The guy who is quoted second in the beginning of the first chapter, Paolo Freire, a Brazilian democratic humanist, is one of my earliest inspirations for Harrington. My success teaching in print, wood, auto, and metal shop classes as a long –term sub often depended on what the students knew about the machines and the material; we had to combine what they brought to the shop, with my “adultness” which often was the only thing I had to contribute. This dynamic of mutualism was reinforced during my 7 years of Harriton Theatre Company faculty producer time — the kids knew more about what was going on than I did, so they had to explain to me, and convince me that what they were going to do was worth my contribution of just “being there”. This is so essential in these times of the "screenager", when the adult in the room is no longer the gatekeeper of knowledge. Actualization by a 17-,18-,19-year old gets lost in the high stakes testing that is perpetrated by the deep thinkers who have already actualized themselves, and who need to justify their own actualization. Where is the craft in that?
"...education makes sense because women and men learn that through learning they can make and remake themselves, because women and men are able to take responsibility for themselves as beings capable of knowing — of knowing that they know and knowing that they don't."
“Education must begin with the solution of the teacher-student contradiction, by reconciling the poles of the contradiction so that both are simultaneously students and teachers.” -- P. Freire