United States
Senate Committee on Health, Education,
Labor and Pensions
Testimony of Benjamin O. Canada, Ph.D.
Superintendent of Portland Public Schools
(Oregon)
On behalf of Americans for the Arts
June 29, 1999
Good morning Mr. Chairman and Members
of the Committee. I can tell you that
from both my personal experience and
my 31 years of professional experience
in education - the last decade of which
has been as superintendent of schools
in Jackson, Mississippi, Atlanta, Georgia,
and now Portland, Oregon ---- arts education
is the bedrock for keeping democracy
alive in this country today. An arts
education stirs children's imaginations
to dream, instills the confidence to
let them believe, encourages them to
set goals, and helps them develop the
skills to make their dreams a reality.
Arts Education and Democracy
Without a well-educated populace, the
tenets of democracy will not be met.
Democracy is based on uniting us under
a shared vision and a common viewpoint,
thus creating a civil society that enables
citizens to get along with each other.
Moreover, the arts enable citizens to
understand, interpret and develop laws
with a more humanistic perspective.
In my opinion, the cradle for providing
the education that is essential to maintaining
our democracy lies in a comprehensive
strategy of integrating high-quality
arts education comprised of all artistic
disciplines into every child's life
for a complete education. Public schools
have the responsibility for educating
all of our citizens and not just a select
few. Harvard professor Dr. Howard Gardner's
theory of "multiple intelligences"
tells us that children learn and process
information in many different ways and
that the arts access more of these pathways
to learning. 1
When we consider what a good education
entails, immediately such things as
math, science, reading, writing and
spelling come to mind. These subjects
are critical, but when left alone without
the support of a good value system -
the ability to work both independently
and collaboratively, the ability to
think creatively and to imagine a better
world - these subjects will not stand
the test of a well-educated citizen.
These subjects are not able to shape
productive citizens neither in normal
times nor in crisis situations.
From cave men using drawings to depict
daily life to the songwriter Katherine
Lee Bates who penned the words to America
the Beautiful, these artists relied
upon that part of the human soul that
the arts nourish to convey to others
the meaning and value of their personal
experiences. When one hears these words:
"Oh beautiful for spacious skies
for amber waves of grain for purple
mountains majesties above the fruited
plains" there is no question that
each can conjure up visual images that
rely upon math, to describe the spacious
skies and huge majestic mountains; dance
to describe the flowing amber waves
of grain; and colors that one learns
at home or in kindergarten to paint
the purple mountains. Katherine Lee
Bates was an educator who used the arts
to create one of America's best-loved
poems that is now memorized by millions
of Americans in song. For the last 100
years, this song has united the citizens
of this country under an artistic vision
of America, one that fills us with a
gratifying sense of pride, patriotism
and equality.
The making and appreciation of this
song by millions of Americans is but
one example of what we innately know
about the power of the arts and what
has now been backed-up by authoritative
studies. According to research conducted
by the University of Minnesota's Children,
Youth and Family Consortium, the arts
have been proven to be a powerful tool
in engagement and imagination; a stimulus
for memory and understanding; and an
avenue for developing a child's competence
and self-expression. 2 Moreover, infusing
the arts into instruction in the other
content areas has been shown to be an
effective tool for raising student achievement.
3
National Picture of Arts Education
While in the last five years, we have
been encouraged by the 47 states and
many school districts that adopted curriculum
frameworks or standards for the arts;
we still have much work ahead of us.
Our nation as a whole is still woefully
negligent of actually providing a comprehensive
arts education curriculum in each of
the disciplines for our children. Too
few schools have established student
assessments and mandatory competency
standards as a requirement of graduation.
U.S. Secretary of Education Richard
Riley recently called the lack of adequate
arts education in the nation's schools
"inexcusable." 4 I must agree.
And based on the 1998 results of the
National Assessment of Educational Progress
in the arts, it appears he is right.
5 That is why I want to join First Lady
Hillary Rodham Clinton in her crusade,
and I'm sure yours as well Mr. Chairman,
in a call to action "to bring the
arts back into every school in America."6
School-wide strategies that infuse
the arts into all forms of academic
content provide motivation for students
and linkages of understanding across
the curriculum. The mathematics of music,
painting and sculpture; the biology
and anatomy of dance; the history and
culture of artifacts; the use of language
in poetry; and the chemistry of photography
are examples of how the arts make knowledge
come alive for our students. A comprehensive
arts education should include both learning
the arts themselves as well as using
them to better teach the other subject
areas.
On the other hand, we are beginning
to have some growing examples of state
and local governments taking unprecedented
initiatives to fully integrate arts
education into the basic curriculum
of public schools. For instance, the
State of Oregon and the Portland Public
Schools have included the arts in our
educational standards for all students.
This includes common curriculum and
grade level benchmarks for all students
and a requirement that districts assess
student performance in order to certify
mastery of these standards. Citizens
of our state and local community will
no longer allow the arts to be considered
supplementary or elective in the standard
curriculum. Arts education is now considered
a standard component of the comprehensive
curriculum for all students in Portland,
and I believe this should be true in
every state and local community in our
nation.
I recently served as an Arts Advisory
Committee member for a benchmark report
released this year by The President's
Committee on the Arts and the Humanities
and the Arts Education Partnership,
entitled Gaining the Arts Advantage:
Lessons from School Districts that Value
Arts Education. 7 In this report, a
copy of which I have supplied to each
member of the Committee this morning,
we have carefully documented examples
of how school districts in 91 diverse
urban, suburban and rural communities
in 42 states across America have uniquely
integrated the arts into the standard
curriculum by using a comprehensive
strategy in, not just school-wide, but
rather, district-wide efforts.
The Gaining the Arts Advantage report
synthesized commonalties of success
among these 91 school districts and
found the following central theme:
The single most critical factor in
sustaining arts education in schools
is the active and collaborative involvement
of influential segments of the community
in shaping and implementing the arts
policies and programs of the district.
Who do we mean by influential segments
of the community? School districts broadly
define community to include parents
and families, artists, arts organizations,
businesses, local civic and cultural
leaders and institutions. Throughout
this report, you will see dozens of
examples from Atlanta, Georgia to Chittendon
South, Vermont of where members of a
community begin their successful campaign
efforts to restore high-quality, sequential
arts education back into the schools
by realizing first the schism that existed
within their community: while the arts
were embraced and supported throughout
the community, this basic value was
not reflected within the school system.
Addressing this inexplicable schism
is one of the reasons it is so important
to applaud the unprecedented national
public service awareness campaigns that
are beginning to provide the connective
tissue to help communities realize that
their appreciation of the arts needs
to be reflected also in their school
systems. National broadcasters have
donated several millions of dollars
of valuable prime time air to build
public awareness and community support
for arts education through such campaigns
as CBS's The Arts Enrich Us All 8 and
Bravo Network's Start Smart. 9
Community Arts Partnerships
If arts education is the bedrock of
democracy, then community arts partnerships
are the key to empowering this vision.
We need to do a better job of encouraging
local partnerships and collaborations
to begin restoring arts education back
into the schools. No teacher, principal,
or superintendent can accomplish this
on his or her own. Nor can the arts
and business community force it upon
the schools. As we've seen documented
over and over again, the only way arts
education can successfully be integrated
into the core curriculum of our public
schools in order to round out a complete
education is through community arts
partnerships. 10
What do I mean by community arts partnerships?
Analogous to the collaborative work
of the Arts Education Partnership, which
was originally spearheaded and funded
at the national level by the U.S. Department
of Education and the National Endowment
for the Arts, we need to aggressively
replicate this initiative at the local
level among local school boards, superintendents,
businesses and foundations, elected
officials, local arts agencies and cultural
institutions. The Arts Education Partnership
is a coalition of national education,
arts, business, philanthropic, and government
organizations that demonstrate and promote
the essential role of arts education
in enabling all students to success
in school, life and work. For instance
in Portland, the public schools have
partnered with several groups to help
us achieve our arts education programmatic
and funding goals, including the Regional
Arts and Culture Council; the Portland
Public School Foundation, Young Audiences,
the Leonard Bernstein Center Project
and many other local arts organizations
and corporate partners. We need support
these kinds of local coalitions around
the country so that we can get arts
standards and assessments adopted by
local school districts.
I believe that community-based arts
organizations are crucial in our efforts
to restore high-quality, sequential
arts education programs back into the
schools. Exposure to and participation
in professional artistic performances
and exhibitions --- the practical application,
if you will - both in-school and after-school
is critical to closing the loop to a
comprehensive arts education for our
children. Of course, community arts
partnerships can only supplement, but
never supplant, the important classroom
instruction in schools by arts specialists.
In my opinion, children need both, neither
one alone would fulfill the objectives
of a comprehensive arts education. Local
and state arts agencies and community-based
arts organizations have truly come to
embrace the fact that ensuring arts
education in the public schools is also
part of their mission. 11 We just need
to do a better job of providing these
influential segments of the artistic
community and school districts with
the tools, research, best practices
and funding support to establish or
replicate successful partnerships so
they can provide a comprehensive arts
education in each of their communities
for children and adults, alike. Research
clearly indicates that the quality of
arts education of school children today
will directly impact the make-up of
arts audiences tomorrow. 12
Why Businesses Care About Arts Education
I recently had the opportunity to participate
in Americans for the Arts' National
Youth Arts Forum in Atlanta earlier
this month, where I heard representatives
of the business and technology community
masterfully articulate why an arts education
is critical to the future of their businesses
and to the economy of our nation. I'd
like to share with you now some of these
comments.
GE Fund's Program Manager and Comptroller
Jane Polin stated, "To develop
future leaders, we need to encourage
the development of broad abilities beyond
technical skills. We see a tremendous
need for workers who are creative, analytical,
disciplined, and self-confident. We
need workers who can solve problems,
communicate ideas, and be sensitive
to the world around them. And at the
GE Fund we believe that hands-on participation
in the arts is one of the best ways
to develop these abilities in all young
people." 13
We all remember how the Mars Pathfinder
captured the world's attention with
images of Mars and the groundbreaking
inventions created by NASA and Jet Propulsion
Laboratory (JPL). According to JPL's
Pre-college Programs Officer David Seidel,
the Mars endeavor was essentially a
series of bold ideas, which created
a set of problems that had to be solved
through the process of creativity while
mediated by the laws of physics. He
went on to say that if we as a nation
were only to concentrate our education
and training on physics and math, we
would merely create a generation of
technicians and that's NOT what furthers
the economy or vitality of America.
14 Training in the arts nurtures the
creativity necessary for bold innovations
in science.
If the space program is trying to recruit
technicians with more artistry, the
animation industry is trying to recruit
and train artists with more technical
expertise. Its's a different perspective
of the same coin - a complete education.
Warner Bros. Feature Animation Director
of Artistic Development and Training
Dave Master narrows in on the point
that the artists they hire to conceive
and execute their animation projects
all need to receive specialized training
in technology to supplement their creative
skills. 15 These examples of looking
at two sides of a coin highlight the
point that we must provide our students
with a complete education that includes
subjects such as math and science as
well as the various arts disciplines.
Additionally, we should encourage schools
to experience teaching these subjects
in a non-compartmentalized manner so
that education more closely aligns with
real work environments.
Kathleen Dore, president of the Bravo
Cable Networks outlined the five key
traits for creating a successful workforce
in the next Millennium: 16
1. Ability to articulate a vision. Our
most talented artists must approach
their work in this way - whether it's
filmmaking, choreography or writing
a novel.
2. High tolerance for ambiguity in this
age of rapid change. The ever-changing
nature of performance and interaction
with one's audience provides an artist
with firsthand experience with ambiguity.
3. Orientation toward results. Sucsessful
managers must be able to get things
done. And they must be able to organize
resources and develop a process to reach
a goal. The arts are, of course, wrapped
up in "product" - a finished
work - and just as significantly in
the process of creating that work.
4. Spirit of collaboration and empathy.
The arts foster a keen sensitivity to
the artist's effect on those around
him or her, as well as insight into
the dynamics of human interaction.
5. Sense of play. This is the ability
to punctuate the everyday with passion
and fun. It is a necessary part of the
artist's success and, I maintain, just
as necessary a part of a productive
and fulfilling work environment.
Special Needs for In- and After-School
Arts Programs for Youth at Risk
If the lack of adequate arts education
in the schools is "inexcusable,"
then the virtual dearth of arts education
programming for poor and minority children
living in rural and inner cities is
outright alarming. Unfortunately, too
many school administrators and educators
unfairly view the arts on a class system
and stereotype these children as not
having a need to learn in the arts.
The argument goes something like this:
If the school district has limited resources,
what "these children" need
most are the basics in reading, writing
and math - the arts are not essential.
This assumption couldn't be more wrong.
These rural and inner-city children
have just as much a right to learn and
participate in the arts as wealthier
children living in the suburbs. Children
of the poor are, first of all, children;
they have the same capacity as other
children for appreciating and benefiting
from the arts. They, too, can have their
intellectual skills stretched; they,
too, can become actively engaged; they,
too, can become problem solvers and
creative thinkers. 17 On her reflections
of conducting playwright workshops for
inner-city youth in New York, Pulitzer-prize
winning playwright Wendy Wasserstein
astutely pointed out "The decision
to limit the arts is in fact elitist."
18 We need to do a better job of educating
school administrators about the extensive
new research in this area that shows
youth at-risk excelling in school and
in their social development through
arts education. All children need to
be treated equally. Every child deserves
an opportunity to be a good citizen.
We owe it to the children and we owe
it to society.
Since the Elementary and Secondary
Education Act and the Goals 2000: Educate
America Act were last authorized five
years ago, we have amassed an impressive
body of research on the power of the
arts to influence a child's educational
and social development.
Research conducted by Dr. Shirley Brice
Heath of Stanford University has shown
that at-risk students who are actively
engaged in after-school arts learning
and arts productions improve their self-esteem
and confidence, assume leadership roles
and improve their overall school performance.
This research shows that these programs
provide children with unique opportunities
to develop cognitive, linguistic, and
socio-related skills during non-school
hours. 19
Research conducted by Dr. James Catterall
of UCLA analyzed the school records
of 25,000 students as they moved from
8th grade to 10th. He found that students
who studied the arts had higher grades,
scored better on standardized tests,
had better attendance records and were
more active in community affairs than
students not engaged in the arts. Of
great interest is the fact that he also
found that students from poorer families
who studied the arts improved their
overall school performance more rapidly
than all other students. Clearly, the
arts are helping to level the "learning
field" among all students. 20
I would also refer the Committee to
the landmark Coming Up Taller report
that profiled more than 200 programs
- many of them funded by the National
Endowment for the Arts and local and
state arts agencies - that offered children,
especially children at risk, a chance
to learn in the arts and a chance to
succeed in life. 21
Evaluation Study and Replication Toolkit
for Effective After-School Arts Programs
I would like to share with you another
national study that evaluated the effectiveness
of afterschool arts programs targeted
at juvenile delinquency prevention as
well as academic achievement. I have
provided the Committee with copies of
the executive summary for this fascinating
project. The YouthARTS project has had
a dramatic impact in the two communities
that I've been involved with - Portland
and Atlanta - in deterring delinquent
behavior and giving our children hope
for the future. Three years ago, the
National Endowment for the Arts and
the U.S. Department of Justice took
the lead in jointly funding this national
evaluation project so that local arts
agencies and cultural institutions across
the nation would be able to replicate
successful arts programs to better reach
at-risk youth in their local communities.
The YouthARTS project was developed
as a national test model to rigorously
evaluate, document and disseminate "best
practice" models and "lessons
learned" of year-around after-school
arts programs specifically designed
to work with youth at risk. One of the
primary goals of this project was to
ascertain the measurable outcomes of
preventing youth from getting involved
in delinquent behavior by engaging them
in community-based arts programs. For
three years, the local arts agencies
in three diverse communities participated
in this national test model that allowed
evaluators contracted by the U.S. Department
of Justice's Office of Juvenile Justice
and Delinquency Prevention to poke and
prod at the program design, establish
and monitor control groups, and coordinate
focus group sessions. These "brave"
communities participating in the national
test model include Portland, Oregon;
San Antonio, Texas; and Fulton County
(Atlanta), Georgia.
In order to provide a community-based,
comprehensive arts program for youth
at risk, the local arts agencies in
these three test sites partnered with
their local schools and PTAs, juvenile
courts, social service agencies, and
local arts organizations and artists.
Arts programs were targeted for a range
of youth ages 11-to-17 with some having
previous juvenile records or others
exhibiting various identified risk factors.
Evaluators established two sets of groups
to monitor in each community -- one
group consisting of the youth participating
in the arts-infused programs and a second
"control group" of peers not
participating in these arts programs.
After three years of rigorous evaluation
of these programs and of the youth participants'
academic and juvenile court records,
here's what we know. As compared to
their respective control groups, the
youth participating in these after-school
arts programs demonstrated these four
measurable outcomes: 22
1. Youth involved in the program significantly
decreased the frequency of delinquent
behavior and school truancy;
2. Youth involved in the program increased
their communication skills;
3. Youth involved in the program improved
their ability to work on tasks from
start to finish;
4. The number of youth incurring new
court referrals was dramatically reduced.
Please keep in mind that the YouthARTS
project, for the first time ever, allows
us to move away from the anecdotal and
to the proof that arts programs for
youth are highly effective in deterring
delinquent behavior. For instance in
San Antonio, delinquent behavior among
youth enrolled in the arts programs
dropped 16 percent; whereas the non-arts
control group's delinquency rate only
dropped by 3 percent.
In Portland, only 22 percent of the
arts program participants had new court
referrals as opposed to the 47 percent
rate among the non-arts comparison group.
In Fulton County, 86 percent of youth
participating in the arts programs could
communicate effectively with peers by
the end of the program; whereas only
29 percent were able to effectively
communicate at the beginning of the
program. Finally, in San Antonio, the
11-to-13 year old youth participating
in after-school arts education programs
increased their ability to work on tasks
from start to finish by 13 percent.
Today, 85 percent of the participating
youth have achieved this success.
Mr. Chairman, we've all heard the alarming
statistics of how thousands of children
drop out of school every day, the highest
crime rate period among youth is the
unsupervised after-school hours of 3:00pm
to 8:00pm and that we, as taxpayers,
are spending billions of dollars annually
incarcerating these young offenders.
For this reason, the findings of the
YouthARTS research are very timely and
provide genuine opportunities for local
communities to begin to stem the tide
of juvenile delinquency with innovative,
replicable and proven programs in the
arts.
In fact last year, the United States
Conference of Mayors held a national
summit on "School Violence and
Kids from 2:00 pm to 8:00 pm."
The Mayors' National Action Plan specifically
called for more support of arts and
music programs for kids because they
increase learning skills, help reduce
violence and truancy and give kids a
positive outlet for self-expression.
23
In order to share the best practices
documented in the YouthARTS project,
the National Endowment for the Arts,
Americans for the Arts, the three local
arts agency sites and several corporations
and foundations have funded the creation
of the YouthARTS Toolkit. This multi-media
toolkit includes both training and presentation
videos, a comprehensive step-by-step
handbook for replicating programs, and
a computer diskette providing communities
everything from sample curriculum materials
and parental consent forms to evaluation
and artist training guidelines.
In the most recent survey of the nation's
county officials, the National Association
of Counties (NACo) found that problems
dealing with juvenile delinquent behavior
and at-risk youth ranked among the top
10 concerns in counties across America.
NACo President Betty Lou Ward, stated
"Prevention is better than prosecution
any day. That's why we've made the arts
a priority. We can really see how arts
programs for young people impact character
development, making for better schools,
healthier families and a stronger workforce."
NACo has purchased 250 copies of the
YouthARTS toolkit for distribution to
counties across America.
As I first wrote when the Arts Standards
were adopted, "This is not to say
that the answer to violence in the schools
is arts programs; it is to say that
children have been shown to respond
positively when expectations - such
as those provided by the Standards -
are raised....Well-rounded arts programming
can only increase the likelihood of
success with these problems." 24
Conclusion and Policy Recommendations:
In conclusion, I believe that public
and private sector leaders at the national,
state and local levels need to step-up
their support for integrating the arts
into a comprehensive strategy to provide
children with a complete education.
It is abundantly clear that all segments
of the community must be engaged and
must partner with local school districts
to make this happen. I believe a complete
education involving the arts must include
both high-quality, sequential instruction
in the classroom as well as participation
and learning in the arts in the community.
In order to step up efforts to get arts
education back into the schools and
to place it at an equal par with other
subjects, I encourage this Committee
to add special language throughout the
proposed Educational Excellence for
All Children Act that would help local
education agencies and administrators
understand that arts education is recognized
as one of the core subject areas and
that arts education should be strongly
considered in delivering comprehensive
educational services in their school
districts. From teacher training to
educational services for the underserved,
the arts need to be encouraged so that
we educate all our children with the
democratic values that we so strongly
hold dear.
Specifically, I would recommend the
following policy recommendations:
1. Re: Title 10, Part D, Subpart 1,
expand authority to include support
for collaborative activities and partnerships
at the local and state level, in addition
to activities at the Federal level.
Moreover, eligible recipients should
specifically be expanded to include
local and state arts agencies.
2. Re: Title 10, Part D, Subpart 1,
expand authority to specifically encourage
more partnerships at the national level
among national arts, civic, business,
policy and education organizations in
order to increase emphasis on arts education,
encourage bottom-up local partnerships,
conduct and disseminate arts education
research, and help to finally connect
America's public attitudes of broad
support for the arts and arts education
with the local decision-makers who control
public and private funds for education.
3. Re: Title X, Part D, Subparts 1 and
2, maintain strong support for the continuation
of arts education programs as they provide
assistance in reaching special education
students and at-risk youth. The suggested
merging of authority of these programs
will make it easier for districts and
cultural groups to work with the Department
of Education. However, we would encourage
that you add important findings related
to the new research that I've outlined
today in working for youth at risk as
well as encouraging replication efforts.
4. Re: Title II, Teaching to High Standards,
will support state and local efforts
to help all students achieve challenging
state academic standards by giving teachers
the tools they need to raise student
achievement. The infusion of the arts
into our regular classrooms will take
new forms of teacher preparation, both
pre-service and in-service. We should
insist that teaching the arts is basic
to quality teacher preparation and to
the success of a well-educated child.
5. Re: Title V, the increased emphasis
on programs of choice is supported by
communities, especially of programs
of choice in the arts. However, we need
to find resources to expand and grow
these programs to respond to the demand
in our community, which this reauthorization
may help do.
6. Re: Title X, 21st Century Community
Learning Centers, add language and more
emphasis and incentive for providing
support for after-school and summer
arts education programs, such as the
ones highlighted in the YouthARTS project.
Perhaps special authority could allow
funds to be used to educate more school
districts about the vehicles of capitalizing
on 21st Century Community Learning Center
funds for arts education programs.
7. Re: Title I, add language that specifically
recognizes that the arts address the
needs of the traditional Title I population.
Arts offer avenues of success for students
who are not achievers in the traditional
ways - the arts help to level the "learning
field." Spotlighting arts education
as an eligible program will help educate
local school adminstrators to think
"out of the box" in terms
of educational services to this population.
8. Re: Title IV, Safe and Drug Free
Schools, add special emphasis to how
the arts have been shown to be a successful
medium for teaching skills for drug
abuse and violence prevention.
Footnote References
1. Dr. Howard Gardner, Harvard University.
Frames of Minds, 1983.
2. Martha Farrell Erickson, Director
of University of Minnesota's Children,
Youth and Families Consortium. Presentation
at Americans for the Arts' National
Youth Arts Forum in Atlanta on June
7, 1999.
3. Dr. James Catterall, UCLA. Different
Ways of Knowing: 1991-94 National Longitudinal
Study Final Report.
4. Videotape presentation at Americans
for the Arts' National Youth Arts Forum
in Atlanta on June 7, 1999.
5. The 1997 NAEP Arts Report Card,
released by the U.S. Department of Education
on November 10, 1998.
6. First Lady Hillary Rodham Clinton,
Recognizing the Power of Arts in Education,
September 17, 1998.
7. Gaining the Arts Advantage: Lessons
from School Districts that Value Arts
Education, released by the President's
Committee on the Arts and the Humanities
and the Arts Education Partnership on
March 3, 1999.
8. The Arts Enrich Us All is a three-year
public service announcement campaign
(1997-2000) co-produced by CBS and Americans
for the Arts.
9. Start Smart is a multi-year public
service announcement campaign (beginning
in 1998) co-produced by the Bravo, the
Arts and Film network and Americans
for the Arts.
10. Gaining the Arts Advantage: Lessons
from School Districts that Value Arts
Education, released by the President's
Committee on the Arts and the Humanities
and the Arts Education Partnership on
March 3, 1999.
11. Local Arts Agency Facts, March
1998. Monographs series by Americans
for the Arts.
12. Effects of Arts Education on Participation
in the Arts, 1996. National Endowment
for the Arts, Research Division Report
#36.
13. Jane Polin, GE Fund. It IS Your
Business: The Role of the Private Sector
and the Arts in Preparing the Workforce
of Tomorrow, Americans for the Arts'
National Youth Arts Forum in Atlanta
on June 7, 1999.
14. David Seidel, Jet Propulsion Laboratory.
Americans for the Arts' National Youth
Arts Forum in Atlanta on June 7, 1999.
15. Dave Master, Warner Bros. Animation.
Americans for the Arts' National Youth
Arts Forum in Atlanta on June 7, 1999.
16. Kathleen Dore, Bravo Networks.
Americans for the Arts' National Youth
Arts Forum in Atlanta on June 7, 1999.
17. Dr. Benjamin O. Canada, Building
Support for the Arts Standards among
School Administrators, Perspectives
on Implementation. Published by Music
Educators National Conference, 1994.
18. Wendy Wasserstein, The Nancy Hanks
Lecture on Arts and Public Policy, Americans
for the Arts, March 22, 1999.
19. Dr. Shirley Brice Heath, Stanford
University. Living the Arts Through
Language+Learning: A Report on Community-Based
Youth Organizations, November 1998.
Monographs series by Americans for the
Arts.
20. Dr. James Catterall, UCLA. Involvement
in the Arts and Success in Secondary
School, October 1997. Monographs series
by Americans for the Arts.
21. Coming Up Taller, 1997. President's
Committee on the Arts and the Humanities
and Americans for the Arts.
22. YouthARTS Project Executive Summary,
1999. Caliber Associates for United
States Department of Justice.
23. National Action Plan on School
Violence and Kids from 2:00pm to 8:00pm,
adopted by the United States Conference
of Mayors, September 24, 1998.
24. Dr. Benjamin O. Canada, Building
Support for the Arts Standards among
School Administrators, Perspectives
on Implementation. Published by Music
Educators National Conference, 1994.
AMERICANS FOR THE ARTS 1000 Vermont
Avenue NW
12th Floor
Washington DC 20005
phone: 202.371.2830
fax: 202.371.0424 One East 53rd Street
New York, NY 10022
phone: 212.223.2787
fax: 212.980.4857
