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Visual Arts Curriculum Guide
Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts. -
GREEN PAPER Page 1
AMERICANS FOR THE ARTS PUBLIC ART NETWORK COUNCIL: GREEN PAPER page 1 Why Public Art Matters Cities gain value through public art – cultural, social, and economic value. Public art is a distinguishing part of our public history and our evolving culture. It reflects and reveals our society, adds meaning to our cities and uniqueness to our communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible. Cultural Value and Community Identity American cities and towns aspire to be places where people want to live and want to visit. Having a particular community identity, especially in terms of what our towns look like, is becoming even more important in a world where everyplace tends to looks like everyplace else. Places with strong public art expressions break the trend of blandness and sameness, and give communities a stronger sense of place and identity. When we think about memorable places, we think about their icons – consider the St. Louis Arch, the totem poles of Vancouver, the heads at Easter Island. All of these were the work of creative people who captured the spirit and atmosphere of their cultural milieu. Absent public art, we would be absent our human identities. The Artist as Contributor to Cultural Value Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities. -
Developing Achievement Levels on the 2011 National Assessment of Educational Progress in Grades 8 and 12 Writing
National Assessment Governing Board Developing Achievement Levels on the 2011 National Assessment of Educational Progress in Grades 8 and 12 Writing Final Submitted: September 5, 2012 Technical Report Submitted to: National Assessment Governing Board 800 North Capitol Street, NW, Suite 825 Washington, DC 20002-4233 This study was funded by the National Assessment Governing Board under Contract ED-NAG-10-C-0003. Submitted by: Measured Progress 100 Education Way Dover, NH 03820 Developing Achievement Levels on the 2011 National Assessment of Educational Progress in Grades 8 and 12 Writing: Technical Report Luz Bay with Jennifer Dunn Wonsuk Kim Leah McGuire Tia Sukin September 2012 National Assessment Governing Board BOARD MEMBERSHIP (2011–2012) Honorable David P. Driscoll, Chair Former Commissioner of Education Melrose, Massachusetts Mary Frances Taymans, SND, Vice Chair Sisters of Notre Dame National Education Office Bethesda, Maryland Andrés Alonso Shannon Garrison Chief Executive Officer Fourth-Grade Teacher Baltimore City Public Schools Solano Avenue Elementary School Baltimore, Maryland Los Angeles, California David J. Alukonis Doris R. Hicks Former Chairman Principal and Chief Executive Officer Hudson School Board Dr. Martin Luther King, Jr. Charter School Hudson, New Hampshire for Science and Technology New Orleans, Louisiana Louis M. Fabrizio Data, Research and Federal Policy Director Honorable Terry Holliday North Carolina Department of Public Commissioner of Education Instruction Kentucky Department of Education Raleigh, North Carolina Lexington, Kentucky Honorable Anitere Flores Richard Brent Houston Senator Principal Florida State Senate Shawnee Middle School Miami, Florida Shawnee, Oklahoma Alan J. Friedman Hector Ibarra Consultant Eight-Grade Teacher Museum Development and Science Belin Blank International Center and Talent Communication Development New York, New York Iowa City, Iowa National Assessment Governing Board BOARD MEMBERSHIP (2011–2012) Honorable Tom Luna B. -
President's Newsletter
Non-Profit Org. U.S. POSTAGE PAID San Antonio, TX President’s 1801 Martin Luther King Dr. Permit No. 1667 San Antonio, TX 78203 “A Point of Pride in the Community” Newsletter Spring 2014 President’s Message A Vision Realized On Feb. 7, St. Philip’s College observed the educational facilities they need to compete in the Greetings friends, re-dedication of the G. J. Sutton Learning Center global economy, students and guests toured the alumni, faculty, staff building through a ribbon cutting ceremony hosted renovated 119,740 square-foot property that and students! The by St. Philip’s College President Dr. Adena houses nearly $7 million in federally-funded new winter months have Williams Loston with guest elected officials Rep. academic department space, special needs access faded and as we look Ruth Jones McClendon, Dist. 2 Councilwoman Ivy forward to the warmth and changes of Continued next page... spring. Taylor, Bexar County Judge Nelson Wolff, Live Oak Mayor Mary Dennis, a representative from Sen. Besides the change in the weather, we also Leticia Van De Putte’s office, and U.S. Rep. Lloyd had quite a few changes in the Sutton Doggett. Learning Center. The third floor, which once housed our library, is now a histori- “We are humbled and truly honored by the cal tribute to the legacy of St. Philip’s and re-dedication of the G. J. Sutton Learning Center in much more. You can read a little more remembrance of my father, Garlington Jerome about the rededication in this issue or feel free to stop by and see it for yourself. -
10 Great Reasons to Support Public Art
Article 26 10 Great Reasons to Support Public Art 1. It’s public! Everyone has access to public art. It’s directly in the public sphere and not confined to galleries or museums. 2. It enriches our physical environments, bringing streetscapes, plazas, town buildings and schools to life. 3. It’s a great tool for civic engagement, building social capital and encouraging civil discourse. 4. It provides professional opportunities for artists and cultivates an environment in which the creative class thrives. 5. It boosts local economies. Businesses supply materials and labor; restaurants, hotels and transportation companies benefit from a site that attracts visitors. 6. It’s an investment in place making—measured by livability and quality of life—that also engenders community pride. 7. It connects citizens to their neighbors and their shared history through documentation and celebration, and makes cultural heritage a tangible community asset. 8. It enlivens places where people work, which can improve employee morale, productivity and respect. 9. It creates supportive learning environments. It opens eyes—and minds! It attracts students to environments conducive to both learning and fun. 10. It raises public awareness about important community issues, such as environmental stewardship and respect for diversity. --From the Amherst Public Art Commission and the National Assembly of State Arts Agencies. The Amherst Public Art Commission Why Public Art for Amherst? Public art adds enormous value to the cultural, aesthetic and economic vitality of a community. It is now a well-accepted principle of urban design that public art contributes to a community’s identity, fosters community pride and a sense of belonging, and enhances the quality of life for its residents and visitors. -
Reading Framework
WHAT IS NAEP? The National Assessment of Educational Progress (NAEP) is a continuing and nationally representative measure of trends in academic achievement of U.S. elementary and secondary students in various sub- jects. For nearly four decades, NAEP assessments have been conducted periodically in reading, mathe- matics, science, writing, U.S. history, civics, geography, and other subjects. By collecting and reporting information on student performance at the national, state, and local levels, NAEP is an integral part of our nation’s evaluation of the condition and progress of education. THE 2009–2010 NATIONAL ASSESSMENT GOVERNING BOARD The National Assessment Governing Board was created by Congress to formulate policy for NAEP. Among the Governing Board’s responsibilities are developing objectives and test specifications and designing the assessment methodology for NAEP. Members Doris R. Hicks Andrew C. Porter Principal and Chief Executive Officer Dean, Graduate School of Education Honorable David P. Driscoll, Chair Dr. Martin Luther King, Jr. Charter University of Pennsylvania Former Commissioner of Education School for Science and Technology Philadelphia, Pennsylvania Melrose, Massachusetts New Orleans, Louisiana Warren T. Smith, Sr. Amanda P. Avallone, Vice Chair Kathi M. King Vice President Assistant Principal & 8th Grade Teacher 12th Grade Teacher Washington State Board of Education Summit Middle School Messalonskee High School Olympia, Washington Boulder, Colorado Oakland, Maine Mary Frances Taymans, SND David J. Alukonis Kim Kozbial-Hess Former Executive Director Former Chairman 4th Grade Teacher and Educational Secondary Schools Department Hudson School Board Technology Trainer National Catholic Educational Hudson, New Hampshire Toledo, Ohio Association Washington, DC Louis M. Fabrizio Henry Kranendonk Director Mathematics Curriculum Specialist Oscar A. -
Past Looking: Using Arts As Historical Evidence in Teaching History
Social Studies Research and Practice www.socstrp.org Past Looking: Using Arts as Historical Evidence in Teaching History Yonghee Suh Old Dominion University This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art. Keywords: history, history instruction, art, interdisciplinary approach, thinking skills, primary sources. Introduction Encouraging historical thinking in students is not a new idea in history education. Since the turn of the 20th century, many historians and history educators have argued that history consists of not only facts, but also historians’ interpretation of those facts, commonly known as the process of historical thinking, or how to analyze and interpret historical evidence, make historical arguments, and engage in historical debates (Bain, 2005; Holt, 1990; VanSledright; 2002; Wineburg, 2001). Many past reform efforts in history education have shared this commitment to teach students to think historically, in part by being engaged in the process of historical inquiry (Bradley Commission on History in Schools, 1988; National Center for History in the Schools, 1995). -
Vetoes of Legislation 81St Legislature
July 22, 2009 Vetoes of Legislation 81st Legislature Gov. Rick Perry vetoed 35 bills approved by the 81st Legislature during the 2009 regular legislative session. The vetoed bills included 20 House bills and 15 Senate bills. The governor also vetoed three concurrent resolutions. This report includes a digest of each vetoed measure, the governor’s stated reason for the veto, and a response to the veto by the author or the sponsor of the bill. If the House Research Organization analyzed a vetoed bill, the Daily Floor Report in which the analysis appeared is cited. A summary of the governor’s line-item vetoes to SB 1 by Ogden, the general appropriations act for fiscal 2010-11, appears in the House Research Organization State Finance Report Number 81-4, Texas Budget Highlights, Fiscal 2010-11. Number 81-7 Contents Requiring student health centers to file claims with, and certain higher education institutions to offer or participate in, health plans HB 103 by F. Brown (Patrick) ..................................................................................................... 5 Grant program for full-day pre-kindergarten HB 130 by Patrick (Zaffirini)........................................................................................................ 7 Student loan repayment assistance for correctional officers, speech-language pathologists, audiologists, and math and science teachers HB 518 by Kolkhorst (Van de Putte) ......................................................................................... 14 Creating a television recycling -
Line, Color, Space, Light, and Shape: What Do They Do? What Do They Evoke?
LINE, COLOR, SPACE, LIGHT, AND SHAPE: WHAT DO THEY DO? WHAT DO THEY EVOKE? Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer—that is composition. —Robert Henri, American painter and teacher The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.” In this activity, students will practice looking for design elements in works of art, and learn to describe and discuss how these elements are used in artistic compositions. Grade Level Grades 4–12 Common Core Academic Standards • CCSS.ELA-Writing.CCRA.W.3 • CCSS.ELA-Speaking and Listening.CCRA.SL.1 • CCSS.ELA-Literacy.CCSL.2 • CCSS.ELA-Speaking and Listening.CCRA.SL.4 National Visual Arts Standards Still Life with a Ham and a Roemer, c. 1631–34 Willem Claesz. Heda, Dutch • Artistic Process: Responding: Understanding Oil on panel and evaluating how the arts convey meaning 23 1/4 x 32 1/2 inches (59 x 82.5 cm) John G. -
Support Report
Support Report For paraprofessional & school related personnel members of Texas AFT Fall 2014 A stark contrast Backpacks for Back to School between candidates Jennifer Lappe, a Special Education paraprofessional at on educational issues Metcalf Elementary in Cy-Fair ISD, hands out a new back- November is your chance to elect pack to a student at an August friends of public education 23 back-to-school rally. Candidates for The rally, co-sponsored by Cy-Fair AFT, featured Wendy the top two Davis, candidate for governor. statewide elected See page 3 for more photos. offices provide a stark contrast in their proposals Workplace bullying policy approved for how best to Wendy Davis and Leticia Van de Putte educate Texans. in Houston after local union push Texas AFT’s endorsees—Demo- A lengthy campaign by Houston The final language was added to the cratic state senators Wendy Davis (for Educational Support Personnel district’s policies on standards of con- governor) and Leticia Van de Putte (HESP) yielded what’s believed to be duct and employee welfare, and the (for lieutenant governor)—have long the state’s first policy against work- process for addressing violations will championed public education by place bullying in a school district, follow the existing harassment policy. fighting cuts in funding, advocating after the Houston ISD School Board the restoration of funding, promot- unanimously approved the policy in HISD’s representative from the Hu- August. man Resources Department ex- ing universal pre-K and reining in the pressed pride at passing the policy, misuse of standardized testing. Their HESP President Wretha Thomas noting that HISD is a “trailblazer” in opponents have a long record of op- and her team in the AFT Leadership this arena. -
Art for Art's Sake?
Art for Art’s Sake? OVERVIEW C entre for E ducational R esearch and I nnovation Art for Art’s Sake? OVERVIEW by Ellen Winner, Thalia R. Goldstein and Stéphan Vincent-Lancrin This overview is a slightly modified version of the conclusive chapter ofArt for Art’s Sake? The Impact of Arts Education. The complete version of the report can be consulted on line at http://dx.doi. org/10.1787/9789264180789-en. The work has benefited from support from Stiftung Mercator (Germany), from the French Ministry of Education and from the OECD Secretary General’s Central Priority Fund. They are thankfully acknowledged. This work is published on the responsibility of the Secretary-General of the OECD. The opinions expressed and arguments employed herein do not necessarily reflect the official views of the Organisation or of the governments of its member countries. This document and 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. Please cite this publication as: Winner, E., T. Goldstein and S. Vincent-Lancrin (2013), Art for Art’s Sake? Overview, OECD Publishing. The statistical data for Israel are supplied by and under the responsibility of the relevant Israeli authorities. The use of such data by the OECD is without prejudice to the status of the Golan Heights, East Jerusalem and Israeli settlements in the West Bank under the terms of international law. Photo credits: Cover © Violette Vincent. Corrigenda to OECD publications may be found on line at: www.oecd.org/publishing/corrigenda. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en).