An art teacher who went to Bella Bella, a remote island in British Columbia, to teach an arts methods course for the University of British Columbia's Native Indian Teacher Education Program describes her experiences and the course she taught. (RM)

Art can make a contribution toward erasing ethnic stereotypes and cultural misunderstandings. Two multicultural art programs operating in British Columbia elementary schools are described. (RM)

The career and ideas of a pioneer art teacher, William P. Weston, who emigrated to British Columbia, Canada, from England in 1909, are described. (RM)

A K-12 visual arts program in Ontario, Canada, which used observational drawing to increase students' visual observation skills is described. Students had to observe and draw objects associated with intimate use, objects that were physically more distant and unfamiliar, and objects in the rural countryside. (RM)

Teaching methods that elementary art teachers in British Columbia involved in an interdisciplinary art and language arts program have successfully used to help children experience an art project and then write about it are discussed. (RM)

The Mackenzie Art Gallery in Regina, Saskatchewan, Canada, provides an internship program for students enrolled in the art education program at the University of Regina. The gallery trains teachers in the concepts of aesthetic education and the use of art objects and gallery resources in the teaching of those concepts. (RM)

Discusses why elementary and secondary art teachers, educators involved with the training of art teachers, and researchers in art education should be interested in art history. Educators must help students understand that history is primarily a discipline of thinking, not memorizing. (RM)

Teacher education in the visual arts in Canada has passed through a creative, golden age and is now in a critical period. The expansionist period of the 1960s and 1970s has passed, giving way to cutbacks and restraints. Possible scenarios are discussed. (RM)

The new arts education program at the University of Regina, Saskatchewan, Canada, which stresses aesthetic education is described. Music, dance, drama, and the visual and literary arts are all included in the undergraduate program. (RM)

Two Canadian art educators carry on a fictional exchange of letters that address a very common set of problems: "Why do art educators have to educate the public to the value of art while a similar kind of public consciousness raising is not necessary for, say, math or reading educators?" (RM)

The Brandywine Graphic Workshop, established in Philadelphia in 1973, continues to offer printmaking, photographic and research workshops, and a wide range of educational programs to young Afro-American artists. Its history, leadership, community projects, programs, and plans for its eleventh anniversary celebration are discussed. (IS)

Teaching art to female prisoners at the Milwaukee (Wisconsin) County Jail gave them a new method of communicating with each other and with the outside world. Despite the difficulties of working within a maximum security prison, there was an atmosphere of sharing among the inmates and between teacher and students. (IS)

To prepare them for visits to a museum, preschoolers' aesthetic awareness was developed through visual, tactile, kinesthetic, and olfactory experiences in a studio setting. Anecdotal examples of student involvement in the museum, recorded from observations, photographs, students' casual comments, and parental interviews, are presented. (IS)

An attempt to foster greater self-confidence among prison inmates by teaching representational drawing and art appreciation encountered problems because of the wide range of skills in each class and the students' lack of experience with live models and symbolic representation. Teaching methods and drawing materials used are also discussed. (IS)

Finger painting is often regarded as the epitome of free expression for children. However, a careful review of the history of Ruth Shaw's finger-painting system reveals that it was dominated by specific techniques and stylistic conventions taught without a critical understanding of art history or appreciation. (IS)