Education: Keys to the Cellblock? Version 1.0

Part I: Artfully Done

Art allows for the kind of education that formal (classical?) schooling lacks. Art being capable of a mind-expanding project free from the constraints of the rigid conformity required to “pass” and “achieve”, the idea of “competition” becomes less equipped to fascinate and dominate the pupil, and monopolize his/her space for growth. True growth is not measured by an increased capacity for memorization and regurgitation. It could perhaps be well argued that it is quite impossible (if not futile and degenerative) for there to be a standard measuring stick for growth at all! Thus indeed the universalism of formal education obliterates the very individualism that, in Enlightenment ideology and its continued spoils, it proudly claims to uphold.

The child who cannot concentrate and “perform” within these structures is outcast by the system, society and her/his peers. Deemed “deviant”, “slow”, “stupid” or perhaps worse, “uncontrollable”, she/he may grow up believing that she/he does embody some or all of these things. Complacency from internalizing these fallacies may profoundly stunt the growth of the individual so that she/he actually becomes what society has labelled her/him. Fulfilling the prophesy of her/his scarlet letter.

The sort of education that is capable of such destruction (and I do not believe that I am over-dramatizing in the least) is more effective in alienation than in the purported assimilation (into the “real world”) that is the rationale for its existence.

I do not wish to discredit formal education systems completely. Indeed, the fact that I can sit here and write this, I owe much to my schooling. However, the fact that I can sit here and write this. I owe more to extra-curricular inquisitiveness and discovery of mostly “mainstream-subversive” literature, film, performance and visual art (sometimes there is a thin ridge between the mainstream and the great “rough” and often-uncharted ocean). Ideally there would be no reef at all and swimming far and wide would be an afternoon delight.

The arts require innovation, perhaps more than any other field. Or perhaps it is that the arts allow for great measures of unbridled creative thinking. Success in formal schooling (up to a point?) does not ask for nor necessarily nourish innovation. And if these are not sought elsewhere, the pupil may be destined to a life of intellectual subservience or, as is observed more frequently, megalomaniac perpetration of old (and plagiarised) or empty (and useless) ideas.

In effect, it may be argued then that the pupil her/himself must have an interest. But where do interests come from? Arguably, culture. The home environment. The community. The society. Exposure to life uncovers resonances and affinities; excitement and passion rise out of experience. And what constitutes this culture? Music, dance, drama, storytelling, images, poetry, film, spectacle (including installation), sport (which could be conceived as being a kind of performance art)…

The pupil is enriched and begins to realise the endlessness (temporal) and limitlessness (spatial) of possibility. In them is sparked a thirst for exploration, discovery, challenge and the kind of enlightenment (small ‘e’) that no curriculum alone can teach. The journey becomes a personal one, whose destination and itinerary are determined on a uniquely individual basis. This is what takes the idea of growth to a transcendental level.

And precisely because of the “anti-social”* nature of this task, many are intimidated to take it on (* in parentheses because it is activity that hegemonic society sees as adverse/antagonistic to its project of control through conformity, despite the fact that it is only very rarely malevolently anarchic). Those daring few are discouraged from the outset and from every level and angle. Fittingly with society’s ideological perspectives, economic reward or even basic subsistence is difficult to come by for these betrayers of the holy social grail (ironically, it is often a mark of financial success and high status to indulge in consumption, observation and patronage of the arts). Hopefully these setbacks will “reform” the deviants and re-assimilate them back into the mainstream working world. “Less innovation!” preaches The Manager up in his panopticon-like tower.


It would do us the opposite of harm to rethink the merits of (and carefully-contrived intentions behind) sticking to the “straight-and-narrow”.

Now is always the time to (a part of me wanted to say “rebel”)… express

© Lulu Kitololo