Are Chinese Mothers Superior?

12Jan/115

Are Chinese Mothers Superior?

Amy Chua and her daughter

A certain essay appeared in the Wall Street Journal last Saturday, titled "Why Chinese Mothers Are Superior," to which one excerpted reaction from the Journal community itself was "I am in disbelief after reading this article." What I am in disbelief about, after reading the article, is that the Journal published it. The author is a Chinese mother, Amy Chua—a professor of law at Yale perhaps best known for writing the New York Times bestseller World on Fire.

The essay affirms that stereotypical Chinese parenting produces stereotypical cases of success for the children raised in that fashion—impeccable grade reports, precocious competence in the violin and piano (but mind you, those instruments and no other!), and fortitude of mind in the child to boot—and it explains how all this can be achieved by drawing on representative episodes from the author's own experience as a Chinese mother. The most instructive and blood-chilling of these is the story of how little Lulu, Chua's youngest daughter, was compelled to learn, just in time for her piano recital, how to play "The Little White Donkey"—a most difficult piece, apparently requiring uncommon ambidexterity and, one would think, rapid and fluent communication between the hemispheres of a seven-year-old's brain, across its not fully developed corpus callosum:

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.... 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.... 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.... 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.

The author beams with pride over this "success story" and seems to consider it a vindication of her school of parenting against all naysayers. And throughout the article, starting from its title, she does little to disguise her scorn for Western parents, their tolerance for underachievement in their own children, and their squeamishness at the sight or report of the treatment other (luckier) children undergo everyday in the hands of their Chinese mothers.

Having been long convinced that nothing harms stereotypical Western children more than their parents' stereotypical laxness, I nevertheless find appalling much of what Chua states and even more of what she implies. Perhaps the foibles of modern Western parenting have grown so obvious and so ridiculous that any criticism of them is allowed to stick and any proposed alternative is welcomed; the more diametrically opposed to the status quo, the better even. But what Chua is prescribing in her article should not be rashly applauded by even the most frustrated critics of modern parenting mores.

Read the rest in Commentary.

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Tagged as: Amy Chua, China, culture, dictatorship, parenting, Stoicism, Wall Street Journal Leave a comment

Comments (5) Trackbacks (1) ( subscribe to comments on this post )

Horace Jeffery Hodges
January 16th, 2011 - 00:10

Thanks for visiting my blog and posting a passage from your interesting analysis above. I largely agree with your critique of Ms. Chua’s way of educating her children.

Jeffery Hodges

* * *
Horace Jeffery Hodges´s last [type] ..Amy Chua on Educating Children

( REPLY )
Andre M. Smith
January 23rd, 2012 - 16:56

I believe some useful purpose will be served by offering here, what the lawyers might like to call, but will seldom welcome, a healthy second opinion; a collective opinion that will demonstrate in abbreviated form the absolute folly of any attempt to teach music to children in the manner advocated by Amy Chua and her supporters.

These titles, with a few accompanying comments, should be read only as an introduction to a vast, interesting subject. There is one observation one can make about them all, and many more on this same subject, if needed to prove the point: Their attempt at an inherent humane understanding. I shall let the individual writers speak for themselves. To wit:

C. C. Liu [fellow at the Centre of Asian Studies, The University of Hong Kong]: A Critical History of New Music in China, Columbia University Press, 2010.
By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms “new music. With no direct ties to traditional Chinese music, “new music” reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of “new music” throughout the twentieth century, deftly examining the social and political forces that shaped “new music” and its uses by political activists and the government. http://cup.columbia.edu/book/978-962-996-360-6/a-critical-history-of-new-music-in-china
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Brahmstedt’s China travels bring recognition: TTU [Tennessee Technical University] trumpet professor “Outstanding foreigner.” http://www.tntech.edu/pressreleases/brahmstedts-china-travels-bring-recognition-ttu-trumpet-professor-qoutstanding-foreignerq/
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Music Education in China: A look at primary school music education in China reveals numerous recent developments in general music, band and string programs, and private lessons. Music Educators Journal May 1997 83:28-52, doi:10.2307/3399021. Full Text (PDF)
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Howard Brahmstedt and Patricia Brahmstedt: Music education in China. Music Educators Journal 83(6):28-30, 52. May 1997.
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Joseph Kahn and Daniel J. Wakin: Classical music looks toward China with hope. The New York Time, 3 April 2007. http://www.nytimes.com/2007/04/03/arts/music/03class1.htm?pagewanted=all
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Ho Wai-Ching: A comparative study of music education in Shanghai and Taipei: Westernization and nationalization. A Journal of Comparative and International Education 34:2, 2004.
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Yuri Ishii and Mari Shiobara: Teachers’ role in the transition and transmission of culture. Journal of Education for Teaching 34(4):245-9, November 2008.
There are some common trends, which indicate that certain values are now shared among music education policies of many Asian countries. These are an emphasis on the purpose of education as the development of children’s total human quality rather than mere transmission of skills and knowledge by rote learning, the encouragement of a learner-centered approach, the introduction of authentic assessment, the integration of existing subjects, and the assertion of cultural specificity.
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Chee-Hoo Lim: An historical perspective on the Chinese Americans in American music education. Research in Music Education May 2009 vol. 27 no. 2 27-37.
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Howard Brahmstedt: Trumpet playing in China. P. 29. International Trumpet Guild Journal, February 1993.
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Richard Curt Kraus: Pianos and politics in China. Middle-class ambitions and the struggle over Western music. Oxford University Press. New York, 1989.
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From Shanghai Conservatory to Temple University
Yiyue Zhang holds both Bachelors and Masters in Music Education from Shanghai Conservatory of Music in China. Currently, she is pursuing a Master’s degree in Music Education at Temple University. Ms. Zhang is from a family of music. She first learned Chinese classic dance from her father at the age of 3. She then started to learn accordion at the age of 5 and piano at the age of 6. During the close to 20 years of piano training and education, she has also been learning saxophone, cello, vocal music and percussion instrument of Chinese ethnic nationalities. In addition to piano solo, Ms. Zhang has rich experiences as a piano accompanist for vocal and chorus performances. When she served as the accompanist for the female choir of Shanghai Conservatory in 2006, they participated in the Fourth World Chorus Competition and won the gold medal for female choir, silver medal for contemporary music and another silver medal for theological music. Before came the United States, Ms. Zhang taught general music at Shanghai Hongqiao Middle School and Shanghai North Fujian Rd. Primary School as her internship in 2006. From 2006 to 2008, she taught piano and music class in Shanghai Tong-de-meng Kindergarten while held Chinese Teacher Qualification Certificate. Ms. Zhang is currently the piano accompanist of Chinese Musical Voices located at Cherry Hill, NJ as well as the assistant conductor of Guanghua Chorus located at Blue Bell, PA. While holding Early Childhood Music Master Certification (Level 1) from The Gordon Institute for Music Learning, she is also actively engaged in the educational and cultural activities with the networks of local Chinese schools in the Philadelphia area. http://www.temple.edu/boyer/music/programs/musiced/MusicEducationGraduateAssistants.htm
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Li Ying-ling: Essential study on the function of children’s music education.
Music education is beneficial in the comprehensive development of children’s healthy personality, helpful to enlighten the children’s creative thinking, helpful to educate the regulation senses of children, helpful to develop the children’s language and good emotion. It has certain social effect and realistic meaning for the growth of children. Every teacher should pay attention to the functional character of children music education, consciously meet the demands for music education of the children nowadays, strengthen the socialization function of music education, promote socialization proceeding of children. Music Department of Kunming University. Journal of Kunming University 2:2009.
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André M. Smith, Bach Mus, Mas Sci (Juilliard)
Diploma (Lenox Hill Hospital School of Respiratory Therapy)
Postgraduate studies in Human and Comparative Anatomy (Columbia University)
Formerly Bass Trombonist
The Metropolitan Opera Orchestra of New York,
Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),
The Juilliard Orchestra, Aspen Festival Orchestra, etc.

( REPLY )
Andre M. Smith
January 23rd, 2012 - 16:58

Continuing to follow the saga of what may be one of the more outrageous examples – and there are similar examples aplenty! – of the child abuses of Amy Chua, I think it timely and prudent to provide a healthy, humane counterpoint by way of a much different kind of example of adult guidance to a young stranger. To wit:

ADVICE TO A YOUNG PERSON INTERESTED IN A CAREER IN THE LAW

In May 1954, M. Paul Claussen, Jr, a 12-year-old boy living in Alexandria, Virginia, sent a letter to Mr Justice Felix Frankfurter in which he wrote that he was interested in “going into the law as a career” and requested advice as to “some ways to start preparing myself while still in junior high school.” This is the reply he received:

My Dear Paul:
No one can be a truly competent lawyer unless he is a cultivated man. If I were you I would forget about any technical preparation for the law. The best way to prepare for the law is to be a well-read person. Thus alone can one acquire the capacity to use the English language on paper and in speech and with the habits of clear thinking which only a truly liberal education can give. No less important for a lawyer is the cultivation of the imaginative faculties by reading poetry, seeing great paintings, in the original or in easily available reproductions, and listening to great music. Stock your mind with the deposit of much good reading, and widen and deepen your feelings by experiencing vicariously as much as possible the wonderful mysteries of the universe, and forget about your future career.
With good wishes,
Sincerely yours,
[signed] Felix Frankfurter

From THE LAW AS LITERATURE, ed. by Ephraim London, Simon and Schuster, 1960.
__________________

I knew that a Paul Claussen had been a major figure (1972-2007) in the Office of the Historian of The United States Department of State in Washington, with an abiding interest in The Great Seal of The United States. http://diplomacy.state.gov/documents/organization/101044.pdf
An obituary of Dr Claussen is on page 47 in http://2001-2009.state.gov/documents/organization/86414.pdf
and http://www.thefreelibrary.com/M.+Paul+Claussen,+history‘s+friend%3A+office+of+the+historian+suffers+a…-a0167843232

So, wishing to determine whether or not the elder Claussen was, indeed, the boy writing to Justice Frankfurter in 1954 I wrote to his former colleague at State. The reply received today follows.

—– Original Message —–
From: PA History Mailbox
To: ‘Andre M. Smith’
Sent: Tuesday, January 10, 2012 10:11 AM
Subject: RE: Chris Morrison

Dear Mr. Smith,

Copied below is the response I received from one of Paul Claussen’s long-time colleagues here in the Office of the Historian.

Yes it is. The young Paul wanted to be a lawyer and so decided to write Felix Frankfurter and ask for his advice. Frankfurter evidently was taken with his letter and wrote back at length…Frankfurter of course kept a copy and the text of the letter has been published in collections of Frankfurter’s writings.

Please contact us of you have any additional questions.

Best regards,
Chris

Christopher A. Morrison, Ph.D.
Historian, Policy Studies Division
U.S. Department of State
Office of the Historian (PA/HO)
_________________________________

Dr Claussen did follow the advice of Justice Frankfurter. And he came out of that advice none the worse for it. The world is much bigger, richer, more tolerant, and more laden with opportunities than the blinkered view of Amy Chua would have her daughters and fellow fear-laden mothers without Ivy League tenure believe.

For a very well-balanced alternative to the mania – and it is nothing less – to which the many Chuas of the world subscribe, read the refreshingly informed reports on http://orient.bowdoin.edu/orient/article.php?date=2009-12-04&section=3&id=2, http://www.insidehighered.com/news/2009/09/28/china, and http://www.insidehighered.com/news/2009/10/16/liberalarts
________________________

André M. Smith, Bach Mus, Mas Sci (Juilliard)
Diploma (Lenox Hill Hospital School of Respiratory Therapy)
Postgraduate studies in Human and Comparative Anatomy (Columbia University)
Formerly Bass Trombonist
The Metropolitan Opera Orchestra of New York,
Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),
The Juilliard Orchestra, Aspen Festival Orchestra, etc.

( REPLY )
Andre M. Smith
January 23rd, 2012 - 17:00

Amy Chua has never lived in China. Her understanding of its culture, that is, the culture as it’s truly lived by the indigenous people in their dailyness, then must be that of the tourist. Here perhaps is one view of a China she may or may not have seen.

http://bbs.tiexue.net/post_5057209_1.html [Each of the four pictures can be enlarged for clearer viewings.] In what likely is Nanning, the capitol of Guang Xi region, the boy was caught stealing money to pursue his addiction in Internet gaming. (This is a common problem in China, especially among adolescent boys. http://playnoevil.com/serendipity/index.php?/archives/1076-China-continues-focus-on-Internet-Addiction-Reading-the-Tea-Leaves.html) As punishment his father has publicly stripped off the boy’s clothes, lathered him with some unstated brown caking (which I shall discretely hope is mere mud), bound his hands behind his back, and then pulled him on his back and buttocks by one foot for disgrace through a very-public area of the city.

On contemporary corporal punishment in China:

A third of them [child respondents] said corporal punishment negatively affected their personalities, causing them to become introverted and depressed.

Legal experts cited by the paper said China should ban corporal punishment in its marriage laws to protect children from physical and psychological harm and to protect the rights of minors.

They blamed the common occurrence of corporal punishment in China on the traditional belief that children were a part of their parents, not individuals. http://www.chinadaily.com.cn/english/doc/2004-12/07/content_397964.htm

The routine beatings allegedly given to child gymnasts in China are no different to the corporal punishment that was once part of daily life in English public schools, according to the head of the Olympic movement.

Mr Rogge said he believed that if physical punishment is being used to train young athletes in China, then it is likely to be confined to sports such as gymnastics and swimming, where the age of competitors is much younger than in the other Olympic sports. What is not known is how widespread the practice is. http://www.telegraph.co.uk/news/worldnews/asia/china/1504716/Chinas-abuse-of-its-athletes-is-no-different-to-Britains-public-schools-says-Olympics-chief.html

“It was a pretty disturbing experience. I was really shocked by some of what was going on. I know it is gymnastics and that sport has to start its athletes young, but I have to say I was really shocked. I think it’s a brutal programme. They said this is what they needed to do to make them hard.

“I do think those kids are being abused. The relationship between coach and child and parent and child is very different here. But I think it goes beyond the pale. It goes beyond what is normal behaviour. It was really chilling.” http://www.telegraph.co.uk/sport/2368416/Olympics-Pinsent-upset-at-Chinese-abuse.html

Anyone who thinks the Chinese are a race of genteel pacifists who, collectively, design their lives to awaken every morning wiser than they went to bed the night before is a candidate for some serious awakening of his own. As a whole person Amy Chua is a type; she is not an aberration.

Now, for one question I have not seen asked anywhere. . . Does Professor Chua play a music instrument? If so, let’s hear some of it. If not, from what sources has she gathered her standards about music technique and style and how they might be taught to a very young child who has shown no particular affinity for any instrument? Can she play any music from what she has demanded from either of her two daughters? Can she play simultaneously triptlets in the left hand and duolets in the right? Can she perform, even modestly, http://www.alfred.com/samplepages/00-16734_01~02.pdf, the composition she has demanded her post-toddler daughter play with assurance?

There can be no doubt that Professor Chua likes violence, so long as it’s not directed at her, the core definition of a bully. She has said recently that there are parts of the world in which some of her parenting techniques might be considered child abuse. I do wish she could be persuaded to name (1) which some of those parts of the world are, (2) just which parenting techniques she is referring to, and (3) why she believes those same techinques should not be defined as child abuse in her home state of Connecticut.

How did such a reprehensible woman obtain a position so high up on the feeding chain with so little prior experience in law education?

HUSBAND, faculty of Yale Law School since 1990 : Jed Rubenfeld
WIFE, faculty of Yale Law School since 2001 : Amy Chua

As the lawyers may put it, Let the evidence speak for itself. The Tiger Mom has made it on her own claws.

One last question: Who prevents Professor Chua from sitting on a toilet or eating a meal when, at any given moment, she is vexed beyond her capacity to complete an academic assignment or any other professional obligation within the proper time allocated for its completion?
_______________

André M. Smith, Bach Mus, Mas Sci (Juilliard)
Diploma (Lenox Hill Hospital School of Respiratory Therapy)
Postgraduate studies in Human and Comparative Anatomy (Columbia University)
Formerly Bass Trombonist
The Metropolitan Opera Orchestra of New York,
Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),
The Juilliard Orchestra, Aspen Festival Orchestra, etc.

( REPLY )
Andre M. Smith
January 23rd, 2012 - 17:04

Why is the art of music required to endure the ill-informed antics of such inartistic imbeciles as Amy Chua? Her lust for fame as an old-fashioned stage mother of either a famous violinist (yet another mechanical Sarah Chang?) or a famous pianist (yet another mechanical Lang Lang?) shines through what she perceives as devotion to the cultivation of the cultural sensitivities of her two unfortunate daughters.

Daughter Lulu at age 7 is unable to play compound rhythms from Jacques Ibert with both hands coordinated? Leonard Bernstein couldn’t conduct this at age 50! And he isn’t the only musician of achievement with this-or-that shortcoming. We all have our closets with doors that are not always fully opened.

And why all this Chinese obsession unthinkingly dumped on violin and piano? What do the parents with such insistence know of violin and piano repertoire? Further, what do they know of the great body of literature for flute? For French horn? For organ? For trumpet? Usually, nothing!

For pressure-driven (not professionally-driven!) parents like Amy Chua their children, with few exceptions, will remain little more than mechanical sidebars to the core of classical music as it’s practiced by musicians with a humanistic foundation.

Professor Chua better be socking away a hefty psychoreserve fund in preparation for the care and feeding of her two little lambs once it becomes clear to them both just how empty and ill-defined with pseudo-thorough grounding their emphasis has been on so-called achievement.

Read more about this widespread, continuing problem in Forbidden Childhood (N.Y., 1957) by Ruth Slenczynska.
______________________

André M. Smith, Bach Mus, Mas Sci (Juilliard)
Diploma (Lenox Hill Hospital School of Respiratory Therapy)
Postgraduate studies in Human and Comparative Anatomy (Columbia University)
Formerly Bass Trombonist
The Metropolitan Opera Orchestra of New York,
Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),
The Juilliard Orchestra, Aspen Festival Orchestra, etc.

( REPLY )

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