Events List

Name of the Event

Type of

Event

Date

Time

Facility/City & State

1.Small Landscapes:

Seven Views

photo/art

exhibit

Jan.

10

9-5:00

Jan Dempsey Community Arts

Center/Auburn AL

2.“You Can’t Take It

with You. “

Play

May

5

7:00

Auburn University Telfair Peet

Theater/Auburn, AL

DOCUMENT RESUME

ED 413 436 CE 075 028

TITLE Educating for the Workplace through the Arts.
INSTITUTION Getty Education Inst. for the Arts, Los Angeles, CA.
PUB DATE 1996-10-28
NOTE 37p.; Reprinted from Business Week, October 28, 1996.
PUB TYPE Reports General (140)
EDRS PRICE MF01/PCO2 Plus Postage.
DESCRIPTORS *Art Education; Basic Skills; *Creativity; *Education Work

Relationship; *Educational Benefits; Educational Quality;
Elementary Secondary Education; Financial Support; Fine
Arts; Integrated Curriculum; Program Development; *School
Business Relationship; *Vocational Education

ABSTRACT
Business leaders are increasingly realizing that arts

education is beneficial in preparing young people for the workplace.
Increasingly, business is acknowledging that arts education develops
collaborative and teamwork skills, technological competencies, flexible
thinking, and an appreciation for diversity. The need for imagination and
creativity in the work force is creating a new alliance between arts
education and business. Aside from specific disciplinary content, arts
education is valuable in three important senses: (1) arts education
contributes to the quality of education overall and builds critical thinking
skills; (2) arts education builds specific work force skills that business
values; (3) an education in the arts builds values that connect children to
themselves and to their own culture and civilization; and (4) arts education
helps the nation produce citizens and workers who are comfortable using many
different symbol systems (verbal, mathematical, visual, auditory). Examples
of businesses supporting arts education can be seen throughout the country.
One of the most effective ways for businesses and professional to support
arts education is to become directly involved in partnerships with local
schools and arts organizations. Making partnerships work requires having a
vision, planning, leveraging resources, and generating commitment, as well as
professional development opportunities for teachers, support for artists,
good communication, and promotion. (MN)

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

Reproductions supplied by EDRS are the best that can be made
from the original document.

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

U S DEPARTMENT OF EDUCATION
Chic of Educational Research and Improvement

ED ATIONAL RESOURCES INFORMATION
CENTER (ERIC)

This document has been reproduced as
received from the person or organization
originating it
Minor changes have been made to
improve reproduction quality

Points of view or opinions stated in this
document do not necessarily represent
official OERI position or policy

PERMISSION TO REPRODUCE AND
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HAS BEEN GRANTED BY

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13 u lk@ We k

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2 BEST COPY AVAILABLE

1891. That was then.

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A century ago Siemens pioneered a unique approach to apprentice training
programs. It set new standards for helping workers develop the skills to
master state-of-the-art technology.

@ Siemens Corporation 1996

1996. This is now.

44140,

Today Siemens’ apprentice and training programs in the USA are laying the
foundation for a highly skilled workforce that’s essential for technological
leadership. Now, more than ever, education is the key to maintaining global
competitiveness. For more than a century, Siemens has been preeminent in
the kind of training programs that assure a leading position in a wide variety
of technologies. Like automation systems that are helping American industry
be increasingly productive in the years ahead. Siemens. Precision Thinking.

For more information, write for Siemens ’96. Box 8003, Trenton, New Jersey 08650

Automation Automotive Electronics Electronic Components Energy Information Systems
Lighting Systems Medical Systems Power Generation Telecommunications Transportation

Visit our web site at www.siemens.c on the Internet

N THE SPACE OF A SINGLE GENERATION,

work and the workforce have
changed dramatically. If we could
put a typical 1966 worker into a

1996 factory or organization, he or
she would likely begin to suffer a kind
of occupational vertigo a sense of
disorientation in virtually every
dimension of the workplace.

It’s not just new machines and
management philosophies, or that
services have replaced
manufacturing as the
dominant sector of the
American economy. It’s
that the character of
work itself has been
transformed, largely
through the application
of information-based
technologies and sys-
tems thinking to almost
everything American
business does. The
express train to the 21st
century has left the station, and the
typical workers of just a few years ago
are standing on the platform waving
good-bye from the rapidly receding
200-year history of industrialism.

Today’s and tomorrow’s
workers have to be multi-skilled and
multi-dimensional, flexible and intel-
lectually supple. Even the physical
office is being relocated to accommo-
date new work styles, as cell-phones,
faxes, and telecommunications soft-
ware stimulate the growing edge of the
workforce as it migrates down the
information highway to homes, cars,
airport lounges, and telework centers.

But the changes go far beyond new
technologies and the shifting venues
for work. Richard Gurin, president
and CEO of Binney & Smith, Inc., and
a member of the National Alliance
of Business, expresses a growing

SPECIAL ADVERTISING SECTION

The Changing Workplace
is Changing Our View of Education

consensus among business leaders:
“After a long business career, I have

become increasingly concerned that
the basic problem gripping the
American workplace is not interest
rates or inflation; those come and go
with the business cycle. More deeply
rooted is … the crisis of creativity.
Ideas … are what built American busi-
ness. And it is the arts that build ideas
and nurture a place in the mind for

them to grow … Arts

An arts education

develops collaborative

and teamwork

skills, technological

competencies,

flexible thinking,

and an appreciation

for diversity.

2

education programs
can help repair weak-
nesses in American
education and better
prepare workers for the
twenty-first century.”

Knowledge is the
New Wealth The
connection Gurin makes
between the needs of
the marketplace and

workforce on the one hand, and the
abilities fostered by an arts education
on the other, is based on a straight-
forward argument:

1 Management gurus such as Peter
Drucker, W. Edwards Deming, and

Peter Senge have been saying for years
that the basic economic resource of
today’s economies is no longer labor
or capital, but knowledge itself
information at work in the learning
organization. As information and the
technologies derived from it expand at
warp speed, businesses find that what
creates value and spawns change is the
ability to add knowledge to work.
Today, that need is so great that
companies are adding CKOs, “chief
knowledge officers” to help them
maintain a competitive edge.

Since the turn of the century,

CRAYOLA® brand products have

inspired hands-on learning and

creativity in the classroom.

Copyright © 1996 The McGraw-Hill Companies, Inc./Printed in the U.S.A.

72
The cutting-edge worker in the
Information Age Economy is thus

the “knowledge worker,” a continuous
and highly-adaptable learner who pos-
sesses a wide range of “higher order
thinking skills.” This employee is an
imaginative thinker with high-level
communication and interpersonal skills.

An education in the arts addresses
and delivers precisely these kinds

of skills. The potential contribution of
arts education extends across the
board. It builds such thinking skills as
analysis, synthesis, evaluation, and
critical judgment. It nourishes imagi-
nation and creativity. While recognizing
the importance of process, it focuses
deliberately on content and end-product.
It develops collaborative and teamwork
skills, technological competencies,
flexible thinking, and an appreciation
for diversity. An arts education also
fosters such valued personal attitudes
as self-discipline.

The implications of this argument
have slowly been working their way
into the decade-and-a-half struggle to
reform the nation’s schools, even as the
“high-performance workplace” remains
a core driver for education reform.
The public’s preoccupation with
“getting back to the basics” is being
reinforced by a new commitment to
school restructuring, school-based
decision-making, and standards. Most
educators, indeed most Americans,
genuinely welcome the renewed inter-
est in stronger fundamentals and high-
er standards for performance and
learning. Too few Americans recog-
nize, however, the breadth and depth
of the contribution arts education can
make, both to education reform and
to the quality of the workforce. But
things are changing.

The Creation of a New Alliance
The need for imagination and
creativity in the workforce is creating
a new alliance between arts education
and business. One high-visibility
expression of shared interest was the
1994 Louisville conference on “Arts
Education for the 21st Century

SPECIAL ADVERTISING SECTION

American Economy.” The American
Council for the Arts (ACA) invited
more than 300 business leaders and
arts educators to explore an unusual
proposition: that the arts make a sig-
nificant contribution to business (see
sidebar page 5). Participants shared
common concerns and mapped out
strategies for mutually beneficial
collaboration. Similar events, such as
a December 1996
conference of the
Connecticut Alliance
for Arts Education
on how arts prepare
students for the
workforce, are
springing up locally
and regionally
around the country.

National and
state-level forums,
such as South
Carolina’s “Arts in
the Basic Curriculum”
project, the Pittsburgh
Cultural Trust, and
the Bronx Develop-
ment Council as

well as hundreds of
energetic arts-business

MUSIC EDUCATORS NATIONAL

CONFERENCE New research shows

music develops not only creativity

but also spatial intelligence –
the ability to perceive the world
accurately and form mental images.

partnerships in communities around
the country are bringing business
leaders, arts organizations, and arts
educators together around the same
fundamental messages:

Atlanta students find the graphical

interface of IBM’s SchoolVista

easy, and fun, to use. Students

are encouraged to collaborate on

projects which promote peer-to-

peer interaction that teachers

find beneficial to learning.

6

o Arts education
helps the nation
produce citizens and
workers who are
comfortable using
many different sym-
bol systems (verbal,
mathematical,
visual, auditory);

o An arts education
is part of the defini-
tion of what it means
to be an “educated
person,” i.e., a criti-
cal and analytical
learner; a confident
decision-maker; a
problem poser and
problem solver;
and an imaginative,
creative thinker;

3

An education in the arts opens the
door to skills and abilities that equip
learners for a host of learning contexts,
including the workplace, where
“knowledge is wealth”; and

e Arts education projects can be a
significant catalyst for community
development, support for cultural
institutions, and economic health
(see sidebar page 6) all important
business goals.

The upshot for many in business
is that experiences and instruction in
the arts build a floor under innovation
in the workforce and workplace.
Illustrating how these messages come
together, Will Tait, the creative director
for software developer Intuit’s multi-
media group, says he looks for a skill
set in job candidates that is increasingly
typical of companies today: team-
work and communication skills, an
understanding of quality concepts,
and a background in the arts. “When
an Intuit marketing manager puts
together a team around a multi-media
enhanced product,” he says, “the team
includes an artist. My own view is that
the ability to use color, shape, music,
rhythm, and movement is essential to

the finished
Singer, songwriter,

dancer, and storyteller

Marc Bailey Llewellyn,

one of over 100 artists

on the MUSIC CENTER

EDUCATION DIVISION

roster, works with a
student from Chavez

Elementary School

near Los Angeles.

‘X0°

4

product,
primarily
because of
the sense
artists
develop
for idea

SPECIAL ADVERTISING SECTION

THE NEW ARTS EDUCATION

ver the past decade, a new way of thinking about arts education has taken

hold, which differs significantly from the limited activity that most adults

remember from their own schooling. Based on substantive and rigorous content,

the new arts education develops the very capacities that business leaders, educators,

and parents want the schools to provide our children: creative problem solving,

analytical thinking, collaborative skills, and judgment.

In the new arts education, children learn to convey ideas, feelings, and emotions

by creating their own images and performing dance, music, and drama. They learn

to decode and understand the historical and cultural messages wrapped up in

works of art. They also learn to analyze, critique, and draw reasoned conclusions

from what they see and hear; i.e., to reflect on the meaning of their perceptions

and experiences. The demonstrated achievements of the new arts education

have brought it recognition in areas that are today defining education for both

students and teachers. National voluntary standards for the arts, state curriculum

frameworks, certification for arts teachers, student assessments, and texts and

instructional materials increasingly call for substantive arts education. The results

can be seen in the pages of this special section.

sequencing a crucial thinking skill.”
In short, arts education is basic

education. This assertion becomes all
the more clear when we begin to define
“basic education” by asking some
important but seldom asked questions:

“What do we mean by ‘an educated
person?'”

“What kind of education supports
the new skills needed for jobs in the
Information Age?

Or perhaps most important: “What
do our children need to know and be
able to do to become the best possible
human beings?”

In every civilization, the arts have
always been inseparable from the very

meaning of the term
“education,” and today,
no one can claim to be
truly educated who lacks
basic knowledge and
skills in the fourth R
the arts disciplines.

Coming in from the
Curricular Cold For chil-
dren, the good news is

that after a long exile on
the curricular fringe of
public education, arts
education has achieved
some success in claiming

its rightful place. The possibilities have
accelerated since 1989-90, when the
contemporary advocacy movement for
arts education caught the sustained
wave of school reform, launched in the
public mind in 1983 by the publication
of A Nation at Risk and its warning of
a “rising tide of mediocrity” in the
schools. In the wake of a monumental
effort by business leaders, arts educa-
tors, community arts organizations,
and others, arts education has now
become a visible, viable, and vocal part
of the national strategy for improving
the nation’s schools, and a comprehen-
sive approach to arts education is
becoming more and more widespread.

Credit is due to educators who
have created new, substantive approaches
to learning in and through the arts,
advancing the goals of education reform
while increasing student knowledge of
the arts. These new directions help
students to: understand the historical
and cultural contexts for works of art,
develop their skills in producing art,
enrich their understanding of the
nature of art, and develop the ability to
critique, analyze, and make informed
judgments about art. These teaching
innovations meet new educational
needs as they solidify the place of
art in the curriculum. The growing

7

ref

I
IN

In schools across the country, tomorrow’s work force is being shaped today. Shaped by tools
that teach children to use their imagination, that encourage them to create, to perform. And to
dream. At GE, we know that an education including the arts is vital. Because students who appreciate
the conceptual as well as the analytical are the ones who’ll create the innovations of tomorrow.

That’s why we’re one of the largest corporate supporters of arts-in-education programs. In
fact, through The GE Fund we support all kinds of educational programs.

In our College Bound program, GE employees volunteer as mentors to high school students
to boost college enrollment rates. Faculty for the Future is growing the number of minority
professors through grants and scholarships. Still other GE Fund programs are changing schools
nationwide to develop well-rounded students with winning ideas..

So while crayons and chalk may be simple things, at GE they mean the world to us.

We bring good things to life.

SPECIAL ADVERTISING SECTION

HOW THE ARTS STRENGTHEN THE WORKFORCE

john Brademas, former Congressman and president emeritus of New York

University, provided the ACA Louisville Conference with a three-point rationale

for why and how arts education strengthens the workforce.

1. The arts enhance qualities business needs. The indispensable qualities and char-

acteristics for developing the kind of workforce America needs are, in Brademas’s

words, “exactly the competencies that are animated and enhanced through study

and practice of the arts.” They are also generic, i.e., transferable to other topics

and other areas of life.

2. The arts invigorate the process of learning. Arts education is education that

focuses on “doing;” all the arts are related to either product or performance, and

often both. The arts are also strongly linked to positive academic performance.

Citing a four-year study conducted by the Arts Education Research Center at New

York University, Brademas noted that achievement test scores in academic subjects

improve when the arts are used to assist learning in mathematics, creative writing,

and communication skills.

3. The arts embrace and encourage school participation, especially for youngsters

who are at risk. Brademas pointed to the “Fighting Back” project sponsored by

the Robert Wood Johnson Foundation, which targets drug and alcohol use among

the young. He noted that “participation in arts programs can be a powerful mag-
net to keep children in school.”

Source: John Brademas, Remarks, American Council on the Arts Conference on “Arts Education for the
21st Century American Economy, Louisville, Kentucky, September 16, 1994.

recognition of the importance of the
arts is attested by their inclusion in the
National Education Goals, as set forth
in the Goals 2000: Educate America
Act of 1994 a major step forward.

In Goals 2000, arts education
received its first endorsement in feder-
al legislation since the 1960s. (Most
Americans are unaware that President
Clinton signed the legislation creating
Goals 2000 from a magnet school for the
arts.) The arts are now recognized as a
core subject area in which American
children are expected to become

5

competent. Also in 1994, the National
Consortium of Arts Organizations
published its National Standards for
Arts Education, a thoroughly rigorous
presentation of “What Every Young
American Should Know and Be Able
to Do in the Arts,” in grades K-12.
As deputy secretary of education
Madeleine Kunin noted at the time,
“the inclusion of the arts in Goals
2000 and the voluntary national arts
education standards establish
the arts as serious and substantive
academic subjects.”

-4 ARTS CONNECTION

High school students

at New York’s

Jacqueline Kennedy

Onassis High School

paint a mural as the

final project of a
program exploring

nature and the
environment.

9

NATIONAL FOUNDATION FOR

ADVANCEMENT IN THE ARTS

Master class is the final phase of

Arts Recognition and Talent Search®

(ARTS), which makes available cash

awards, scholarships, and the

chance to be named a Presidential

Scholar in the Arts.

WHY ARTS EDUCATION IS BASIC
Aside from specific disciplinary con-
tent (e.g., how to play the clarinet or
execute basic dance sequences), an arts
education is valuable to our children
in three important senses:

an arts education contributes to
the quality of education overall

and builds critical thinking skills;

an arts education builds specific
workforce skills that business

values; and

an education in the arts builds
cL:) values that connect children to
themselves and to their own culture
and civilization.

These elements form the core of the
argument for why an arts education is
basic and vital to education and to the
needs of businesses.

An Arts Education Contributes to
the Quality of Education and Builds
Critical Thinking Skills

An arts education engages students
and invigorates the process of

learning. Educational researchers have
shown that people use many routes
to learning including kinesthetic,

C

O

catiu Our Best
Resource for

Educating
Our Most

Important
Resource

The arts have the

power to transform
ffi

education. They

speak to children

in a language that

demonstrates

concepts, reveals

symbols, and forges

connections. And in

doing so, they cultivate

interdisciplinary learning,

multicultural understanding, and

critical thinking and open new avenues

to assessment and work force readiness

the very goals of education reform.

J

c,e,le

4

,
Arts Education Resour-

-010 ce k.

4%N.NNN

N

To receive your free Arts Education Resource Kit,
complete and mail this special coupon to:
Getty Education Institute for the Arts: 1200 Getty Center Drive,
Suite 600, Los Angeles, CA 90049-1683.

A comprehensive approach to arts education is vital to ensure that our

most important resourceour childrenwill continue to flourish.

Name

Title

Address

City

EBBW

State i I Zip Code

111
THEGEI IY

EDUCATION
INSTITUTE FOR

THE ARTS

ARTSEDNET
http://www.artsednet.getty.edu/

“Kids can always

say the dog ate my

Boy, school sure seems to be getting harder and
harder these days. For teachers, that is.

How do you find the time to plan your curriculum,

return e-mail, get funding for eight new clarinets and,

oh yeah, teach? Easy. Log onto IBM’s School Vista” V2.0,

education management software you use right in the
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work assignments, confer with other faculty members.

Even track an individual student’s progress.

Then, use SchoolVista to bring exciting new
learning opportunities to the classroom. Working with
friendly “classroom” graphics, you’ll have a whole new
world of resources and instructional software at your

when they don’t get everything done.

Teachers can’t.”

fingertips. Maybe Johnny needs extra help in history.
Or Lucy’s bored in advanced calculus. Click. They can
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Sound like something you’d like to learn more about?

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12

SPECIAL ADVERTISING SECTION

111

<eV
fi GETTY EDUCATION INSTITUTE FOR

1.)’ 12- THE ARTS Arts education engages

children in learning. Through teacher/

student interaction, youngsters learn

to inquire, reason and assess, in

addition to creating works of art.

s.

visual, auditory, synthetic (putting
ideas together), analytic (taking ideas
apart), and other means. An education
that uses the arts readily engages
a wider variety of learning styles
and increases learning potential for
the student. At the Guggenheim
Elementary School in inner-city
Chicago, for example, after the arts
were integrated into the curriculum,
daily attendance increased to 94%,
and 83% of the students achieved at
or above national norms in reading
and math.

Keeping young people in school
is not just an educational or social
issue, it’s an economic one, too. In
Los Angeles, for example, 85% of
all daytime crime is committed by
truant youth. The annual cost of
truancy to the nation is $228 billion.
Later on in the lives of young people,
it costs the business community about
$30 billion annually to train unskilled
employees in reading, writing, and
mathematics.

An arts education sets many
— “hooks” to capture a student’s

attention, appealing to many levels
of experience at the same time.

6

For example:

o The arts disciplines reach out to the
mind because each is rooted in specific
content. They all offer rigorous intel-
lectual challenges. The cognitive prob-
lems of representing a particular light
in a painting can be as formidable as
those involved in constructing any sci-
entific experiment.

o In every art form, an arts education
also engages a child across a broad
spectrum of emotions; that is, after
all, part of what any work of art is
designed to do.

o At the same time, an education in
the arts brings many other faculties
into play: curiosity, wonder, delight, a
sense of mystery, satisfaction, unease
when quality is neglected, and even
frustration.

o The various art forms have special
forms of engagement: a dance engages
the body and delivers exhilaration; a
drama invites the willing suspension
of disbelief, creating the context for a
deeper message; a painting summons
reflection; a song can open a

,*

THE ARTS ARE A FORCE FOR THE
NATION’S ECONOMIC HEALTH

..A1recent study by the National

Assembly of Local Arts

Agencies (NALAA) on the economic

impact of nonprofit arts organiza-

tions provides some eye-opening

data. Nearly 800 arts organizations

in 33 communities in 22 states were

studied over three years. The study

concluded that the arts are, in fact,

an industry in their own right; that

the arts are an economically sound

investment for communities of all

sizes”; and that they are a net con-

tributor to the nation’s economy.

And, it is arts education that builds

audiences for arts organizatons.

The NALAA report estimated that

nonprofit arts organizations generate

these levels of economic activity:

o Annual contribution of the arts to

the national economy: $36.8 billion

o Number of jobs supported by the

arts nationally: 1.3 million

o Annual value of paychecks:

$25.2 billion

o Percentage of GNP attributable to

nonprofit arts activity: 6%
Source: Jobs, the Arts, and the Economy,
Washington, DC: National Assembly of Local
Arts Agencies, 1994.

window onto events, ideas, and
historical eras.

o Altogether, what an arts education
does is build connections between the
content of the art form and the total
experience of the student.

An arts education teaches students
to draw on new resources to

empower their lives. Dr. Ramon C.
Cortines, former Chancellor of the
New York City Schools, who has
directed some of the most innovative
school restructuring initiatives in
California and New York, has this to
say about the power of the arts for
individual students:

“The arts, or the ‘Fourth R,’ offer a

A CAPACITY AND TASTE

FOR READING GIVES ACCESS TO

WHATEVER HAS ALREADY BEEN

DISCOVERED BY OTHERS:.. “‘
A. LINCOLN

WE MAKE SURE EVERYTHING YOU READ FROM US
IS SIMPLE AND CLEAR.

01996 1..inCOill National Lilt. Instil-once Co., Furl 1Voyne, IN 46802
For informal ion, ran 1-800,1-1,IN(:(1LN.

Richard Gun
Chief Executive Officer

Binney & Smith

ARTS EDUCATION FOR
WORKPLACE SUCCESS

At Binney & Smith, our commit-
ment to supporting the arts in
education dates back nearly a
hundred years with the introduction

of Crayola brand products as the
creative tool of choice in the

nation’s classrooms.
Today, the company is synony-

mous with arts education leader-
ship providing quality products,

instructional resource materials,
workshops, and curricular
resource programs like Crayola

Dream-Makers. In addition,
we work with the educational
community and our valued retailer

and wholesaler customers to advo-

cate the value of arts in education

to national opinion leaders.
We believe the skills the arts

teach creative thinking, problem-

solving and risk-taking, and team

work and communications are

precisely the tools the workforce of

tomorrow will need.

If we don’t encourage students
to master these skills through
quality arts instruction today,
how can we ever expect them to

succeed in their highly competitive

business careers tomorrow?

7

SPECIAL ADVERTISING SECTION

powerful tool for meeting the challenges
of reform. Teachers want materials
and activities that are hands-on,
challenging students to move from the
concrete to the abstract . . . [Everyone]
has seen the life of at least one child
changed by the power of a brush
stroke, the discipline of a dance step,
the expressive opportunities of music,
and the searing courage and vitality of
the theater. We know that to live full
lives, all children, indeed all people,
need opportunities to experience,
appreciate, create, and reflect upon art.”

A Perhaps most valuable of all, an
gt arts education teaches critical
thinking skills. This important point
requires a full explanation. Because
an education in the arts appeals to the
great variety of human intelligences
and contributes to the development
of the “higher order thinking skills”
in Benjamin Bloom’s Taxonomy of
Learning analysis, synthesis, and
evaluation it helps lay the ground-
work students need to be successful in
a world where the ability to produce
knowledge is at a greater premium
than ever before.

Professor Howard Gardner of
Harvard University is widely known for
his studies on the nature of human
intelligence. He theorizes that far
from being a single quality, intelligence
comprises seven distinct areas of
competence: linguistic, logical/

mathematical, musical, spatial, bodily/
kinesthetic, interpersonal, and intrap-
ersonal. His work demonstrates that
by making use of all seven areas learn-
ing can be deeply enriched. Arts-based
instruction is one of the best ways to
engage all seven forms of intelligence.
The thinking skills inherent in the arts
disciplines teach students how the parts
of a work of art fit together, how to
create works of art using disparate
materials and ideas, and how to judge
the quality of the finished product
their own and those of others.

Other key intellectual skills, such as
problem posing, problem solving, and
decision making, are integral to arts
education as well. Professor Lauren B.
Resnick, of the University of Pittsburgh,
has drawn up a helpful list of the
thinking skills nurtured by an arts
curriculum (see sidebar page 9).

Researchers have found not just a
correlation but evidence of a solid,
statistically based, causal connection
between at least one art form music

and improved reasoning abilities.
In 1994, Drs.
Gordon Shaw CINCINATTI OPERA

and Frances
Rauscher of
the University
of California
(Irvine)

showed that
music lessons

15

provides more than

200 educational

performances

annually, reaching

more than 63,000

students. The

program, supported

by Procter &

Gamble since 1988,

makes opera an

accessible art form.

This weekend he’ll spend

3 hours behind home plate

and 11/2 hours between
libior

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many advertisers find it such an intelligent buy.

For information, call Bill Kupper at (212) 512-6945, or e-mail [email protected].

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Beyond news. Intelligence.

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© 1996. by The McGraw-Hill Companies. Inc.

gernational; 1996 Business Week Subscriber Study.

A Division of The McGrawlliU Companies

among preschoolers produced a statis-
tically significant correlation with gains
in spatial reasoning, i.e., the ability to
perceive the visual world accurately, to
form mental images of physical objects,
and to recognize varia-
tions in objects.

Other research sug-
gests that the arts can
be a valuable tool for
integrating knowledge
across other academic
disciplines, and that the
arts can be effectively
used to create cross-
disciplinary curricula.
An education in the arts can make this
contribution because it develops the
ability of students to see and think in
wholes. As one of America’s foremost
experts on the “learning organization,”
Peter Senge, puts it:

“From a very early age, we are taught
to break problems apart, to fragment
the world. This apparently makes
complex tasks and subjects more
manageable, but we pay an enormous
price. We can no longer see the conse-
quences of our actions; we lose our
intrinsic sense of connection to a
larger whole … After a while, we give
up trying to see the whole altogether.”

PECIAL ADVERTISING SECTION

into their curricula discover they can
make a significant impact on overall
school success. Students who take arts
courses in high school, for example,
out-perform students who don’t on the

Scholastic Aptitude Test
(SAT), according to the
College Entrance
Examination Board. In
1995, SAT scores for
students who studied the
arts for four years scored
59 points higher on the
Verbal portion and 44
points higher on the
Mathematics portion

than students with no arts coursework.

‘Study of the arts encourages a
suppleness of mind, a toleration

for ambiguity, a taste for nuance, and
the ability to make trade-offs among
alternative courses of action. The

When the analytical

mind is developed

at the expense of

synthetic intelligence,

serious consequencs

can follow.

An Arts Education Builds Specific
Workforce Skills that Business Values

An arts education teaches directly life
attitudes and skills that businesses are
looking for. More and more executives
are beginning to discover not only that
the arts make for a more stimulating
and rewarding work environment,
but that they can also have a direct,
positive impact on the bottom line. In
business lingo, the study of the arts
provides “value added.”

An education in the arts
Li encourages high achievement.

Arts instruction pushes students to
perform and to produce by

offering models of excellence, and by
clearly defining the paths for achieving
it. Schools that incorporate music, art,
dance, drama, and creative writing

8

truth that there are many ways of
seeing the world and interpreting it is
fundamental to an education in the
arts. The vision of van Gogh is not the
vision of Jasper Johns. Young people
who create a dance to express the
“meaning of independence” learn that
there is no “right” way to present that
idea, only movements that are faithful
to the idea itself. Says former ARCO
president and CEO William F.
Kieschnick, “those at home with the
nuances and ambiguities of art forms
are far more likely to persist in the
quest to resolve ambiguity in the prac-
tical world.” Knowing how to shift
intellectual gears beats rigid thinking
every time (see sidebar page 11).

0 Study of the arts helps students to
,j think and work across traditional
disciplines. They learn both to inte-
grate knowledge and to “think outside

THINKING SKILLS IN THE ARTS CURRICULUM

o Arts education encourages nonalgorithmic reasoning, i.e., a path of thinking and

action that is not specified in advance, a characteristic that often leads to novel

solutions.

o Arts education trains students in complex thinking, i.e., thinking in which the

path from beginning to end is not always visible from the outset or from any

specific vantage point as, for instance, when a student learns a piece of music,

or has to solve unforeseen problems with the use of materials.

o Arts education encourages thinking that yields multiple rather than unique

solutions, as when an actor tries different ways of portraying a character, each

with its own costs and benefits.

o An arts education asks students to use multiple criteria in creating a work of art,

which sometimes conflict with each other, as when artistic goals fight with clarity

of communication.

Arts education involves thinking that is laced with uncertainty. Not everything

that bears on the task is known, for example, whether a particular kind of paint

will achieve the desired artistic effect.

o Arts education requires self-regulation of the thinking process itself, as when

students are forced to make interim assessments of their work, self-correct, or

apply external standards.

o Arts education involves learning how to impose meaning, finding structure in

apparent disorder, as when purpose emerges from seemingly random movements

in a modern dance.

o Arts education also involves nuanced judgment and interpretation, as when

playwrights work to find exactly the right words to establish a character, signal a

turn of plot, or achieve an emotional effect.

Source: Lauren B. Resnick, Education and Learning to Think, Washington, DC: National Academy Press, 1987.

1.7

the boxes.” With some exceptions,
the tendency in American public
education is to pay scant attention to
the integration of learning. Today’s
school curricula still mirror the 19th
century German university system of
academic “disciplines.” Forty-five-
minute class periods are parcelled out
to English, physics, and civics with
the result that students seldom see
their studies as a whole. Nor are they
taught how to breach subject-area
lines to enhance learning in more than
one discipline, or how to create
contexts for new knowledge that do
not necessarily fit into the traditional
disciplinary boxes.

Arts education affords excellent
opportunities for breaking down such
barriers. At New Dorp High School
on Staten Island, for example, the art
history and aesthetic components of
required arts classes tie into the cul-
tures explored in the school’s Global
Studies curriculum. Art teachers
construct their own curriculum units,
which use economic, historical,
geographic, and political factors as
they relate to the art of each culture,
country, and continent.

Similarly, leading-edge companies,
which now spend millions annually to
spark imagination throughout their
organizations, find that the most
creative ideas come from people who
are not bound by conventional modes
of thinking. Says A. Thomas Young,
former executive vice-
president of Lockheed
Martin, “many great
ideas come from people
poking around
unfamiliar disciplines

often the arts
who apply what they
find to their own field.”
Knute Rockne, he
points out, patterned
backfield formations for Notre Dame’s
famed “Four Horsemen” after
watching a dance performance, and
military designers borrowed Picasso’s
cubist art to create more effective
camouflage patterns.

SPECIAL ADVERTISING SECTION

Ai An educa-
tion in the

arts teaches
students how to
work coopera-
tively, and how
to work out
conflicting points
of view. Both
skills are critical
in the workplace.
Playing in a
school orchestra,
singing in a choir,
and putting on
a dramatic
production are
all cooperative
activities; they
require and create
well-developed
communication
and interpersonal
skills. In a 1992 Wall Street Journal
article, John Kelsch, director of
quality at Xerox, put it this way: “We
want to hire students who are better
prepared … to work in team environ-
ments, and we want them to understand
work as a result of processes.”

fc An education in the arts builds
an understanding of diversity and

the multi-cultural dimensions of
our world. Every art object (play,
composition, painting, sculpture, dance,
poem) invites the student who encoun-

ters it to see the world
from someone else’s
vantage point. All the
arts naturally draw on
other cultures their
tales, songs, histories,
myths, and values
to create meanings.
Sometime before 2050
the United States will
become a “majority-

minority” nation. Those demographics
make these capabilities crucial to
education and the future of our chil-
dren. An arts education can lay the
foundation for a deeper understanding
of the global marketplace as well.

The idea of quality

also enters arts

education as students

strive to make their

next work better than

the last.

9

.

Musical instrument “petting zoos”
are a popular prelude to concerts

for young people at THE KENNEDY

CENTER and a delightful way to

introduce children to the instru-
ments of the orchestra.

6 An arts education insists on the
value of content, which helps stu-

dents understand “quality” as a key
value. Real arts education goes well
beyond mere “appreciation” for the
arts. It also includes performance, cre-
ating products, and the mastery of the
knowledge, skills, and persistence
required to do both. The idea of quality
also enters arts education as students
strive to make their next work better
than the last. If that sounds like
W. Edwards Deming and “continuous
improvement,” it is.

Arts education students also experi-
ence the strong connection between
personal (or group) effort and quality
of result. They also come to under-
stand and value what makes a work of
art “good” and what it means to work
to a standard. That kind of education
is not just education about art, it is
education about life.

Not incidentally, this engagement
with content, quality, and standards
is why “exposure programs” (e.g.,
periodic trips to the art museum or

9

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VALUE ADDED: HOW ARTS
EDUCATION BUILDS THE SKILLS
THAT BUSINESS VALUES

1. An education in the arts encour-

ages high achievement.

2. Study of the arts encourages a

suppleness of mind, a toleration

for ambiguity, a taste for nuance,

and the ability to make trade-offs

among alternative courses of

action.

3. Study of the arts helps students

to think and work across tradi-

tional disciplines. They learn both

to integrate knowledge and to
“think outside the boxes.”

4. An education in the arts

teaches students how to work
cooperatively.

5. An education in the arts builds an

understanding of diversity and

the multi-cultural dimensions of
our world.

6. An arts education insists on the

value of content, which helps

students understand “quality”
as a key value.

7. An arts education contributes to

technological competence.

visits by a string quartet from the
local symphony) are insufficient
compared to a basic education in the
arts. The arts are
not a kind of
cultural vaccine a
student can take
with a simple injec-
tion. Real engage-
ment with content
in the arts takes
hard work prac-
tice, study, and
repeated assessment

just as learning
English composition
and French take hard
work. Without
rigor, students never
get to quality; in an
arts education, they
get rigor.

10

SPECIAL ADVERTISING SECTION

An arts
U education con-

tributes to techno-
logical competence.
Technology has
always been inte-
gral to the arts,
from ancient times
when sculptors in
marble used metal-
lurgy to hone their
chisels, to the
studios of today,
where metals are
shaped using
acetylene torches.
Similarly, the
dramatists of
ancient Greek the-
ater had a profound
knowledge of
acoustics, while
their modern counterparts are masters
of such technologies as electronic
sound, lighting, film, and television. In
all the arts disciplines, a wide variety
of technologies offer students ways to
accomplish artistic, scholarly, produc-
tion, and performance goals. New
technologies also make it possible for
students to try out a vast array of
solutions to artistic problems. Well
used, interactive media which are a
combination of artistic and technolog-
ical resources spark creative thinking

skills, as any parent
can testify whose
10-year-old has repro-
grammed the VCR!

Used appropriate-
ly, technology
extends the reach of
the learner. Not only
can interesting and
innovative technolo-
gies attract students
to the arts, the arts
also attract students
to technology and
encourage techno-
logical competence.
Employing comput-
ers to create media
animations calls on

The TUCSON-PIMA ARTS COUNCIL

asked local artists to teach

students techniques of ceramic

tile work, used to beautify public
benches. The skill is highly

marketable in Southern Arizona. 21

1NTERLOCHEN ARTS ACADEMY

dancers perform in concert. This

world-renowned center for arts
education received over $900,000

in corporate and foundation
support last year.

the same competencies business needs
to strengthen the workforce.

Sharon Morgan, executive director
of the Oregon Coastal Council for the
Arts, insists that arts-in-technology
programs impart a special kind of
academic discipline. She reports that
“the kids in our Animation Project
find that while the software may give
them quick access to working tools,
the work is hard. When they find out
how difficult it is, some naturally fall
by the wayside. But it turns others
around. Animation arts have intro-
duced them to why they need a broad
and content-rich education.”

An Arts Education Connects Young
People to Themselves, their Culture,
and their Civilization

An arts education speaks to and
helps children build the capabilities

that help them grow as unique
individuals:

o the imagination to see something
wholly new in the most ordinary
materials and events;

c:(1
t->”

A

A

22-

I

e

PVith a ramily orjetliners

to choose from, airlines

errn serve just about any

market in the world.

There is an airport 14,000 feet up in the I ibetan Himalayas.

It’s served on a regular basis by a Boeing 757. On the other

side of the world, Boeing 747s take off and land at Heathrow

Airport over a hundred times a day. And from Algiers to

Zimbabwe, a Boeing 737 is by far the most popular way to go.

In an industry that is increasingly global, Boeing is the

undisputed leader. Fact is, Boeing airplanes are flown by airlines

in nearly 130 countries around the world. Last year, 70% of all

jetliner orders went to Boeing. That’s not only good news for

the trade balance, it’s good news for the two million workers in

50 states who help make Boeing an international success story.

rl

o the daring to challenge tired modes
of expression;

o the eye of critical discernment that
can separate the good from the
mediocre, and the truly beautiful from
the merely good;

o the self-knowledge that comes from
exploring the emotional side of life
that the arts evoke; and

o a sense of responsibility for advancing
civilization itself.

An education in the arts helps
children experience and under-

stand their cultural heritage. It enables
them to make new connections to the
past that continue to nourish them,
and to the world of beauty in all
art forms that surrounds and
inspires Americans today. An educa-
tion in the arts provides children with
unique ways of understanding the
broad range of human experience, and
how to find personal fulfillment,
whether vocational or avocational.

An arts education teaches children
how to navigate the broad river of

meaning which bears all of us
individuals, society, and nation in

the present, and which carries us into

11

SPECIAL ADVERTISING SECTION

the future. Through an education in
the arts, children can learn to present
ideas and issues in new ways; to teach
and persuade; to entertain; to design,
plan, and make things beautiful.
With an arts education, children can
learn how our culture is grounded.
More important, they
can figure out where
they are headed.

An arts education
provides children

with an avenue to the
incomparable. As one
recent essay puts it:
“To read Schiller’s
poem Ode to Joy …
is to know one kind of
beauty, yet to hear it
sung by a great
chorus as the majestic
conclusion to
Beethoven’s Ninth Symphony is to
experience beauty of an entirely dif-
ferent kind, one that for many is sub-
lime.” The arts and arts education,
in the end, are about making that
kind of experience and difference

available. It is one of the greatest
gifts education can bestow on
any child.

“Those a

BUSINESSES SUPPORT ARTS
EDUCATION: Three Examples

Forces for the Future Education
in the United States has always been
basically an enterprise of the local
community, the local school, and the

individual classroom.

t home with

the nuances and ambi-

guities of art forms

are far more likely to

persist in the quest to

resolve ambiguity in

the practical world.”

WILLIAM F. KIESCHNICK,

FORMER PRESIDENT AND CEO,

ARCO

ARTS EDUCATION IS CHANGING EDUCATION

Amulti-year research project sponsored by the GE Fund, the John D. and

Catherine T. MacArthur Foundation, and the President’s Committee for the

Arts and Humanities, is taking a close look at the impact of the arts on education.

Under the rubric of “Champions of Change,” research efforts are being supported
to examine:

1. the growing shift from an “observe the performance” model to one based on
the content of the performance arts;

2. the Metropolitan Opera Guild’s opera education program, in which youngsters

actively create all aspects of their own operas from the ground up, including

the business aspects of putting them on;

3. a Connecticut project, in which schools each choose a Shakespearean play and

produce it for interscholastic competition;

4. a neighborhood-based partnership in Chicago involving 37 public schools and
27 community organizations; and

5. a research project on the use of arts education with gifted students.

Source: Interview, Jane Polio, GE Fund, September 23 1996

-t 0

Today, that perspective
dominates education
reform, as principals,
parents, teachers,
community leaders, and
businesses seize an
unprecedented oppor-
tunity to create educa-
tion changes that can
meet their new needs
and expectations.

All over the country,
there are dramatic
examples of how

schools, businesses, professional
groups, and local arts agencies and
organizations are collaborating to help
young people develop the skills they
need in the modern economy. At the
national level, the business community
has joined with teachers, school
administrators, artists and arts and
cultural organizations, parents, and
students in a focused effort to make
sure the arts are included in state-
level plans to implement America’s
education goals. The business
community has been deeply invested
in this effort, called the “Goals
2000 Arts Education Partnership.”
According to executive director
Dick Deasy, “When business comes
to the table, the issue is taken
seriously. Business people increasingly
realize that the arts are evidence of
a school’s commitment to high stan-
dards of excellence for every child
the fundamental idea behind Goals
2000. So business is a key player
and a key partner in our efforts to
provide a solid education in the arts
to every child in America.”

The most exciting stories about
business and arts education come from
classrooms and local programs, where
business people, arts educators, and

25

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e 26

Businesses need more
than the traditional “3 Rs”
in education to have a

DAVID FISHER
Chairman of the Board
The Capital Group Companies, Inc.

2?

competitive edge in the
twenty-first century.
Add the arts as the “fourth
R” to the educational
mix and watch students
develop into adults who

think creatively,

have high-level
communication and
interpersonal skills,

work flexibly
across disciplinary
boundaries,

understand the multi-
cultural dimensions of
our world, and

possess a technological
competence needed for
the information age.

Invest in your employees of
tomorrowbecome a partner
to arts education today.

For more information, please
contact the Getty Education
Institute for the Arts at
1200 Getty Center Drive,
Suite 600, Los Angeles,
California 90049-1683
http: / /www.artsednet.getty.edu/

lb I

TH E GETTY

EDUCATION
INSTITUTE FOR

THE ARTS

SPECIAL ADVERTISING SECTION

EDUCATION IS MORE THAN LEARNING TO FOLLOW THE RULES

u Iliot W. Eisner, one of the nation’s outstanding educators, argues that part of

…U4 the value of an arts education is learning how to develop particular mental

processes. He points out that much of the content of elementary education in this

country teaches students to conform to rules. Arithmetic operations, spelling, read-

ing, and punctuation are all based on following specific rules to obtain the “right

answer.” While necessary to many subjects, the rules approach does not work for

developing arguments or interpreting data, skills many business leaders work hard

to develop in their employees.

Says Eisner: “[In life] no comparable ‘correct’ exists. There is no single answer

to an artistic problem; there are many. There is no procedure to tell the student

with certainty that his or her solution is correct … One must depend on that most

exquisite of human capacities judgment. The exercise of judgment in creating

artistic images or appreciating all the arts, in turn, depends on developing the ability

to cope with ambiguity, to experience nuance, and to weigh the tradeoffs among

alternative courses of action.”

community arts organizations are
working together to make a difference
to students.

Ashland Inc.: The Value of Arts
Education for School Reform

Ashland Inc. boasts a 70-year corpo-
rate commitment to education. Much
of its involvement in recent years has
gone into school reform in the corpo-
ration’s home state of Kentucky, where
Ashland has been a major player in
promoting KERA, the Kentucky
Education Reform Act of 1990. KERA
provided the framework for the most
far-reaching reorganization of a state-
wide school system ever mandated by
a state legislature.

Since 1983, all of Ashland’s corporate
advertising budget has gone to support
quality education. Why? Because Ash-
land believes deeply that education
particularly arts education is a linch-
pin to business growth. Says vice presi-
dent for communications, Dan Lacy:

“It’s a given that today’s employee
has to have basic skills. But superior
skills are needed to survive competitively
in the global context. Acquiring them
has to begin as early as possible in a
child’s education, and we see that it
comes through arts education. We are
not doing justice to our economy or
our children if they don’t get that in
the K-12 context. That’s why Ashland

supports arts education not
only to build better kids but to build
a better workforce.”

The participation of Ashland Inc.
in the arts education programming of
both the Ordway Theatre (St. Paul)
and The Minneapolis Institute of Arts
(a museum) shows what corporate
commitment can do. According to
Lacy, Ashland got involved in arts
education in the Twin Cities because
it has a major presence in the area,
with 140 of its SuperAmerica conve-
nience stores located there, as well
as one of its Ashland Petroleum
Company refineries. “The community
demographics were such that we felt
a responsibility to our employees
and local stockholders to put some-
thing back into the community.
We wanted to do something for arts
education.”

Programs at Ordway and the
Institute are linked, providing both a
performing arts base and a visual arts
center. The two collaborated in creating
a community of arts education profes-
sionals to develop a joint curriculum
for a school outreach program, used by
more than 40,000 students in the 1995-
96 school year.

The curriculum is theme-oriented,
building on standing or visiting
exhibits at the Institute. At a recent
100-piece exhibit of miniatures and

9,8

Paul W. Chellgren

President and Chief Executive Officer

Ashland Inc.

What good is arts education?
Students must be grounded in the
basics. Basic reading. Basic math.
Basic composition. Aren’t those the
only skills students really need? Every-
thing else is icing on the cake, right?

Wrong. Today’s students need
arts education now more than ever.
Yes, they need the basics. But today
there are two sets of basics. The first

reading, writing, and math is

simply the prerequisite for a second,
more complex, equally vital collection
of higher-level skills required to
function well in today’s world.

These basics include the ability to
allocate resources; to work success-
fully with others; to find, analyze,
and communicate information; to
operate increasingly complex systems
of seemingly unrelated parts; and,
finally, to use technology. The arts
provide an unparalleled opportunity to
teach these higher-level basics that are
increasingly critical, not only to tomor-
row’s work force, but also today’s.

The learning is in the doing, and
the arts allow students to do. No other
educational medium offers the same
kind of opportunity. In fact, a recent
study indicates students who have
four years of art and music education
score 59 points higher on the verbal
SAT and 44 points higher in math.

I’m proud Ashland Inc. supports
the arts and arts education. As a
member of the National Foundation
for Advancement in the Arts board
of directors, I urge every parent,
every school, every community, and
every business to do the same.

12

SPECIAL ADVERTISING SECTION

IBM’s “Magic Canvas” software is

easy for young artists to use. Buttons

appear as graphics and familiar tools

such as crayons and paint buckets

make painting fun and easy.

ceramics from the Han Dynasty in
China (206 BCE-220 CE), for example,
children not only learned of this
dynasty’s history and contribution to
Chinese culture, they did tomb rub-
bings, played Chinese games invented
during the period (e.g. “Go” and
“Pentagrams”), and listened to tradi-
tional Chinese music.

In another joint program, “Art
Smart,” Ordway and the Institute
worked with students in a middle
school to develop a traveling exhibit
of the paintings of a local artist,
Clementine Hunter, a former slave. A
local collector of her work helped the
students put the project together; the
students were then trained as docents
to travel with the exhibit.

Oregon Coast Council for
the Arts: Meeting Business and
Education Needs

In rural Lincoln County, Oregon, the
Oregon Coast Council for the Arts
(OCCA) has brought together local
businesses, artists, the Lincoln County
School District, and a consortium of
nonprofit agencies to create the

13

I

“Animation Project.” Teams of artists
and nonartists work with clients to
develop animations for specific business
needs just like a commercial pro-
duction house or advertising agency.
The difference is the project’s focus on
teaching critical thinking and comput-
er skills, not only to students but also
to educators, artists, and displaced
timber and fishery workers. Students
learn such skills as story-boarding,
how to make client presentations,
and how to negotiate a contract.
Significant Animation
Project results produced
for clients so far include:

o an “overlay” used
by an EPA Fish and
Wildlife vessel to display
mathematically accurate
and probable lava and
warm-water flows from
undersea volcanoes;

a promotion for a
new underwater steering
device for boat motors
for Nautamatic
Marine Engineering,
which solved a market-
ing problem for the
company; and

29

o an introduction for a safety training
video for a Georgia Pacific paper
processing mill.

OCCA has also established an
Arts/Technology Incubator to extend
its training model, expanding it beyond
simple animation projects to include
CD-ROM production and animated
software for use in employee training
(Hewlett-Packard is the client). The
project also provides both real and
cyber-space access to technology train-
ing and real-world applications. Says
OCCA executive director Sharon
Morgan, “we estimate that there are
some 1,200 jobs going begging in
Portland because people lack the skill
mix we are delivering: arts skills, com-
puter skills, and a sense of how to
work in a total quality environment. I
am convinced that the need to master
new technologies will create the biggest
need for arts education because all
technology is image- and metaphor-
based. Arts education teaches kids how
to handle that.”

“Creative Solutions”: Arts
Education and the Needs of
At-Risk Youngsters

Now in its third year, Creative Solutions
is a joint project of Young Audiences
of Greater Dallas and the Dallas
County Juvenile Department. The pro-
gram addresses the education needs of

both developmentally
disabled and adjudicat-
ed youth, using the arts
to help students devel-
op critical thinking
skills, gain skills in the
arts disciplines, build
self-esteem, and
encourage them to see
the arts as a viable
career path.

Some 1,800 youth
from four correctional
facilities were involved
in the program’s first
year (1994). Last year a
six-week summer pro-
gram was added, which
this year took the shape

San Francisco elementary

students created this side-

walk mural in the Arts

Partners project of the

21st Century Academy,

developed with support
ti.from YOUNG AUDIENCES.

HOW AN ARTS EDUCATION
CONNECTS YOUNG PEOPLE
TO THEIR CULTURE AND
CIVILIZATION

1. An arts education speaks to and
helps children build the capabilities

that help them grow as unique
individuals.

2. An education in the arts helps

children experience and understand

their cultural heritage.

3. An arts education teaches children

how to navigate the broad river of
meaning.

4. An arts education provides children

with an avenue to the incomparable.

of an intensive exploration of visual
art, creative writing, theatre, and
integrated arts, hosted by the Dallas
Museum of Art. Last year, 15 teens
on probation worked with a local
playwright to write and produce their
own play, “The Fight to Turn
Around,” which had a four-perfor-
mance “run” at Dallas’s Horchow
Auditorium. In another project, 12
young artists worked on 3 x 12-foot
wall murals on three floors of the
George Allen Courts Building.

The community energy in Creative
Solutions is provided by attorneys
from the Dallas Bar Association, who
work with the students on the paint-
ings, and two professional artists, who
contribute more than 300 residency
hours. The lawyers also help the young
people assemble portfolios of their
artwork and write resumes. One of
last year’s program highlights was an
address to the young artists from a
judge, who encouraged them to imagine
what juries would think and feel as they
looked at the murals they had painted.

Teens recommended by their parole
officers to Creative Solutions (it’s the
only way to get in) are enrolled in
Thursday classes taught by professional
artists. The program already has some
alumni, now off probation, who have
returned to work alongside the artists
as mentors. Seventy-two percent of

SPECIAL ADVERTISING SECTION

the program’s participants report
that learning teamwork skills was an
important part of the program for
them, and a Juvenile Detention case-
worker has praised the program for
giving the students a constructive
channel for their feelings.

A STRATEGY FOR INVOLVEMENT:
THE POWER OF PARTNERSHIPS

As these three examples show, one of
the most effective ways for businesses
and professionals to support arts
education is to become directly involved
in partnerships with local schools and
arts organizations. There are as many
different kinds of partnerships as there
are partners and needs, but there is
wisdom in grounding every partnership
strongly in a local connection. These
can include schools, performing arts
organizations, local arts agencies, col-
leges and universities, museums, arts
institutes, community centers or
any mix and match that makes sense.

Successful
arts education
partnerships,
as opposed to
a partnership
that supports
the arts as
simply a “cul-
tural mission,”
can take many

Banjoist Slim

Harrison is accom-

panied by a budding

Baltimore back-up

group. WOLF

TRAP’s Institute for

Early Learning trains

teachers in impart-

ing academic and

life skills through

the arts.

forms, but the most successful are
usually grounded in a solid connection
with a local school system (see sidebar
page 15).

Six Things That Make a
Partnership Work Business involve-
ment in arts education presupposes
some requirements. Not all agree on
the specifics, but there is enough
consensus to draw up a scratch list.
Not all requirements have to be ful-
filled to do a successful job. Sometimes
it only takes the right mix of two or
three to get things started.

The following list proceeds in rough
chronological order, as if starting to
build a partnership at the local level
from square one. Although the list is a
bit hypothetical, most companies that
have participated in arts education
partnerships will recognize it as a rough
description of their own experience.

Vision. Successful partnerships
happen because people believe they

are worth the effort. Capturing the
vision often means a kind of Gestalt
shift, developing the ability to see
and project support for arts
education against the broader ground
of the community, beginning with the
instructional program of the schools

or its absence. Joanne Mongelli of
the “Arts Excel” program in White

,r1

fit 1;17.,

4tt

/
1.110,5,4

14

SPECIAL ADVERTISING SECTION

FORMS PARTNERSHIPS TAKE

Work with a Local Arts Agency
In Prince George’s County, Maryland, ATLAS (Authentic Teaching, Learning, and

Assessment for All Students) has more than 60 members including the Prince

George’s County Arts Council. Fifteen of the Council members were already

participating in in-school arts education. ATLAS offers four multi-cultural arts

components in visual arts, theatre, dance, and music. A key ATLAS feature is its

Family Arts Center, an arts education facility for students in pre-K to 4th grade,

Head Start, and Even Start.

Support for Professional Development in Local Schools
State Farm supports a “Good Neighbor Award,” in which $5,000 grants are given

to schools as a way of honoring outstanding teachers for their innovation and

leadership. The grants are awarded across all fields of academic study. Those for

1995-96 are being given to arts educators nominated by the National Art
Education Association.

Summer Institutes
Some companies support arts educators by sponsoring summer institutes for pro-

fessional development. The Southeastern Center for Education in the Arts, at the

University of Tennessee-Chattanooga, uses its higher education affiliation to attract

teachers throughout the region.

Programs Targeted to Specific Needs and Populations
Some arts education partnerships are formed for specific purposes, or are targeted

to specific local needs. The students in the Gallery 37 program in Chicago create

public art for community development projects. Some partners bolster the business

acumen of local arts organizations working with schools. In Phoenix, Business

Volunteers for the Arts provides management consulting audits for arts organizations;

it is one of 30 such local organizations working in communities across the nation.

Programs Linked to Curriculum Integration
An increasingly common approach links arts education with curriculum integration.

The College Board/Getty-sponsored project on The Arts and the Integration of

the High School Curriculum” is supporting five high schools around the country to

develop new ways to integrate learning across both the arts and other academic

disciplines. In Salinas, Kansas, the “Arts Infusion” program links community corpo-

rate partners like Greyhound Charities and Southwestern Bell with the schools’

seven-requirement plan for high-school graduation one of which is the arts.

Programs Aimed at Developing Business Skills
The Corporate Design Foundation channels business support to “Design and

Business Education” pilot projects at Theodore Roosevelt High School of Technology

and Design in San Antonio, the Boston Renaissance Charter High School, and several

institutions of higher education. The program introduces 8th to 12th grade stu-

dents to both the substance of artistic design and its uses in the business context.

Source: Bruce 0. Boston, Using Local Resources: The Power of Partnerships, Reston, VA: National Coalition
for Education in the Arts, 1995, and interviews.

Plains, New York provides a perfect
example of how the process works.

“We took a lesson from one of our
corporate partners, IBM,” she says.
“When it came to the local arts orga-
nizations, we noticed that most of
their programs were geared to getting

15

kids to performances. We turned that
around. We focused on getting arts
organizations into classrooms.”

n Planning. When the architects of
successful partnerships are asked

what their secret is, the first word that

usually rolls off their lips is “planning.”
“Planning is basic, not just enthusi-

asm,” says Jack Roberts of the St.
Lucie County Arts Council in St. Lucie
County, Florida. “In the beginning,
we had a group of teachers arts
specialists and others who had read
about [what we wanted to do] and
were very interested …they wanted to
try it. But we had to come up with a
plan to sell the idea to the school
board before we could go anywhere.”

Leveraging Resources. If there is
a trick to partnering for local arts

education, it is leveraging using
resources to build resources. Two prin-
ciples usually apply. First, let potential
partners know that whatever resources
they provide will be expended locally;
they have a right to that. Second, for
businesses, the best leveraging tool is a
staff position dedicated to whatever
partnership they are trying to grow. If
a full-time employee is not possible, a
half- or quarter-timer is better than a
no-timer.

Generating Buy-in. There are no
magic bullets here, either. “One-

time successes won’t do it,” says Vicki
Poppen of Portland, Oregon’s Arts
Plan 2000+. “It takes people collabo-
rating long-term if you want to embed
arts in the schools.” In some places,
the key is getting teachers on board,
and not just arts teachers.

Another critical buy-in factor is
persuading decision makers and con-
structing truly collaborative arrange-
ments among partners unaccustomed
to working together. That may mean
cultivating nine school superintendents,
as in Kalamazoo, or using vague
community sentiment as the launching
pad for a city-wide cultural education
policy, as was done in Boston.

Professional Development for
Teachers and Support for Artists.

Professional development for teachers
and direct support for artists are
both crucial to partnerships. There is
no escaping the fact that long-term
success rises or falls on the quality of
instruction, both among the arts

3′

0

A little
imagination

works
wonders.

It takes more than
textbooks to produce
tomorrow’s mathematicians,

scientists, and business leaders.

It takes imagination. At
McGraw-Hill, we believe that

all students need grounding

in the arts to stimulate

their creativity. That’s

why we’re committed, -_-.. to creating K- 12
—;-

instructional materials

that blend the arts and

sciences, reflect every

child’s eagerness to learn,

and prepare them for the

workplace. We reach beyond

the classroom and help all

students experience the
rewards of lifelong learning.

32 The McGraw Hill Companies

Macmillan /McGraw -Hill Glencoe/McGraw-Hill CTB/McGraw-Hill SRA/McGraw-Hill McGraw -Hill School Systems

Natalie Piper, 17, an apprentice in

Chicago’s GALLERY 37 summer

program in the Loop, touches up

the “Good Stew” mural, destined for
installation as public art at O’Hare
International Airport.

specialists brought in to teach, and
among the regular class teachers who
help the artists get in step with curric-
ular goals. The best resource mix in
the world whether corporate funds,
school personnel, support from local
arts organizations, or in-kind contri-
butions will be under-used, or worse,
misapplied, if those through whose
hands the resources pass are not trained
to make the most effective use of
them. A good watchword is: it is not
the partnership’s resources that make
the teaching effective; it is the teaching
that makes the resources effective.

6 Good Communication and
Promotion. Nothing generates

momentum for a partnership like visi-
bility, especially when it makes it easier
for more participants to jump into the
boat. Florida State University’s Institute
of Art Education, for example, became
affordable for teachers primarily because
of a focused publicity program, which
elicited contributions of food from
local restaurants and some $20,000 in
contributions from local merchants.
Other local partners, unable to give
cash, contributed what they could: a
local hospital contributed frames for an
art exhibition and placed children’s
pictures in the hospital’s birthing center;
a local art center and the public library
also contributed wall space for pictures.

16

SPECIAL ADVERTISING SECTION

A New Relationship
American companies are long accus-
tomed to having local arts groups and
arts educators knocking on their door,
looking for support. In the same vein,
companies have long understood their
part of the relationship as basically
philanthropic. But things are changing.
More and more businesses are begin-
ning to understand that the relation-
ship is a two-way street.

The needs of business in a global,
highly competitive economy have
recast the requirements for the kind of
workers American companies need
“knowledge workers” with imagina-
tion and a whole battery of new skills.

As it happens, the very skills
required and the people who have
them are both found in arts education
programs all across the country. But in
many places, the short-sighted still
believe that arts education is merely
the icing on the curricular cake. That
view is simply wrong. The truth is
that, as more and more businesses
come to understand the new partnership

between business and arts education,
learning in the arts is seen as more
basic, more crucial, and more rewarding
to both. Business and arts education
both have something to give to the
other; as each recognizes it, each
enables the other to grow. In the end,
it’s like making a new friend. With the
friendship, you realize that things will
never be the same, and the realization
is something to be grateful for.

Bruce O.Boston, is president of Wordsmith,
Inc., a Northern Virginia writing and publi-
cations consulting company. He has worked
as a writer on several policy reports dealing
with education issues, including A Nation
at Risk and What Work Requires of Schools.
He is the author of the “Introduction” to
the National Standards for Arts Education
and Connections: The Arts and the
Integration of the High School Curriculum.
He has written or edited more than 250
aritcles, books, reports, and scripts.

Cover photos, left to right: Apple
Computer, Inc.; Carol Pratt/The Kennedy
Center. Far right: David Speckman/
Interlochen Center for the Arts.
Cover quotation: Dan Lacy, Ashland Inc.

THE GETTY CENTER A CAMPUS FOR THE ARTS

with a long history of

commitment to

enhancing the value and

status of arts education in

America’s schools, the J.

Paul Getty Trust will open

its new Los Angeles campus

to the public in late 1997.

The Getty Center promises

to bring the arts to new

audiences throughout the nation with programs devoted to arts education,

art and cultural heritage, scholarship, and conservation. “Educating for the

Workplace through the Arts,” an invitational conference for leaders in education

reform, sponsored by the Getty Education Institute for the Arts, will offer a

preview of the facility and its programs in January 1997.

Designed by architect Richard Meier, the Getty Center will feature a new

J. Paul Getty Museum, conservation laboratories, research facilities, and the

administrative offices of all the Getty organizations. In addition to the Education

Institute, these include the Getty Conservation Institute, the Getty Research

Institute for the History of Art and the Humanities, the Getty Information

Institute, and the Getty Grant Program.

The campus also features a 450-seat multipurpose auditorium, as well as

gardens and terraces that will serve as venues for a variety of public events.

;ek

3 3

Joey, Katie and Todd
will be performing your bypass.

Before you know it, these kids will be doctors,
nurses and medical technicians, possibly yours.

They’ll need an excellent grasp of laser
technology, advanced computing and molecular
genetics. Unfortunately, very few American
children are being prepared to master such
sophisticated subjects.

If we want children who can handle

tomorrow’s good jobs, more kids need to take
more challenging academic courses.

To find out how you can help the effort to
raise standards in America’s schools, please
call 1- 800 -96- PROMISE.
If we make changes now,
we can prevent a lot of
pain later on.

The Business Roundtaole
U.S Department of Education

National Governors’ Association
American Federation of Teachers
The National Alliance of Business

EDUCATION EXCELLENCE PARTNERSHIP

WALHALLA HIGH SCHOOL
HORICULTURE/AGRONOMY
WALHALLA, SOUTH CAROLINA

SPECIAL ADVERTISING SECTION

1996 BUSINESS WEEK SEVENTH ANNUAL AWARDS
FOR INSTRUCTIONAL INNOVATION

The New American High Schools:
Preparing Students for College
and Careers

HEALTH / NEV USINESS WEEK, using guidance
from the U.S. Department of
Education, The National Center

For Research in Vocational Education and
The McGraw- Hill Educational and
Professional Publishing Group selected 10
award winners of The New American
High Schools where students:

achieve high levels of academic and
technical skills
prepare for college and careers
learn in the context of a career major
or other special interest
learn by doing – in classrooms, work-
places, or community service
work with teachers in small schools-
within-schools
have the support of a caring community
receive extra support from adult mentors
access a wide range of career and
college information
benefit from strong links between high
schools and post secondary institutions
use technology to enhance learning

GATEWAY INSTITUTE OF TECHNOLOGY
ST. LOUIS, MISSOURI

DAVID DOUGLAS HIGH SCHOOL
STUDENT-OPERATED PRE-SCHOOL
PORTLAND, OREGON

SUSSEX TECHNICAL HIGH SCHOOL
GEORGETOWN, DELAWARE

FENWAY MIDDLE COLLEGE HIGH SCHOOL
OSTON, MASSACHUSETTS

E

li

THOMPSON VALLEY HIGH SCHOOL: CAREER FAIR
LOVELAND, COLORADO

35

THE WINNING SCHOOLS ARE:

Chicago High School for the
Agricultural Sciences – Chicago, Illinois
David Douglas High School
Portland, Oregon
Encina High School Sacramento,
California
Fenway Middle College High School .

Boston, Massachusetts
Gateway Institute of Technology
St. Louis, Missouri
High School of Economics and Finance

New York, New York
Sussex Technical High School
Georgetown, Delaware
Thompson School District
Loveland, Colorado
Walhalla High School Walhalla,
South Carolina
William Turner Technical High School

Miami, Florida

If anyone would like to call or write to
these schools’ principals or superinten-
dents for the information that will help to
adopt or adapt these 10 examples of
effective teaching and learning, please
write or fax the request to receive a copy
of The New American High School publi-
cation to: Charlotte K. Frank, V.P. –
Research and Development, The McGraw-
Hill Companies, 1221 Avenue of the
Americas, New York, New York, 10020,
phone 212/512-6512 fax 212/512-4769.

You can also find The New American
High School publication text on America
Online by going to Keyword: BusinessWeek
and clicking on the Offers & Info button.
Under Programs & Services click on BW
Award for Instrumental Innovation.

“It is our belief that these award win-
ners will have a significant impact on the
total school community in preparing their
students for college and careers,” said
David Ferm, publisher of Business Week.

SOURCE
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through. BellSouth. Now more than ever, we’re bringing together every kind of technology. From local and long

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No OTHER ART TEACHER

IN AMERICA HAS WORKED

So HARD FOR FAME.

In 1987, art teacher Michael Schmid

began his quest for FAME the Foundation

for Art and Music in Elementary Education. He and

music teacher Dorothy Kittaka envisioned FAME as an

innovative series of programs which would bring the joy of

fine arts to kids from all social, ethnic and economic backgrounds.

Today, Michael Schmid’s FAME is greater than he ever dreamed. Last year alone, over

50,000 elementary students enjoyed FAME events which included a nationally renowned

visiting artists program, three student art festivals, teacher workshops, joint philharmonic

Ja r ‘museum programs, and Camp Potawotami a week-long fine arts camp where kids

come together to learn a healthy appreciation of the arts amid the

healthy atmosphere of summer camp.

For his tireless efforts to bring the wonder of fine

arts to all kids, State Farm is proud to present

. Michael Schmid of Haverhill Elementary

School with our Good Neighbor Award,

and to donate $5,000 to further his

FAME in Fort Wayne, Indiana.

GOOD
NEIGHBOR
AWARD

STATE FARM INSURANCE COMPANIES
Home Offices: Bloomington, Illinois

The Good Neighbor Award was developed in cooperation
with the National Art Education Association.

http://www.statefarm.com
1

U.S. Department of Education
Office of Educational Research and Improvement (OEM)

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Instead, you will submit your notebook online through the Notebook Assignment located in the

final module in your HUM 100 or HUM 101 Canvas course. The items required for the notebook

(see directions in Canvas) must be combined into one Word (doc or docx) or PDF (pdf)

document. The documents must be in the order specified in the course directions.

There are several ways you can accomplish combining all your documents into one Word

document. Skim through and see which is the best option for you. If you don’t have Word on

your computer, create an account using your school email address and download Microsoft

Office 365 for students for free

OPTION 1: If you have not yet prepared individual forms.

Use the blank Word document provided in your HUM 101 or 100 class. It is in the last module

and is named Blank HUM Notebook SP2020.

1. Download the blank HUM Notebook document.

2. Open the document in Word. Complete the forms on your computer.

3. If you need additional pages or forms, insert a blank page in the document where it

should be located. If you need an additional form, copy the form and paste it into the

blank page.

4. Make pictures of your proof of Event attendance. Copy and paste or insert the picture
into the blank pages of the document after each Event form.

Saving and submitting your document (all options):

5. Save the document to your computer in a location you will be able to it find again and

name it as HUM101 Notebook Sp2020_add your name. For example: HUM101

Notebook Sp2020_BeverlyCorley.

6. Open the Notebook Assignment, click the Submission button and click Choose File.

Locate the notebook document on your computer where you previously saved it. Select

the document and click Open. Verify that the document you want to submit is now

showing beside the Choose File button. Click Submit. You should see confirmation of

your submission.

OPTION 2: If you have all your forms saved in several different documents.

The following guide is based on Word 2016. Note that you can use the functionality to create a
Word document using non-Word file types such as txt, odt, xml, pdf, or html, and even mix and
match.

1. Create a new Word document to get started. I suggest you start with a blank document.

2. With the blank document open in Word, click the Insert tab.

.

3. Locate the Object icon on the toolbar. It is displayed in the second to last icon group and
simply shows a blank window with a blue title bar by default.

4. Select the small arrow next to it and select “Text from File”. Word displays a file browser
and you may select one or multiple documents for inclusion in the existing document.

5. It is better if you add one document at a time and repeat the process for each document
individually that you want to merge as it is less error-prone. Obviously, if you want to
merge dozens or more documents, you may be inclined to select all of them at once to
speed up the process.

6. Insert blank pages, add pictures, and duplicate forms by copying and pasting as directed
in Option 1.

7. Save and submit your completed notebook as directed in Option 1.

OPTION 3: Scanning a prepared notebook

If you have completed your notebook in its entirety, you can scan your prepared notebook on a
scanner or printer/scanner. (You might also try scanning using a scanning app on your mobile
device if you can combine them into one document.) Organize your documents and pictures in
the order specified in the notebook guidelines before you scan. Scan all documents into one file.
When finished scanning, you will save your scan as a pdf document. Submit the document in
Canvas in the Notebook Assignment as directed in Option 1.

#3. Object icon

and Text from

File