ERIC ED404220: Advocacy.

48 Pages·1993·1.3 MB·English

by  ERIC

DOCUMENT RESUME
ED 404 220
SO 025 594
AUTHOR
Scarr, Margaret, Ed.; Varro, Tim, Ed.
TITLE Advocacy.
INSTITUTION
British Columbia Art Teachers Association,
Vancouver.
REPORT NO
ISSN-0710-0744
PUB DATE
93
NOTE
47p.; For related items, see SO 025 595-596.
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JOURNAL CIT
BCATA Journal for Art Teachers; v33 nl Spr 1993
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DESCRIPTORS
*Advocacy; *Art Education; Change Strategies;
Cultural Differences; Educational Change; Educational
Improvement; Elementary Secondary Education; Foreign
Countries; Visual Arts; *Visual Literacy
IDENTIFIERS
British Columbia; *Canada
ABSTRACT
This theme issue presents art advocacy as a necessary
means of bringing art and art education to an elevated status in the
elementary secondary curriculum and educational system. Articles
(1) "Editor's View" (Margaret Scarr);
include:
(2) "Art Education:
Why Is It Important" (Arts Education Partnership Working Group);
(3)
"Why Art in Education and Why Art Education?" (Elliot W. Eisner);
(4)
"Informed Advocacy and Art Education" (Rita L. Irwin);
(5) "Seeing
through the Eyes of the Arts" (John C. Polanyi);
(6) "More Than
Pumpkins in October
Visual Literacy in the 21st Century" (National
School Boards Association);
(7) "Creative Showcasing Student Work
Bridging Gaps, Forming Networks" (Myra Eadie);
(8) "Art Instruction
in the Elementary Classroom" (R. Lloyd Ryan); and (9) "Arts Education
as a Catalyst to Reform: Cultural Diversity and Arts Education" (F.
Graeme Chalmers).
(MM)
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Spring 1993
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BEST COPY AVAILABLE
2
British Columbia Art Teachers Association
Journal Editors: Margaret Scarr & Tim Varro
Spring 1993
Volume 33 Number 1
BCATA, Provincial Specialist Association of the BCTF
1
e3==41>
105 - 2235 Burrard Street, Vancouver, B.C. V6) 3H9
_
ADVOCACY
Contents
Editor's View
2
Margaret Scarr
Art Education: Why Is It Important
3
reproduced from "The Power of the Arts to Transform Education"
by the Arts Education Partnership Working Group Jan. 1993
Why Art In Education and Why Art Education?
5
Elliot W. Eisner
Informed Advocacy and Art Education
10
Rita L. Irwin
Seeing Through the Eyes of the Arts
16
John C. Polanyi
Century
More Than Pumpkins In October - Visual Literacy in the 21st
21
National School Boards Association
Creative Showcasing Student Work Bridging Gaps, Forming Networks
26
Myra Eadie
Art Instruction in the Elementary Classroom
31
R. Lloyd Ryan
Education
Arts Education as a Catalyst to Reform: Cultural Diversity and Arts
38
F. Graeme Chalmers
ISSN 0710-0744
The BCATA Journal for Art Teachers is an official publication of the British Columbia
those of the
Art Teachers' Association. The opinions expressed in the journal are
authors and do not necessarily reflect the views of the editors or the association.
photo credits: Tim Varro, June Oddsson, Margaret Scarr
Robin Gore
art work: Alpha Secondary, Burnaby Teacher:
3
EDITOR'S VIEW
One of the
topics of greatest interest to our members in our recent needs
assessment was that
of art advocacy. This journal is dedicated to that theme. An
advocate is one who argues for a cause;
a supporter or defender. For as long as I remember, and long before that, teachers of the visual
arts
have felt themselves placed in the often lonely position of
advocating for art; art as a vital mode of
expression, art as intregal to culture and as a
means for developing appreciation of cultural diversity,
art as a vehicle for understanding history and exploring social issues,
art as a process requiring critical
thinking, art as acquisition of skills and techniques,
art as a career opportunity, art as a major force in
media and technology, and most critically,
art as a vital component of a balanced curriculum. Art
education advocacy is particularly crucial at this time of educational
reform, when we are perhaps
provided with the greatest opportunity in
recent history to make our case. Will the educational climate
evolve into one which values art and art education?
I believe it will and that three key forms of action
must be undertaken as we continue in our roles
as art education advocates.
First and foremost we must be willing to take
a hard look at ourselves. Are our programs worthy
of advocating as central to the experience of all students?
Do we engage our students in critical
thinking? Do we engage our students in responding
to art, investigating historical and social contexts
of art works and researching the lives of artists?
Do we encourage our students to engage in discussion
of the aesthetic merits of art works? to self evaluate?
Do we require students to explore a wide variety
of issues, materials and processes? Are
our students developing visual awareness of their environment?
Do we provide opportunities for connecting skills and knowledge
acquired in our art curriculum to
other subject areas? to career opportunities? Do
we ensure opportunites for the display of student work
to peers, parents and community members? A quality
program speaks volumes to parents and students.
Second, it is important in our role as arts advocates that
we look around us for support. We are
not alone. We need to ensure we are networking with each other and collaborating
with the teachers
of the other arts disciplines; music, dance and drama. Together
we are stronger. Forming
partnerships,
with others in our educational community is also
important. Find the parents and colleagues who
are
supporters of the arts and would be happy to work with
you. Utilize their talent and support in creating
a gallery, putting on a show or collaborating on curriculum development. Count
on the students you
have inspired to speak of the importance of
art education to their peers and to their parents. Identify
community groups such as arts councils who
are your allies. Work with them. We must approach
advocacy as an organized team effort.
Third, it is important that we
are not speaking only -to the converted. Advocacy implies
education. We must educate those not yet
aware of the value of art education. At every opportunity,
speak to counsellors, administrators, colleagues,
parents, trustees and students. Explain to them
carefully and patiently why art education is important for
every child. Invite them into your classroom
to see your students engaged in the learning process. Invite them
to your shows and on your field trips.
Speak to students and parents on
course selection night. Make sure art is represented on curriculum
committees, awards committees and on
every decision making committee in your school. Share the
articles in this journal. Most importantly, don't give up!
In closing I would like to thank the contributors to this journal, those that
submitted articles and
those that gave us permission to reprint articles. I would also like
to thank Tim Varro who worked with
me on this volume.
And a special thanks to all of you who continue
to work in the
of art advocacy.
Margaret Scarr, Guest Editor
4
2
ARTS EDUCATION:
WHY IT IS IMPORTANT
by The Arts Education Partnership Working Group
As ways of knowing, the arts
The
of Multiple Intelligences (Basic
arts must be viewed as im-
involve us in complex uses of our
Books, 1983), Howard Gardner
portantfor both their intrinsic and
intelligence. Other developed
has identified seven different
their associated educational value.
countries with which we com-
forms of intelligence: linguistic,
Both dimensions can contribute
pete do not miss the opportunity
musical, logical/mathematical,
significantly to education reform.
to ensure that their children have
spatial, bodily-kinesthetic, and the
opportunities to cultivate their ut-
personal intelligences that permit
Forms of Knowledge,
most mental and emotional ca-
us to understand ourselves and
Ways of Knowing
pacities. They seem to understand
others. North American school-
something we have lost sight of:
The arts are valuable in and of
ing generally emphasizes only two
To know neither the rich store-
linguistic and logical/
themselves. They are a source of
of these
house of human experience con-
mathematical ignoring the other
human insight and understanding
tained in the arts nor the use of the
potentials of the mind. Gardner
about the world and ourselves.
expressive and communicative
They connect us to the past and
says (p. 356):
is to be
functions of the arts
help us imagine new possibilities
educationally deprived. The
"Among those observers partial
for the future. As Charles Fowler
rewarding and challenging activi-
has written in The Washington
to spatial, bodily, or musical forms
ties of arts education are part of
of knowing, as well as those who
Post:
every child's education.
favor a focus on the interpersonal
"The arts are forms of thought
aspects of living, an inclination to
Multiple Benefits
indict contemporary schooling
every bit as potent in what they
is understandable. The modern
convey as mathematical and sci-
Experienced observers tell us, and
entific symbols. They are ways
secular school has simply- though
data increasingly supports claims,
we human beings "talk" to each
it need not have - neglected these
that schools with strong arts pro-
aspects of intellectual compe-
other. They are the languages of
grams regularly incur such ben-
civilization through which we
tence."
efits as:
express our fears, our anxieties,
Arts education provides a new
our curiosities, our hungers, our
Intensified student motivation
approach. While creative writing
discoveries, our hopes. The arts
to learn;
are modes of communication that explores and develops linguistic
Better attendance among
potential, music education nur-
give us access to the stored wis-
students and teachers;
tures musical intelligence, visual
Science and
dom of the ages
.
. .
Increased graduation rates;
technology do not tell us what it
arts and design develop spatial
Improved multicultural under-
intelligence, dance draws upon
means to be human. The arts do."
standing;
kinesthetic or movement intelli-
Renewed and invigorated
gence, and theater exercises the
The arts represent multiple forms
faculty;
personal intelligences. The arts
of intelligence and multiple ways
More highly engaged students
of knowing the world that are not
therefore help schools address the
(which traditional approaches
total mind and cultivate the full
duplicated by other means. In his
fail to inspire);
range of human potential.
book, Frames of Mind: The Theory
3
Development of a higher
While the arts alone do not
Art educators, artists, and arts
order of thinking skills, crea-
deliver all these benefits, they can
organizations must be strongly
tivity, and problem-solving
be, and often are, a critical factor
encouraged to actively join in
ability; and
in their occurrence. As the arts
local, state, and national
Greater community participa-
transform teaching and learning,
reform efforts.
tion and support.
they engage students in ways that
make these benefits much more
The arts contribute to an overall
likely to be realized.
culture of excellence in a school.
They are an effective means of
Based on these findings, the
EDITORS NOTE
connecting children to each other
position of the Working Group is
Reprinted with permission from a
and helping them gain an under-
that:
summary report entitled 'The Power of
standing of the creators who pre-
the Arts to Transform Education"
ceded them. They provide schools
The arts are forms of under-
published by The Arts Education
with a ready way to formulate
Partnership Working Group, Jan. 1993
standing and ways of know-
relationships across and among
ing that are fundamentally
traditional disciplines and to
important to education;
The arts are important to
connect ideas and notice patterns.
Works of art provide effective
excellent education and to
means for linking information in
"Reflecting on
effective school reform;
history and social studies, math-
The most significant contribu-
the rigours and
ematics, science, and geography.
tion of the arts to education
disciplines involved
A work of art can lead to many
reform is the transformation of
related areas of learning, opening
teaching and learning;
in the effective
lines of inquiry, revealing that art,
This transformation is best
practise of the arts
like life,
is lived in a complex
realized in the context of com-
world not easily defined in
Robert Louis
prehensive, systemic educa-
discrete subjects.
tion reform; and
Stevenson advised
that, "As soon as
you say lit will do'
you are finished as
an artist."
I think too that as
soon as we say that
education will do
without the arts then
in a very particular
sense we are
finished."
Prof. Ken Robinson
University of Warwick
6
4
AND
WHY ART IN EDUCATION
WHY ART EDUCATION?
by Elliot W Eisner
the school and the quality and
It is tempting to reduce the possi-
When
when
a nation is at risk,
amount of time devoted to is vari-
bilities of education to simple
from all sides we hear of the vast
ous parts that define the opportu-
aspirations, to simplify complex
number of functional illiterates
nities students will have to be-
problems so that they seem ame-
leaving our schools, when reme-
come "literate" in various fields
nable to quick solutions, to
dial courses are over-subscribed
that animate and give substance
embrace images of schooling that
col-
at even our most selective
to our culture. In this sense it can
harken back to simpler, more rose-
leges, the thought of making the
be reasonably argued that the
coloured times. But such visions
marginal
case for so seemingly a
school's curriculum is a mind-
of the past are inadequate
subject as art in our schools is
altering device.
educational fare for the present.
especially daunting. How can one
the Three
The so-called basics
recommend that the schools' most
Our educational policies are
the
were never adequate in
time
be
precious resource
Rs
designed to shape the minds of
education offree men and women.
directed from what is truly basic
the young. Of course, we do not
They are even less adequate
in education to the "luxury" of
define these policies with such
today.
studying art? How can one pro-
aims in mind; our conceptions of
their at-.
pose that teachers divert
what we do are seldom so ambi-
The ability to experience the arts
tention from the skills that are
tious. Yet the effect of our choices,
of our culture is not an automatic
fundamental to economic well-
the nature of our priorities, the
What
consequence of maturation.
being to an area of study that
messages we give to teachers,
children are able to think about,
"properly" comes after basic edu-
school administrators, and not
what they are able to experience,
cation needs have been met? How
least of all, students, do precisely
the distance their imaginative life
can one propose a broad course
this. Through the curricular
allows them to travel are shaped
of study when the schools have
choices we make we tell the young
by the kind of educational lives
apparently been failing at their
what we believe is important for
they have had an opportunity to
more narrowly defined tasks?
them to learn. We tell teachers
lead. For children and adoles-
what they should devote their
cents, schooling defines a major
attention to. And we convey to
It is this case for art and art educa-
portion of their lives. Being com-
tion I wish to present. This case
principals in countless ways how
pelled by law to devote forty or
their schools, hence how they,
rests upon three major arguments.
school
more weeks per year to
First, work in the arts develops
will be evaluated.
creates for them a culture of op-
unique and important mental
or of opportunities
portunities
skills. Second, the arts represent
In this scheme of things the arts
forgone. It is we, the adults who
of
the highest of human achieve-
are seldom in the mainstream
created the policies that define
ments to which students should
them as out-
our values. We treat
the educational environment in
have access. Third, the school is
side the core of schooling. Yet we
which so much of their time is
the primary public institution that
do this at the same time that our
of
spent, who influence the kinds
possible
can make such access
culture regards the arts as among
minds children and adolescents
the highest of human achieve-
for the vast majority of students in
will have an opportunity to
ments: We build places we call
our nation.
develop. It is the curriculum of
7
5
museums to display the fruits of
artistic inquiry and construct con-
cert halls to experience the heights
we can reach through music. In
effect, we recognize as a culture
that the arts represent the apothe-
osis of human achievement yet,
paradoxically, we provide little
place for them in our schools.
The results of such neglect
are
clear. Only a small percentage of
our population visits our muse-
ums or attends concert halls. For
most people, the achievements
presented in such places are other
people's delights. Yet through
taxation all citizens pay for them.
All of us underwrite what a small
minority can appreciate and
enjoy.
stunning part of their culture. Such
huge artichokes. Artists have pur-
students simply are unable to read
poses and their purposes differ.
If the arts had no unique qualities,
our most profound forms of hu-
The experience of art is enhanced
if the achievements of great artists
man achievement.
by understanding what artists have
were of no more consequence
wanted to accomplish.
than any program randomly
intentionally used the work
se-
I
lected from daytime television,
"read" in the previous sentence.
We do, of course, recognize that
the loss would not be significant.
Visual and musical forms
in the study of history Thomas
are
Great art has something unique to
patterned forms. They are forms
Jefferson's particular vision of
provide. The ability to experience
that reflect a history. They
are
democracy is related to our un-
such art enlightens in a special
forms influenced by
purpose,
derstanding of the Declaration of
way and stretches the mind in the
shaped by technology, and
pos-
Independence. We teach children
process. The arts present to the
sessing the signature of their
about President Wilson's desire
competent eye those facets of feel-
authors. To recover the meanings
to create a worldwide delibera-
ing and insight that only artistic
these forms possess requires an
tive body
a League of Nations
form can reveal. There is
no ver-
ability to read the language they
and that his efforts are relevant for
bal equivalent of Bach's Mass in B
use. It requires one to understand,
understanding the period after
Minor. Words cannot convey
for example, that Monet would
World War I. Indeed, it would be
what the music expresses. But the
paint the very same haystack four
a shallow historical understand-
messages in these works are not
times during the same day, not
ing
or no understanding at all
there simply for the taking. They
because he was interested in hay-
to neglect such features of the
must, so to speak, be recovered.
stacks but because he was inter-
past. The fine arts require no less.
They must be read. The works
ested in the way light illuminated
The argument thus far is straight-
themselves must be unwrapped
them at different times. One prof-
forward. When, through our poli-
its from understanding De
to be experienced. School pro-
cies and priorities, we define the
grams that do not provide ad-
Chirico's interest in revealing the
school curriculum, we define what
equate time and attention to the
world of the unconscious by jux-
students will have an opportunity
arts deny students access to a
taposing trains, clock towers, and
to learn. The opportunities they
8
6
are models that children are asked
that I believe to be equally com-
have to learn influence the char-
to copy so that their letters can be
pelling. This argument is that par-
acter of their mental life.
read. Even in early reading there
ticular kinds mental processes are
are correct meanings to the sen-
elicited and developed by work
Even though they represent the
tences and paragraphs children
in the arts.
highest levels of human achieve-
are asked to read. In short, the vast
ment in our culture, the fine arts
majority of academic tasks young
If one examines the character of
are now afforded little place in
children encounter in school are
the school curriculum. At the
what is taught in schools, particu-
driven by a rule-governed system
larly elementary schools, it be-
elementary school level they com-
that provides little space for per-
comes apparent that for the most
mand less than 3 percent of the
sonal interpretation; right and
part the tasks that students con-
instructional time per week, and
wrong are a part of the lexicon
frontare characterized by a highly
at the secondary level approxi-
that elementary school children
rule-governed structure. For ex-
mately 80 percent of all high
are taught to internalize.
ample, arithmetic problems re-
school students never enrol in a
quire that children learn the four
fine arts course during the four
What do such tasks mean for stu-
basic operations and how these
years they are in attendance. Less
dents? What does it mean to chil-
operations apply to the treatment
than 3 percent of all school dis-
dren to have a curriculum in which
of numerals. To be correct in arith-
tricts require study in one of the
fealty to rule is a pervasive fea-
metic is to know the right way to
fine arts as condition for gradua-
ture? Such conditions can lead to
perform a particular operation. If
tion.
a population of rule followers.
a student is in doubt, the student
One of the greatest of educational
can prove the answer by perform-
The result of access denied is a
fallacies, John Dewey once said,
ing the appropriate operation.
program of education that leaves
is the belief that children learn
most students unable to partici-
only what they are taught. Chil-
In learning to spell, there is a
pate in the arts; the great muse-
dren learn the covert lessons as
correct and an incorrect way to
ums and concert halls that popu-
well. The school's curriculum is
arrange the letters that constitute
late the nation are the resources of
currently heavily weighted toward
words in the English language.
a small minority of our citizens.
a rule-governed view of learning;
The spelling of words, like the
Artistic literacy is a rare educa-
there is a correct and an incorrect
problems children encounter in
tional commodity.
answer to each question raised,
arithmetic, are either correct or
the teacher knows the correct
incorrect. Similarly, in punctua-
Thus far the major argument
I
answer, and the student's task is
tion, there tends to be a correct
have advanced focuses upon
to get it right.
and an incorrect way to evaluate
access to what might be called
"cultural capital." There is, how-
the sentences children are asked
to write. In learning to write there
ever, another line of argument
"Art is part of the cultural heritage of every society.
Art can make an impact on a scale that is literally world wide.
It is therefore the responsibility of all educational agencies
to recognize art education as a fundamental part of
human growth and development."
Saskatchewan Society for Education Through Art
9
7
In the arts no comparable "com-
senses have been regarded as
Charles Sheeler or its loneliness
forts" exist. There is no single
separate from mental life; they are
through one by Edward Hopper.
correct answer to an artistic prob-
considered lower in the hierarchy
We begin to discover what fields
lem; there are many. There is
of human capacities. We typi-
no
of colour can do through the work
procedure to tell the student with
cally separate feeling from think-
of Josef Albers, or how the power
certainty that his or her solution is
ing, emotion from thought, the
of line can shape our feeling
correct. There is no algorithm that
head from the hand, and the mind
through the images of Franz Kline.
one can use to solve an artistic
from the body. This view is mis-
Our senses yield sensation and
problem; one must depend upon
taken. The eye is a part of the
from sensation we ascend to the
that most exquisite of human
mind, and the ability to read the
aesthetic. The aesthetic gives rise
capacities
judgment.
qualitative world in which we
to feel i ng. Unlike the anaesthetic,
live is the major avenue through
which dulls it, art functions in the
which those forms we call
The exercise of judgment in the
service of feeling by reestablish-
making of artistic images or in
thoughts are constructed. All
ing the connection between mind
their appreciation depends upon
thinking requires a content, and
and the senses.
the ability to cope with ambigu-
that content emanates from our
ity, to experience nuance, and to
contact with the world. It is our
In schools these connections are
weigh the trade-offs among alter-
sensory system that first provides
seldom recognized. The environ-
native courses of action. These
the "material" we experience,
ment of schooling is often
reflect upon, and eventually
skills represent not only the mind
think of
aesthetically barren
operating in its finest hour, but are
manipulate. It is our capacity to
the places where soft surfaces exist
precisely the skills that character-
create images from the world we
in schools. It is difficult task. For-
ize our most complex adult life
are able to experience that feeds
mica desks occupying a right-an-
tasks. The problems that perplex
our imagination. When our sensi-
gled environment are easier to
us as adults are not those that can
bilities are dulled or ill-developed,
recall. To the extent the arts bal-
be treated by algorithms and veri-
the content for reflection and
ance the environmental picture,
fied by proof. School
programs
imagination is itself limited. The
to the extent they cultivate those
that inadvertently teach children
sensibilities, wrote Herbert Read,
aspects of mental life that are now
there is a correct answer to each
are the sources of our conscious-
neglected in the schools, they give
important problem they encoun-
ness. Learning to see and hear are
the young an opportunity to real-
ter mis-teach children in serious
therefore the avenues through
ize their human potential. The
ways. The cultivation of judgment
which an awareness is raised. To
absence of the arts in the schools
and the ability to be flexibly
learn to see and to hear is to
is not only a denial of access to
purposive are best achieved when
achieve a realization of
the jewels of our culture, it is
some
a
the tasks and content children
aspect of the world; it is to the
denial of the opportunity to culti-
encounter in school provide the
ability to achieve this realization
vate the mental potential children
space for such skills to operate.
that the arts contribute so impor-
possess.
When the arts are well taught
tantly. They call attention to the
such skills have an essential place.
qualities of the world, they direct
Why arts in the school? As
con-
There is yet another aspect of
us to its subtleties, they distill and
tent, the arts represent man's best
mental development that effec-
present those qualities in vivid
work. Our children ought to have
tive teaching in the arts fosters.
and stable form. We can eventu-
access to such work, and they
Ironically, it is an aspect of hu-
ally see the geometries, they distill
should know that we care that
man development that in our cul-
and present those qualities in vivid
they do. When we define our
and stable form. We can
ture we regard as distinct from
school curricula, we not only pro-
mind. I speak of the cultivation of
eventually see the geometries of
vide children with access to the
the city through a painting by
the senses. Since Plato's time the
intellectual and artistic capital of
10
8