What's the difference between practicing and child abuse?
It’s not very often that practice techniques make the Wall Street Journal. It’s even less often that they become the stuff of vitriolic debate, but that’s what’s happened in response to this:
A lot of people wonder how Chinese parents raise such stereotypically successful kids. They wonder what these parents do to produce so many math whizzes and music prodigies, what it’s like inside the family, and whether they could do it too. Well, I can tell them, because I’ve done it. Here are some things my daughters, Sophia and Louisa, were never allowed to do:
• attend a sleepover
• have a playdate
• be in a school play
• complain about not being in a school play
• watch TV or play computer games
• choose their own extracurricular activities
• get any grade less than an A
• not be the No. 1 student in every subject except gym and drama
• play any instrument other than the piano or violin
• not play the piano or violin.
Putting aside the issue of how accurately this represents “Chinese parents” (and the question of whether such stereotypying could possibly represent millions of people), what’s mandatory violin or piano about? It’s good that Yo-Yo’s parents didn’t get the memo.
But then the author of this piece, Yale law professor Amy Chua, goes on to describe how she encourages her daughter to practice the piano:
Here’s a story in favor of coercion, Chinese-style. Lulu was about 7, still playing two instruments, and working on a piano piece called “The Little White Donkey” by the French composer Jacques Ibert. The piece is really cute—you can just imagine a little donkey ambling along a country road with its master—but it’s also incredibly difficult for young players because the two hands have to keep schizophrenically different rhythms.
Lulu couldn’t do it. We worked on it nonstop for a week, drilling each of her hands separately, over and over. But whenever we tried putting the hands together, one always morphed into the other, and everything fell apart. Finally, the day before her lesson, Lulu announced in exasperation that she was giving up and stomped off.
“Get back to the piano now,” I ordered.
“You can’t make me.”
“Oh yes, I can.”
Back at the piano, Lulu made me pay. She punched, thrashed and kicked. She grabbed the music score and tore it to shreds. I taped the score back together and encased it in a plastic shield so that it could never be destroyed again. Then I hauled Lulu’s dollhouse to the car and told her I’d donate it to the Salvation Army piece by piece if she didn’t have “The Little White Donkey” perfect by the next day. When Lulu said, “I thought you were going to the Salvation Army, why are you still here?” I threatened her with no lunch, no dinner, no Christmas or Hanukkah presents, no birthday parties for two, three, four years. When she still kept playing it wrong, I told her she was purposely working herself into a frenzy because she was secretly afraid she couldn’t do it. I told her to stop being lazy, cowardly, self-indulgent and pathetic.
Jed took me aside. He told me to stop insulting Lulu—which I wasn’t even doing, I was just motivating her—and that he didn’t think threatening Lulu was helpful. Also, he said, maybe Lulu really just couldn’t do the technique—perhaps she didn’t have the coordination yet—had I considered that possibility?
“You just don’t believe in her,” I accused.
“That’s ridiculous,” Jed said scornfully. “Of course I do.”
“Sophia could play the piece when she was this age.”
“But Lulu and Sophia are different people,” Jed pointed out.
“Oh no, not this,” I said, rolling my eyes. “Everyone is special in their special own way,” I mimicked sarcastically. “Even losers are special in their own special way. Well don’t worry, you don’t have to lift a finger. I’m willing to put in as long as it takes, and I’m happy to be the one hated. And you can be the one they adore because you make them pancakes and take them to Yankees games.”
I rolled up my sleeves and went back to Lulu. I used every weapon and tactic I could think of. We worked right through dinner into the night, and I wouldn’t let Lulu get up, not for water, not even to go to the bathroom. The house became a war zone, and I lost my voice yelling, but still there seemed to be only negative progress, and even I began to have doubts.
Then, out of the blue, Lulu did it. Her hands suddenly came together—her right and left hands each doing their own imperturbable thing—just like that.
Lulu realized it the same time I did. I held my breath. She tried it tentatively again. Then she played it more confidently and faster, and still the rhythm held. A moment later, she was beaming.
“Mommy, look—it’s easy!” After that, she wanted to play the piece over and over and wouldn’t leave the piano. That night, she came to sleep in my bed, and we snuggled and hugged, cracking each other up. When she performed “The Little White Donkey” at a recital a few weeks later, parents came up to me and said, “What a perfect piece for Lulu—it’s so spunky and so her.”
And a few years later she’ll either decide she hates the piano or develop focal dystonia.
So what’s the justification for this?
What Chinese parents understand is that nothing is fun until you’re good at it. To get good at anything you have to work, and children on their own never want to work, which is why it is crucial to override their preferences. This often requires fortitude on the part of the parents because the child will resist; things are always hardest at the beginning, which is where Western parents tend to give up. But if done properly, the Chinese strategy produces a virtuous circle. Tenacious practice, practice, practice is crucial for excellence; rote repetition is underrated in America. Once a child starts to excel at something—whether it’s math, piano, pitching or ballet—he or she gets praise, admiration and satisfaction. This builds confidence and makes the once not-fun activity fun. This in turn makes it easier for the parent to get the child to work even more.
This misses the point in a pretty spectacular way. Yes, practicing is not a lot of fun. That’s why it’s important to do it well and efficiently. That’s why it’s even more important that the student want to play the instrument in the first place.
The idea that “nothing is fun until you’re good at it” is obviously false – there are days I hate playing the viola, and I love playing softball even though I’m close to the worst player in my orchestra, which is saying a lot. But if I hadn’t wanted to play the violin when I first picked it up at age 10, and hadn’t enjoyed something about it from the get-go, I wouldn’t still be playing. And I would have benefited in no way from being forced to practice for hours to learn a skill which had no instrinsic value for me.
And I’ll bet there were a few products of the parenting style described above who I beat at auditions.
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I still can’t decide if this piece is serious, or a very stealth satire…