Download Cultivating Demand for the Arts: Arts Learning, Arts by Laura Zakaras PDF

By Laura Zakaras

What does it potential to domesticate call for for the humanities? Why is it very important and essential to achieve this? What can kingdom arts businesses and different arts and schooling policymakers do to make it take place? The authors set out a framework for brooding about offer and insist within the arts and determine the jobs that various factors, quite arts studying, play in expanding call for for the humanities.

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Extra info for Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy

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5) makes this point in a slightly different way: Consider any powerful, transformative moment you’ve had with an act or artifact of creative expression. That moment required at least TWO lifetimes to form its value—your lifetime to that moment and the artist’s. There was a resonance between your experiences or emotions and the expressive voice. The moment required them both. The value was co-constructed. Third, the act of discussing observations with others engages the individual with a community of beholders and a world of shared reality, an engagement we mentioned earlier as one of the critical functions of the arts.

Diminish participation by people who are inclined to participate. —inhibit interest in and create resistance to participation. Marketing campaigns are typically designed to promote access to arts events by mitigating the practical barriers that prevent individuals who are inclined to participate from doing so. But such campaigns are typically ineffective at increasing the participation of people with little interest in or knowledge about the arts (McCarthy and Jinnett, 2001). One final point about the framework for supply and demand is that various individuals and institutions play a role in both support infrastructures.

Perceiving is an active probing of wholes as they become visible. It involves, as it goes on, a sense of something still to be seen, of thus far undisclosed possibility. It requires a mental and imaginative participation (even when the mind does not “hold sway”), a consciousness of a work as something there to be achieved, depending for its full emergence on the way it is attended to and grasped. With good facilitation from the teacher, learners are encouraged to draw on their own powers of observation to describe what they actually see, hear, and feel in response to a work of art.

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