The Invisibility of Disability: Using Dance to Shake from Bioethics the Idea of ‘Broken Bodies’

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently‐abled dancers. This article offers a critical thesis on how bioethics has come to occupy a marginal and marginalizing role in questions about the differently‐abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance (and here dance by differently‐abled dancers), provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to (and consciousness of) important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions.     

Bridging the gap: How the National Core Arts Standards forge the divide between the arts and assessment-based learning

ABSTRACT

This article is a review and thematic analysis of the 2014 National Core Arts Standards (NCAS). Historically, there exists a gap between the arts and assessment-based educational practices. Thematic analysis of the NCAS reveals a policy striving to bridge the gap between the way arts educators envision arts in schools, and the current reality of assessment-based schooling in the United States. This policy could become the foundation for the recognition of the arts as academically rigorous subject matter, capable of existing and thriving in an assessment-oriented world; it remains to be seen as to how and if arts educators will use and adapt NCAS. Is the NCAS merely a symbolic policy or does it have the support behind it to be a material policy that truly creates change in the educational system?     

Arts Education Partnerships: Informing Policy through the Development of Culture and Creativity within a Collaborative Project Approach

Arts education partnerships have become an important means for developing and sustaining school arts programs that engage students, teachers, and communities. Tapping into additional perspectives, resources, and support from arts agencies and postsecondary institutions, arts education partnerships strengthen arts education infrastructure within schools and develop a web of sustainable relationships whereby stakeholders mutually benefit. This article provides a snapshot of an arts education partnership in action that develops creative and cultural competencies in middle school students through a theme-based collaborative project approach. This article informs policy by recommending support for arts education partnerships that develop social and creative capital among schools and postsecondary institutions and within the communities surrounding these institutions.     

South–South Comparisons: A Syntegrated Approach to the Teaching of the Arts for Primary School Teacher Preparation in South Africa and Australia

In light of the tendency to present the arts in an integrated fashion in many education systems worldwide, this article examines the consequences of integration for discrete art forms. In particular, we investigate the advantages of adopting a syntegrated approach to the facilitation of arts in teacher preparation. A specific comparison between the implementation of arts curricula in South Africa and Australia is made. The disjuncture between policy and practice in arts education that has been reported internationally needs constant monitoring. We conclude that the heart of curriculum transfer and transformation lies in the classroom.     

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.     

Neuromuscular performance of Bandal Chagui: Comparison of subelite and elite taekwondo athletes

With the aim of comparing kinematic and neuromuscular parameters of Bandal Chagui kicks between 7 elite and 7 subelite taekwondo athletes, nine Bandal Chaguis were performed at maximal effort in a selective reaction time design, simulating the frequency of kicks observed in taekwondo competitions. Linear and angular leg velocities were recorded through 3D motion capture system. Ground reaction forces (GRF) were evaluated by a force platform, and surface electromyographic (sEMG) signals were evaluated in the vastus lateralis, biceps femoris, rectus femoris, tensor fasciae lata, adductor magnus, gluteus maximus, gluteus medius, and gastrocnemius lateralis muscles of the kicking leg. sEMG data were processed to obtain the cocontraction indices (CI) of antagonist vs. overall (agonist and antagonist) muscle activity. CI was measured for the hip and knee, in flexion and extension, and for hip abduction. Premotor, reaction (kinetic and kinematic), and kicking times were evaluated. Timing parameters, except kinetic reaction time, were faster in elite athletes. Furthermore, CI and angular velocity during knee extension, foot and knee linear velocity, and horizontal GRF were significantly higher in elite than in subelite athletes. In conclusion, selected biomechanical parameters of Bandal Chagui appear to be useful in controlling the training status of the kick and in orienting the training goal of black belt competitors.     

L.S. Vygotsky and the Theater

The article presents the analysis of L.S. Vygotsky's works dedicated to the theater arts and is organized according Vygotsky's different life and work stages. Meanwhile special attention is paid to the Gomel period during which a large number of reviews were written by Vygotsky and published in “Nash ponedel'nik” and “Polesskaia pravda” newspapers. Biographical facts are widely used in this analysis and help to clarify Vygotsky's interest in art. It is shown that even at the beginning of his oeuvre, he was interested not only in a range of problems in art, but also psychological problems related to art perception and creativeness. Vygotsky's usage of structural concept ideas about the peculiar properties of literary text composition are also explored. Vygotsky analyzes the socio-psychological mechanisms of theatrical art effect. Furthermore, those areas which are widely used by Vygotsky in determining the characteristics of cast reincarnation are examined. Special emphasis is placed on the different elements of the actor techniques (speech, movement, emotional expression, acting personality and etc.). Materials are widely used in this study and help identify the socio-cultural context that defined Vygotsky's values at different stages of his work, related to his drama criticism and his formation as a professional psychologist.     

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.     

Political economy and global arts for social change: A comparative analysis of youth orchestras in Venezuela and Chile

An expansive movement comprised of UN Millennium Development Goals, international banks, and hundreds of programs worldwide promotes access to the arts as a creative means of social change. Often grounded in cognitive science and inspired by the model of youth orchestras in Venezuela known as El Sistema, this movement contends that arts training—which can foster empathy, collaboration, academic achievement, and self-esteem—helps alleviate poverty and combat inequality. In contrast to the majority of the literature on public arts programs—impact studies that often assume arts engagement creates social change through universal mechanisms—this study examines the influence of political economy on the implementation of public arts programs. Through a comparative study of youth orchestras with social inclusion goals in Venezuela (1974–2015) and Chile (1964–2015), the scope and intensity of government control, social welfare policy, and competition for public funds are found to shape public arts programs' social goals, daily operations, definitions of success, and impact study procedures. Therefore, scholars, practitioners, and policy makers must reexamine their understanding of arts programs as a development model. Future global efforts to combat inequality should avoid over-standardization. This article offers a new Arts for Social Change Context Framework that places input variables at the center of analysis, with policy implications.     

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.