The Contrapuntal Platypus

Asian vs. Western Education: A Third Way? (My response to Amy Chua, Part 1) January 8, 2011

(This is Part 1 of my response to Amy Chua, focusing on her article though a music teaching/educational lens. UPDATE: Part 2, consisting of some more general thoughts on parenting and how to “motivate” children to learn, is now up here. Comments, questions, and debates are welcome!)

A friend of mine tweeted an article today titled “Why Chinese Mothers Are Superior”, which he suggested would more accurately be called “How to Rob Your Child’s Life and Live it For Them.” It’s written by an Asian mother, Amy Chua, who quite genuinely believes that the Asian method of education – rote memorization and practice, insistence on high achievement, and strict discipline – produces the most successful, and in the end happiest, children. When I tweeted back my initial reaction to the article, my friend responded, “She forgets that in order to become a musician, you need talent first and then you can practice like hell.”

I found this assertion extremely interesting, but limiting – just as I found the author’s stance more compelling than one might think at first glance, but also ultimately flawed. The Asian model assumes that rote practice and strict discipline can ensure “success.” In contrast, the Western model argues that inherent “talent” – either you have it, or you don’t – is first and foremost essential. Frankly, neither of those educational models seems ideal. Isn’t there any other alternative?

Though there are aspects of Ms. Chua’s article I quite strongly disagreed with (never allowing one’s children to have a playdate or be in a school play? Requiring them to be the top student in every academic subject?), I felt she hit some things right on the mark. She states:

What Chinese parents understand is that nothing is fun until you’re good at it. To get good at anything you have to work… Once a child starts to excel at something—whether it’s math, piano, pitching or ballet—he or she gets praise, admiration and satisfaction. This builds confidence and makes the once not-fun activity fun…One of the worst things you can do for your child’s self-esteem is to let them give up. On the flip side, there’s nothing better for building confidence than learning you can do something you thought you couldn’t.

Agreed 100%. This is where the Asian theory, for me, comes out far ahead of the Western theory of “talent”. The Western model is horrendously disempowering, not to mention disheartening; children tend to assume, if they can’t get something right away, that they “aren’t good at it” and should just “give up.” (Of course, if I’d done this there’s no way I’d be a pianist today.) Say what you like about the Asian system – at least it provides some scope for improvement.

It’s only after this point that, for me, the Asian theory goes totally off the rails…

Chinese parents demand perfect grades because they believe that their child can get them. If their child doesn’t get them, the Chinese parent assumes it’s because the child didn’t work hard enough. That’s why the solution to substandard performance is always to excoriate, punish and shame the child. The Chinese parent believes that their child will be strong enough to take the shaming and to improve from it.

Ouch! The problem with the Asian model is that it assumes any failure to do well (in academics, music, etc) is due to lack of motivation, practice, or work ethic. As a teacher I know that far more often it’s due to a fundamental lack of understanding.  The child’s current level of comprehension is on one side, the concept is on another, there’s a gap in between – and no amount of screaming, punishment or shaming will give the child the ability to jump over the gap, any more than yelling at me would make me able to leap a fifty foot wide crevasse. Excoriating the child for “not getting it” won’t make the child any more likely to get it, only make them feel guilty for something that isn’t their fault. Rather, it’s the teacher’s responsibility to give them – one by one – the tools they need to bridge the gap on their own, and guide them through the process.

As an example of what can go so terribly, horribly wrong with the Asian model, I’ll hand it over to Ms. Chua once more.

Here’s a story in favor of coercion, Chinese-style. Lulu was about 7…working on a piano piece called “The Little White Donkey”…incredibly difficult for young players because the two hands have to keep schizophrenically different rhythms. Lulu couldn’t do it. We worked on it nonstop for a week, drilling each of her hands separately, over and over. But whenever we tried putting the hands together, one always morphed into the other, and everything fell apart. Finally, the day before her lesson, Lulu announced in exasperation that she was giving up and stomped off. “Get back to the piano now,” I ordered.

“You can’t make me.”

“Oh yes, I can.”

Back at the piano, Lulu made me pay. She punched, thrashed and kicked. She grabbed the music score and tore it to shreds. I taped the score back together and encased it in a plastic shield so that it could never be destroyed again. Then I hauled Lulu’s dollhouse to the car and told her I’d donate it to the Salvation Army piece by piece if she didn’t have “The Little White Donkey” perfect by the next day…I threatened her with no lunch, no dinner, no Christmas or Hanukkah presents, no birthday parties for two, three, four years. When she still kept playing it wrong, I told her she was purposely working herself into a frenzy because she was secretly afraid she couldn’t do it. I told her to stop being lazy, cowardly, self-indulgent and pathetic….I used every weapon and tactic I could think of. We worked right through dinner into the night, and I wouldn’t let Lulu get up, not for water, not even to go to the bathroom. The house became a war zone, and I lost my voice yelling, but still there seemed to be only negative progress, and even I began to have doubts.

Then, out of the blue, Lulu did it. Her hands suddenly came together—her right and left hands each doing their own imperturbable thing—just like that.

Lulu realized it the same time I did. I held my breath. She tried it tentatively again. Then she played it more confidently and faster, and still the rhythm held. A moment later, she was beaming.

“Mommy, look—it’s easy!” After that, she wanted to play the piece over and over and wouldn’t leave the piano…When she performed “The Little White Donkey” at a recital a few weeks later, parents came up to me and said, “What a perfect piece for Lulu—it’s so spunky and so her.”

A success story for coercion? Not quite. Not being a child psychologist, I won’t speculate on what sort of damage can be done to a 7-year old by repeated insults, bullying and threats (not to mention withholding water and bathroom breaks – surely this would count as physical abuse?) As a piano teacher, however, I can pretty firmly state that no real progress was made here.

Here’s the first warning sign: “We worked on it nonstop for a week, drilling each of her hands separately, over and over. But whenever we tried putting the hands together, one always morphed into the other, and everything fell apart.”

This is pretty much a universal problem among pianists – playing left and right hands separately, and putting them together, are two very different mental and physical tasks! It was certainly not due to the 7-year old being “lazy”, “self-indulgent”, “cowardly,” or “pathetic.” Even less was it due to a fundamental “lack of talent” (as per the Western approach). Rather, it is simply a technical problem the child hasn’t learned to deal with. Tackling a problem like this is not the child’s responsibility nor, in fact, the parent’s (unless that parent has extensive training in music.) It is the teacher’s, and Ms. Chua should have taken the issue to him or her in the next lesson. Trying to “shame” a 7-year old into playing two-hand cross-rhythms, without help from an experienced teacher, is like trying to “shame” her into solving algebra problems when she’s never been introduced to the concept before. Lack of understanding is not something one should feel guilty about.

However, it’s pretty clear Ms. Chua did not herself have the musical experience to analyze the problem and break it down into a form that Lulu could solve. Rather she tried to solve the issue by brute force – and for hours on end this was unproductive. But then, the light dawned…or did it?

Then, out of the blue, Lulu did it. Her hands suddenly came together—her right and left hands each doing their own imperturbable thing—just like that.

Just like that! Magic! And all it took was hour upon hour of bullying, threats, verbal and physical intimidation, insults and screaming, right?

Not so fast. Unfortunately, by Ms. Chua’s account, it sounds as though her daughter stumbled across the solution by exhaustive (literally!) trial and error more than anything else. All piano students have moments where something that didn’t work before, magically starts to fit together. Unfortunately “magic” can only go so far; the student is left with little or no understanding of what they did to make it work, or how to fix it if – almost inevitably – it stops working again at some point in the future (usually the night before a major performance!)

Threats and insults aside, the problem with rote drill as a learning method is that it tends to entirely bypass the important long-term goals (musical understanding) in favour of more peripheral short-term ones (learning “The Little White Donkey” for the next day.) As a result, the child gets “good” at playing a lot of individual pieces but often has little or no general musical comprehension, artistic expression, or even music reading ability. (More on the weaknesses of the rote system, in my own and others’ experience, here.)

An ideal educational model neither relies on inherent “talent” nor “discipline” as primary strategies for teaching. Certainly, it can be useful to exploit a child’s strengths as a teaching tool (case in point: one of my students had an amazing memory for pattern and harmony, though he had difficulties reading music. I assigned him various technical exercises in the circle of fifths pattern – usually something only more advanced students would tackle. He learned them easily.) Likewise, rote memorization and repetition can be a useful tool for learning. However, neither works as a good fundamental teaching model.

Above all, a good teacher needs the ability to be both creative and analytical (pop-culture notions of right- and left-brained people aside, the two are not mutually exclusive!) Creativity is needed in order to formulate a problem in new ways, using analogy, stories, visual images, metaphor or whatever else is needed to get an idea across. Analysis is essential for breaking down a problem into steps and then handing the student the tools they need to process those steps, one at a time – so that the previously unleapable gap becomes a series of shorter hops, or if necessary easy steps.

This dual strategy of creativity and analysis produces short-term results as well as long-term understanding. But, more important than either, it gives the student the tools they will need to solve, not only musical problems, but any problem requiring creative and/or analytical ability. Ms. Chua’s assertions aside, bullying and insulting a child won’t give them self-esteem. However, neither will telling them that “everyone has different talents” and “someday you’ll figure it out” (what kid can’t see through that sort of rhetoric to hear the underlying “you’re not good at this” and “I’m not really sure why you can’t get it now”?) What will give a child self-esteem, however, is showing them the strategies they will need to solve any problem they encounter. And, unlike a late-night, tearfully forced mastering of “My Little White Donkey”, these are positive, empowering lessons that will last a lifetime.

– The Contrapuntal Platypus

* I taught an Asian student last year who transferred into my studio. After several years of study under a “rote” method, her technique and imitative ability were quite good but she was unable to read even a simple 2-line piece in C major. Furthermore she had no comprehension of how the music was constructed, what the composer’s markings meant or what the piece was trying to portray.

I told her mother that we would need to spend some time working through the lower RCM levels to improve her reading ability, after which we could return to more advanced music. We did so and she made excellent progress, moving through about 5 RCM grades in as many months. However, about 6 months after she began lessons, her mother called to tell me that she was leaving my studio. The reason (as I found out when I asked to speak with the daughter; her mom wouldn’t tell me) was that, apparently, she “wasn’t progressing fast enough.”

I asked the mother how quickly she expected her daughter to progress – and how passing six grades in half a year could possibly be insufficient. From her answer I gathered that she wanted her daughter to be playing the sort of “flashy” music that she’d been working on before and that goals such as long-term understanding, music reading and expressivity were, for her, secondary to surface brilliance and showiness.

Similarly, when my sister taught English in Japan for a year she found that the educational system was almost entirely structured around drill. Students would memorize, word-for-word, a small set of formulaic conversations with little understanding of their meaning or structure. As a result they would be able to say, for example, “I’d like a cup of coffee, please” but have limited ability to modify the sentence to ask for two cups of coffee, or a cup of tea instead. Many of her students who had studied English in school for years still were entirely unable to have a basic conversation with a native speaker.

I don’t mean to suggest with these anecdotes that all Asian teachers or students fall into this stereotype. However, it does seem to be a major weakness of the rote system that it promotes quick results over true understanding.