Ask the Question First I initially ask the question, “How do people learn in the arts?” I believe that the root of the answer lies with Susan Langer’s idea that “our existence is primarily sensory.” As an artist and teacher, I begin by breaking down the rudiments of perception specific to a discipline. For example, to start composing I re-examine listening at a fundamental level, identifying elements of sound as well as the mechanics that give rise to the perception. Make the Connection The next logical step is to begin to investigate the mechanics of creating these elements. I can begin by relying on traditional practice and conventions. The beauty of art is that everybody can do the beginning stages of practice at a fundamental level. Everyone can draw shapes, plunk notes, or move their bodies. The key is making the first connection between perception, technique and idea. Once this connection is made, you keep building – getting more complex and more sophisticated. Success and Sophistication A product of growing complexity and sophistication is an expansion of vocabulary. This takes on forms of technique as well as idea. Developing enough vocabulary gives the artist choices and choosing is where creativity is exercised. How we synthesize our vocabulary is infinite, how we make choices is our own creativity. Each time complexity and sophistication are added and achieved, the learning is propelled. Success propels learning. It is the teacher’s job to call attention to the features that make something work and provide enough prompts to keep the process going. Forms and Multi/interdisciplinary Connection Sophistication can take many forms, in both idea and technique. A large leap in sophistication occurs when one is creating art as part of a group. This forces the student to simultaneously perceive their own and others’ work, and most importantly how these produce the sum of performance. While barely out of primary school, a music teacher gave me a simple but powerful tool. He said, “If you can’t hear those nearest you, you are probably playing too loud.” He was right. Learning to listen, to watch, to perceive and respond to others is the key to interdisciplinary collaboration. Creating art in a multidisciplinary setting generates a cross-fertilization of ideas that inform one another in more profound ways than any single discipline would achieve. As idea, technique, and artistic maturity increase, audience can be introduced. Now the artist and the group have another level of sophistication and responsibility: making clear and focusing the elements for those “looking in” and engaging them in the art. Starting Over Described by the Zen idea of “beginner’s mind,” and by the Chinese idea of RAW- RIPE-RAW, I feel that is important to always follow a simple path of learning and teaching: Deeply understand the basic sensory elements of an art, make the connection between these elements, technique and idea, and then, with others and for others, re-examine the work completed…when you think you’ve “got it,” …START OVER. By starting over each time, ego stays in check and hidden or accidental elements of the art are not overlooked because we are “experts”…we can return fresh each time we learn and teach, In my view this is the way to never lose track of our primarily sensory existence: art reveals this better than anything I know.
Philosophy for Teaching in the Arts
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