An Iconoclast's View of the National Endowment for the Arts and K-12 Arts Education

2001 ◽  
Vol 103 (1) ◽  
pp. 19-22 ◽  
Author(s):  
John K. Urice
Keyword(s):  
Arts Education ◽  
National Endowment ◽  
The Arts ◽  
K 12

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.

Arts Education as a Vehicle for Social Change: An Empirical Study of Eco Arts in the K-12 Classroom

2017 ◽  
Vol 33 (2) ◽  
pp. 61-80 ◽  
Author(s):  
Jeniffer Sams ◽  
Doreen Sams
Keyword(s):  
No Child Left Behind ◽  
Arts Education ◽  
Creative Thinking ◽  
The United States ◽  
Self Report ◽  
Future Research ◽  
Bottom Line ◽  
The Arts ◽  
K 12

AbstractArts education has been part of the United States K-12 educational system for over a century. However, recent administrative policy decisions addressed theeconomic bottom lineand the 1983 report,A Nation at Risk, and complied with theNo Child Left Behind (NCLB) Act of 2001(U.S. Department of Education, 2001). These decisions resulted instandardisationof both core curricula and testing, leaving arts programs to function in a diminished capacity, curtailing both individuality and creative thinking. This study unpacks the role of the arts as change agents with the ability to: address current discourse; question ideologies and culture; convey complex problems in artistic form; engage the viewer in aesthetics; provide a perspective not found in regimented thinking; and empower creative problem solvers. This work also highlights the role of eco-art as a medium for addressing complex environmental challenges. The study also empirically examines, through a self-report survey, K-12 arts educators’ perceptions of integrating eco-arts into curricula. Findings revealed respondents’ desire to integrate eco-arts into the arts curricula and identified the most significantly perceived barriers to integration, as well as the role of policy on practicality. The authors also identify the study's limitations and recommend areas for future research.

On the goals and outcomes of arts education

2017 ◽  
Vol 98 (7) ◽  
pp. 15-20 ◽  
Author(s):  
Rafael Heller
Keyword(s):  
Empirical Research ◽  
Visual Arts ◽  
Arts Education ◽  
Careful Analysis ◽  
Conclusive Evidence ◽  
Vast Amount ◽  
The Arts ◽  
Theatrical Performance ◽  
K 12

Supporters of K-12 arts education often make the case that when students study music, dance, theatrical performance, and the visual arts, they tend to improve in the academic subjects as well. But, as Lois Hetland explains, that’s not the best way to advocate for greater investments in arts instruction. In fact, a careful analysis of a vast amount of empirical research found no conclusive evidence to support the claim that studying the arts leads to better performance in math, reading, or other subjects. To make a stronger case for arts education, she argues, advocates should point to the specific kinds of knowledge and skill that students can learn only through the arts and which can empower them to think and communicate in ways that are essential to their lives and to the health of the wider community.

scholarly journals Beyond Darwinian Distance: Situating Distant Reading in a Feminist Ut Pictura Poesis Tradition

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 659-667 ◽  
Author(s):  
Lisa Marie Rhody
Keyword(s):  
The United States ◽  
National Endowment ◽  
Distant Reading ◽  
Western Tradition ◽  
Parts Of Speech ◽  
Reading Methods ◽  
The Arts ◽  
Sister Arts ◽  
The Devil ◽  
Ut Pictura Poesis

The challenge facing “distant reading” has less to do with Franco Moretti's assertion that we must learn “how not to read” than with his implication that looking should take the place of reading. Not reading is the dirty open secret of all literary critics-there will always be that book (or those books) that you should have read, have not read, and probably won't read. Moretti is not endorsing a disinterest in reading either, like that reported in the 2004 National Endowment for the Arts' Reading at Risk, which notes that less than half the adult public in the United States read a work of literature in 2002 (3). In his “little pact with the devil” that substitutes patterns of devices, themes, tropes, styles, and parts of speech for thousands or millions of texts at a time, the devil is the image: trees, networks, and maps-spatial rather than verbal forms representing a textual corpus that disappears from view. In what follows, I consider Distant Reading as participating in the ut pictura poesis tradition-that is, the Western tradition of viewing poetry and painting as sister arts-to explain how ingrained our resistances are to Moretti's formalist approach. I turn to more recent interart examples to suggest interpretive alternatives to formalism for distant-reading methods.

Sign in / Sign up

Export Citation Format

Share Document