Within the past 20 years, the arts have gained increasing prominence in educational discourses as well as public arenas. At the same time that traditional genres of art (e.g., music, visual art, and performance) are being taught as part of school curricula, the study of the arts in education has taken on new venues in supporting learning and teaching through technology and multimedia (Carey, 2005; Eisner, 2002; Flood, Heath, & Lapp, 2005). These new foci are especially critical in bridging the local and the global, and in linking cultures and worlds across age, time, and space that in earlier periods in history would have been virtually impossible to connect. Moreover, they portend opportunities for enhancing learning and improving pedagogy and practice (Bresler, 2001; Bresler & Ardichivili, 2002). They call attention to the ways in which these opportunities are constructed across place and culturally diverse groups, how knowledge (and what counts as knowledge) is defined and shaped within and outside of formal classrooms, and the ways in which reciprocal relationships across different settings are (re)formed and sustained. In short, they prompt us to examine critically how patterns of practice in areas outside of the arts are supported through the arts. They urge us to take up questions about the role the arts play in linking students’ knowledge outside the classroom with the knowledge gained through the official curriculum and, in turn, about how such knowledge contributes to the formation of student and teacher identities. This chapter focuses on the arts within a social–cultural–contextual framework, examining their role as a (re)source in educational theory, research, and practice. Rather than highlighting individual disciplines within the field, typically referred to as “the arts,” the chapter is concerned with the changing nature of the arts and what counts as the arts.1 The chapter has a six-part structure that begins with an overview of issues that are central to redefining the relationship of the arts and education. This is followed

/pdf/the-arts-and-education-knowledge-generation-pedagogy-and-the-4ulvzn8sm6.pdf

The Arts and Education: Knowledge Generation, Pedagogy, and the Discourse of Learning.

"How do we find ways of interacting and working together across professions, ideologies and subject areas across the school curriculum?" This question, posed to me by the ISME committee, begs the larger question of whether indeed we should collaborate, and why. In my studies, I have found that even when schools were committed to arts integration, of all school teachers - arts and academic subjects included - music teachers are typically the least likely to participate in collaboration. This was particularly glaring in the high school that had the most successful and exciting arts education program I have ever seen. This school, in Washington State, integrated the arts into every imaginable subject - from physics and math to French and Chinese. The only teachers who were not involved in the whole school endeavor were the music specialists. In another, Midwestern school district that included six elementary schools, all arts specialists collaborated closely to develop and implement an impressive integrated curriculum, except some of the music teachers.1 Who were these integration holdouts? Were they mean, evil spirited, ignorant saboteurs? On the contrary. They were knowledgeable, intelligent, dedicated, friendly educators and often well-liked by their students. Therefore, their reluctance to collaborate in such highly collaborative environments is all the more puzzling. In fact, it makes us wonder whether these teachers may have seen what the rest of the school missed: that unlike other disciplines, music could not or should not be integrated into the rest of the curriculum. Disciplinary isolation is not restricted to schools, but is often characteristic of

Out of the Trenches: The Joys (and Risks) of Cross-Disciplinary Collaborations

geopolitical entities, nationalism, networks of international influences, topics, or themes each might provide a framework or be combined to shape international history. Following Pearse’s (1997) speculation about the history of Canadian art education, one might use a geographical, political scheme (examining art teaching and learning in turn in European, North and South American, Asian, Australia and Pacific Island, and African countries) or structure a story into historical periods. Such periods might include: (1) a prehistory of informal means of art education up to the Renaissance in European-dominated nations, roughly ca. 100 BCE-ca. 1600, later in the Pacific Rim or tricontinental sites (Young, 2001, 2003)1; (2) artist education and liberal art education for elite amateurs in the context of national formation, ca. 1600–1800; (3) emerging capitalism and middle-class aspirations, ca. 1800–1850 and later; (4) industrial drawing systems, dominated by South Kensington in English-speaking countries and colonies, ca. 1850–1910; (5) ideology of the self-expressive child artist, ca. 1910–1960; (6) turn toward intellectual rigor, ca. 1960 to the present. A third way of framing an international history of art education might be in relation to forming or maintaining national identity, a theme found in a number of written histories (Arano, 1992; Boschloo, 1989; Kraus, 1968; Masuda, 2003; Petrovich-Mwaniki, 1992). A fourth approach might be to map the complex web of influences from Western to the Pacific Rim and tricontinental countries, and, in some cases, back again (Barbosa, 1992; Boughton, 1989; Chalmers, 1985, 1992b; Foster, 1992; Okazaki, 1987, 1991, 1992; Rogers, 1992; van Rheeden, 1992). Freedman and Hernandez identify several waves of European influence on international art education, and, like Efland, position art education as a school subject, making history of art education a subset of curriculum history (Efland, 1990; Freedman & Hernandez, 1998).

Capitalizing Art Education: Mapping International Histories

The creative economy discourse now informs both cultural and development policies around the world. Virtually every country now uses the concept in politics, policy, advocacy, and practice. My aim is to show what this uptake means in conceptual and empirical terms. Through an ethnography of the music industries in Burkina Faso and Ghana I explore the changing meaning and position of ‘culture’ in cultural and development policies in both countries. How does the creative economy discourse help the pursuit human development, if at all? What does this discourse mean precisely? And, most importantly, what should it mean to develop cultural industries? 
Overall, my dissertation frames this issue broadly and narrowly. The narrow focus is on the situation in Ouagadougou and Accra, capital cities of respectively Burkina Faso and Ghana. The particularities of these countries serve as examples to simultaneously build and illustrate the argument. Yet, the scope extends well beyond this: the aim at large is to ask questions that can be asked beyond these countries. Even though they may yield different answers around the world, I hope they will help to critically understand and use the hegemonic creative economy discourse. 
The originality of my dissertation work is threefold. First, I link cultural policy studies with critical development studies. I do this by connecting cultural industries to the human development approach of Amartya Sen and Martha Nussbaum by exploring the link with ‘capabilities.’ Second, I provide empirical insight in the particularities of the music industries in Burkina Faso and Ghana, as both countries are nearly ab-sent from the literature. Third, I provide a theoretical framework to rethink the way cultural and creative industries can be inscribed in cultural policies and development plans by including the cultural and historical palimpsest of existing practices that both enables and limits change.

From cultural development to culture for development : the music industries in Burkina Faso and Ghana

Developing Cultural Industries: Learning from the Palimpsest of Practice

(2000). Re-thinking Arts Education in Ghana. Arts Education Policy Review: Vol. 101, No. 5, pp. 25-29.

Re-thinking Arts Education in Ghana

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Re-thinking Arts Education in Ghana