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Josep Oton<\/strong><\/p>\n <\/p>\n
A priori, les reformes educatives<\/strong> pretenen millorar els sistemes d’ensenyament, per\u00f2, en ocasions, els empitjoren. Les innovacions<\/strong>, mal aplicades, repercuteixen negativament d’una manera particular en les classes m\u00e9s desfavorides perqu\u00e8 es veuen privades de l’acc\u00e9s al coneixement, element essencial per a la promoci\u00f3 social.<\/p>\nLlavors, els problemes del sistema educatiu ens recorden les met\u00e0fores dist\u00f2piques i el daltabaix educatiu sembla totalment intencionat, supeditat a uns objectius de determinada enginyeria social.<\/p>\n
No es pot negar que algun espavilat es beneficia de la desfeta de l’ensenyament. A m\u00e9s, els seus efectes en els grups amb menys recursos s\u00f3n nefastos. No obstant aix\u00f2, crec que tamb\u00e9 cal tenir en compte el principi d’Hanlon<\/strong>: \u00abNo atribueixis a la maldat el que s’explica adequadament per l’estupidesa\u00bb. Johann Wolfgang von Goethe<\/strong>, en Les desventures del jove Werther<\/em>, ja deixava caure que \u00abels malentesos i la neglig\u00e8ncia generen m\u00e9s confusi\u00f3 en el m\u00f3n que l’engany i la maldat\u00bb. I diuen que el mateix Winston Churchill<\/strong> es referia al general Charles de Gaulle<\/strong> afirmant que \u00absegurament la seva insol\u00e8ncia neix de la seva estupidesa i no pas de la seva mal\u00edcia\u00bb.<\/p>\nMoltes vegades, els reiterats desastres educatius em fan pensar en el conte de l’aprenent de bruixot, immortalitzada per Walt Disney<\/strong> en la pel\u00b7l\u00edcula Fantasia<\/em>. De fet, la hist\u00f2ria ve de molt abans. L’aprenent de bruixot<\/em> \u00e9s un poema de Goethe escrit l\u2019any 1797. Cent anys m\u00e9s tard (1897) Paul Dukas<\/strong> el va musicar en una adaptaci\u00f3 simf\u00f2nica.<\/p>\nLa trama \u00e9s ben coneguda. Un vell mag marxa del seu taller i encarrega al seu aprenent algunes tasques per a realitzar mentre estigui fora. El jove, avorrit d’haver d’anar a buscar aigua amb una galleda, decideix embruixar una escombra perqu\u00e8 li supleixi en aquest tedi\u00f3s treball. Ara b\u00e9, com encara no tenia la suficient experi\u00e8ncia en l’\u00fas de les arts m\u00e0giques, se li descontrola la escombra m\u00e0gica. No sabia quin conjur invocar per a frenar-la . Amb l’activitat fren\u00e8tica d’una escombra embogida, aviat tot el terra del taller va quedar completament inundat d’aigua.<\/p>\n
La reacci\u00f3 de l’aprenent va ser atacar l’escombra amb una destral per a posar fi a la seva compulsiva laboriositat. Per\u00f2 la mala fortuna va fer que la part\u00eds en dos. Cada una de les peces va acabar actuant com una escombra sencera, duplicant la quantitat de galledes d’aigua escampades pel taller.<\/p>\n
Desesperat, l\u2019aprenent va implorar l\u2019ajut del seu mestre per posar fi a la malifeta ocasionada \u201cpels esperits que vaig conjurar”, una expressi\u00f3 que en alemany s’utilitza per a descriure a alg\u00fa que demana ajuda a uns aliats que acaben posant-se en contra seva. Finalment, amb el retorn del mestre, es trenca l’encanteri i es restableix l’ordre.<\/p>\n
Podem trobar analogies d’aquest poema de Goethe en narracions de la Gr\u00e8cia cl\u00e0ssica, en diverses mitologies o en la llegenda del G\u00f3lem<\/em>. El tema ha estat una font d’inspiraci\u00f3. Aix\u00ed, l\u2019any 1940, Mickey Mouse<\/strong> va encarnar al jove bruixot en la pel\u00b7l\u00edcula de dibuixos animats de Walt Disney. Setanta anys despr\u00e9s, Walt Disney Studios va presentar una versi\u00f3 cinematogr\u00e0fica del relat. La pel\u00b7l\u00edcula, estrenada l\u2019any 2010, \u00e9s una \u00e8pica com\u00e8dia d’aventures protagonitzada per un mag i el seu aprenent, que es veuen arrossegats cap a l’epicentre d’un antic conflicte entre el b\u00e9 i el mal.<\/p>\nLa narraci\u00f3 continua sent simple i divertida, per\u00f2 comporta un missatge profund i etern. Segons el seu director, Jon Turteltaub<\/strong>, \u00abEl m\u00e9s sorprenent de la hist\u00f2ria \u00e9s aquesta petita lli\u00e7\u00f3 sobre voler agafar el cam\u00ed m\u00e9s curt, fer les coses de la manera m\u00e9s f\u00e0cil, buscant satisfer aquest desig que tots tenim de cr\u00e9ixer una miqueta m\u00e9s r\u00e0pidament\u00bb.<\/p>\nAra b\u00e9, malgrat la candidesa del ratol\u00ed Mickey i de la presumpta ingenu\u00eftat de la trama, la hist\u00f2ria del jove aprenent \u00e9s una met\u00e0fora de les cat\u00e0strofes que acompanyen l’acci\u00f3 de l’\u00e9sser hum\u00e0, una versi\u00f3 simp\u00e0tica del mite de Prometeu<\/strong> amb el seu robatori del foc dels d\u00e9us.<\/p>\nNo endebades, Fantasia<\/em> es va estrenar l\u2019any 1940, en plena ocupaci\u00f3 nazi d’Europa. No van faltar les veus cr\u00edtiques que van percebre un paral\u00b7lelisme entre el desastre ocorregut en el taller del mag i l’eclosi\u00f3 del deliri totalitari. El 25 de novembre de 1940, la periodista Dorothy Thompson<\/strong> va escriure per al The New York Herald Tribune<\/em> una ressenya molt dura sobre la pel\u00b7l\u00edcula. Afirmava que \u00abva sortir del teatre gaireb\u00e9 amb un atac de nervis\u00bb, perqu\u00e8 era un \u00abhorrible malson\u00bb. I va comparar el relat infantil amb el nazisme desenfrenat, \u00abl’ab\u00fas de poder\u00bb i \u00abla tra\u00efci\u00f3 pervertida dels millors instints\u00bb. Tamb\u00e9 assenyalava que la pel\u00b7l\u00edcula descobria el car\u00e0cter \u00abtit\u00e0nic\u00bb de la natura, mentre que l’individu tan sols era \u00abun liquen encadenat en la pedra del temps\u00bb. La seva conclusi\u00f3 va ser que el film es mostrava \u00abcruel\u00bb, \u00abbrutal i embrutidora\u00bb, una \u00abcaricatura negativa de la decad\u00e8ncia d’Occident\u00bb. Angoixada, la periodista va haver de sortir de la sala de projecci\u00f3 sense acabar veure el final de la pel\u00b7l\u00edcula.<\/p>\nDes de la doc\u00e8ncia correm el risc de jugar a aprenents de bruixot, a innovar per pur esnobisme. A vegades, apliquem t\u00e8cniques sense con\u00e8ixer-les a fons. Imitem el m\u00e8tode dels \u201cgrans mestres\u201d. Tanmateix, tal vegada les seves classes funcionaven no tant pel m\u00e8tode en si, sin\u00f3 per la seva habilitat, el seu talent personal, la seva experi\u00e8ncia a l’aula, el seu bagatge cultural, el context concret dels alumnes i de l’escola\u2026 Un m\u00e8tode o una t\u00e8cnica no \u00e9s, ni de bon tros, una vareta m\u00e0gica.<\/p>\n
D’altra banda, aboquem als m\u00e9s joves a ser aprenents de bruixot<\/strong> en posar a la seva disposici\u00f3 recursos per als quals segurament encara no estan prou preparats i no saben gestionar-los adequadament.<\/p>\nPodem buscar dreceres per a deslliurar-nos de l’esfor\u00e7, de les exig\u00e8ncies del treball met\u00f2dic i rigor\u00f3s, per\u00f2 aprendre no s’improvisa. \u00c9s una tasca que requereix temps i for\u00e7a de voluntat. En cas contrari, podem generar aut\u00e8ntics desastres, aix\u00f2 s\u00ed, des de la ing\u00e8nua temeritat de qui aspira a arribar a la meta tot saltant-se les etapes requerides.<\/p>\n
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