ED 356 994

AUTHORTITLE

INSTITUTION

PUB DATENOTEPUB TYPE

EDRS PRICEDESCRIPTORS

DOCUMENT RESUME

SO 023 022

Wolfensohn, James D.; Willem, Harold M.The Power of the Arts To Transform Education: AnAgenda for Action. Summary.John F. Kennedy Center for the Performing Arts,9*.qhington, n.C.; J. Paul Getty Trust, Santa Monica,CA.

Jan 9323p.

Reports Descriptive (141)

MFO1/PC01 Plus Postage.*Art Education; Curriculum Development; EducationalChange; *Educational Objectives; Elementary SecondaryEducation; Excellence in Education; *Role ofEducation

ABSTRACTThe Arta Education Partnership Working Group takes

the position that the arts are forms of understanding and ways ofknowing that are valuable in and of themselves; that they arefundamentally important to education; that they are important toexcellent education and to effective school reform; that the mostsignificant contribution of the arts to education reform is thetransformation of teaching and learning; that this transformation isbest realized in the cen*n cf comprehensive, systematic educationreform; and that art ec s, artists, and arts organizations mustbe encouraged strongll actively in local, state, and nationalreform efforts. Four dn.. recommendations on arts education andthe role of the arts withi, .he larger curriculum are provided. Insummary, the recommendations include: the establishment of andfunding to sustain a National Center for the Arts in Education;support for the transformation of teacher education in the arts forboth pre-service and in-service teachers; support for coordinationbetween the arts curriculum standards setting process and the arts

t process and inclusion of the arts, within tho N2tionalEducation Goals; and the formation of partnerships that affirn theimportance of the arts at local, state, and national levels.(Contains 41 references.) (DB)

***************

Reproducti*

***************

********************************************************

ons supplied by EDRS are the best that can oe madetrom the original document.

********************************************************

et_16s.

(Nn

A0

II OtM&IllItt Of MICSTO IIOlga d1100ca000,01014000 Ina 110001001.4,010010111000101L RESOURCE, INFORMATION

CENTER (EMIG'

Iv01106011111 PM ban nigwOduC4100 IS1P010 IM ten00 DI tegoonlen

1111 40 eNmen Mn Sr sin 10 airegoll

0111140010000 liuM10

116040 010.1.0.0101000040011.00140tw041 00 001 Mitillaln0 eGlieSni 011041Cal& mem w See

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERICI"

_

Cover photos DOM pie Nation PekoeOrchestra Musk Director Ma lan indropalch leeches amaster clue, photo by loan Marcus; young audiencemamba, photo by Carol lien; (inland Ballet DancingWhets, Greer Colombo Arta Council,

BEST COPY AVAILABLE

The Power of the Artsto Transform Education

An Agenda for Action

Recommendations from

The Arts Education Partnership Working Group

ChairJames D. Wolfensohn, Chairman

The John F. Kennedy Center for the Performing Arts

Vice-ChairHarold M. Williams, President

The J. Paul Getty Trust

January 1993

4

We present the recommendations of the Arts Education Partnership Working Group.

These actions will help place the arts on the nation's education agenda. Over the lastdecade, the belief has deepened that we must educate all our children to new levels ofexcellence. We speak for all the members of the Arts Education Partnership WorkingGroup in affirming the conviction that the arts are essential to education, in ourcommunities, and our schools.

We are convinced that excellence in education is possible only with the fullinclusion of the arts. An education that encompasses and respects the wonderfuldiversity of peoples and cultures in the nation is possible only when it includes the arts.

The arts define what we mean by civilization. They are part of the foundation andframework of our c Jlture, As a universal language through which we can express ourcommon aspirations, the arts are a channel to understanding and appreciating othercultures. They are a basic and central medium of human communication and under-standing. They encourage our children to dream and to create, to have beliefs, and tohave a sense of identity within our rich and diverse culture.

The arts are unique ways of knowing and forms of knowledge. They are essentialelements in the development of our children.

A society that deprives its students of these studies accepts mediocrity and endan-gers a democracy that depends on an informed citizenry to sustain it.

The full inclusion of the arts in education means the full use of all the culturalresources and arts organizations at local, state, and national levels. Theaters and dancecompanies, orchestras, museums and performing arts centers, local arts agencies andstate arts councils all bring to education a wealth of knowledge and resources.

Working as partners, arts and cultural organizations and educators and schoolscomplement and strengthen each other while bringing quite different skills and capaci-ties to the larger goal of education reform. Such partnerships already exist in manylocations, and they are an important source of reform and renewal for teachers, stu-dents, artists, schools, and communities.

By bringing together federal, national, state and local partners and sharing ourtalents, we bring to the education of our children the knowledge, the beauty and thevitality of the arts. enabling future generations of Americans to explore, to dream, toparticipate in our nation, and to create its future.

We are optimistic about that future.

These recommendations are an open door; we need only the will and the determina-tion to walk through it. We look forward to working closely with federal, national, state,and local partners to realize and implement them.

2

James D. WolfensohnChairmanThe Kennedy Center

Harold M. WilliamsPresidentThe J. Paul Getty Trust

Our Focus: Children 4

Arts Education: What it Is 5

Ails Education Why it is imported 6

The Power of the Arts to Transform Education 11

Recommendations 10

Background 15

Members and Acknowledgments 17

Bibliography 20

Osisits Ion air* b be aa.

TAILE OF CONTENTS

6 -OM PIMV swan ass IA

UJ

4

OUR FOCUS: CHILDREN

This report is about children. They are the reason the power of the artsmust be understood and used throughout education. Without the arts ourchildren cannot realize their full potential. Unless they realize their possibilities,our communities and our nation are necessarily less than they might be.

In the arts our children experience much that we would like to see in alleducation: They are active and involved. They have a sense of accomplishmentand exhilaration. They work with purpose and energy. They are not "takingsubjects," rather they are absorbed in important questionsexploring, discover-ing, creating, learning.

Children use the arts unselfconsciously, with joy and intensity, with obviousdelight in their discoveries and achievements. They have no doubt that thepictures made, the songs sung, the dances danced, and the stories told andenacted are as important as anything else they dc.

Unfortunately, children everywhere in America suffer from an absence of thearts. As their school years progress, most children find fewer and fewer opportu-nities to engage in this compelling way of learning. Consequently, the capacityof these children to think and imagine is diminished. They are less engaged inlearning than they might be. And they lose one of the main advantages affordedby the arts: the means out of mediocrity, These are the reasons we are con-cerned with education reform. It is our children and their potential that cause usto ask for a reexamination of the ways in which the arts can be, and should beput to work to transform learning and teaching.

Shorts develop abed Idedthi Inepleeleg S. alt

ARTS EDUCATION: WHAT IT IS

By the arts we refer to dance, visual arts, music, theater, two and three-dimensional fine arts design and architecture, film and video, and the literaryarts such as poetry, fiction, and other written forms of creative expression.

To realize the benefits that the arts .an bring to education and to utilizethem in the larger task of trr 'ming education, there must be substantialagreement on what comprises an education in the arts. As stated by the NationalCoalition for Education in the Arts, a consortium of 28 national arts organizalions, arts education is the process of teaching and learning how to create andproduce the visual and performing arts and how to understand and evaluate artforms created by others. With language, mathematics, the natural sciences, andthe social sciences, the arts constitute a fundamental curriculum.

At a minimum, such a curriculum encompasses four basic aspects with theexpectation that students will:

Create and perform the Lets;Understand the role and importance of the arts in culture and history;Perceive and respond to the qualities of the arts; andMake sound judgments about the arts and understand the bases uponwhich those judgments rest.

A successful arts education program engages students intellectually, emo-tionally, and physically with the arts as one of the essential elements of life forthe individual, the community, and the nation.

a

Tan ita pans Is the vial

I

a

L i.

8 REST CON MAILABLE

-ur

ARTS EDUCATION: WHY IT IS IMPORTANT

The arts must be viewed as important for both their intrinsic and theirassociated educational value. Both dimensions can contribute significantly toeducation reform.

Foam of Kens ledoe, Ways of Mowing

The arts are valuable in and of themselves. They are a source of humaninsight and understanding about the world and ourselves. They connect us tothe past and help us imagine new possibilities for the future. As Charles Fowlerhas written in The Washington Post

The arts are forms of thought every bit as potent in what they convey asmathematical and scientific symbols. They are ways we human beings "talk"to each other. They are the languages of civilization through which weexpress our fears, our anxieties, our curiosities, our hungers, ourdiscoveries, our hopes. The arts are modes of communication that give usaccess to the stored wisdom of the ages.... Science and technology do nottell us what it means to be human. The arts do.

The arts represent multiple forms of intelligence and multiple ways ofknowing the world that are not duplicated by other means. In his book, Framesof Mind: The Theory of Multiple Intelligences (Basic Books, 1983), HowardGardner has identified seven different forms of intelligence: linguistic, musical,logical/mathematical, spatial, bodily.kinesthetic, and the personal intelligencesthat permit us to understand ourselves and others. American schooling gener-ally emphasizes only hvi.. of these-linguistic and logical/mathematical-ignoringthe other potentials of the mind. Gardner says (p. 356):

Among those observers partial to spatial, bodily, or musical forms ofknowing, as well as those who favor a focus on the interpersonal aspects ofliving, an inclination to indict contemporary schooling is understandable.The modern secular school has simply-though it need not have-neglectedthese aspects of intellectual competence.

Arts education provides a new approach. While creative writing exploresand develops linguistic potential, music education nurtures musical intelligence,visual arts and design develop spatial intelligence, dance draws upon kinestheticor movement intelligence, and theater exercises the personal intelligences. Thearts therefore help schools address the total mind and cultivate the full range ofhuman potential.

As ways of knowing, the arts involve us in complex uses of our intelligence.Other developed countries with which we compete do not miss the opportunityto ensure that their children have opportunities to cultivate their utmost mentaland emotional capacities. They seem to understand something we have lost sightof: To know neither the rich storehouse of human experience contained in thearts nor the use of the expressive and communicative functions of the arts is tobe educationally deprived. The rewarding and challenging activities of artseducation are part of every child's education.

6

Multiple Benefits

Experienced observers tell us, and data increasingly support claims, that schoolswith strong arts programs regularly incur such benefits as:

Intensified student motivation to learn;Better attendance among students and teachers;Increased graduation rates;Improved multicultural understanding;Renewed and invigorated faculty;More highly engaged students (which traditional approaches fail toinspirel;Development of a higher order of thinking skills, creativity, and problem-solving ability; andGreater community participation and support.

The arts contribute to an overall culture of excellence in a school. They arean effective means of connecting children to each other and helping them gainan understanding of the creators who preceded them. They provide schools witha ready way to formulate relationships across and among traditional disciplinesand to connect ideas and notice patterns. Works of art provide effective meansfor linking information in history and social studies, mathematics, science, andgeography. A work of art can lead to many related areas of learning, openinglines of inquiry, revealing that art, like life, is lived in a complex world not easilydefined in discrete subjects.

While the arts alone do not deliver all these benefits, they can be, andoften are, a critical factor in their occurrence. As the arts transform teachingand learning, they engage students In ways that make these benefits muchmore likely to be realized.

Based on these findings, the position of the Working Group is that:

The arts are forms of understanding and ways of knowing thatare fundamentally important to education;

The arts are important to excellent education and to effectiveschool reform;

The most significant contribution of the arts to educationreform is the transformation of teaching and learning;

This transformation is best realized in the context ofcomprehensive, sys1emic education reform; and

Art educators, artists, and arts organizations must be stronglyencouraged to actively join in local, state, and national reformefforts.

10

L-LrUni/

8

THE POWER OF THE ARTS TO TRANSFORM EDUCATION

As ways of knowing and as wells of human understanding, the arts canmake unique contributions to the transformation of learning and teaching. Theycan transform the school itself, and they can create more productive partner-ships between the school and community. They are a rich source of insightabout the world and humanity now and in the past, as well as necessary vehiclesfor imagining and creating new possibilities tomorrow.

The ever-changing composition of American society makes the arts singly themost powerful tool to bridge cultural differences and bring humanity, compas-sion, understanding, and harmony to this nation. They are essential to aneducation that both respects and honors diversity.

These, along with qualities already specified. account for why the arts canserve as powerful agents for education reform. If the purpose of reform is tomore successfully and more fully ignite the spirit and imagination of each childand to engage all students more intensely and conscientiously in their educa-tion, the arts should be called upon to perform a central role. To engage ineducation reform without the arts is to take ori one of the most dauntingchallenges our nation faces without relying upon one of education's mostpotentially powerful assets.

Nunn Impaired Mire learn OM wok threat Aram

BEST COPY Av;;;Ltar

11

The arts are untapped resources for education reform that can transformeducation in four vitally Important areas:

Briefly,

For the Learners and Learning, the arts:Are unique ways of knowing and forms of knowledge;Engage multiple ways of knowing;Invite both active learning and reflection;Affirm diversity of learning;Are intrinsically rewarding, leading to motivated individuals;

For the School, the Teacher, and Teaching, the arts:Create an overall climate of excellence;Provide unique ways of knowing and forms of knowledge;Bring new dimensions to professional life:Connect insights and understanding across areas of knowledge;Connect teaching/learning and assessment, changing methods andproviding new resources and insights;

For the Community and School, the arts:Build strong partnerships between community and schools;Contribute to the creative life of the whole community;Build unity and shared experience in diversity;Use the community and the school as creative resources for eachother;

For the Nation, the arts:Heip create and give form to our sense of identity;Encourage independent thought and judgment essential in ademocracy;Celebrate diversity while Wilding unity.

At Work in the World

Education reform is driven in part by the need to succeed in a globalmarket. In recent reports from the Department of Labor, the Secretary's Com-mission on Necessary Skills (SCANS) has identified the skills needed to worksuccessfully in the future. A solid education in the arts develops many of thequalities required to do this. Thinking creatively and analytically, solvingproblems, and envisioning, for example, are strongly supported in the process ofmaking and thinking in the arts. Art work often depends upon the successfulmastery of sophisticated technologies. The performing arts especially can involvecomplex teamwork, allocation of scarce resources, and direct experience inleading and negotiating, In short, the arts contribute to the nation's need forcreative, skillful workers and for innovative leaders. Surely these are among themost important aims of educational reform.

9

2

' 10

RECOMMENDATIONC

To transform education, the Working Group makes the following specificrecommendations for Congress ; nd the Administration. We urge collaborationamong national, state, and local agencies and organizations to implement them.

I. A NATIONAL CENTER FOR THE ARTS IN EDUCATION

In considering the establishment of a national center, the Working Groupacknowledges the many valuable programs across the nation. Still, it concludesthat only a national center will enable the arts to contribute to education reformby providing a a itical missing service to educators, artists and arts profession-als. policymakers, and others by establishing and coordinating national resourceexchanges and dissemination; that only a national center will develop andsustain a perspective inclusive of all the art forms and of a variety of approachesand strategies; that only a national center will serve as a means for the coordina-tion of information and programs linking ongoing work in standards-setting,research, assessment, and other national developments; that only nationalcenter will provide national visibility and signal a national commitment to thearts as fundamentally important toeducation.

The foundation for a national center is an information network that con-nects research, effective programs, and vital information with the people andcommunities who will use them.

A national center would support and enhance the work of local communitiesby enabling them to learn from each other and to base their own efforts on thebest available information.

We recommend the establishment and funding to sustain a National Centerfor the Arts In Education.

The Center would perform the following functions:

Serve as the coordinating unit in a proactive national system for thegathering and dissemination of information resources on the arts ineducation;

Facilitate coordination of national initiatives in support of the goal ofmaking the arts a fundamental part of the general education of allstudents;

Organize forums for discussion, analysis, and clarification of policies andissues important to understanding the contributions of the arts toexcellence in education and the consideration of alternative approachesand actions;

In cooperation with the naf:cm arts education research agenda,coordinate national dissemina, of research, facilitate its application.and identify and respond to gaps in these areas.

Identify and recognize excellence and achievement by teachers, programs,schools, communities, and partnerships.

Its

Ur

II. PROFESSIONAL DEVELOPMENT AND TEACHER EDUCATION

Teacher education and preparation in the arts, both for new teachers andthose who are already teaching, are critical to the achievement of the transfor-mation of teaching and learning. We believe that teachers must work in partner-ship with colleagues and with the arts and education community outside theschools in order to transform successfully the role of the arts in education. Thiswill require significant changes in the education, certification, and reeducationof teachers, including classroom teachers, specialists, and artists as educators.The key issues and recommendations in this report reside in the firm belief thatreform of teacher education in the arts is critical to the success of nationaleducation reform.

We recommend support for the transformation of teacher education in thearts for both pre-service and in-service.

We urge the creation and funding of a program for arts education compa-rable to the Eisenhower Program for Math & Science Education. The effortshould:

initiate and fund pilot teacher-preparation programs that demonstratewhat arts specialists and classroom teachers, individually andcooperatively, should know, be able to do, and value in the arts in orderto reach K12 students;

Identify and support mode! programs that demonstrate how pre-servicearts education can be integrated with standards for teacher preparation;

Encourage and support the development and strengthening ofpartnerships between the arts and education communities; and

Encourage and support the involvement of artists, other artsprofessionals, and arts organizations in arcs education.

12

III. STANDARDS AND ASSESSMENT

The transformation we envision creates new expectations for teaching andlearning. Curriculum standards and student assessments make importantcontributions to meeting these expectations. Under the leadership of theNational Committee for Standards in the Arts, standards for learning in the artsare now being established for the first time. Simultaneously, an effort to buildconsensus for a new assessment of the arts through the National Assessment ofEducational Progress (NAEP) is underway. The standards-setting process andthe process of developing outcomes to be assessed are similar. Both need toidentify what children should know and be able to do in the arts. Both need tobe comprehensive in addressing a broad range of knowledge and skills in thearts. It is essential that there be close coordination as these two independentprocesses move forward.

The national voluntary curriculum standards need to be embraced andaccepted by state departments of education and local education agencies as theydevelop or revise their curriculum frameworks and assessments in the arts toensure that the standards have impact on the teaching and learning of the artsin the classroom, on teacher education, and/or on teacher certification. Whetherthe national standards and the arts assessment instruments are accepted asmodels to guide state and local education agencies will depend to a great extentupon an informed understanding of them.

We recommend that the Congress, the Department of Education, and otherappropriate federal and state agencies;

Support coordination between the arts curriculr.n standardssettingprocess and the arts assessment process;

Support implementation of periodic national arts assessments;

Support implementation by states and localities; and

Seek Inclusion of the arts in the National Educational Coals.

1t

IV. PARTNERSHIPS

We strongly believe that the power of the arts to transform education cansucceed only with effective partnerships and collaborations. These must be builtat local, state, and national levels. Successful education reform, especially effortsthat incorporate the arts, depends upon informed community support. Partner-ships bringing schools and educators together with arts and cultural organiza-tions are an important element in building and sustaining community support.The most important partnerships are community based, for it is in the localcommunity where support must be built to sustain reform. We believe that localpartnerships, involving educators, arts organizations, parents, localdecisionmakers, and all the members of a community, should be affirmed andsupported.

We recommend that appropriate national programs be established to supportand encourage all communities involved In education reform to:

Include the arts in their goals;

Involve arts educators and arts and cultural organizations in theplanning and implementation; and

Institute a program to identify, recognize, and disseminateinformation about community-school partnerships that use the artsfor achieving excellence and for advancing education reform.

Them programs may be implemented most effectively through the NationalCenter for Arts in Education.

We recommend that arts educators, including artists and arts organizationsand agencies, commit themselves and their institutions to full and active partici-pation in local, state, and national education reform efforts.

With our children in mind, in all their wonderful diversityand individual uniqueness, we urge the implementation ofthese recommendations.

13

16

14

IN CONCLUSION

American children must be fully nurtured, affirmed, and enabled by theeducational opportunities we provide. The arts are an indispensable resource forassuring these advantages and improving the opportunities that now exist. Ifour children are to prosper mentally and emotionally to their maximum, educa-tion reform must incorporate the arts and exploit their capacity to transformlearning and teaching.

We conclude that the best strategy for making the artsessential to a basic education is for educators and artists, aswell as schools and arts and cultural organizations, to workcollaboratively towards comprehensive education reform.

For the benefits of the arts to be realized in current educational reformefforts, the leadership of the Administration and Congress are imperative. TheWorking Group recognizes the arts as a potent ally in the challenging process oftransforming American education and American schools. These recommenda-tions could help the rich resources of the arts to be used to enormouseducational advantage. Our children, our nation, and our future will be thebeneficiaries.

17

BACKGROUND

In response to concerns from the edwation and arts communities about theabsence of the arts from the National Educational Goals and to ensure theirinclusion in subsequent education reform efforts, a number of actions andinitiatives were taken to put the arts on the national education agenda. Theseincluded:

Developing world-class standards in the arts;Implementing high national standards;Including communities involved in education reform;Including the arts in the National Assessment of Educational Progress;Creating a National Center for Arts Education;Developing a research agenda in arts education; andDesigning a National Arts Education Dissemination Network.

James D. Wolfensohn, chairman of the John F. Kennedy Center for thePerforming Arts, convened a task force of private citizens to consider theseinitiatives and recommend actions. Wolfensohn asked Harold M. Williams,president of the J. Paul Getty Trust. to serve as vice-chair and to support theeffort Together they formed the Arts Education Partnership Working Growl

Membership on the Working Group includes classroom teachers, principals,and superintendents; and representatives of theaters. dance companies, orchestras, museums, art centers, state and local arts organizations, foundations, andother national organizations in the arts and in education.

The Working Group met for the first time on June 22, 1992, at the KennedyCenter. It considered the current initiatives outlined and identified othersimportant to bringing the full benefit of the arts into the nation's quest foreducational excellence for all its children. In order to facilitate these efforts, theWorking Group divided into the following six subcommittees:

National Center Including Dissemination and ResearchProfessional Development/Teacher EducationStandards and AssessmentArts and Education ReformAdvocacy and PartnershipOther Strategies

The subcommittees worked over the summer of 1992 to prepare recommen-dations for the full Working Group, which met again in Los Angeles on October18 and 19, hosted by the Getty Center for Education in the Arts.

As deliberations went on, the Working Group focused on the strong rela-tionship between inclusion of the arts and overall education excellence. This is asummary of the work and the recommendations for action.

The Arts Education Partnership Working GroupWashington, D.C.January 1993

15

0

_

Members andAcknowledgments

Irk

REST COPY MAILABLE

$06.2._ya

Akron (left Tacher workshop participant at theKennedy Center, photo by Man Marcus; young audiencemember In Alaska, photo by Man Marna; studentsdiscuss sculpture, Photo by Bob Wart 17

Ads Education PartnershipWorldly Group

James D. Wolfensohn, ChairChairmanThe John F. Kennedy Ccnterfor Performing Arts

Harold Williams. Vice-ChairPresident & Chief Executive OfficerThe J. Paul Getty Trust

Cordon AmbachExecutive Directornuncil of Chief State School Officers

Barrie BeckerTeacherDorothy Kirby Center SchoolLos Angeles. CA

Boyd BoehljeVice PresidentNational School Board Association

Joan BoyettVice PresidentEducationMusic Center of the County of Los Angeles

Lillian BrinkleyPrincipalWillard Model School at Lakewood

J. Carter BrownDirector EmeritusNational Gallery of Art

Sheila BrownArts Education ConsultantNebraska Department of Education

Harry ClarkPrincipalPittsburgh High School for Creative andPerforming Arts

Ray CortinesSuperintendent of Schools (retired)San Francisco Unified School District

Vicki DobbsConsultantSan Francisco, California

Paula EvansDirectorNational Re-Learning FacultyThe Coalition of Essential SchoolsBrown University

Harvey FelderAssistant ConductorMilwaukee Symphony Orchestra

18

Donna FitzgeraldVisual Arts Specialisttiling Middle SchoolManchester, CT

Edmund Barry GaitherDirectorNational Center for Afro-American Artists

Eduardo GarciaArts ConsultantNew Jersey

Michael GreenePresidentNational Academy of Recording Arts andSciences

Ellen HarrisAssociate Provost for the Arts/Professor of MusicMassachusetts Institute of TechnologyCambridge, MA

Ronne HartfieldExecutive DirectorMuveum EducationArt Institute of Chicago

Stephen KaaganExecutive Vice PresidentMichigan Partnership for New Education

Steven LavinePresidentCalifornia Institute for the Arts

Robert LeslieGeneral ManagerFreedom Theater

Robert LynchPresidentNational Assembly of Local Arts Agencies

John MahlmannExecutive DirectorMusic Educators National Conference

Kathryn MartinDeanCollege of Fine and Applied ArtsUniversity of Illinois

Lolita MayadasExecutive DirectorNational Guild of Community Schools of theArts

Arthur MitchellPresidentDance Theatre of Harlem

Ruth MitchellAssociate DirectorCouncil for Basic Education

20

Daphne Wood MurrayDeputy ChairmanPublic PartnershipNational Endowment for the Arts

Janice NicholasAssistant PrincipalKelley Miller Junior High SchoolWashington, DC

Robert OrrinExecutive DirectorOffice of Academic AffairsThe College Board

Nick RabkinSenior Program OfficerArts and CultureThe John D. and Catherine T. MacArthurFoundation

Milton RhodesPresidentAmerican Council for the Arts

Lloyd RichardsTheater DirectorNew York

Nadine SaitlinExecutive DirectorIllinois Alliance for Arts Education

Scott SandersExecutive DirectorSouth Carolina Arts Commission

Jean Kennedy SmithFounderVery Special ArtsWashington. DC

Miguel VillahermosaFine Arts TeacherWashington Public SchoolsTakoma, WA

Acknowledgments

Franck AlexanderDeputy Assistant Secretary of EducationWashington, DC

James BerkExecutive DirectorEducation FoundationThe Academy of Recording Arts and Sciences

Douglas HerbertDirectorArts in Education ProgramNational Endowment for the Arts

Susanah Simpson KentDirectorInstitute of Museum Services

Robbie Mc EwenSpecial Initiatives CoordinatorNational Endowment for the Arts

Margaret WyszomirskiDirectorOffice of Policy, Planning, Research andBudgetNational Endowment for the Arts

Resource Consultants

Richard BellExecutive DirectorYoung Audiences. Inc.

David HudsonPresident & CEOArts Council Inc.WinstonSalem and Forsythe Counties

Charles LeonhardProfessor EmeritusSchool of MusicUniversity of Illinois

Roger MandleDeputy DirectorNational Gallery of Art

Staff

David O'FallonStaff DirectorArts Education Partnership Working Gr,upThe Jahn F. Kennedy Centerfor the Performing Arts

Jeanne Heileman, InternArts Education Partnership Working Group

The following people generously assistedthe Working Group:

Alicia AdamsSpecial Assistant to the ChairmanThe John F. Kennedy Centerfor the Performing Arts

Leilani Lattin DukeDirectorThe Getty Center for Education in the Arts

Derek GordonAssociate Managing DirectorEducationThe John F. Kennedy Centerfor the Performing Arts

Geraldine M. OtrembaAssociate Managing DirectorGovernment LiaisonThe John F. Kennedy Centerfor the Performing Arts

Larry PaulInternThe John F. Kennedy Centerfor the Performing Arts

Scott StonerAssociate DirectorEducationThe John F. Kennedy Centerfor the Performing Arts

Special thanks toDr. Charles Fowler

?119

Bibliography

A Foundation of the Future. The LearningFoundation of Putnam/Northem Westchester.Yorktown Heights: 1992.

America 2000; An Education Strategy.Washington DC: United States Department ofEduaticm, 1991.

An American Dialogue, The National TaskForce on Presenting and Touring thePerforming .trts Washington DC: TheAsscriation of Performing Arts Presenters,1989.

Arts Education and NAEP, Developing aConsensus Framework for the NAEPAssessment of Arts Education in 1996.Washington DC: National Assessment ofEducational Progress.

The Arts in America 1992. A Report to thePresident and to the Congress. Washington.DC. National Endowment for the Arts 1992.

The Arts in Education. Connecticut: TheConnecticut Arts are Basic to the Curriculum(ABC) Task Force, 1990.

Arts Infusion, 'Eight Steps for Creating anArts Infusion School." Georgia: GreaterAugusta Arts Council, 1992.

Arts Learning for the Communities ofChicago; Architecture for Change. Chicago:Mitchell Korn, Artsvision. and Marshall Field's,1992.

Beyond Creating: The Place for Art inAmerica's Schools. Los Angeles: The J. PaulGetty Trust, 1985.

Burgard, Ralph. Burgard AssociatesWilmington, NC: Letter dated June 1989.

Coles. Robert. The Spiritual Life of Children.Boston: Houghton Mifflin Company. 1990.

Curriculum Update, InterdisciplinaryLearning; Movement to Link the DisciplinesCoins Momentum. Alexandria, l'A: November1992.

Dreeszen, Craig. Intersections. CommunityArts and Education Collaborations. Amherst:Arts Extension Service, Division of Continuingeducation. University of Massachusetts atAmherst 1992.

Essential Compoueuts of a SuccessfulEducation System, The Business RoundtableEducation Public Patin' Agenda New York:The Buiineca Roundtable. 1990.

20

Excellence and Equity, Education and thePublic Dimension of Museums, WashingtonDO The American Association of Museums,1992.

Farkas, Steve. "II DeC,riug Expectations andEvaluating the Performance of Our National'sPublic Schools." Educational Reform: ThePlayers and the Politics 1992, v. 3.

Fowler, Charles. The Case for Music Educa-tion, Washington Post Newspaper, EducationReview. Washington DC: April 5. 1992, FT.

Gardner, Howard. Art. Mind & Brain. ACognitive Approach to Creativity. New York:Basic Books Inc. Publishers, Howard Gardner,1982.

Gardner, Howard. Mind. HowChildren Think and How Schools ShouldTeach.. New York: Basic Books Inc. Publish-ers, Howard Gardner.

Handbook for Local Coals Reports, Buildinga Community of Learners. Washington DC:National Education Goals Panel, 1992.

How We Think and Learn. Washington DC:The National Learning Center, 1991.

Introducing the PRAXIS Series ProfessionalAssessments for Beginning Teachers. NewJersey: Educational Testing Service. 1992.

Johnson. Andra. Art Education: Elementary,Virginia: National Art Education Association,1992.

Loyacono, Laura L. Reinventing the ITheel, ADesign For Student Achievement in the 21stCentury. Washington DC: National Confer,ence of State Legislatures, 1992, p.29.

The Midnight Butterfly Sings, Selected Rinksfrom the COMPAS Writers & Artists-intheSchools Program. St. Paul: COMPAS, 1988,poem by Jennie Meyer. p.28.

More Than Pumpkins in October: VisualLiteracy in the 21st Ccutury. Virginia: TheNational School Board Association, 1992.

The National Coalition for Education in theArts. Caltural Diversity in Arts Education.New YorCAmerican Council for the Arts,1992.

The National Coalition for Education in theArts, Definition of Arts Education. New York:American Council for the Arts. 1992.

The National Coalition for Education in theArts, Coals of Arts Education. New York:American Council for the Arts. 1992.

ra

Prairie Visions. The Nebraska Consortiumfor DisciplineBased Art Education. Nebraska:Nebraska Department of Education. 1992,p. 19.

Quntions & Answers About NAEP; ArtsEducation Assessment. Washington, DC: TheNational Assessment of Educational Progress,1992.

Ross, Jerrold and Ellyn Berk. A Frameworkfor Multicultural Arts Education. New York:National Arts Education Research Canter atNew York University, 1989, p. 56.

Rutherford. F. James and Andrew Ahlten.Science for all Americans; Scientific LiteracyWhat is it? Why America Needs It. How WeCan Achieve It. Washington DC: AmericanAssociation low the Advancement of Science,Inc.. 1990.

Science for all Americans; Project 2061.Washington DC: American Association for theAdvancement of Science. 1989.

Sizer. Theodore. Horace's School. Copyright(c) by Theodore Sizer, 1992. Reprinted bypermission of Houghton Mifflin Co., NewYork. All rights reserved.

Strengthening Mathematics and ScienceEducation Through Professional Develop.ment The Dwight D. Eisenhower Mathematicsand Science Education State Grant Program,Washington DC: U.S. Department of Educa.tion, 1992.

Teachers & Writers Collaborative Overview1991. New York: Teachers & WritersCollaborative, 1991.

Toward Civilization; A Report on ArtsEducation. Washington DC: NationalEndowment for the Arts, May 1988.

Toward Civilization: Overview from A Reporton Arts Education. Washington DC: NationalEndowment for the Arts. May 1988.

Understanding How the Arts Contribute toExcellent Education. Washington DC: OMC,inc. with Charles Fowler and Bernard J.McMullan. 1991

Why We Weed The Arts: 8 Quotable Speechesby Leaders in Education, Government,Business and the Arts. New York: AmericanCouncil For the Arts. 1989, p. 25.26.

ltt