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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
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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