Building Partnerships in the Arts. Art As Necessity: the Cultural Community and Urban School

DOCUMENT RESUME

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AUTHOR Fishman, Ted C. TITLE Building Partnerships in the Arts. Art as Necessity: The Cultural Community and Urban School. INSTITUTION Center for Arts in Education, Chicago, IL. Urban Gateways. PUB DATE 91 NOTE 36p.; Excerpts from addresses and speeches presented at "Art as Necessity: The CulturalCommunity and the Urban School" Conference (Chicago, IL, October, 1991). Funding was provided by the Nathan Cummings Foundation. PUB TYPE Reports Descriptive (141) Speeches/Conference Papers (150)

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Art; Art Education; *Community; *Culture; Elementary Secondary Education; *Partnerships in Education; *Urban Schools

ABSTRACT In describing the efforts and goals of a 1991 conference, this document presents guidelines for thedevelopment of collaborative relationships between schools, artsorganizations, and funders. It is indicated that collaborations are necessaryfor meeting the cultural and educational needs of urbanchildren. At a time when resources for both the arts and education arestrained, collaboration offers a way to bolster both. In"Building Partnerships in the Arts" (Ted C. Fishman), the case forcollaboration is made and essential points of agreement delineated. These are(1)a target copulation;(2) specific program activities;(3) objectives; (4) assessment by partners;(5) evaluation of effectiveness with target audience; and (6) establishment of a time-line. (MM)

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ban Gateways The Center for Arts in Education

BUILDING PARTNERSHIPS IN THE ARTS Ted C. Fishman

with an introduction by Sandra Furey, Executive Director, Urban Gateways: The Center for Arts in Education O

a.. PERMISSION TO REPRODUCE AND \ DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY Gah4r4rure

-_ TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ,/

U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as Xreceived from the person or organization originating it. Minor changes have been made to improve reproduction quality.

Points of view or opinions stated in this document do not necessarily represent '71 official OERI position or policy. ART PREFACE

In October, 1991, Art as Necessity: The Cultural Community and the Urban School convened 131 representatives from schools, arts organizations, cultural institutions, government agencies, private foundations and corporations. Participants came from Chicago (91), from other large cities around the country (30) and from Great Britain (10). They came to build partnerships capable of propelling the cultural resources of America's cities into the lives of urban school children. The conference was designed and implemented by Urban Gateways: The Center for Arts in Education, the nation's largest arts education organization, and was sponsored with a grant from the Nathan Cummings Foundation. Already the conference has produced new ideas for partnerships among nearly all the participants. This booklet captures some of the voices, ideas and spirit of Art as Necessity.

Art as Necessity was made possible by generous funding from the Nathan Cummings Foundation

3 BEST COPYAVAILABLE THEREPERTOIRE EXPANDING ExecutiveDirector, by SandraFurey, introduction inEducation An The Centerfor Arts UrbanGateways:

Nowhere else on the globe do so many people from different cultures and life-styles mingle, share space and encounter the creative efforts of each other as in American cities. Our cities brim with museums, music ensembles, theater companies and galleries.Professional artists, writers and filmmakers, art educators, government agencies, private foundations and volunteers devote themselves to a limitless variety of expression.

For millions of urban school children, however, the genius and wealth of our cities remain largely untapped. Likewise, the myriad talents and resources of urban young people too often go under-developed.

Cities are an increasingly harsh place for young people, especially those from poor neighborhoods. Grim statistics abound. Indeed, virtually every condition associated with a nurturing environment is on the decline. A sample of the most troubling figures gives the picture. A 1990 study of 25,000 eighth graders nationwide found that half of the children experienced at least one of the six top risk factors for poor school performance. In the cities, the proportion is closer to three quarters. Forty per cent of the nation's poor are under 18 years old. In Chicago, sixty-six per cent of the public school children live in poverty. The city fails to graduate forty-six per cent of its high school students, a rate shared within a few percentage points bythe twenty- five largest cities in America.

Statistics do not measure a child's experiences or a child's world view from inside the neighborhood. Surviving is far more likely to weigh on a young mind thanexploring museums, visiting galleries or spending a day working in clay at a local studio. Indeed, most city school children are so isolated from the cultural opportunities of their own cities, that concerts, theaters and museums may seem made just for "other" people.

1 During Art as Necessity, culturalinstitutions* and schools explored ways to reachmore deeply into the lives of children so that the opportunities offered by urban culturallife and public treasures would becomeas central to their education and intellectual developmentas life in the neighborhood.

Art, culture and the creativeprocess do indeed feed the intellect as well as the humanspirit.Itis clear that the conferees, as educators and keepersof the arts and culture, are concerned with much more than audiencedevelopment. Rather, we are concerned with theever-increasing demands to successfully develop and educate thechildren who are the subject of these statistics.To offer opportunities for children to discover the joy oflearning and believe in their own potential is central to our work. Clearerunderstanding and open dialogue between principalsof inner-city schools and those of us whoare charged with teaching and interpreting art and cultureare necessary if we are seriously interested in helping to reduce thesestatistics.

Our Full Potential Urban Gateways organized theArt as Necessity conference to encourage schools andarts organizations to develop collaborative relationships. For thepast thirty years, Urban Gateways has worked to bringart and culture to school children through collaborationsbetween artists,cultural organizations, foundations andschools. Each year in metropolitan Chicago nearlyone million children, the largest number reached byany such program in America, participate in programs offered to schoolsthrough Urban Gateways. Even so, the scope of UrbanGateways' programs is buta fraction of the potential reachof collaborative efforts. The Art as Necessity conference was an effort to replicate Urban Gateways' approach to collaboration among the widest audience of schools and cultural institutions possible. To accomplish this end, some institutions and organizations had to be willing to redefine what they meant by collaborations and to accept equal partnership with other groups whose goals may at first have seemed disconnected from their own. To foster new perspectives on collaboration, the conference sought to open a dialogue within which school principals and admin:strators could share their views of arts education with the representatives of arts institutions.

As Jerome Hausmar, director of Urban Gateways' Center for Arts Curriculum Planning and Evaluation, said to the conference, the key to successful collaborationis"enlightened self interest." Through partnerships, schools and arts organizations can exponentially multiply their resources to reach more children more profoundly, while reducing the strain on their meacer budgets and over-taxed personnel. To borrow from the language of finance, collaboration allows participants to leverage their current resources into efforts far greater in scope than what they could do alone. Art as Necessity urges a process which could build future collaborations and promise a new way for city children to think about their education, their communities and their lives; a way to expand young peoples' repertoire of cultural resources to include all the treasures of their communities. The process might also open to those in the partnerships a new way of seeinc city children: as creative, inspired and thriving.

*Hereafter "organization" and 'nstitution" are used interchangeably to mean any organization that hopes to cltrEminate the arts or other field of knowledge to a general audience through performance exhibition or the written word.

3 CAREFULLY LISTENING KEYNOTEADDRESS EXCERPTFROM Hartfield, delivered byRonne of Chicago The ArtInstitute MuseumEducation,

I would like to begin this conference withthree quotations. The first is from an American newspaper publisherwho wrote, nearly one hundred years ago, a seminalbook called, Progress and Poverty.

"What, then, is the law of human progress the law under which civilization advances? ...It must explain clearlyand definitely, and not by vague generalities orsuperficial analogies, why, though mankind started presumablywith the same capacities and at the same time, there nowexist such wide differences in social development."

My second quote is from an even olderbook, the Popol Vuh, the great Guatemalan book of the dawn oflife.

"This very place has become our mountain, ourplain. Now that we are yours, our day and birth have become greater, because all the peoples are yours, all the tribes.And since we are still your companions, evenin your citadel, we shall give you procedures."

My final quote is from that great unwrittenbook of oral literature in the African-American tradition and ithas its origins in the mists of myth and history. It isthe briefest, and most cogent of the three quotes.

"Signifying is worse than lying." .

It is important that we begin with listening,because listening carefully is what this conference is all about. What isinvolved in this rather elusive faculty called "listening" aresuch processes and phenomena as sensoryperception, attention, imagery, and memory, among other things. When we are listening, we are also thinking, reasoning, informing,problem solving, conceptualizing, and symbolizing, amongother things.

4 Some of those other things have to do withthat great determinant called context. As the great linguist Ferdinand de Saussure put it, "The bond between thesignifier and the signified is always arbitrary." The organic, originalquality of Black language may represent a mode of attaining power within the constraints of a system which consistentlydefines signifies structures and meanings which diminish, devalue or exclude however arbitrarily Black experience. It is this very arbitrariness which makes partnership, orparity, so difficult to establish. Onthe other hand, this arbitrary signification also allows the possibility of creative change.

My first quote has vast philosophical implications. Itmakes claims for nothing less than civilization itself, and forthe power of the mind to extendknowledge, improve methods and better social conditions.

I would challenge us to a kind of critical ear-to-earlistening which recognizes the constraints as well as the possibilities inherent in the places we represent. What we want is urban schools that work better, and cultural institutions that are more responsive to the communitieswhich share life and breath with them. What we want is a way to link our needs and our resources so as to make the most of what we have available to us in cities from New York to London, from Newcastle to Los Angeles, and of course here at home in Chicago. The word is "partnership." Which brings me finally to the end of this talk and the real beginning of thisconference my second quote says it all: "All thepeoples are yours. All the tribes."

5 PARTNERSHIPS. ARTS BUILDING INSTITUTIONS, CULTURAL SCHOOLS BETWEEN ANDURBAN ORGANIZATIONS Ted C.Fishman on ArtasNecessity A perspecttve

PART ONE The Case for Collaborations Between Educators and Arts Organizations

The budget of the The effort to form collaborations between schools and arts National Endowment organizations comes at a time of diminishing government for the Arts' Education support for art in the schools. DavidO'Fallon, the director Program of $6.5 of the Arts in Education Program of the National Endowment millionroughly a that dime per year for every for the Arts, speaking at Art as Necessity, pointed out American school-aged attention to art education is declining in the faceof short child is small even funds and initiatives to strengthen literacy and knowledge compared to the of science and mathematics. The federal government's resources of many local recently published national educational goals, O'Fallon foundations. indicated, include no role for the arts.

Funding cuts in urban school districts have also diminished the role of art in city schools. In New York andChicago there is roughly one art teacher for every thousand children.

The arts are one of the few resources which can be converted relatively easily into an engaging educational tool. For the educators and school administrators who came to Art as Necessity seeking collaborative programs, the arts provide a way to keep childrenenthusiastic and in school.*

These educators, all of whom have struggled to keep arts programs alive in their schools,also view the use of arts in education as an effective way for students to learn to empower themselves. The artslet children grasp the world firsthand by fostering creative, personal, expressive encounters and explorations of their human andintellectual potential. O'Fallon, citing recent research on arts in education, said that while it is difficult to quantify the arts' effects on reading and math scores, studies show that schools infused with the arts have "all the hallmarks of truly excellent education."

6 When resources are short, collaborative programs between schools and arts institutions offer effective and creative ways to bring art into education. A well planned and implemented collaboration offers two advantages:

1. It matches the needs and resources of all the partners. "There's a prevailing feeling among arts Since programs are designed jointly, none of the partners organizations that 'we are placed in the position of being solely a provider or don't do windows.' We a receiver. Rather, each party is regarded as a beneficiary. do only this kind of program. Arts 2. It allows the partners to piggy-back on each others' organizations have to resources. learn how to take their In collaboration, partners' combined efforts reach well resources and re- configure them in beyond that of many individual, fragmented programs and different ways." false starts. Mitchell Korn, President, Artsvision, The goals of the 131 conference participants ranged broadly New York from general educational and cultural objectives, such as increasing student self-confidence or broadening multi- cultural understanding to very specific objectives, such as teaching children to recognize and appreciate different American artistic styles and artists.

Art as Necessity offered participants a unique opportunity to realize their goals. The conference centered around eight round-table working groups made up of representatives of schools, arts organizations and funders. Each group was charged with jointly assessing the needs and resources of those at the table, and thereafter producing a partnership to direct the divergent objectives of the participants into a common goal.

*Every school day, an average of approximately 120,000 students are missing from Illinois classrooms due to truancy. The cost in lost reimbursement due to truancy was $142 million in the 1989-90 school year.

7 Even in areas like "The study of science, Lederman's description science, where the arts in the best classrooms, of good teaching as have traditionally stirs the imagination. that which "engages played little The story can be in a the child's own educational role, frog, in a test tube resources and motiva- creative approaches can reaction or in a tions" describes well, reshape a generation of photograph of the collaborations between learners. Nobel Prize night sky. Any of these educators and arts. Awe Laureate Leon can be used to expose of the stars, which can Lederman, one of to naturally inquisitive begin at a planetarium, America's most young minds aspects of might be nurtured back outspoken advocates awe, wonder and at school by a teacher for better science beauty of the Universe. who can tell astro- education in public Mathematics and physics as a story. schools, recently science education, Lederman is a key described the issue of when activity based, figure at the Teacher's science illiteracy. hands-on, learn-play... Academy for tend to convert skeptics "It has to do with Mathematics and into scholars... and can culture," he said, "with Science, a training serve to break the the participation of a center for public school deadly cycle of failure much larger fraction of teachers. The academy and drop-out, of our citizenry in the is a collaborative effort unemployment and wonder and awe of our of 14 universities and poverty." grasp of the physical and colleges, the business biological universe... community, museums, A proper educational Fermilab and Argonne experience can stimu- National Laboratories, late the child, open the teachers, principals, the door to the joy of the Chicago Teacher's learning experience, Union, Local School can make the school a Councils, the Urban place to be..." League, the Chicago Public Schools and others.

I .1 8 Jill Darrow, program "The arts are related to officer of the Prince all school subjects, and Charitable Trusts, all teachers should explained that the understand them well ultimate aim of enough to use them to collaboration is to support and elucidate empower classroom instruction in other teachers with creative subjects and to show approaches and how such subjects can educational tools. The contribute to an bigger the bag of tricks, understanding of the the better the teachers' arts." Toward chances are of reaching Civilization, NEA, 1988 the children.

The National Endowment for the Arts' 1988 report, Toward Civilization, lists four reasons why arts education is important: "to understand civilization, to develop creativity, to learn the tools of communication, and to develop the capacity for making wise choices among the products of the arts."

0 9 PART TWO Rethinking Collaboration

Educational materials Most large urban culturalinstitutions have educational recently assembled to programs available for city schools.Typically these are accompany a new developed by in-house educational staffs and offered as permanent installation packages to schools, e.g., field trips guided by employees at Chicago's Field Museum of Natural of the institutions. Last year, for example, the Los Angeles History include a well- County Museum of Art hosted 53,000 school children, of designed package of which 30,000 were led on docent-guided tours. Of the background informa- 106,000 students who visited The Art Institute of Chicago tion for teachers, a with their schools, 66,000 used the services of museum number of creative suggestions for class- docents. room activities, on-site orientation and tours Instructional materials usually accompany the educational for teachers plus video programs of cultural institutions, allowing teachers toraise presentations available related issues with students before and after their visits. for use at the schools. Though such programs can offer valuable opportunities for teachers who manage to weave an institution's materials into their lessons, educators at the Art as Necessity conference felt pre-packaged materials were often difficult to integrate into a teacher's lesson plans and pedagogical goals.

Most cultural organizations lack the educational resources of large museums. Many of those represented 'at the Art as Necessity Conference had small educationalstaffs or none at all. While large institutions, by their nature, excel at presenting a wide variety of experiences to big audiences, smaller museums and organizations must focus more specifically on both their subject matter and their audience. For a small organization, the best collaborations incorporate the institution's focus. In Boston, the Museum of the National Center of Afro American Artists worked with a neighboring school to develop a series of in-depth, hands-on, programs

13 10 and tours introducing students to the untoldhistory of black people and black artists in North and SouthAmerica, the Caribbean, and Africa. The museum was inthe unique position, both because of its proximity tothe school and because of its focus, to enter such a collaboration.

The Los Angeles County The Museum of the Museum of Art offers National Center of evening workshops to Afro American Artists' introduce teachers to relationship with the major exhibitions. For a nearby David Ellis recent exhibition of School has resulted in Impressionist paintings, three long-term 1,500 teachers attended collaborative projects. seminars on color Barry Gaither, director theory and French art of the Museum, history, all held the describes the same night. Despite the partnership as a demand for its "laboratory programs, the Los relationship." The Angeles museum has had to limit future museum staff works evening programs to closely with school 800 teachers. personnel developing model programs for the Boston Public Some school officials Schools, often in con- expressed concern that junction with other cultural institutions cultural organizations, often prepared such as Boston's educational materials Museum of Fine Arts. that were too specialized to be used effectively by teachers and students.

4 11 PART THREE Forming a Collaboration: A Pilot Approach

Successful collaborations Round-Table Discussions build on mutual trust "People only understand things in terms of their among partners, trust own experience, which means you must get which develops from understanding. Ronne within their experience. If you try to get your ideas Hartfield, the executive across to others without paying attention towhat director of Museum they have to say to you, you can forget about the Education at The Art whole thing." Institute of Chicago, advised the Art as Saul Alinsky Necessity conferees to regard statements of The purpose of Art as Necessity was to share and promote institutional purpose as Urban Gateways' approach to building collaborations, an personal narratives and to find in personal approach that respects the goals and integrity of all anecdotes keys to an participants. A good collaboration allows all partners a chance institution's goals. to further their own missions, not change them. Urban Gateways' approach emphasizes an open, developmental process which relies on honest dialogue between the partners themselves.

A preconference survey conducted by Jerome Hausman, director of Urban Gateways' Center for Arts Curriculum Planning and Evaluation, revealed that school administrators had envisioned collaborations quite differently than did arts institutions and organizations.Dr. Hausman found that principals spoke of needing help from as many sources as possible. The educators said it was "very important" to them that cultural organizations help, schools with staff development, program planning, and curriculum implementation. The principals also felt strongly that collaborative arts programs should be closely tied to the academic activities of students.

12 15 Survey responses from arts organizations andinstitutions, in contrast, reflected chiefly their concern with promoting the art forms or culturalinterests around which their organizations centered. Most of the arts groups at Art as Six essential points that Necessity concern themselves with performances, programs partners must agree on or exhibitions. Arts organizationrepresentatives tended to when designing a rank other services, such as curricular enhancement andstaff collaborative project: development, as "minimal" elements in their purpose. 1. A target population 2. Specific program At Art as Necessity, conferees were divided intoround-table activities groups that included representativesof schools, arts 3. Objectives organizations and funders. The groupings were based on the preconference survey which also polled participants 4. Assessment by partners regarding their objectives at Art as Necessity. An effort was made to group parties with compatible interests, even though 5. Evaluation of little about the other effectiveness with many round-table participants knew target audience schools and organizations represented in their workshops. 6. Time-line The round-table workshops mirrored,in an abbreviated format, Urban Gateways' method of building collaborations. Participants were to:

build personal relationships

learn each others' institutional needs, resources and objectives

brain storm for program ideas which effectively match needs and resources and reflect shared goals

select a single program idea to develop and enumerate its features (see sidebar for six essential points)

Nothing more was asked of participants other than that they invest in the process of partnership building. Nevertheless, the round-tables showed building relationships leads to plans and then to action.

16 13 Jean Herron is the List of needs developed Principal of Spalding by Guadalupe High School on Hamersma, Principal of Chicago's Near West Chicago's Plamondon Side, a school designed School, an elementary to accommodate school serving an students with physical Hispanic population in disabilities. Recently, a poor community: the school population, 1. Develop which had been communication skills: comprised solely of the reading, writing, disabled, has been listening and integrated with speaking students who do not have disabilities. Ms. 2. Develop an Herron says that two of appreciation of her goals are to reduce knowledge prejudice toward 3. Create possibilities students with disabilities for children who are and others with often isolated from alternative life styles, the opportunities and build a greater offered by the city's appreciation for the cultural life cultural opportunities 4. Fire people up. and institutions in .Energize staff and Chicago, focusing on students how children can take advantage of these 5. Retain children at her opportunities on their school own Hamersma has seen dance and music increase excitement in general learning. The arts, she says, can give children an appreciation for education. She's convinced that a good collaborative program would spur more involvement in the neighborhood school.

14 The round-tables were asked to devise plans thatcould serve "Teachers of [the disabled] population as model programs insettings beyond the participants' own are burned out; they institutions. The evening before the workshops met, a need to be recharged. consortium of funders led by the Prince Charitable Trusts* When you work with announced that it would literally invest in the process.The kids with special needs, consortium pledged seed money to launchcollaborations you are struggling with which emerged from the new partnershipsformed at Art ways to broaden their lives above and beyond as Necessity. It was anemphatic statement from the funders what is in school. Arts educational goals that they seek initiatives that could advance in education helps the in the community. Joan Shigekawa, director of arts programs teachers and the kids for the Nathan Cummings Foundation, which sponsoredthe reach fresh avenues out conference, characterized foundation involvement inthe of their stressful conference as "venture capital" to spark innovative planning. routine." By investing in building new collaborations,funders look to Jean Herron, of Principal, Spalding leverage their money with the expertise and resources High School, Chicago other partners. The incentive worked. The eightround-table workshops, as well as subsequent conversations they inspired, produced fifteen proposals, incorporating eighty-seven new partners for on-going collaborative projects.

The most important factors in forging plans werethat the partners approached the process with equal opennessand trusted that no one partner would rule over the process. Plans that centered on specific themes or approaches sat uncomfortably with some panelists who feared that participation by their institutions would seem like aforced addition to the program. The plans that emerged capitalized on the personal relationships built up over the day, and used the panel members' enthusiasm and commitment to each other as a new resource. Most plans left open whatspecific institutional resources each partner would have tocontribute in subsequent stages of collaboration, but were structured so that in the initial stages each party enjoyed equal ownership of the proposals.

*In addition to the Prince Charitable Trusts, the consortium of funders included The Chicago Community Trust, The Joyce Foundation, Polk Brothers Foundation, and Marshall Field's. 15 "The best programs "I need nurturing, too. I nurture educators in get to come downtown the arts so they can and spend a day with become arts educators interesting people. themselves." That's what my teachers Janice Lane Ewart, need the chance to do Arts Midwest, sometimes." Minneapolis Jean Herron, Principal, Spalding High School, Chicago "Cultural institutions offer resources that are key to thinking, "Field trips to nurturing and learning institutions are often to learn. The seen as a break for institutions offer a way burned-out teachers. out of the conscription That falls short of what against thinking and institutions want. innovating that Institutions would teachers often face in rather see programs school." that carry over into the Warren Chapman, school curriculum." Illinois State Board of Kathi Lieb, Spertus Education, Chicago Museum of Judaica, Chicago

"We must ask at each stage, what is in it for the kids. They are the ultimate customers." Elizabeth Howland, Citibank, Chicago

19 16 PART FOUR How to Make Collaborations Work

Showing up, talking, listening, and building relationships Robert Bucker, count more in successful collaborations than the most detailed executive director of and well-funded efforts developed by a single party who Young Audiences in Kansas City, and Carol assumes that others will participate. Without ajoint effort, Sterling, formerly programs such as museum visitations orin-school director of the Arts performances by arts troupes are momentary successes at Partners project of the best. Frequently they fail to satisfy all involved: New York City Board of Education, both said One representative of a major, traditional performance that partnerships were ensemble said during the conference that his strongest when they established specific organization is weary of children coming to his theater, educational goals and behaving raucously and making fun of the art. Given methods to evaluate his choice, he would rather give up such programs. the students' Representatives of other organizations suggested achievements. The introducing children directly to the performers, choosing successful evaluations can then be offered as performances related to a school's literature lessons and proof to funders and exposing them to the technical aspects of the production. future partners that What was a joyless institutional function which the such programs make a organization undertook out of a grudging sense of difference. responsibility, could plausibly help build an enthusiastic, informed audience for the art.

A Chicago art museum which already receives tens of thousands of school children a year wishes to accommodate more but its resources are already committed to the hilt. A collaboration with schools might train teachers to guide students through the museum with just a little steering from the staff and greatly expand the reach of the museum's programs.

20 17 "Only when we reach Jerome Hausman of Urban Gateways summarized theneed parents can we begin to schools and institutions have for each other in an address build program to the conference: sustenance. When parents scream about ...The reality outside this conference includes all .kinds change, that's when a issues in which self-interest and self- school board listens... of survival key In many programs preservation take on heavy weight. Herein rests a we've built in parent assumption of why we have convened this group: participation, where enlightened self-interest on the part of schools and arts parents work beside organizationsindeed the whole communityrequires their children and can that we develop new forms of flexibility and creative see the effects the arts cooperation. We're hoping that we can develop a "win- have on them." Mitchell Korn, win" relationship in which cooperation does not mean President, Artsvision, a loss of identity or personalgain. Quite the contrary, New York cooperation can help us become more of what we want to be.

Some of the factors suggested by the conferencefor successfully building and sustaining a collaboration:

1. Clear Purpose of Partnership

A. Clarity of motivation on the part of all participants B. A shared view that all participants have anequal interest in the venture and an equally important contribution to make C. Clarity of both long- and short-term objectives

18 2. Full Participation "Seek partnerships with higher education. Many A. Active participation by all partners so that each has universities out there are looking for an "ownership" stake in the program's success meaningful projects for B. Acknowledgement that conflict can exist as a posi- doctoral candidates, or tive and creative factor in collaboration ones in which they can C. Respect for what each partner can contribute engage the community. uniquely to the endeavors I am sometimes stunned D. Inclusion of all those affected by the collaboration, by the reality that we have a terrific local arts such as teachers and parents movement in this E. Inclusion of other partners, such as universities or country with hundreds chambers of commerce who can add to the of professional organi- collaboration. zations, thousands of organizations driven by 3. Measures to Insure Project Longevity volunteers, and an incredible arts -in- A. Relate programs solidly to schools' educational goals education movement B. Establish an evaluation process early in the project and university people haven't heard of them. to substantiate project's benefits when renewal time Knock on their doors comes for both program C. Turn participants into boosters for the program and evaluation and student train them to be active advocates for its continued evaluation. And I life wouldn't stop there. Go D. Make continued efforts to build trust among the to schools of public policy, business, partners government, sociology E. Insure that participant organizations perceive the and so on." program as successful in promulgating their own David O'Fallon, identity and purpose National Endowment F. Build expansion into programs for the Arts

19 "At Arts Partners, we "Program design can thought it important often affect the to respect the pro- longevity of a program. fessionalism of the Often programs are teachers and the artists. directed at fourth and We know that it is their fifth graders. That is a relationship in the problem for program classroom on behalf of sustenance. One way to the children that makes address this issue is to this program strong. start programs in a Every year we begin an lower grade. The annual publication, a programs we're doing series of newsletters in Milwaukee and and develop a video Houston start in about what the kindergarten and first program is about. We grade and add a grade describe how the every year. That is an program changes excellent way to children. We encourage institutionalize a these wonderful program within the teaching professionals school system." to write their feelings Mitchell Korn, about why this program President, Artsvision, was important for New York children. We give them the recognition they deserve in the form of publication. We do annual conferences where teachers present their ideas, and we have on-going newsletters that also give them an opportunity to strengthen their leadership skills as professionals." Carol Sterling, American Council for the Arts, New York City 23

20 PART FIVE A Word From the Funders

Art as Necessity provided a unique opportunity for schools Corporate funders, and arts organizations to hear from funders representing Kassie Davis stressed, review proposals in philanthropic, corporate and government sources. A panel terms of results. which included Joan Shigekawa of the Nathan Cummings Requests for money Foundation, Jill Darrow from the Prince Charitable Trusts, should be accompanied Kassie Davis of Marshall Field's, a division of Dayton Hudson, by good descriptions of and David O'Fallon from the National Endowment for the what results applicants Arts spoke on what their organizations look for when funding expect from their programs and how they projects and offered advice to those appealing for money. expect to evaluate their Though the panelists spoke only about their own results. Last year, organizations, their advice provided a general overview of Marshall Field's received funders' concerns. 146 funding applications for arts and arts- Corporate and Foundation Funders in-education programs. Most of the applica- Kassie Davis cited two motivations for Dayton Hudson's tions, Davis said, failed corporate giving. The first is a conviction "that art and the to specify what results cultural community improves the quality oflifein the the applicants expected community in which the company does business; and if there from their proposals. Many more failed to is a good quality of life, the business will flourish and our include evaluations. employees' and customers' lives improve." The second reason Even those that to fund the arts, Davis said, is that "it is an additional way attempted to describe of communicating to our external audiencescustomers, results did so in vague individual share-holders,institutional investorsthat the language incomprehen- company is a good corporate citizen." sible to the cor- poration's fund trustees. Education, Davis said, has probably been the most frequent target of corporate giving over the past ten years. The funds are, in part, a reaction to the competence of entry-level employees. Corporations do not want to become schools themselves, but they "do want entry-level employees who can make decisions on their own, without going to management for everything."

24 21 Jill Darrow of Prince Arts education, Davis said, is easier tosell to corporate trustees Charitable Trusts than funding either for general education orfor arts explained that organizations. Trustees recognize thatarts-in-education educating funders on programs instill in childrenthe characteristics business wants the value of cooperative arts in its entry-level employees. programming is a difficult and long "When you ask funders to talk about outreachprogramming," process, one in which said Jill Darrow, speaking about her efforts tojoin funders funders must be made in cooperative programs with schools and artsorganizations, aware of both "you touch a wound, a vulnerable partof their granting: quantifiable benefits to While the program officers are with you in spirit onfuture children and those quantifying to benefits which can be outreach projects, they have a hard time related only through an decision makers in their foundations why outreach programs anecdotal retelling of are worthwhile." the experiences of participants. Joan Shigekawa of the Nathan CummingsFoundation, echoed the view that applications must allow programofficers to put the applicants' best caseforward to trustees. Foundations, she said, "ask the same kind of toughquestions about impact. We need to know whatwill constitute success."

Federal Government Two-thirds of the $6.5 million in federal fundsfor arts education disbursed through the NationalEndowment for the Arts go to state agencies. The huge bulkof funding for arts education, David O'Fallon said, is providedlocally, through state and city governments and throughprivate sources. Though the Endowmenthas relatively little money available for collaborations in art and education, he didoffer a strategy to tap into otherfunds and human resources.

22 "We arein a cultural sea of change. Every level of "Sometimes the organizational and institutional system in our country is concepts of success undergoing changes," O'Fallon said. "Education is part of relative to students in urban schools need to this. If there is a quality business group in your state, which be examined more there is, and it's meeting to discuss concerns about education, closely. The challenge is you ought to be in that room. Don't wait for invitations to help shape an to business round-tables, governors' commissions or task educational forces. You have to be there." environment and a process that will "At the Department of Labor there is a report called the nurture a child through . a rugged set of Secretary of Labor's Commission on Achieving Necessary Skills circumstances into a life (SCANS) that has to do with proficiency in the workplace. that is rich and The National Endowment's whole budget is $174 million, productive. The the Department of Labor's budget is $4 billion. They could implication is that a loose my $6.5 million education budget and not find it for student develops a a couple of months. The Labor Department is extremely sense of self, a reliance on his or her own concerned that people in the work force are skilled in handling understanding of the systems, making decisions, creative thinking and problem world and a willingness solving, teamwork and allocation of resources. Do you in to dare to take a risk on education and the arts have something to say about that? the strength of his or Absolutely! You have something to bring to that table. The her own creativity." same is true with your state and city labor department Sandra Furey, Executive Director, programs, and with many other programs. You should be Urban Gateways: The involved." Center for Arts in Education

23 For inner city school principals and administrators, entering into a collaboration in the arts is an act of faith and vision. At their schools each day they face social andeducational challenges to which the arts rarely seem to offer obvious solutions. Nevertheless, most of the educators at Art as Necessity came because they had seen firsthandhow exposure to art and culturetransforms students. At the conference, however, they were asked to explore new ways of combining the arts and education, to acquaint themselves with people and institutions they knew little about, totalk to representatives of national foundations, someof whom have never dealt with individual schools, even to imagine joint projects with cultural organizations overseas.

For large cultural institutions, which already serve hundreds of thousands of patrons a year, reaching out even farther requires extraordinary commitment and imagination. For small organizations, the idea of doing more than what they already struggle to do can be daunting indeed. For large and small organizations alike, the request to help schools with curriculum planning and staff development may seem distant from their central missions.

For foundation and corporate funders, always concerned with maximizing the use of their money, a pledge to fund unseen, unformed, unimagined projects is anathema.

Yet to Art as Necessity they all came. They came with the faith that their pooled resources and creative energies could build something worth an extra challenge; something great; something for city children.

Although Art as Necessity officially gathered representatives of schools and organizations, it also drew together 131 people devoted to the creative spirit. Like the work of good artists and good teachers, forming collaborationsisa creative

24 27 process. It takes somefaith to embark on because one cannot predict the end. At Art as Necessity, participants wereasked to be as open as possible; to talk freely,listen carefully and respect each other, then let the processtake them where it may. The results surprised many. Arts organizationsfound that collaborations can both meet their own needsand those of the schools. Educators learned how to incorporatethe missions and strengths of arts organizations intoschool programs. Both learned how todiscover shared goals and to build collaborations around them.

At Art as Necessity, participants endeavored todiscover how to best work together. Out of a three-dayconference came fifteen proposals and dozens of new partner relationships. City schools did group with foundations, principals made plans with small ethnic museums, large institutions focused on small groups of children,and, yes, even the British representatives found their way into several project proposals. The proposed projects have the potential to reach thousands of students. That this was accomplished largely in the course of a single day's working session testifies both to the convictions of the partners and to the power of the process.

At a time when resources for both the arts and education are strained, collaboration offers oneof the best ways to bolster both. Art as Necessity built on the experience of Urban Gateways, which over the past three decades has worked with urban schools and arts organizations. The challenge now is to encourage the process among the widest audience; to explore the ways that schools, arts organizations, institutions, funders and government can combine and recombine to take their talents and resources into the lives of all city children.

28 25 THECULTURAL ART ASNECESSITY: SCHOOL ANDTHEURBAN COMMUNITY

Participants Joyce M. Bolinger Roger Carlson Deputy Commissioner Department of Curriculum Instruction City of Chicago Chicago Public Schools Shireen Akbar Department of Cultural Affairs 1819 W. Pershing Road 6th Floor Education Officer 78 E. Washington Street Chicago, IL 60609 Victoria & Albert Museum Chicago, IL 60602 South Kensington Jacqueline M. Carter London, SW7 2RL UK Gwendolyn Boutte Assistant to the President for Cultural Principal Understanding Karl Androes Spalding Branch Field Museum of Natural History Executive Director 110 N. Paulina Street Roosevelt Road & Lake Shore Drive Whirlwind Performance Company Chicago, IL 60612 Chicago, IL 60605 4753 N. Broadway Chicago, IL 60640 Richard Bradley Adrian Chappell Principal Senior Education Officer Carlos Azcoitia Holmes School London Arts Board Principal 955 W. Garfield Blvd. 20231 Coriander Building Spry School Chicago, IL 60621 20-31 Gianssord Street 2400 S. Marshall Blvd. Butler's Wharf Chicago, IL 60623 Anita Broms London SE1 2NE Principal Adrienne Y. Bailey Howland School of the Arts Judy Chiss Deputy Superintendant 1616 S. Spaulding Avenue Associate Executive Director Chicago Public Schools Chicago, IL 60623 Chicago Children's Museum Office of Instructional Services 435 E. Illinois Street #370 1819 W. Pershing Road 6C(c) Abena Joan Brown Chicago, IL 60611 Chicago, IL 60609 President/Producer ETA Creative Arts Foundation Maura Clarkin Michelle Bibbs 7558 S. South Chicago Avenue Terra Museum of American Art Assistant Director of Chicago, IL 60619 664 N. Michigan Avenue Government & Foundation Relations Chicago, IL 60611 The Art Institute of Chicago Irene Brown Michigan Avenue at Adams Street Program Advisor Antonia Contro Chicago, IL 60603 Amoco Foundation Assistant Director of Teacher Services 200 E. Randolph Street The Art Institute of Chicago Carolyn Blackmon Chicago, IL 60601 Michigan Avenue at Adams Street Chair, Department of Education Chicago, IL 60603 Field Museum of Natural History Francine Cabonargi Roosevelt Road & Lake Shore Drive The John D. and Catherine T. MacArthur Henry Coretz Chicago, IL 60605 Foundation 4447 Wilson Terrace 140 S. Dearborn Suite 700 Skokie, IL 60076 Betty Blayton-Taylor Chicago, IL 60603 President Jacqueline Cossentino Children's Art Carnival Cathy Cahill Director of Studies 62 Hamilton Terrace Bernard Zell-Anshe Emet Day School N6W York, NY 10031 General Manager Grant Park Concerts 3760 N. Pine Grove 425 McFetridge Drive Chicago, IL 60613 Chicago, IL 60605

BEST COPY AVAILAILE 29 26 Ida Cross Janice Lane Ewart Joan Goldman William & Charles Mayo School Senior Program Director Vice President 249 E. 37th Street Arts Midwest Illinois PTA Chicago, IL 60653 528 Hennepin Suite #310 1601 W. Chase Minneapolis, MN 55403 Chicago, IL 60626 Fergus Currie Assistant National Executive Secretary Jim Fahey Dennis Grabowski Actors' Equity Association Chicago Symphony Orchestra Illinois Alliance for Arts Education 203 N. Wabash Avenue Suite 1700 220 S. Michigan Avenue 432 Cumberland Avenue Chicago, IL 60601 Chicago, IL 60604 Park Ridge, IL 60068

Maggie Daley Paul Fisher Amy Greenwood Office of the Mayor Director, Arts in Education Executive Director 121 N. LaSalle Street Rm 3M5 Tucson/Pima Arts Council A.R.T. Chicago, IL 60602 166 W. Alameda 18 S. Michigan Avenue #1004 Tucson, AZ 85701 Chicago, IL 60603 Deidre Dawson Director of Dance Diane M. Fitzgerald Colin Grigg Sullivan High School Executive Director Visual Arts Officer 7400 N. Hoyne Marwen Foundation Arts Council Chicago, IL 60645 325 W. Huron 14 Great Peter Street Chicago, IL 60610 London, SWIP 3NQ UK Roger Dell Director of Education Miriam C. Flaherty Juana Guzman Museum of Contemporary Art Director City of Chicago 237 E. Ontario Street Wolf Trap Institute Department of Cultural Affairs Chicago, IL 60611 1624 Trap Road 78 E. Washington Street Vienna, VA 22180 Chicago, IL 60602 Amina Dickerson Director of Education Kathleen Gibbons Robert Hall Chicago Historical Society Education Coordinator Education Specialist 1601 N. Clark Street Smart Museum of Fine Art Anacostia Museum Chicago, IL 60614 5550 S. Greenwood Avenue 1901 Fort Place, S.E. Chicago, IL 60637 Washington, DC 20020 Anna Douglas 17 Mount Street Robert Gilchrist* Guadalupe Hamersma Liverpool 722 McKinley Lane Principal L1 9HD Hinsdale, IL 60521 Plamondon School United Kingdom 1525 S. Washtenaw Avenue Alfred Glasser Chicago, IL 60608 Barbara Eason-Watkins Director of Education Principal Lyric Opera of Chicago Sue Harries James Mc Cosh School 20 N. Wacker Drive Arts Education Consultant 10401 S. Claremont Chicago, IL 60606 Paul Hamlyn Foundation Chicago, IL 60643 do Braehead, Bont Abergavenny Wales NP7 8NS UK

BEST COPY AVAILABLE *Urban Gateways Board of Directors or Advisory Council 3 0 27 Jean Herron Robert Johnson Erika Langmuir Principal Director, Bureau of Art Head of Education Spalding High School Chicago Public Schools National Gallery 1628 W. Washington Street 1819 W. Pershing Road 6C(c) Trafalgar Square Chicago, IL 60612 Chicago, IL 60609 London WC2N 5DN England

Joe Hill William A. Johnson Marjorie Lefcowitz Roosevelt University Director, Bureau of Music Consultant 430 S. Michigan Avenue Rm 380 Chicago Public Schools Boston Children's Museum Chicago, IL 60605 1819 West Pershing Road 4C 1247 W. Addison Street Chicago, IL 60609 Chicago, IL 60613 Deborah Holton De Paul University Alma Jones Ruth Lewis-Knight School for New Learning Principal Principal 243 S. Wabash Avenue Carver Primary School DePriest School Chicago, IL 60604 901 E. 133rd Place 140 S. Central Chicago, IL 60627 Chicago, IL 60644 Patty Horsch Educational Research Associate Alice Jurica Kathi Lieb Erikson Institute Bureau Director, Social Studies Education Curator 25 W. Chicago Avenue Chicago Public Schools Spertus Museum of Judaica Chicago, IL 60610 9605 S. Austin 618 S. Michigan Avenue #277 Oak Lawn, IL 60453 Chicago, IL 60605 Judith Horwitz* 610 Country Lane Harold A. Kafer Robert Lynch Glencoe, IL 60022 Chair, School of Music President and CEO Northern Illinois University National Association of Local Arts Elizabeth Howland Music Building 140 Agencies Vice President Dekalb, IL 60115 1420 K Street, NW Suite 204 Citibank Washington, DC 20005 200 S. Wacker Drive Roberta Katz Chicago, IL 60606 Director of Education Department Beatrice Mayer Terra Museum of American Art The Nathan Cummings Foundation Runako Jahi 664 N. Michigan Avenue 885 Third Avenue #3160 Artistic Director Chicago, IL 60611 New York, NY 10022 ETA Creative Arts Foundation 7558 S. South Chicago Michael Kelly Robert Mayer Chicago, IL 60619 Chairman of the Board The Nathan Cummings Foundation KELCO Industries, Inc. 885 Third Avenue #3160 Eunice Joffe 9210 Country Club Road New York, NY 10022 Illinois Arts Council Woodstock, IL 60098 353 Park Avenue 2W John Mazurek Highland Park, IL 60035 Susan Kincaid Principal Executive Director Pablo Casals School Sherwood Conservatory 3501 W. Potomac Street 1014 S. Michigan Avenue Chicago, IL 60651 Chicago, IL 60605

31 28 BESTCOPY AVAILABLE Alice Pfaelzer Margy McClain Seymour Miller Executive Director Executive Director Principal Merit Music Program Urban Traditions Swift School 55 E. Jackson Blvd. Suite 1880 5900 N. Winthrop Ave. 47 W. Polk Chicago, IL 60604 Chicago, IL 60660 Chicago, IL 60605

Ms. Keryl McCord Rita Mitchell Michael Pietrzak Executive Director Principal Principal League of Chicago Theaters William W. Carter School St. Sabina Academy 67 E. Madison Street #2116 5740 S. Michigan Avenue 7801 S. Throop Chicago, IL 60620 Chicago, IL 60603 Chicago, IL 60637

Pat Mc Grail Kai Muni Victor Podagrosi Artistic Directoi Project Coordinator Artistic Director Beverly Arts Center Chicago Artists' Coalition Child's Play Touring Theatre 2153 W. 111th Street 5 W. Grand Avenue 2650 W. Belden Avenue Chicago, IL 60643 Chicago, IL 60610 Chicago, IL 60647

Roberta McNutt* Madeline Murphy-Rabb Sander Postol School Community Representative Arts Consultant Educational Consultant Delano School Murphy Rabb, Inc. 915 Long Road 3857 W. Monroe Street 161 E. Chicago Avenue #34A Glenview, IL 60025 Chicago, IL 60624 Chicago, IL 60611 Jeffrey Pressman Artistic Director D. Lynn Mc Rainey Giselle Nelson Young Audiences of the Bay Area Associate Educator Mexican Fine Arts Center Museum 1182 Market Street Suite #310 Chicago Historical Society 1852 W. 19th Street 1601 N. Clark Street Chicago, IL 60608 San Francisco, CA 94102 Chicago, IL 60614 Joan Palmer Ramon Price Cheryl M. McWorter Executive Director Chief Curator Director of Dance Performing Tree Dusable Museum of African American History Lincoln Park High School 1320 W. 3rd Street 2001 N. Orchard Street Los Angeles, CA 90017 740 E. 56th Place Chicago, IL 60614 Chicago, IL 60637 Angela Paterakis David Mickenberg School of the Art Institute of Chicago Hank Roa Director Columbus Drive at Jackson Blvd. Urban Traditions Block Gallery Chicago, IL 60603 55 E. Jackson Blvd. Suite 1880 Northwestern University Chicago, IL 60604 1967 Sheridan Road Irene Patner* Evanstan, IL 60201 5540 S. Kenwood Avenue Lisa Roberts Chicago, IL 60637 Manager of Public Programming Harold E. Miller Chicago Botanic Garden Principal Richard Pettengill P.O. Box 400 Jefferson School Director of Arts in Education Glencoe, IL 60022 1522 W. Fillmore Street Goodman Theatre Chicago, IL 60607 200 S. Columbus Drive Chicago, IL 60603

*Urban Gateways Board of Directors or Advisory Council BEST copyAVAILABLE 3 2 29 Dorothy Runner* Roy L. Taylor Lisa Vihos 1367 E. Park Place Chicago Botanic Garden Assistant Museum Educator Chicago, IL 60637 P.O. Box 400 Los Angeles County Museum of Art Glencoe, IL 60022 5905 Wilshire Blvd. Esther Salamon Los Angeles, CA 90036 Co-Director Jaci Tomulonis Artists' Agency Cultural Education Specialist Brenda Walls First & Second FIJ16 Norfolk Street City of Chicago Chamber Music Chicago Sunderland Department of Cultural Affairs 410 S. Michigan Avenue Tyne & Wear 78 E. Washington Street Chicago, IL 60605 SRI lEA Chicago, IL 60602 United Kingdom Mary Webster George Turk Managing Director James Sanders Principal Joseph Holmes Chicago Dance Theatre Principal Fernwood School 1935 S. Halsted Street 4th floor Daniel Webster School 10041 S. Union Avenue Chicago, IL 60608 7151 Crandon Chicago, IL 60628 Chicago, IL 60649 Lois Weisberg Sheridan Turner Commissioner Todd Schmidt Special Assistant to the President City of Chicago Shakespeare Repertory Museum of Science and Industry Department of Cultural Affairs 2140 Lincoln Park West #100 57th Street & Lake Shore Drive 78 E. Washington Street Chicago, IL 60614 Chicago, IL 60637 Chicago, IL 60602

Jacqueline Simmons Lisa Gaido Tylke Earl Williams Principal Executive Director Principal Paul Robeson High School Chicago Dance Coalition Avalon Park School 6835 S. Normal Blvd. 67 E. Madison Street #2112 8045 S. Kenwood Avenue Chicago, IL 60621 Chicago, IL 60603 Chicago, IL 60619

Janet Carl Smith Edward Uhlir Jennifer Williams Deputy Director Assistant General Superintendent Executive Director City of Chicago Chicago Park District British American Arts Association Department of Cultural Affairs 425 E. McFetridge Drive 116 Commercial Street 78 E. Washington Street Chicago, IL 60605 London, E.1 6NF England Chicago, IL 60602 United Kingdom Alene Valkanas Tammy Steele Executive Director Jessie A. Woods* School Coordinator Illinois Arts Alliance Chairman, Advisory Board Evanston Arts Center 67 E. Madison Suite 2113 City of Chicago 2603 Sheridan Road Chicago, IL 60603 Department of Cultural Affairs Evanston, IL 60201 5530 South Shore Drive #3C Joanne Vena Chicago, IL 60637 Barbara Stuart* AIE Program Coordinator 1.601 Conway Road Illinois Arts Council MaryE Young Lake Forest, IL 60045 100 W. Randolph Street #10-500 Director of Cultural Grants Chicago, IL 60601 City of Chicago Department of Cultural Affairs 78 E. Washington Street BEST COPY AVAILABLE Chicago, IL 60602

30 33 Charles Zeit lin* Stanley Madeja Kassie Davis Greenberg Kee le Lunn & Aronberg Dean, College of Visual and Public Affairs Director One IBM Plaza Suite 4500 Performing Arts Marshall Field's Chicago, IL 60611 Northern Illinois University 111 N. State Street Music Building Rm 143 Chicago, IL 60602 De Kalb, IL 60115 Speakers Edmund Barry Gaither Lya Dym Rosenblum* Director, Museum of the National Christina Dougherty Vice President/Dean of Graduate School Center of Afro American Artists Director of Sales and Support Services Columbia College 300 Walnut Avenue Urban Gateways 600 S. Michigan Avenue Boston, MA 02119 343 S. Dearborn Suite 500 Chicago, IL 60605 Chicago, IL 60604 Holly Hudak Director of Education Panel Discussion Moderators Sandra Furey Chicago Symphony Orchestra Executive Director 220 S. Michigan Avenue Urban Gateways Mitchell Korn Chicago, IL 60604 343 S. Dearborn Suite 500 President Artsvision Chicago, IL 60604 David O'Fallon 88 University Place 4th Floor Director, Arts in Education Ronne Hartfield* New York, NY 10003 National Endowment for the Arts Executive Director of Museum Education 1100 Pennsylvania Ave, NW #602 The Art Institute of Chicago John Pomeranz* Washington, DC 20506 Michigan Avenue at Adams Street Vice President, Systems Development Chicago, IL 60603 J.M.B. Realty Corp. Maggie Semple 900 N. Michigan Avenue Suite 915 Head of Education Chicago, IL 60611 Jerome Hausman Arts Council Director, The Center for Arts Curriculum 14 Great Peter Street Planning & Evaluation Joan Shigekawa London, SWIP 3NQ England Urban Gateways Director, Arts Program The Nathan Cummings Foundation 343 S. Dearborn Suite 500 Carol Sterling Chicago, IL 60604 885 Third Avenue #3160 Director of Arts Education New York, NY 10022 American Council for the Arts Richard Huff 1285 Avenue of the Americas #3 Executive Director Panelists New York, NY 10019 Illinois Arts Council 100 W. Randolph Street Robert Bucker Helen Valdez* Chicago, IL 60601 Executive Director President Young Audiences, Kansas City Mexican Fine Arts Center Museum Steven R. Loevy 4510 Belleview Suite 116 1852 West 19th Street Director, Corporate & Foundation Kansas City, MO 64111 Chicago, IL 60608 Relations De Paul University Jill Darrow 224 S. Michigan Avenue 13th Floor Program Officer Chicago, IL 60604 Prince Charitable Trusts 10 S. Wacker Drive Suite 2575 Chicago, IL 60606

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31 Facilitators for Round-table Nadine Saitlin Discussions Executive Director Illinois Alliance for Arts Education 67 E. Madison Street Suite 2114 Lynda Bender Chicago, IL 60603 Director of Program Development Urban Gateways 343 S. Dearborn Suite 500 Acknowledgements Chicago, IL 60604 Urban Gateways wishes to thank the Warren Chapman following organizations for their Illinois State Board of Education generous support of this conference: 100 W. Randolph Suite 14-300 Chicago, IL 60601 The Art Institute of Chicago The Chicago Historical Society Suzanne Cohan-Lange Columbia College Chair, Interdisciplinary Arts Education The Nathan Cummings Foundation Columbia College Mexican Fine Arts Center Museum 600 S. Michigan Avenue Chicago, IL 60657 Art as Necessity Planning Team

Robert Eskridge Ann Becker and Associates, Inc. Associate Director for School Programs Christina Dougherty, Urban Gateways The Art Institute of Chicago Susan Skufca Flaherty, Urban Gateways Michigan Avenue at Adams Street Sandra Furey, Urban Gateways Chicago, IL 60603 Ronne Hartfield, The Art Institute of Chicago Lynell Hemphill Jerome Hausman, Urban Gateways Department of Education, Steven R. Loevy, Conference Consultant Cultural & Senior Programs Jenni Schultz, Urban Gateways Chicago Housing Authority Design and printing Smith/Wiggin, Inc. 3833 S. Langley Chicago, IL 60653 Biography Catherine Larsen Director of Educational Services Ted C. Fishman is a Chicago-based art Urban Gateways critic, curator and frequent writer on 343 S. Dearborn Suite 500 cultural affairs. He has written over 200 Chicago, IL 60604 articles in regional and national publications. Eunita Rushing Director of Program Administration Urban Gateways 343 S. Dearborn Suite 500 Chicago, IL 60604

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