About TLP

Our Philosophy of Arts In Education

If you would rather download a Word file of our philosophy, click here:  Philosophy of Arts In Education.doc

Self-Discovery

I, Jeff Erwin, Founder of TLP, believe there are kernels of creativity within every living person, young or otherwise.  My responsibility as an artist in residence is to expose youth to experiences that may help them recognize these kernels and nurture them to grow.  One of the saddest things in life is for undiscovered talent to remain undiscovered.  Years ago, a second-grade student, Elise, said in her thank you letter to me:  “It was very fun when we went on stage.  It told me that I had a gift.  It opened my heart.  It felt like I discovered a gift of my own.”  This is not a likely comment to come from the pen of a seven-year-old girl, but it came nonetheless.  And it makes the point that my job as an artist  is to draw out of kids what they may not have known existed within themselves in the first place.  Maybe that kernel will lead to a desire to perform again in some capacity before an audience, or to write songs or poetry.  Perhaps it will spark an interest to further pursue the creative use of music & video technology, or inspire them in invent new forms of experimental theater as I have done, and as I empower them to do with each culminating event (the performance at the conclusion of a residency).

Discovery vs. Skill

Further, I think that helping youth recognize their artistic interests and talents is more important, at least initially, than artistic skill development.  It is, in my view, a greater success for, let’s say, a potter to stimulate a child’s interest in working with his or her hands than it is for the child to create the perfect pot without generalizing beyond this one creation.  I think one way to help kids see & understand what the experience means to them is to “process the process” with them.  In other words, we as artists can talk to kids about the process they went through to create their art and through this discussion help them generalize the experience and make connections to other parts of their creative lives.  For some, it may take time for the processing to make sense or for them to follow through with any conclusions they might have drawn.  But the odds of them doing so are greater if they are given a chance to talk about their artistic experiences.

Artistic Consumption

I believe there are different levels of artistic consumption too.  At the end of a TLP residency, some youth may have simply come to appreciate my particular art form more.  Maybe they will be more likely to attend the theater in months or years to come.  Others may be stimulated by the historical context of the art.  Still others may want to master it.  Each of these cases, in my view, is a success, for it is unrealistic to believe that every student will consume the art form entirely.

Levels of Group Achievement

TLP workshops are largely performance-art based, so it follows that I hope for participants to take away a new appreciation for this discipline.  One of my strengths as an artist and educator is that I am able to create an atmosphere where kids feel safe and free to take the kinds of risks necessary to learn new things about themselves.  When kids feel safe it is possible to call them, as a group or team, to a higher standard of achievement as long as they are given the tools, leadership, inspiration and time to excel.  It IS the process that is most important; however, if the quality of the product matches the depth of process, the outcome becomes all the more meaningful for everyone involved, including the audience.

My Two Convictions

In conclusion, I will say that there are two axioms that I rely upon as an artist when working with youth:  (1) that kids are capable of accomplishing a lot more artistically than many adults give them credit for; and (2) that when kids learn to appreciate and do art, this leads to a better understanding and appreciation of their world and the life they lead in it.

Bill Ivey, chairman of the National Endowment for the Arts, reminds us, “I think the very best thing we can do for young people is to engage them in art in school at an early age.  The doing of art produces not only great players and painters, it produces great listeners and lookers.”  (National Public Radio, 1998)

I aim to do just that.