Concerns and Considerations for Teacher Development in the Arts
Concerns and Considerations for Teacher Development in the Arts
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对艺术教师发展的关注和思考
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发表时间：
2001
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影响因子：
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通讯作者：
B. McKean
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文献类型：
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作者：
B. McKean
我们今天面临着一个奇怪的悖论：艺术现在是K-12的核心科目，但学校中艺术专业的人数一直在稳步下降（Leonhard 1991）。西里学校如何处理这场革命强加给他们的变化？教育通才能处理它，因为他们将是最受影响的教师吗？在许多情况下，提供全面艺术教育的主要责任福尔斯在正规教师的肩上。因此，一个关键的问题是，课堂教师如何看待这种变化，以及他们如何准备好以符合国家和州标准的方式教授艺术。其次，如果多面手真的不能处理好他们在艺术领域的新职责，下一步该怎么办。与其他学科的教育工作者一样，艺术教育的教育工作者将正在进行的小学教师专业发展视为一种可能的方式，以解决他们在艺术教学中承担的更大责任。但有些人质疑这种努力的价值。那些提供专业发展的人能比提供有趣的艺术初步经验更重要吗？他们能否提供对艺术的如此坚实的理解，以至于参与这些努力的教师可以帮助学生开始获得对音乐、舞蹈、戏剧和/或视觉艺术的全面、连续的理解？简而言之，这样的专业发展努力真的能奏效吗？或者说，尽管做出了很好的努力，但它们是解决学校雇佣更少全职a r t s教师所带来的危机的糟糕方法吗？它们是令人满意的妥协解决方案还是较弱的替代方案？虽然研究为新的、更有成效的专业发展模式提供了总体方向，但教育工作者需要“通过具体的形象、例子和经验，加深我们对不同背景下良好发展机会的理解”（Darling-Hammond 1995，13）。在全国范围内，许多艺术组织，大学和学区都为教师制定了从暑期学院到整个学年持续发展的计划。与这些计划同时进行的是研究项目，旨在更仔细地研究这些工作人员的发展举措，无论是为了计划的发展和评估，并调查教师如何开始将艺术工作人员的发展经验融入他们的日常课堂课程（戈德堡1997年;雅各布斯2000年;奥雷克，鲍姆和欧文1999年;伍尔夫和Balick 1999年）。在努力通知我自己和他人的参与这样的专业发展的努力，我发起了为期一年的研究，以采取在合作伙伴计划的基础上的艺术organizatiodschool伙伴关系模式的基础上，小学课堂教师的经验更仔细地看国家艺术基金会和肯尼迪中心鼓励，并在美国各地的许多社区发现。这种特殊的合作关系涉及一个城市学区和一个大学艺术组织，该组织除了定期订阅系列外，还提供学校日场表演节目。与美国其他地区一样，该学区的小学里几乎没有艺术专家。在总共76所小学中，只有9所学校有全职音乐和/或视觉艺术专家。除了通过艺术家讲习班和表演为学生提供艺术教育外，该伙伴关系还寻求为教师提供专业发展经验，使他们能够在常规小学课程中教授艺术。这些经验包括为期一周的夏季美术学院，学习指南和在职讲习班，
W ‘ e face a strange paradox today: the arts are now core K-12 subjects, but there has been a steady decline in the number of arts speci:lilists in the schools (Leonhard 1991 ). Cirri schools handle the changes that this iraradox thrusts on them? Can the educalion generalists handle it, since they will ihe the teachers who are most affecte’d ‘1 Stake, Bresler and Mabry 1991)? Irr many instances, the major responsihility for providing comprehensive arts education falls on the shoulders of regular classroom teachers. A critical concern, ‘therefore, is how classroom teachers &ew this change and how they might be ‘prepared to teach the arts in ways con$stent with the vision provided in park by both national and state standards. A secoiird concern, if indeed generalists cannol handle their new responsibilities in thq arts, is what to do next. Parallel to dforts of educators in other subject amas, educators in arts education look ongoing professional development 01’ elementary teachers as one possible way to address the greater responsibility for teaching the arts that has fallen tin them. But some have questioned thtt merit of such efforts. Can those providing professional development dt) iiiore than provide interesting initial experiences in the arts’? Can they provide such solid understanding of the arts that teachers who take part in these efforts can help students begin to gain a comprehensive, sequential understanding of music, dance, theatre andor the visual arts? In short, can such professional development efforts really work, or are they, despite all the good efforts involved, a poor way of addressing the crisis brought on by schools hiring fewer full-time a r t s faculty? Are they a satisfying compromise solution or a weak substitute? Although research has provided general directions for new, more productive models of professional development, educators need to “deepen our understanding of what good development opportunities look like in different contexts through concrete images, examples and experiences” (Darling-Hammond 1995, 13). Across the country, many arts organizations, universities, and school districts have developed programs for teachers ranging from summer institutes to ongoing development throughout the school year. Concurrent with some of these programs are research projects designed to take a closer look at these staff development initiatives both for the purpose of program development and evaluation and to investigate how teachers begin to integrate the staff development experiences in the arts into their daily classroom curriculum (Goldberg 1997; Jacobs 2000; Oreck, Baum and Owen 1999; Woolf and Balick 1999). In an effort to inform my own and others’ participation in such professional development efforts, I initiated a yearlong study to take a closer look at the experiences of elementary classroom teachers within a partnership program based on the arts organizatiodschool partnership model encouraged by the National Endowment for the Arts and the Kennedy Center and found in many communities throughout the United States. This particular partnership involves an urban school district and a universitybased arts organization that offers a school matinee performance program in addition to its regular subscription series. The school district, like many districts around the United States, has few arts specialists in the elementary schools. Out of a total of seventy-six elementary schools, only nine schools have a fulltime music and/or visual arts specialist. In addition to providing students with education in the arts through artist workshops and performances, the partnership seeks to provide teachers with professional development experiences that will prepare them to teach the arts in the regular elementary curriculum. These experiences include a one-week summer fine arts institute, and study guides and in-service workshops for