More inculcation and brain drain – stealing our nations’ youthful creativity to pound guilt, divisiveness, victimhood andracism into the cultural sewer.
NAEF funding supports a wide variety of professional activities, including promotion of art education as an integral part of the curriculum; establishment and/or improvement of art instruction in public and private K-16 schools; promotion of the teaching of art through activities related to the instructional process, curriculum, student learning, student assessment, classroom behavior, management, or discipline; purchase of art equipment and/or instructional resources; and research in art education. Additionally, the NAEF provides professional development scholarships.
The White House understand the critical role the culture plays in leading sheep to slaughter. It’s a national psy-op. The White House held a briefing on Art, Community, Social Justice, National Recovery on Tuesday, May 12th, 2009 that was attended by various representatives of the current administration and more than 60 artists and creative organizers. All gathered were there to not only pledge their support for the arts and community organizing but also to begin a real dialogue on issues of social justice and our nation’s economic and emotional recovery.
And we are well aware of the White House arm twisting of the NEA exposed by Breitbart – the explosive phone calls made by Buffy Wicks, working for Valerie Jarrett in the White House, asking for National Endowment of the Arts to help “push the Obama Administration.”
Black Panther fist as icon for the National Art Education
What does the 2010 NAEA National Convention theme “Art Education and Social Justice” mean, and why was it selected?
“Education is always political. The teacher has to ask, what kinds of politics am I doing in the classroom. That is, in whose favor am I being a teacher.” —Paulo Freire (1970)
The 2010 Convention will be held April 14-18 in Baltimore, Maryland,
at the Baltimore Convention Center and the Hilton Baltimore Hotel.
To submit a presentation, review the NAEA Convention Presenter Policy below, and then proceed to “New Speaker” at the bottom of this page. By submitting a proposal, you agree to the NAEA Presenter Policy.
REQUIREMENT: Presentations must reflect one or more of the four
2007-2010 NAEA Strategic Plan goals.
Pedagogy of the Oppressed
Social Justice can be and has been used to mean many different things. Within the realm of education, the term social justice alludes to the notion of education as a political act, and when coupled with the term art education hints at models of resistance—teaching as a form of activism.
Art Education and Social Justice questions:
• ignorance of our collective history and struggles
• traditional means of knowledge production
• American democracy
• collective responsibility
• not knowing
The theme of the 2010 Convention, Art Education and Social Justice, is appropriate to our time. The historic election of President Barack Obama and Supreme Court Associate Justice Sonia Sotomayor reflects our ever shifting demographic. Our nation is truly questioning itself in order to discover and redefine who we are as a nation, what we believe in, and what needs to change.
The White House held a briefing on Art, Community, Social Justice, National Recovery on Tuesday, May 12th, 2009 that was attended by various representatives of the current administration and more than 60 artists and creative organizers. All gathered were there to not only pledge their support for the arts and community organizing but also to begin a real dialogue on issues of social justice and our nation’s economic and emotional recovery. Joseph Reinstein, Deputy Social Secretary, said, “The administration believes the arts play a critical role beyond art education in saying what a democracy is”(2009, p. 5). It is never a comfortable task to question oneself; there is fear at what we will find. But the arts are used to questioning, probing, and searching. As Maxine Greene writes, “[T]he arts will help disrupt the walls that obscure … spheres of freedom” (1988, p. 133). This year’s Convention seeks to do just that. —Vanessa Lopez, Roland Park Elementary Middle School, Baltimore, MD 2010 NAEA National Convention Program Coordinator
the National Art Education Association (www.arteducators.org) is the leading professional organization for art educators in pre-kindergarten through grade 12 as well as college and university professors and researchers, administrators, and museum educators. Serving more than 20,000 active members, NAEA represents educators in all 50 states plus the District of Columbia, U.S. Possessions, most Canadian Provinces, U.S. military bases around the world, and 25 foreign countries.
IMAX –Arabia 3D- promoted through: UNESCO World Heritage Site
From MacGillivray Freeman, the Academy Award®-nominated producers of Everest and Grand Canyon Adventure: River at Risk comes an ambitious and thought-provoking learning adventure: Arabia 3D.
Travel to the exotic and fascinating land of Arabia. Explore the lost city of Madain Saleh, a UNESCO World Heritage Site. Dive through the reefs and shipwrecks of the Red Sea; travel with a camel caravan along ancient trade routes and fierce deserts; and experience the great pilgrimage known as the Hajj–the largest gathering of people on Earth. Discover an extraordinary culture and experience modern day Arabia in the midst of monumental change.
At a time when images of the Middle East in the Western media are often synonymous with extremism, MacGillivray Freeman’s Arabia 3D offers a broader understanding of this distant land by journeying deep inside its culture to reveal the origins of a way of life largely hidden from our view.
The story of Arabia 3D is told by three vibrant, modern-day Arabian citizens: Hamzah Jamjoom, a Saudi Arabian film student at Chicago’s De Paul University who returns home to make a film about his heritage; Nimah Nawwab, a writer and photographer who provides a young woman’s perspective on Arabia; and leading Arabian archaeologist Dr. Daifallah Al-Talhi, who is digging into his people’s incredible past.
The film is produced and distributed by MacGillivray Freeman Films, directed by Greg MacGillivray; produced by Greg MacGillivray and Mark Krenzien; script by Jack Stephens; directors of photography are Brad Ohlund (topside) and Howard Hall (underwater).