By Sir Ken Robinson

[From transcript of his TED conference video presentation.]

I have a big interest in education, and I think we all do, we have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp.

If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue, despite all the expertise that's been on parade for the past four days, what the world will look like in five years' time.

And yet we're meant to be educating them for it.

So the unpredictability, I think, is extraordinary.

And we've all agreed nonetheless on the really extraordinary capacity that children have, their capacities for innovation.

I mean, Sirena last night was a marvel, wasn't she, just seeing what she could do. And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary dedication who found a talent.

And my contention is, all kids have tremendous talents and we squander them, pretty ruthlessly.

So I want to talk about education and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. [applause] Thank you.

That was it, by the way, thank you very much. Soooo, 15 minutes left. Well, I was born ...

I heard a great story recently, I love telling it, of a little girl who was in a drawing lesson, she was 6 and she was at the back, drawing, and the teacher said this little girl hardly paid attention, and in this drawing lesson she did.

The teacher was fascinated and she went over to her and she said, "What are you drawing?" and the girl said, "I'm drawing a picture of God."

And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute."

When my son was 4 in England -- actually he was 4 everywhere, to be honest; if we're being strict about it, wherever he went, he was 4 that year -- he was in the nativity play.

Do you remember the story? No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it, "Nativity II."

But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!"

He didn't have to speak, but you know the bit where the three kings come in. They come in bearing gifts, and they bring gold, frankincense and myrhh. This really happened -- we were sitting there and we think they just went out of sequence, we talked to the little boy afterward and we said, "You OK with that" and he said "Yeah, why, was that wrong?" -- they just switched, I think that was it.

Anyway, the three boys came in, little 4-year-olds with tea towels on their heads, and they put these boxes down, and the first boy said, "I bring you gold." The second boy said, "I bring you myrhh." And the third boy said, "Frank sent this."

What these things have in common is that kids will take a chance. If they don't know, they'll have a go. Am I right? They're not frightened of being wrong.

Now, I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original.

And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong.

And we run our companies like this, by the way, we stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make.

And the result is, we are educating people out of their creative capacities.

Picasso once said this, he said that all children are born artists. The problem is to remain an artist as we grow up.

I believe this passionately, that we don't grow into creativity, we grow out of it.

Or rather we get educated out of it. So why is this?

I lived in Stratford-on-Avon until about five years ago, in fact we moved from Stratford to Los Angeles, so you can imagine what a seamless transition this was.

Actually we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Were you struck by a new thought? I was.

You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being 7?

I never thought of it. I mean, he was 7 at some point; he was in somebody's English class, wasn't he? How annoying would that be? "Must try harder."

Being sent to bed by his dad, you know, to Shakespeare, "Go to bed, now," to William Shakespeare, "and put the pencil down. And stop speaking like that. It's confusing everybody."

Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition, actually. My son didn't want to come. I've got two kids, he's 21 now, my daughter's 16; he didn't want to come to Los Angeles.

He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month. Mind you, they'd had their fourth anniversary, because it's a long time when you're 16.

Anyway, he was really upset on the plane, and he said, "I'll never find another girl like Sarah." And we were rather pleased about that, frankly, because she was the main reason we were leaving the country.

But something strikes you when you move to America and when you travel around the world: every education system on earth has the same hierarchy of subjects.

Every one, doesn't matter where you go, you'd think it would be otherwise but it isn't. At the top are mathematics and languages, then the humanities, and the bottom are the arts. Everywhere on earth.

And in pretty much every system too, there's a hierarchy within the arts. Art and music are nomally given a higher status in schools than drama and dance.

There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics.

Why? Why not? I think this is rather important. I think maths is very important but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting?

Truthfully what happens is, as children grow up we start to educate them progressively from the waist up. And then we focus on their heads. And slightly to one side.

If you were to visit education as an alien and say what's it for, public education, I think you'd have to conclude, if you look at the output, who really succeeds by this, who does everything they should, who gets all the brownie points, who are the winners, I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors.

Isn't it. They're the people who come out the top. And I used to be one, so there. And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement.

They're just a form of life, another form of life. but they're rather curious and I say this out of affection for them, there's something curious about them, not all of them but typically, they live in their heads, they live up there, and slightly to one side.

They're disembodied. They look upon their bodies as a form of transport for their heads, don't they? It's a way of getting their head to meetings.

~~~

Continued on TEDblog 27 June 2006.

[TED stands for Technology, Entertainment, Design]

Sir Ken Robinson is an internationally recognized leader in the development of creativity, innovation and human resources. Now based in Los Angeles, he has worked with national governments in Europe and Asia, with international agencies, Fortune 500 companies, not-for-profit corporations and some of the world’s leading cultural organizations.

He is author of Out of Our Minds: Learning to be Creative.

TED conference video.

Related post: Sir Ken Robinson: Do schools kill creativity?

More articles by Ken Robinson.

~ ~ ~

  

Creativity enhancement articles

~ ~ ~