The author contends that public support will ultimately determine whether the arts will prosper in the public school curricula, and that art teachers who can communicate with fellow teachers, students, parents, and administrators clearly, and can demonstrate exemplary curriculum practices, are the centerpieces of the public relations effort. (KC)

Described briefly is a course on arts advocacy designed so that guest speakers representing a broad base of organizations and/or legislative oriented groups could create action and movement to enhance arts education through networking and other sophisticated strategies. The course became a consciousness-raising event. (KC)

The author suggests that we view the arts as facilitators for learning in all disciplines, as well as an individual expression for the artist or performer, thereby generating the belief that art is basic to education, translatable to all of life. (KC)

The history of state support of the arts in education in California is sketched very briefly, and is followed by a description of the beginning of an arts advocacy group designed to lobby for the arts. (KC)

This aricle describes the successful efforts of district arts teachers in saving their art programs in the face of declining enrollments. The Board of Education accepted the committee report, retaining all tenured and non-tenured staff, and was willing to make a substantial financial commitment to the fine arts program. (KC)

If the arts are to survive in the curriculum of today's schools, a battle plan has to be developed. Action can occur on several fronts, including: inservice training; curriculum development and coordination; networking; higher education cooperation; and political action. (Author)

The 1964-66 art education conferences were the last serious attempt to involve professional artists and educators in arts policy planning. This is a call to the art education profession to end this communication gap through a conference to examine the nature of excellence in the education of visual artists. (Author/SJL)

This article reports secondary school results from a national survey questioning art educators on supply expenditures per student by grade, supplementary financial arrangements, access to materials, actual and ideal financial support for art, and program quality. Elementary school survey results were reported in the October, 1978 issue of this…

The author asserts that, to defend their programs, art educators must cooperate with other school staff. She warns that, by too closely identifying with the traditional artist's role (communicating nonverbally, being creative, acting as a tradition-breaker), the art teacher may risk being viewed as separate, noncooperative, and divisive. (SJL)

The California Art Education Association has developed a statewide advocacy effort to counteract declines in art education brought about by financial pressures and the basic skills movement. This article describes the advocacy program's publicity efforts and commitments to work with the entire arts community in a "comprehensive arts" campaign.…

This article presents an overview of new trends in museum education worldwide. (Editor/SJL)

This article describes a University of Pittsburgh course for preservice teachers entitled, "Using the Museum as a Resource." The goal of this interdisciplinary offering is to emphasize the use of museum resources as a base for curriculum development. (Author/SJL)

Describes the "Museum in the Schools" program of Cornell University's Johnson Art Museum. To encourage museum use by secondary school students and teachers, workshops are designed and presented by the museum's team, based on the specifications of the classroom teacher. This article focuses on a workshop in drawing and line. (Author/SJL)

Reports research which distinguished five types of museum visitors by their levels of aesthetic judgment and determined that these types follow different paths and seek different information while in the museum. Based on these findings, a participatory tour format was designed for adolescent Type I and II (naive) visitors. (SJL)

The author describes the role and training of the volunteer museum docent and suggests new ways they might be used in school field trip programs. (SJL)