All about art.

It's all about art; at least, that's my fantasy. In my fantasy, a group of art teachers are confronted by a group of parents in a supermarket. Trapped in the aisle between cans of green beans and sauerkraut, the teachers are pressed to respond to puzzled parents who want to know why their kids have to study art.

One teacher begins by quoting Arthur Wesley Dow and the quest for order and beauty through in-depth study of the elements and principles of design. The approach fails. Another begins to talk about the Mozart effect and how art improves performance in reading and math. That approach also falls on deaf ears.

A third teacher comes to their rescue: "Hey, all kids need to understand that throughout time and around the world people make art; and the art they make, just as the stories they write, has meaning; and although we may not always be aware of what's happening, we respond to and are affected by art in pleasurable, and sometimes disturbing ways. So people wonder about this stuff."

The other teachers, now refocused, jump back in: "Very simply, as the result of a sound art education, people will end up knowing more about art. All other claims aside, quality art education offers the opportunity to all learners to experience the personal pleasures and special understandings that can be gained only through knowledge of art."

"We strive to share with our students that which we love most about art--the masterful articulation of form, the far-reaching view, the heart-quickening encounter."

As the parents counter with concerns about time, expense, and value, the art teachers continue to articulate their beliefs, not once trying to justify the teaching of art based on questionable claims of icnproving behavior or building self-esteem: "We live in a society that is dominated by visual images, designed objects, and complex structures that affect the natural order of the environment. To live successfully, participate fully, and contribute positively in this visually oriented world, we all need to understand and evaluate the meanings and purposes of the whole range of visual forms we encounter on a daily basis--including the labels on these cans of green beans!"

"Global implications in education are increasingly evident. Certainly the Internet and the events of 9/11 make the need for global awareness greater now than cver before. Students ought to see their needs, values, and beliefs in relation to those of the diverse peoples throughout the world, and especially in their local communities. We have to remembcr that not everyone eats sauerkraut."

"As students move from the personal and the community to the global, they construct knowledge of their world. They build on prior knowledge by making connections among their experiences."

"As part of their comprehensive education, students need to both make and respond to art. Making art is a complex, cognitive act. It engages the intellect and channels emotions as it gives form to feeling. Responding to art provides insights as it prompts questions about mood, meaning, and purpose in our lives."

In my fantasy, the parents all begin to nod in agreement as the teachers, in unison, conclude: "Learning in art helps students see the potential for getting the most out of an art-filled life. It's as simple as that. It's all about art and pathways to appreciation. Nothing more, nothing less."

Just once, I want you all to know, I need my fantasy.

So what's your fantasy? As you read the articles in this month's issue, think about these questions. Then use these questions to help you construct your fantasy encounter:

1. What's unique about what we do for students and the community?

2. What's unique about the content we offer to all learners?

3. Why are the things we do worthwhile for students and the community?

4. Of all the things we do, which are the most important to teach in the limited time available?

5. To what extent do art programs address the issues of young people at individual, classroom, and community levels?

6. How are we helping students understand visual manipulation in the messages they receive?

7. How are studio skills and techniques understood and valued by students and the community?

8. How are we dealing with distinctions and relationships among creative expression, studio technique, historical knowledge, and analytical techniques?

9. How are we dealing with distinctions and relationships between traditional artistic practices, new technologies, and artistic freedom?

10. How are we connecting with other disciplines and programs within the school and community?