[Names of contributors of articles are set in SMALL CAPITALS. (E) indicates an editorial.] ASSOCIATIONS Chicago Teachers' 440. BAILEY, CHARLES H.-A Grammar Grade Equipment for Woodworking BAILEY, HENRY TURNER-The Influ- ence of Graphic Art in the Train- Status of Manual Training in the Bawden, William T.-Fourth Annual BENNETT, CHARLES A.-As Others See 153, 342; Milwaukee's Public Trade BOONE, CHESHIRE L.-A Course of BRODHEAD, JOHN C.-An Appreciation CRAWSHAW, FRED D.-Rooms and Design, A College Course in Construc- Embroidery (Ill.)-Gertrude Roberts Frederick, Frank Forrest-The Wash Grammar Grade Equipment for Graphic Art in the Training of Men High School Equipment for Bench ical Drawing, A-Charles H. Bai- Industrial Education in the Elementary International Federation for the JINKS, JOHN H.-Manual Training at JOHNSON, B. W.-Coping Saw Work Joints, The Common (Ill.)—William LEAVITT, FRANK M.-Industrial Edu- Manual Training, A Course of Study Manual Training at Hampton Insti- Manual Training in the Elementary Manual Training in the Public Manual Training, Some Experiments Metalworking, Outline of a High Miller, James Collins-National Edu- MORRISON, GILBERT B.-The Organiz- MOORE, HARRIS W.-Some experiments MURRAY, MICHAEL W.-The Study of NOYES, WILLIAM-The Common Joints Organization of Manual Training in Participation and Productive Labor in Pioneers, For-William Hawley Smith, Printing, The Study of (Ill.)—Mich- Reviews-Boxall's The Woodwork RICHARDS, CHARLES R.-A College Roberts, Helen E.-The Society for the Roberts, William E.-Industrial Edu- Rooms and Equipments for Manual Seaton, George A.-Shop Problems, Selvidge, R. W.-The National Edu- Shop Problems-Bird House, 168; Siepert, Albert F.-Iowa State Teach- COPYRIGHT, 1908, CHARLES A. BENNETT MANUAL TRAINING MAGAZINE OCTOBER, 1907 THE RELATION OF MANUAL TRAINING TO INDUSTRIAL EDUCATION' IN CHARLES R. RICHARDS N that remarkable book, "Democracy and Social Ethics," Miss Addams says: "The schools do so little really to interest the child in the life of production, or to excite his ambition in the line of industrial occupation, that the ideal of life, almost from the beginning, becomes not an absorbing interest in one's work and consciousness of its value and social relations but a desire for money with which unmeaning purchases may be made and an unmeaning social standing btained." Later on, speaking of the worker in the industries, she says: "It is doubtless true that dexterity of hand becomes less and less imperative as the invention of machinery and subdivision of labor proceeds; but it becomes all the more necessary, if the workman is to save his life at all, that he should get a sense of his individual relation to the system. Feeding a machine with a material of which he has no knowledge, producing a product, totally unrelated to the rest of his life, without in the least knowing what becomes of it, or its connection with the community, is, of course, unquestionably deadening to his intellectual and moral life. To make the moral connection it would be necessary to give him a social consciousness of the value of his work, and at least a sense of participation and a certain joy in its ultimate use; to make the intellectual connection it would be essential to create in him some historic conception of the development of industry and the relation of his individual work to it". When Miss Addams spoke before the Western Drawing and Man 1 Read before the Western Drawing and Manual Training Association, Cleveland, Ohio, May 10, 1907. ual Training Association at Chicago two years ago she said, in effect, to us, "It is upon you teachers of art and manual training that we must depend for help in this problem. It is you, and you only, that can develop influences that will bring to this army of wage-earners something of true social consciousness, something of joy and satisfaction in their work, something of stimulation toward a larger intellectual life." It seems to me that in these words of Miss Addams is to be found the key to the most significant relation of art and manual training to industry. Yes, further than that, it seems to me that in these same words it to be found much of the deepest meaning of art and manual training for education in general. During the last twenty years we have made great advances in teaching the manual arts. We have advanced from the abstract exercise where accurate manipulation and tool control was the one consideration, to the model designed to fulfill a useful purpose. We have given increasing play to individual expression in working out the problem of ways and means, and finally we have recognized the inherent demand for beauty in all created things and are bringing design into a natural relation to construction. This is indeed great progress but it is progress mainly on the side of method of teaching. When we look over our practice today, can we say that in these twenty years any similar advance has been made in the variety of experiences gained or in the scope of ideas presented? Do we not still select our material of instruction largely upon the single consideration of what children can most easily do with their hands and what will momentarily attract them, with little regard to whether the thing done has any special industrial significance or any large social meaning? And is not the practical test that we continue to apply to our constructive work that of skill rather than that of ideas gained or outlook broadened? We say that skill apart from the expression of motive and ideas is an unworthy educational ideal and yet can it be claimed that we have given anything like the same attention to the organization of ideas in any broad sense that we have to developing power of manipulation? But whether we consider the future industrial worker or the boy who enters other occupations, is it not precisely in the extent and quality of ideas gained from manual training that its greatest value resides? In both of these cases is it not in mental quickening and broadening of outlook that we must look for the highest fruits of our subject? |