National Art Education Association

ISAP/Its Past and FutureAuthor(s): Terry TownsendSource: Art Education, Vol. 16, No. 3, International School Art Program Issue (Mar., 1963), pp.4-6Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190508 .

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I'11 Tf HT INTERNATIONAL

^ JSCHO^OL ART PROGRAM

TERRY TOWNSEND/

isap/ its past and future

If man's first word was "Ugh," and his first art a scrawl on the wall of his cave, we have come a

long way. For today, in the Telstar age, words and

pictures by the billions are bombarding the ears and eyes of people the world over. And some of them make sense.

Certainly among the most sensible and sensitive communications today are the drawings and paintings made by young people of many nations through the International School Art Program. As part of their art education program in U.S. schools and under the

guidance of capable teachers, students are using their creative talents to express through various art media their own interpretations of experience. Their com-

pleted works reflect what they see, what they do, what

they think and feel, what they imagine. Such freedom of art expression and use of media

represents a new step forward in the ISAP, which

Terry Townsend is Program Director, Office of Edu- cational Relations, the American Red Cross, Washing- ton, D. C.

was started in 1947 by the National Art Education Association and the American National Red Cross. This joint sponsorship of the program brought to-

gether two national organizations, one with member-

ship of professional art teachers in schools of nearly every community in the United States and the other a voluntary organization with chapters throughout the nation. The American Red Cross brought to the

relationship an affiliation with the League of Red Cross Societies, which now includes 88 nations, thus

providing a world-wide network for communication through art.

Thirty years prior to the beginning of the ISAP, the American Red Cross, at the invitation of Presi- dent Wilson and the request of the NAEA's predeces- sor organization, began an international program of

correspondence between groups of school children here and abroad. This program was among the first activities of the Junior Red Cross, which then included

grades 1 through 12 but now is identified only with

elementary schools. Membership at the secondary level is now in the High School Red Cross. Beginning

ART EDUCATION

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simply with exchanges of letters, the program over the years expanded to include photograph albums, recordings of music, creative writing, and art, all as a part of curriculum-related work under the guidance of classroom teachers. The program is currently under-

going changes in tune with the times. These changes may be illustrated by what is happening in the ISAP.

Since 1947 the ISAP has moved from carrying the theme of "The American Way of Life" to permitting a wider range of subject matter, from a limited variety of media to almost anything that won't rub off. It now invites experimentation in three-dimensional works (no heroic statues, please!) and in elementary school participation. Such experiments, at present, are limited and selective. They illustrate, however, the

eagerness of the NAEA art committee and the staff of the Red Cross Office of Educational Relations to

provide as flexible a program as possible through which the purpose of fostering better understanding among the world's young people can be achieved.

Perhaps the most exciting prospect in the future

development of the ISAP is the involvement of other curriculums. Adventures and learnings in this area

CLASSROOM - Julian Tennout, Livingstone High School, Cape Town, South Africa.

are as unlimited as the imaginations of students, teachers, and High School Red Cross Councils that might sponsor an all-school project. A simple illustra- tion, involving a single painting, might go something like this:

An art student makes a painting. Students in an

English class write poetry or prose reflecting their

feelings concerning the painting or the source of the artist's inspiration. They try their hand at writing a

description of the art method, media, and tools used in the painting. Students in foreign language classes translate the English writings into the language of the country to which the class wishes the painting to go. Other students sketch or photograph the artist at work, the art room, or the teacher.

All such material is then mounted artistically and firmly and presented with the painting to the ISAP.

The above procedure offers a broader and deeper participation in the program within its present pattern. Although this pattern is expected to continue as a

practical way of mass exchanges of school art with other countries and exhibition of it in the United States, a parallel program of more direct exchange is a real possibility.

Such a program of direct art exchange can be a part of the Red Cross school-to-school exchange program. Through its local Red Cross chapter, an art class might request to be paired with a similar group in a school in another country. When a match is made, an exchange of correspondence between the schools would begin the relationship by exploration of each other's interests. The whole class, or a group of stu- dents, might then plan the preparation of an exhibit which would involve an even wider range of curricu- lums in addition to art than in the previous illustra- tion. Here, again, the imagination and creativity of

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the group would determine the nature of the exhibi- tion. But it might include three-dimensional art, music, photography, and handcrafts, all interpreting the life, thought, and culture of the originating group in terms of interest to the known recipients of the exhibition. Social studies classes might do local research on art in the life of the people, in their homes, museums, maga- zines, public buildings, and schools. Industrial arts classes might be challenged by the problem of design- ing and building a lightweight shipping box which, at its destination, could be converted into a fixture for exhibiting the contents.

In addition, the box might contain a few samples of art tools and materials which the recipient school, if it is able, might exchange for types used by them. Such direct exchanges derive their educational value not from the promise or realization of identical or equal

the group would determine the nature of the exhibi- tion. But it might include three-dimensional art, music, photography, and handcrafts, all interpreting the life, thought, and culture of the originating group in terms of interest to the known recipients of the exhibition. Social studies classes might do local research on art in the life of the people, in their homes, museums, maga- zines, public buildings, and schools. Industrial arts classes might be challenged by the problem of design- ing and building a lightweight shipping box which, at its destination, could be converted into a fixture for exhibiting the contents.

In addition, the box might contain a few samples of art tools and materials which the recipient school, if it is able, might exchange for types used by them. Such direct exchanges derive their educational value not from the promise or realization of identical or equal

return, but rather from the learning that takes place in the preparation of the exhibit and the study of the other country.

The above illustrations suggest the direction in which the ISAP is going. As a universal language, art is an ideal focal point for a unified approach in schools toward the achievement of international understanding and good will. If such understanding leads to a greater humanitarian concern and response to the needs of

others, the program will have achieved its purposes- and more.

This is the Centenary Year of the Red Cross. Since its founding 100 years ago it has been devoted to the

philosophy and practice of social responsibility. For this reason the Red Cross is pleased to be able to help provide a means by which young people learn and

express social responsibility through art.

return, but rather from the learning that takes place in the preparation of the exhibit and the study of the other country.

The above illustrations suggest the direction in which the ISAP is going. As a universal language, art is an ideal focal point for a unified approach in schools toward the achievement of international understanding and good will. If such understanding leads to a greater humanitarian concern and response to the needs of

others, the program will have achieved its purposes- and more.

This is the Centenary Year of the Red Cross. Since its founding 100 years ago it has been devoted to the

philosophy and practice of social responsibility. For this reason the Red Cross is pleased to be able to help provide a means by which young people learn and

express social responsibility through art.

STANLEY COHEN

isap/ defining directions

Purposes of the ISAP: I. To promote friendly interest and understanding

among the youth of the world through the inter- change of their art work

II. To encourage the use of personal interests, experi- ences, and feelings as subject matter for expres- sion through creative artistic means.

Public interest in art work by young people has been decisively demonstrated in recent years by an enthusi- astic response wherever exhibitions are held through- out the world. We, then, as art educators with the

responsibility for defining directions and goals, should now turn our energies toward formulating a desirable definition of qualities in these exhibitions and estab- lishing means by which these qualities may be

approached. Some suggestions for improvement seem closer to

the technical functions of art education, and others seem related to the social awareness which brings us to approach a program of world understanding in the

STAN COHEN, the author presenting a "recognition"

Stanley H. Cohen is Director of Art, Oakland certificate to Andree Cazet, student at Skyline High School, Oakland, California. Looking on is Art Larson,

Public Schools vice chairman, Junior Red Cross, Alameda County.

STANLEY COHEN

isap/ defining directions

Purposes of the ISAP: I. To promote friendly interest and understanding

among the youth of the world through the inter- change of their art work

II. To encourage the use of personal interests, experi- ences, and feelings as subject matter for expres- sion through creative artistic means.

Public interest in art work by young people has been decisively demonstrated in recent years by an enthusi- astic response wherever exhibitions are held through- out the world. We, then, as art educators with the

responsibility for defining directions and goals, should now turn our energies toward formulating a desirable definition of qualities in these exhibitions and estab- lishing means by which these qualities may be

approached. Some suggestions for improvement seem closer to

the technical functions of art education, and others seem related to the social awareness which brings us to approach a program of world understanding in the

STAN COHEN, the author presenting a "recognition"

Stanley H. Cohen is Director of Art, Oakland certificate to Andree Cazet, student at Skyline High School, Oakland, California. Looking on is Art Larson,

Public Schools vice chairman, Junior Red Cross, Alameda County.

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