The aim of this qualitative exploratory case study was to examine elementary school arts teachers' perceptions of implementing social-emotional learning (SEL) lessons during in-person instruction in elementary classrooms in a well-known school district in New York City. The problem addressed in this study was the inability of most elementary…

Teaching artists typically work as solo agents, without the comradery of a like-minded community. After a year of focus groups, teaching observations, and conversations with school and arts administrators, we identified a need for experienced teaching artists to have a chance to reflect upon, renew, and reconsider their teaching practices with…

Artmaking, when used as a form of pedagogy and approached in a socially-conscious manner, has the potential to promote agency and create a democratic learning environment for students. This study examines one such project, "The Council," created by artist Adelita Husni-Bey in collaboration with former Teen Program attendees of the Museum…

Arts Education Partnership (AEP) partner organizations work to promote high-quality arts learning opportunities that align with college, career and citizenship readiness goals. AEP Success Stories provide detailed information on programs with the potential to be replicated in communities across the country. This Success Story discusses Everyday…

This brief report describes the growth and expansion of the Art"Access" program at Queens Museum in New York, NY, that is shaped and operated by art therapists and teaching artists. Art"Access" was first piloted in 1983 as Please Touch for individuals who are blind or have low vision. The authors conducted oral history research…

James Miles writes that he wasn't always the Fresh Professor. At one point, he was just another starving actor, trying to make a living. But stories change over time, as do professional desires. This article presents Part One of his story.

The National Art Education Association (NAEA) launched the Connected Arts Networks (CAN) initiative in September 2022. CAN is a collaborative effort among the NAEA, the National Dance Education Organization (NDEO) and other esteemed partners, including the Educational Theater Association (EdTA), the National Association for Music Education…

As I began my first year of graduate school--admittedly, a shaky start of my own--a group of my former students began to struggle with their transition to high school. Upon hearing this from my friend, colleague, and their current theatre teacher (who I will call Ms. M), I developed a workshop curriculum focused upon health for the artist to…

This article traces the ways in which arts education funding and policy may be implemented and realized through different roles in a large urban school system, from policy makers to the ground level within the New York City Department of Education. Those who engage with arts policy at the ground level such as teachers and administrators experience…

Few would disagree that a primary aim of art and design education is to cultivate student creativity. While there are diverse approaches to teaching for creativity in art and design education, developing creativity generally focuses on discovery, materials exploration, and idea expression (process) as well as making and presenting final works of…

This instructional resource is inspired by questions generated during ART21's "Creative Chemistries: Radical Practices for Art + Education" at the Park Avenue Armory in New York on February 20-21, 2015. It utilizes one of the four group dialogues held at the event to investigate ways that art educators can make the spaces between their…

The Moth is a nonprofit performing arts organization dedicated to true stories told live, and its education programs make space for students and educators to tell their stories. In this edited transcript of a panel discussion given by student alumni of Moth storytelling programs, participants discuss the impact of personal narrative performance on…

From the 1920s through the 1940s, a number of artist-teachers developed methods of creative self-expression in their teaching. The life and teachings of artist and art educator Mabel D'Amico (1909-1998), wife of Museum of Modern Art museum educator Victor D'Amico, are considered within this context. This article attempts to construct an…

Innovation and learning come together in a vibrant manner during dynamic arts education classes led by teachers who understand the importance of collaboration and student improvisation.

While establishing herself as one of the premier African American sculptors of the 1920s, Augusta Savage began teaching children's art classes in her basement studio. Later, as the Director of the Harlem Community Art Center, Savage networked with philanthropists, political leaders, and African American artists/performers/writers to discuss how…