While policy formation frameworks are commonly used to understand public policy developments, scholars rarely have used them to reflect on arts education policies. Such analysis is important because it can assist both in identifying the genesis of past policies, including who the important actors are, how issues are framed and problematized, and…

In the past decade of educational reform, there has been one astounding accomplishment: The federal and state governments and the private sector have recommended and adopted policies to advance the visual and performing arts as essential to a comprehensive education. The goals created by the president and the governors of all 50 states for…

The National Standards for the Arts are part of Goals 2000. The public must be made aware of why national visual arts standards are needed and how they relate to state art education frameworks, district curriculum guides, and lesson/unit plans. The goal of all arts education is to develop basic literacy in visual arts, music, theater, and dance.…

This action guide reflects the discussions and recommendations of the Goals 2000 Education Action Planning Process. The booklet includes a summary checklist of critical actions that must be taken by those working at the national, state, and local levels to advance the arts in the Goals 2000 education improvement process. The sections of the…

This document is a background paper for satellite town meeting on the "Goals 2000: Educate America Act." The paper discusses the importance of studying the arts for themselves, and as a means of helping students learn other subjects. It suggests that studying the arts prepares students for the workplace and helps to build the United…

Traces the origins and development of the National Standards for Arts Education. Discusses the long-term effects the national standards might have on preservice and inservice teacher education. Questions whether national standards might lead to a standardization in arts education that would hamper teacher and student creativity. (CFR)

As a Teaching Artist (TA) for the past 12 years, the author has visited hundreds of schools in western Pennsylvania. She has had an opportunity to work with many talented and dedicated classroom teachers, arts teachers and administrators who all share an enthusiasm for making the arts central to quality education. The teachers and administrators…

Contends that, in an age of decreased educational funding, it is more likely that art teachers must work with administrators who have little or no art training. Asserts that art teachers must educate the administrators about the value of educational art programs. Provides suggested strategies to accomplish this goal. (CFR)

Discusses the community service requirement for high school graduation in Maryland. Contends it enhances arts instruction and highlights student accomplishments. Describes a program in which performing arts students meet the requirements through participation in concerts, art shows, and similar community-based activities. (CFR)

Comments on remarks by A. Graham Down, president of the Council for Basic Education, about integrating arts education into the curriculum. Concludes that, when the arts are channeled into the mainstream and made part and parcel of everything, arts education becomes dangerously confused. (CFR)

Asserts that this is a frenetic time for arts education. Discusses the formation and implementation of public policy regarding arts education. Concludes that the most responsible policies emerge when broad-based input from professionals and lay persons is solicited and acted upon. (CFR)

The role and expectations of the arts supervisor and administrator have expanded beyond managing personnel and programmatic activities to informing policy decisions. Legislation such as The No Child Left Behind Act, signed by President Bush in 2002, exacerbated this paradigm shift. Thus, the role of arts supervisors and administrators as leaders…

Asserts that it is important to avoid bandwagon superficialities related to the interdisciplinary approach to arts education in the K-12 curriculum. Concludes that the overarching issue related to the National Standards implementation is how to keep content and process in a productive relationship. (CFR)

Contends that questions about power and who has it dominated U.S. political and social discourse. Discusses five aspects of power and art: (1) three power/art relationships; (2) the struggle between individuals and systems; (3) power applications; (4) current power contexts; and (5) major futures issues. (CFR)

Asserts that the new voluntary arts national standards present educators with a important opportunity to improve music and arts education in K-12 schools. Outlines the role of the national standards movement. Discusses the interrelationships among the standards and the undergraduate curriculum, teacher certification, and advanced placement. (CFR)