Harry Broudy and Discipline-Based Art Education (DBAE)

Greer, W. Dwaine

doi:10.2307/3332716

Cited by 5 publications

(3 citation statements)

References 3 publications

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“…Broudy's influence on the field of arts education thrived in the 1970s and especially the 1980s though his extensive interactions with the Getty Center for Education in the Arts, which was established in 1982 and operated until the late 1990s as a strong advocate of Discipline-Based Arts Education (Greer 1992;Smith 2000). Discipline-Based Arts Education aimed to establish arts history, criticism, and aesthetics on equal footing with studio production.…”

Section: The Visual Artsmentioning

confidence: 98%

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Harry Broudy on the Cognitive Merits of Music Education: Implications for Research and Practice of Arts Curriculum

Bresler

2002

Arts Education Policy Review

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Section: The Visual Artsmentioning

confidence: 98%

“…For an account on Broudy's impact on artists, classroom generalists and art specialists, see Greer (1992).…”

Section: Notesmentioning

confidence: 99%

Harry Broudy on the Cognitive Merits of Music Education: Implications for Research and Practice of Arts Curriculum

Bresler

2002

Arts Education Policy Review

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“…Depression‐era proponents of ‘art in daily living’ Leon Winslow and Melvin Haggerty opposed ‘art as a cult’ (Efland , 695). While such ‘cultishness’ could be seen as endemic to DBAE, Parsons, himself a protégé of DBAE darling and ‘aesthetic education’ guru Harry Broudy (Greer ), praises community‐focused projects that do not genuflect before masterpieces, but rather utilise ‘art as service’, a principle Winslow believed to be ‘needed in the modern school’ (as cited in Efland , 695).…”

Section: A Backward History Of Art Educationmentioning

confidence: 99%

Art Education and the Moral Injunction to be Oneself

Stabler¹

2017

Int J Art Design Ed

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A primary function of schooling is to impart moral discipline, and art education distills this role to its core imperative of mandated pleasure, summarised by Jacques Lacan as the ‘will to enjoy’. This manifests in the insistence that, despite producing similar outcomes, students come to recognise themselves as unique and creative. In the twentieth century, art education in the USA has developed methods for extracting supposedly intimate personal expressions from young people, albeit without demanding the technical versatility, historical knowledge and critical reflection required of mature artists – the exception to this, despite its many flaws, being so‐called Discipline‐Based Art Education, or DBAE. In this article, I begin with reflections on the untapped potential of DBAE to relate to contemporary art practices. My ideas on moral instruction are expanded upon in the second section, when I undertake a ‘backwards’ history of British and American art education, in which the ideal of art class as a site of intrinsic and authentic meaning‐making is challenged by the functional requirements of education. My last section takes up a critique of critical pedagogy, in which I use the example of a project my high school students did about Michael Jackson to challenge ways in which trauma and pleasure are seen by critical pedagogues as features of experience that conflict fatally with the educational ends of individualist autonomy.

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Forming Artist/Scientist Habits

Hunter-Doniger¹

2021

Art Education

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Harry Broudy and Discipline-Based Art Education (DBAE)

Cited by 5 publications

References 3 publications

Harry Broudy on the Cognitive Merits of Music Education: Implications for Research and Practice of Arts Curriculum

Harry Broudy on the Cognitive Merits of Music Education: Implications for Research and Practice of Arts Curriculum

Art Education and the Moral Injunction to be Oneself

Forming Artist/Scientist Habits

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