ways, includingdoing it whenever that becomespossible.A highlight of the 2010 Conference waswitnessing (I can find no better term)Maren Stott perform a piece so that theintervals in the piece were extraordinarilyvisible, even palpable, yet in a way thatenhanced the movement of the music.In what I witnessed, I was taken into theGrail castle and to that interval betweenAnfortas handing the sword to Parzivaland the answer that did not come, andperhaps could not have come, yet whichdid come in its own time. The answerneeded to arise out of the reality of thenewly born consciousness soul. Perhapsthe interval has to do with the essence ofthe consciousness soul, whether it is theinterval in the movement of music or atthe end of a line of contemporary poetry,when the meaning moves through theline-break so the break becomes audible.A wonderful awakening to an artistic realityof our time!Carmack: Without the alchemy betweencomposer and musician/performer newworks of music would be impossible.The technical excellence of the performers,and their ability to read the narrativeand experience of the composer hiddenin the musical composition are of paramountimportance. Thus the inner dialoguebetween composer and performertogether with the performer’s ability tolisten and translate the inner intentionalityof the composer’s work became anintegral part of the conference.Shakespeare and MagicJüngel: What are you planning now?Carmack: The future can be very uncertain,but the most recent conferencein Vancouver (Music and Transformation)has raised the idea of a second onTransformational Narrative/s: ConflictTransformation through the PerformingArts. Conductor Bramwell Tovey and theVancouver Symphony Orchestra wouldlike to be involved in 2014 and we hopeto commission a work by Mark-AnthonyTurnage for the event. A long-term goalof the Cambridge Music Conference hasbeen to celebrate the 400th Anniversaryof Shakespeare. If possible I would liketo dedicate the 2016 conference to thealchemy of Music and Magic. ■Info: www.cambridgemusicconference.org.Contact: ecarmack@sfu.ca

12 | Anthroposophy Worldwide No. 4/13■ Anthroposophical SocietyItaly: Annual General Meeting of the Anthroposophical Society in ItalyForming and Shaping Etheric ForcesOn December 6–9, 2012, the annual general meeting of the Anthroposophical Society in Italy(The Beautiful Rhythm. A Source of Help for the Tomorrow) was held in Milan. Each morning beganwith the words of the Foundation Stone meditation in eurythmy. At the center of the workwas the Anthroposophical Soul Calendar with its connection to the cosmos and the seasons.The 2011 Whitsun conference at theGoetheanum on the AnthroposophicalSoul Calendar, led to a new understanding forthis first and only deed by the Endowment fora Theosophical Art and Way of Life. In keepingwith the Endowment’s goals, the AnthroposophicalSociety in Italy worked on this themeartistically and cognitively, in eurythmy andwith the spiritual aspect of the line.About 250 attendees gathered at the firstWaldorf school in Italy to experience versesfrom the Anthroposophical Soul Calendar withGudrun Merker. The eurythmists who performed—alwaysabout 30 in number—couldfeel a new connection to the cosmos throughthe selection of the verses for the four annualfestivals. Rehearsals took place with AnnemarieBäschlin in Switzerland.Connection to the Spiritual Cosmos in ActionPeter Selg gave the introductory lecture.He said that a hundred years ago (December 8,1912) the three Council members for the AnthroposophicalSociety had been found, andRudolf Steiner’s third Mystery drama (aboutRosicrucians) had been performed in Munichduring the summer—with the theme of thebrotherhood becoming public.The year 1912—33 years after the beginningof the Michael regency—is the midpointof Rudolf Steiner’s creative period, and alsobears a special quality because in spring, 1912,Rudolf Steiner also saw his death as a possibility.However, “if it was impossible for him tolive on, everything needed already existed ifonly people sought it…for objective occultismcan no longer be extinguished….”Later Peter Selg connected the beginningsof eurythmy with the Endowment attemptand the Anthroposophical Soul Calendar. PeterSelg cited Rudolf Steiner: “only in the realm ofart are we far enough along to become public.”He also described the individual buildingblocks of the 1912/13 calendar, and led usto a new understanding of the Zodiac imaginations:“The point is the connection to thespiritual cosmos through activity. Our ethericforces must be formed and directed as theyare, for instance, when we become free in eurythmy—otherwisewe will end in chaos.”Experiencing a beautiful rhythm: EurythmyThe attendees deepened the contents inworking groups, and found enthusiasm there.An evening was devoted to a performanceof a 13th/14th-century “Mystery”. Anotherhigh point was the eurythmy evening withthe various groups presenting newly enlivenedtone and sound eurythmy. For many eurythmists,the long applause made up for theirhard work. Former students from the PalermoWaldorf school also presented a Grimm fairytale—enchanting.Continuing the Calendar LegacyStefano Pederiva also spoke. An ex-pharmacistand director of Weleda in Italy, he recalledthe alchemical salt-sulfur-mercury processesand related these to Rosicrucian symbols andelements of the 1912/13 calendar. He endedwith the image of the angel of the year and anindication that the calendar legacy would continuein the new Anthroposophischer Kalender2012/13 im Jahre 1979 nach des ICH Geburt.The new interest in Rudolf Steiner’s calendarlegacy brought during these festival days willbe reflected in an Italian-language edition beginningin Easter 2013/14.Stefano Gasperi, General Secretary of theAnthroposophical Society in Italy, closed themeeting with a review of what we had experiencedand several deeply felt thoughts on thespiritual presence of Christian Rosenkreutzand Leonardo da Vinci. | Christine Cologna, Thalgau(Austria)Photo: Supplied■ ForumOn Sergei Prokofieff’s letterin Anthroposophy WorldwideNo. 1-2/2013Many friends are deeply dismayedat the news that SergeiProkofieff will now havethe status of an emeritusExecutive Council memberfor reasons of health.We can sense that difficultconversations preceded thisdecision, but to continuethese after the fact, or toagitate in some way, seemsunhelpful to me at this point.For my part, I will seek to bearwith what has been decided.In judging things—alwaysnecessary—I place myselfoutside; however, in bearingthem we stand within a destinycommunity (although wewould often prefer to avoiddoing so). Is that not the leastwe could do after RudolfSteiner joined his own destinyto the AnthroposophicalSociety? That means: Wishinga good recovery for SergeiProkofieff from the bottom ofour hearts, and meeting theremaining (and expanded)Executive Council with trustthat it is doing its best.This requires “work of theheart.” | Hannelore Blume,Mannheim (Germany)On the placement of theGroup in AnthroposophyWorldwide No. 12/2012The real problem may be thatChrist is not yet at home inour hearts (as in the building),and we must begin bringingHim again and again intomotion with our unsettledthoughts! We have, it seemshoused Him only in a burialchamber. | Wolfgang Sievers,Marburg (Germany)A discussion has arisen aboutthe appropriate place for theRepresentative of Humanity

Anthroposophy Worldwide No. 4/13 | 13■ Anthroposophy in the Worldsculpture In the context ofthe planned renovation andremodeling the Goetheanum.A member of the advisorycircle for the renovation,Alfred Frischknecht, hassuggested leaving the sculpturein the so-called GroupRoom, and remodeling theroom to give it a “worthilyprovisional” form, especiallyfor the work of the Schoolfor Spiritual Science (AnthroposophyWorldwide, No1-2/2013). According to AlfredFrischknecht, placementof the sculpture on the stageshould not be considereduntil the AnthroposophicalSociety has become matureenough for it.These thoughts led me toa few questions: Didn’tRudolf Steiner create thissculpture as an image forthe developmental path anddevelopmental goal of theindividual human being andhumanity as a whole. Theideal human being findinghis way between the activityof the luciferic and ahrimanicforces? Didn’t Rudolf Steinertry again and again to wakeanthroposophists up to theeffects of these beings in everyindividual human beingas well as in the outer socialsituation in the broadestsense? Since then, hasn’t thisbattle for human developmentand the developmentof the earth intensified in adramatic way? Can’t we experienceevery day how theactivities of these two forcesare concealed in an apparentlyinextricable knot?And didn’t Rudolf Steinerplace this search for balancebefore us in an artistic andpictorial way so that—inlooking at the Group and livinginto its forms—we mightfind the courage to seethrough these active forcesand powerfully find our wayinto the ideal figure of theRepresentative of Humanitystanding in the middle?And precisely because weall—and with and throughus, the AnthroposophicalSociety—are still on the longpath to becoming “mature,”shouldn’t this sculpture beon the stage in the GreatHall, in the center of theGoetheanum? | RainerSchöne, Berlin (DE)This Group room has existedsince 1927, since 1935 as itis now. The Representativeof Humanity has become acentral experience for countlessspiritual seekers Everyyear hundreds of visitors andstudents come from aroundthe world to the GroupRoom. The mighty artisticform of this wooden sculpturegrips us anew each time.As a sculpture, it is unique inthe world. The whole dramaof the two opposing forcesand the Savior of the worldspeaks to us. How much thecreator of the world had toaccomplish so that humanbeings can develop freedomand love! Freedom that isready to serve somethinghigher, and love without egotism.I can’t count the hours Ihave spent in this room.Experiencing DifferentAspectsTo view the Group from highabove or far below makes itpossible to experience theentirety of the sculpture inits different aspects. TheRepresentative of Humanityconfronts us as our idealstriding toward the future.It is only in this kind of roomthat we have a chance tounite ourselves with theRepresentative of Humanityby seeing it from differentangles. If the Representativeof Humanity had been puton the stage in the secondGoetheanum, the stageactivity would have madeit impossible to linger for alonger time in silence. SeeUwe Werner’s exhaustiveresearch on Rudolf Steiner’sconcept in AnthroposophyWorldwide, No 12/2012.Introducing SoulThe first Goetheanum fellvictim to flames. The mightygroup sculpture with theRepresentative of Humanityremained behind as itscreator’s legacy. On April 22,1924, Rudolf Steiner said:“We can let a new spiritualimpulse stream from theGoetheanum…because wecan feel: What had beensomething more or less ofthe earth—built and foundedas something of the earth—has been carried into thewidths of the world by theflames Because of this misfortune,and in recognition ofwhat it has produced, we cansay: Now we understand thatwe have not just representedsomething of the earth; wehave represented somethingof the wide etheric worldwhere the spirit lives. For thesubstance of the Goetheanumis a substance of thewide ethers in which the spirit-filledwisdom of the worlddwells. It has been carriedinto the widths, and we canbe filled with Goetheanumimpulses from the cosmos…if only we are in a positionto take up these impulses.”(Adelheid Petersen, Erinnerungenan Rudolf Steiner, p.196).The following mantra bringsthese thoughts together (RudolfSteiner, April 1923 notebook,GA 268, p. 263):The Goetheanum spoke ofThe eternal to the eye.Flames destroyed matter—Anthroposophy should speakIts form to the soul from spirit.The flames of the spiritThey will give it substance.Rudolf Steiner spoke abouthis work on the sculpture toAssja Turgenieff: “Flowersare our greatest teacher insculpture; that is why weshould not try to turn flowersinto sculpture…I alwayssought to include the soul…The ancients sculpted theimpulses of wisdom in stone;Christian sculpture mustetch warmth into the livingmaterial of wood. Thenthe dead will also be ableto see it.” (from: Peter Selg,Die Gestalt Christi, p. 59). Inlight of such statements justimagine the Group standingon the stage, surroundedby the electronics, the scenerymoved back and forthin front of it—what RudolfSteiner spoke of could nolonger be experienced.A Special SpaceWhen Armin Husemannwrites in AnthroposophyWorldwide, No 1-2/2013 thatthe Representative of Humanityis in a “storage space”as a “gesture of resignation,of renunciation” by RudolfSteiner, he makes an unsupportablestatement thatdenies the current space anywarmth and radiance. RudolfSteiner was conscious of thefact that the new circumstance—includingthe rectangularstage—meant thesculpture would no longerfind its intended place. Hedetermined the placementwhen “he [Rudolf Steiner]supported a space especiallymade for the sculpture, theonly space in the buildingto be paneled according tohis June, 1925 statement.”(p. 61).* And later: “A spaceshould be created on theeast side of the buildingwhere the Group can beplaced to face west.” (p. 75)*I never heard anything differentin my many conversationswith the architect

14 | Anthroposophy Worldwide No. 4/13■ ForumHermann Ranzenberger.We will see how the newshaping of the Room suggestedby Alfred Frischknecht(AnthroposophyWorldwide, No 1-2/2013) andthe disappearance of the urnroom will turn out; we stillhave no clear plans for theproject. In any case, Frischknecht’sview that the Groupstands today “as if in a hole”and that the remodeling ofthe room might “restore thedignity of the Christ groupas a being in motion, at leastin some small way” fails torecognize the current formand the experiences thatcountless people have carriedfrom that room and outinto the world. | Günther vonNegelein, Arlesheim (Swizterland)* Christian Stuten: Die künstlerischeEntwicklung RudolfSteiners vom ers ten zumzweiten Goetheanum-Bau – ahighly recommended documentation,published by theGoetheanum Stage.Christian Hitsch’s designfor the interior of the GreatHall at the Goetheanumwas modeled after the FirstGoetheanum. This naturallygave rise to the thought ofrenovating the stage basedon the same idea, and toplace the group sculpture onit. This seems obvious andsimple from the architecturalpoint of view, but it iscomplicated and ambiguousfor the choreography ofeurythmy and the productionof plays. The sceneryon the stage always needsto be changed to meet therequirements of the dramaor the music.Production in front of theGroupRudolf Steiner gave only onedirectorial indication aboutpresenting a play in front ofthe Group and a sculpturalbackground—it was afterthe destruction of the firstGoetheanum. “A mysteryplay would have to be givenwithin this sculpture andthis architecture—main figures:the human being andRaphael.” (Easter imagination,lecture of October 7,1923). I do not know of anyother statement about this.But there are his variousdiscussions of how the smallcupola (with the Group)could be covered with paintingsin order to produce hisMystery dramas.You may surmise that I amnot speaking theoreticallyhere, since I have over 60years of experience with thewhat the Mystery dramasrequire—first as an audiencemember, then as an actor,and then as a director of allfour dramas and again asan actor; I have also givenlectures, courses, and writtenarticles, culminating inmy comprehensive book DieUraufführung der Mysteriendramenvon und durch RudolfSteiner. München 1910-1913 (Verlag am Goetheanum,2010). In it you canread about the style RudolfSteiner strove for in stagedesign: realism for this sideof the threshold and theother side. He calls the latter“spiritual realism.” No abstraction(see Rudolf Steiner,Drama Course, GA 282), nosymbolism that developsan image out of a thought:perception of what thephysical or spiritual sensesreveal—that is what realismmeans to him, in keepingwith the insight offered bythe almost 28-year-old RudolfSteiner: “The beautifulis a sensory reality that appearsas if it were the idea.”(Rudolf Steiner, Lecture ofNovember 9, 1888 in Kunstund Kunsterkenntnis [GA271]) And as Goethe wroteironically to S. Boisserée onJuly 16, 1818: “The historicalsymbols—/Foolish theone who holds them dear;/He looks always into emptiness/Andmisses the richesof the world.”The Group is Not Sceneryfor the Mystery DramasIn his mystery dramas RudolfSteiner gave very exact,very realistic descriptionsof the scenery. In Munichhe used the most modernstage technology at thetime. In which scenes couldthe Group itself “have apart?” I have tried againand again to build it intothe Sun Temple (I/10 II/13):In the first of these Benedictusstanding the middlebetween Lucifer and Ahriman,the Group on a soullevel (i.e., below the spiritualactivity of the Group). ThusBenedictus would have thecursing hand of Ahrimanon the back of his neck. Thesecond temple scene losesthis composition. Here theGroup would produce a falseimage. Christ is addressedfirst in the old RosicrucianTemple, but not the mysteryof the Group. Thus there isno scene in the four dramaswhere the Group could formspiritually realistic sceneryfor the action.Falling away from ArtIf someone should nonethelessinsist on producingall four Mystery dramas infront of the Group, he wouldbe misled by the same principlethat led to producingEveryman in front of theSalzburg cathedral doors:a symbol that points ourthought to a spiritual background.Then we would fallaway from art—it alwaysworks in sensory-moral perception.It is unnecessary toadd that the Group wouldhave no place in Goethe’sFaust, or in Schiller’s orSteffen’s dramas. Thus thepath of stagecraft leads tothe same conclusion as thedocuments found by UweWerner in the Goetheanumarchive. After it hadbecome clear on August 4,1924 that the Group wouldnot stand on the stage, themain supervisor for buildingthe first and the secondGoetheanum, Ernst Aisenpreis,sent an inquiry to theMaschinenfabrik Wiesbadenabout a contract for supplyingall the machinery for aproscenium stage, includingtrap doors a fly system,an iron safety curtain, etc.The request was answeredon December 28, 1924,with an agreement by theMaschinenfabrik to designand install the project. Withthe support of the foundingExecutive Council, theGroup was moved piece bypiece from the atelier in theCarpentry Building to theGroup Room in the Goetheanumon July 18, 1927. OnMichaelmas, 1928, the mostmodern stage in Europeat the time was dedicatedwith the Portal of Initiationand The Soul’s Probation inMarie Steiner’s production;it was the second productionafter the premiere inMunich in 1910/11. Thatwas followed by decades ofa golden age for the stage atthe Goetheanum, includingthe premiere of Goethe’sFaust I and Faust II.It is said that in 1927 MarieSteiner had declined to havethe Group placed on thestage; she said we are notmature enough for that.How can we claim to be thatmature even today? | WilfriedHammacher, Stuttgart(Germany)

Anthroposophy Worldwide No. 4/13 | 15■ Members Who Have DiedWe have been informed that the following 104 members have crossedthe threshold of death. In their remembrance we are providing thisinformation for their friends. | The Membership Office at the GoetheanumMaria Farina Milano (IT) February 19, 2011Turid Dale Ålesund (NO) in May 2011Dietmar Heinrich Klokkarstua (NO) December 12, 2011Edel Røsvik Ålesund (NO) December 12, 2011Else Klaving Vikbolandet (SE) December 18, 2011Solange De Smet Olen (BE) January 2, 2012Karl Birnbaum Spånga (SE) January 3, 2012Helga Geiger Mölnbo (SE) January 17, 2012Klaus Bertram Hamburg (DE) February 23, 2012Klaus Lutter Rendsburg (DE) April 21, 2012Ruth Koernig Järna (SE) May 5, 2012Elena Tolosa Virrey del Pino (AR) June 19, 2012Mathilde Stynen Gent (BE) July 17, 2012Ruth Delor Elmshorn (DE) July 28, 2012Tina Beneventi Reggio Nell’Emilia (IT) August 20, 2012Bruna Dassie Dal Pos Zoppè (TV) (IT) in August 2012Lieselotte Lüthe Hamburg (DE) September 8, 2012Herbert-Otto Schneider Cowie’s Hill (ZA) September 20, 2012Werner Lupbrand München (DE) September 21, 2012Hans-Christoph Thilo Schwäbisch-Gmünd (DE) September 28, 2012Petra Liebmann Gernsbach (DE) September 30, 2012Carlos Mönckeberg Martinez (AR) October 11, 2012Lars Wätte Västerås (SE) October 12, 2012Erica Hoeffelman Bloemendaal (NL) October 28, 2012Kathy Tuttle Mölnbo (SE) October 30, 2012Willem van der Heul Velp Gld. (NL) November 7, 2012Karna de Bruyn Zeist (NL) November 8, 2012Clare Coriell Franklin/NC (US) November 12, 2012Marianne Scheffler Dresden (DE) November 16, 2012Hans Joachim Kisters Feldatal (DE) November 20, 2012Betsy Kouwenhoven Zeist (NL) November 21, 2012Ursula Bentinck Zutphen (NL) November 27, 2012Ines Lazzarini Bologna (IT) in November 2012Matti Finnilä Vaasa (FI) December 4, 2012Maria Theresia Vollmer Dornach (CH) December 8, 2012Hendrika Eijgelsheim Leeuwarden (NL) December 13, 2012Gerhard Nessel Hofgeismar (DE) December 13, 2012Christina Rooch Karlsruhe (DE) December 17, 2012Herr A. Patijn Den Haag (NL) December 19, 2012Catharina van Boetzelaer Zeist (NL) December 23, 2012Rolf Zöllner Mülheim (DE) December 23, 2012Renate Liebel Borchen (DE) December 24, 2012Erdmut Thierfelder Deckenpfronn (DE) December 24, 2012Inge Ullrich Bochum (DE) December 31, 2012Heinz Binder Lübeck (DE) January 1, 2013Libor Nosek Praha-Radotin (CZ) January 2, 2013Georges Lienhard Puylaurens (FR) January 3, 2013Petra Scheithauer Aachen (DE) January 8, 2013Elfriede Schappelwein Linz (AT) January 13, 2013Fred Gettings Calne (GB) January 15, 2013Joan Cullimore Cambridge (GB) January 16, 2013Jean Hatherley Plymouth (GB) January 16, 2013From January 22 to March 18, 2013the General Anthroposophical Society welcomed 189 new membersand noted 181 resignationsIlse Sperber Melle (DE) January 16, 2013Herta Pawlata Wien (AT) January 17, 2013Elke Worm Stuttgart (DE) January 18, 2013Gunhild Kruck São Paulo (BR) January 19, 2013Annelene Pieper Ahrensburg (DE) January 22, 2013Marie-Noëlle Clermond La Roche sur Foron (FR) January 23, 2013Herbert Bracher Lengnau (CH) January 24, 2013Margarete Jünemann Stuttgart-Birkach (DE) January 24, 2013Christoph von Negelein Baldham (DE) January 24, 2013Christoph Rosenbruch München (DE) January 25, 2013Willi Seiss Owingen (DE) January 25, 2013Theodora Krausovà Arlesheim (CH) January 26, 2013Dietrich Schrödel Biessenhofen (DE) January 26, 2013Lucie Toepper Stuttgart (DE) January 26, 2013Wolfgang Schoen Bingen (DE) January 27, 2013Paul Mounier Les Villettes (FR) January 28, 2013Erika Speidel Laufenburg (DE) January 28, 2013Patricia Walsh Dornach (CH) January 28, 2013Ulrich Kradolfer Dornach (CH) January 29, 2013Gertrud Zinser Oberkochen (DE) January 29, 2013Peter Mayer Stuttgart (DE) January 31, 2013Erica Bozek Lüneburg (DE) February 8, 2013Eberhart Lattau Dortmund (DE) February 8, 2013Felix Mussil Frankfurt a. M. (DE) February 8, 2013Waltraud Stehle Stuttgart (DE) February 8, 2013Jutta Kellner Nürnberg (DE) February 10, 2013Gertrud Baumann Zürich (CH) February 11, 2013Ilse Breckwoldt Hamburg (DE) February 11, 2013Hubertus Loewens Camanducaia MG (BR) February 11, 2013Christian Viau Louans (FR) February 12, 2013June Wadeley Stourbridge (GB) February 12, 2013Elly Viefers Basel (CH) February 14, 2013Anna Weninger Nürnberg (DE) February 14, 2013GerMayne Anastasio Noumea (NC) February 15, 2013Ruth Finzel Berlin (DE) February 17, 2013Thomas Karenovics Dornach (CH) February 17, 2013Johannes Peyer Oberrieden (CH) February 19, 2013Jaques Uljée Zeist (NL) February 19, 2013Katharina Blaser Schwanden (CH) February 20, 2013Gertrud Brügger Frutigen (CH) February 22, 2013Hans Bischof Dornach (CH) February 23, 2013Beatus von Glenck Arlesheim (CH) February 23, 2013Jeanne Winstanley Dornach (CH) February 27, 2013Christfried Gradenwitz Neuwied (DE) March 3, 2013Rosemarie Hartmann Arlesheim (CH) March 3, 2013Johannes Lapp Hamburg (DE) March 5, 2013Margarete Stapf Mölln (DE) March 5, 2013Ruth Dieudonné Basel (CH) March 9, 2013Gisela Reuther Arlesheim (CH) March 9, 2013Lidwina Firlbeck Nürnberg (DE) March 10, 2013Karin Herms Newnham-on-Severn (GB) March 12, 2013Jeanine Gallet Dave (BE) in 2013Anthroposophy Worldwide appears ten times a year, is distributed by the national Anthroposophical Societies, and appears as a supplement tothe weekly Das Goetheanum. • Publisher: General Anthroposophical Society, represented by Justus Wittich.• Editorial staff: Sebastian Jüngel,Cornelia Friedrich, Wolfgang Held, Jonas von der Gathen, Philipp Tok. Translator for this English edition: Dr. Douglas Miller.We seek your active support and collaboration. To contact the editors: Wochenschrift Das Goetheanum, Postfach, CH–4143 Dornach 1, Switzerland;fax +41 (0)61 706 44 65; info@dasgoetheanum.ch. To receive Anthroposophy Worldwide, apply to the Anthroposophical Society in yourcountry, or subscriptions are available for CHF 30.– (€ 25.–) a year from the address above. An e-mail version is available to members of theAnthroposophical Society only at: www.goetheanum.org/630.html?L=1. © 2013 General Anthroposophical Society, Dornach, Switzerland.

16 | Anthroposophy Worldwide No. 4/13■ Anthroposophy Featurein the WorldUSA: Margaret Wannamaker Barnetson’s 100th Birthday on March 18, 2013In Contact with the Pioneers of AnthroposophyTracing the memories of this centenarian in her own words, we would be astonishedat the straightness of the path that led to her meeting with Rudolf Steiner at the ageof 11. But it would be impossible to do full justice to her devotion and loyalty to RudolfSteiner, anthroposophy, and the Anthroposophical Society in such an outline.Margaret Barnetson was born inAlabama, USA, as the only childof Olin and Katherine Wannamaker. Herfather was a professor of English literature,her mother a gifted pianist, whosecareer could not develop due to fragilehealth. Cosmopolitan experiences, musicand personal interaction with significantpersonalities within the sphereof Anthroposophy formed the basis ofher very unusual childhood and youngeryears.Encounter with Rudolf SteinerMargaret Barnetson says her firstmemorable experience was in Italy.; herfather went there to write a book aboutItaly’s role in the First World War. Betweenthe ages of 6 and 8 she lived withher family in Rome. At 6 she began violinlessons. Following the stay in Italy herfather accepted a position in a project atPrinceton University. A significant turningpoint occurred in her ninth year: sheattended a children’s summer camp inConnecticut. The director was an anthroposophistand through her Margaret’smother knew she had found the view oflife she had been seeking. Soon her fatheralso became deeply interested.In the summer of 1924 Margaret andher mother traveled to Dornach so hermother could receive anthroposophicalmedical care and Margaret could attenda Waldorf School. After sailing from NewYork they went to Torquay where RudolfSteiner was lecturing. She recalls “…oneday I wandered over to the lecture halland walked in. No one stopped me. Whatimpressed me about the part of the lecturethat I heard was the fluent translation…byGeorge Adams from a few noteshe wrote on a card in his hand….” Hermother took her to see “Herr Dr. Steiner”:“I have no memory of this meeting exceptthat he dictated a bedtime prayerfor me in English to Dr. Ita Wegman.” Unfortunatelyher father was never able tomeet Rudolf Steiner because of his workobligations in New York.Early encounter with Rudolf Steiner:Margaret BarnetsonLearning German with Mathilde SchollMargaret needed to learn German.There was “…a wonderful woman whowas my tutor in the German languageand the usual school subjects. Her namewas Mathilde Scholl….” Further she reportsabout her time in Dornach—shewas 11 or 12 years old—“I loved theeurythmy and remember sitting in thefront row with other children, waitingfor Dr. Steiner to take his seat so thatthe performance could begin.” Anothersignificant memory was how distressedher mother was after hearing RudolfSteiner’s “Last Address”.“…months laterwhen word came of Dr. Steiner’s death,Mother took me to Dr. Steiner’s studiowhere his body lay near the woodensculpture of Christ, the “Representativeof Man” which he had carved….” Beyondthese experiences she says, “my year inArlesheim/Dornach was a very happyone, except for the separation from dad.”By this time Margaret had a longingto go to school. Her mother arranged forher to attend the first Waldorf Schoolin Stuttgart. She was enrolled in the7th grade. She recounts in great detailher continuing violin lessons and theservices on Sunday connected with the“free religion” classes. Her teacher wasPhoto: SuppliedHerbert Hahn. Other significant pioneerteachers also entered her life like ErnstBindel and Walter Johannes Stein. “…The high school orchestra…was large. Iplayed in the first violin section and laterbecame ‘concert master’….” When herMother came to Stuttgart they movedinto an apartment owned by the familyof Dr. Carl Unger. During this time Dr. Ungerwas fatally shot as he was enteringa hall in Nuremberg to give a lecture on“What is Anthroposophy”.After completing her Waldorf Schooleducation, she and her parents met Karlvon Baltz, a famous violinist and anthroposophistin Vienna with whom Margaretstudied violin. She and her Mothermoved to Vienna and Margaret enteredinto the musical life there. Upon returningto Dornach at age 21 she played withthe Basel Chamber Orchestra whoseconductor was Felix Weingartner.Still in Dornach at age 22, Margaretmet her future husband, John Barnetson,who had come from Southern Rhodesia,now Zimbabwe, to Dornach at theinvitation of his aunt. The Wannamakersmoved back to New York and the musicaland anthroposophical activities continued.Margaret and John married justbefore Margaret’s mother died. Johnworked in Washington D.C. which becametheir home. Some time later theymoved to New Orleans. Two daughters,Jean (now married to John Brousseau)and Brenda, chose them as their parents.Both are active in anthroposophy todayin Los Angeles.In the second half of her long andproductive life, Margaret became a kindergartenteacher. John Barnetson diedfourteen years ago. In a beautiful way,her extended family now cares for herout of love and with a sense of great admirationthat is shared by many friends.In the notes to her long life Margaretalso mentions a meeting with Sergei Prokofieffwhich had a profound significancefor her. She had read his books. Such ameeting connects with the signature ofher life since earliest childhood—indeeda remarkable destiny!We believe Margaret Barnetson isthe only person alive today who met RudolfSteiner. We send our warmest goodwishes to her for her continued dedicatedto anthroposophy. | Virginia Sease,Goetheanum Executive Council