Professional Documents
Culture Documents
The Educational Imagination
The Educational Imagination
broad, and diffuse, but in part capable of being recognized subs: general,
. o th . . t h'1s b oo k , t h'1s issue-the
·
the activity. Like . er issues 1n characterquent
f t0
cational goals-Is . greater d etaI·11ater.
. d'Iscussed In °edu·
When one is engaged in long-term planning and has formulat d
· ·
array of goals or o b~ectives, d esigne
· d matena · Is o f various sorts ere an
. ..
learning act1v1t1es t? . e use . In t h c1assroom, an d. prepared visual
b d . ' eated
and
auditory resources, 1t Is possible to inspect the curnculum to see what .
. Its
contents are and how they have been related. The curnculum in this co _
text has a physical existence; it is embodied in a set oLmaterials. The~
materials can be the subject of analysis and criticism in a measure similar to
the criticism applied to books, paintings, symphonies, ·architecture, and the
like. To be sure, the criteria will differ, but the principle of being able to
criticize what has been created is the same.
The physical existence of such materials also means that they can be
transported; the same curriculum can be used in different classrooms and
in different schools. School administrators can discuss the strengths and
weaknesses of the curriculum. Parents can inspect it and students can use it.
Curriculum planning need not result in the creation of physical materi-
als . The teacher whose plans a~e in his or her mind alone might have
planned a curriculum of an excellent sort, but because the plans are not
public, they can neither be shifted about, inspected, nor shared with others.
The only way to appraise the quality of the curriculum is to watch the
teacher and the students in the class. One must attend · to the attributes as
they unfold, make judgments about the significance of the content as it is
revealed, and appraise the quality of the resources as they are used. One
must make one's judgment by observing the curriculum in use. For the
teacher who does not make extensive or long-term plans, even of a me~~l
sort, the curriculum may in fact be planned in process. In this situation, it _is
not simply that plans have been made but have not been written dow~~ in
this situation, the teacher plans in process. What the teacher uses are ini~iat-
ing activities,
•
but such activities are employed simply to get the ball rolling:
• (Jla. 11l'l''
to begin a process whose course is·shaped in the conduct of teaching. -J·,1, f1 ·l·
\ / J
R().,V\~ v~ W1,,1t-w,i?
tional curric ulum is the uniqu e set of events that transp ire within a class-
room . It is what occur s betwe en teache rs and studen ts and betwe en studen ts
and stude~ ts. To ~~itique or appra ise the opera tional curric ulum requir es
one to ~e 1n a pos1t1on to observ e what classr oom activities actually unfold .
Inspe ction of plans or of the inten ded curric ulum is not assura nce that
. d . ( \ '::>SlJ.Q - ~ ";J 'k<11.. l-i.l{.'-p u 7.,,:,. • 7-1 o i"S!-~ ':3 0-0 ci C U,..x-> ..,
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mig ht be not ed tha t the pla nru ng of a cur ricu lum on a long-term b .
It . use can b e com par ed to the creation as1s
. h cle ar spe cifi cati ons reg ard.1ng its
wit
ns pre par ed by an archit ect.
of a sco re wri tten by a com pos er or the pla .fi
exa mp les are mu c h mo re spe c1 1c and detailed th
Alt hou gh the se two . h ' b ¾
and
I tp _the com pos er
wh at mo st cur ricu la pro vid e, the re a~1ons
has s1mtlant1es to that between
the pia nis t or the arc hite ct and the bui lde r
eac h ca~e the pla nne r designs,
the cur ricu lum pla nne r and the tea_ch~ r. In
con stra ints of the design. And
and the per for ma nce is exe cut ed w1th1n the
fre edo m wit h which to inter-
in eac h case the per farm ers hav e deg ree s of
ins pec t the score, the archi-
pre t the pla ns tha t hav e bee n ma de. On e can
tura l spe cifi cati ons , and the cur ricu lum as pla nne d and assess the ways in
tec
whi ch tho se pla ns hav e bee n exe cut ed.
cur ricu lum pla nni ng- the
For tho se usi ng a mo re em erg ent mo del of
s-a ctiv itie s are much closer to
mo del in whi ch pla ns are cre ate d in pro ces
del , dec isio ns to do one thin g
the wo rk of the pai nte r or poe t. In this mo
be ma de onl y by considering
rath er tha n ano the r are dec isio ns tha t can
situ atio n, by exploiting the
opt ion s as the y dev elo p, by "re adi ng" the
w out of action rather than
adv ent itio us, and by allowing inte ntio n to gro
a gre at ma ny artists as well as
req uiri ng the m to pr~<:_eV'<;le it. Thi s is the way
arily a ma rk of incompetence
teac her s work. To work this way is not necess
a par ticu lar role, or a sign of
but cou ld be the resu lt of a pre fere nce for
In suc h a mo del of curricu-
com mit me nt to a par ticu lar ima ge of edu cati on.
of fait h in the ability of the
lum pla nni ng one mu st pla ce a goo d dea l
, a gre at dea l of exp erience,
teac her . To work this way req uire s, I believe
gh the availability of a cur-
com pet enc e, and confidence as a teac her . Alt hou
om pan ied by interesting_ an~
ricu lu~ tha t has bee n well pla nne d and acc
con fide nce tha t what Will b
attr acuve resources for in-classroom use bre eds
rt, cur ricu lum materials ~d
offered will be wor th the stud ent 's tim e and effo
ricu lum guides are often dis-
particularly tha t species of materials call ed cur · Iurn
d db s. The exis tenc e of a wel l-pl ann ed bod y of_ curncu usi-
reg ar . e . Y teacher ely or with en th
r