This study was commissioned in order to understand better how partnerships between the community and the schools work. Over 250 partnerships in arts education were convened in six city-wide institutes and three, multi-state, regional institutes to examine what contributes to and what blocks successful community and school partnerships on behalf of arts in education. The study concentrated on partnership structures and partnership processes. These structures and processes were observed within individual collaborations as well as in city-wide cooperative support systems. Meeting participants depicted trends in funding, in school systems, and in arts organizations that affect community arts and school intersections. In the three regional meetings, participants described basic principles of collaboration and critical success factors. The study also revealed some common challenges to collaboration. The document lists values common to successful arts and education partnerships as: (1) assure equitable access to cultural experience; (2) value all cultures, assure cultural diversity of programs and participants; (3) value artistic quality in education; and (4) ensure that the arts are indispensably a part of education. A partnership development cycle is described. While coordination is the central or fundamental requirement, it is only part of six fundamental systems that together support arts in education partnerships: (1) coordination; (2) funding; (3) public policies and plans; (4) information and training; (5) advocacy; and (6) programming. Nine critical success factors include: (1) leadership and vision; (2) effective planning; (3) broad based community representation; (4) teacher participation; (5) artist participation; (6) public awareness and communication; (7) awareness of program catalyst; (8) site specific program design; and (9) ongoing assessment of the partnership. (DK)

Though art education and creative placemaking are two established fields within the arts and culture ecosystem, very little research examines the intersections of these two domains. Specifically, a gap exists in practitioner voices to share their practical knowledge and experiences in the field. This study is an investigation of intersections between the self-identified practices of specific art educators and the field of creative placemaking. As a participant researcher, I worked with three art educators from around the United States to engage in collaborative inquiry. This study took place from November of 2020 to March of 2021 and the team worked virtually due to a global pandemic. The team of art educators engaged in a participatory action research (PAR) study to investigate their own practice(s) and potential intersections with the field of creative placemaking. This PAR study is grounded in critical theory to engage in inquiry that can promote a deeper understanding of our own contexts and support transformation through dialogic work with people to elevate and voice the unique experiences and expertise they bring to the research. My participant collaborators brought their expertise as a high school art educator, a museum educator, and an arts education consultant. Utilizing a PAR framework, dialogic work occurred virtually through semi-structured interviews, a group call, and individual arts-based inquiry to answer research questions surrounding their work within art education and intersection and divergence with the field of creative placemaking. Using narrative and arts-based methods, the PAR team shared specific stories where their work as art education professionals converges with creative placemaking and the distinct separation they find among the fields. Through this emergent and collaborative process, participant collaborators and I found intersection with their art education practice(s) and the practices identified within creative placemaking literature. The results showcase four emergent intersections that arose through a diffractive analysis of the data. These emergent themes are: art educator as “creative initiator”, the ability to not work in a silo, a willingness to experiment, and the ability to recognize tensions among our two fields. I posit that these four themes not only demonstrate the intersection with creative placemaking, but also showcase the varying strategies art educators employ to successfully support and serve their respective stakeholders. The divergences that were reveled through this study are specific to this research occurring during the time of COVID-19. The group identified how in this contemporary moment, concepts of place, community, and social unrest need to be further interrogated to fully understand the ways their practices as art education professionals and the field of creative placemaking diverge during and post pandemic. The narratives and arts-based work of specific art educators within this PAR study have implications within the field of art education. Foremost the ability to articulate, document, and share stories regarding art educator practices demonstrate the broad cadre of pedagogical expertise professionals utilize to serve their stakeholders. Secondly this research is starting point in placing art education professionals in a broader discourse regarding the arts and culture ecosystem.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.