The Eurhythmics of Jaques-Dalcroze | Page 7

the cause as the result of such lack of harmony. In
some cases the brain gives clear and definite impulses, but the limbs, in
themselves healthy, can do nothing because the nervous system is in
confusion. In other cases the limbs have lost the power to carry out
orders sent by the brain, and the undischarged nerve-impulses disturb
the whole nervous system. In other cases again, muscles and nerves are
healthy, but insufficient training in rhythm impedes the formation of
lasting rhythmic images in the brain. To repeat, the causes of this lack
of rhythm all lie in the important but insufficiently recognized
psycho-physiological sphere of the co-ordination of brain, nerve-paths
and muscles.
The objection is sometimes made that rhythmic gymnastics cause
nerve-strain in children. This is not the case. Several brain specialists
have told me that they have effected satisfactory cures with rhythmic
gymnastic exercises.
Rhythm is infinite, therefore the possibilities for physical
representations of rhythm are infinite.
* * * * *
(ADDRESS TO STUDENTS, der Rhythmus, Vol. I, p. 41, et seq.)
I consider it unpardonable that in teaching the piano the whole attention
should be given to the imitative faculties, and that the pupil should
have no opportunity whatever of expressing his own musical
impressions with the technical means which are taught him.
Whether the teacher himself be a genius is of little importance,
provided he is able to help others to develop their own talents.

One can create nothing of lasting value without self-knowledge. The
only living art is that which grows out of one's own experiences. It is
just the same with teaching; it is quite impossible to develop others
until one has proved one's own powers in every direction, until one has
learnt to conquer oneself, to make oneself better, to suppress bad
tendencies, to strengthen good ones, and, in the place of the primitive
being, to make one more complete who, having consciously formed
himself, knows his powers. Only in proportion as one develops oneself
is one able to help others to develop.
I consider that one does not require to be a genius in order to teach
others, but that one certainly does require strong conviction,
enthusiasm, persistence and joy in life. All these qualities are equally
derived from the control and knowledge of self.
We must, from youth upwards, learn that we are masters of our fate,
that heredity is powerless if we realize that we can conquer it, that our
future depends upon the victory which we gain over ourselves.
However weak the individual may be, his help is required to prepare a
way for a better future. Life and growth are one and the same, and it is
our duty by the example of our lives to develop those who come after
us. Let us therefore assume the responsibility which Nature puts upon
us, and consider it our duty to regenerate ourselves; thus shall we help
the growth of a more beautiful humanity.
I like joy, for it is life. I preach joy, for it alone gives the power of
creating useful and lasting work. Amusement, an excitement which
stimulates the nerves instead of uplifting the spirit, is not necessary in
the life of the artist. Of course one must often let oneself go, and I
should be the last to defend a so-called moral discipline, or a pedantic
rule of monastic severity. For a healthy, active person the joy of the
daily struggle and of work performed with enthusiasm should be
sufficient to beautify life, drive away fatigue and illuminate present and
future. This condition of joy is brought about in us by the feeling of
freedom and responsibility, by the clear perception of the creative
power in us, by the balance of our natural powers, by the harmonious
rhythm between intention and deed. It depends upon our creative

faculties, both natural and acquired, and becomes greater as these grow.
The power of understanding ourselves certainly gives us a sense of
freedom, for it opens a rapid correspondence, not only between
imagination and power of performance, between apperception and
feelings, but also between the various kinds of feelings which dwell in
us.
[Illustration: The College.]

THE JAQUES-DALCROZE METHOD
I. GROWTH[1]
[1] For much of the material of this chapter the writer is indebted to
Herr Karl Storck, of Berlin, to whose book E. Jaques-Dalcroze, seine
Stellung und Aufgabe in unserer Zeit, Stuttgart, 1912, Greiner &
Pfeiffer, the reader is directed.
Emile Jaques-Dalcroze was born in Vienna on July 6, 1865, of mixed
parentage, his father being a Swiss from St. Croix in the Jura (hence the
artist name Dalcroze), his mother of German extraction. At the age of
eight his parents brought him to Geneva, where in due course he
became a student at the Conservatoire of Music.