This paper has examined another possibility contained in eurhythmics. I have tried to reconsider the view of education that follows the acquisition of understanding and skills in the old education. The purpose of eurhythmics is to develop the learner's ability to say, ''I don't know, I feel. Collaborative experience, empathy, imagination, and creativity through music and movement seem to be the keys to this. In eurhythmics, a variety of activities are performed, such as looking, predicting, calculating, arranging, and planning. A rhythmic performance with others is an ensemble in itself. Through collaborative activities, ensembles create bonds between people, enhance empathy, and bring the joy of musical participation. The ability to maintain better relationships should not be overlooked. In fact, the acquisition of this ability is connected to each individual's moment of happiness. In other words, it is important that eurhythmics is a space to live oneself, making full use of one's current abilities.

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This study examined the perception of “Dalcroze Eurhythmics” by skilled teachers using a text mining method. The interviews of 10 skilled Eurythmic teachers about the “Dalcroze Eurhythmics method” (already recorded on a DVD) were used as data. The transcript was made from the DVD, and descriptions were analysed by KH Coder software. First, the KH Corder extracted frequent words from the descriptions of the interviews. It was found that the words “Eurythmics” “Dalcroze” “'Music” appeared frequently in the interviews. Next, a cluster analysis was performed and 8 clusters were found. The 8 clusters were named : “Eurhythmics, Music and Movement” “Improvisation as Creative Performances” “The relationship between the piano and dance” “The experience through the body” “The feature of method” “Plastique Animée an eurythmic expression to communicate movement to others” “Getting qualified” “The impact of Eurythmics”. The results showed that the eurythmic teachers mainly talked about practicing Eurythmics as personal experiences through music, movement, and the mind, Eurythmics transformed their attitudes towards music, Eurythmics enhanced their personal abilities.

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In this paper, I have tried to analyze children's expressive acts from the viewpoint of Japanese language and physical culture, and have discussed the ideal way to provide rhythmic education that values the sense of rhythm and musicality that is hidden within Japanese people as their nature. As a result, I proposed three ways to devise a rhythmic education that takes into account the musical background of Japanese children: (1) applying Warabeuta, (2) providing opportunities to listen to Japanese sounds and music, and (3) using picture book materials. In rhythm education for infants and toddlers who are in the process of language acquisition, instructors should be aware of the musical background of the children. I would like to deepen my research with a enough understanding of Jaques-Dalcroze's philosophy on ethnic culture and rhythm education, and with an awareness of the issues involved.

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In order to have a fun lesson in eurhythmics, it is necessary to understand how children's minds work. In this paper, in order to understand how the child's mind moves in eurhythmic, I will look back on my daily lessons and find out that rhythmic music leads to self-expression and self-expansion through the activities of immediate reaction and immediate creation, and find ways to increase the emotional energy necessary for the movement of the mind. By finding a way to increase the emotional energy necessary for the movement of the mind, I realized that eurhythmics has great power as an education to create the future of children. I hope that by practicing this method, more teachers will be able to give enjoyable lessons.

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