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HomeMy WebLinkAboutAgenda Report - October 28, 1996LODI ARTS COMMISSION Mission Statement (Adopted 11113/96) • The arts are lasting! • The arts communicate wisdom and knowledge through the ages. • The arts inspire us to rise above the everyday, allowing expression and experience of our emotions and spirit. • The arts are the universal language of the human spirit and bring people together in mutual respect and understanding. • The creative spirit that manifests artistic expression must be nurtured, encouraged, supported and valued as a primary basis for a quality life, requiring responsibility of all for continuance of the arts. (Rev. 11/22/96) Page Two Mission Statement/Goals and Objectives 1997-2001 Goal One: Initiate, sponsor, produce major city-wide quality festivals/events for music, drama, dance and visual arts. Objectives: 1. Continue to produce a summer Night Time Live concert series and expand the program into a Winter series in 1997. 2. Continue to sponsor/produce Drama Fest, a national playwright competition, biennially with the goal of making it annual by 2000. 3. Co-sponsor/Support other community organization's events and programs focusing on the arts, such as the Young Renaissance Art Show and Community Concerts. 4. Actively support the growth and accessibility of the visual arts. 5. Expand the Children's Summer Theatre program to be produced year around. 6. Establish a Summer Concerts in the Park Series building on the Celebrate America event by 1998. Goal Two: Increase access to the arts through direct participation and individual experience. Objectives: 1. Develop a database of teaching resources in the community. 2. Develop Arts Specialty classes for adults based on community interests and emphasizing diversity and frequency in class offerings. 3. Offer hands-on workshops and/or interactive events as part of Commission run programs. Page Three Mission Statement/Goals and Objectives 1997-2001 4. Continue the successful Lunch Time Live series showcasing local talent. 5. Build Children's Art Programs (STEPS -Students Enrichment Programs) incrementally based on community interests and emphasizing diversity and frequency in class offerings. Goal Three: Actively support the growth and stability of arts groups in Lodi. Objectives: 1. Continue project specific financial grants to community groups. 2. Conduct workshops to educate community groups on grant research and writing, fund raising, publicity and quality event production. 3. Develop a database of all arts groups and supporters of the arts in Lodi. 4. Continue to sponsor/produce Arts Showcase biennially. 5. Participate in the local community events calendar and assist other arts groups to do the same or create and publish a calendar of arts events for the community. 6. Establish an annual Arts Awards presentation to recognize outstanding contributions made to the arts by citizens in the community. Goal Four: Motivate and connect the diversity of groups in Lodi to participate together around the arts. Objectives: 1. Strive to increase the volunteer base for arts activities and programs. Page Four Mission Statement/Goals and Objectives 1997-2001 2. Establish the Lodi Arts Foundation as the fundraising arm of the Commission to support local arts programs. 3. Seek partnerships with other community organizations to produce arts programs. Goal Five: Continue to build and create an atmosphere of community for the whole city at Hutchins Street Square through the arts. Objectives: 1. Establish a closer working relationship with the O.L.U.H.S. Foundation Board. 2. Participate in the promotion, programming and operations of the new Performing Arts Center. 3. Seek opportunities for shared resources in the management and promotion of the Performing Arts Theatre. (rev. 11/22/96) Lodi Arts Commission Performing Arts Theatre Proposed Programming Schedule ARTISTIC MEDIUM Theatre Music Music Theatre/ Dance Music Literary Theatre Music/Dance *Funded by Private Corporate and Individual Grants GROUP OR AFFILIATION Drama Fest '98 Lodi Community Concert Assn. Stockton Symphony* Touring or Tokay Players Touring - Children's Lodi Writers Association Touring Lodi Youth Commission ARTISTIC MEDIUM Music Music Dance Theatre GROUP OR AFFILIATION Stockton Symphony Touring -Country Western Touring Children's Summer Theatre PROJECT CHILDREN'S ART PROGRAMS ART IN PUBLIC PLACES/ CIVIC CENTER PLAZA FUNDRAISING/GRANTS FOUNDATION DRAMA FEST '96 ADULTS SPECIALTY CLASSES/ SENIOR PROGRAMS PERFORMING ARTS CENTER (LONG RANGE PLANNING) LUNCH TIME LIVE NIGHT TIME LIVE FINE ARTS NETWORK Art Data Base Arts Showcase SUMMER CONCERTS/ CELEBRATE AMERICA LODI ARTS COMMISSION PROJECTS CHAIR Laura Heinitz Sherri Smith Cyndi Olagaray Tim Mattheis, Rex Reynolds Janet Dillon Tim Mattheis Eleanor Kundert, Bill Crabtree(?) Marto Kerner Beth 1-Iandel/Laura I-Ieinitz Cyndi Olagaray Theo Vandenberg Charlene Lange COMMITTEE MEMBERS Susan Maley, Rex Reynolds, Tim Mattheis Beth I-Iandel, Eleanor Kundert Theo Vandenberg, Eleanor Kundert Charlene Lange Rex Reynolds, Marlo Kerner, Susan Maley, Laura Heinitz, Eleanor Kundert, Sherri Smith Beth Handel, Eleanor Kundert Cyndi Olagaray Theo Vandenberg, Eleanor Kundert, Bill Crabtree Theo Vandenberg, Rex Reynolds, Susan Maley, Bill Crabtree Summer Intern Eleanor Kundert, Susan Maley Theo Vandenberg, Summer Intern Summer Intern Summer Intern PUBLICITY Video Brochure Arts Calendar/Arts Hotline YOUNG RENAISSANCE ART SHOW BUDGET/GRANTS CITY COUNCIL/COMMUNITY RELATIONS COUNTY ARTS NETWORK Revised 3/17/97 Susan Maley/Cyndi Olagaray Theo Vandenberg, Rex Reynolds Cyndi Olagaray Laura Heinitz, Beth Handel Susan Maley (Treasurer) Cyndi Olagaray Cyndi Olagaray Marlo Kerner Tim Mattheis Cyndi Olagaray Bill Crabtree, Tim Mattheis, Theo Vandenberg, Rex Reynolds, Laura Heinitz, Sherri Smith, Charlene Lange Bill Crabtree, Tim Mattheis, Theo Vandenberg, Rex Reynolds, Janet Dillon GROUP Grupo Folklorico Tradicion Kids Unlimited Children's Theatre Lodi Art Center Lodi Camera Club Lodi Children's Chorus Lodi Community Band Lodi Community Concert Assoc. International Dance Studios Lodi Writer's Association Lodi Eastside Improvement Cmte. Lodi Historical Society Tokay Players North Valley Symphony Community Calendar Lodi Arts Foundation Children's Art Programs Awards Recognition Event Celebrate America Drama Festival Lunch Time Live Night Time Live Young Renaissance Art Show Arts Showcase TOTALS LODI ARTS COMMISSION GRANTS 10.0-802.12 1995-1996 FUNDING no request no request 1,250 1,500 site only no request 2,600 2,000 no request no request no request no request 8,500 5,000 1994-1995 FUNDING $500 no request 2,500 1,500 no request no request 2,600 1,000 no request 445 no request no request 6,500 no request 0 0 0 1,500 2,850 8,350 1,850 1,850 2,000 500 $ 35,445 0 0 0 1,500 2,500 8,500 1,500 3,500 1,000 1,000 $ 40,350 *Kids Unlimited funding in the amount of $2,002 was funded from the $3,200 Children's Art Programs grant. 1996-1997 FUNDING $1,000 (2,002)* 2,000 3,000 site only 600 2,560 2,000 no request 550 1,500 1,500 10,000 5,000 0 0 3,200 0 2,000 7,500 1,500 4,000 800 500 $ 49,210 1997-98 RECOMMENDATION no request 1,300 1,200 1,000 site only 600 2,200 3,000 2,230 600 1,500 1,600 10,000 no request 2,500 2,000 3,700 0 3,000 4,500 2,000 8,500 800 1,000 $ 53,230 Lodi Arts Commission Grants Summary 1997-1998 Fiscal Year Reauests for Grants Community Groups Project Requests $37,686.00 Arts Commission Project Requests $28,000.00 Total Amount of Grant Requests $65,686.00 Recommendations for Funding Community Groups Projects $25,230.00 Arts Commission Projects $28,000.00 Total Amount of Recommended Funding $53,230.00 Comparison Between 1996-1997/1997-1998 Fiscal Years 1996-1997 Fiscal Year Summary Total Grants Budget Fiscal Year Total Grants to Community Groups Total Grants to Arts Commission Projects Increase in Grants Requests from 95-96 to 96-97 $49,210.00 $29,710.00 (60%) $19,500.00 (40%) $ 8,860.00 (18%)* *Note: The increase reflects additional grants to community groups with total Arts Commission program grants remaining the same. 1997-1998 Fiscal Year Summary Total Grants Budget 1997-1998 Fiscal Year Total Grants to Community Groups Total Grants to Arts Commission Projects Increase in Grants Requests from 96-97 to 97-98 $53,230.00 $25,230.00 (47%) $28,000.00 (53%) $ 4,020.00 (9%) Summary of 1997-1998 Grant Recommendations by Art Form Art Form Total $ Total % of Percent Percent Amount Budget to Groups to L.A.C. Music $20,200 38% 33% 67% Theatre $15,700 30% 71% 29% Visual $3,400 7% 76% 24% Literary $600 1% 100% 0% Dance $2,230 4% 100% 0% Education $5000 9% 26% 74% (Various) Vocal $600 1% 100% 0% All Art $5,500 10% 0% 100% Forms (Publicity/ Fundraising) Lodi Arts Commission Mission Statement . The arts are lasting! . The arts communicate wisdom and knowledge through the ages. . The arts inspire us to rise above the everyday, allowing expression and experience of our emotions and spirit. . The arts are the universal language of the human spirit and bring people together in mutual respect and understanding. . The creative spirit that manifests artistic expression must be nurtured, encouraged, supported and valued as a primary basis for a quality life, requiring the responsi- bility of all for continuance of the arts. Lodi Arts Commission Goals Five Year Plan 1997-2001 • Goal One: Initiate, sponsor, produce major city-wide quality festivals/events for music, drama, dance and visual arts. • Goal Two: Increase access to the arts through direct participation and individual experience. • Goal Three: Actively support the growth and stability of arts groups in Lodi. • Goal Four: Motivate and connect the diversity of groups in Lodi to participate together around the arts. • Goal Five: Continue to build and create an atmosphere of community for the whole city at Hutchins Street Square through the arts. LODI ARTS COMMISSION. PROGRAMS 1996-1997 • Celebrate America • Lunch Time Live • Arts Showcase • Drama Fest • Children's Theatre Workshops • Night Time Live (Winter/Summer) • Student Enrichment Programs • Arts Specialty Classes for Adults • Art In Public Places • Civic Center Plaza Design • Hale Park Concert Series with Eastside Improvement Committee • Young Renaissance Art Show • Arts Network/Arts Hotline • Off-track Art Classes with Kids Can't Wait • Lodi Arts Foundation • City of Lodi Arts Grants • Cultural Calendar jointly with Community Calendar • Summer Concerts in the Park with Lodi Community Band • Liaison with Community Cultural Groups Viable Specialty Classes Inherited from Parks and Recreation Department . Tap For Tots . Adult Tap . Belly Dancing . Dance For Kids New Specialty Classes Developed Under the Lodi Arts Commission • Ballet (Pre -Ballet, Pre -Primary Ballet, Primary Ballet, Ballet I, Adult Ballet) • Creative Dance For Kids (3-5 years) • Youth Tap • Tumble Time • Baby Loves Beethoven • Ballroom Dance Workshops (Adults and Youth) • Children's Theatre Workshops • Beginning Modeling • Mostly Manners for Kids • Kindermusik • Piano Workshops(Popular and Blues and Boogie) • Watercolor and Mixed Media Painting • Clay Sculpture and Mask Making • Wire Sculpture • Pre -School Beginning Art • Ceramics . Cartooning and Caricature Drawing . Creative Processes in Drawing . Drawing and Illustration with Watercolor and Pen and Ink . Adult Painting (Watercolor and Oils) . Calligraphy . Holiday Wreath Making . Writing Your Memoirs/Creative Writing "Many Children are missing out on something which gives their education a context, gives their lives depth and meaning, and prepares them to be the future workforce." Excerpted from U.S. Department of Education News Release The $36 billion nonprofit arts industry is a source of future employment for students. The economic dimensions of the nonprofit arts sector are extensive at $36 billion. It jumps to $314 billion when the commercial arts sector is added." Arts in the Local Economy, National Assembly of the Local Arts Agencies, 1994 1992 State of the Arts Report, National Endowment for the Arts. "The Arts are not about artists: the Arts are about people. The Arts are also business, they create jobs and have an impact beyond the local level. Arts and artists renew urban strength." Excerpted from the Governor's Conference on the Arts, 1993 "The arts have a positive economic impact on a community. For every dollar spent on art ticket sales, three dollars were spent in the community for goods and services." Excerpted from Economic Study, California Arts Council " Students of the arts continue to outperform their non - arts peers on the Scholastic Assessment Test, according to the College Entrance Examination Board. In 1995, SAT scores for students who studied the arts more than four years were 59 points higher on the verbal and 44 points higher on the math portion than students with no coursework or experience in the arts." The College Board, Profile of SAT and Achievement Test Takers, 1995 "Pyramids, cathedrals and rockets exist not because of geometry, theories of structures or thermodynamics, but because they were first a picture - literally a vision - in the minds of those who built them." Historian Eugene Ferguson "Plato once said that music 'is a more potent instrument than any other for education.' Now scientists know why. Music, they believe, trains the brain for higher forms of thinking." Why Do Schools Flunk Biology, Newsweek February 19, 1996 LODI ARTS COMMVIISSION 1'297 e%'S 4%E S '97 7fri 'ay,4. pee 13- 9e4 25 'uta sneer 5e-1€�'t4qac 7.00 A. ot. Dciotz Obi 8.00 f.. s $12.00 ,gdu e/$5 St dere zzfia safrfte, Aadaide at Saud Atae eltave 2 ee 13 74e 7/14414 epee . ,tee 20 74e qot etai e j Sao 2za ee e4 `uKe 27 EzaaQ 9a4 4 &nea4¢ - %oieodea ee Dau 944 11 Daadeiz 944 18 Stoetveziez Pe425 smianadoa 125 South Hutchins Street • Suite D • Lodi. California 95240 • 209/67- 442 "Superior skills are needed in the global context. They come through arts education." 'THE GE TY EDUCATION INSTITUTE FOR THE ARTS Reprinted from :t'►1.`ii°h v"•i .v: , &yoed nerr. Midterm. October 28, 1996 issue •SPECIAL A D V E R T I S• G SECTION Educating for the Workplace through the i N THE SPACE OF A SINGLE GENERATION, work and the workforce have changed dramatically. If we could put a typical 1966 worker into a 1996 factory or organization, he or she would likely begin to suffer a kind of occupational vertigo — a sense of disorientation in virtually every dimension of the workplace. It's not just new machines and management philosophies, or that services have replaced manufacturing as the dominant sector of the American economy. It's that the character of work itself has been transformed, largely through rhe application of information -based Technologies and sys- tems thinking to almost everything American business does. The express train to the 21st century has left the station, and the typical workers of just a few years ago are standing on the platform—waving good-bye from the rapidly receding 200 -tear history of industrialism. Today's — and tomorrow's — Nvorkers have to be multi -skilled and multi -dimensional, flexible and intel- lectually supple. Even the physical office is being relocated to accommo- date new tvork styles, as cell -phones, faxes, and telecommunications soft- ware stimulate the growing edge of the workforce as it migrates down the information highway to homes, cars, airport lounges, and relework centers. But the changes go far beyond new technologies and the shifting venues for work. Richard Gurin, president and CEO of Binney CC Smith, Inc., and a member of the National Alliance of Business, expresses a growing An arts PECAL ADVERTISING SECTION The Changing Workplace is Changing Our View of Education consensus among business leaders: "After a long business career, I have become increasingly concerned that rhe basic problem gripping the American workplace is not interest races or inflation; those come and go with the business cycle. More deeply rooted is ... the crisis of creativity. Ideas ...are what built American busi- ness. And it is the arts that build ideas and nurture a place in the mind for them to grow ... Arts education programs can help repair weak- nesses in American education and better prepare workers for the twenty-first century." education develops collaborative and teamwork skills, technological competencies, flexible thinking, and an appreciation for diversity. Knowledge is the New Wealth The connection Gurin makes between the needs of rhe marketplace and a-orkforce on the one hand, and the abilities fostered by an arts education on the other, is based on a straight- forward argument: 1 Management gurus such as Peter Drucker, \V. Edwards Deming, and Peter Senge have been saying for years that the basic economic resource of today's economies is no longer labor or capital, but knowledge itself — information at work in the learning organization. As information and rhe technologies derived front it expand at warp speed, businesses find that what creates value and spawns change is rhe ability to add knowledge to tvork. Today, that need is so great that companies are adding CKOs, "chief knowledge officers" to help them maintain a competitive edge. Since the turn of the century, CRAYOLAe brand products have inspired hands-on learning and creativity in the classroom. 2 (: r r i�r �' 1996 The \kGra'.tI i ( n, ., ..' . In,.»I'rinrcd in rhe l'.`..a. 2 The cutting-edge worker in the Information Age Economy is thus the "knowledge worker," a continuous and highly -adaptable learner who pos- sesses a wide range of "higher order thinking skills." This employee is an imaginative thinker with high-level communication and interpersonal skills. 3 An education in the arts addresses and delivers precisely these kinds of skills. The potential contribution of arcs education extends across the hoard. It builds such thinking skills as analysis, synthesis, evaluation, and critical judgment. It nourishes imagi- nation and creativity. While recognizing the importance of process, it focuses deliberately on content and end -product. It develops collaborative and teamwork skills, technological competencies, flexible thinking, and an appreciation for diversity. An arts education also fosters such valued personal attitudes as self-discipline. The implications of this argument have slowly been working their way into rhe decade -and -a -half struggle to reform the nation's schools, even as the "high-performance workplace" remains a core driver for education reform. The public's preoccupation with "getting back to the basics" is being reinforced by a new commitment to school restructuring, school-based decision-making, and standards. Most. educators, indeed most Americans, genuinely welcome the renewed inter- est in stronger fundamentals and high, er standards for performance and learning. Too few Americans recog- nize, however, the breadth and deprh of the contribution arts education can make, both to education reform and to the quality of the workforce. But things are changing. The Creation of a New Alliance The need for imagination and creativity in the lsorkforce is creating .l new alliance between arts education and business. One high -visibility expression of shared interest was the 1994 Louisville conference on "Arts Education for the 21st Century S1'cCIAL ADVERTISING SECTION American Economy." The American Council for the arts (ACA) invited more than 300 business leaders and arts educators to explore an unusual proposition: that the arts make a sig- nificant contribution to business (see sidebar page 5). Participants shared common concerns and mapped out strategies for mutually beneficial collaboration. Similar events, such as a December 1996 conference of the Connecticut Alliance for Arts Education on how arts prepare students for the workforce, are springing up locally and regionally around the tooth: National and state -level forums. such as South Carolina's "Arts in the Basic Curriculum" project, the Pittsburgh Cultural l-rust..lnd the Bronx 1)cvelup- ment Council —.ls well as hundreds of energetic arts -business MUSIC EDUCATORS NATIONAL CONFERENCE New research shows music develops not only creativity but also spatial intelligence — the ability to perceive the world accurately and form mental images. partnerships in communities around the country — are bringing business leaders, ,1rrs orga i 7a t1011S, and arts educators together around the seine fundamental messages: Atlanta students find the graphical interface of IBM's SchoolVista easy, and fun, to use. Students are encouraged to collaborate on projects which promote peer-to- peer interaction that teachers find beneficial to learning. • Arts education helps the nation produce citizens and workers who are comfortable using many different sym- bol systems (verbal, mathematical, visual, auditory); • .An arts education is part of the defini- tion of what it means to he an "educated person," i.e., a criti- cal ,incl analytical learner; a confident decision -maker; a problem poser and problem solver; and an imaginative, creative thinker; 3 • An education in the arts opens the door to skills and abilities that equip learners for a host of learning contexts, including the workplace, where "knowledge is wealth"; and • Arts education projects can be a significant catalyst for community development, support for cultural institutions, and economic health (see sidebar page 6) — all important business goals. The upshot for many in business is that experiences and instruction in the arts build a floor under innovation in the kvorkforce and avorkplace. Illustrating how these messages come together, Will Tait, the creative director for software developer Intuit's multi- media group, says he looks for a skill set in job candidates than is increasingly typical of companies today: ream - work and communication skills, an understanding of quality concepts, and a background in the arts. "When an Intuit marketing manager puts together a team around a multi -media enhanced product," he says, "rhe ream includes an artist. \ly own view is that the ability to use color, shape, music, rhythm, and movement is essential to rhe finished product, primarily because of the sense artists develop for idea Singer, songwriter, dancer, and storyteller Marc Bailey Llewellyn, one of over 100 artists on the MUSIC CENTER EDUCATION DIVISION roster, works with a student from Chavez Elementary School near Los Angeles. PECIAL ADVERTISING SECTION THE NEW ARTS EDUCATION Over the past decade, a new way of thinking about arts education has taken hold, which differs significantly from_ the limited activity that most adults. remember from their own schooling. Based on substantive and rigorous content, the new arts education develops the very capacities that business leaders, educators, and parents want the schools to provide our children: creative problem solving, analytical thinking, collaborative skills, and judgment. -- - - - In the new arts education, children learn to convey ideas, feelings, and emotions by creating their own images and performing dance, music, and drama. They learn to decode and understand the historical and cultural messages wrapped up in works of art. They also learn to analyze, critique, and draw reasoned conclusions from what they see and hear; i.e., to reflect on the meaning of their perceptions and experiences. The demonstrated achievements of the new arts education have brought it recognition in areas that are today defining education for both students and teachers. National voluntary standards for the arts, state curriculum frameworks, certification for arts teachers, student assessments, and texts and instructional materials increasingly call for substantive arts education. The. results can be seen in the pages of this special section. _ sequencing — a crucial thinking skill." In short, arts education is basic education. This assertion becomes all the more clear when ave begin to define "basic education" by asking some important but seldom asked questions: • "\War do we mean by 'an educated person?'" • "What kind of education supports rhe new skills needed for jobs in the Information Age? • Or perhaps most important_ "What do our children need to know and be able to do to become the best possible human beings In every civilization, the arts have always been inseparable from the very meaning of rhe term "education," and today, no one can claim to be truly educated who lacks basic knowledge and skills in the fourth R — the arts disciplines. j Coming in from the Curricular Cold For chil- dren, the good news is that after a long exile on the curricular fringe of public education, arts education has achieved t4 some success in claiming 4 its rightful place. Thepossibilities have accelerated since 1989-90, when the contemporary advocacy movement for arts education caught the sustained tvave of school reform, launched in the public mind in 1983 by the publication of A Nation at Risk and its warning of a "rising tide of mediocrity" in the schools. In the ~wake of a monumental effort by business leaders, arts educa- tors, community arts organizations, and others, arts education has now become a visible, viable, and vocal part of the national strategy for improving rhe nation's schools, and a comprehen- sive approach to arcs education is becoming more and more widespread. Credit is due to educators who have created new, substantive approaches to learning in and through the arts, advancing the goals of education reform while increasing student knowledge of the arts. These new directions help students to: understand the historical and cultural contexts for works of art, develop their skills in producing arr, enrich their understanding of the nature of art, and develop the ability to critique, analyze, and make informed judgments about arr. These teaching innovations meet new educational needs as they solidify the place of art in the curriculum. The growing S :IAL ADVERTISING SECTION HOW THE ARTS STRENGTHEN THE WORKFORCE John Brademas, former Congressman and president emeritus of New York University, provided the ACA Louisville Conference with a three-point rationale for why and how arts education strengthens the workforce. 1. The arts enhance qualities business needs. The indispensable qualities and char- acteristics for developing the kind of workforce America needs are, in Brademas's words, "exactly the competencies that are animated and enhanced through study and practice of the arts." They are also generic, i.e., transferable to other topics and other areas of life. 2. The arts invigorate the process of learning. Arts education is education that focuses on "doing;" all the arts are related to either product or performance, and often both. The arts are also strongly linked to positive academic performance. Citing a four-year study conducted by the Arts Education Research Center at New York University, Brademas noted that achievement test scores in academic subjects improve when the arts are used to assist learning in mathematics, creative writing, and communication skills. 3. The arts embrace and encourage school participation, especially for youngsters who are at risk. Brademas pointed to the "Fighting Back" project sponsored by the Robert Wood Johnson Foundation, which targets drug and alcohol use among the young. He noted that "participation in arts programs can be a powerful mag- net to keep children in school." Source: John Brademas, Remarks, American Council on the Arts Conference on "Arts Education for the 21st Century American Economy, Louisville, Kentucky, September 16, 1994. recognition of the importance of rhe arts is attested by their inclusion in the National Education Goals, as set forth in the Goals 2000: Educate America Act of 1994 — a major step forward. In Goals 2000, arts education received its first endorsement in feder- al legislation since the 1960s. (Most :americans are unaware that President Clinton signed the legislation creating Goals 2000 from a magnet school for the arts.) The arts are now recognized as a core subject area in which American children are expected to become competent. Also in 1994, rhe ,National Consortium of Arts Organizations published its National Standards for Arts Education, a thoroughly rigorous presentation of "\\hat Every Young American Should Know and Bc Able to Do in the Arts," in grades K-12. .As deputy secretary of education Madeleine Kunin noted at rhe time, "the inclusion of rhe arts in Goals 2000 and the voluntary national arts education standards establish the arts as serious and substantive academic subjects." 5 ARTS CONNECTION High school students at New York's Jacqueline Kennedy Onassis High School paint a mural as the final project of a program exploring nature and the environment. NATIONAL FOUNDATION FOR ADVANCEMENT IN THE ARTS Master class is the final -phase of Arts Recognition and Talent Search® (ARTS), which makes available cash awards, scholarships, and the chance to be named a Presidential Scholar in the Arts. • WHY ARTS EDUCATION IS BASIC Aside from specific disciplinary con- tent (e.g., how ro play the clarinet or execute basic dance sequences), an arts education is valuable to our children in three important senses: 1 an arts education contributes to the quality of education overall and builds critical thinking skills; 2 an arts education builds specific workforce skills that business values; and 3 an education in the arts builds values that connect children to themselves and to their own culture and civilization. These elements form the core of the argument for why an arts education is basic and vital to education and to the. needs of businesses. An Arts Education Contributes to the Quality of Education and Builds Critical Thinking Skills 1 An arts education engages students and invigorates the process of learning. Educational researchers have shown that people use many routes to learning — including kinesthetic, 0 ECIAL ADVERTISING SECTION ru,l• GETTY EDUCATION INSTITUTE FOR THE ARTS Arts education engages ' children in learning. Through teacher/ ,fA student interaction, youngsters learn to inquire, reason and assess, in addition to creating works of art. visual, auditory, synthetic (putting ideas together), analytic (taking ideas apart), and other means. An education that uses the arts readily engages a wider variety of learning styles and increases learning potential for the student. At the Guggenheim Elementary School in inner-city Chicago, for example, after the arts were integrated into the curriculum, daily attendance increased to 94%, and S3°% of the students achieved at or above national norms in reading and math. Keeping young people in school is not just an educational or social issue, it's an economic one. too. In Los Angeles, for example, 85% of all daytime crime is committed by truant youth. The annual cost of truancy to the nation is 5225 billion. Later on in the lives of young people, it costs the business community about S30 billion annually to train unskilled employees in reading, writing, and mathematics. 2 An ,rrfs education sets many "hooks" to capture .r student's attention, appealing to marry levels of experience ,rt the sauie time. 6 For example: • The arts disciplines reach out to the . mind because each is rooted in specific content. They all offer rigorous Intel- lectual challenges. The cognitive prob- lems of representing a particular light in ,t painting can be as formidable as those involved in constructing any sci- entific experiment. • In every art form, an arts education also engages a child across a broad spectrum of emotions; that is, after all, part of what any Nvork of art is designed to do. • • At the sante time, an education in the arts brings many other faculties into play: curiosity, wonder, delight, a sense of mystery, satisfaction, unease when quality is neglected, and even frustration. • The various art forms have special forms of engagement: a dance engages the body and deliscrs exhilaration; a drama invites the willing suspension of disbelief, creating the context for a deeper message; a painting summons reflection: a song can open a new THE ARTS ARE A FORCE FOR THE NATION'S ECONOMIC HEALTH Arecent study by the National Assembly of Local Arts Agencies (NALAA) on the economic impact of nonprofit arts organiza- tions provides some eye-opening data. Nearly 800 arts organizations in 33 communities in 22 states were studied over three years. The study concluded that the arts are, in fact, an industry in their own right; that the arts are "an economically sound investment for communities of all sizes"; and that they are a net con- tributor to the nation's economy. And, it is arts education that builds audiences for arts organizatons. The NALAA report estimated that nonprofit arts organizations generate these levels of economic activity: • Annual contribution of the arts to the national economy: $36.8 billion • Number of jobs supported by the arts nationally: 1.3 million • Annual value of paychecks: 525.2 billion • Percentage of GNP attributable to nonprofit arts activity: 6% Source: lobs, the Arts, and the Economy, Washington, DC: National Assembly of Local Arts Agencies, 1994. window onto events, ideas, and historical eras. • Altogether, what an arcs education does is build connections between the content of the art form and the total experience of the student. 3 An arts education teaches students to draw on nett' rt'_ollrCCS to empower their lives. Dr. Ramon C. Cortines, former Chancellor of the New York City Schools, who has directed some of the most innovative school restructuring initiatives in California and New York, has this to say about the power of the arts for individual students: "The arts, or the 'Fourth R,' offer a Richard Gurin Chief Exea:five Officer Binney & Smith ARTS EDUCATION FOR WORKPLACE SUCCESS At Binnev SC Smith, our commit- ment to supporting the arts in education dates back nearly a hundred years with the introduction of Crayola brand products as the creative tool of choice in the nation's classrooms. Today, the company is synony- mous with arts education leader- ship providing quality products, instructional resource materials, workshops, and curricular resource programs like Crayola Dream -Makers. In addition, we work with the educational community and our valued retailer and wholesaler customers to advo- cate the value of arts in education to national opinion leaders. We believe the skills the arts teach—creative thinking, problem - solving and risk-taking, and team work and communications — are precisely rhe tools the workforce of tomorro'.v will r.eed. If ‘ve don't encourage students to master these skills through quality arts instruction today, how can we ever expect them to succeed in their highly competitive business careers tomorrow? 7 S IAL ADVERTISING SECTION powerful tool for meeting the challenges of reform. Teachers want materials and activities that are hands-on, challenging students to move from the concrete to the abstract ... [Everyone] has seen the life of ar least one child changed by the power of a brush stroke, the discipline of a dance step, the expressive opportunities of music, and the searing courage and vitality of the theater. We know that to live full lives, all children, indeed all people, need opportunities to experience, appreciate, create, and reflect upon art." 4 Perhaps most valuable of all, an arts education teaches critical thinking skills. This important point requires a full explanation. Because an education in the arts appeals to the great variety of human intelligences and contributes to the development of the "higher order thinking skills" in Benjamin Bloom's Taxonomy of Learning— analysis, synthesis, and evaluation — it helps lay the ground- work students need to be successful in a world where the ability to produce knowledge is ar a greater premium than ever before. Professor Howard Gardner of Harvard University is widely known for his studies on the nature of human intelligence. He theorizes that far from being a single quality, intelligence comprises seven distinct areas of competence: linguistic, logical/ mathematical, musical, spatial, bodily/ kinesthetic, interpersonal, and intrap- ersonal. His work demonstrates that by making use of all seven areas learn- ing can be deeply enriched. Arts -based instruction is one of the best ways to engage all seven forms of intelligence. The thinking skills inherent in the arts disciplines teach students how the parts of a work of art fit together, how to create works of art using disparate materials and ideas, and how to judge the quality of the finished product — their own and those of others. Other key intellectual skills, such as problem posing, problem solving, and decision making, are integral to arts education as well. Professor Lauren B. Resnick, of the University of Pittsburgh, has drawn up a helpful list of rhe thinking skills nurtured by an arts curriculum (see sidebar page 9). Researchers have found not just a correlation but evidence of a solid, statistically based, causal connection between ar least one art form — music — and improved reasoning abilities. In 1994, Drs. Gordon Shaw and Frances Rauscher of the University of California (Irvine) showed that music lessons CINCINATTI OPERA provides more than 200 educational performances annually, reaching more than 63,000 students. The program, supported by Procter & Gamble since 1988, makes opera an accessible art form. among preschoolers produced a statis- tically significant correlation with gains in spatial reasoning, i.e., the ability to perceive the visual World accurately, ro form mental images of physical objects, and to recognize varia- tions in objects. Ocher research sug- gests that the arts can be a valuable tool for integrating knowledge across other academic disciplines, and that the arts can be effectively used to create cross - disciplinary curricula. An education in rhe arts can make this contribution because it develops the ability of students ro see and think in wholes. As one of America's foremost experts on the "learning organization," Peter Senge, puts it: "From a very early age, we are caught to break problems apart, to fragment rhe world. This apparently makes complex rasks and subjects more manageable, but we pay an enormous price. \X'e can no longer see the conse- quences of our actions; we lose our intrinsic sense of connection to a larger whole ... After a while, we give up trying to see the whole altogether." When the a mind is dev at the expe synthetic in serious con can follow. PECIAL ADVERTISING SECTION into their curricula discover they can make a significant impact on overall school success. Students who take arts courses in high school, for example, out -perform students who don't on the Scholastic Aptitude Test (SAT), according to the College Entrance Examination Board. In 1995, SAT scores for students who studied the arts for four years scored 59 points higher on the Verbal portion and 44 points higher on the \1athentatics portion than students with no arts coursework. i& Study of the arts encourages a suppleness of mind, a toleration for ambiguity, a taste for nuance, and the ability to make trade-offs among alternative courses of action. The nalyticai eloped nse of telligence, sequencs An Arts Education Builds Specific Workforce Skills that Business Values An arts education reaches directly life attitudes and skills that businesses are looking for. More and more executives are beginning to discover not only that the arts make for a more stimulating and rewarding work environment, but that they can also have a direct, positive impact on the bottom line. In business lingo, the study of the arts provides "value added." 1 An education in the arts encourages high achievement. .Ars instruction pushes students to perform — and to produce — by offering models of excellence, and by clearly defining the paths for achieving it. Schools that incorporate music, art, dance, drama, and creative writing 8 truth that there are many ways of seeing the world and interpreting it is fundamental to .an education in the arts. The vision of van Gogh is not the vision of Jasper Johns. Young people who create a dance to express the "meaning of independence" learn that there is no "right" way ro present that idea, only movements that are faithful to the idea itself. Says former ARCO president and CEO William F. Kieschnick, "those at home with the nuances and ambiguities of art forms are far more likely ro persist in the quest to resolve ambiguity in rhe prac- tical world." Knowing how to shift intellectual gears bears rigid thinking every time (see sidebar page 11). 3 Study of the ,rrts helps students to think and work across traditional disciplines. They learn both to inte- grate knowledge and to "think outside _THINKING SKILLS IN THE ARTS CURRICULUM • Arts education encourages nonalgorithmic reasoning, i.e., a path of thinking and action that is not specified in advance, a characteristic that often leads to novel solutions. • Arts education trains students in complex thinking, i.e., thinking in which the path from beginning to end is not always visible from the outset or from any specific vantage point — as, for instance, when a student learns a piece of music, or has to solve unforeseen problems with the use of materials. • Arts education encourages thinking that yields multiple rather than unique solutions, as when an actor tries different ways of portraying a character, each with its own costs and benefits. • An arts education asks students to use multiple criteria in creating a work of art, which sometimes conflict with each other, as when artistic goals fight with clarity of communication. • Arts education involves thinking that is laced with uncertainty. Not everything that bears on the task is known, for example, whether a particular kind of paint will achieve the desired artistic effect. • Arts education requires self-regulation of the thinking process itself, as when students are forced to make interim assessments of their work, self -correct, or apply external standards. • Arts education involves learning how to impose meaning, finding structure in apparent disorder, as when purpose emerges from seemingly random movements in a modern dance. • Arts education also involves nuanced judgment and interpretation, as when playwrights work to find exactly the right words to establish a character, signal a turn of plot, or achieve an emotional effect. Source: Lauren 8. Resnick, Education and Learning to Think, Washington, DC: National Academy Press, 1987. rhe boxes." With some exceptions, the tendency in American public education is to pay scant attention to the integration of learning. Today's school curricula still mirror the 19th century German university system of academic "disciplines." Forty -five- minute class periods are parcelled out ro English, physics, and civics with rhe result that students seldom see their studies as a whole. Nor are they taught how to breach subject -area lines to enhance learning in more than one discipline, or how ro create contexts for new knowledge that do not necessarily fir into the traditional disciplinary boxes. Arts education affords excellent opportunities for breaking down such barriers. Ar New Dorp High School on Staten Island, for example, the art history and aesthesic components of required arts classes tie into the cul- tures explored in rhe school's Global Studies curriculum. Art teachers construct their own curriculum units, which use economic, historical, geographic, and political factors as they relate ro the art of each culture, country, and continent. Similarly, leading-edge companies, which now spend millions annually to spark imagination throughout their organizations, find that the most creative ideas come from people ‘vho are not bound by conventional modes of thinking. Says A. Thomas Young, former executive vice- president of Lockheed Martin, "many great ideas come from people poking around unfamiliar disciplines — often the arts — who apply what they find to their own field." tenure Rockne, he points our, patterned backfield formations for Notre Dame's famed "Four Horsemen" after .watching a dance performance, and military designers borrowed Picasso's cubist art to create more effective camouflage patterns. SPECIAL ADVERTISING SECTION 4 An educa- tion in the arts teaches students horn to work coopera- tively, and how to workout conflicting points of view. Both skills are critical in the Nvorkplace. Playing in a school orchestra, singing in a choir, and putting on a dramatic production are all cooperative activities; they - require and create well-developed communication and interpersonal skills. In a 1992 Wall Street Journal article, John Kelsch, director of quality at Xerox, put it this way: "We want to hire students who are better prepared ... to work in team environ- ments, and we want them to understand work as a result of processes." 5An education in the arts builds - an understanding of diversity and the multi -cultural dimensions of our world. Every art object (play; composition, painting, sculpture, dance, poem) invites the student who encoun- ters it to see the world from someone else's vantage point. All rhe arts naturally draw on other cultures — their tales, songs, histories, myths, and values — to create meanings. Sometime before 2050 the United States will become a "majority - minority" nation. Those demographics make these capabilities crucial to education and the future of our chil- dren.An arts education can lay the foundation for a deeper understanding of the global marketplace as well. The idea of quality also enters arts education as students strive to make their next work better than the last. Musical instrument "petting zoos" are a popular prelude to concerts for young people at THE KENNEDY CENTER and a delightful way to introduce children to the instru- ments of the orchestra. 6 An arts education insists on the value of content, which helps stu- dents understand "quality" as a key value. Real arts education goes well beyond mere "appreciation" for the arts. It also includes performance, cre- ating products, and the mastery of the knowledge, skills, and persistence required to do both. The idea of quality ,also enters arts education as students strive to make their next work better than the last. If that sounds like W. Edwards Deming and "continuous improvement," it is. Arts education students also experi- ence the strong connection between personal ;or group) effort and quality of result. They also come to under- stand and value what makes :t work of art "good" and what it means to work 0) 1 standard. Thar kind of education is not just education about art, it is education about life. \or incidentally, this engagement with content, quality-, arid standards is why ..exposure programs" (e.g., periodic trips to the art museum or 9 VALUE ADDED: HOW ARTS EDUCATION BUILDS THE SKILLS THAT BUSINESS VALUES 1. An education in the arts encour- ages high achievement. 2. Study of the arts encourages a suppleness of mind, a toleration for ambiguity, a taste for nuance, and the ability to make trade-offs among alternative courses of action. 3. Study of the arts helps students to think and work across tradi- tional disciplines. They learn both to integrate knowledge and to "think outside the boxes." 4. An education in the arts teaches students how to work cooperatively. 5. An education in the arts builds an understanding of diversity and the multi -cultural dimensions of our world. 6. An arts education insists on the value of content, which helps students understand "quality" as a key value. 7. An arts education contributes to technological competence. visits by a string quartet from the local symphony) arc insufficient compared to a basic education in the arts. The arts are nor a kind of cultural vaccine a student can take with a simple injec- rion. Real engage- ment with content in the arts takes hard work —prac- tice, study, and repeated assessment — just as learning English composition and French take hard work. Without rigor, students never get to quality; in an arts education, they get rigor. :0 'ECIAL ADVERTISING SECTION 7 An arts I/ ciluc rtion con- . tributes to techno- . logical competence. Technology has always been inte- gral to the arts, from ancient times when sculptors in marble used metal- lurgy to hone their chisels, to the • studios of today, ss here metals are shaped using acetylene torches. Similarly; the dramatists of - ancient Creek the- arcr had a profound knowledge of acoustics, while their modern counterparts are masters of such technologies as electronic sound, lighting, film, and television. In all the arts disciplines, a wide variety of technologies offer students yvays to accomplish artistic, scholarly; produc- tion, dna performance goals. New Technologies also make it possible for students to try out .1 vast array of solutions to artistic problems. \X'cll used, interactive media — which are a combination of artistic and technolog- ical resources — spark creative thinking skills, as any parent can testify whose I0 -year-old has repro- grammed rhe VCR! Used appropriate- ly, technology extends the reach of the learner. Not only can Interesting and innovative technolo- gies attract students to the arts, the arts also attract students t0 technology and encourage techno- logical competence. Employing comput- ers to create media animations calls on The TUCSON -PIMA ARTS COUNCIL asked local artists to teach students techniques of ceramic tile work, used to beautify public benches. The skill is highly marketable in Southern Arizona. INTERLOCHEN ARTS ACADEMY dancers perform in concert. This world-renowned center for arts education received over 5900,000 in corporate and foundation support last year. the same competencies business needs to strengthen the workforce. Sharon Morgan, executive director of the Oregon Coastal Council for the .arts, insists that arcs -in -technology programs impart a special kind of academic discipline. She reports that "the kids in our Animation Project find that while the software may give them quick access 0) working tools, the work is hard. When they find out how difficult it is, some naturally fall by the waysidr. Bur it turns others around. ,Animation arts have intro- duced them to why they need a broad and concent -rich education... An Arts Education Connects Young People to Themselves, their Culture, and their Civilization An arts education speaks to and I helps children build the capabilities that help them grow as unique individuals: • the imagination 0) see something wholly levy In the most ordinary materials and esent,; • the daring to challenge tired modes of expression; • the eye of critical discernment that can separate rhe good from the mediocre, and the truly beautiful from the merely good; • the self-knowledge that conies from exploring the emotional side of life that the arcs evoke; and • a sense of responsibility for advancing civilization itself. 2 An education in rhe arts helps children experience and under- stand their cultural heritage. It enables thein to make new connections to the past that continue to nourish them, and to the world of beauty — in all art forms — that surrounds and inspires Americans today. An educa- tion in the arts provides children with unique ways of understanding the broad range of human experience, and how to find personal fulfillment, whether vocational or avocational. 3 An arcs eduction teaches children how to navigate rhe broad river of meaning which bears all of us — individuals, society, and nation — in rhe present, and which carries us into 11 :IAL ADVERTISING SECTION the future. Through an education in the arts, children can learn ro present ideas and issues in new ways; to teach and persuade; to entertain; to design, plan, and make things beautiful. With an arts education, children can learn how our culture is grounded. More important, they can figure out yvhere they are headed. 4 An arts education provides children with an avenue to the incomparable. As one recent essay pun ir: "To read Schiller's poem Ode ro Joy ... is to know one kind of beauty, yet to hear it sung by a great chorus as the majestic conclusion ro Beethoven's Ninth Symphony is to experience beauty of an entirely dif- ferent kind, one that for many is sub- lime." The arts and arts education, in the end, are about making that kind of experience — and difference — available. It is one of the greatest gifts education can bestow on any child. "Those at BUSINESSES SUPPORT ARTS EDUCATION: Three Examples Forces for the Future Education in the United States has always been basically an enterprise of the local community, the local school, and the individual classroom. Today, that perspective dominates education reform, as principals, parents, teachers, community leaders, and businesses seize an unprecedented oppor- tunity to create educa- tion changes that can meet their new needs and expectations. All over the country; there are dramatic examples of how schools, businesses, professional groups, and local arts agencies and organizations are collaborating to help young people develop the skills they need in the modern economy: At the national level, the business community has joined with teachers, school administrators, artists and arts and cultural organizations, parents, and students in a focused effort to make sure the arcs are included in stare - level plans to implement America's education goals. The business community has been deeply invested in this effort, called the "Goals 2000 arts Education Partnership." According to executive director Dick Deasy, "When business comes ro rhe table, rhe issue is taken seriously Business people increasingly realize that the arts are evidence of a school's commitment to high stan- dards of excellence for every child — the fundamental idea behind Goals 2000. So business is a key player — and a key partner — in our efforts to provide a solid education in the arts to every child in America." The most exciting stories about business and arts education come from classrooms and local programs, where business people, arts educators, and home with the nuances and ambi- guities of art forms are far more likely to persist in the quest to resolve ambiguity in the practical world." WILLIAM F. KIESCHNICK, FORMER PRESIDENT AND CEO, ARCO ARTS EDUCATION IS CHANGING EDUCATION Amulti-year research project sponsored by the GE Fund, the John D. and Catherine T. MacArthur Foundation, and the President's Committee for the Arts and Humanities, is taking a dose look at the impact of the arts on education. Under the rubric of "Champions of Change," research efforts are being supported to examine: 1. the growing shift from an "observe the performance" model to one based on the content of the performance arts; 2. the Metropolitan Opera Guild's opera education program, in which youngsters actively create all aspects of their own operas from the ground up, including the business aspects of putting them on; 3. a Connecticut project, in which schools each choose a Shakespearean play and produce it for interscholastic competition; 4. a neighborhood -based partnership in Chicago involving 37 public schools and 27 community organizations; and 5. a research project on the use of arts education with gifted students. Source: Interview. Jane Porn, GE Fund. September 23 1996 SPECIAL ADVERTISING SECTION EDUCATION IS MORE THAN LEARNING TO FOLLOW THE RULES EMot W. Eisner, one of the nation's outstanding educators, argues that part of the value of an arts education is learning how to. develop particular mental processes. He points out.that much of the content of elementary education in this country teaches students to conform to rules. Arithmetic operations, spelling, read- ing, and punctuation are all based on following specific rules to obtain the "right answer." While necessary to many subjects, the rules approach does not work for developing arguments or interpreting data, skills many business leaders work hard to develop in their employees. Says Eisner: "[In life] no comparable 'correct' exists: There is no single answer to an artistic problem; there are many. There is no procedure to tell the student with certainty that his or her solution is correct , . One must depend on that most exquisite of human capacities —judgment. The exercise of judgment in creating artistic images or appreciating all the arts, in tum, depends on developing the ability to cope with ambiguity, to experience nuance, and to weigh the tradeoffs among alternative courses of action." community arts organizations are working together to make a difference to students. Ashland Inc.: The Value of Arts Education for School Reform Ashland Inc. boasts a 70 -year corpo- rare commitment to education. Much of its involvement in recent years has gone into school reform in the corpo- ration's honk state of Kentucky, where Ashland has been a major player in promoting KERN, the Kentucky Education Reform Act of 1990. KERA provided the framework for the most far-reaching reorganization of a state- wide school system ever mandated by a stare legislature. Since 1953, all of Ashland's corporate advertising budget has gone to suppori quality education. Why? Because .Ash- land believes deeply that education — p.trticularly arts education — is a linch- pin to business growth. Says vice presi- dent for communications, Dan Lacy: "It's a given that today's employee has to have basic skills. But superior skills are needed to survive competitively in the global context. Acquiring them has to begin as early as possible in a child's education, and eve see that it comes through arts education. We are not doing justice to our economy or our children if rhey don't get that in the K-12 context. That's why Ashland supports arts education — not only to build better kids but to build a better workforce." The participation of Ashland Inc. in the arts education programming of both rhe Ordway Theatre (St. Paul) and The Minneapolis Institute of Arts (a museum) shows what corporate commitment can do. According to Lacy, Ashland got involved in arts education in the Twin Cities because it has a major presence in the area, with 140 of its SuperAmerica conve- nience stores located there, as well as one of its Ashland Petroleum Company refineries. "The community demographics were such that we felt a responsibility to our employees and local stockholders to put some- thing back into rhe community. We wanted to do something for arts education." Programs at Ordway and the Institute are linked, providing both a performing arts base and a visual arcs center. The two collaborated in creating a community of arts education profes- sionals to develop a joint curriculum for a school outreach program, used by more than 40,000 students in rhe 1995- 96 school year. The curriculum is Theme -oriented, building on standing or visiting exhibits at rhe Institute. .Ar a recent 100 -piece exhibit of miniatures and Paul W. Chellgren President and Chief Executive Officer Ashland Inc What good is arts education? Students must be grounded in the basics. Basic reading. Basic math. Basic composition. Aren't those the only skills students really need? Every- thing else is icing on the cake, right? Wrong. Today's students need arts education now more than ever. Yes, they need the basics. But today there are two sets of basics. The first — reading, writing, and math — is simply rhe prerequisite for a second, more complex, equally vital collection of higher-level skills required to function well in today's world. These basics include the ability to allocate resources; to work success- fully with others; to find, analyze, and communicate information; to operate increasingly complex systems of seemingly unrelated parrs; and, finally, to use technology. The arts provide an unparalleled opportunity to teach these higher-level basics that are increasingly critical, not only to tomor- row's work force, but also today's. The learning is in the doing, and the arts allow students to do. No other educational medium offers the same kind of opportunity. In fact, a recent study indicates students who have four years of art and music education score 59 points higher on the verbal SAT and 44 points higher in math. I'm proud Ashland Inc. supports the arts and arts education. As a member of the National Foundation for Advancement in the Arts board of directors, I urge every parent, every school, every community; and every business to do the same. 12 Sr IAL ADVERTISING SECTION IBM's "Magic Canvas" software is easy for young artists to use. Buttons appear as graphics and familiar tools such as crayons and paint buckets make painting fun and easy. ceramics from the Han Dynasty in China (206 BCE -220 CE), for example, children nor only learned of this dynasty's history and contribution to Chinese culture, they did tomb rub- bings, played Chinese games invented during the period (e.g. "Go" and "Pentagrams"), and listened to tradi- tional Chinese music. In another joint program, "Art Smart," Ordway and rhe Institute worked with students in a middle school to develop a traveling exhibit of rhe paintings of a local artist, Clementine Hunter, a former slave. A local collector of her work helped the students put rhe project together; the students were then trained as docents to travel with the exhibit. Oregon Coast Council for the Arts: Meeting Business and Education Needs in rural Lincoln County. Oregon, the Oregon Coast Council for the .Arts (OCCA) has brought together local businesses, artists, the Lincoln County School District, and a consortium of nonprofit otiC11CIeS to create the 13 "Animation Project." Teams of artists and nonartists hvork with clients to develop animations for specific business needs — just like a commercial pro- duction house or advertising agency The difference is the project's focus on teaching critical thinking and comput- er skills. not only to students but also to educators, artists, and displaced timber and fishery workers. Students learn such skills as story -boarding, how to slake client presentations, and how to negotiate a contract. Significant Animation Project results produced for clients so far include: • an "overlay" used by an EPA Fish and Wildlife vessel to display mathematically accurate and probable lava and Nvann-water flows from undersea volcanoes; • a promotion tor a new underwater steering device for boat motors for NautanlatIc \larine Engineering, which solved a market- ing, problem for the company; and • .in introduction for a safety training video for a Georgia Pacific paper processing mill. OCCA has also established an Arts/Technology Incubator to extend its training model, expanding it beyond simple animation projects to include CD-ROM production and animated software for use in employee training (Hewlett-Packard is the client). The project also provides both real and cyber -space access to technology train- ing and real-world applications. Says OCCA executive director Sharon Morgan, "we estimate that there are some 1,200 jobs going begging in Portland because people lack the skill mix we are delivering: arts skills, com- puter skills, and a sense of.how to hvork in a total quality environment. 1 ant convinced that the need to master new technologies will create the biggest need for arts education because all technology is image- and metaphor - based. Arts education reaches kids how to handle that." "Creative Solutions": Arts Education and the Needs of At -Risk Youngsters Nov in its third year, Creative Solutions is a joint project of Young Audiences of Greater Dallas and the Dallas County juvenile Department. The pro- gram addresses the education needs of San Francisco elementary students created this side- walk mural in the Arts Partners project of the 21st Century Academy, developed with support from YOUNG AUDIENCES. both developmentally disabled and adjudicat- ed youth, using the arts to help students devel- op critical thinking skills, gain skills in the arts disciplines, build self-esteem, and encourage them to see the arts as a viable career path. Some 1,500 youth from four correctional facilities were involved in the program's first year (1994). Last year a six-week summer pro- gram was added, which this year took the shape HOW AN ARTS EDUCATION CONNECTS YOUNG PEOPLE TO THEIR CULTURE AND CIVILIZATION 1. An arts education speaks to and helps children build the capabilities that help them grow as unique individuals. 2. An education in the arts helps - children experience and understand their cultural heritage. 3. An arts education teaches children how to navigate the broad river of meaning. 4. An arts education provides children with an avenue to the incomparable. of an intensive exploration of visual art, creative tivriting, theatre, and integrated arcs, hosted by the Dallas \1useum of Art. Last year, 15 teens on probation worked with a local playwright ro \•rite and produce their own play, "The Fight to Turn Around," which had a four -perfor- mance "run" at Dallas's Horchow Auditorium. In another project, 12 young artists worked on 3 x 12 -foot wall murals on three floors of the George Allen Courts Building. The community enemy in Creative Solutions is provided by attorneys from the Dallas Bar Association, who work with rhe students on the paint- ings, and two professional artists, who contribute more than 300 residency hours. The lawyers also help rhe young people assemble portfolios of their artwork and write resumes. One of last year's program highlights was an address ro rhe young artists from a judge, who encouraged them to imagine what juries would think and feel as they looked ar the murals they had painted. Teens recommended by their parole officers to Creative Solutions (it's the only way to ger in) are enrolled in Thursday classes taught by professional artists. The program already has some alumni, now off probation, hvho have returned to work alongside the artists as mentors. Seventy-two percent of P E C I A L ADVERTISING SECTION the program's participants report that learning teamwork skills was an important part of the program for them, and a Juvenile Detention case- worker has praised the program for giving the students a constructive channel for their feelings. A STRATEGY FOR INVOLVEMENT: THE POWER OF PARTNERSHIPS As these three examples show, one of the most effective ways for businesses and professionals ro support arts education is ro become directly involved in partnerships hvirh local schools and arts organizations. There are as many different kinds of partnerships as there are partners and needs, but there is wisdom in grounding every partnership strongly in a local connection. These can include schools, perforating arts organizations, local arts agencies, col- leges and universities, museums, arts institutes, community centers — or any mix and match that makes sense. Successful arts education partnerships, as opposed to a partnership that supports rhe arts as simply a "cul- tural mission," can take many Banjoist Slim Harrison is accom- panied by a budding Baltimore back-up group. WOLF TRAP's Institute for Early Learning trains teachers in impart- ing academic and life skills through the arts. forms, but the most successful arc usually grounded in a solid connection with a local school system (see sidebar page 15). _Six Things That Make a Partnership Work Business involve- ment in arts education presupposes some requirements. Nor all agree on the specifics, but there is enough consensus to draw up a scratch list. Not all requirements have to be ful- filled ro do a successful job. Sometimes it only takes the right mix of two or three to get things started. The following list proceeds in rough chronological order, as if starting to build a partnership at the local level from square one. Although the list is a bit hypothetical, most companies that have participated in arts education partnerships will recognize it as a rough description of their own experience. 1 Vision. Successful partnerships happen because people believe they are worth rhe effort. Capturing the vision often means a kind of Gestalt shift, developing the ability to see — and project — support for arts- education rtseducation against the broader ground of the community, beginning with the instructional program of the schools — or its absence. Joanne Mlongelli of the "Arts Excel" program in White =� o fib, - • a.t '1 _ 14 SPECIAL ADVERTISING SECTION FORMS PARTNERSHIPS TAKE • Work with a Local Arts Agency n Prince George's County, Maryland, ATLAS (Authentic Teaching, Learning, and 'Assessment for All Students) has more than 60 members including the Prince George's County Arts Council. Fifteen of the Council members were already e `participating in in -school arts education. ATLAS offers four multi -cultural arts components in visual arts, theatre, dance, and music. A key ATLAS feature is its 1" -Family Arts Center, an arts education facility for students in pre -K to 4th grade, s.£ Head Start, and Even Start. }Support for Professional Development in Local Schools • State Farm supports a "Good Neighbor Award," in which $5,000 grants are given to schools as a way of honoring outstanding teachers for their innovation and leadership. The grants are awarded across all fields of academic study. Those for x =_1995-96 are being given to arts educators nominated by the National Art • Edui:ation Association. .• Summer institutes Some companies support arts educa:ors by sponsoring summer institutes for pro- f fessional development, The Southeastern Center for Education in the Arts, at the cUniversity of Tennessee -Chattanooga, uses its higher education affiliation to attract t teachers throughout the region. • Programs Targeted to Specific Needs and Populations • Some arts education partnerships are formed for specific purposes, or are targeted to specific local needs. The students in the Gallery 37 program in Chicago create public art for community development projects. Some partners bolster the business • acumen of local arts organizations working with schools. In Phoenix, Business '' - Volunteers for the Arts provides management consulting audits for arts organizations; it is one of 30 such local organizations working in communities across the nation. Programs Linked to Curriculum Integration An increasingly common approach links arts education with curriculum integration. The College Board/Getty-sponsored project on "The Arts and the Integration of the High School Curriculum" is supporting five high schools around the country to develop new ways to integrate learning across both the arts and other academic disciplines. In Salinas, Kansas, the "Ars Infusion" program links community corpo- rate partners like Greyhound Charities and Southwestern Bell with the schools' seven -requirement plan for high-school graduation — one of which is the arts. Programs Aimed at Developing Business Skills The Corporate Design Foundation channels business support to "Design and Business Education" pilot projects at Theodore Roosevelt High School of Technology and Design in San Antonio, the Boston Renaissance Charter High School, and several institutions of higher education. The program introduces 8th to 12th grade stu- dents to both the substance of artistic design and its uses in the business context. Source: Bruce 0. Boston. Using Local Resources: The Pc,er of Partnerships. Reston. VA: National Coalition for Education in the Arts, 1995. and interviews. Plains, New York provides a perfect example of how the process works. "We took a lesion from one of our corporate partners, IBM," she say. "\\'hen it came to the local arts orga- nizations, we noticed that most of their programs were geared to �cttirg 15 kids to performances. \\•e turned that around. \\'e focused on getting arts (,r,,1 1lza tions il1tc) CiaCQ00111S." 2 Planning. When the architects of successful partnerships are asked :•.hat their secret is, the first word th.sr usually rolls off their lips is "planning." "Planning is basic, not just enthusi- asm," says Jack Roberts of the St. Lucie County Arts Council in St. Lucie County, Florida. "In the beginning, we had a group of teachers — arts specialists and others — who had read about [what we wanted to do) and vert very interested ...they wanted to try it. But we had to conte up with a plan to sell the idea to the school board before we could go anywhere." 3 Leveraging Resources. If there is a trick to partnering for local arts education, it is leveraging — using resources to build resources. Two prin- ciples usually apply. First, let potential partners know that whatever resources they provide will be expended locally; rhey have a right to that. Second, for businesses, rhe best leveraging tool is a staff position dedicated to whatever partnership they are trying to grow. If a full -tine employee is not possible, a half- or quarter -timer is better than a no -timer. 4 Generating Buy -in. There are no magic bullets here, either. "One- time successes won't do ir," says Vicki Poppers of Portland, Oregon's Arts Plan 2000+. "It takes people collabo- rating long-term if you want to embed arts its the schools." In some places, the key is getting teachers on board, and not just arts reachers. Another critical buy -in factor is persuading decision makers and con- structing truly collaborative arrange- ments among partners unaccustomed to working together. That may mean cultivating nine school superintendents, as in Kalamazoo, or using vague community sentiment as the launching p.id for a city-wide cultural education policy, as was done in Boston. 5 Professional Development for Teachers and Support for Artists. Professional development for reachers and direct support for artists are both crucial to partnerships. There is no escaping the fact that long-term success rises or falls on the quality of instruction, both among the arts Natalie Piper, 17, an apprentice in Chicago's GALLERY 37 summer program in the Loop, touches up the "Good Stew" mural, destined for installation as public art at O'Hare international Airport. specialists brought in to teach, and among the regular class teachers who help the artists get in step with curric- ular goals. The best resource mix in the world — whether corporate funds, school personnel, support from local arts organizations, or in-kind contri- butions— will be under -used, or worse, misapplied, if those through whose hands the resources pass are not trained to make the most effective use of chem. A good watchword is: it is not the partnership's resources that make the teaching effective; it is the teaching that makes the resources effective. 6 Good Communication and Promotion. Nothing generates momentum for a partnership like visi- bility, especially when it makes it easier for more participants to jump into the • boat. Florida State University's Institute of Art Education, for example, became affordable for teachers primarily because of a focused publicity program, which elicited contributions of food from local restaurants and some 520,000 in contributions from local merchants. Other local partners, unable to give cash, contributed what they could: a local hospital contributed frames for an arc exhibition and placed children's pictures in the hospital's birthing center; a local art center and the public library also contributed wall space for pictures. 16 ECIAL ADVERTISING SECTION A New Relationship American companies are long accus- tomed to having local arts groups and arts educators knocking on their door, looking for support. In the same vein, companies have long understood their part of the relationship as basically philanthropic. But things are changing. More and more businesses are begin- ning to understand that the relation- ship is a two-way street. The needs of business in a global, highly competitive economy have recast the requirements for the kind of workers American companies need — "knowledge workers" with imagina- tion and a whole battery of new skills. As it happens, the very skills required and the people who have them are both found in arts education programs all across the countr}: But in many places, the short-sighted still believe that arts education is merely the icing on the curricular cake. That view is simply wrong. The truth is than, as more and more businesses come to understand the new partnership between business and arts education, learning in the arts is seen as more basic, more crucial, and more rewarding to both. Business and arts education both have something to give to the other; as each recognizes it, each enables the other to grow. in the end, it's like making a ileo friend. With the friendship, you realize that things will never be the sante, and the realization is something to be grateful for. Bruce O.Boston, is president of Wordsmith, Inc., a Northern Virginia writing and publi- cations consulting company. He has worked as a writer on several policy reports dealing with education issues, including A Nation at Risk and What Work Requires of Schools. He is the author of the "Introduction" to the National Standards for Arts Education and Connections: The Arts and the Integration of the High School Curriculum. He has written or edited more than 250 aritcles, books. reports, and scripts. Cover photos, left to right: Apple Computer, Inc.; Carol Pratt/The Kennedy Center. Far right: David Speckman/ Interlochen Center for the Arts. Cover quotation: Dan Lacy, Ashland Inc. I :THE GETTY CENTER — A CAMPUS FOR THE ARTS ith a long history of commitment to enhancing the value and status of arts education in America's schools, the J. Paul Getty Trust will open its new Los Angeles campus to the public in late 1997. The Getty Center promises to bring the arts to new 6�1�3sY' audiences throughout the nation with programs devoted to arts education, art and cultural heritage, scholarship, and conservation. "Educating for the Workplace through the Arts," an invitational conference for leaders in education reform, sponsored by the Getty Education Institute for the Arts, will offer a preview of the facility and its programs in January 1997. Designed by architect Richard Meier, the Getty Center will feature a new J. Paul Getty Museum, conservation laboratories, research facilities, and the administrative offices of all the Getty organizations. In addition to the Education Institute, these include the Getty Conservation Institute, the Getty Research Institute for the History of Art and the Humanities, the Getty Information Institute, and the Getty Grant Program. The campus also features a 450 -seat multipurpose auditorium, as well as gardens and terraces that will serve as venues for a variety of public events. 1 c Night Time Live Winter '97 A CABARET CONCERT SERIES FRIDAY NIGHTS JANUARY 24 Afr HRO GH MARCH 7 PRESENTED BY LODI ARTS COMMISSION A SPECIAL THANKS TO OUR SPONSORS DR. PHILIP ABELDT MRS. JACK C HOPI \' ;115. JOAN STOWELL POSEY'S HEARING AID CENTER DR. Cy AIRS. WALT REISS :11R. & MRS. HAROLD LANGE LAKEWOOD CHEVRON BANK OF STOCKTON DUN'CAN PRESS PACIFIC COAST PRODUCERS LAKEWOOD DRUGS MR. TERRY COOK GUILD CLEANERS ,WR. &.WI5. DICK HURYCH PRUDENTIAL CALIFORNIA REALTY GENERAL MILLS-LODI COMMUNITY PARTNERSHIP COUNCIL GRAFFIGNA ELECTRIC TOWN & COUNTRY PROPERTIES WENELL, AIATTHEIS, BOWE MR. & MRS. DEAN BUTTELL MR. & MRS. BRUCE BURLINGTON AIR. REX REYNOLDS AND DR. ANNIE MARIE SANTOS CENTRAL SIERRA BANK MR. & !RS. /ME ,VIOREIR-1 OPENING NIGHT THE MARLO KERNER COLLECTION Friday, January 24 .11arlu Kerner—vibes Bob F;vlling—piano Steve Homan—guitar Gil Lester—'ass Larry liuutltt—dnuns Satrt ",1,lotrtbu" Hernando:—percussions In 19-1, Lodi Arts Commissioner ,llarlo Kerner founded the Night Time Live Cabaret Concert Series ~ince that time, the series has groan to attract sotne of the finest ja:;, musicians in Northern California and presentit i jazz has become a passion Jru,Marto. The ,Marla Kenner Collection is comprised of sante of .11arlo's favorite musicians from past ;Fight Time Live performances. A long-time local musician, Mario retired from the music scene in 193 and is nicking a rare appearance for opening night of our first Winter concert series. JIM MARTINEZ PLAYS OSCAR PETERSON Friday, January 31 Jim Martina—piano Bootza Necak—bass Jim Smith—drums This 30 -year old pianist from Sacramento began his musical career at the age of four. In a short amount of time, he has amassed a list of musical accomplLshments that is varied in its quality and diversity, encompassing nearly all styles of music. Alartinez found his love of jazz while transcribing an Oscar Peterson solo by ear in his early teens and has gained international exposure through his Musical Tribute to Oscar Peterson" Paul Corley from KXIZ radio station in Sacramento says '...he plunges 'hands first' into the Peterson repertoire with skill, energy, and confidence." THE SAN FRANCISCO NIGHTHAWKS Friday, February 7 Eddie Marshall—drums Robb Fisher—bass Paul Nagel—piano George Cotsirilos—guitar Mike McMullen—trnor saxophone The San Francisco Nighthawks are a progressive post -bop jazz quintet that is comprised of all-stars from the San Francisco arra. Individually and together, they have played with some of the most significant artists in recent jazz history. After working together in other bands over the years, they formed their awn group in 1994. Their music is fresh and vibrant with firm jazz roots. Bassist Robb Fisher is a Night Time Live veteran having played with Mrl <tlartin this past surrtmer THE DELBERT BUMP ORGAN TRIO Friday, February 21 Delbert Burrtp—Hetrrtntond B Organ Steve Homan—guitar Babatunde—drums Delbert Bump, un astounding keyboardist, arranger, prolific composer and renowned educator has been called a "brilliant visionary' by the press. Bump's solo piano CD, "Bump Ahead," has garnered acclaim in the L'.5., Japan and Germany. Even so, the Trio is his passion. Through their combined talents, the Delbert Bump Organ Trio rivets audiences with inventive, driving energy bringing diverse, eclectic perspectives to th't'traditions of jazz. A must see for any jr enthusiast. KITTY MARGOLIS Friday, February 28 ft's unanimous—jazz royalty and the nation's top critics agree that Kitty ,Margolis is one of the new generation's most brilliant jazz singers. Lionel Hamptons says. 'At last the search is over. The next great jazz voice is Kitty ,Margolis!' 1ler exuberant, inventive approach and high wire improvisational ntasten' has turned the jazz world on its ear. .Margolis' hit records have made her a hot ticket on four continents, where her stunning performances have earned her standing ovations, Kitty adds a nice touch of class to our Fight Tirne Live concerts. A TRIBUTE TO JIM BOGGIO Friday, March 7 Randy Vincent—guitar Jim Hurley—jazz violin Nils Molin—bass Kevin Dillon—drums Marc Little—piano Jim Boggio was one of America's hottest jazz and blues accordionists and keyboardists. He also played the trumpet and trombone, sang and was known for his comedic wit. He was the headliner at the San Francisco Accordion Festival and the Stanford University Summer Jazz Concert Series and founded the Cotati Accordion Festival. This tribute to a popular past Night Time Live performer is an appropriate Grand Finale to our first Winter series. HUTCHINS STREET SQUARE Robert Krantz—Lighting Ron Boehler—Sound Lodi's community and cultural center and home to the Lodi Arts Commission's activities. The Square also provides a meeting place for a number of the local arts groups the Commission supports. Currently, the renovation of the old auditorium into a Performing Arts and Conferencing Center is the focus of activity and fund-raising. Once completed, the new theatre will seat 800 people and have state-of-the-art lighting and sound. ,p1,4p .,51/ 'erforrning Art Center NIGHT TIME LIVE cabaret concert series created by Lodi Arts Commissioner .11arlo Kerner in 1993. Since that time, the series has grown to attract sortie of the finest musicians in Northern California. Traditionally offered as a surmner series, this near the series expands into the slither due to popular demand and its overwhelming success. The arts are alive and well in Lodi! LODI ARTS COMMISSIONERS William Crabtree Janet Dillon Beth Handel Laura Heinitz Marto Kerrier Eleanor Kundert Susan ,Maley Tian ALM/leis Rex Reynolds Sherri Smith Theo Vandenberg ARTS COORDINATOR Condi Olajaray COMMUNITY CENTER DIRECTOR Charlene Lane For urforrnaaion or .lrb Cmaassion programs picas( contact Ihr office at (2C91367-3442. LODI ARTS COMMISSION The Lodi Arts Commission was established by the City Council in I982. Eleven volunteer commissioners form the Comrntssion that strives to develop and expand the arts in Lodi guided by the following: MISSION STATEMENT • The arts are lasting! • The arts communicate wisdom and knowledge through the apes. • The arts inspire its to rise above the rwrvdav, allowing expression and experience of our emotions and spirit. • The arts are the universal language of the human spirit and bring people together in mutual respect and understanding. • The creative spirit that rnartifests artistic expression must be nurtured, encouraged, supported and valued as a primary basis for a quality life, requiring responsibility of all for continuance of the arts. GOALS • To initiate, sponsor and produce major city-wide quality festivals events for music, drama, dance and visual arts. • To increase access to the cuts through direct participation and individual experience. • To actively support the growth and stability of cuts groups in Lodi. • To motivate and connect the diversity of groups in Lodi to participate together around the arts. • To continue to build and create an atmosphere of community for the whole city at Hutchins Street Square through the arts. NIGHT TIME LIVE Winter 1997 A Cabaret Concert Series Friday Nights Januar' 24 through .March 7 7:00 p.m. Doors Open S'00 p.rn. Show 512 Adults 55.00 Students with 1.D. Light Supper Available al Small Additional Charge Catering by Travis!Gittfra's North Hall at Hutchins Street Square Reservations 133-6782 or 367-5442 -13 3 1 Timer Read l cmt 4 TokaySt A Lodi .arts Commission • 1225 5. Hutchins Slrra. Scar U • Lodi. CA 95240 • 12091J67-5442