Prática de Shadowing: Do schools kill creativity? | Sir Ken Robinson | TED - Aprenda a falar inglês com o YouTube
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Tanya Cushman Reviewer Tanya Cushman Reviewer
405 frases
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Tanya Cushman Reviewer Tanya Cushman Reviewer
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Good morning.
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How are you?
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It's been great, hasn't it?
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I've been blown away by the whole thing.
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In fact, I'm leaving.
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There have been three themes,
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haven't there, running through the conference,
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which are relevant to what I want to talk about.
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One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all the people here.
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Just the variety of it and the range of it.
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The second is that it's put us in a place where we have no idea what's going to happen
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in terms of the future.
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No idea how this may play out.
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I have an interest in education.
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Actually, what I find is everybody has an interest in education.
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Don't you?
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I find this very interesting.
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If you're at a dinner party and you say you work in education.
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Actually, you're not often at dinner parties, frankly.
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Sort of thing.
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If you work in education, you're not asked.
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And you're never asked back, curiously.
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That distracts me.
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But if you are, and you say to somebody,
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they say, what do you do?
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And you say you work in education,
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you can see the blood run from their face.
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They think, oh my God, why me?
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My one night out all week.
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But if you ask people about their education,
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they pin you to the wall.
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Because it's one of those things that goes deep with people, am I right?
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Like religion and money and other things.
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So, I have a big interest in education,
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and I think we all do.
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We have a huge vested interest in it,
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partly because it's education that's meant to take us into this future that we can't grasp.
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If you think of it,
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children starting school this year will be retiring in 2065.
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Nobody has a clue, despite all the expertise that's been on parade for the past four days,
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what the world will look like in five years' time.
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And yet we're meant to be educating them for it.
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So the unpredictability, I think, is extraordinary.
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And the third part of this is that we've all agreed nonetheless on the really extraordinary capacities that children have,
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their capacities for innovation.
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I mean, Serena last night was a marvel, wasn't she?
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Just seeing what she could do.
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And she's exceptional, but I think she's not,
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so to speak, exceptional in the whole of childhood.
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What you have there is a person of extraordinary dedication who found a talent.
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And my contention is all kids have tremendous talents,
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and we squander them pretty ruthlessly.
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So I want to talk about education,
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and I want to talk about creativity.
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My contention is that creativity now is as important in education as literacy.
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And we should treat it with the same status.
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Thank you.
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That was it, by the way.
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Thank you very much.
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So, 15 minutes left.
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Well, I was born...
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No, the...
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I had a great story recently,
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I love telling it, of a little girl who was in a drawing lesson.
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She was six and she was at the back drawing and the teacher said,
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this little girl hardly ever paid attention.
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And in this drawing lesson she did.
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And the teacher was fascinated,
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she went over to her and she said, what are you drawing?
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And the girl said, I'm drawing a picture of God.
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And the teacher said, but nobody knows what God looks like.
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And the girl said, they will in a minute.
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When my son was four in England,
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actually he was four everywhere to be honest,
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I mean, if we're being strict about it,
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wherever he went he was four that year,
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but he was in the Nativity play,
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do you remember the story?
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No, it was big, it was a big story.
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Mel Gibson You may have seen it.
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Nativity 2.
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But James got the part of Joseph,
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which we were thrilled about.
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We consider this to be one of the lead parts.
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We had the place crammed full of agents and T-shirts.
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You know, James Robinson is Joseph.
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He didn't have to speak.
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But you know the bit where the three kings come in?
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They come in bearing gifts,
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and they bring gold, frankincense, and mary.
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This really happened, we're sitting there,
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and they, I think, just went out of sequence.
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Because we talked to the little boy afterwards and said,
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you know, are you OK with that?
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And they said, yeah, why, was that wrong?
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They just switched, I think that was it.
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Anyway, the three boys came in,
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little four-year-olds with tea towels on their heads,
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and they put these boxes down,
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and the first boy said, I bring you gold.
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And the second boy said, I bring you mare.
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And the third boy said, Frank sent this.
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What these things have in common is that kids will take a chance.
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If they don't know, they'll have a go.
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Am I right?
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They're not frightened of being wrong.
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Now I don't mean to say that being wrong is the same thing as being creative.
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What we do know is if you're not prepared to be wrong,
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you'll never come up with anything original.
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if you're not prepared to be wrong.
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And by the time they get to be adults,
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most kids have lost that capacity.
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They have become frightened of being wrong.
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And we run our companies,
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by the way, we stigmatize mistakes.
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And we're now running national education systems where mistakes are the worst thing you can make.
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And the result is that we are educating people out of their creative capacities.
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Picasso once said this, he said that all children are born artists.
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The problem is to remain an artist as we grow up.
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I believe this passionately, that we don't grow into creativity,
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we grow out of it.
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Or rather, we get educated out of it.
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So why is this?
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I lived in Stratford-on-Avon until about five years ago.
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In fact, we moved from Stratford to Los Angeles.
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So you can imagine what a seamless transition this was from L.A.
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Actually, we lived in a place called Snitterfield,
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just outside Stratford, which is where Shakespeare's father was born.
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Are you struck by a new thought?
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I was.
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You don't think of Shakespeare having a father, do you?
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Do you?
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Because you don't think of Shakespeare being a child, do you?
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Shakespeare being seven.
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I never thought of it.
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I mean, he was seven at some point.
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He was in somebody's English class, wasn't he?
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Do you understand?
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How annoying would that be?
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Must try harder.
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Being sent to bed by his dad to Shakespeare.
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Go to bed now to William Shakespeare and put the pencil down.
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And stop speaking like that.
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It's confusing everybody.
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Anyway, We moved from Stratford to Los Angeles.
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And I just want to say a word about the transition.
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Actually, my son didn't want to come.
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I've got two kids.
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He's 21 now and my daughter's 16.
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He didn't want to come to Los Angeles.
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He loved it.
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But he had a girlfriend in England.
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This was the love of his life.
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Sarah.
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He'd known her for a month.
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Mind you, they'd had their fourth anniversary.
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Because it's a long time when you're 16.
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Anyway, he was really upset on the plane and said,
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I'll never find another girl like Sarah.
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And we were rather pleased about that, frankly.
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Because she was...
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She was the main reason we were leaving the country.
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But something strikes you when you move to America and when you travel around the world.
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Every education system on Earth has the same hierarchy of subjects.
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Everyone, doesn't matter where you go.
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You think it would be otherwise, but it isn't.
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At the top are mathematics and languages,
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then the humanities and the bottom are the arts, everywhere on Earth.
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And in pretty much every system too,
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there's a hierarchy within the arts.
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Art and music are normally given a higher status in schools than drama and dance.
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There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics.
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Why?
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Why not?
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I think this is rather important.
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I think maths is very important, but so is dance.
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Children dance all the time,
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if they're allowed to, we all do.
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We all have bodies, don't we?
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Did I miss a meeting?
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I mean, I think...
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Truthfully, what happens is, as children grow up,
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we start to educate them progressively from the waist up.
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And then we focus on their heads,
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and slightly to one side.
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If you were to visit education as an alien and say,
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what's it for, public education?
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I think you'd have to conclude,
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if you look at the output,
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Who really succeeds by this?
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Who does everything they should?
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Who gets all the brownie points?
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Who are the winners?
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I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors.
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Isn't it?
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They're the people who come out the top and I used to be one.
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So there.
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You know.
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And I like university professors,
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but you know, we shouldn't hold them up as the high watermark of all human achievement.
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They're just a form of life.
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You know, another form of life.
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But they're rather curious, and I say this out of affection for them.
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There's something curious about professors.
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In my experience, not all of them,
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but typically, they live in their heads.
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They live up there.
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and slightly to one side.
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They're disembodied, you know, in a kind of literal way.
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You know, they look upon their body as a form of transport for their heads.
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You know, it's...
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Don't they?
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It's a way of getting their head to meetings.
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If you want real evidence of out-of-body experiences,
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by the way, get yourself along to a residential conference for senior academics and pop into the discotheque on the final night.
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And there you will see it.
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Brown men and women writhing uncontrollably.
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Off the beat.
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Waiting until it ends so they can go and write a paper about it.
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Now, our education system is predicated on the idea of academic ability.
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And there's a reason.
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The whole system was invented around the world.
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There were no public systems of education really before the 19th century.
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They all came into being to meet the needs of industrialism.
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So the hierarchy is rooted on two ideas.
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Number one, that the most useful subjects for work are at the top.
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So you were probably steered benignly away from things at school when you were a kid,
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things you liked on the ground you would never get a job doing that.
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Is that right?
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Don't do music, you're not going to be a musician,
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don't do art, you won't be an artist.
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Benign advice, now profoundly mistaken.
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The whole world is engulfed in revolution.
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And the second is academic ability,
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which has really come to dominate our view of intelligence,
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because the universities designed the system in their image.
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If you think of it,
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the whole system of public education around the world is a protracted process of university entrance.
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And the consequences that many highly talented,
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brilliant, creative people think they're not,
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because the thing they were good at at school wasn't valued or was actually stigmatized.
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And I think we can't afford to go on that way.
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In the next 30 years,
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according to UNESCO, more people worldwide will be graduating through education than since the beginning of history.
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More people.
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And it's the combination of all the things we've talked about,
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technology and its transformation effect on work,
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and demography and the huge explosion in population.
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Suddenly, degrees aren't worth anything.
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Isn't that true?
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When I was a student,
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if you had a degree, you had a job.
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If you didn't have a job,
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it's because you didn't want one.
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And I didn't want one, frankly.
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But now, kids with degrees are often heading home to carry on playing video games.
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Because you need an MA where the previous job required a BA,
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and now you need a PhD for the other.
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It's a process of academic inflation,
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and it indicates the whole structure of education is shifting beneath our feet.
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We need to radically rethink our view of intelligence.
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We know three things about intelligence.
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One, it's diverse.
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We think about the world in all the ways that we experience it.
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We think visually, we think in sound,
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we think kinesthetically, we think in abstract terms, we think in movement.
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Secondly, intelligence is dynamic.
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If you look at the interactions of a human brain,
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as we heard yesterday from a number of presentations, intelligence is wonderfully interactive.
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The brain isn't divided into compartments.
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In fact, creativity, which I define as the process of having original ideas that have value,
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more often than not, comes about through the interaction of different disciplinary ways of seeing things.
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The brain is intentionally...
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By the way, there's a shaft of nerves that joins the two halves of the brain called the corpus callosum.
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It's thicker in women.
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Following on from Helen yesterday,
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I think this is probably why women are better at multitasking.
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Because you are, aren't you?
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That's a raft of research,
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but I know it from my personal life.
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If my wife is cooking a meal at home,
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which is not often, thankfully,
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but, you know, if she's doing...
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No, she's good at some things.
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But if she's cooking, she's dealing with people on the phone,
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she's talking to the kids,
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she's painting the ceiling, you know,
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she's doing open-heart surgery over here.
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If I'm cooking, the door is shut,
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the kids are out, the phone's on the hook,
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if she comes in, I get annoyed.
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I say, Terry, please, I'm trying to fry an egg in here.
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You know...
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Give me a break.
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Actually, there was...
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Do you know that old philosophical thing?
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If a tree falls in a forest and nobody hears it, did it happen?
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Remember that old chestnut?
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I saw a great T-shirt,
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really, recently, which said, if a man speaks his mind in a forest and no woman hears him,
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is he still wrong?
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And the third thing about intelligence is it's distinct.
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I'm doing a new book at the moment called Epiphany,
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which is based on a series of interviews with people about how they discovered their talent.
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I'm fascinated by how people got to be there.
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It's really prompted by a conversation I had with a wonderful woman who most people have never heard of.
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She's called Gillian Lynn.
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Have you heard of her?
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Some have.
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She's a choreographer and everybody knows her work.
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She did Cats and Phantom of the Opera.
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She's wonderful.
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I used to be on the board of the Royal Ballet in England,
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as you can see.
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And...
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Anyway, Jillian and I had lunch one day.
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I said, How did you get to be a dancer?
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And she said it was interesting.
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When she was at school, she was really hopeless.
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And the school in the 30s wrote to her parents and said,
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We think Jillian has a learning disorder.
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She couldn't concentrate.
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She was fidgeting.
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I think now they'd say she had ADHD.
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Wouldn't you?
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But this was the 1930s and ADHD hadn't been invented at this point,
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so it wasn't an available condition.
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You know, people...
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People weren't aware they could have that.
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Anyway, she went to see this specialist.
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So this oak-panelled room, and she was there with her mother,
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and she was led and sat on this chair at the end,
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and she sat on her hands for 20 minutes
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while this man talked to her mother about all the problems Jillian was having at school.
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And at the end of it,
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because she was disturbing people,
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her homework was always late and so on,
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little kid of eight, in the end,
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the doctor went and sat next to Jillian and said,
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Jillian, I've listened to all these things that your mother's told me,
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I need to speak to her privately.
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So she said, wait here,
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we'll be back, we won't be very long,
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and they went and left her.
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But as they went out of the room,
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he turned on the radio that was sitting on his desk.
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And when they got out of the room,
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he said to her mother,
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just stand and watch her.
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And the minute they left the room,
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she said she was on her feet, moving to the music.
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And they watched for a few minutes,
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and he turned to her mother,
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and he said, you know,
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Mrs. Lynn, Gillian isn't sick, she's a dancer.
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Take her to a dance school.
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I said, what happened?
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She said, she did.
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I can't tell you how wonderful it was.
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We walked in this room,
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and it was full of people like me.
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People who couldn't sit still.
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People who had to move to think.
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who had to move to think.
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They did ballet, they did tap,
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they did jazz, they did modern, contemporary.
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She was eventually auditioning for the Royal Ballet School.
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She became a soloist, she had a wonderful career at the Royal Ballet.
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She eventually graduated from the Royal Ballet School,
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found her own company, the Gillian Dance Company,
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met Andrew Lloyd Webber, she's been responsible for some of the most successful musical theatre productions in history,
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she's given pleasure to millions, and she's a multi-millionaire.
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Somebody else might have put her on medication and told her to calm down.
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Now, I think...
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What I think it comes to is this.
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Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson.
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I believe our only hope for the future is to adopt a new conception of human ecology,
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one in which we start to reconstitute our conception of the richness of human capacity.
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Our education system has mined our minds in the way that we've strip-mined the earth for a particular commodity.
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And for the future, it won't serve us.
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We have to rethink the fundamental principles on which we're educating our children.
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There was a wonderful quote by Jonas Salk who said,
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if all the insects were to disappear from the earth,
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within 50 years all life on earth would end.
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If all human beings disappeared from the earth,
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from the earth, within 50 years all forms of life would flourish.
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And he's right.
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What TED celebrates is the gift of the human imagination.
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We have to be careful now that we use this gift wisely
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and that we avert some of the scenarios that we've talked about.
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And the only way we'll do it is by seeing our creative capacities for the richness they are,
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and seeing our children for the hope that they are.
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And our task is to educate their whole being so they can face this future.
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By the way, we may not see this future, but they will.
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And our job is to help them make something of it.
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Thank you very much.
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Bravo.
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We have.
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Thank you.
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What if great ideas weren't cherished?
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What if they carried no importance?
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Or held no value?
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There is a place where artistic vision is protected.
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Where inspired design ideas live on to become ultimate driving machines.
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Por que praticar a conversação com este vídeo?
O vídeo de Sir Ken Robinson, "As escolas matam a criatividade?", oferece uma oportunidade rica para a prática de conversação em inglês. Através de seu discurso envolvente, ele nos faz refletir sobre a educação e a criatividade, abordando questões que são relevantes para muitos. Praticar a fala com este vídeo permite que você se familiarize com o vocabulário específico sobre educação e criatividade, além de desenvolver sua capacidade de articular pensamentos complexos em inglês.
Durante a prática, você pode utilizar técnicas como o shadowspeak, que envolve repetir em voz alta o que o orador diz. Isso não só melhora sua fluência, mas também aumenta sua confiança ao abordar temas que exigem clareza e eloquência.
Gramática & Expressões no Contexto
Ao assistir ao vídeo, preste atenção em algumas estruturas gramaticais e expressões que são utilizadas. Aqui estão três delas:
- Condicionais: Robinson usa frases condicionais para expressar incertezas sobre o futuro da educação, como "Se você pensar...". Essa estrutura é fundamental para discutir possibilidades e hipóteses.
- Interrogativas retóricas: Ele faz perguntas retóricas para engajar a audiência, como "Você não acha?". Praticar esse tipo de pergunta pode ajudar a desenvolver sua habilidade de interação.
- Expressões de opinião: Frases como "Eu acho que..." ou "É interessante notar que..." são úteis para expressar suas ideias e obrigações em uma conversa mais formal.
Armadilhas Comuns de Pronúncia
Alguns termos e expressões no vídeo podem apresentar dificuldades na pronúncia. Aqui estão algumas dicas para melhorar a pronúncia em inglês:
- Extraordinário: A pronúncia correta é crucial. Preste atenção à sílaba tônica, que pode ser um desafio para falantes de português.
- Inovação: O 'v' em inglês é frequentemente pronunciado de maneira diferente do 'v' em português. Pratique o som para evitar confusões.
- Unpredictability: A ênfase na parte "un-" pode ser sutil, então pratique a palavra em voz alta para garantir que você capte o som correto.
Utilizar o shadowspeaks em exercícios de repetição pode ajudar a superar essas armadilhas. Focar na pronúncia correta irá beneficiar não apenas sua fluência, mas também sua clareza ao se comunicar.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.
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