Research Review 203 , Or —Which She Makabayan Rasa Became a Term for Makabayan in a U.S

Dana Research editor Powell Review

Editor’s Note: This issue of Research into Asian Education (2005), is a meaning- Review focuses on the interplay between arts ful resource for arts educators, researchers, education and social justice, through both and policy makers interested in arts educa- global and local lenses. Our first review high- tion and development. It includes findings lights the instrumental role of arts education from two major regional conferences. The in UNESCO’s efforts to effect global reform first gathering, held in Hong Kong in 2004, through primary education for all, while the focused on Measuring the Impact of Arts in second review tracks the impact of arts activi- Education, and the second was convened a ties on special needs students in England. year later in New Delhi, emphasizing Our hope is to shed light on the work of Transmissions and Transformations: Teaching Artists abroad, and to reinforce our Learning Through the Arts in Asia. The collective vision of a culture of peace—from report unites diverse regional perspectives the international to the intrapersonal. and situates arts in education as pivotal to —D.P. redefining and reforming quality education. The UNESCO report is best seen in rela- Educating for Creativity: Bringing Arts and tion to the global movement for international Culture into Asian Education. goals and benchmarks to eradicate poverty. Ellie Meleisea, ed. Certainly, in the context of globalization, arts Report of the Asian Regional Symposia on Arts educators around the world can greatly ben- Education. January 9–11, 2004: Measuring the Impact of Arts in Education, Hong efit from better understanding global per- Kong SAR, China; and March 21–24, 2005: spectives on culture and education. In addi- Transmissions and Transformations: Learning Through tion, for many of us who are working in the Arts in Asia, New Delhi, India. Bangkok: United Nations Educational Scientific and Cultural transnational, culturally diverse, or economi- Organization (UNESCO), 2005. cally struggling communities, we can learn a tremendous amount from the ingenuity of Pursuing Quality Education arts educators and activists who contributed Through the Arts: to this publication. The UNESCO report Lessons from Asia shares detailed contextual reflections on arts in education and provides an opportunity for Amy Shimshon-Santo Teaching Artists in the United States to move UNESCO’s recent publication, Educating beyond our local frames and learn from for Creativity: Bringing Arts and Culture international approaches to arts in education. 202 2006 VOLUME 4, NUMBER 3

Arts Education and the work in arts education? The second MDG Millennium Development is to achieve universal primary education Goals (MDGs) for everyone in the world. The Millennium Goals Report 2005 found that “Of the 115 It is important to begin by placing this million children out of school in develop- report within the context of international ing countries in 2001, some had dropped development activism and the United out, others had never been enrolled at all.” Nation’s Millennium Development Goals This problem is particularly grave in (MDGs). Southern Asia and Africa. The UNESCO Goals report emerged from the international attention galvanized around the MDGs, but 1. Eradicate extreme poverty and takes the commitment to educational hunger access a step further by interrogating the 2. Achieve universal primary education quality of education itself. 3. Promote gender equality and The UNESCO report studies how arts in empower women 4. Reduce child mortality education can redefine and achieve quality 5. Improve maternal health education in Asia. It suggests that arts in 6. Combat HIV/AIDS, malaria and other education plays a crucial role in redefining diseases and achieving quality education, and, 7. Ensure environmental stability therefore, is significant to achieving the 8. Develop a global partnership for MDGs. This, in itself, is a crucial contribu- development tion to our field that should not be taken lightly: that arts in education is not merely Few U.S. residents are aware of what a small interest group of creative people exactly the MDGs are, and this is a reflec- who love the arts, but, instead, is a pivotal tion of the geographic myopia that contributor to educational reform and com- arguably plagues our country. While peo- munity development at home and abroad. ple are increasingly aware that globaliza- The MDGs are not only relevant to interna- tion is dramatically changing our neighbor- tional contexts, but can also be applied to hoods and schools, the challenge to con- address the highly unequal social condi- nect up to regional and international initia- tions plaguing communities right here in tives in culture and education is complicat- the United States. ed by the many daily struggles in our lives A recurring theme throughout the and communities. While many arts educa- UNESCO report is what constitutes a tors have grown accustomed to shifting meaningful, culturally relevant, and quality between community and university set- education that contributes to a culture of tings, and within diverse cultural neighbor- peace. In his public appeal at the turn of hoods, globalization has undoubtedly the century, Koichiro Matsuura, argued that deepened the contradictions within and “Today we are clearly and strongly aware between our communities. Interestingly, of the important influence of the creative UNESCO’s report allows us to hear about spirit in shaping the human personality, arts education issues that are increasingly bringing out the full potential of children relevant to U.S. residents, and allows the and adolescents, and maintaining their reader to recognize diverse stories and emotional balance—all factors which foster contributions of Asian artists, scholars, and harmonious behavior” (145). In his activists, to the field of arts in education. “Appeal for the Promotion of Arts How many of us even know about the Education and Creativity at School,” MDGs and how they relate to our daily Matsuura reiterates that a culturally diverse Research Review 203 , or —which she makabayan rasa became a term for Makabayan In a U.S. environment where arts edu- But the contributors did not stop at cri- But the contributors cation is increasingly guided by formal standards-based structures, Jane Cheng’s “Artists in Schools: Integrating the Arts in Education” is refreshing. In her case study, the open-ended project goals (which were supported by lofty partners including the Hong Kong Development Council, the Hong Kong Bank Foundation, and the Education and Manpower Bureau) were to “develop creativity and imagination, develop skills and processes, cultivate critical responses, and understand arts in context” Defining a Common Purpose for Arts Education view art merely as a skill rather than a tool rather than as a skill art merely view formal ... using the existing of expression not allow to art education, does approach but exercise their creativity, children to creative children lose their instead makes impulse” (108). arts educa- tiquing defunct, or nonexistent, that, Ordoñez argues tion practices. Victor sense of frustration “There is an increasing regarding the fact among today’s educators and programmes of that education systems study remain stubbornly while unchanged changes rapidly” (80). the world around us how the Ordoñez explains However, reform in the Phillippines creat- movement ed alternatives by to the dominant system developing the notion of citizenship. designing comprehensive curriculum that “grouped arts education, music, health, civics, and physical education” (81). Another culturally grounded alternative is presented in Sangeeta Isvaran’s “Rasa and Dance: Bringing Creativity into Education.” Isvaran recovers the Sanskrit concept of rasa to revitalize dance education. Her standard for quality arts education becomes the essence of translates “as a form of ... fulfillment’ or ‘satisfaction’” (Isvaran 57). The articles in this report often use a in this report often The articles Contributors to the UNESCO report The report is structured into seven TEACHING ARTIST JOURNAL TEACHING multilayered approach to cultural educa- approach to cultural multilayered the contentious inter- tion that recognizes and validating tra- play between recovering at the same time, ditional cultures, and, youth culture. engaging with global Recognition of this difficult mediation to arts edu- process is a useful contribution and work with, cators who come from, immigrant youth in culturally diverse and Asia and beyond. arts curriculum is imperative for cultivating is imperative arts curriculum social jus- achieving human understanding, diverse dignity among tice, and mutual nations. communities, and individuals, often expressed dissatisfaction with stifled from approaches to arts education. Writing India, Pawan Sudhir critiques prevailing approaches to arts education as part of the problem and not the solution. Sudhir explains, “The way in which children are currently asked to do art activities in the formal school system is ineffective and counter productive ... [and] makes children major sections, with helpful introductory analysis, vivid case studies, and intricate annexes of the conference participants and topics. The first section overviews a common vision for arts education in Asia. The regional meetings are then overviewed before presenting a series of heteroge- of neous case studies from a broad range countries including Indonesia, Cambodia, Philippines, Thailand, Hong Kong, Korea, India, and Central Asia. Common streams analyses flowing throughout the divergent include recovery of culturally grounded frameworks, a preference for integrated “arts in education” versus arts-only focused curriculum, and a commitment to creative expression over rote learning in the arts. Culturally Grounded and Integrated Approaches to Arts Education 204 2006 VOLUME 4, NUMBER 3

(Cheng 63). The project outcomes in tions where “creation and learning were Cheng’s study highlighted the important, intertwined, arts and knowledge were vir- and often overlooked, benefits of improve- tually synonymous” (7). Educating for ment in the following areas: artistic skills, Creativity places the notion of quality edu- creativity, cooperation and bonding, moti- cation alongside discussions of educational vation and enjoyment of learning, and access. The report inspires readers to learn affective experience (65). from Asia’s rich diversity, but, also, to ask These open-ended goals stand in dra- ourselves: How can we make arts in edu- matic contrast to trends in the United cation meaningful, enjoyable, and cultural- States, where arts in education advocates ly relevant? How can arts education sup- are constantly battling with public agencies port social justice efforts, help decrease to defend their core purposes. Oftentimes, poverty, and increase the rasa, or satisfac- qualitative and affective assessment cate- tion, in the lives of students and teachers? gories, like those used in Cheng’s study, These important questions can be applied are overlooked or seen as inconsequential. across different geographic and cultural For example, it is quite common to find contexts from Asia to the Americas. arts education projects that are required to demonstrate their ability to boost test Works Cited scores in other core curricular areas (other than the arts) in order to substantiate Cheng, Jane. “Artists in School: Integrating the Arts in future investment. Cheng’s finding that arts Education.” Educating for Creativity: Bringing Arts and Culture into Asian Education. Bangkok: United Nations in education resulted in “cooperation and Educational Scientific and Cultural Organization bonding,” and “motivation and enjoyment (UNESCO), 2005. 63–69. of learning” offer a delightful contrast to the trend towards standards-based arts Isvaran, Sangeeta. “Rasa and Dance: Bringing Creativity into Education.” Educating for Creativity: Bringing Arts education and assessment so common in and Culture into Asian Education. Bangkok: United California and other states. Nations Educational Scientific and Cultural Organization (UNESCO), 2005. 57–62.

Conclusion Maira, Shakti. “As Asian Vision of Arts in Education: UNESCO’s Educating for Creativity high- Learning Through the Arts.” Educating for Creativity: lights diverse strategies for revitalizing arts Bringing Arts and Culture into Asian Education. Bangkok: United Nations Educational Scientific and education in Asian contexts. While this Cultural Organization (UNESCO), 2005. 7–9. report tends to focus its attention on bigger schemes and plans, rather than detailed in- Millennium Development Goals Report, New York: class arts ideas, its overarching gifts are United Nations, 2005. generous. It reminds readers that arts edu- Matsuura, Koichiro. “Appeal for the Promotion of Arts cation ought to be culturally relevant, Education and Creativity at School as Part of the enjoyable, and creative, and that integrated Construction of a Culture of Peace,” 30th session of the approaches to arts in education often pro- UNESCO General Conference, Paris. Educating for vide creative solutions that make the arts Creativity: Bringing Arts and Culture into Asian Education, Bangkok: United Nations Educational meaningful to young people in challenging Scientific and Cultural Organization (UNESCO), 2005. circumstances. 145–146. Shakti Maira suggests that the “inter- pollinated cultures of Asia” have much to Ordoñez, Victor. “Influencing Policy and Education teach each other and the rest of the world. Reform.” Educating for Creativity: Bringing Arts and Culture into Asian Education. Bangkok: United Nations In fact, Maira continues, the history of arts Educational Scientific and Cultural Organization education goes back to the earliest civiliza- (UNESCO), 2005. 79–80. Research Review 205 • Pupils’ preferences. Students engaged Effective implementation of the residen- The Foundation set out to evaluate the The Foundation set in the residencies preferred “practical”—or cies was explored from the perspectives of the students, artists, teachers, and administrators; the findings were presented in 6 categories. Lessons on Implementation These units are special learning units are These for centers system as by the school youth identified disaffected, otherwise at risk. disruptive, or serv- as stand-alone schools, PRUs operate who have been “excluded”—or ing youth for their regular schools expelled—from time. Students extended periods of have emotional or assigned to PRUs often behavioral difficulties ranging from truancy LSUs operate as to violence. In contrast, within a mainstream designated classrooms youth with relatively school site, serving ranging from anxiety temporary challenges to teenage pregnancy. “effects and effectiveness” of its PRU/LSU the existing literature arts initiative because on the arts and disaffected youth was anecdotal” viewed as “patchy and largely “the distinctive con- (9). The study targeted to tribution that arts activities might make pupils’ educational, social and personal development, to assess the impact of arts projects on staff and institutional outcomes and to audit perceptions of cost-effectiveness” (9). According to the report, the primary methodology included 69 interviews with pupils, teachers, artists, and administrators across 7 program sites. These inter- view data were supplemented by student expul- data regarding attendance, behavior, sions, achievement, and “reintegration”—or successful return to their mainstream class- es. The results of the study have implica- to Artists with regard tions for Teaching both the implementation and impact of residencies with this youth constituency. is the ArtsBridge In recent decades, arts education has Since 1997, the London-based Calouste TEACHING ARTIST JOURNAL TEACHING experienced a bit of an identity crisis. The arts have been held up for their intrinsic value (art for art’s sake) and their instrumental value (art for math and reading’s sake). There is a growing movement among arts advocates to articulate the value of the arts in terms of social justice. In this context, the arts are believed to advance positive development both within and among individuals, ultimately leading to a more equitable, compassionate, just, respectful, and democratic society. At the heart of social justice lie the inclusion, engagement, and belonging of each individual. Gulbenkian Foundation has fostered the social inclusion of young people through artist residencies in Pupil Referral Units (PRUs) and Learning Support Units (LSUs). Dana Powell Pursuing Social Inclusion Through the Arts: Lessons from England Anne Wilkin, Caroline Gulliver, and Kay Kinder. and Kay Kinder. Anne Wilkin, Caroline Gulliver, 2005. Calouste Gulbenkian Foundation, Serious Play: An Evaluation of Arts Serious Play: An Evaluation Activities in Pupil Referral Units and Learning Support Units. Director for UCLArts, and is a Visiting Assistant Director for UCLArts, and Cultures at UCLA. Arts Professor in World race, to gender, She uses critical approaches work on community and place to inform her and the arts as social arts, popular education, action. Amy Shimshon-Santo Sudhir, Pawan. “Arts Education: The Foundation of The Foundation Education: Pawan. “Arts Sudhir, Arts and for Creativity: Bringing Education.” Educating United Nations Education. Bangkok: Culture into Asian and Cultural Organization Educational Scientific 107–111. (UNESCO), 2005. 206 2006 VOLUME 4, NUMBER 3

hands-on—activities, because it was better the report, as the United Kingdom’s gov- suited to their learning styles. ernment and Department for Education • Artists’ input. Key factors in success and Skills have recently targeted the need were the artists’ backgrounds, personalities, for student enjoyment in education. The and approach to teaching, which tended to residencies were not found to have long- be more informal and relaxed, and demon- term effects on students’ “entrenched prob- strated sensitivity to and respect for young lems” due to the short-term nature of the people. arts experiences (12). However, the posi- • Project planning. Not surprisingly, tive impact of the residencies on student residencies were more successful when the behavior, attitudes, and attendance suggest- artist and teacher had co-planning time in ed that sustained arts involvement could advance. The researchers point out the result in extended benefits and commit- value of including co-planning time in the ment to school. initial design and budget of such partner- • Impact on teachers. Among the teach- ships. ers interviewed, the majority reported that • Schools’ culture and ethos. As might their own knowledge and skills in the arts be expected, the projects were subject to had improved. Further, teachers reported school politics, perceptions, and competing that the artists inspired new approaches to funding priorities. The value placed on arts their own instruction and classroom man- and culture in the school community was agement. Because the expectations and critical to the success of the residencies. extent of teacher engagement in the les- • The distinctive nature of the arts. The sons varied across the sites, teacher devel- arts activities represented a departure from opment was inconsistent. The researchers the students’ regular curriculum in a num- suggest that teacher involvement be estab- ber of ways: they were more hand-on and lished and defined through coplanning contemporary in nature, allowed for suc- prior to the residency. cess and positive expression, and focused • Impact on artists. The key benefits on developing one’s self-image. reported by artists included enhanced flexi- • Cost-effectiveness. While teachers bility and teaching skills, and an increased and administrators perceived the residen- awareness of student issues and needs cies as expensive, they unanimously sup- within the PRU/LSU context. Overall, artists ported the cost-effectiveness of the pro- expressed enthusiasm for continued work grams in terms of both student outcomes in this area. and teacher development within the • Impact on organizations. While the PRU/LSU. staff of the school sites and arts organizations were interested in further collabora- tion, “sustained funding was perceived to Lessons on Impact be an enormous barrier to building on this legacy” (13). This represents a critical chal- The residencies had a variety of impacts lenge, as even the sponsoring foundation on the students, teachers, artists, and recognized the long-term limitations of organizations involved. continuing its PRU/LSU initiative.

• Impact on students. For pupils, the key areas of impact were knowledge and skills, communication, self-confidence and Conclusion self-esteem, and enjoyment. The “enjoy- The researchers repeatedly emphasized ment” factor was emphasized throughout the challenge of establishing long-term Research Review 207 , Editor , EdD is the Research Review edi- Review is the Research , EdD [email protected](561) 688–0889 Correspondence regarding the Research Correspondence regarding should be sent to: Review Susannah Brown University Florida Atlantic Dana Powell Dana Artist Journal. tor of the Teaching TEACHING ARTIST JOURNAL TEACHING effects “short-termism.” climate of in a This school resonates with American sentiment reform efforts, and beyond the both within torn are often their between arts. Teachers and to the arts in education commitment in about investing their apprehensions quickly dissolve due partnerships that may As concluded by the to a lack of funding. the question as to authors, this study “begs if more sustained what might be possible funding or a more permanent place for arts (94). Indeed, activities...is made available” be endless for the the possibilities may youth, and the creation socialization of our of social justice. of a broader culture