The Future of the Arts in Education? Alternative Strategies

1992 ◽  
Vol 9 (1) ◽  
pp. 3-17
Author(s):  
Robert Long
Keyword(s):  
Young People ◽  
Performing Arts ◽  
Arts Education ◽  
Alternative Strategies ◽  
Arts In Education ◽  
The Arts ◽  
The Future ◽  
Art Forms ◽  
Education Act ◽  
Sustained Responses

Much speculation exists as to the prospect Music and the Performing Arts face in the wake of the 1988 Education Act. Research shows that interaction and fusion, which exist between Music and the Performing Arts, intensify expressive character for young people, and generate more powerful and sustained responses, in comparison with single art forms.Results of experiments show the value of fused artefacts with significant implications for future Arts education, as regards both making and appraising.

Thinking Otherwise About the Arts in Education—A Rejoinder

2013 ◽  
Vol 83 (4) ◽  
pp. 636-643 ◽  
Author(s):  
Rubén Gaztambide-Fernández
Keyword(s):  
New York ◽  
Cultural Production ◽  
Arts Education ◽  
Aesthetic Experience ◽  
Harvard Educational Review ◽  
National Endowment ◽  
Washington Dc ◽  
Arts In Education ◽  
The Arts ◽  
New Vision

In this essay, Rubén Gaztambide-Fernández reflects on the comments made in a forum convened to reflect on his article “Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education,” published in the Harvard Educational Review (HER)'s special issue entitled Expanding Our Vision for the Arts in Education (Vol. 83, No. 1). Participants in the forum (published in HER Vol. 83, No.3) were John Abodeely, manager of national partnerships, John F. Kennedy Center for the Arts, Washington, DC; Ken Cole, associate director, National Guild for Community Arts Education, New York City; Janna Graham, project curator of the Serpentine Gallery, Centre for Possible Studies, London; Ayanna N. Hudson, director of arts education, National Endowment for the Arts, Washington, DC; and Carmen Mörsch, head of the Research Institute for Art Education, Zurich University of the Arts. In his original essay, Gaztambide-Fernández makes the case that advocacy for arts education is trapped within a “rhetoric of effects” that relies too heavily on causal arguments for the arts, whether construed as instrumental or intrinsic. Gaztambide- Fernández further argues that what counts as “the arts” is based on traditional, Eurocentric, hierarchical notions of aesthetic experience. As an alternative, he suggests a “rhetoric of cultural production” that would focus on the cultural processes and experiences that ensue in particular contexts shaped by practices of symbolic work and creativity. Here the author engages the forum's discussion in an effort to clarify his argument and move the dialogue forward.

Dipo: The Krobo Ghanaian Puberty Rite and Art

Matatu ◽  
2016 ◽  
Vol 48 (2) ◽  
pp. 450-474 ◽  
Author(s):  
Grace Uchechukwu Adinku
Keyword(s):  
Performing Arts ◽  
Social Role ◽  
Critical Discussion ◽  
Cultural Value ◽  
Critical Gap ◽  
The Arts ◽  
Art Forms ◽  
A Site

The girl child’s transition from childhood to adulthood, Dipo, is of prime importance in the development of the Krobo community of Ghana. The transition acknowledges the part women play in the welfare of society; hence the performance of elaborate puberty rites for girls. The performance of Dipo puberty rites is therefore regarded as a means of unifying teenage women in their social role and integrating the arts of the Krobo people. Furthermore, it reveals the significance of these different art forms in the life of the Krobo people and in Dipo performance in particular. The problem, however, is that although there are several artistic elements embedded in the performance of Dipo, they have not been documented as art forms; nor have they constituteded a site for critical discussion and appraisal of Ghanaian performing arts. Early historical and anthropological scholarship on Dipo almost completely overlooks these artistic elements. This essay responds to this critical gap by situating Dipo in the context of these artifacts as displayed in multiple phases of ritual ‘installation’ performance. This essay also identifies and examines the specific artistic elements featuring in the rite in order to highlight their embeddedness in and significance to the Krobo people, and, by extension, Ghana. The artistic elements in Dipo include ritualized visual, verbal, body, and theatrical elements, all of which are active and inseparable in the rites. As such, these art forms are analysed and discussed by means of figures and plates, which confirm visually their existence, aesthetic significance, and cultural value.

Arts Partnerships Are Bridging Disparities

2017 ◽  
pp. 114-126
Author(s):  
Jennifer DiFiglia
Keyword(s):  
Young People ◽  
Creative Economy ◽  
Opportunity Gap ◽  
Disadvantaged Youth ◽  
Non Profit ◽  
The Arts ◽  
Industry Partnerships ◽  
The Future ◽  
Arts Partnerships ◽  
Tools And Techniques

Government, non-profit and industry partnerships are giving disadvantaged youth access to successful careers in the Arts. Although the trend has been toward an ever growing “opportunity gap” between children from low socio-economic communities and their wealthier peers, cross-sector arts education partnerships are bridging disparities in access to the creative professions. Currently, the lack of opportunity for young people from poverty disproportionately affects their career prospects in the Arts, where consistent exposure to the tools and techniques of the creative disciplines is necessary in order to guide students toward college and/or careers in these growing fields. Despite a burgeoning creative economy, remarkably little progress has been made to diversify the workforce in this sector. Collectively, we've underestimated how creating opportunities for young people is economically valuable to government, non-profit and industry. A fundamentally different framework is needed that puts a proper valuation on the future of our youth.

Editors' Introduction: Expanding Our Vision for the Arts in Education

2013 ◽  
Vol 83 (1) ◽  
pp. 5-14 ◽  
Author(s):  
Edward Clapp ◽  
Laura Edwards
Keyword(s):  
Arts Education ◽  
Teaching And Learning ◽  
Harvard Educational Review ◽  
Arts In Education ◽  
The Arts ◽  
History Of ◽  
Education Journal ◽  
Generalist Education ◽  
Sociocultural Interactions ◽  
Education Symposium

In 1991 the Harvard Educational Review presented a two-part arts education symposium (vol. 61, nos. 1 & 3) that was published the following year as Arts as Education (Goldberg & Phillips, 1992). Then, HER editors were troubled to look back on the history of our journal and find scant discussion of issues pertaining to the arts in education. Twenty years after the Arts as Education symposium, we remain troubled that the topic of arts teaching and learning has continued to remain a stranger to the pages of our journal, only rarely making an appearance in the occasional article or Book Note. While we are dismayed by this lack of focus on the arts in a generalist education journal such as our own, we wonder, Should we really be surprised by the absence of arts education content in HER? Given that our current educational landscape is so deeply fixated on standardized tests, measurable outcomes in rigid content areas, and increased “achievement” at all costs, perhaps it makes sense that the arts—though fundamental to how we make meaning of ourselves, our environments, and our sociocultural interactions—are relegated to the margins of dominant discussions on education and therefore sadly absent from HER's pages.

The behaviour of the researcher of the future (the ‘Google generation’)

2010 ◽  
Vol 35 (1) ◽  
pp. 18-21 ◽  
Author(s):  
David Nicholas
Keyword(s):  
Young People ◽  
Information Seeking ◽  
Information Needs ◽  
Arts And Humanities ◽  
The Arts ◽  
The Future ◽  
University College London ◽  
Funded Project ◽  
Information Professionals ◽  
Digital Footprints

This paper describes and evaluates the information-seeking behaviour of young people in the virtual environment. Data are drawn from a JISC/BL funded project on the future scholar and a seven-year study of the virtual scholar conducted by CIBER at University College London. Hundreds of thousands of young people, mainly students, from all over the globe, are covered in the log analyses. On the basis of these data, the characteristics of their ‘digital footprints’ are drawn, demonstrating the huge paradigm shift that has occurred in the information seeking of young scholars. The results are surprising, disturbing and challenging and the author concludes with a discussion of how information professionals and the arts and humanities community in general might best meet young people’s information needs.

scholarly journals PARADIGMA PENDIDIKAN SENI DI ERA GLOBALISASI BERBASIS WACANA

2017 ◽  
Vol 17 (1) ◽  
pp. 48-56
Author(s):  
Arya Pageh Wibawa
Keyword(s):  
Cultural Diversity ◽  
Arts Education ◽  
Local Society ◽  
Cultural Conditions ◽  
Complete Knowledge ◽  
The Arts ◽  
Arts And Culture ◽  
The Future ◽  
Arts Educators

The paradigm of the arts education in the future must be able to apply various approaches where learners can cultivate their views and tolerant attitude towards the cultural diversity in Indonesia. The arts education is expected to be a compulsory course in universities so that the students have sensitive, aesthetic, creative and innovative attitude as well as adaptive character to any change and good ethics in expressing their creativities. It is not just an education generated only for the sake of art competition but must become a daily necessity. In facing the globalization phenomenon, the arts education is made to utilize multicultural approach which can be accepted by various circles of society. The arts educa- tion with a multicultural approach should have flexibility and rely on the ability of the learners and the socio-cultural conditions of the local society. The role of the arts educators is expected to not only pos- sess the local artistic knowledge, but also the knowledge about other regional arts so that in this way the students obtain complete knowledge of arts and culture as well as fostering the sense of tolerance with the diversity.

scholarly journals CLICK: Arts education and critical social dialogue within global youth work practice

2015 ◽  
Vol 7 (1) ◽  
pp. 71-91
Author(s):  
Meg Aubrey
Keyword(s):  
Social Media ◽  
Young People ◽  
Performing Arts ◽  
Arts Education ◽  
Work Practice ◽  
Youth Work ◽  
Social Dialogue ◽  
Theatre Company ◽  
Use Of Social Media ◽  
Critical Social

This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.

From global policy to tertiary pedagogy: Transformational thresholds for creative arts degrees

2019 ◽  
Vol 18 (3) ◽  
pp. 432-446 ◽  
Author(s):  
Nicholas Rowe
Keyword(s):  
Performing Arts ◽  
Arts Education ◽  
Historical Analysis ◽  
The Arts ◽  
Arts Teachers ◽  
Arts Educators ◽  
Science And Culture ◽  
Institutional Strategies ◽  
Concept Theory ◽  
Education Science

Performing arts teachers, in diverse regions of the world, recognise that globalisation has indelibly influenced how the arts are valued, practiced and taught (Rowe, Martin, Buck, et al., 2018). As illustrated by three key United Nations Education, Science and Culture Organisation (UNESCO) policies on arts and culture in the 21st century (UNESCO, 2003, 2006, 2011), global mandates can present contrasting imperatives, prompting shifts within regional, national and institutional strategies. So how do tertiary arts educators respond to shifts in global policies? After a brief historical analysis of three UNESCO strategic documents associated with arts education, this article considers how the contrasts within these strategies have presented challenging learning moments for arts educationalists. ‘Threshold concept’ theory is presented as a means of framing such learning challenges, to highlight the professional development needs of designers of tertiary curricula. Critically reflecting on the author’s experiences of codesigning tertiary degree programmes in New Zealand, China and Fiji, this article identifies key conceptual thresholds that can challenge tertiary educators when seeking to align institutional teaching practices with contemporary global policies on arts education.

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