Taylor Charles

Instructor Haak

English Composition

November 11th, 2019

A Plentiful Craft Running Dry

Math, Science, Social Studies, and English; in the hierarchy of academics, these classes

tower above all. It is understandable, considering the context of today's society. With a need for

more transferrable skills and industrial practices to expand the economy, these four “core”

classes adhere to both desires. However, the problem lies within the idea that only these courses

that can do this. It is because of this idea that other programs, deemed less critical, are being cut

away from education. Specifically, schools and universities today are more willing to cut art

programs, including both fine arts and performance arts, before anything else. As a dedicated art

student, realizing the benefits of these classes firsthand, I am appalled. A future void of any art

programs, or even the option to take these courses, is not an ideal one. After thorough research,

the facts become clear: the funding of art classes is within the education system's best interest,

because of individual, school, and societal levels of impact. In a world that cuts away

inconveniences for the sake of growth, we must realize that the practice of art is not so easily

disposable.

To start, there is an undeniable impact on individuals who immerse themselves in the

arts. This example especially pertains to students, specifically. A common argument against the

teachings of art is that there is no “future” connected to it. It is the argument of the “starving

artist,” and the lack of employment pushes students away from the idea of an artistic career.
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However, when beholding the statistics, this claim is misled. In a study by The Conference

Board, the numbers are in favor of a creative education. The purpose of the study was to answer

the question: Are employers seeking creative skills in the workforce? To summarize: yes, that is

the case. However, the question becomes why, and The Conference Board goes above and

beyond to answer this question. In their study, The Conference Board finds what both employers

and superintendents look for in creative skillsets: shown in results is that 78% of employers seek

creativity due to the increase of demand for customized products and services, and 77% of

superintendents look for creative skills because of emphasis on continuous innovation.

(Lichtenberg). In a concrete system, occupied by the belief that “there is only one answer to the

problem,” employers are now, more than ever, seeking creative solutions to their company’s

complications. Brought into the workforce, more and more, is the idea that more original,

efficient solutions exist. Where math classes say that there is only one correct answer, art classes

embrace the “think outside of the box” mentality.

However, the individualistic impact of art courses does not just affect the future of the

student, but also the present, and its ties with the interest of the school itself. There are many

positive impacts within schools in keeping art classes. A steadily growing issue is a lack of

commitment from students to education. The arts offer a solution—a solution that has been

tested, in fact—that provide some excellent news. This article by two individuals explored one

question—that being “are there truly benefits to art education”—through a social experiment.

Brian is an assistant professor at the Truman School of Public Affairs, and Daniel is an Assistant

Professor at the College of Education and Human Development. Both are knowledgeable in the

subject of psychology and sociology, because of that. In this study, a kind of lottery was used to
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choose which schools received sufficient funding for art-based classes. The "treatment group"

was the name given to schools with the funding benefits. Other schools that did not receive this

funding still participated in the study, but had less art classes to provide. Here is what the two

authors had to say about the results of this test: “[S]tudents in the treatment group were more

likely to agree that schoolwork is enjoyable, makes them think about things in new ways, and

that their school offers programs, classes, and activities that keep them interested in school”

(Brian). With schools faced against the problem of increasing dropout rates, here lies a glimmer

of hope. No, introducing classes focused on creativity will not erase the problem overall.

Nevertheless, after considering this extensive study, art classes can be considered as a kind of

medicine. It kickstarts change, allowing the school to thrive, giving students more motivation to

remain in classes.

Lastly, it is important to keep art education within schools, because it has the power to

better our society. In a world filled with bitter politics, an ever-decreasing lack of sympathy and

empathy, and petty internet arguments, the arts are a source of harmonious togetherness. Olafur

Eliasson, a Danish-Icelandic artist with experience in sculpture, expressed his opinion on this

way of thinking:

In art and other forms of cultural expression, disagreement is accepted and embraced as

an essential ingredient. In this sense, the community created by arts and culture is

potentially a great source of inspiration for politicians and activists who work to

transcend the polarising populism and stigmatisation of other people, positions, and

worldviews that is sadly so endemic in public discourse today (Eliasson).

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Eliasson understands and expresses the importance of harmony in the world today, and

has experienced it through his profession in art. Not only that, but this artist also proves how art

can create environmentally friendly solutions to common problems in today’s world; this mainly

pertains to clean energy. He has used his skill to create eco-friendly lamps of his own designs—

and he is quite successful already. Imagine a world littered with vivid, beautiful architecture and

interior designs, but does not litter society with harmful materials, and unsustainable uses of

energy. It sounds too good to be true, but artists like Eliasson has proven that it does not have to

be. If art education can lead to innovations like these, and the encouragement of harmony,

nobody has to imagine an unrealistic future—it is a future that can be.

Nevertheless, knowing and understanding these benefits is not enough to keep art classes

in schools. As the saying goes, “knowing is half the battle.” The other half, in this case, is taking

action. The question becomes, how can the arts be promoted and maintained without spending

excess money? First and foremost, let it be said that the goal of this argument is not to stir up

ideas that any one class deserves more funding than the other, and should be cut. There are more

frugal solutions to this option than one might think. Such solutions would include linking art

with school-funded (or advertised) events, giving art classes the choice to hold a sale for their

work, and in worst-case scenarios, encourage students to involve themselves in community art

centers.

It is clear that art classes and events are not advertised in the same ways as sports or

athletic events. It is understandable, as homecoming games tend to be more “thrilling” than a

gallery showcase. However, it is disheartening that this puts more value on one than the other.

Both require great skill; it is only skill in different areas. However, I digress, what is the best
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method to advertise a major sport event? If a school has the money to pay for it, perhaps a

newscasting team can touch on it, or morning announcements can try to get everyone in the loop.

However, every one of us has been to school; it is not enough to get word around. The best way

is through physical, tangible advertisements that students pass every day—the most common

example would be a poster hanging in the hallway. Who is it that creates these advertisements?

In most cases, it is by students. So if it is this way, who is better qualified to create these

advertisements than the art students themselves? These students can create eye-catching, vibrant,

and neat posters that are sure to raise awareness for the school’s most significant events. Not

only that, perhaps more students may consider going to these events, increasing income for the

school. On one last note, if students see that the art department is linking their skills with school

spirit and crafts generally appreciated by the school, involvement may increase too.

The next option is to hold a sale. It is an efficient way to earn money for the art

department by selling student-made work. It does not have to be the students’ art if they are not

comfortable with this option. It could be as simple as baked goods, hand-crafted ornaments, or

even the school band can put on a small concert. Anything not sold could be easily donated, too,

so there is no issue with storage or wasting material (although, the students could provide these

materials too). There is no drawback the school can suffer from—there is only profit. The profit

might not be much at all, but even the smallest numbers makes things better off than before. It is

also essential to keep in mind that most art supplies, props, and instruments are provided by

teachers and students, not the school. If one of these people does not have the money, then the

school often has to pay the rest. Would it not be helpful if students and teachers could pay for

their supplies in full? With a little extra money, they could.

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If a school truly cannot afford to have art classes in its curriculum, there are other

options, like community art centers. All that is required of the school is a pure advertisement, no

cost necessary. The disadvantage of this is forcing students to take extra time out of their busy

days to attend these classes outside of school, as they already have multitudes of homework to

finish; it is a last resort. Whether a student decides to dedicate their extra time to this is not up to

the school, so the school itself does not gain or lose anything, no matter the outcome. However,

the lack of exposure to community art centers runs the same risks as schools—no personal

impact, and no social impact. Whether a student decides to dedicate their extra time to this is not

up to the school. In turn, the school itself does not gain or lose anything. Not only that, as

students are taking these classes, schools can also work to increase their budgets behind the

scenes. Once it is affordable, reintegrating art classes is doable, and students can filter in these

classes by skill level, filling up classes evenly.

Before concluding, one corroborating thought: It is essential to understand that art should

not be studied just for the sake of art—while that is a vital tradition to carry out—but instead, its

importance to the exploratory side of STEM practices. Recall the idea that artistic exercises can

be integrated into different subjects, like the advertisement poster example. Established already

is that the arts, both visual and performing, aid in the development of creative skills. It is this

skill that makes STEM practices what they are today. Ingenious thinking is the reason our

knowledge of maths and sciences have developed so extensively. The argument here is not to put

the arts on a high pedestal because it is a dying craft—but because of what it has done for the

world, and what it can do. The most highly regarded mathematicians and scientists are

recognized because of their accomplishments; they were able to reach these achievements
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because understanding their material was not enough. What they did was explore, use a creative

mindset to test hypothesis, and find an “out-of-the-box” solution. It is creativity that served them

well. It is as Nick Blood says, when addressing the fallacy of the “arts vs. science” debate:

[I]t’s like offering someone a glass of water and telling them to only drink the hydrogen

atoms. STEM and Humanities are inseparable components of something larger – human

knowledge – and have co-existed, often complimenting each other in profound ways, all

throughout the course of our history. In the early days there wasn’t even a distinction

between the two. The Ancient Greeks, for example, saw scientific and artistic pursuits as

two sides of the same coin (Blood).

Our world is a futuristic thinker, always considering how things are, and what could be.

However, to dream of what could be cannot will it to happen. Taking action is crucial for the

world we dream of to be the one we inhabit presently. After considering this information, is a

world without art education the ideal one to live in? I hope that this would not be the case. Art

courses must remain in schools, as there are many extraordinary benefits from smaller,

individual impressions, to entire global impacts. It is plausible to do this, by linking arts with

other school-supported events to familiarize students with these courses, and holding sales to

increase funding. If a school cannot truly afford art courses, then advertising for community art

centers is the best thing a school can do until their budgets are stable. To keep—or gain—art

courses is essential and doable, but we must work at it. We cannot let this plentiful craft run dry;

too many people depend on it, as much as our future does.

 Works Cited

Blood, Nick, et al. “Art vs Science.” Et Cetera, 8 Aug. 2018,

https://etcetera.org.au/knowledge/art-vs-science/.

Brian and Daniel H. Bowen. “New Evidence of the Benefits of Arts Education.” Brookings,

Brookings, 12 Feb. 2019, https://www.brookings.edu/blog/brown-center-

chalkboard/2019/02/12/new-evidence-of-the-benefits-of-arts-education/.

Eliasson, Olafur. “Why Art Has the Power to Change the World.” World Economic Forum, 18

Jan. 2016, https://www.weforum.org/agenda/2016/01/why-art-has-the-power-to-change-

the-world/

Lichtenberg, Jim, et al. “Ready to Innovate: Are Educators and Executives Aligned on the

Creative Readiness of the U.S. Workforce?” The Conference Board, No. 0-8237-0934-5,

2008, pp. 4–19.

 Reflection

In this essay, I wanted to focus on appropriate audience language and a problem-solution

based research to focus on. I knew that when I selected this topic, I needed to act like I was

writing to the correct people. I attempted to put in pronouns like “you,” but the tone became too

derogatory and aggressive, and I never like to argue my points as such. I wanted something that

explained, not blamed. But on the subject of who I selected to address, I wanted to write as if

those who dictated school budgets, or what classes come and go, were reading my words. For

that, I wanted to remain extremely formal. However, I did have to place “myself” in this essay

for a few instances. After all, this was an essay about something I personally cared about,

experienced the benefits of, and seen the hardships of. I believe the personal pronouns I placed in

the essay is justified, but I knew I had to keep it incredibly limited. I believe it would contribute

pathos, at the very least, in an essay filled with ethos and logos.

At the beginning, I knew I would focus on art education in some way, and its oppression

of it. But I wondered, midway through my first few ideas: is an art education truly worth it? I

looked into any significant benefits that may exist, or if it was really just a sham. Much to my

relief, I found some very good points. However, I knew that pasting some quotes and expand

upon the information I provided wouldn’t be enough to sway the audience I considered.

Everyone likes a plan, a solution, so I dedicated the other half of my essay to just that. If I

showed that a future like the one I hoped for was plausible, maybe those in power could consider

my point of view.

One last note—after visiting the Academic Writing Center on campus, I was suggested a

point I had never thought of: the achievements in maths and sciences through creative thinking.

It was so good, I had to include it. In future essays, I will certainly visit the AWC again.