Arts+Integration+(complete+document)

=**__ Arts Integration Literature Review and Project Questions __**= Prepared By Zane Schaefer and Kathy Grundei - April, 2010

This document defines arts integration and providing some of the logic behind using arts integration approach in teaching and learning. It describes program components specific for teacher training at Lehigh University.
 * Arts Integration Experiences Guide for Prek-4 Teachers in Training **// (Unapproved Draft) Lehigh University September 14, 2009 //

Some points in the document that were helpful in adding to understandings of arts integration include: their students? · ** **In what ways might the arts enhance the ways learners acquire understandings and skills in their content areas and how might content area topics and materials assist in the learning of arts concepts and skills?**
 * defining of arts integration as a teaching approach that enables students and teachers to identify and research problems and issues without regard to subject-area boundaries, providing students the experience in a learning setting that will prepare them for effective teamwork in the future.
 * listing what students learn when working within an arts integration framework: 1) students learn how to analyze, evaluate, and draw reasoned conclusions from what they see and hear, 2) students reflect on the meaning of their perceptions and experiences, 3) students learn to convey ideas, feelings and emotions through creation in arts forms, and 4) students build capacity to expand reasoning ability, to make connections, and to think creatively.
 * summarizing findings of SCEA (2008, p.2), which stated that, “Teachers report that with an integrated curriculum that includes the arts, students have moments of exhilaration, personal transformation, and academic or life choice change. Teachers and artists who have successful experiences report profound changes in their approach to individual students, to learning, and to the classroom in general.”
 * research that included: (1) Pinciotti, Berry, Sterman, and Groton (2001) suggestion that content-area teachers who wish to integrate the arts need to have had experiences with various arts and should have done formal reflection on what they saw, heard, and felt, as well as, what it meant to them. Before teachers try out an arts integration activity with a class, they should have a chance to participate in that art form so they will be comfortable leading their students. (2) Arts Integration activities Efland (2002) and Pinciotti (2001) should be problem based with a focus on students thinking about how to represent and solve real-world problems. Using arts skills and techniques to represent information in a variety of ways and forms should enhance students’ understandings and help them spot patterns they might otherwise miss.
 * Possible Implications for us:**
 * · ** ** What are the components of effective professional development for teachers who are wishing to design an arts integration experience for

// This review summarizes articles written about arts integration during the period of 1995 – 2007. It discusses idea/terms including; interdisciplinary, arts-infused, cross-disciplinary, thematic, and arts-based. It summarizes the function/role of arts education and arts integration in America. The review points to the benefits of the “Correlated Curriculum” movement of the mid to late 1930’s in terms of integrity of involved content areas. It also highlights the inquiry/problem-based learning movement of the mid twentieth century. These two ideas seem to be especially relevant to arts integration today. It also discusses the successes and bumps of teaching artists and arts partnerships. · **// This is an overview of arts integration history and ideas. I wonder if teacher participants are aware of these? Would some of this be useful/interesting as foundations for arts integration work? //**
 * Arts Integration: Frameworks, Research and Practice//.// **// Burnaford, Brown, and McLaughlin – Literature Review summarizing research from 1995 – 2007
 * Possible Implications for us: **

Report on pilot study in Virginia to investigate the influence on high stakes Standards of Learning (SOL) exam on the arts, both in schools with a self-identified strong focus on the arts, and well as schools without such a focus. Comparisons of schools with co-equal arts integration or subservient arts integration were based on type of school (arts vs. non arts) and socioeconomic status (SES). The findings included: // (subservient approach in high schools might be because of higher stakes for students at the high school level) // Possible Implications for us: **
 * Arts Integration in an Era of Accountability **// . Jocob Mishook and Mindy L. Kornhaber. Arts Education Policy Review. Vol. 107. No. 4 March/April 2006 //
 * 1) The arts focused, wealthy schools in the sample were usually successful in maintaining coequal arts integration curricula, or by keeping the arts and academic areas separate altogether, with only slight modifications to integrate SOL and arts content.
 * 2) Non-arts schools, both wealthy and poor, embrace an arts integration model that places arts as subservient to tested subjects.
 * 3) Integration was central to the school’s mission among schools with coequal arts education.
 * 4) Schools that engaged in a long-term professional development partnership with a regional art center providing ongoing and intensive training supports lasting co-equal arts integration
 * 5) Schools that used a more subservient arts integration approach tended to have lower SOL test scores.
 * 6) Schools with subservient arts integration approach were more likely to be high schools, excepting an outstanding art-focused high school academy with high admissions standards and experienced arts teachers
 * 7) Four schools out of nine, in the face of pressures to shift time and resources toward tested areas, maintained coequal relationship between art and tested areas. This occurred most often at schools with an arts focus, where their was strong arts mission, as well as experienced staff and committed administrators.


 * ** Study framed questions used in interview to gather data that might be useful and contained case studies of attitudes (and misconceptions of teaching staff) about the value of arts integration. **
 * ** If the arts remain independent of other tested areas of the curriculum, the arts could find themselves to be isolated, and “to be left out is to be disregarded is no asset when it comes for competing for time and other resources to support one’s program” (Eisner, 2000) **
 * ** Under what conditions might integration flourish or never take a hold in a school? **
 * ** Schools with a high poverty tend to use a subservient approach to the arts. How might high poverty in student population affect professional development and the attitude of teachers and leadership in a district? **

// U. // // of Minnesota – 2001 // Teachers involved with arts/curriculum integration report “powerful professional development” experiences. · teachers energized by interactions with colleagues from other content areas · observing and co-teaching with arts educators shifted perceptions of classroom dynamics · provided expanded interaction possibilities for student engagement · changed classroom climate as students became more “in charge” of their learning · stronger relationships among students and between students adults resulted · first attempts worked out collaboration issues and further attempts deepened student learning · worries abut time away from other content diminished as the depth of achievement became obvious · **// How can we provide a framework for sustainable collaboration skills for adults and students? //** · **// How can we structure ways for teachers/students to notice changes in classroom climate? //** · **// How can we make it obvious that integration will take time and that repeated efforts will become more natural? //** · **// What tools can we present to have conversations about depth of learning vs “skimming”? //**
 * Arts Integration – A Vehicle for Changing Teacher Practice//.// ** //Werner and Freeman – Center for Applied Research and Ed. Improvement”// //–//
 * // Possible implications for us: //**


 * Arts Survive: A Study of Sustainability in Arts Education Partnerships. ** //July 2000. Principal Investigator, Steve Seidel, Ed.D, Harvard University// [|www.espartsed.org/.../Arts%20Survive%20Exec%20Summary.pdf]

This report describes the challenges of building capacity to survive and thrive in an arts education partnership, how a number of partnerships have met these challenges, and some lessons drawn from the collective experiences of the partnerships of the study. (art education partnership is defined as: a collaborative educational effort between a school or school district and professional artists or arts organizations to provide in-depth arts experiences for children)

Five major key findings from the study: // (Complete study can be downloaded from Project Zero Website.) //
 * 1) Surviving partnerships place needs of students and schools at the center of their mission
 * 2) Deep personal commitments to the educational power of arts experiences fuel surviving partnerships
 * 3) In surviving partnerships, multiple dimensions of the work receive regular attention.
 * 4) Surviving partnerships embrace the need to listen, to learn, and to change
 * 5) Surviving partnerships require a broad base of ownership and investment.


 * Art Teachers as Leaders of Authentic Art Integration **// . // //Cathy Smilan and Kathy Marzilli Miraglia. Art Education 62 No 6 November 2009.//

“A myriad of issues affect PK-12 public school art educators’ work lives, including how and by whom art is taught in schools” In this article the pedagogy of art education-what one needs to know about art content and instructional strategies specific to art content-is critical to the development of authentic art integrated learning opportunities. The authors present a model based on the premise that highly qualified professionals should coordinate all art-based learning within schools. The role of art educators as leaders, in charge of promoting creative thinking dispositions, and designing/planning art integrated curricula that leads to the development of school wide art learning. This article also defines arts integration as: “an integrated approach that supports simultaneous teaching and learning focused on experiences that lead to increased and accessible understandings in art as well as other disciplines.” (Similan, 2004) The qualities of authentic integration (making it different from interdisciplinary) include 1. “unites concepts and parallel skills and employs real-world based organizing components related to the learner, thus authenticating each individual’s experiences.” (Beane, 2007) 2. learning that is meaningfully connected to art content and art instruction, 3. involves the student’s search for and construction of complex knowledge that leads to understanding relationships of larger social issues, and 4. engagement in real and tangible work involving critical thinking, art-based, and problem-based methodologies that are developed in collaborative efforts among teachers. (AI is co-planned and co-taught and responsive to student’s situations, replacing discrete, pre-determined curricula.)

This article also defines a planning model for arts integration and the role of the arts coordinator, principal, teaching artist, on an arts integration team.


 * Beyond Arts Integration: Defining Learning in Arts Education Partnerships** // **.** // //Closing Remarks of Carol Morgan, Deputy Director for Education, ArtsConnection. March 11, 2005.//

The address, delivered by Carol Morgan expresses a summarization of a symposium ArtsConnection hosted in 2005. She answered the question “What comes next?” when programs want to take the arts “beyond illustration” when the intention is to use the arts as a way to illustrate another subject area.

Through the research from arts integration projects in New York City Public Schools on arts integrated with the Balanced Literacy Curriculum findings included: the arts helped students express themselves verbally and in writing, to develop a voice based on their individual experience, experienced the awakening of a passion in which building stamina is not in questions because their arts experiences were compelling. Teachers also reported that arts experiences taught students respect for the art form, respect for learning and how to take ownership of their learning.

Morgan’s closing comments also cited a RAND Corporation study that stated, “Arts Benefits are grounded in compelling arts experiences” What makes an arts experience compelling? The cognitive, personal, and social aspects of learning plus the aesthetic-the parts of the arts experience that engages the child’s body, mind, emotions and imagination, that transports the child to another world and brings him back again somehow changed or, at the very least, having expanded his sense of what is possible. Possible Implications for us: · How do we measure imagination and the ability to “willingly suspend disbelief” · Why do we teach the arts? · Why do we think it is useful and important to integrate the arts with other subject matters? · ** **What might learning in and through the arts have to contribute to our ideas about how we learn those things we think are worth learning?**

“Researchers found that learning can attain higher levels of achievement through their engagement with the arts. Moreover, one of the critical research findings is that the learning in and through the arts can help “level the playing field” for youngsters from disadvantaged circumstances.” · The arts reach students who are not otherwise being reached. · The arts reach students in ways that they are not otherwise being reached. · The arts connect students to themselves and to each other. · The arts transform the environment for learning. · The arts provide learning opportunities for the adults in the lives of young people. · The areas provide new challenges for those students already considered successful. · The arts connect learning experiences to the world of real work.
 * Champions of Change: The Impact of the Arts on Learning//.// ** //Arts Education Partnership - (1999)//

knowledge, reasoning, skill, and performance product? // · ** **// What would a quality checklist look like for an arts integration project? // · ** **// In what ways will we “measure” student (and perhaps teacher) engagement/motivation? What will evidence look like? // · ** **// How much will an arts teacher need to know about the other content area? How will they engage in that learning? How much will a non-arts person need to know about the art? How will they engage in that learning? //**
 * // Possible implications for us: //**
 * · // How will the Stiggins alignment process work in conversations across content areas? Do other content area benchmarks clearly identify

Richard Deasy, editor, concluded that the results of Critical Links stated that there was evidence to support the notion that “well-crafted arts experiences produce positive academic and social effects” including assisting in the development of critical academic skills such as literacy and numeracy (Deasy, 2002, p. iii). These include spatial reasoning, mathematics proficiency, and reading readiness.
 * // From // Critical Links: Learning in the Arts and Student Academic and Social Development. ** **Arts Education Partnership** - //Richard Deasy, editor - 2002//


 * // Possible implications for us: //**

· // Are there specific results from this study that would benefit our teacher participants? //**
 * · // How can we use what we have learned from Critical Links in this project? //

The purpose of the present review of literature and research is to examine the numerous benefits the arts provide as enhancements for teaching and learning provided for both educators and students in PK-12 school settings. The relationships between exposure to the arts and student achievement within the academic disciplines such as mathematics, English/language arts, science, and social studies has until recently received mixed reviews (Winner & Hetland, 2000, Gullatt, 2007) Writings related to this topic have been typically theoretical in nature with little empirical support.
 * Enhancing Student Learning Through Arts Integration: Implications for the Profession** // . // //David E. Gullatt, Ph.D. The High School Journal. Vol.91 No 4. April-May 2008.//

This article provides major talking points for both educational policy and curriculum leaders either searching for rationales to (a) continue or to prepare for providing a functional, productive arts programs supporting the school educational mission of student success and/or (b) address ways to enhance the present school district teaching and learning environments through the arts. Implications for PK-12 educational professionals are also provided from summarized research addressing best practice in the area of arts integration into PK-12 curriculum. Questions: · Aprill (2001) acknowledged that if arts programs are adopted simply for the gains of academic success, they would be disposed of just as quickly if the signs of increased test scores are not visible. What will be the focus of evaluation of the project? What role does qualitative and/or quantitative data serve? · Proper budgeting, professional development, and planning provide the best opportunities for the arts to be incorporated into the school schedule. What is the right balance of these three for success?

As a result of hundreds of personal interviews//,// Csikszentmihalyi described the flow experience as “being completely involved in an activity for its own sake. The ego falls away. Time flies Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you’re using your skills to the utmost” (Geirland, 1996).
 * // From //** **The Flow Experience**//.// // Mihaly Cskiszentmihalyi – 1990 //
 * // Possible implications for us: //**

exploring the concepts of “heightened state of consciousness, becoming lost in an activity, and a sense of rising to the challenge”? // · ** **// Are there benefits for our participants to be reminded of the ideas of Gardner, Vygotsky, Piaget, and Dewey? // · ** **// How much of this “educational thinking” will we purposefully present? How will we decide? //**
 * · // This is about the personal engagement in the arts that motivates kids and teachers. Is this obvious to our participants, or should we consider

Terry Morris, Consultant.// Abstract: Learning in and with the arts has been linked with increased student achievement, but the means by which the arts may support cognitive growth in students is relatively undocumented. Thirty students across ten classes in veteran teacher artist partnerships were selected to help explore the processes and outcomes associated with arts-integrated learning units versus learning processes and outcomes in comparable non-arts units. The student sample evenly represented comparatively high, medium, and low achievers. Even thought we observed differences in levels of arts integration across classrooms, students from all achievement levels displayed significant increases in their ability to analytically assess their own learning following arts-integrated units. No such gains associated with traditional instructional experiences. Students also described their arts-integrated versus non-arts learning differently. Arts-integrated instruction: 1) created more independent and intrinsically motivated investments in learning, 2) fostered learning for understanding as opposed to recall of facts for tests, 3) transformed students’ characterizations of “learning barriers” into “challenges” to be solved, and 4) inspired students to pursue further learning opportunities outside of class.
 * How Arts Integration Supports Student Learning: Students Shed Light on the Connections **// . // //Karen DeMoss, University of New Mexico, 2002

of arts education might be supporting students’ growth? · Would students adept at meeting schools’ standardized achievement demands differ in their arts learning experiences from those who find traditional achievement measures a challenge? · Would individual students value (and gain from) their arts-integrated learning differently from how they value (and gain from) their non-arts-integrated learning? · ** **How would students describe the differences that arts integrated education made in their learning?** // (The article included examples of student reflections on their learning in non-arts and arts integration units of instruction) //
 * Possible Implications for us:**
 * · If learning with and through the arts is correlated with higher achievement and other evidence of learning, what special qualities or processes

//Chapter 18 – Arts Integration Russell and Zembylas-// Springer, 2007 Summarizes what research says about arts integration in terms of “value” and “effectiveness”. How should success be measured? The focus on content areas here is not in terms of disciplines or handmaidens but more in terms of multilayered and symbiotic. “Current education practices place a high value on efficiency, behavioral objectives, and high-stakes achievement tests, whereas rigid boundaries inhibit students’ preparation for participation in a democratic society. Research suggests that curriculum integration has the potential to offer the world-class education that is often talked about, but rarely experienced.” This research looked at 15 studies from //North Carolina// //A+, Learning Through the Arts, and Chicago Arts Partnerships in Ed.// Findings included: · Many small and quiet examples of integration happen all of the time with imaginative teachers – this is usually not documented or evaluated. //(student teachers often report this kind of work after their experiences)// · There is a focus on qualitative evaluation methods – these reported positive learning outcomes in terms of engagement with subject matter; increased intensity, commitment, and capacity for critical thinking. This causes tension with policymakers due to an increased focus on high-stakes measures of learning. · There is a critical need to find better outcome measures, particularly in the area of student growth. Measures that evaluate multiple kinds of growth about how students’ arts-integrated learning provides both cognitively and affectively different experiences. · Many studies point to quantitative data about how students’ grades do not suffer and even improve in arts integrated classrooms. Qualitative studies and anecdotal evidence suggest strongly that a more important, possibly more long-lasting benefit to students is a positive change in attitude towards school. This is more about description than measurement. · Challenges to arts integration include; o watering down of individual subject matter, o issues of teacher self-efficacy, o the structure of the school day, and o issues teacher education in integration approaches.
 * International Handbook of Research in Arts Education. ** //Bresler, Liora, editor//

o **// How can we find ways of collaborating across disciplines and professional ideologies that lead to: “Transformative practice zones that provide spaces to share and listen to others’ ideas, visions and commitments and to build relationships in collaboration?” //** o **// How can we soften the tension caused by a focus on “back-to-basics” with students, teachers, administrators, and parents? //** o **// How can we help all players to understand and distinguish between evidence and perception, between fact and belief? What kind of data will help with this? //** o **// There is a strong component in this research about trust in teachers! “Whether and when it is educationally enlightening to work with other subjects, whether arts or non-arts, will depend, as all education ought to depend, primarily upon the informed professional judgment of teachers who are experts in their particular fields. I will depend upon our having confidence in well-educated teachers. They are in the best position to make sound decisions about the value of working collectively with other disciplines.” David Best (1995) //** o **// This book also includes reviews of arts integration in other countries including South Africa, Greece, Japan and Switzerland. These perspectives may also be helpful. //**
 * // Possible implications for us: //**


 * Learning in and Through the Arts: The Question of Transfer **// . // //Judith Burton, Robert Horowitz, Hal Abeles. Studies in Art Education, Vol.41 No 3 (Spring, 2000) pp.228-257.//

The purpose of this study was to determine if cognitive skill developed through the arts-such as higher order thinking-have an effect on learning and thinking in general, as well as on other subject matter domains. It did not assume one particular effect such as transfer but rather that arts learning consists of a constellation of complex ways of thinking and responding that become unified within the activity of creating art, and that some of these ways of thinking generalize to other subject domains. The investigation was not only about knowing more about cognitive capacities and dispositions implicated in arts learning, and their effects on other subjects, the investigators were also interested in understanding more about how the contextual, pedagogical, and social aspects of learning influenced outcomes. The study sought to examine a diverse sample of programs and practices across a range of 12 different types of schools involving over 2000 children in grades 4,5,7, and 8.

The research methods were described in the body of the article and included research methods from quantitative and qualitative traditions. Data collection was intermingled between both traditions. The researchers sought to obtain results that could have general implication for understanding arts learning within public schools.

Research conclusions include:
 * 1) A set of cognitive competencies such as: elaboration and creative thinking, fluency, originality, focused perception, and imagination group to form constellations in pedagogical contexts which demand the ability to take multiple perspectives, layer relationships, and construct and express meaning in unified forms of representation. These higher order competencies are accompanied by an array of dispositions such as: risk taking, task persistence, ownership of learning, and perceptions of accomplishment in school subjects such as reading and mathematics.
 * 2) Students whose cognitive competencies and dispositions scored within “high arts group” were found to be in schools where the climate of learning included: supportive administrators, knowledgeable and collaborative teachers invested in their own professional development, and a flexible art curriculum, which included opportunities for arts integration.
 * 3) Study did not offer clear evidence of transfer but it did suggest a relationship between learning in the arts and other disciplines.
 * 4) The relationship between arts learning and learning in other disciplines is not so unidirectional as other studies have implied but is more dynamic and interactive. The authors suggest that learning in the arts and in other subjects each contribute in their distinctive ways to a constellation of higher order cognitive capacities and dispositions-or ways of thinking-by activating them within broad and flexible pedagogical contexts.
 * 5) Children exposed to strong and varied arts experiences over periods of time, both in and out of school, are more confident and willing to explore and take risks, exert ownership over and pride in their work, and show compassion and empathy towards peers, families, and communities (Darby and Catterall, 1994;Luftig, 1994)
 * 6) Children in arts rich schools also tend to enjoy demonstrating their learning to others and, in general, have a higher academic self-concept than children whose arts learning experiences have been of a shorter duration and less rich in provision. They see themselves good at reading, mathematics and school in general.
 * 7) Speculation that learning in the arts and in other subjects consists of a dialectic involving the cumulative effects of participating disciplines.


 * Learning Through the Arts: Lessons of Engagement **// . // //Katharine Smithrim and Rena Upitis. Canadian Journal of Education. Vol.28, No.1/2 (2005) pp.109-127//

In this article, Smithrim and Upitis describe the effects on student achievement and attitudes of a Canadian school-wide arts education approach, //Learning through the Arts (LTTA).// The sample included over 6000 students and their parents, teachers, and principals. The authors gathered data, both at the onset and after three years of involvement in //LTTA// on student achievement, student attitudes towards arts and schooling, and out-of-school activities. They found no baseline differences in achievement or in socioeconomic status in the //LTTA// and control schools. At the end of three years, the grade 6 //LTTA// students scored significantly higher on tests of computation than students in control schools.

Findings: 1. The LTTA program had a modest but statistically significant positive effect on student achievement on the math test dealing with computation and estimation. This difference did not occur until three years of programming had taken place. The effects are not sudden but gradual. 2. Analysis provided strong indications that involvement in the arts went hand-in-hand with engagement in learning in school 3. There may be other general factors-beyond engagement-that the arts nurture. Examples that were cited included the arts a form of motivation for taking other academic work more seriously and the importance of the discipline required in pursuing the arts (both within and outside of school) can have positive influences on other pursuits.
 * Questions/Implications **
 * 1. **** The article used the definition of engagement put forth by Csikszantmihalyi (1997) and Noddings (1992) “the involvement of the sensorimotor or physical, emotional, cognitive and social dimensions” or as Csikszantmihalyi (1997) described as “the very real feeling we have after an aesthetic encounter that some kind of growth has taken place, that our being and the cosmos have been realigned in a more harmonious way” **
 * 2. **** The authors expected that any contributions made by the arts to achievement in other subjects were likely to be based on a variety of complex reasons, such as those offered by the notion of engagement. **

This article summarizes how school programs used information from //“Learning, Arts, and the Brain, the Dana Consortium Report on Arts and Cognition”// 2008, to develop arts integration programs. Experiences were cited from A+ Schools at the University of North Carolina, The Alabama Institute for Education in the Arts, and the (Out) Laws and Justice Program based in Los Angeles.
 * Making Content Connections Through Arts Integration ** . //Willona M. Sloan - March 2009 - Association for Supervision and Curriculum Development//

Some key points learned from these sites are: · The true key to successful arts integration is collaboration among teachers · Teachers map curriculum and decide where gaps and conceptual connections occur · Teachers develop thematic units that integrate subjects · Small school districts engage teaching artists who have been trained · Teachers are trained in the process of making connections between content standards in the arts and in other disciplines · The (Out ) Law program uses a theater focus to engage kids – teachers are trained to guide students to do the thinking, talking, decision making and problem solving as they work toward clearly articulated learning goals


 * // Possible implications for us: //**
 * **// We know about the high value regarding teacher collaboration. How will we structure helping teachers to: //**
 * **// define common (or not) learning values? //**
 * **// truly understand each other’s benchmarks? //**
 * **// develop a system to communicate instruction progress? //**
 * **// develop a system to document and communicate formative and summative assessment data? //**
 * **// Will there be a site specific arts integration “mission statement”? //**
 * **// If curriculum maps are an effective entry point for arts integration, will we help teachers map at least a part of their curriculum first? //**
 * **// How will we engage teaching artists? Make contacts? What will training include? How will pay be set up? //**
 * **// Theater seems to have many natural connection points for arts integration. Is there one art content area that may serve better to illustrate the integration process? Kind of an exemplar model? //**
 * **// Is there the possibility of arts integration that occurs between schools? Perhaps via technology? What would that look like? //**

“While arts learning might not directly improve academic performance in other areas, the arts do cultivate broader dispositions that have the potential to transfer to other areas. Based on a study of five arts classrooms, they suggested that the arts help students expand their capacity in the following areas: developing craft, engaging and persisting, envisioning, expressing, observing, reflecting, stretching and exploring, and understanding the art world.”
 * // From //** **Project Zero//.//** //Winner and Hetland – 2007//
 * // Possible implications for us: //**

· ** **// Where do we see these concepts in the arts benchmarks? In other content area benchmarks? //**
 * · // Do these “areas of benefit” provide possible arts integration connecting points for learning goals? //


 * Processes Used by Music, Visual Art, and First-Grade Classroom Teachers for Developing and Implementing an Integrated Curriculum: A Case Study **// . // //Hyun-Kyung Youm. Applications of Research in Music Education (online) 26 no1. Fall/Winter 2007//

Through observations, interviews, documents and artifacts collected from December 2004-May 2005 the author describes the six organic steps in the development of an integrated unit on geography. (scheduling, determining the topic, teachers’ planning meetings, preparing for class activities, implementation, and evaluation) Teacher roles in development and implementation, co-teaching were also discussed.

The author noted that all the teachers possessed passion, pride, dedication, and a willingness to collaborate, which supported Goodson (1996) and Paxcia-Bibbibs (1993) that teacher cooperation is critical in creating a successful integrated curriculum.

The limitations of this study could be found in that it included one planning meeting observation, six classroom observations, and six interviews. The school was an arts focused school and purposeful samplings were conducted.

• **Care that generalizations are not made. The process outlined in this study has some implications for the work in Lake Country because this case study tracks and analyzes the work of teachers over one school year-much the same schedule as the Lake Country Integrated Arts Project**
 * Possible implications for us:**

There are many ideas about teaching and learning in and through the arts in the publication that may serve our project well. The focus here is on chapter 5, “When Teaching Matters” as this section relates closely to arts integration. The chapter addresses: - adequate time and conditions to get to know one another and to plan how to work together, - opportunities to personally participate in the types of arts experience that they would use in the classroo - framework for meaningful arts integration connection points; learning goals, local or state standards, curriculum maps - constructivist – teachers make sense through arts experiences and then are trusted to make the translation to the classroom
 * Third Space: When Learning Matters.** //Stevenson and Deasy – 2005//
 * · Learning from Artists – how non-arts teachers need to have an understanding of the artwork that their students will create
 * · Enlightened Teaching – learning new attitudes and skills from collaborations with artists or arts specialists
 * · Teacher Satisfaction and Renewal – how collaboration through the arts increase teacher confidence and professional satisfaction
 * · The Challenge of Change – working through old habits using a focus on greater opportunities to reach students
 * · Support for Change – the importance of quality professional development, adequate time to collaborate (plan and practice new skills), and the support and encouragement of supervisions
 * · Teacher Collegiality – building professional competence and comfort through relationships with colleagues
 * · Creating the Conditions for Quality Arts Integration – the importance of “grassroots transmission”, having teachers “see” how arts integration engages kids
 * · Professional Development - that includes;
 * · Teachers as Learners – classroom teachers take lessons from arts specialists
 * · Imagining Success – “Imagination is as important in the lives of teachers as it is in the lives of their students, in part because teachers incapable of thinking imaginatively or of releasing students to encounter works of literature and other forms of art are probably also unable to communicate to the young what the use of imagination signifies.”

· ** **// If we believe these points to be true, is it important that our participants know them as well? Will we articulate and share project documents such as mission statement, beliefs, learning goals, instruction strategies, assessment activities, and evaluation criteria? // · ** **Some of the rationale for a well developed and carefully presented art program will most likely hold true for our arts integration project. How can we best remind our participants of these ideas? The following may be one good example.**
 * // Possible implications for us: //**
 * · // Each of the points outlined in this chapter seem important to our project! How and when will we address each of these? //


 * A Review of Rationales for Integrated Arts Programs **// . // //Anna M. Kindler. Studies in Art Education: A Journal of Issues and Research. 1987. Volume 29 No 1 p 52-60//

The fundamental assumptions of integrated and multi-arts programs can be summarized as follows: (a) there is a similarity across the arts; (b) incorporating the arts into other subject areas accelerates and facilitates the learning process, (c) the arts promote creativity; (d) integrated arts programs are more economical than separate instruction in each area. Integrated and multi-that have been introduced into elementary and secondary schools within the past ten years have been based on one or more of these assumptions. The purpose of this paper was to review the rationales for, and examples of, unified arts programs and art programs that are integrated into the general curriculum. Programs in Wyoming, New York City, Colorado, North Carolina, and Pittsburgh were reviewed and the assumptions were addressed.

Conclusions from Kindler’s research demonstrated that the fundamental assumptions on which most integrated and multi-arts programs have been based has not been confirmed in practice. She concluded that either: (1) the assumptions themselves do not have inherent strength; or (2) the programs developed around them have lacked necessary and sufficient qualities to fulfill the objectives. Her caveat was that educators and others concerned with integrated and unified arts curriculum planning should not be satisfied with intuition based evaluations of their programs and direct their efforts toward the implementation of more scientific methods for evaluation and further development of integrated and multi-arts curricula.
 * Possible implications for us: **
 * ** What will be the most useful documentation of the Lakes Country arts integration project? What elements should become part of the data collection? Evaluation? **


 * The Subservient, Co-Equal, Affective, and Social Integration Styles and Their Implications for the Arts.** //Liora Bresler//

This publication summarizes the various ways that educators interpret “arts integration” and the implications of each interpretation as it is translated to the classroom. //“Obviously, integration, like other concepts, is a construction, and can mean very different things in terms of contents, resources, structures, and pedagogies to different people; yet the multiplicity of meanings is not always explicit in the ways that the term is used. Each of the constituencies presented (subservient, co-equal - cognitive, affective, social) brings to the concept its own visions on contents and pedagogies in the arts and a different model of what integration implies”.//

The following arts integration perspectives are defined: · // infusion – integrating a particular subject across the curriculum // · // topics-within-disciplines – integrating multiple strands of the same discipline within the instructional setting // · // interdisciplinary – maintaining traditional subject boundaries while aligning content and concepts from one discipline with those of another // · // thematic – subordinating subject matter to a them, allowing the boundaries between disciplines to blur // · // holistic – addressing the needs of the whole child, including cognitive, physical, moral, affective, and spiritual dimensions // · // multidisciplinary – looking at a situation as it was portrayed in different disciplines // · // interdisciplinary – considering a problem in terms of different disciplines and then synthesizing these perspectives in coming up with a more general account // · // metadisciplinary – comparing the practices within a particular discipline // · // transdisciplinary – examining a concept as it appears in political and in physical discourse // Each arts integration style //(subservient, co-equal - cognitive, affective, and social)// is discussed in terms of historical origin and implications for learners and educators. Specific examples are usually cited for each.

The publication explains that these styles are rarely implemented in pure form and that components are often blended as they are translated to the classroom. It points to the ideas that it may be important for teachers to understand the fundamental differences in assumptions about the relationship of art and art instruction to other content areas and learning goals. It concludes that the most common arts integration styles operating in schools today are subservient and social integration. It suggests reasons as to why this is so and also points to why co-equal and cognitive arts integration styles should be considered. · ** **// The four arts integration styles discussed may help us and our participants to clarify goals, values, and pedagogical issues. Is it important for our participants to understand these styles and their historical origins? To what extent do we want to guide our participants in the process of clarify their values and goals regarding teaching and learning? Is this an important component in developing arts integration? How do we know if this is something that we should do? How will we do it? // · ** **// Implementing each of these different arts integration styles requires drastically different structures and pedagogical skills. We may value one style but due to resources and schedule restraints be confined to another. How will we work with that tension? //**
 * // Possible implications for us: //**
 * · // The terminology used in this publication seems like good foundational understanding for us and for our participants. What vocabulary should we select and present and in what ways would this understanding be most useful? //


 * Watch Our Children Grow: A report on the Fine Arts as a vital part of a child’s education**//.// //Dawn Schaefer Stumpf – 1992//

This writing surveys findings from IMPACT, CEMREL, SWRL, Arts in General Education, and Project Zero. It suggests common rationale for arts and arts integration as tools for student achievement. The publication also includes a collection of arts integration lessons appropriate for elementary and middle school students that address music and creative movement, visual art and creative movement, music and drama, and visual art and drama. · **// The findings surveys are dated (1992) but tie together common ideas that may be useful. // · // Will we consider “inter-arts” teams for this project? // · // The model lessons may be useful in terms of arts concepts and instructional pedagogy. //**
 * // Possible implications for us: //**

“ When well planned and implemented, arts integration is one of the most effective ways for a wide range of interests, aptitudes, styles, and experiences to form a community of active learners taking responsibility for and ownership of their own learning” //-Renaissance in the Classroom, pg.xxvi.//
 * Why Arts Integration? And “Arts Integration Research: Research Supporting the Integration of the Arts in the 21st Century Classrooms **// **.** // []

In a brief overview, the first article, //Why Arts Integration?”// answers the questions: 1) What is arts integration?, 2) How do you do it?, 3)What are budget and structural priorities for becoming an arts integration school?, 4) What is a realistic timeline?

The second article //“Arts Integration Research: Research Supporting the Integration of the Arts in 21st Century Classrooms”// highlights the support for arts integration from 1) Eloquent Evidence: Arts at the Core of Learning, 1995, 2) Champions of Change, 1999, 3) Critical Links: Learning in the Arts and Student Social and Academic Development, 2002, 4) Third Space: When Learning Matters, 2005 // Arts in Education Definitions // An ad hoc committee of the New York statewide Local Capacity Building Coordinators drafted this list and it was agreed upon at the Spring 2005 meeting of the LCB Coordinators [|www.espartsed.org/resources/AIE_Definitions.doc]

Article defines: 1) Education Terms, 2) Arts in Education Terms, 3) Artistic Terms, 4) New York State AIE terms, and 5) National/International terms. All a good source for developing common vocabulary for Perpich Arts Integration Project.