Revitalizing Arts Education Through Community-Wide by Susan J. Bodilly

By Susan J. Bodilly

Projects to coordinate faculties, cultural associations, community-based firms, foundations, and/or executive enterprises to advertise entry to arts schooling in and out of doors of faculties have lately built. This research seems to be on the collaboration efforts of six city groups: how they all started and developed, the categories of businesses concerned, stipulations that helped and that hindered coordination, and techniques used.

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We discuss each non-school provider and its specific role in turn. Community-based providers. We call any organization that sprang from the community specifically to improve arts education a community-based provider. These organizations originally served a brokering function for schools interested in adopting integrated curriculum or having artists teach courses for their students. , a practicing painter for a visual arts course in a school)12 or could work with general educators to integrate arts into a specific curriculum.

This subsidization is what made these arts learning opportunities affordable for some schools that otherwise could not have offered arts education to their students. Many schools accessing these services use limited discretionary funds to pay nominal fees to cover the remaining cost. The emergence of community-based providers has been beneficial on several fronts. Students receive arts learning, although the level of their exposure to it varies from school to school and grade to grade; artists receive a steady stipend for their work, supplementing their often erratic pay; teachers learn how to use the arts in their curricula; and schools receive services without having to pay full cost.

In addition to individual private providers, the main providers outside of school were arts production or presentation organizations, such as museums and theater groups, which we call cultural organizations. The primary purpose of cultural organizations was to produce art, but many had small, ancillary educational functions as well. Large museums offered school trips, and children lucky enough to attend a school that supported performing arts might be treated to a performance once each year. One of our respondents called such opportunities “drive by” arts education, referring to the practice of dropping the children at the museum’s door and picking them up a few hours later.

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