DOCUMENT RESUME ED 375 072 SO 024 569 TITLE Discipline-Based Art Education and Cultural Diversity. Seminar Proceedings of a National Invitational Seminar (3rd, Austin Texas, August 6-9, 1992). INSTITUTION Getty Center for Education in the Arts, Los Angeles, CA. SPONS AGENCY J. Paul Getty Trust, Santa Monica, CA. REPORT NO ISBN-0-89236-279-0 PUB DATE 93 NOTE 156p. AVAILABLE FROM Getty Center for Education in the Arts, 401 Wilshire Boulevard, Suite S.50, Santa Monica, CA 90401-1455. Reports PUB TYPE Descriptive (141) Collected Works Conference Proceedings (021) MFOI/PC07 Plus Postage. EDRS PRICE Aesthetic Education; Art Criticism; *Art Education; DESCRIPTORS Art History; *Cultural Differences; Cultural Enrichment; Discipline Based Art Education; Elementary Secondary Education; Higher Education; *Multicultural Education ABSTRACT This publication contains proceedings of a seminar structured around five basic themes: (1) cultural diversity in (2) discipline based art education (DBAE) and cultural education; (3) how cultural diversity has affected practices in art diversity; history, aesthetics, criticism, and art making; (4) experiences in other disciplines which effect DBAE; and (5) and implications for evolving DBAE practices. Summarized speeches include: "Multicultural Education: What Does It Mean To Infuse It into a Discipline" (Carl A. Grant; Christine E. Sleeter); "Art Education for Cultural Diversity: Developments in the United Kingdom" (Rachel Mason); "'Species-Centrism' and Cultural Diversity in the Arts" (Ellen Dissanayake); "Cultural Diversity and Discipline-based Art Education" (Michael D. Day); "How Does DBAE Respond to Cultural Diversity?" (F. Graeme Chalmers); "Cultural Diversity and DBAE: The Challenge of One World and Multiple Visions" (Frances E. Thurber); "Questions and Answers" (Claudine K. Brown); "Revisionist Art History and the Challenge of Cultural Diversity" (Alan Wallach); "The Effect of Cultural Diversity on Aesthetics" (Marcia Muelder Eaton); "Make it Real: Notes on Pluralism, Empirical Criticism, and the Present Moment" (Robert Storr); "How Have Issues of Cultural Diversity Affected Practices in Art Making?" (Alfred J. Quiroz); "DBAE and Cultural Diversity: Some Perspectives from the Social Sciences" (June King McFee); "Learning from Literature" (Marianna Torgovnick); "Mining the Museum 1" (Lisa Corrin); and "Mining the Museum 2" (Fred Wilson). Responses to papers listed above, a panel discussion, affinity group reports, references, resources, and a participant lists conclude the volume. (MM) zsirastel '_ . U S. DIONATNIENT DI SOUCA14A comp co Educargnal liaOlOra ow EDUCATIONAL RESOURCES NKOINAATI COMP CENCI ThIS &Cotent 40 Odd. ,119,004 4441 Mutt I pm MB WOW. 0 00.104.110 onpoolOop 4 %hew changes lave Mon FALL* So ..11. ',radix-tom awe / 0440 et wow of (*.wont 551 MO dI obloot do not nocosooly ro0e0/0 011 OE RI 00114.055 Of poky PERMISSION TO REPRODUCE MATERIAL HAS BEEN GRANTE TO THE EDUCATIONAL RESOUI INFORMATION CENTER (ERIC)" BEST COPY AVAILABLE A R I) I' R N F Discipline-based Art Education and Cultural Diversity August 6-9,1992 Austin, Texas A National Invitational Seminar Sponsored by the Getty Center for Education in the Arts 0 1993 'Bel Paul Getty Trust Santa Monica. California All rights reserved Printed in the United States of America Library oI (:ongress CataloginginPublication 1)ata DISUIplilIC-fraud ;Hi 11111Cailt)11 Mid cultural diversity: 1992, Austin. Texas. seminar proceedings. August ctn. p. Spine title: I)8.11: and cultural diversity. Includes bibli(tgraphical references. ISBN 11 -S4_3 i -279 -0 I. ArtStudy and teaching--United StatesI !is- 2. Nhilticultural- tory-20th centuryCongresses. tined StatesCongresses. II Title: I. Getty Center for Education in the Arts. !MAE and cultural diversity. 1991 N108.1)57 9:i-39091 707'.073--(1c20 CIP Co illustration: flu flier anti ibex igi n, Spain 10,000 to 6,000 4 TABLE OF CONTENTS Foreword Leilani Leath? Duke Introduction Thandiztee Michael Kendall vii FIRST PLENARY SESSION Perspectives on Cultural Diversity in Education Introduction Leilani Lattin Duke 3 Opening Remarks Bernice Johnson Reagan Multicultural Education: What Does it Mean to Infuse it into a Disciplin(.:. Carl A. ( ;rant and Christine E. Sleeter Art Education for Cultural Diversity: Developments in the United Kingdom Rachel Masan 12 "Species-Centrism- and Cultural Diversity in the Arts l5 Ellen Dissanayake SECOND PLENARY SESSION DBAE and Cultural Diversity: Three Perspectives Introduction Claudine K. Brown 21 Cultural Diversity and Discipline-based Art Education ,Ifichae/D. Day How Does DBAE Respond to Cultural Diversity? 26 E Gmeme Chalmers Cultural Diversity and DBAE: The Challenge of One Vld and Multiple Visions 28 Frances E. 'Thurber.... Questions and Answers Claudine K. Brown, Alodemtar 32 THIRD PLENARY SESSION How Have Issues of Cultural Diversity Affected Practices in History, Aesthetics, Criticism, and Art Making? Introduction 45 Peter Pen nekamp Revisionist Art I I istory and the Challenge olCultural Diversity 46 Alan Wallach The Effect ()I Cultural Diversity on Aesthetics Marcia Muelder Eaton r)0 Make it Real: Notes on Pluralism, Empirical Criticism, and the Present Moment 53 Robert Storr How Have Issues of Cultural Diversity Affected Practices in Art Making? Alfred' Quiroz 58 Fo V RTII PLENARY SESSION DBAE and Other Disciplines: Three Perspectives Introduction Martin 63 Rosenberg DBAE and Cultural Diversity: Sum(' Perspectives from the Social Sciences 64 June King McFee Learning from Literature Marianna Torgovnick 68 Mining the Museum 1 Lisa Coffin 72 Mining the Museum 2 Fred Wilson 76 Questions and Answers 78 FIFTH PLENARY SESSION Practice Implications for Evolving DBAE Introduction 83 Brent Wilson Response to Papers by Ellen Dissanayake, Marcia Welder Eaton. and June King McFee Gilbert Clark 85 Response to Papers by Rachel Mason, F. Grame Chalmers, and Alfred Quiroz 87 Robyn F Wasson Response to Papers by Alan Wallach, Robert Storr, Lisa Corrin, and Fred Wilson Judith Stein 89 Response to Paper by Michael Day Jean Detlefsen 91 Response to Papers by Bernice Johnson Reagon, Carl Grant and Christine Sleeter, ane iisia A.II. Daniel Marianna Torgovnick 92 Interactive Panel with Fifth Plenary Session Speakers Gilbert Clark, ti,sta A.FI. Daniel, Jean Detlefsen, Judith Stein, Robyn E Wasson, and Brent Wilson 95 SIXTH PLENARY SESSION Affinity Group Summary Reports Introduction Claudine K. Brown 103 Elementary Education Catherine Leffler 105 Judith Madden Bryant Secondary Education 107 Higher Education Group A Martin Rosenberg 108 Higher Education Group B Enid Zimmerman 110 Supervision and Administration Norman Janis 113 Museum Education P El-Omami Anne 115 Prier Pennekamp Cross-Representative 116 117 Closing Statement Thandiwee Michael Kendall References 123 Resources 126 Participants 143 FOREWORD hers of another minority. By the year 2010 this The purpose of the Getty Center for Education proportion will rise, and today's minority chil- in the Arts' third seminar on the develop- ment of discipline-based art education (DBAE) dren will become the majority in California, New theory was to enable art teachers, academic art York, Texas, and Florida. A fundamental issue accompanying these educators, general classroom teachers, museum realities is how such a highly differentiated society educators, artists, art historians, critics, and aes- theticiansand the Center's staffto discuss will hold itself together. Can the arts play a role by providing a common ground that transforms cul- points of view pertaining to cultural diversity and tural differences? Can arts education demonstrate DBAE. The objective of these discussions was to contribute to the evolving theory and practice that diversity need not divide? Can it demonstrate that plurality can be a benefit and not a burden? of DBAE. Can education in and through the arts make a DIME and Cultural Diver-Ally took place in a contribution to building mutual respect, under- context larger than DBAE. howeverit took standing, and tolerance? And. can the conceptual place in the context of cultural diversity and its approach to teaching art, known as discipline- impact on society. The classic image of America based art education, make a contribution? as a melting pot, where differences of race, wealth, religion, and nationality are submerged. We believe that it can. We believe that DBAE has the capacity to embrace works of art from dif- is being challenged. The idea of assimilation into ferent cultures and to embrace diverse forms of the mainstream is giving ground to the recogni- aesthetic perception and valuing. Through semi- tion of ethnicity and diversity. This upsurge in ethnic awareness and nars such as DIME and Cultural Diversity, we had the opportunity to discuss how DBAE can diversity is having some healthy consequences, embrace cultural diversity more effectively. including long overdue recognition of the One of the Center's expectations for this achievements of women, African Americans, seminar was that it would contribute to the Indians, Latinos, Asians, lesbians, and gays. evolution of DBAE theory and practice. The Unquestionably, America's population is becom- participants also had expectations. Ur Iversity ing more heterogeneous and will continue to do and college faculty, for example, can looking so. It has been predicted that by the year 2000, 'Or a broader and clearer understanding of 34 percent of children under the age of eighteen multiculturalism as it applies to the theoretical will be African American, Latino, Asian, or mem- 7 thinking about diversity issues. They wanted to underpinnings of 1)BAE. Some participants were know if these educators have fbund effective ped- anxious to explore what criteria to use when decid- agogical approaches to introducing new ways of ing what to leave out of the curricula and what to thinking about culture that might he relevant to leave in. Many in higher education also hoped to find ideas that could be applied to teacher educa- their own work in museums. Clearly, the expectations that participants tion programs and to ongoing research. Some art teachers wanted to learn how brought to this three-day convocation were var- ied. Realistically, not all of them could he issues of cultural diversity are expected to impact addressed to everyone's satisfaction. We antici- the art disciplines, while others looked for practi- pated that over the seminar's three days there cal strategies for fielding questions from students would be more questions asked than answered. in ways that reflect cultural awareness and sensi- of introducing We hoped, however, that those who attended the tivity. Still others sought students to new production techniques without conference and those who read the proceedings trivializing them through decontextualization. will have been more intellectually provoked than General classroom teachers looked for satisfied. If this has happened, the seminar will more infbrmation on instructional resources on have been a success and will have achieved its purpose; namely, to have served as a catalyst for works of art from non-Western cultures so that stimulating thinking and discussion of how DBAE they could expand their teaching in art, as well can more effectively embrace cultural diversity as in reading, history, and social studies. Other and the many cultural traditions that comprise teachers wanted to know how to balance the com- peting interests of various cultures with the the worlds of art. attraction of a single American culture with shared values and traditions. I_e flans Lattin Duke Director Museum educators were interested in learn- Getty Center for Education in the Arts ing how university and school educators were FOREWORD Vi INTRODUCTION various points and supervision were held In August 199. the Getty Center for Eciticati , 1 throughout the seminar. A resource center fea- in the Arts convened its third issues seminar lin. turing multicultural art education videos, films, the theoretical development of discipline -based slides, posters. and books was open throughout art education (1)11.1E1 in Austin, Texas. 1)evoted the seminar (a listing of these resources appears to the topic of 1)13AE anti 'cultural diversity, the at the end oldie hook). Finally, the Center's staff seminar was designed to provide an opportunity selected videos on various aspects of cultural I u il Wiled al IdiVIICe of CCIIICat Ors A Ilti diversity were aired on the conference center's rt.sra idlers knowledgeable about and engaged with !it: to critically examine and reflect upon closed-circuit television fin participants to view at their leisure. the issues of cultural diversity its they pertain to ev( dying DIME theory and practice. To achieve this purpose, THE ISSUES SEMINARS SERIES 1)ivervityvas 1)11..1E and ()alum! The Center supports five program areas in its structured around five basic themes: commitment to development of DIME theory 1. perspectives on cultural diversity in and the implementation of DIME: advocacy, pro- education; fessional development, theory development, curriculum development, and demonstration 2. perspectives on DBAE and cultural programs. The philosophical basis of the theory diversitr, development program area is that the theoretical 3. the cliCct orcultural diversity upon underpinnings of DIME need to evolve continu- practices in art history., aesthetics, criticism. ously to provide a strong foundation Mr profes- and art making; sional development. classroom practice, assessment, and research. One of the ways the 4. experiences in other disciplines that affect Center has supported theoretical development 1)13AF; and has been through the sponsorship of Issues semi- 5. implicatiot is fiir evolving INIAE practice. nars or forums fbr presenting information. ideas, and new perspectives as they apply to DIME As a \city of stimulating further discussion, research and teaching. several affinity group breakout sessions facilitated In May 1987, the Center sponsored its first by participants representing museum education, teacher education, art education, administration, seminar, Issues in Discipline-Based Arf Educatimi: 9 vii 4. philosophy and aesthetics; and Strengthening the Stance, Extending the Horizons. Thirty-seven art educators met in Cincinnati for 5. DBAE and the concerns of multicultural three days to present and respond to papers education. structured around several basic issues: The proceedings from Inheriting the Theory were 1. child development and the cognitive styles made available in 1990. children use when learning, DBAE AND CULTURAL DIVERSITY 2. art and its societal role, and As has been the case with previous seminars, at 3. art education curriculum refOrm. least two years before DBAE and Cultural Diversity, the Center's staff began an extensive preparation Proceedings summarising the reactions and rec- process. Because the Issues seminars fall under ommendations of Issues I participants were pub- our program area of theory development, we felt lished in 1988. it essential for our preparation to include an The Center's second issues seminar, Inherit- examination of the theoretical basis of cultural ing the Theory: New Prices and Multiple Perspectives diversity and multicultural art education. This on DBAE, was held in May 1989. More than 130 examination included the following activities: art educators spent three days in Austin present- ing and responding to papers structured around 1. Developing a bibliography of scholarly articles, five basic issues or, as the Issues it Planning Com- news articles, books, and resources on multicul- mittee termed them, "triangulation" sessions. tural art education for the Center's program This approach allowed for three different per- staff. This bibliography includes philosophical, spectives on each of the following topics: sociological, and legal writings as well as those pertaining to practical applications in K-12 and 1. the integration of art history; higher education. 2. the role of aesthetics and criticism in the 2. Convening six day-long orientation meetings creation of new works of all: for staff on multicultural art education issues with art educators, scholars, policy makers, and 3. DBAE teaching effectiveness, evaluation, teachers, who were commissioned to write and cognition; 10 INTRODUCTION viii