In my life I have experienced three teachers who have, for me and others, inspired a goal for greatness. All three have artistic backgrounds and seem to work their magic on the artist as well as the non-artist. In my life I've tried to emulate their ways and pass the torch to others; yet, the secrets of their magic eludes me. The secrets, the magic, the need, and the rules are the mystery.
In my early teens I had the fortune of meeting Laurence Ritchey the music director at Knox Metropolitan United Church. Laurence had just assumed the post and was initiating his program. I signed up as an apprentice bell ringer and started to learn the ropes. Laurence amazed me by setting extremely high standards. With formal music being introduced to me in such a way I accepted it as a norm. Our standards in training training were high with 100% as a pass mark required from two separate examiners. This implicitly required us to adapt the interpretive aspects of our playing to suit the varied personalities. Laurence included us in many of his other projects. I particularly enjoyed his reviews of his organ design with explanations of the logic behind each decision point. When our apprenticeship was finished we joined the ranks of examiners and were expected to be guardians of the quality and adapters for the future. Laurence was unyielding in his values and was only satisfied with the optimum.
At Central Collegiate I encountered the second of my inspiring teaches namely McGregor Hone. He was to teach me art and creativity. When I entered his class I believed my eye/hand coordination to be incapable of development. My appreciation for the abstract was nil. Mr. Hone ran a very relaxed class with the majority of homework done on a contract basis. The creation of these contracts (often verbal) was a significant exercise in creativity. Failure was non-existent if sincere attempts were made to fulfill the contract. It was only in retrospect that I was to realize the breadth of experience that Mr. Hone exposed us to. R. Murray Schaffer discussed sound environments. Members of the Regina Five talked of abstraction. We would work in any media. Historic research lead to the Racoo Firing technique of Japan. A printer's bankruptcy had many of us setting old lead type. Mr. Hone always let us seize control and only roped us back when we had crossed the line leading to danger or moral corruption. Mr. Hone's support throughout a contract ended when he gave his final critique. It was brief, constructive and enlightening. He had a talent to let you know what was right, what could be improved, and that it was finished, so on with the next one. It was only years after graduation that I grew to be a fan of Mr. Hone's art. This was due to the fact that he never promoted his own work to his students. Once we discovered it we all loved it for the sensitivity and uniqueness of approach.
One day as I was sitting in a hospital waiting room I gave a sympathetic ear to a cigar smoking man waiting to visit his dying wife. This was the start of my relationship with Jean Oser, the filmmaker and professor. By the end of our conversation, Jean had extracted a promise from me to attend a screening he was giving in the near future. That is how Jean shared his addiction for cinema with me. First a great classic with an anecdote about its production, then a modern film with a story of how a particular scene was shot. The history of the twentieth century was retold to me by the greatest storytellers of our time and a man who loved being part of it. After Jean had painlessly given me the vocabulary of the film sub-culture and introduced me to its local practitioners, I started to involve myself with the local production companies until I eventually started to make my y own videos. Throughout my apprenticeship with Jean, I had undeserved praise heaped upon me and watched countless hours of other amateur works always searching for the positive. The film community of Saskatchewan has formally recognized Jean for his immeasurable contribution to our industry.try. I know first hand many sound, camera, writing, and acting experts here and afar who took his encouragement to heart. Jean's style of excellence was to find, at most, one fault balanced with praise for the admirable features of the work. If he noticed a weakness in any aspect of production he arranged a meeting with someone of a compatible and comparable strength. In his advanced years, Jean still encourages and participates in film and other artistic productions.
So I have had great fortune to know three guiding lights of inspiration. The burning question for me is what makes them shine, inspire and mold for greatness? For years I have tried to pass the torch that they gave me and still have not found the secret.
For twenty seven years I have taught the apprentice bell ringers at Knox Metropolitan United Church. Many of my students have ringing skills superior to mine. Other students have learned more of music theory and arranging while others bring historical perspectives for supplementary collateral such as programs and artistic statements. I have kept an unyielding vigilance on the standards that Laurence set. Those trained by me or my colleagues accept this and I believe will sustain it. My disappointment lies in the absence of creative energy towards the programming of expansion of the bell program. The graduate bell ringers often embrace the new ides but seldom, if ever, generate them. As keeper of the standard, have I dampened their creativity? Does the rigor kill the need to evolve? So Laurence's discipline has shown me how to mold robotics standard of musicians able to interpret with feeling but no champions for new quests.
As a part-time father of three children for the decade I've tried to see my children and friends accomplish the various projects germinating in their imaginations. Painting, model building, puzzle construction and story writing all seem to get derailed by teachers, coaches, or relatives trivializing the efforts and substituting alternative diversions of a more passive nature. I have almost as much time per year with my children as Mr. Hone had with me but I am unable to bring the children to closure on most of their projects no matter what the contract. Money, rewards, exposure or just parental pride does not seem to inspire the completion. Does my parental context eliminate me from such an inspirational role? Does the dysfunctional family environment handicap my children? What about their friends, an equal effort has often been exerted on them?
For several years on I have initiated and led learning experiences for young people as part of I.S.M.'s community involvement. The camps, as we call them, usually deal with new advanced technology. The various events are staffed with experts from ISM, University of Regina, and the community (both local and continental). During the event the participants are given projects to do which leave much room for individual interpretation. Many of the students do excellent work and in the course of the event display promise. My disappointment comes from the lack of sustained initiative. Maybe the time frame is not long enough for noticeable results. Jean Oser even in his advanced years has participated in some of these events with lasting positive effects on the students. Other experts contribute but the retention of their lessons is not as lasting as Jean's. So what is the formula to make a great event? Jean tends to bend into cinematic studies (his expertise) after an hour or two of teaching so his magic is not transportable to any technology. So although the events are rated highly by the students and instructors are usually pleased with the results, there is still room to find the aspiration of greatness among the participants.
In conclusion the questions are grouped into two categories. The issues which do not seem to matter are listed first followed by a set of choices. The subject matter must be of mutual interest to the inspiration and the student yet it is quite possible that the student will see his interest rise from 0 to enthusiastic with inspiration. The participation by the student does not need to be volunteer (although certain pressure situations may be impossible). High quality facilities are are only an option (in fact as I grow older I am becoming convinced that they may be a distraction). A considerable reinforcing time is needed in excess of a year. Should the interaction be structured or not (I prefer not)? Should the interactions be group or one-on-one ( I prefer group)? Should co-creation be practiced or not (I believe co-creation might be an answer)? Should criticism be complete or palatable (I have trouble d delivering a complete critique when I feel it is too much)? Does the teacher need to have unbounded self-confidence or will a reputation suffice (I believe the reputation is enough)? Does the student need a distant relationship or can a relative inspire (Fonda, Bach, Lowe, Blackman, Dumas)?
So it is a question to ponder if you are carrying a torch and have raised it high, how do you find someone to take that torch to still greater heights?
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