Re-thinking the “Education” System

Re-thinking the “Education” System

        One of the famous thinkers of our time, Paulo Freire suggested that knowledge may only arise when questions are raised, theories are tested, and content is invented and reinvented (Freire, 2000). Rather than using the traditional “banking system”, where the teacher “deposits” knowledge into the brain of the student, Freire suggests we take on the “Problem-Solving” approach by which the student is actively engaged in the subject rather than simply memorizing. The problem with the banking system, Freire proposes, is that the student does not consciously understand the subject, but rather sees it as a separate object with no relation to other objects. Another problem with the banking system is found in its biases; the information one student receives will mirror the information given to another student. Furthermore, that information deposited into the students mind has been previously conceived as important knowledge, leaving no room for any creativity and flexibility in the curriculum. Thirdly, the banking system leads the student to believe that he or she is not capable of individual thinking, for he is a student, who passively waits to be taught by the teacher. There is a danger in this feature of the banking system; the student comes to understand knowledge as something only attainable with the help of a teacher, who ultimately filters information before depositing it into the mind of the student. By the time that student has graduated, if he or she is fit to graduate, he will have been predisposed to many of the subordinate middle class values and motivations.

        In an attempt to link certain aspects of the traditional banking educational system with a fascist society, I will use Peter R. Sinclair’s (1976) article which discusses the crisis of fascism in a capitalist society. The link between our educational system and a fascist state may seem far fetched; however one must take a step back and notice the striking similarities. Similar to the information taught to students in the classroom, the workings of a fascist society are fueled by a limited group of elites (Sinclair, 1976). By drawing on the example of the 1930 Italian and German fascist state, Sinclair also notes the role fascist government plays in the state’s economy; both the Italian and German state gained control of large business, leading the businesses to act as a marionette of the state (Sinclair, 1976). Just as the Italian and German Fascist state, our banking system is led by an elite few whose motivations shape the curriculum; children are taught economics to prepare them for their future in the capitalist world, females are often taught home-economics to prepare them for a life in the home. Furthermore, the relationship between teacher and student is similar to that of a fascist dictator and his flock; one individual leads while his subordinates listen and obey (Sinclair, 1976). As history has shown its audience, this political approach often strips the individual of his autonomy. Knowing this, one could ask why our educational administrators continue to follow strikingly similar approaches to educate the masses.

        On a recent level, let’s take the example of the proposed art piece to be displayed in Canada’s capital region. The metal tree designed by Roxy Paine is stirring up quite a debate in the capital. Similar to the metal spider that crawled onto the sidewalk of the National Gallery of Canada in 2003, the metal tree that plans to permanently reside in a park near the gallery and Parliament Hill. In an article written January 30th, 2010 Kelly Egan poses the question “If a metal tree grows outside, is it art?” The author (along with many Canadian residents opinions close by) questions whether the “dead, crooked, metal tree” (Egan, Ottawa Citizen, Jan. 30th 2010) should be classified as art. It is also interesting to look at the issue of the tree being placed outside rather than in an art gallery. I would argue that an art piece does not necessarily need to be displayed in an art gallery to be classified as such. The National Gallery of Canada is funded by the elite upper class, which ultimately chose what art hangs on and more importantly stays off the gallery’s walls. It seems as though art unable to measure up to those standards is categorized as second class art. Once again, this pattern is reflected in Canada’s educational system, where a predetermined national curriculum is showcased.