DOCUMENT RESUME ED 413 436 INSTITUTION · DOCUMENT RESUME. ED 413 436 CE 075 028. TITLE Educating for the Workplace through the Arts. INSTITUTION Getty Education Inst. for the Arts,

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 1996-10-28NOTE 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; FineArts; Integrated Curriculum; Program Development; *SchoolBusiness Relationship; *Vocational Education

ABSTRACTBusiness leaders are increasingly realizing that arts

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

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ED ATIONAL RESOURCES INFORMATIONCENTER (ERIC)

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Points of view or opinions stated in thisdocument do not necessarily representofficial OERI position or policy

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

@ Siemens Corporation 1996

1996. This is now.

44140,

Today Siemens' apprentice and training programs in the USA are laying thefoundation for a highly skilled workforce that's essential for technologicalleadership. Now, more than ever, education is the key to maintaining globalcompetitiveness. For more than a century, Siemens has been preeminent inthe kind of training programs that assure a leading position in a wide varietyof technologies. Like automation systems that are helping American industrybe increasingly productive in the years ahead. Siemens. Precision Thinking.

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

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

N THE SPACE OF A SINGLE GENERATION,

work and the workforce havechanged dramatically. If we couldput a typical 1966 worker into a

1996 factory or organization, he orshe would likely begin to suffer a kindof occupational vertigo a sense ofdisorientation in virtually everydimension of the workplace.

It's not just new machines andmanagement philosophies, or thatservices have replacedmanufacturing as thedominant sector of theAmerican economy. It'sthat the character ofwork itself has beentransformed, largelythrough the applicationof information-basedtechnologies and sys-tems thinking to almosteverything Americanbusiness does. Theexpress train to the 21stcentury has left the station, and thetypical workers of just a few years agoare standing on the platform wavinggood-bye from the rapidly receding200-year history of industrialism.

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

But the changes go far beyond newtechnologies and the shifting venuesfor work. Richard Gurin, presidentand CEO of Binney & Smith, Inc., anda member of the National Allianceof Business, expresses a growing

SPECIAL ADVERTISING SECTION

The Changing Workplaceis Changing Our View of Education

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

become increasingly concerned thatthe basic problem gripping theAmerican workplace is not interestrates or inflation; those come and gowith the business cycle. More deeplyrooted is ... the crisis of creativity.Ideas ... are what built American busi-ness. And it is the arts that build ideasand 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 programscan help repair weak-nesses in Americaneducation and betterprepare workers for thetwenty-first century."

Knowledge is theNew Wealth Theconnection Gurin makesbetween the needs ofthe marketplace and

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

1 Management gurus such as PeterDrucker, W. Edwards Deming, and

Peter Senge have been saying for yearsthat the basic economic resource oftoday's economies is no longer laboror capital, but knowledge itselfinformation at work in the learningorganization. As information and thetechnologies derived from it expand atwarp speed, businesses find that whatcreates value and spawns change is theability to add knowledge to work.Today, that need is so great thatcompanies are adding CKOs, "chiefknowledge officers" to help themmaintain 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.

72The cutting-edge worker in theInformation Age Economy is thus

the "knowledge worker," a continuousand highly-adaptable learner who pos-sesses a wide range of "higher orderthinking skills." This employee is animaginative thinker with high-levelcommunication and interpersonal skills.

An education in the arts addressesand delivers precisely these kinds

of skills. The potential contribution ofarts education extends across theboard. It builds such thinking skills asanalysis, synthesis, evaluation, andcritical judgment. It nourishes imagi-nation and creativity. While recognizingthe importance of process, it focusesdeliberately on content and end-product.It develops collaborative and teamworkskills, technological competencies,flexible thinking, and an appreciationfor diversity. An arts education alsofosters such valued personal attitudesas self-discipline.

The implications of this argumenthave slowly been working their wayinto the decade-and-a-half struggle toreform the nation's schools, even as the"high-performance workplace" remainsa core driver for education reform.The public's preoccupation with"getting back to the basics" is beingreinforced by a new commitment toschool restructuring, school-baseddecision-making, and standards. Mosteducators, indeed most Americans,genuinely welcome the renewed inter-est in stronger fundamentals and high-er standards for performance andlearning. Too few Americans recog-nize, however, the breadth and depthof the contribution arts education canmake, both to education reform andto the quality of the workforce. Butthings are changing.

The Creation of a New AllianceThe need for imagination andcreativity in the workforce is creatinga new alliance between arts educationand business. One high-visibilityexpression of shared interest was the1994 Louisville conference on "ArtsEducation for the 21st Century


American Economy." The AmericanCouncil for the Arts (ACA) invitedmore than 300 business leaders andarts educators to explore an unusualproposition: that the arts make a sig-nificant contribution to business (seesidebar page 5). Participants sharedcommon concerns and mapped outstrategies for mutually beneficialcollaboration. Similar events, such asa December 1996conference of theConnecticut Alliancefor Arts Educationon how arts preparestudents for theworkforce, arespringing up locallyand regionallyaround the country.

National andstate-level forums,such as SouthCarolina's "Arts inthe Basic Curriculum"project, the PittsburghCultural Trust, andthe Bronx Develop-ment Council as

well as hundreds ofenergetic arts-business

MUSIC EDUCATORS NATIONAL

CONFERENCE New research shows

music develops not only creativity

but also spatial intelligence -the ability to perceive the worldaccurately and form mental images.

partnerships in communities aroundthe country are bringing businessleaders, arts organizations, and artseducators together around the samefundamental 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 educationhelps the nationproduce citizens andworkers who arecomfortable usingmany different sym-bol systems (verbal,mathematical,visual, auditory);

o An arts educationis part of the defini-tion of what it meansto be an "educatedperson," i.e., a criti-cal and analyticallearner; a confidentdecision-maker; aproblem poser andproblem solver;and an imaginative,creative thinker;

3

An education in the arts opens thedoor to skills and abilities that equiplearners for a host of learning contexts,including the workplace, where"knowledge is wealth"; and

e Arts education projects can be asignificant catalyst for communitydevelopment, support for culturalinstitutions, and economic health(see sidebar page 6) all importantbusiness goals.

The upshot for many in businessis that experiences and instruction inthe arts build a floor under innovationin the workforce and workplace.Illustrating how these messages cometogether, Will Tait, the creative directorfor software developer Intuit's multi-media group, says he looks for a skillset in job candidates that is increasinglytypical of companies today: team-work and communication skills, anunderstanding of quality concepts,and a background in the arts. "Whenan Intuit marketing manager putstogether a team around a multi-mediaenhanced product," he says, "the teamincludes an artist. My own view is thatthe ability to use color, shape, music,rhythm, and movement is essential to

the finishedSinger, songwriter,

dancer, and storyteller

Marc Bailey Llewellyn,

one of over 100 artists

on the MUSIC CENTER

EDUCATION DIVISION

roster, works with astudent from Chavez

Elementary School

near Los Angeles.

'X0°

4

product,primarilybecause ofthe senseartistsdevelopfor idea


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 allthe more clear when we begin to define"basic education" by asking someimportant but seldom asked questions:

"What do we mean by 'an educatedperson?'"

"What kind of education supportsthe new skills needed for jobs in theInformation Age?

Or perhaps most important: "Whatdo our children need to know and beable to do to become the best possiblehuman beings?"

In every civilization, the arts havealways been inseparable from the very

meaning of the term"education," and today,no one can claim to betruly educated who lacksbasic knowledge andskills in the fourth Rthe arts disciplines.

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

that after a long exile onthe curricular fringe ofpublic education, artseducation has achievedsome success in claiming

its rightful place. The possibilities haveaccelerated since 1989-90, when thecontemporary advocacy movement forarts education caught the sustainedwave of school reform, launched in thepublic mind in 1983 by the publicationof A Nation at Risk and its warning ofa "rising tide of mediocrity" in theschools. In the wake of a monumentaleffort by business leaders, arts educa-tors, community arts organizations,and others, arts education has nowbecome a visible, viable, and vocal partof the national strategy for improvingthe nation's schools, and a comprehen-sive approach to arts education isbecoming more and more widespread.

Credit is due to educators whohave created new, substantive approachesto learning in and through the arts,advancing the goals of education reformwhile increasing student knowledge ofthe arts. These new directions helpstudents to: understand the historicaland cultural contexts for works of art,develop their skills in producing art,enrich their understanding of thenature of art, and develop the ability tocritique, analyze, and make informedjudgments about art. These teachinginnovations meet new educationalneeds as they solidify the place ofart in the curriculum. The growing

7

ref

IIN

In schools across the country, tomorrow's work force is being shaped today. Shaped by toolsthat teach children to use their imagination, that encourage them to create, to perform. And todream. At GE, we know that an education including the arts is vital. Because students who appreciatethe 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. Infact, through The GE Fund we support all kinds of educational programs.

In our College Bound program, GE employees volunteer as mentors to high school studentsto boost college enrollment rates. Faculty for the Future is growing the number of minorityprofessors through grants and scholarships. Still other GE Fund programs are changing schoolsnationwide 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.


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 the21st Century American Economy, Louisville, Kentucky, September 16, 1994.

recognition of the importance of thearts is attested by their inclusion in theNational Education Goals, as set forthin the Goals 2000: Educate AmericaAct of 1994 a major step forward.

In Goals 2000, arts educationreceived its first endorsement in feder-al legislation since the 1960s. (MostAmericans are unaware that PresidentClinton signed the legislation creatingGoals 2000 from a magnet school for thearts.) The arts are now recognized as acore subject area in which Americanchildren are expected to become

5

competent. Also in 1994, the NationalConsortium of Arts Organizationspublished its National Standards forArts Education, a thoroughly rigorouspresentation of "What Every YoungAmerican Should Know and Be Ableto Do in the Arts," in grades K-12.As deputy secretary of educationMadeleine Kunin noted at the time,"the inclusion of the arts in Goals2000 and the voluntary national artseducation standards establishthe arts as serious and substantiveacademic subjects."

-4 ARTS CONNECTION

High school students

at New York's

Jacqueline Kennedy

Onassis High School

paint a mural as the

final project of aprogram exploring

nature and theenvironment.

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 BASICAside from specific disciplinary con-tent (e.g., how to play the clarinet orexecute basic dance sequences), an artseducation is valuable to our childrenin three important senses:

an arts education contributes tothe quality of education overall

and builds critical thinking skills;

an arts education builds specificworkforce skills that business

values; and

an education in the arts buildscL:) values that connect children tothemselves and to their own cultureand civilization.

These elements form the core of theargument for why an arts education isbasic and vital to education and to theneeds of businesses.

An Arts Education Contributes tothe Quality of Education and BuildsCritical Thinking Skills

An arts education engages studentsand invigorates the process of

learning. Educational researchers haveshown that people use many routesto learning including kinesthetic,

C

O

catiu Our BestResource for

EducatingOur Most

ImportantResource

The arts have the

power to transformffi

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

111THEGEI IY

EDUCATIONINSTITUTE FOR

THE ARTS

ARTSEDNEThttp://www.artsednet.getty.edu/

"Kids can always

say the dog ate my

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

How do you find the time to plan your curriculum,

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oh yeah, teach? Easy. Log onto IBM's School Vista" V2.0,

education management software you use right in theclassroom. Use it to prepare classes, distribute home-work assignments, confer with other faculty members.

Even track an individual student's progress.

Then, use SchoolVista to bring exciting newlearning opportunities to the classroom. Working withfriendly "classroom" graphics, you'll have a whole newworld 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 canretrieve lessons tailored specifically for them. Or howabout encouraging classmates to collaborate with oneanother on writing projects? Or take a class trip through

cyberspace on the Internet?Sound like something you'd like to learn more about?

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111

<eVfi 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 (puttingideas together), analytic (taking ideasapart), and other means. An educationthat uses the arts readily engagesa wider variety of learning stylesand increases learning potential forthe student. At the GuggenheimElementary School in inner-cityChicago, for example, after the artswere integrated into the curriculum,daily attendance increased to 94%,and 83% of the students achieved ator above national norms in readingand math.

Keeping young people in schoolis not just an educational or socialissue, it's an economic one, too. InLos Angeles, for example, 85% ofall daytime crime is committed bytruant youth. The annual cost oftruancy 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 unskilledemployees in reading, writing, andmathematics.

An arts education sets many--- "hooks" to capture a student's

attention, appealing to many levelsof experience at the same time.

6

For example:

o The arts disciplines reach out to themind because each is rooted in specificcontent. They all offer rigorous intel-lectual challenges. The cognitive prob-lems of representing a particular lightin a painting can be as formidable asthose involved in constructing any sci-entific experiment.

o In every art form, an arts educationalso engages a child across a broadspectrum of emotions; that is, afterall, part of what any work of art isdesigned to do.

o At the same time, an education inthe arts brings many other facultiesinto play: curiosity, wonder, delight, asense of mystery, satisfaction, uneasewhen quality is neglected, and evenfrustration.

o The various art forms have specialforms of engagement: a dance engagesthe body and delivers exhilaration; adrama invites the willing suspensionof disbelief, creating the context for adeeper message; a painting summonsreflection; a song can open a

,*

THE ARTS ARE A FORCE FOR THENATION'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 LocalArts Agencies, 1994.

window onto events, ideas, andhistorical eras.

o Altogether, what an arts educationdoes is build connections between thecontent of the art form and the totalexperience of the student.

An arts education teaches studentsto draw on new resources to

empower their lives. Dr. Ramon C.Cortines, former Chancellor of theNew York City Schools, who hasdirected some of the most innovativeschool restructuring initiatives inCalifornia and New York, has this tosay about the power of the arts forindividual 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 USIS SIMPLE AND CLEAR.

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

Richard GunChief Executive Officer

Binney & Smith

ARTS EDUCATION FORWORKPLACE SUCCESS

At Binney & Smith, our commit-ment to supporting the arts ineducation dates back nearly ahundred years with the introduction

of Crayola brand products as thecreative 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 curricularresource programs like Crayola

Dream-Makers. In addition,we work with the educationalcommunity 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 studentsto master these skills throughquality arts instruction today,how can we ever expect them to

succeed in their highly competitive

business careers tomorrow?

7


powerful tool for meeting the challengesof reform. Teachers want materialsand activities that are hands-on,challenging students to move from theconcrete to the abstract . . . [Everyone]has seen the life of at least one childchanged by the power of a brushstroke, the discipline of a dance step,the expressive opportunities of music,and the searing courage and vitality ofthe theater. We know that to live fulllives, all children, indeed all people,need opportunities to experience,appreciate, create, and reflect upon art."

A Perhaps most valuable of all, angt arts education teaches criticalthinking skills. This important pointrequires a full explanation. Becausean education in the arts appeals to thegreat variety of human intelligencesand contributes to the developmentof the "higher order thinking skills"in Benjamin Bloom's Taxonomy ofLearning analysis, synthesis, andevaluation it helps lay the ground-work students need to be successful ina world where the ability to produceknowledge is at a greater premiumthan ever before.

Professor Howard Gardner ofHarvard University is widely known forhis studies on the nature of humanintelligence. He theorizes that farfrom being a single quality, intelligencecomprises seven distinct areas ofcompetence: linguistic, logical/

mathematical, musical, spatial, bodily/kinesthetic, interpersonal, and intrap-ersonal. His work demonstrates thatby making use of all seven areas learn-ing can be deeply enriched. Arts-basedinstruction is one of the best ways toengage all seven forms of intelligence.The thinking skills inherent in the artsdisciplines teach students how the partsof a work of art fit together, how tocreate works of art using disparatematerials and ideas, and how to judgethe quality of the finished producttheir own and those of others.

Other key intellectual skills, such asproblem posing, problem solving, anddecision making, are integral to artseducation as well. Professor Lauren B.Resnick, of the University of Pittsburgh,has drawn up a helpful list of thethinking skills nurtured by an artscurriculum (see sidebar page 9).

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

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

and FrancesRauscher ofthe Universityof California(Irvine)

showed thatmusic 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 betweenlibior

our covers. A

L

4

Business Week readers are perhaps the most dedicated in all of publishing. In fact, each

week they devote an average of nearly 11/2 hours of their precious time to reading the magazine.

That's because Business Week goes beyond the news to provide the timely intelligence theyneed to manage their businesses, their careers and their personal finances.

In short, our 6.7 million readers consider Business Week a must read. That's precisely whymany advertisers find it such an intelligent buy.

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

Enemas eekBeyond news. Intelligence.

Sources: 1996 Fall MRI, Business Week Adjusted Audience; Business Week Estimate

© 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 gainsin spatial reasoning, i.e., the ability toperceive the visual world accurately, toform mental images of physical objects,and to recognize varia-tions in objects.

Other research sug-gests that the arts canbe a valuable tool forintegrating knowledgeacross other academicdisciplines, and that thearts can be effectivelyused to create cross-disciplinary curricula.An education in the arts can make thiscontribution because it develops theability of students to see and think inwholes. As one of America's foremostexperts on the "learning organization,"Peter Senge, puts it:

"From a very early age, we are taughtto break problems apart, to fragmentthe world. This apparently makescomplex tasks and subjects moremanageable, but we pay an enormousprice. We can no longer see the conse-quences of our actions; we lose ourintrinsic sense of connection to alarger whole ... After a while, we giveup trying to see the whole altogether."

PECIAL ADVERTISING SECTION

into their curricula discover they canmake a significant impact on overallschool success. Students who take artscourses in high school, for example,out-perform students who don't on the

Scholastic Aptitude Test(SAT), according to theCollege EntranceExamination Board. In1995, SAT scores forstudents who studied thearts for four years scored59 points higher on theVerbal portion and 44points higher on theMathematics portion

than students with no arts coursework.

'Study of the arts encourages asuppleness of mind, a toleration

for ambiguity, a taste for nuance, andthe ability to make trade-offs amongalternative courses of action. The

When the analytical

mind is developed

at the expense of

synthetic intelligence,

serious consequencs

can follow.

An Arts Education Builds SpecificWorkforce Skills that Business Values

An arts education teaches directly lifeattitudes and skills that businesses arelooking for. More and more executivesare beginning to discover not only thatthe arts make for a more stimulatingand rewarding work environment,but that they can also have a direct,positive impact on the bottom line. Inbusiness lingo, the study of the artsprovides "value added."

An education in the artsLi encourages high achievement.

Arts instruction pushes students toperform and to produce by

offering models of excellence, and byclearly defining the paths for achievingit. Schools that incorporate music, art,dance, drama, and creative writing

8

truth that there are many ways ofseeing the world and interpreting it isfundamental to an education in thearts. The vision of van Gogh is not thevision of Jasper Johns. Young peoplewho create a dance to express the"meaning of independence" learn thatthere is no "right" way to present thatidea, only movements that are faithfulto the idea itself. Says former ARCOpresident and CEO William F.Kieschnick, "those at home with thenuances and ambiguities of art formsare far more likely to persist in thequest to resolve ambiguity in the prac-tical world." Knowing how to shiftintellectual gears beats rigid thinkingevery time (see sidebar page 11).

0 Study of the arts helps students to,j think and work across traditionaldisciplines. 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 publiceducation is to pay scant attention tothe integration of learning. Today'sschool curricula still mirror the 19thcentury German university system ofacademic "disciplines." Forty-five-minute class periods are parcelled outto English, physics, and civics withthe result that students seldom seetheir studies as a whole. Nor are theytaught how to breach subject-arealines to enhance learning in more thanone discipline, or how to createcontexts for new knowledge that donot necessarily fit into the traditionaldisciplinary boxes.

Arts education affords excellentopportunities for breaking down suchbarriers. At New Dorp High Schoolon Staten Island, for example, the arthistory and aesthetic components ofrequired arts classes tie into the cul-tures explored in the school's GlobalStudies curriculum. Art teachersconstruct their own curriculum units,which use economic, historical,geographic, and political factors asthey relate to the art of each culture,country, and continent.

Similarly, leading-edge companies,which now spend millions annually tospark imagination throughout theirorganizations, find that the mostcreative ideas come from people whoare not bound by conventional modesof thinking. Says A. Thomas Young,former executive vice-president of LockheedMartin, "many greatideas come from peoplepoking aroundunfamiliar disciplines

often the artswho apply what theyfind to their own field."Knute Rockne, hepoints out, patternedbackfield formations for Notre Dame'sfamed "Four Horsemen" afterwatching a dance performance, andmilitary designers borrowed Picasso'scubist art to create more effectivecamouflage patterns.


Ai An educa-tion in the

arts teachesstudents how towork coopera-tively, and howto work outconflicting pointsof view. Bothskills are criticalin the workplace.Playing in aschool orchestra,singing in a choir,and putting ona dramaticproduction areall cooperativeactivities; theyrequire and createwell-developedcommunicationand interpersonalskills. In a 1992 Wall Street Journalarticle, John Kelsch, director ofquality at Xerox, put it this way: "Wewant to hire students who are betterprepared ... to work in team environ-ments, and we want them to understandwork as a result of processes."

fc An education in the arts buildsan understanding of diversity and

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

ters it to see the worldfrom someone else'svantage point. All thearts naturally draw onother cultures theirtales, songs, histories,myths, and valuesto create meanings.Sometime before 2050the United States willbecome a "majority-

minority" nation. Those demographicsmake these capabilities crucial toeducation and the future of our chil-dren. An arts education can lay thefoundation for a deeper understandingof 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 thevalue of content, which helps stu-

dents understand "quality" as a keyvalue. Real arts education goes wellbeyond mere "appreciation" for thearts. It also includes performance, cre-ating products, and the mastery of theknowledge, skills, and persistencerequired to do both. The idea of qualityalso enters arts education as studentsstrive to make their next work betterthan the last. If that sounds likeW. Edwards Deming and "continuousimprovement," it is.

Arts education students also experi-ence the strong connection betweenpersonal (or group) effort and qualityof result. They also come to under-stand and value what makes a work ofart "good" and what it means to workto a standard. That kind of educationis not just education about art, it iseducation about life.

Not incidentally, this engagementwith content, quality, and standardsis why "exposure programs" (e.g.,periodic trips to the art museum or

9

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VALUE ADDED: HOW ARTSEDUCATION BUILDS THE SKILLSTHAT 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 workcooperatively.

5. An education in the arts builds an

understanding of diversity and

the multi-cultural dimensions ofour 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 thelocal symphony) are insufficientcompared to a basic education in thearts. The arts arenot a kind ofcultural vaccine astudent can takewith a simple injec-tion. Real engage-ment with contentin the arts takeshard work prac-tice, study, andrepeated assessment

just as learningEnglish compositionand French take hardwork. Withoutrigor, students neverget to quality; in anarts education, theyget rigor.

10


An artsU education con-

tributes to techno-logical competence.Technology hasalways been inte-gral to the arts,from ancient timeswhen sculptors inmarble used metal-lurgy to hone theirchisels, to thestudios of today,where metals areshaped usingacetylene torches.Similarly, thedramatists ofancient Greek the-ater had a profoundknowledge ofacoustics, whiletheir modern counterparts are mastersof such technologies as electronicsound, lighting, film, and television. Inall the arts disciplines, a wide varietyof technologies offer students ways toaccomplish artistic, scholarly, produc-tion, and performance goals. Newtechnologies also make it possible forstudents to try out a vast array ofsolutions to artistic problems. Wellused, interactive media which are acombination of artistic and technolog-ical resources spark creative thinking

skills, as any parentcan testify whose10-year-old has repro-grammed the VCR!

Used appropriate-ly, technologyextends the reach ofthe learner. Not onlycan interesting andinnovative technolo-gies attract studentsto the arts, the artsalso attract studentsto technology andencourage techno-logical competence.Employing comput-ers to create mediaanimations calls on

The TUCSON-PIMA ARTS COUNCIL

asked local artists to teach

students techniques of ceramic

tile work, used to beautify publicbenches. The skill is highly

marketable in Southern Arizona. 21

1NTERLOCHEN ARTS ACADEMY

dancers perform in concert. This

world-renowned center for artseducation received over $900,000

in corporate and foundationsupport last year.

the same competencies business needsto strengthen the workforce.

Sharon Morgan, executive directorof the Oregon Coastal Council for theArts, insists that arts-in-technologyprograms impart a special kind ofacademic discipline. She reports that"the kids in our Animation Projectfind that while the software may givethem quick access to working tools,the work is hard. When they find outhow difficult it is, some naturally fallby the wayside. But it turns othersaround. Animation arts have intro-duced them to why they need a broadand content-rich education."

An Arts Education Connects YoungPeople to Themselves, their Culture,and their Civilization

An arts education speaks to andhelps children build the capabilities

that help them grow as uniqueindividuals:

o the imagination to see somethingwholly new in the most ordinarymaterials and events;

c:(1t->"

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 modesof expression;

o the eye of critical discernment thatcan separate the good from themediocre, and the truly beautiful fromthe merely good;

o the self-knowledge that comes fromexploring the emotional side of lifethat the arts evoke; and

o a sense of responsibility for advancingcivilization itself.

An education in the arts helpschildren experience and under-

stand their cultural heritage. It enablesthem to make new connections to thepast that continue to nourish them,and to the world of beauty in allart forms that surrounds andinspires Americans today. An educa-tion in the arts provides children withunique ways of understanding thebroad range of human experience, andhow to find personal fulfillment,whether vocational or avocational.

An arts education teaches childrenhow to navigate the broad river of

meaning which bears all of usindividuals, society, and nation in

the present, and which carries us into

11


the future. Through an education inthe arts, children can learn to presentideas and issues in new ways; to teachand persuade; to entertain; to design,plan, and make things beautiful.With an arts education, children canlearn how our culture is grounded.More important, theycan figure out wherethey are headed.

An arts educationprovides children

with an avenue to theincomparable. As onerecent essay puts it:"To read Schiller'spoem Ode to Joy ...is to know one kind ofbeauty, yet to hear itsung by a greatchorus as the majesticconclusion toBeethoven's Ninth Symphony is toexperience 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 thatkind of experience and difference

available. It is one of the greatestgifts education can bestow onany child.

"Those a

BUSINESSES SUPPORT ARTSEDUCATION: Three Examples

Forces for the Future Educationin the United States has always beenbasically an enterprise of the localcommunity, 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 supportedto examine:

1. the growing shift from an "observe the performance" model to one based onthe 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 and27 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 perspectivedominates educationreform, as principals,parents, teachers,community leaders, andbusinesses seize anunprecedented oppor-tunity to create educa-tion changes that canmeet their new needsand expectations.

All over the country,there are dramaticexamples of how

schools, businesses, professionalgroups, and local arts agencies andorganizations are collaborating to helpyoung people develop the skills theyneed in the modern economy. At thenational level, the business communityhas joined with teachers, schooladministrators, artists and arts andcultural organizations, parents, andstudents in a focused effort to makesure the arts are included in state-level plans to implement America'seducation goals. The businesscommunity has been deeply investedin this effort, called the "Goals2000 Arts Education Partnership."According to executive directorDick Deasy, "When business comesto the table, the issue is takenseriously. Business people increasinglyrealize that the arts are evidence ofa school's commitment to high stan-dards of excellence for every childthe fundamental idea behind Goals2000. So business is a key playerand a key partner in our efforts toprovide a solid education in the artsto every child in America."

The most exciting stories aboutbusiness and arts education come fromclassrooms and local programs, wherebusiness people, arts educators, and

25

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Businesses need morethan the traditional "3 Rs"in education to have a

DAVID FISHERChairman of the BoardThe Capital Group Companies, Inc.

2?

competitive edge in thetwenty-first century.Add the arts as the "fourthR" to the educationalmix and watch studentsdevelop into adults who

think creatively,

have high-levelcommunication andinterpersonal skills,

work flexiblyacross disciplinaryboundaries,

understand the multi-cultural dimensions ofour world, and

possess a technologicalcompetence needed forthe information age.

Invest in your employees oftomorrowbecome a partnerto arts education today.

For more information, pleasecontact the Getty EducationInstitute for the Arts at1200 Getty Center Drive,Suite 600, Los Angeles,California 90049-1683http: / /www.artsednet.getty.edu/

lb I

TH E GETTY

EDUCATIONINSTITUTE FOR

THE ARTS


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 areworking together to make a differenceto students.

Ashland Inc.: The Value of ArtsEducation for School Reform

Ashland Inc. boasts a 70-year corpo-rate commitment to education. Muchof its involvement in recent years hasgone into school reform in the corpo-ration's home state of Kentucky, whereAshland has been a major player inpromoting KERA, the KentuckyEducation Reform Act of 1990. KERAprovided the framework for the mostfar-reaching reorganization of a state-wide school system ever mandated bya state legislature.

Since 1983, all of Ashland's corporateadvertising budget has gone to supportquality education. Why? Because Ash-land believes deeply that educationparticularly arts education is a linch-pin to business growth. Says vice presi-dent for communications, Dan Lacy:

"It's a given that today's employeehas to have basic skills. But superiorskills are needed to survive competitivelyin the global context. Acquiring themhas to begin as early as possible in achild's education, and we see that itcomes through arts education. We arenot doing justice to our economy orour children if they don't get that inthe K-12 context. That's why Ashland

supports arts education notonly to build better kids but to builda better workforce."

The participation of Ashland Inc.in the arts education programming ofboth the Ordway Theatre (St. Paul)and The Minneapolis Institute of Arts(a museum) shows what corporatecommitment can do. According toLacy, Ashland got involved in artseducation in the Twin Cities becauseit has a major presence in the area,with 140 of its SuperAmerica conve-nience stores located there, as wellas one of its Ashland PetroleumCompany refineries. "The communitydemographics were such that we felta responsibility to our employeesand local stockholders to put some-thing back into the community.We wanted to do something for artseducation."

Programs at Ordway and theInstitute are linked, providing both aperforming arts base and a visual artscenter. The two collaborated in creatinga community of arts education profes-sionals to develop a joint curriculumfor a school outreach program, used bymore than 40,000 students in the 1995-96 school year.

The curriculum is theme-oriented,building on standing or visitingexhibits at the Institute. At a recent100-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 thebasics. Basic reading. Basic math.Basic composition. Aren't those theonly skills students really need? Every-thing else is icing on the cake, right?

Wrong. Today's students needarts education now more than ever.Yes, they need the basics. But todaythere are two sets of basics. The first

reading, writing, and math is

simply the prerequisite for a second,more complex, equally vital collectionof higher-level skills required tofunction well in today's world.

These basics include the ability toallocate resources; to work success-fully with others; to find, analyze,and communicate information; tooperate increasingly complex systemsof seemingly unrelated parts; and,finally, to use technology. The artsprovide an unparalleled opportunity toteach these higher-level basics that areincreasingly critical, not only to tomor-row's work force, but also today's.

The learning is in the doing, andthe arts allow students to do. No othereducational medium offers the samekind of opportunity. In fact, a recentstudy indicates students who havefour years of art and music educationscore 59 points higher on the verbalSAT and 44 points higher in math.

I'm proud Ashland Inc. supportsthe arts and arts education. As amember of the National Foundationfor Advancement in the Arts boardof directors, I urge every parent,every school, every community, andevery business to do the same.

12


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 inChina (206 BCE-220 CE), for example,children not only learned of thisdynasty's history and contribution toChinese culture, they did tomb rub-bings, played Chinese games inventedduring the period (e.g. "Go" and"Pentagrams"), and listened to tradi-tional Chinese music.

In another joint program, "ArtSmart," Ordway and the Instituteworked with students in a middleschool to develop a traveling exhibitof the paintings of a local artist,Clementine Hunter, a former slave. Alocal collector of her work helped thestudents put the project together; thestudents were then trained as docentsto travel with the exhibit.

Oregon Coast Council forthe Arts: Meeting Business andEducation Needs

In rural Lincoln County, Oregon, theOregon Coast Council for the Arts(OCCA) has brought together localbusinesses, artists, the Lincoln CountySchool District, and a consortium ofnonprofit agencies to create the

13

I

"Animation Project." Teams of artistsand nonartists work with clients todevelop animations for specific businessneeds just like a commercial pro-duction house or advertising agency.The difference is the project's focus onteaching critical thinking and comput-er skills, not only to students but alsoto educators, artists, and displacedtimber and fishery workers. Studentslearn such skills as story-boarding,how to make client presentations,and how to negotiate a contract.Significant AnimationProject results producedfor clients so far include:

o an "overlay" usedby an EPA Fish andWildlife vessel to displaymathematically accurateand probable lava andwarm-water flows fromundersea volcanoes;

a promotion for anew underwater steeringdevice for boat motorsfor NautamaticMarine Engineering,which solved a market-ing problem for thecompany; and

29

o an introduction for a safety trainingvideo for a Georgia Pacific paperprocessing mill.

OCCA has also established anArts/Technology Incubator to extendits training model, expanding it beyondsimple animation projects to includeCD-ROM production and animatedsoftware for use in employee training(Hewlett-Packard is the client). Theproject also provides both real andcyber-space access to technology train-ing and real-world applications. SaysOCCA executive director SharonMorgan, "we estimate that there aresome 1,200 jobs going begging inPortland because people lack the skillmix we are delivering: arts skills, com-puter skills, and a sense of how towork in a total quality environment. Iam convinced that the need to masternew technologies will create the biggestneed for arts education because alltechnology is image- and metaphor-based. Arts education teaches kids howto handle that."

"Creative Solutions": ArtsEducation and the Needs ofAt-Risk Youngsters

Now in its third year, Creative Solutionsis a joint project of Young Audiencesof Greater Dallas and the DallasCounty Juvenile Department. The pro-gram addresses the education needs of

both developmentallydisabled and adjudicat-ed youth, using the artsto help students devel-op critical thinkingskills, gain skills in thearts disciplines, buildself-esteem, andencourage them to seethe arts as a viablecareer path.

Some 1,800 youthfrom four correctionalfacilities were involvedin the program's firstyear (1994). Last year asix-week summer pro-gram was added, whichthis 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 supportti.from YOUNG AUDIENCES.

HOW AN ARTS EDUCATIONCONNECTS YOUNG PEOPLETO THEIR CULTURE ANDCIVILIZATION

1. An arts education speaks to andhelps children build the capabilities

that help them grow as uniqueindividuals.

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 ofmeaning.

4. An arts education provides children

with an avenue to the incomparable.

of an intensive exploration of visualart, creative writing, theatre, andintegrated arts, hosted by the DallasMuseum of Art. Last year, 15 teenson probation worked with a localplaywright to write and produce theirown play, "The Fight to TurnAround," which had a four-perfor-mance "run" at Dallas's HorchowAuditorium. In another project, 12young artists worked on 3 x 12-footwall murals on three floors of theGeorge Allen Courts Building.

The community energy in CreativeSolutions is provided by attorneysfrom the Dallas Bar Association, whowork with the students on the paint-ings, and two professional artists, whocontribute more than 300 residencyhours. The lawyers also help the youngpeople assemble portfolios of theirartwork and write resumes. One oflast year's program highlights was anaddress to the young artists from ajudge, who encouraged them to imaginewhat juries would think and feel as theylooked at the murals they had painted.

Teens recommended by their paroleofficers to Creative Solutions (it's theonly way to get in) are enrolled inThursday classes taught by professionalartists. The program already has somealumni, now off probation, who havereturned to work alongside the artistsas mentors. Seventy-two percent of


the program's participants reportthat learning teamwork skills was animportant part of the program forthem, and a Juvenile Detention case-worker has praised the program forgiving the students a constructivechannel for their feelings.

A STRATEGY FOR INVOLVEMENT:THE POWER OF PARTNERSHIPS

As these three examples show, one ofthe most effective ways for businessesand professionals to support artseducation is to become directly involvedin partnerships with local schools andarts organizations. There are as manydifferent kinds of partnerships as thereare partners and needs, but there iswisdom in grounding every partnershipstrongly in a local connection. Thesecan include schools, performing artsorganizations, local arts agencies, col-leges and universities, museums, artsinstitutes, community centers orany mix and match that makes sense.

Successfularts educationpartnerships,as opposed toa partnershipthat supportsthe arts assimply 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 areusually grounded in a solid connectionwith a local school system (see sidebarpage 15).

Six Things That Make aPartnership Work Business involve-ment in arts education presupposessome requirements. Not all agree onthe specifics, but there is enoughconsensus to draw up a scratch list.Not all requirements have to be ful-filled to do a successful job. Sometimesit only takes the right mix of two orthree to get things started.

The following list proceeds in roughchronological order, as if starting tobuild a partnership at the local levelfrom square one. Although the list is abit hypothetical, most companies thathave participated in arts educationpartnerships will recognize it as a roughdescription of their own experience.

Vision. Successful partnershipshappen because people believe they

are worth the effort. Capturing thevision often means a kind of Gestaltshift, developing the ability to seeand project support for artseducation against the broader groundof the community, beginning with theinstructional program of the schools

or its absence. Joanne Mongelli ofthe "Arts Excel" program in White

,r1

fit 1;17.,

4tt

/1.110,5,4

14


FORMS PARTNERSHIPS TAKE

Work with a Local Arts AgencyIn 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 SchoolsState 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 ArtEducation Association.

Summer InstitutesSome 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 PopulationsSome 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 IntegrationAn 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 SkillsThe 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 Coalitionfor Education in the Arts, 1995, and interviews.

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

"We took a lesson from one of ourcorporate partners, IBM," she says."When it came to the local arts orga-nizations, we noticed that most oftheir programs were geared to getting

15

kids to performances. We turned thataround. We focused on getting artsorganizations into classrooms."

n Planning. When the architects ofsuccessful 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. LucieCounty, Florida. "In the beginning,we had a group of teachers artsspecialists and others who had readabout [what we wanted to do] andwere very interested ...they wanted totry it. But we had to come up with aplan to sell the idea to the schoolboard before we could go anywhere."

Leveraging Resources. If there isa trick to partnering for local arts

education, it is leveraging usingresources to build resources. Two prin-ciples usually apply. First, let potentialpartners know that whatever resourcesthey provide will be expended locally;they have a right to that. Second, forbusinesses, the best leveraging tool is astaff position dedicated to whateverpartnership they are trying to grow. Ifa full-time employee is not possible, ahalf- or quarter-timer is better than ano-timer.

Generating Buy-in. There are nomagic bullets here, either. "One-

time successes won't do it," says VickiPoppen of Portland, Oregon's ArtsPlan 2000+. "It takes people collabo-rating long-term if you want to embedarts in the schools." In some places,the key is getting teachers on board,and not just arts teachers.

Another critical buy-in factor ispersuading decision makers and con-structing truly collaborative arrange-ments among partners unaccustomedto working together. That may meancultivating nine school superintendents,as in Kalamazoo, or using vaguecommunity sentiment as the launchingpad for a city-wide cultural educationpolicy, as was done in Boston.

Professional Development forTeachers and Support for Artists.

Professional development for teachersand direct support for artists areboth crucial to partnerships. There isno escaping the fact that long-termsuccess rises or falls on the quality ofinstruction, both among the arts

3'

0

A littleimagination

workswonders.

It takes more thantextbooks to producetomorrow's mathematicians,

scientists, and business leaders.

It takes imagination. AtMcGraw-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 therewards 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 forinstallation as public art at O'HareInternational Airport.

specialists brought in to teach, andamong the regular class teachers whohelp the artists get in step with curric-ular goals. The best resource mix inthe world whether corporate funds,school personnel, support from localarts organizations, or in-kind contri-butions will be under-used, or worse,misapplied, if those through whosehands the resources pass are not trainedto make the most effective use ofthem. A good watchword is: it is notthe partnership's resources that makethe teaching effective; it is the teachingthat makes the resources effective.

6 Good Communication andPromotion. Nothing generates

momentum for a partnership like visi-bility, especially when it makes it easierfor more participants to jump into theboat. Florida State University's Instituteof Art Education, for example, becameaffordable for teachers primarily becauseof a focused publicity program, whichelicited contributions of food fromlocal restaurants and some $20,000 incontributions from local merchants.Other local partners, unable to givecash, contributed what they could: alocal hospital contributed frames for anart exhibition and placed children'spictures in the hospital's birthing center;a local art center and the public libraryalso contributed wall space for pictures.

16


A New RelationshipAmerican companies are long accus-tomed to having local arts groups andarts educators knocking on their door,looking for support. In the same vein,companies have long understood theirpart of the relationship as basicallyphilanthropic. 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 haverecast the requirements for the kind ofworkers American companies need"knowledge workers" with imagina-tion and a whole battery of new skills.

As it happens, the very skillsrequired and the people who havethem are both found in arts educationprograms all across the country. But inmany places, the short-sighted stillbelieve that arts education is merelythe icing on the curricular cake. Thatview is simply wrong. The truth isthat, as more and more businessescome to understand the new partnership

between business and arts education,learning in the arts is seen as morebasic, more crucial, and more rewardingto both. Business and arts educationboth have something to give to theother; as each recognizes it, eachenables the other to grow. In the end,it's like making a new friend. With thefriendship, you realize that things willnever be the same, and the realizationis something to be grateful for.

Bruce O.Boston, is president of Wordsmith,Inc., a Northern Virginia writing and publi-cations consulting company. He has workedas a writer on several policy reports dealingwith education issues, including A Nationat Risk and What Work Requires of Schools.He is the author of the "Introduction" tothe National Standards for Arts Educationand Connections: The Arts and theIntegration of the High School Curriculum.He has written or edited more than 250aritcles, books, reports, and scripts.

Cover photos, left to right: AppleComputer, Inc.; Carol Pratt/The KennedyCenter. 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 Toddwill 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 lasertechnology, advanced computing and moleculargenetics. Unfortunately, very few Americanchildren are being prepared to master suchsophisticated subjects.

If we want children who can handle

tomorrow's good jobs, more kids need to takemore challenging academic courses.

To find out how you can help the effort toraise standards in America's schools, pleasecall 1- 800 -96- PROMISE.If we make changes now,we can prevent a lot ofpain later on.

The Business RoundtaoleU.S Department of Education

National Governors' AssociationAmerican Federation of TeachersThe National Alliance of Business

EDUCATION EXCELLENCE PARTNERSHIP

WALHALLA HIGH SCHOOLHORICULTURE/AGRONOMYWALHALLA, SOUTH CAROLINA


1996 BUSINESS WEEK SEVENTH ANNUAL AWARDSFOR INSTRUCTIONAL INNOVATION

The New American High Schools:Preparing Students for Collegeand Careers

HEALTH / NEV USINESS WEEK, using guidancefrom the U.S. Department ofEducation, The National Center

For Research in Vocational Education andThe McGraw- Hill Educational andProfessional Publishing Group selected 10award winners of The New AmericanHigh Schools where students:

achieve high levels of academic andtechnical skillsprepare for college and careerslearn in the context of a career majoror other special interestlearn by doing - in classrooms, work-places, or community servicework with teachers in small schools-within-schoolshave the support of a caring communityreceive extra support from adult mentorsaccess a wide range of career andcollege informationbenefit from strong links between highschools and post secondary institutionsuse technology to enhance learning

GATEWAY INSTITUTE OF TECHNOLOGYST. LOUIS, MISSOURI

DAVID DOUGLAS HIGH SCHOOLSTUDENT-OPERATED PRE-SCHOOLPORTLAND, OREGON

SUSSEX TECHNICAL HIGH SCHOOLGEORGETOWN, DELAWARE

FENWAY MIDDLE COLLEGE HIGH SCHOOLOSTON, MASSACHUSETTS

E

li

THOMPSON VALLEY HIGH SCHOOL: CAREER FAIRLOVELAND, COLORADO

35

THE WINNING SCHOOLS ARE:

Chicago High School for theAgricultural Sciences - Chicago, IllinoisDavid Douglas High SchoolPortland, OregonEncina High School Sacramento,CaliforniaFenway Middle College High School .

Boston, MassachusettsGateway Institute of TechnologySt. Louis, MissouriHigh School of Economics and Finance

New York, New YorkSussex Technical High SchoolGeorgetown, DelawareThompson School DistrictLoveland, ColoradoWalhalla High School Walhalla,South CarolinaWilliam Turner Technical High School

Miami, Florida

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

You can also find The New AmericanHigh School publication text on AmericaOnline by going to Keyword: BusinessWeekand clicking on the Offers & Info button.Under Programs & Services click on BWAward for Instrumental Innovation.

"It is our belief that these award win-ners will have a significant impact on thetotal school community in preparing theirstudents for college and careers," saidDavid Ferm, publisher of Business Week.

SOURCEThere's a source of energy. A source of information. And one simple, powerful source for all of your words to travel

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.

GOODNEIGHBORAWARD

STATE FARM INSURANCE COMPANIESHome Offices: Bloomington, Illinois

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

http://www.statefarm.com1

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

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