DOCSLIB.ORG

International Standards for Arts Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Standards for Arts Education August 2013 The College Board Office of Academic Initiatives 45 Columbus Avenue New York, NY 10023 National Coalition for Core Arts Standards 800-587-6814 Prepared by: Amy Charleroy, The College Board, New York Alison Thomas, PhD, 92nd Street Y School of Music Access to this publication is available at advocacy.collegeboard.org/preparation-access/arts-core and at nccas.wikispaces.org. Individuals are encouraged to cite this report and its contents. In doing so, please include the following attribution: The College Board, International Arts Education Standards: A survey of standards, practices, and expectations in thirteen countries and regions, New York, NY, August 2013. 2 Executive Summary …………………...……………………………………………………………………………… 4 Australia ....……..……………………………………………………………………………………………………… 15 Austria ....……..……………………………………………………………………………………………………… 26 Canada [British Columbia] ...……………………………………………………………..……………………… 34 China ....……..……………………………………………………………………………………………………… 59 Finland ....……..……………………………………………………………………………………………………… 66 Ireland ....……..……………………………………………………………………………………………………… 82 Japan ....……..……………………………………………………………………………………………………… 104 New Zealand ....……..……………………………………………………………………………………………………… 114 Scotland ....……..……………………………………………………………………………………………………… 123 Singapore ....……..……………………………………………………………………………………………………… 131 Sweden ....……..……………………………………………………………………………………………………… 143 United Kingdom …………………………………………………………………………………………………… 153 United States ....……..……………………………………………………………………………………………………… 166 3 Background and rationale This report offers compiled and analyzed information on the arts education standards of thirteen countries and regions, including: Australia, Austria, British Columbia, China, Finland, Ireland, Japan, New Zealand, Scotland, Singapore, Sweden, the United Kingdom, and the United States. This survey is not comprehensive, in that researchers did not seek to document every country or region worldwide that may have standards for the arts. Rather, the regions surveyed were specifically requested by members of the National Coalition for Core Arts Standards (NCCAS), with the belief that these particular examples might offer models that will be useful to their development of National Core Arts Standards. There were additional countries on the list of originally-requested regions of focus, but in some cases, they were eliminated from the study because they did not have a published set of national standards or expectations for arts education. In compiling this review, researchers sought to identify which arts disciplines are most and least represented in arts standards and curricula worldwide; which habits, skills, abilities related to arts teaching and learning are most commonly emphasized in these documents; how those expectations are articulated for educators; and, where applicable, what guidelines exist for measuring student achievement of the standards. Methodology Researchers performed an initial round of web-based research to locate standards and any further information about the approach to arts education in the regions surveyed. In some cases, supplementary information was available as well, and notes on all sources are included with the summary of the standards of each region. It is important to note that this survey contains information that was readily available online; additional standards or curricula may exist that were simply not accessible to researchers performing the survey. The individual countries’ surveys were compared to one another with the aim of identifying recurring themes in their content and approaches. Key findings Educational philosophy statements: Why study the arts? The standards documents of eight countries surveyed featured statements (usually presented as a component of the introductory materials for the standards) on the benefits of arts in education, and the overarching goals of arts instruction in that country. These statements varied greatly in form and levels of specificity, but the overall themes that were most prevalent were: The arts as tools for cultural understanding: understanding social, historical, cultural contexts of works from students’ own country and others. The arts foster skills of critical and creative thinking and problem solving The arts are a unique form of communication The arts cultivate pleasure and enjoyment, and foster a sense of well-being. Disciplines represented Overall, standards for music and visual arts were represented in the standards documents of all thirteen countries profiled. There were seven instances of theatre standards, four examples of media arts standards, and nine examples of dance standards. 4 Each country does not necessarily offer arts standards for all levels of instruction. In some cases, only primary-level standards could be located. In the case of media arts, secondary-level expectations were more common. At the secondary level, in some instances standards were offered at the course level, rather than by grade or grade band levels. The country-by-country summaries in this report address these differences in approaches, and offer more information on the specifics of the standards content for different levels and disciplines. In some cases, arts standards were presented as a subsection of the standards for another subject area. This was most common in the case of the standards for dance: of the thirteen regions studied, five countries have stand-alone dance standards, and three feature dance expectations as a component of the objectives for physical education. In Austria’s standards at the primary level, a “movement” component of the music standards referenced dance-related abilities. Similarly, in three cases, media arts content and expectations were presented as a component of visual arts standards. In addition to dance, media arts, music, theatre, and visual arts, two other disciplines were represented in the standards of the countries surveyed: Finland and Sweden have separate sets of standards for crafts, and the United Kingdom has standards for design and technology. This discipline’s title may imply that it relates to media arts content and outcomes, but the design and technology expectations were closely linked to the processes of product design and manufacturing as opposed to film, video, and digital technologies, and therefore were classified in a separate category. The following table features an overview of which disciplines are represented in the standards of every country profiled. Australia There is a “movement” There is a “visual media” Austria portion of the music portion of the visual arts standards standards British Portion of visual arts Columbia standards at secondary level China Media literacy referenced in language standards; Dance included in physical Finland crafts education standards The media and visual communication is a category of visual arts standards Dance included in physical Ireland education standards Japan New Zealand Scotland Dance included in physical Singapore education standards Sweden Crafts Design and United Kingdom technology United States 5 Categories of standards Generally speaking, arts standards revolve around habits, skills, processes related to planning, producing, and responding to works of art in all disciplines. These broad categories are dealt with differently across regions surveyed (goals associated with creating, for example, are presented in categories titled exploring and creating, creative processes, image development and design, modeling, creative music making, and expression, among others), but the overall goals that are expressed in the standards of all countries are similar. The table on the following pages presents an overview of the categories of the standards to illustrate the range in language and approaches that are taken in articulating what students are to know and be able to do in the arts. In addition to describing the habits and skills of creation and performance more generally, certain sets of standards feature categories describing discipline-specific skills or materials. The music standards for Austria, Japan, Singapore, and the United States contain categories related specifically to singing and/or to playing instruments, for example. Ireland’s visual arts standards are organized entirely around art media (drawing, paint and colour, print, clay, construction, and fabric and fibre) as opposed to creative processes. Three sets of standards – those of British Columbia (at the primary level), Japan, and New Zealand – are organized into categories that are consistent across arts disciplines, while the other eight countries surveyed employ different terms to describe the desired outcomes for each discipline. In addition, Australia’s Draft Shape of the Australian Curriculum (the document around which the next iteration of standards will be organized) presents a broad framework of making and responding, and the grade- specific expectations within each discipline are not organized into any further categories. British Columbia (primary level) Japan New Zealand Creating/Exploring and Music Making/Expression Understanding [discipline] in Creating/Creative Processes context Appraising/Appreciation Elements and skills/Skills and Developing practical Common matters strategies/Elements of knowledge dance/Drama forms, strategies, Developing ideas and skills Communicating and Context interpreting Presenting and performing 6 The content of all five disciplines in the Shape of the Australian Curriculum for the Arts (including
Load more

Recommended publications
  • MER-Greece-2019.Pdf
    Anti-money laundering and counter-terrorist financing measures financing counter-terrorist and laundering Anti-money Anti-money laundering and counter-terrorist financing measures Greece Mutual Evaluation Report Greece September 2019 The Financial Action Task Force (FATF) is an independent inter-governmental body that develops and promotes policies to protect the global financial system against money laundering, terrorist financing and the financing of proliferation of weapons of mass destruction. The FATF Recommendations are recognised as the global anti-money laundering (AML) and counter-terrorist financing (CTF) standard. For more information about the FATF, please visit the website: www.fatf-gafi.org. This document and/or any map included herein are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. This assessment was adopted by the FATF at its June 2019 Plenary meeting. Citing reference: FATF (2019), Anti-money laundering and counter-terrorist financing measures – Greece, Fourth Round Mutual Evaluation Report, FATF, Paris http://www.fatf-gafi.org/publications/mutualevaluations/documents/mer-greece-2019.html © 2019 FATF-. All rights reserved. No reproduction or translation of this publication may be made without prior written permission. Applications for such permission, for all or part of this publication, should be made to the FATF Secretariat, 2 rue André Pascal 75775 Paris Cedex 16, France (fax: +33 1 44 30 61 37 or e-mail: [email protected]). Photo Credit - Cover: © Stratos Kalafatis, Archipelago, Agra Publications, 2017 Table of Contents Key Findings .................................................................................................................................................................... 3 Risks and General Situation .....................................................................................................................................
    [Show full text]
  • Understanding the Value of Arts & Culture | the AHRC Cultural Value
    Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8.
    [Show full text]
  • Energy Performance Certification of Buildings a Policy Tool to Improve Energy Efficiency
    Energy Performance Certification of Buildings A policy tool to improve energy efficiency Policy Pathway Energy Performance Certification of Buildings A policy tool to improve energy efficiency The IEA Policy Pathway series Policy Pathway publications provide details on how to implement specific recommendations drawn from the IEA’s 25 Energy Efficiency Policy Recommendations. Based on direct experience, published research, expert workshops and best-practice country case studies, the series aims to provide guidance to all countries on the essential steps and milestones in implementing specific energy efficiency policies. POLICY The Policy Pathways series is designed for policy makers at all levels of government E PATHWAY AT and other relevant stakeholders who seek U practical ways to develop, support, monitor L or modify energy efficiency policies in their A P V L home country and abroad. The Pathways A can also provide insight into the types of E N policies best adapted to the specific policy context(s) of different countries, so that each country derives the maximum benefit from M energy efficiency improvements. O N T I T N O E R M E L IMP IEA POLICY PATHWAY ENERGY PERFORMANCE CERTIFICATION OF BUILDINGS 1 INTERNATIONAL ENERGY AGENCY The International Energy Agency (IEA), an autonomous agency, was established in November 1974. Its mandate is two-fold: to promote energy security amongst its member countries through collective response to physical disruptions in oil supply and to advise member countries on sound energy policy. The IEA carries out a comprehensive programme of energy co-operation among 28 advanced economies, each of which is obliged to hold oil stocks equivalent to 90 days of its net imports.
    [Show full text]
  • Comparing Classifications Feature Films and Video Games
    Comparing Classifications feature films and video games 2012 & 2013 October 2014 Office of Film and Literature Classification Comparing Classifications 2012 & 2013 2 Office of Film and Literature Classification Comparing Classifications 2012 & 2013 Comparing Classifications: feature films and video games 2012 & 2013 Office of Film and Literature Classification Te Tari Whakarōpū Tukuata, Tuhituhinga Level 1, 88 The Terrace PO Box 1999 Wellington 6140 Phone 04 471 6770 Fax 04 471 6781 Email [email protected] Web www.classificationoffice.govt.nz ISBN: PDF 978-0-477-10417-3 This work is licensed under the Creative Commons Attribution 3.0 New Zealand licence. In general, you are free to copy, distribute and adapt the work, as long as you attribute the work to the Office of Film and Literature Classification and abide by the other license terms. To view a copy of this license, please visit http://creativecommons.org/licenses/by/3.0/. Please note that the Office of Film and Literature Classification may not be used in any way that infringes any provision of the Flags, Emblems, and Names Protection Act 1981. Attribution to the Office of Film and Literature Classification should be in written form and not by reproduction of any such emblem or logo. Acknowledgements The Classification Office is grateful to Nokuthaba Sibanda and Lara Wieser from the School of Mathematics, Statistics and Operations Research at Victoria University of Wellington who worked with us in 2009 to develop the scoring methodology and the analytical approaches used in this report. We are also grateful to Mike Camden of Statistics NZ who helped us in 2010 to present the data graphically.
    [Show full text]
  • How the US Funds the Arts
    HOW THE UNITED STATES FUNDS THE ARTS NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 202.682.5400 NATIONAL ENDOWMENT FOR THE ARTS NatioNal ENdowmENt for thE arts how the United states funds the arts Third Edition November 2012 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 202-682-5400 arts.gov Produced by the NEA’s Office of Research & Analysis Joanna Woronkowicz, Senior Research Officer Bonnie Nichols, Research Analyst Sunil Iyengar, Director First edition prepared by Tyler Cowen, Department of Economics, George Mason University. Second and third editions revised by the staff of the National Endowment for the Arts. Editorial and publication assistance by Don Ball Designed by Fletcher Design Cover: Hubbard Street dancers Jonathan Fredrickson and Jessica Tong performing at the Art Institute of Chicago below Sky Above Clouds IV by Georgia O’Keeffe. Photo by Todd Rosenberg, courtesy of Hubbard Street Dance Chicago Printed in the United States of America Library of Congress Cataloging-in-Publication Data CIP Data available in PDF version of the report at arts.gov Voice/TTY: (202) 682-5496 For individuals who are deaf or hard-of-hearing. Individuals who do not use conventional print may contact the Arts Endowment’s Office for AccessAbility to obtain this publication in an alternate format. Telephone: (202) 682-5532 This publication is available online at arts.gov, the Web site of the National Endowment for the Arts. CoNtENts Preface by Rocco Landesman ................................................ v I. Overview ...................................................................................1 II. Direct Public Funding for the Arts .....................................3 III.
    [Show full text]
  • Media-Release-Music--Monuments
    MEDIA RELEASE For immediate release SINGAPOREANS TO ENJOY DIGITAL MUSIC PERFORMANCES AT OUR HISTORIC NATIONAL MONUMENTS New series of music videos to inspire greater appreciation for Singapore’s built heritage and homegrown talents Singapore, 24 September 2020 – From songs waxing lyrical about the moon, to rearrangements of popular festive tunes, Singaporeans can immerse in a visual and auditory experience at our historic National Monuments through an all new Music At Monuments – National Heritage Board x Singapore Chinese Cultural Centre (NHB x SCCC) digital music performance series. From now till December 2020, NHB’s Preservation of Sites and Monuments division and SCCC will be jointly rolling out a line-up of four music videos featuring Singapore talents, all produced at our National Monuments. They will allow everyone to view these icons of our built heritage in a different light, while showcasing the diverse talents of our local musicians. 2 Alvin Tan, Deputy Chief Executive (Policy & Community), NHB, said: “We came up with the idea of staging musical showcases at our monuments because we wanted to combine the magic of musical performances with the ambience of historical settings to create a new monumental experience for our audiences. At the same time, these digital showcases are part of NHB’s efforts to create digital content to maintain access to arts and culture, and serve as a source of revenue for our local artistes and arts groups.” 3 The four National Monuments that will take centre stage in this music performance series are the Asian Civilisations Museum (ACM), Goodwood Park Hotel, Jurong Town Hall and Sun Yat Sen Nanyang Memorial Hall (SYSNMH).
    [Show full text]
  • High Performance School Buildings in Portugal: a Life Cycle Perspective
    CELE Exchange, Centre for Effective Learning Environments 2011/09 High Performance School Graça Fonseca Jorge, Buildings in Portugal: A Life Marta Marques da Costa Cycle Perspective https://dx.doi.org/10.1787/5kg0lkznt3bp-en ISSN 2072-7925 High performance school buildings in Portugal: a life cycle perspective CELE Exchange 2011/9 © OECD 2011 High performance school buildings in Portugal: a life cycle perspective By Graça Fonseca Jorge and Marta Marques da Costa, Parque Escolar, Portugal In 2007 the Portuguese government launched a major school modernisation programme, and has taken steps to ensure the long-term sustainability of facilities. Projects now anticipate use by the broader community, allow for possible income-generating opportunities during the design phase and include custom-designed energy management systems. In order to meet the challenge of an aging - and out of date - network of secondary school facilities, in 2007 the Portuguese government launched a major modernisation programme.1 A specially created 1 state-owned company, Parque Escolar (PE) has already completed 104 schools; 70 are work-in- progress and an additional 39 are under design or tender. Parque Escolar is feeding lessons learned over the past few years into its reference material and practises so as to continually improve its projects and contribute to the overall development of Portuguese construction techniques. It is now focusing on how best to manage the life cycle of the 104 completed schools in order to achieve high performance levels. This paper sets out some of the practises which are being implemented to this end. DESIGNING AND BUILDING Given that sustainability2 is the ultimate goal, PE has developed state-of-the-art briefing materials and manuals which set high standards and ensure that all stakeholders’ needs are taken into account.
    [Show full text]
  • HSTCQE=VV^Z\Y: Education Policy Advice for Greece
    Strong Performers and Successful Reformers in Education StrongPerformers Successfuland EducationReformers in Education Policy Advice for Greece The future of Greece’s well-being will depend on improving educational performance to boost productivity Strong Performers and and improve social outcomes. In the current economic context, with the need to get best value for spending, Greece must and can address ineffi ciencies in its education system. Successful Reformers in Education The challenges are signifi cant. For example, Greece lags behind many OECD countries in performance on PISA, including countries with the same or lower levels of expenditure per student as well as countries with the same and lower levels of economic development. Salary costs per student are above the OECD Education Policy Advice average, mostly because Greek teachers have less teaching time and Greece has smaller classes. A smaller percentage of students who enter tertiary education complete a fi rst degree within the statutory study time than in any other country in Europe. for Greece To address the challenges, the Greek government has established a bold agenda and sought advice from a task force on the development and implementation of reform proposals that refl ect best practices in OECD countries. This report provides the outcomes of the work of the task force. It presents a roadmap for how the reforms can be successfully implemented, with pointers to relevant experience in other countries. As a contribution to the on-going policy discussions in Greece, it recommends specifi c short-, medium- and long-term actions that can improve effi ciency in the country’s education system.
    [Show full text]
  • ST/LIFE/PAGE<LIF-009>
    THURSDAY, JUNE 11, 2015 Music LIFE! C9 2000s: Then and now Musicians who lead in the classical scene Paige Lim Over the years, many Singaporean classical musicians who studied abroad have remained over- seas to pursue their careers. Renowned violinist Chan Yoong-Han and pianist Lim Yan are among the rare few who have returned here to develop their careers. And over the past 10 or more years, the pair have made waves in the local classical music scene. Besides being members of popular piano quintet Take 5, both have played as soloists with the Singa- pore Symphony Orchestra and performed in inter- national music festivals. Life! classical music reviewer Chang Tou Liang calls them “two of the most active and busiest classical musicians” in Singapore today. “They are leaders in their fields and figures whom young Singaporean musicians can relate to and emulate,” he says. Both musicians came to prominence in the 2000s after returning to Singapore from their over- seas studies. A graduate from Rice University in the United States in 1995, Chan, 40, was awarded the 2000 Shell-NAC Arts Scholarship by the National Arts Council. He then completed his masters of music at the University of Massachusetts. In 2007, he was appointed concertmaster for the Singapore Festival Orchestra, the resident orches- tra of the Singapore Arts Festival which ended in 2012. Lim, 35, the nephew of well-known conductor Lim Yau, was the first Singaporean to play in the 12th Singapore International Piano Festival in 2005. He made history again when he became the Violinist Chan first Singaporean pianist to perform all five Yoong-Han About Sing50 Beethoven piano concertos in a cycle here in 2012.
    [Show full text]
  • Art & Finance Report 2019
    Art & Finance Report 2019 6th edition Se me Movió el Piso © Lina Sinisterra (2014) Collect on your Collection YOUR PARTNER IN ART FINANCING westendartbank.com RZ_WAB_Deloitte_print.indd 1 23.07.19 12:26 Power on your peace of mind D.KYC — Operational compliance delivered in managed services to the art and finance industry D.KYC (Deloitte Know Your Customer) is an integrated managed service that combines numerous KYC/AML/CTF* services, expertise, and workflow management. The service is supported by a multi-channel web-based platform and allows you to delegate the execution of predefined KYC/AML/CTF activities to Deloitte (Deloitte Solutions SàRL PSF, ISO27001 certified). www2.deloitte.com/lu/dkyc * KYC: Know Your Customer - AML/CTF: Anti-Money Laundering and Counter-Terrorism Financing Empower your art activities Deloitte’s services within the Art & Finance ecosystem Deloitte Art & Finance assists financial institutions, art businesses, collectors and cultural stakeholders with their art-related activities. The Deloitte Art & Finance team has a passion for art and brings expertise in consulting, tax, audit and business intelligence to the global art market. www.deloitte-artandfinance.com © 2019 Deloitte Tax & Consulting dlawmember of the Deloitte Legal network The Art of Law DLaw – a law firm for the Art and Finance Industry At DLaw, a dedicated team of lawyers supports art collectors, dealers, auctioneers, museums, private banks and art investment funds at each stage of their project. www.dlaw.lu © 2019 dlaw Art & Finance Report 2019 | Table of contents Table of contents Foreword 14 Introduction 16 Methodology and limitations 17 External contributions 18 Deloitte CIS 21 Key report findings 2019 27 Priorities 31 The big picture: Art & Finance is an emerging industry 36 The role of Art & Finance within the cultural and creative sectors 40 Section 1.
    [Show full text]
  • Bulgaria: Health System Review 2007
    Health Systems in Transition Vol. 9 No. 1 2007 Bulgaria Health system review Lidia Georgieva • Petko Salchev Rostislava Dimitrova • Antoniya Dimova Olga Avdeeva Editors: Olga Avdeeva • Melinda Elias Health Systems in Transition Written by Lidia Georgieva, MARSH Bulgaria, Sofia Petko Salchev, Department of Social Medicine and Healthcare Management, Medical University, Sofia Rostislava Dimitrova, European Parliament, Brussels Antoniya Dimova, Department of Health Management, Medical University, Varna Olga Avdeeva, European Observatory on Health Systems and Policies Edited by Olga Avdeeva, European Observatory on Health Systems and Policies Melinda Elias, European Observatory on Health Systems and Policies Bulgaria: Health System Review 2007 The European Observatory on Health Systems and Policies is a partnership between the World Health Organization Regional Office for Europe, the Governments of Belgium, Finland, Greece, Norway, Slovenia, Spain and Sweden, the Veneto Region of Italy, the European Investment Bank, the Open Society Institute, the World Bank, the London School of Economics and Political Science, and the London School of Hygiene & Tropical Medicine. Keywords: DELIVERY OF HEALTH CARE EVALUATION STUDIES FINANCING, HEALTH HEALTH CARE REFORM HEALTH SYSTEM PLANS – organization and administration BULGARIA © World Health Organization 2007, on behalf of the European Observatory on Health Systems and Policies All rights reserved. The European Observatory on Health Systems and Policies welcomes requests for permission to reproduce or
    [Show full text]
  • Russian Strategic Intentions
    APPROVED FOR PUBLIC RELEASE Russian Strategic Intentions A Strategic Multilayer Assessment (SMA) White Paper May 2019 Contributing Authors: Dr. John Arquilla (Naval Postgraduate School), Ms. Anna Borshchevskaya (The Washington Institute for Near East Policy), Dr. Belinda Bragg (NSI, Inc.), Mr. Pavel Devyatkin (The Arctic Institute), MAJ Adam Dyet (U.S. Army, J5-Policy USCENTCOM), Dr. R. Evan Ellis (U.S. Army War College Strategic Studies Institute), Mr. Daniel J. Flynn (Office of the Director of National Intelligence (ODNI)), Dr. Daniel Goure (Lexington Institute), Ms. Abigail C. Kamp (National Consortium for the Study of Terrorism and Responses to Terrorism (START)), Dr. Roger Kangas (National Defense University), Dr. Mark N. Katz (George Mason University, Schar School of Policy and Government), Dr. Barnett S. Koven (National Consortium for the Study of Terrorism and Responses to Terrorism (START)), Dr. Jeremy W. Lamoreaux (Brigham Young University- Idaho), Dr. Marlene Laruelle (George Washington University), Dr. Christopher Marsh (Special Operations Research Association), Dr. Robert Person (United States Military Academy, West Point), Mr. Roman “Comrade” Pyatkov (HAF/A3K CHECKMATE), Dr. John Schindler (The Locarno Group), Ms. Malin Severin (UK Ministry of Defence Development, Concepts and Doctrine Centre (DCDC)), Dr. Thomas Sherlock (United States Military Academy, West Point), Dr. Joseph Siegle (Africa Center for Strategic Studies, National Defense University), Dr. Robert Spalding III (U.S. Air Force), Dr. Richard Weitz (Center for Political-Military Analysis at the Hudson Institute), Mr. Jason Werchan (USEUCOM Strategy Division & Russia Strategic Initiative (RSI)) Prefaces Provided By: RDML Jeffrey J. Czerewko (Joint Staff, J39), Mr. Jason Werchan (USEUCOM Strategy Division & Russia Strategic Initiative (RSI)) Editor: Ms.
    [Show full text]