Согласные и движения ногами в терапевтической эвритмии

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C, Ch and Sch

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So now we carry on, the next step in the zodiac. So we go to Libra now and we allocated c and and to it. So it works all yeah. So Wollersteiner didn't give any indications for C anywhere in the digestion or so, but it has been given to the uprightness of the spine. And some years ago there was a doctor who is also a arrhythmia therapist in Germany, Mrs. Merke, Gudrun Merke, and she made a figure for C.
And you can see it is not symmetrical, but if you look at the character, it is white lilac. And I tell you where it is. You might not be able to see it.
So this figure is new. It's not Ruttcheinen's figure, it's Gudrunnerka's figure from the sea. So it has, on top of the head, it has a white and lilac and along the spine. Can you see that in the middle there's this line? I don't know whether you can see it. There's this line in the middle that supports uprightness.
And anywhere else I can't see it. So it's only on top of the head and then the middle and I think you're on top of the shoulders, I think. So we go into the sea in the beginning. Doesn't have enough, doesn't have anything for feet, so I put them together. But it's very good if you have back problems, because anything that has to do with back problems is gravity weighs down.
And now we need to come into light streams upwards. So we go down into our feet and we take the weight out of the out of gravity and we bring it up in three times this movement until we end up on tippitars and we really feel part of the light and feel this uprightness here and that nothing is on your shoulders, it's white. And here it is also white lilac, yes. So you have this, the emphasis on your spine, which is up and the shoulders are up. There's nothing on your shoulders.
Everything is thrown off and the head is in the light and connects with the light. So let's do that again. So we go down and we have C. And you feel the white leading you right up and about. And your back pain will be much alleviated with this movement. So once more.
And let go. Concentrate on the lightness and on the uprightness here. Shoulders, head, all go into the light. And into the light.
So that's very important. If you have any problems, issues or anything, that is an amazing tool to use. The lymph is the carrier of the etheric, yes. So the lymph system is the carrier of all etheric processes in us. It's all lymph, it's all this is what water is about, life forces.
And so it is the lymph forces that we want to enhance and to stimulate that they can bring us up. Absolutely. Yes, it's the lymph that does it. Yeah.
Now, now comes the shear. So you all know the figure, I think. And we can feel it comes from the front and it moves towards me. So it is like actually a karma, a karma sound. Everything that comes from the outside comes to me, is me. So it belongs to me that it comes to me.
And most of the time we experience it as something dark. And we have to deal with it because it belongs to us and it's not anything that we should try and avoid. So what we do now is we do it forwards and backwards. As I say, there's no indication for urethane therapy, but I think it has a big calmer meaning to us. So we go to the front and we feel whatever comes from the outside belongs to us and we need to meet it. And now we go backwards with it.
Now we go forwards into it, more courageous. And when we go backwards, does it make the difference? And forwards. And backwards.
And it's very different, yes, whether we go into our karma forwards and we take it on, we are not so much listening. If we are going backwards, we can much more identify why is that coming to me and what should I learn out of this. And I can hear much better. So if we do it forwards, it is more for the seeing and if we go backwards, it is more for the listening. So try and experience those two different ways.
So first we see what is coming towards us. Yes, I take it on. And now we listen, why is that coming to me? What must I learn out of it?
Two different ways of dealing with karma, in a listening way and in a seeing way. Good. Now comes the next sound, is sh. And the sh has been given different rhythms. So the first rhythm that has been given in the curative rhythmic course is and we walk it is short, long, short pause. Long, short, long.
We turn around. Let's do that one again. Short long short, long short, short long. Now, how old Ostheimer said we can also jump this rhythm. So let's try and jump it. Short long short pause.
Long short long. Again short long short. Long, short, long.
And now please do the sh with it, and use one sh for every rhythm. So you will find out that it's not so easy. So we do a shi. So we have a lot of foam that is in our stomach. Yes, a lot of these acids. So it goes, but we don't take it further up than shoulder height.
Yes? Not like there. So only up to the shoulders. So let's do first a.
Now we do short, long, short hopping with this sh. Short, long, short. Pause. Long, short, long. And back again. Short, long, short. Long, short, long.
It should be short, long, short, long, short, completely independent, yes. That's the difficulty about it, especially if you jump it. So it should have his own life, the shih. And then check it out, whether it's here on this part here, on this point, whether you really feel it's opening there.
That's important because that's what we want to open. We want to open this guardian there that normally holds the content of the stomach close. So now this needs to open. So you need to do it in such a way that there it opens.
Doctors have found out that the rhythm of this end of the stomach before the content goes into the duodenum, the content of our stomach, there is a guardian of the threshold at the end of the stomach. And this funny thing has a rhythm, and this rhythm is short, long, short, long, short, long. Completely outside of Bordensteiner they said that this rhythm is there, lives there. Now how do we do it with people who are lying in hospital, for example? I once had a lady who had stomach cancer and so many times something has been taken out of her stomach already and she was hospital again with a stomach cancer. So she was lying in bed and I did this rhythm with her feet. So you can do that like this.
Short, long, short. Long, short, long. And pause. Can you see it? I hope you can.
Short, long. Short, long, short, long. Short, long, short, long, short, long. And relax.
And check the end of your stomach. It's about where your navel is, where it goes into the duodenum. And feel whether that feels more relaxed. That part. And one can start digesting things a little easier and not hold them into the stomach too long.
So that is the rhythm of the shi. Now very strangely to me, maybe I may add, is, that there is this rhythm given by Isabella de Yaga, and she starts with long, short, long, and then goes along the short, long, short. So as I show you, long, short, long, Short, long, short. And my feeling is that it is much more stimulating. The other one is calming and this one is more stimulating.
So you can check it out with your patient or with yourself. Do I need something more invigorating or do I need something more calming? So you decide, you know, which ones you use. And then she also did it forwards and backwards as far as I recall now. She also said you can do long, short, long and then backwards. Short, long, short.
Yes, so. Of course, when you do something forwards and backwards, it always strengthens the I forces and it's invigorating. Try it out with your own exit of the stomach, you know. Try it out and watch what it does.
Okay. And it was also your research that you found there that these two different rhythms and they really might, yeah, have this different effect. Then you try to remember what was it, then in the original therapy course, what Christiane pointed out, it's short, long, short, long, short, long. And then you can have the in the image, ah, long. It starts with short, short, long, short, two times short, and then it relaxes into the long, short, long.
But that's, yeah, relaxing. And the other rhythm is the other way around, it starts with the long, short, long, and then it quickens up. And that's why Christiane found this might be enlightening.

Bookmarks

00:00
Libra meets the letter C
00:29
Gudrun Merke's C figure
01:51
Uprightness movement for back pain
04:01
Lymph carries etheric forces
04:34
Sch sound and karma
07:54
Sh sound rhythm practice
08:41
Jumping the Sh rhythm
09:28
Sh affects stomach acids
11:21
Stomach guardian's rhythm
11:57
Bedridden patient foot work
14:04
Isabella de Yaga's stimulating rhythm
15:39
Comparing two Sh rhythms
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Bäschlin Eurythmiefigur Konsonant CHLibra

  • Eurythmy: Weighing the prerequisites of thought
  • Worldview: Realism
  • Skeleton: Hips, Pelvis
  • Planet: Venus
  • Element: Air
  • Sound: C, Ch and Sch
  • Senses: Sense of Taste
  • Metal: Copper
  • Colour RS: Violet
  • Colour WW: Light Blue
  • WzQ: Financial balance
  • Care: Balancing
  • F-sharp Major
  • D-sharp Minor

    Abbreviations, Sources



CH

  • Everything that comes towards me from the front belongs to me.
  • A Karma exercise.
Eurythmy Figure CH
  • Movement: orange
  • Feeling: green-blue
  • Character: dark violet

Card Set A5: Raffael Verlag
Large Format Edition: Verlag am Goetheanum, antiquarian

C

Execution

  Therapeutic Aspects

 C ascending from bottom to top

  • Bend downwards
  • Ascend with C
  • Rise onto the tips of the toes into lightness.


  • For the back.
  • Against scoliosis.
  • Strengthens the etheric forces of uprightness.



SCH

Execution

  Therapeutic Aspects
 Rhythm
  • Short-long-short – Long-short-long
  • Long-short-long – short-long-short
  • From short to long: calming
    Eurythmy Therapy Course
  • From long to short: stimulating
    Book Isabella de Jaager

Walking the rhythm

  • Without arms
  • Then adding the arms:
    • Short: Arms together and apart at heart level
    • Long: parallel down the body and up again
  
 

Sitting or lying down: Rhythm with the feet

  • Short (together - apart)
  • Long (bend downwards and flow outwards)


For weak or bedridden patients
 

Walking the rhythm with SCH gesture

  • First calmly walk the rhythm forwards and backwards
  • Then with arms – SCH – walking the rhythm.
  • The SCH may only rise to shoulder height.

  

This rhythm with the SCH movement is intended to open the stomach towards the duodenum.

The pylorus, i.e. the gate from the stomach to the duodenum, has this rhythm.

Intensification through jumping

  • First jumps alone
  • Then jumps with SCH
 


  • Usual: One SCH per rhythm, i.e. one SCH over three jumps (one rhythm), then pause. 
  • Isabella de Jaager: One SCH over two rhythms, i.e. over six jumps.


Sources

Rudolf Steiner

Now we still have the Sch (Miss Wolfram). If you now try to do this, accompanying it with a small jump, large jump, again small jump, larger jump, again small jump,. Have this done. Then one again has in the Sch a movement, which [...](1)

But also this movement, one must have it performed slowly. With the N-movement it is not necessary to slow it down particularly, but with the M-(or H?(2)) and Sch-movement it is necessary to perform it slowly, and that here too, after every three steps, when one transitions again to the next – a rhythm enters through this, of course – one rests. Short, long, short – now one rests – long, short, long – now one rests – short, long, short – now one rests.

And one has in this movement something which again in corresponding cases – one can indeed combine the movement – acts particularly upon those parts that are the initial parts related to the stomach, upon the initial parts of an intestinal organism, thus especially if someone has weak digestion as such, so that the food remains lying in the stomach. I have already drawn attention to similar things on another occasion. This is indeed particularly the case with the H-movement, but with this Sch-movement it is especially important to pay attention to whether, for example, stomach acid develops easily and the like, and one will then have this Sch-movement performed.

  1. Gap in the shorthand from here, also in the transcription by Helene Finckh.
  2. Clearly «M» in the shorthand, corrected to «H» in pencil in the transcript.

 Eurythmy Therapy Course, 4th Lecture

Isabella de Jaager

The Sound Sch: The blowing sound must blow mysteriously, it contains the S, the C and the H within it, i.e. the forming, the making-heavy-light, and the liberating. The Sch acts like the H, only strengthened, on the emptying of the stomach and the solar plexus and warms internally.

First form the Sch while standing, carry out the movement according to its flow in one stream (i.e. not rhythmically or faltering), take it strongly as a blowing sound - blowing, flowing, as though not stopping or faltering at any point, while not leading it too high above oneself! Form the Sch slowly like the H.

Then add the rhythm, whereby the rhythm is initially practised alone:

−v− Amphimacer and v−v Amphibrach, with −v− forwards and v−v backwards. Subsequently, do this rhythm forwards and backwards with Sch. Do not rest on the long beat, but always anticipate and carry through to the next. Make the rhythm slowly, do not interrupt the Sch.

Then jump the rhythm forwards and backwards with feet together, carry the rhythm through well and add the Sch. Do not interrupt the Sch even during the jump, experience the long beats fully. After eating, one can do Sch while sitting! Add the rhythm with the foot.

As an intensification, one can apply the H-exercise together with this Sch-exercise (Lesson H). Liberate oneself completely in the H, blow loosely, experience colourfully around oneself. Have the head light, include it in the H. Move arms and legs together, both into the H-posture and back again when releasing, do not shuffle. When jumping into the H, do not jump high and fall down, but spread just above the floor. Blow upwards and downwards while doing so.

Documentation of the Eurythmy Therapy Training with Isabella de Jaager 1960/62, Werner Barfod, Beatrix Hachtel (Eds.), Verlag am Goetheanum 2024, Page 78, 22.1.1960




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