Crossing borders: the arts engage academics and inspire children.

Crossing borders: the arts engage academics and inspire children. The arts become a form of resistance, providing educators with atool to resist mechanical and oppressive school experiences andcultivate a personal voice among children. Two professors on opposite coasts joined forces to design a coursefor pre- and inservice elementary school elementary school:see school. teachers. RESISTANCE, CHALLENGE, AND CONFIDENCE Resistance: Resisting the Testing Obsession The pressures of high-stakes testing A high-stakes test is an assessment which has important consequences for the test taker. If the examinee passes the test, then the examinee may receive significant benefits, such as a high school diploma or a license to practice law. and a pervasive devaluing ofthe arts in education Arts in Education is an expanding field of educational research and practice informed by investigations into learning through arts experiences. It is distinguished from art education by being not so much about teaching art, but focused on: have driven the arts to the margin of school life.The arts are often viewed as purely emotional outlets emotional outletAny venue used to relieve psychologic stress–eg, strenuous exercise, vigorous sexual activity, video games, etc , to be reservedfor the exceptional child. It is well-established, however, that art,when integrated with other subjects, can create innovative ways ofthinking, understanding, and representing knowledge (Davis &Gardner, 2000). The arts have the potential to humanize hu��man��ize?tr.v. hu��man��ized, hu��man��iz��ing, hu��man��iz��es1. To portray or endow with human characteristics or attributes; make human: humanized the puppets with great skill.2. the school experience(Askin, 2003). Incorporating the arts in the curriculum can be aparticularly effective way to implement a culturally responsive pedagogy(Fiske, 1999; Nyman, 2002). Art is an ideal catalyst for effectiveteaching among culturally and ethnically diverse students; it providescritical connections between the context of students' lives and thecontent of school curricula. The arts become a form of resistance,providing educators with a tool to resist mechanical and oppressiveschool experiences and cultivate a personal voice among children who areincreasingly viewed as testing problems, if considered at all. And thearts offer students an opportunity to resist a school system that isblind to their personal traditions and histories (Freire, 1970). The potential of the elementary school teacher to stimulate anunderstanding of cultural traditions through creative practice andaesthetic discussions with students is enormous. Largely for thisreason, we have developed and refined an arts-integrated course over thepast 14 years. Our experience teaching this course at two universitieson opposite ends of the United States United States,officially United States of America, republic (2005 est. pop. 295,734,000), 3,539,227 sq mi (9,166,598 sq km), North America. The United States is the world's third largest country in population and the fourth largest country in area. offers insight into how art can beintegrated with other subjects, and how doing so can help students fromdiverse backgrounds find meaningful connections to school learning. In the current school environment, objective measurement andtesting define the education landscape of children and teachers. Schoolreality is defined by authoritative others who exclude the vantagepoints of the young (Eisner, 1997). This image of school is narrowlydescribed in terms of numbers and facts on tests that have been createdfar away from the realities lived by students and teachers. There islittle room or stimulus for imagination and personal exploration.Consequently, many of our children remain invisible, disconnected frommuch of what is taught in schools (Jones & Fuller, 2003). For many policymakers, questions of diversity are uncomplicated:students should speak one language and take one test. If policymakers oreducation administrators think about art or multicultural mul��ti��cul��tur��al?adj.1. Of, relating to, or including several cultures.2. Of or relating to a social or educational theory that encourages interest in many cultures within a society rather than in only a mainstream culture. education, itis usually in terms of holiday decorations or annual celebrations ofdiversity. The obsession with testing causes schools to be stressful anddepressing. Preoccupation with easily measured standardized standardizedpertaining to data that have been submitted to standardization procedures.standardized morbidity ratesee morbidity rate.standardized mortality ratesee mortality rate. outcomesdistracts us from the deeper concerns of education. What is lost is aninterest in the intellectual character of students and the value ofquestions, ideas, imagination, and creative thinking. Personalexploration and interests are forgotten, craft and artistry art��ist��ry?n.1. Artistic ability: a sculptor of great artistry.2. Artistic quality or craft: the artistry of a poem. areforsaken for��sake?tr.v. for��sook , for��sak��en , for��sak��ing, for��sakes1. To give up (something formerly held dear); renounce: forsook liquor.2. , as test preparation dominates classrooms. Students who aredifferent become strangers and problems for schools that are designed totreat everyone the same. Challenge: Arts Integration Arts integration is a term applied to an approach to teaching and learning that uses the fine and performing arts as primary pathways to learning. Arts integration differs from traditional arts education by its inclusion of both an arts discipline and a traditional subject as part of for the Pre- and Inservice Teacher Arts education at the elementary school level offers an innovativeresponse to this oppressive picture. Yet most of our preservice teachershave not had significant experience with the arts. Art educationopportunities are spotty spot��ty?adj. spot��ti��er, spot��ti��est1. Lacking consistency; uneven.2. Having or marked with spots; spotted.spot at best, and often reserved for theself-proclaimed artist (Wilson, 1997). This lack of experience isevident among students who are preparing to become teachers (Wyrick,2002). Art specialists are becoming an increasingly rare luxury as schooladministrators focus on providing resources for remediation and testpreparation. Often, the only opportunity for art education comes in theintegrated arts Integrated arts practice refers to inter-disciplinary art, art research, development, production, presentation, or artistic creation of work that fully uses two or more art disciplines to create a work for a specific audience. courses that preservice elementary teachers are requiredto take. For many elementary school children, the only place they willencounter the arts in school is with their classroom teachers. Almosthalf of the elementary schools in the United States lack a specialistart teacher. In designing and teaching our courses, we worked from theseassumptions: * Art is central in the curriculum, because all aspects of life arelinked through art * Art should be at the heart of the educational process * Arts integration stems the segmentation of knowledge * An arts-integrated curriculum develops connections between thearts and academic subjects in ways that otherwise remain hidden * An arts-integrated curriculum enables students to constructknowledge about the world through personal connections. In our integrated arts courses, we explore the unique contributionsand possibilities offered by the arts. Students learn how art makingrequires different kinds of intelligence and employs multiple ways ofrepresenting knowledge and personal experience (Armstrong, 1994;Cornett For the place in England, see .The cornett, cornetto or zink is an early wind instrument, dating from the Medieval, Renaissance and Baroque periods. It was used in what are now called alta capellas or wind ensembles. , 1999; Fowler, 1996). Meaning and understanding are amplifiedthrough art, and opportunities for individual expression make learningpersonally relevant. Interestingly, our art-integrated course is highly popular amongexperienced teachers, but new teachers face it with trepidation trepidation/trep��i��da��tion/ (trep?i-da��shun)1. tremor.2. nervous anxiety and fear.trep��idanttrep��i��da��tionn.1. An involuntary trembling or quivering. . Weexpected our preservice students to be apprehensive about math orscience, but not about art. Their comments when they enter the classroomreveal their insecurities: "I just want you to know that I am notcreative" or "I have no talent." Our goal is to prove to them that art can be a critical andpleasurable pleas��ur��a��ble?adj.Agreeable; gratifying.pleasur��a��bil part of their teaching. We want them to develop a degree ofproficiency pro��fi��cien��cy?n. pl. pro��fi��cien��ciesThe state or quality of being proficient; competence.Noun 1. proficiency - the quality of having great facility and competence and enjoy making art and thinking in a visual medium. Beforewe begin the first project, we tell our classes that they will never begraded on their artwork and that they should aim their artistic level tothat of a kindergartner kin��der��gart��neralso kin��der��gar��ten��er ?n.1. A child who attends kindergarten.2. A teacher in a kindergarten. . A collective sigh of relief is audible A protected MP3 file format from the Audible.com audio download service. See Audible.com. . Ofcourse, that is only at the beginning; soon, they will be creatingartwork at much higher levels. Confidence: Building Teacher Confidence in Creating Art How do we prepare teachers to integrate the arts when they areinexperienced in��ex��pe��ri��ence?n.1. Lack of experience.2. Lack of the knowledge gained from experience.in and fearful? Rather than approaching these students asdilettantes, we treat them like any other college-level artstudents--with the expectation that they can create well-crafted,thoughtful, and expressive art. We talk about current issues in arteducation and the art world and engage the students with artists andartwork. While we recognize it is impossible to teach about a broadrange of artists in this one course, we select a few artists who providea model of inquiry and draw from established traditions andcontroversial new trends. The key criterion for selection is the abilityto draw meaningful connections between art and children's lives,culture, and curriculum. While having the children "makePicassos" may be entertaining and impressive to adults, it probablydoes not connect to children's personal, perceptual per��cep��tu��aladj.Of, based on, or involving perception. , or academicdevelopment or concerns. Most of our students are women who often don't realize theyare already involved in artistic activities. Home decorating, floralarranging, and wardrobe choices all require aesthetic decisions. As thestudents share their creative experiences, we take the first steptowards establishing a sense of competence crucial for successfulexperimentation with artistic materials. Every class includes a discussion of theoretical issues, such asthe perceptual stages of development, approaches to stimulatingcreativity, theories of learning, and the meaningful ways that subjectscan be taught through the arts. This is serious work, requiringimagination and creativity. Of equal importance, however, is the artmaking in the studio part of the class devoted to creating art--art thatraises questions, art that is hard to make. This notion of challenge is very important. Arts integration isonly an exercise in words, just a nice idea, if it is divorced fromchallenging art making. We provide teachers with motivation to integrateart, to believe that they must integrate art. They want the kids to havethe experience that they have had--the revelation and the meaning makingthat only art allows. Our students experience the problems, theconfusion, and ultimately the joy that goes into making order of chaos,creating form, bringing a sense of unity and cohesion cohesion:see adhesion and cohesion. Cohesion (physics)The tendency of atoms or molecules to coalesce into extended condensed states. This tendency is practically universal. to inert inert/in��ert/ (in-ert��) inactive. in��ertadj.1. Sluggish in action or motion; lethargic.2. materials, and organizing them in ways that express thought andemotions. We want these teachers to feel what we feel as artists. Infact, the greatest asset we bring to our classroom is our ownexperiences as artists. In a methods course, students assume a dual existence; they arecollege students learning to think like teachers, and they are alsoproxies for young students experiencing the learning methods beingtaught. This duality Duality (physics)The state of having two natures, which is often applied in physics. The classic example is wave-particle duality. The elementary constituents of nature—electrons, quarks, photons, gravitons, and so on—behave in some respects reveals another basic challenge: how to connectabstract ideas to the students' experiences. This does not happenin the abstract. Our students are expected to have the same experiencestheir own students will have: to fashion personal narratives, just astheir students will; and to ponder Ponder - A non-strict polymorphic, functional language by Jon Fairbairn <jf@cl.cam.ac.uk>.Ponder's type system is unusual. It is more powerful than the Hindley-Milner type system used by ML and Miranda and extended by Haskell. questions of meaning, identity,justice, and freedom, just as their students will. The course is aconstant weaving weaving,the art of forming a fabric by interlacing at right angles two or more sets of yarn or other material. It is one of the most ancient fundamental arts, as indicated by archaeological evidence. of the two strands of thinking like a teacher andexperiencing learning like an elementary school student. In our courses, we develop art activities that are difficult andthat provide opportunities for academic, aesthetic, and expressivemeaning making in different ways. Some projects have a more cognitive,problem-solving component; others encourage greater emotionalexpressiveness. We ask preservice teachers to follow demanding criteria,to experiment, and to take chances. Their comments about the course andtheir experiences reveal aspects of their journey: "The professor took the fear out of doing art for me." "The class was fun and exciting and, in the process, I learneda lot about myself as an artist." "I was out of my comfort zone, but [I] really feel I grew frommy experiences. It was harder than other courses." "I learned that assessment is not just testing, especially inart." ARTS INTEGRATION AND MULTICULTURAL EDUCATION Intriguing in��trigue?n.1. a. A secret or underhand scheme; a plot.b. The practice of or involvement in such schemes.2. A clandestine love affair.v. parallels can be drawn between effective multiculturaleducation programs and the practice of quality arts education. The artsask students to value their own experiences and cultures. An artist inthe classroom asks difficult questions and is more concerned withdeveloping a personal voice and divergent di��ver��gent?adj.1. Drawing apart from a common point; diverging.2. Departing from convention.3. Differing from another: a divergent opinion.4. responses than assimilating as��sim��i��late?v. as��sim��i��lat��ed, as��sim��i��lat��ing, as��sim��i��latesv.tr.1. Physiologya. To consume and incorporate (nutrients) into the body after digestion.b. students into the same mold. The arts suggest that important knowledgecomes from within the students' experiences, not from distantauthorities. Many teacher education programs are placing greater emphasis onpreparing teachers for diverse classrooms. An important challenge forteachers is learning how to create classrooms that will provide aneffective educational experience for diverse populations. Research oneffective schools paints an intriguing picture of the successfulclassroom for students from diverse backgrounds. In this classroom,students are grouped around tables, where they are intently engaged intheir work. A great deal of conversation occurs while they work, andsometimes music plays in the background. The room is filled with images,maps, artifacts artifactssee specimen artifacts. , and artwork from Harlem, Mexico, Latin America Latin America,the Spanish-speaking, Portuguese-speaking, and French-speaking countries (except Canada) of North America, South America, Central America, and the West Indies. , LosAngeles Los Angeles(lôs ăn`jələs, lŏs, ăn`jəlēz'), city (1990 pop. 3,485,398), seat of Los Angeles co., S Calif.; inc. 1850. , and elsewhere. Examples of student work share space withfamiliar images from home and exciting new voices from the world of art. This classroom is an interesting place, for students and theteacher alike. The teacher moves around the room, talking with studentsabout their work. She teaches by listening and asking, creating dialogueabout things that are important to her students. She knows her students,and they know she cares about their worlds. Students are learning tothink about what it means to exist in a world where cultures mingle.They are learning to imagine who they are, and who they might become,and how to find their voice in multiple languages--many of which are notspoken. The process is fun but challenging, and the product ismemorable. Unlike much of what they produce in school, this product isworth saving. The students work together, share ideas, and learn from each other.The teacher validates student ideas, responses, and effort. Instead ofconverging to one right answer, student work diverges to uniquedistillations of knowledge and questions, and to significantproblem-solving exercises involving multiple forms of literacy. Thisdescription of an effective educational environment looks very much likean art classroom. Art educators appreciate the value of art making as an avenue ofpersonal expression and thinking. Art making motivates and engages theinterests of students in unique ways. An arts-integrated curriculumhelps students learn about other school subjects. But the arts also canhelp teachers and students create a space in which to rebel against aneducation that reduces knowledge to simple facts that can be tested.Learning an artistic language, interacting with artists, and creatingart all engage a process of reflection and awakening that can helpstudents find their voices and imagine possibilities for themselves. The arts can provide ways to cross borders of institutionalinequity and give students a voice with which to address an aggressiveassimilation AssimilationThe absorption of stock by the public from a new issue.Notes:Underwriters hope to sell all of a new issue to the public.See also: Issuer, UnderwritingAssimilation . The drive towards higher standards will fail, unlessbridges are created between teaching and students' experiences andcultures. Art can be a vital catalyst in this process. ARTS INTEGRATION: EXAMPLES "There are more valid facts and details in works of art thanthere are in history books." --Charlie Chaplin Rembrandt Meets Jacob Lawrence Jacob Lawrence (September 7, 1917 - June 9, 2000) was an African American painter; he was married to fellow artist Gwendolyn Knight. LifeLawrence is probably among the best-known twentieth century African American painters, a distinction also shared by Romare Bearden. : Painted Journeys and the MigrationSeries The kinds of projects we do with our students are designed to givethem experiences with art, with opportunities to develop artisticskills, and with strategies for making meaningful connections betweenart and other subjects. For example, in our study of Jacob Lawrence wedeveloped painting skills, explored geography and map-making, andlearned about African American history African American history is the portion of American history that specifically discusses the African American or Black American ethnic group in the United States. Most African Americans are the descendants of African slaves held in the United States from 1619 to 1865. . A critical part of this studywas connecting these subjects to the students' own experiences.Rembrandt's numerous self-portraits and Jacob Lawrence'smigration paintings were focal points focal pointn.See focus. of this unit of study. Using personal symbols, students created a journey painting thatincorporated painting skills, color theory This article is about the musical alter ego of Brian Hazard; for the theory of color, see color theoryColor Theory is the musical alter ego of American singer-keyboardist-songwriter Brian Hazard. , personal symbols, and motifsborrowed from Jacob Lawrence. Students carefully drew maps, and thentraced their personal journeys to our universities. Their creations werenot only maps, they were also portraits. These paintings were importantbecause they allowed students to bring their own personal experiencesinto the learning environment. Students learned traditional painting techniques, using the tempera tempera(tĕm`pərə), painting method in which finely ground pigment is mixed with a solidifying base such as albumen, fig sap, or thin glue. media commonly available in the school classroom. Painting exercisesincluded value studies, mixing tints and shades “Tint” redirects here. For other uses, see tint (disambiguation) In color theory, a tint is the mixture of a color with white (also called a pastel color) , and a shade is the mixture of a color with black. , simple color theory,and modeling simple forms. The painting exercises built upon priorexperiences of drawing, based on our study of Leonardo da Vinci Leonardo da Vinci(də vĭn`chē, Ital. lāōnär`dō dä vēn`chē), 1452–1519, Italian painter, sculptor, architect, musician, engineer, and scientist, b. near Vinci, a hill village in Tuscany. . Romare Bearden Romare Bearden, (September 2, 1911, in Charlotte, North Carolina—March 12, 1988 in New York, New York) was an African-American artist and writer. He worked in several media including, cartoons, oils, and collage. Meets Henri Matisse Noun 1. Henri Matisse - French painter and sculptor; leading figure of fauvism (1869-1954)Henri Emile Benoit Matisse, Matisse : Drawing With Scissors scissorsCutting instrument or tool consisting of a pair of opposed metal blades that meet and cut when the handles at their ends are brought together. Modern scissors are of two types: the more usual pivoted blades have a rivet or screw connection between the cutting ends This unit included African American culture African American culture or Black culture, in the United States, includes the various cultural traditions of African American communities. It is both part of, and distinct from American culture. The U.S. , jazz, theories ofintelligence, American history, and the artists Henri Matisse and RomareBearden. In our study of Bearden and Matisse, students learned to thinkin shape and color, emulating the work of these artists and learningtheir artistic vocabulary. We began with exercises in interpreting theartists' work. The aesthetic experience is an essential aspect ofthe course. Students learn how to respond to and analyze art, music, andhistory. In their final piece, they were asked to incorporate this skilland knowledge into an image that makes a personal statement, imaginingwhat might happen if they were to meet Matisse and Bearden together, andmaking a collaborative composition. The process illustrates a major theme of this course: usingartistic language and media to explore culture in a way that leads tosubstantive opportunities for personal expression. The art making partof the course is complemented by a writing component, in which thestudents respond to critical questions and design units of instructionincorporating what was learned during class. CONCLUSION Contemporary models of school reform endorse limited conceptions ofknowledge and expression. What is often lost is the distinct individualdifferences of our students. The artist embraces a very different kindof learning, where divergence divergenceIn mathematics, a differential operator applied to a three-dimensional vector-valued function. The result is a function that describes a rate of change. The divergence of a vector v is given by is valued and the personal histories ofchildren are as important as the histories of nations. A work of artinvites us to enter the world of another person, to cast off the pall ofordinary routine, to examine why we are in the world, and to imagine howthings might be (Greene, 1978). A primary focus and challenge in our course is to understand whatmakes something an art form, as opposed to only an expression ofemotions. This is the gift that we can provide for our students. We canhelp them take their chaotic, disordered feelings and thoughts and givethem form. Each student finds his/ her voice; in this way, we build acommunity. College students are urged to research an art form for eachlesson to set forth a structure. Structure and form are as integral andessential to an art form as they are to nature's forms. Studentsmodel a sculpture, paint a landscape or mural muralPainting applied to and made integral with the surface of a wall or ceiling. Its roots can be found in the universal desire that led prehistoric peoples to create cave paintings—the desire to decorate their surroundings and express their ideas and beliefs. , write a poem, create acollage collage(kəläzh`, kō–)[Fr.,=pasting], technique in art consisting of cutting and pasting natural or manufactured materials to a painted or unpainted surface—hence, a work of art in this medium. , invent a dance, and write a song; for each, we examineunderlying structural and/or compositional elements. We want our students to overcome their fear of art making, gainconfidence with a variety of artistic approaches and media, have fun,and learn to take artistic risks. We strive to cultivate imaginative,divergent responses. We look at teaching as a collaborative enterprise,an experiment whose outcome cannot be completely predicted. We expect tobe surprised and inspired by student responses and creative efforts and,in the process, dream up new ideas "New Ideas" is the debut single by Scottish New Wave/Indie Rock act The Dykeenies. It was first released as a Double A-side with "Will It Happen Tonight?" on July 17, 2006. The band also recorded a video for the track. for our own teaching, learning, andcreating. We developed our philosophy during our dual careers as arteducators and practicing artists. Making art is the primary stimulus andinspiration for teaching art. Making art nourishes our desire to inviteothers to participate in the process. Art making is another languagethat, like all languages, must be practiced often to exert its power.While art that is relegated to the format of a lecture or simplistic sim��plism?n.The tendency to oversimplify an issue or a problem by ignoring complexities or complications.[French simplisme, from simple, simple, from Old French; see simple directions may be interesting, it does not inspire in quite the same waythat art making inspires. Looking at an art print or slide is appealing,but pales when compared to encountering or making an actual work. Art is challenging. It may be beautiful, but just as often it askstroubling questions of the viewer and the artist. It does not provideeasy explanations that can be evaluated by a Scantron. It asks studentsand teachers to consider who they are and who they might be. Art promptsstudents to empathize--to feel the experiences of others--and, perhapsmost important, to understand themselves.Figure 1RESISTING OPPRESSIVE SCHOOL ENVIRONMENT OF TESTING THROUGH THE ARTSTest-Driven Art EducationTesting-oriented Culturally responsive* tests created far from lives of * critical connections between students and teachers context of students' lives and curricula content* stressful and depressing * joyful & exuberant* knowledge reduced to one right answer * assessment is not just testing; unique distillations of* uniform testing knowledge and questions * unique strategiesSchools designed to treat everyone Cultivates personal voices andthe same divergent responses* little room for imagination and * humanized school experience personal exploration * construct knowledge about the* students who are different are world through personal seen as a problem connection to it* institutional inequity * promotion of empathy and equalityUniform standards education Multicultural arts education* students are disconnected from * development of connections with much of what is taught in academic subjects in culturally schools relevant ways* excludes vantage points of * promotes understanding of students mingling of culturesRote & mechanical learning Art production* knowledge defined by distant * knowledge co-constructed between authorities text, teacher, & student* easy explanations evaluated by * results stimulate reflection and a Scantron awakening* results discarded * products are worth savingThe drive towards higher standards will fail, unless bridges areCreated between teaching and the experience and culture of students.Figure 2ART FOR THE ELEMENTARY SCHOOL TEACHERCourse Overview: This course is designed to bring together studioexperiences, personal artistry, and knowledge about teaching andlearning in the design of arts curriculum and interdisciplinaryexperiences that utilize the arts. A major topic is the artisticdevelopment of the child and how this influences the design andimplementation of curricula. Requirements include required readings,art resource portfolio and lesson plans, an "artist as inquiry" unitplan, philosophy of arts education research paper, and response papersbased on readings.Week 1: The arts and creativity, intelligence, learning, anddevelopment. Stimulating creative responses across disciplines.Developing visual perception and the linguistic skill to describe it.Week 2: Henri Matisse meets Romare Beardon. Color theory.Interdisciplinary and multiculturalconnections. Portrait of my world.Week 3: Children's perceptual Stages of Artistic Development.Stimulating the aesthetic components of the basic subject areas.Integrating math, sculpture, and movement to develop three-dimensionalthought.Week 4: Puppetry & Drama. Sculpture, expression, and characterizationas vehicles to teach language arts, examine human behavior and culture.Week 5: Multicultural approaches. Puppetry curriculum in social studiesand literacy.Weeks 6 & 7: Art History and Aesthetics. Examining art as a reflectionOf culture. The social dimension of art. Egyptian and Mexican muralpainting in cooperative learning groups.Week 8: Leonardi Da Vinci, Science and Art. Drawing, reading, andwriting.Week 9: Painting methods. Jacob Lawrence meets Rembrandt. Borders andculturally responsive pedagogy.Week 10: Literature and Art; Narrative and Picture Making.Week 11: Museum tour. Encounter the real thing with children. Designpre- and post-visit museum activities.Week 12: What the arts teach about assessment. Portfolios, ProjectZero, the Key Schools, Arts Propel.Week 13: Nature and Art. Integrate astronomy, painting, poetry, andmusic. Study Van Gogh, Langston Hughes, and Von Holst while studyingthe universe. References Armstrong, T. (1994). Multiple intelligences in the classroom.Reston, VA: Association for Supervision and Curriculum Development The Association for Supervision and Curriculum Development, or ASCD, is a membership-based nonprofit organization founded in 1943. It has more than 175,000 members in 135 countries, including superintendents, supervisors, principals, teachers, professors of education, and . Askin, W. (2003). Studio art: Mainstreaming the muse MuseIn Greco-Roman religion and myth, any of a group of sister goddesses, daughters of Zeus and Mnemosyne (Memory). A festival was held in their honour every four years near Mount Helicon, the centre of their cult in Greece. in studio art:Teacher's guide. New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of : The College Board. Cornett, C. E. (1999). The arts as meaning makers: Integratingliterature and arts through the curriculum. Upper Saddle River Saddle River may refer to: Saddle River, New Jersey, a borough in Bergen County, New Jersey Saddle River (New Jersey), a tributary of the Passaic River in New Jersey , NJ:Merrill/Prentice Hall. Davis, J., & Gardner, H. (2000). Symbolic literacies: Thedevelopmental portrait research has provided. In R. A. Smith (Ed.),Readings in discipline based art education (pp. 257-263). Reston, VA:National Art Education Association. Eisner, E. W. (1997). Cognition cognitionAct or process of knowing. Cognition includes every mental process that may be described as an experience of knowing (including perceiving, recognizing, conceiving, and reasoning), as distinguished from an experience of feeling or of willing. and representation. Phi DeltaKappan, 78, 349-353. Fiske, E. (1999). Champions of change: The impact of the arts onlearning. Washington, DC: The Arts Education Partnership and thePresident's Committee on the Arts and the Humanities. Fowler, C. (1996). Strong arts, strong schools. New York: OxfordUniversity Press. Freire, P. (1970). Pedagogy of the oppressed Pedagogy of the Oppressed is the most widely known of educator Paulo Freire's works. It was first published in Portuguese in 1968 as Pedagogia do oprimido and the first English translation was published in 1970. . New York: Continuum. Greene, M. (1978). Landscapes of learning. New York: TeachersCollege Press. Jones, G. J., & Fuller, M. (2003). Teaching Hispanic children.Boston: Pearson Education Pearson Education is an international publisher of textbooks and other educational material, such as multimedia learning tools. Pearson Education is part of Pearson PLC. It is headquartered in Upper Saddle River, New Jersey. . Nyman, A. L. (2002). Cultural content, identity, and programdevelopment: Approaches to art education for elementary teachers. In Y.Gaudelius & P. Spiers (Eds.), Contemporary issues in art education(pp. 61-69). Upper Saddle River, NJ: Prentice Hall Prentice Hall is a leading educational publisher. It is an imprint of Pearson Education, Inc., based in Upper Saddle River, New Jersey, USA. Prentice Hall publishes print and digital content for the 6-12 and higher education market. HistoryIn 1913, law professor Dr. . Wilson, B. (1997). The quiet evolution. Los Angeles: The GettyEducation Institute for the Arts. Wyrick, M. (2002). Art for issues sake: A framework for theselection of art content for the elementary classroom. In Y. Gaudelius& P. Spiers, P. (Eds.), Contemporary issues in art education (pp.212-225). Upper Saddle River, NJ: Prentice Hall.