Philippine Art Education Association

Teacher success, in relation to both student learning and teacher efficacy, can often be traced to the ability of the teacher to manage the classroom. Research shows that effective classroom organization and management during the first few weeks of school are crucial in determining expectations, behavior patterns, and procedures that will persist throughout the school year. Much of the instruction and social interaction that occurs during the months after September can be traced directly or indirectly to the way teachers initially establish instructional and social systems during the first weeks.

Classroom management, student discipline, and issues related to organization are among the most commonly reported problems by teachers in their first years (Veenman, 1986). Harry Wong (1998) suggests that classroom organization and management includes all of the things that a teacher must do towards two ends:

1. To foster student involvement and cooperation in all classroom activities; and
2. To establish a productive working environment.

Successful teachers know how to make an environment that is stimulating and inviting. Room arrangements and displays must be attractive, but also functional. Quality instruction requires that teacher use materials other than assigned textbooks and workbooks. If teachers begin collecting and organizing these items before school begins, planning richer and varied lessons becomes routine, makes the teacher more productive, and reduces work-related stress.

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What is Effective Classroom Management?

Edmund Emmer and Carolyn Evertson (1981) state that effective classroom management consists of teacher behaviors that produce high levels of student involvement in classroom activities, minimal amounts of student behavior that interfere with the teacher’s or other students’ work, and efficient use of instructional time.
Teachers that are effective classroom managers have:

• Planned rules and procedures carefully
• Systematically taught these to students
• Organized instruction to maximize student task engagement and success
• Communicated directions and expectations to students.

A well-managed classroom is a task-oriented and predictable environment. Harry Wong, 1998.
In a task-oriented environment, students understand what is expected and how to succeed. Work is focused on learning and students are able to achieve the objectives.

When students understand the rules and procedures, they can follow through with the expectations and know what is supposed to happen in the classroom. They also know what consequences will occur when the expectations are not met.

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What Do We Need to Know About Students?

To manage a classroom effectively, it is critical for teachers to understand the developmental progress of students. Specifically, understanding child and adolescent growth and development, as well as issues of students’ cognitive and cultural diversity, is essential for laying the foundation of an effective and positive learning environment.

An effective teacher understands child growth and development.
• Children develop through predictable stages.
• Growth is deeply influenced by culture, personality, and environment.
• Social and physical development and intelligence do not proceed for all children at the same rate.

An effective teacher understands issues that affect adolescent growth and behavior.
• Children need to feel valued.
• Learners need to have fun and freedom.
• Learning needs to be practical and applicable.
• Mistakes arise from inexperience.
• Peer pressure is intense for teens.
• Emotional energy in teens runs high.

An effective teacher recognizes cognitive and cultural diversity.
• Students learn through different modalities, styles, and a variety of multiple intelligences.
• Learning is affected by students’ cultural perceptions and background experiences.

Resources:
New Teacher Resource Handbook (Revised, 2001), Prince George ’s County Public Schools.
The Standards for Excellence in Teaching (Revised, 2000), Prince George ’s County Public Schools.

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Red boosts attention, blue creativity - study

AFP - Friday, February 6
VANCOUVER, Canada (AFP) - - The color red boosts attention to detail in tasks such as memorization, while blue encourages creativity, according to a study published online in the journal Science.

The findings apply to advertising, warnings on medication, and especially environmental design for offices or classrooms, said Rui (Juliet) Zhu, who teaches marketing at the University of British Columbia in Vancouver.

Zhu, who wrote the study with Ph.D. student Ravi Mehta, recommends that marketers selling creative or innovative products use blue, and brainstorming sessions be held in blue rooms. Using red in advertising would prompt consumers to pay more attention to product details, she said.

Previously the effect of color on performance was a mystery because earlier studies, which did not match colors to different kinds of tasks, yielded conflicting results, said Zhu, who also studied psychology.

Zhu and Mehta ran six tests involving 600 university students working at computer monitors with a background set in blue, red or white for control groups.
The students performed significantly better or worse at creative or detail-oriented tasks depending on the color, Zhu told AFP.

She said red enhances performance on jobs that require alert vigilance because people associated red with stop signs, emergencies, ambulances and danger. People react to red with an "avoidance mechanism ... you’re likely to be vigilant, so you do better on detail-oriented tasks," she said.

Blue encouraged creativity because people associate it with "ocean, sky, freedom, openness, peacefulness, " said Zhu. A peaceful environment "makes people engage in exploratory behavior and enhances their creativity."
The color reactions are likely not innate but are instead "learned associations we gather from daily life," said Zhu.

She warned that because the research used only North American test subjects, the tests could have results elsewhere.

• "Where I’m from, China, red is associated with prosperity, good fortune and luck, so Id look for different results there," said Zhu.

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Ten Tips for Parents to Keep the Arts in Their Children's Lives

How children learn and the role that the arts play in that process has been studied for a number of years. The results increasingly conclude that study and participation in the arts not only produces knowledge of and proficiency in an art form, but also positively affects the process of learning itself. The results show that the arts are cognitive-they embody and develop knowledge and mental skills-habits of mind, risk-taking, focus, and self-discipline. The following ten suggestions will help parents keep the arts in their children's lives-at home, in school, and in the community.

At Home

1. Start sharing your interest in the arts with your children when they are very young. Listen to music in your home and go to live performances whenever possible. Experience theatre, dance, and literary events together. Take your children to art exhibits. Make it a regular part of family outings. Many events at the ARV Arts Center, and others as you travel are free.

2. Keep a journal of your next vacation, outing, or events like a trip to the zoo, walk in the park or woods, or a special birthday. Collect memorabilia like tickets, flowers, shells, and pictures. Write a description of the event and paste the mementos in a spiral notebook or journal. As soon as children are old enough, let them help and later make their own.

3. Keep a variety of art materials available to your children, crayons, colored paper, glue, colored pencils, pastels, newsprint, paints, etc. These can be very inexpensive. Encourage your children to use them instead of watching too much television or endlessly playing video games. Give them a disposable camera to document a trip to the grocery store, playing with friends or going some place special. This will help them become more aware of their surroundings and the 'color' and objects in their lives.

4. Choose a popular work of art, maybe from a library book or an art exhibit. Talk about the painting and how it depicts the subject. What are some sounds associated with it? What other colors could be associated with it?

At School

5. Educate yourself about the art education programs at your school. Is there an arts credit required to graduate? Are there achievement standards for the arts in your schools? Is there a budget to support the arts in your schools? space? equipment?

6. Ask your local arts center and community-based arts organizations to speak to your PTA or civic clubs about the importance of the arts in children's education.

7. Volunteer to assist with art projects in your child's school or at the local arts center. Help organize an arts day, assist with assembling an arts and writing journal of each student's work, make art-related field trips and enrich the experience by including a discussion of art.

In the Community

8. Take your children to arts events in your community. Many are free and the quality is excellent. Send them to arts camps, classes and music lessons. Encourage them to participate in school and community theatre and vocal groups.

9. Assist your local arts organizations in celebrating October as National Arts and Humanities Month.

10. Whenever possible, take your children with you as you volunteer for arts organizations and events. help raise funds and awareness, etc.

Tips from The Arkansas Arts Council, an agency of the Department of Arkansas Heritage.

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What are Creative People Like?

Herbert Read (a visual arts expert) has stated that we need to teach children not only to know, but also to create, for art is a way to become a sensitive, aesthetically oriented person.

Creative people seem to have many characteristics in common. Here are some of them:

1. Creative people are extremely alert perceptually. That is,
They are observant of the world about them.
They are aware of the way things feel to the touch.
They listen to the sounds of life around them.
They have a sensitivity for the way things smell.
They are aware of the taste of things.

2. Creative people are builders of their ideas. That is,
They like to construct things in materials.
They prefer to rearrange old ideas into new relationships.
They like to experiment with various approaches and media.
They like to try out new methods and techniques.
They prefer to manipulate their ideas in various ways.
They like to solve problems which they set for themselves.
They seek to push the boundaries of their thinking.

3. Creative people like to explore new ideas. That is,
They are very original in their thoughts about things.
They like to invent new ways of saying and telling.
They like to dream about new possibilities.
They like to imagine and pretend.

4. Creative people are confident in themselves. That is,
They are flexible in their approaches to situations.
They like to be independent and on their own.
They are outwardly expressive about what they have to say.
They are not afraid to have emotional feelings and to show them.

5. Creative people like to investigate the nature of things. That is,
They like to search for the meaning of things.
They question available data and information.
They like to inquire into unknown quantities.
They discover new relationships.
They desire to uncover new meanings.

6. Creative people are sensitive to aesthetic stimuli. That is,
They are sensitive to the beauty in man and nature.
They appreciate beauty that man has made.
They have a feeling for harmony and rhythm.
They like to sing, dance and write.

Are you a creative person?

The picture of the creative person developed thus far is that of one who creates out of a vast wealth of knowledge. Some of this knowledge is conceptual, while a great deal is perceptual. Perceptual knowledge is arrived at from his sensory experiences which he then puts together to form a visual statement. The creative person has specific attributes, abilities, or skills that he uses during the creative process or art experience. These attributes are

1. Sensitivity to problems (awareness)
The evidence of a child’s sensitivity to problems may be found in his ability to emphathize with others on the subject matter to know when paint is too thick or too thin; to feel clay getting to dry for easier manipulation, to see that a block structure will fall with the addition of more blocks and so on.
Teachers might ask questions during a demonstration rather than making a prediction themselves.

2. Fluency
Or the ability to think of many solutions to a problem, many uses for a particular material or thing and to provide alternative solutions in a short span of time. Teachers who ask children to think of various solutions or ideas before selecting one to work with are helping them become more fluent and more original. Verbal fluency can be developed through synonyms and finding other word for certain colors to describe a picture. Ideational fluency - might be developed by have children think of additional titles for an art reproduction or other phenomena, draw or paint many types of trees, flowers, houses, buildings, cars, even making different routs going to schools, etc. Associational fluency – may be developed by having the students identify or make-up different symbols for single concepts. For example, they might draw or name-examples demonstrating ‘GO’ in terms of pedestrian traffic (color green) raising a flag, blowing a whistle. Categorizing pictures, looking for objects in scribbles and so is the study of color symbolism as used by diff. Cultures. Expressional fluency – ability to express feelings in different ways. In art works, it may show up through diff. Uses of line or color to show intense anger, happiness, sadness, grief and so on.

3. Flexibility - ability to change directions midstream; to be able to restructure a planned outcome even events predict a failure in the original plan; to use a mistake or accident in the making of an art work as a possible avenue to a new idea, rather than to throw away what was started as being a failure. Art activities which encourage and rearranging before deciding on a final form like collage, assemblage, plasticine.

4. Originality - the ability to think of ideas other then those presented by the teacher or copied from other students.
To develop originality, art activities might follow some of the suggestions that have already been made under ‘fluency’ and ‘flexibility’, seeking out more than solution or idea in order to go beyond the stereotyped, to unusual ideas, and to expand the students’ abilities for originating ideas.

5. Ability to redefine and rearrange is the ability to find other words or ways to define a problem or to rearrange factors and elements in order to achieve a workable solution or a new entity.
In music , a composer who writes variations on a them from another composer’s music is restating and rearranging.

6. Analysis – the ability to notice details, to separate parts from the whole, to identify evidence inside of contour outlines and to extract meaning from symbols in contrast to merely identifying objects and phenomena.

Art activities for visual analysis, include 3 types:

- looking at an object and drawing, painting or making a sculpture of it:
- the analytical or subtractive (carving away) approaches to sculpture and relief.
- Looking at art, art reproductions, sculptures

7. Synthesis – is the ability to put divergent parts together to make an meaningful whole, exp: children who first pull a ball of clay apart roll it into smaller balls and small snakes to reassemble them in the form of a human figure.

How is the elementary teacher to use this information in his/her classroom in order to encourage creativity?

The teacher must provide art learning tasks that challenge the child to discover his abilities or uncover them. A teacher also needs to encourage the child to value his art tasks and to push boundaries in working out new ideas. The child should be discouraged from using the same idea over and over in his art production. Encouragement of the student to listen to his intuition during the art process is an important part of learning creative behavior.

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LESSONS FROM GEESE
By Milton Olson

1. As each bird flaps its wings, it creates an “uplift” for the bird following. By flying in a “V” formation, the whole flock adds 71 % greater flying range than if the bird flew alone.

Lesson: People who share a common direction and sense of community can get where they are going quicker and easier because they are traveling on the thrust of one another.

2. Whenever a goose falls out of formation, it suddenly feels the drag and resistance of trying to fly alone, and quickly gets back into formation to take advantage of the “lifting power” of the bird immediately in front.

Lesson: If we have as much sense as a goose, we will stay in formation with those who are headed where we want to go (and be willing to accept their help as well as give ours to the others).

3. When the lead goose gets tired, it rotates back into the formation and another goose flies at the point position.

Lesson: It pays to take turns doing the hard tasks and share leadership –with people, as with geese, we are interdependent on each other.

4. The geese in formation honk from behind to encourage those up front to keep up their speed.

Lesson: We need to make sure our honking from behind is encouraging – and not something else.

5. When a goose gets sick or wounded or shot down, two geese drop out of formation and follow it down to help and protect it. They stay with it until it is able to fly again or dies. Then they launch out on their own, with another formation, or catch up with the flock.

Lesson: If we have as much sense as the geese, we, too, will stand by each other in difficult times as well as when we are strong.

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Flowers Are Red by Harry Chapin

The little boy went first day of school
He got some crayons and started to draw
He put colors all over the paper
For colors was what he saw
And the teacher said.. What you doin' young man
I'm paintin' flowers he said
She said... It's not the time for art young man
And anyway flowers are green and red
There's a time for everything young man
And a way it should be done
You've got to show concern for everyone else
For you're not the only one
And she said...
Flowers are red young man
Green leaves are green
There's no need to see flowers any other way
Than they way they always have been seen
But the little boy said...
There are so many colors in the rainbow
So many colors in the morning sun
So many colors in the flower and I see every one
Well the teacher said.. You're sassy
There's ways that things should be
And you'll paint flowers the way they are
So repeat after me...
And she said...
Flowers are red young man
Green leaves are green
There's no need to see flowers any other way
Than they way they always have been seen
But the little boy said...
There are so many colors in the rainbow
So many colors in the morning sun
So many colors in the flower and I see every one
The teacher put him in a corner
She said.. It's for your own good..
And you won't come out 'til you get it right
And are responding like you should
Well finally he got lonely
Frightened thoughts filled his head
And he went up to the teacher
And this is what he said... and he said...
Flowers are red, green leaves are green
There's no need to see flowers any other way
Than the way they always have been seen
Time went by like it always does
And they moved to another town
And the little boy went to another school
And this is what he found
The teacher there was smilin'
She said...Painting should be fun
And there are so many colors in a flower
So let's use every one
But that little boy painted flowers
In neat rows of green and red
And when the teacher asked him why
This is what he said.. and he said
Flowers are red, green leaves are green
There's no need to see flowers any other way
Than the way they always have been seen.

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AESTHETIC QUESTIONS

What is Art?
1. Can an object be considered as art today if it was not considered to be art at the time it was created?
2. What conditions must be met for something that has a function to be considered a work of art?
3. Must art be beautiful?
4. Must art communicate something or be about something? Should art tell a story?
5. Must art be made by hand?
6. What about objects that are mass produced?
7. Must a work of art be made by an artist?
8. An artist picks up a piece of driftwood from the beach and displays it in a gallery - is it art?
9. Under what conditions is photography art and when is photography not art?
10. Can an object be art if the person making it did not intend for it to be art?
11. Must a work of art express feelings or emotions in order to be considered art?
12. Is art an imitation or an interpretation of nature?
13. Does art have to look "real"?
14. Can furniture be art? Clothing? Serving utensils? Greeting cards? Musical instruments? Tapestries? Quilts? Under what conditions are these objects art or not art?
15. What about the materials utilized in making a work of art? Can found objects be sculpture?

Questions About the Value of Art
1. Can only art experts say what the true meaning a work of art is?
2. Who can say what is good or bad art?
3. Must a work of art have good craftsmanship to be considered a good work of art?
4. Must the viewer understand the artist's intention?
5. How is it decided if something is art or not?
6. In order to be "good" art, must the work imitate reality?
7. Can a work of art be both beautiful and ugly?
8. Must art be enjoyed?
9. Should all works of art be judged by the same criteria?
10. Can a work of art be good if it did not take a long time to make?
11. Who decides the value of art?
12. Must good art be pleasing?
13. Are works of art made a long time ago more valuable?
14. Is the monetary value of a work of art important in determining the aesthetic value of the work?
15. Does the materials utilized in making the work affect the value of the work? Is a bronze sculpture of more value than a sculpture made with neon lights of found objects?
16. What criteria affect the value? Size, craftsmanship, age, media, the fame achieved by the artist, training of the artist, artistic intentions, etc?
17. Should form always follow function?

The Nature of Art and the Relationship to Society
1. Is it appropriate to alter a work of art if it is offensive?
2. Should offensive art be banned from public exhibition?
3. What is the affect of age or time to a work of art?
4. What about WHERE the work is - in a museum or stored in an attic?
5. Can a work of art have different meaning for different peoples? Do different people have different interpretations about the same work of art?
6. Must a work evoke an emotional response is the viewer?
7. What contemporary works of art will become masterpieces? What criteria should be met?
8. Must a work have a social message?
9. Is there only one true meaning of a work of art?
10. Did cavemen think of their paintings as art?
11. Is the meaning of a work that which the artist meant it to be or what it means to the viewer?
12. Are artifacts from past cultures (which weren't meant to be art at the time they were made) art now for a different culture?
13. Is it acceptable to use a work of art and change it for use in advertisements? How far can an advertising artist go in appropriating images from other artists?
14. Imagine that a museum has just acquired a Hopi Kachina doll. The Hopi people want it back because it is sacred to them. Is the doll more important as a piece of art, or as a religious symbol for the Hopi? Compiled by Connie Newton

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Sharing from Tommy Scanlin – ArtsEdnet Teacher Exchange

“Care to answer my “Final Exam” question? Complete the sentence:
A “REALLY GOOD” ART TEACHER IS….”

Mark Alexander, in the very same artsednet-digest, had the answer:

1. “so I try to be a high profile guy at my school. I put on and promote a large art show in which every student participates.
2. I do not ever refer to my program as “special”, instead referring to it as program or a class.
3. I invite myself to PPT’ S. I continue to attend all the parent-teacher conferences my wife will allow.
4. I assign students to after school study hall to complete overdue work.
5. I give sketchbook assignments which involve the family. A recent one assigned for the holidays requires a family member to pose for a portrait.

Complete the sentence: A “Really Good” Art Teacher is…”
Mark Alexander, had the answer: (cont.)

6. Each marking period I write a one page flyer with a student illustration which describes what has been going on in art class, and there is a different one for each grade level, which goes home in each student’s work folder.
7. I continue to send glowing mid-term reports whenever possible, and whenever a good report isn’t possible. I preface all bad news with a good comment.
8. I also keep the hallway displays current and well labeled with the concepts being explored.
9. My school will not let a child who has failed a special area class such as art, music or p.e. to be on the honor roll.
10. O a, trying to increase this incentive, by requiring that the art, music, and p.e. grades actually be included in the grade average which determines earning a position on the honor roll.

Thank you Mark, for the effort you obviously put into your passion for art teaching: A really good art teacher you are indeed!

Tommy Scanlin

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Promoting Effective Classroom Management In Front of the Class
by Linda Starr, Education World®

General Rules
Twelve steps teachers can take at the beginning of the year to promote effective classroom management are:
• Develop a set of written expectations you can live with and enforce.
• Be consistent. Be consistent. Be consistent.
• Be patient with yourself and with your students.
• Make parents your allies. Call early and often. Use the word "concerned."
• When communicating a concern, be specific and descriptive.
• Don't talk too much. Use the first 15 minutes of class for lectures or presentations, then get the kids working.
• Break the class period into two or three different activities. Be sure each activity segues smoothly into the next.
• Begin at the very beginning of each class period and end at the very end.
• Don't roll call. Take the roll with your seating chart while students are working.
• Keep all students actively involved. For example, while a student does a presentation, involve the other students in evaluating it.
• Discipline individual students quietly and privately. Never engage in a disciplinary conversation across the room.
• Keep your sense of perspective and your sense of humor.
• Know when to ask for help.

Important Strategies
Once students are settled in the classroom, you'll want to continue with some of these teacher-recommended techniques for maintaining control without confrontation:
• Establish eye contact.
• Move around the room and increase proximity to restless students.
• Send a silent signal.
• Give a quiet reminder.
• Re-direct a student's attention.
• Begin a new activity.
• Offer a choice.
• Use humor.
• Provide positive reinforcement.
• Wait quietly until everyone is on task.
• Ask a directed question.

Calming Routines
Many teachers have found that the best way to start the school day is to greet each student personally as he or she enters the classroom. They use the opportunity to establish rapport, and to deal with such minor problems as gum chewing, boisterous behavior, bad moods, or unwanted materials, quietly and discretely -- before they can erupt into public confrontations that threaten control and disrupt the class. A warm personal welcome sets the tone for the day. One teacher we know offers students a choice of three greetings -- a handshake, a high five, or a hug. Their responses, she says, tell her a lot about how each student is feeling that day.

Copyright © 2006, EducationWorld

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Admirable Teaching Traits
15 characteristics that principals look for in the new teachers they hire.
By Robert E. Glenn

• Flexibility
• Organization
• Ability to build success into the class
• Ability to communicate clearly
• Ability to create a pleasant atmosphere
• Ability to differentiate instruction
• Ability to establish successful classroom management
• Enthusiasm
• High expectations
• Content knowledge
• Good people skills (with students, staff, parents)
• Ability to pace instruction.
• Ability to ask effective questions.
• Good attitude
• Ability to teach actively

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Why Join an Education Organization?
By Kaye Passmore /NAEA 2006 Convention

Why should we participate in professional art education organizations? Why spend extra money for dues? Why not just join the same education organization that the rest of the school faculty belongs to and forego the hassle of asking administrators for release time to attend art conventions?

There are many good reasons for belonging to your local, state, and national professional art education organizations. When you actively participate, you develop networks with other art educators. Professional organizations provide opportunities for professional development, service, and leadership. Your teaching improves as you keep up with new ideas about methods, materials, techniques, and philosophies for teaching art.
A valuable reason for being active in your art education organizations is that it is fun to meet and work with other art educators outside of your own little world. When I first attended local art conferences, I met some other teachers and art coordinators, and then gradually, as I returned to these events, I met these familiar faces again, and eventually these professional acquaintances became friends. As we laughed through our efforts in hands-on workshops, we forged friendship.

Professional Development

When I graduated from college, I was so smart and up to date. I knew all the latest theories about teaching art, the current best methods, and the trendy craft projects, but within a short time the world changed. Discipline Based Art Education (DBAE) replaced the supremacy of creative self-expression. Now DBAE seems a little old, and CONSTRUCTIVISM and INQUIRY LEARNING are “in” but may be passé by the time you read this. My only hope for keeping current is to attend conferences and conventions and take an occasional course or workshop.

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Ten Lessons the Arts Teach
By Elliot Eisner

The arts teach children to make good judgments about qualitative relationships. Unlike much of the curriculum in which correct answers and rules prevail, in the
arts, it is judgment rather than rules that prevail.

The arts teach children that problems can have more than one solution
and that questions can have more than one answer.

The arts celebrate multiple perspectives.
One of their large lessons is that there are many ways to see and interpret the world.

The arts teach children that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity. Learning in the arts requires the ability and a willingness to surrender to the unanticipated possibilities of the work as it unfolds.

The arts make vivid the fact that neither words in their literal form nor number exhaust what we can know. The limits of our language do not define the limits of our cognition.

The arts teach students that small differences can have large effects.
The arts traffic in subtleties.

The arts teach students to think through and within a material.
All art forms employ some means through which images become real.

The arts help children learn to say what cannot be said.
When children are invited to disclose what a work of art helps them feel, they must reach into their poetic capacities to find the words that will do the job.

The arts enable us to have experience we can have from no other source
and through such experience to discover the range and variety of what we are capable of feeling.

The arts’ position in the school curriculum symbolizes to the young
what adults believe is important.

SOURCE: Eisner, E. (2002). The Arts and the Creation of Mind, In Chapter 4, What the Arts Teach and How It Shows. (pp. 70-92). Yale University Press. Available from NAEA.

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From Educating for the Workplace through the ARTS
The Getty-Education Institute for the Arts

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, child ren 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.

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