My venue was ideal. Set at one end of a small performance hall, there was a new Yamaha grand piano, similar to the one shown here. There were plenty of chairs, but no actual people listening. There was a nice view of trees and the rest of UNMB outside the fourth-floor windows.
On the wall was a poster advertising the George Enescu annual international music festival. As one of the world’s best modern composers, Enescu was also an outstanding violinist, pianist, and conductor. The poster displayed his image looking directly at my seat at the piano.
I decided to start with Beethoven’s Sonata No. 31 in A♭, Opus 110. I’ve been working on this one for a long time. It’s very challenging for me, although there are moments when I can play it well enough to get lost in the beauty of the music.
Universitatea Națională de Muzică din București
When I started I couldn’t help but notice Enescu’s stare. According to Wikipedia/Vincent d’Indy, if Beethoven’s works were destroyed, Enescu could reconstruct them all from memory. Would he approve of my feeble efforts? Was it an insult to his memory to be playing that beautiful sonata in front of him?
As I began to play, these thoughts disturbed me. Then I heard Enescu say, “why are you paying attention to me? You should focus on Beethoven, even more on this particular piece.” I turned back to the music, but other thoughts interfered. The score was backlit by the sunlight through the windows; the bench didn’t seem to be adjusted right; I wondered whether I should have had coffee first. Enescu spoke up again: “Yes it’s a wonderful spring day in Bucharest, but you want to play this sonata. Forget the light, the bench, the coffee. Leave it behind and feel the music.”
I knew that he knew I was missing notes, stretching the rhythm, and phrasing in ways Beethoven never imagined. It must have pained his musical ear, if not his musical soul. But he knew, as I’m beginning to learn, that with practice those things can improve. What mattered was to bring my full attention to the music.
I plodded along, trying to ignore all the distractions. Then it happened.
Maybe it was because I realized this was just between Beethoven, Enescu, and me. No one else was there. The wonderful venue didn’t matter. And Enescu had made it clear he wasn’t relevant either. For the first time, I really began to hear the music. I played the entire sonata beginning to end. Forget the fact that my tempo was about a third of Enescu’s and that the list of “areas for improvement” would be longer than War and Peace.
Enescu helped me, just for a moment, to go from struggling to experiencing. I think of his lifelong passion of music, and what it must have meant to him to feel that kind of loss of self and immersion in music as he both traversed and added to the repertoire.
We don’t have any further performances scheduled at the Conservatory on this trip. I’m sorry if you missed it!
The video clip (1978) is of Enescu’s Romanian Rhapsody N° 1 Op 11, with Sergiu Celibidache conducting the Bucharest George Enescu Philharmonic Orchestra at the Romanian Athenaeum.
to have a better Romania, the governance must be closer to the citizens and their needs. And because “all politics is local”, we need empowered citizens and strong NGOs to get involved, to get mobilized, to write petitions, to participate at public meetings, to contribute to the policy making or even to protest in the streets.
I was fortunate to meet on Tuesday with CeRe staff and to see some of their community projects in action. CeRe employs an interesting and highly effective community organizing methodology. Although it is based on the specific situations of Bucharest today, its work is a model for community action anywhere.
Favorit Cinema
A relatively small project, but one that makes a big difference in people’s lives, illustrates CeRe’s process well. Portions of a neighborhood were separated by a dangerous alleyway, with broken pavement, trash, poor lighting, and unpredictable traffic. Children had to traverse this to get to school.
In an initial phase, community organizers from CeRe went door-to-door in the neighborhood. Some citizens identified one or more problems in addition to the alley, others none at all. A consensus emerged that repair of the alley was a high priority that appeared amenable to solution.
Citizens organized to specify the problem, to propose concrete solutions, and pressure city officials for action. CeRe advised and facilitated, but was deliberately not the primary actor. The goal was to address the immediate problem, but more importantly, to nurture long-term participation in civic processes.
Playground 1
Eventually, the alley was cleaned and paved. Bollards were installed to restrict traffic, lighting was added, and what turned out to be a final obstacle, two trash bins were added. You can see the alley as it exists today in the photo. It’s a safe place to play or to move between sections of the neighborhood.
In another project, citizens designated Favorit, an abandoned cinema, as a blighted site that could become a neighborhood cultural center. They have secured the abandoned building and devised plans for redevelopment. The local council has allocated money for the center and is working with the neighborhood to make it a reality. In this case, the cultural center is still a vision, one that requires continued discussion within the community and with officials to specify its shape and goals.
Playground 2
One of the most impressive projects I saw was a playground, which obviously meets major needs for people of all ages. Citizen action demonstrated both those needs and how a broken down park could be used. Young people marked equipment there with green ribbons for good condition, yellow for needs repair, and red for needs disposal.
The community managed to get city officials to visit the site in person. Children played a role: They jumped up and down, creating dust, thus making evident the need for a cleaner, safer playground surface.
Inquiry cycle
CeRe has come to recognize that learning is a key aspect of what they do. Although they didn’t conceive it as inquiry-based learning, they (and I) now consider it to be an excellent example of that. The process involves the initial ask (a cere) by the door knockers and then the citizens, the investigation of the community issues (a investiga), the creation of potential solutions (a crea), discussions in the community and with city officials (a discuta), and reflection on the results and the process (a reflectă).
The process isn’t linear, and often entails stepping back, moving sideways, or redirecting energies to achieve the goals. Along the way, citizens learn not only about the specific problem, but also about working together, listening to each other, making decisions together, being a team, compromising, negotiating, discussing issues productively, and understanding the laws and municipal government.
It was nearly two centuries ago (1830) that Frédéric Chopin came to Paris. There, he met Franz Liszt and other musicians; he also began his famous relationship with George Sand.
In Paris, he discovered the Pleyel piano, his lifetime favorite, and performed his first and last concerts at Salle Pleyel, which remains a major, active concert hall.
Chopin’s waltz on a Pleyel
It’s beyond presumptuous to put myself in that tradition, but still, there’s something very pleasant about playing one of Chopin’s a minor waltzes on a Pleyel in Paris. The piano is new; it’s so shiny that you can see the reflection of the Père Lachaise cemetery (where both Chopin and Pleyel are buried) from across the street.
This apartment has a good collection of Chopin, Bach, Debussy, and other classical composers. There’s a late 19C edition of Beethoven’s Sonatas, as well as Monty Python, Frank Sinatra, and Jacques Brel. There’s even a guest book, specifically for musicians, which was provided by a previous guest in the apartment.
In 1971, I was fortunate to see an excellent play at Wyndham’s Theatre in London. It was Abelard and Heloise, by Ronald Millar. Keith Mitchell and Diana Rigg(!) had the title roles. The play was moving and the acting was superb. I can still visualize scenes, not so much from the stage setting, which was fine, but because the story caught my imagination.
Under the pretext of study we spent our hours in the happiness of love, and learning held out to us the secret opportunities that our passion craved. Our speech was more of love than of the books which lay open before us; our kisses far outnumbered our reasoned words. –Abélard
Over the years I would read whatever I could find by or about Héloïse d’Argenteuil and Peter Abélard, including biographies, fictionalized accounts, children’s stories, poetry, song, and of course the letters themselves. I saw several movie versions, some better than others. I began to learn how the story had inspired copies, re-mediations, satires, and endless allusions in a wide variety of artforms.
Père Lachaise Cemetery from apartment
Héloïse had seen this coming, with her own perceptive reflections on pictures, letters, talk, and physical presence. For example,
If a picture, which is but a mute representation of an object, can give such pleasure, what cannot letters inspire? They have souls; they can speak; they have in them all that force which expresses the transports of the heart; they have all the fire of our passions, they can raise them as much as if the persons themselves were present; they have all the tenderness and the delicacy of speech, and sometimes even a boldness of expression beyond it. –Héloïse
My obsession with the topic became worse in 2004, when we lived not far from Notre-Dame de Paris, where Abélard had studied and taught. I found an English translation of Régine Pernoud’s book in a used book store. Pernoud lists Héloïse first, which makes sense. Abélard was a great orator and writer, one we might revere even more if most of his works hadn’t been destroyed for his heresies. Yet, Héloïse (a great scholar herself) is the one who makes their story come alive, whether you interpret it as a love story, a theological debate, an example of 12th C patriarchy, or an invention of later writers. His letters are fascinating to read, but hers leap to the heights of the written art, even in translation from the original Latin.
One thing that comes through in every retelling is the tragedy of it all. There is of course the castration and the subsequent separation of Héloïse and Abélard. But there is also the tangible agony of struggles between possibility and reality, spirituality and desire, trust and betrayal. Their love always entailed suffering with happy moments that became recollections before they were fully realized. Even their son Astrolabe appears as a shadow of a world they imagined, but never had.
Monument to Abelard & Héloïse
Later, when their connection was only through letters, Héloïse seeks a way to share the loss, to find meaning in the emptiness:
Let me have a faithful account of all that concerns you; I would know everything, be it ever so unfortunate. Perhaps by mingling my sighs with yours I may make your sufferings less, for it is said that all sorrows divided are made lighter. –Héloïse
You can read one version of this in Alexander Pope’s poem, Eloisa to Abelard. Eloisa is in anguish over her powerful feelings for Abélard, especially as manifested in her dreams:
Black Melancholy sits, and round her throws A death-like silence, and a dread repose: Her gloomy presence saddens all the scene, Shades ev’ry flow’r, and darkens ev’ry green, Deepens the murmur of the falling floods, And breathes a browner horror on the woods.
She realizes that Abélard, now as a eunuch who is free from the “contagion of carnal impurity” cannot return her feelings even if he wants to. And so she begs, not for forgiveness, but for forgetfulness.
How happy is the blameless vestal’s lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each pray’r accepted, and each wish resign’d;
Today, one can walk near Père Lachaise cemetery on rue Pierre-Bayle. Bayle was a 17C philosopher. Where Abélard committed the heresy of seeing reason as a path to faith, Bayle advocated a separation between the spheres of faith and reason. He wrote about Héloïse and Abélard in his Historical and Critical Dictionary, a forerunner of the encyclopedias. One can also walk on the rue du Repos, which, were it not for the cemetery wall, would lead directly to where they lie in “repose” at their monument.
Héloïse d’Argenteuil
Cynics will point out that the monument was placed there in 1817 simply as a marketing ploy to convince Parisians to be buried among the famous; that the bones of the famous lovers are probably at the Oratory of the Paraclete, or the church of Nogent-sur-Seine, or most likely, just lost; that their love, if it existed at all, was no more than an expression of medieval structures of religious oppression, patriarchy, abuse of position, class, and power; and that the famous letters themselves were a literary concoction made long after the actual events.
Abélard would disdain these worldly concerns, and urge the cynics, along with Héloïse to
Strive now to unite in yourself all the virtues of these different examples. Have the purity of virgins, the austerity of anchorites, the zeal of pastors and bishops, and the constancy of martyrs.
But Héloïse would know that “the truth is more important than the facts.” She’d recognize that the Père Lachaise monument shows their eternal love, which endured politics, religion, castration, and even Abélard’s pomposity and coldness. She’d also see that just like Keats’s youth, they can never touch, so encased in granite, their suffering also endures forever.
The Social Frontier was a radical journal, which saw the school as an agent of social change. It was published at Teachers College for six years, starting in 1934. After that it was sponsored by the Progressive Education Association and changed its title to Frontiers of Democracy. The final issue was published in 1943.
The writers and editors for Social Frontier / Frontiers of Democracy (SF/FD) were dedicated to creating a more open society, one in which democratic participation was not simply a slogan, but a living reality. That meant expanding educational opportunities, increasing access, developing critical, socially-engaged citizens (where “citizen” means any resident), and involving all in what Dewey called the process of authority.
I’m sure the SF/FD writers would be pleased to know that the Teachers College Record and the Gottesman Libraries are “re-releasing the journal both because of its historical importance and because of its continued relevance to educators today.” The collection has been digitized and presented on a well-designed web page.
SF/FD writers would applaud the recognition of its continuing value. They would quickly understand the web as a new means for increasing access and accomplishing more of the democratic mission that they had undertaken. They would envision that teachers, parents, administrators, politicians, and the ordinary citizen as well, would certainly have some means for convenient access.
Along with that they would of course recognize the need to recover costs and to value the labor required to publish and distribute texts. But it’s hard to imagine that they would be pleased to know that the very journal they had established “to lead educators in the building of an enlightened America” (Harold Rugg) is effectively off limits to most of the people they hoped to reach, despite the new technological affordances.
How many individuals will choose to subscribe to TCRecord simply in order to access SF/FD? Even people at other universities willing to pay the appropriate costs, and current subscribers to TCRecord, are excluded since the institutional subscription does not include SF/FD.In the midst of information overload, the apparently modest terms can be off-putting: “The introductory rate of $20 is available for a limited time…Your membership will automatically renew every 365 days…No refunds are offered for early cancellation.” I suspect that at best many will decide to look at the print version if and when it’s available to them, and resign themselves to being unable to share any findings more widely with the very audience that the journal envisions.
Rugg’s books and the progressive education movement in general suffered from rightwing attacks through the late 1930’s into the McCarthy era. Today the movement suffers more from indifference and a lack of understanding of the issues involved. A paywall for a relatively obscure journal that ceased publication over 70 years ago does little to help. I assume that TC or TCRecord has full copyright, but it’s worth noting that the journal was sponsored for half its life by the Progressive Education Association (as Frontiers of Democracy), and as such only in part by TC.
In the final issue, Rugg says, “Our treasured American way of life is in great danger, not only from menacing fascists and false patrioteers, but primarily because our people, standing baffled and bewildered on the threshold of abundance are unable to bring about such a life.” Much the same could be said today; it’s a pity that the opportunity to further dialogue on these issues has been lost. As too often happens, a good project with a noble purpose undermines its own agenda, for apparently petty reasons.
Temple Bar is an area with narrow, cobbled streets on the south bank of the Liffey in central Dublin. It’s famous the world over for its lively nightlife, but that’s not high on my list of reasons to visit it. There are better places in Dublin to experience Irish food and music, ones where you’re more likely to encounter people who actually live in Ireland. However, the area does offer much that’s special, such as the Irish Film Institute.
One that we just discovered is The Icon Walk, a project of The Icon Factory. It’s located just off Fleet Street, along Aston Place, Bedford Lane, and Price’s Lane. Local artists have transformed the lanes into an open air gallery of Irish culture. It’s recently been awarded approval as a UNESCO City of Literature site.
Someone described the Walk as a twenty minute activity, but it deserves more than that. There’s a great collection of photographs, drawings, paintings accompanying sayings of famous writers and artists, descriptions of moments in the history of sports, movies, fashion, and more.
Arriving at the Playwrights section, we read,
Around 1610, Shakespeare wrote the “The Tempest” and retired to Stratford on Avon where he died in 1613. Queen Elizabeth I having completed the conquest of Ireland was dead. The last of the great leaders, O’Neill and O’Donnell were gone to Spain and Ulster planted with Crown subjects.
Between 1613 and the War Of independence in 1922, which won back self rule for most of Ireland, no play of real merit was written in the English language by anyone other than by an Irish-born writer.
The selected icons–Samuel Beckett, Brendan Behan, Sean O’Casey, George Bernard Shaw, John Millington Synge, and Oscar Wilde–won’t be enough to convince everyone of that claim, but their collective oeuvre is amazing.
Along the walk, you can see many great images produced by a wide variety of artists. A few of those are on the website, but the majority are visible only on the walk itself. They’re best seen that way, in any case, in the context of the other artworks and Temple Bar itself.
One of the best parts for me was the individual quotes, both from writer’s works and from their lives. For example, we read,
Beckett went on to live with an older woman who was not exactly a barrel of laughs. She took the phonecall that informed them of Samuel’s Nobel Prize. “This is a disaster, our lives are ruined” she responded.
In the eighties, Beckett was invited to Germany to direct “Waiting For Godot”. When presented with the script which he had not read in many years he exclaimed; “This thing needs a good edit”.
John Hume, third from left
(Again, however, most of these texts exist only on the walls. I hope there will be an exhibition book at some point.)
One thing I learned was that in 2010 John Hume was chosen in an RTÉ survey as Ireland’s Greatest. He was also the winner of the Nobel Peace Prize (1998), the Gandhi Peace Prize, and the Martin Luther King award. He had modeled his own work for equality in citizenship on that of Gandhi and King. Unfortunately, his peaceful work was disrupted by violence and the “troubles” began. Hume became a leading figure in the civil rights movement in the late 1960s. Through speeches, marches, hunger strikes, dialogues, and long-term negotiations, Hume was behind many of the developments and agreements toward peace in Ireland, and later for European unity.
You can get a sense of the walk from the video below (only part of which is in English):
As we’re about to set off on a trip both to explore and to discuss progressive education, I’m thinking about the example of the Misiones Pedagógicas in Spain in the early 1930’s.
My colleague, Iván M. Jorrín Abellán, just sent a link to a digital copy of the 1934 report: Patronato de Misiones Pedagógicas : septiembre de 1931-diciembre de 1933, in the collection of the Bibliotecas de Castilla y León. It tells the story of the Misiones through text, photos, and a map. Even if your Spanish is as poor as mine you can enjoy the many photos and get enough of the text to appreciate the project.
Some of the photos of uplifted, smiling faces are a bit much for today’s cynical eyes. Still, it’s hard to deny that something important was happening for both the villagers and the missionaries.
Watching theater
The Misiones Pedagógicas were a project of cultural solidarity sponsored by the government of the Second Spanish Republic, created in 1931 and dismantled by Franco at the end of the civil war. Led by Manuel Bartolomé Cossio, the Misiones included over five hundred volunteers from diverse backgrounds: teachers, artists, students, and intellectuals. A former educational missionary, Carmen Caamaño, said in an interview in 2007:
We were so far removed from their world that it was as if we came from another galaxy, from places that they could not even imagine existed, not to mention how we dressed or what we ate, or how we talked. We were different. –quoted in Roith (2011)
Listening to music, outdoors
The Misiones eventually reached about 7,000 towns and villages. They established 5,522 libraries comprising more than 600,000 books. There were hundreds of performances of theatre and choir and exhibitions of painting through the traveling village museum.
We are a traveling school that wants to go from town to town. But a school where there are no books of registry, where you do not learn in tears, where there will be no one on his knees as formerly. Because the government of the Republic sent to us, we have been told we come first and foremost to the villages, the poorest, the most hidden and abandoned, and we come to show you something, something you do not know for always being so alone and so far from where others learn, and because no one has yet come to show it to you, but we come also, and first, to have fun. –Manuel Bartolomé Cossio, December 1931
There’s an excellent documentary on the Misiones, with English subtitles. It conveys simultaneously the grand vision and the naïveté, the successes and the failures. As Caamaño says, “something unbelievable arrived” [but] “it lasted for such a short time.”
Watching a film
In her study of Spanish visual culture from 1929 to 1939, Jordana Mendelson (2005) examines documentary films and other re-mediations of materials from the Misiones experience. Her archival research offers a fascinating contemporary perspective on the cultural politics of that turbulent decade, including the intersections between avant-garde artists and government institutions, rural and urban, fine art and mass culture, politics and art.
I’m struck by several thoughts as I view the documentation on the Misiones. Today’s Spain is more literate, more urban, more “modern”. But although the economic stresses are different, they have not disappeared. There are still challenges, in some ways greater, for achieving economic and educational justice.
Iván and other educators are asking how the spirit of the Misiones might influence community-based pedagogy in current times. Their experiences have lessons for those outside of Spain as well.
Roith, Christian (2011).High culture for the underprivileged: The educational missions in the Spanish Second Republic 1931 – 1936. In Claudia Gerdenitsch & Johanna Hopfner, (eds.), Erziehung und bildung in ländlichen regionen–Rural education (pp. 179-200). Frankfurt am Main: Peter Lang.
Youth Community Inquiry offers a detailed look at how young people use new media to help their communities thrive. Chapters address questions about learning, digital technology, and community engagement through the theory of community inquiry. The settings range from a small farming town, to a mostly immigrant community, to inner-city Chicago, and include youth from ages eight to 20. Continue reading →
The Wellfleet Conservation Trust has been very active recently, securing land for conservation, guiding walks, and building trails for anyone to enjoy. Their website gives a good idea of their many projects. As you can see from the map on that site, the WCT land complements that of several other organizations, making a wide variety of environments available for protection of plant and animal life and preservation of the fragile land, as well as helping the people have healthier lives in every sense of that word.
Walker trail pond
I was fortunate to get to assist with some of the trail clearing, including at the recently established Walker trail. The site is nearby, one that we can visit on the way to swim in local ponds or after a trip to the transfer station.
The trail minus foliage
The trail runs through land donated by the Walker family. It’s short, but surprisingly varied, with some ups and downs, views of a few houses, and a small pond. Making the trail included installing some benches and rustic steps for the steeper portions. There was also a major project to remove a large dead branch that was hanging over the trail. Members of the WCT, young workers from the two Wellfleet residences for the AmeriCorps Cape Cod program, and other volunteers all contributed to the effort.
Hung branches
The WCT mission is “to assist and promote the preservation of open spaces and natural resources and to protect the rural character of the town of Wellfleet…The Trust acquires land by gift or purchase…develops walking trails and encourages the study and implementation of sound environmental practices.”
I worked on these journal issues with John Pecore, Brian Drayton, and Maureen Hogan, as well as article contributors from around the world. We’re now exploring options for developing some of the articles along with some additional material into a handbook. The series is timely given current debates about the purpose and form of education in an era of rapid technological change, globalization, demographic and political shifts, and growing economic inequities. It asks, “What have we learned about pedagogy that can support democratic, humanistic, and morally responsible development for individuals and societies?”
Progressive education is a pedagogical movement that emphasizes aspects such as learning by doing, student-centered learning, valuing diversity, integrated curriculum, problem solving, critical thinking, collaborative learning, education for social responsibility, and lifelong learning. It situates learning within social, community, and political contexts. It was promoted by the Progressive Education Association in the US from 1919 to 1955, and reflected in the educational philosophy of John Dewey.
But as an approach to pedagogy, progressive education is in no way limited to the US or the past century. In France, the Ecole Moderne, developed from the work of Célestin Freinet, emphasizes the social activism side of progressive education. Loris Malaguzzi and the Reggio Emilia approach to early childhood education demonstrates the importance of art in learning, a key element of the holistic approach in progressive education. Paulo Freire’s work in Brazil on critical literacy, highlights the link between politics and pedagogy. Similarly, influenced by his experiences in South Africa, Mahatma Gandhi’s conception of basic education resonates with progressive ideals of learning generated within everyday life, cooperation, and educating the whole person, including moral development.
It is worth noting that progressive education invariably seeks to go beyond the classroom walls. Thus, the work of Jane Addams and others at Hull House with immigrants fits, even if it is not situated within a traditional school. Myles Horton and the Highlander Folk School focused on social activism with adults, exemplifying the progressive education ideals. So too is the Escuela Nueva in Spain, Colombia, and elsewhere. The informal learning in museums, libraries, community and economic development, and online may express progressive education more fully than what we see in many schools today.
We hope that these issues will prove to be a useful resource for anyone interested improving education for a healthier world.
Chip's journey 