Performing Arts Education Quotes

It was culture as class performance, literature fetishised for its ability to take educated people on false emotional journeys, so that they might afterwards feel superior to the uneducated people whose emotional journeys they liked to read about.

Father thou art in heaven, please make my inside so good and so fine that he can love me. I'm going to buy him a tie, because that's something I can do. Someone once told me that I have an almost masculine understanding of it. i guess there are situations where having a past is to your advantage. Heavenly Father, perform a miracle and give me an education--I can do the rest myself with make-up.

The O.T.O. is an initiatory order similar to freemasonry. It doesn't provide educational monographs or standardized tests. Rather, it offers members the opportunity to experience a series of dramatic and magical initiations artfully designed to awaken and unfold the candidates' spiritual potentialities. If a member did nothing else with the O.T.O. career but undergo these degree experiences, they would be immeasurably rewarded. Serious members know, however, that there is much more to the O.T.O.'s magick than a two-hour ceremony performed once or twice a year. So profound are the Order's inner mysteries that to penetrate them requires not only a rich magical and spiritual education, but also a high level of meditative attainment. Members who wish to truly affiliate at this level are expected to seize responsibility for their own magical education and eventually rend the veil of the Order's mysteries for themselves.

The news filled me with such euphoria that for an instant I was numb. My ingrained self-censorship immediately started working: I registered the fact that there was an orgy of weeping going on around me, and that I had to come up with some suitable performance. There seemed nowhere to hide my lack of correct emotion except the shoulder of the woman in front of me, one of the student officials, who was apparently heartbroken. I swiftly buried my head in her shoulder and heaved appropriately. As so often in China, a bit of ritual did the trick. Sniveling heartily she made a movement as though she was going to turn around and embrace me I pressed my whole weight on her from behind to keep her in her place, hoping to give the impression that I was in a state of abandoned grief. In the days after Mao's death, I did a lot of thinking. I knew he was considered a philosopher, and I tried to think what his 'philosophy' really was. It seemed to me that its central principle was the need or the desire? for perpetual conflict. The core of his thinking seemed to be that human struggles were the motivating force of history and that in order to make history 'class enemies' had to be continuously created en masse. I wondered whether there were any other philosophers whose theories had led to the suffering and death of so many. I thought of the terror and misery to which the Chinese population had been subjected. For what? But Mao's theory might just be the extension of his personality. He was, it seemed to me, really a restless fight promoter by nature, and good at it. He understood ugly human instincts such as envy and resentment, and knew how to mobilize them for his ends. He ruled by getting people to hate each other. In doing so, he got ordinary Chinese to carry out many of the tasks undertaken in other dictatorships by professional elites. Mao had managed to turn the people into the ultimate weapon of dictatorship. That was why under him there was no real equivalent of the KGB in China. There was no need. In bringing out and nourishing the worst in people, Mao had created a moral wasteland and a land of hatred. But how much individual responsibility ordinary people should share, I could not decide. The other hallmark of Maoism, it seemed to me, was the reign of ignorance. Because of his calculation that the cultured class were an easy target for a population that was largely illiterate, because of his own deep resentment of formal education and the educated, because of his megalomania, which led to his scorn for the great figures of Chinese culture, and because of his contempt for the areas of Chinese civilization that he did not understand, such as architecture, art, and music, Mao destroyed much of the country's cultural heritage. He left behind not only a brutalized nation, but also an ugly land with little of its past glory remaining or appreciated. The Chinese seemed to be mourning Mao in a heartfelt fashion. But I wondered how many of their tears were genuine. People had practiced acting to such a degree that they confused it with their true feelings. Weeping for Mao was perhaps just another programmed act in their programmed lives. Yet the mood of the nation was unmistakably against continuing Mao's policies. Less than a month after his death, on 6 October, Mme Mao was arrested, along with the other members of the Gang of Four. They had no support from anyone not the army, not the police, not even their own guards. They had had only Mao. The Gang of Four had held power only because it was really a Gang of Five. When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone.

Some hold the position that education is serious, but games are not; therefore games have no place in education. But an examination of our educational system shows that it is a game! Students (players) are given a series of assignments (goals) that must be handed in (accomplished) by certain due dates (time limits). They receive grades (scores) as feedback repeatedly as assignments (challenges) get harder and harder, until the end of the course when they are faced with a final exam (boss monster), which they can only pass (defeat) if they have mastered all the skills in the course (game). Students (players) who perform particularly well are listed on the honor roll (leader board).

More pervasive and corrosive are the nearly invisible forms of time denial that are built into the very infrastructure of our society. For example, in the logic of economics, in which labor productivity must always increase to justify higher wages, professions centered on tasks that simply take time - education, nursing, or art performance - constitute a problem because they cannot be made significantly more efficient.

If you think about a young child trying to learn to walk, that child will fall down and hurt itself hundreds of times. But at no point does that child ever stop and think, “Oh, I guess walking just isn’t for me. I’m not good at it.” Avoiding failure is something we learn at some later point in life. I’m sure a lot of it comes from our education system, which judges rigorously based on performance and punishes those who don’t do well.

Connell’s initial assessment of the reading was not disproven. It was culture as class performance, literature fetishised for its ability to take educated people on false emotional journeys, so that they might afterwards feel superior to the uneducated people whose emotional journeys they liked to read about. Even if the writer himself was a good person, and even if his book really was insightful, all books were ultimately marketed as status symbols, and all writers participated to some degree in this marketing. Presumably this was how the industry made money. Literature, in the way it appeared at these public readings, had no potential as a form of resistance to anything.

The time he spent could have been more usefully applied, it might seem, to finishing the Adoration of the Magi or Saint Jerome. But just as today we love halftime shows and Broadway extravaganzas, fireworks displays and choreographed performances, the events staged by the Sforza court were considered vital, and their producers, including Leonardo, were highly valued. The entertainments were even educational at times, like an ideas festival; there were demonstrations of science, debates over the relative merits of various art forms, and displays of ingenious devices, all of which were a precursor to the public science and edifying discourse that later became popular during the Enlightenment.

For what must be clear to us above all, both to our humiliation and our elevation, is that the whole comedy of art is certainly not performed for us, neither for our edification nor our education, just as we are far from truly being the creators of that world of art; conversely, however, we may very well assume we are already images and artistic projections for the true creator of art, and that our highest dignity lies in our significance as works of art - for only as an aesthetic phenomenon is existence and the world eternally justified - although, of course, our awareness of our significance in this respect hardly differs from the awareness which painted soldiers have of the battle depicted on the same canvas.

Nothing could have been less in line with contemporary conceptions of art than that the theatre should be divorced from all relation to life and politics. Greek tragedy was in the strictest sense ‘political drama’; the finale of Eumenides, with its fervent prayers for the prosperity of the Attic state, betrays the main purpose of the piece. This political control of the theatre brought back to currency the old view that the poet is guardian of a higher truth and an educator who leads his people up to a higher plane of humanity. Through the performance of tragedies on the state-ordained festivals and the circumstances that tragedy came to be looked upon as the authoritative interpretation of the national myths, the poet once more attains to a position almost equivalent to that of the priestly seer of prehistoric times.

We largely persist in modelling our sense of what other people are like – and of what might be going on in their heads – on our experience of ourselves. We find it remarkably difficult to imagine clearly and calmly that others might not be very much like us at all. Others have different skills, different weaknesses, different motives and fears. It is as if the human brain did not evolve with the need to address this particular problem. And it may have been that for most of the time that human beings have existed it has been sufficient – for individual and group survival – to operate with a very limited interest in how people might differ from us in terms of how their minds work. In the office, other people are out of our control – and yet we need their assistance in performing delicate, complicated tasks. When we are doing things ourselves, we don’t actually give ourselves clear instructions. If

Recently, a judge of the prestigious 2014 British Forward Prize for Poetry was moved to observe that “there is an awful lot of very powerful, lyrical, and readable poetry being written today,” but we need education, because “we have lost the sense that poetry sits halfway between prose and music—that you can’t expect to read it like a novel.” A few years ago, the New York Times published an op-ed of mine, about learning poetry by heart. The response to it confirmed that people of all ages think about poetry as a kind of inspired music, embodying beauty and insight. On one hand, poetry has always flowed from music, as rap and hip-hop remind us big-time. Rappers know how poetry walks and talks. So we have music, or deeply felt recitations of poems that belong to collective memory. On the other hand, we have overly instructive prose poems, as well as the experiments of certain critical ideologies, or conceptual performance art. These aspects seem to represent the public, Janus face of poetry.

Why should “gratitude” be an emotion that is denied to the devil? Dostoevsky leaves this unanswered. But it is worth reflecting on. For acts of deconstruction and destruction can be performed with extraordinary ease. Such ease that they might as well be the habits of the devil. A great building such as a church or a cathedral can take decades — even centuries — to build. But it can be burned to the ground or otherwise brought down in an afternoon. Similarly, the most delicate canvas or work of art can be the product of years of craft and labor, and it can be destroyed in a moment. The human body is the same. I once read a particular detail of the genocide in Rwanda in 1994. A gang of Hutus had been at their work and among the people they macheted that day was a Tutsi doctor. As his brains spilled out onto the roadside, one of his killers mocked the idea that these were meant to be the brains of a doctor. How did his learning look now? All the years of education and learning, all the knowledge and experience in that head was destroyed in a moment by people who had achieved none of those things.

Fifteen of his clubs, dedicated to politics, music, and the performing arts, had all been developing strategic plans for the past two years. And the local branches of various societies--whose goals were to advance aviation, knowledge of chemistry, automotive transportation, equestrian sports, highway construction, as well as the prompt eradication of ethnic chauvinism--existed only in the sick imagination of the local union committee. As for the school of continuing education, of which Sardinevich was especially proud, it was constantly reorganizing itself, which, as anybody knows, means it wasn't undertaking any useful activity whatsoever. If Sardinevich were an honest man, he would probably have admitted that all these activities were essentially a mirage. But the local union committee used this mirage to concoct its reports, so at the next level up nobody doubted the existence of all those musico-political clubs. At that level, the school of continuing education was imagined as a large stone building filled with desks, where perky teachers draw graphs that show the rise of unemployment in the United States on their chalkboards, while mustachioed students develop political consciousness right in front of your eyes.

Teaching is the art of serendipity. Each of us has the experience of finding out that something we intended as only the most casual of remarks, or the stray example, changes the way some students thought to the point of changing their lives.

Develop flourishing schools … The purpose of the education system should be to create capable and emotionally well-rounded young people who are happy and motivated. At its heart, education policy must acknowledge that the best way of enabling people to realize their potential is to value them for who they are rather than their measuring their performance against exams and targets. Children have multiple intelligences and all schools should have a strategy to develop pupils’ overall well-being. The curriculum needs to be broadened to include more opportunities around sports, arts, creativity and other engaging activities. An education system which promotes flourishing would lead to higher productivity, a more entrepreneurial society and greater active citizenship.

I began to recall my own experience when I was Mercutio’s age (late teens I decided, a year or two older than Romeo) as a pupil at a public school called Christ’s Hospital. This school is situated in the idyllic countryside of the Sussex Weald, just outside Horsham. I recalled the strange blend of raucousness and intellect amongst the cloisters, the fighting, the sport, and general sense of rebelliousness, of not wishing to seem conventional (this was the sixties); in the sixth form (we were called Grecians) the rarefied atmosphere, the assumption that of course we would go to Oxford or Cambridge; the adoption of an ascetic style, of Zen Buddhism, of baroque opera, the Velvet Underground, Frank Zappa, and Mahler; of Pound, Eliot and e. e. cummings. We perceived the world completely through art and culture. We were very young, very wise, and possessed of a kind of innocent cynicism. We wore yellow stockings, knee breeches, and an ankle length dark blue coat, with silver buttons. We had read Proust, we had read Evelyn Waugh, we knew what was what. There was a sense, fostered by us and by many teachers, that we were already up there with Lamb, Coleridge, and all the other great men who had been educated there. We certainly thought that we soared ‘above a common bound’. I suppose it is a process of constant mythologizing that is attempted at any public school. Tom Brown’s Schooldays is a good example. Girls were objects of both romantic and purely sexual, fantasy; beautiful, distant, mysterious, unobtainable, and, quite simply, not there. The real vessel for emotional exchange, whether sexually expressed or not, were our own intense friendships with each other. The process of my perceptions of Mercutio intermingling with my emotional memory continued intermittently, up to and including rehearsals. I am now aware that that possibly I re-constructed my memory somewhat, mythologised it even, excising what was irrelevant, emphasising what was useful, to accord with how I was beginning to see the part, and what I wanted to express with it. What I was seeing in Mercutio was his grief and pain at impending separation from Romeo, so I suppose I sensitised myself to that period of my life when male bonding was at its strongest for me.

[To admit that college isn't for everyone] may sound élitist. It may even sound philistine, since the purpose of a liberal-arts education is to produce well-rounded citizens rather than productive workers. But perhaps it is more foolishly élitist to think that going to school until age 22 is necessary to being well-rounded, or to tell millions of young adults that their futures depend on performing a task that only a minority of them can actually accomplish. It is absurd that people have to get college degrees to be considered for good jobs in hotel management or accounting — or journalism. It is inefficient, both because it wastes a lot of money and because it locks people who would have done good work out of some jobs. The tight connection between college degrees and economic success may be a nearly unquestioned part of our social order. Future generations may look back and shudder at the cruelty of it.

Yes, you have been molding your ability to perform Jiu Jitsu for all these years, but you have been more importantly molding who you are as a person. Jiu Jitsu is the sculptor, and you are the clay. It is with this art that we strive and reach for our highest ideals not as athletes, but as people.

Many theories have been advanced to explain racial gaps in performance, of which these are the most common: black and Hispanic schools do not get enough money, their classes are too big, students are segregated from whites, minorities do not have enough teachers of their own race. Each of these explanations has been thoroughly investigated. Urban schools, where non-whites are concentrated, often get more money than suburban white schools, so blacks and Hispanics are not short-changed in budget or class size. Teacher race has no detectable effect on learning (Asians, for example, outperform whites regardless of who teaches them), nor do whites in the classroom raise or lower the scores of students of other races. Money is not the problem. From the early 1970s to the 2006-2007 school year per-pupil spending more than doubled in real terms. The Cato Institute calculates that when capital costs are included, the Los Angeles School District spends more than $25,000 per student per year, and the District of Columbia spends more than $28,000. Neither district gets good results. Demographic change can become a vicious cycle: As more minorities and immigrants enter a school system average achievement falls. More money and effort is devoted to these groups, squeezing gifted programs, music and art, and advanced placement courses. The better-performing students leave, and standards fall further.

In fact, reading is a discipline: like running regularly, or meditating, or taking voice lessons. Any able adult can run across the backyard, but this ability to put one foot in front of another shouldn’t make him think that he can tackle a marathon without serious, time-consuming training. Most of us can manage to sing “Happy Birthday” or the Doxology when called for, but this doesn’t incline us to march down to the local performing arts center and try out for the lead in Aida. Yet because we can read the newspaper or Time or Stephen King without difficulty, we tend to think that we should be able to go directly into Homer or Henry James without any further preparation. And when we stumble, grow confused or weary, we take this as proof of our mental inadequacy: We’ll never be able to read the Great Books. The truth is that the study of literature requires different skills than reading for pleasure. The inability to tackle, unaided, a list of Great Books and stick to the project doesn’t demonstrate mental inadequacy—just a lack of preparation.

13 Simple Ways to Deliver Service Beyond Self 1. Make it Easy for People to Do Business with You. 2. Be an Awesome, Sincere Listener. 3. Listen to Customers’ Words and tone of voice, body language, and how they feel. Ask questions, listen, and meet them on their level. Explain, guide, educate, assist and do what is necessary to help them get the information they need to fully understand regarding their question or issue. 4. Show Enthusiasm. Greet customers with genuine interest. Give them your best. Think, act, and talk with positive enthusiasm and you will attract positive results. Your attitude is contagious! 5. Identify and Anticipate Needs. Most customer needs are more emotional rather than logical. 6. Under Promise & Over Deliver. Apply the principle of “Service Beyond Self” . . . give more than expected. Meet and exceed their expectations. If you can’t serve their needs, connect them with whoever can. 7. Make them Feel Important. Our deepest desire is to feel important. People rarely care how much you know until they know how much you care. Use their names, find ways to compliment them—and be sincere. 8. Take Responsibility for their Satisfaction. Do whatever is necessary to help them solve their problems. Let them know that if they can’t find answers to their questions to come back to you for help. 9. Treat your TEAM well. Fellow colleagues are your internal customers and need a regular dose of appreciation. Thank them and find ways to let them know how important they are. Treat your colleagues with respect; chances are they will have a higher regard for customers. 10. Choose an Attitude of Gratitude. Gratitude changes your perspective and helps you appreciate the good rather than simply taking it for granted. 11. Perform, Provide and Follow-Up. Always perform or provide your service in a spirit of excellence and integrity. If you say you’re going to do something—DO IT! There is tremendous value in being a resource for your customer. If you can help them to succeed, they are more likely to help you succeed. 12. Use Gracious Words. "Thank you, thank you very much.

12 Simple Ways to Deliver Service Beyond Self 1. Make it Easy for People to Do Business with You. 2. Be an Awesome, Sincere Listener. 3. Listen to Customers’ Words and tone of voice, body language, and how they feel. Ask questions, listen, and meet them on their level. Explain, guide, educate, assist and do what is necessary to help them get the information they need to fully understand regarding their question or issue. 4. Show Enthusiasm. Greet customers with genuine interest. Give them your best. Think, act, and talk with positive enthusiasm and you will attract positive results. Your attitude is contagious! 5. Identify and Anticipate Needs. Most customer needs are more emotional rather than logical. 6. Under Promise & Over Deliver. Apply the principle of “Service Beyond Self” . . . give more than expected. Meet and exceed their expectations. If you can’t serve their needs, connect them with whoever can. 7. Make them Feel Important. Our deepest desire is to feel important. People rarely care how much you know until they know how much you care. Use their names, find ways to compliment them—and be sincere. 8. Take Responsibility for their Satisfaction. Do whatever is necessary to help them solve their problems. Let them know that if they can’t find answers to their questions to come back to you for help. 9. Treat your TEAM well. Fellow colleagues are your internal customers and need a regular dose of appreciation. Thank them and find ways to let them know how important they are. Treat your colleagues with respect; chances are they will have a higher regard for customers. 10. Choose an Attitude of Gratitude. Gratitude changes your perspective and helps you appreciate the good rather than simply taking it for granted. 11. Perform, Provide and Follow-Up. Always perform or provide your service in a spirit of excellence and integrity. If you say you’re going to do something—DO IT! There is tremendous value in being a resource for your customer. If you can help them to succeed, they are more likely to help you succeed. Use Gracious Words. "Thank you, thank you very much.

Some hold the position that education is serious, but games are not; therefore games have no place in education. But an examination of our educational system shows that it is a game! Students (players) are given a series of assignments (goals) that must be handed in (accomplished) by certain due dates (time limits). They receive grades (scores) as feedback repeatedly as assignments (challenges) get harder and harder, until the end of the course when they are faced with a final exam (boss monster), which they can only pass (defeat) if they have mastered all the skills in the course (game). Students (players) who perform particularly well are listed on the honor roll (leader board). Traditional educational methods often feature a real lack of surprises, a lack of projection, a lack of pleasures, a lack of community, and a bad interest curve.

I’m sure a lot of it comes from our education system, which judges rigorously based on performance and punishes those who don’t do well.

The band members were doing what they could to make ends meet: Hidalgo and Pérez took work as instructors at Plaza de la Raza, the East L.A. center for arts and education, while Lozano worked as a teaching assistant at Hollenbeck Junior High in Boyle Heights. At one point around this time, jobs became so scarce that, at the behest of Mike Gonzalez, a former member of Rosas’s band Fast Company, they worked as strolling musicians, in full mariachi garb, drumming up business for a new restaurant by performing Mexican tunes on the mall at the Music Center in downtown L.A. A picture of the group from this era shows them looking stiff and distinctly uncomfortable in their matching embroidered black suits.

FOREWORD When Commander Perry opened up to the occidental world that shut-tight little island Kingdom, Japan, he did more than merely contact for our manufacturers a people who bought "Nifty Clothes," with two pair of pants. He gave us an insight into a world that was thoroughly organized and civilized long before Columbus discovered West where the East should have been. The Japanese learned much from the so-called civilized world, -but they taught us something we could never have learned from intercourse with any other nation. They gave our governmental forces of law and order a weapon that aided materially in the suppression of disorderly elements throughout our great cities. It took time, of course, to break down the prejudices that our early enforcement officers, in common with our then wild and wooly population, had against anything that was foreign. But when the great police forces of our largest metropolises realized that guns and billies alone would not be proof against big, burly lawbreakers, and that to instil respect in the hearts of "bruisers" they needed something other than armaments—pistols that could not be drawn fast enough,—they then discovered the wonder of Jiu-jitsu. They found that the wily little brown man depended on brain instead of brawn and that he had developed a Science and an Art that utilized another's strength to his own undoing. Strangely enough it was the layman who first appreciated the potential value of Jiu-jitsu. For many years before the Police Forces of our cities put a study of this Science into the training of every rookie policeman, there were physical culture experts in America who advocated the use of it by everyone who had any respect for physical prowess but who found the spirit more willing than the flesh. They showed that it needed no possession of unusual strength to overcome an opponent that depended entirely on his bulk and ferocious appearance to cow the meeker ones of the earth into submission. The Japanese, by the very fact of their small stature, are compelled to place more emphasis on strategy than on force. Thus they have thoroughly developed Jiu-jitsu and there is barely a saffron-hued tot in Japan that doesn't know something about the "Gentle-Art" as it is known. President Masaryk of Czechoslovakia, one of the world's greatest educators, who, together with millions of his enlightened and progressive countrymen, is a firm believer in "a strong mind in a strong body," sought to teach every schoolboy in his country some knowledge of the wisest of all physical sciences. While it does not itself develop and build muscle, it is an invaluable aid to the sensible use of the body. It is a form of wrestling that combines the cunning of the fox with the lithe grace and agility of the panther. It sharpens the brain and quickens the nerve centers. The man or woman who has self-respect must not sit by and permit our people to become a nation of spectators watching athletic specialists perform, while we become obese and ungainly applauders. Jiu-jitsu gives the man, woman and child, denied by nature a great frame, the opportunity to walk without fear, to resist successfully the bullies of their particular world, and the self-confidence which only a "well-armed" athlete can have. By its use, differences in weight, height and reach are practically wiped out, so that he who knows, may smilingly face superior odds and conquer.

Avoiding failure is something we learn at some later point in life. I’m sure a lot of it comes from our education system, which judges rigorously based on performance and punishes those who don’t do well. Another large share of it comes from overbearing or critical parents who don’t let their kids screw up on their own often enough, and instead punish them for trying anything new or not preordained. And then we have all the mass media that constantly expose us to stellar success after success, while not showing us the thousands of hours of dull practice and tedium that were required to achieve that success.

Exhibition, in all its forms, whether it’s in visual arts or science or humanities, is incredibly important to the cycle of the learning process. It’s one thing to be working in your sketchbook, another to do research from a prompt that your teacher gives you, another to struggle in the studio, and yet another to go through a critique. But the exhibition is really the final, and an extremely critical, bookend piece that students have to experience—where your work becomes public. It would almost be like rehearsing and never performing. To go through the process is really valuable and to be specific and transparent about what those skills are that go into creating an exhibition really matters. —Kathleen Marsh

There is a sense in wich we moderns are inudated with facts to the detriment of understanding. Onde of the reasons for this situation is that the very media we have mentioned are so designed as to make thinking seem unnecessary (though this is only an appearance). The packaging of intellectual positions and views is one of the most active enterprises of some of the best minds of our day. The viewer of television, the listener to radio, the reader of magazines, is presented with a whole complex of elements - all the way from ingenious rhetoric to carefully slected data and statistics - to make it easy for him to "make up his own mind" with the minimum of difficulty and effort. But the packaging is often done so effectively that the viewre, listener, or reader does not make up his own mind at all. Instead, he inserts a packaged opinion into his minde, somewhat like inserting a cassette into a cassette player. He then pushes a button and "plays back" the opinion whenever it seems appropriate to do so. He has performed acceptably without having to had to think.

The important point here is that music for the Greeks and the wider classical tradition was not so much understood as something performed, composed, practiced, or played; rather, music was interpreted as a mathematical discipline that sought to discover and formalize the symmetrical relations between sounds.6 It was an integral component to the mathematical disciplines that comprised the quadrivium: arithmetic, geometry, music, and astronomy. For the classical mind, arithmetic revealed “number in itself,” geometry revealed “number in space,” music revealed “number in time,” and astronomy revealed “number in space and time.” In this sense, music was an integral part of the Greek educational curriculum which functioned as a metaphor for this whole cosmic chain of interrelationships and harmonies. Indeed, Plato could say: “The whole choral art is also in our view the whole of education” (Laws, Bk II). The Greeks understood the nature of reality and its systems of relations in musical terms.

Racial socialization took place in schools and society, whether done explicitly or not. The prevalence of antiblackness in US popular culture and school content made it necessary to offer purposeful and humanizing perspectives on blackness to support the healthy development of black student identities. The learning aesthetic offered through Woodson’s program presented resources that supported the development of student identities that were historically grounded, aware of their oppression, and committed to imagining and building new possibilities for their collective futures. It was enacted discursively through curriculum development, materially through decorative educational resources produced for classrooms and schools, and affectively through performances and dramatizations during Negro History Week celebrations and classroom activities. This aesthetic presented new symbols of being and belonging that were distinct to black students, all of which offered explicit critiques of the master narrative about black life shaping their Jim Crow surroundings.

Influential educational school in Abu Dhabi: Reach British School Selecting schools that speak about the type of education you want to impart to your kid is an important decision. Like all other difficult decisions that parenthood brings with it, this one too cannot be decided based on one impulsive thought. School is an important part of any child's growth. They learn, they giggle, and grow into beautiful individuals. Thus, schools build them into responsible beings. However, finding the right school can be research-heavy and hectic. International education in the United Arab Emirates is not cheap, and this adds to an extra load of pressure on deciding parents. Yet, Abu Dhabi is known to host an excellent range of international schools that are somewhat budget-friendly. The British International School is one such example, they surely secure a place in the list of best schools in Abu Dhabi. Why choose Reach British School? Reading through different curriculums, and googling into millions of school websites is a part of this decision-making. You look for that spark, one that you look for in any relationship. Yes, choosing a school is the beginning of a life-long relationship, an important part of your child’s life. This article will push you towards decision making, as it lists the points on why you should choose Reach British School. The following reasons will convince you that it fits into the best schools in Abu Dhabi. English proficiency The staff is filled with native English-speaking teachers. Thus, they bring with them, years of experience in the language field and absolute English proficiency. Being native English speakers, they can showcase experience in the UK or other international schools. Excellent facilities Schooling is a part of a child's overall growth, and there is more to it than just academics. Being one of the best schools in Abu Dhabi, they support an exciting curriculum. It includes sports, arts, academic subjects, and a bunch of other extra-curricular activities. High Academic standards and behavioral expectations A child grows into a successful human being, who is also a responsible citizen. Thus, the school sets a strong focus on the academic depth and the behavioral patterns of the child. They ensure that your child reaches their fullest potential in a safe and secure environment. Student progress tracking You will get a chance to be deeply involved in your child's progress. The school will provide regular reports on your child's growth that will give you a fair idea about their needs, likes, and dislikes. Thus, you can take an active part in their academic progress, social and emotional well-being. Secondary scholarships The school funds a scholarship program to motivate students to achieve their dreams. The program attracts bright minds and pushes them to reach their potential in the fields they are passionate about. Amazing learning Not just the staff, but also the environment of the school will enable your child to go through an amazing learning experience. Your child will be motivated and encouraged to perform better as that is the base for amazing learning. Endnotes Reach British School wants to let your child shine, in the truest sense possible. Keeping the tag of being one of the best schools in Abu Dhabi, is difficult. Thus, they aspire to be better every day and sculpt new souls into responsible adults, while protecting their innocence and childhood.

The male sex is by nature and through our customs [von Natur und durch unsre Sitten] more skilled, to work a great deal, to take in experiences from a distance, to learn skills, arts, business or sciences; as a result to acquire needs [Bedürfnisse], to hold offices, and to be able to use his superior strength to care for the family. All of this, and in many religions it is a divine command, gives man the decisive rule [die entscheidende Herrschaft] in the family … On the other hand, a person of the other sex is the most skilled [am geschicktesten] to please man through her charm … She is under the rule, as a result she must know how to bear this; however, she has a part of the rule over children, tenants, and servants; she must therefore also possess the gifts and virtues of a domestic sovereign [häuslichen Regentin]. She must also understand every small family concern better than the man. Therefore it follows, that [in] the education of a daughter, the performance of all these duties which are in store for her must be made easier.

A Nation at Risk. The report’s unforgettable introduction artfully deployed the militant language of the Cold War in service of school reform: If an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might well have viewed it as an act of war. As it stands, we have allowed this to happen to ourselves.… We have, in effect, been committing an act of unthinking, unilateral educational disarmament.

THE ARTS The arts are about the qualities of human experiences. Through music, dance, visual arts, drama, and the rest, we give form to our feelings and thoughts about ourselves, and how we experience the world around us. Learning in and about the arts is essential to intellectual development. The arts illustrate the diversity of intelligence and provide practical ways of promoting it. The arts are among the most vivid expressions of human culture. To understand the experience of other cultures, we need to engage with their music, visual art, dance, and verbal and performing arts. Music and images, poems and plays are manifestations of some of our deepest talents and passions. Engaging with the arts of others is the most vibrant way of seeing and feeling the world as they do.

It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.

Avoiding failure is something we learn at some later point in life. I’m sure a lot of it comes from our education system, which judges rigorously based on performance and punishes those who don’t do well.

Avoiding failure is something we learn at some later point in life. I’m sure a lot of it comes from our education system, which judges rigorously based on performance and punishes those who don’t do well. Another large share of it comes from overbearing or critical parents who don’t let their kids screw up on their own often enough, and instead punish them for trying anything new or not preordained. And then we have all the mass media that constantly expose us to stellar success after success, while not showing us the thousands of hours of dull practice and tedium that were required to achieve that success. At some point, most of us reach a place where we’re afraid to fail, where we instinctively avoid failure and stick only to what is placed in front of us or only what we’re already good at. This confines us and stifles us. We can be truly successful only at something we’re willing to fail at. If we’re unwilling to fail, then we’re unwilling to succeed.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

Even today, only a small part of the total energies of the community go into education and expression: we sacrifice far more to the arts of destruction and extermination than to the arts of creation. But it is through the performance of creative acts, in art, in thought, in personal relationships, that the city can be identified as something more than a purely functional organization of factories and warehouses, barracks, courts, prisons, and control centers. The towers and domes of the historic city are reminders of that still unfulfilled promise.