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Grove, RichardihetArts and the Gifted.Coulicil for Exceptional Children, Reston,,,48Va.National Inst. of Education (DHEW) , Washington,D.C.Aug 75,NE-C-00-4-0004 .

54p.; Proceedings from the. National Conference onArts and .Humanities/Gifted and Talented (Spearfish,Sduth Dakota, October 1974)

a NP-S0.76 HC-$3.32 Plus Postagle*Art; Conference Reports; *Creativ`4. Expression;Dance; *Educational Programs; Exceptional ChildEducation;-*Gifted; Literature; Music; *TalentIdentification -

ABSTRACTare the proceedings, froM,the National

onference on Arts and Humanities/Gifted and Talented. Included aret.

eports gild presentations with the following titles: "A Temporaryommunity" (the development of the conference); "The Arts and theifted: A Stereoscopic View" (identifiCatiOn of the,gifted/talentedP Pulation); "What's To Be Done?" (the use of literatdre, music,,film, theatre, the visual arts, and dance programs in the sc400ls); .

"the Transformation, of the Schools" (arts and human learning programs'fOr the entire-school population) by Harold Taylor; ."Humanizing theH manizers° (ten proposals to consider in organizing .a youth0 chestra) by Murry Sidlin; "Jazz and the Schools" /the relationship* jazz to Ameripan culture, high schools, and future curriculum) byNa Hentoff;.iand "The Arts and Humanities--What Is Most Human"Ap ograms for gifted and career education) by, Virginia Y. Trotter.AR endixes are provided on the conference program, ,,Workshop lea4ersan coordinators, speakers, and government represeniatives.-(SB)

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The Artsand

the Gifted

U.S. DEPARTMENT OF HEALTH,EDUCATION &WELFARENATIONAL INSTITUTE OF

EDUCATIONTHIS DOCUMENT HAS BEEN REPROOUCED EXACTLY AS RECEIVED PROMTHE PERSON OR ORGANIZATION ORIGINATING IT POINTS OF VIEW OR OPINIONSSTATEO DO NOT NECESSARILY REPRESENT OFFICIAL NATIONAL INSTITUTE OFEDUCATION POSITION OR POLICY.

Proceedings ,from the National Conferenceon Arts and Humanities/

. Gifted and Talented:

Spearfish, South DakotaOctober 1974

Richard, Grove

(9' The Arts and the Gifted

Proceedings frorn theNational Conference on Arts and

Humanities/Gifted and Talented

Spearfish, South DakotaOctober 1974

Richard Grove

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Library of Congress Card Catalog Number 75-29507 '

The work presented or reported herein was supported ill part byContract Number 'NE-C-00-4-0004 from the National Institute ofEducation, Department of Health, Education, and Welfare, How-ever, the opinions expressed herein do not necessarily reflect theposition or policy of ME and no 'official endorsement by NIEshould be inferred..

Published bylhe Council for Exceptional Children- 1920 ASSOCIATION DRIVE

RESTON, VIRGINIA 22091AUGUST 1975

CONTENTS

10

Acknowledgments

Conference Personnel

Foreword

A TEMPORARY COMMUNITY

THE ARTS AND THEIFTED: A STEREOSCOPIC VIEW

-WHAT'S TO BE DONE?

PRESENTATION: The Transformation of the SchoolsHarold Taylor ,

PRESENTATION' Humanizing the umanizersMurry Sidlin 1

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PRESENTATION: Jazz and the Schools 33Nat Hentoff

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PRESENTATION: The Arts and HumanitiesWhat Is Most Human. Virginia Y. Trotter

APPENDIX A: Program

APPENDIX B: Workshop Leaders

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APPENDIX C: Speaker s. '45

APPENDIX D: Government Representatives 46

APPENDIX E: Workshop Coordinators 47

.ACKNOWLEDGMENTS

The conference sponsors are deeply indeibted to Black Hills State College for.makindalLitsresources available to the conference. Our thanks especially to President Meredith N.Freeman, Dr. Charles Schad, and to Ned Wick who, with his Travel Industries studentshandled meals, local transportation, and other details for the conference.

The author wishes to thqnk Kay Grove fOr assistance with the manuscript. He also wishes toexpress his gratitude to curt Huskin, instructor in journal's/in at Black Hills State CollIge, andhis students, Mary Moon, -Melinda O'Donnell, David Wilder, and Tom Moxnes, for makingtape recordings of workshops and lectures.

The generous assistance of the )DR 3rd Fund is grItefully acknowledged in making the writingof this report possible.

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CONFERENCE PERSONNEL

NATIONAL CONFERENCE ON' ARTS ANDbHUMANITIES /GIFTED AND TALENTED

Black. Hills,Stte CollegeSpearfish, South Dakota

October 2-4, 1974

Sponsors:

South Dakota Division of Elementaryand Seconda4i-y Education

US Office of Eduction, Region VIII(Under the auspices of title V, Section 505, US Office of Education)

Cochairpersons:-

Donald Barnhart, State Superintendent of Schools, Pi re, South Dakota

Edward B...Larsh, Senior.. Program Officer, Elementary and Secondary Education,US Office of 'Education ( egion VIII), Denver, Colorado

Coordinators:

Robeii. L. Huckins, Coordinator of Gifted and Talented Education, Pierre, SouthDakota

Charles ,Schad, Director of College Relations, Black Hills State College, Spearfish,South Dakota .

`FOREWORD

The study and the practice of the arts and humanitiesare not sacred to-artists and humanists alone. Theyare for people attempting-to find themselve(as wellas for people who know what- they are looking for.They are for joyful participant and for entrancedlistener and viewer alike. They are for amateur andprofessional, for the skilled and for the fumbling.They are a way of or a special occasion. Aboveall, their;challenges nourish growth.

We all know this. But we all know too that, as faras students in our public schools are concerned, ithas long been a story of short rations in-the 'arts andhumanities rather tham.anything like full nourishmentfor grdwth. I am therefore grateful to the Office of

0 Gifted. and Talented for bringing our national starva-tion diet of arts and humanities to public attention.If our schools need "humanizing," as the distin-guished participants in the Spearfish- conferencecontended, then we who are responsible for theschools had better, look to broadening opportunitier\through the arts, sq,,that the humanism' of all our stu-dents is enriched.'

As a way of life, or jusvits adornment, actual im-mersion in the artsin painting, writing, dancing,planning a rock gardencan tell the creator a lotakout himself. The self knowledge that a gifted childde Ives from an opportunity to paint or dance is thedemon that.will,drive unceasingly forward and weneed more of that kind,of drive.

There is no need to ;cpand here on the movingwords by those who participated in tilt? conference.They are all experts at communicating the truths oftheir special fields. But I should like to eMphasizethat in working to identify the gifted, and in obtain-ing special opportunities for them, we must alsothink of how these opportunities may be extended toincludeall children.

The arts need constant replenishment, but theycannot exist withOut a sympathetic atmosphere; they

To a oid,repetition 'of gifted arid 'talented in the text,gff fed is used as a generic *term: Its use should beunderstood to include gifted and talented.

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atrophy without an audience. The audience must be,one in which receptivity to new ways of interpretingthe world has been instilled by early hand to handcombat with the arts as communication. We need totrain potential audiences for the arts, along with theartists and creators.

The communication at Spearfish was superb onevery level,°asthis report shows. I especially'hke Dr.Harold Taylor's description of the arts versus thehumanities. Hesaid:

The arts are what ou do to -e ess you self andenjoy yourself. The anitie are what you talk's.about and think about after ou have stopped enjoy-ing yourself and someone asks you a question aboutwhy you are so happy or unhappy. You then mustexplain it.- The humanities are located in a placeinhabited by prbfessors ... professors of art his-tory, .philosophy, literary criticism, comparative

-'religion, whose profession it, is to come along afterthe creative artists and the activists in cultural is-tory have done their work and explain what the

° artists were all doing and how good or bad, it was,what period they did it in, and how to talk aboutthem in front of company.

It is now my turn to thankin front of companyall those who did a great service for the US Office ofEducation and for young Americans by recognizingthe need for broader plans for the arts and humani-ties in public education, not only as a divining rodfor the gifted and talented, but also/as a means tobring sensibility as well as sense to daily life. -

Those who did so much to bring about "SpearfishI" (for I hope 'them will be more S'pearfishes) includeDr. Leon Minear, Regional Commissioner of Educa-tion in Denver, and Dr.-John H. Runkel, also of theDenver offiZe, These two men called a series ofawareness conference-on the Gifted and Talented/Arts and Humanities in the states 'of their regionColorado, South Dakota,., North Dakota,_ Wyoming,Montana, and Utah.

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S uth Dakota appeared\ to be a leader among the,states in this group, and for this reason, Spearfish;South Dakota, with its Mack Hills College,chosen as the site. for.the conference.

The South Dakota State Department of Educationeceived able assistance from the Denv4r Regional

Office's Ed Larsh, who, with 'Pon Barnhart, SOuthDakp. ta),Superintendent of Public Instruction, servedas conference &ochairpersons. Many states cofitri-buted through their Arts Couocil; and recognition fotfunding must be given to the US, ffice of Educa-tion's Title V,ESEA, prograth staff nd to the Endow-

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ment for the Arts and the Endowment for theHumanities,.as well as to the Gifted and TalentedConsultants in every state, and of course to theOffice of Gifted and Talented in Office of Educationheadquarters.

In closing, 'I must also express appreciation toKathryn Bloom of the John D. Rockefeller III Fund,which'supported the writing of this report.

T. H. BellUS Commissioner of Education

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A TEMPORARY CQMMUNITY

THE SEEKERILOF SPEARFISH

Early travelers in the Black Hills. of South Dakotacame upon some Indians spearing fish in a river. That,it is. said, is why there is now a town called Spearfish.In October 1974 people from many states gottogether in this place. They carried ballpoint pensinstead of spears and notebooks instead of creek, forthese latter-day travelers went there in the hope ofspearing and taking home ideas. They did not go awaydisappointed. ;The fishing was good on those coolOctober days in the Black Hills.

The occasion'was a conference, officially titledin a way that was to provoke much'comment, andeven inspire a songthe National Conference on theArts and Humanities/Gifted and Talented. Sponsoredby Region VIII of the US Office of Education and theSouth Dakota DiVisoion of Elementary and SecondaryEducation, it was billed as a "potpourri of demon-stration, workshop's, and presentation" and theprogramfeatured an interesting mixture of wellknown writers, artists, educators, government offi-cials, and musicians.

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Education in the arts and humanities and the iden-tification and educational nurture of the gifted areboth problems that are neither new nor unexaminedand these topics had been .considered separately byearlier conferences. But this was the first nationalconference to bring the twO,together, and it was aconjunction that struck off sparks. For one thing, thetime was right. By now the dust had settled followingthat tremendous burst of activity in the late 1960'swhen widespread educational experimentation and-research took place with the massive support offederal education laws. One could now begin to dis-cern the outline of a pattern of experience and ofattitudinal change. And several second generation

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models, buildingbuilding upon the experience of the 1960's,had now attained sufficient maturity to make possi-ble substantial progress reports.

The conference was organized around four ques-tions that held more than enough challenge topromise intellectual excitement and substance:

1. How can arts and humanities-C-become a more.central and invigorating part of the regular cur-

.riculum in public schools and universities?

2. How can we raise the awareness level to a pointof intervention in meeting. the needs *of the giftedand talented citizens of our community?

3. What are the change agent- skills necessary toconvert schools into institutions where the artsand creative thinking are 'encouraged and en-hanced rather than thwarted and rejected?

.

4. What can you as a conferee do at your. level ofinfluence to promote the fh-ree changes as listedabove?.

Though slightly t?Qred with jargon, the questionswere plain enough. They dealt with subjects of morethan specialized academic interest,vmatters of can-cern to all o us: a national resource of incalculabledimensions and the cultutal(INate in which we allI ive.

And so they came to Spearfish and set to work.."From everywhere in the country we have ar "rived,"

\ said Harold Taylor, author and educator, "to set up atemporary community under the open skies, a

ommunity of people.wh-o don't have to explain them-selVes to each other, since we all came together 'in acommon purpose, to find our own definition ofAmefica and its culture, and to enjoy the culture weare helping to create."

THE INFLUENCE OF LOCALE ON DISCOURSE

Conferences are powerfully "affected by location.There are qualities of atmosphere, mood, and mind-set that affect everyone and that derive, soriietimes,subliminally, sometimes quite directly, from (hesurroundings. It' akes a difference whether a meet-ing is held in a big city motel or a remote mdunta,intop, in the Metropolitan Museum of Art or on a shipanchored off. Santa Barbara. This conference took

qplace on the quiet and pleasant carpus of Black HillsState College against a physical, background of greatnatural beauty and against another kind of back-ground, equally colnpelling and quite as tangible,that was full of ghosts and myth and history.

At the start of. he conference, Dr. Leland D. Case,a writer and historian of theArnerican West, con-jured up a vivid image of "one of the most remark-able explorati6ns in American historythe 1874expedition of General George Armstrong Custer."

It was quite an affair 1,200 white men, including abrass band on, white horses; 100 1pdians, mostlyArickara; scouts; three Gatling guns; Fred Grant,

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son of the President; five newspaper reporters; andan experienced photographer.

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And Dr. Case spoke of others who had been in'these pHs in earlier days: Wild Bill Hickok, CalamityJane, Poker Alice, Madame Moustache, DeadwoodDick, Potato Creek Johnny, and Crooked Nose JackMcCall, who shot Wild Bill Hfckok dead inDeadwood.

,There was an excursion i:; Deadwood, a visit to theHomestake Mine there, and a buffalo dinner atCuster State Park. And there was enighttime trip toMount 'Rushmore, which was seen by the confereesin the light of giant Park Service searchlights, andilluminated in another way by the oblique, wry wit,once again, of Robert,Shaw, who had Spoken of"our . compulsive? nnItgalomarriathe tallest sky-

,

scraper, the largest electoral majority in U.S. history,even the world's biggest sculptureson God's (untilnow) aesthetically impoverished peaks."

And there was an IndiSn Awareness Evening;thought-provoking and poignant.

The Spearfish ambience fired the imagination andjogged the mind at unexpected moments.

4.

-T,HE 'ARTS AND THE GIFTED:.A SIIEREOSCOPIGVIEW

A PARADOXICAL/MINORITY IL-present," stated a recent/

They may turn`'1 the US Commissioner of Education.

"up anywhere, these gifted arid tal-ented young people, on small islands off the coast of !,Maine, in inner city ghettos, in the homes of thewealthy

,oil /indian reservations, everywhere. There ,i

are more th n 2 milliori of them, but their numbers ,

seem small r besause' so many live their lives undercond itions that prevent the development of theirspecial qualities. One thing they are of is ordinary:_but many learn to assume clever dis isea to concealthis fact.' VV-hen. they are recognized, they are notnecessarily welcomed, for their personalities arcoften interpreted as provocative r vexing.

There are plenty of reasons f r expecting these.-young people to'txcel in school, but they frequentlydo badly. There is abundant evidence to shpw that' inthe usual school situation they are under a disadvan-tage, requiring-expert help and guidance that only k °,tiny percentage of them receive. They may becomefamous and make distinguished cOntributions tosociety, or they may ,vanish into some oblivion, per-haps serene, more likely haunted by lack of fulfill-ment. They are a minority, often overlookettbedausethey appear-to be privileged in a way that ought tomake them self sufficient, a way that would render.any special educational assistance to them super.,fluous. For they are the nation's gifted and talented,words that seem synonymous with preeminence andsuccess. - .1

But human potential., even extraordinary potential,is just thatonly possibility,"'and no more. It can bestifled; thwarted, denied the .opportunity to,,flourish.When that happens to the gifted and talented, welose something 'of supreme value, whether the poten-tial lies in science and technology or in the arts andhumanities. "The .imporxance to the public of edu-cating the gifted has never been greater than at

report to the

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Congress by

Conservation as a social pfiority includes humanconservation .and not solely out of respect for theindividual's right to life, liberty, and the pursuit ofhappiness. Conservation of the gifted and talented,requires that.society tolerate the-right of the indivi-

, dual with exceptional abilities and talents, eventhough unconventional, to attain his goats. But it.means that as invention and creation Are encouragedand the necessary learning.is supported;increased dis-coveries, may generate possibilities for. improvedconditions of life in many areaseconomic as wellas social. As leisure time increases, 'the creative andartistic will be vital-to the totarwell-being of society,.as both artists and teachers. The creatively scientificwill be indispensable in forts to cure social 6antihuman ills.

What happens to this minority/,' then, ,must concernall of us1 They are a national resource tlfat is being'managed in a haphazard and wasteful-fashion.

The reference in the above quotation to the ''crea- .

tjve and artistic" is one of many in Education of the -

Gifted and Talented:. Report to the Congress of the.United States by the U.S. GQ,mmissioner of Education:1971.- Othgr reports in this-. field are similarlypreoccupied with the importanceof education in 'thearts and humanities. The reasons are many. One well.,known kind of giftedneis.iS'high ability in the visualand performing arts, but it, like any other innate,aptitude; does not necessarily manifest 'itself apto-matically without ,diSCovery and .encouragement.Talent can be lo;t irrevOcably. A char,acteriitic of thegifte and talented is versatility and breadth of '

intere's these brilliant young minds rieed an educa-tion tha ermits them to explore"the full range ofkinds of knowledge and expression to enable them to(discover their own predilections and strength's, tochoose among all possibilitieg, inCluding the arts..

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Too often the tendency is to push'the gifted child down the cognitivetrack and to neglect those affectiveaspects of learnfrig that help makethe individual a trulyfiuman being.

"Too often," said Harold Lyon, director of the USOffice of Education's-Office for Gifted and Talented,"the tendency is to .push the gifted child down thecognitive track and to neglect thbse affective.aspects of learning that help make the individual a'truly human being."

THE PLACE OF pEPARTURE

The conference attracted serious participants whocame to Spearfish for information and ideas to use in

. their work. They wanted to 'share experiences andtest tentative conclpsions by'trying them out onother people.,There Was much of the quality of a re-treat, a 'chance to get away for a time from the dailyturmoil to reexamine Principles and underlyingassumptions. There was also more than a trace of therevival meeting atmosphere, a climate of reaffirma-tion. There arose a comradeship of the embattled.

aThere is similarity, of experience, between thoseseeking a more central place fdr the arts andhumanities in education and those attempting to

;further the interests of the gifted and talented. Bothrun into a claster of attitudes that add up to the con-

clu ion th4 these educational proble'rns are legiti-m to but row in priority: The gifted and talented will

ake it anyway (what Harold Lyon calls "the risingcream notion");- and the arts are disperlable el,e-ments of "real education/: a concern of the few, "akind of garnish, easily .set aside, like parsey," asJohn D. Rockefeller Ill once put it..

Those who reviewed the history of the past decadein preparation for the conference could not avoid afeeling of surprise 'upon -realizing 'how much hadhappened during this brief space of time. The Na-tional Endowment for the Arts and the NationalEndowment for the Humanities were created dufingthii period. The Elementary and Secondary Educa-tion Act came into being,,,with all of the subsequentlarge scale experimentation and research in educa-tion in the arts and humanities that was carried outwith the help pf federal funds. The ESEA support wasnot a minor affair. Junius Eddy of the Rockefeller

. Foundation, in ;a 1974 study called "Perspectives onthe Arts and General Education," estimated:.

Funding for Title I cultural programs adds up. to$267 million over the 5 year period;`1966 to 1970..

Title Ill projects concerned directly or indirectlywith the arts totaled nearly $80 million during thesame period.

The Arts and Humanities Program of the US Officeof Education' supported research and developmentprojects totaling $10.6 million between 1965 and1970.

"Certainly," said Eddy, "it would have been diffi-cult in 1960 (or even in 1964) to find' anyone who

(c'OMMISSIONER MARLANIYS REPORT TO' HE CONGRESS

Gifted and talented children are those identifiedby professionally qualified persons W.ho by virtue ofoutstanding abilities, are capable of high per-formance. These are children who require differen-tiated educational programs, and/or services beyondthose normally provided by the regular 3dioolprogram in order to realize their contribution to selfand society. .

Children capable of high performance includethose with demonstrated achievement and/or poten-tial in any of the following areas, singly or incombination:

1. general intellectual ability2, specific academic aptitude3. creative or prorluctivelthinking4. leadership ability5. visual and performing arts6. psychomotor ability

It can be assumed,that utilization of these criteriafor -identification of the gifted and talented willencompass a minimum of 3 to 5 percent of theschool population.'

Evidence of gifted and talented abilities may bedeterMined by a multiplicity of ways. These pro-cedures should include objective, measures and

4t professional evaluation measures which are essentialcomponents of identification.

Professionally qualified persons include such indi-viduals as teachers, administrators, schoolpsychologistsp, counselors, curriculum specialists,artists, musicians- and others with special trainingwho are also qualified to appraise pupils' 'specialcompetencies,

from,Education of.the Gifted and Talented:Report to the congress of the UnitedStates by the US Commissionercation, 1972

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would have believed that funds on the order of 43()7million (from any so rce) would have been spent onpre - collegiate progr4 s dealing with the arts by theend of that period."

We are still in the process of ,distilling this -experi-ence, hut most of the conferees were familiar withthe more influential of the second generation pro-grams and projects that Are now attempting to buildupon what has been leaned ddring that busydecade. If they were not lamiliar with. them, theybecame so during the coiirse df the conference,because spokesmen were present from the-AestheticEducation Program of CEMREL and the Arts in Edu-cation Program of the John D. Rockefeller III Fund.

The data that had been assembled in the CoMmis-sione,r's Report to Congress were reassessed for theirimplications for dthication in the arts .andhumanities. These were among the passages, mostfrequently cited: .

'Large-scale studies indicate that giftd and talentedchildren are, in fact, disadvaniagedand handicappedin. the usual school situation.

A conservative estimate of gifted and talented chil-dren ranges between 1.5 and 2.5 million.

Over half of a representative sample of schools inthe United States reported no gifted students intheir schools! The statement may be ascribed- toapathy, or hostility, but not to fact.

Over half of a representativesample of schools in theUnited States reported no giftedstudents in their schdols.

Research studies on special needs of the gifted andtalented demonstrate the need for special prOgrams..Contrary to widespread belief, these students cannotordinarily excel witholassistance.Art education focused on creative behavior and prob-lem solving . was determined to he important, fopgifted young people.. a

' Conventional or standardized curriculbm require-ments were seen as. unimportant to the gifted andtalented. Rather than studying grade level conten,t_required of the total group, an open curriculum basedon individual intereStsvivas tayored, with large blocksof independent time. The gifteid and talented wereseen as capable of self-management and decision-.making for both content of study and classroomprocedures:

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The problems of screening and identification. are'complicated by assuMpfloris that, talents cannot befound as abundantly in certain groups as'in otherswith the emphasis° heavily in favor of the affluent.

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These assumptions may have influeneed meagersearch and identificatio'v among other giotiNs. Thereis ample evidence that highly gifted children can beidentified in all groups within our societal.

Studies have shown that pupil personnel workersare indifferent or hostile in their attitudes toward.the gifted.

The United States has 'been inconsistent in seekApg,out the gifted and talented, finding them early intheir lives, and individualizing their education'?

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There' was- little here that was startling news topeople who had been working with the education ofgifted children, It was mostly things they alreadyknew from read* professional journals andresearch reports, from attending professional meet-ings, and from personal, experience. What was newwas the bringing together of scattered information,.its presentation to the Congress, and the resultingrecent federal legiSlation specifically aimed et 14.et-ing this set of national needs. And at Spearfish whatwas new was the interlacing of two sets of concerns,the reformulation of strategy and rationale and, per-hapS equally important; the asking of new questionsand the asking.of old ones in a new way.

THE ANATOMY OF FOUR QUESTIONS

Advocates of the gifted and proponents of educationin the arts and humanities have much in common, in-deed th'e two interests are nearly always combined tooAqlegree or another, but this did not mean thatperceptions Were identical-nor that, the dialogue wasalways harmoniOus. The two points of view provideda double perspective that had the effect of throwingproblems and issues into sharp relief.

Most of the conferees were busy on a day to daybasis dealing with these educational problems andthey were not fooled by the surface simplicity of thefour.questions. They knew from practical experience'that causing this kind of change to happen was bothdifficult and complex. They knew that the questionsthemselves contained concealed questions, likethose Russian do4s that come apart to reveal aslightly smaller doli,,'that in turn comes apart to re-veal a still smaller -one, and so on.

This was the way the four questions revealed hid-den depths when viewed from slightly differentstandpoints in the stereoscopic vision of Spearfish:

'How can arts and hymanities become a more centraland invigorating part of the regerlar school curriculumin public schools and universities?

The word arts, with that sibilant ending, is neveruttered thoughtlessly. by those who feel that youngpeople deserve the opportunity to learn something of

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all of the arts, and not just art and music as they arecommonly taught in public schools. How, when,.andwhere does theatre ("on the hoof,' in KathrynBloom's terms, ''as compared to drama on the shelf")enter the "regular curriculum"? How about dance,filitelevision, architecture? We know that it can bedope, as the, recent work of the )DR lit Fund andCEMREI has demonstrated, but the sweeping andpanoramic language about a "more central andinvigorating part of the regplar curriculum" implieschange throughout the educational system from topto bottom. Did these representatives of the official-.dom.ef education really- mean to endorse so funda-me.nfal a cha-fibe throughout the land toward aesthe-tic education? No doubt about it, they did. Thesewere the, words of VirginieTrotter, Assistant Secre-tary for Education, Department' df Health, Educa-tion, and Welfare, in a4naddress to the conference:

What is necessary is an unqualified commitmentthatwe must cease to think of the arts' as a luxury andthat they should become basic experiences in edu-cation. . . . Educators must stake out a role in theforefront of the American concern fol. the intellectual,aesthetic, and spiritual dimensions Of life., .

Everyone got the message, but they also knew thatcommitment alone is not enough. It has td be fol-lowed'sby effective action, and it was therefore thejob of the conferees to bring their knowledge and ex-perience to bear on the question of what is nowknown about what works and what does not.

How can we raise the awareness level to a point ofintervention in meeting the needs.of the gifted andtalented citizens of our community?

This is the most mysterious and abstract Of the fourquestions. What are the referents? Whose awarenesslevel? Everyone's? And where is the intervention tooccur? How does "intervpntion" meet "needs"?EXactly what are the needs of the gifted* when itcomes down to education in the arts and huranities?If one does not know the needs, then how does oneknow what to do once one has intervened some-where? "Our community" has a -snug, self reliantsound, like a little New England town with housesand steeples and white picket fences, and stores withlights in the windows. But what if the "community'''.is an urban ghetto, or an Indian reservation, or agroup of Spanish speaking people who move fromplace to place as the crops become ready for hartvest?

And is it not possible that awareness could be-.come widespread and genuine, but that no changewould take place because the problems of the giftedand education in the arts and humanities are mattersheld low in priority?

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What are the change agent skills necessary to convertschools into institutions where the arts and creativethinking are encouraged and enhanced rather thanthwarted and rejected?

The question contained a judgment that apparentlysurprised no one, even though it came from the 'USOffice of Education and not from some embitteredand hostile critic of 'schools, and it went unchal-lenged. But again in this question the assumptionwas that the skilled agent of change presumablywould be equipped with a repertoire-of methods thatcould be instituted in schools across the country andthat would assure the itemoval of thwarting and re-jecting factors. And that would usher in a new era inwhich the arts, and_creative,thinking, as part of theregular, curriculum, -would .be stoutly encouraged.What, said the question within the question, arethese proven and universally adaptable methods?

What can you as a conferee do at ydor level ofinflitence to promote the

0three changes as

listed above?

The emphasis was to be on action, the precise natureof which was to be Specified. The action theme was .'also expressed in the design of the conference, which

-stressed "advocacy" and 'devoted a whole series ofworkshops to advocacy at;the local, regional, State,.and national levels. The conferees were left with the/tquestion of the methodologi of change and the 5411.0"' ,stance of the changed education.* ,/

6.ARTS AND HUMANITIES, SLASH,GIFTED AND TALENTED

"§urely," said Robert Shaw, Conductor of theAtlanta Symphony Orchestra, "we may assume thatthe slash-bar of typography in 'Arts and Humani-ties/Gifted and Talented' is a linking and not a sepa-:ration."

Few conference titles can ha4e caused such variedreactions. Harold Arberg, a composer and Directorof the US Office of Education's Arts and HumanitiesPrograM, recognized the title's musicality. "On theplane coming out here, I realized that the title of tie`conference had a lilting quality," he said, and heforthwith set it to music. Seated at the piano, he leda general session in the premiere of what Harold Tay-lor later called "a temporary song for a temporarycommunity ":' -4

The Arts and Humhnities, Gifted and TalentedConference in South Dakota,Unless we resolve to make schools more humane,Things won't change one iota!

With apiistlandohumaMsts, teachers and principalsWorking in schools and communities,All people becoming 01 they can become;Just Ithink. of the opportunities!

But that ,lash in the center of the title looked likea teeter. - toter, and from time to time it acted, .likeorie,°,as the discussion seesawenack and, forth-fromonesuject to the other. The trouhrte- that t.110things bn the ends of the teeter-totter Were not likequantities: one was an area of curriculum contentand the other was certain recipients of that content.'For the arts educators, especially, this;vibrated withimplications. Something was out of order. If "the artsand creative thinking" are "thwarted and rejected" inschools, then the total school population is not beingserved in a suitable fashion. But the .needs of thewhole Would have to be,answered before one mightproperly copsider the needs of the few, especialikyln:View 'of the faCt that those with'high potential inthearts and creative thinking might never get to realizethat potential if it was thwarted at the beginnipg. Ifall students .are not' shown the way, h'i)W can themost able among them come to see the pOss6ilitieinherent in the arts and choose, if they are so in-.clined, to pursue them?

TALENT MANIFEST, TALENT CONCEALED

Olt the face of it, one might think that the' identifi-cation of the gifted in the arts would be a simple

«matter. The image of the child prodigy appeail in the't mind's eye, dwarfed by the huge bulk of the concert

grand, seatedupon telephone directories so .as to.beable'to reach the keyboard, rippling %through a flaw-less performance of a Chopin etude. Or we imagine aYoung artist whose drawings, anyone can plainly see,are of startling quality. Talent, it seems, must be evi-dent and irrepressible. But anyone who held this pre-,conception abandoned it at Spearfish, for it soon be-came clear that such a view is erroneous, a general-ization derived from exceptions, not useful in edu-cational planning.

What if, for example, a gifted -child is from kpoorfamily, or is culturally different? Robert Huckins,South Dakota's. Coordinator of Gifted and TalentedEducation, said:

Here in South Dakota we know we have a big proti-lem on the Indian reservations. Gifted children mustexist in the Indian school population, but we are notdoing well at identifying them, because of isolation,and because of inappropriate identification tech-niques, including culturally biased 10 tests.

Vic Runnels, himself 13 Sioux Indian workihg forthe Bureau of -Indian Affairs' Cultural Arts Curricu-

));)

lum Dlopment Center in Aberdeen, SouthDakota/ agreed:

We "have a situation in which a majority of Indianstudents are not performing pp to state and nationalstandards, so the education efforts seem to be aimedat raising the performance of hese particular stu-dents. Consequently, our gifted and,talented are leftby the wayside. There are other prdblems involved

/also, such as peer group ridicule, lack of teacher andparent,understanding, and jack of resources, whichmake a dismal picture. If gifted students survive thissystem, it is a pure miracle!

. Teachers at the conference with experience inblack and Chicano communities reported similar'problems. And most agreed that even in middle classwhite schools, the methods used to locate giftedChildrentests, teacher and parent nomination, peerjudgment, prrofessiotial talent all haveonly partial reliability, although, o co rse, effec-tiveness would be high if) all these means were

:employed together. Fet,y, places reported such .com-plete screening. .

Many arts educators at Spearfish Were suspiciousof intelligence' tests, observing that tests tend tostress verbal, academic abilities, that they rewardonly expected and routine solutions to problems, andthat they miss expressive abilities, particularly non-',verbal ones. However, Russell Getz, Chief of the 13i-vision Of Arts and Humanities of the Pennsylvania.Department of Education, is familiar with manyidentification problems. He reported wide andenthusiastic,,acceptance of the Alpha BiographicalInventory, developed by Calvin W. Taylor, Robert L.Ellison, and their associates in 1968. Getz said thoseinvolved in the Pennsylvania Governor's 4School. forthe Arts have found it to have a high correlation ofpredictability, and that colleagues' at Interlochenandthe North Carolina School of the Arts also use it.

Teacher nomination got poor grades in the Com-missioner's fieport:

4 .Teachers are able to nominate about halflof thegifted . . ...It is unsafe to assume that teachers willidentify even the highly gifted, according to one.study in which 25 per cent of the most gifted weremissed.

'Teacher nomination got even poorer grades fromthose concerned with locating the gifted in the arts.Nat Hentoff, jazz authority and author of Our Chil-dren Are Qying, declared during a jazz seminar at theconference:

In terms of jazz, consider the number of kids whomay, well be gifted. . . . But who among the peoplenow in the schools who are determining who aregifted and talented have the qualificatiorts to beginto know this with regard to jazz? I don't know anypeople among the schodls I travel to who can tell

7

16

.whether someone blo.wing a h t tenor saxophone isgifted and talented.

Evaluation, by practicing pro essional artists wasfavored and there were numerou suggestions aboutthe use of artists in the comrnunit for this purpose.

Can talent- be discovered if t e individual withtalent has nerer realized it, was t re, of has neverhad a chance to exercise it, or has n ver had the pos-sibilities of a mode of expression made clear to him?This question was raised by DeWitt Z se, Rirector ofthe Educational Center for the. Arts New Haven,Cpnnecticut. "We look for talent, not, interest," hesaid, "talent as defined by professi nal artists."Identification is the task of staff Mem ers who areactive as-performing or producing artist in the NewHaven area. "Half of our students," sai Zuse, "arestudents with undeveloped talent in .da ce, music,theatre, and the visual arts, defined to inc ucle painting, drawing,. sculpture, design, photography,' videoand film. They have had little or no experience." ,

Talk about methods of identification kept turningback to two prior considerations which fended torender all other question's moot: the fact that thegreatest proportion of the gifted in the schools of thenation receive no special attention of any kind, andthe fact that education in the arts occupies a posi-tion that is precarious and anything but `Central andavailable to all.

A recurrent theme at the conference was that ofwasted talent, young Ellingtons who 'spend theirearly years in a household without a piano.and with-out an interest in music, potential Andrew Wyethswho grow up without encourageMent and withoutever having seen an adult painter going about hiswork. Harold LyOn, Director of the US Office ofGifted and 'Talented, said that "for every Einstein orMartin Luther King who emerges, a doze or more donot." He went on to say that. the lost ifted "are a's^,likely as not to leadfives of bored, frustrated medio-crity, or worse, brilliant criminality.!'

Bruce Milne, Director of the Educational Research. 'and Services Center at the University of South

Dakota, said:

There is a myth, that says the gifted will triumphover all adversity. Yet we see jut the opposite:human potential just gone to waste. People withgreat capabilities just watching the boob tube anddrinking beer. -That's one way. The otl-ir is worse:drugs, liquor, anti-social behaviOr. Are these thealternative's to the school program? Take a drug tripinstead of a field trip?

I

Study the literature. Look at the high incidence ofdrop out, the degree of 4Jcoholism, the degree of theuse of drugs . and the high rate of suicide among'young people identified as gifted but lost by the sys-tem at some point.

p

GIMME AN A! GIMME AN IWGIMME A 11

The very mention of an elite, a favored group dfpeo le et aside from the rest, slarnsdoors closed ithe m rican mind. We detest the idea.; it is opposedto gaitarian principles. Unfoiltubately for the.gift :di, they iare sometimes seen. in this way.HaroldLyo ,spoke of the "apprehension on the part ofma parents and/ teachers and other school peopletha th se young people will form an elite and c 0 .e

to orninate their ,classmates.anct make them feel .in-feri r.1' Bruce Mine called it "the fear of an elitris &)rning up ith some sort Of an aristocracy ofeli e rinds in th 'community, setting them apart asthe greatest, the top, the most talented, he mostgifted." He added that "the kids themsel es dOn'twant the gifted label because of that."

ft is this response that is ,reflected in the esearchflodings in the Commissioner's Repcfrt of-"apathy andeiVen hostility among teachers,, administrators, guid-ance counselors, and psychologists." The report hasrirriich more on the subject:

Aren't special provisions undemocratic? If' demo-cratic educatiorNcticesis interpreted as the sameeducation for the answer is yes. If we believe thatdemocratic education means. appropriate educa-tional opportunities and the right to education inkeeping, with one's ability ,to benefit, the answer rsno. If one takes the affirmative stand, then all spe-CI4i educational rograms would disappear, and hun-drods of millions now expended by the States and theFederal government would be diverted to. other uses.. .Rather than argue that special planning is undemo-craltic, one might conclude that the spetial planningshould be carried on for the benefit of thedeMocracy.

Iro ically, the evidence shows that gifted youngpeopl are most apt to suffer from the opposite of. afeelin of \smug superiority. "The fact is," said Lyon,"that felings of inferiority are much morecomm nly ound among the bright and talented thanamong the average, perhaps because the latter arenot as kee ly aware of how much there is to .know."The Cemrrissioners Report says:

The relatively few gifted students who have had theadvantage of special programs have shown remark-

We look for talent, not interest: talent as defined by professional artists.

able improvements in self-understanding and in abil-ity to relate well to others, as well as in improvedacademic and creative performance. The progranishave not produced arrogant, selfish snobs;. specialprograms have extended a sense of reality, whole-solne humility, self-respect, and respect for others .

Apparently the buiden of the majority is to createconditions which Will- lessen feelings of alienation,and allow the gifted and talented to feel that theyare valued members of the human race, whatever thecircurristances of ,background.

Onefecommendation at SPearfish was unanimous:SPeccal;prograni9 for the gifted are absolutely neces-sary. The gifted should be located early in.life, theirindividual strengths, should be determined and fos-tered ppport4nities should be provided for them to

-work With one another, and they shoUld be allowedto go ps far nd as fast and in whatever directicinsthey aile able o travel.

In c mmo with all other human beings, Ameri-re callable of holding totally contradictoryes. Irving Sato, Project Director at the Na-State leadership Training Institute on theand Talented _in Los Angeles, successfully

stratedLthat, although we have resisted thespecial programs for. the gifted in general, we

nthusiaStically supported special programingkind of gifted student in schools frbm coast

to It is highly exemplary special programing,

cansattituctional,Gifteddemoidea ohavefor on

carefu ly thought out in all details, and it offers amodel that is already there, ready to .carried.overin larfi'le part to other ,types -of fai4ted students. Irfi

this case we drop all worries; about expense, aboutcrea0g an-elite, and about difficulties of identifi-cation. Here is how Sato described it:.

Probably one of the beSt examples of. a gifted pro-gram is the athletic team in .high school any highschocI, from coast to coast. If we look at a footballteam,; for example, we flifd the best general prin-cipleslin gifted child education applied very adroitly,and if we were-to take these very same principles andapply them to a program for the creatively gifted,our chances of success would be very good. Let mecite five of these general principlesthings thepeople handling the football team do:

Principle I. Identification.-Identificatioll is based onmultiple criteria. That is, never does a single criterionever identify any child as being fitted for the footballteam. As you know, just because a human being isborn male, is a certain age, height, and weight. . ,donot qualify him for the football team. Yet with thegifted we are operating very archaically and puttingall our eggs in the basket of IQ tests. ,

Principle 2. Programing. With the football team, theconcern is so great that there is a strong specializa-tion that takes place. They use a backfield coach, a .line coach, and so forth, and they do individualtutoring.

.

9

Principle 3. Enrihment through interaction. Carefulattention is give to individual enrichment and teamenrichment and development. We see this great con-cern for peer i teraction in other words, that thegifted must int ract with other gifted. In spite ofbudget crunch r energy crisis, the players not onlyinteract with th it peers On the practice field, butthey are taken n any miles away so that they may en-

ivy the benefits of interacting with their truly giftedpeers in intrasta e finals.

,

Principle 4. Specific development of individual.Often our conCerns for the 'academically gifted aremisplaced. We think, "Oh, this poor bespectacled

-youngster, he really wants to. mix with. other humanbeings and he's not getting the opportunity. He is solopsided socially that we must try to make him amore well-rounded individual." But when a youngman is identified as potentially gifted to become anoutstanding quarterback, what do we concentrateon? Making him an even better quarterback. In theathletic program, they identify the gifted for veryspecial reasons so that they can help hirn developthis potential alOng the line of his strengths. Theycapitalize on his strengths so he can become aproductive member of societythe society of thefootball team.

Principle 5. Evaluation apq accountability. This theyfilo right before our eyes. The athletes undergo theseverest kind of evaluationon the football field,where you and I, the speciatorsg.do the evaluation.And wliy are they unafraid about this? Because theyhave done all the things I've enumerated. ''.

So we have, everywhere, one outstanding gifted pro-gram in our high schoolsfor football players. If wecan only use these principles in the other areas Pfgiftedness!

"Benefits to society," said the Commissioner's, Re-port, '-'will increase as we reach the point when, weextend our present encouragement of the athlete toexcel to all other fields of endeavor."

In his workshop on education in the vis a1 arts,artist John Boit Morse touched on some of Ithe historic reasons for the place of the arts in th¢ Ameri-can system of values and the way that place is

changing:.

Ours was a- hard, tough frontier society i whichmachismo, as Dr. Lyon said, was the import t thing.You'll forgive my language, but I refer to it as thejockstrap society, the big locker room tall( in whicheveryone sits around and shows his muscle and howbig and powerful and strong he is, and t ere's ab-solutely no plade in that 'world for art, Ar is for sis-

.sies, as`Dr. Lyon said,Now we are ..leginning to get mature, we are be-

ginning to -grow"up, we're begin-ning.to find that anexcessively important part of life is art and indeedthat those who concern themselves with art Oithmusic, painting, the dramaeither as collectors,.appreciators, dabblers, or doers, become a hell of a.

. lot better lawyers and bankers and what not.1

Does that raise any angle in anybody's mind?

"SO WE BUG THESE LITTLE KIDS. . ."

Over the° coffee breakla mature female voice washeard to say, "Isn't all that what good teachers havebeen aping all along?" The comment was probably.truelaUtnot very*help 1 ul. What is a "good" teacher?How many are there. How does a novice becomeone? What is a good teacher for the gifted, for allkinds, including those gifted in the arts? ,

The Commissioner's Report offers this information:

StUdies of successful, teacher; for the gifted typicallyhave dealt pith their characteristics and behaviormore oftep than with their specific preparation. Ingeneral, the successful teachers are highly intern-gent, are interested in scholarly and artistic pursuits,have wide interests, are mature and unthreatened,possess a sense of humor, are more student-centeredthan their colleagues; gnd are enthusiastic aboutboth teaching and advanced study for themselves.

i 4.

And Harold Lyon, drawing upon ideas of Carl R.

'Rogers, supplied a somewhat similar recipe: ..

The teacher of the gifted should have:

1. A sense of prizing another individUak, of cele-brating his uniqueness.

2. A sense of empathetic understandi

3. A sense of genuineness, enough to enable you tobe yourself, to reveal your strengths and weak-nesses.

4. A sense of trust.

5. Competence in subject matter.

g.

Whatever the exact list of trait/ hat the teacher ofthe gifted must possess, it was ident from the testi-mony of teachers and_ _former/teachers at the con-ference that one desiraWe quality would be a feelingof personal security. Bruce Milne said: .

They threaten the teachers-. There's nothing worsethan having a kid in class who 'knows the answer be-fore you even ask the question( If you've ever taughtgifted and talented children, or worked with them inany kind of an art or craft o mechanical skill, oranything, they scare the heck ut of you, they reallydo. They can add figures faster than you can callthem off, work' long division in their heads. Soule-thing happens to one of the, achines, like the pro-jector, the teacher runs for he visual aids staffer.This kid says, "Hey, you forgOt to throw the switch."I remember "how I used to handle these kids backwhen I was a junior high teacher. "All right, kid,you're so smart. Everybody else is going to do everyother problem. Because you're so smart, you're goingto do them

A statement by Joyce Runyon, Consultant for Pro-grams for the Gifted, State, of Florida Department ofEducation, sounded the same note:

The gifted child represents a threat to some teachers.When this threat is coupled with having the child

taker} out f his regular setting and spending sometime with 0 specially trained feather, the threat iscompounds and requires careful and tactfulhandling. The problem of interpreting the right ofchildren to deviate upward is very difficult

, \ S

In a rapid-fi e and racy style that entranced iiiylis-teners, Leone Oplguin, formerly with the Right toRead PrOgran in Washington and currently a profes-sor at Californ4 State University at Long Bea`C'h, putthe same set of reactions in these terms:,

..;Oh man, this id has 158 IQ. YO4t1 don't look at himlike you do a egular kid. You look at him and youworry. You w ry becau;e you don't know what hesees. You don'', know if he's already gone beyondyou and he's al eady on the level of inferences andimplications an evaluations and you're still operat-ing on basic str ctures. . .so it panics people. So webug these little kids, just because- we Ain't knowwhat it is they'rethinking.

\

Many, doubtlesS all, of the speakers at Spearfishhad themselves Jee'en gifted children, and thisprobably. aceounted for their intense interest in thesubject. In a cert in way, the viewpoints of both

, teachers and stude ts were heard. The latter werenow grown u ,, but heir memories were undimmed,

qh, Man, this kid has 1581Q.Y90 don't look at him. likeYM.i.do a regular kid. You

lookat him and you worry.

ti,

and they had 'Stories \to tell. The passage of years didnot prevent these accounts of school experiencesfrom hiving an edge of resentment. These partict.dargifted people had overcome all' obstacles and theywere now successful, productive human beings, so in

,this sense all their stories had happy endings. But thechild of yesterday remembered harassment, failuresof empathy and understanding, and minds narrotv asa chalk line. According to Harold Taylor:

Ignorance 'and insensitivity are acquired characteris-tics, often acquired in schools and colleges, or athome, and everywhere the are ignorant and power-ful people who will try to c erupt you. I speak of thiswith feeling, since I was ide tified at an early age asgifted and talented, but I peaked at about age 13and since then it's been downhill all the way.

Murry Sidlih, Resident Conductor of the National/

Symphony Orchestra, said:

When I was an elementaryksphool student, my teach-ers complained when I went to music lessons duringthe school day, even though the lessons were part of

c--

V4_

It was always announced, as myclassmates and I prepared toleave for.i strumental music,that . . . %, e were to "be responsibigefor every bing that weinissed."

the total school program. It was always announced,as my classmates and I prepared to leave for instru-mental music, that life in the classroom would con-tinue during our absence, and we were to "be re-sponsible for everything that we missed."

In junior high I remember- having to take manyexams after school which were normally given duringthe time that orchestra rehearsals were held, or hav-ing to miss important rehearsals when a teacher re-fused to give a make-up exam after or beforeschoolthen missing the bus and walking home in 'P

therain.In high school I 'worked to outsmart the system

and for a while I won. You see, physical educationwas scheduled for me during the last class of theday, three days per week, but it also conflicted witha music theory class which I very mych wanted totake. My counselor refused- to change my programfor a number of reasons, the, most Important onebeing laziness. However, I made stye that I waselected "squad leader" of one physical educationclass, which meant that on one of these three days Itook'the attendance for my group and had accesstoall other attendance- materials for the other days. I

was able to erase my absences of the other two days-when I was really attending the music theory class. Ittook them four months to catchup with me.

Had there been a prize for the most pietcinglypainful story, it might have gone to painter FrankMason, who told of his experience in a New YorkCity high school. In art class, he heard about a ity-

> wide art contest and he did a picture for it. ftervainly,watching the newspapers fOr news of win ers,he finally went to the art teacher ("a perfectly nicewoman") and asked, "What happened about th t artcontest?" forgot to tell you," said the tea her,retrieving his picture from a closet, "I didn't sendyour picture in to the contest. They wouldn't havebelieved you did it yourself."

No one concluded from this testimony that each-ers rare the villains in the continuing drama of theneglect of the gifted. They did conclude thatlsome-thing is missing from the professional training ofmany teachers.

David M. Jackson, Executive Director of the Na-tional/State Leadership Training Institute on Giftedand Talented, pointed out that a professional is

assigned full time responsibility for education of the\ gifted in only 15 state departments of education, and

1,

fewer than 12 American universities, offer graduateprograms in this subject: Jackson said:

While individual ficulty members from a few insti-tutions are playing leading roles, . .for the most part,higher education institutions are not active in train-ing teachers for the gifted, nor are they producinggraduate level specialists far leadership positions.The contributions of higher education which are sosignificant in improving the lot of the handicappedand the retarded indicate a potential for similar im-provements of services to the gifted and talented.Perhaps as in the case of many existing universityprograms of special education, federal support forgifted and talented will be required to assist the uni-versities in prOgram development and faculty andstudent support.

Then, maybe, there will be more teachers doing"what good teachers have been doing all along," andschools may become "instittitiOns where the arts andcreative thinking are -encduraged and enhancedrather than thwarted and iejOcted.'?

t 4,6

t

JAZZ: ANOTHER KIND OF KNOWLEDGE

"If anybody is really serious a1)out affective edu-cation, and. that's what.cultu'reis all about'," said NatHentoff,vjazz- authority and author, "it is long pasttime for jazz to be taken seriOusly,by those who tryto determine what .'high cultuie' is, gpeciallY forkids." /

6, Jazz was taken seriously at the Spearfish con-; fecence, a circumstance directly traceable to con-

ference coordinator Edward B. Larsh, Senior ProgramOfficer, US Office of Education, Denyer (RegionV111). Larsh is also a founder and a director of theMonterey Jazz Festiv,al. There was an excellent per-formance on the program with composer and pianistMarian McPartland, accompanied by Ray Ivor'son,bass; and by the impressiYely.versatile. Harold Tayloron the clarinet. Taylor once organized a Dixielandgro p in Toronto ("I carried:my clarinet in a paperba in imitation of Bp( Beiderbecke"), played a runon the Queen Mary in the ship's orchestra, and wroteja z Criticism. He said:

Jazz is an integral part of my life. If you study in-tensely, as I hope. many of you may do, what is hap-pening with the arts in America, you will findthat theimpact, the mood, the spirit, the quality of ,jazi andthe black experience with it, and its relation to theblues and to new forms of dance and to lyrical.theatre and to everything else'including di,. works ofStravinskyyou'll fihd this is a major cultural con-tribution-to the world.

McPartland told of her experiences touring schoolswith the National Endowment for the Arts' Artists inthe Schools program:

I played, in kindergartens, grade schools, highschools. It struck me that students don't know jazz.They know rock, but not jazz. In Washington, D.C.,the schools are 90% black, but they don't knowabout the great.people of jazz. I found some melodybells and taught some elementary kids 9 or 10 yearolds, just averageto play Ellington's "C JamBlues." Later, when Duke came to do a concert inConstitution Hall, 50 of these kids played with him.

A live jazz performance at the conthat the participants, who were spenditheir time in verbal interchange, wereminded of the Noquence and richnessnonverbal communication. It also moration of an American art form.

Murry Sidlin, who had been at oneoral and jazi trumpet player, had atold much about jazz as it embodiOf understanding and insight, andown kihd of schooling:

Just a few weeks ago we gave ancert in Washington. The seconversion of Porgy. We managed tWhen I spoke to him over the ph

-.

erence meantg/so much off rcefully re-f one kind ofant the cele-

ime a commer-anecdote that

s unique modes4s it requires its e4

all-Gershwin con-alf was a concertget Cab Calloway.e before he came,

0

p.1,

12

I said, "Cab, I really think you should plan to breakcharacter after Porgy is over and do 'Minnie theMoocher.' The audience would just adore it, it'ssomething that is well identified with you. Why don'tyou bring down the orchestration for it?" He thoughtat first that he didn't want to do it, but finally heacquiesced.

Sure enough, at the end of the concert theaudience went wild, and then we presehted Cabdoing "Minnie the Moocher." And the audience, asyou can imagine, just really tore the place apartscreaming, wild, shOutingand Calloway, who is abrilliant performer, got all turned on by the audienceand came out and didn't qkiite know what to do be-cause he didn't have any more music. And. he lookedover and saw our pianist sitting at the back of theorchestra. Now when an entertainer such as Callo-way sees a pianist, he automatically assumes certainthings that just aren't true. He shouted, "Piano man,'piano man, 'Hello, Dolly!' in B flat." Our pianist is agreat pianist. He can read anything. And that's it. Hedidn't even understand there's another kind of know-ledge. And Calloway is yelling, "B flat! B fiat! One,two, three, four!" And the pianist plays four B flatsin octaves.. ',

It was the greatest scene I ever saw in my life, amagnificent entertainer like Calloway asking' the Na-tional Symphony Orchestra to fake "Hell/o, Doily!"

O

WHAT'S TO BE DONE?

THE'ARTS IN THE REGULAR CURRICULUM:VISION AND REALITY

To many of those who tame to Spearfish, the arts:and humanities as a "central and invigorating part ofthe regular curilculum" had utopian sound to it,one of those inspiring but remote goals that ever re-cede before one like thQ end of the rainbow. They

,were surprised to lea:rnjhat the arts integrated in theregular curriculum is no longer an abstract, imagi-,nary concept. Real life examples, a sizable numberof them in public schools in several states, are howthere to be seen and studied. This is a recentdevelopment, but one that already has sufficientsubstance and momentum to be regarded as animportant movement in public education.

Nadine J. Meyers, Assdciate Director of theAesthetic Education Program of CEMREL, Inc., toldof the background and current activities of this non-profit organization based in St. Louis.

We have two purposes. One purpose is the' produc-tion of aesthetic education curriculum resources forkindergarten through grade .12, aridthe dissem'inationof these into school systems. The other purpose is re-search and development in related areas of aestheticeducation. We receive funds from the National Insti-tute for Education, and we are, in fact, the largestcurriculum project in the arts currently supported bythe Department of Health, Education and Welfare.

Since 1968, the Program, under the direction ofStanley S. Madeja, has been developing packaged in-structional units for use in.schools at all grade levels,kindergarten through grade 12. They are designed tobe taught by the classroom teacher as well as thearts specialist, and they are in the form of modulesthat may be introduced in a variety of ways. Themateriels, which deal with literature, music, film,theatre, the visual arts, and dance, were worked out

41.

in an elaborate proces of trial, evaluation, and re-'vision inmanit kinds 6f classroom situations. Meyersexplained:

We do not aim at the'training of architects, painters,writers, dancers or filmKi%<ers,. although lsome stu-dents may .4-0,e4le upon careers in the arts. Rather,we hope tolrO'Vide all children with the knowledgeand skills of percept-4h that they will need in orderto .make sensitive and competent judgments in dailylife. You make aesthetiedecisions every day, and sodoes every child in the school.

We hope to provide allchildren with the knowledge and

skills of perception that theywill need in order to make

sensitive and competentjudgments in daily life.

Many of the Aesthetic Education Program's multi-media, multidisciplinary "packages," under the gen-eral title of "The Five Sense Store," are completedand are being marketed by a commercial publisher.These materials are 'in use in school systems in Chi-.cago4kMemphis, Nashville, and Oklahoma City, andstate plans for dissemination and testing are in effectin New York, Kentucky, Wisconsin, Virginia, and ,Pennsylvania. The most. advanced and thorough ofthe state plans is the 5 year Pennsylvania AestheticEducation Program, which evaluates teaching mate-rials and trains teachers in their use,

Aesthetic Education Learning Centers, devoted toteacher training and the demonstration and testing of

13

teaching materials, have been established in Okla-homa City; Oakland, California; ,Normal, Illinois;Memphis, Tennessee; Long Island, New' York; andJefferson County, Colorado.

Larry Schultz, Coordinator of /kit, for the JeffersonCounty, Colorado, School District; explained thitcooperation with the Aesthetic Education Program isonly one aspect of his "Jeffco Arts in Education Pro-gram," an effort to introduce all of the arts into theregular curriculum. The Jeffco program was startedin 1973 with the guidance and support of the Arts inEducation Program of the JDR III Fund, which akingwith the Aesthetic Education Program, is the secondof the two orgahizations most' respcinsible- for thearts in general education movement.

The Arts in Education Program of the JDR III Fund,under the direction of Kathryn Bloom, has since itsinception in 1968 concentrated, in the language ofSpearfish, on change agent skills and strategies,rather than, as in, the Aesthetic Education Program;the development of curriculum materials. In thissense, the two are complementarV and they work to-gether closely. The Arts in Education Program has asits goal "all the arts for all the children," and now,through a series of pilot projects in schools aroundthe country, it has accumulated a body of practicalknowledge about ,hov7 to "make the arts an integral

part of the general education of every child in -the.schools."

These projects, besides the bne in JeffersonCounty, are in University City, Missouri; Mineola,Long Island; and Oklahoma City. Announcements of

e Kest one were distributed at the conference: a%joint venture with the New York City Board of Edu-cation "designed to demonstrate how the arts canbecome a vital part of the daily classroomexperience of the city's 1.1 million.public school stu-dents."

. In the context of Spearfish, the meaning of this[Jew' trend toward the arts:in the regular curriculumvx.as not only that teaching and learning wouldb'ecpme more humanistic, Cut that every single childwould have a chance to knoA't what the arts are allabout. All of those gifted in the arts would have anearly opportunity to begin laying the foundation fora career. Specialists in the arts would be-able to ob-serve an entire school population and then identifyand encourage those, with extraordinary potential.

Profession-al teachers of art and music, the two artforms most commonly. present in schools, havedemorkrated throUghout the years that they arecapable of identifying those with talent and of doingwhat is necessary tp help them' onward. Aestheticeducation would add other specialists in such fields

AL THE ARTS FOR ALL THE CHILDREN

The following' are specific ways that the . artscontribute to education;

1. The arts provide a medium for personal expres-sion, a deep need experienced by children andadults alike. Children's involvement in the artscan be a strong motivating force for improvedcommunication through speaking and writing aswell as through drawing' or singirtg.

2. The.arts focus attention and energy on personalobservation and self-gwareness.'They can makechildren and adults more aware of their environ-'merit Sand help them develop a stronger sense ofthemselves and a greater confidence in their ownabilities. Through increased self- knowledge, chil-dren are glore likely to be able to command andintegrate their mental, physical and emotionalfaculties and cope with the world around them.

3. The arts are a universal human- phenomenon andmeans of communication. Involvement in themboth,as a participant and observer,'can promotesdeeper understanding and acceptance>4 thesimilarities and differences among race relikioand cultural traditions.. ° .

4. Theitrts involve the elements of sound, move-rat, color, mass, energy, space, line, shape andlanguage. These elements, singly or in.combina-

\ tion, are common to the concepts underlyingmany subjects in the curriculum. For example,manyxploring solutions to problems in mathematicsnd science through the arts can increase the

u derstanding of the process and value of both.

5. The arts, as a means for ersonal and creativeinvolvement by children and teachers, are a ti,

source of pleasure and mental stimulation. Learn=ing as a pleasant, rewarding activity is a new,experience 'for many young people Viand can bevery important in encouraging positive attitudestoward schooling.

6. The arts embody and chronicle the Cultural,aesthetic and social developmfent of man.Through the arts, Children can become moreaware of their own cultural herritage in a broadhistorical contekt. Arts institutions, cultural

, drganizations and artists have a vital role to. playin the education of children, both in and out ofschool

anted with permission fromAll the Arts for All the Children \

Jane Rerner, Program AssociateArts in General Education Program of the

New York City Public SchoolsThe JDR 3rd Fund

tl

as theatre, dance, still photography, and filmmaking.But once those of exceptional abilities arediscovered, intensified arts edUcation must be avail-able, and two workshop leaders described existingspecial schools for the gifted in the arts.

"RATHER0SPECIAL NURTURING:.." .

"Students say that the creative atmosphere set up bythe interaction of dance, music, theatre, and art in atotal alas environment'," said DeWitt Zuse, by fatthe most significant difference between learning atthe, Center and learning at the local high school."

Zuse is Director of the Educational Center for theArts in New Haven, Connecticut, "a new regionalpublic school program for high school. students whohave outstanding talent in the arts." The Center isthe result of 5 years of planning with representativesof each school district in the New 'Haven area, theGreater New Haven Arts Council, and consultantsfrom the Connecticut State Departmept of 'Educa-tion. Zuse described the program as a

Department

experience for gifted and talented students inthe arts." The State Department of Ed.ucationi,hasapproved the Center-for full credit:

That is, a student schedules approicimately half of hishigh school learning program at the Center in specialarts instruction and the other half in courses at thelocal high school. Students spend the morning in theregular high school and remain attached' to thatschool administratively. They receive full credit forlearning at both places.

There are 130 tudents trcirn city and suburbanschools who atten the Center daily. They work witha staff of 3 full tr and 10 part time artist teachersincluding a mode n ancer; ballet dancer, theatre di-rector-actor-playwri t, painter, sculptor, designer-photographer, com er-improviser, and solo andensemble musicians. id Zuse:

Other artists are enga ed. to work with studentsthroughout the year. Th y include a music critic, anenvironmental designer, n African dancer, an archi-tect, a filmmaker, a th atre lighting designer, amime, and a Hindu dancer

An individualized plan I worked, out "shaped tothe needs of each student, sing the student's ownview of his needs and the staf 's view."

This is how the Center lists the things that aretaught:

T atre: experience to devel4 an actor's relationalqualPties and skills through improvisation, ensemble ,

work, story theatre and.theatre games; activities andtechniques to develop the Iody, sense awareness!characterization, emotional', memory; group per-

<formance'experiences, activities to develop' skills inmime, technicil theatre,scene analysis, vocal de-velopment; experiences in playwriting and readingcontemporary and classical theatre literature..

Visual Arts: experiences to develop drawing tech-nique and facility to create volume, shape, quality ofline in objects and the human figure; activities to de-velop visual perception; experiences in basic visualqualities unity of expression, texture, rhythm,appropriate finish and use of materials; experiencesto develop new ideas from natural forms for sculp-ture; collaborative designs for constructing total en-

DANCE IN THE SCHOOLS

'of dance as an integral part of all public school edu-cation at the elementary and secondary level.

To achieve such a far-reaching purpose, it is neces-sary that dance companies, dance movementspecialists, school administrators, teachers, childrenand parents work Closely together in bOthunderstanding and achieving the goal. It alsorequires that the schools which begin programs con-tinue with the work started by professional dancersand Movement specialists. These goals cam only beaccomplished according to the degree of commit-ment to change that the school has and its desires toincorporate dance as both a rmeans for change as

Dance, desVite its great relevance to children abdeducation, has not always been in the schools. It still'does not exist in many public schools throughout thecountry. In some schools, the dance program islimited to folk and social dancing.

In others it is included as a modern dance club, amovement program within the physical educationdepartment, or as creative movement iri the musicprogram. It is not an established area of study suchas language arts, social studies, sciences, mathema-tics, nor evert as its sister artsart and music. It is inthis sense a stepchild; not important enough forequal status with "real" children.

It is an assumption of this handbook and of theprogram it describes that dance is fundamental tothe education of all children; both as a subject ofstudy, as a skill development, as .a tool for. themotivation and ability to learn in allother ,subjectareas. Thehandbook is directed toward the triclusion

15

well as a recognized art form in itself.

Reprinted with permission fromDance in the Schools: A New Movement

in EducationGene C. Wenner, Program AssociateArts io Education ProgramThe 113R 3rd Fund-

1

O

vironments and rearrangirig the natural erivironment;special sessions in,video, Super 8 mm film, and stillphotography.

Daryee: technique instruction for body development,in ballet and modern; performance skills through im-provisation; activities to develop the body to expressideas in creative ways; ,individual' and group per-,formance experiences, activities in movementanalysis and notation;ospecial sessions in other dance -styles that include African, European Folk, andHindu.

Music: ensemble experiences which involve repre.sentations of classical, contemporary, jazz,rqck,and, original student compositions; improvisation-ex-periences with mixed instrunients; performance clAs-ses which. present common performance probleihs,e.g4 stage presence, preparation; practices in histori-cal periods; experiences for music skills developmentin writing, listening, analysis and composition.

.

The Pennsylvania Governor's School for the Arts at-Bucknell University in, Lewisburg is a larger operationthan the New Haven Center, having 250 students thisyear, including 15 who are handicapped gifted.

Arthur Gatty, the director of the Governor'sSchool, said that the idea for the School, now in itsthird year, originated with the DiVision of Fine Artsof the Pennsylvania Department of Education'sBureau of Curriculum. Service. The initial screening isdone through the state's 29 interrnediate units,localcoordinators set up screening committees to eval-uate, the applications and forward the best,id eachart area to the state level. Six audition centers havebeen established in the state's colleges and universi-ties. Audition comMittees are made up.of the Gover-nor's School faculty members and'representatives ofthe Divi-sion of Fine Arts. Inter6ted students are in-vited to submit portfolios, audio and videotapes, and

. a narrative statement describing their activities and,interests in the arts. Ea'ch student also responds 'tothe Alpha Biographical Inventory. Each intermediateunit sainsors the .successful students from its areawith a $1,000 scholarship that covers all expenses ex-cept transportation to the university.

The Governor's School runs for 5 weeks in July andAugust. During the mornings students work in theirmajor interest area: art, music, dance, theatre, andphotography. In the afternoOns.they are "required tobe in class, any class, so long as it is:nqt their major.We want them to knowabout the other arts.

Thtre was some concern in the beginning that the_program might turn out "arts snobs." Each student,therefore, is required fo attend leadership workshopsdesigned to produce "artistic activists." Before theyleave the program, each student writes a proposalfor something he wants to do in his home commun-ity. "This is our main selling'point," said Catty. Gattycited a long list of student projects, which included:

16

1

Helping to plan, 'develop, and promote commu-nity arts centers.

Tea'Aing photography, video, and creative move-ment techniques to Other handicapped children.

Teachingseed making and instrument repair. classes

'Performing fotAnior citizens.

Building ancrhianaging a kiln.,,

Teaching movement classes to physically disabledclasses.lasses. 0,

Toucing, lecturing, and giving-demonstrations inelementary schools.

THE COMPLEAT ADVOCATE

The :-.emphasis at the Conference on "advocacy,""change agent skills," and "raising awareness levels"was indicative of the general strategy that has beenadopted 43/ those working toward better educationfor the gifted. .Several workshops were devoted tothe ,sharing of ,practical experience, to advice forthosemho want to know what to do.

"Tne present burden of education for the giftednd4talented was described by one advocate as fall-

ing bn parents," Said the Commissioner's Report.Joyce Runyon, Florida Consultant to the Gifted, ad-vises parents tq.;

Find Out about' the larger picture, the problems ofeducation for the-gifted.

Share an interest in reading. Discuss the books thechild is reading.

Encourage originality. Encourage questions.

Help the child to find answers, resources.

Stimulate an interest in problem solving, withoutfear of making mistakes. One may always tryagain.

Foster good work habits, the completing of unitsof work.

Set aside time for the family to talk together.

Do not apply steady pressure. Allow the child free ,

time for reflection,

Take trips together to museums an,d to govern-ment and community agencies.

Stop to smell the flowers along the way.

"Sometimes small, simple kinds of assistance canbe greatly helpful to a child," said Runyon. "We hada case of a 4 year old girl who wanted a library card.

y.

I et

i.

"<:COMMIAITY ARTS PROGRAMS AND EDUCATIONALMrcCTIVENESS IN THE SCHOOLS

. ,I HIGHEST LEVEL OF EDUCATIONAL EFFECTIVENESS:

A. The form, content and structure of the programgrow out of a cooperative effnrt by school person-nel (teachers,,,curriculum specialists, aclininistra'tors), artists and arts organization. representatives,and are related to and supportive of the content ofteaching and learning in the schools.

B. Programs are planned as an onvoing series 0related educational events.

C. The program includes the participation of artistswho serve as resources to. teachers and students in a ,

variety of direct teaching and learning ,activities.These include creative experiences dr demonstra-tions Of the techniques, and talentsindigenous to their particular profession.

D. preparatory and . follow -up curriculum materialsplanned specifically for the program are providedto schools. These materials result from work

frith/ by school representatives, artists anda organization educational staff. Related visualand written materials and resources such as slides,recordings, tapes, films, reproductions andteacher's guides are available in dieschools andused'by teachers in classrooms.

E. In-service training is available to teachers in Orders, ':that[ the0ave a general understanding of the arts

9rgatii .7.06,'n, its purposes, its resources and the na-ture of its services in terms of curriculum develop-ment,

F. Orientation and training are available to artists andarts organization educators so they have an under-standing of the nature of the schools, the contentof the educational program, and the learningcharacteristics of students at different age levels,

G. As a resultnf the foregoing, the arts event becomespart of the process of teaching and learning, not justa "field trip", time off from school work or anotherasset-ill:fly program.

II. MIDDLE LEVEL OF EDUCATIONAL EFFECTIVENESS:

A. The content of the program is plinned by artsorganization educators with some help from schoolpersonnel, but' is not focussed on the content ofschool studies.

B.'Progrtms are isolated and sporadic events.

You had to write your name on the application to getone, and this girl couldn't do it. So we taught her towrite her nine. She can't write anything else, b,ut Shecan read."

James Doolittle, a member of the South DakotaGifted and Talented State Team, urged", pepple work-ing 'di the local level to:

'Push for it service teacher training.

C. Contact with artists is limited.

D. Some preparatory materials are provided to theschOols for the artsevents. Few 'related materialsareavailalfele in the schools..

E. No in-service training, is ,available to teachers.Often they have no more Information about thearts event or organization than tbe*Childrert theyaccompany.

No training is ivailable to artists or\arts or6niza-.

tion educatiarsThsy disum0 an automatic interestor curiosity on the part of teachers and children.Capability to work with different age groups islearned on the job by trial and error. .

G. The arts event is of some value to childr.en andteachers, but remains separate from the largenedu-cational progfarn of the schoOls.

Ills ./.0V1i LEVEL OF EDUCATIONAL EF CTIVENESS:

. F.

17

.A.-The content of the program is accidentally deter-mined by the fact that the art organization has aspecial event it feels has sornesignificance for theschools and the schools decjde to 4ncl'all fifth ,

grade classes and their teachers,to'it.

B. Programs are single, isolated, unrelated events oractivities.

C. Artists are not involved as 'resources to teachersand students in the program,

D. No preparatory or follow-bp materials- areavailable.

E. No in-service training is available for teachel.s.

F. Arts organization repisasentatives do not work withteachers and students since their ' .regular,responsibilities make very heavy demands on their

'time, or the schools have not made appointmehtsfor their classes in advance.

G. Educationally, the arts event is of clubibusvalue tostudents and teachers.

Reprinted with permission fromArts Organizations and their Services to SChools:

Patrons' or Partners. Kathryn Bloom, Director

Arts in Education ProgramThe JIM 3rdTund

Watch for state legislation and give grassrootssupport.

Form an ad hoc .committee on the gifted andtalented, which can watch for legislation and ap-proach school boards.

Back administrative decisions on progriam and cur-riculum which benefit the gifted, such as flexiblescheduling and.honors courses.

ti

W rkforarsarrgern nts that get individual adultsfry a community .t work With individual giftedstudents.

"Consider this," said Bruce Milne, "we are talkingabout 3% or 4% of the students. If you have a stu-dent bcidy of a thousand, yOu are talking about aspecial program for 30 or 40 kids. If you have 250,.that's 10 kids."

Milne listed some, things a school can do' en ini-tiating a gi fted program:

nlist parents, community volunteers. Set up alaculty-mentor team."Inititute team teaching. A

Give them space, even if it has to be a broomcloset. Get materials and equipment. Paint thedoor with stripes. The student going through'theStriped door knows that he is making a commit-

.ment.

Get a share of the transportation fund for a fieldtrip to a museum.

dive them released-time.

Institute advanced placement courses, including`art and music

Esiablish credit alternatives and give them achalcce to experience something other then- tbe-traditional route.

zProtect "students' freedom and indiViduality.

Then get out of the way and let them .move!.

'Diane Porter, Consultant for Gifted and Talentedin the st.ari; of Nebraska; pointed out

The problems of gifted and talented programs vary in'every state. My state,. Nebraska, for instance, isvery large, sparsely. populated, and with 85% of theschool population' in 10% of the schools. The 'large-cities are clustered in the eastern part of, the state;the rurarweste.rn part of the state is very hard toserve. Nebraska develops special programs for thegifted and talented for use on educational television,.arr important resource for rural areas.

. Last year we had a program in Lincoln.. paired theyear of the Arts; 'which was designed to, bring in a

. number of artists for various ainounts'Of time duringthe,School year. It was not only for school- 'age.chil-dren, but,the whole community became involved. The'artists talked to the Rotary Club, the Business andProfessional Women's Club, the PTA'sany groupsthey could speak to. They really,got involved in thewhole community scene. They were not there as pey.forming artists or to .show their works, but rather todo workshops '.with kids. the artists came from allover.the counttY. We tried to draw on local artists aswell so that there could be a followup: This yeaqs),..,.called The Year of the Arts Plus One. We can't bffnein people from .New York on Plus One funding, so wehave to g6 with our localartists,who were excellent

18

people. From that ,standpoint it was a marvelousthing.

Videotapes of artists in workshop situations weresent around the state when the artist himself couldnot get there. ,They did lots of things witheducational television. The schools made an agree-ment with 411 of the

theythat they would create a

work of art' which they would leave behind to betaken care of by that tommunity. There were pro-jects that kids worked on with the artists. Muralswere done inc13 of our elementary schools and allthe kids workon them. Every kid in the whole.,school had some kind of involvement.

Jane Case Williams, Deputy ,Director of the USOffice of Education, Office of the Gifted andTalented, told of recent accomplishments at the na-tional level. The establishment of the Office of theGifted and Talented in. 1972 provided for the firsttime an advocacy office within the US Office of Edu-cation specifically designed to work Mr the interestsof the gifted. As she told ,the conference:

The strategy that we have employed is to work with. state department's of education because states are

responsible for free pyblic education. One of thetenets we:-hold is that gifted and talented childrenhave every right to, receive a free and appropriatepublic education. Among, the Commissioner's origi-nal commitments to education for the gifted was dileto designate the half-time services of a specialist ineach of the 10 regional HEW offices to work onproblems of the gifted and talented'

The National Institute, for Education has estab-lished an ERJC Clearinghouse on Handicapped andGifted Children; which provides computerized infor-mation, public4ations, and bibliographies. David M.Jackson, Associate Director of the Clearinghouse,heads the gifted section, and he is also'ExecutiveDirector of the National/State Leadership TrainingInstitute on Gifted and -Talented, usually referred toas the LTI. T.he LTI, also sponsored by the US Officeof Education. conducts national, regional, state, andlocal workshops and conferences, and it has estab-lished a resource bank of nationally -known consul-tants. Office of Education support has also madepossible a recent, book entitled Career Education forGifted and Talented Students edited by Kenneth B.Hoyt rand lean R. Hebeler (Olympus PublishingCompany, 1974). -

The meaning of advocacy ultimately comes downto individual human beings, their tragedies andtriumphs, and the future of our Culture. Those whodeparted from Spearfish were unlikely ever to forgetthe needs of the gifted in the arts. Harold Taylorsaid: -

We are further along the road toward the arts forevery American than we thought. . . If the arts arefor everyone, let us build an educational and socialsystem in which everyone is for the arts.

0

1HE TRANSFORMATIONOF THE SCHOOLS

Harold Taylor

SPIRIT OF THE CONFERENCE

Once in a while there comes a moment in.your lifeand in the life of, the culture you live in when every-thing comes together, when you feel a certain .joy inknowing that everything is in place and you belong inthat place; you arewhere you want to be: That timeseems to me to have come to Spearfish, SouthDakota, this week. From everywhere in the countrywe have arrived to set up a temporary community,

.t4c1under t e open skies, a community of people whodon' ve to explain themselves to each other, sincewe all came together in a common ,purpose, to findour own definition of America and its culture and toenjoy the culture we are helping to create. o

Artists, filmmakers, musicians, actors: dancers,and every kind of teacher and educator have foundways of talking about what they are doine byactually doing. it.' We heard the voices of youngAmericans singing the music of their country, and weheard Robert Shaw in his eloquence and power speakof the truths of the artist. We have engaged in thearts and have talked about them, while over ourshoulders are the figures of the American past, theones who, knew that art exists to convey the thingsthat otherwise would never, be knownEmerson,who wanted the scholars to be enriched by the fullexperience: of life; Whitman, who wanted the

language of plkin people to be recognized as amedium for poetry; Mark Twain, who announcedthat he was the son,,of poor but dishonest parents;George Kaufman, who spoke of a play which he sawas having been seen at a disadvantage, the curtainwas bp; Jefferson, who wanted free education for all,so that everyone could become part of a new worldand a new society.,,'

In a talk about the heritage of American dance,Agnes de Mille spoke of Emily Dickinson, who wroteat the death of her father,

Presentation.

a

lay this !aura on the oneToo intripsic for renown.

Miss de Mille went on to say that the intrinsic, auth-entic American was too busy being himself to be re-nowned or to seek fame, he had

various faces, and many names, but we all knowhim: humorous, salty, bold, original, independentcertainly, at times even persnickety and stubborn,common-sensical. He used to be incorruptible; he isthat no longer, but he can remember how he was,and he can still hope to recover his virtue.

There still is an inttinsic American, and we are stillseeking to be him and trying to discoier what he is.We can tell ourselves who we are by the use ofcharts and sociological surveys, but the truths of thearts have the final saywhich brings me to the sub-ject of this conference. .

You will notice that we have a comprehensive, allpurpose title, '.'Arts and Humanities: Gifted andTalented," one which immediately brings ,to mind,particularly the "Gifted and Talented" half, the un-gifted, the slow learners, the innocent, and all thosewho are not equal to any occasion. I pause to com-ment on the arts and the humanities.

ARTS AND HUMANITIES

We are informed that ths e arts and the humanities aretwo separate things, not only by the title of this con-ference, but also by the fact that there are twoseparate organizations in the American governmentto deal with the whole matter, and to.support.thework of those involved in one or the other. BuVittiatdoes not mean that the arts and the humanitiesshould be considered separately. When you separatethem you may be making a terrible mistake aboutwhat art is. You may bore yourself to death by taking

19 //

p.

the arts out of the humanities and then putting thehumanities into a curriculum, because it is easier topit things into a curriculum, than to deal with theirreality.

The arts are what you do to express yourself andenjoy yourself. The humanities are what you talkabout and think about after you have stopped en-joying yourself and someone asks you a questionabout why you are so happy or unhappy. You thenmust explain it. The humanities are located in aplace inhabited by professors- j.nofessors of art his-tory, philosophy, literary criticism, comparative re-ligionwhose ;profession it is to cone along afterthe creative artists and the activists in cultural his-tory have done their work and explain what theartists were all doing and how good or bad it was,what period they did it in, and how to talk aboutthem in front of company.

The professors are especially gifted in identifyingthe great works of art in all fields, the hundredthoughts most worthy of thinking, the hundred booksmost worthy of reading, the 35 peak experiences youshould have if you are going to qualify as a person ofsensibility, Too often the professor &of the humanitiescannot leave the idea or the work of art alone, can-not let it speak for itself or let the artist tell his ownstory in his own way. Too often the professor betraysan obsession for explpnation and a mania forclassifying and infohning the world about how the.whole thing was donenot always, but too often forthe good of the arts.

Having said that, I go on to say that what we callthe humanities do compose themselves into a con-gregate of issues, concepts, ideas, and values. Theyform a body of knowledge, unavailable in otherfields, which has the advantage of critical interpreta-tion of what is thought and said and done. That bodyof knowledge does give us -the opportunity toanalyze the experiences, feelings, and values thatmake up the content of the work of posts, painters, .;dancers, philosophers, and others and to enlarge thedimension of the intellectual and.aesthetic aware-ness one brings to the ctudy and enjoyment ofhuman life. The true humanist in scholarship is a per-son who is sympathetic to the realities of life andskilled in expression of their meaning.

GIFTED AND TALENTED

One word more about the second part of our title,"The Gifted and Talented.- Naturally, we must thenask the question, gifted in what way and talentedhow? I start with the usual proposition that, in thebeginning of his life, everyone is gifted and talentedin one way or another and tliat it is the task of edu-

20

cators to do everything in their power to cherish thegifts and talents, to search them out, and to developthem in one person at a time. Ignorance and insensi-

6vity are acquired characteristics, often acquired inschools and colleges, or at home, and everywherethere are ignorant and powerful people ivho will tryto,corrupt you. I speak of this with feeling, since I

was identified at an early age as gifted and talented,but I peaked at about age 13 and since then it's beendownhill all the way.

I am therefore interested more in the considera-tion of how it is possible to help people to developtheir own gifts than in creating special places forthose who are already aware of their gifts and know"what to do with themselves and how to move alongto the next stage. It is a matter of dealing with the in-dividual and coming to terms with what is uniqueabout him and what he is ready to do next, If he islimited, let us try tb take him beyond those limits.We have to think about extending all limits. What-ever it is that the individual has of special insight,high intelligence, serious talent above the Usualnorms, let us help him to go as fast and as far 'as hisqualities will take him.

Searching for Latent Talent

But in doing so, let us redefine the nature of the giftsand talents possessed by the human race. Let us lookin new directions for the discovery of the latenttalent, remembering that at least 90% of all-talentswithin individuals are successfully hidden by circum-stances ranging from a lack of self confidence to anabsence of opportunities. When, for example, welook at the extraordinary variety of talent that Res,within the American black community, we can seethat it is only in the recent past that the rest of theculture has come to recognize the quality of the con-tribution black. America has already made and iscapable of making. .1 need only mention Alvin Ailey,Duke Ellington, and Martin Luther King to show w atI mean. Or I could mention Lorraine Hansbur ,whose Raisin in the Sun has been, transformed intolyric theatre on Broadway. The music, dancing, andacting, which is natural to the black culture, adds adimension of truth and extends the range of the playinto a new form of expression only possible throughthe work of those immersed in the culture itself.What we have is the uncovering of talent that was al-ready there and of which white America has onlylately become aware.

We have looked for other kinds of talent and havedefined our search by the use of spurious measure-ments in IQ tests, grade point averages, readingscores, and true-false quizzes. What we must do in-stead is to consider sympathetically each child who

comes before us and ask ourselves, What is the na-ture of the gifts he brings? What is his past.experience, his,present ability, his cultural condition,and what-does he need" from us that can help him

. Move forward? When that philosophy is applied, webegin to rediscover the American Indian and hisneeds. The Chicano community has insisted that werediscover it, Women are now insisting that they beredivovereclin collective. as well as individualterms. We must shift from the habit of fitting theindividual to a standardized curriculum 'that is anti-art to one in which the arts are central and the in-dividual is taken seriously.

"Primitive" Art and "Higher" Art

Until lately, lorexarriple, we made a sharp distinc:tibn between primitive art and higher forms to befound in what we called civilization, that beingsomething to be found in the developed countries ofthe West. Then Malraux and others put their blessing

'on the African and Asian artists and told us about thecave paintings and African music. We° discoveredthat what was called primitive was sophisticated,th`at what we called civilization' was often a form ofbarbarism, and that to be civilized meant to be inpossession of techniques of destruaion and politicalrepression on a scale unknown in what were called.primitive societies.

THE "LIFE FORCE"

Enoygh then of wrestling with the title. I would now',like to talk about the subject. My theme is stated byMartha Graham, who said the following:

There is a vitality, a life force, anenergy,'a quicken-e lag which is translated thi'Ough you into action, and

because there is only one of you in all time, this ex-pression is unique. And if you block it, it will never'exist through any other medium, andabe lost. Theworld will not have it. .

I would like to o beyond all systems of educationand all talk eform and what needs to be done andmove to artha Graham's central point. There isinfact, an energy flowing through us, and through the'world, and it is within ',each of us to do somethingwith that energy. You can feel it, I can feel it, wehave felt it here over these past few days. It is thesame energy that splits atoms, grows flowers, sendsthe satellites spinning through space, and raises thelevel- of consciousness in humans to the point atwhich We can look within ourselves and outward tothe world with an understanding of what it means tobe'hurnan and, to an extraordinary extent, we can

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now knoW something about the universe, its age,habits, and customs.

We know that at some point, most likely 10 billionyears ago, ecurious combination of chemical-physi-cal events working in a fairly obscure way made itpossible for something we now refer to as life. Itappeared MTh, universe which we now know about, auniverse with no beginning, a universe that hippenedto produce the conditions under which physical andcherrlical events were redeemed from sterility andorganic matter appeared in a .form which made its

°own rules for its own development and which we areonly now beginning dimly to understand.

It is important to remember that from that oddbeginning, with the appearance of organic groWth,that the growipg part of the universe is an intricatemass, including plants, earth, insects, animals, andhumans,-all together in a miraculous system in whichapes, and rats and tigers and hvasters and alligatorsand humans each have a part. The appearance...ofsome form of consciousness is again quite recent, 3to 4 million years ago is the current estimate. Againit is important to remember that without thatfortuitous fact of consciousness, no one, animal orinsect, plant or cell, would know anything, aboutitself or about anything else. .

CONSCIOUSNESS OF Skt.F AND EXPRESSION

When we talk about human self consciousness wecome to spoken and written language, the languageof signs, of body expression, of responses tosituations 'and, to the envirgnment. Consciousness oftlie self has many other ways of expressing itself thanthe literary route taken by Marcel Proust or Plato.Their way is very recent, perhaps 6 thousand years inthe making, when some form of record, usually inworks of art and symbols of feelings, places, andobjects, was first created. We find in the beauty offound objects the archaeologists have been"' kindenough to give us, a way of learning that human lifeis located and known by the modes of consciousnessin which it expresses itself. The language ofexpression takes every conceivable form, from ashrug of the shoulder to a dance opera to the secondlaw of thermodynamics. Again, it is all very recent.

But in the Western world we have somehow foundWays of avoiding the fact kof that recency and themeaning of human expres'ion. We hav4 been be-witched by the 'value of abstractions, the power ofthe mathematical formula applied to the secrets ofthe universe. We become more certain of truth as,webecome more abstract, until, in the United States, wehave developed a special vocabulary for coveringover reality. Statements reputed to be truthful in ex-

plaining the reality of American political action havebecome what is called "inoperative" overnight. The

' simple truths that men of honor and good. will ex-change honestly between theme/Ives have beentraded in for abstractions and rhetoric that disguisetruth and destroy the integrity of communication.

THE PRIMARY TRUTHS IN ART

But the primary truths that cut through all the rhe-toric have always been communicated in simpleways through the arts. Solzhenitsyn and Pasternaksay more about life in the Soviet Union than thespeeches/of the Politburo, Picasso tells more aboutmodern.man than the treatises of academic psycholo-gists, Ellington says more about the glory and troubleof the black people than even Gunnar Myrdahl. Butinstead of accepting that fact, we run to the ab-straction of courses in social science where human.nature is concealed in studies run through compu-ters. We prove that schools and teachers can'tchange human nature or society and that educationhas no effect on the lives of those who undergo it.

When Plato, dismissed the poets and creativeartists from his Republic on the 'grounds that theytold lies, made up stories and metaphors that be-trayed the truth known to politicians and theguardians of society, he did more than writing a phil-osophy for the,elite. He denied the validity of the ex-perience of art a-nclthe truth that lies in the deeperrecesses of the hur air spirit, the things that are realbut unprovable, since they are subject to a differentmanner of judgment. In proclaiming the supremacyof reason, Plato was proclaiming the right of those inpower to impose their own truth on all the rest, in-cluding the artists who knew their own truth.

The historrof western civilization is in some partthe history of those who held power, made, wars,confirmed their own .convictions, withheld from- thepeople the rife-giving power of freshly discoveredtruth, and enforced these beliefs (if you don't be-lievewhat the authorities say, you can go to jail or toyour \death). The humanities, as regularly conceivedin the minds of academics, teach the history of intel-lectual repression, and through the invention of the'standard curriculum have informed the world thatwestern civilization with its technological successesand its 'postindukrial man represents the triumph ofthe human spirit over the forces of ignorance and thestupidity of the masses. As Bertrand Russell put it, inhis own imperial way, "The common man. is .muchless foolish than he would be if he thought for him-self."

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THE TRUTH OF THE SCIENTIST

Having said al/I that, allow me to say somethingabout science and the masses. The true scientist ishimself an artist. That is to say, he follows a pathtoward a- kind of truth that in its ultimate form, aform unavailable to those without the knowledge ofhis symbols, i/ a poetic expression of what is known,except that his language is different and difficult. Ashe investigates the nature of the gene or the cell orthe atom, he leaves the area of ordinary discourseand travels to a way of expression that only otherscientists can understand.. Yet the truth of the scientist and the truth of theartist are one. The fact that we do not often recog-nize this in the course of our npnscience lives ispartly because there are few scientists who have thegift of expressing themselves in ways which can on-'vey the ultimate meaning of what they havecovered. Then we suddenly come across AlfreNorth Whitehead or Rene Dubos and we realize thathey are one of us, that they know things at the samintensity of meaning as the poets an composers, tconductors, the sculptors,ways of discovery emselves metaphors °for ex-plaining the nature of scientific truth.

They share with the artists the same ethical con-cern for reaching the truth, and the ethics of the truescientist lie in the severity of his insistence on meet-ing the standards of proof and the openness ofthought that are the mark of the emancipated humanbeing. The discipline of the scientist has its counter-part in the discipline of the artist, for whom disci-pline is a natural mode of existence to which he iswilling to submit in order to achieve the same rangeof truth-discovery as that of the scientist. There istherefore no quarrel' between scieWce and thehumanities, technology and poetry, art and themasses.

THE "MASSES"

We have been mistaken about all these abstractions.The "masses," for example, are an invention of thepolitical philosophers, ceconomists, and sociologists.The "masses" do not even exist by themselves, theydo At know they are masses, if you asked one ofthem who he was and what he was, he would say,"I'm a carpenter, a farmer, a village, a worker, amusician." If he were in Bali, he might say, "I'm afarmer and dancer. I'm me and this is my name, I amthe son of my father, the sister of my brother, themother of my children." You have to know theirlanguage and their life to know them, you have toknow theft problems and their circumstances, and

then they are magically transformed into real people,each with a character of his own.

Literacy 4,

Then you know that the masses consist o a largenumber of individual persons, most of wh m havenot had the opportunities of education in lit racy, orthe achievement of a high degree of ware-ness of their own selves and circumstance ..Theirlack of literacy simply means that they have notlearned the techniques of expressing their thoughtsand ideas in written, language, or of understanding

---,other thoughts and information provided by otherpeople through something which can be, read on apiece of paper. That is literally e only difference.In some ways not being litera is a dreadful dis-advantage, in other ways it is a great source of satis-faction.

I am reminded of a story told by Ahmed Bolchari,-.the distinguished Pakistani who was assistant to DagHammarskjold at the United, Nations, about a youngboy in this country who refused to learn thealphabet even though he was a bright young childloved by everyone. They all worked on him, triedeverything, until one day they got him to talk aboutit. His reply was, "If I learn the alphabet, then youwill want me to learn words, and after thatsentences, and then you will want me to read yourbooks, and to that there is no end: I stop before allthat gets started."

Even with literacy, how are you going to explainthe dangers of the world population crisis to a ruralAsian who depends for his livelihood and his survivalon the support system of a family of 10 to grow hisrice and live his life? How do you explain that the

fiabits of centuries, which create a, village life satis-factory to those who live it must now be broken off,and a nuclear family of V3 be substituted for a per-fectly agreeable and economically viable collectionof persons related to each other by blood and a com-plex kinship? You can teach the villager to read, inhis own language or in another more universal, buthe will not take your truth in the words he reads if itcontradicts his own lived-through experience of whatit takes to make a life for himself and his relatives.You can teach him to respect science and wearglasses and a hearing aid, listen to the radio,gwatchtelevision and the movies; but he will undertakethose activities with his own personal truth withinhimself, and he will be damned if he will give it up.That is, until we bring him education. But even thento the rural Asian or the child lying in the streets ofCalcutta, how are you going to explain about sex andthe population explosion?

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Bringing Education to the Masse

In the United States, we have (brought education tothe 'masses, and from whaPthe commentators aresaying in the 1970's, it has, done them more harmthan good. We now have soiluads of Harvard profes-sors who have worked it out through statisticalcharts and have, according to' their spokesman Chris-topher Jencks, proven exclusively and laboriouslythat in order to have a school do anything for you,you should have the right genes, the right well-to-dofamily, the right kind of intelligence s measured byother statistics, and have lots of luck therwise.getlost.

There are others, some of them in government,who have been working on the problem of how to,cut Vack the human services formerly advocated bythe government, and the people. These experts forthe govern,,Tent can prove., by the reading scores,inthe first and second, grade that Head Start and all

° forms of preschool humane education are useless,because the -heading scores haven't improved. Theycan prove that there is no point in organizing com-munity action- programs for human rights, or usingbuses the way rich people do, to bring white andblack children together.

Added to this, the conservatives are picking up thevocabulary of the radicals and saying right out thatschools are joyless prisons where children are incar-cerated. We now have Carnegie Commission reportsarguing that,in the measurement of education, thetotal experience of a life is to be taken into accountrather than solely the formal academic studies. Thefirst thing we know, the conservatives will come rightover to our side and accept the idea that the practiceof the creative arts is as fundamental to alleducation as breathing is to living. The metaphor isaccurate. For the human spirit to remain talive andwell, it must be nourished by the intuitions andexperiences of the world of the arts, or it will witheraway.

ENDING THE CHEERLESSNESS OF SCHOOLS

The question of What to do withthek educational sys-tem thus becomes a practical one. How can the sys-tem be transformed fr m its cheerlesSness and its in-hibiting effect on the lives of the young and theirteachers? If we listen t the de-schoolers on the onehand the conservative critic's on the other; we eitherclose down the schools and turn the children intothe streets where they can make their convivial com-munities by themselves or we turn them into militarycamps with IQ tests every Monday and reading testson thursdays. The trouble with so much of the edu-

Scationalt:rriting and research in the 1970's, is that,once more, it is in !the grip of ieg Own abstractionsand kee r*. dealing in national norms instead of withparticular programs for particular students in a parti,cular piace

On the question of cheerlessness, the answer issimple. Bring in some cheer and joy. And how is thatdone? By making education into an art and bringingthe arts into edutatiop.

For this there must,be time, and there must be adeeper philosophy of education than-the one now invogue which depends so heavily on tests andmeasurements as if the IQ/were a sign of human vir-tue, and grade point averages measured anything butthe -folly of the marking system. When ;you meetsomeone 'attractive, interesting, joyful; well in-formed, and intellecually alert, the first questiOnyou ask is unlikely to be, vy hat was your grade pointaverageand what is your grade in joy?

JOY IN ART

Joy is the outcome of experiences which are 'joyful,and these experiences are not Merely to be pursuedin actions outside of school, college, and the class:.rqom as a form of sloppy hedonism. The higherforms of fulfillment for'the young and everyone egecone from the satisfaction to be g ined through theaccomplishment of a task freely undertaken' andgladly carried out. There is no conf 'ct between thediscipline of learning anti the freedo to enjoy. Infact, some of the deepest satisfactions or the young,learner, in the arts, the sciences, and th humanitiescome from undergoing the necessar disciplinedemanded by the PM of learning. The clad ettist whoblows long notes and transposes keys for th ee hoursa day is listening to himself produce sounds\ whosequality he learns to recognize. He has an image ofsound, of the way the masters of the insil ument\per-form, and he gladly undergoes the discipline in orderto reach that sound himself.

The dancer, the actor, the Paintei the writer, thecomposer spends hour after hour in the activity ofthe art itself, because he is committed to reaching anexpression through his body and his mind which cangive meaning to the ideas he wishes to express. It is atruth of all education that once the learner exper-iences the kind of satisfactiOn which can only comefrom full involvement in the learning and the makingof something of his own, he is ready for the nextstage in learning, whatever the subject may be

BREAKTHROUGHS OF THE -1960bs

I suggest that we look at the lessons of the 1960's° and the breakthroughs which' have actually been

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made in the development of anew educational phil-osophy. whose roots are in the idea of commitmentand in the progressive tradition of art, .social action,and cultural change. One,Of the reasons there was so .much energy in the student movement of the 1960'sin fields ranging from civil rights to the peace move-ment and educational reform was that :the studentswere grappling with real-problems th4 found in theirlives as young AmericanS'. They brought the reality ofthose problems into the high schools and colleges,and through the assertion oPtheir own forTs of so-da,/ and educational action, learned what it meant tolearn by doing. $

The Berkeley students in the free speech.movement of 1964 were not merely protesting the in-fringement of civil rights imposgd,by political andeducational authorities, they were piactising. a newform of education in which they were willing to com-mit themselves to the creation of new formsof Poll-tical action in the service of all students and allAmericans. As one of their _major spokesmen;Michael Rossman, says of those days, , :1

Through our work we were cleveloping a -body cif,thought and skills to apply,41 the reconstruction of'education but a body whose nature was changifigwith each season. For,. all the more so for beingyoung; we were subject to a key law of social trans-formation: whoever works with others to create acontext'of change is himself transformed by thatprocess,

Or, to put it "differently; in the lines of :RosStnan'spoem, Poem for a Victory kally in a Berkeley Park,

it i5 noon hi your stu4 of longing.,You art sittingwith some other fragmen'ts of our -heart .

on grass beaten brown bythe ignorant armies,while the sun presides at an endless,teach-indesigned to put it allstOgether.We'have inventedthe instant university, it exists whereverwe choose to park. With this staff, the symbolof power and flower, I become Department Chairman.Would you learn Agronomy Observe the plantteaching ignorant hands tO..help tliem grow.Some Political Science? Tote the web of controlmade visible by our resistances/ examine positionsspeaking like men, deterininelhe self-interest behindeach lie, and its root in the f91r of the Other.Your proper school is the crucible.street; in whose armscould you learn so dearly the nature of what isand of what might be, or test your subitanceof anger and joy?

The northern students who went south in the early1960's to help theirblack brothers and sisters byorganizing freedom .schools, voter registration, and Pliteracy profects were discovering a kind of learningwhich 'seldom happened in their classrooms at homer,They,taught the young and people of all ages to readand4Write and to recognize their situation as viotirns

P

of .,a racialtsystem which denied them the privilegesof democracy. Students who formed their own free.universities and freedom schools were discoveringways of teaching and ways of learning in which thearts and crafts and political science and any othersubject which lent substance to their concerns wereproper and legitimate areas *of educationalexperience.

A great deal was accomplished, new ideas in edu-cation were circulating in a counterculture thatdeveloped its own guides to learning and its own artforms. The mass culture irmwhich the young weregrowing up in the first TV generation, produced itsown music, dance, and poetry and the first expres-sion of a° new style of lyric theatre in Hair with itsphilosophy of peace, nonviolence, and liberation ofthe human spirit. If ever there Were an example ofthe way in which the arts can transform the characterand content of a culture, this was it.

But now we are being told by the education andcultural commentators that th4 student movement ofthe 1960's was a flash in the pan that ended in'disaster at Kent State and that now everything hassettled back to normal, with students competing forgrades, struggling to enter the graduate and profes-sional schools, rejecting political .action in the newcynicism born in a country run by crooks; turning the:counterculture into a commercial enterprise run bythe managers of rock stars and record companies.

The reply to be made is simply to say that a greatdeal of this is true. Even the term counterculture hasan old fashioned ring. But the educational and poli-tical experiments of the 1960's have had their effect,and if the free universities and experimental col-leges, with their half-fife of two or three years, are nolonger a national movement, their impact has beenfelt. The 1970's generation is more conscious of therole of the arts in their lives and the role of educa-tion in creating social change.

THE ARTIST SPIRIT IN THE SCHOOLS

We can then ask; How can theparts and social action

transform the schOols and change societies? A largepart of the answer is that it will be done by extendingthe spirit of the artist and the humanist into the cul-ture of the schools and the colleges. It is nowfashionable not only to dismiss the student move-ment of the 1960's as a group of children playing atrevolution but also to dismiss the role of the massivesocial legislation of the middle 1960's as a romanticeffort by misguided liberals to solve problemsthrough money and laws. What is, missing among thefashionable comments is an awareness that thechanges have already been made, that the protests

c.

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from students aboCit their own education and theirown society have produced results, and that it is theeconomic base for continuing change which is nowcrumbling", not the ideas on which the changes mustbe based.

Ideas about education and social change circulateand take effect in many different ways. There are nolinear progressions. Legislation about civil rights andcommunity action, appropriations for federal aid tothe schools, for Vista, the Peace Corps, the TeacherCorps, for visiting artists, for film making projects,Office of ,Education projects in the arts, the NationalEndowments, all have influence from thegovernment side. Not as much, not as soon, as thesituation demands, but the ideas circulate and areput to direct use because of the intervention of thegovernment.

THE YOUTH CULTURE AND ART

Ideas also circulate through the youth culture, a cul-ture deeply affected by the arts, at whatever level ofsignificance, in/television; films, tapes, and records.There is more music being played and listened to,.more dance, more theatre, more painting, drawing,sculpting, photography, and design than there everwas before in Arherfn history.Jhe list of new playsproduced in the United States in 10973 runs to morethan 1,100 premieres. There are thousands of newfilmmakers among the school and college studentS,thousands of student orchestras playing at a levelthat is sometimes astonishing. A.

I am not confusing quantity with quality. I am say-ing that there is more interest and talent in the arts inthe American schools and colleges and in the mass,Media than there has ever been in this country or anycountry in the world. Out of this is coming a trans-formation-of the relation of the arts tothe societyand the arts in education.

I doubt very much,, for example, that we couldhave held a conference of this character sponsored,by the United States government even five years 'ago.The program itself has demonstrated the existence ofa whole new variety of approaches to teaching andlearning the 'arts in the schools which were simplynot available fiveAears ago, even for demonstrati n,aside from their use in the schools themselves.

OFFICIAL STATUS OF THE ARTS °

Consider too the official status of the arts in-the pro-gram of the Office of Education itself. It -has beenmy privilege- to know members of ministries of edu-cation in a. fair number of governments around the

world, and I have never fc:(1 so many enthusiastsfor the arts among them as I have found 4ecently inthe Washington and regional edUcational offices ofthis country. I am thinking especiatly of the Sovietministry, where the, inclination is to jump on anythingthat moves, whether it an outdoor Modern artshow or a new style of clance.. And wtiere, in, thecountries of the world would you find head of agovernment department of education addressing aconference, not with a formal text, but with a pianoand a song, a song spontaneously composed, sungand 'taught to our temporary community in the hillsof South Dakota? I am referring, of course, to thenonbureaucratic Harold Arberg and his musical set-ting for the conference title. We have 'come a longway We are further along .the road tbward the artsfor every American than any of us thought.

MAKING THE IDEAL COME ALIVE

One way of making that-ideal come alive is to bringthe entire population of teachers, educators, and ad-

'ministrators out to Spearfish td join in the work weare doing here. Since that would be fairly hard toarrange, even by our enlightened and dedicatedsponsors, the alternative is to think of this temporarycommunity here this..week as one of .thousands thatcan be organized in the schools and colleges of thecountry, wherever there are teachers, artists, educa-tors, and humanist scholars who are milling to usetheir gifts to transform the schools and 'colleges intocenters for the arts' and h6man learning. If 'the artsare for everyone, let us build an.eduCational and so-.cial system in which everyone iS for the arts.

O

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Cob'

9

HUMANIZING THE HUMANIZERS

Murry Sid lin

Those questions to which I will address myself todayare quite serious and essentially concern mattersrelating to problem solving in education. But insteadof pretending that I can solve anything today, oreven clearly define what it is I'm supposed to besolving, I would rather simply share some thoughtsabout what I consider to be the humanizing of thepublic schools, and something about the arts and therural student and the arts and the talented andgifted. Please keep in mind that I am speaking frommy own experience. These- are not blanket generalities covering all categories of the professionalpeople in question. However, as Brahms said oneevening while leaving a dinner party at which he hadverbally sliced everyone for every reason, "If there is

, someone here this evening whom I have not insulted,hope he will forgive me."The broad scope of this conference is defining how

to humanize the public schools,' but it seems to metat the question should really concerm,:bs at leasttake into account; how to humanize those whowould humanize the public schools. So much of ourenergy is devoted to assisting the young to become.what we want them to be; but I'm not convinced thatall of our standards are just, nor that our concep-tions of the perfectly humanized student are clear

wand understandable.My opinions are based on my own personal experi-

ence as a public school teacher for six years, as aconductor of young people's concerts with the Balti-more Symphony Orchestra for a few years, and nowas resident conductor with the National SymphonyOrchestra, in my second season. These positionshave brought me into 'Eoptact with a great manysupervisory personnel and hundreds of teachers onthe elementary and secondary levels. Based on theseexperiences, I have developed an intense concern foreducators in their attempt to serve as models for this

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Presentation

humanizing process. I° feel' strongly that an intimateassociation with the arts is mandatory to this end'and, quite frankly, I do not feel that most educatorsattend certs, opera, the theatre, museums, balletand art ms on irregular basis. What's more, manyof these edple do not feel the emptiness in, their

° lives which results from an absence of participation'in the arts. Even more serious, these very people tellme what they think the children wish to hear at myconcerts, thereby legislating the tastes of our leastprejudiced audience according to their own -unde-veloped tastes.

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AN INTEGRAL ARTS PROGRAMOf,

Because) believe that humanizing the public schools'is dependent upon developing integral arts programsbased upon firm relationships with symphony orches-tras, theatre groups, ballet companies, andmuseums, I also believe that this goal is impossibleto attain so long 'as that task is dependent upon somany nonpartiipants in the arts. Educators say,,tothe student, "Go ahead," instead of "Let us gotogether."

THE ENVIRONMENT

I am, of course, aware that there are more require-ments than merely an intimacy with the'arts in orderto have a thoroughly humanized environment; afterall, many of the officials of the Third Reich weresymphony and opera patrons and ,theatre devotees.But the environment for the artsparticipation andunderstandingmust be present and felt in the pub-lic schools equal with all other programs and pro-jects in the curriculum in order for the potential of

complete human development to exist completelyand honestly. And one must feel the presence of theartsthe atmosphere, the fone, the moodat the

'highest level of authority. But when that authority isambigubus, or not used wisely, or perverted, orincompetent, then subordinates cannot and will notaccept the philosophies and edicts from above asbeing serious, purposeful, or in the best interest oftheir Constituents. Therefore, I suggest that beforeour administrators and teachers are honestly andfruitfiilly able to begin the task of humanizing theschool environment/for their students, there is a

great deal pf work to be done within themselves.About two years ago, when I was conducting an

elementary school concert with the BaltimoreSymphony Orchestra in a school in that city, we wereintroduced in this way: "Now, boys anct girls, thismorning we have a cultural experi'ence for yot, buttomorrow's assembly is one you will enjoy." Natural-ly, after that astounding introducti4n I had to workconsiderably harder -than usual to convert that pre-judicial atmosphere into what it was before theprincipal made his opening remarks. As usual, abattle had to. be waged against adults, not thechildrent

THE CHID AND THE ARTIST

The need for art and for the child to form a relation-ship with art, and especially with the artist, the crea-tor who is trying desperately to communicate deepfeelings, lessons, understanding, and visions withfellow humans-L-the need for all this exists despitethose insensitive adults tv.ho would prevent thisinspiring relationship from forming.'How long.will wego on recreating and perpetuating our own medioc-rity? When will we say, if I want tiny children to havethis richer life,ithen I must believe in it for myself aswell, so that rmay show them the way.

ARTSTHE "MINOR SUBJECT AREAS"

As I'm sure you realize, the arts are not totallyfriendless in the public schools. There are, of course,

_those educators to whom administrators might turnfor guidance if they .were so inclined, those whodirect the now existing artistic activities in theschools, those so called minor subject areas, minorin status and in academic rating (every eighth andninth grader knows that you can flunk art and musicand still pass on to the next grade). I should like to.spend a few moments speaking about music educa-tors, my colleagues at the front lines who are sooverwhelmingly casualty .ridden. Almost every yearin sqme community such as Philadelphia, Los

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Angeles, Chicago, Baltimore, Detroit, and others, thevery existence of art and music in the curriculum ischallenged and threatened. Various officials- arequick to counter 'Mat these threats never completelymaterialize, but that is little consolation and the factthat such threats occur at all is/deplorable.

Because- of these. threats, the music educator isforced to devise some justification for the retain-ment or reinstatement of music, some project bywhich muSiciin the curriculum becomes "essential":"music helps the child read better," "music com-pletes the understanding of foreign cultures," ';musicaicfs in the study of science, history, etc." It can doall of those thing But why isn't it enough to con-sider teaching mus for the sake of music: the read-ing of music, explo ing the relationship of 'soundsthrough harmony, form, counterpoint, and musichistory, all as outgrowths of experiences in singing,listening and instrument playing? Why isn't it enoughto learn to love music through -the anatomy of itfrom the most eldmental level on up?

MUSIC APPEASEMENT PROGRAMS

As-if these "musically related" programs as a primaryfocus in the music curriculum were not problemenough, .there are other appeasement programs thatare much worse because they appease with no realmusical value. In order to:haNlemusic which is really"relevant" (Will someone please tell me what thatword means in education, and to whom, and aboutwhat?), some programs have initiated studies of"rock" music. Students listen to and analyze, thismusic even though young people already have agreat familiarity with pop forms of music, just as ithas been with every generation of young people. Butisn't the purpose of education to broaden andexpand experiences rather than to - repeat, the,ordinary and routine, which is what pop music. is to.these young people?

This concept of teaching music is as far fromacceptable music education as pegling fruit with a.knife is from brain surgery. Some music educatorstruly believe that this is what is necessary in order formusic to survive in the school program, anti surviveit must, they preach, while they'work from the insideto effect change. Still others say that the best thing isto allow music to expire from the schools entirelybecause that alone will prevent further abuse of theart itself and the principles of dignified-and purpose-ful music education. Then, they argue, if music edu-cation is to be reinstated, it will be done properlyfrom the outset. How impossible it is to considerhumanizing'the public schOols without programs inmusic.

ti

How terribly sad it is that reasonably intelligentpeople who are entrusted with the responsibility of,making complete people out of tht young are oftenoblivious to music, which Herman Hesse so marvel-ously characterized' as:

A continual consolation and justification for all life;that one can be deeply moved by rhythms and per-vaded by harmonics. A melody occurs to you; yousing it sile9tly, inwardly only. You steep your beingin it. It takbs possession of all your strength and emo-tions. And during the time it lives in you it effacesalt that is fOrtuitous, evil, coarse and sad in you.It brings the world into harmony with you. It makesburdens light and gives wings to depressed spirits!

But the depressed spirits of today's music educatorsare hardly winged, and their suppressed spirits maybe that which is ultimately passed on to their stu-

4-- dents. For those who cannot accept such florid andromantic descriptions of music, it is sufficient to saythat music is communication communication fromthe spirit ol.the composer to the spirit of the listener.Beethoven even inscribed his Missa Solemnis withthat spirit: "Von Herzen moge es zu Herzen gehen."( "From the heart may it go to the heart! ") This is thesame Beethoven who cries out across 150 years witha symphony.written by a ,;carman composer, given anItalian title, and dedicated to a French emperor, tell-ing us through his Eroica something about the spiritof internationalism of his epoch, insisting that hismusic should transcend petty politic#I, boundaries asdo the souls of all mankind.

Man has always had the need to create and re-create music, from the time that log fiigt struck log,all thei' way to our present day opera and concerthouses. Music has' always been an integral part ofeducation wherever education.has been defined asthe development of the total human being, whichincludes intellectual capacity, character formation,communicative ability; aesthetic awareness, and notmerely the acquiring of skills. And yet today inAmerica some would deny our children these aesthe-tic values because of their own inability to feel andunderstand. Can these people talk of humanizing thepublic schools?,

THE ART INSTITUTIONS

.Certainly 'it is not fair to find fault only with educa-tors, for if the atmosphere from the other side, i.e.,the arts institutions, were more inviting, a closerrelationship might now exist between them and theschools. However, the educational and artistic insti-tutions are worlds apart. My testimony in this respectwill center primarily on the relationship, or nonrela-

, tionship between the American symphony orchestraand its neighboring public school communities, but

29

most of these problems relate to_theatre and dancecompanies and museums as well.

I must begin by stating firmly that the problem ofthe schoOlfarts relationship cannot be solved merely.by.unlimited funding.

Let's start by looking at those who guide the desti-nies of the American symphony orchestrasthemusic directors. With few exceptions the musicdirector is European and with no exceptions, he's a"he." The majority of music directors of majorAmerican orchestras reward education #s a conceptapplied only to elementary school age children. Mostwould rather not have their orchestra perform anyschool concerts, although they willingly allow many"pops" concerts. Now, as a former .commercial andjazz trumpet player, I have no objection to present-ing and conducting "pops" cance`its. But the positionwhich many orchestra managers and music directors-tae- on this question seems to be self defeating.They insist, for financial reasons, on investing in thepresent by presenting "pops" entertainment, butrefuse to invest in long term development of newand. larger audiences for the raison-d'etre of thesymphony orchestra: the performance of fourcenturies worth of the great orchestral repertoire.

YOUNG PEOPLE'S CONCERTS

Perhaps one reason the symphony orchestra9 cLOnottake the public schools seriously is that the,schoolsystems are quick to accept whatever the symphonyorchestra. offers, and this very often theans poorlyorganized, poorly conceived, and poorly performed'concerts for young people which have ho real educa-tional purpose behind them, and', Often creatqenemies for the orchestra, instead of friends. Often anassistant conductor, who is usually the victim en-trasted with this "bothersome" task, will use the arenaof young people's concerts to learn his repertoire atthe expense of the kids, with little or no thought giventomhat the young people.need to hear in order tospark their interest in 'orchestral music and developtheir listening skills.

And the educators allow all this! They simply donot realize how much .power they have, and howdesperately orchetras need the fundini for theseconcerts! Educators could demand the best from theorchestra and get it. Instead they usually demandnothingand receive about one cut above. I Couldgive'yob hundreds of.ramples of violations of moraland musical trust by orchestras, but I suspect it is

sufficient to point out that after 35 years of youngpeople's concerts we have not increased the numbersof our donceito hall audiences and, in every com-munity, the symphony. orchestra is in desperatefinancial trouble.

"We play to 100,000 kids," is the general boast,but do the evaluations take into account the extentto Which one 45 or 50 minute.experience every thirdor fifth year c?eates music.11 interest? Additionally,there ls rarely a chance for a child -to come intodirect contact with the musicians, the 'conductor,and the composer. The ,concerts are often targetedtoward a general level audience with few extra ex-periences included to foster the musically committedchild: the members of a school orchestra, band,chorus, or a young pianist. Most often there are noconcerts for secondary school students. After'gradethese students are placed on sabbatical leave untilthey find their own way back someday, somehow, ifever.

The concerts are rarely presented in, series formwith a relationship of works, or some musical or con-.ceptual ;continuity. The conductor rarely, if ever,takes into account the music curriculum guides usedby the teacheris in the heighboring school system inplanning concerts.

Rarely do orchestras perform for the preschooleror first or second grader, although educators willsometimes fill up a .bus or a .few vacant seats withthese young children who are then expected to enjoyand respond to a concert which is being directedtoward fifth through eighth graders. For theuniversity student and the general, adult community

..there is a .need for symposia or insight programs,spdnsored jointly by 'the symphony orchestra andvarious community educational institutions. Thereought to be specially planned concerts for geriatricpatients; concerts de,signe-d-with the help of musictherapists fo're 'emotionally disturbed patients; andjuvenile andoedult prisoners should not be forgotten.

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SETTING PRIORITIES AND GAININGCOMMUNITY SUFFORT

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True, to implement these programs a symphonyorchestra must make room on a limited and crowdedschedule (already full of union do's and don'ts),,,thereby reassessing and rearranging its priorities. Inthe same way that'most educators provide their ownobstacles to having children experience what is nowavailable in terms of live music, sp the orchestra isits own deterrent in developing a greater relationshipwith its existing community and in the developnientof future audiences by virtue of its pregat priorities.

It may very well be a fact that great orchestralmusic is not for everyone,- but I'm convinced frommy own experiences that it is for many; many morepeople than we are now reaching. The symphonyorchestra cries out in desperation for annual com-munity support. Yet, it gives of itself tda very smallpercentage of that community and in terms of the

proportion it gives, it is probably well supportedHere is our dilemma: the music director resents theschool concerts and this attitude 'permeates theorchestra; he has fold his orchestra that they willbe qne of the world's greatest and his-anachronistic.fantasy, the roots of which are in 18Z4 Gerinany andnot 1974 America, precludes everything but formalconcerts, touring, and recordings. Anything else isconsidered dmeaning'. He accepts the concept ofpop concerts as. a means of strengthening the or-chestra's present financial straits, but rejects anystrong program to invest in future audiences.

The musicians resent the schools for acceptingtheir half-hearted efforts, which are designed moreto appease the adult estimation of what the kidswant and need than to give young audiences whatthey really want and deserve.

The music educators -struggle.to keep. orches-tra concerts in the school program, struggle forbuses, struggle fOr time to take the kids to the con-cert hali. Naturally, it is difficult for many schoolauthorities to' understand why the kids go to -the:orchestra at all; after all, the concert hall is not apart of their own experience.

Then the kids come back having disliked the con-cert but having been happy to get out of school.Often the experience is soon forgotten and then littleji'Stification can be found for future .efforts as themusic educators themselves are displeased with themanner of presentation:

We.. have tokenistn, paper projects, poor qualityprqrams, attitudes of distrust, artistic compromise,while the ever-present evaluation reports rave aboutthe amazing development of the aesthetic sensitivity?f millions of young people in America. Isn't it me'We stopped pretending to each other that there is anorder of relationship here? Thomas Mann once spokeof order and relationship in terms of composingmusic;In may ways it is analogous to composing ahumanized environment fOr aesthetic growth, exceptthat between arts institutions and educational insti-tutions there is no order to their relationship and norelationshipio their order.

10 PitOPOSALt

Here is a set of ten proposals I suggest for your con-sideration.

1. The quality of existing young people's concertprograms and presentations. must be improved. Theassistant conductor, or whoever presents these con-certs, must spend some time in the classroom, meetwith music educators and supervisory personnelregularly in ,sorder to plan concerts that relate, atleast in part, to the music and musical conceptswhich the children are exploring in the classroom. He

must suggest 'to educatcirs wh t he would like thestudents to know by way of p eparation for theseconcerts. Then the conductor mu t visit the childreneither in per-Son or via television. nce he is knownto them and is well liked personal) , he will be ableto take his young audience to the kisic more easilyand quickly.

2. The concerts should say something. ')What aremusical styles?" "What makes music American?""What is orchestration?" "Can an orchestra playjazz?" "Humor in Music"; "Musical silences";"Musical expressions of political outrage"; and "Theanatomy of an orchestra" are`but a few I can thinkof. 4

63. The orchestra should go out to the schools.- A

standard symphony orchestra is capable of dividinginto eight string quartets, four woodwind quintets, -two brass Auintets, .a percussion ensemble; and achamber orchestra of about 20 musicians. These 16groups could :be in as many locations, playing for.and talking to small groups of students in their class-room or school auditoriums. Today's younger orches-tral musician is an educated and highly articulateyoung person who has a lot to -say and the ability tosay it. With school visits such as I propose, youngpeople would meet these musicians in an informalsetting, would hear the musicians ,talk about their-way of life, their feelings about music, and theirartistic commitment. A program like this would 'beeasy to arrange in a large metropolitan area, or inany majOr city with a symphony orchestra.

To serve rural students, a variation on this ideamight be worked out. Imagine a rural elementaryschOol in which 'the students were divid&I into fivegroups in five different areas of their building. &brassor woodwind quintet fr6m the nearest city orchestrawould arrive to spend the day. On a rotation basis, at'20 minute intervals, each group would be visited by amember of the quintet, demonstrating his instrument,telling its history, answering, questions, and playingshort pieces. After five rounds of 20 minute sessions,or perhaps later in the day, the quintet wouild cometogether to play a concert for ali the tuderitsandperhaps their parents and other adults of the ruralcornmunity.

Every school system in America, rural or urban, canknow and enjoy some of the thousands of great young,artists as an integral part of the educational Weltoffers its students.

4. Concerts should be integrated into the schoolcurriculum. The conductor and the school curriculum"people should plan together what will, be presentedduring the year, what should be taught in preparationfor the performance, what' extra musical experiencestan%nd will exist during the academic period. Then

translate all these music programs into dance,theatre, film, and the fine arts, and you are on the wayto humanizing the public schools.

5. The media should be used to offer alternativesand supplements to live concerts. An orchestra Con-ductor should think in terms of using radio and televi-sion to get music to schools of his city or state.

At the National Symphony Orchestra, we aredeveloping 30-minute 'television- cassette tapes pluspreparatory and followup materials, entitled Music- Is

-e=p The presentations offer explanations .ofmusical concepts with comparative, examples of ,paintings and architecture as well as shots ofmusicians, instruments; etc. The pilot, already com-pleted, was done in connection with concerts I did inthe spring of 1974 at the 'Kennedy Center*. and WolfTrap Farm Park in the Washington, D.C., area. Theplan is to distribute these videotapes upon comple-tion to. public broadcastihg stations across thecountry, where the stations may make them availableto their local schools.

We conceived this project during the height of theenergy crisis when it was feared many schools wouldcancel planned attendance at live concerts. But evenin normal times, most students will attend only onelive concert per season. I wanted all students to havesome sort of additional orchestral experiences evenif they had to be through videotapes. Taped mate-rials such as these can also be invaluable in servitigrural school systems. -

I would suggest that subscdbing to a t ape cl istri u-tion library (such as the one the National SymphonyOrchestra is developing in connectiork.With the edu-cational television station WETA in Washingtpn,D.0.) to be used over local educational televisionduring school hours, plus a rotating .. residency pro-gram of live musicans to perform.music, related tothe, subject of these programs, would offer a firmfoundatien of 'musical experience and understandingand elevate the artistic level of life for young peopleand through them, the whole community. Is not Otisthe ultimate purpose of all art?

6. Special consideration should be given to thegifted child. When I °was an elementary school stu-dent my teachers complained when I went to music

*lessons during the school'day, even though the les-sons were part of the total school program, It was al-ways announced, as my classmates and I prepared toleave for instrumental music, that life in the class-room -would continue duri.ng our absence, and wewere to be "responsible, for anything that wemiss'ed," In junior high I remember having to takeniany exams after school which wer normally givenduring the time that 'orchestra rehea sals were held,

. or having to miss imp rtant rehe sals when -a

r31 ,.40 a

teacher. refused to giVe a make-up exam after or be-fore school.

In high school I worked to outsmart the system*t and for a while I woh. You see, physical education

was scheduled for me during the last class of theday, three days per week, but it also cpn.flicted witha music theory class which I very muck-ranted totake. My counselor refused to change my programfor a number of reasons, the most important onebeing laziness. However, I made sure that I waselected "squad, leader" of "one physical eduCationclass, which meant that on one of these three days Itook the attendance for my group and had access toall other attendance materials fOr the other days. I

was able to erase my absences of the other two dayswhen I was really attending the music theory class. Ittook them four months to catch up with me.

All through my public school life I was threatened,challenged, penalized, and put in the middle, all be-cause of my great love fdr music. This was a lot ofresponsibility for a.kid, and this negative attitude dis-couraged several of my young, talented colleaguesalong the way; either they or their parents gave in tothepressures that were brought to bear. A few of ushad to go ahead, and we did:

Surely we can <ci'o better for today's gifted studentwhose insatiable curiosity and sensitivity requiresrather special nurturing. In a metropolitan setting, Iwould propose that they meet regularly with a

composer (every orchestra has several), a conductor,and performing instrumentalists and attend rehear-sals sitting in an orchestra, or whatever ensemble isbeing rehearsed. Provide for these gifted individualsan opportunity to witness a compleite musical exper-ience from conception to performance. Allow themto learn the professional musician's philosophy, wit-ness the devotion and the results of endless hours ofwhat others refer to as "hard work." Let them learnto respect techniques' and to understand the reasons'behind the selections from various interpretive op-tions; to grow up knowing what the task is all aboutand the constant state, of change*arid maturing whichprovoked Toscanini at age ()Onto inquire how hecould ever have conducted Beethoven at age 60: "Ididn't understand him th4egni' he said. We cannot ex-pect this awareness to develop juSt because thesepeople are gifted; but because they are gifted, wemust show them the entire way.

7. Extra concerts should be planned for the giftedand interested. young people. The orchestra and/orcommunity performing ensemble should developsome sort of "Saturday Series." If the young people,after the exposure received during the school pro-gram and videotape series, should build up sufficientinterest in performing organizations, in particular the

orchestra, it is vital that they have an opportunity forsubsequent experiences specially planned for them.Full evening subscription programs are usually 9. tappropriate for a young listener because of the prgram length and because they are usually performeon school night's. 'Specially designed programs de-rived from the introductory sessions already ex-perienced, presented on the weekend, are perfectlypossible.

8. Various supplementary musical events should beavailable.' In addition to performing concerts, thesymphony orchestra, with the public schook andother educational institutions should sponsor a regu-lar series of events such as symposia by performingartists, perspective encounters by 'small groups ofmusicians performing and discussing new music, con-cert preludes which discuss forthcoming programs,etc.

9. Youth orchestras should be fostered and thesymphony orchestra sltould cooperate with them.Have the symphony orchestra split and 'combinewith a youth orchestra for a periodic rehearsal .dupingwhich the symphony musicians could coach theiryoung and inexperienced colleagues. Foster thegrowth of these young musicians in their own com?munity, and try to offer the kind of creative- andproductive environment which may keep theni there.

. 10. Only people who are sympathetic to your goalsshould be hired. To both educational and,artisticinstitutions, I suggest you take great care to employpeople willing to and capable of implementing prd-grams such as I have suggested. The most imagina-

1 tive and best funded programs are worthless withoutthe talented people to make them,work. Either findsuch people, or train them, but do not settle for less.

A CONCLUDING THOUGHT

As I see all of us at this moment; I am, reminded in adisturbing way of a cartoon that appeared in a Britishmagazine a few years back. The cartoon showed twosmall horse-drawn lorries on the same narrow bridgein the English countryside, facing each other, neitherable to get by the other. The drivers with whips inhand were facing each other in their respective lor-ries, but the drivers and the -horses were skeletonsand large cobwebs covered both drivers, horses,wagons, and the bridge. It seemed as though thisface-off had been going on for a hundred years. Thecaption read, "They were norproperly introducedThis must not be the destiny of the schools and theirneighboring artistic organizations. I plead with youto change all that von Herzen mdge es zu Herzengehen.

e.

JAZZ AND THE SCHOOLS

Nat Hentoff.

GETTING MY START IN JAZZ

I came out of a home in which direct expression ofemotion was very infra dig and I was educated atBoston Latin School, which also had the same notionabout emotion. It wasta very cold, prestigiousplace.

. .Outside home and school, however, when I was

about 11,year old, I heard a recordingjust walkingby a music store. And it was so startling, it made me,feel so good, that I just yelled out in pleasure andsurprise. And.that's how I started in jazz.

The recording, it turned out, was Artie Shaw's"Nightmare," and it didn't take me long to realizethat'Artie Shaw was to Peewee Russell and EdmondHall as, let us say:Gerald Ford is to Thomas Jeffer.-son. But it was a way to begin. From about 15 on, my'night school in Boston (I spent more time there thanat my day school) was the SaVoy Cafe, where people

0 like Frankie Newton` and Thelonious Monk stalledme thinking abOut how to extend possibilities againstthe rule of reason.

I also hung out at any Duke Ellington dance inBoston and took almost any other chance to hearand see jazz musicians. And I learned an awful lot

.1. from .them, from the time 1 was. about 14, until this. day. I learned about the lives and the history from

which the music came and about the kind of strengthand -resilienCe it takes to get on a bandstand nightafter night and reveal yourself, all the way, in yo'ur'music. Whatever particular flaws these en had,they were proud men who:had found a wa to do im-portant work on their own terms. I wak muchinfluenced by these musicians, because I didnN knowmany other adultS with that quality of i4idependenceand integttfy. And 1 came to discover they were able,from their vantage point as traveling free spirits, to

Presentation

see deeply into various American ways and rhythmsof life.

There was a man I knew, Rex Stewart, who waswith Duke's band for a long time I think I learnedmoNt about politics from Rex than from any politicalscience professor I had. I mean in terms of the rootsense of politicshow people live with each Other,who has pOwer, and is that. power legitimate AndDuke himself, when he wasn't jiving people, was avery, very searching critic of American mores

I found that what stayed with me about jazz musi-cians was their independence and growing up,needed that kind of exemplary instruction by adultsThey were authentic men, and womenMar-y LouWilliams was around then, too. They were my nightschool teachers and the only tuition I could paythem was gratitude and a determination that really,took root at the Savoy Cafe that whatever I was'going to do, I would try to stay free as wellas freeas I could.

JAZZ IN THE SCHOOLS

Now, after that personal background, I will turn myattention to.the relationship of jazz to high .schoolsand American culture and the curriculum of the fu-ture. One-short autobiographical note. About-six orseven years ago, 1 was askecrto do a book for youngreaders, a children's book. I looked through the literature for young readernot exhaustively, but I'took a whileand there was nothing there ,aboutjazz. There still isn't much. And I WIWI? a bookcalled Jazz Country which turned out to have beenfor kids between about 8 and maybe 14 years old.And I've been getting letters about it ever since. Inwhite suburbs, or all white schools, or mostly whiteschools, the book has come as somewhat of a cul-

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ture shock. It had never occurred to most of thosewhite kids (the book is about the rites of passage ofa young white trumpet player who wants to make itin the jazz world, which is predominantly black)that there is a certain kind of dues you haye,,to payto even get close to the jazz life. But to white read-ers, to young white readers, it was an extraordinaryidea. Here was a whole traditiona .whole way ofcreating music and it ain't ours, it's theirs, and howdo we get to where we can have part of it?

As for black and mostly black schools; I agreethat in far too many cases young black kids do notknow their lineage, and I blame that'on the schools,.I remember the day after Charlie Parker died, ArtBlakey was saying, "How many kids, black kids,knoW who Charlie Parker is?", And the reason manydo not know is that their teachers don't know. That'sas true of college 'professors as it is of elementaryschool teachers. I bring up jazz Country, not becauseit's going to be a classic ever more, but because'some librariiiktell me (it's the highest complimenta writer can ';-t) that the book. is the most often, .-stolen in the children's section. And I think the rea-son is that, it brings news to young people, news ofa culture they don't learn about in school.

One other point concerning jazz and the schools isthat, as I learned here this morning, there is a nationalprogram, Artists in the School's, which is funded bythe National Endowment for the Arts, and I think if isthe beginning of what could be a very importantdevelopment for kids and for artists as well. I dowonder, though, how many jazz composer-player'sare part of that program. Each year I check thepercentage of National Endowment grants for jazz,and though it's been'slowly increasing, funds for jazzare still miniscule by comparison with money givento so-called "serious music." I fail to understand whythat kindf \ money has to go to symphony orchestrasor opera c '. panies whekthere is so much jazz thatdesperately needs supporting: It's a further indi-cation of what Charles Ives pointed out with' earnedbitternessthose who,determine our cultural priori-ties, in terms of where the money,goes, are still making obeisance to European forms and standards of"high culture." The Oche, therefore, that jazz is

Mtierica'g only: true...art form remains inoperativecwhenit }comes `to grants frOm our official encour-,

?

agers of ."culture." i

IMPORTANCE OF VARtED ADULT MODELS.,

To l'eturn to'Artists in the Schools, there.should bemore jazz artists in these programs,not only becauseof the inherent value of jazz but also because thereare- not' enough models for kids in classrooms,

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modelS of what an adult can be. I mean the kinds ofadults who commit themselves to life's work theywant to-do without compromise, the kind of adultswho will not allow themselves to be "team players"and possibly blight their li(res by being moralcowards.

I think it's most important for kids to see adultswho are risk takers because as the dynamics ofAmerican life have changed over the past 50 years,the only ,adults most kids know now are the parents,relatives, and teachers, a. narrow ,selection of thekinds of people they might want to grow up to belike.

Some years ago (this has to do with the perennialquestion of humanizing educatiorp, William Arrow-smith, a professor of classics, now at Boston Uni-versity, said: "It is men we need, and Women, notprograms in education. It is possible for a student togo from kindergarten through graduate school with-out e\,er encountering a man .or woman who mightfor the first time give him the only profoUnd motiva-tion for learningthe hope of being a better man." Idon't mean thilt as a general put-down of teachers;but there is not much breadth in the social exper-ience of most people who teach. So the kids wouldgreatly benefit by being exposed to a wider'range ofadults, and they should be exposed to, those artistswho continue creating themselves regardless ofmajority op ion. And which artists- fit that kinetil-descripTio more than jazz musicians?

JAZZ AND THE GIFTED

In some.of the literature I read in preparation for thisconference, there was a comment that the Giftedand Talented Program of the US Office of Educationhas discovered that one of the most neglectedgroups of students in the ;schools is the gifted. Andone of the most depressing pieces of informationpresented in the Commissioner's Report to Congresswas, thelfinding of the School Staffing Survey (1.969-70); that 57% of the school administrators surveyedsaid' they had no-gifted and talented children in theirschools, a further irjdex of the kind of adults weallow to rise to ower-in education.

In terms of jazz, consider the number of kids whomay well be gifted and talentedeither as jazzmusicians or as the kind of researchers, analysts, so-cial, critics who can write about and do researchabout jazz as an integral ,part of the American exper-ience. Out who among the peo le now in the schoolSwho are determining who re gifted and talentedhave the qualifica o Begin to know this with re-gard to jazz? I don't know any peoplevamong theschools I travel to who can tell whether someone

Lk.) Q

blowing a hot tenorsaxophone is gifted and talented.think in 'fact, the reaction of the administration

would be pejorative: "This is certainly not seriousmusic, and has no place in a decentsschoOl." If jazzis to become part of culture in the schools, if jazz in-terests are to become part of the .criteria for identify:ing the gifted and talented, there is going to have tobe a great deal'of what used to be caled "wood-.shedding" concerning jazz among teachers and ad-ministrators because for all the occasional, very

-Z.

brief, glorification of jazz as our most valuable indi-genous art form, most teachers and administratorsare denotatively ignorant about the music, its his-tory, and its socio-cultural-psychological roots. Ifanybody is really serious about affective education,and that's what culture is all about, it is long pasttime for jazz to be taken seriously by those who tryto determine what "high culture" is, especially forkids.

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THE ARTS AND HUMANITIESWHAT IS MOST HUMAN

Virginia V. Trotter

It is a distinct pleasure to be here at this excitingconference. It is a unique experience to besurrounded not only with the beauty of the' BlackHills but with the kinds of inspirational ideas gener-ated by this distinguished assemblage. What youhave crystallized in the last few days is that educa-tors need to recognize that the arts and humanitiesare a study of what is most human. They record notonly our lives but the very substance of which ourlives are made. The study of arts and humanitiesspeak for our beliefs, our ideals, and our highestachievements. In an age in which we have seen aspectacUlar,Jgrowth in science, I believe that it is

essential that we preserve its interdependence sothat n)en will remain the masters of their technologyandript its unthinkable servants.

THE COMPUTER INFLUENCE

On that thought you will be interested in a recentitem I saw in the paper which told how in Englandthe computer is taking over the relationship of thedoctor to the Patient: .The automated bedside man-ner has been judged superipr to that of many phy-sicians in persuading people to give intimate detailsof their personal problems. Can you visualize dis-cussing your intimate problems with a computer? Ontelevision a few weeks ago, Orson Welles exploredDr. Alvin Toffler's book, Future Shock, asking 'thequestion, "Have we become victims of our own tech-nological strength?" We have witnessed (the triumphof science and technology that has carried us froman uncertain world where we looked at nature, con-fused and afraid, to the point at which we see naturemore cOmpletely.Ainder our control.

Toffler. ftnther suggested that in the future citiescould be control e and planned by 'computers; that

37

Presentation

art and music could become computerized; 'that wecould make machines that see, hear, touch,, andsmell; that we could create an artificial man orwoman, a carbon copy of human beings, sp that youwouldn't even know whether the lovply girl at theairline counter was real or a robot. Can we use tech-nology to build a decent,, humane society, or will itcome crashing down on us and take over? Has thecomputer encouraged us to multiply its uses andglorify its resu is to the point where numbers. havebecome determi istic, a constraint on free will and asubstitute for valu *udgments? -:

Having been born and raised in a small collegecommunity and having spent all of my working life inthe universities, I have witnessed and directly expel-7ienced revolutionary changes in many aspects of lifewhich are influenced by technology, economics, and.educational changes. But I have also noticed that thehuman activities in which we become really involvedorganically and emotionally have been less affectedby technological progress or social upheavals. Weare still wrestling with the same appetites, passions,and hopes that motivated Homer and Shakespeare.

WHERE IS HUMANIT-YaING?

As fare back as 5,000 years ago the Sumeriansrecorded on clay tablets their anguish about the gen-eration gap. They asked themselves the question thathas been asked by every age and which you haveaskedat this conference: Where is humanity going?Because of our science we have achieved a giantstep into space, a step shared by all through the 'mar-vels of modern communication; and from this sharedexperience another surmising and human gift hascome down to us. Along, with the q,e,,w sense of theearth's smallness, we have a new sense of the earth's

45

richness and beauty. What one sensed through the. astronauts was not only the scientific and technolo-

gical points but a new-old sense of .mystery and awein the face, of the vast marvels of the solar system. s,

What lifted our hearts was more in the realm of thespiritual, the human, the psychological. It wasastronaut Edgar Mitchell who said of his fellow crew-

'. men, "We are a scientifically oriented group ofpeople. But nearly to a man something happened.There has been a sense of a greater purpose. As we

lc view the earth, we have an overwhelming awarenessthat there is a plan, a design, a sense of unity of pur-pose, of harmony, of beauty. We know now that wehave a finer sensory mechanism than anything wehave devised electroni ly and that is ourselvesthe mind and the soil-. k ow no bounds, no timelimits, only what we ake it."

SOME DEFINITIONS OF ART

I. don't feel courageous enough before this audienceto define art, but as Captain Mitchell raked about in-tuition, global consciousness, and value judgmentsabout the worldisn't this a function of the arts pro-cess?

Tolstoy said: it so long ago, "Art is a human activeity having for its purpose the transmission' to othersof the highest and best feelings to which men [andmay I add women] have risen."-Art therefore is bestunderstood as attempts at human communication atthe most intense level,- Furthermore, I believe thearts can and must become one of the key areas inwhich students learn about the valuing process.That's what makes it so difficult because a sense of .

value is not a course of study. But I see the arts alsoas a process in which learning and development* of owskills can be highly motivated.

Dr. Harold Taylor said it very well in his book Artand the Intellect:

If we take this. view, then education is itself an art,the art of teaching attitudes and values. In intellec-tual life begins for the student when his lie includesintellectual interests of his own choosingwhen heputs forth intellectual effortthat iswhen he com-mits himself to learning because he wants to.Oncean attitude is establishedthe student- begins toorganize his own body of knowledge and to conducthis own education. In this processthe teacher be-comes an artist in the same sense that a writer or apainter is an. artist.

PROGRAMS FOR THE GIFTED .I tam particularly interested in the curriculumdevelopment project of the Aesthetic Education Pro-gram at CEMREL in St. Louis from kindergarten to

38

0

seventh grade. This program was designed' to give achild the experience of discovering, using, andunderstanding 'his own senses and emotions. ThisprograM was partly funded by the National Instituteof Education, and NIE must be able to continue toprovide,research in the area of aesthetic educationcurriculum development, training, and the recogni-

wtion of the gifted and talented.It is also, impbrtant to recognize the talented and

gifted tom culturally disadvantaged subcultures ofour country. Nearly a4 million dollarsa has beenawarded for fiscal year 1974 to a combination of 11states to help ypungsters overcome educational dis-advantages. The awards were made under the Emer-gency School Aid Act and the money is planned forclasses, workshops, demonstrations in the visual arts,dance, music, drama, film, painting, and othermedia°. Educational research and development is anecessity if we are to have the most effective andcost-effective educational system possible. I amdeeply concerned over the action o,f the SenateAppropriations Committee in recommending zerofunding for NIE. Qur hope now is that the Houserecommendation of $80 million will be accepted inconference.

EDUCATION AMENDMENTS OF 1974 A

One of our biggest challenges in the Division lies inimplementing the Education Amendments of 1974(Public Law 93-380), signed by. President Ford onAugust 21. The President called the Amendments "asignificant step forward in our quest for more effec-tive distribution of federal education funds and forbetter administration of federal education pro-grams."

Surely the most important feature of the Amend-ments is that we have asked CongreSs to fund in ad-vance various programs providing. grants to states.This will do much to"the uncertainty that has charac-terized federal funding of education piograms inrecent years. Funding a year in advance shouldgreatly assist the state and local education. agenciesto be more efficient and effective in their planningbecause they will know in advance thgextent of theirresources.

Another important component of the Amendmentsis that they consolidate a number of programs in-cluding gifted and talented children and elementaryand secondary school education in the arts. Thisgives state and local education dfficials muchgreater flexibility and does allow them to determinetheir awn priorities in these areas: We expect tomake specific recommendations sfiortly toconsolidate the current vocational education pro-

. A 6

46

I

grams into a broader authority that will give thestates greater flexibility in the use of vocationalfund. This will provide a program of .discretionarydemonstration grants and contracts designed toencourage and support innovation.

CAREER EDUCATION

Additionally, another one of our priorities is careereducation. The Education Division currently is

attempting to develop a program which, as PresidentFord recently stated, "will bring both education andemployers together in a new climate of credibility."

It is our hope that every student will possess' theskills necessary toprepare him or her f,or a successfulcareer. It is my peilsonal feeling that career educa-tion should also, give each student the necessaryskills to live life to his or her fullest capacitiesthatis education for living.

It is encouraging that the' Office of Gifted andTalented together with the Bureau of Adult, Voca-tional, and Technical Education is sponsoring aCareer Education Institute to discover and look intocurricula possibilities that would have special 'mean-

.ing for gifted children.I do not feel on, the final day of this conference

that it is necessary to define each program or tolament ,on the budgetary problem we face. What isnecessary is an unqualified commitment that wemust cease to think of fhe arts as a luxury and shouldmake .them basic experienclOs in education.ffhe fateof the arts in our schools and in our society is notonly a financial question but a question of attitudesof legislators, business, the-community, the parents,the children, and most of all, the educatorsremem-bering that arts are not a peripheral frill, but an im-portant way of educating. It was James Allen, Jr., aformer Commissioner of Education, who said,

1. Increasingly, it is apparent that true literacy encom-pas.ses a deat variety of modes of perception andcommunication. The arts are an essential componentof this broadenccoricept of literacy. We must seek a

new balance of power in the classroom, one in whichthe arts are fUndamental in the program of everyfully educated student and one in which the conceptof true and complete literacy includes the arts-as anindispensable element.:

I believe this to be true. Educators must stake outa-role in the forefront of the American-concern forthe intellectual, aesthetic, and spiritual dimenSionsof life. I am delighted that last week iii Washingtonthe -Busiriess Committee for the Arts Fliet and, reaffirmed that support of the arts is part of all of ourresponsibility to society. They reaffirmed that busi-ness should not only support the arts but shouldwork to increase support and awareness of the artsby government and citizens and that, although grow-ing governmental funding is necessary, broader pri-vate support is also absolutely essential.

I congratulate you on the calling of this first Na-tional Conference. on the Arts and Humanities/Gifted and Talented anc493-tge, creative coordinatedapproach of the divisions of elementantand -second-ary education, the state of South Dakota, and-the USOffice of EduCation Region VIII, Denver, on the su-perb planning of Don Barnhart, the State Superin-tendent and Leon Minear, Regional Commissionehand in particular the, Black Hills State College forproviding the kind of environment of warmth, enthu-siasm, and beauty to enhance this conference. I amdelighted that this has been chosen as one of theplaces to be highlighted during the: bicentennial.Each of us as individuals, as members of pe busi-ness;.edu'cational, governmental, and artistic com-munity, are proud of our nation's cultural heritage.Together we must make a determined effort tonourish this vital segment of American life. We mustdevelop a flourishing of all the arts so as to give re-lease of the creative potential within usall of us.

was,once said by Alvin Eurich,

4

We ,cannbt tolerate another generatiovhat knows somuch about preserving and destroying life and so lit-tle about enhancing it. We cannot permit our chil-dren to come into their maturity, as masters of theatom and of the gene, but ignorant and barbarousabout the ways of the human mind and heart.

4

O

PROGRAM

Wednesday, October 2

MorningRegistration

AfternoonIntroductions and welcome remarks: Donald BarnhartKeynote address: Leland D. Case

SESSION I Workshops CoordinatorsArts and Humanities Harold Arberg

1. Studio Art, the OngoingCurriculur*Arts in EducationLarry Schultz and Joyce Johnson

2. Aesthetic ConceptsNadine Meyers and Richard Eckman

Gifted and Talented Harold C. Lyon3. REAL-izing Your Potential

Harold C. Lyon4. Planning for the Gifted

and TalentedIrving Sato and David Jackson

SESSION 117-Repeat of Session I Workshops

EveningDinnerSpearfish Fry and Indian Cultural Awareness

EveningSpeakers: Harold Shunk

Charles J. GeboeSioux Indian Dance Group

Thursday, October 3

MorningSpeakers: Harold Arberg

Harold C. Lyon

SESSION IWorkshops (1-6)1. Music "

Murry Sidlin2. Reading Through the Arts

Mildred Bebell

Coordinators

Leon Minear

Lincoln Henry

3. Visual Arts <7John Boit Morse

4. Arts and Humanities and theMinority StudentLeonard Olguin

5. Film MakingYvonne Andersen

Appendix A

John Runkel

Del Carter

Diane Hayman6. MakingArts and Humanities Come

Alive for the Rural GiftedElizabeth Neuman andRuth Mondschein

SESSION.II Workshops (7-12),7 Libraries

Naomi Noyes EdWin Erickson8. Theatre Training as a Process of

Personal GrowthAlec Rubin Albin Sandau

Mary Hunter Wolfe

9. ArtFrank Mason John Gritts

10. Model Projects for Gifted Youth- Marion Blakey Cheryl Hutchinson

11. Dance'and EducationGene Wenner, Mark Kreuger

12. Developing Arts Programs forHigh School StudentsDeWitt Zuse and Arthur Catty Irwin Kirk

LUNCHEONSpeaker: Murry Sidlin-7"Humanizing the Humanizers."

AfternoonSESSION IIIWorkshops I and II repeatedProgram

Speaker; Robert Shaw"The Conservative Arts."DemonstratiOn by Black Hills State College Choir

(resident director MerlYn Aman)Guest conductor: Robert Shaw

.EveningBANQUETMa5ter of Ceremonies: Charles SchadSpeaker: Harold Taylor. -, "The Transformation of the

Schools."

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48d.

Friday, October 4

Speaker: John Boit Morse "Effecting Change: AnArtist's Point of View."'

SESSION IWorkshops! The Role of the Advocate1. LocalBruce Milne, James Doolittle2. DistrictJoyce Runyon, Sandra' N. Kaplan3. StateDiane Porter, Robert Huckins, Mark

Krueger .,,

4. NationalJane Case Williams, Marion Blakey,Elizabeth Paul

SESSION IIWorkshops: Advocacy Action PlansSame groups as SESSION I.

LUNCHEONTraditional Indian FeastSpeaker: Virginia Y. TrotterV'Arts and Education."

r

a

AfternoonSpeaker: Donald Sewall "The Denver Center for the

Performing Arts. " .

Program: Appreciation of One of America's OriginalArt Forms: Jazz

Jazz Seminar speakers and performers:Marion McPartlandNat He'htoffHarold TaylorRay Iverson

Concert: Black Hills State College jazz Ensemble(Richard Temple, Director)

&Evening

BUFFALO DINNER

TRIP TO MOUNT RUSHMORE

42 4q1.

I

WORKSHOP LEADERS

Yvonne AndersenDirector, Yellow 'Ball WorkshopLexington, Massachusetts

Mildred H. BebellDirector, McClelland CenterPueblo, Colorado

Marion C. Blakey.Youth Grants CoordinatorNational Endowment for the HumanitiesWashington, D.C.

James DoolittleGifted and Talented TeamSouth Dakota

Richard EckmanAssistant Director for Educational ProjectsNational Endowment for the HumanitiesWashington, D.C.

Arthur Gatty, DirectorPennsylvania Governor's SchoolBucknell UniversityLewisburg, Pennsylvania

Robert HuckinsCoordinator, Gifted and Talented EducationSouth Dakota

David Jackson, Execbtive DirectorNational/State Leadership Training Institute on

Gifted and TalentedReston, Virginia

Joyce JohnsonTheater Resource TeacherJefferson County SchoolsColorado

Sandra N. KaplanInglewood Unified School DistrictInglewood, California

Harold C. Lyon, Director -Office of Gifted and TalentedU.S. Office of EducationWashington, D.C.

41-

Appendix B

Frank MasonArtist, Instructor, Art Students LeagueNew York N.Y.

Nadine MeyersAesthetic Education Progw.CEMREJ., Inc., St. Louis, Miro u r i

Bruce Milne, DirectorEducatioiT;I Research and Services CenterUniversity of South DakotaVermilion, South Dakota

nth Mondschein, Staff AssistantAssistant Secretary for EducationHealth, Education and WelfareWashington, D.C.

John Boit MorseArtist, Art LecturerCarmel, 'California

Elizabeth Neuman, DirectorPrograms for the Gifted and Talented

.West Hartford, Connecticut

Naomi Noyes -Children's SpecialistNew York Public LibraryNew York, N.Y.

Leonard OlguinAssociate ProfessorDepartment of Elementary EducationCalifornia State University at Long BeachLong Beach, California

Diane Porter- -

Gifted and Talented Program OfficerState of NebraskaLincoln, Nebraska

Alec RubinTheater EncounterNew York, N.Y.

Joyce RunyonConsultant, Gifterand TalentedState Department of EducationTallahassee, Florida

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00-

'Irving SatoProject DireCtorNational/State Leadership Training

Institute on the Gifted and TalentedLos Angeles, California

Murry SidlinResident ConductorNational Symphony OrchestraWashington, D.C.

Larry SchultzCoordinator of ArtJefferson County SchoolsColorado

Jane Case WilliamsDeputy DirectorOffice of Gifted and TalentedU.S. Office of EducationWashington, D.C.

Gene C. WennerArts in Education ProgramJDR 3rd FundNew York, N Y

Mary Hunter WolfeDirector, Center for Theater Techniques

in EducationConnecticut

DeWitt ZuseDirector, Educational Center

for the ArtsNew Haven, Connecticut

rr

M.

a

44 .., 4

I

SPEAKERS

Leland D. CaseWriter, HistorianTucson, Arizona

Harold ShunkIndian EducatorSouth Dakota

`Charles J. GeboeIndian EducatprSouth Dakot4

Harold ArbergDirector, Arts and Humanities ProgramUSOE, Washington, D.C.

Harold C. LyonDirector, Office of Gifted and TalentedUSOE, Washington, D.C.

Murry Sid linResident' Conductor, National Symphony OrchestraWashington, D.C.

Robert ShawMusic Director and ConductorAtlanta Symphony OrchestraAtlanta, Georgia

v

45

Harold TaylorAuthor, Educator,New York City, New York

John Boit MorseArtist, Art LecturerCarmel, California

Virginia Y. TrotterAssistant Secretary for EducationHEW, Washington, D.C.

Donald' SewellPresident, The Denver PostDenver, Colorado

Marian McPartlandJazz PianistNew York City, New York

Nat HentoffJazz Authority, AuthorNew York City, New York

rt.

Appendix C

Oa

cc

GOVERNMENT REPRESENTATIVES

-0

a

Washington

Health, Education and life/fare

Virginia Y. TrotterAssistant Secretary for Education

Ruth MondscheinStaff assistant, Assistant Secretary for Education

US Office of Education

Raul Lawrence °Education Program Officer

Salvatore RinaldiEducation Program Officer

Josept ConnorProgram Analyst, Compensatory Educational Program

Sam Harris,PrograM Officer, Title V

Harold C. LyonDirector, Office"of Gifted and Talented

Ja e Case Williamsty Director, Office of Gifted and Talented

a

46

Harold ArbergDirector, Arts-and Humanities Programt -Richard PrestonVisual Arts Specialist, Arts and Humanities Program

Edith RothPublic Information Specialist

Mark KruegerIntern, Office of Gifted and Talented

Denver, Region VIII

Leon P. MinearRegional Commissioner

John RunkelDirector, Elementary and Secondary Education

Edward B. LarshSenior Program OfficerElementary and Secondary Education

Irwin KirkAssistant to the Regional Commissioner

v

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YE.

Appendix-4

WORKSHOP COORDI NATOkS

rHarold Arberg

ctor, Arts and Humanities ProgramU5t7E, Washington, D.C.

Del CarterCoordinator, Right to Read ProgramSouth Dakota

Edwin EricksonDirector of Library - Learning CenterBlack Hills State College'

John GrittsArtist, Counselor for Center for

.American Indian StudiesBlack Hills. State College

Diane HaymanStaff Assistant, Shakespeare Festival .University of ColoradoBoulder, Colorado

Lincoln HenryPrOfessor of EducationBlack Hills State College

Cheryl HutchinsonAssistant to the Chief State

School OfficerMontana

if 9

Irwin KirkAssistant. to the Regional CommissionerUSOE, Region VIII, Denver, Colorado

Mark Krueger . ,

,Intern, Office of Gifted andTalentedUSOE, Washington, D.C.

Harold C. LyonDirector, Office of Gifted and TalentedUSOE, Washington, D.C..

Leon P. MinearRegional CommissionerUSOE, Region VIII, Denver, Colorado

John RunkelDirector, Elementary and Secondary EducationUSOE, Region VIII, Denver, Colorado

Albin SandauDirector of TheaterBlack Hills Sta%College

Mary Hunter WolfeDirector, Center for Theater. Techniques

in EducationConnecticut

t,

fl