In last week’s blog I drew heavily from
‘It was good to read something so concrete and real.’
Well, it wasn’t long before it transpired that the story of the Iron Bridge and the children dancing was fictitious.
To me this didn’t seem to matter very much. In fact it enabled the story to be thought of as a parable, the parable of the Iron Men. As a parable its potential for thought, interpretation and commentary was enhanced. In a sense it had become more real.
In the parable there comes a critical moment. The children’s headteacher writes:
‘My heart quailed, what would the children make of this? Men dancing? Blacked up faces? Accordions? This would not end well. I looked at them. They were puzzled but silenced. They stepped forward. Spaces were made for them. Shorter pupils were allowed through to the front. They became part of the crowd.
In the circle the noise became more powerful, the men and their dance more compelling, even reluctant children were drawn in. I looked around the crowd and saw my pupils silent and in awe. Transfixed.’
The children in due course re-enact the dancing in their school playground and this act of imitation or mimesis leads to an ongoing commitment by staff and pupils to refine the dancing and developing in the children fluency and expertise. In fact expert coaching is drawn upon and there is a final celebration of what has been learnt when the pupils take part in a festival of dancing in the community.
What strikes me most about the way pupils come to know, understand and appreciate a cultural practice is the role of mimesis.
Jurgen Habermas writes:
‘Imitation [or mimesis] designates a relation between persons in which the one accommodates to the other, identifies with the other, empathizes with the other. There is an allusion here to a relation in which the surrender of the one to the example of the other does not mean a loss of self but a gain and an enrichment.’ 
Mimesis then, and seen in this way, can be given high value. It is a human capacity of great significance. It was the source of the pupil’s making and remaking in our parable.
It was the source of their creativity.
Why is creativity being bracketed out of education at this time?
Why so much ugly talk of ‘drill and kill’ and so little of mimesis?
 Habermas, J. (1984) Theory of Communicative Action. Vol. 1. Trans. T. McCarthy. London: Heinemann. (p. 380)