It would be a good idea
Indeed, the current public arts infrastructure, despite endless rhetoric about "diversity," remains overwhelmingly devoted to those dead European males that John Rockwell mentions. Last year, the NEA's expenditures in support of traditional, ethnic culture totaled 7/10th of 1% of the agency's budget. Take a look at the course catalog of any music conservatory -- even at those places with the most esteemed ethnomusicology programs, the European canon (which accounts for about 5% of the world's musical output) outnumbers the rest of the world by several orders of magnitude. This is akin to offering a science curriculum that ends with Copernicus.
Changing this cultural myopia, in education and in the public arts arena, would require a commitment that we have never seen from educators, governments or from philanthropists. But the alternative is more of the long cultural gray-out that Alan Lomax predicted back in 1977 and which provides a stark context for our discussion today.
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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
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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