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["On paper, the state requires dance instruction for students in kindergarten through fifth grade. But the reform program setting that ambitious goal has never been fully funded, and many schools offer dance in just a few grades, if at all." - Todd Silberman, News and Observer, May 24, 1998]


ARTS EDUCATION K-12

INTRODUCTION

Development
Arts education is a collective term that denotes learning and instruction in four separately distinctive subject areas: dance, music, theatre arts and visual arts. Therefore, the Arts Education Standard Course of Study Frameworks and the Teacher Handbook - Arts Education K-12 were developed by four committees representing each of these areas. Once all documents were in draft form they were sent to selected representative teachers across the state, school and central office administrators, arts departments in higher education institutions, other area consultants and administrators in the Department of Public Instruction, other state agencies, state arts education organizations, and individuals who expressed interest in providing input into the finished product. The resulting feedback was carefully considered by the committees and changes were made where they were deemed beneficial. Every effort was made to address current education and curriculum issues.
Purpose
The purpose of these frameworks and the handbook is to suggest what is comprised in the study of the four K-12 arts programs. They have been generated to help teachers and curriculum specialists in each school system develop classes or courses and instructional strategies using them as a foundation.
New Features
Both the arts education frameworks and handbook are significantly different from prior versions in the following regards:
  • There is a strong emphasis on communicating, reading, writing and, where plausible, math throughout each arts curriculum.
  • Integration of learning both among the four arts areas and among other subject areas is stressed.
  • Since the ability to do critical and creative thinking as well as complex problem solving and to use intuition are inherent parts of the arts process, importance has been placed upon the development of these abilities throughout the entire study in each arts area.
  • There is a greater focus on knowing about, understanding and appreciating a variety of world cultures and historic periods.
  • The ability to use knowledge, skills and processes learned in the arts and apply them to other disciplines and to life beyond school is reinforced.
  • Where appropriate in some arts areas, concepts such as conflict resolution, teamwork, sensibility to and tolerance of others and their views, heightened perceptual awareness, synthesis of ideas to arrive at a logical deduction, and work force preparedness are dealt with as integral aspects of the study.
Basis
The revisions are based on the current National Standards for Arts Education developed by the Consortium of National Arts Education Associations. These standards describe what every young American should know and be able to do in the arts. The standards are the basis upon which a national assessment is being developed as part of the National Assessment of Educational Progress. In both the revised documents, the goal statements for each arts area are directly correlated with the national standards. Where applicable, the standards are noted by number in parenthesis under each goal statement throughout the document. This will enable users of this revision to see the relationship between it and the national standards document. The National Standards for Arts Education may be purchased from MENC Publications Sales, 1806 Robert Fulton Drive, Reston, Virginia, 22091.
Format
The frameworks consist of goals in each arts area developed for the K-2, 3-5, 6-8 and 9-12 grade levels along with suggested objectives.
In the handbook, the same goals and objectives are further developed so that conceptual, sequential and student development are readily apparent for each goal. The goals and objectives are expanded through the addition of focuses for each objective with accompanying implications for learning and teaching in the adjacent column. No portion of the handbook is written in courses, but rather contains suggested concepts which may be assimilated into classes or courses designed by each school or school system and taught at the various grade levels. Significant effort has been made to ensure enough useful information has been provided but, at the same time, to allow for flexibility with interpretations, choices and methodologies by school personnel.
Intent
The intent of the National Standards for Arts Education along with the frameworks and handbook is that a comprehensive understanding of one or more of the arts be accomplished by each student throughout the K-12 program. These documents describe a thirteen-year program in each area which would result from effective instruction during each year from Kindergarten to twelfth grade. The fact is that few students are able to have such a consistent and comprehensive experience in any area. It is more likely that individuals may be at different points along this continuum. The documents for each arts area provide the means to determine where students are and what studies they may need to pursue to achieve an appropriate and quality arts education experience at any given time throughout their tenure in public school.
Philosophy
The arts have been part of life from the very beginning. They have described, defined, and deepened human experience. All people have an abiding need for meaning-to connect time and space, experience and event, body and spirit, intellect and emotion. We create art to make these connections, to express the inexpressible. A society without the arts is unimaginable.

The arts connect each new generation to those who have gone before, equipping the newcomers in their own pursuit of the abiding questions: Who am I? What must I do? Where am I going? Simultaneously, the arts initiate change, challenging old perspectives from fresh angles of vision, or offering original interpretations of familiar ideas. The arts disciplines each provide their own unique ways of thinking. At another level, the arts are society's gift to itself, linking hope to memory, inspiring courage, enriching our celebrations, and making our tragedies bearable. The arts are a source of enjoyment and delight, providing the "Aha!" of discovery when we see ourselves in a new way, grasp a deeper insight, or find our imaginations refreshed. Every generation has been preoccupied with the arts because they bring us face to face with ourselves, and with what we sense lies beyond.

The arts are deeply embedded in our daily life, often so deeply or subtly that we are unaware of their presence. The office manager who has never studied painting may nevertheless select a living-room picture with great care. A couple who would never think of taking in a ballet are nonetheless avid square dancers. The arts are everywhere in our lives, adding depth and dimension to the environment we live in, shaping our experience daily. The arts are a powerful economic force as well, from fashion, to the creativity and design that go into every manufactured product, to architecture, to the performance and entertainment arts that have grown into multibillion dollar industries. We cannot escape the arts-nor would we want to.
For all these reasons and many more, the arts have been an inseparable part of the human journey; indeed, we depend on the arts to carry us toward the fullness of our humanity. We value them for themselves, and because we do, we believe knowing and practicing them is fundamental to the healthy development of our children's minds and spirits. That is why, in any civilization-ours included-the arts are inseparable from the very meaning of the term ''education.'' We know from long experience that no one can claim to be truly educated who lacks basic knowledge and skills in the arts.
If our civilization is to be both dynamic and nurturing, its success will ultimately depend on how well we develop the capacities of our children, not only to earn a living in our complex world, but to live a life rich in meaning. To achieve this quality of life requires a vital connection to the arts, which like any subject, demand discipline and study.
This document identifies what our children must know and be able to do as a result of a comprehensive arts education. A mere nodding acquaintance with the arts is not enough to sustain our children's interest or involvement in them. The arts will help them discover who they are, and what is even more important, who they can become.
Benefits
Arts education benefits both student and society. Involving the "whole child" in the arts gradually teaches literacy while developing intuition, sensitivity, reasoning, imagination, and dexterity. This process requires not merely an active mind but a trained one. Arts education helps students perceive and think in new ways. The arts also help provide and extend meaning. Because so much of a child's education in the early years is devoted to acquiring the skills of language and mathematics, children gradually learn, unconsciously, that the "normal" way to think is linear and sequential, that the pathway to understanding moves from beginning to end, from cause to effect. In this early mode, students trust those symbol systems (words, numbers, and abstract concepts) that separate the person from their experiences.
But the arts teach a different lesson by often starting in a different place. The arts cultivate the senses which trust the unmediated flash of insight as a legitimate source of knowledge. The arts connect person and experience directly, building bridges between verbal and nonverbal, logic and emotion-the better to gain an understanding of the whole. Both approaches are powerful; both are necessary. To deny students either is to disable them.
An education in the arts benefits society because students of the arts disciplines gain powerful tools for:
  • understanding human experiences, both past and present;
  • teamwork and collaboration;
  • making decisions creatively when no prescribed answers exist;
  • learning to adapt to and respect others' (diverse) ways of thinking, working, and expressing themselves;
  • learning problem recognition and problem solving, involving expressive, analytical, and developmental tools to every human situation (this is why we speak, for example, of the "art" of teaching or the "art" of politics);
  • understanding the influence of the arts and their power to create and reflect cultures, the impact of design on our daily life, and in the interdependence of work in the arts with the broader worlds of ideas and action;
  • developing the essential senses of sight, hearing, smell, taste, touch, and kinesthetics as intellectual, emotional, physical, creative, and expressive acts;
  • analyzing nonverbal communication and making informed judgments about cultural products and issues; and
  • communicating effectively.
In a world inundated with contradictory messages and meanings, arts education helps young people explore, understand, accept, and use ambiguity and subjectivity. In art as in life, there is often no clear or "right" answer to questions that are nonetheless worth pursuing ("Should the trees in this painting be a little darker shade of green?"). At the same time, arts in the classroom bring excitement and exhilaration to the learning process. Study and competence reinforce each other; students become increasingly interested in learning, add new dimensions to what they already know, and want to learn even more. The joy of learning becomes real, tangible, powerful!
Value of the Arts
Perhaps most important, the arts have intrinsic value. They are worth learning for their own sake, providing benefits not available through any other means. To read Schiller's poem "Ode to Joy," for example, is to know one kind of beauty, yet to hear it sung by a great chorus as the majestic conclusion to Beethoven's Ninth Symphony is to experience beauty of an entirely different kind, an experience that for many is sublime. Because these deeply felt experiences transcend our daily reality, there is no substitute for the arts, which provide bridges to things we can scarcely describe, but respond to deeply. In the simplest terms, no education is complete without them.
The arts also contribute to education beyond their intrinsic value. Because each arts discipline appeals to different senses and expresses itself through different media, each adds a special richness to the learning environment. An education in the arts helps students learn to identify, appreciate, and participate in the traditional art forms of their own communities. As students imagine, create, and reflect, they are developing both the verbal and nonverbal abilities necessary for school progress. At the same time, the intellectual demands of the arts help students develop problem-solving abilities and such critical thinking skills as analyzing, synthesizing, and evaluating. Numerous studies point toward a consistent and positive correlation between a substantive education in the arts and student achievement in other subjects and on standardized tests. A comprehensive, articulated arts education program also engages students in a process that helps them develop the self-esteem, self-discipline, cooperation, and self-motivation necessary for success in life.
Connections Between the Arts, Students, and the World
If arts education is to serve its proper function, each student must develop an understanding of such questions as these: What are the arts? How do artists work and what tools do they use? How do traditional, popular, and classical art forms influence one another? Why are the arts important to me and my society? As students seek the answers to these questions, they develop an understanding of the essence of each arts discipline, and of the knowledge and skills that enliven it. This does not imply that every student will acquire a common set of artistic values. Ultimately, students are responsible for their own values.
The affirmations below draw significant connections among the arts, the lives of students, and the world at large:
  • The arts have both intrinsic and instrumental value; that is, they have worth in and of themselves and can be used to achieve a multitude of purposes (e.g., to present issues and ideas, to teach or persuade, to entertain, to design, plan, and beautify).
  • The arts play a valued role in creating cultures and building civilizations. Although each arts discipline makes its unique contributions to culture, society, and the lives of individuals, their connections to each other enable the arts disciplines to produce more than any of them could produce alone.
  • The arts are a way of knowing. Students grow in their ability to comprehend their world when they learn the arts. As they create dances, music, theatrical productions, and visual artworks, they learn how to express themselves and how to communicate with others.
  • The arts have value and significance for daily life. They provide personal fulfillment, whether in vocational settings, avocational pursuits, or leisure.
  • Lifelong participation in the arts is a valuable part of a life fully lived and should be cultivated.
  • Appreciating the arts means understanding the interactions among the various professions and roles involved in creating, performing, studying, teaching, presenting, and supporting the arts, and in appreciating their interdependent nature.
  • Awakening to folk arts and their influence on other arts deepens respect for one's own and for others' communities.
  • Openness, respect for work, and contemplation when participating in the arts as an observer or audience member are personal attitudes that enhance enjoyment and ought to be developed.
  • The arts enhance and sharpen one's abilities to inquire and express.
  • Because the arts offer the continuing challenge of situations in which there is no standard or approved answer, those who study the arts become acquainted with many perspectives on the meaning of "value."
  • The modes of thinking and methods of the arts disciplines can be used to illuminate situations in other disciplines that require creative solutions.
  • Attributes such as self-discipline, the collaborative spirit, and perseverance, which are so necessary to the arts, can transfer to the rest of life.
  • The arts provide forms of nonverbal communication that can strengthen the presentation of ideas and emotions.
  • Each person has a responsibility to advance civilization. The arts encourage taking this responsibility and provide skills and perspectives for doing so.
As students work at meeting artistic challenges, they are preparing to make their own contributions to the nation's culture. The more students live up to these high expectations, the more empowered our citizenry will become. Helping students grow in the arts is one of the best possible investments in the future of our country and civilization.
Access
All students deserve access to the rich education and understanding that the arts provide, regardless of their background, talents, or disabilities. In an increasingly technological environment overloaded with sensory data, the ability to perceive, interpret, understand, and evaluate such stimuli is critical. The arts help all students to develop multiple capabilities for understanding and deciphering an image- and symbol-laden world. Thus, the arts should be an integral part of the general education for all students. In particular, students with disabilities, who are often excluded from arts programs, can derive great benefit from them-and for the same reasons that studying the arts benefits students who are not disabled. As many teachers can testify, the arts can be a powerful vehicle-sometimes the best vehicle-for reaching, motivating, and teaching a given student. At the same time, there is a continuing need to make sure that all students have access to the learning resources and opportunities they need to succeed. Thus, as in any area of the curriculum, providing a sound education in the arts will depend in great measure on creating access to opportunities and resources.
In this context, the idea that all education in the arts is just for "the talented," and not for "regular students" or those with disabilities, can be a stumbling block. The argument that relegates the arts to the realm of passive experience for the majority, or that says a lack of "real talent" disqualifies most people from learning to draw, play an instrument, dance, or act, is quite simply wrong. Clearly, students have different aptitudes and abilities in the arts, but differences are not disqualifications. An analogy may be helpful. We expect mathematical competence of all students because a knowledge of mathematics is essential to shaping and advancing our society, economy, and civilization. Yet no one ever advances the proposition that only those who are mathematically ''talented'' enough to earn a living as mathematicians should study long division or algebra. Neither, then, should talent be a factor in determining the place or value of the arts in an individual's basic education.
Critical Elements
Comprehensive arts education programs can make a difference because they speak powerfully to two fundamental issues that pervade all of education-quality and accountability. They help ensure that the study of the arts is disciplined and well-focused, and that arts instruction has a point of reference for assessing its results.
The following concepts are critical to consider when implementing an arts education program.
  • Arts education is not a hit-or-miss effort but a sequenced, comprehensive learning across four arts disciplines, each including its own skills, knowledge, and techniques. These offer the student a means of communication and modes of thought and action. Each discipline also provides rich and complex points of view on the world and human experience. Each offers analytical and theoretical perspectives, a distinct history, varied interpretations, as well as innumerable connections to all human activity.
All basic subjects, including the arts, require more than mere "exposure." They need focused time for sequential study, practice, and reflection. While valuable, a once-a-month visit from an arts specialist, visits to or from professional artists, or arts courses for the specially motivated do not qualify as basic or adequate arts instruction. They certainly cannot prepare all students in a comprehensive way. When children move beyond the "exposure" level toward proficiency in an arts discipline, the basic processes of creating, performing, producing, thinking, perceiving, and responding in one context are utilized in other curriculum areas. The child who learns reading through one or more areas of the arts will also improve in reading in other subject areas. Just so, the child who learns to see with an artist's eye, hear with the musician's ear, dramatize the playwright's vision, or tell a story with the body's movement has acquired a tool that can enrich and enliven all learning, whether in the other arts, other subject areas or beyond.
  • Instruction in the arts must occur through a hands-on orientation (i.e., students should be continually involved in the work, practice, and study required for effective and creative engagement in all four arts disciplines). The arts encompass an expressive, therapeutic approach to learning whereby psychological/physiological needs of the whole child are met. Content and process are emphasized for each child since he or she is viewed as a unique individual.
  • Students should learn about the diverse cultural and historical heritages of the arts. Our culture is a rich mix of people and perspectives, drawn from many cultures, traditions, and backgrounds. That diversity provides students with a distinctive learning advantage: they can juxtapose unique elements of their individual cultural traditions with elements that have been embraced, incorporated, and transformed into a shared culture. In the process, they learn that diverse heritages are accessible to all. Our cultural diversity is a vast resource for arts education, and should be used to help students understand themselves and others. The visual, traditional, and performing arts provide a variety of lenses for examining the cultures and artistic contributions of our nation and others around the world.
Significance to Education
Students should learn that each art form has its own characteristics and makes its distinctive contributions, that each has its own history and heroes. Students need to learn the profound connections that bind the arts to one another and to other core curriculum areas, as well as the connections between particular artistic styles and the historical development of the worlds cultures. Students also need to understand that art is a powerful force in the everyday life of people around the world, who design and make many of the objects they use and enjoy.
It is therefore essential that those who construct arts curricula attend to issues of ethnicity, national custom, tradition, and gender, as well as to the artistic elements and aesthetic responses that transcend and universalize such particulars. The polyrhythmic choreography of Native American dancing, the incomparable vocal artistry of a Jessye Norman, and the intricate calligraphy of Japanese and Arabic artists are, after all, more than simply cultural artifacts; they are part of the world's treasure house of expression and understanding. As such, they belong to every human being and should be used to develop basic knowledge and skills in the various arts disciplines.
  • Arts education should promote interdisciplinary study; and integration among and across the arts and other disciplines. Those connections are of two kinds and should not be confused.
Correlations, the first kind, show specific similarities or differences. A simple example is the correlation between music and mathematics. Clearly evident in the structure of both are such elements as counting, intervals, and consistent numerical values. More complex examples could involve studies based on such areas as aesthetics, sociology, or historic periods, in which texts, interpretations, and analyses about two or more art forms are compared and contrasted.
The other kind, Integration, is different from correlation. Instead of placing different subjects side by side to compare or contrast them, integration uses the resources of two or more disciplines in ways that are mutually reinforcing, often demonstrating an underlying unity. A simple example of integration within the arts is using combinations of visual effects and words to create a dramatic mood. At a more complex level involving the study of history, other examples of integration might be how American theatre in the period 1900-1975 reflected shifts in the American social consciousness, or how the sacred and secular music of African-Americans contributed to the civil rights movement.
Because forging these kinds of connections is one of the things the arts do best, they can and should be taught in ways that connect them to each other and to other subjects. Significantly, building connections in this way gives students the chance to understand wholes, parts, and their relationships. The high school student of world history who has learned something about the visual arts of Japan will understand the politics of the Tokugawa shoguns far better than a classmate who knows nothing of how the art of Japan reflects that country's core values. But one point is basic. Correlation, integration, and similar approaches to learning are first of all a matter of knowledge and competence within each of the arts disciplines, which must be maintained in their full integrity.
  • Technology is a force not only in the economy but in the arts as well. The use of technology in arts instruction is meaningful only to the degree that it contributes to competence, and that contribution comes through instruction and study. New technologies make it possible to try out a host of possibilities and solutions, and obtain information. Success should be measured by how well students achieve artistic and intellectual objectives, not alone by how adept they are in using a given arts technology. The use of technology should increase their ability to synthesize, integrate, and construct new meanings from a wealth of new resources and information so that they understand the relationships among technical means, artistic technique, and artistic goals.
  • The development of the problem-recognition/problem-solving and higher-order thinking skills necessary for success in life and work should be taken seriously in arts education.
  • A comprehensive arts education program should provide a foundation for educational assessment on a student-by-student basis. One of the substantial advantages offered by a comprehensive arts education program is that it combats the uninformed idea that the arts are an "academically soft" area of study. People unfamiliar with the arts often mistakenly believe that excellence and quality are merely matters of opinion ("I know what I like"), and that one opinion is as good as another.
The arts are cognitive, they have "academic" standing. They say there is such a thing as achievement, that knowledge and skills matter, and that mere willing participation is not the same thing as education. They affirm that discipline and rigor are the road to achievement. And they state emphatically that all these things can in some way be measured-if not always on a numerical scale, then by informed critical judgment. Although certain aspects of learning in the arts can be measured adequately by traditional paper-and-pencil techniques or demonstrations, many skills and abilities can be properly assessed only by using subtle, complex, and nuanced methods and criteria that require a sophisticated understanding. Assessment measures should incorporate these subtleties, while at the same time making use of a broad range of performance tasks.
What Students Should Know and Be Able to Do
There are many routes to competence in the arts disciplines. Students may work in different arts at different times. Their study may take a variety of approaches. Their abilities may develop at different rates. Competence means the ability to use an array of knowledge and skills. Terms often used to describe these include creation, performance, production, history, culture, perception, analysis, criticism, aesthetics, technology, and appreciation. Competence demands capabilities with these elements and understanding of their interdependence; implied also is the ability to combine the content, perspectives, and techniques associated with the various elements to achieve specific artistic and analytical goals. Students work toward comprehensive competence from the very beginning, preparing in the lower grades for deeper and more rigorous work each succeeding year. As a result, the experience of the arts matures through learning and the pride of accomplishment.
Students should know and be able to do the following by the time they have completed secondary school:
  • They should be able to communicate at a basic level in the four arts disciplines - dance, music, theatre arts, and visual arts. This includes knowledge and skills in the use of the basic vocabularies, materials, tools, techniques, and intellectual methods of each arts discipline.
  • They should be able to communicate proficiently in at least one art form including the ability to define and solve artistic problems with insight, reason, and technical proficiency.
  • They should be able to develop and present basic analyses of works of art from structural, historical, and cultural perspectives, and from combinations of those perspectives. This includes the ability to understand and evaluate work in the various arts disciplines.
  • They should have an informed acquaintance with exemplary works of art from a variety of cultures and historical periods, and a basic understanding of historical development in the arts disciplines, across the arts as a whole, and within cultures.
  • They should be able to relate various types of arts knowledge and skills within and across the arts disciplines. This includes mixing and matching competencies and understandings in art-making, history and culture, and analysis in any arts-related project.
From developing these capabilities, students arrive at their own knowledge, beliefs, and values for making personal and artistic decisions. In other terms, they can arrive at a broad-based, well-grounded understanding of the nature, value, and meaning of the arts as a part of their own humanity. The following diagram suggests a course of study for arts education.

SUGGESTED COURSE OF STUDY

K-2 3-5 6-8 9-12
Children's Dance Children's Dance Dance Education Dance I
Dance II
General Music General Music General Music General Music
(1 elective course)

Instrumental Music
Winds
Percussion
Strings

Vocal Music
Creative Drama Creative Drama Creative Drama Theatre Arts I
Theatre Arts II
Technical Theatre I
Visual Arts
(Drawing, Painting, Printmaking, Sculpture, Fine Crafts)
Visual Arts
(Drawing, Painting, Printmaking, Sculpture, Fine Crafts)
Visual Arts
(Drawing, Painting, Printmaking, Sculpture, Fine Crafts)
Visual Arts I
Visual Arts II
Visual Arts III
Relationship Between the Teacher Handbook and National Standards
Every effort has been made to correlate the National Standards for Arts Education with the Teacher Handbook - Arts Education K-12. In most cases the curriculum goals have direct correlation with the national standards. The handbook is correlated with the content and processes specific to each of the arts and the National Assessment of Educational Progress for arts education. The matrix at the end of this section visually shows the relationship of the four arts areas, the assessment areas of creating, performing, and responding, the content aspects of knowledge and skills, and the format used for the Teacher Handbook - Arts Education K-12.
Content, which may be found under the Focus section of the handbook, is comprised of two major components of learning expected of students who participate in the study of the arts. First is knowledge and understanding about the arts to include the personal, historical, cultural and social contexts for works. Second is the area of perceptual, technical, expressive, and intellectual/reflective skills. Both these components are found in each arts discipline.
The processes found under the Implications for Learning and Teaching section of the handbook are comprised of three aspects: creating, performing, and responding. The first, creating, refers to generating original art. This may include, but should not be limited to, the expression of a student's unique and personal ideas, feelings, and responses. The second, performing and/or interpreting means performing an existing work, a process that calls upon the interpretive or re-creative skills of the student. The third, responding, varies from that of an audience member to the interactive response between a student and a particular medium. The response is usually a combination of affective, cognitive, and physical behavior. Responding involves a level of perceptual or observational skill; a description, analysis or interpretation on the part of the respondent; and sometimes a judgment or evaluation based on some criteria which may be self-constructed or commonly held by a group or culture. Responding calls on higher order thinking and is central to the creative process. Responses may be oral and written or conveyed non-verbally or in the art forms themselves.
As shown in the diagram, "performing" an existing work does not apply to the visual arts, where reproducing an artist's work is not central. Visual arts places a high value on first-hand, creative expression. Theatre sees creating and performing as a combined act often as a collaborative process among many people. For dance and music, the processes of creation, performance, and critical evaluation of work, while all present, often merge.

The relationship between content and processes exists at each grade level and becomes more sophisticated as students progress from kindergarten to the twelfth grade. By emphasizing this approach throughout the teacher handbook, the new handbook and frameworks will be compatible with both the standards and assessment being used nationally.

NATIONAL STANDARDS FOR ARTS EDUCATION

AND

TEACHER HANDBOOK - ARTS EDUCATION

MATRIX

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Revised 1995 Arts Education
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