ERIC ED375072: Discipline-Based Art Education and Cultural Diversity. Seminar Proceedings of a National Invitational Seminar (3rd, Austin Texas, August 6-9, 1992).

156 Pages·1993·2.5 MB·English

by  ERIC

DOCUMENT RESUME
ED 375 072
SO 024 569
TITLE
Discipline-Based Art Education and Cultural
Diversity. Seminar Proceedings of a National
Invitational Seminar (3rd, Austin Texas, August 6-9,
1992).
INSTITUTION
Getty Center for Education in the Arts, Los Angeles,
CA.
SPONS AGENCY
J. Paul Getty Trust, Santa Monica, CA.
REPORT NO ISBN-0-89236-279-0
PUB DATE
93
NOTE
156p.
AVAILABLE FROM
Getty Center for Education in the Arts, 401 Wilshire
Boulevard, Suite S.50, Santa Monica, CA 90401-1455.
Reports
PUB TYPE Descriptive (141)
Collected Works
Conference Proceedings (021)
MFOI/PC07 Plus Postage.
EDRS PRICE
Aesthetic Education; Art Criticism; *Art Education;
DESCRIPTORS
Art History; *Cultural Differences; Cultural
Enrichment; Discipline Based Art Education;
Elementary Secondary Education; Higher Education;
*Multicultural Education
ABSTRACT
This publication contains proceedings of a seminar
structured around five basic themes:
(1) cultural diversity in
(2) discipline based art education (DBAE) and cultural
education;
(3) how cultural diversity has affected practices in art
diversity;
history, aesthetics, criticism, and art making;
(4) experiences in
other disciplines which effect DBAE; and (5) and implications for
evolving DBAE practices. Summarized speeches include: "Multicultural
Education: What Does It Mean To Infuse It into a Discipline" (Carl A.
Grant; Christine E. Sleeter); "Art Education for Cultural Diversity:
Developments in the United Kingdom" (Rachel Mason);
"'Species-Centrism' and Cultural Diversity in the Arts" (Ellen
Dissanayake); "Cultural Diversity and Discipline-based Art Education"
(Michael D. Day); "How Does DBAE Respond to Cultural Diversity?" (F.
Graeme Chalmers); "Cultural Diversity and DBAE: The Challenge of One
World and Multiple Visions" (Frances E. Thurber); "Questions and
Answers" (Claudine K. Brown); "Revisionist Art History and the
Challenge of Cultural Diversity" (Alan Wallach); "The Effect of
Cultural Diversity on Aesthetics" (Marcia Muelder Eaton); "Make it
Real: Notes on Pluralism, Empirical Criticism, and the Present
Moment" (Robert Storr); "How Have Issues of Cultural Diversity
Affected Practices in Art Making?" (Alfred J. Quiroz); "DBAE and
Cultural Diversity: Some Perspectives from the Social Sciences" (June
King McFee); "Learning from Literature" (Marianna Torgovnick);
"Mining the Museum 1" (Lisa Corrin); and "Mining the Museum 2" (Fred
Wilson). Responses to papers listed above, a panel discussion,
affinity group reports, references, resources, and a participant
lists conclude the volume. (MM)
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Discipline-based Art Education
and Cultural Diversity
August 6-9,1992
Austin, Texas
A National Invitational Seminar Sponsored by
the Getty Center for Education in the Arts
0 1993 'Bel Paul Getty Trust
Santa Monica. California
All rights reserved
Printed in the United States of America
Library oI (:ongress CataloginginPublication 1)ata
DISUIplilIC-fraud ;Hi 11111Cailt)11 Mid cultural diversity:
1992, Austin. Texas.
seminar proceedings. August
ctn.
p.
Spine title: I)8.11: and cultural diversity.
Includes bibli(tgraphical references.
ISBN 11 -S4_3 i -279 -0
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tined StatesCongresses.
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!MAE and cultural diversity.
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TABLE OF CONTENTS
Foreword
Leilani Leath? Duke
Introduction
Thandiztee Michael Kendall
vii
FIRST PLENARY SESSION
Perspectives on Cultural Diversity in Education
Introduction
Leilani Lattin Duke
3
Opening Remarks
Bernice Johnson
Reagan
Multicultural Education: What Does it Mean to Infuse it into a Disciplin(.:.
Carl A. ( ;rant and Christine E. Sleeter
Art Education for Cultural Diversity: Developments in the United Kingdom
Rachel Masan
12
"Species-Centrism- and Cultural Diversity in the Arts
l5
Ellen Dissanayake
SECOND PLENARY SESSION
DBAE and Cultural Diversity: Three Perspectives
Introduction
Claudine K. Brown
21
Cultural Diversity and Discipline-based Art Education
,Ifichae/D. Day
How Does DBAE Respond to Cultural Diversity?
26
E Gmeme Chalmers
Cultural Diversity and DBAE: The Challenge of One Vld and Multiple Visions
28
Frances
E. 'Thurber....
Questions and Answers
Claudine K. Brown, Alodemtar
32
THIRD PLENARY SESSION
How Have Issues of Cultural Diversity Affected Practices in
History, Aesthetics, Criticism, and Art Making?
Introduction
45
Peter Pen nekamp
Revisionist Art I I istory and the Challenge olCultural Diversity
46
Alan Wallach
The Effect ()I Cultural Diversity on Aesthetics
Marcia
Muelder Eaton
r)0
Make it Real: Notes on Pluralism, Empirical Criticism, and the Present Moment
53
Robert Storr
How Have Issues of Cultural Diversity Affected Practices in Art Making?
Alfred' Quiroz
58
Fo
V RTII PLENARY SESSION
DBAE and Other Disciplines: Three Perspectives
Introduction
Martin
63
Rosenberg
DBAE and Cultural Diversity: Sum(' Perspectives from the Social Sciences
64
June King McFee
Learning from Literature
Marianna Torgovnick
68
Mining the Museum 1
Lisa Coffin
72
Mining the Museum 2
Fred Wilson
76
Questions and Answers
78
FIFTH PLENARY SESSION
Practice
Implications for Evolving
DBAE
Introduction
83
Brent Wilson
Response to Papers by Ellen Dissanayake, Marcia Welder Eaton. and June King McFee
Gilbert Clark 85
Response to Papers by Rachel Mason, F. Grame Chalmers, and Alfred Quiroz
87
Robyn F Wasson
Response to Papers by Alan Wallach, Robert Storr, Lisa Corrin, and Fred Wilson
Judith Stein
89
Response to Paper by Michael Day
Jean Detlefsen
91
Response to Papers by Bernice Johnson Reagon, Carl Grant and Christine Sleeter, ane
iisia A.II. Daniel
Marianna Torgovnick
92
Interactive Panel with Fifth Plenary Session Speakers
Gilbert Clark, ti,sta A.FI. Daniel, Jean Detlefsen, Judith Stein, Robyn E Wasson, and Brent Wilson
95
SIXTH PLENARY SESSION
Affinity Group Summary Reports
Introduction
Claudine K. Brown
103
Elementary Education
Catherine Leffler
105
Judith Madden Bryant
Secondary Education
107
Higher Education Group A
Martin Rosenberg
108
Higher Education Group B
Enid Zimmerman
110
Supervision and Administration
Norman
Janis
113
Museum Education
P El-Omami
Anne
115
Prier Pennekamp
Cross-Representative
116
117
Closing Statement
Thandiwee Michael Kendall
References
123
Resources
126
Participants
143
FOREWORD
hers of another minority. By the year 2010 this
The purpose of the Getty Center for Education
proportion will rise, and today's minority chil-
in the Arts' third seminar on the develop-
ment of discipline-based art education (DBAE)
dren will become the majority in California, New
theory was to enable art teachers, academic art
York, Texas, and Florida.
A fundamental issue accompanying these
educators, general classroom teachers, museum
realities is how such a highly differentiated society
educators, artists, art historians, critics, and aes-
theticiansand the Center's staffto discuss
will hold itself together. Can the arts play a role by
providing a common ground that transforms cul-
points of view pertaining to cultural diversity and
tural differences? Can arts education demonstrate
DBAE. The objective of these discussions was to
contribute to the evolving theory and practice
that diversity need not divide? Can it demonstrate
that plurality can be a benefit and not a burden?
of DBAE.
Can education in and through the arts make a
DIME and Cultural Diver-Ally took place in a
contribution to building mutual respect, under-
context larger than DBAE. howeverit took
standing, and tolerance? And. can the conceptual
place in the context of cultural diversity and its
approach to teaching art, known as discipline-
impact on society. The classic image of America
based art education, make a contribution?
as a melting pot, where differences of race,
wealth, religion, and nationality are submerged.
We believe that it can. We believe that DBAE
has the capacity to embrace works of art from dif-
is being challenged. The idea of assimilation into
ferent cultures and to embrace diverse forms of
the mainstream is giving ground to the recogni-
aesthetic perception and valuing. Through semi-
tion of ethnicity and diversity.
This upsurge in ethnic awareness and
nars such as DIME and Cultural Diversity, we had
the opportunity to discuss how DBAE can
diversity is having some healthy consequences,
embrace cultural diversity more effectively.
including long overdue recognition of the
One of the Center's expectations for this
achievements of women, African Americans,
seminar was that it would contribute to the
Indians, Latinos, Asians, lesbians, and gays.
evolution of DBAE theory and practice. The
Unquestionably, America's population is becom-
participants also had expectations. Ur Iversity
ing more heterogeneous and will continue to do
and college faculty, for example, can
looking
so. It has been predicted that by the year 2000,
'Or a broader and clearer understanding of
34 percent of children under the age of eighteen
multiculturalism as it applies to the theoretical
will be African American, Latino, Asian, or mem-
7
thinking about diversity issues. They wanted to
underpinnings of 1)BAE. Some participants were
know if these educators have fbund effective ped-
anxious to explore what criteria to use when decid-
agogical approaches to introducing new ways of
ing what to leave out of the curricula and what to
thinking about culture that might he relevant to
leave in. Many in higher education also hoped to
find ideas that could be applied to teacher educa-
their own work in museums.
Clearly, the expectations that participants
tion programs and to ongoing research.
Some art teachers wanted to learn how
brought to this three-day convocation were var-
ied. Realistically, not all of them could he
issues of cultural diversity are expected to impact
addressed to everyone's satisfaction. We antici-
the art disciplines, while others looked for practi-
pated that over the seminar's three days there
cal strategies for fielding questions from students
would be more questions asked than answered.
in ways that reflect cultural awareness and sensi-
of introducing
We hoped, however, that those who attended the
tivity. Still others sought
students to new production techniques without conference and those who read the proceedings
trivializing them through decontextualization.
will have been more intellectually provoked than
General classroom teachers looked for
satisfied. If this has happened, the seminar will
more infbrmation on instructional resources on
have been a success and will have achieved its
purpose; namely, to have served as a catalyst for
works of art from non-Western cultures so that
stimulating thinking and discussion of how DBAE
they could expand their teaching in art, as well
can more effectively embrace cultural diversity
as in reading, history, and social studies. Other
and the many cultural traditions that comprise
teachers wanted to know how to balance the com-
peting interests of various cultures with the
the worlds of art.
attraction of a single American culture with
shared values and traditions.
I_e flans Lattin Duke
Director
Museum educators were interested in learn-
Getty Center for Education in the Arts
ing how university and school educators were
FOREWORD
Vi
INTRODUCTION
various points
and supervision were held
In August 199. the Getty Center for Eciticati ,
1
throughout the seminar. A resource center fea-
in the Arts convened its third issues seminar lin.
turing multicultural art education videos, films,
the theoretical development of discipline -based
slides, posters. and books was open throughout
art education (1)11.1E1 in Austin, Texas. 1)evoted
the seminar (a listing of these resources appears
to the topic of 1)13AE anti 'cultural diversity, the
at the end oldie hook). Finally, the Center's staff
seminar was designed to provide an opportunity
selected videos on various aspects of cultural
I u
il Wiled al IdiVIICe of CCIIICat Ors A Ilti
diversity were aired on the conference center's
rt.sra idlers knowledgeable about and engaged
with !it: to critically examine and reflect upon
closed-circuit television fin participants to view at
their leisure.
the issues of cultural diversity its they pertain to
ev( dying DIME theory and practice. To achieve
this purpose,
THE ISSUES SEMINARS SERIES
1)ivervityvas
1)11..1E and ()alum!
The Center supports five program areas in its
structured around five basic themes:
commitment to development of DIME theory
1. perspectives on cultural diversity in
and the implementation of DIME: advocacy, pro-
education;
fessional development, theory development,
curriculum development, and demonstration
2. perspectives on DBAE and cultural
programs. The philosophical basis of the theory
diversitr,
development program area is that the theoretical
3. the cliCct orcultural diversity upon
underpinnings of DIME need to evolve continu-
practices in art history., aesthetics, criticism.
ously to provide a strong foundation Mr profes-
and art making;
sional development. classroom practice,
assessment, and research. One of the ways the
4. experiences in other disciplines that affect
Center has supported theoretical development
1)13AF; and
has been through the sponsorship of Issues semi-
5. implicatiot is fiir evolving INIAE practice.
nars or forums fbr presenting information. ideas,
and new perspectives as they apply to DIME
As a \city of stimulating further discussion,
research and teaching.
several affinity group breakout sessions facilitated
In May 1987, the Center sponsored its first
by participants representing museum education,
teacher education, art education, administration,
seminar, Issues in
Discipline-Based Arf Educatimi:
9
vii
4. philosophy and aesthetics; and
Strengthening the Stance, Extending the Horizons.
Thirty-seven art educators met in Cincinnati for
5. DBAE and the concerns of multicultural
three days to present and respond to papers
education.
structured around several basic issues:
The proceedings from Inheriting the Theory were
1. child development and the cognitive styles
made available in 1990.
children use when learning,
DBAE AND CULTURAL DIVERSITY
2. art and its societal role, and
As has been the case with previous seminars, at
3. art education curriculum refOrm.
least two years before DBAE and Cultural Diversity,
the Center's staff began an extensive preparation
Proceedings summarising the reactions and rec-
process. Because the Issues seminars fall under
ommendations of Issues I participants were pub-
our program area of theory development, we felt
lished in 1988.
it essential for our preparation to include an
The Center's second issues seminar, Inherit-
examination of the theoretical basis of cultural
ing the Theory: New Prices and Multiple Perspectives
diversity and multicultural art education. This
on DBAE, was held in May 1989. More than 130
examination included the following activities:
art educators spent three days in Austin present-
ing and responding to papers structured around
1. Developing a bibliography of scholarly articles,
five basic issues or, as the Issues it Planning Com-
news articles, books, and resources on multicul-
mittee termed them, "triangulation" sessions.
tural art education for the Center's program
This approach allowed for three different per-
staff. This bibliography includes philosophical,
spectives on each of the following topics:
sociological, and legal writings as well as those
pertaining to practical applications in K-12 and
1. the integration of art history;
higher education.
2. the role of aesthetics and criticism in the
2. Convening six day-long orientation meetings
creation of new works of all:
for staff on multicultural art education issues
with art educators, scholars, policy makers, and
3. DBAE teaching effectiveness, evaluation,
teachers, who were commissioned to write
and cognition;
10
INTRODUCTION
viii