One Reason Why "Eyes Glaze Over"
The question has been raised about why "eyes glaze over" at the mention of words like "arts," "creativity," and "innovation." Surely there are many reasons, but one stands out as worth considering in this discussion. These words and many others like "critical thinking," "transparency," and "accountability" lose communicative force when they become generic surrogates for goodness but are rarely connected to something concrete. The more ubiquitously they are used without such a connection, the worse the communication problem gets, and the more eyes glaze over when they are offered promotionally or in justification. Eventually, a given word wears out its welcome, and another one replaces it. The long-term result is a parade of ultimate emptiness where each word or slogan constitutes a float that at first seems brilliantly real, then a caricature of itself, and finally a ghostly apparition with all substance, value, and meaning leached away.
It is hard to sustain advances in educational achievement in a policy environment heavily influenced by this syndrome and its adverse impact on clarity and substantive focus.
To illustrate further, let's consider creativity. Building on what Bennett Reimer wrote mentioning Howard Gardner, creativity can be viewed across the spectrum of human action; it is not exclusive to the arts. Even though none of us would recommend it, student creativity can be encouraged without any arts references at all. It can be "taught" by teachers of many types and specializations in ways that do not lead to any residual learning or conceptual expansion in any aspect of the arts. Developing greater understanding of creativity is surely a good thing, but a school agenda that gives a high priority to creativity does not lead automatically to arts teaching and learning of any kind, or of any form, or in any time frame.
Creativity becomes noticeable, important, and real when someone makes or does something creative in some specific field or discipline. While developing a more "creative" environment in schools is to be applauded, eventually a strong connection must be made between creativity and one or more bodies of content if an individual is to mature in creative work through high school and beyond. Creative potential rises as capabilities grow in some particular thing.
As Midori points out so gracefully, all artists experience the deep symbiotic relationship among creativity, knowledge, and skills. Each of the three lifts the others toward ever higher achievement. Theoretical physicists, investment bankers, surgical pioneers, entrepreneurs, diplomats, historians, and other deep-knowledge professionals have the same experience. The writers for this blog could not communicate with the creativity and eloquence they exhibit without high levels of knowledge and skills in English and years of practice with the language. The same connections work at elementary through advanced to genius levels of competence in all disciplines and professions. But so much talk about arts education seems to minimize or avoid knowledge and skills development and practice as though they were in the way. Experiences and personal reflections about them are essential, affection for certain genres or artists is an important base from which to grow, but neither of these is a substitute for the daily study and work that leads to knowing more and being able to do more each day in one or more specific aspects of the arts.
Sam Hope, executive director, The National Office for Arts Accreditation (NOAA);
Jack Lew, Global University Relations Manager for Art Talent at EA;
Laura Zakaras, RAND;
James Cuno, Director, Art Institute of Chicago;
Richard Kessler, Executive Director, Center for Arts Education;
Eric Booth, Actor;
Bau Graves, Executive director, Old Town School of Folk Music;
Kiff Gallagher, Founder & CEO of the Music National Service Initiative and MusicianCorps
Bennett Reimer, Founder of the Center for the Study of Education and the Musical Experience, author of A Philosophy of Music Education;
Edward Pauly, the director of research and evaluation at The Wallace Foundation;
Moy Eng, Program Director of the Performing Arts Program at The William and Flora Hewlett Foundation;
John Rockwell, critic;
Susan Sclafani, Managing Director, Chartwell Education Group;
Jane Remer, Author, Educator, Researcher
Michael Hinojosa, General Superintendent, Dallas Independent School District
Peter Sellars, director
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