European Journal of Education Studies
ISSN: 2501 - 1111
ISSN-L: 2501 - 1111
Available on-line at: www.oapub.org/edu
Volume 3 │ Issue 8 │ 2017
doi: 10.5281/zenodo.818084
ON THE UNIQUE PLACE OF ART IN WALDORF EDUCATION
Gilad Goldshmidti
The David Yellin Academic College of Education,
Tel-Hai College, Oranim College of Education,
Israel
Abstract:
This article examines the unique educational approach of the Waldorf (Steiner) school,
which is based upon integrating the arts in educational processes. The article first
presents the theoretical and practical aspects of the fundamental approach of Rudolf
Steiner, founder of this educational movement. The article then describes the practical
implementation of this approach together with different aspects of integrating the arts
in the Waldorf school pedagogy. Lastly, the field of music is brought as a case example
for artistic educational work across the first through twelfth grades. The question of
reciprocal relations between art and education is examined in light of this unique
educational perspective. Questions pertaining to the influence of these relations upon
Waldorf school graduates are raised in the article’s conclusion.
Keywords: Waldorf School, Waldorf pedagogy, Steiner School, art in education
Introduction
“…you make a great, a very great mistake, if you think that psychology, being the science
of the mind’s laws, is something from which you can deduce definite programmes and
schemes and methods of instruction for immediate schoolroom use. Psychology is a
science, and teaching is an art; and sciences never generate arts directly out of
themselves.”
(William James)
“Education must not be a science it must be an art”
(Steiner, 1966, p. 159)
Copyright © The Author(s). All Rights Reserved.
© 2015 – 2017 Open Access Publishing Group
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Gilad Goldshmidt
ON THE UNIQUE PLACE OF ART IN WALDORF EDUCATION
In his 1909 lectures on education, Rudolf Steiner (Hemleben, 1984), founder of
Waldorf Education (anthroposophical education), spoke about the term “The art of
education” and sought to discern in education and teaching much more of the
discipline of art activity than of science (Steiner, 1965). A decade later, with the
establishment of the first Waldorf School in Stuttgart, Steiner spoke again about the
tremendous importance he ascribed to art in education and teaching (Steiner, 1966).
From that time and until his death in 1925, Steiner mentored the teachers at the school,
gave speeches to parents and interested individuals, lectured to different audiences,
and wrote a great number of articles on the importance and meaning of art in
educational processes and on its implementation in the educational theory known as
“Waldorf education.”
What was Steiner’s intention? Why did he consider art so important in education
and in teaching? How has this ideal of the founder of Waldorf education been
implemented in kindergartens and Waldorf schools over time? This article offers a
number of answers to these questions. I first outline Steiner’s fundamental approach to
the topic of art in education and teaching and his practical guidance in this context. I
then offer a number of examples for the integration of art in the educational endeavor
and in the daily life of Waldorf schools.
Steiner’s Fundamental Approach to Art in Education
In a March 1923 lecture dedicated in its entirety to the topic of art in education, Steiner
(1979) explained from a variety of aspects why the arts and art activity are so important
to education and teaching. He first posed the question: how can we, as educators,
deeply understand the inner nature of a child? With which of the senses can we
accomplish this? Steiner (1979) answered his question in this way:
“The sense with which we comprehend art, the artistic sense, the sense that can transfer
the radiance of the spirit in the material, that reveals beauty, that which we encounter in
art. This artistic sense is, at the same time, the sense that enables us to know a person
candidly in the present, such that this knowledge becomes useful in life itself.”
(p. 18)
Steiner continued and claimed that only by means of the artistic sense are we
able, as educators, to turn our educational ideas and principles into action:
“Only when we comprehend the inner nature of the person through the artistic sense,
only then can we realize our ideas and abstract terms in the educational act.”
(Steiner, 1979, p. 19)
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The understanding of the child’s soul, of his or her development and individual
needs, stands at the center of Steiner’s educational world view. In his very first book,
dedicated to education, he wrote:
“We shall not set up demands nor programmers, but simply describe the child-nature.
From the nature of the growing and evolving human being, the proper point of view for
Education will, as it were, spontaneously result.”
(Steiner, 1965, p. 5)
According to Steiner (1956), Waldorf education came to answer the deep needs,
not always entirely conscious, of each girl and boy:
"On the art of education about which is being spoken here, the most important thing is to
nurture the concealed in the child and in his development. From this, it is incumbent
upon teaching to stand totally in service of education. In fact, we educate, and the
lessons, the teaching, we exploit in order to educate.”
(p. 96)
The curriculum, teaching methods, the attitude toward the child, the dialogue
with him or her, and all school characteristics come to respond to the child’s needs, to
the child’s deep seeking and development he or she is undergoing (Easton, 1997;
Edmunds, 2004; Richter, 2006). In this way, Steiner’s approach was child-centered. From
this approach is derived the tremendous importance for educators working in Waldorf
schools to be equipped with the tools “to grasp the inner nature of the person” and to have
“the sense that enables us to know a person candidly in the present, such that this knowledge
becomes useful in life itself” (see also Martzog, Kuttner, & Pollack, 2016).
From here, Steiner (1979) continued and addressed the question of the training of
educators in this context:
“This is the most important foundation for education in our day, that education will go
forth from the perspective and internal stance of the educators and teachers, we should
not simply teach, we should not turn to the intellectual understanding of the child…from
here it is clear that the advancement of education must begin with the educators, that in
the teacher, himself, not only intellectual forces will be at work…we must begin with the
teachers themselves and this through understanding the person, to the didacticpedagogic-artistic approach…”
(p. 21)
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From these words, it is clear that in the training of teachers for Waldorf
education there also must be a central place for the arts (Gabert, 1961; Martzog et al.,
2016). Steiner, who himself established the initial teacher training for the first Waldorf
school (Hofrichter, 2002), spoke on different occasions about the importance of artistic
training. In addition to the general emphasis stated above, Steiner (1989) detailed the
special importance of the different arts using two examples:
“Have students in teacher training mold clay, practice the art of sculpture, instead of the
rest of the things they do there…one must know the following principle: a teacher who
never learned to mold clay cannot understand the development of the child.”
(p. 140-141)
“The one who understands this, knows that teacher training must deepen internalization
of a built-in musical world view, this in order to understand the human being.”
(p. 143)
Gabert described this aspect of art and creativity in training teachers and in their
work in Waldorf schools and education with these words: “They must be artists in
education and teaching” (Gabert, 1961, p. 167). This element of the teacher as artist is
manifested throughout the entire Waldorf education teacher training in intensive
artistic work in a wide range of arts. The artistic fields occupy at least one-third of all
teacher training hours (Barz, 2013; Gabert, 1961) and include music, poetry, sculpture,
drawing and painting, drama, eurythmy (an expressive movement art originated by
Steiner), and their combinations.
These arts serve to develop and nurture the artistic senses, sensitivity, a sense of
balance and harmony, contemplation ability, self-knowledge, and many additional gifts
that artistic endeavor can bestow (Eisner, 2002). It is important to note that this is not
about professional artistic training to become a painter, a musician, or a sculptor, but
rather development of the inner senses upon which teachers build their capacity for
working in a Waldorf School (Gabert, 1961).
An entirely different direction regarding the integration of art into educational
processes was developed by Steiner when he spoke about the necessary transition from
the free play, full of imagination of the young child to the work life of the adult, work
that is connected to responsibility, commitment, and seriousness (Steiner, 1979, Lecture
on March 25, 1963). Steiner raised the question regarding the proper way to make the
transition from free play to everything that is connected to the obligations of work life
and toil. Here, as well, Steiner (1979) noted the importance of art:
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“When you work with art properly in school, art leads appropriately from happiness filled
with the freedom of play to work, making it possible to see work as a necessity of life itself.
Thus, work, when the bridge is designed appropriately, does not have to be viewed any
more as an oppressive obligation.”
(p. 23)
In this way, during the school years, art creates a sort of bridge from the world of
childhood to the world of adults. Between play full of imagination, in which everything
is possible, open, and creative, and obligation in the adult world of work, Steiner placed
art. Art gives expression to creativity, imagination, openness, and the internal world, on
the one hand, while always dealing with materials from reality and in coping with
them, on the other. Thus, Steiner (1979) stated, art creates a bridge from the life of the
child to the world of adults:
“When a child enters school, it is essential to shift the capability, the talent, and the
ability that are associated with play, in every way possible, to artistic activity, in which
is preserved the freedom of internal activity; and with this, and at the same time, we must
cope with the outer material, similar to labor. Then we will see how with artistry that we
bring to the child, it is entirely possible to maneuver education, such that the happiness
and release of artistic activity coalesce into the seriousness of labor.”
(p. 25)
In order to understand the role of being a sort of bridge between free play and
work, or between the world of the young child and the adult world, one must
understand the developmental approach that stands at the foundation of Waldorf
education. Steiner saw the foundation of educational processes and studies in
developmental psychology as strikingly similar in its major principles to the theories of
development of Piaget, Erikson, and Kohlberg (Easton, 1997; Ginsburg, 1982; Richter,
2006). Stemming from his anthropological and psychological perspective, Steiner
divided childhood into three major stages, during which the child develops and grows
with different emotional and physical emphases: from birth to age six or seven the
emphasis is on physical, sensory, and motor development, so that the young child first
shapes his or her body through physical activity, movement, and exposure to
impressions and interpersonal connections; from the age of six or seven until 13-14, the
emphasis is on shaping one’s emotional experience, habits, social connections, and
personality; from the age of 13-14 to 20-21, the developmental emphasis is on shaping
one’s world view, nurturing thinking, ability to work, and personal identity (Edmunds,
2004; Rawson & Avison, 2014; Steiner, 1965). Steiner spoke of the different quality in the
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emotional and physical atmosphere amidst children in each stage and of the qualitative
leap in the transition between stages. In essence, he spoke of “births” in these
transitions. From here one can see, as well, his perspective that each stage builds upon
and grows out of the prior one, and that only stable and harmonious building in a
specific stage can serve as a basis for the next stage (Easton, 1997; Steiner, 1965).
Art has importance throughout childhood according to Steiner’s approach, but
particularly during the seven year period between ages six and seven and 13-14. This
period, characterized as we have seen by the building of the personality, shaping of
character, habits, and everything that is associated with the emotional experience, is
particularly suited to working in the realm of art. In his first book on education, written
many years before the founding of the first school in the spirit of Waldorf education,
Steiner (1965) wrote:
“Last but not least, there is the cultivation of the sense of beauty and the awakening of
the artistic feeling… A child who is denied the blessing of having his musical sense
cultivated during these years, will be the poorer for it the whole of his later life. If this
sense were entirely lacking in him, whole aspects of the world’s existence would of
necessity remain hidden from him. Nor are the other arts to be neglected. The awakening
of the feeling for architectural forms, for molding and sculpture, for lines and for design,
for color harmonies – none of these should be left out of the plan of education…Joy and
happiness in living, a love of all existence, a power and energy for work – such are among
the lifelong results of a right cultivation of the feeling for beauty and for art.”
(p. 55)
In one of his lecture series on education, Steiner (1956) again emphasized the
importance of art and of educating for aesthetics and beauty, particularly during this
period in a child’s development:
“In elementary school, children are of the age between losing their baby teeth and
adolescence…If we stand fittingly with the child as educators and teachers, we should
know that for this period in a child’s life one must bring all learning materials in an
artistic form. This is the most essential thing for the elementary school period.”
(p. 66)
The question of education infused with artistic activity, particularly during the
period of elementary school, also appears in Steiner’s writings in the context of
nurturing children’s determination and will to achieve. In one of his lectures, Steiner
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(1980) raised this question: How is it possible, if at all, to develop the will of children,
and his answer:
“No one can desire, if he has not developed his will. And will is possible to develop
through meaningful artistic education. This secret of the link between the arts and life, or
more precisely with the element of a person’s will, to know this secret, is the beginning of
every future demand for the psychology of education. “
(p. 68)
Steiner emphasized the development of the aesthetic sense, the imagination, and
the creativity, and the appeal to children using the medium of emotion and experience,
as the appropriate mode up until adolescence. This emphasis is given expression in
Steiner’s sharp criticism of the rationalistic education that is the norm in schools. In his
lectures and in his conversations with teachers Steiner critiqued the tendency to direct
the educational system first to the prowess of thinking and the intellect (Steiner, 1965,
1966, 1979). A good example are his words at one of the teachers’ meetings (Steiner was
the principal of the first Waldorf school in Stuttgart for five years and took part in many
teachers’ meetings), at which he spoke critically of rationalistic education and on the
importance of the artistic dimension in education in this context:
“Today, students in the earliest school grades are already poisoned in that they receive
only intellectual material…now, if our teachers will make use of textbooks, even if they
do not give them to their students to use, but only use them to prepare themselves, then
rationalism will flow to the teachers themselves. And we will also turn into a picture of
intellectualism.”
(Leherkonferenz, s. 13)
After a short conversation on the desirable preparation of the teacher, Steiner
continued:
“Thus it is upon us to see how against the dominance of intellectualism in our day we
must position our pedagogy as an activity infused entirely with art.”
(Leherkonferenz, s. 13)
Steiner’s training was in the field of natural sciences (Hemleben, 1984) but he
nonetheless desired to see the activity of teaching as an artistic activity. The view of
education as art in and of itself, in contrast to the approach that teaching and education
should be governed by scientific principles appears many times in Steiner’s writings
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(Steiner, 1966, 1980, 1989). Steiner emphasized the emotional world of the student and
teacher and saw in it an educational field. Artistic feeling can fill teaching and
education with meaning, in contrast to instruction that is scientific, technical, and
lacking in inspiration. Steiner (1947) wrote:
“…that our conception of the build of a human being, of man’s inner configuration must
be that of an artist. And the teacher must be in a position to experience the child
artistically, to see him as an artist would. Everything within the child must be inwardly
mobile to him…we must accept such an inward artistic apprehension.”
(p. 115-116)
Practical Aspects
The first section outlined the basic approach of Rudolf Steiner, the founder of Waldorf
education. How do Waldorf schools apply this fundamental approach? Is there, indeed,
a special place for art and the artistic approach in their broad meaning in Waldorf
schools? Which practical methods give expression to this educational essence? I see
three different, yet related aspects to the practical implementation of Steiner’s
ideological approach to integrating art into education and teaching as laid out above
(Edmunds, 2004; Junemann & Weitmann, 2017; Neider, 2008; Nobel, 1996).
First, different arts are learned as a significant portion of the school curriculum
from 1st through 12th grades. Nearly every day, children studying in Waldorf schools
engage in significant artistic experimentation in one of the many art media offered:
painting, drawing, music, singing, eurythmy, drama, sculpture, design, and
photography, as well as practical arts such as metalworking, basket weaving, pottery
making (wheel), carpentry, wood sculpture and more. These art media are obligatory in
the class schedule for all students, and the pedagogical attention given them is exactly
the same as that given to theoretical disciplines such as mathematics, language or
science (Rawson & Avison, 2014; Richter, 2006). Thus, for example, the place of arts in
the schedule throughout the school day is identical in importance to the theoretical
disciplines; they make up at least one-third of the curriculum and their importance in
evaluation processes is the same as for the other disciplines (Edmunds, 2004; Junemann
& Weitmann, 2017; Neider, 2008; Nobel, 1996).
Second, the various arts are not only studied separately and learned for their
own sake, but they infuse and enrich all other areas of learning. This occurs in all
grades, especially, as noted above, in elementary school. In this way, all subjects are
learned through the different arts: the letters of the alphabet are learned in first grade
through movement, drawing, and painting; the foundations of mathematics through
poetry, music, and recitation; geometry is learned through drawing, sketching of the
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various geometric shapes, beginning with colored pencils and then using a ruler and
compass; drama and short plays assist in learning literature content; sculpture,
modeling with clay, and painting are inseparable from history and geography lessons; a
historical period will also be studied through the paintings of the events and
personalities of the period, sculpture of the tools and objects used, recitation and
dramatization of the historical texts and the like (Edmunds, 2004; Nobel, 1996).
Standard textbooks are exchanged for large, unlined notebooks in which the
students create their own textbooks in a creative process: they write texts, paint, draw,
and illustrate each subject personally and imaginatively. The emphasis in the learning
process is not on intellectual achievements, knowledge, or based on standardized tests
of any form (no standardized tests are given during the entire elementary school
education), rather on aesthetics, creativity, beauty, and harmony (Edmunds, 2004;
Nobel, 1996).
At this point, it is appropriate to note the different organization of a Waldorf
school in terms of timetable and class schedule. All grades study the theoretical subjects
cyclically: language, mathematics, foreign language, history, geography and the like.
Each topic is studied for three or four weeks in long lessons of one and half to two
hours. Beginning with the establishment of the first school, Steiner (1997) recommended
concentrated, continuous learning in which topics are repeated daily, instead of a
weekly lesson schedule in which five to eight different subjects are studied each day.
Beyond the opportunity to focus, to deepen, and to create an integrated learning
process, the cyclical study schedule also enables integration of the different arts during
the lesson.
The third aspect in implementation of Steiner’s ideological approach is the
artistic and aesthetic design of the learning processes and everything connected to the
school environment. Over and over, including in his lectures and his conversations with
teachers, Steiner (1979) raised the principle that art must infuse every subject and every
learning process in the school:
“We should not withhold artistic activity from any of the various subjects, on the
contrary, art must infuse the organism of all teaching and of every educational process,
such that artistic processes do not stand, as it were, to the side: here are the contents of
the learning itself, they are intended to educate, they are obligatory, and here, isolated in
the curriculum, seemingly half obligatory, is everything that a child needs to acquire in
art. No and no, art is in its proper place in the school, if all the other subjects are directed
thusly, so that at the right moment the soul of the child from amidst the subject of
learning desires the artistic…let us say, it is upon art to infuse the entire organism of
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teaching and education, it should warm and light up from within all of the being of
pedagogy and didactics.”
(p. 28)
The lesson itself, for example, should turn into an artistic experience. Again and
again, Steiner requested that the teachers see in the learning process the occurrence of
art (Steiner, 1997, Lecture 2). In his opinion, this is how one should relate to every
educational process that students undergo in school: from the isolated lesson, through
the design of the school day, design of the school week, school year, and through the
broad and, of course, artistic perspective of the long path from first grade until the
conclusion of twelfth grade. The starting point, according to Steiner, must always be
artistic, developmental, and appropriate for the place in which the children are at every
stage. Never mechanical, quantitative or knowledge-directed (Steiner, 1997, Lecture 2;
see also Edmunds, 2004; Neider, 2008).
An excellent example of this third aspect is the aesthetic attention given to the
learning space of Waldorf kindergartens and schools, from the design of school
buildings, to interior classroom design, including wall color, lighting, and every other
design element found in the children’s school environment (Biørnholt, 2014; Klinborg,
1982; Rittelmeyer, 2012):
“Please take what I say as the ideal: that stemming from our pedagogy we will design
classrooms artistically. And then it will be possible to expand, such that what decorates
the classroom walls will continue beyond the walls of the classroom and will decorate the
walls of the entire school in the same way.”
(Leherkonferenz, s. 9)
“Steiner followed with suggestions of which style and motifs to use in decorating the
different classroom walls.”
(Leherkonferenz, s. 11-12)
Music Education as a Case Study
I chose the field of music to demonstrate more specifically how an artistic field is
integrated into the curriculum and life of a Waldorf school. Music can be seen as an
example for the integration of the other arts. Initially, we will examine the questions of
the importance of music education and its importance for every child. Steiner (1997)
saw in every child an inner musicality as a basic, innate quality:
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“We shall then notice that it is man’s nature, up to a point, to be born a “musician.” If
people had the right and necessary agility they would dance with all little children, they
would somehow join in the movements of all children… The separate senses, the
musically attuned ear, the plastically skilled eye, arise first from this musical
disposition…it is a specification of the whole musical individual.”
(Lecture 1, p. 13)
From this flows Steiner’s (1997) opinion that music education should be given to
all children, with no consideration, whatsoever, for what is known as special, musical
talent:
“We should not insist too much: This is a musical child; this one is not musical.
Certainly the fact is there, but to draw from it the conclusion that the unmusical child
must be kept apart from all music and only the musical children must be given a musical
education, is thoroughly false; even the most “unmusical children” should be included in
any musical activity…That is a very fundamental truth. Nothing should therefore be left
undone to bring in touch with music the children considered at first to be unmusical.”
(Lecture 3, p. 42)
According to Steiner (1997), musicality has a positive social and communal
influence; music builds community:
“For it should not be forgotten that the art of music and poetry, on the other hand,
furthers social intercourse. People come together and unite in music and poetry…social
life is better maintained in common enjoyment and experience of music and poetry.”
(Lecture 3, p. 43)
In addition, Steiner (1956) wrote, music education has the power to strengthen
both the desire and ability to perform:
“For us (at the Waldorf School) there is importance in infusing the musical element as
early as possible into the lessons themselves. This is because the musical element, not so
much the musical content but more the rhythm, the tempo, the feeling of the rhythms and
the beat, are a good foundation for the power and energy of the will, especially when one
brings this element in the appropriate way at the beginning of elementary school.”
(p. 101)
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For these and other reasons, Steiner saw in music the most significant foundation
for every age and for every girl and boy. In Waldorf schools, this approach is
implemented in the following ways (Barnes, 2017; Ronner, 2000):
In all elementary school classes, and sometimes in high school classes as well, the
school day begins with singing. In first grade, singing begins with simple songs
sung together in one voice and develops over the coming years to singing
canons, songs with two, three, and four voices, singing in groups, solo singing,
singing accompanied by different musical instruments and more.
In school events, plays, performances of different types, music – vocal and
instrumental – has a very important role. Individual classes, grade levels or
mixed groups of different grades, put on choir performances, musicals, concerts
and more.
Beginning in first grade, all children learn to play the recorder. Playing the
recorder develops over the years to playing individual musical instruments.
Many classes have a “class orchestra” that performs in different ensembles at
class and school events.
The school has a choir, musical ensembles, and orchestra, which practice
regularly and appear at different school and community events.
Conclusion
The special place of the arts in Waldorf schools was surveyed in this article from the
point of view of the principles of Rudolf Steiner, the founder of Waldorf education, who
saw in the arts one of the most important foundations for every instructional and
educational process. In the second stage, the educational work in Waldorf schools was
discussed from the point of view of the integration of art in instructional and learning
processes. The final section presented music as an example of the integration of an
artistic field into the educational system and curriculum of the Waldorf School.
Further directions could include examination of the influence of the integration
of the arts in Waldorf schools on their graduates. Are the graduates endowed with the
very qualities that Steiner expected would be nurtured by art-filled instruction? Do they
have a special relationship to art and aesthetics? How do the graduates view, in
retrospect, the aspect of the integration of the arts in their education?
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21. Steiner, R. (1956). Die Geistige Seelischen Grundkraefte der Erziehungskunst (GA
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ON THE UNIQUE PLACE OF ART IN WALDORF EDUCATION
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