This article focuses on explicit arts-based approaches that the authors employed in a 3-year teacher education study of professional conflicts experienced by novice bilingual teachers. The authors describe how they used the literary and performing arts and to what end, addressing questions regarding processes, expertise, and validity in arts-based research.

An article about learning at an informal venue: Richard Hugo House, a nonprofit center for creative writing in Seattle. The article traces the characteristics of teaching and learning in a place not segregated by age, skill level, or economic background of the people who come there.

This article examines a community-based arts classroom that represents alternative practices and relationships than are typical in most schools to understand more about the possibilities of learning and identity for disenfranchised students. The study draws on long-term engagement, participant observation, and discourse analysis to highlight the resources made available to students as well as changing patterns of student participation in workshop activities.

This paper is an exposition of a definition of art that Dewey gave in a talk to teachers in 1906.

The author examines the community mural movement as an educational activity, reviewing the history of the modern mural movement, noting its democratic direction, and concluding that community murals can potentially educate artists and non-artists.

Sprinkled throughout education journals and books is a lively discourse about the importance of the arts in every child's education. However, most of this work has been addressed to the already committed: arts educators and educationists focused on arts education. The purpose of this article is to bring together recent theories, research, and developments in arts education in order to broaden the base of discourse.

This article examines relationships between child and adult art, proposing an exploration of meanings of children's art activity by examining relationships between art-making and other activities of the same developmental period. The paper posits some basic human needs and considers how various activities might serve as instrumentalities to realize such goals.

This article examines why art is important in students' lives, features of artistry that captivate the mind, and reasons why arts should be fully integrated into school curricula. Change in art education should be grounded in substantive insights about artistic content, child development, teaching methods, and curriculum as a meeting ground.

This paper discusses how art and aesthetic education open people to visions of the possible, creating a community of distinctive individuals.

This article explains how to encourage students to respond to art rather than talk at them about what they should know.

The author presents a new perspective on how to integrate the arts back into education and how to make art education part of the school reform process. The perspective would teach only artistic insights that would best serve children at different times in their development, stressing the continuity between art and life.

The author describes museums as deeply rooted educational institutions. The large comprehensive museum has a "student body" more diverse than any school, college, or university. Museums are also more accessible. Although museums can never be an alternative to "schooling," they can be significant complementary centers of lifelong learning.

Examines the shared cognitive dimensions of cultural institutions like museums, libraries, and parks, suggesting they make similar situations for transmitting information. This article encourages a critical understanding of public cultural institutions to enlarge the potential for discourse about their analysis and criticism. Heuristic questions for understanding cultural institutions are presented.

A case study of an Iowa junior high school describes how the school and community identified their resources and used them to create successful arts education programs from ordinary resources. This article examines four types of commitment that shaped school practice, noting effective teaching practices and administrative policy.

We have not learned to experience beauty as an essential, pervasive dimension of our actions. Aesthetic sensibility represents the child in us imbued with spontaneity, imagination, and unity of soul and action. This sensibility makes it possible to reevaluate the world in terms of metaphor, image, fantasy, and dreams.

The educational role of the artist is close to that of the dreamer in the sense that they are active collaborators in the extraordinary process through which instinct and bodily function are converted into image and fantasy. The development of an image can release powerful flows of intellectual energy.

Inclusion of arts and humanities as a central part of any curriculum is defended by their ability to create critical awareness, to develop a sense of moral agency, and to foster conscious engagement with the world.

Seeking artistic forms to express experiences

Two poems, This We Call Wonder and Autumn Poem.

A poem, In His Place.

A poem, Clint Kahlil Strommen: A Birth Poem.

A poem, Grim Reapings.

A poem, This We Call Wonder.

The author is suggesting that despite his distrust of conventional rules, Professor Thorndike, to the extent that he is himself at all unconventional, becomes so only through excess of conservatism. The question that arises is whether some connection can be traced between his practice and his opinions.

IT IS a pleasure to meet with you this afternoon, and I was about to say, to discuss the topic as announced.1 When, however, I began to study for writing on the topic I found I had forgotten its history and I wondered exactly what it meant. Then I remembered that I had made it up to mean anything that I should wish it to mean when I had come to discuss it.

A symposium by Professors Kilpatrick, Fretwell, Kulp and Briggs.

Stenographic Reports of Speyer School Lessons ERNEST HORN This issue of the RECORD introduces the first of a series of stenographic reports of lessons taught in Speyer School,—the experimental school for Teachers College.

We measure a child's achievement in drawing by the drawings which he produces, in connection with the conditions under which he produces them. We measure his improvement by the differences between his earlier and his later products.

A scale for the merit of drawings by pupils 8 to 15 years old.

The most useful definition of zero, or ' just not any,' merit in the drawing of a child 8 to 15 is a drawing which is a draw ing—not a scratch, a writing, a daub or a mere random product of muscular activity,—but which has just not any merit as a representation of its intended object, as a statement of its in tended fact, or as a thing of beauty—which fails to portray or inform or please.