domingo, 16 de enero de 2011

Retreat of the ‘Tiger Mother’

CULTURAL STUDIES

Retreat of the ‘Tiger Mother’

TRY this at a dinner party in one of the hothouses of Ivy Leagueaspiration — Cambridge, Scarsdale, Evanston, Marin County:
Bob Daemmrich/Polaris
The author at a 2007 book signing.
ROOM FOR DEBATE

Is Extreme Parenting Effective?

Does strict control of a child’s life lead to greater success?
Lorenzo Ciniglio/Polaris
Amy Chua, author of “Battle Hymn of the Tiger Mother,” with her husband, Jed Rubenfeld, and daughters Lulu, left, and Sophia.
Declare that the way Asian-American parents succeed in raising such successful children is by denying them play dates and sleepovers, and demanding that they bring home straight A’s.
Note that you once told your own hyper-successful Asian-American daughter that she was “garbage.” That you threatened to throw out your other daughter’s dollhouse and refused to let her go to the bathroom one evening until she mastered a difficult piano composition. That you threw the homemade birthday cards they gave you as 7- and 4-year-olds back in their faces, saying you expected more effort.
Better yet, write a book about it.
What kind of reaction might you get?
In the week since The Wall Street Journal published anexcerpt of the new book by Amy Chua, a Yale law professor, under the headline “Why Chinese Mothers Are Superior,” Ms. Chua has received death threats, she says, and “hundreds, hundreds” of e-mails. The excerpt generated more than 5,000 comments on the newspaper’s Web site, and countless blog entries referring in shorthand to “that Tiger Mother.” Some argued that the parents of all those Asians among Harvard’s chosen few must be doing something right; many called Ms. Chua a “monster” or “nuts” — and a very savvy provocateur.
A law blog suggested a “Mommie Dearest” element to her tale (“No. Wire. Hangers! Ever!!”). Another post was titled “Parents like Amy Chua are the reason Asian-Americans like me are in therapy.” A Taiwanese video circulating on YouTube (subtitled in English) concluded that Ms. Chua would not mind if her children grew up disturbed and rebellious, as long as she sold more books.
“It’s been a little surprising, and a little bit intense, definitely,” Ms. Chua said in a phone interview on Thursday, between what she called a “24/7” effort to “clarify some misunderstandings.” Her narration, she said, was meant to be ironic and self-mocking — “I find it very funny, almost obtuse.”
But reading the book, “Battle Hymn of the Tiger Mother,” it can be hard to tell when she is kidding.
“In retrospect, these coaching suggestions seem a bit extreme,” she writes in the book after describing how she once threatened to burn her daughter’s stuffed animals if she did not play a piano composition perfectly. “On the other hand, they were highly effective.”
In interviews, she comes off as unresolved. “I think I pulled back at the right time,” she said. “I do not think there was anything abusive in my house.” Yet, she added, “I stand by a lot of my critiques of Western parenting. I think there’s a lot of questions about how you instill true self-esteem.”
Her real crime, she said, may have been telling the truth. “I sort of feel like people are not that honest about their own parenting,” she said. “Take any teenage household, tell me there is not yelling and conflict.”
Ms. Chua is one half of the kind of Asian-Jewish academic power couple that, as she notes, populates many university towns. Her husband is Jed Rubenfeld, also a Yale law professor, and the author of two successful mystery novels. Ms. Chua, herself the author of two previous books, was reported to have received an advance in the high six figures for “Tiger Mother.”
If she has one regret, she said, it is that the Journal excerpt, and particularly the headline, did not reflect the full arc of her story.
Her book is a memoir that ends with her relenting (sort of) when the younger of her two teenage daughters refuses to go along with the “extreme parenting” Ms. Chua uses to prevent the kind of decline that she thinks makes some third-generation Asian-Americans as soft and entitled as their teammates on suburban soccer teams where every child is declared Most Valuable Player.
“I’ve been forced to answer questions about a book I didn’t write,” she said. “It’s not saying what people should do, it’s saying, ‘Here’s what I did, and boy did I learn a lesson.’ ” All this is captured, she said, in the book’s three-paragraph subtitle, which concludes with the words, “and how I was humbled by a thirteen-year-old.”
Born to Chinese parents who were raised in the Philippines and attended the Massachusetts Institute of Technology, Ms. Chua, 48, graduated from Harvard and Harvard Law, where she was an executive editor of the Law Review. She confesses in her book that she is “not good at enjoying life,” and that she wasn’t naturally curious or skeptical like other law students. “I just wanted to write down everything the professor said and memorize it.”

She was determined to raise her daughters the way she and her three sisters had been raised — which, she said, left them adoring their parents. By her account, her elder daughter, Sophia, complied, excelled and played piano at Carnegie Hall. But the younger, Lulu, rebelled. At the turning point of the memoir, Lulu, then 13, begins smashing glasses in a Moscow restaurant and yelling at her mother, “I HATE my life, I HATE you.”
Ms. Chua’s husband appears only peripherally in “Tiger Mother” — though there is one battle in which she lashes out at him after he worries that she is pushing their daughters to the point that there is “no breathing room” in their home.
“All you do is think about writing your own books and your own future,” she says to him. “What dreams do you have for Sophia or for Lulu? Do you ever think about that? What dreams do you have for Coco?” He bursts out laughing — Coco is their dog.
She concludes, “I didn’t understand what was so funny, but I was glad our fight was over.”
Initially, Ms. Chua said, she wrote large chunks about her husband and their conflicts overchild rearing. But she gave him approval on every page, and when he kept insisting she was putting words in his mouth, it became easier to leave him out.
“It’s more my story,” she said. “I was the one that in a very overconfident immigrant way thought I knew exactly how to raise my kids. My husband was much more typical. He had a lot of anxiety, he didn’t think he knew all the right choices.” And, she said, “I was the one willing to put in the hours.”
Still, she said, her children got pancakes and trips to water parks because of their father, the son of parents more inclined to encourage self-discovery.
The reaction to the book was particularly anguished among those who are products of extreme Asian parents. “I’m horrified that she’s American-born and hanging on to this, when most of us are trying to escape it,” said Betty Ming Liu, the daughter of Chinese immigrants from Vietnam and author of one of the many blog posts about the book. A California woman recalled how her sister became the perfect Asian daughter Ms. Chua aspires to produce, only to kill herself because she was afraid to tell anyone she suffered from depression.
Ann Hulbert, the author of “Raising America,” a history of a century’s worth of conflicting child-rearing advice, who is writing a book about child prodigies, notes that it is not hard to reignite the Mommy Wars.
“There is a kind of utter certainty in her writing,” she said of Ms. Chua, “and that confidence goes so against the underlying grain of American parenting and child-rearing expertise that it immediately elicits a response that then suggests a kind of certainty on the other side that isn’t there, either.”
Friends describe Ms. Chua as self-deprecating and a dry wit, her children as happy, and their home as humming with music and activity and, yes, love.
“Not that she’s without opinion, but she’s writing a memoir, not a parenting guide,” said Alexis Contant, who describes Ms. Chua as her closest friend for 20 years. “She will say sleepovers are overrated, but I have never heard her say, ‘I can’t believe so-and-so let their kid do it.’ ”
Ms. Chua said that her daughters have been eager to speak out in favor of the book; she is shielding them from the publicity. She said, however, that they did ultimately have play dates — though not many between the ages of 9 and 13, due to music practice. Sophia, now 18, has a boyfriend, she told me. “My kids have whatever those things are called — iPods,” she said. “They have iTunes accounts.”
Ms. Chua wrote most of the book in eight weeks, yet struggled with the end, she said, reflecting the East-West tug on her parenting. “It’s a work in progress,” she said. “On bad days I would say this method is terrible. I just need to give them freedom and choice. On good days, when Lulu would say: ‘I’m so glad you made me write that second draft of my essay. My teacher read it out loud,’ I think, I’ve got to stick to my guns.”
This week, her book tour will take her to the places where she has surely sparked the most debate: the Bay Area, Cambridge and the northwest quadrant of Washington.
But first, the family was planning to celebrate Lulu’s 15th birthday. They were taking her and eight of her friends to New York City. For a sleepover.

Bytes and Beethoven

Bytes and Beethoven

Erik Jacobs for The New York Times
From left, Nicholas Kitchen and Yeesun Kim practice with the Borromeo String Quartet rehearsal at the New England Conservatory. More Photos »
BOSTON

Blog

ArtsBeat
The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more.Join the discussion.
WITH a slight blue glow bathing their faces, the four musicians tapped their feet. It was not to keep time but to send pages of music flying by electronically on their stands.
The Borromeo String Quartet was rehearsing Beethoven’s Quartet in C (Op. 59, No. 3) last week. But instead of reading parts perched on music stands, they followed Beethoven’s notes, in his own handwriting, from the screens of MacBooks. A projector attached to a laptop beamed the manuscript onto a screen behind them.
“It’s an incredible experience, watching the handwriting of Beethoven as it passes by you,” said Nicholas Kitchen, the group’s first violinist.
The digital tide washing over society is lapping at the shores of classical music. The Borromeo players have embraced it in their daily musical lives like no other major chamber music group. They record nearly all of their concerts. They have forsaken paper musical parts in favor of MacBooks nestled on special music stands, paging forward and back with foot pedals. They have replaced old-fashioned tuning devices and metronomes with programs on their laptops.
The Borromeo provides an example of how technology is shaping the production and creation of classical music, a bastion of traditional acoustic sound and repository of centuries-old masterpieces. Operas and concerts are being projected live in movie theaters; music has been written for cellphone ringers and laptops; concert audiences are seeing more and more multimedia presentations; orchestras use text messages to stay in touch with audiences; long-distance musical instruction through high speed Internet2 is common; YouTube videos are used for auditions. Many orchestras now present programs with sophisticated, high-definition video images accompanying the music.
With the Borromeo the contrast is all the more striking. A string quartet is the ultimate in musical refinement, four exquisitely blending instruments capable of infinite nuance — two violins, viola and cello that have essentially been unchanged for more than 400 years. Absorbing the technology did not come easily for these players. Longstanding professional string quartets are delicate organisms, in which egos must be balanced, personalities meshed and artistic compromises reached. The push for blanket recording and laptop stands caused tensions. Several members were slow to embrace the practices. At least one felt pressured to do so. But now, they said, the methods have become second nature, merely handmaidens in service to basic music making.
The Borromeo began selling its live concert recordings in an October 2003 performance at the Tenri Cultural Center in Manhattan, where it was scheduled to return on Friday. Also on Friday the quartet was to open a homemade Web store, livingarchive.org, to sell its performances online, as downloads or in hard copy. The Tenri program is to include theBeethoven quartet; the Canzona movement from Gunther Schuller’s Quartet No. 3; the premiere of a quartet by Mohammed Fairouz, “Chorale Fantasy”; and a version of Bach’s Passacaglia and Fugue (BWV 582) modified for electric string quartet by Mr. Kitchen.
The Borromeo had its origins in the late 1980s at the Curtis Institute of Music in Philadelphia, where Mr. Kitchen; Yeesun Kim, the cellist; and the other two original members were students. Mr. Kitchen and Ms. Kim met there at 16, began playing music together and within a year became a couple. (They are now married and have a 7-year-old son who often travels with them.) On leaving Curtis the quartet moved to the New England Conservatory of Music to study as a group for an artist’s diploma. The other two current members are the violist Mai Motobuchi and the second violinist Kristopher Tong.
They took their name from the Borromean Islands in Lake Maggiore in Italy, near where they played their first concerts. Accolades followed. They joined the New England Conservatory faculty, won a Young Concert Artists Award in 1991 and a Cleveland Quartet Award in 1998, played as part of the Chamber Music Society Two of the Chamber Music Society of Lincoln Center and received an Avery Fisher Career Grant in 2007. They have grown into a much respected ensemble.
In 2002 Mr. Kitchen, who talks with the meticulousness of a born techie, began preserving every performance he could, slowly educating himself about microphones, digital recorders and video cameras. (He does not record at halls with particularly high fees, like Carnegie and Alice Tully.)
“I realized it was such a pity for so many of them not to be recorded,” he said.
Part of the motivation, quartet members said, is the powerful urge to grab onto and preserve those fleeting moments of great performances before a live audience. “For audience members it means a lot to have that memory of what they enjoyed so much,” Ms. Kim said.
By now the quartet has more than 800 concerts in its archive. “I have a mountain of hard drives,” Mr. Kitchen said. They are piled in an extra apartment the couple maintain in their condominium complex here in Jamaica Plain. Mr. Kitchen lugs around a 40-pound backpack of equipment for each performance. It takes about an hour to set up for a concert.

In the early years quartet members divided the labor of taking and shipping orders. The work, they said, became overwhelming, and they decided to sell selected performances through the Web site.
But that was not the only reason for cutting back. At least one member — Ms. Motobuchi — began feeling that the warts-and-all approach of total access was a bad idea. “Stupid mistakes do happen,” Ms. Motobuchi said. The quartet decided to hold back some concerts “for the sake of our pride.”
The quartet also uses recordings to teach and to prepare for concerts. Musicians have listened to themselves since recording became possible, but the Borromeo players take it to an extreme. Before every concert they run through a program and immediately listen to it, “with the rule that nobody should talk while they’re listening,” just like an audience member, Mr. Kitchen said.
“Along the way you notice hundreds and hundreds of details that you want to fix,” he added. “Then next time you play it, it’s transformed.”
The quartet’s other pioneering work lies in its use of laptops as music readers. The technology has been around for a while. Several pianists, including Christopher O’Riley, the host of the public radio program “From the Top,” are regular practitioners. But the Borromeo is a rare ensemble that has adopted the laptop stands.
Members of other prominent quartets expressed admiration for the Borromeo’s method but had no immediate plans to follow in their footsteps.
“I don’t see us changing,” Eugene Drucker, a violinist of the Emerson String Quartet, said. But he called the Borromeo members pioneers. “I know they’re not the type of people to get swept up in the technology and forget to make music,” he added. “Probably more and more groups will be doing this as we go along.”
At the Beethoven rehearsal, in Pierce Hall at the New England Conservatory, the discussion was traditional. Mr. Tong questioned the color of sound in a quiet section after a loud passage. Mr. Kitchen suggested a more even-sounding series of bow strokes. Ms. Kim, who often plays with the half-smile of someone enjoying a subtle joke, worried about the others’ covering a low-voiced cello passage.
The Borromeo permitted this amateur-clarinet-playing journalist to try a test run on the laptop. A reading of the first movement of Mozart’s Clarinet Quintet was unnerving. One foot tap came too late, causing a page turn delay. An aging eye, already squinting at the tiny notes, sometimes had trouble finding its place. Watching the score and listening to the quartet’s beautiful playing during rests proved distracting enough to lead to a late entrance. Marking the part with the Acrobat tool was cumbersome. All these difficulties, the musicians said, are quickly overcome.
For the Borromeo the use of laptops grew out of a nontechnological impulse. Mr. Kitchen decided he wanted to read his music from a full score — all four lines of the quartet together — rather than from his individual part. That requires many more page turns and makes the use of printed scores impractical.
So, inspired by the example of a pianist friend, Mr. Kitchen scanned scores into his laptop, which he placed on a portable stand that came with a foot pedal attachable through a USB (Footime, about $80). He started using the system for rehearsing, and one day in December 2007, for the performance of an unfamiliar piece, his colleagues suggested he take it onstage.
Now the members obtain scores from Web sites offering free editions, like imslp.org, PDF files provided by composers who write music with programs like Sibelius, and their own scanning. They bought advanced versions of Adobe Acrobat that allow annotations
.The quartet, fearful of battery failure, plugs the computers into power sources, covering the wires with a patterned Thai blanket. The players also carry hard copies of their parts as backup but say they have not experienced a computer crash yet. They use 15- or 17-inch MacBook Pros. The setup often draws curious inquiries from audience members new to the Borromeo.


    Having the whole score in front of them is an immense help in playing new works. Complicated passages are immediately comprehensible. There are no long discussions in rehearsal that start, “What do you have there?”
    Seeing the score as they play also deepens understanding of composers’ intentions. “The parts are our convenience,” Ms. Motobuchi said. The score “is exactly the direct picture they had in their mind.”
    And lighting is never a problem.
    Mr. Kitchen, 44, the first to adopt the laptop system, kept pushing for it. “We had arguments and aggravated conversations about the issue,” said Ms. Kim, 43, who had little hesitation. Ms. Motobuchi, 35, said she took about six months to get used to it.
    Mr. Tong — at 29, the youngest and newest member of the group — resisted the most. He still sounds not completely happy with the situation.
    Seeing the music of his colleagues on the page can detract from the magic of chamber-music-making, of communicating through hearing, he said. “When first learning a piece,” Mr. Tong said, “it’s a constant battle to open up the ears. For a long time I felt that the more I was seeing, the less I was hearing.”
    Mr. Tong held out, at least in more traditional repertory, until early last season. “I definitely felt like I was being pushed in a direction,” he said, “which I resented.” But in the tradition of healthy quartets, the members hashed out their differences during a long rehearsal. Mr. Tong came aboard and, he said, now sees the merits.
    “Reading off the laptops,” he added, “that was not part of the contract, but I’ve come around. I actually have had the experience of feeling much freer, because you are able to take a leap of faith and not gum up the works.”
    Mr. Kitchen acknowledged that playing from traditional parts had its advantages. “Your ears are forced to feel the other parts without seeing them,” he said. “That’s also something that we don’t want to lose sight of.”
    At the same time, he added, “as a group we decided that that sense of confidence, of kind of being empowered by this richer information, was something that made our group perform better.”

    China’s Winning Schools?

    OP-ED COLUMNIST

    China’s Winning Schools?

    BEIJING
    Damon Winter/The New York Times
    Nicholas D. Kristof

    On the Ground

    Share Your Comments About This Column
    Nicholas Kristof addresses reader feedback and posts short takes from his travels.
    Go to Columnist Page »
    An international study published last month looked at how students in 65 countries performed in math, science and reading. The winner was: Confucianism!
    At the very top of the charts, in all three fields and by a wide margin, was Shanghai. Three of the next top four performers were also societies with a Confucian legacy of reverence for education: Hong Kong, Singapore and South Korea. The only non-Confucian country in the mix was Finland.
    The United States? We came in 15th in reading, 23rd in science and 31st in math.
    I’ve been visiting schools in China and Asia for more than 20 years (and we sent our own kids briefly to schools in Japan, which also bears a Confucian imprint), and I’ve spent much of that time either envious or dumbfounded. I’ll never forget pulling our 2-year-old son out of his Tokyo nursery school so we could visit the States and being handed a form in which we had to list: “reason for proposed vacation.”
    Education thrives in China and the rest of Asia because it is a top priority — and we’ve plenty to learn from that.
    Granted, Shanghai’s rise to the top of the global charts is not representative of all China, for Shanghai has the country’s best schools. Yet it’s also true that China has made remarkable improvements in the once-awful schools in peasant areas.
    Just 20 years ago, children often dropped out of elementary school in rural areas. Teachers sometimes could barely speak standard Mandarin, which, in theory, is the language of instruction.
    These days, even in backward rural areas, most girls and boys alike attend high school. College isn’t unusual. And the teachers are vastly improved. In my Chinese-American wife’s ancestral village — a poor community in southern China — the peasant children are a grade ahead in math compared with my children at an excellent public school in the New York area. That seems broadly true of math around the country.
    For a socialist system that hesitates to fire people, China has also been surprisingly adept — more so than America — at dealing with ineffective teachers. Chinese principals can’t easily dismiss teachers, but they can get extra training for less effective teachers, or if that doesn’t work, push them into other jobs.
    “Bad teachers can always be made gym teachers,” a principal in the city of Xian explained to me as she showed me around her kindergarten. In China, school sports and gym just don’t matter.
    (That kindergarten exemplified another of China’s strengths: excellent early childhood education, typically beginning at age 2. Indeed, the only element of China’s education system that really falters badly is the university system. Colleges are third-rate and should be a national disgrace.)
    But this is the paradox: Chinese themselves are far less impressed by their school system. Almost every time I try to interview a Chinese about the system here, I hear grousing rather than praise. Many Chinese complain scathingly that their system kills independent thought and creativity, and they envy the American system for nurturing self-reliance — and for trying to make learning exciting and not just a chore.
    In Xian, I visited Gaoxin Yizhong, perhaps the city’s best high school, and the students and teachers spoke wistfully of the American emphasis on clubs, arts and independent thought. “We need to encourage more creativity,” explained Hua Guohong, a chemistry teacher. “We should learn from American schools.”
    One friend in Guangdong Province says he will send his children to the United States to study because the local schools are a “creativity-killer.” Another sent his son to an international school to escape what he likens to “programs for trained seals.” Private schools are sprouting everywhere, and many boast of a focus on creativity.
    For my part, I think the self-criticisms are exactly right, but I also deeply admire the passion for education and the commitment to making the system better. And while William Butler Yeats was right that “education is not filling a bucket but lighting a fire,” it’s also true that it’s easier to ignite a bonfire if there’s fuel in the bucket.
    The larger issue is that the greatest strength of the Chinese system is the Confucian reverence for education that is steeped into the culture. In Chinese schools, teachers are much respected, and the most admired kid is often the brain rather than the jock or class clown.
    Americans think of China’s strategic challenge in terms of, say, the new Chinese stealth fighter aircraft. But the real challenge is the rise of China’s education system and the passion for learning that underlies it. We’re not going to become Confucians, but we can elevate education on our list of priorities without relinquishing creativity and independent thought.
    That’s what we did in 1957 after the Soviet Union launched Sputnik. These latest test results should be our 21st-century Sputnik.

    China’s Education System

    January 15, 2011, 9:27 PM

    China’s Education System

    My Sunday column is about China’s education system — and it’s a challenging topic. You see, Americans (me included) tend to be quite admiring, and Shanghai’s success in the PISA tests would seem to ratify that. But the Chinese education system does have one important group of detractors: the Chinese themselves. As I noted in the column, so many Chinese whom I respect are deeply critical of their school system as too regimented and stifling, even though they do acknowledge that the Confucian reverence for education is deeply embedded and very positive.
    In any case, it seems to me beyond doubt that China’s education system is improving dramatically — and I wish that we would rise to the challenge. We can certainly use some of the Confucian reverence for education, and a greater dose of equality in our system. It’s heartening that Education Secretary Arne Duncan has been sounding many of these same themes, and education reform in America is one of the few areas where Democrats and Republicans can still have a productive conversation.
    So what do you think? What are the lessons we can learn from Chinese schools, and other Asian schools. And can we become just a wee bit more Confucian ourselves, at least in terms of elevating education in our priorities?

    Ramón Maciá Gómez

    Derecho médico
    Ramón Maciá Gómez

    Livemocha Review - Language Learning - AppAppeal

    Livemocha Review - Language Learning - AppAppeal