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2010

Articulating the Value of Arts Education to Corporate Funders
March 4, 2010

By Jason Pugatch, Associate Director, Young Storytellers Foundation

It’s one of the great anomalies of our society that the arts are both valued and underfunded; both praised and looked upon as a frivolity.  A Harris Poll found that 93% of Americans find arts education to be a vital part of a well-rounded education. A visit to the opera or a museum opening continues to carry social caché.

Yet, when it comes to putting corporate money where the mouth is, many are unwilling to fund something as seemingly nebulous as the arts. One of the reasons for this is that quantifying the arts, and program impact isn’t easily summed up in an end-of-year-spreadsheet. How do you put a number on growth of self-expression, confidence and an increase in creative thinking?

You don’t. And as a non-profit vying for corporate funding in the arts, this can feel like an extreme disadvantage. So, it is our job to become “values” advocates as well as arts educators. One of the best means of pursuing this line of advocacy is through volunteerism, which offers a direct connection between arts education and corporate resources.

At the Young Storytellers Foundation, we’ve taken an immersion approach to funding. Because we’re a volunteer organization, we begin any...

Are Public-Private Partnerships the Way Forward?
February 4, 2010

In recent years, the Pasadena Unified School District (PUSD) has put together an innovative program called My Masterpieces: Discovering Art in My Community, which capitalizes on local art institutions through field trips and specifically co-designed K-6 visual art curriculum. With California facing a fiscal meltdown and harrowing cycles of budget cuts, we wondered if these kinds of public-private models offer a viable way to build sustainable arts education programs. We spoke with Marshall Ayers, the Arts Education Coordinator for the district, to learn more.

Alliance: Were there existing relationships with local art institutions before the partnership?

MA: There were long-standing relationships with many of the local institutions. But the programs varied from school to school, depending on if there was a strong interest among parents or an individual principal. We had students accessing some cultural institutions, but it was in a more or less random manner. We hoped curriculum based partnerships could address issues of equity and access.

Alliance: How did the partnerships get started?

MA: At a recent training for arts coordinators, evaluator Lynn Waldorf said, “When you don’t have...

A College Freshman Returns to her High School to Champion Arts Education
January 20, 2010

San Francisco State University freshman, theatre major and poetry slam champion, Jasmine Williams, talked to us about why she returned to her high school to talk to the next generation about a career in the arts.

Alliance: What got you so passionate about the arts?

JW: Well to be honest, when I first signed up for a theatre class in tenth grade, I took it because I just needed a few more credits and I figured it would be easy. But then, when I got in there I got introduced to all this new stuff – improv, performing, writing — that’s when I started writing poetry, and I grew to love it.

Alliance: Was it harder than you thought it would be?

JW: Yes! The teacher expected us to really work for the class! We had to write our own plays and put them on at the end of the semester. We had to do our own lighting, costume design –- whatever the audience saw, came from what we did. If we wanted to look good, we had to make ourselves look good.

Alliance: But since you were there they’ve cut most of the arts classes?

JW: Yup. No more theatre or dance, and the band is gone, too.

Alliance: So what made you go back and talk to students there about a career in the arts?

JW:...

2009

Theatre & Dance Credentialing: The Time is Now
October 7, 2009

Recently, Kathy Lynch, the Alliance’s legislative advocate, and I met with the California State Commission on Teacher Credentialing. After taking input from professional dance and theatre instructors from across California, we wanted to make the case for separate credentialing of dance and theatre instructors. Why? Because until we treat all four arts disciplines – visual art, music, theatre, and dance – as distinctive disciplines with their own methods and modes of learning, California students are missing out on the full benefits of arts learning under the guidance of professional, highly qualified instructors.

Ever since around 1970, there has been no single subject credentialing for dance and theatre teachers in California. The impact has been that while 88% of secondary music teachers and 84% of visual arts teachers meet the standards for being “highly qualified” in their respective fields, only 36% of dance teachers and 55% of theatre teachers are similarly qualified.

The Alliance often frames our goals in terms of quality, equity and access to arts education.  The debate over teacher credentialing goes to the heart of what we mean when we talk about access. Without professional credentials in these...

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