A Changing Society and the New Trends in Education

Profound differences exist between the ways in which arts educators and artists personally value the arts and the rationales offered via arts advocacy campaigns for public arts support. The author argues that those discrepancies carry grave consequences for K-university arts education. The author describes means by which to better reconcile valuing the arts for their intrinsic qualities with intense political pressure to justify arts education in terms of its alleged ability to improve students' math and reading skills and to address concerns of social justice and economic development. This article was adapted from a keynote speech given by the author on 13 October 2006 for the 62nd annual meeting of The National Association of Schools of Art and Design.     

Designs Made in the Free Brush Manner

In this article, the author examines the current arts education policies in the United States through the lens of Matthew Arnold's work and prose during his time as one of Her Majesty's School Inspectors in England and Wales in the nineteenth century. Arnold argued for government funding of public school systems, setting standards of quality for teacher education, and many other issues that still affect us today. His passion for a liberal education that included everyone, reinforced by his belief in the moral and humanistic goals that could be reached through an education in the arts, helped open the public schools to the humanities that we teach today. The author provides a valuable overview of what Arnold saw, not only in the English and Welsh schools but also in the French and German approach to education. Finally, the author leaves us with a concise list of what Arnold can teach us today about arts education.     

Education Through Art

In this article, the author revisits a case study presented in Arts Education Policy Review 105(1) in September/October 2003. The author discusses Arts Collaborator's Incorporated's (ACI) efforts to educate the community about art and about arts opportunities in River City. Themes visited in the discussion are community development through the arts, and connecting economic development to education. Implications for the arts education community that the author draws from this discussion are (a) ACI has assets and connections that the arts education community may not have, (b) ACI uses its influence to teach and promote certain kinds of art, and (c) the arts education community needs to be aware of advocacy groups to maintain education standards and to fully use available opportunities.     

Catalogue

The author presents reviews that identify success factors in music and arts education partnerships between cultural institutions and K-12 schools. She incorporates the evaluation of one Massachusetts partnership, Arts Can Teach (ACT), to examine the connection between partnerships and K-12 arts-program policy decisions. ACT is a collaborative effort among Boston's Wang Center for the Performing Arts, the Lynn Public Schools, and LynnArts, which matched music specialists and teachers in other disciplines with practicing artists for oneyear partnerships. Success factors of the ACT partnership are considered in terms of their similarity to success factors from the literature on music education partnerships. The author discusses implications for increasing and sustaining music and arts education programming and local arts education policy development.     

Don’t Throw it Away!

This historical narrative tracks the evolution and devolution of visual arts education from Dewey's progressive era pedagogy and the theory of the arts as experience through the modern accountability movement. Archival material, state curricular documents, and conversations with policymakers show an increasing focus on core subject areas of reading, writing, and mathematics at the expense of arts education. Texas House Bill 3, the third generation of accountability legislation in the Lone Star State, provides a case study of the status of arts education after more than fifteen years of high-stakes testing and accountability. Policy considerations are offered for arts education and its future standing within the public educational curriculum.     

Visual arts education provisions for primary schools in Turkey

This article examines the history of art education in Turkey. Since the beginning, the purposes of the arts and art education have been a point of discussion by various authorities. Whether art education should be taught, and how it needs to be taught, have been at the forefront of educationalists' minds. As a result, introducing certain models of art education has been a challenge. The objective of this article is to present the changes in art education since the 19th century in Turkey. The main focus is on art education practices and policies and an overview of key events in Turkey's history of art education. The article also presents issues related to the importance of visual arts education in Turkish primary school settings. In so doing, this research aims to show readers how past developments helped to create the current visual art education policy in Turkey.     

Looking Toward the Future

Changes in education policy—particularly at the federal and state levels—during the current era of ideologically and profit-driven “education reform” threaten balanced education in general and music/arts education in particular. Emerging answers to a number of pivotal questions will determine the future of the arts, arts education, and public education in general. Music educators and other advocates of quality arts education must not only adapt their curricula and instructional practices to reach students in a twenty-first century context, but also develop effective communications systems and organize coalitions powerful enough to influence policymakers and thereby shape policies supportive of quality music/arts education. Recent advocacy efforts by the National Association for Music Education (NAfME) provide examples of how supporters of arts education might accomplish these goals.     

Dissonance and Harmony in Dance Design

From bipartisan origins and a laudable intent, the No Child Left Behind (Act) of 2001 has profoundly altered the condition of art education. A historical vantage point and review of literature reveals the current status of pending arts language revisions to the NCLB Act, as well as a pressing need to examine the key recommendations and to consider a blend of the proposals from the National Education Task Force, the Study Group on the Lost Curriculum, and the Arts Education Working Group. This current research possesses significant implications for NCLB arts language and provides the opportunity for a unified message for revisions, leaving no child behind in art education.     

On Art Education and Testing in a Period of Educational Reform

This interview deals with arts education in Iran. After the Islamic Revolution of 1979, a drastic change occurred in arts education. In terms of aim, arts education in Iran assumed a teleological orientation according to which art should be a process aimed at appreciating the manifestation of God's beauty in the world. As for curricular subjects, some branches of art such as dance are prohibited or used in modified and restricted forms. Arts education has a marginalized position in Iran for two reasons: one, which is more or less global, is that science and mathematics are widely granted a superior position in education, and the other is based on a religious understanding of some arts being inherently associated with sinful activities prohibited in Islam. However, a development in this religious understanding has led to a critical approach according to which the alleged association with sinful activity is denied and thus the prohibited forms of art can be allowed under some conditions. This new approach may have different educational consequences in the realm of arts education.     

An Ode to Joy … or the Sounds of Silence? An Exploration of Arts Education Policy in Australian Primary Schools

The arts are an integral and important component of our everyday lives. As such, they need to be a vital part of our children's education. However, this has rarely been the case in Australian state primary schools over the past two hundred years. This article explores the history of the arts in Australian state primary schools since the colonization of Australia to the present day. I examine how arts education has been subject to policy changes and inquiries that have not seemed to significantly benefit the arts in our schools and that have at times seemed to marginalize the arts in primary schools. The article concludes with a challenge to arts educators and other stakeholders to develop and implement a long-term approach to policy and practice to ensure that the arts serve as an “Ode to Joy” rather than dissolving into “Sounds of Silence.”     

Novel Ideas for Silk Screens

School-based management, or local school control, is an organizational school reform effort aimed at decentralizing school decision-making that has become prevalent in districts throughout the United States. Using the groundbreaking Chicago system of local school control as an exemplar, this article outlines the implications of such reform efforts for arts education, especially in a time of increasing centralization at the level of federal education policy. Following a brief examination of Chicago's path to school-based management and its impact on the district's arts programs, this article describes both the challenges and the opportunities that such reforms may provide for arts education.     

For what purpose the arts? An analysis of the mission statements of urban arts high schools in Canada and the United States

While general arts programs have declined in many schools across the United States and Canada, the number of specialized art programs in public secondary schools has swelled since the 1980s. While this increase is often celebrated by arts educators, questions about the justification of specialized arts programs are rarely raised, and their value is often taken for granted. In this article, we examine the mission statements of eighty-four specialized arts programs across two countries to examine the ideas, values, and commitments that are expressed in these public statements. In addition to a close thematic analysis, we describe how these mission statements reflect different conceptions of the role of the arts in education and consider the ways in which arguments that seek to broaden access to the arts are combined with the goal of serving a narrow subset of the student population. We argue that analyzing mission statements provides a clearer picture of the ideas that shape these programs, and that in order to foster an informed public conversation about the purpose and value of an education in the arts, educators committed to the arts must engage in this serious discussion.     

Improve your Frames with Inserts

The field of education in the United States is in a period of unprecedented change. Educators in all disciplines are challenged to understand and respond to the waves of reform sweeping over the national education landscape. Linking these reforms to meaningful outcomes that will produce more rigorous and effective measures of quality and performance in our schools is an ongoing goal for all educators as they work to respond to calls for educational reform. Changes in the general field of education have direct implications for arts education policy and practice. Arts educators find themselves in the position of making sense of these landmark reforms and changes in the context of arts education and determining what courses of action and responses they should pursue on the road to meaningful reform. This report provides an overview of a selected number of contemporary developments in the general field of education, brief summaries of consequential studies and education-related reports, and an examination of some policy issues these developments and reports raise for arts educators as they work to shape the future landscape of arts education.     

Early childhood arts education in the United States: A special issue of Arts Education Policy Review

ABSTRACT

In this introduction to Early Childhood Arts Education in the United States, a special issue of Arts Education Policy Review, the editors provide a platform for stakeholders' increased awareness and understandings of the need to ensure children's rights to arts education. They summarize the five articles comprising this issue, and invite stakeholders to consider example action steps to apply content from this Issue to arts interactions with young children.     

From Lessons Learned to Local Action: Building Your Own Policies for Effective Arts Education

This article explores the process of using lessons learned about high quality, effective arts education programs to help local educational leaders and practitioners create their own policy statements. It raises questions about policy implications from those lessons and connects them to the readers'own experience. It provides an intellectual framework and an action agenda for developing local policy at the classroom, school, or district level that supports high quality arts education for every student. It argues that effective arts education programs must be supported by responsive policy and ongoing tax levy funds to have a greater chance for providing quality arts teaching and learning that endures.     

Liberts’ Wet-in-Wet Painting

This article describes important global and local initiatives that have one common goal: to give access to and equal opportunities for arts/music education to all children and adolescents. The article also discusses the lack of information available to global leaders in arts education—without a worldwide picture of arts education practices, it is difficult to design local or global policies. The case of Brazil is presented, showing a timeline of advocacy campaigns and the success of establishing a law that assures compulsory music education in schools, as well as the challenges of regulating the profession and the need to rethink our pedagogical paradigm in a contemporary world. Regardless of local or international perspective, the establishment of policy needs to be based on research data and include dialogue between policymakers and arts teachers.     

Three Primary Color Wheel

This longitudinal study (2001–09) of two Hong Kong secondary schools highlights six issues with an integrated arts curriculum: first, integration of knowledge and skills negatively precedes the integration of learners’ construction of meaning; second, integration is perceived as challenging the profession's status; third, teachers are unaccustomed to co-teaching; fourth, teachers have little prior experience conceptualizing cross-discipline teaching and learning; fifth, Hong Kong's current systemwide education reform places arts integration as a relatively low priority; and sixth, because integrated arts curriculum implementation is not mandatory, the vagaries of individual school management create a plethora of integration approaches that confound the task of forging a common definition. Remedial recommendations include cascading “seed projects” to broaden teachers’ views of integrated arts and teaching, facilitating supportive school timetabling, and sharing integrated learning outcomes in the individual schools.     

Does Arts Education Develop School Readiness? Teachers’ and Artists’ Points of View on an Art Education Project

More than 98 percent of children in Finland attend preschool, where different kinds of projects are carried out in order to strengthen the children's abilities. This article focuses on the effects of one arts education project from a school readiness point of view. The main question was, How did the Helsinki arts education project affect the children's learning skills and attitudes? The target groups were children aged three to nine years who participated in the arts project in day care centers and schools. A multidimensional evaluation method was used for the analyses. The research data consisted of interviews of the program artists and educators (n = 23), follow-up reports (n = 9), and other materials. The results show that the program motivated children and aroused their interest in thinking, problem-solving, practicing, and learning. It offered children opportunities to experience success, which increased their self-confidence and skills. The project also strengthened their abilities in listening, goal-oriented work, evaluating others’ work, and receiving feedback, which are all abilities required for school entrance. The subject matter of their school courses was also integrated into their achievements.     

Theorizing the nexus of STEAM practice

ABSTRACT

Recent advances in arts education policy, as outlined in the latest National Core Arts Standards, advocate for bringing digital media into the arts education classroom. The promise of such Science, Technology, Engineering, Arts, and Mathematics (STEAM)–based approaches is that, by coupling Science, Technology, Engineering, and Mathematics (STEM) and the arts, new understandings and artifacts emerge that transcend either discipline. Evidence of this can be seen through fundamental shifts in both fields; in the arts, artists are expanding the creative potential for design through computational flexibility, which affords artists the ability to exceed the limitations of their tools. The infusion of the arts into STEM has shown to be equally transformative, with the emergence of tools and communities that not only engender new content understandings but also invite participation from populations historically underrepresented in STEM fields. Drawing on over a decade of research at the intersection of the arts, creativity, and new technologies from the Creativity Labs at Indiana University, this article theorizes the learning that takes place at effective couplings of STEAM to assist today's educators in realizing the potential for transformative experiences for learners of all levels. This article provides a synthesis of this past work across two compelling cases of STEAM-based tools, materials, and activities (i.e., the media-rich programming environment Scratch as well as the work the LilyPad Arduino used to create electronic textiles), incorporating findings from more than 50 peer-reviewed papers and books, and conceptually outlines an approach to “gathering STEAM” in arts education classrooms today. Implications are explored for policy makers in teacher education to think about preservice curriculum and field experiences; policy makers in arts education to think about tools needed in classrooms today; as well as how art education can play a critical role in STEM disciplines and offer solutions to address STEM pipeline challenges. Such efforts extend current and prior discussions in the arts education landscape about the use of new technologies, and draw our attention to how new technologies can be leveraged for artistic expression.     

Dancing to the top: How collective action revitalized arts education in Boston

In 2009, a group of local foundations, the school district, arts organizations, and the Mayor's Office launched the Boston Public Schools Arts Education Initiative (BPS-AE)—a multiyear, citywide, public–private initiative aimed at increasing BPS students' access to in-school arts education. Managed by a strong local intermediary with deep experience in education, this initiative used several complementary, overlaid strategies: direct service, system building, and community engagement—all of which were supported by a philanthropic collaborative of local and national funders. Today, 17,000 more BPS students receive arts education; nearly 130 additional full-time certified arts teachers have been hired; and district spending on arts has risen to $26 million annually, compared to $15 million in 2009. There is also growing demand from the larger community for more and better arts education. In 2015, BPS-AE produced a case study that provides a more detailed explication of the multitiered strategy it used to achieve these results. The study offers recommendations as to how other cities can involve diverse key constituencies to advance this kind of initiative, create leadership structures that support effective citywide collaboration, engage community stakeholders in participatory planning processes, leverage private philanthropy to boost public funding, and develop a centralized support system for school principals and arts teachers.