This document outlines what beginning classroom teachers and arts education specialists should know and be able to do to teach the arts effectively. The volume serves as a guide for individual states, professional organizations, and teacher education programs as they develop and refine their standards and practices. The Interstate New Teacher…

This "Teacher's Guide" and "Student Workbook" accompany a videotape and poster map in a package intended to introduce the heritage, historical events, customs and beliefs of the Haitian people, with emphasis on the valuable contributions of the African-American culture. The student workbook contains a summary of the video…

Focusing on multiple ways in which learners gain access to knowledge and skills, this handbook explores the possibilities of broadening current conceptualizations of literacy to include the full array of the communicative arts (reading, writing, speaking, listening, viewing). The handbook pays particular attention to the visual arts of drama,…

Works of visual art contain an inner dynamism and energy that an individual's perceptual apparatus can translate into kinesthetic impressions, movement, and sound. Through this translation, a child's natural energies can interact with the artwork through multiple sensory experiences, enriching art appreciation. After a brief examination of the…

The forum on partnerships to improve teaching the arts was an outgrowth of earlier gatherings and of research to identify and respond to current challenges to sustain and enhance quality arts teaching. During 1999 the Arts Education Partnership convened a task force which concluded that improved teaching hinges on collaborations among three key…

In the children's book, "Lilly's Purple Plastic Purse," Lilly gets into trouble for interrupting class to show off her three shiny quarters and her purple plastic purse, which makes music when it is opened. This curriculum unit intended for students in grades 2 and 3 supports the book (and Kennedy Center Production). The five lessons in…

This document outlines the proficiencies in the visual and performing arts that students should demonstrate for admission to the Oregon University System (OUS) of institutions beginning in the Fall of 2004. The Proficiency-based Admission Standards System (PASS) has identified six proficiency areas and the performance criteria for determining…

Data from the National Assessment of Educational Progress (NAEP) 1997 Arts Assessment for eighth-grade students show that female students outperformed male students in every category of assessment for all three art forms assessed: (1) music; (2) theater; and (3) visual arts. In contrast to assessments in other subjects, nonpublic school students…

By teaching children in the manner in which they themselves were taught by their elders, female Papago, Pima, and Pueblo artists are continuing the role of traditional tribal arts (basketry, painting, pottery) among their people. Their use of traditional materials is occasionally innovative, but usually reflects traditional design. (SB)

Describes the efforts of one elementary art class to move beyond the limits of formalism when examining and discussing art. Guided by the teacher, the class attempted a critical deconstruction of the work of Edgar Degas focusing on his depiction of working class women. Includes three reproductions of Degas works. (MJP)

Provides a rationale and lesson plan for incorporating geography and art at the K-4 level. The lesson plan features a landscape painting by George Innes, a simplified chronology of his life, as well as a template of questions about the artist and the spatial significance of the painting. (MJP)

Considers recent changes in issues and strategies of art criticism and how these relate to computer-generated images and computer assisted instruction. These changes both reflect and inhabit the decentered, fragmentary, and flexible postmodernist vision. Preservice art teachers should become familiar with these changes. (MJP)

Outlines an issue-centered approach to teaching aesthetics, where students identify and analyze possible solutions before learning an aesthetician's viewpoint. Suggests that teachers acquire basic aesthetic knowledge but also be willing to accept planned uncertainty as an educational principle. Presents a fictional art forgery scenario to…

Discusses three types of distance in art education that should be bridged: (1) between studio art and art criticism/history; (2) between thinking in images and thinking in words; and (3) between art and culture in cognition. Recommends a curriculum to integrate studio work with criticism and teach art along with culture. (CFR)

Presents gender issues in the context of a broad definition of art education. Reports on a study of the ability of 115 eighth- and 11th-grade students to assess critically gender stereotypes. Provides five recommendations for dealing with gender issues in the art education curriculum. (CFR)