By Laura Zakaras
What does it ability to domesticate call for for the humanities? Why is it very important and essential to accomplish that? What can nation arts companies and different arts and schooling policymakers do to make it occur? The authors set out a framework for puzzling over provide and insist within the arts and determine the jobs that various factors, really arts studying, play in expanding call for for the humanities.
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Additional info for Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy
We draw from the aesthetic education tradition (or what some call the humanities-based approach) because these writers address the purpose that interests us in this study. But there are diverse schools of thought on this subject. Those who take a purely arts-based approach (or what some call the studio or performancebased approach) hold that the aim of arts education is to teach students how to create in the art form. Those concerned with youth development argue it can help young people develop such qualities as self-esteem and a greater sense of responsibility to the community.
14 Cultivating Demand for the Arts primarily to provide the arts to the public also oﬀer educational programs. And almost all museums have a strong educational function that coexists with their mission to acquire, preserve, and display works of art. But despite such overlaps, the majority of individuals and organizations have missions that place them primarily on one side or the other. Higher education is the exception in that it plays a crucial role on both sides: on the supply side, increasing the number and quality of artists and often serving as the central provider of performing arts in communities across the country; on the demand side, training arts specialists and oﬀering arts education courses for general students.
2 illustrates the individual and institutional actors that make it possible for people to experience art in its many forms. At the center is where the individual who is seeking an arts experience (demand) encounters a work of art (supply). 2 ﬁgure). This support infrastructure for supply includes the artists who create and perform works of art and the academies and university departments dedicated to increasing the number and quality of artists and artworks. ” The support infrastructure for demand (right side of the ﬁgure) consists of the individuals and institutions that help draw people into engagement with the arts and teach them what to notice and value in arts encounters.
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