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National Endowment For The Arts (NEA), 1997.
Reviews some of the currently held positions in the debate over funding for the NEA. Argues that it is not simply a liberal vs. conservative debate, but rather a more complex one.
1,125 words (approx. 4.5 pages), 7 sources, AU$ 42.95
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From the Paper
"The National Endowment for the Arts (NEA) has become a target of some of the Republican leadership in congress. It has long been a target of certain conservative groups either opposed to government funding of the arts as such or opposed to certain manifestations of that funding, such as performances or works of art considered obscene by the critics. In the Senate, Senator Jesse Helms has been a leading voice against the agency. A number of newly elected congressmen are bent on pushing through various conservative issues now that Republicans are in charge of Congress for the first time in four decades. However, the division over the NEA is not simply a case of right versus left, and there are arguments for and against government funding of the arts on both sides of the political spectrum.
The National Endowment for the Arts and the National ..."
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National Endowment for the Arts ( NEA ), 1992.
A discussion of obscenity, the pros and cons of funding it and the hard anti-funding stance.
1,800 words (approx. 7.2 pages), 5 sources, AU$ 67.95
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From the Paper
"The National Endowment for the Arts (NEA) is responsible for funding many art projects throughout the United States. Recently, controversy has arisen concerning the group's funding of what right-wing fundamentalists consider "pornographic" art. As reported by NEA chair John Frohnmayer: "A dozen arts professionals in Seattle were informed that 'political realities' make it likely I will have to veto some grants recommended by the Endowment's peer panels.". These "political realities" come in the form of protests from people like Pat Robertson and Senator Jesse Helms who feel the NEA has recently funded some artists' works depicting what they consider "obscenity."
The NEA has funded many worthwhile projects in communities all over the country, for example, orchestras performing Brahms and Prokofiev's "Peter and the Wolf." However, shows exhibiting..."
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National Endowment for the Arts, 1992.
Examines controversies over the NEA funding of art called obscene by conservative groups, discussing economics, censorship issues, public views, legislation, quality of art and leadership.
2,025 words (approx. 8.1 pages), 4 sources, AU$ 76.95
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From the Paper
"The National Endowment for the Arts (NEA) has become a key funding source for all kinds of artistic endeavors across the country. For many it has been a savior at the taxpayers' expense; for others, an ill-conceived bureaucracy that should never have been created. However, it has survived and if Congress has its way it will continue to do so, but at a more controlled level. The purpose of this report will be to discuss the state of the arts in America as it relates to the NEA and the government's right to insert itself in the grand selection process by placing restrictions on what artists can do. In other words, government could be determining what is art and what isn't art, a situation causing much consternation among those in and outside of the arts. And, if government does have the right, what does this mean for the art world?"
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, AU$ 47.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, AU$ 113.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, AU$ 265.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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The Arts, 2002.
A discussion of the role of the arts in contemporary society.
2,408 words (approx. 9.6 pages), 9 sources, MLA, AU$ 78.95
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Abstract
This paper examines the role of the arts which comprise of the disciplines of the visual arts, music, theater and dance in society and particularly education today. It shows how the arts not only impart a sense of beauty and vitality to the lives of human beings, but how they can also equip students with the necessary skills to flourish in the real world.
Outline and summary:
Introduction
Role of the arts in contemporary society; the recent resurgence of interest in the arts in schools; positive reasons for incorporating arts as mandatory courses in public schools.
Discussion on the significance of arts in society
Impact on human beings and society; historical significance of the artists' legacy.
Historical background of the role of arts in:
Society
The rise of interest in culture after World War II, leading to the division of America: one that is culturally conscious and one that is not.
Schools
The rise and fall of progressive education; attempts by the Clinton Administration to introduce the arts into public schools; gradual restoration of music programs all over America.
Discussion of the question: should arts be considered mandatory courses for public schools?
Pros
Cognitive abilities; imaginative skills; life skills; multiculturalism; improvement in students' academic performance and behavior; becoming a whole human being.
Cons
Positive results in research need to be proven; arts should not always be incorporated in other subjects; lack of funding.
Recommendations for bringing arts courses into public schools: collaboration between arts organizations and with schools; providing high quality education with well-trained teachers; innovative programs between schools and museums
Conclusions: The potential of the arts for improving education and thus our society. Lists briefly the advantages of arts education.
From the Paper
"Throughout history, many artists have been inspired by the world around them to create their works. Their accomplishments are not limited to the exclusive realm of the arts. Cave painters studied the anatomy and movement of the animals they drew. The pyramids built by the Egyptians were created with the accuracy of mathematics (Unsworth 56). Furthermore, The Impressionists' quest for color as reflected light mirrored the scientific discovery of the nature of light rays (Unsworth 56). Altogether, the rich legacy of all the artists provides contemporary generations with a vibrant representation of the human world and inspires us to continue their great work (York 274)."
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Prisoners and the Arts, 2002.
This is a paper explaining the activities of various groups that bring the arts to prisons in an attempt to uplift prisoner's lives.
1,580 words (approx. 6.3 pages), 6 sources, MLA, AU$ 54.95
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Abstract
This paper investigates the activities of various groups that bring crafts, writing, drama, dance, fine arts, and music to prisons. One of the groups mentioned is "The Prison Creative Arts Project" from the University of Michigan, which holds exhibitions for prisoners' art, which they even sell. Another is the "Geese Theatre Company", a team of specialized theater practitioners, taking drama to prisons and probation services centers. The National Endowment for the Arts' program for juvenile offenders is also brought up. The paper explains how these programs constitute "art-therapy" and how they benefit prisoners, both in prison and once they are released. It also looks at the school arena, recommending programs like these for the prevention of juvenile offences. The paper includes a glance at the costs of these programs and at the opinions of opponents to the programs.
From the Paper
"Other people have had that question too, and it seems they have done something about it. They organize different groups, and take the arts-crafts, writing, drama, dance, fine arts, and music-to the prisons, hoping to make some sort of difference in the prisoners' lives. One of these groups, the Prison Creative Arts Project, from the University of Michigan, does just that. They hold exhibitions for prisoners' art, which they even sell. The prisoners just love this, because it is a chance to "prove" themselves, and to let people actually see who they are."
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Government Support for the Arts, 2003.
A discussion on the effects of government support on the arts.
920 words (approx. 3.7 pages), 4 sources, MLA, AU$ 33.95
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Abstract
This paper argues that government support for the arts can have a negative impact on artists, audiences and market sectors. It discusses the problem of the government considering artistic merit based on the artist's ideology. The author also mentions the role of the National Endowment for the Arts.
From the Paper
"Should governments control public funding in order to shape the arts world addressing diverse audiences and determining not only what art events are offered but also who should attend. Opinion on this issue is divided ..."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, AU$ 142.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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Arts Education in Secondary Schools, 2006.
Assesses whether there is need for arts education in the public schools in light of the recent federal and state focus on standardized testing, which has caused school districts to reduce or eliminate arts programs in public schools.
2,250 words (approx. 9.0 pages), 8 sources, AU$ 94.95
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Abstract
In an attempt to determine the validity of the hypothesis that arts education is an essential inclusion in the learning experience of secondary students in the public schools, this paper conducts a need assessment through a review of existing documents. The paper contends that, based on the research, new and revised programs are need to allow all students in the American public school systems the opportunity to participate in the arts as part of their regular academic programs.
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The Arts and Health Care, 2007.
This paper discuses the incorporation of the arts into medicine both for the patient and for the physician.
2,945 words (approx. 11.8 pages), 7 sources, MLA, AU$ 93.95
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Abstract
This paper explains that the use of the arts to enhance the patient's recovery process is supported around the world by an increasing number of health care professionals and artists. The author points out that a number of medical schools now requiring the arts in their curriculum is steadily increasing. The paper relates that the arts can enrich and replenish physicians emotionally as well as convey medical and personal ethics effectively, ultimately contributing to their ability to build healthy and human patient-physician relationships. The author reviews the three major categories of creative art---visual, performing and linguistic---to demonstrate the ways each equips both sides of the doctor-patient link with the ability to better understand each other and maximizes their shared situation without over-exercising this relationship.
Table of Contents:
Introduction
The Role of Visual Arts The Role of Language Arts
The Role of Performing Arts
Conclusion: The Present and Future of Artistic Expression in Medicine
From the Paper
"A third function in this relationship is also very important as depicted in "The Quack," where patients can begin to understand the extreme tension, and obvious need for some kind of personal detachment, felt by the doctor or care-taker who assumes such an authoritative role. It is too easy to see these professionals as also appendages of a technological perfectionism that totally masks the inherent humanness and strain no matter how hard some doctors and care-takers may try to shield themselves from displaying it. Patients can begin to understand someone's blank expression as possibly a defense mechanism, instead of interpreting it as indifference."
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"Criticism and the Public Arts", 2008.
This paper defends the course "Criticism and the Public Arts" as a beginning point in understanding how to apply academic methods of study to all aspects of art and communication.
2,140 words (approx. 8.6 pages), 9 sources, MLA, AU$ 70.95
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Abstract
This paper explains that "Criticism and the Public Arts" is a course that talks about art in society and about what is and is not accepted in society. The author points out that these issues need to be given a stronger academic treatment because the subject matter is not what decides whether a course of study is sufficiently rigorous but rather the methodology applied. The paper relates that a critique of public art is not merely a compendium of what one likes or does not like but instead necessarily includes an assessment of the appropriateness of the public art and of the complexities of communication. The author stresses that public art involves a number of decisions that can be characterized in theoretical terms and analyzed empirically as part of the process of developing an applicable theory.
From the Paper
"Critic Ruth Slavin begins by considering the writing that supports public art, noting that it stresses two different but complementary ideas: 1) public art is considered to stand in a direct, unmediated relationship with the audience; and 2) public art is seen as an exercise in cultural democracy. Slavin is clear about the supposed result of this as she writes that "the placement of art outside the normal venues of the gallery and the museum becomes an important tool for enlarging the possibilities for participation in the fine arts." However, Slavin further finds these to be "liberal good intentions" often faced with "public incomprehension and hostility."
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Arts Education in the Schools.
This paper discusses the methodology for a research project studying arts education in the schools.
1,225 words (approx. 4.9 pages), 1 source, MLA, AU$ 44.95
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Abstract
This paper explains that the main hypothesis of this study is, while arts education in New Jersey is getting as much attention as it ever has, the state of New Jersey arts education has no effect either on school improvement initiatives related to arts education or on calculation of students' GPAs. The author further hypothesized that, while arts educators in New Jersey may well be feeling some dampening effects, financially or through curriculum demands, of NCLB, school districts typically do not receive funds from any outside sources, including parents groups, Booster Clubs, or local businesses to fund arts education programs. The paper includes the complete questionnaire developed by the U.S. Department of Education, National Center for Education Statistics, to be send to a sample consisting of 50% or more of the 604 New Jersey arts superintendents across virtually every school district in the state of New Jersey.
Table of Contents
Introduction
Restatement of Hypothesis
Sample description
Instrument
Data analysis
The Complete Questionnaire
From the Paper
"The standards came into being as a result of a reform effort generated in the 1980s, emerging in several states and gaining nationwide visibility with the publication of A Nation at Risk in 19783. As a result, six national educational goals were announced in 1990. Later, with the passage of the Goals 2000: Educate America Act, the goals were written into law, naming the arts as an essential academic subject as important to education as language, mathematics, history, civics and government, geography, the sciences and foreign language ability."
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Arts Education, 2005.
An argument regarding arts education and current policies.
675 words (approx. 2.7 pages), 3 sources, AU$ 28.95
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Abstract
This paper presents a classical argument that the current policy towards arts education is harming the arts discipline. Specifically, this paper argues that by stressing the usefulness of an arts education, policy makers and educators who are trying to get more funding are actually marginalizing and undermining the arts by making the arts into a supportive skill set rather than a discipline in its own right.
From the Paper
"In today's education system, the arts are often either minimized as unimportant or are translated into a "useful" discipline on par with the sciences in order to justify continued spending on arts courses. This places educators in a difficult position. Either they must make claims that the arts are utilitarian or risk facing program cutbacks or even shut-downs of arts programs. Although policy makers and educators can gain funding in the short term by depicting arts education as practical and useful, and although there can be little doubt that the arts do have useful applications, this approach tends to marginalize and harm arts education in the long run by making the arts into an auxiliary solution rather than a valuable discipline in its own right."
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The Martial Arts in Movies and Television, 2002.
This paper defines and reviews the history of martial arts in movies and television.
2,435 words (approx. 9.7 pages), 20 sources, APA, AU$ 79.95
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Abstract
This paper discusses that martial arts not only is the art of warfare but also has a philosophy based in an elaborate blend of ancient codes of conduct, ethics and a spirituality that appears to be a fusion of Daoism, Zen Buddhism, and Confucianism. This paper states that, making the leap from East to West, this merger of physical and spiritual mastery has become a booming industry in the U.S. resulting in action films and T.V. shows that, besides being a series of highly choreographed fight scenes, also conveys ethical messages, codes of conduct and spiritual direction. The author is concerned that many people are being exposed to the martial arts without any ethical grounding at all; thus a generation is learning the physical aspects of the martial arts without the ethical or spiritual code that has historically been taught alongside it and has no concept of how to take the right action in the face of a dilemma, of delayed gratification or of respect to others.
Table of Contents
Introduction
History of the Kung Fu Film
Bruce Lee and His Successors
Martial Arts in Film and on Television Today
Conclusion
From the Paper
"Bruce Lee has been credited as the one who officially brought martial arts to the film industry in the United States. Although born in San Francisco, Lee spent most of his childhood making films in Hong Kong and did not return to the U.S. until he was 18 years old. Thus, he began to develop and teach Jeet Kune Do ("way of the intercepting fist") and to infuse his philosophy into the films he was in, "which was his ultimate goal in movie-making". Unable to break through the racial barrier in Hollywood, Lee went back to Hong Kong to become a superstar there. Only after achieving success did Hollywood notice him, resulting in "Enter The Dragon" (1973), the only Hollywood-backed film he would star in."
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