Tag Archives: education

Pau Casals and JF Kennedy

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13 November 1961 Dinner in honor of Governor Luis Muñoz Marín of Puerto Rico Please Credit Cecil Stoughton. White House Photographs. John F. Kennedy Presidential Library and Museum, Boston.

Two roads diverged into a bush, and I
I chose the one less travelled by
and that has made all the difference

(Robert Frost, The road not taken, 1916)

The depth yet gentle touch of Frost’s words of wisdom, were mentioned by President John F. Kennedy in his famous speech at Amherst College upon receiving an honorary degree, 26 October 1963. Furthermore, the very same lines could as well be applied to extraordinary musician and social activist Mr Pau Casals, who put into practice throughout his life and artistic work, the philosophical concepts shared both by Frost and President Kennedy.

Indeed, Pau Casals was born in 1876 from a very poor and large family: 11 children of whom only 3 survived, being him one of them. Casals’s passion for music was most probably influenced by his father, who was an organist playing in the local church.

Even though Pau showed an incredible talent and musical ear since his early years, the economic restrictions of his family though, restrain him from approaching the world of music. While contributing to his family wealth by playing the Cello in some cafes of Barcelona, he bumped into the well known pianist and composer, Isaac Albeni, who decided to introduce him to his then friend, Queen Maria Cristina.

The lucky event changed the life of Casals and his family forever, since the Queen provided them all with financial help, and education, and stability.

While attending his studies in Brussels, Pau demonstrated great dignity and character, even when he lost all his financial fortune, by taking a stand against a disrespectful teacher. Although it seemed a brave gesture, the Queen did not approved, and Pau Casals fell into misery again. Years later, thanks to his stubborness, he reached his success in Paris, where he played among prestigious musicians and composers. Pau Casals funded the “Asociación obrera de conciertos” to provide the poor people with the opportunity to attend concerts and listen to the greatest musicians of the world. Music, in his opinion, was a form of art and as such it had to be accessible to everyone. Casals believed in the value of peace, and in 1939, due to the Spanish dictatorship, he began his exile and his long silence of protest and indignation. After some sporadic appearances in concert in the following years, with the end of the Second World War, Casals’ opposition to the Franco regime intensified to the point of pushing him to suspend his activity as a musician in protest. He exhausted his financial savings by hosting and lending money to refugees. Music became his language of protest, accompanied by the young Marta Montañez, and in 1961 he was invited by President Kennedy to play at the White House, in exchange for 30 minutes of private confrontation.

The two men had so much in common, although their role in life were so different. 

Quoting a President Kennedy’s remarks at Amherst College:

“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society–in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation.”

One of his latest compositions was the United Nations Anthem, commissioned by Secretary U Thant and directed by him for his New York debut in October 1972. On that same occasion he was awarded the UN Peace Medal. He died in Puerto Rico, far from his wife Marta and far from his beloved Catalan land in Spain, and without having seen the end of the Franco dictatorship, which he had so much opposed in life.

Elena Arzani

Resources:

Make This World Worthy of Its Children: Legendary Cellist Pau Casals on JFK, Violence, the Proper Aim of Education, and the Measure of Our Humanity

https://www.jfklibrary.org/learn/about-jfk/historic-speeches/remarks-at-amherst-college-on-the-arts?fbclid=IwAR1svDiIjhW9BKuskdk7y9EoNTOUQ9t1Af6O54gJCDoKIIKFPxPrbqhQncQ

Algorave

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In 2011 the duo Alex McLean of Slub and Nick Collins delivered the first “live coding” music festival, that became known by the new coined word “algorave” (from an algorithm and rave). The event was the first of its kind in London, UK, and in a way it was a technological evolution of the Rave subculture, during which people danced to music generated from algorithms. Djs projected their computer screens and used lived coding techniques, so that the audience could dance, while watching the code being manipulated.

What was this exactly, a performing art or an evolution of technological music making?

Alex McLean is the creator of Tidal Cycles, the main program live coders use to make music. Djs report that the focus was on people enjoying dancing and listening to the music, however, it takes a software engineering knowledge to type the code, while the audience isn’t required to understand what is displayed on screen.

Is there something missing here? Are we heading toward a misinterpretation of the language of music itself or, on the contrary, this could be seen as a natural consequence of a more digitalized approach to our daily life, that is slowly shaping the culture of tomorrow?

The English musician, Brian Eno, who is world-wide renewed for his pioneering contribution to music, and self-describes himself as a “non-musician”, in 1970 established a randomized approach to musical practice, which was rather conceptual and involved generating electronic dance music with algorithms. Eno influenced the techno culture of the ‘90s, which evolved and turned into a political protest, when the Government prohibited raves describing them as gatherings where music, (defined as a succession of repetitive beats) is played. The Anti EP, and more precisely the track “flutter”, was, therefore, a protest against the Criminal Justice and Public Order Act 1994.

Hence, in the same year, two designers at Microsoft contacted Brian Eno, asking to compose music for the Windows 95 project. Mark Malamud and Erik Gavriluk commissioned Eno the “The Microsoft Sound”, that had to be 3 1⁄4 seconds long, and as they said, in an interview with Joel Selvin in the San Francisco Chronicle: “a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional”.

When comparing the Algorave to a more traditional culture of popular music, many are the elements that seem to be left out from the artistic production. No education of instrument play is required, as well as a previous knowledge of music composition. Still, this conceptual approach to music making embraces contemporary culture.

“Do you think that media-rich technology is the answer for music education, whether in a curricular sense or in self-directed, informal learning? Or do you think that technology is developing so fast that we should be more conservative in our uptake of it – and even then, what technology do you think is worth investing in, if any?

In 2017 an article published on the British journal “The Guardian” titles: ‘We could build something revolutionary’: how tech set underground music free. 

A provocative reflection may then consider the cultural role played by Institutes such as the Afghanistan National Institute of Music in Kabul, as opposed to Computers Companies. Furthermore, the very same performances of both Afghanistan National Institute of Music and the Algorave Festival may be considered as two forms of social action, using the language of music to pursue freedom.

As Director of A.N.I.M., Ahmad Sarmas, says in his interview with Sydney University Dr. James Humberstone: “without cultural diversity, we shouldn’t say that all right, we’re building a civil society. What kind of civil society are we building if an Afghan child or an Afghan will be deprived of learning Western classical music or playing jazz or not being allowed to learn its own musical culture. Or not being allowed or unable to get engaged in cultural dialogue to any means that can be understandable to the wider community.”

What are the opportunities and perils of artist devoting their work intentionally to a humanitarian cause, for instance, or to addressing political oppression in the context of the wider education?

Hence, Francis Xavier, founder member of the Motorik record label, when interviewed by Dr Humberstone, said he didn’t get influenced by a guitar first, instead he was intrigued by the engineering side of the musical composition, being a reader of UK Magazine Music Technology. Francis was also influenced by “synthetic drums and synthetic machines, and just the creation of noises to make a pop song” underling how there is an EQ component, when learning music, and that the language must resonates with oneself, in order to be engaging and attract the student’s interest. He also pointed out how the role of a Dj is often misinterpreted, leading to the wrong assumption that the person qualifies only in changing songs for the audience.

And then again, as Lecturer of Sydney Conservatorium of Music and Western Sydney University andmusic educator Dr. Wendy Brooks quiet rightly pinpointed in her PhD study, there is a wrong age associated with the initial use of technologies, that is internationally agreed. So, how can we “free” music of whatever genre, if we are constrained by a wise use of media technology? Moreover, how may traditional studies for composition equally coexist with a conceptual improvisation within academic institutes?

In Francis Xavier’s opinion, “to disregard electronic music, to do that would be quite a sin, because it’s so, you could use a technology to be more immediate, and you want people to just grab hold of it straight away, and have interest. And I think that’s where music should head, I mean, I think teachers should be more open to the current use of technology to teach people in music.”

As long as music is performed and conduits the transmission of social values, I guess both “languages” can be presented as 2 faces, that complete each-other by tracing a solid fil-rouge between cultural heritage and innovation. And perhaps the notion that, the act of imagining a different reality is the precursor of positive social change.

Elena Arzani

Sources:

https://www.dazeddigital.com/artsandculture/article/16150/1/what-on-earth-is-livecoding

https://www.theguardian.com/music/2017/nov/22/we-could-build-something-revolutionary-how-tech-set-underground-music-free

https://www.legislation.gov.uk/ukpga/1994/33/part/V/crossheading/powers-in-relation-to-raves

https://www.theguardian.com/music/2017/nov/30/is-algorave-the-future-of-dance-music-sheffield-algomech-festival

What if Dewey met the Pink Floyd?

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As Dewey states in his discussion of Art as Experience, “When an art product once attains classic status, it somehow becomes isolated from the human conditions under which it was brought into being and from the human consequences it engenders in actual life-experience.”

It seems that Dewey’s reflection would consider the “erosion” of time in regards to any art product as an agent that corrodes the subject, taking away any emotions, even the memory of it. If this is the case, I would argue that these conditions do not apply, when taking, for instance, about music. During my childhood, I was unable to speak English, although I nurtured a strong passion for the British band Pink Floyd. I spent hours listening to their songs, pervaded by the emotions triggered off by the sounds. Later on, in my twenties, I learnt the English language and by doing that I also gained the chance to understand the Pink Floyd’s lyrics. Funnily enough, I soon discovered how the words were needless somehow, as the music succeeded in sharing their meanings, to the point in which they became a sort of confirmation of the emotions I felt back then.

Dewey’s pointed out that the the aesthetic experience is the interaction of the human being with the environment, a relationship between participants. I would therefore consider the act of listening to the Pink Floyd’s music as a perfect example of aesthetic experience in which more than one person interacts, creating a unity that is essential for the consumption of intellectual, emotional, and somehow “physical” event.

 Nowadays those songs are considered “classics” of the ‘70s, but no one would ever imagine describing them as “isolated from the human conditions under which – they – were brought into being”. On the contrary, the very human experience that suggested their composition has achieved a form of “universal status”, as many people can emotionally rely to their contents and feelings. Therefore, I would conclude that perhaps an art form becoming a classic, might look like a mosquito trapped in amber, in terms that it is indeed isolated from the creator’s feelings, but that is only a consequence of a “magnifying lens” that brings those emotions into a higher status of aesthetic and “universal life-experience”.

Elena Arzani

Kamaroi Rudolf Steiner School and The Waldorf method of teaching

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Waldorf education, also known as Steiner education, is based on the educational philosophy of Rudolf Steiner, the founder of Anthroposophy. Its pedagogy strives to develop pupils’ intellectual, artistic, and practical skills in an integrated and holistic manner. The Waldorf method of teaching is a unique educational strategy which aims to create well-rounded students through a broad curriculum, including academics, art and music education, physical education, and emotional and social education. There are no grades given in a Waldorf elementary school. The aim of Waldorf schooling is to educate the whole child, “head, heart and hands”. The curriculum is as broad as time will allow, and balances academics subjects with artistic and practical activities. The Steiner Education Approach developed a spiritual movement that he called anthroposophy, which is based on the idea that a child’s moral, spiritual and creative sides need as much attention as their intellect. As far as education goes, he strongly believed in the idea of developing the whole person.

At Kamaroi school, The arts are integrated into all learning in the Steiner philosophy and learning is fundamentally student-centered and experiential. One is reminded of the philosopher John Dewey’s thinking, also from the first half of the 20th century. As early as 1902, Dewey wrote, subject matter never can be got into the child from without. Learning is active, it involves the reaching out of the mind. It involves organic assimilation starting from within. Literally, we must take our stand with the child and our departure from him.

Kamaroi uses music in every lesson and has a totally different approach toward the use of technology.

The curriculum itself is a flexible set of pedagogical guidelines, founded on Steiner’s principles that take account of the whole child. It gives equal attention to the physical, emotional, intellectual, cultural and spiritual needs of each pupil and is designed to work in harmony with the different phases of the child’s development. The core subjects of the curriculum are taught in thematic blocks and all lessons include a balance of artistic, practical and intellectual content. Whole class, mixed ability teaching is the norm.

A modern reinterpretation of Steiner pedagogy really fitting into the 21st Century, focus in that the skills of the 21st Century are all about empathy, inventiveness, connection, storytelling. These are the skills that can’t be automated or outsourced easily. So, for children going into this unknown future, to possess those skills enable flexibility in options, and really the ability to contribute in a meaningful way to the future society.

Steiner education has proved itself adaptable. More than 80 years after the first Steiner school was started in central Europe, this education continues to inspire people from all walks of life and in all parts of the world. Steiner schools have a reputation for producing well-rounded and balanced human beings who are able to cope with the demands of a fast-changing and uncertain world. Steiner graduates are highly sought-after in further education and work place for their unjaded interest in the world and their resourcefulness.

The Benefits of Waldorf Education

  • Children enjoy an unhurried childhood. … 
  • Learning is hands-on and age-appropriate. … 
  • In-depth study enriches learning experiences. … 
  • Students learn how to take an active role in their own education. … 
  • Waldorf schools produce well-rounded individuals.

Rudolf Steiner (1861 – 1925) was an innovative academic born in Austria whose ideas founded the basis of Anthroposophy. He applied his ideas to education as well as agriculture, medicine, architecture and social reform. There are relevant analogies between the pedagogical approach of Friedrich Froebel, Maria Montessori, and Rudolf Steiner. These continue to influence the way in which contemporary pedagogy is shaped.

While both Montessori and Waldorf schools believe children need a connection to the environment, they are different in that Montessori focuses on real-life experiences and Waldorf emphasizes the child’s imagination and fantasy. Waldorf schools were founded by Rudolf Steiner, an Austrian scientist and philosopher. But the two philosophies interpret it in quite different ways: the Montessori classroom emphasizes reality, to free a child from his fantasies. The Steiner classroom enhances the child’s world of fantasy and imagination to stimulate the child’s play.

Principals of Steiner education…

  • Works for all children irrespective of academic ability, class, ethnicity or religion;
  • Takes account of the needs of the whole child – academic, physical, emotional and spiritual;
  • Is based on an understanding of the relevance of the different phases of child development;
  • Develops a love of learning and an enthusiasm for school;
  • Sees artistic activity and the development of the imagination as integral to learning;
  • Is tried and tested and is part of state funded, mainstream provision in most European countries;
  • Is respected worldwide for its ability to produce very able young people who have a strong sense of self and diverse capacities that enable them to become socially and economically responsible citizens.

Currently, the V&A plans to transform the Museum of Childhood in Bethnal Green in London into a world leading museum of design and creativity for children, families and young people.

Distance Learning from Waldorf perspectives at times of Covid19

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https://www.steinerwaldorf.org/roots-and-renewal-national-conference-review/

Among the resources on Rudolf Steiner’s theory and the Waldorf method, I found particularly interesting the article dealing with the present implications of the Covid19 spread, written by Martyn Rawson. The article clearly shows how Steiner’s education can still be relevant in the 21th Century.

Beginning with an analysis of the meaning of learning, that the writer describes as a process in which both the physical body and the spiritual one are engaged in the process of establishing relationship to self, others, and the world,  Rawson considers the implication of a learning journey from the Waldorf perspective. Major points underline the emotional aspects of the student’s wellbeing when attending and participating in a lesson, those also involve a fruitful collaboration among the group of peers. At times of Covid19 the daily routine is forced to be adapted to online tuitions, where empathy and a sense of unity can be strongly affected. Therefore, the Waldorf method suggests a rhythmic approach, that involves a multitude of online activities between student and teacher, as well as between the classroom of alumni. Physical exercise is recommended together with artistic activities such as singing, reciting a poem, and so on. The timetable follows a daily schedule.
Teachers should structure the lesson in a flexible way, giving the student a chance to align with the learning offer, following both an authentic interest in the subject, and a good level of physical energy. Clear information on marking criteria, guidelines, a list of useful and not expensive materials, should be provided.

Rawson concludes: “Obviously online learning and homeschooling are missing key elements such as learning from someone – the teachers, learning through being in a learning group, rich direct experience and being attuned to learning. Nevertheless, it will support the learning under these special conditions if teachers remember the basic principles of Waldorf learning.”

Elena Arzani

Link to video: https://youtu.be/Bw4Rt9gU5tg

Resources:

https://www.waldorf-resources.org/articles/display/archive/2020/05/04/article/distance-learning-from…

EA versus AE

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“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music.”

― Albert Einstein

When Albert Einstein expressed those lines, he was totally unaware that many years later, someone born with the same capital letters, would have reflect not only his name, but also his attitude towards life and knowledge, just like a mirror. Indeed, if I were not a creative mind, most probably I’d be a physician inspired by the ancient knowledge and wisdom of the Greek world…

Hello everyone, I am Elena Arzani, your Captain on this cultural journey, and I welcome you onboard!

I am an Italian multiPod creative person, Fellow of the Higher Education Academy, and Master of Arts in Design Studies, with a PgCert in Academic Practice in Arts, Design, and Communication. I attended the MA in Design Studies at Central St. Martin’s College of Arts and Design, and I’ve been  practicing internationally as Art Director, Photographer and Editor, for over 25 years. More recently I have become Associate Lecturer at University of the Arts London, collaborating with the Master course in Culture, Criticism, and Curation at CSM, and the Master in Graphic Branding and Identity at LCC, London.

After having made a few intervention in several academic courses, embedding the study of music culture within in the UAL course curricula. I was meant to become a PhD researcher this year, further developing my academic inquiry on sound landscapes in Academic Institutes, but plans have gone astray due to the pandemic. I am presently looking for financial support, investors and partners, that may hopefully allow me to pursue my objectives in 2021.

My background in strongly informed by creative communications, new media and contemporary arts, the industry of fashion, publishing houses, music and advertising. In the past I developed a pioneering project on Art in (health) Therapy combined with new technologies. This continues to be a great interest of mine. I publish on exhibitions of modern and contemporary arts, cinema, book and music reviews, and I interview people from the star system.  I am currently working on a book on contemporary photography, while completing my research project in Musicology.

Elena Arzani