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VI 3 (3) pp. 483–494 Intellect Limited 2014

Visual Inquiry: Learning & Teaching Art Volume 3 Number 3

© 2014 Intellect Ltd Article. English language. doi: 10.1386/vi.3.3.483_1

Laura K. reederMassachusetts College of Art & Design

Wake up call: advocacy in the

arts education ecosystem

abstract

This manuscript appeals to arts education leaders to consider how their current advocacy messages may be missing an emphasis on learners who are excluded from access to any artistic learning in public education. I make a personal call for more critical and human-centered messages by drawing on exchanges among artists, learners and teachers. Maxine Greene’s theory of wide-awakeness is animated as an accessible advocacy theme in the form of four letters: one to the editors of this journal, one to a school board commissioner in a struggling urban district, one to a national arts advocacy leader and one to Maxine Greene. Issues of messaging are examined as part of a dynamic ecosystem among academic, policy and practice-based perspectives.

Letter for a young artist

Advocacy work engages individuals in bringing their voices to power. Artistic work also engages individuals in bringing their voices to power. As an arts education advocate for many years, I have found that writing a letter is a provocative and familiar power tool for engaging diverse participants in using their voices for shared and meaningful messages. This set of letters empha-sizes the value of keeping our voices critical and clear as we forge new path-ways for rich artistic learning in our future.

KeyWords

arts educationadvocacyaccesscritical pedagogyvoicewide-awakenesspolicysocial justice

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Letter #1: LooKing bacK

Your major message for me is Wake Up!(Elliot Eisner to Maxine Greene in Lake 2010: 72)

Saturday, 14 June 2014Dear James and Ami,

This manuscript was once a comprehensive set of ideas that responded to your key question by outlining serious advocacy challenges to contemporary arts educators in the context of creative leadership. But, it is now a series of personal letters. It still does the promised work, but I changed the form and focus after travelling to and from a national meeting of arts education advo-cates during the final days before our deadline. I am now sitting in front of post-it notes, photographs, letters and collages born of that meeting that represent the voices and issues of our field, and these letters include the complexity of their content.

This manuscript for a Visual Inquiry journal special issue on creative lead-ership once provided a series of recommendations from my research on criti-cal communities of practice in contemporary arts education ecosystems. It called out the racism and bigotry that persistently reduced learning to mere schooling for at least half of our children. It began with statistical data to illus-trate growing gaps and disparities in quantities and qualities of arts education. I began by referencing an article on arts education policy that was written by Elliot Eisner at the turn of the twenty-first century (2000). I chose Eisner because he was so skilled at crafting cohesive messages that could be grasped and used immediately by my beloved communities of artist, learner and

Figure 1: Elliot Eisner, Maxine Greene, data from the National Endowment for the Arts (NEA) (2008) Survey of Public Participation in the Arts, Blue-eyed Obama exquisite corpse and advocacy notes from Americans for the Arts: Arts Education Town Hall Meeting (2014).

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teacher friends. His memorable ‘Ten Lessons’ (2002) and his unembellished language provided structure with a cadence that subtly resisted standardiza-tion. He embodied the kind of leadership and advocacy that was able to move education researchers to pay closer attention to the arts. I had even woven my own research with Maxine Greene’s theory of wide-awakeness (1977) into the article as a signature gesture towards the lessons in social justice and resist-ance to problematic systems that our field is learning from teaching artists.

Yet as I was finalizing and editing the article, I was overcome by a degree of apathy that belies advocacy. I realized that I had developed a repetitive and centralizing message with language that was passionless, albeit fairly common among literature on arts education advocacy. I called for resistance to restric-tive standards. I proposed that the field of visual art education question our own authority and expand our reach beyond schools. Because it was a familiar and perennial message to our field (Efland 1976; McFee 1991; Lackey 2009), my message was overly comforting and simplistic.

I could not ignore a growing ‘cotton wool’ sense of passivity and boredom that the words of Maxine Greene (2001: 7) had warned me against in the past. I was writing thousands of words while saying nothing that made my heart race. In my years as a teacher, artist and eventually as a public advocate for arts education, I have found that the products of good advocacy work can synthesize or reduce complex information into practical terms. This is inten-tional so that many voices and perspectives can be addressed. However, those products also run the risk of cleansing a message of meaning. Such messages rarely move me in the way that art moves me. Yet, I have devoted a quarter of a century to participating in the very moving work that happens along the way in arts education advocacy. The steps that we can take as arts educators towards meaningful advocacy of creative leadership and origination of public policy are not necessarily going to be in new directions (Giroux 1992; Jaffe 2014; Katzew and Katzew 2011). I think we need to pay closer attention to what is already there.

For over a decade since Eisner reminded us to get moving; arts educa-tion practitioners and policy-makers have taken many steps to advocate for better qualities of arts education. We are now better at asking for input from the field. Visual, dance, theatre, music and media arts professionals recently collaborated across disciplines on a dynamic new set of shared standards for arts learning (SEADAE, 2014). But in my heart of hearts, I believe that our steps have not amounted to the kind of walking that forges more relevant pathways for our children. I worry that artists and teachers, and the schools and institutions that engage them have all been distracted by gaps, deficits and standards. We may have developed better information, or more rigorous methods or content that values cultural contexts, but we are currently reach-ing fewer learners with that information now than at any time in our history.

The difference between writing a manuscript for an academic journal at my desk and crafting advocacy messages for use by a field of practitioners became incredibly evident as I moved from one context to another. My academic writ-ing was rich with data and theory. Ideas flowed into form and then took their place in a logical structure. My advocacy work was less structured, but when I returned to this manuscript I found that the most urgent ideas about advo-cacy for our field were less accessible in the density of the text. So, because we are a field of artists, and our research embraces multiple forms of expression (Rolling 2013; Barone and Eisner 2012), I have reformed my response to your key question on public policy and institutional practices into these letters. This

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1. In the United States today, only 26 per cent of African American and Hispanic children have regular access to any arts education. This compares to over 57 per cent of white children (Rabkin and Hedberg 2011). Similar studies have revealed that while arts education policy-makers are engaged in improving national standards for the arts, those standards will be implemented primarily with white, middle-class children in schools that are already high-performing (President’s Committee on Arts & Humanities 2011; Catterall et al. 2012; Parsad and Spiegelman 2012; NEA 2013).

one is the first. Advocacy requires action. I hope that this set of responses inspires more.

Thank you for your consideration of this text.Laura

Letter #2: considering the present

The arts opportunity gap is widest for children in high-poverty schools. This is absolutely an equity issue and a civil rights issue.

(Duncan 2012)

Wednesday, 11 June 5:00 p.m.

Dear Bill,

I am so worried about the students in your schools. I know that you are preparing for a very difficult school board meeting tonight. Exhausted teach-ers are coming to you and your fellow commissioners to deliver a message of no-confidence in leadership that they consider to be limiting and unfair. The attorney general and the state and federal authorities are urging your school leaders to apply even more specific programmes and requirements to the way teachers do their work. Families are determined to support the superintend-ent because she champions the rights of their children, but they also want to support the teachers who care for their children every day. There are so many conflicts bound up in your evening. I know that you care so deeply about each voice here.

I am still sitting on this plane. Stuck on the runway. Heading towards a different kind of public meeting about arts education advocacy. Sorry that I will not be there when you face the furies of your constituents. Not sure what I would do anyway.

How can I advocate for arts education at all when the basic needs of our students are not being met in their schools? Startling statistics demon-strate that children of brown or black skin or lowest socio-economic status are deprived of artistic learning that is relevant to them in deference to extra time drilling for standardized assessments that were developed at a publish-ing company. I know that we have talked about the linked realities of our roles in the ecosystem of education. Your schools in upstate New York are seeing no end to racial, economic and social disparities. Across the nation we are exclud-ing more than half of our children from arts education experiences.1 This is in and out of schools. Perhaps we are wrong to separate our fields into arts or non-arts categories. Perhaps it should be more about categories of human interest and need. If one student needs music, then she should have it. If a teacher is passionate about science, then she should use it. If a whole school or organization is devoted to community issues, then they should indulge deeply in them. But of course, that is not assessable on a large scale.

Your public meeting will be charged with emotions. People who feel unheard may have an opportunity to be heard. Racism and exclusion will be in the room. Louder messages may drown out quieter ones. Powerful and organ-ized groups may have greater presence than individuals. But I hope that you can see the possibilities somewhere in the midst of all that passion. I know that this seems like the least likely moment for a song, a dance or an image.

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This short poem may be a memento to keep in your pocket as you face the people who want some form of justice or human response.

‘Passing Time’Your skin like dawnMine like muskOne paints the beginningof a certain end.The other, the end of asure beginning.

The poem was written by Maya Angelou in 1975. It may be more of a rela-tionship poem than a poem about education or art or advocacy. But, the subtle references to difference, to humanness, and to endings and beginnings may remind you of your priorities. It is also a way to resurrect the voice of an advo-cate who used art to overcome fear and inequity. There is a hint of love in this poem. I know that we have mused a lot about ways to bring ideas of basic love and kindness into our education work. Perhaps now is the time to rehearse such words as we step into our respective meetings.

I will text you when I land.Laura

Whoops. After two hours idling on the LaGuardia airport runway, our flight was turned back to the gate and cancelled. I guess I will not get to my meeting until tomorrow sometime. Call me after your meeting.

Figure 2: Rate of childhood arts education by race from 1982 to 2008.

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2. In the book, Dear Maxine: Letters from the Unfinished Conversation with Maxine Greene (R. Lake, 2010), Sonia Nieto situated letter writing for education researchers as an act of inclusion. She wrote, ‘The power of the epistolary genre resides in precisely this: it makes a private act public, and it gives others access to insights and wisdom that might otherwise be inaccessible to them’ (2010: xi). This statement reminded me that the emotional and social conversations from our policy meetings rarely make it to our advocacy messages. Yet, those very conversations are the ones that help participants to feel empowered as they leave such policy-driven sessions.

Letter #3: pLanning for tomorroW

Art can’t change the world, but it can change someone who can.(Maxine Greene to Graeme Sullivan in Lake 2010: 151)

Wednesday, 11 June, 9:00 p.m.

Hello Jeff,

My flight to Nashville was delayed tonight. I guess I will get to the Americans for the Arts meeting site by 10:00 a.m. tomorrow. It is a good thing that we did such thorough advance planning. Facilitation is different from presen-tation. If I were presenting, then I would not have to know as much about the ongoing conversation among participants. I will miss Ayanna’s opening remarks at the beginning of the meeting tomorrow. I intend to enter into the conversation by using her emphasis from the National Endowment for the Arts (NEA) on the collective impact that can be made through sustaining and growing networks among artists, learners, teachers and organizations in the field.

My own research on critical communities of practice among teaching artists in their widely diverse teaching settings (Reeder 2014) shows evidence of a similar need from our grassroots folks for sharing stories for collective impact. I look forward to working with our ‘grasstops’ advocates who have arrived at their positions of leadership in schools, civic and arts organizations from previous experience as arts educators and teaching artists. Our day and a half of exploring case studies and testimonials of success and struggle will provide a balanced perspective between people who are in practice-level and policy-level worlds.

Racing from gate to gate and negotiating with people in the airports today has left me with little time to do any meaningful writing on that Visual Inquiry article we talked about. Instead, I have been thinking about the letter-writing exercise we planned as an evaluative measure for the end of the meeting on Friday. Letter writing is such an intimate but direct way for individuals to share important perspectives with others outside of their own sphere of influence.2 I know that the new and veteran advocates in our session will write letters that can both synthesize their complex ideas and adjust the voice of their ideas to speak directly to people that may not ever be in the same room as us. Hey! Perhaps we can use that ‘spheres of influence’ graphic of yours to help folks consider who the best recipient of their letter might be. The participants in our meeting are already experienced at writing letters of appeal to funders, to legislators and to constituents. Lucky us, we get to do the work in between research and practice!

OK, more tomorrow. I am scheduled for the first flight in the morning. Best,Laura

The spheres of influence graphic resonates with other representations used by sociologists (Clarke 2005) and education researchers (Seidel et al. 2009) who want to illustrate power relationships of individuals to larger world systems. It is an excellent example of social science research that can influence practice through advocacy.

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Letter #4: imagining a future

Friday, 13 JuneDear Maxine,

Reading this book of letters (Lake 2010) from the unfinished conversations on artistry and learning and love that you so confidently began with your own voice years ago, has been helpful to me as I move from my academic world, to my advocacy world, and then back home to my artist and family world. I am flying home right now after meeting with artists and teachers who became cultural leaders when their Midwestern schools eliminated all of the arts education programmes in the name of economic security. I ate break-fast with funders who are fiercely devoted to arts education and who desper-ately want data to make the case to trustees for continuing their support. I rode a bus to a public school and heard young people describe how music saved their lives.

When we were done with our shared work, we sat down and wrote letters to people outside of our regular spheres of influence as a way to share our experience and to advocate for new steps towards a more dynamic arts education ecosystem. They were humble and personal letters. Not quite written for any publication. But they were fully conscious letters. They were letters that expressed responsibility for self and other. My letter is, of course, to you.

Figure 3: Spheres of Influence: Americans for the Arts (2012).

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In the book of letters that was dedicated to your lifetime of important work (Lake 2010), Elliot Eisner wrote to you about the differences and similarities in your work. He noted that you shared a belief in qualitative research and the expression of ideas through art. He explained the difference between your voices when he wrote, ‘Your work, I think, has more mystery than mine’. He added, ‘We are so bullied about by technocratic conceptions and bureaucratic regulations that your words to countless educators are an enormous relief’. He admired your poetic expression in a field of theory writers, ‘You have not been afraid to write about education using a language that is sometimes hard to nail down, you’re more interested in opening up’. He finally shared how you influenced and inspired him. He said, ‘Your major message to me is, “Wake Up!” That signal is particularly important today’ (2010: 72).

When Eisner proposed action on the threshold of our new millennium, we were already in the middle of a decade-long decline in access to artis-tic experience. That decline began in 1982 with the advent of standardized curricula. Current Secretary of Education, Arne Duncan, reintroduced this data to the public by saying, ‘The arts opportunity gap is widest for children in high-poverty schools. This is absolutely an equity issue and a civil rights issue’ (2012). Nevertheless, we are still heading backward over old pathways of racism and segregation with a shameful disregard for the students who are excluded from the innovative curricula and policies that our field is so proud

Figure 4: Message sharing at our town hall meeting: Americans for the Arts (2014).

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of. This means that when we craft excellent new approaches to arts education, it is available to less than half of the children in our schools! But, we are still following familiar and over-worn pathways of a failing education system. We are not stepping boldly anywhere.

I want to open up alternative pathways to more socially just and mean-ingful arts education leadership and policy that are desperately needed now. I also propose that pathways become more accessible when we encourage what I call critical communities of practice to be intentionally formed among learn-ers, practitioners and policy-makers. Maxine, your major message to me, as I zigzag between my academic voice, my artistic voice and my advocacy voice, continues to be ‘Wake Up!’.

I know that like you, I use a language that is hard to ‘nail down’. I do not presume to have the breadth or depth of wisdom that you have and I certainly am not using this as an excuse for sloppy writing. I just know that whenever I find myself writing towards solutions and clean sound bites, I want to scribble all over them and start again. In an exchange with Teachers College professor Janet Miller you said,

In attending to how things could be otherwise, I don’t ever want to sound like I have a ‘solution.’ But, I keep trying to choose the possible against the limits, because I am most afraid of numbness.

(Lake 2010: 163)

You made it more specific to your well-known theoretical stance when you said,

So, wide-awakeness, for me, is not just awareness, but more like Freire’s ability to name the world and act on it. I am so concerned about apathy, withdrawal, paralysis.

(Lake 2010: 160)

I am writing to you for reassurance, or perhaps permission to recommend that arts education advocacy today seize upon its ability to take a position and freely act on it (Rabkin 2013; Shuler 2014), instead of nailing it down to one paralysing statement. I believe that we have spent many, many years trying to nail down specific messages and themes that might unify our diverse voices. But, the standardization, categorization and cleansing of rich dialogue from our advocacy work is just not working. I believe that it is time to open up.

Thanks Maxine, for providing me with an opening to this next unfinished conversation. Stay in touch.

Warmly,Laura

Maxine Greene and Elliot Eisner both died this year as I was beginning to write this manuscript. While I did not know Eisner personally, his research influenced some of my earliest and best work as an art teacher. I met Maxine Greene at Lincoln Center when I was expanding my career as a teaching artist and education advocate. Over the years, her practical and passionate voice resonated deeply with me when I was confronted with inequities of stand-ards-based educational design. I realized that I was not against standards. I

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was simply aware that when we focus on standards and not on human need, it is easy to overlook whole groups of people.

Our field of artistic thinkers and doers has a unique knowledge and richly human authority to lead education in bringing students back to the true centre of our activism. The National Research Council provided a report in 2000 to promote a foundation for twenty-first-century education as student-centred, cognitive and social (Bransford et al. 2000). In the Teaching Artist Research Project (TARP), interviews with teachers, teaching artists and cultural educa-tion practitioners showed that arts-based learning was rich with student-centred, cognitive and social knowledge gains (Rabkin et al. 2011). It was especially effective with and important to students from non-dominant group, economically challenged social contexts where access to arts-based learn-ing is significantly reduced (Rabkin and Hedberg 2011). Recently, Deborah Meier made a call to the field for aesthetically rich stories and voices from the field as ‘alternative data’ (Schniedewind and Sapon-Shevin 2012: xi) to demonstrate how learning looks through a non-standardized lens. I agree with her.

I believe that it is time for arts education to provide more alternative data: stories, voices, letters, songs, dances, poems and pictures to resist losing what the arts do best in education.

references

Americans for the Arts (2012), ‘The arts education field guide’, Washington, DC. http://www.AmericansForTheArts.org/go/FieldGuide. Accessed 20 May 2014.

Angelou, M. (1975), Oh Pray my Wings are Gonna Fit me Well, New York: Random House.

Barone, T. and Eisner, E. (2012), Arts Based Research, Sage: Los Angeles.Bransford, J. D., Brown, A. L. and Cocking, R. R. (2000), How People Learn: Brain.

Mind, Experience and School, Washington, DC: National Academy Press.Catterall, J., Dumais, S. and Hampden-Thompson, G. (2012), ‘The arts and

achievement in at-risk youth: Findings from four longitudinal studies’, research report #55, National Endowment for the Arts, Washington, DC.

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Freire, P. (1970), Pedagogy of the Oppressed, New York: Continuum.Giroux, H. (1992), Border Crossings: Cultural Workers and the Politics of Education,

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State Education Agency Directors of Arts Education (2014), National Core Arts Standards. Dover, DE: State Education Agency Directors of Arts Education.

suggested citation

Reeder, L. K. (2014), ‘Wake Up call: Advocacy in the arts education ecosystem’, Visual Inquiry: Learning & Teaching Art 3: 3, pp. 483–494, doi: 10.1386/vi.3.3.483_1

contributor detaiLs

Laura K. Reeder is an Assistant Professor of Art Education at Massachusetts College of Art & Design. She is the Instructional Resources Coordinator for Art Education, the journal of the NAEA, and she founded the national ALT/space blog with Teaching Artist Journal. Laura facilitates arts education projects with Kennedy Center, Americans for the Arts, NY State Council on the Arts, Eastern Suffolk BOCES (USDOE) and more. Her publications and research emphasize critical and social approaches to arts in education. Laura has been a K-12 art teacher, museum educator and teaching artist in Boston, MA, and Syracuse, NY.

Contact: Massachusetts College of Art & Design, 621 Huntington Avenue, South 205A, Boston, MA 02115, USA.E-mail: lreeder@massart.edu

Laura K. Reeder has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format that was submitted to Intellect Ltd.

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