Compelling the Children to Imitate in Painting is to Silence their Inner Voice

The most important characteristic that sets the art of any country, nation, and civilization apart from others is the philosophical view of life and its manifestation in the art of that country. The artist of that territory is the one who makes this a reality. Undoubtedly, art, created by any medium, carries a special spiritual message, which has been nurtured by the mind of the artist, and has given artistic nobility to the common material. Now, considering the importance of art in the evolution process of a nation, we can realize that the lack of the existence of art can leave destructive and harmful effects on the culture of that nation for generations to come. Since, the art of a nation can only be inferred through the edifices of the existential and ideological philosophy.
Indeed, what is the identity of our art today and whom are we addressing with our art?
Why, in spite of our numerous galleries the visitors of these places are only a handful? Is this only due to the difficult economical situation of the country or basically the lack of the correct habit for visiting these galleries, among the people and society has created such few visitors?
For example, what product does a painting gallery, as a commercial/cultural trade offers? Is this fact disputable that a product of a gallery must have its roots in the arts of a society and the gallery owner as a medium between the artist and people must exhibit the art at its best possible shape? But what is the identity of our painting today? Do we follow our artists the way people in developed countries do or do we believe in the bond between our native, traditional, and national art? Do the people of our country consider visiting a painting gallery, going to a concert, calling on Iranian and world tourism exhibitions, going to theaters, etc. as a soul food and an inseparable part of their daily life? Why does this artistic poverty exist in the different walks of life in our society and what should be done to eradicate it? Is this cultural/artistic poverty a result of inability to create art or due to omitting art from the daily life of people?
What drove me to write this article, as the owner of one of the galleries in Tehran, is indeed the irreparable catastrophe of the art's loss in the daily life of people. I, not as a social reformer but as an artist, art professor, and gallery owner, see most of the cultural problems of our society as a result of this artistic poverty. Although, the philosophers, artists, and theorists of our country have referred to these essential problems in different subjects, but no serious solution has been presented to battle these problems. And if any solution has been presented, it has not had any enforceable guarantee. Obviously, the cultural modifications of a nation will not take place in a short period of time, but they can be observed by the generations to come.
Undoubtedly, in order to elevate the artistic culture of our society, the government and those responsible (including the artists themselves) are obligated to submit practical procedures. The government can make our compatriots accustomed to the familiarization with art and living alongside it. Dedicating a suitable budget and a logical programming to perform sufficient research in the sociological aspect of art is essential on discovering the reasons and presenting the correct solutions.
The noteworthy point is the attention, which must be paid to the future generation of our country. The children of today are the enforcing and effective arms of this giant cultural step in the future Investing on this generation is assured and profitable. The reason being that it is possible to include the artistic growth and development in them since childhood and at the same time as their mental and physical growth.
Investigating the mental and emotional characteristics and psychological needs of the children states the internal bond of the child with the artistic creations. This connection shows that art has a special effect on children and affects their learning and training.
Studying the instructional aspects of art shows that it can have a crucial rule in teaching different sciences and various course subjects. The nourishing role of art can be found in easing the learning process and providing the necessary condition in order to create the favorable changes in character dimensions and behavior of children.
The art: and painting of children is not a new subject, in many countries including Iran, there have been numerous valuable works by the specialists and researchers in this field.
Obviously, the children's painting can be used to determine the process of their mental growth and emotional problems and by using their paintings effective steps can be taken
to their mental welfare, growth of creativity, self-confidence, and treatment of psychological/emotional problems and also in teaching and education. Unfortunately, I must confess that despite the importance of art and specially painting in the lives of Iranian children, not enough value has been placed either in kindergartens or schools.
Based on the statistics resulted from a scientific research, it is clear to see that even in city of Tehran, the art classes are replaced with other classes. The art teachers have not studied the special courses in children s art and the majority of them do not use the art textbooks recommended by the education board. Although, the school texts (in art) should be discussed separately, but what is clear is that the school as a major base for children's education is not capable of performing its role in the growth and blossoming of the children's art. In this case and when the school can not aid the artistic (cultural) elevation of the next generation even in the capital city, how can we expect the parents to pay attention to this important matter. Parents who are either unaware of its importance or even in case of their awareness due to their inability to access the necessary facilities and the correct training are unable to guide their children toward the right direction.
According to the statistics submitted by Ms Farahnaz Mokhtari in the year 1377 (1998) the following were deduced:
The overall results gathered from the parents of children in grades 1 to 5:
1- 81.2% of student's grade 1 to 5 are interested in painting
2- 48.6% of the parents of the first to fifth graders place importance on their children's painting
3- 43.8% of the first to fifth grade teachers place importance on the students painting
4- 97.2% of primary school teachers dedicate the painting classes to other subjects
5- 15.2% of the students parents have discussed their children's painting with their teachers
6- 87.4% of the students parents are ready to attribute financially in building art workshops
7- 86% of the fourth and fifth grade teachers have never taught the art book
It is necessary to mention that the goal in this statistical sample has been to determine the views of the parents of primary school students on the students' interest in painting and the procedure for teaching to paint The questions were performed as an interview and in groups and accidentally in 12 schools located in area 14, during the hours of 16:45 as the parents came to pick up students from school.
After comparing the answers, which were given to each question in the 5 grades, it car be concluded that the students' interest in painting decreases gradually as they reach the last years of primary school. Also, the parents and teachers place less importance or painting, and the majority of primary school teachers dedicate the painting classes to other subjects. Also, the parents never discuss their children's painting with the related teacher.
The art textbook is not taught in the primary school and has remained unused. The positive point in these interviews was that the majority of parents are ready to offer then financial assistance in creating art workshops in the schools.
Additionally, some questions on the procedure for performing the painting classes in the schools were put to the school principals, the result of which is as follows:
- All the interviewed principals gave a negative answer to the question on whether during their work history the inspectors and officials have ever visited the painting classes.
- All the interviewed principals had an interest in using the financial assistance of the parents to employ the professional painting instructor.
- In response to the proposal that a workshop for teaching art, including all the necessary facilities and equipment be built for the students in all the schools (using of course the financial assistance of the parents) all the interviewed principals had the opinion that the ministry of education was not able to support this program due to the lack of appropriate educational space and limited facilities.
Now, considering this thought provoking information stated by Farahnaz Mokhtari, in the book of "Children's Psychology", how can we deprive our children from their most basic natural need which is drawing a line, figure and pouring color on a piece of paper? a child whose instinct has attracted him or her to drawing a line from the time he or she gets to know the environment around, a child who speaks through painting and uses painting to express his or her thoughts, opinions, and emotions and expresses the needs and inclinations, problems, and limitations of his or her life, and speaks of her feelings and transfers them all to us through line and color
It seems that one of the reasons for not putting sufficient value on the children's painting in Iran, is ignoring their mental growth and their analytical capacity. However, considering that fast technological advancements and proximity of the global communications and the changes resulting from these, the children of the future generation will be aware, informed, and analytical.A 10-year-old boy in of Tehran's schools did the drawing featured on this page, exactly one month after the events of the 11th of September in the United States. The assignment was done while the subject and technique were free. This drawing shows that the child has not been indifferent toward his environment and situation and the social and political world events have affected his psyche and essence so much that instead of drawing the landscape, flower, and garden, football match, car, etc, has created such work.
The tragedy of September the 11th has perplexed the mental and psychological tranquility of the child to an extent that he, unconsciously, has depicted this feeling of insecurity. Is it possible to assume that such a child does not possess mental growth and creative power and the ability to analyze? Undeniably, in the extensive country of Iran, there are many similar children who unfortunately either, do not have the possibility to demonstrate their talents and capabilities due to the lack of necessary facilities or even if they do have them, these capabilities have not been identified by an expert and has not been conducted in the necessary direction.
The child separates the information and events that he or she receives from the outside world from each other and again puts them together and expresses them through painting.
In painting, the child frees herself from the inhibitions and states her problems, discoveries, and worries in an unconscious mode. Accordingly, if we base the teaching of painting on the correction of the painting and during that teach the children to copy and imitate from early ages, we have committed a large mistake.
In this process, the school does not achieve much except for adjusting the child's work with the submitted samples since it removes the child's ability to grow and receive the input from the outside world through his or her paintings. Therefore, that is by compelling the children to copy and imitate, the instructor or parent destroys any possibility for any communication with the child This happens since he or she has been compelled to do something which he or she conceives as unnecessary or probably feels that it is even useless.
Ignoring the child's inner voice or shattering it with the tedious task of copying means leaving the child alone or preventing the flourishing of the child's mental creativities. Moreover, is it possible to force a child who has such analytical view of the society and the world around, to copy the pear, which has been drawn by the teacher on the blackboard?
In this case, doesn't the child feel useless due to the unfulfilled psyche and not appreciating his mental capabilities and wont he omit art and painting from his life altogether?
So let's ponder for a minute and come to our senses. Let's provide the possibility for communication and agreement with the child in order to aid the growth of her character and creative power and from now on create detailed and continuous programs for the education and training of the children and by hoping for a better future, hand in hand, try to present the true value of love to others.
Undoubtedly, realization of this goal will be carried out by every individual in the society and all of us will be participating in this great cultural step.


Mojdeh Tabatabaie

Iran Newspaper - 3 April 2002