Edukacja a sytuacja zawodowa młodzieży w Maroku. Zagrożenia i szanse?

The aim of this article is to present the threats and opportunities in the fields of education and the professional situation of Moroccans, especially young people who both try to find their place on the local labor market and emigrate mainly to Western European countries, largely to France, Spain and Italy, seeking stabilization. The recent reforms and unilateral or multilateral initiatives of international consortia, governments, agencies, and non-governmental organizations operating globally and locally are a chance to create a most stable labor market for young people. Often these are micro-scale activities, but the activation and professional support on a micro scale may translate into the effects of improving quality on a macro scale, throughout the country. This article was prepared on the basis of international reports of OECD (Organisation for Economic Cooperation and Development), UNESCO, EU national studies, articles and press reports as well as information on the home pages of institutions and organizations such as USAID (United States Agency for International Development) or NED (The National Endowment for Democracy)

The Nature of (Arts) Entrepreneurial Action

There seems little doubt that educators, policymakers, and artists themselves are paying attention to the relationship between creative practice and entrepreneurship. Over 150 US institutions of higher education provide hundreds of offerings related to arts entrepreneurship, ranging from courses to degree programs and guest speakers to robust venture incubation programs. State arts agencies have developed arts entrepreneurship training programs, and the National Endowment for the Arts has thus far initiated three national arts entrepreneurship research labs. Given this interest, this essay examines what it is that artists actually do – the actions they take — in the relationship between entrepreneurship and their creative practice.

Creative Forces programming with military families: Art therapy, dance/movement therapy, and music therapy brief vignettes

LAY SUMMARY Creative arts therapists (art therapists, dance/movement therapists, and music therapists) administer assessments and interventions that support the holistic well-being of military families affected by traumatic brain injury (TBI) and posttraumatic stress disorder (PTSD). Through participation in the Creative Forces: United States National Endowment for the Arts Military Healing Arts Network, military families discovered strengths, inspired connections, and improved understanding of their relationships. Creative arts therapies (CATs) motivated engagement, which ultimately boosted family resilience. CATs are an integral part of interdisciplinary care to address behavioural and rehabilitative conditions of military families impacted by TBI and PTSD. Future research should examine the efficacy of creative arts therapies in improving resilience in military families.

Missouri Remembers: Artists in Missouri through 1951

Missouri Remembers: Artists in Missouri through 1951 is a collaborative project of The Spencer Art Reference Library of The Nelson-Atkins Museum of Art, in partnership with the Kansas City Art Institute and The Saint Louis Public Library that will document the state’s artistic heritage. To create this freely available online resource partner institutions are mining their artist files and archival collections to document the many artists who called Missouri home. The portal allows researchers, art enthusiasts and students to learn about Missouri artists and to study the relationships between the artists, organizations, exhibitions and institutions that have defines the state artistic culture. Users are able to browse by city, medium, or time period to discover generations of artists who called Missouri home. The resulting online resource allows users to explore iconic artists like Thomas Hart Benton and George Caleb Bingham and to discover lesser known artists who lived in, or spent part of their careers within, the State of Missouri through the mid-twentieth century. Project researchers are prioritizing the difficult task of documenting the careers of artists from under-represented groups whose artistic contributions may not be as widely known or documented. This collaborative project will fill a void in the resources available for the study of Missouri’s artists. Biographical dictionaries are foundational reference resources that document a state’s, region’s or even city’s artistic heritage. Missouri doesn’t have this type of resource but it is something that several cultural institutions in the state have been working towards by maintaining physical artist files that document Missouri artists. This project was made possible through funding from the Missouri Humanities Council and from the National Endowment for the Humanities.

Prologue

What happens when an ethnographic, cultural relativistic approach to arts funding runs head-on into a “fine arts” approach governed by assumptions of excellence, appropriate targets of funding, and methods of distributing funds? This chapter, based on twenty-three years (1978–2000) working at the National Endowment for the Arts, will respond to this question through my personal conceptual and methodological challenges and experiences. When the National Endowment for the Arts and National Endowment for the Humanities were created in 1965, there was talk of creating a third endowment for folklore. This effort was unsuccessful, but it points to the belief at the time that American folk art traditions would not be well served by the federal endowments. There was much truth to this, as I and my colleagues regularly bumped into “glass ceilings and walls” that silently worked against us in supporting our field of hundreds of cultural traditions and thousands of art forms. My ethnomusicological training and experience were invaluable, not only in understanding the art forms and responding to their needs, but also understanding the biases of the institutional culture in which we were housed. At the same time, while certain aspects of my training at UCLA helped in navigating the waters of arts funding, much of the knowledge I applied to my work was learned “on the job” in extra-academic activities and mentorships rather than in university courses and seminars. This line of reflection will yield observations and recommendations to improve training and to increase ethnomusicology’s applicability and social and cultural relevance.