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| بحوث في التربية الفنية والفنون | ||||
| Article 4, Volume 21, Issue 1, January 2021, Page 8-12 PDF (499.35 K) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/seaf.2021.145666 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Steve Willis | ||||
| أستاذ التربية الفنية بجامعة ولاية ميسوري، بالولايات المتحدة الأمريکية | ||||
| Abstract | ||||
| As I wrote in Cultural Sensitivity in a Global World: A Guide for Teachers, that by “shifting focus from how we see the world or how others see us to how we see the world together requires an awakening of empathy; empathetic instincts are brought to consciousness through attention to resonate thoughts and feelings of others” (p. 83). As artists and educators, through our research and art-making processes, we can reduce our perceptual needs, learned limitations, and historic (un)truths. We can reduce our acculturated myopia. Sloan (2009) noted that “The benefits of arts instruction cannot be measured by standardized tests, but students can certainly use the skills they gain in areas outside of the arts” . If we relax our predispositions about ubiquitous assessment standards, frequent administrative limitations, and frustrations with government oversights, we can create an environment conducive to learning that develops and enhances individual empowerment that we all seek as artists, educators, and humans. Let’s not embrace newness for the sake of newness but embrace newness because it provides a broad, sensuous, and provocative landscape for undiscovered possibilities. As Dass (1985) reminds us, the only thing a teacher can do is create an environment conducive to learning. We can support their future. We can build bridges together. | ||||
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