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The notion of accountability carries with it an implicit sense of objectification, in which schools, teachers, and students represent the objects of measure by which policy makers judge schools. Reframing the notions of accountability requires a critical interpretation of the accountability system that challenges competitive notions of achievement while cultivating compassionate views of student performance. Drawing from the principles of critically compassionate financial literacy, this chapter discusses how discipline-based art education may provide an instructional vehicle for facilitating dialogues that reframe notions of accountability in education.

To achieve a fully participatory society, all participants should receive equal opportunities for understanding the processes of acquiring, managing, and developing financial resources. The author argues that financial education processes do not meet the needs of all children, because they do not account for differences in child development prompted by various economic contexts. He contends that these contexts prompt judgment patterns among individuals having economic differences and that efforts toward social equity necessitate the exploration of moral issues related to personal finance. He recommends use of the arts to enable student discovery and reconciliation of financial judgments so that students may construct understandings of the social issues that prompt financial inequities and may explore ideas to challenge them.

The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development.

A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period.

This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987).

The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

The purpose of this paper is to examine the notion of management as a regulated profession and provide a critique of some of the recent critiques of the profession, noting from whence the profession has come and offering a number of alternative ways forward.

The paper explores the notions of ownership and control of professional knowledge, at least as it relates to management, and considers how the profession might fare if it is seen in the light of metaphors other than the rational, scientific approaches.

The paper finds that management education has become professionalised around quasi‐scientific research methods and a regulated body of knowledge which is visibly distant from what managers use

The future shape of management education and the place of B‐schools in that process hang on the decisions made about the ideas presented here.

This paper provides some interesting insights into the development of management as a regulated profession.

Howard Gardner (1993) continued endeavors to establish a way to account for differences in individuals beyond traditional intelligence measures. Pedagogical strategies to address “multiple intelligences” are a unique way to develop course material, whether the setting is secondary or post-secondary. While some students thrive in traditional course experiences others may be lost in the material, looking for something else to assist them with comprehension. As an instructor the use of alternative teaching methods to reach beyond the textbook, PowerPoint presentation, and lecture is essential in bringing the reality of leadership to all students. “Using artwork to communicate the role of leadership through history is a creative and engaging way to encourage students to see leadership beyond the text and beyond their [personal] experiences” (Stedman, 2007). The intent of this paper is to provide a theoretical foundation and examples for using contemporary artwork in leadership classrooms.

The purpose of this paper is to refine and measure esthetic development.

Three phrases of data collection were conducted utilizing four separate student samples (n = 120, 154, 241, and 343). In Phase I, an initial esthetic development stage model was tested with a constructed response test format using generalizability measurement theory. In Phase II, this conceptual model in esthetic development was refined with a modified constructed response format. In Phase III, a selective response test format was designed with five esthetic development stage scores, which were correlated with several artistic discipline-based and interdisciplinary courses.

Higher esthetic development stages correlate with verbal ability and grades in interdisciplinary general education arts courses. Lower esthetic development stages were associated with lower verbal ability and grades in traditionally taught discipline-based arts courses.

What this study did not do is examine whether attendance at arts events and activities support or lead to higher esthetic development.

People at Stages Four and Five of this esthetic development model are able to compare artistic experience – whether visual or performing art – within a historical and cultural context or perspective. Individuals at these highest stages are able to communicate about the social significance and societal themes of the artistic experience to wider audiences.

No accepted model or assessment method about the arts in higher education is available. Although the arts are commonly accepted as important in higher education, there is a paucity of research about esthetic development in the curriculum. This paper attempts to address this gap, in part, and to advance further study about quality of arts’ programs and activities in higher education.