(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Biodiversity Heritage Library | Children's Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Champions of change : the impact of the arts on learning : [summary]"

CHAMPIONS 
OF CHANGE 

-+- 



THE IMPACT 

OF THE ARTS 
ON LEARNING 



ARTS EDUCATION PARTNERSHIP 

The Arts Education Partnership (formerly known as the Goals 2000 Arts 
Education Partnership) is a private, nonprofit coalition of more than 
100 national education, arts, business, philanthropic and government 
organizations that demonstrate and promote the essential role of arts 
education in enabling all students to succeed in school, life and work. 
The Partnership was formed in 1995 through a cooperative agreement 
between the National Endowment for the Arts (NEA), the U.S. 
Department of Education, the National Assembly of State Arts Agencies 
(NASAA), and the Council of Chief State School Officers (CCSSO). 

PRESIDENT'S COMMITTEE ON THE ARTS AND THE HUMANITIES 

The President's Committee was created by Presidential Executive 
Order in 1982 to encourage private sector support and to increase 
public appreciation of the value of the arts and the humanities, 
through projects, publications and meetings. 

Appointed by the President, the Committee comprises leading 
citizens from the private sector who have an interest in and commit- 
ment to the humanities and the arts. Its members also include the 
heads of federal agencies with cultural programs, such as the National 
Endowments for the Arts and the Humanities, the Institute of 
Museum and Library Services, the U.S. Department of Education, the 
Smithsonian Institution, the Library of Congress, the National Gallery 
of Art and the John F. Kennedy Center for the Performing Arts. 




CHAMPIONS 
OF CHANGE 

THE IMPACT 

□ F THE ARTS 
ON LEARNING 

EDITED BY EDWARD B. FISKE 




+ 



THE ARTS EDUCATION PARTNERSHIP 

THE PRESIDENT'S CDMMITTEE 
ON THE ARTS AND THE HUMANITIES 

Funded by: 
THE GE FUND 

THE JDHN D. AND CATHERINE T. 
MACARTHUR FOUNDATION 




Arts 

Education 

Partnership 







*»»,# . s* 5 * 



GEFund 



THE JOHN D. AND CATHERINE T. 

MacArthur Foundation 



Edward B. "Ted" Fiske, the former Education Editor 
of the New York Times, is an internationally known 
education correspondent, editor, and lecturer who is 
■widely regarded as one of the nation's leading education 
writers and observers of school reform. He is perhaps 
best known as the author of the best-selling Fiske Guide 
to Colleges (Times Books), an annual publication that 
is a standard part of the college admissions literature. 
In 1991, he published Smart Schools, Smart Kids (Simon 
& Schuster), which former U.S. Secretary of Education 
T. H. Bell called "the most important work on educa- 
tion to be published since A Nation at Risk!' 



C HAM pi a 



DF CHANGE 



PREFACE 

When young people are involved with the 
arts, something changes in their lives. 
We've often witnessed the rapt expres- 
sions on the faces of such young people. Advocates for 
the arts often use photographs of smiling faces to 
document the experience. 

But in a society that values measurements and uses 
data-driven analysis to inform decisions about alloca- 
tion of scarce resources, photographs of smiling faces 
are not enough to gain or even retain support. Such 
images alone will not convince skeptics or even neutral 
decision-makers that something exceptional is happen- 
ing when and where the arts become part of the lives 
of young people. 

Until now, we've known little about the nature of 
this change, or how to enable the change to occur. To 
understand these issues in more rigorous terms, we 
invited leading educational researchers to examine the 
impact of arts experiences on young people. We 
developed the Champions of Change: The Impact of the 
Arts on Learning initiative in cooperation with The 
Arts Education Partnership and The President's 
Committee on the Arts and the Humanities to explore 
why and how young people were changed through 
their arts experiences. 

We believed that evidence could be collected that 
would help answer the questions of why positive 
changes occur and what might be done to replicate 
them. We expected the work to build on previous 
research concerning the arts and learning so that 
similar programs could become even more effective; 
we also hoped to increase the overall understanding of 
how the arts can impact learning. 

We invited the initial Champions of Change 
researchers to examine well-established models of arts 
education. We then added research efforts that looked 
beyond specific programs to larger issues of the arts in 
American education. Finally, we expanded our concept 
beyond classrooms and schools to include out-of-school 
settings. We wanted to better understand the impact of 
the arts on learning, not just on formal education. 



The Champions of Change Researchers 

Over the last few years, seven teams of researchers 
examined a variety of arts education programs using 
diverse methodologies: 

■ James S. Catterall of the Imagination Project at 
the University of California at Los Angeles 

analyzed data on more than 25,000 students from 
the National Educational Longitudinal Survey to 
determine the relationship of engagement in the 
arts to student performance and attitudes. He also 
investigated the impact of intensive involvement 
in instrumental music and drama/theatre on 
student achievement. 

■ Shirley Brice Heath of The Carnegie Foundation 
for the Advancement of Teaching and Stanford 
University, with Adelma Roach, examined after- 
school programs for youth in poor communities. 
The researchers were interested in the qualities 
that made programs in the arts, sports, and 
community service effective sites for learning and 
development, and they identified features that 
made involvement with the arts the most powerful 
factor to success in and out of school. 

■ The Center for Arts Education Research at Teachers 
College, Columbia University, studied arts education 
programs within elementary and junior high 
schools. Researchers Judy Burton, Rob Horowitz, 
and Hal Abeles created a taxonomy of learning in 
the arts, and investigated the ways that learning in 
the arts affected learning across the curriculum and 
the conditions that made this possible. 

■ James Catterall and The North Central Regional 
Educational Laboratory (NCREL) evaluated 
the impact of the Chicago Arts Partnership in 
Education (CAPE). The CAPE network of nine 
neighborhood-based partnerships of 23 local 
schools, 33 arts organizations, and 1 1 commu- 
nity-based organizations has pioneered new 
ways to integrate the arts with learning across 
the curriculum. 



■ 



— 



1^=**™= 



■ Researchers at the National Center for Gifted and 
Talented at the University of Connecticut exam- 
ined the Young Talent Program and other offerings 
of ArtsConnection, the largest outside provider of 
arts education programming to the New York City 
public school system. They also created a model of 
obstacles, success factors, and outcomes for talent 
development in the arts. 

■ Steve Seidel and researchers from Harvard 
University's Project Zero examined two education 
programs of Shakespeare & Company, a profes- 
sional theatre company based in Lenox, 
Massachusetts. Researchers investigated the 
National Institute on Teaching Shakespeare, a high 
school teacher training program, as well as the Fall 
Festival of Shakespeare, an annual regional experi- 
ence that involves teenagers in the study and 
performance of Shakespeare's works. 

■ Dennie Palmer Wolf and researchers from the 
Performance Assessment Collaboratives for 
Education (PACE) of Harvard's Graduate School 
of Education examined the Creating Original 
Opera program of The Metropolitan Opera Guild. 
This professional development program trains 
elementary and secondary school teachers in a 
process that enables young people to create, 
perform, and produce an original opera. 

ACKNOWLEDGEMENTS 

This research initiative had many champions. We 
are grateful to them all, and would like to recognize the 
contributions of several who made this entire collabo- 
ration possible. 

First and foremost, we thank the late Ernie Boyer, 
former president of The Carnegie Foundation for 
the Advancement of Teaching and former U.S. 
Commissioner of Education, for encouraging us to 
work together. This partnership has been a highlight 



of our professional lives, and we will always remember 
Ernie as an articulate advocate for the role of the arts 
in young lives. 

Throughout the development and implementation 
of Champions of Change, several individuals provided 
critical support and counsel. They included Peter Gerber, 
Vartan Gregorian, Rich Gurin, Ellen Lovell, Margaret 
Mahoney, Harold Williams, and Jim Wolfensohn. 

During the research process, we held several 
sessions to review work in progress and identify 
questions for the research to be funded. In addition to 
the artists, educators, and researchers named in this 
report, we benefited from the involvement of arts and 
education leaders from across the country. They 
included Terry Baker, Jim Berk, Bob Bucker, Jessica 
Davis, Elliott Eisner, Carol Fineberg, Rita Foy, Milton 
Goldberg, Derek Gordon, Doug Herbert, Sarah Howes, 
Peter Martinez, Ruth Mitchell, David O'Fallon, David 
Perkins, Terry Peterson, Jane Remer, Dan Scheinfeld, 
Josiah Spaulding, Robert Stake, and Louise Stevens. 

Under the leadership of executive director Dick 
Deasy, The Arts Education Partnership has been a critical 
partner for the Champions of Change research initiative. 
We are also grateful to The President's Committee for the 
Arts and the Humanities, honorary chair First Lady 
Hillary Rodham Clinton, and executive director Harriet 
Mayor Fulbright for their involvement and support since 
the inception of this ambitious undertaking. 

Finally, we thank the advisory committees and the 
boards of our respective institutions whose support 
made this extraordinary endeavor possible. We believe 
their significant commitment of resources for 
Champions of Change will help transform countless 
young lives for the better through the arts. 

Jane L. Polin 
The GE Fund 

Nick Rabkin 

The John D. and Catherine T. MacArthur Foundation 



C HAM PI D N S 




D F CHAN GE 

THE SECRETARY OF EDUCATION 

Washington, D.C. 20202 



The ultimate challenge for American education is to place all children on pathways toward 
success in school and in life. Through engagement with the arts, young people can better begin 
lifelong journeys of developing their capabilities and contributing to the world around them. The 
arts teach young people how to learn by giving them the first step: the desire to learn. Champions of 
Change: The Impact of the Arts on Learning also shows that the arts can play a vital role in learning 
how to learn, an essential ability for fostering achievement and growth throughout their lives. 

American education is changing, and changing for the better. Who teaches, what is taught, 
where teaching takes place, and how teaching occurs are evolving dramatically in communities 
across America. And a key factor in changing American education for the better is to increase high 
quality arts learning in the lives of young Americans. 

Why is American education in such flux? In simplest terms, the reason is because America is 
in transition. We are a more diverse society facing daunting demands from global social and 
technological innovation. The American economy is shifting from a manufacturing-driven engine 
to a services-driven enterprise. If young Americans are to succeed and to contribute to what 
Federal Reserve Chairman Alan Greenspan describes as our "economy of ideas," they will need an 
education that develops imaginative, flexible and tough-minded thinking. The arts powerfully 
nurture the ability to think in this manner. 

Champions of Change: The Impact of the Arts on Learning provides new and important 
findings on actual learning experiences involving the arts. The report which follows presents these 
research findings, complete with ground-breaking quantitative and qualitative data and analysis, as 
articulated by leading American educational researchers. These researchers investigated the 
content, process, and results of learning in and through the arts. Perhaps what makes their 
findings so significant is that they all address ways that our nation's educational goals may be 
realized though enhanced arts learning. As the researchers discovered, learning in the arts can not 
only impact how young people learn to think, but also how they feel and behave. 

The American public is demanding more than ever from our schools, and rightly so. Parents 
and other caregivers want to equip young people for professionally and personally rewarding 
careers, and they recognize that to do so we must give them greatly enriched experiences. As these 
researchers have confirmed, young people can be better prepared for the 21st century through 
quality learning experiences in and through the arts. 



Richard Riley V 



Secretary, Department of Education 



Our mission is to ensure equal access to education and to promote educational excellence throughout the Nation. 



^__ i SllMgl=1 



DF CHANGE 



WHAT THE ARTS CHANGE ABOUT THE 
LEARNING EXPERIENCE 

As a result of their varied inquiries, the 
Champions of Change researchers found that 
learners can attain higher levels of achievement 
through their engagement with the arts. Moreover, one 
of the critical research findings is that the learning in 
and through the arts can help "level the playing field" 
for youngsters from disadvantaged circumstances. 

James Catterall's analysis of the Department of 
Education's NELS:88 database of 25,000 students 
demonstrates that students with high levels of arts 
participation outperform "arts-poor" students by 
virtually every measure. Since arts participation is highly 
correlated with socioeconomic status, which is the most 
significant predictor of academic performance, this 
comes as little surprise. The size and diversity of the 
NELS database, however, permitted Catterall to find 
statistical significance in comparisons of high and low 
arts participants in the lowest socioeconomic segments. 
This closer look showed that high arts participation 
makes a more significant difference to students from 
low-income backgrounds than for high-income students. 
Catterall also found clear evidence that sustained 
involvement in particular art forms — music and 
theater — are highly correlated with success in mathe- 
matics and reading. 

These findings are enriched by comparisons of 
student achievement in 14 high-poverty schools in 
which the Chicago Arts Partnerships in Education 
(CAPE) has developed innovative arts-integrated 
curricula. The inspiring turnaround of this large and 
deeply troubled school district is one of the important 
education stories of this decade. Schools across Chicago, 
including all those in this study, have been improving 
student performance. But, when compared to arts-poor 
schools in the same neighborhoods, the CAPE schools 
advanced even more quickly and now boast a significant 
gap in achievement along many dimensions. 

Schools are not the only venue in which young 
people grow, learn, and achieve. Shirley Brice Heath 



spent a decade studying dozens of after-school programs 
for disadvantaged youth. These programs were broadly 
clustered into three categories — sports/academic, 
community involvement, and the arts. This research 
shows that the youth in all these programs were doing 
better in school and in their personal lives than were 
young people from the same socioeconomic categories, 
as tracked by NELS:88. 

To the researchers' surprise, however, the youth in 
the arts programs were doing the best. Skeptical about 
this finding, Heath and her colleagues looked more 
closely at the arts programs and the youth participat- 
ing in them. Although the youth in the arts programs 
were actually at greater "risk" than those in the other 
programs, the researchers found that characteristics 
particular to the arts made those programs more 
effective. They now believe that a combination of 
"roles, risks, and rules" offered in the arts programs 
had a greater impact on these young lives. 

Another broad theme emerges from the individual 
Champions of Change research findings: the arts no 
longer need to be characterized solely by either their 
ability to promote learning in specific arts disciplines or 
by their ability to promote learning in other disciplines. 
These studies suggest a more dynamic, less either-or 
model for the arts and overall learning that has more of 
the appearance of a rotary with entrances and exits 
than of a linear one-way street. 

This rotary of learning provides the greater access 
to higher levels of achievement. "Learning in and 
Through the Arts" (LITA) and other Champions of 
Change studies found much evidence that learning in 
the arts has significant effects on learning in other 
domains. LITA suggests a dynamic model in which 
learning in one domain supports and stimulates 
learning in others, which in turn supports and 
stimulates learning in a complex web of influence 
described as a "constellation." LITA and the other 
researchers provide compelling evidence that student 
achievement is heightened in an environment with 
high quality arts education offerings and a school 
climate supportive of active and productive learning. 



EXECUTIVE SUMMARY 



Why the Arts Change the Learning Experience 

When well taught, the arts provide young people 
with authentic learning experiences that engage their 
minds, hearts, and bodies. The learning experiences are 
real and meaningful for them. 

While learning in other disciplines may often 
focus on development of a single skill or talent, the 
arts regularly engage multiple skills and abilities. 
Engagement in the arts — whether the visual arts, 
dance, music, theatre or other disciplines — nurtures 
the development of cognitive, social, and personal 
competencies. Although the Champions of Change 
researchers conducted their investigations and 
presented their findings independently, a remarkable 
consensus exists among their findings: 

■ The arts reach students who are not otherwise 
being reached. 

Young people who are disengaged from schools 
and other community institutions are at the greatest 
risk of failure or harm. The researchers found that the 
arts provided a reason, and sometimes the only 
reason, for being engaged with school or other 
organizations. These young people would otherwise 
be left without access to any community of learners. 
The studies concerning ArtsConnection, CAPE, and 
learning during non-school hours are of particular 
significance here. 

■ The arts reach students in ways that they are not 
otherwise being reached. 

Other recent educational research has produced 
insights into different styles of learning. This research 
also addresses examples of young people who were 
considered classroom failures, perhaps "acting out" 
because conventional classroom practices were not 
engaging them. These "problem" students often 
became the high-achievers in arts learning settings. 
Success in the arts became a bridge to learning and 
eventual success in other areas of learning. The 
ArtsConnection study provides case studies of such 
students; the "Learning In and Through the Arts" 



research examines the issue of learner self-perception 
in great depth. 

■ The arts connect students to themselves and 
each other. 

Creating an artwork is a personal experience. 
The student draws upon his or her personal resources 
to generate the result. By engaging his or her whole 
person, the student feels invested in ways that are 
deeper than "knowing the answer." Beyond the 
individual, Steve Seidel and Dennie Palmer Wolf show 
how effective arts learning communities are formed 
and operated. James Catterall also describes how the 
attitudes of young people toward one another are 
altered through their arts learning experiences. 

■ The arts transform the environment for learning. 

When the arts become central to the learning 
environment, schools and other settings become 
places of discovery. According to the Teachers College 
research team and those examining the CAPE schools, 
the very school culture is changed, and the conditions 
for learning are improved. Figurative walls between 
classrooms and disciplines are broken down. Teachers 
are renewed. Even the physical appearance of a school 
building is transformed through the representations of 
learning. The Heath research team also found "visible" 
changes in nonschool settings. 

■ The arts provide learning opportunities for the 
adults in the lives of young people. 

Those held responsible for the development of 
children and youth — teachers, parents, and other 
adults — are rarely given sufficient or significant 
opportunities for their own continuing education. 
With adults participating in lifelong learning, young 
people gain an understanding that learning in any 
field is a never-ending process. The roles of the adults 
are also changed — in effective programs, the adults 
become coaches — active facilitators of learning. Heath 
and other researchers here describe the altered 
dynamics between young and less young learners. 



CHAMPIDNS 



DF CHANGE 



■ The arts provide new challenges for those students 
already considered successful. 

Boredom and complacency are barriers to 
success. For those young people who outgrow their 
established learning environments, the arts can offer 
a chance for unlimited challenge. In some situations 
described in the research, older students may also 
teach and mentor younger students. In others, young 
people gain from the experience of working with 
professional artists. The ArtsConnection researchers 
in general, and James Catterall in particular, explored 
the impact of intensive involvement in specific art 
disciplines. 

■ The arts connect learning experiences to the world 
of real work. 

The world of adult work has changed, and the arts 
learning experiences described in the research show 
remarkable consistency with the evolving workplace. 
Ideas are what matter, and the ability to generate 
ideas, to bring ideas to life and to communicate them 
is what matters to workplace success. Working in a 
classroom or a studio as an artist, the young person is 
learning and practicing future workplace behaviors. 
A company is a company, whether producing an opera 
or a breakthrough technological service. 

How the Arts Change the Learning Experience 

The programs and schools examined by the 
Champions of Change researchers were selected 
because they appeared to be models of excellence that 
were making a real difference to young people. Their 
research helps us identify the principles and require- 
ments that make these arts learning models work. By 
helping to better define the characteristics of effective 
arts learning programs, the Champions of Change 
researchers have also done a great service. 

Education reformers and researchers have learned 
a great deal about "what works" in recent years. In 
examining the work of Shakespeare & Company, Steve 
Seidel cites the general characteristics of "project- 
based learning" as factors that also support effective 



arts learning. In Real Learning, Real Work, author 
Adria Steinberg identifies six elements that are critical 
to the design of project-based learning: authenticity, 
academic rigor, applied learning, active exploration, 
adult relationships, and assessment practices. Seidel 
also emphasizes that the best assessment of a person's 
understanding is a product that "puts that under- 
standing to work." Learning is deepest when learners 
have the capacity to represent what they have learned, 
and the multiple disciplines of the arts all provide 
modes of representation. 

The quality arts learning experiences described by 
the Champions of Change researchers regularly contain 
these project-based learning elements. The best 
programs display them in great breadth and depth. To 
be effective, the arts learning experience will also 

■ Enable young people to have direct involvement 
with the arts and artists. 

Young people become and see themselves as artists. 
Whether creating art works, as in the Creating Original 
Opera program, or performing, as in the Fall Festival 
of Shakespeare program, or perhaps even teaching 
younger student artists, as in the ArtsConnection 
program, the students learn various disciplines through 
hands-on arts experiences. They actively engage with 
artistic content, materials, and methods. 

■ Require significant staff development. 

The best teachers are life-long students. The 
teachers involved in the staff development programs 
examined by the Champions of Change researchers 
describe life-changing experiences that transform 
their professional lives. High-impact programs 
demand both adequate staff preparation and strong 
administrative support. Well-trained staff and 
teachers also become leaders for institutional and 
systemic change. 

■ Support extended engagement in the 
artistic process. 

Opportunities to achieve artistic and learning 
excellence cannot be confined to forty-five minute 



^~ 



' 






EXECUTIVE SUMMARY 



time periods. Sustained engagement during individual 
sessions as well as expanded program length support 
enhanced learning opportunities. These learning 
experiences are also not limited to place; school is just 
one of many settings where this learning occurs. 
Superior results are also associated with the concept of 
"practice" and the development of a sense of "craft." 

■ Encourage self-directed learning. 

Students learning in and through the arts become 
their own toughest critics. The students are motivated 
to learn not just for test results or other performance 
outcomes, but for the learning experience itself. 
According the to the ArtsConnection study, these 
learners develop the capacity to experience "flow," self- 
regulation, identity, and resilience — qualities regularly 
associated with personal success. 

■ Promote complexity in the learning experience. 

Students who might otherwise complain of 
boredom become fully challenged. Unlike other learning 
experiences that seek right or wrong answers, engage- 
ment in the arts allows for multiple outcomes. Seidel 
found that when "refusing to simplify" Shakespeare's 
challenging texts, students became passionately engaged 
in learning classic works which high schoolers so often 
consider boring. Effective learning in the arts is both 
complex and multi-dimensional. 

■ Allow management of risk by the learners. 

Rather than see themselves as "at-risk," students 
become managers of risk who can make decisions 
concerning artistic outcomes and even their lives. The 
students learn to manage risk through "permission to 
fail," according to the Shakespeare & Company study, 
and then take risks "to intensify the quality of their 
interactions, products, and performances," according 
to Heath and her colleagues. 

■ Engage community leaders and resources. 

Another recent study, Gaining the Arts 
Advantage: Lessons from School Districts That Value 
Arts Education, found that "the single most critical 



factor in sustaining arts education in (their) schools 
is the active involvement of influential segments of 
the community in shaping and implementing the 
policies and programs of the district." Similarly, 
effective arts learning out of school also requires the 
active engagement of the community. The CAPE and 
Heath studies show a process that attracts and builds 
on this engagement from parents and other commu- 
nity members. 

Policy Implications of the Champions of 
Change Research 

The Champions of Change studies examined the 
messy, often hard-to-define real world of learning, 
both in and out of schools. As a result, these research 
findings have immediate relevance for both policy and 
practice in American education today. 

For example, if we now know that arts experi- 
ences help level the educational playing field for 
disadvantaged students, as revealed by James Catterall, 
then we need to bring more proven arts learning 
resources to these students. If arts learning can help 
energize or re-energize the teaching workforce, as 
described by Steve Seidel, then we must look to the 
arts both as a vehicle for preparing entrants to the 
teaching profession and as a means of supporting its 
more-experienced members. Looking beyond class- 
rooms, Shirley Brice Heath found the profound 
impact the arts can have on learning for youth outside 
school settings. If this is so, we must expand quality 
arts learning programs outside of schools as well. 

In the CAPE model, the researchers find that arts 
learning can have a defined impact on the academic 
performance of students in an urban setting. If well- 
constructed partnerships between school and arts 
organizations can increase student achievement, then 
such partnerships must be nurtured and replicated. In 
another urban program, ArtsConnection researchers 
define the role of the arts in enabling students to 
overcome obstacles to success; again, such experiences 
should be made more widely available. Researcher 
Dennie Palmer Wolf describes the impact of group 



CHAMPIONS 



DF CHANGE 



versus individual learning generated through a 
collaborative arts experience. For this approach to 
grow, a more serious commitment to developing 
communities of arts learners, rather than just oppor- 
tunities for "stars," is required. If sustained, integrated, 
and complex projects, like producing an opera, a 
Shakespeare production, or a visual arts exhibition, 
significantly deepen the learning process, as these 
studies suggest, then school schedules must also be 
modified to make such experiences possible. 

The findings of the individual research studies are 
worthy of the reader's careful review. 

We owe a great debt to these researchers for their 
diligence and insights; we can only repay this debt by 
heeding their words and seeking systemic ways to 
make the arts a meaningful part of every American 
child's life. Together, we can make the everyday 
learning experiences of young Americans less ordinary 
and more extraordinary. 



CONCLUSION 

These Champions of Change studies demonstrate 
how involvement with the arts provides unparalleled 
opportunities for learning, enabling young people to 
reach for and attain higher levels of achievement. The 
research provides both examples and evidence of why 
the arts should be more widely recognized for its 
current and potential contributions to the improve- 
ment of American education. 

Similarly, the experiences we offer too many young 
people outside of school are often limited in their 
purpose and resulting impact. They provide recreation, 
but no sense of creation. They provide recess, but no 
sense of success. Arts learning outside of schools can 
also enhance the sense of accomplishment and well- 
being among our young people. 

This research provides compelling evidence that the 
arts can and do serve as champions of change in learning. 
Yet realizing the full potential of learning in and through 
the arts for all American children will require heroic acts 
from all segments of our society. With the 21st century 
now upon us, we, too, must be champions of change; we 
must meet and exceed the challenge of giving our young 
people the best possible preparation we can offer them. 
To do so, we must make involvement with the arts a basic 
part of their learning experiences. In doing so, we will 
become champions for our children and their children. 



To obtain additional copies 




of this summary or 




a copy of the full 




Champions of Change report, 




contact the President's Committee 




on the Arts and the Humanities 
by sending an email to pcah@neh.gov 






or writing to 




1100 Pennsylvania Avenue, NW, Suite 526, 




Washington, DC 20506. 




You can also access the report online at 




http://artsedge.kennedy-center.org/champions 






SPONSORS 

GE Fund's award-winning arts-in-education program supports 
model partnerships between schools and cultural organizations. 
Through advancing the role of the arts in education, the GE 
Fund promotes both skill development and community involve- 
ment in schools and arts settings nationwide. 

Known as an innovator in corporate philanthropy, the GE Fund 
is a catalyst for improving the education and well-being of men, 
women and children around the world. As the principal vehicle 
for the GE Company's philanthropy, the GE Fund supports a 
wide range of education, social service, arts, environmental, and 
other charitable organizations in the United States and abroad. 

The John D. and Catherine T. MacArthur Foundation is a 

private, independent grant-making institution dedicated to 
helping groups and individuals foster lasting improvement in the 
human condition. The Foundation seeks the development of 
healthy individuals and effective communities; peace within and 
among nations; responsible choices about human reproduction; 
and a global ecosystem capable of supporting healthy human 
societies. The Foundation pursues this mission by supporting 
research, policy development, dissemination, education and 
training, and practice. 




^^IMHHI 



ARTS EDUCATION PARTNERSHIP 

One Massachusetts Avenue, NW, Washington, DC 20001 
http://aep-arts.org 



PRESIDENT'S COMMITTEE 
ON THE ARTS AND THE HUMANITIES 

1100 Pennsylvania Avenue, NW, Suite 526, 
Washington, DC 20506 
http://www.pcah.gov 



Funded by: 
THE GE FUND 

THE JDHN D. AND CATHERINE 
MACARTHUR FDUNDATIDN 



(Arts 
Education 
I Partnership 





GEFund 



THE JOHN D. AND CATHERINE T. 

MacArthur Foundation