ART EDUCATION – Vardhan Deshpande

In ancient times, particularly in agrarian societies, the working day began at dawn and would end at dusk in the evening. People lived in small hubs or communes, and some common fears would unite them to live in harmony. The days were spent in extreme labour: farming, construction, fighting with adversaries, fleeing from wild animals, and other forms of manual labour necessary for sustenance. Each day was a fight for survival, thereby keeping the people attentive and alive. Thus, after a long day of exhaustion, the period from evening to morning was mainly spent refuelling the energy for the next day. This was accomplished mostly through rest, but in their leisure time, communities would often gather in the evening for various forms of recreational activities and emotional release. Among these activities, dancing and singing played significant roles in providing a means of venting emotions, expressing cultural identity, and fostering social connection. It created a sense of unity and provided a communal space for emotional expression and storytelling. The ways in which emotions were vented through dancing and songs were shaped by the unique beliefs, customs, and artistic expressions of each society. This brought about waves of rejoicing amongst the people, thereby rejuvenating them to battle the next day. Later, these activities evolved into different mediums (art forms), and today we call them “arts”.

Veteran theatre stalwart Dr. Mohan Agashe recently said in an interview, “The sensory organs in the human body can be used as important tools for survival as well as enhancing the survival into ‘life’ by making it beautiful and worthwhile. The people who were aware and involved in the latter part are ‘artists’.” The conduct or arrangement of these sensory organs in a certain way to rejoice led to the unfolding of the arts in our lives. Some of the artists (mostly folk artists) passed on their knowledge and wisdom about the art form to their own kin. There were also other artists who shared their expertise through oral lore and hands-on experiences with interested people who sincerely desired to study the art form. I believe that art Education’ originated from this transmission of knowledge and has grown over time into different methods, approaches, and techniques. In this transference, while some of the art forms became extinct or vanished from the timelines, many other forms flourished across decades.

While I proceed with the topic of Art Education, I’d like to brief myself with a short introduction. I would have never imagined myself writing this article, as I’ve come a long way to this point. I moved from a small town in Aurangabad to an urban city in Pune for higher studies in engineering. During my graduation, when I joined the theatre group at the college, I was mesmerised by the liveliness of the commune and intrigued by the vastness of the theatre space. I was learning the craft through my seniors, absorbing as much information as I could from my peers, participating in theatre competitions in the city, reading books and watching plays, and then integrating it all into my understanding of theatre. There were some limitations to learning, as there was hierarchy, politics, a project-based and output-oriented approach, fierce competition amongst each other, and less clarity and depth about the art. Eventually, my passion and focus shifted towards understanding the theatre arts in detail, which changed the course of my life forever.

Any type of learning is an unending, continuous, and limitless process. With that little knowledge and a hunger to acquire more knowledge about theatre, I went on to pursue a master’s in theatre from Lalit Kala Kendra Pune, or the Centre for Performing Arts of SPPU Pune. Here, I had to unlearn some of my earlier notions about theatre, process new perspectives, embark on a new journey of exploration, and contemplate my discernments. The comprehensive atmosphere on campus and the structure of the system allowed an individual to think beyond the bounds of mediocrity. The casual and influential approach was replaced by serious scrutinising methods to gain more proficiency in the subject. It narrowed my impression of the arts in our society and widened my vision to new directions and undiscovered avenues. The faculty, with their unique teaching styles, and their peers, with their unique learning styles, created an extraordinary environment for learning. Many teachers would provoke our undiscovered thoughts and ideas with their knowledge, and some would teach us to bridge the gap between thought and action with their knowledge and wisdom. The peers were equally knowledgeable, compassionate, and experienced in their areas. Every person would have their own set of ideas, strategies, and approaches to storytelling. There were differences in age, opinion, ideologies, and backgrounds, but the urge to learn was a binding factor amongst every one of us. The most important things I learned in these three years were discipline in the arts, awareness of my surroundings, and humility towards others. We have to be cognizant of our neighbourhood to discern the regularity, paradoxes, and balances in a changing society. One of the key insights from my learning was, “It’s like a constant churning process called theatre, and the fresh butter is the rich content that we all strive for. It all depends on identifying the perfect churning tools or methods to explain the thoughts in action with clarity.”

The dynamic nature of theatre provides a space for creativity, critical thinking, communication skills, social engagement, and personal development. It has the potential to help people cope with dreadful experiences and enhance their resilience to deal with problems. During one of our theatre projects with children in an educational setting under the subject of Applied theatre, I realised the significance of theatre as a powerful and impactful tool to facilitate interactive and experiential learning amongst the people. I was drawn to this approach, and furthermore, it led me to the next chapter of my life—Goshtarang. Goshtarang is an interdisciplinary fellowship (theatre and education) programme that uses theatre as a tool to enhance the literacy levels of children from rural or tribal areas. In this programme, I learned the concepts of children’s literature and reading pedagogy, along with extensive input on performing children’s literature. I got the opportunity to study the pedagogy of children in theory and apply it in action with my performing skills as an artist. I was experiencing the effectiveness of theatre in the lives of children. This was a major step in my training in theatre, and furthermore, it drove me towards the other side of learning, i.e., facilitation or teaching in theatre.

I started off my facilitation by conducting limited-hour workshops in educational and non-educational settings. I reflected on my strengths as a facilitator and worked on my limitations to become better. Later, I joined as a theatre facilitator for short courses in liberal arts for graduate students in colleges and universities in technical fields. The integration of the arts in technical settings disproves perceptions of a strict education system, emphasising the relevance of the education system’s porous character. The intention behind these courses was to introduce the basics of theatre studies to the students and underline the application of theatre in their lives. In addition to that, I asked the students about their expectations for the course and tried to integrate them with the course. I believe learning is nurtured when there is collaboration based on a contract of agreement between the facilitator and the students. In this contract, I ensure that students have an absence of judgement for others as well as themselves; they should be aware of the physical and emotional safety of their colleagues; and they should play and have fun with each other. I always intend to conduct the theatre sessions in an open space where there is room for dynamic movements, fun, and creativity.

As far as I’ve learned in this short tenure as a facilitator, every group of people brings different challenges to the table, and the space is revitalised with the energies of these distinct people. When you plan a theatre course with a bunch of young individuals, you have to set some boundaries for yourself as well as for the group. The facilitator must be unbiased in the conduct of the session and must be respectful towards each member of the group. The facilitator should be well prepared for the session layout and should be spontaneous enough to modify or improvise the activities in the session. The facilitator should be non-redundant in action, compassionate, acknowledging, and inclusive of all in the group. It is a continuous learning process where theory has to be implemented into practice and practice has to be documented to increase the chances of formulating theory.

I am an engineer turned theatre practitioner and am now sharing my knowledge and wisdom (a little that I’ve gathered over the years) with young individuals as a theatre facilitator. Notions such as “arts are to be enjoyed and not learned; an art cannot be taught because the person is born with the talent; arts may not earn you a better living; arts should never be considered as a career option” and all other assertions have crossed my path, and I’ve dodged them comprehensively. They are just another addition to people’s cynicism about the arts as a profession. These misunderstandings about the skills and effort required to advance in artistic fields sometimes undercut the years of training, practice, and dedication of the artists to gain proficiency in their fields. One of the biggest worries that people may have is a perceived lack of financial security and success in artistic professions. There is a prevalent misconception that jobs in the arts do not provide a stable income or financial stability when compared to more traditional professions. Society often places more value on professions that are seen as practical, lucrative, or in high demand. The impression that art is a pastime rather than a serious profession produces a prejudice against artistic occupations, which are regarded as less prestigious or practical in reality. These attitudes result in artists encountering difficulties gaining attention and support for their work. The lack of appreciation and validation for their work can discourage individuals from pursuing artistic careers, leading to more scepticism. The arts contribute to the cultural fabric of society, give opportunities for self-expression, and have the potential to have a substantial effect on a variety of businesses. It is crucial to foster an understanding and appreciation of the value and potential of artistic professions to address these sceptical attitudes. It is important to recognise that artistic pursuits can be fulfilling, meaningful, and viable career paths for those passionate about the arts.

Integrating more art courses into the syllabus can be a valuable step towards fostering creativity, critical thinking, and holistic development among students. It should be ensured that the curriculum aligns with overall educational goals and provides a balanced approach that combines the arts with other academic disciplines. The teachers should undergo training programmes and workshops to effectively incorporate art courses into their teaching practise. Parents should be educated about the value and benefits of arts education and encouraged to encourage their children’s involvement in art-related activities, such as attending performances or volunteering for art events. Flexible learning environments that accommodate different learning styles will generate space for exploration, experimentation, and collaboration. Opportunities for interdisciplinary projects and connections between art and other subjects should be provided to foster cross-curricular learning.

In recent times, the importance of the pedagogy of the arts has been recognised by educators, policymakers, and society at large. Its inclusion in educational curricula and the promotion of arts-based programmes and initiatives reflect an understanding of the numerous benefits that art education provides to individuals and communities in our rapidly evolving world. In a time when the world is increasingly focused on STEM (Science, Technology, Engineering, and Mathematics) education, the inclusion of arts pedagogy ensures a balanced and comprehensive education. Art Education should be treated just as seriously as other fields, if not more so. Art is not an exclusive hobby that only a few individuals can enjoy. We can learn anything about any art form if we are guided and encouraged by the right facilitator and practise on a regular basis. I think that everyone has the capacity to be an artist. It is also the educator’s responsibility to bring out the artist in the participants and convince them that they, too, are artists who can express themselves through their work. The curriculum should be created collaboratively, rather than only by artists or academics. It must also be conveyed with the utmost care, compassion, and empathy. It should not become a burden for the student to score; rather, it should offer doors to creativity and exploration of life. In the case of other courses, art education should not be sidelined or retained just for the purpose of gaining credits. It has the ability to transform people’s lives. It has the potential to bring about positive change in various aspects of life, empowering individuals and communities to explore, reflect, and take action.

All rights reserved. ©Vardhan Deshpande

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3 Comments

  1. Prajakta Datye

    Well written article…art and it’s importance need to be introduced at school level for more informed career option. STEM nowadays also focuses on STEAM…adding art as one of the factor…let’s make a constructive effort for creating more awareness about the same…best wishes Vardhan for your future.. thank you Rangbhasha for this initiative.

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