Cultural Diversity And The Structure And Practice Of Art Education

This monograph presents a viewpoint of the nature of art education today. To provide more perspectives on past changes that help in grasping today's circumstances, the monograph offers lectures and papers that address the changing nature of the U.S. society, its cultures and sub-cultures as they affect students, the function of art in maintaining and supporting culture, and the content of art education theory and practice. In part 1, "Art Education and Cultural Diversity and Change 1965, 1980-1995," chapters are: (1) "Society, Art, and Education"; (2) "Cultural Influences on Aesthetic Experience"; (3) "Cross-Cultural Inquiry into the Social Meaning of Art: Implications for Art Education"; (4) "Cultural Diversity and Change: Implications for Art Education"; (5) "DBAE and Cultural Diversity: Some Perspectives from the Social Sciences"; (6) "Interdisciplinary and International Trends in Multicultural Art Education"; and (7) "Art in Society and Culture." In part 2, "Cultural Diversity and the Structure of Art Education," chapters are: (8) "Defining Art Education in the Eighties"; (9) "Art Education Progress: Through a Field of Dichotomies or through a Network of Mutual Support"; and (10) "Art and Community: History of the Institute for Community Art Studies." In part 3, "Cultural Influences on Professional Development," chapters are: (11) "Society and Identity: A Personal Perspective"; and (12) "Cultural, Environmental, and Individual Influences on Professional Development." Contains a selected bibliography. (BT)

Multiculturalism is a term that has been much used in educational texts in recent years. Its usage is frequently taken for granted in the rhetoric of curriculum literature. However, it has recently become clear that there are significant variations of interpretations of multiculturalism in different world regions. This book takes a new and deeper look at the notion of multiculturalism through the lens of art education. In educational terms art is a unique tool for the investigation of cultural values because it transcends the barrier of language and provides visceral and tacit insights into cultural change. In order to address the educational interpretations and methods of implementing multiculturalism in different regios of the world, this book contains discussion and analysis of perspectives on art education theory and practice from thirteen countries. The authors of each chapter are respected multicultural experts in their geographic locations who are well equipped to provide unique insights into the particular issues of multiculturalism viewed from the perspective of art in educational contexts. The book as a whole provides tools for the conceptual analysis of contemporary notions linked with multiculturalism, such as interculturalism, internationalism and globalisation. It also provides strategies for art teaching in relation to these ideas. While the term 'multicultural education' is problematic, this book presents conceptual frameworks that should assist educators to examine their own teaching on issues of equity and diversity that are central to the multicultural education debate. ©́

The training of teachers in arts universities is changing. It is confronted by the great challenge of essential cultural, technological, social and economic changes. The symposium "Perspectives on Art Education" (Vienna, May 28 - 30, 2015) is dedicated to these changes: What does the training need today in terms of artistic practice, research, and communication skills? What explanations do historical and contemporary approaches offer? What new strategies are needed in teaching and learning? How can the diverse approaches to art education in different cultures, embedded in various national structures and school types complement and empower each other andjointly develop?

A groundswell of interest has led to significant advances in understanding and using Culturally Responsive Arts Education to promote social justice and education. This landmark volume provides a theoretical orientation to these endeavors. Examining a range of efforts across different forms of art, various educational settings, and diverse contexts, it foregrounds the assets of imagination, creativity, resilience, critique and cultural knowledge, working against prevailing understandings of marginalized groups as having deficits of knowledge, skills, or culture. Emphasizing the arts as a way to make something possible, it explores and illustrates the elements of social justice arts education as "a way out of no way" imposed by dominance and ideology. A set of powerful demonstrations shows how this work looks in action. Introductions to the book as a whole and to each section focus on how to use the chapters pedagogically. The conclusion pulls back the chapters into theoretical and pedagogical context and suggests what needs done to be done practically, empirically, and theoretically, for the field to continue to develop.

“Educational trends will change and research agendas will shift, but art teachers in public institutions will still need to educate all students for multicultural purposes,” argues Chalmers in this fifth volume in the Occasional Papers series. Chalmers describes how art education programs promote cross-cultural understanding, recognize racial and cultural diversity, enhance self-esteem in students’ cultural heritage, and address issues of ethnocentrism, stereotyping, discrimination, and racism. After providing the context for multicultural art education, Chalmers examines the implications for art education of the broad themes found in art across cultures. Using discipline-based art education as a framework, he suggests ways to design and implement a curriculum for multicultural art education that will help students find a place for art in their lives. Art educators will find Celebrating Pluralism invaluable in negotiating the approach to multicultural art education that makes the most sense to their students and their communities.

American Multicultural Studies: Diversity of Race, Ethnicity, Gender and Sexuality provides an interdisciplinary view of multicultural studies in the United States, addressing a wide range of topics that continue to define and shape this area of study. Through this collection of essays Sherrow Pinder responds to the need to open up a rich avenue for addressing current and continuing issues of race, gender, ethnicity, sexuality, cultural diversity, and education in their varied forms. Substantial thematic overlaps are found between sections and essays, all of which are oriented toward a single broad objective: to develop new and different ways of addressing how multicultural issues, in their discursive sociocultural contexts, are inextricably linked to the operations of power. Power, as a site of resistance to which it invariably gives rise, is tacked from a perspective that attends to the complexities of America's history and politics.

Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.

Kevin Tavin's book personifies a journey through art education at the beginning of the twentieth-first century. Starting with advancing critical pedagogy and visual studies, the book establishes a path for the movement of visual culture. It then attempts to wrestle with speculative angels and search for liminal apparitions within theory and practice of visual culture. This includes struggling to create a theoretical framework and position specific examples for art education. The essays begin to shift from a critical pedagogy perspective to one informed by Lacanian psychoanalytic theory. The second part of the book embodies an attempt to turn visual culture and art education on its head, so to speak. In total, the book may be read as an assemblage of ideas, provocations, and suggestions for cannibalizing theory and self-cannibalizing practice of art education, as we move toward a post-visual culture era, as well as a personal and professional challenge to know, and remain in doubt.