RUDOLF STEINER’S PEDAGOGY OF IMAGINATION: A PHENOMENOLOGICAL CASE STUDY By Thomas William Nielsen, PhD

8/14/2019 RUDOLF STEINERS PEDAGOGY OF IMAGINATION: A PHENOMENOLOGICAL CASE STUDY By Thomas William Nielsen,

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RUDOLFSTEINERSPEDAGOGYOFIMAGINATION:APHENOMENOLOGICALCASESTUDY

ByThomasWilliamNielsen,PhD

ApapertocomplementapresentationgivenatthefirstInternationalConferenceonImaginationinEducation,16-19

July,Vancouver,Canada,BC

ABOUTTHEAUTHOR:ThomasWilliamNielsenisaLecturer/AssistantProfessorinEducationattheUniversityofCanberra,Australia,whereheteachesbehaviourmanagementandeducational

philosophy. Hehasaparticularinterestincombiningnotionsofholistic,experientialandconstructivistteaching,inordertocaterforthewholepersonhands,heartandmind.


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RudolfSteinersPedagogyofImagination:APhenomenologicalCaseStudy,byThomasW.Nielsen,PhD

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RUDOLFSTEINERSPEDAGOGYOFIMAGINATION:APHENOMENOLOGICALCASESTUDY

ByThomasWilliamNielsen,PhD

Introduction

ThispaperpresentsasynthesisofsomethefindingsofmyrecentlycompletedPh.D.thesis. Thethesiswasastudyoftheconceptandpractisesofthepedagogyofimagination. SincetheAustrianphilosopher,RudolfSteiner,wroteextensivelyonthesubjectandisrenownedforhisphilosophicalinsights,hisworkwasusedtodevelopaconceptionofthenatureofimaginationandimaginativeteaching. However,giventhemanychangesinsocietysinceSteiner'stime,thestudywasdevelopedempiricallybyconductingacasestudyinthreeAustralianSteinerprimaryclassrooms.

To'getattheesoteric,orabstract,phenomenaofa'pedagogyofimagination',IexaminedtheeducationalcontextofSteiner'snotionofimaginativeteachingthroughethnographicmeans,andinterpretedtheconstitutionandlivednatureofthepedagogicaltransactionofimaginationthroughphenomenologicalmeans. Thequalitativefunctionofusingethnographicandhermeneuticphenomenologicalmethodswastoidentifyandinterpretthevariousconstructionsofimaginationastheyoccurredas'moments',orcriticalincidents,inthethreeclassrooms. Theinsightsgainedfromtheseevidential'grounds'wereusedtoselectivelyre-theorisevariousaspectsofSteiner'swritingsaboutimaginationandholisticeducation.

InthisreconstructionitwasfoundthatthepedagogyofimaginationinSteinerschoolsismadeupofseventeachingmethods(drama,exploration,storytelling,routine,arts,discussionandempathy),andthatthesemethodsformapotentmeansforconnectingchildrenwithspiritual-aesthetic,intellectualandphysicaldevelopment.Thispaperismeanttointroducethesemethodsofimaginativeteaching,andindoingso,illustratethatwhetherornotthequalityofthesemethodsultimatelydependsontheideologicalframework(Steinersanthroposophy)inwhichtheywereidentified,theymayinspire,confirmormodifyexistingeffortsinmainstreameducationtocaterfortheimagination.


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TheLegacyofRudolfSteinerThelate19thandearly20thcenturysawathinkerandeducatorwhoperhapsmorethananyoneelseexpandedtheconceptofholisticandimaginativeeducation. DrawinguponespeciallytheworkofJohannGoetheandH.P.Blavatsky,RudolfSteiner(1997;1996;1977;1969;1928;1920;1906)constructedanelaboratespiritualscience,knownasanthroposophy,whichwastobecomethebaseforhiseducationalideas. Steinersawtheconceptofimaginativeteachingtobecentralforthechildsholisticdevelopmentandself-actualisation. Throughimaginativeteachingandlearning,Steinerbelievedthedoortothechildsinner,genuineselfandpotentialwasopened,enrichingnotonlyhisorher

personallife,butsteeringhimorhertowardsmeaningandpurposeintheworld.ImaginativeteachingwastoSteinerthemeanstobridgethegapbetweenthechildsmaterialandotherworld,imbuingwholenessandcompletenessofexperience.

Anthroposophy,meaningwisdomofthehumanbeing,inmanywaysalsoencompassedtheholistickeyideasofthe18thand19thcentury,suchas,forexample,JacquesRousseaussecularhumanism,Goethescommitmenttoconstantchange,JeanPaulRichterandJohannPestalozzisdeephumanity,FriedrichFroebelsappreciationforsymbolism,andHermanHessescallforuniversalismandsynthesis. Hence,Steinersthesisembodiedanelaboratetheory,orpotentvoice,fortheholisticpropositionineducation. WhenEmilMolt,themanageroftheWaldorf-Astoriacigarettefactory,tooknoticeofthispropositionafterWorldWarI,heaskedSteinertoprovideeducationtohisworkers,whorequestedhimlatertoeducatetheirchildren(Yonemura1989,p.60).Waldorfeducation,asitconsequentlywascalled,wouldgrowintooneofthelargestindependenteducationsystemsintheworldtoday,renownedforprovidinganenvironmentthatcatersforhands,heartandhead(Mazzone1999).

Thebeliefthatteachingmustattendtomultiplefacetsofhumanexperiencehasalwaysbeencommontoaholisticviewofeducation(Miller1997;Yonemura1989).Likehisvisionarypredecessors,Steinersawchildrentobeinneedofmorethanintellectualdevelopment. Steiner,however,followinganddrawingupontheholistictradition,hasprovenparticularlysignificanttothedevelopmentofaholisticeducational

philosophyandmethod. Despitebeingonlyanalternativetomainstreamschooling,


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Steinerscontributionhasmeantthatholisticschoolingisnolongeresoteric,hiddenintherecordsoftimeitisverymuchalivetoday. Indeed,Steinereducationisthefastestgrowingindependentschoolsystemintheworldtoday,andisbysomestudiesclaimedto

producestudentswhoperformaboveaverage,bothacademicallyandcreatively(Oppenheimer1999;IFO1995;Ogletree1996;Smilansky1990;Gold&Mann1984). Inotherwords,becauseIwantedtoempiricallyexamineaholisticandimaginativeapproachtoeducation,theWaldorfsettingseemedparticularlyappropriate,especiallysince,tomybestknowledge,anempiricalstudyofSteinerspedagogyofimaginationhasnotbeendoneintheEnglishandDanishspeakingacademy.

OverviewofDisciplinaryApproachTheintentoftheempiricalcomponentofthisstudywastounderstandthenatureofthe

pedagogyofimaginationandtheconditionsinwhichitoccursinSteinerclassrooms,presumably,aslargelyinformedbySteinersphilosophy,butwithinadifferenthistoricalandculturalcontexttothatinwhichSteinerwaswriting. Anapproachlendingitselftoresolvingsuchaproblemisthephenomenologicalcasestudy. Bygettingclosetothereal-lifephenomenonunderstudy,achancetounderstanditthroughlivedexperienceis

present(Maso,inAtkinsonetal.2001;Pinar&Reynolds1992;VanManen1990).Giventheslippery,esotericnatureofqualifyingimaginativerealmsofteachingandlearning,Iwantedtoidentifyandrepresentexperiencesthatresonatedfaithfullywiththe

phenomenon,asitwasexperienced,in-situ. Also,anethnographicapproachtodatacollectionwaspreferredbecausethisallowsfortheimmersionoftheresearcherinthe

phenomenauntilasaturationpointofunderstandingisachieved(Atkinsonetal.2001;Woods1999;Merriam1998;Borg&Gall1989;Yin1984). Thisphenomenological-ethnographicapproach,accommodatingforacollectionofdatathatwasbothcontextual(ethnographic)andinterpretive(phenomenological),was,ultimately,toassistthedevelopmentofagroundedtheoryofthepedagogyofimaginationand,thus,abasisforre-philosophisingSteinersphilosophyofimaginativeteaching. Themulti-disciplinaryapproachtothiscasestudyissummarisedinTable1.


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Table1QualitativeDisciplinesUnderpinningtheCaseStudy(AdaptedfromJohnson&Christensen2000,p.314)

DisciplinaryOrigin ResearchPurpose

DataAnalysisApproachCaseStudy Multi-disciplinary

roots

Todescribecase/sindepthandaddresstheresearchquestions

Holisticdescriptionandsearchforthemessheddinglightoncase/s

Ethnography Anthropology Todescribetheculturalandcontextualcharacteristicsofagroupofpeople

Holisticdescriptionandsearchforculturalorcontextualthemes

Phenomenology Philosophy Todescribeandinvokelivedexperienceofthe

phenomenon

Identifyandinterpretthenatureandessenceofthephenomenon

GroundedTheory Sociology Toinductivelygenerateagroundedtheorydescribingandexplaininga

phenomenon

Constantcomparativemethod(open,axialandselectivecoding)

ThreeClassroomStudiesUsingthephenomenological-ethnographicalapproach,Iobservedthreegrade3/4classesinthreedifferentSteinerschools,setinruralandcitysettings,foratotalperiodofnineweeks. Table2providesanoverviewofthethreeclassrooms.


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Table2OverviewoftheThreeClassroomStudiesClassroom1 Classroom2 Classroom3

EthnographicdataSetting Rural Inner city SuburbanSchool Primary,95children Primaryand

secondary,280children

Primary,274children

Class Grade3/4,28students Grade3,25students Grade3,30studentsTeacher Male,age44 Female,age49 Female,age37Children MainlyAnglo-Saxon,

lowertomiddleclass MainlyAnglo-Saxon,verymixedsocio-economicbackground

MainlyAnglo-Saxon,middleclass

Hermeneuticdata62momentscollected

altogether

22 19 21

Representative

sampleof7momentsusedinthispaper

drama,exploration,storytelling,routine,arts,discussion,empathy

DurationofEthnographicStudy 4weeks 3weeks 3weeks

Fromanalysingallthe62momentsandethnographicdatagainedinthethreeclassroomstudies,andbyusingtheconstantcomparativemethod(Atkinson2001;

Neuman1997;Frankfort-Nachmias&Nachmias1992;Strauss1987),seventeachingmethodspertainingtotheimaginativetransactionemerged.

SevenImaginativeMethodsofTeachingThesevenimaginativeteachingmethodsidentifiedinmystudywere:drama,exploration,storytelling,routine,arts,discussionandempathy. Eachofthesewillnowbeintroducedviaaphenomenologicalmoment,followedbyabriefanalysis.

Drama

Thefollowingwasexperiencedandrecordedbymeinthebeginningofathirdperiod.Afterabusymorningwithreading,writingandarithmetic,manyofthechildrenhadenjoyedthegoodweatherinthelunchbreak,anddidnotlooktooeagertoresumeclassroomlearning.


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Theafternoonsungentlywarmstheclassroom. Childrenaretakingoffjumpers,somesimplytorecuperatefromthesweatgeneratedinrecessduetoplayinghard.

Theteacherasksforsilence,thenaddressestheclass.Wetalkedaboutnounsthismorning,andnowIwouldliketodoanactivitythat

willhelpusgainanevenbetterunderstandingofnouns.Thechildrenfiddlewiththeirparaphernalia,puttingpencilcasesaway,booksin

theirbags.Ineedonepersontocomeandsitinmychair,theteachersayswithadeliberate

mysteriousness,forheorsheisgoingtobeanastronaut,goingtoanotherplanetinoursolarsystem.

Nowthechildrensattentioniscaught. Achildbecomesfrozenhalfwaythroughamotionofgivingbackapenciltoherneighbour,hermouthslightlyopen. Anotherchildraiseshisheadfromaslumberpositiononthedesk.

Arrivingonthisplanet,theteachercontinuesinalow,draggedoutvoice,heorsheisgoingtodescribetogroundcontroltherestoftheclasswhatheorshesees.

Thewholeclassisnowattentive,andafewhandsarealreadyraised,anticipatingtheboardingcallforvolunteers.

But,thereisonecondition,theteachersays,initiatingatheatricalpause,...theastronautCANNOTuseanynouns!

Thechildren,nowexcited,lookasifnothingcouldbeeasierthancomplyingwiththeteacherswish,while,seemingly,mentallypreparingtoconquertheentiresolar

system.

Notusinganynouns,theteachercontinueswithmorepace,theastronautwillthendescribewhatheorshesees,andgroundcontrolwillafterwardsreporttheinformationbacktome,soIcanwriteitontheblackboard.

Nowallchildrenhaveraisedtheirhand,eagertoparticipate.Theteacherpicksachild. Asifgivenpermissiontoenteraroyalcourt,thechild

snugglesintotheteachersbig,softarmchair,whiletheteacheraskswhatplanethewouldliketovisit.

Hmm,Mercury,saysthechildwithanairofconfidence....5,4,3,2,1,takeoff!theteachershakesthechairemphatically.


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Thechildlaughs. Sodotherestoftheclass. Afewhelpfulremarksaremadebytheotherclassmembers,suchashangon,giveitmorespeed,andlookoutforthemeteors!

Getreadytoland,youaregettingclosetoMercury,theteachersayswithdramatictrepidation.

Thechair-made-spaceshuttleshakesoncemore,andthechildisaskedtopushtheto-only-theteachervisibleredbuttononthearmrest. Makingthesoundofanaircompressedspaceshuttledoor,theteacheropensabookofTurnerspaintingsinfrontofthechild.

Tellgroundcontrolwhatyouse,astronautHumphrey,butremember,nonouns.Thechild,afterhavingresortedtoseveralnounsinordertodescribewhathesees,

givesup,claimingtheimpossibilityofnotusingnounsindescribingtheplanet. Thechildrenarerackingtheirbrainsinanattempttocomeupwithasolution.

Anotherchildtakesthejourneyontoanotherplanet,onlytouttervariationsofuhh...,eaemm...,andlikewise.

Theseexclamationsarerecordedbytheteacherontheblackboardtotheobviousenjoymentofthechild,aswellastherestoftheclass.

Wearymusclesfromrecess,andtiredmindsfromamorningsreading,writingandcalculating,seemtobeforgotten. Afeelingofeuphoriamingleswiththedustparticles,

sovisibleinthesunlitroom.Nowthetimehascome.Theteacherdiscussesthedifficultiesencounteredinnotusingnouns,leadingthe

classtotherealisationthatnounsareusedtonametheworldaroundus,andwithoutthem,weareleftunabletocommunicate. Thechildrenlistenfullyabsorbed. Theirbewildermentandeuphoriaarereplacedbyaknowingsilence. Theactivityhastakenthechildrenthroughanexperience,andthus,anewlevelofunderstandingnouns.

Theactivityisthenrepeatedwithotherchildren,butnowallowingtheuseofnouns,cementingevenfurthertheirnatureanduse. Andwithmorefunandlaughter.

BriefAnalysis: Theteachingmethodofdramaoccurswhentheteacherfacilitatesactivitiesinwhichstudentshavetheopportunitytousetheirimaginativepowersindramaorrole-play. Asobservedintheabovevignette,thechildrenconnected,consciouslyor


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unconsciously,withthefeelings,thoughtsandatmosphereoftherole-play,thuscreatingemotional-aestheticlinkswiththelearningcontent,whichinturnlinkedtoprofoundlearning,inthiscase,aboutnouns. ResonatingwithSteinersargumentthattheessentialmediator,orlink,betweenthechildsintellectandbodyisthefeelingrealm,thedramaticandstrongfeelingaspectobservedintheabovemoment,highlightstheimportanceofthisrealminconnectingthinkingandlearningviatheemotionalrealm.Thepositivequalitiesorlearningoutcomesdevelopedfromthistypeofactivitycanbevaried,alldependingontheactivitysobjective,natureandcontent. Asexemplifiedbythenounactivity,however,thecommonfactorfordramaticimaginationisthatitallowsforfeeling-chargedexperienceofthelearningcontent.

Exploration

ThefollowingactivitywasconductedbytheteacheratatimewherethechildrenhadalreadybeenlearningaboutNoahsArkforsomeweeks. Inthepreviousmathslesson,theteacheraskedthechildrentomaketheirowncubitrulers,afterhavingtaughtthemaboutmeasurementsintheolddaysandhowvariousbodypartsservedasunitsformeasurement.

Today,theteachersaysinvitingly,youaregoingoutontheovaltomeasurewiththecubitrulersyoumadeyesterdaythesizeofNoahsArk. Manychildrenraisetheirarmsinexcitement.

HowbigwasNoahsArk,theteacherasksasifhehasforgotten.300cubitslongand50cubitswide,acoupleofchildrencalloutatthesametime.Okay,saystheteacher,letsgoandseehowbigthatreallyis. Butbeforewego,

webetterhaveaplanofhowtobest,andmostaccurately,measurethelengthof300cubitsandthewidthof50cubits.

Thisisdiscussedbytheclassforafewminutes,anditisdecidedthat,startinginoneendoftheoval,everyoneistostandnexttoeachotherinalong,straightrow,then

putdowntheircubitrulersexactlynexttoeachothers. Wheneveryonehasdonethis,thefirstpersonintherowmovestotheendoftherowandplacestheirrulerinthelineagain. Thenthesecondpersonmovestotheendoftherow,andsoon. Excited,everyoneleavesfortheschooloval,carryinghisorherself-maderulers.


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Attheoval,thechildrenparticipateandcooperateeagerly,andsoontheyhavemeasuredthewidthoftheArk. Theyplacesomestickstomarkthewidth,andbegintomeasurethelengthoftheArkdowntheoval. Thechildren,nowconditionedfromthe

firstmeasurement,arequicklycarryingoutthetask. Havinghadtoclimbasmallhill,astheovalwasnotbigenough,thewholeclassnowstandandtakeinthesizeoftheArk.

Wow,thatishuge,achildsayswithawe. Manysendacknowledgingoutburstsofasimilarkind.

TheteacherthenencouragesthechildrentoincludetheheightoftheArkwhenpicturingtheshipbeforethem,incurringfurthereruptionsofamazement.

Theteacherstartschattingwithafewofthechildrennearestby,whiletherestofthechildrendiscussamongthemselves. Thewindiscold,buteveryoneseemstoenjoyadeservedrestaftertheshipbuilding.

BriefAnalysis: Theteachingmethodofexplorationactivityisexemplifiedbytheteacherconstructinglearningactivitiesthatintentionallyallowforthechildrentoexplorefeelingsandideas,usingtheirimaginationanddirectexperience. Assuch,thismethodisapracticalreflectionofexperiential-constructivistlearning. Asobservedintheabovevignette,thismethodhighlightsthatteachingandlearningarenotonlyabouttheteacherrevealing

that

which

is

hidden

to

the

student,

but

also

with

guidance

and

sharing

of

his

or

herexperience,constructingexperiencesforthestudentsthatenablesthemtorevealthehiddenthemselves. CorrelatingwithSteinersadvocacyfordirectandauthenticexperience,themethodofimaginativeexplorationemphasisesthatratherthanjusttellingchildrensomething,howevertrueitmaybe,itisusefultoletthemexperiencethingsforthemselves. Thismethodalsopointstowardsthenecessityofnotexpectingsuchactivitytobewithouttrialsanderrors,asthisprocessisanessentialpartoflearning,promotingself-relianceandmetacognition.

Story

Thefollowingwasrecordedbytheresearcherpartlyfrommemory,anddoesthereforenotrepresentthemomentverbatim. Themomentwasexperiencedinthemiddleofasecondperiod. Theteachertellsthechildrenthattheyareallowedtodrawwhilesheis


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goingtotellthestoryofthewhiteelephant. Nobookisused. Theteachertellsthestorybyheart.

OnceuponatimeinthedeepjungleofwhatisnowcalledAfrica,theteachersayswhilebreathingoutdeeply,therelivedanelephant.

Thiswasnoordinaryelephant. Rather,itwasanunusuallybeautifulelephant,foritwaswhite,withasilverishsheenaroundit. Itsenormoustuskswereparticularlybreathtaking,astheyresembledtwolongslides,madeofthefinestivory. Itshugeears

forthatithad,beinganAfricanelephant,likeahalo,encircledapairofunusualkindeyes. Ifyoulookedintoitseyes,itwasasiflookingupintothedark,Africanskyatnight.Yes,thiswasindeedanunusuallybeautifulelephant.

Awonderfulsilenceandpeaceispresentamongthechildren. Theyseemtobeinapeaceful,mediativetrance. Onceinawhile,achildstopsdrawingandgazesattheteacher,asifthechildsmindispulledintothestoryforamoment,unabletosustaintheactivityofthehands.

Yetitwasnotitsbeautyforwhichitwasmostknown,theteachercontinues. Theelephantwassogentlethatthewholejungleknewandrespecteditforit. Often,theotheranimalswouldcometotheelephantandtelloftheirproblems. Theelephantrarely

spoke,butitlistenedwithsuchcompassion. Theelephantalsohadanotherspecialcharacteristic:itcouldmoveeversogracefullyandsilently. Itdidnotmatterhowthickthejunglemightbe,theelephantcould,inaninstance,movefromoneplacetoanother,withoutbreakinganybranchesorbendinganytrees. Youcouldthinkthatyouwereallalone,andthen,fromoutofnowhere,thewhiteelephantwouldappear,lookingatyouwithitskindeyes.

Voicesfromthenext-doorclassroomareloudnow,constitutingadistinctcontrasttothecalmnessandabsorptionpresentinthisclassroom.

Therehappenedtobeakingdomontheothersideofthejungle,theteachersayswithmorepace,andinthatkingdomtherelivedmanypeopletogether. Oneday,however,thekingdecidedthatacertaingroupofpeople,wholookedslightlydifferent

fromtherestofthepopulation,hadtoleavethekingdom. Whatexactlywassodifferentaboutthisgroup,thestorydoesnottellus,butdifferenttheywere,andsotheyhadtoleave. Whenthegroupofpeoplehadtodeparttheywerealltears,notonlybecauseof


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allthefriendsandlovedonestheyhadtodepartwith,butalsobecausetheyknewofthestrugglethatawaitedthem,tryingtosurvivethewildernesswithoutfood.

Now,inthekingdom,therehadalwaysbeenanoldtaletoldaboutalandfaraway,wherefoodwasinabundanceandwatercrystalclear. Nooneknewiftherereallywas

suchaland,fornoonehaduptilnowdaredtogothroughthewildjungleandcrossthevastdesert. Butthegroupknewthatitwastheironlychanceofsurvival. Andsotheywentinsearchforthelandfaraway. Buttheyhadnotevencrossedthejunglebeforeitbecameobviousthattheywouldneverstandachanceofmakingthelongjourneywithout

food. Exhausted,somecrying,theysatdowninaclearinginthejungle.Theatmosphereoftheclassroomchangesinaccordancewiththestoryline.

Suspension,release,empathy,determinationeverymoodisfillingtheroom.Itwasthenthatthewhiteelephantappeared,theteachersaysalmostwhispering.

Thegroupgotafrightatfirst,fornoonehadheardorseenitcoming. Oncetheylookedintotheeyesoftheelephant,though,theybegantorelax. Then,theelephantaskedwhyeveryonewassosad. Again,thepeoplebecamesurprised,forneverhadtheyheardanelephantspeak. Butaseverythingabouttheelephantwassokindandgentle,theywerenotafraid,andbegantotelltheelephantabouttheirtrials. Allthetime,theelephantlistenedpatiently. Whenthegrouphadfinished,itwassuddenlyasiftheelephantbecameverysad. Itwasasifitbecamedrawnintoitselfforalongmoment. Thepeoplebecamequiteworried,untilsuddenly,thesparkoflifereturnedinitseyes,anditagain

spoketothegroup.Withagentlevoice,itsaid: Gotothefootofthemountain,andturneast. Keepgoinguntilyougettolargecanyon. Atthebottomofthiscanyon,youwillseeagrownelephant,deadfromitsrecentfall. Youwillbeabletoeatitsflesh,andbringenoughfoodforyourjourney. Thepeoplewereveryexitedtohearthisnews,andthankedtheelephantmanytimesbeforegoingontheirway.

Theteacherhaseveryoneinherpalmnow. Everyintonation,everylittlegesturewithherhands,seemstoflowunhinderedintothechildren.

Whenthegroupofpeoplehadlefttheclearing,theteachersayswithadramaticvoice,theelephantturnedaroundandtookashortcuttothecanyon. Withlightand

swiftmovements,theelephantmovedquicklythroughthejungle,andarrivedatthecliff


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beforetheothers. Witharesoluterun,itthrewitselfoverthecliffandfelltothebottomofthecanyon,wheretherockssmasheditshugebody.

Theteacherpauses. Thechildrendonotbreathe.Whenthegroupofpeoplearrivedtothebottomofthecliff,theteachersayswith

ahintofsorrowbehindthewords,theysawthattheelephantlookedliketheirfriendintheforest. Itisthewhiteelephant!somesaidwithhorror. Somestartedtocry. Howcanweeatsomeonewhowasourfriend?onesaid. NevercouldIdosuchathing!repliedanother. Everyonesatdown,refusingtoeatthemeat. Finally,anoldmanspoketothegroup.Iknowthatyouareallupsetaboutthedeathofourfriend,hesaid,butIaskyoutoconsiderthesacrificethatthewhiteelephanthasmadeforus. Shouldwerefusetoacceptthissacrifice,ourfriendsdeathwillhavebeeninvain. Therewasalongsilence. Everyoneknewinhisorherheartthattheoldmanspokewithwisdom. Theoldmanthenslowlystartedtocutoffthefleshofthewhiteelephant,andonebyone,the

peoplejoinedthepreparationofthemeat. Havingcookedthemeat,theysataroundthefireinsilence,manywithtearsrunningdowntheircheeksastheyate. Butthatnight,theysleptthesleepthatonecanonlyhaveonafullstomachandintheknowledgethatmoreisavailablefortomorrow. Thenextmorning,theydividedthemeattobecarriedamongthestrongest,andtheywentontheirwayforthelandfaraway. Legendhasitthattheymadeit,andthattheycreatedabeautifulkingdomwherenooneweremadeto

feeldifferent,andwherethestoryofthewhiteelephantwouldbetoldmanyatimes.Thereisasilenceastheteachersaysthelastlines,thewords,itfeels,departingthe

childrenasoldfriendssayingtheirfinalgoodbyes.Whydidtheelephanthavetodie?asksonechild,visiblychockingonthewords.Ithinkitwasbecauseitlovedotherssomuchthatitwaswillingtosacrificeitself,

theteachersayssoothingly.Itwasagoodstory,anotherchildsays,asiftolifteveryonesspirit.Othersagree.(Pause)

Theteacherputsonabravesmile,andstartsinstructingthechildrenaboutwhattorememberbeforelunch,whilethechildrenslowlyreturntotheirnormal,happyselves.


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BriefAnalysis: Theteachingmethodofstorytellingallowsforastorytobeexperiencedbythechildren. Whethertheteachertellsastorybyheart,readsaloudfromabook,orsimplyletsthechildrenreadontheirown,thestoryinallinstancescreates

picturesinthechildsfeelingandthoughtlife,andthusisatypeofimaginativeexperience. Themanymomentsobservedrepresentingthisteachingmethod,allsupportedtheimportanceSteinerplacedonthegoodstory,asawayofteachingaboutgoodorbad,beautifulanduglywithoutimposingintellectualconceptualisationormoralising. Whenthechildrenwereexperiencingstoriestheywereextremelyattentiveandseemedtobeinatypeofimaginativetrance,aligningwithinnersignificances. Asobservedintheabovemomentwheretheteachertoldthetouchingstoryofthewhiteelephant,abstractidealsandprinciplesofself-sacrificeandcouragewereexperiencedimaginativelyandemotionallybythechildren. Apartfromthemoralqualitiesthatmaybenourishedviagoodstories,thisteachingmethodencouragesabilitiesintheindividualtocomprehend,seesynthesis,andfeelempathywiththatorthoseoutsidethechildsimmediateenvironment.

Routine

Thefollowingwasobservedandrecordedearlyonemorning. Someofthechildrenwerelookingabitsleepy,andasiftheywouldratherbehomeintheirbed.

Theteacherasksthechildrentostandup,andthewholeclassstartrecitingmorningversesandpoems. Achildisturningaroundtolookattheneighbourbehindhim,yetthelipsaremovinginunisonwiththerestoftheclass:

...TherelivesinmeanimageofallthatIshouldbe,untilIhavebecomeit,myheartshallneverfray.

Thewordsareroutine,andtheactivitysomewhatsedated. Theatmospherecreatedbythewords,however,seemspoignant. Certainly,astheteacherasksthechildrentositdownandtaketheirmainlessonbookout,anattunementtolearningispresentthatwasnottherebefore. Thechildrenseyesarealert,patientlyrestingontheteacher,whileawaitingfurtherinstruction. Thedayhasbegun.

BriefAnalysis: Theteachingmethodofritualandroutine,asexemplifiedbytheabovemoment,happenswhenthestudentsperformregularroutinesintheformofsongs,


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prayers,poemsandverses,inwhichthechildrenovertimeconnectwithcertainwords,andmoreimportantly,theessencesthattheyrepresent. ItisamethodthatrelatesdirectlytoSteinersnotionofunconsciouslearningandtheimportanceheplacedonstimulatingtherhythmiclifeofthechild. Bygettingchildrentorepeatedlysaycertainpoemsoraffirmations,theactionbecomessecondnaturetothechild,aswashighlightedintheabovemomentbyonechildsunconsciousparticipationwhiledoingsomethingelse. Intermsofthepedagogicaltransactionofimagination,thisteachingmethodisprobablythemostsedatedofthesevenimaginativeteachingmethods. Theimagesandconceptsdevelopedinthechildsmindarecreatedovertime;theydonotrequirethechildtobeconsciousabouttheminthemomentofdoing. Thewordsmayatfirstcreatevagueimagesorfeelings,butastheroutineisrepeated,theimaginativetransactiongrowsand

becomespartofthechild. Apartfromthislongitude,oftenunconsciousdevelopmentofimagesandconcepts,themoreobviousbenefitsofregularritualandroutinearethoseof

precision,order,regularityandlanguageskills.

Arts

Thefollowingwasrecordedinthebeginningofasecondperiod,justasthechildrenwerereturningfromrecess.

Morningrecessisover,andtheclassisgoingtodoformdrawing,anactivitythatisperformedtwotothreetimesaweek,Iamtold. Certainly,thechildrenknowthe

procedure;withouthavingbeenasked,acoupleofchildrenarealreadyhandingoutaslateandapieceofchalktoeachclassmember. Everyoneseemstolookforwardtotheactivity.

Nowtheteacherbeginshislesson. Whileexplaining,theteacherdemonstrateshowtodrawtheform,andthechildrenarebusyfollowinghisinstructions.

Usetheshoulderasthepointofrotation,theteacherexplains,assistingthechildreninmakingalargecircle.

Foreachline,foreachstepinmakingtheform,thereseemstobearightwaytodoitandtheteacher,itseems,knowstherightway. Hecarefullydrawsaline,waitsforthechildrentoimitatehim,thencontinuestothenextstep.Andstep-by-step,an


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intriguingformtakesplace. Itdoesnotportrayanythingconcrete,butthebalanceandsymmetrysuggestthatcarefulconsiderationshavegoneintoitsdesign.

Theteacherhasuptilnowbeenconcentratingonthemotorskillsindrawingtheform,oncreatingtheformassymmetricalandaestheticallypleasingaspossible. Butnowhealsoturnsthechildrensattentiontowardsaconcept.

Lookhowtheformissomewhattriangularinshape,theteachersays,buteachtiphasasmallertriangularshapepointingtowardsthecentreoftheform. Someofthechildrenarenodding.

So,insteadofhavingthreepoints,theteachercontinues,thelargershapehasthreeother,smallertrianglesturninginwardsinsteadofoutwards. Allthechildren

seemtounderstandwhattheteacherissaying.Drawingacurvinglinearoundtheform,youaretostopshortoftheseendpoints.

Uponmeetingtheinwardgaps,youwilldrawacounter-balancingtriangle,pointingoutwardsinsteadofinwards,theteacherinformstheclass.

Thisconceptofbalancingoutafeaturewithitsoppositeisobviouslynotnewtothechildren. Forthechildren,itseemsasnaturalastheabstractfigureitself. Onlythis

particulardrawingisnewtothem. Butthatisamereform,itseems,ashapetowhichtheyeasilyandquicklyaccommodatetheirexistingknowledgeandunderstanding.

Nodirectemphasisisplacedupontheconceptofbalancing,butanunspokenunderstandingseemstopassbetweentheteacherandthechildren. Itisalmostasiftheteacherconductsaphilosophicallessoninhowtocreatesynthesisbetweenopposites,butwithoutusingwords.

Aftertheclass,Iasktheteacherwhyhemadeapointaboutgoingoutwardsintheouterlinewhentheinnerlinewentinwards. Heexplainsthatthewholeactivityofformdrawinghasimmensevaluetothechildsfinemotorskillsdevelopmentandcoordination,butthatthemoreimportantlearningoutcomesarethoseofintegrationofthechildsownbeing. Indrawingvarioussymmetrical,archaicandsymbolicforms,theteachersays,thechildconnectstowhatisofthesamenaturewithinhimorherself. Inallaspectsoflife,heexplains,thefluctuationbetweenoppositescanbefound,buttheycanonlybereallyunderstoodandgivensomecontroloverwhenoneunderstandstheartof


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creatingbalancebetweenthem. Formdrawing,theteacherinforms,isteachingtheunconscioussideofthechildaboutsymmetry,balance,andtheonenessofallthings.

IwalkawaythinkingaboutHeracleitusswords,ThewayupisthewaydownandthatIpossiblyhavejustexperiencedalessoninmetaphysicalsynthesis,asexemplifiedbyanancientGreekphilosopher.

BriefAnalysis: Theteachingmethodofusingtheartstoengagetheimaginationoccurswhentheteacherfacilitatesactivitiesinwhichchildrenhavetheopportunitytoexpressthemselvesviapainting,claywork,craft,drawing,music,andsoon. Asexemplifiedintheaboveexamplewherethechildrenweretaughthowtodrawcertainsymmetricalforms,theteacheractivelyassistsacreativeprocess,inwhichthepupilconsciouslycreatesbeauty,harmonyandbalanceinanouterform(whetheritbe

physically,asindrawing,oretherically,asinmusic). AccordingtoSteiner,thisinturninternalisesinthestudentsubconsciousqualitiesofasimilartype. Certainly,the

phenomenologicalmomentsacrossallthreeethnographicstudiesindicatedarelationshipbetweenartisticexpressionandthetransmissionofsubtleprinciplestotheunconscioussideofchildren. Asexemplifiedintheabovemoment,viaartisticandcreativeactivity,deeplyphilosophicalconceptsseemedabletobeexperiencedinsuchawaythatitspoke

to

the

students

imagination

and

feeling

life,

rather

than

his

or

her

intellectual

judgmentorconceptualisation. Hence,theinvolvementwithandappreciationoftheartsisapracticalwayofengagingimaginative,spiritual-aestheticdimensionsinthechildren.

Discussion

Thefollowingclassdiscussionwasrecordedinthemiddleofamainlesson. Itwasnotplannedbytheteacher,butinitiatedspontaneouslybytheremarksofsomeofthechildren.

Suddenly,thereisaclassdiscussionoflastnightseclipseofthemoon. Theteacherexplainshowtherednessofthemoonwascreatedbythemoonmovingintothe

shadowoftheearthsatmosphere. Onechildclaimsthatthemoonisalwaysred,thatredisitsrealcolourandthatwejustseeitaswhite. Theteacherlistenspatiently,showinginterestinthechildscomments. Theotherchildrendothesame. Everyopinionintheclassroomisvaluedandgiventhesameamountofrespect,itseems. Theteacherdoes


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notargueagainstthechildsargument. Itisasifhesilentlysays,WhoamItosaythatoneexplanationexcludestheotherbettertotravelthanarrive.

Isuddenlyrememberonceseeingavideowithanotherteacher,discussingasharedstoryaboutamacaroniforestwithherclass.

Thereisnosuchthingasamacaroniforest,shesaidinanunarguablemanner.Youhaventseenachocolatebiscuitforesteither,nowhaveyou,furthersupportingher

point.

Uhm...yes,saidachildinsecurely,Ihave.Andwherehaveyouseenthis?theteacheraskedindisbelief.Thechild,nowevenlessconfident,replied,Well...onthefloorinmyroom...after

Iveeatenchocolatebiscuits.Amomentpassed,afterwhichtheteacherresumedwithfactualprecisiontoother

aspectsofthestory,brushingoffthecommentwithaforbearingglance.IbecomeawareagainoftheclassroomIaminatthepresent,whereredmoons

andchocolatebiscuitforestsseempossible.BriefAnalysis: Theteachingmethodofdiscussion,asexemplifiedbytheabove

moment,happenswhentheteacherfacilitatesactivitiesinwhichchildrenhavetheopportunity

to

engage

imaginatively

in

discussion,

forming

pictorial

images

that

may

or

maynotfitexistingschemas,butwhichnonethelesscanbeexaminedandexperiencedviasuchdiscussion. Theteachersnon-evasive,yetwell-guided,orchestrationofthediscussionexemplifiestheprincipleofallowingroomfortheimaginativespheresadvocatedbySteiner. Adiscussionaboutafactualscience,suchasastronomy,mighteasilyhavebeenconstruedashavingtheaimofhavingstudentsconformtothefactsofmodernscience. Byallowingforthechildrensimaginativevoicestobeheardandexaminedwithoutjudgment,however,thediscussionwasmadeflexibleandopen,supportingSteinersadvocacyforteachingthatproducesconceptsthatarenon-staticandabletogrow. Furthermore,ascosmictruthsmaybemulti-dimensional,asSteinerwouldhaveusthink,thereisalsoacaseforarguingthatsuchactivitieshavemore

benefitsthanjustallowingstudentstothinkfactually. Itmaybeamethodtoaidandnourishthepursuitofabstract,ordeeper,truths. Inanycase,themethodofdiscussion,


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thefamilyissittingthere,inabigarmchairthatwouldmakeanystory-tellerenvious,makingsurethathischildrenarefed.

BriefAnalysis: Theteachingmethodofempathyreliesheavilyontheteacherspersonaandgeneralmannerism. CorrelatingwithSteinersargumentthatloveofchildrenmustbeateachersfundamentaldrive,themethodofempathyinawayisa

pre-requisiteforallothermethodsofimaginativeteaching,asitdenotesafundamentalrelationshipbetweenteacherandpupiluponwhichallotherinteractionstakeplace. Thereasonwhyitisimportanttorecognisethisaspectofimaginativeteachingasaparticularteachingmethod,isbecauseempathyandimaginationbelongtothesamehumanrealm

feelingsandbecausetherelationshipbetweenteacherandpupilingeneralishighlydependentontheteachersabilitytopracticallyembodyandphysicallydisplayempathy.Asthistruismmaybeapplicabletoteachingingeneral,itwasneverthelessprominentinthisstudyoftheimaginativetransaction. Forexample,whilesomedisciplinaryproblemswerepresentattimesinallthreeclassrooms,thisdidnotseemtohavemucheffectonneitherthequalityoftheimaginativetransactions,northeclassroomethosingeneral. Asexemplifiedintheaboveexample,thepresenceofempathyseemedtocounteractdisciplinaryproblems,andinturnnurturethesamequalitiesinthechildrenfoundintheteacher.

Empathy

is

ateaching

method,

seemingly

useful

for

not

only

the

pedagogical

transactionofimagination,butfortherelationshipbetweenteacherandstudentingeneral.

Discussion

Theseventeachingmethodsidentifiedinmystudyprovidedtheempiricalbasis,orconceptualgrounds,fromwhichsalientfeaturesofSteinersphilosophyofimaginationandteachingwerere-theorised. Inthisundertaking,additionalsupportarosefortheargumentthatimaginationisnotjustanotherelementwithinholisticschooling,butisacrucialpartofandplaysasignificantroletothewhole. InmyliteraturereviewofSteiner,imaginationwasfoundtobeametamorphosisofthefeelingnature,thesoul-aestheticpartofthehumanbeing,thusconstitutingalinkbetweenthetwoendsofhumanexistence,betweenthoughtandaction,theoryandpractice. AsSteinerdeducedoutofpersonalandsometimespainfulexperience(Steinerwasoftencriticisedby


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adherentsoftheEnlightenment),therealmofimaginationnotonlyhastheabilitytofunctionasabridgebetweenideologicalparadigms,betweenidealismandrealism,spiritualismandmaterialism. Italsohastheabilitytoconnectthevariouscomponentsofandwithinthehumanbeingitself. Moreover,thepedagogicaltransactionofimaginationhasthecapacitytoletstudentsriseaboveanylimitationsofcontextandplacetheminatypeoftrance,orimaginativemode,seeminglyconnectingthemwithinner,spiritual-aestheticdimensionsorsignificances.

Notably,thisviewofimaginationasabridgetowholeness,andaprocessofsynthesis,isnotparticulartoSteineroranthroposophicaltheory;itisechoedinanumberofindependentstudiesontheimagination(Dirkx2001;Johnson1990;Neville1989;GiambattistaVico,inBurke1985;Sloan1983;Bohm1980;Warnock1979;Rugg1963;Langer1953;Dewey1916). Forexample,thelateHaroldRugg(1963)conductedalife-longstudyintotheconceptofimaginationanditsfunctionasamediatorbetweentheconsciousandunconsciousmind. Ruggmakesanimportantelaborationonhowwethink,andthuscometoknowsomething. Themostknownandacceptedtypeofthought,Ruggargues,istheverbal-analyticthoughtofscientificthinking. Thismodeofthinking,heclaims,consistsprimarilyofmentalsubstance,havingverylittlefeelingifanyinit. Thismodeofthinking,however,ismainlybeneficialforverification,notfordiscovery. Todiscoversomething,oneisengaginginwhatRuggcallsfelt-thought,atypeofthinkingwhichinvolvesthefeelingsandintuitiverealms. RuggpointstowardsEinsteinasascientistandphilosopherinwhomtherational,scientificwayofthinkingwasepitomised,butwhoneverthelessoftenexplainedthatnoneofhisideasemergedoutofanalyticthinking. Rather,theycameasintuitiveflashes,feeling-thoughts,whichthenhemighttrytoexpresslogicallyinwordsafterwards.

Whatisimportantinthisrealisation,Ruggfelt,iswhathetermedthetheoremofthetransliminalmind. Inthisconcept,theilluminatingflashofinsightoccursatathresholdoftheconscious-non-consciouscontinuumonwhichalloflifeislived(Rugg1963,pp.292-293). Rugg,inotherwords,identifiednotonlythetwoendsofthecontinuum,theconsciousandthenon-consciousstate,butathirdstatethatalsoexists.Thisthirdstateconstitutesatransliminalantechamberinwhichthecreativeflashoccurs.AsRugg(1963)notes,peoplelikeGalton,James,Schelling,Freud,andothers,were


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awarethatafertileborderstateexistsbetweenthealert,consciousproblem-solvingmindandthedepthsoftheunconscious,buttheydidlittlemorethannameit. RuggsstudysuggeststhatthephenomenonofimaginationissimilartotheTaoistsstateofno-mind,thestateoflettinggo,sowereachtheplacewhereweknowbeforeweknowit(Rugg1963,p.293).

ThecruxofRuggsthesisisthatthisreservoirforacquiringknowledgeandnewinsightisnotnecessarilyreachedbywayoftherationalmind,whichweallegedlyaimtodevelopfirstandforemostinmodernschooling(Glazer1999;Gatto1997). Theilluminationofmind,Ruggargues,isprimarilynourishedthroughastimulationofthechildsimaginativepowers. Throughthealchemyofthought-feeling,concentration-relaxation,theantechambersofconsciousnessarefusedwithsomethingofahighernaturethanthoughtorknowledgeitself. Inartisticlife,theprocessofthehigherselfmergingwiththelowerselfistypified. Forthatreason,Ruggbelieved,asSteinerdid,thateducationisaquestionofmakingteachingartisticandimaginative.

BernieNevilleinhisbook,EducatingPsyche(1989),drawssimilarconclusions.Drawinguponpsychology,philosophyandGreekmythology,Nevilleshedslightontheimportantrolethatimaginationplaysandthesubconscioussideofourbeinghaveinourlives,andhowagreateracceptanceofandknowledgeaboutthissidecanaideducationaltheoryandpractice. LikeRugg,Nevilledoesnotdownplaytheimportanceofintellectualandphysicalexperienceineducation,butsimplyarguesthatourimagination,orpsyche,istheshadowy,soul-likegroundwherethesecanmeetandbetrulyenlightened. Infact,withouttappingintooursubconsciousviaimagination,fantasyand

play,Nevilleargues,nothingwedoistrulycreative,andthus,inmanyways,trulyeducational. TheGreekmythofPsychesexperiencesandconsequentmetamorphosisistoNevilleapictorialanalogyofthecreativeandtransformationalpowerofthesoul-aestheticpartwithinus,thetransliminalante-chamberofwhichRuggspoke,initiatingourconsciousnessintonewanddeeperstatesofbeingandknowing.

DouglasSloanscomprehensivestudyInsight-Imagination (1983)alsosupportstheviewthattheimaginativerealmofhumanexperienceiswheretherealmsofthinkingandwillingarejoinedandfindtheirunity. Inthinkingweexperienceadistancingfromtheworld,Sloanargues,aswetendtobreakdown,separate,andviewtheabstract.


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Throughwilling,incontrast,weenterintoimmediateparticipationwiththeworldofconcretes,oftenremainingunawareorhavinglittlethoughtwhileinmotoractivity.Whatmakesthesetwopolarendsofexperiencepossibletomeet,Sloanargues,istheintermediaterealmoffeelingandimagination. Feeling-imaginationconstitutestherhythmicconnectionbetweenparticipationintheworldinvolitionalactivityanddetachmentfromtheworldmadepossibleinthinking(Sloan1983,p.205). Withouttheinterveningrealmofknowinginfeelingthroughimages,Sloanargues,wearedoomedtooscillatebetweenimmediateimmersioninactivityontheonehandandthinkingwithoutlifeanddepthontheother.

Alsoseeingimaginationastheencompassing,qualitativebondbetweenthoughtandaction,therenownedAmericanphilosopher,JohnDewey,stated:

Onlyapersonalresponseinvolvingimaginationcanpossiblyprocurerealisationevenofpurefacts. Theimaginationisthemediumofappreciationineveryfield. Wereitnotfortheaccompanyingplayofimagination,therewouldbenoroadfromadirectactivitytorepresentativeknowledge;foritisbyimaginationthatsymbolsaretranslatedoverintoadirectmeaningandintegratedwithanarroweractivitysoastoexpandandenrichit.(Dewey1916,pp.236-237)

Theimportanceofimaginationinalltruelearning,Deweyarguedfurther,doesnotdevaluetheaspectsofthinkingandactivity. Thinkingis,heargued,theequivalenttoanexplicitrenderingoftheintelligentelementinourexperience,whichinturnmakesit

possibletoactwithanendinview. Throughthinkingandreflectionuponexperience,webecomeco-creatorswiththeseaofimagination(Dewey1916,p.146).

Dirkx(2001),Johnson(1990),GiambattistaVico(inBurke1985),Bohm(1980),Warnock(1979),andLanger(1953)makeconclusionsintheirrespectivestudieswhichsupporttheconceptofimaginationabove. SufficetonotethatthefindingsofthisstudyandSteinersanthroposophicalviewofwholenessanditsimplicationstoatheoryofimagination,inessence,resonatewithanumberofsignificant,andmoreimportantly,non-anthroposophicalstudies. Studentsofimaginationingeneralseemtoagreethatoneofthemaincharacteristicsofimaginationisitsabilitytoconnectthevariousdimensionsofhumanexistence,asitisbothaprocessandthecontinuumonwhichtheprocesstakesplace. Imaginationisnotmerelygoingdownwardsfromspiritual-aestheticrealms,norupwardsfromthephysical,ortangible,realm. Theupwardsand


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downwardsmotionsmerelyexemplifytheendsofthecontinuum,thewholeness,theOne. Imagination,inthislineofthinking,thustakesonanidentitywhichtosomeextentisnon-identical,adefinitioninconsistentmovement,asitconstantlyembracestheends. Onenessdescendsfromthespiritual-aestheticrealms,whereasdivisionascendsfrommatter;imagination,beingthebridgeandmediumofboth,is,inotherwords,ofbothspiritandmatter.

Implications

Onthebasisofthefindingsinmystudy,thereareanumberofimmediateimplicationsthat,giventhedifficultyofgeneralisingbeyondthiscasestudy,aresuggestiveofadvicethatcouldbegiventoeducationalpractitionersandpolicymakers. First,itwouldbeadvantageousforteachersinSteinerschoolsandSteinerteachertrainingsettingstostudythesevenmethodsofimaginativeteachingdevelopedinthisstudy. Forexample,thethreeteachersobservedinthisstudytendedtogravitatetowardssomemethodsmorethanothers. Obviously,Steinerteachers,likeotherteachers,willalwaysselectmethodsand

pedagogiesthatsuittheirpersonalitiesandfortes. Butitisimportanttonotethatthemethodsofimaginativeteachingdevelopedinthisstudyarenotdifferentparadigmsorteachingphilosophiesfromwhichonemaycommittoparticularonesattheexpenseofothers. Thecategoriesofimaginativeteachingdevelopedinthisstudyareexplanatoryofasphereofimaginativeteaching. Inotherwords,bystudyingthefullrangeofimaginativeteachingmethods,asdevelopedinthisstudy,Steinerteachersmaybeassistedinidentifyingwhichareasofimaginativeteachingtheyneedtoencompass.

Second,astudyofthecategoriesofimaginativeteachingpresentedinthisthesisnotonlywouldfamiliariseSteinerteacherswiththefullscopeofimaginativeteaching,

butinturnalsomightassistthequalityoftheapplicationofanyoneofthecategories.Forexample,someoftheobservedteacherswerebetterthanotherswithregardtotheuseofcertainmethodsofimaginativeteaching. Thiscommentisnotmeanttofavour,orcriticise,anyoneteacher,onlytopointoutthatteachingalwaysisanorganicartwheretheidentificationofonesstrengthsandweaknessesmaybeusefulforonesprofessionaldevelopment,andthatbystudyingtheidealandthosewhoaresuccessfulintheareasinwhichwearelessso,weareprovidedwithmeansbywhichwemaydevelop


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professionally. Hence,viathestudyofthemethodspresentedinthisstudy,Steinerteachersareofferedanadditionaltheoreticalframeworkwithwhichtoconsciouslyacquireskillsanddevelopstrategiesofimaginativeteaching.

Third,itwouldbeappropriateforpractitionersinmainstreameducationalsettingstostudythemethodsofimaginativeteaching. Whetherornotthequalityofthemethodsultimatelydependsontheanthroposophicalframeworkinwhichtheyweredeveloped,theymayinspire,confirmormodifyexistingeffortsoftheseteacherstocaterfortheimagination. AspectsofSteinersphilosophyofimaginationmayalsoalreadybeconsciouslyorunconsciouslyusedbytheindividualclassroomteacher,thusprovidinganincentivetostudythemethods. Or,ateachermaywanttoadoptcertainmethodstoseewhethertheyresonatewithhis/her/theschoolspreferredteachingphilosophy. Ineithercase,themethodsofimaginativeteachingdevelopedinthisstudystandasacontributiontoeducationatlargeinthatthey,atleastmechanically,arenotspecifictonordependentontheSteinercurriculumandcontext.

Fourth,andpertainingtoalloftheaboveimplications,itshouldbenotedthatifthemethodsofimaginativeteachingovertimearefoundbyclassroomteachersandteachertrainingprogramstobeusefulforprofessionaldevelopment,thencurriculumandpolicydocumentsmayrequirerevisionstoreflectthesemethods. ThiscouldinthelongrunmeananimportantadditiontothecurriculumforSteinerteachertraining,whichsinceSteinerstimecontinuouslyhasbeenaddedtoinanattempttorefineWaldorfeducation(Allison2002). Likewisewithmainstreameducationalsettings,themethodsmaybeanimportantcontributiontocurriculumandpolicymaking. ImaginationandwholenessaretermsofteninvokedintheCurriculumStandardsFramework(2002)inAustraliaandonmanystateschoolcharters(Carr1995)aroundtheworld. Yet,mainstreamteachersareoftenleftwithlittlespecificationastowhatimaginationis,orofwhatwholenessreallyconsists. Themethodsofimaginativeteachingdevelopedinthisstudy,togetherwithSteinerseducationalphilosophy,maybeastepinrectifyingthisconcern.

Finally,alessimmediatebutcertainlyprofoundimplicationarisingoutofthisstudyhasbeenthatSteinersphilosophyofimaginationmaynotonlybeanimportantcontributiontoeducationaltheoryandpractice,butmayalsoassistinimprovingpost-modernthinkingandlivingingeneral. Examinationoftheunderstandingsof


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imaginationandimaginativeteachingpresentinSteinerseducationalphilosophyandmodern-daySteinerschoolsmayallowustoreconsiderourplaceandroleinacomplexandoftenproblematicpost-modernworld. Imaginativeteachinghasemergedasawayofcreatingsynthesis,anintermediarylinkbetweenthoughtandaction,betweenendsofhumanexperience. Imaginativeteachingmay,therefore,beseenasagenericmethodofdealingwiththesenseofseparationandfragmentationthatisprevalentintodaysWesternsociety(Glazer1999;Gatto1997).

Conclusion

FollowingthetheoreticalframeworkofSteinerandtheempiricallyobservedabilityoftheimaginativetransactiontoconnectstudentswithspiritual-aesthetic,ormytho-

poetic,realms,thepedagogicaltransactionofimaginationhasinmyPhDstudyemergedasapotentsuggestiontocounterbalancetheallegedtendencyinmainstreameducationtoundervaluesubtleandnon-tangibledimensionsofhumanexperience(Glazer1999;Miller1997;Gatto1997;Neville1989). Imaginationisnotsimplyanotheringredientinteaching,usefulinmakinglearningenjoyableaccordingtoSteinerseducational

philosophy,thegroundedtheoryofthisstudy,aswellasadmirablestudentsofimagination. Itistheveryroaduponwhichtheotherdimensionsofthehumanbeingarejoinedandfindtheirmeaning. Moreover,asimaginationappearssecularandinclusivetobothendsofthehumanexperience,thinkinganddoing,spiritandmatter,imaginativeteachingstandsasamostpracticalandapplicablesolutiontothe

problemoffindingcommongroundbetweenearlierandpresenttimespreferencesforeitherscientificorreligiousschooling,vocationalorliberaleducation,materialismandspiritualism,andsoon1.

1 This pap er has only p resented an abstract of some of my findings; other more d etailedarticles/ manu scripts about various aspects of my study are being prepared in present writing.


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Documents

RUDOLF STEINER’S PEDAGOGY OF IMAGINATION: A PHENOMENOLOGICAL CASE STUDY By Thomas William Nielsen, PhD