Across most of Oklahoma's gently rolling prairie countryside these artistically uninformed structures often provide the only vertical punctuation to a landscape otherwise made of mostly horizontal lines. One of the pleasures of teaching architecture is to participate in the intellectual progress of students--many of whom hail from rural areas and…

This paper is concerned with two related purposes. The first is to explicate what dance as an art form should comprise if it to be taught as a distinctive aspect of education in the curriculum. The second is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means in the development, understanding and…

A language system comprises a grammar and a lexicon. Fine art has no lexicon and, therefore, no grammar. Graphic or auditory expressions become artistic material only when attention is given to the expression itself rather than to its meaning. Representational works of art do sometimes incidentally work as channels of communication. (RM)

What are the boundaries of remembering? How do we make manifest the ruins of memory? How do we enter that time not measured in months and years? How do those not directly affected by the Holocaust encounter its meaning? How do we move toward the performance of memory with youth as co-creators, when we must be awake to the act of staging histories…

Moving to music may significantly enhance our appreciation of a performance of a music work. Implications for the encouragement of movement in education for music appreciation are discussed. (RM)

Questions who decides what a culturally literate person needs to know and its social implications. Comments on the lack of dance references in E. D. Hirsch's book, "Cultural Literacy." Discusses what a person needs to know about dance. Analyzes dance as art in the context of cultural literacy's requirements. (KM)

Suggests that the aesthetic positions James Joyce expresses in his work have an independent intellectual value in understanding gifted childrens' aesthetic development. Discusses and critiques Joyce's theory on the psychology and philosophy of the artist. (KM)

It is argued that a behavioral objectives approach to dance education is dangerously limited because it is dominated by a particular view of theoretical psychology that attempts to understand skill learning in terms of conditioning and reinforcement. This approach is especially limited in the teaching of creative and expressive dance. (RM)

Examines the origin and nature of kitsch and its prominence in contemporary U.S. culture. Discusses how kitsch can be used in the arts curriculum to teach cultural and aesthetic lessons. (KM)

Discusses the psychological context of aesthetic literacy in relation to E. D. Hirsch's ideas on cultural literacy. Argues adults should not interpret artworks for children and notes the implications for curriculum planners. Provides examples of childrens' understanding of art works. Maintains that any curriculum is the interaction of content and…

Analyzes two recent controversies about censorship of arts: Robert Mapplethorpe's photographs and U.S. congressional limits on funding for National Endowment for the Arts. Maintains artistic freedom can be encouraged if all segments of society learn about arts. Recommends that aesthetic education deal with these controversial issues, the social…