By Melissa K. Rowe
Examines the variety of arts programming partnerships within the l. a. Unified college District and gives suggestions from principals, academics, arts companies, and district arts advisors at the demanding situations and stumbling blocks in those partnerships.
Read or Download Arts Education Parterships: Lessons Learned From One School District Experience 2004 PDF
Similar children's studies books
Even after two decades of kid's rights and new puzzling over youth, kids are nonetheless often obvious as apolitical. around the world there was a transforming into emphasis on 'participation', yet a lot of this can be adult-led, and areas for kid's person and collective autonomy are constrained.
A brand new college 12 months and new associates for everyone's favourite lecture room puppy! Humphrey is worked up to come again to Room 26 and spot all his previous classmates. yet at the first day of faculty, a number of wierd youngsters arrive and irrespective of how loudly he squeaks up, they do not become aware of they are within the improper room! ultimately Humphrey realizes that those children are his new classmates, and he units off to benefit all approximately them.
A vital modern dynamic round youngsters and children within the international North is the a number of ways in which have emerged to watch their improvement, behaviour and personality. particularly disabled young ones or kids with strange developmental styles can locate themselves surrounded by means of a number of practices in which they're tested.
Additional resources for Arts Education Parterships: Lessons Learned From One School District Experience 2004
The NCLB recommends that states adopt standards in the four major arts disciplines of dance, music, theater, and visual arts; however, the NCLB does not require states to do so. The cornerstone of the reform is test-based accountability. States are expected to develop and implement standardized tests in all subject areas for which standards are required. Without a federal mandate, states are unlikely to conduct standardized tests in music, dance, theater, or the visual arts. Functionally, this leaves the arts out of the NCLB accountability system and may inadvertently encourage schools to focus most of their resources in subjects that will be tested.
This information is presented in Chapters Five and Six as descriptive quantitative data; however, it is critical to keep in mind that the information is based on the respondent’s recall and therefore is likely to have some degree of error and/or subjective bias. CHAPTER FOUR Arts Organization Characteristics As part of this study, we collected information from our sample of 34 arts organization on their budgets, staffing, missions, programming, and experience working with schools. Although our sample of AOs represents only about 10 percent of all AOs who offer school-age arts education programming in Los Angeles County, we found great diversity in the sample’s size, staffing, resources, goals, and scope of work.
Program Evaluation. Partners need to document and evaluate their own programs. Partnerships focused on providing student instruction should also include an assessment of student learning. The results of the program evaluation or student assessment should be used to improve arts education programming to better meet educational goals. Documentation of program and student outcomes can also be used to garner necessary funding and resources and support arts education advocacy. Partnerships that fail to include documentation, evaluation, and assessment run the risk of developing programs that do not produce educational gains for students or teachers or that do not convince potential supporters that the programs are of value.