Creativity is a crucial aspect of human life that allows us to generate new and innovative ideas, solve problems, and express ourselves in unique ways. It is a valuable skill that has the potential to benefit individuals, communities, and society as a whole. Therefore, it is important to nurture and encourage creativity in all aspects of life, including education.
However, there is a widespread belief that schools often kill creativity. Many people argue that the traditional education system, with its emphasis on memorization, standardized testing, and conformity, stifles creativity and discourages students from thinking outside the box. In this essay, we will explore this claim and consider whether schools really do kill creativity.
One reason why some people believe that schools kill creativity is that they place a strong emphasis on conformity and the correct answers. Students are often expected to follow rules and procedures, and deviations from the norm are not always encouraged or rewarded. This can create a culture of fear and conformity, where students are afraid to take risks or express themselves in unique ways.
Another reason why some people believe that schools kill creativity is that they focus primarily on academic subjects, such as math, science, and language arts. While these subjects are important, they do not always provide opportunities for students to engage in creative activities. For example, a student may be asked to solve a math problem or write an essay, but they may not have the opportunity to design a product, create a piece of art, or engage in other forms of creative expression.
Additionally, the pressure to perform well on standardized tests can also limit creativity. Schools often place a great deal of emphasis on test scores, and students may feel pressure to focus on preparing for these tests rather than exploring their own interests and passions. This can lead to a narrow focus on academic subjects and a lack of time for creative pursuits.
However, it is important to note that not all schools kill creativity. Some schools, particularly those that adopt a more progressive approach to education, actively encourage creativity and allow students to explore their own interests and passions. These schools may use project-based learning, inquiry-based learning, and other pedagogical approaches that give students the opportunity to engage in creative activities and express themselves in unique ways.
In conclusion, while it is true that some schools may discourage creativity, it is important to recognize that not all schools are the same. Some schools actively encourage creativity and provide students with the opportunity to explore their own interests and passions. Therefore, it is important for educators, parents, and policy makers to consider ways to nurture and encourage creativity in all aspects of education.
PLACE FOR US: Essay on the Broadway Musical.
This work is strange, difficult, tremendously thoughtful and, once a reader has taken the time to savor each of its gorgeous sentences, as satisyfing as a great night at the theater. Beautifully written and critically sophisticated as the book is, however, it may frustrate both readers who expect historical data about the genre or formalist analytical approaches to its conventions, and readers who expect to learn objectively about the strands of behavior and culture that link the Broadway musical to mid- and late twentieth-century gay subjectivity. Broadway is over but let's celebrate it, they seem to be saying. The tradition begins with "the Mahoney sisters," Hank and Queenie, in The Broadway Melody 1929 , whose separation enacts a split between women with voices and brains and women whose "talent" is defined as inhering in their blonde hair and their legs. In Place for Us, D.
Place for Us: Essay on the Broadway Musical
Around 1904, the first electric streetlamps made lit-up Broadway the first modern thoroughfare in the city. You know you're only seeing what Hart wants you to see, but because Hart turned his illusions about himself into a public reality, his story does not seem dishonest. Although some will be put off by the academic tone, there are treasures to be found sprinkled throughout these pages, such as the black-and-white reproductions of Michael Perelman's Broadway-inspired oil paintings. In a style that is in turn novelistic, memorial, autobiographical, and critical, the author restores to their historical density the main modes of reception that so many gay men developed to answer the musical's call: the early private communion with original cast albums, the later camping of show tunes in piano bars, the still later reformatting of these same songs at the post-Stonewall disco. But as Miss Electra, of the trio of advice-giving strippers in Gypsy, says: "I'm electrifyin, and I ain't even tryin, I never have to sweat to get paid, cos' when you got a gimmick Gypsy girl you got it made. His writing is thick and messy, his conclusions highly insulting to this gay man, and his analyses of shows ridiculous and ignorant.
Place for Us Essay on the Broadway Musical: D A Miller: Trade Paperback: 9780674003880: Powell's Books
Miller probes what all the jokes laugh off: the embarrassingly m It used to be a secret that, in its postwar heyday, the Broadway musical recruited a massive underground following of gay men. Even as Miller illuminates the false hopes of Broadway optimism and critiques the hetero normativizing momentum of musical plots and characters, he also animates the desire and abandon of the golden age musical, the raucous belt of Ethel Merman whose piscine androgyny he explo Appropriately enough for the subject matter, this essay is a star turn. I started this book in October or something? I will say I had a hard time following the sections about the musical Gypsy mostly because I'm not so familiar with it. Review Place for Us shows that a gay male investment in musicals, whether closeted or disclosed in a piano bar, is solicited and phobically concealed by musicals themselves. Indeed, the seeming revival of interest in the so-called Great American Play brings us right around to the antithetical emotion of sentimental, toothless nostalgia for the same. Likewise, without the West End, we might not have Broadway at all.
