[The] Creative Art [of] Education

In our current political climate of assessment and accountability initiatives we are failing to prepare our children for a participatory role in the creative economy. The field of education is increasingly falling prey to didactic methodologies which train a nation of competent test takers, foregoing the opportunity to educate students to find problems and develop multiple solutions. No where is this more evident than in the area of art education. Due to a myriad of issues including budgetary shortfalls, time constraints and a general misconception that anyone who enjoys the arts is capable of teaching the arts, our students are not developing the skills they require to become fully literate in critical thinking and creative processing. Although art integrated curriculum is increasingly being viewed as a reform strategy for motivating students by offering alternative presentation of concepts and representation of knowledge acquisition, misinformed administrators are often excluding the art teacher from the integration equation. The paper to follow addresses the problem of the need for divergent thinking and conceptualization in our schools. Furthermore, this paper explores the role of education, and specifically, art education in the development of a creatively literate citizenry.

Authors:



References:
[1] Pink, D. (2005). A whole new mind: Moving from the
information age to the conceptual age. New York:
Riverhead Books.
[2] Freedman, K. (2006). Leading Creativity: Responding to Policy in Art
Education. Paper presented at the UNESCO World Conference on Arts
Education. March 6-9. Lisbon, Portugal. Retrieved November 16, 2007
from http://portal.unesco.org/culture/en/files/29857/11386135391kerry_
freedman.htm/kerry_freedman.htm
[3] Wagner, T., De Greef, A., Keenean,, P. & Pereira, L. (2006). Arts
education and creativity. Report from the World Conference on Arts
Education "Building Creative Capacities for the 21st Century. Lisbon:
United Nations Educational, Scientific and Cultural Organization.
[4] Aprill, A. (2001). Toward a finer description of the connections between
arts education and student achievement. Arts education policy review,
102(5), 25-6.
[5] Eisner, E. (2004). The Arts and the Creation of Mind. New Haven, CT:
Yale University Press.
[6] Deasy, R. (Ed.). (2002). Critical links: Learning in the arts and student
achievement and social development. Washington, D.C.: Arts Education
Partnership.
[7] Fiske, B. E. (Ed.). (2000). Champions of change: The impact of the
artson learning. The Arts Education Partnership and the President-s
Committee on the Arts and the Humanities.
[8] Rabkin, N. & Redmond, R. (Eds.) (2004). Putting the arts in the picture:
Reframing education in the 21st century. Chicago: Center for Arts Policy
at Columbia College Chicago.
[9] Chapman, L. (2005). Status of elementary art education: 1997-2004.
Studies in Art Education 46(2), 118-37.
[10] Erickson, M. (2004). Interaction of teachers and curriculum. In E.
Eisner, & M. Day (Eds.), Handbook of research and policy in art
education (pp. 467-86). Mahwah, NJ: Lawrence Earlbaum Associates.
[11] Chapman, L. H. (2004). No child left behind in art? Arts Education
PolicyReview. 106(2), 3-17.
[12] Winner, E. & Hetland, L. (2007, September 2). Art for our sake. The
Boston Globe, pp. E1, E2.
[13] Leary, R. (2005). Americans for the Arts invited lecture for the Palm
Beach Cultural Council Business Meeting. February 7, 2005.
[14] Eisner, E.W., (2002). The educational imagination: On the design and
evaluation of school programs. Upper Saddle River, New Jersey: Merrill
Prentice Hall.
[15] Eisner, E. W. (1998). Does experience in the arts boost academic
achievement? Art Education, 51(1), 7-15.
[16] Hetland, L., & Winner, E. (2001). The arts and academic achievement:
What Policy Review, 102(5), 3-6.
[17] Burrows, R. (2007). ReframingÔÇöreforming arts education: Taking bold
steps toward radical change in the Los Angeles Unified School District.
The New England Conservatory Journal for Music-In-Education, 1-2,
133-5.
[18] Naylor, P. R. (2000). Shiloh. NewYork, NY: Simon & Schuster
Children-s Publishing.
[19] South, H. (2003). How to draw eyes. About.com. Retrieved November
18, 2007 from
http://drawsketch.about.com/library/weekly/aa010503a.htm
[20] Hammond, L. (n.d). Drawing the eyes. About.com. Retrieved November
18, 2007 from
http://drawsketch.about.com/gi/dynamic/offsite.htm?site=http://homepag
es.tesco.net/%7Ep.wilkinson/DrawEyes.htm
[21] Arnheim, R. (1974). Art and visual perception. Berkeley: University of
California Press.
[22] Jensen, E. (2001). Arts with the brain in mind. Alexandria, VA:
Association for Curriculum Development.
[23] Lowenfeld, V. & Brittain, W. L. (1987). Creative and mental growth
(eighth edition). Upper Saddle River, NJ: Prentice Hall.
[24] Smilan, C. & Ploeg, R. (2006) When elephants enter glass shops. Paper
presented at the 31st World Congress of the International Society for
Education through Art, Viseu, Portugal.
[25] Fukumoto, K. (2006). Untitled contribution to panel presentation on
Teaching methods/teacher training presented at the Third Plenary
Session of the World Conference on Arts Education: Building Creative
Capacities for the 21st Century. Lisbon, Portugal. 6-9 March, 2006.
Synopsis available at:
http://portal.unesco.org/culture/en/files/30497/11434667743Report_engl
ish.doc/Report_english.doc.
[26] Eisner, E. W., (2006). Ten lessons the arts teach. Retrieved November
18, 2007 from http://www.naea-reston.org/tenlessons.html
[27] Torrance, E. P. (1965). Rewarding Creative Behavior: Experiments in
classroom creativity. Englewood Cliffs, NJ: Prentice-Hall, Inc.
[28] Taylor, A. (1959). As cited in E. P. Torrance (1965) Rewarding Creative
Behavior: Experiments in Classroom Creativity. Englewood Cliffs, NJ:
Prentice-Hall, Inc.
[29] Hofstadter, D., Holderness, M., & Else, L. (2005). Oh look, a new
cliché! the evidence shows. Arts Education New Scientist, 188(2523),
52-3.
[30] Starko, A. (2005). Creativity in the classroom. Mahwah, NJ: Lawrence
Earlbaum Publishers.
[31] Kaprow, A. (1971). The education of the un-artist, Part I. Art News
69(10), 67.
[32] Mullineaux, C. (1993). A longer view: Making a new path. Art
Education 46(1), 12-8.
[33] Florida, R. (2002). The Rise of the Creative Class. New York, NY: Basic
Books.
[34] Americans for the Arts (n.d.). National arts education public awareness
campaign. Retrieved June 9, 2006 from
http://www.americansforthearts.org/public%5Fawareness/.
[35] Eisner, E. W., (2005). Opening a shuttered window: An introduction to a
special section on the arts and the intellect. Phi Delta Kappan 87(1), 8-9.
[36] Klein, J. (1990). Interdisciplinarity: History, theory and practice.
Detroit: Wayne State University Press.
[37] Bresler, L. (1995). The subservient, co-equal, affective, and social
integration styles and their implications for the arts. Arts Education
Policy Review, 96(3), 31-7.
[38] Keifer-Boyd, K. & Smith-Shank, D. (2006). Speculative fiction-s
contribution to contemporary understanding: The handmaid art tale.
Studies in Art Education, 47(2), 139-54.
[39] Dewey, J. (1934). Art as experience. New York: Minton, Balch & Co.
[40] Grumet, M. (2004). No one learns alone. In N. Rabkin and R. Redmond
(Eds.), Putting the arts in the picture: Reframing education in the 21st
century (pp. 49-80) . Chicago: Center for Arts Policy, Columbia College.
[41] Catterall, J. & Waldorf, L. (1999). Chicago Arts Partnership in
Education: Summary Evaluation. In E. B. Fiske (Ed.), Champions of
change: The impact of the arts on learning. (Available from the Arts
Education Partnership, http://www.aeparts.
org/PDF%Files/ChapmsReport.pdf).
[42] Marshall, J. (2005). Connecting art, learning, and creativity: A case for
curriculum integration. Studies in Art Education, 46(3), 227-41.