Education in the Arts Is an Education for Life.

Abstract

Ms. Perrin points out that of every stripe are people who share qualities such as imagination, the capacity to work hard, and personal vision -- qualities that will be sorely needed in the globally oriented and fast-changing century that lies ahead. IN THESE budget-cutting times, the dire state of the arts in our schools says as much about the perception of the arts in American culture as it does about financial constraints. Many Americans feel that, while the study of the fine and performing arts is a nice thing for children, the study of traditional disciplines such as math and science is more important as preparation for the real world of college and the workplace. Too often the arts are viewed as a frill. Radical as the notion may seem, however, serious study of the arts is one of the best ways to educate a young person for college and employment. The back to the basics approach that has characterized education reform for the last decade has not produced the results that educators and parents have sought. However, research at schools that devote 25% or more of the curriculum to arts courses shows that students in such schools acquire academically superior abilities. There is a relationship between in the arts and academic -- and, as we look for answers to the dilemma of improving our schools, the power of the arts is one avenue for that we should explore. What is required of workers at all levels in our postindustrial society is that they be creative thinkers and problem solvers and able to work well with others or independently. Schools can no longer simply train students for specific tasks; schools must educate them in terms of broad skills, so that they will be able to function in any number of capacities. Students must be active learners, they must know how to work collaboratively, they must be judicious risk-takers, they must be able to push themselves toward high levels of achievement, and they must have the courage of their convictions. Arts training develops such skills. The student artist (musician, dancer, visual artist, writer, or actor) learns by doing. In traditional schools students often don't do much of anything: they often learn about doing things by watching someone else do them. The young violinist, however, learns primarily by playing the violin, not by listening to someone lecture about playing. Artists often work in groups, which requires them to listen, respond, and assert their own while supporting the voices of fellow artists. Research tells us that one of the most important reasons that Japanese education produces such productive workers is not the many classroom hours of rote learning or the longer school days but the fact that children are taught how to work well together. Many artists are highly skilled in collective and collaborative work. Artists take risks and learn from their mistakes. Indeed, the mistakes -- the parts that are not yet well-executed -- tell the artist where effort should be directed. …

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