Comments on Other Posts
I thank Eric Booth for his comment about my first post, his additional thought experiment, and his pioneering work in creativity across the curriculum. My post below provides an explanation and an example, not a critique of an approach he is developing. I applaud Jane Remer for her forthright comments about quality, another word that becomes empty if it is not connected to something specific, something more than a process--a testing system, a portfolio, an institutionalized yearning. Having conducted Eric's thought experiment and considered Jane's research proposal, I find comfort in being flexible about methodology or time patterns, because as long as the time, method, and expertise are sufficient to the task, many approaches work. If first decisions center on content and knowledge and skill development, the "what, " then the "how" questions seem to start answering themselves, even with the particular opportunities and constraints that are givens in virtually every local educational setting. Gratitude also goes to Bennett Reimer for giving a practical example in advance of this post of what I just wrote about the what/how relationship, to Richard Kessler for the Shankar quotes about the strategic importance of the public schools, and to Bau Graves and John Rockwell for urging bloggers to broaden their scope. Yes, P-12 schooling is just a part of a much larger whole. More on that later.
My response to Bob Morrison's thoughtful question is that
many different means can work if, and only if, all the conditions and resources
necessary to that means are present. Systems based on summative competency
testing have been successful at
If I were advising our colleagues in NJ, I would indicate that inexpensive, multiple choice examinations will not suffice as revealers of arts competencies of a creative or scholarly nature and that there is a need to avoid the unintended consequence of further privileging disciplines easily and cheaply tested. Given present cultural and values conditions, I would ask them to factor in concerns about relying heavily on every student's motivation to learn privately, and about the ability to maintain high levels of aspiration, especially if many students fail and parents start exerting political pressure. I would try to help policy makers remember that process alone is never enough and that pretending that it is usually leads to failure.
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Our Bloggers
Sam Hope, executive director, The National Office for Arts Accreditation (NOAA);
Jack Lew, Global University Relations Manager for Art Talent at EA;
Laura Zakaras, RAND;
James Cuno, Director, Art Institute of Chicago;
Richard Kessler, Executive Director, Center for Arts Education;
Eric Booth, Actor;
Midori, Violinist;
Bau Graves, Executive director, Old Town School of Folk Music;
Kiff Gallagher, Founder & CEO of the Music National Service Initiative and MusicianCorps
Bennett Reimer, Founder of the Center for the Study of Education and the Musical Experience, author of A Philosophy of Music Education;
Edward Pauly, the director of research and evaluation at The Wallace Foundation;
Moy Eng, Program Director of the Performing Arts Program at The William and Flora Hewlett Foundation;
John Rockwell, critic;
Susan Sclafani, Managing Director, Chartwell Education Group;
Jane Remer, Author, Educator, Researcher
Michael Hinojosa, General Superintendent, Dallas Independent School District
Peter Sellars, director
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