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the arts in education while creating a paradigm for promoting understanding of cultural diversity. Historically we have had the advantage of powerhouse commitments to both teaching and art making by individuals such as of Dr. David Driskell, Dr. Sandra Epps, Frank Smith and others included in this recent exhibition. Remarkable careers in education often coincide with leadership and connection to the community. Take for example Dr. Burroughs, who recalled during dinner, her twenty seven years of service as a public school educator while simultaneously producing a serious body of work as a printmaker, founding of one of the earliest African American museums, and providing valuable input for newly formed museums across the country. She harkens the teacher artist spirit of Harlem Renaissance educators such as Augusta Savage who were sensitive to the lack and ethnic representation in curriculum and understood the role of community in nurturing all aspects of developing identity. 

The specter and scope of the artist teacher relationship within the context of the African American looms even larger. For example, consider the institution of a scholarly African American journal by art historian and art educator Samella Lewis (the Hampton University based journal International Journal of African America art is an important resource for educational institutions). We have historically significant collections such as Walter Evans in Savannah Georgia (recently donated to the Savannah College of Art and Design), and the chronicling of Gullah art through the efforts of the Chuma Gallery in Charleston South Carolina. We are multi-dimensional in our potential to coordinate curriculum resources through digital clearinghouse projects that serve our art education community in optimizing design and delivery of visual instruction. We are primed to create teacher institutes around the country anchored in cultural venues that address critical praxis for both pre-service and in-service teachers. 

Moving forward in identifying and encouraging diverse participation in COMC, embracing the digital art age and setting the standard for culturally centered research and instructional methodologies, a vital part of our charge, may be areas that will help us actualize how we may better align ourselves with the NAEA Strategic Plan.

Contemporarily we have the fortune of stewardship in service and mentorship through such individuals as Dr. Vesta Daniel, Jacqueline Chandra, Eugene Grisby, James Banks, Dennis Winston, McArthhur [MacArthur] Godwin [Goodwin], Bernard Young, Paulette Spuirrel-Fleming and Immediate Past Chair Minuette Floyd. They provide that required organizational lifeline in redirecting and energizing efforts toward social justice within the context of art education that inspire the type of agenda setting that ensure that Dr. Burrough's vision of legacy can be realized. 

Cultural democracy (Ladson-Billings, Tate 2006) requires that teaching methods used in the schools reflect the learning characteristics of the students they serve. Curriculum design that is culturally competent will include the notion of Bloom's revised digital taxonomy (Churches 2009) that embraces creation, evaluating, analyzing, applying, understanding, and remembering as learning modalities that bring vibrancy to the process of global citizenship. Possibilities for curriculum design, research, and pre service promotes and encourages the art education practitioner to formulate critical theory questions and explore them as research through the dual role of making art and nurturing through the act of mentorship and teaching.