Museums and English Learners: Inclusion versus Exclusion 16
17
18
he earliest use of the word “docent” appeared in 1906 in “The T Educational Work of the Museum: Retrospect and Prospect,” a bulletin published by the Museum of Fine Arts, Boston. It requested the trustees of the museum to consider the permanent appointment “of one or more persons of intelligence and education who could act as intermediaries . . . glad to avail themselves of trained instruction in the galleries. These docents, as it has been proposed to call them . . .” Burnham and Kai-Kee, Teaching in the Art Museum, 19. They were meant to be “interpreters of objects,” not “an instructor of subjects.” Ann I. Bay, “Practicality in the Light of Perfection,” Roundtable Reports 9, no. 2/3 (1984), Museum Education: Past, Present, and Future, 2. Many of the teaching methods used by docents during the turn of the century are currently being touted as best practices in the field of museum education, including “object-based teaching, education that is responsive to the needs and interests of the individual learner, and age appropriate activities.” Curran, “Discovering the History of Museum Education,” 6. While initially paid positions, docent positions would eventually be filled by volunteers, usually white, well-to-do women who had leisure time and sought to fulfill a sense of volunteerism. For this reason, the profession of paid interpreters or educators stagnated. David Ebitz, “Sufficient Foundation: Theory in the Practice of Art Museum Education,” Visual Arts Research 34, no. 67 (2008): 14. andi Korn and Associates, “Summary of Results Survey of SingleR visit K–12 Art Museum Programs” (2015), https://arteducators -prod.s3.amazonaws.com/documents/172/c3f4a795-1541-486e -9110-8227db110582.pdf?1451956086. arla K. Shoemaker, “‘Art Is a Wonderful Place to Be’: ESL M Students as Museum Learners,” Art Education 51, no. 2 (1998). Shoemaker describes a two-year partnership between a local middle school of English as a Second Language (ESL) learners and the Philadelphia Museum of Art. The only other article that addresses museums and English Learners is a study of a two-year partnership between a school with a high level of English Learners and several museums in San Diego: Lannie Kanevsky, Michael Corke, and Lorri Frangkiser, “The Academic Resilience and Psychosocial Characteristics of Inner-City English Learners in a Museum-Based School Program,” Education and Urban Society 40, no. 4 (2008): 452–75.
19
MacDonald, Latino Education in the United States, 277.
20
. Cadiero-Kaplan, M. Lavadenz, and E. Armas, “Essential K Elements of Effective Practices for English Learners,” Californian’s Together Policy Brief (Long Beach, CA: 2012), 1–5.
21
Office of English Language Acquisition: Fast Facts; Profiles “ of English Learners (ELs),” National Clearinghouse for English Language Acquisition (2017), https://ncela.ed.gov/files/fast_facts /OELAFastFactsProfilesOfELs.pdf.
28
Liane Brouillette, “Supporting the Language Development of Limited English Proficient Students through Arts Integration in the Primary Grades,” Arts Education Policy Review 113, no. 2 (2012): 68–74.
29
atricia C. Gàndara and Frances Contreras, The Latino Education P Crisis: The Consequences of Failed Social Policies (Cambridge, MA: Harvard University Press, 2009).
30
Rabkin, et al., A Report on the Teaching Artist Research Project.
31
I bid.; Narelle Lemon, Susanne Garvis, and Christopher Klopper, Representations of Working in Arts Education: Stories of Learning and Teaching (Bristol, UK: Intellect, 2014).
32
Rabkin et al., A Report on the Teaching Artist Research Project.
33
issa Ingraham and Susanne Nuttall, “The Story of an Arts N Integration School on English-Language-Learner Development: A Qualitative Study of Collaboration, Integrity, and Confidence,” International Journal of Education & the Arts 17, no. 28 (August 2016): 1–17; Kanevsky, Corke, and Frangkiser, “The Academic Resilience and Psychosocial Characteristics of Inner-City English Learners in a Museum-Based School Program,” 452–475.
34
andi Korn and Associates, “Summary of Results Survey R of Single-Visit K–12 Art Museum Programs.”
35
2010–2015, Quest for Excellence,” Compton Unified School “ District (2010).
36
I ngraham and Nuttall, “The Story of an Arts Integration School on English-Language-Learner Development,” 1–17; Rabkin et al., A Report on the Teaching Artist Research Project.
37
Rabkin et al., A Report on the Teaching Artist Research Project.
38
Ibid.
39
avid E. Freeman and Yvonne S. Freeman, Between Worlds: D Access to Second Language Acquisition (Portsmouth, NH: Heinmann, 2011); Cadiero-Kaplan, Lavadenz, and Armas, “Essential Elements of Effective Practices for English Learners.”
40
etancourt and Salazar, “Engaging Latino Audiences,” 181–96; B Jackson, “Art Museums in the Third Grade Reading Curriculum,” 153–69
41
avid Ebitz, “Qualifications and the Professional Preparation and D Development of Art Museum Educators,” Studies in Art Education 46, no. 2 (2005): 164.
42
onnie Baskin, “A Short History of Art Education in America, B 1890 to the Present,” Roundtable Reports 4, no. 3 (1979): 9.
43
elson Graburn, “The Museum and the Visitor Experience,” N Roundtable Reports (Fall 1977): 4.
22
Facts about English Learners in California,” California “ Department of Education (2015), https://www.cde.ca.gov/ds/sd/cb /cefelfacts.asp
44
ary Ellen Munley, “Museums as Learning Environments: A M Prospectus for a New Century,” Roundtable Reports 9, nos. 2–3 (1984): 30.
23
onstantino, “Training Aesthetic Perception,” 399–417; Ebitz, C “Sufficient Foundation,” 14–24.
45
24
andi Korn and Associates, “Summary of Results Survey of Single R -Visit K–12 Art Museum Programs.”
J uliet Moore Tapia, “Poking Holes in the Oil Paintings: The Case for Critical Theory in Postmodern Art Museum Education,” Visual Arts Research 34, no. 67 (2008): 40.
46
Ebitz, “Sufficient Foundation,” 14–24.
47
Ibid.
48
See Tapia, “Poking Holes in the Oil Paintings.”
49
See Ebitz, “Sufficient Foundation.”
50
elinda Mayer, “A Postmodern Puzzle: Rewriting the Place of the M Visitor in Art Museum Education,” Studies in Art Education 46, no. 4 (2005): 30.
51
Ebitz, “Sufficient Foundation,” 41.
52
Ibid.
25
26
27
onstantino, “Training Aesthetic Perception,” 399–417; Ebitz, C “Sufficient Foundation,” 14–24. . Rabkin, M. Reynolds, E. Hedberg, and J. Shelby, A Report on R the Teaching Artist Research Project: Teaching Artists and the Future of Education (Chicago: University of Chicago Press, 2011); Randi Korn and Associates, “Summary of Results Survey of Single -Visit K–12 Art Museum Programs.” J . Jackson, “Art Museums in the Third Grade Reading Curriculum,” International Journal of the Inclusive Museum 6, no. 2 (2014): 153–69.
37
