Usually whenever one reads the book in which the problem is taken arts education, the author focuses on the issue of education, which would acquire a specific artist. This, in turn, the foundation has to give his response, the creator of this owed to his master (or guild academy professor), which places visited, what they saw and, finally, what about those few dozen or so years of creative "was." And what about the audience, did he not educate? Is it still remains unconscious, looking at the work of art through the eyes of a layman, whose successive publications and museum exhibitions are lead by the hand toward the "good" art ... The answer is obvious, but it was not always so. Regarding the way of art to educate the "masses" (how I hate that word) will present the entry.
fans in French literature presented next to a probably needs no introduction. Similarly, as archaeologists and orientalists, who easily recognize Andre Malraux. This much admired today (już!) classic twentieth century French literature for 10 years (from 1959 to 1969) served as culture minister of France, which was a consequence of separation of the ministry in the times rather unusual - the Ministry of Higher Education received everything related to art, literature, museums and archives, and the conglomerate merged with the National Cinema Center, which are currently subject to Ministry of Industry. Thus Uświetniono ideas that later in the parliament of the Fifth Republic are presented in the following way: "The French, young people and adults should be able to capture the benefits of culture. Must live surrounded by a halo of genuine culture, immerse yourself in a certain atmosphere created by different forms of intelligence, whether it would come from the past, the heritage of our great people, and the sensitivity of the entire nation, or would have been born around us, in this human laboratory where the clears up the eyes of contemporary art and new sources of beauty " (Quoted by Marc Fumaroli, a cultural . Modernity Religion, trans. Hanna Abramovich, Krakow 2008, p. 53-54).
As you can see has set the difficult and thankless task at the same time. Improve his education of people through art, to become better citizens, to immerse them in culture, which means they are not attributed. And vice versa - same set as those who are not quite that make up this culture and can decide what art is and what is not, but even they know the method, as that which realize a bit utopian. The fact that left-wing or even far-leftist views on this issue sometimes lead to manowcom, residents of central and eastern Europe do not need to convince. The idea of \u200b\u200bcreating a "new man" - a de facto clou Leninist ideology used to control societies, after all based on the fact that some orders and prohibitions were treated as self-evident, even if they were not legally defined. Awareness was held in the mind, are there to shape a new morality, class consciousness, the subordination of even "selves" to the ideals of the future of communism. And how does it relate to culture? Well, it became a tool for expression desires of the body, but also on the occasion of his helplessness. If they were not "black market", bribes, and many other pathologies of a bygone era, would have to be role models to show in the form of smiling pioneers? In France, this problem has not been seen, and being kind of a model for other states, sought to create education for the "masses" ... the arts and culture.
, wrote Jacques Chaban-Delmas, for some time even holding the premiere of the Fifth Republic: "And why not France? Why is our country would not be the vanguard of the future of socialism with cultural ambitions "?" (E. Fumaroli, op.cit., P. 14). Overall a good question - everyone would want to make this country, in which he lives has become a model for other cultures. Because is not it impoverishes us that most of the tracks being promoted on the radio is located on the Billboard charts and the Anglo-Saxon UK Top 40? Or is that actually govern the world of fashion, only three cities: New York, Paris and Milan, and the latter their importance is based more on past than present great opportunities to impose trends. Accepted by A. Malraux's solution is a little like the approach to women in past centuries, when not treated them to the end of a fully seriously, and even in the interwar period surrealists discerned in them a form intermediate between the contamination civilization child and adult man.
there seems to be typical story, which was to happen at the beginning of the twentieth century, Charles Fryczowi. Young still images, however, already known from the very kpiarskiego sense of humor (acted in a "green balloon"), was to receive a group of women, which was required to lay out the basis of art. However, as a friend girls reviewed more than listen to wdzięczyły its lecturer, and thus marks given to them were too "nice eyes". And actually the hair, because hair colors posiadaczki specific entries received in accordance with the preferences K. Frycz. I think that once again women were treated fairly patronimicznie, paying no attention to the talent that is in them.
But the rest of participation in culture in the early twentieth century it was the same ... in every aspect of society believed that women need to practice, and even in creating positive examples to show the then author. Theresa Lubin (columnist, was not a minister of my hometown of Szczecin), even encouraged the women to their men were asking about sexual history, and even they put an ultimatum: "And if his eyes will notice the indignant or drwinek - may add more: - I love you, and for this love ready to take all your traditional, all the misery of yours, but neither you nor I have no right to impose them, our children "(T. Lubin, with issues of sexual ethics , Warsaw 1906, p. 11). Oh, those women willing to make sacrifices ... I can only regret except that now they are not so many ...
But returning to the heart of the problem, you can easily see that the arts and education can go hand in hand, but education is not easy. It is recalled here the text of the British researcher Herbert Read, who in "the art of Upbringing" (1943) wrote that "art is one of those things that - as air or land - are everywhere around us, but over which rarely think about" . The question is whether this desire H. Read, raised cruelty ongoing war, there is not much confidence in the art. He believed that, it can serve as a tool to complete fulfillment of man or even a means to overcome evil. The objective was to be a - "to stimulate the development of what is individual in man, but while the harmonious integration of individuals in an organic manner in its environment in the world of a social group." H.
words of Read died after the war, therefore, fertile ground, and invoked him in Poland. Those who still have homes multivolume encyclopedia OWN issued in the PRL-read may be that the "socialist education is based on the Marxist concept of comprehensive development of individual personality," and other publications give out even that "socialism offers a real chance to overcome the dualism of elite culture and mass culture, the gap between art and life." So this quote, which appeared in "Studies of aesthetic" of 1976, issued by the PAN, had to indicate that the art elite is no longer needed? On the contrary, it reversed the question and shows that it is necessary that the viewer through education, seek to understand it and was able to draw from it. Aim right, but how does it achieve? Here you can find a hint in another publication, which appeared in the 70s Describing the rules of theater workers, the following assumption that the right message was simple: "Managers must be careful to theaters on the point of creating fetishes and throwing powerful, exciting words like: the art of socialist, etc." (E. and M. Wodnarowie, Polish scene Workers: 1918-1939: a selection of documents and accounts , Warsaw, 1974).
easily so you can see that the post-war idea the artistic education society is such Ouroboros - snake eating its own tail. On one hand, created quite a complicated theoretical basis, how to teach art and culture, on the other consistently described the population as far from ideal. But maybe instead of creating an institutional framework, just to give people more choices? More shows, more shows, more meaningful ideas and above all a clear message to potential customers: "This exhibition is important because ...." However, in times when an objective critique of artistic phenomena disappears (see: review films in the newspapers), may be better to give people the choice of avid culture than on the strength of new projects to promote the arts. And then complain that the public did not come because they do not appreciate the "real art."
And you, what do you think?
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