Loading...
HomeMy WebLinkAbout2005-04-07; Arts Commission; MinutesMINUTES Carlsbad Arts Commission April 7, 2005 Carlsbad Council Chambers Commissioners Present: Rita Francis, Barbara Iserloth, Gary Hill, Felicia Shaw, Kelvin Okamoto, Fran Carrillo Commissioners Absent: Ron Juncal Chair Hill called The Meeting to Order at 8:00 a.m. Minutes On motion by Commissioner Francis, the Arts Commission unanimously approved the March Minutes. Presentation by Jim Hall of the Carlsbad Playreaders Mr. Hall gave the Arts Commission a brief history and described the mission/goal of the Carlsbad Playreaders. Discussion on Arts and Education Issues Chair Hill discussed with Commissioners on how and why the Commission needs to educate itself further in order to plan for arts and culture in the future. He would like to see the arts play a more general role in everyday life instead of just for entertainment. Commissioner Francis extended an invitation to the Arts Commissioners to the Arts-in- Education Committee meetings. Commissioner Carrillo spoke during a recent Arts-in- Education Committee meeting regarding advocacy and funding. Commissioner Shaw stated that businesses in the community needed to be advocates for the arts. Discussion ensued about arts education outside of schools and the American for the Arts article regarding arts and secondary schools (attached). Commissioners' Reports Commissioner Carrillo reported she attended the Arts-in-Education Committee. Commissioner Francis explained how the Arts-in-Education Committee is run. Commissioner Shaw reported she attended the recent Gallery opening. She asked the Arts Commission for permission to contact New Village Arts to reiterate the March Arts Commission meeting discussion with the Housing and Redevelopment Director regarding the City's requirements for partnerships in the Village area. Commissioner Iserloth reported she recently visited the COAL Gallery. She stated her impression was mixed about the quality of work exhibited. Commissioner Okamoto reported he attended the recent Gallery opening. Chair Hill reported he attended the breakfast for the juried artists and the recent Gallery opening. Manager's Report Colleen Finnegan reported that staff was still working on the budget process and the strategic plan. The Multicultural Arts Festival held in March was very well attended. A homestay visit by students from our sister city in Futtsu, Japan, just finished. There is one more opera caravan. Festejando a las Madrecitas will take place in Holiday Park on May 8. The Carlsbad Music Festival will take place the last weekend of April. No jazz concerts will be held at Magee Park this summer. Meeting adjourned at 8:23 a.m. MERICANS FOR THE ARTS VOLUME 1 NUMBER 9 INVOLVEMENT IN The Arts and Success in Secondary School Americans for the Arts is pleased to present this new benchmark research study demonstrating the positive impact of the arts on education. Examining Imgtudi- nal data of 25,000 students, Dr. Catteratt's research reveals how involvement in the arts is Jinked to higher academic perfor- mance, increased standardized test scores, more community ser- vice, and lower drop-out rates. Using sophisticated research methods, he also demonstrates that these cognitive and develop- mental benefits are reaped by students regardless of their soaoe- ccmorrdc status. INTRO DUCTION This paper describes relationships between student involvement in the arts and academic achievement. The analysis is based on a longitudinal study of 25,000 secondary school students spon- sored by the United States Department of Education.' This nation- al data collection project launched in 1988 has supported leading research on student achievement in recent years, including stud- ies addressing school organization, curriculum and the problems of students at risk. This paper presents the first reported analysis of information in this national survey about student participation in the arts. Here the focus is arts involvement and its potential ties to academic success in the middle and high school years. The analysis is straightforward and largely descriptive. Yet despite the simplicity of the approach, the results seem unprecedented in their grasp of how arts-rich versus arts-poor youngsters do in school. The findings are likely to gamer a warm reception by read- ers necessarily lacking much in the way of hard data supporting what philosophers eloquently contend about the meaning of arts in human development3 The study is reported in three sections. AMERICANS FOR THE ARTS ABOUT THE AUTHOR James S. Catterall is Professor and Assistant Dean at the UCLA Graduate School of Education & Information Studies. He is also Co-Director (with Professor Merlin C.Wittrock)ofthe UCLA Imagination Project, a group of fac- ulty, graduate students and arts professionals engaged in research and curriculum devel- opment concerning the arts and human devel- opment, Address: UCLA Department of Education, 3341 Moore Hall, Los Angeles, CA 90095-1521. E-mail: jamesc@gseis.ucla.edu. The first section describes student participation rates in 8th and icth grades in various school and communi- ty based arts activities such as school band or drama productions, arts classes in school, and art-related lessons outside of school. The second section describes academic performance levels and selected behaviors and attitudes of students at grades 8 and 10, for two student groups with differ- ent experiences with the arts: one group is students reporting high levels of overall involvement in the arts; the other is students with low arts involvement As one might expect, there are systematic differences between these two groups favoring the arts-rich on all mea- sures. That such an outcome is expected stems from the fact that opportunities to participate in the arts are typically higher for children from more educated and affluent families — and these children tend to do bet- ter in school anyway for various reasons. In an effort to control for so obvious a challenge to general claims for the importance of the arts when it comes to school performance, a different analytical strategy is used in the third section. Here, relation- ships between involvement in the aits and achieve- ment are examined, this time for children from homes in the lowest quartile of the family income and parent education spectrum. The achievement differences between high and low-arts youth within this economi- cally disadvantaged group remain significant. Moreover, the importance of consistent involvement in the arts shows up in increased advantages for arts- rich (even though economically poor) youngsters by the toth grade. A substantial case for the importance of the arts in the academic lives of middle and high schoolers is the primary implication of this research. SECTION 1: ARTS PARTICIPATION RATES IN MIDDLE AND HIGH SCHOOL The national survey used for this work provides the most comprehensive data on student participation in the arts available anywhere. Different indicators were used in the 8th and loth grade surveys;3 summaries of student par- ticipation rates are shown in Rgure lA and iB (at right). As shown in Rgure lA above, about half of 8th graders report taking an art or music class at least once per week. Only about one-tenth of 8th graders take drama classes. Approximately one fifth of students are involved in band, orchestra, or chorus. Art museum attendance is reported by 42 percent of 8th graders; over half in this group report attending science and history museums with their families. By loth grade, regular involvement in the arts in school seems to drop-off. As shown in Figure iB, only about a third of students pursued art, music, or drama classes as pth and loth graders. The percentages of students studying the arts in school for more than two semesters during this time period are about 8 percent for art, 15 percent for music and 2 percent for dramatic arts. About one-fourth of students report taking out of school arts-related classes during grades 9 and 10, with about one in five of alt students taking classes once per week or more. MONOGRAPHS VOLUME 1 NUMBER9 SECTION 2: HIGH VERSUS LOW ARTS INVOLVEMENT AND GENERAL STUDENT PERFORMANCE The statistics shown above for 8th and loth graders would support various perspectives on arts involve- ment for secondary school students. Analysis of rela- tionships between the arts and academic success used the indicators shown in Figures lA and iB to develop scales indicating overall arts-involvement lev- els at grade 8 and over grades 8 and 10 combined. A point was assigned for participation in a given arts class or activity, an additional point for serving as an officer of an arts-related endeavor (e.g., president of the drama club) and additional points for engaging in added years or high weekly frequency of an activity (e.g., taking lessons outside of school). Museum attendance by student families was assigned fraction- al points (one-third of a point).' Our main resulting scale — showing the point totals by student for cumu- lative involvement in the arts over both grades 8 and 10 — shows a total of 2 or fewer points for the lowest- involved fourth of all students, and shows about 7 or more points for the highest-involved quarter of alt stu- dents. This means something tike the following: stu- dents in our low arts group typically enrolled in one arts course in either grade with no additional involve- ment in the arts. Students in our high arts group may have taken 2-3 arts classes, participated in the band and drama clubs, and may be taking regular lessons outside of school. About 3 percent of all students earn zero points on this scale; another 3 percent score more than 12 points. THE ARTS AND EIGHTH GRADE STUDENT PERFORMANCE The highest and lowest arts-involved quartiles of all 8th graders and then loth graders serve as a basis for general analyses of academic achievement. In the dis- cussion below, we refer to these groups as (high-arts) and (low-arts) students. Shown in Figure 2A (below) are various indicators of academic achievement as of eighth grade, by respective level of arts involvement. AMERICANS FOR THE ARTS The 8th grade academic achievement Indicators shown in Figure 2A favor the arts-rich, and include the following: English grades: Nearly So percent of high-arts youth report mostly As or Bs in English, in contrast to about 64 percent of tow-arts youth. Standardized test scores: The national survey adminis- tered a variety of standardized tests to students every two years. The test score reported in Figure 2A for 8th graders reflects a ranking of students on a composite of verbal and mathematics tests. About two-thirds of high- arts students scored in the top 2 quartiles (or top half) of composite standardized test performance; in con- trast, only about 43 percent of low-arts students made it into the top half of the test performance distribution. Persistence in school: Another marked contrast is shown for the high-arts versus low-arts 8th graders. Although dropping out of school is relatively infre- quent between grades 8 and 10, only 1.4 percent of students with high arts-involvement as of grade 8 dropped out over the subsequent 2 years; the dropout rate was four times higher for low-arts students. Boredom in school: Ask any middle school kid or par- ent: boredom in school runs fairly high among all 8th grade students. But those not involved in the arts turn out to be more bored, more of the time: about 49 per- cent of all low-arts students claim they are bored in school half or most of the time. A still-high 42 percent of high-arts students make the same claim of substan- tial disinterest with whatis going on in school. THE ARTS AND TENTH GRADE STUDENT PERFORMANCE The loth grade analysis used a scale of arts involve- ment that grouped students according to overall levels of involvement in the arts for both 8th and loth grades — using the scaling process outlined above — and compared the highest arts-involved quarter of the stu- dent population with the lowest arts-involved quarter of all students. Because available indicators at grade io differed somewhat from (and were more numerous than) those available for 8th graders, the report shows a similar and extended set of achievement, behavior and attitude measures for loth graders, shown in Rgures 26 and 2C (bottom and right). Figure 28 (bottom left) shows several academic performance contrasts between high-arts and low- arts loth graders. Standardized test scores: Nearly 75 percent of high-arts loth graders scored in the top half of the composite (ver- bal and math skills combined) test score distribution. Only 45 percent of the low-arts youth met this standard. Reading performance: Paralleling standardized test performance, about two-thirds of the high-arts stu- dents scored in the top half of the reading performance distribution for loth graders.' Only 43 percent of low- arts students met the reading performance standard. Tests of History, Citizenship, and Geography: The bal- ance favoring high-arts involvement for loth graders appears about the same for the National Educational Longitudinal Study of 1988 (NELS:88) test in history, citizenship and geography as for reading and the over- all standardized test composite: about 71 percent of high-arts students scored in the top half of the perfor- MONOGRAPHS VOLUME 1 NUMBER9 mance distribution on this test, compared to about 46 percent of low-arts students. ADDITIONAL 10TH GRADE INDICATORS We explored in a very preliminary way the NELS.-88 data base for other contrasts associated with student involvement in the arts. Three of these comparisons are shown in Figure 2C (at right): Community service performance: High arts-involved stu- dents are more likely to involve themselves in communi- ty service. A very strong majority, 86 percent, of low-arts students rarely engage in community service activities such as volunteering for social programs. In comparison, more than one-third of high-arts youth perform commu- nity service activities occasionally or more frequently. Attitudes about community service: Reported involve- ment in community service seems to go hand in hand with student beliefs about its importance. About 47 percent of high-arts loth graders believe that commu- nity service is important or very important, in contrast to only 34 percent of low-arts students. Making time for the arts: An important issue lurking in these data describing student involvement in the arts is just how students more involved in the arts make time available for this involvement. This is an issue deserving focused attention in inquiries about why the arts matter, and how the arts may contribute positively to the development of children and adoles- cents. Presented here is just a smalt glimpse of such an inquiry, namely the time youth in the NELS:88 sur- vey spend watching television. * About twice as many high-arts icth graders report watching less than an hour of television per day than low-arts students — 28 percent versus 15 percent. * The relationship for high television watching is the reciprocal: more low-arts youth report watching three hours or more of television then high-arts youth — 21 to 35 percent. INTERIM CONCLUSIONS: GOOD NEWS FOR THE ARTS, BUT WHAT ABOUT FAMILY BACKGROUND DIFFERENCES? The preceding analyses and displays show unambigu- ous positive academic, behavioral and attitudinal associations with student involvement in the arts. High-arts students in general score better on academ- ic tests, achieve more in school, and exhibit more com- munity-minded values than low-arts students. While from the point of view of the arts enthusiast there seems to be much to cheer about in these findings, it does not take extensive experience with developmen- tal and educational inquiry to realize that involvement in the arts is neither the .only nor the most important difference between the high and low-arts groups com- pared. An unquestionable substantial contributor to the differences just shown is the fact that children dif- fer in their access to, and engagement with, the arts. A crucial difference is the fact that children from more educated and affluent households are more like- ly to be involved with the arts. This is expected because of various advantages that go hand in hand with socio-economic status (SES): * ability to afford private lessons * increased parent resources to transport children to arts activities * living in more affluent school districts where arts programs are more prevalent AMERICANS FOR THE ARTS * possibly more parent encouragement for the arts because of their own advantaged and comparatively arts-rich school years and adult lives This view is substantiated by family income statistics about the high and low-arts groups in our database used for this analysis. The chart below shows a clear relationship between SES and arts involvement in the national sample enlisted for this research: A simple symmetry is displayed in the chart above: * A student's probability of high arts involvement is twice as high if his/her family is in the highest family income quartile than in the lowest quartile. * Conversely, a student is twice as likely to show low arts involvement if he/she is from a low SES family than from a high SES family. * Thus high-SES youth are considerably over-repre- sented in our high-arts group; low-SES youth are con- siderably over-represented in our low-arts group. (The strong relationship between family background and arts participation is also noted in early analyses based on the National Assessment of Educational Progress and a 1981 report of the Second National Art Assessment.)' So while the various advantages to arts involvement reported above seem substantial and powerful, it is by no means simple to tease out just what the arts per se have to do with this. Without attempting a fine-grained analysis, a substantial portion of the academic advan- tages associated with the arts should be attributed to just who has access to and encouragement for the arts. At the same time, not all of the advantages should be assumed to be tied up in this primary selec- tion factor. A case for this contention is supported by the subsequent analysis in Section 3, where we exam- ine relationships between the arts and student perfor- mance within the low SES quartile of all students — a group for whom differences in access to the arts based on family economic resources are considerably more constrained. Besides arguing that such an analysis tends to meet the SES relationship challenge just described, we have ample additional reason for an interest in children from homes where parent income and education levels are low. The economically disad- vantaged core of our youth have drawn a great deal of attention from educators and education policy schol- ars in their own right for decades — children in this group, on average, have the greatest difficulties suc- ceeding in school and as adults. Far more poor than affluent children fail in school, drop out without gradu- ating, and eventually lead adult lives dependent on public services such as welfare and involved in pub- licly costly behaviors such a criminal activity.7 Here is an exploration of what the arts mean for economically disadvantaged 8th and loth graders. SECTION 3: ARTS AND THE ECONOMI- CALLY DISADVANTAGED STUDENT This section replicates the analysis performed for all 8th and loth graders above, in this case comparing high-arts and low-arts students from within the least affluent quarter of the nation's student population. The analysis procedures are essentially the same, with the exception of restricting the inquiry to students whose families are in the lowest parent education and income (or SES) quartile. This means that only the poorest 6,500 out of the original 25,000 8th graders are considered; this group is then examined for stu- dents meeting the low and high arts-involvement crite- ria established for the analysis in Section 2.' Consistent with data shown in the chart is an observa- tion that among the low SES youth in the NELS:88 MONOGRAPHS VOLUME! NUMBER9 survey, about four times as many youngsters fall into the low-arts group as into the high-arts group. It is these two groups that now draw interest. ARTS AND 8TH GRADE STUDENT PERFOR- MANCE IN THE LOW SES O.UARTILE Paralleling the analysis for all students shown in Section 2 above, we here examine academic perfor- mance indicators for high-arts versus low-arts stu- dents from low SES families. The overall performance levels of the entire economically disadvantaged group are lower than performance levels for all stu- dents, as we would expect But the positive relation- ships between arts engagement and academic perfor- mance remain robust and systematic, as shown ini- tially in figure 3A (at right). Even more important, the academic advantages for arts-involved economically disadvantaged youngsters are quite pronounced by grade 10, especially as shown in Figure 36 (at right). English grades: About 8 percent more high-arts stu- dents report mostly As and Bs in English over grades 6- 8. While the absolute increment between the two groups is 8 percentage points, the percentage of high- arts students showing lofty English grades (64.5 per- cent) is 14.4 percent higher than the percentage of low- arts students (56.4 percent) doing this well in English.' Standardized test scores: An added 5 percent of high- arts students score in the top half of the composite test score distribution (reading, verbal and mathemat- ics tests). This is a 20.4 percent difference favoring high-arts youngsters. Dropping out of school: Dropout rates are higher for all students with low SES family backgrounds. But the dropout rate between grades 8 and 10 for low-arts stu- dents (9.4 percent) is 45 percent higher than the rate for high-arts students (6.5 percent). Boredom in school: Student reports of being bored in school remain high, but boredom levels are slightly lower overall for low SES youngsters than for all 8th graders. For the low SES students, only 41 percent of high-arts students claim high levels of boredom, in contrast to 46 percent of low-arts 8th graders. Student self concept: High arts-involved, low SES youngsters report higher self concepts by about 5.5 percentage points — 9.2 percent higher than low-arts students. The self concept scale is based on student answers to questions about how much they value themselves, their abilities, and their achievements. Behavior and attitudes about volunteerism and com- munity service: Conforming to what is reported above for all students, within the low SES group, high-arts students report more community service activities by AMERICANS FOR THE ARTS more than 10 percent; high-arts students also report with considerably more frequency that volunteer work is somewhat to very important (by a percentage differ- ence of about one-third). ARTS AND 10TH GRADE STUDENT PERFOR- MANCE IN THE LOW SES QUARTILE Above is a report of modest but significant and sys- tematic academic performance differences favoring high-arts 8th grade students within the low SES quar- tile. Below is an examination of academic performance differences related to arts involvement by loth grade for the same low SES group. To summarize in a few words: the academic perfor- mance differences for low SES children linked to arts involvement are greater and more significant by the loth grade. This contrast reflects a better and more sustained indicator of arts involvement — the high- versus low-arts groups are based now on a composite of indicators of arts involvement over both 8th and loth grades. And the outcomes are more meaningful because by the spring of loth grade, academic perfor- mance tends to get closer to what student high school careers will eventually amount to. As shown in Figure 38, the academic performance levels of high-arts loth graders outstrip the perfor- mance levels of low-arts students by more than half across the board — the shares scoring in the top two quartiles of the standardized test composite; the pro- portions scoring in the top half of the reading test score distribution; the fraction reading at standard for grade 10, and the share scoring in the top half of the test distribution in history, citizenship, and geography. Various additional indicators of advantage for arts- involved students within the low SES ranks also show up in NELS:88 data. Several are shown in Figure 30 (bottom left). As reported for students more generally, low SES students line up along arts involvement lines when it comes to community service practices and attitudes: * more than twice as many high-arts low SES students are actively involved in community service * 21 percent more consider community service important" Again, consistent with what is reported for all students, high-arts youth from low SES family backgrounds report watching less television than low-arts youth: * nearly one-third more low-arts youth report watching 3 hours or more per weekday * about 23 percent more high-arts youngsters than low-arts youngsters report watching one hour or less of television on a typical school night CONCLUSIONS This study finds considerable advantages for youth high- ly engaged in the arts during grades 8 and 10 when com- pared to arts-poor students. Academic grades, standard- ized test scores, measured reading levels and attitudes concerning commitment to community were all higher for students maintaining high levels of activity in music, chorus, drama and the visual arts. And the academic performance differences were quite pronounced by loth grade, where students demonstrated consistent involve- ment (or lack of involvement) through two years of data collection across the middle and early high school years. This pattern holds both generally in this 25,000 student sample, and most importantly for students in the lowest quartile of family education and income. Explaining these differences? This brief report does not explore the theoretical rationales for why the arts might MONOGRAPHS VOLUME1 NUMBER9 matter in ways suggested, although much can be said about such foundations and has been documented in previous work by the author and others. These can be grouped into major categories reflecting the various roles that the arts play in promoting cognitive develop- ment (from specific relations such as the influence of music on perception and comprehension of mathemati- cal structure to the more general roles of imagery and representation on cognition). The arts serve to broaden access to meaning by offering ways of thinking and ways of representation to youngsters possessing a spectrum of "intelligences" scattered unevenly across the popula- tion. The arts also show links to student motivation and engagement in school, attitudes that contribute to acad- emic persistence and achievement Many arts activities, particularly the performing arts, also promote communi- ty — advancing shared purpose and team spirit required to perform an ensemble musical or dramatic work, or to design and paint a public mural. With the promotion of community surely comes empathy and general attach- ment to the larger values of the school and the adult society which high school students will soon join. Success by artistic association? The arts show advan- tages when it comes to academic achievement in the relationships we describe. Even in the absence of causal attributions yet to be proved in our work with [his national database the perspectives we show elicit another reason to promote more involvement in the arts for more youngsters. This analysis of the NELS:88 survey establishes that students involved in the arts are doing better in school than those who are not — For whatever constellation of reasons. Research into academic achievement going back three decades and nore argues that the motivation and success of one's jeers have an influence on how a youngster does in school. At very least, these data support the con- :ention that rubbing shoulders with arts-involved /oungsters in the middle and high school years is, on average, a smart idea when it comes to choosing riends and activities. Jnequal access to the arts. Although not the main :heme of this study, the data support popular convic- tions as well as research concluding that access to the arts is inequitably distributed in our society. Students Prom poor and less educated families are much more likely to record low levels of participation in the arts during middle and high school; affluent youngsters are much more likely to show high engagement in the arts. The arts do matter — not only as worthwhile experiences in their own right, but also as instruments of cognitive growth and development and as agents of motivation for school success. A FINAL NOTE — SCALING UP RESEARCH ATTENTION TO THE ARTS More than eight years into the most important educa- tional survey addressing educational conditions and outcomes for American youth, this brief exploration appears to be the first analysis of student participa- tion in the arts to appear in print. The likely reasons for this speak to the lagging place of the arts in the imaginations of most contemporary education leaders, policy makers and researchers. When academics have turned their lenses to the powerful NELS:88 survey, the issues they explore concentrate on the tried and true, even if their questions are important: Why do children fail? Who drops out of school? What curricu- lum designs or teaching practices contribute to math, science, and reading achievement? What accounts for the personal, educational and occupational aspira- tions of youth? Who is at-risk, who is resilient, and why? Which family and community supports for educa- tion matter? Good and critical questions, all. But scholars with the patience, computing facilities and modeling skills needed to work with this data base seem as much interested in their techniques as in their subjects, and when it comes to tackling educa- tional issues they gravitate to mathematics, science and reading because that is what the policy communi- ty is so keen on nowadays. There is reason to spend more time in our large-scale queries into educational achievement on what we can know about the arts and student development and accomplishment of atl sorts. This work is a start on this agenda. 10 AMERICANS FOR THE ARTS ENDNOTES i.TMs research is based on the National Educational longitudinal Study of 1088 (NELS:88), United States Department of Education. Office of Educational Research ami Improvement This nation- al study followed about 35.000 students in uoo diverse schools across the United States beginning in 8th grade In spring of 1988, with follow-up data collection in 1990. 1993. 1994 and ongoing. Data ire based on student sur- veys, achievement tests. parent surveys, teacher surveys and school princi- pal surveys. This prelimi- nary analysis is based on analysis of data for Sth graders through the loth grade follow up. 2. Our recent broad review of research on the arts and learning, like other reviews before and since. turned up a huge imbal- ance favoring exhortation and argument for the importance of the arts as opposed to good research designs and defensible data about student perfor- mance supporting these arguments. There are hun- dreds of small-scale stud- ies suggesting that various art forms bring develop- mental benefits to chil- dren. See lave T. Darby and lames S. Catterall. The Fourth fc The Arts and Learning. Teachers College Record. 96/2 (Winter 1994). 299/328. 3. Detailed descriptions of National Educational Longitudinal Study of 1988 (MELS:88) variables used for this analysis and additional detailed infor- mation about the methods used to construct scales of student arts involvement are available from the author. See contact infor- mation in Footnote 1. «.H is possible to "weight- these indicators of arts-invotvement in many ways. We chose assign less weight to museum-going than to taking regular arts classes because of our belief that regular arts classes proba- bly suggest more engage- ment with the arts than occasional or infrequent museum attendance. The data base contains very limited indicators of fre- quency or duration for museum attendance. 5. levels refer to criterion standards for different scores on the reading test Students who demonstrate specific levels of reading comprehension are pegged at specific levels, usually o, i or 2 for a given grade level or duster of levels. What a give level indicates corresponds to the test designers agreed stan- dards for what each level means and how student reading is to be scored. 6. National Assessment of Educational Progress. Art Technical Report: Exercise Volume, Report no. ot-A- 10 (Denver: Education Commission of the States, 1978); also Art and Young Americans. 1974-79: Selected Results from the Second National Art Assessment, Report no. lo-A-oi (Denver: Education Commission of the States. 1981. 7. See lames S. Catterall. On the Social Costs of Dropping Out of School. The High School Journal (7l)/l (October-November, l9«7).«»-3»- 8, Students scoring 2 or fewer -points- related to involvement in arts activ- ities over grades 8 and 10 •re included in the low- arts group; students scor- ing more than 7 points are included in the high- arts group. 9. This way of framing dif- ferences is analogous to the following contrast: If two groups score 15 per- cent and 10 percent respectively on a measure, there are two ways of characterizing this differ- ence: in one representa- tion, one group is 5 per- cent ahead of the other; we call this an increment In another representation. the 15 percent group has outperformed the 10 per- cent group by 50 percent; we call this a percentage difference. 10. Note that a »«J per- cent share is incrementally 21 percent higher than a 40.7 percent share. See previous note. MONOGRAPHS VOLUME1 NUMBER9 11 ABOuramericans for the arts GOVERNING BOARD Chair Fred Lazarus IV The Maryland Institute, College of Art ist Vice Chair Harriet Sanford Fulton County Arts Council, Atlanta znd Vice Chair William Lehr, Jr. Hershey, Pennsylvania 3rd Vice Chair Patricia Holihan Steinhardt King County Arts Commission. Seattle /»th Vice Chair Peter F. Donnelly Corporate Council for the Arts, Seattle Secretary Sandra Gibson Public Corporation for the Arts, Long Beach Treasurer Steven D. Spiess Cravath, Swaine & Moore At Urge Madeleine Herman Franklin, Michigan Mrs. Jack S. Blanton, Sr. Houston, Texas Bill Bulick Regional Arts and Culture Council, "ortland (OreJ Donald R. Greene The Coca-Cola foundation Mrs. Michael A. Miles Vetv York, New York Mrs. LeRoy Rubin Veiv York, New York :ull Board erry Allen "ity of San Jose Office if Cultural Affairs Ramona Baker Arts Council of Indianapolis, Inc. John Paul Batiste Texas Commission on the Arts Caroline Bock BRAVO: the Film and Arts Network Raymond A. Boyce Joseph E. Seagram & Sons, Inc. Willard I. Boyd Field Museum of Natural History John Brademas New York University Janet Brown Souf/i Dakotans for the Arts Kathryn Murphy Burke Wisconsin Arts Board Robert Bush Hickory, North Carolina Mrs. Howard Stephen Cowan Boothbay Harbor, Maine Ken Fergeson National Bank of Commerce, Altus (Okla.) Gretchen Freeman Freeman/Whitehurst Group, Phoenix Stephanie French Philip Morris Management Co. Michael P. Garcia Garcia & Associates, St. Paul Susan S. Goode Norfolk, Virginia Michael Greene National Academy of Recording Arts & Sciences Inc. Mrs. John R. Hall Ashland, Kentucky John Haworth National Museum of the American Indian, Smithsonian Institute Betty Jo Hays Southwest Arkansas Arts Council Eleanor Holtzman National Executive Service Corps Howard S. Kelberg Winthrop, Stimson, Putnam, & Roberts Mrs. Donald M. Kendall Greenwich, Connecticut Michael Marsicano, Ph.D. The Arts & Science Council of Charlotte/Mecklenburg Robert Moore American Indian College Fund Paul M. Ostergard Citicorp Foundation Susan M. Pearce Lockheed Martin Corporation Dr. James M. Rosser California State University, Los Angeles Janet Sarbaugh Heinz Endowments Molly Sasse Allied Arts of Greater Chattanooga Sherry Shannon City of Dallas Office of Cultural Affairs Joan Small City of Chicago Department of Cultural Affairs John Straus New York, New York Mrs. Gerald H.Westby Tulsa, Oklahoma Americans for the Arts is the national organization for groups and individu- als across the United States dedicated to advancing the arts and culture. Founded by the American Council for the Arts, representing a broad network of arts supporters, patrons and busi- ness leaders, and the National Assembly of Local Arts Agencies, the country's largest alliance of communi- ty arts organizations, Americans for the Arts strives to make the arts more accessible to every adult and child in America. To this end, Americans for the Arts works with cultural organiza- tions, arts and business leaders and patrons to provide leadership, advoca- cy, visibility, professional development and research and information that will advance support for the arts and cul- ture in our nation's communities. Americans for the Arts MONOGRAPHS DESIGN KINETIK Communication Graphics Inc. HOHOGZAPHS Is produced 10 times annually for Am«ta«s for the Arts. For man information, please caU 202.371.2830. 6 Copyright 1997, Americans for the Arts. Printed in the United States. Please note that all activities and grants previously conducted under the auspices of the American Council for the Arts or the National Assembly of Local Arts Agencies are now officially part of Americans for the Arts. ABOUTamericans for the arts Americans for the Arts Washington Office Headquarters 1000 Vermont Ave, NW uth Floor Washington, DC 20005 tel 202.371.2830 fax 202.371.0424 New York Office One East S3'd Street New York, NY 10022 tel 212.223.2787 fax 212.980.4857 Visit our website! www.artsusa.org STAFF MEMBERS PRESIDENT'S OFFICE Robert L Lynch President and CEO Helena Belanger Assistant DEVELOPMENT Gigi Ledkovsky * Director Oscar Marin * Corporate and Foundation Amy Dukes * Associate FINANCE R. Brent Stanley Director Karla Coghitl Bookkeeper GOVERNMENT AFFAIRS AND PRIVATE SECTOR PARTNERSHIP Nina 2. Ozlu Vice President * New York Office PROGRAMS AND MEMBER SERVICES/ OPERATIONS Mara Walker Director Jennifer Neiman Gottlieb Communications J.R. Wells * Publications Kelley White Information Systems Cydne Wood Assistant RESEARCH AND INFORMATION Randy I. Cohen Director Nancy Langan Arts Education and Community Development David Bosca * National Arts Policy Clearinghouse Eleanor Zimmer * Clearinghouse Assistant MONOGRAPHS TO ORDER ADDITIONAL COPIES OF THIS AND PAST MOHOCXArHS, writ* Of fax Americans for the Arts, c/o Whitehurst and Clark, 100 NewfieU Avenue, Edison, NJ 08837, fax 908.225.1562 (credit card orders only). Copies are available for $6 each for members, $8 for nonmembers (plus postage); 50 or more copies of a single issue are $4 each. SPECIAL DOUBLE ISSUES are $12 each, $8 for 50 or more. Community Cultural Planning: Development and Design to Meet Local Needs The 1997 Nancy Hanks Lecture on Arts and Public Policy: Alan Simpson Program Planning and Evaluation: Using Logic Models in Arts Programs for At-Risk Youth OCT97 SEPT 97 JUNE/JULY 97 The Minnesota Model: Reaching New Audiences with Literature MAY 97 Hatching Art: Creating a Vital Arts Presence in Your Community APR 97 United Arts Funds: Meeting the Challenge of Increased Private Sector Support for the Arts MAR 97 Making Advocacy a Habit FEE 97 Cultural Tourism: Bridging America Through Partnerships in the Arts. Tourism and Economic Development JAN 97 The Arts and Older Americans DOUBLE ISSUE NOV/DEC 96 For Immediate Release: Strategic Media for Local Arts Agencies ocr 96 The Arts, Education and Technology DOUBLE ISSUE |UN/juu96 Cultural Diversity and the LAA APR 96 Rural America in Transition: Innovative Responses MAR 96 Anchored in Community: Folk Arts and the Local Arts Agency FEB 96 Arts Stabilization: A New Frontier for Local Arts Agencies? NOV 95 Online Technology: Are You Ready for the Information Superhighway? OCT 95 Live/Work Space: Housing for Artists in Your Community AUG/SEPT 95 Marketing and LAAs: Reaching Your Community's Untapped Audience JULY 95 Overview: Untapped Public and Private Funding Sources for the Arts MAY/JUNE 95 Arts in Education Planning: Three Local Communities, Volume II APR 95 An Introduction to Arts Incubators MAR 95 The Public Art of Re-Collection FEB 95 Arts in Education Planning: Three Local Communities, Volume I JAN 95 FOR MOKE INFORMATION ON THESE AND OTHER MOmGKAfHS TITLES, please Call Americans for the Arts at 202.371.2830.