The first of these facts is that, often, a small child seems better endowed than the older children in the areas of design, symbolic expression (plastic representations, roles represented in the scenes spontaneously organized conferences, etc.). And sometimes in music. When studying the intellectual or social feelings contacts to progress more or less continuous, while in the field of artistic expression, in contrast, is often the impression of a retreat.
The second fact (and that is reduced in the first part) is that it is much harder to establish regular stages of development in the case of artistic tendencies than in the case of other mental functions.
Any of these observations lead to a clear conclusion: the young child begins to spontaneously display his personality and his experiences between individuals due to the different means of expression that are at your disposal: modeling and design, the symbolism of the game, a theatrical performance (which proceeds imperceptibly collective symbolic of the game), singing, etc.., but that without a proper art education that can cultivate these forms of expression and encourage the onset aesthetic, the action of the adult and the constraints of family or school tend to general to brake or counter to the artistic trends rather than enrich them.
The psychological problem, or rather the two main psychological problems of art education are therefore to understand, first, to which fundamental needs are the initial manifestations of aesthetic expression and child, secondly, the nature of the obstacles that arise in the ordinary subsequent course of evolution.
About the first of these points are relatively well understood. The study of children's game and especially in symbolic play (usually called game of make-believe) shows indeed that the thought and emotional life of children are guided by two opposite poles.
There is, in one hand, social or material reality to which the child must adapt and impose its laws, rules and means of expression: that reality is undergoing social and moral feelings, conceptual thinking or socialized with the collective means of expression constituted by language, etc.. But there is another side, that which is experienced by me: conflicts, conscious or unconscious desires, worries, joys and restlessness and individual realities are often inappropriate and always uttered only by the collective instruments of communication, which require a particular form of expression. Now the game is nothing more symbolic than the procedure of expression, created almost entirely by each individual subject, thanks to the use of representative objects and imagery that both complement the language. Its main functions are to enable the fulfillment of desires, the compensation with respect to the real, free satisfaction of subjective needs and, finally, an expansion of the fullest possible "self", while distinct from material reality or social.
The first spontaneous demonstrations of what might be called the children's art should also be seen as successive attempts to reconcile the trends characteristic of symbolic play (though not constitute art in the narrow sense), and those trends that characterize the adapted forms of activity or if one prefers, as a synthesis between the expression of the self and submission to the real. Whether in the construction set, both in theatrical performances, etc.., The child seeks to simultaneously satisfy their desires and adapt to other subjects and objects. In a sense it continues to express, but also insert rehearses what he thinks and feels in the world of objective realities and communicable constituting the material and social universe.
Whence then the obstacle which often dries up the first attempts and sometimes stops completely - at least until the new impulse of aesthetic expression that marks adolescence - when they should develop in a continuous mode? It is a special case of this general phenomenon that unfortunately characterized the traditional system of education and teaching. From an intellectual standpoint the school very often requires knowledge ready in place to encourage the research, but this was little noticed because the students repeat what they have learned just to get a positive return without suspected or how many spontaneous activities of fertile curiosity were drowned. Rather, in the artistic domain usually nothing replaces adult pressure that threatens to destroy irreparably, putting in a lot of evidence that there is a problem that encompasses all our usual system of education.
This is why it should be welcomed as an action both necessary and liberating all the attempts to reintroduce school subjects in the aesthetic life, the logic of an education based on intellectual and moral authority leads to totally eliminate or at least reduce.
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