It would be a crime to not mention Tagore on an education blog. A friend from West Bengal was instrumental in helping me realize it :) So, Sooner the Better.
I recently found a very nice exploration of Tagore’s contribution by Kathleen M. O’Connell titled ‘Rabindranath Tagore on education’ cited in the encyclopaedia of informal education . Thought of Sharing that..
Rabindranath Tagore (1861-1941), Asia’s first Nobel Laureate, was born into a prominent Calcutta family known for its socio-religious and cultural innovations during the 19th Bengal Renaissance. The profound social and cultural involvement of his family would later play a strong role in the formulation of Rabindranath’s educational priorities. His grandfather Dwarkanath was involved in supporting medical facilities, educational institutions and the arts, and he fought for religious and social reform and the establishment of a free press. His father was also a leader in social and religious reform, who encouraged a multi-cultural exchange in the family mansion Jorasanko. Within the joint family, Rabindranath’s thirteen brothers and sisters were mathematicians, journalists, novelists, musicians, artists. His cousins, who shared the family mansion, were leaders in theatre, science and a new art movement.
The tremendous excitement and cultural richness of his extended family permitted young Rabindranath to absorb and learn subconsciously at his own pace, giving him a dynamic open model of education, which he later tried to recreate in his school at Santiniketan. Not surprisingly, he found his outside formal schooling to be inferior and boring and, after a brief exposure to several schools, he refused to attend school. The only degrees he ever received were honorary ones bestowed late in life.
His experiences at Jorasanko provided him with a lifelong conviction concerning the importance of freedom in education. He also realized in a profound manner the importance of the arts for developing empathy and sensitivity, and the necessity for an intimate relationship with one’s cultural and natural environment. In participating in the cosmopolitan activities of the family, he came to reject narrowness in general, and in particular, any form of narrowness that separated human being from human being. He saw education as a vehicle for appreciating the richest aspects of other cultures, while maintaining one’s own cultural specificity. As he wrote:
I was brought up in an atmosphere of aspiration, aspiration for the expansion of the human spirit. We in our home sought freedom of power in our language, freedom of imagination in our literature, freedom of soul in our religious creeds and that of mind in our social environment. Such an opportunity has given me confidence in the power of education which is one with life and only which can give us real freedom, the highest that is claimed for man, his freedom of moral communion in the human world…. I try to assert in my words and works that education has its only meaning and object in freedom–freedom from ignorance about the laws of the universe, and freedom from passion and prejudice in our communication with the human world. In my institution I have attempted to create an atmosphere of naturalness in our relationship with strangers, and the spirit of hospitality which is the first virtue in men that made civilization possible.
I invited thinkers and scholars from foreign lands to let our boys know how easy it is to realise our common fellowship, when we deal with those who are great, and that it is the puny who with their petty vanities set up barriers between man and man. (Rabindranath Tagore 1929: 73-74)
As well as growing up in a household that was the meeting place for leading artists and intellectuals from India and the West, Rabindranath had a further experience which was unusual for someone of his upbringing. In the 1890s, he was put in charge of the family’s rural properties in East Bengal. His first experiments in adult education were carried out there as he gradually became aware of the acute material and cultural poverty that permeated the villages, as well as the great divide between the uneducated rural areas and the city elites. His experiences made him determined to do something about rural uplift, and later at Santiniketan, students and teachers were involved with literacy training and social work and the promotion of cooperative schemes. As an alternative to the existing forms of education, he started a small school at Santiniketan in 1901 that developed into a university and rural reconstruction centre, where he tried to develop an alternative model of education that stemmed from his own learning experiences.
Rabindranath composed his first poem at age eight, and by the end of his life, had written over twenty-five volumes of poetry, fifteen plays, ninety short stories, eleven novels, thirteen volumes of essays, initiated and edited various journals, prepared Bengali textbooks, kept up a correspondence involving thousands of letters, composed over two thousand songs; and – after the age of seventy – created more than two thousand pictures and sketches. He dedicated forty years of his life to his educational institution at Santiniketan, West Bengal. Rabindranath’s school contained a children’s school as well as a university known as Visva-Bharati and a rural education Centre known as Sriniketan.
Rabindranath did not write a central educational treatise, and his ideas must be gleaned through his various writings and educational experiments at Santiniketan In general, he envisioned an education that was deeply rooted in one’s immediate surroundings but connected to the cultures of the wider world, predicated upon pleasurable learning and individualized to the personality of the child. He felt that a curriculum should revolve organically around nature with classes held in the open air under the trees to provide for a spontaneous appreciation of the fluidity of the plant and animal kingdoms, and seasonal changes. Children sat on hand-woven mats beneath the trees, which they were allowed to climb and run beneath between classes. Nature walks and excursions were a part of the curriculum and students were encouraged to follow the life cycles of insects, birds and plants. Class schedules were made flexible to allow for shifts in the weather or special attention to natural phenomena, and seasonal festivals were created for the children by Tagore. In an essay entitled “A Poet’s School,” he emphasizes the importance of an empathetic sense of interconnectedness with the surrounding world:
We have come to this world to accept it, not merely to know it. We may become powerful by knowledge, but we attain fullness by sympathy. The highest education is that which does not merely give us information but makes our life in harmony with all existence. But we find that this education of sympathy is not only systematically ignored in schools, but it is severely repressed. From our very childhood habits are formed and knowledge is imparted in such a manner that our life is weaned away from nature and our mind and the world are set in opposition from the beginning of our days. Thus the greatest of educations for which we came prepared is neglected, and we are made to lose our world to find a bagful of information instead. We rob the child of his earth to teach him geography, of language to teach him grammar. His hunger is for the Epic, but he is supplied with chronicles of facts and dates…Child-nature protests against such calamity with all its power of suffering, subdued at last into silence by punishment. (Rabindranath Tagore, Personality,1917: 116-17)
In Tagore’s philosophy of education, the aesthetic development of the senses was as important as the intellectual–if not more so–and music, literature, art, dance and drama were given great prominence in the daily life of the school. This was particularly so after the first decade of the school. Drawing on his home life at Jorasanko, Rabindranath tried to create an atmosphere in which the arts would become instinctive. One of the first areas to be emphasized was music. Rabindranath writes that in his adolescence, a ‘cascade of musical emotion’ gushed forth day after day at Jorasanko. ‘We felt we would try to test everything,’ he writes, ‘and no achievement seemed impossible…We wrote, we sang, we acted, we poured ourselves out on every side.’ (Rabindranath Tagore, My Reminiscences 1917: 141)
In keeping with his theory of subconscious learning, Rabindranath never talked or wrote down to the students, but rather involved them with whatever he was writing or composing. The students were allowed access to the room where he read his new writings to teachers and critics, and they were encouraged to read out their own writings in special literary evenings. In teaching also he believed in presenting difficult levels of literature, which the students might not fully grasp, but which would stimulate them. The writing and publishing of periodicals had always been an important aspect of Jorasanko life, and students at Santiniketan were encouraged to create their own publications and put out several illustrated magazines. The children were encouraged to follow their ideas in painting and drawing and to draw inspiration from the many visiting artists and writers.
Most of Rabindranath’s dramas were written at Santiniketan and the students took part in both the performing and production sides. He writes how well the students were able to enter into the spirit of the dramas and perform their roles, which required subtle understanding and sympathy without special training.
As Rabindranath began conceiving of Visva-Bharati as a national centre for the arts, he encouraged artists such as Nandalal Bose to take up residence at Santiniketan and to devote themselves full-time to promoting a national form of art. Without music and the fine arts, he wrote, a nation lacks its highest means of national self-expression and the people remain inarticulate. Tagore was one of the first to support and bring together different forms of Indian dance. He helped revive folk dances and introduced dance forms from other parts of India, such as Manipuri, Kathak and Kathakali. He also supported modern dance and was one of the first to recognize the talents of Uday Sankar, who was invited to perform at Santiniketan.
The meeting-ground of cultures, as Rabindranath envisioned it at Visva-Bharati, should be a learning centre where conflicting interests are minimized , where individuals work together in a common pursuit of truth and realise ‘that artists in all parts of the world have created forms of beauty, scientists discovered secrets of the universe, philosophers solved the problems of existence, saints made the truth of the spiritual world organic in their own lives, not merely for some particular race to which they belonged, but for all mankind.’ (Tagore 1922:171-2)
To encourage mutuality, Rabindranath invited artists and scholars from other parts of India and the world to live together at Santiniketan on a daily basis to share their cultures with Visva-Bharati. The Constitution designated Visva-Bharati as an Indian, Eastern and Global cultural centre whose goals were:
To study the mind of Man in its realisation of different aspects of truth from diverse points of view.
To bring into more intimate relation with one another through patient study and research, the different cultures of the East on the basis of their underlying unity.
To approach the West from the standpoint of such a unity of the life and thought of Asia.
To seek to realise in a common fellowship of study the meeting of East and West and thus ultimately to strengthen the fundamental conditions of world peace through the free communication of ideas between the two hemispheres.
And with such Ideals in view to provide at Santiniketan a centre of culture where research into the study of the religion, literature, history, science and art of Hindu, Buddhist, Jain, Zoroastrian, Islamic, Sikh, Christian and other civilizations may be pursued along with the culture of the West, with that simplicity of externals which is necessary for true spiritual realisation, in amity, good-fellowship and co-operation between the thinkers and scholars of both Eastern and Western countries, free from all antagonisms of race, nationality, creed or caste and in the name of the One Supreme Being who is Shantam, Shivam, Advaitam.
In terms of curriculum, he advocated a different emphasis in teaching. Rather than studying national cultures for the wars won and cultural dominance imposed, he advocated a teaching system that analysed history and culture for the progress that had been made in breaking down social and religious barriers. Such an approach emphasized the innovations that had been made in integrating individuals of diverse backgrounds into a larger framework, and in devising the economic policies which emphasized social justice and narrowed the gap between rich and poor. Art would be studied for its role in furthering the aesthetic imagination and expressing universal themes.
It should be noted that Rabindranath in his own person was a living icon of the type of mutuality and creative exchange that he advocated. His vision of culture was not a static one, but one that advocated new cultural fusions, and he fought for a world where multiple voices were encouraged to interact with one another and to reconcile differences within an overriding commitment to peace and mutual interconnectedness. His generous personality and his striving to break down barriers of all sorts gives us a model for the way multiculturalism can exist within a single human personality, and the type of individual which the educational process should be aspiring towards.
Tagore’s educational efforts were ground-breaking in many areas. He was one of the first in India to argue for a humane educational system that was in touch with the environment and aimed at overall development of the personality. Santiniketan became a model for vernacular instruction and the development of Bengali textbooks; as well, it offered one of the earliest coeducational programs in South Asia. The establishment of Visva-Bharati and Sriniketan led to pioneering efforts in many directions, including models for distinctively Indian higher education and mass education, as well as pan-Asian and global cultural exchange.
One characteristic that sets Rabindranath’s educational theory apart is his approach to education as a poet. At Santiniketan, he stated, his goal was to create a poem ‘in a medium other than words.’ It was this poetic vision that enabled him to fashion a scheme of education which was all inclusive, and to devise a unique program for education in nature and creative self-expression in a learning climate congenial to global cultural exchange.
Rabindranath Tagore, by his efforts and achievements, is part of a global network of pioneering educators, such as Rousseau, Pestalozzi, Froebel, Montessori and Dewey–and in the contemporary context, Malcolm Knowles–who have striven to create non-authoritarian learning systems appropriate to their respective surroundings. In a poem that expresses Tagore’s goals for international education, he writes:
Where the mind is without fear
and the head is held high,
Where knowledge is free;
Where the world has not been broken
up into fragments by narrow domestic
Where words come out from the
depth of truth;
Where tireless striving
stretches its arms towards
Where the clear stream of reason
has not lost its way into the
dreary desert sand of dead habit;
Where the mind is led forward
by thee into ever-widening
thought and action–
into that heaven of freedom,
Let my country awake.