By Ayomi Irugalbandara –

Dr. Ayomi Irugalbandara

Introduction

Art should be at the heart of a free, creative community and culture. Much of what is best in society evolves through various art forms, contributing significantly to cultural values, well-being, and the broader spectrum of creative and cultural life. In a new curriculum for the 21st century, students should have the opportunity to engage with diverse arts and comprehend contemporary expressions within social and cultural contexts. Aesthetic education equips students with the confidence and tools necessary to understand and critique art in everyday life, fostering emerging critical and creative thinkers.

However, it is essential to evaluate the practicality of this introduction in comparison to Aesthetic Education in Sri Lanka. Presently, there is considerable concern about the new educational reforms slated for implementation from January 2025, with pilot programs in several schools beginning in 2026, as indicated by the Ministry of Education’s website and press releases. These reforms propose that O/L’s will encompass only seven main subjects: Sinhala, Mathematics, Science, English, Religion, History, and Social Studies (a combination of Civics and Geography). The inaugural O/L exam under this new syllabus will take place in August 2026, with subsequent exams held every August. Consequently, the O/L will consist of five terms: three in grade 10 and two in grade 11. Other subjects currently studied will be considered supplementary, with an additional practical paper provided, but they will not be included in the O/L certificate and will only serve to develop the student’s skills. This new approach has received cabinet approval, and the preparation of textbooks has commenced. Students entering grades 6 and 10 in 2025 will be the first to receive education under this new curriculum. Subsequently, students entering grade 7 in 2026, grade 8 in 2027, and grade 9 in 2028 will follow this new curriculum. Students taking the O/L’s in August 2026 will begin A/L’s in January 2027, with A/L exam scheduled for December 2028. This method, focusing solely on main subjects, aims to reduce student stress.

To my knowledge, Sri Lanka stands alone in acknowledging the lack of practical assessments for aesthetic subjects and is now poised to remove them from the main school curriculum. It may be the only country where aesthetic subject teachers must fight to retain their discipline. Education is a powerful tool and a crucial factor for national development. However, since 1972, Sri Lanka has lacked a consistent policy framework for education. The framework introduced in 2024, spanning 25 pages, is distinctive. Despite extensive scholarly discussions and research on the inequalities within the current education system, the nation still lacks a definitive educational direction.

This article explores whether aesthetic subjects can be easily removed from the main curriculum and identifies the benefits students derive from these subjects as a creative discipline by highlighting the importance assigned to them in other countries.

Why is Aesthetic Education Important?

Aesthetics and aesthetic education are two interrelated yet distinct disciplines, each serving unique purposes. Aesthetics broadly concerns the creation and appreciation of beauty, art, and taste, and it relates to the principles underlying our judgments about the aesthetic value of objects and experiences. In contrast, aesthetic education is a practical field focused on teaching individuals to appreciate and create art. Essentially, aesthetics provides the theoretical foundation for aesthetic education, guiding the principles and practices of teaching art and beauty. Aesthetic education, in turn, serves as the practical application of aesthetic principles. In simpler terms, aesthetics offers the intellectual framework for understanding beauty and art, while aesthetic education translates this understanding into practical learning experiences.

The unique and diverse nature of these complementary disciplines significantly impacts our overall development, enhancing our ability to appreciate and create aesthetic value. This contributes to both cultural and personal development. Consequently, many countries today recognize the importance of aesthetic psychology as an emerging field.

Aesthetic subjects provide students with various experiences and learning methods, allowing them to engage in exploration, problem-solving, expression, interpretation, and outcome evaluation. As highlighted in The Arts Go to School (2004, p.15), “If a child involved in an aesthetic experience closely observes, they can identify how they act out of an aesthetic and emotional necessity to make something meaningful, representing something important.”

The importance of aesthetic education was first highlighted internationally by the International Bureau of Education and UNESCO. The international advocacy of these organizations has significantly contributed to the progressive development of aesthetic education within the education sector. This advocacy has helped aesthetic education gain special attention and establish a foundational place in educational policy statements across various countries.

Aesthetic education significantly contributes to the intellectual, social, physical, and emotional development of students. Experiences in music, dance, drama, and visual arts play a crucial role in helping students realize their potential, enabling them to make meaningful contributions to their community and society as a whole. The popularity of aesthetic education can be easily understood through its diverse and natural means of expression. Aesthetic subjects allow students to explore, express, discover, and interpret the world around them, fostering motivation and confidence in creative acts of thinking and knowing.

Through participation in aesthetic activities, students gain a deeper understanding of their surroundings and develop a wide range of methods and techniques to represent that understanding. Those who enjoy these experiences may excel in various forms of artistic expression such as song, poetry, dance, painting, sculpture, or drama. By engaging in these activities and learning from their experiences, students can expand their worldview and appreciate the artistic practices of different cultures, both traditional and contemporary. This exposure helps them recognize that they are part of a living and evolving culture.

Aesthetic education offers students a unique opportunity to develop their ability to communicate and express their thoughts and ideas. By comparing the artistic expressions of people from around the world, students can put imaginative and innovative thinking into action—an opportunity not typically available in other subjects. Additionally, scientists have found that engaging in aesthetic activities enhances brain plasticity and neuroplasticity, meaning our brain’s ability to change and adapt throughout our lives is well-nourished by such activities. Aesthetic experiences stimulate the brain, fostering growth and the ability to adapt through new experiences.

Traditionally, it was believed that the left brain was responsible for learning and the right brain for art. However, modern psychologists suggest that both hemispheres of the brain are involved in aesthetic creation. This harmony fosters whole-brain sophistication and cognitive coherence, enhancing artistic performance and balancing children’s stress levels.

Aesthetic subjects help reduce stress by developing higher cognitive skills. When engaging in aesthetic activities, the whole body and mind are connected, integrating multiple sensory modalities such as sight, sound, touch, and sometimes taste and smell. This holistic approach enhances creativity, imagination, problem-solving, and critical thinking. By stimulating flexibility and higher cognitive skills, aesthetic education increases students’ capacity for innovation, adaptability, and intellectual growth through various forms of knowledge and experience.

For example, whether painting a picture on a canvas, composing a piece of music, or creating a dance, the creative thinking process encourages students to think divergently by stimulating the brain’s ability to make connections between different concepts. Through activities such as painting, sculpting, or writing poetry, individuals exercise their imagination. Imagination fuels the creative process, allowing individuals to transcend conventional boundaries, conceive new possibilities, and instill curiosity and open-mindedness.

In music, it is essential to listen, recognize tones, rhythms, melodies, and harmonies, play musical instruments, and appreciate the nuances of sound, thus developing students’ listening skills. Attending or watching drama, dance, or opera is a multi-sensory experience that allows students to understand movements, gestures, facial expressions, and emotions, improving their kinesthetic and emotional intelligence.

In sum, aesthetic education is essential for nurturing well-rounded individuals. It enhances intellectual, social, physical, and emotional development, fosters cultural appreciation, and stimulates brain growth and adaptability. Through diverse artistic expressions, students develop a deeper understanding of the world and the skills needed to contribute meaningfully to society.

Aesthetic Education in the Sri Lankan Context

In line with UNESCO’s framework, aesthetic education aims to: (i) uphold the human right to education and cultural participation, (ii) develop individual capabilities, (iii) improve the quality of education, and (iv) promote the expression of cultural diversity. Before delving into a more in-depth literary analysis, let’s briefly examine how aesthetic education operates in Sri Lanka to achieve these four goals.

Aesthetic education should be a mandatory component in every country’s education system. The Universal Declaration of Human Rights (1948) and the Convention on the Rights of the Child (1989) assert that everyone has the right to education and to participate in cultural and artistic life (Articles 22, 26, and 27 of the Universal Declaration of Human Rights; Articles 29 and 31 of the Convention on the Rights of the Child). These provisions clarify that everyone has the right to engage in recreational activities, lead a cultural life, and freely participate in the arts, according to their age. Therefore, every state party must respect and encourage the right to fully participate in cultural and artistic life. However, although decades have passed since these conventions were adopted, Sri Lanka still lacks a specific direction for aesthetic education. Incorporating aesthetic education as a mandatory component of the curriculum would align with these international standards and uphold the human right to cultural participation.

Aesthetic education can empower individuals by developing their creative and critical thinking skills. By engaging in various forms of art, students can explore their potential and express their identities. This empowerment helps build self-confidence and self-esteem, which are essential for personal growth and development. In Sri Lanka, where education often focuses on rote learning and examination performance, incorporating aesthetic education can provide a more balanced approach that nurtures individual talents and fosters holistic development.

Integrating aesthetic education into the curriculum can enhance the overall quality of education. It encourages a holistic approach to learning, where students not only acquire academic knowledge but also develop emotional and social skills. This balanced education fosters well-rounded individuals capable of contributing positively to society. In Sri Lanka, where educational reforms are being considered, including aesthetic education can significantly enhance the quality of education by promoting creativity, critical thinking, and emotional intelligence.

Aesthetic education celebrates and promotes cultural diversity by exposing students to various artistic traditions and practices. This exposure helps students appreciate and respect different cultures, fostering a sense of global citizenship. In a multicultural society like Sri Lanka, promoting cultural diversity through aesthetic education is vital for social harmony and cohesion. By incorporating diverse artistic expressions into the curriculum, students can learn about and respect the rich cultural heritage of their own country and the world.

In conclusion, aesthetic education plays a crucial role in upholding human rights, developing individual capabilities, improving the quality of education, and promoting cultural diversity. For Sri Lanka, integrating aesthetic education into the national curriculum is not only a matter of aligning with international standards but also a strategic move to foster a more holistic and inclusive educational system. This approach can empower students, enhance educational quality, and promote social harmony, contributing to the overall development of the nation.

Despite the numerous benefits of aesthetic education, students in Sri Lanka often miss out on its full potential due to several factors. The predominant exam-centric approach to learning is a significant barrier. The current academic structure caters mainly to the top two percent of students, rendering its content unsuitable and overly challenging for the majority. This rigid system fails to create meaningful pathways for most students, as it relies heavily on traditional exam frameworks that encourage rote memorization. This issue extends to aesthetic subjects, where the focus on exam preparation undermines the development of soft skills such as creativity, communication, self-expression, and problem-solving. Teachers, driven by the need to meet performance targets and improve school grades, emphasize theoretical content over practical skills like performance, exploration, collaboration, and expression. Consequently, students are deprived of opportunities to explore new ideas, gain cognitive, social, and practical experiences, and connect thoughts and ideas creatively. Essentially, the right to be creative is stripped away. For instance, with aesthetic subjects assessed through written exams, classrooms become spaces for note-taking and content learning, while private tutoring sessions are where practical skills are taught (Irugalbandara, 2020).

Moreover, many aesthetic classrooms in Sri Lanka lack the conducive environment needed to inspire creativity and active engagement. Having spent 20 years observing these classrooms, I can attest that their setup often reinforces passive learning and transmission teaching. Typically arranged in front rows, these classrooms do not encourage students to engage creatively, explore possibilities, or make impactful decisions. Aesthetic education thrives on responding to students’ interests and providing stimulating, varied, and creative experiences, which require flexible spaces for individual or group activities, rehearsals, or quiet reflection. Unfortunately, most Sri Lankan classrooms fail to address these needs, inhibiting students’ creative development.

In contrast, aesthetic classrooms globally adopt flexible architectural designs that foster innovation and creativity. It is widely acknowledged that the physical and aesthetic environment of a classroom significantly impacts student performance and the development of creative skills. Another prevalent issue in Sri Lankan aesthetic classrooms is noise from adjacent rooms, which hampers effective classroom management. The Secretary General of the Ceylon Teachers Association highlights that 32,000 classrooms in Sri Lanka are overcrowded, exceeding the recommended maximum of 35 students per class as per Case No. SCFR 235/201, 18 July 2011. The surge in demand for prestigious urban schools exacerbates this problem, negatively impacting students’ ability to engage in quiet, interactive, or performance-based group activities.

Furthermore, the recruitment of aesthetic teachers in Sri Lanka is problematic. Professional qualifications are not mandatory for teacher recruitment, and there is no consistent policy in place. Unemployed graduates without professional qualifications are often appointed to teaching positions without any pre-service teacher education, and their subject knowledge is frequently irrelevant (Abayasekara and Arunathilake, 2018; World Bank, 2017). For example, recent graduate teachers, even those with specialized degrees in Drama and Theatre Arts, are sometimes assigned to teach unrelated subjects or given clerical duties. This misallocation of resources diminishes respect for aesthetic education and its practitioners, despite significant investment in their education.

In 2007, Australia’s National Education and Arts Statement highlighted that an arts-rich education prepares students to be future innovators, visionary leaders, and educated audience members. It emphasizes that aesthetic education is crucial for students’ success as individuals and society members, promoting cultural understanding, social harmony, and values. Developed countries recognize the importance of holistic development, equipping students with emotional intelligence, appreciation for diversity, and the ability to think creatively and solve problems. This comprehensive approach enhances personal expression, self-confidence, and self-esteem.

Regrettably, the Sri Lankan government does not prioritize these outcomes. A robust aesthetic education could foster an appreciation for cultural diversity and encourage creative, critical thinking, making citizens less susceptible to manipulation and flattery during elections. Allowing students to express their personal identities and build self-confidence would empower them, reducing subservience. However, Sri Lanka continues to undervalue aesthetic education, believing any teacher can teach these subjects and that science and mathematics are inherently more valuable. This mindset needs to change for the overall development of students and society. I affirm repeatedly that a comprehensive aesthetic education is essential for fostering well-rounded individuals who can contribute meaningfully to their communities.

*Dr. Ayomi Irugalbandara, Senior Lecturer, Department of Secondary and Tertiary Education, Faculty of Education – The Open University of Sri Lanka