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Making Connections: Collaborative Arts Integration Planning for Powerful Lessons

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Title: Making Connections: Collaborative Arts Integration Planning for Powerful Lessons
Language: English
Authors: Carpenter, Tara, Gandara, Jayme
Source: Art Education. 2018 71(4):8-13.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 6
Publication Date: 2018
Document Type: Journal Articles
Reports - Evaluative
Education Level: Elementary Education
Grade 4
Intermediate Grades
Higher Education
Postsecondary Education
Descriptors: Art Education, Integrated Curriculum, Lesson Plans, Teaching Methods, Art, Elementary School Students, Elementary School Teachers, Grade 4, Painting (Visual Arts), Teacher Collaboration, College Faculty, General Education, Art Teachers
DOI: 10.1080/00043125.2018.1465312
ISSN: 0004-3125
Abstract: As defined by the Kennedy Center, arts integration is "an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject area and meets evolving objectives in both" (Silverstein & Layne, 2010). In arts integrated lessons, students simultaneously learn content in a form of art and in another subject area. They can then demonstrate their new understanding through the art. Arts integration has been shown to improve learning for elementary students in many different studies in the last couple of decades (Melnick, Witmer, & Strickland, 2011; Rose, Androes, Parks, & McMahon, 2001; Southgate & Roscigno, 2009; Thomas & Arnold, 2011). The authors have both personally seen arts integration excite students, deepen their understandings, and even help with classroom management issues. They would love to see more elementary teachers and art specialists integrate their curricula, but recognize that there are some inherent challenges that make this difficult. Despite systemic challenges, they have developed a model for collaboration that works for us, that we are excited to share. This article examines real and perceived divides between university and classroom teaching. It also looks at real and perceived divides between general education and visual arts education. The authors describe their collaboration, how they navigated the divide between their jobs and disciplines by combining the second author's intensive knowledge and experience with 4th-grade curriculum and first author's visual art expertise to create an integrated lesson plan that they could share with other teachers. It also discusses the benefits of their collaborative model of visual arts integration between an elementary school teacher and university professor.
Abstractor: ERIC
Number of References: 9
Entry Date: 2018
Accession Number: EJ1194732
Database: ERIC
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  Value: <anid>AN0130244321;are01jul.18;2018Jun21.08:08;v2.2.500</anid> <title id="AN0130244321-1">Making Connections: Collaborative Arts Integration Planning for Powerful Lessons </title> <p>Arts Integration</p> <p>As defined by the Kennedy Center, arts integration is “an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject area and meets evolving objectives in both” ([<reflink idref="bib5" id="ref1">5</reflink>] , p. 1). In arts integrated lessons, students simultaneously learn content in a form of art and in another subject area. They can then demonstrate their new understanding through the art. Arts integration has been shown to improve learning for elementary students in many different studies in the last couple of decades ([<reflink idref="bib2" id="ref2">2</reflink>] ; [<reflink idref="bib3" id="ref3">3</reflink>] ; [<reflink idref="bib7" id="ref4">7</reflink>] ; [<reflink idref="bib8" id="ref5">8</reflink>] ).</p> <p>We have personally seen this type of teaching to be a powerful way to reach students, especially those who are unengaged or behind. According to [<reflink idref="bib1" id="ref6">1</reflink>] , “these [integrated] programs appear to have a more powerful effect on the achievement of struggling students than more conventional arts education programs targeting the more advanced students” (p. 14).</p> <p>Jayme Gandara is a 4th-grade generalist teacher, and Tara Carpenter is a university visual art education professor. We are both enthusiastic educators who value the arts for elementary students and were introduced to each other as prospective collaborators by a mutual friend. Both wishing to develop more art integrated lessons, we felt we could benefit from support in the content areas that we wanted to integrate with our own.</p> <p>We have both personally seen arts integration excite students, deepen their understandings, and even help with classroom management issues. We would love to see more elementary teachers and art specialists integrate their curricula, but recognize that there are some inherent challenges that make this difficult. Despite systemic challenges, we have developed a model for collaboration that works for us, that we are excited to share.</p> <p>This article examines real and perceived divides between university and classroom teaching. It also looks at real and perceived divides between general education and visual arts education. We describe our collaboration, how we navigated the divide between our jobs and disciplines by combining Jayme's intensive knowledge and experience with 4th-grade curriculum and Tara's visual art expertise to create an integrated lesson plan that we could share with other teachers. It also discusses the benefits of our collaborative model of visual arts integration between an elementary school teacher and university professor.</p> <hd id="AN0130244321-2">The Real and Perceived Divides Between University and Classroom Teaching</hd> <p>In elementary teaching, real and perceived divides exist between university preservice training in the arts and day-to-day classroom teaching. “In the historically dominant ‘application of theory’ model of preservice teacher education in the United States, prospective teachers are supposed to learn theories at the university and then go to the schools to practice or apply what they learned on campus” ([<reflink idref="bib9" id="ref7">9</reflink>] , p. 90). However, we have found in our careers that there can be a striking difference between theory and practice. We both received bachelor's degrees in elementary education, and both struggled as early teachers to apply all of the theories we studied at the university. Teaching is such a demanding job—physically, mentally, and emotionally. There is so much to teach and to take care of that at first it can be difficult to bridge the gap between the theory we learned and our everyday practice. We have met many teachers in our home state of Utah who struggle with integration because the little training that they are given is insufficient and incomplete, leaving them unsure of where to start and how to combine content successfully.</p> <p>Tara's job has the benefit of built-in time to learn new artistic techniques, time to read up on integration strategies, and plenty of supplies. However, classroom teachers often do not have these luxuries. Due to the fact that Tara is coming from a university setting, she realizes that she may lack credibility with teachers who are engaged in the daily struggle to teach everything they have been mandated to, and who face high-stakes testing on a regular basis. Because her work is separated from classroom teaching, she is also not as familiar with all of the general education standards for each grade. This is an area where she needs supports if she is to make authentic, rigorous lessons that teach standards in non-arts areas.</p> <p>Coming out of a university, many of the arts-integrated ideas Jayme had gathered during her bachelor's in elementary education were given out of context. She had taken classes where she learned about dance and puppetry, but nothing of the sort was ever mentioned in any of her other subject area classes. She was not experienced enough yet to make the connections herself, so the arts she learned were delegated to fun, “if I have time” ideas. For Jayme, it took years of teaching and formal training before she understood that visual art could be an effective vehicle for delivering other core content.</p> <hd id="AN0130244321-3">The Real and Perceived Divides Between General and Visual Arts Education</hd> <p>The arts are often seen as optional, a drain on time and resources. Conversely, arts integration can be misinterpreted as art projects with little to no relevance to actual understanding of art standards. According to [<reflink idref="bib6" id="ref8">6</reflink>] , “Simply providing art materials to students is a far cry from incorporating art concepts in the school curriculum with the objective of exploration and the construction of learning through these materials” (p. 42). We have both found that for true integration to be possible, lessons must be designed with a full understanding of and respect for both general education and art standards. This need for understanding in areas teachers are not trained in can seem daunting, especially for new teachers or teachers who are already feeling overwhelmed. Additionally, we have both encountered the feeling in other teachers that spending time on art somehow takes away from the other “more important” curriculum.</p> <p>One of the biggest challenges in getting visual arts into the classroom is the lack of training that general education teachers have in the arts and arts integration. Although the new National Visual Art Standards of 2014 make broad connections to other areas through their overarching anchor standards, it can be hard to see the many day-to-day connections between academic and arts standards if teachers do not feel comfortable with the arts.</p> <p>In summary, we know many reasons why arts integration is not happening in some elementary classrooms. There are disconnects between what is learned at university and what is applied in the classroom. Teachers can be overwhelmed and unsure of where to start, and feel that they lack the artistic ability and know-how they need to integrate effectively. The professors who do have the expertise in visual art and in integration may not have elementary classes in which to apply them, and often lack grade-specific curriculum knowledge. Many classroom teachers we have met feel there simply is not time for the arts when their kids are struggling. There are also perceived disconnects between visual art and the other subjects. Teachers do not know how to make the connections they need to for creating lessons that make sense.</p> <hd id="AN0130244321-4">Collaboration Can Bridge These Divides</hd> <p>Collaborative lesson planning between classroom teachers and university art educators, and the resulting lesson plans that then can be shared with others, can help to overcome many of these difficulties. Working with elementary teachers can help university art education professors to stay fresh and current on what is actually happening in the classroom so their training for new teachers is as applicable as possible. It also helps in the development (and implementation) of integrated lessons for art education professors to consult directly with those who have the most knowledge about other subject area content: classroom teachers. For elementary teachers, having the support from an expert in art education can be invaluable as they take steps toward creating more integrated curricula. Simply put, educators can support one another with our strengths and make integration more likely to happen when we work together.</p> <p>Working with elementary teachers can help university art education professors to stay fresh and current on what is actually happening in the classroom so their training for new teachers is as applicable as possible.</p> <p></p> <hd id="AN0130244321-5">Developing Curriculum</hd> <p>The catalyst that started our work together was an invitation to speak at Arts Express in 2015, a yearly summer conference in Utah with workshops for elementary teachers in arts integration. Excited about this opportunity to support other elementary teachers in integration, we began by talking about our desired outcomes. We agreed that integrated lessons are more likely to be used if they: address core concepts in meaningful ways, are practical, adaptable, and use readily available supplies. We also wanted this to be an equal collaboration, one that really got to core concepts in both of our subjects. This shared philosophy of integration guided our planning and preparation.</p> <p>We shared our interests and past experiences with integration and this became an important jumping off point. Tara had been studying mandalas as a visual art form and teaching tool in Buddhist and Hindu traditions. She recently had seen a project that incorporated mandalas as a visual structure for teaching about the water cycle while visiting Young Audiences Charter School in New Orleans during the National Art Education Association conference in March 2015. Jayme likewise shared some of the resources that she already had created for teaching about the water cycle, which is a major part of the science core in the state ([<reflink idref="bib4" id="ref9">4</reflink>] , p. 13), and the ways in which she had been teaching it in her own classroom. We both saw conceptual tie-ins between the mandala form and the cyclical nature of the water cycle.</p> <p>Mandalas are symmetrical, and often built around the form of a circle. Because they are circular, there is no clear beginning or end, but rather they flow between repeating symbols and patterns. Likewise, the water cycle has no clear beginning or end, with water continually changing form as it is evaporated, condensed, precipitated, and collected. In talking about this connection between the visual of the mandala and the science concept of the water cycle, we talked about different ways that students could explore and gain greater understanding of the connection.</p> <p>Tara had experience teaching different watercolor techniques, including using salt, rubbing alcohol, and crayon resists to create interesting effects. We talked about how the medium of watercolor could help to teach further about the water cycle. For instance, we could use the technique of dropping rubbing alcohol on a wash of wet watercolor to show students that different liquids evaporate at different rates. Likewise, using crayon resist could facilitate a discussion with students about how wax resists the water. A real-world example of this is the way that plants have a waxy coating on their leaves to keep them from losing water to evaporation. We found many other connections like these between science, math, and visual art concepts that related to mandalas and the water cycle.</p> <p>With an understanding of the concepts from each of our areas that overlapped, we developed a lesson sequence that could be taught over the course of several days and would teach key techniques and concepts in both of our areas. This process of talking through the whats and hows of teaching allowed us to teach each other concepts. Jayme also used her extensive understanding of the cognitive abilities of 4th-graders to decide what order it would make the most sense to present all of these concepts and how to divide them up for the best pacing.</p> <p>Surprisingly, it did not take very much time to come up with this project and its lesson structure. We met twice in person for about an hour each time, once to combine ideas and create a lesson outline, and once to gather supplies and test-run our lesson. The most difficult part of this process was finding a time in both of our busy schedules when we could meet in person. The rest of our work together was done online through a shared Google slide presentation and e-mail. Because we both knew our own content and standards, we did not need to invest time in researching the other person's curricula we wanted to integrate with. We brought the skills and information we knew and were able to find many overlaps. It became an exciting improvisational process as we took each other's ideas and said, “Yes, and…,” making connections, and adding ideas.</p> <p>The most difficult part of this process was finding a time in both of our busy schedules when we could meet in person. The rest of our work together was done online through a shared Google slide presentation and e-mail.</p> <p></p> <hd id="AN0130244321-6">Results</hd> <p>Our collaboration on this project has reached many practicing and preservice teachers. We taught the lesson together at Arts Express with about 30 participants. When we presented in that venue, we took turns teaching our content area to the participants and freely shared all of the resources we had found and created. We created a written curriculum as well as a slide presentation that could be used as visuals during each part of the lesson. These were made into Google slides to be easily shareable. We made everything adaptable, so that more or less information could be covered depending on the students' needs. We also considered ways that our art project could be repurposed to fit other content standards in other grades, for example, learning about the rock cycle.</p> <hd id="AN0130244321-7">Interpretation</hd> <p>The clouds represent condensation that forms when the evaporated water is collected in the sky. The stick figures represent collection. They are collected together, like water that has rained and gathered into lakes and such. The brown boxes represent evaporation, like how the water molecules separate out to go up into the sky. The dark sky with clouds represents precipitation because it is raining, which makes the sky dark.</p> <p>Jayme has taught the curriculum in her own classroom for a couple of years now. Students in her class study the water cycle and its component parts, practice new techniques for watercolor painting, then study the mandala form and discuss how it relates to their understanding of the water cycle. They analyze visual symbols and discuss how symbols convey messages simply. They then create their own symbols, using their newly learned watercolor techniques, for the parts of the water cycle. The culminating project is a water cycle mandala that incorporates students' own symbols in a repeating pattern. Since mandalas are symmetrical and often made of concentric circles with lines meeting at 90-degree angles, Jayme also used this project as an opportunity to teach to the math core standards. Students practiced using compasses to create concentric circles, reviewing vocabulary words and the different types of angles created.</p> <p>Students were excited to learn new art techniques, which kept even students who were usually easily distracted motivated. They participated in collaborative learning as they engaged in natural conversations with one another about their tasks. They asked clarifying questions about the water cycle content so they could better create their symbols and eagerly shared their explanations for the symbols they created. Jayme was excited to see that the artworks could also serve as assessment of understanding of the science content. As students described their symbols and how they related to one another, Jayme could recognize student understanding (or misunderstanding) of the content and use that to drive future lessons. One way that Jayme has students share their understanding is to pretend that they are a drop of water, and using their mandala as a visual, explain to other students what happens to them (as a drop of water) as they go through the water cycle.</p> <p>In teaching different iterations of this project for the last two years, we have continued to revise and adapt. We found that the math content, although conceptually tied to the form of mandalas, became too much to cover along with the science and visual art components. Students were getting tripped up on forming the circles just right with the compass and spending more time on that to the detriment of creating symbols to help them process their understanding of the water cycle. They were also quite frustrated when their mandala form did not come out precisely. To adapt, we still use the math vocabulary, but allow students to draw the circles and lines of their mandalas freehand. We also present them with examples of former students' work that is not completely symmetrical to show that some variation on form is alright. These changes seem to have improved the extent to which the symbols students create for their mandalas utilize the new watercolor techniques they learned and tie in with the parts of the water cycle. They are better able to express their understanding of the water cycle content.</p> <p>Since teaching the workshop at Arts Express, we have also presented it each semester to university art classes for preservice elementary teachers at Brigham Young University. In presenting the lesson plan, we also discuss the process by which we created it. The hope is that these students may teach this same lesson when they are teachers, and take this model of integrated lesson planning and apply it to other content.</p> <p>As a student teacher supervisor, Tara visits many schools in the area, and has been excited to see mandalas in classrooms across the state as teachers and art specialists try out our lesson.</p> <hd id="AN0130244321-8">Conclusion</hd> <p>What if art educators and classroom teachers could come together on a more regular basis, to create curriculum that combines visual arts and other subjects to make engaging learning experiences for students? We think collaboration between classroom teachers and art teachers, both in the school, and at the university level, can be a generative process for creating more and better integrated lesson plans for elementary students. We have continued to collaborate, also creating lessons that teach literacy standards to struggling readers using historical and contemporary art as “texts.” We look forward to future collaborations. As professors, art teachers, and general teachers, let's work together. Let's find more ways to reach out and collaborate with our colleagues in other areas. Together, we can utilize our strengths and experience to build integrated lessons that are exciting for students, that help them gain a deeper understanding of art and other subject areas, and that allow them to express themselves in the process.</p> <p>What if art educators and classroom teachers could come together on a more regular basis, to create curriculum that combines visual arts and other subjects to make engaging learning experiences for students?</p> <p></p> <ref id="AN0130244321-9"> <title>References</title> <blist> <bibl id="bib1" idref="ref6" type="bt">1</bibl> <bibtext>Gullatt, D. E. ( 2008 ). Enhancing student learning through arts integration: Implications for the profession. The High School Journal, 91 ( 4 ), 12 - 25. </bibtext> </blist> <blist> <bibl id="bib2" idref="ref2" type="bt">2</bibl> <bibtext>Melnick, S. A., Witmer, J. T., & Strickland, M. J. ( 2011 ). Cognition and student learning through the arts. Arts Education Policy Review, 112 ( 3 ), 154 - 162. doi: 10.1080/10632913.2011.566100 </bibtext> </blist> <blist> <bibl id="bib3" idref="ref3" type="bt">3</bibl> <bibtext>Rose, D. S., Androes, K., Parks, M., & McMahon, S. D. ( 2001 ). Imagery-based learning: Improving elementary students' reading comprehension with drama techniques. The Journal of Educational Research, 94 ( 1 ), 55 - 63. </bibtext> </blist> <blist> <bibl id="bib4" idref="ref9" type="bt">4</bibl> <bibtext>Shumway, L. K. ( 2002 ). Utah State Office of Education core standards for science. Salt Lake City, UT : Utah State Office of Education. Retrieved from <ulink href="http://www.schools.utah.gov/file/715faa9d-d84d-4637-bfbb-10e851bfb6fe">www.schools.utah.gov/file/715faa9d-d84d-4637-bfbb-10e851bfb6fe</ulink></bibtext> </blist> <blist> <bibl id="bib5" idref="ref1" type="bt">5</bibl> <bibtext>Silverstein, L. B., & Layne, S. ( 2010 ). Defining arts integration [PDF File]. The John F. Kennedy Center for the Performing Arts. Arts Edge, 1 - 9. Retrieved from <ulink href="http://www.kennedy-center.org/education/partners/defining%5farts%5fintegration.pdf">www.kennedy-center.org/education/partners/defining%5farts%5fintegration.pdf</ulink></bibtext> </blist> <blist> <bibl id="bib6" idref="ref8" type="bt">6</bibl> <bibtext>Smilan, C., & Miraglia, K. M. ( 2009 ). Art teachers as leaders of authentic art integration. Art Education, 62 ( 6 ), 39 - 45. </bibtext> </blist> <blist> <bibl id="bib7" idref="ref4" type="bt">7</bibl> <bibtext>Southgate, D. E., & Roscigno, V. J. ( 2009 ). The impact of music on childhood and adolescent achievement. Social Science Quarterly, 90 ( 1 ), 4 - 21. doi: 10.1111/j.1540-6237.2009.00598.x </bibtext> </blist> <blist> <bibl id="bib8" idref="ref5" type="bt">8</bibl> <bibtext>Thomas, R., & Arnold, A. ( 2011 ). The A+ schools: A new look at curriculum integration. Visual Arts Research, 37 ( 1 ), 96 - 104. doi: 10.5406/visuartsrese.37.1.0096 </bibtext> </blist> <blist> <bibl id="bib9" idref="ref7" type="bt">9</bibl> <bibtext>Zeichner, K. ( 2010 ). Rethinking the connections between campus courses and field experiences in college- and university-based teacher education. Journal of Teacher Education, 61, 89 - 99. </bibtext> </blist> </ref> <p>PHOTO (COLOR): Water Cycle Mandala (2017), watercolor painting, 15 by 15 inches, by Grecia, a 4th-grade student.</p> <p>PHOTO (COLOR): Mandala painting (date unknown), Namche Bazaar Museum, Nepal. Photo by Tara Carpenter.</p> <p>PHOTO (COLOR): “Water Cycle Mandala” (2017), watercolor painting, 15 by 15 inches, by Cade, a 4th-grade student.</p> <p>PHOTO (COLOR): “Water Cycle Mandala” (2017), watercolor painting, 8 by 8 inches, 2017 by Keaka, a 4th-grade student.</p> <aug> <p>By Tara Carpenter and Jayme Gandara</p> <p></p> <p>Tara Carpenter is Assistant Professor of Art Education at Brigham Young University, Provo, Utah.. Website: taracarpenterart.com</p> <p>Jayme Gandara is Facilitator at Canyon Crest Elementary, Orem, Utah.</p> </aug>
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  Data: As defined by the Kennedy Center, arts integration is "an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject area and meets evolving objectives in both" (Silverstein & Layne, 2010). In arts integrated lessons, students simultaneously learn content in a form of art and in another subject area. They can then demonstrate their new understanding through the art. Arts integration has been shown to improve learning for elementary students in many different studies in the last couple of decades (Melnick, Witmer, & Strickland, 2011; Rose, Androes, Parks, & McMahon, 2001; Southgate & Roscigno, 2009; Thomas & Arnold, 2011). The authors have both personally seen arts integration excite students, deepen their understandings, and even help with classroom management issues. They would love to see more elementary teachers and art specialists integrate their curricula, but recognize that there are some inherent challenges that make this difficult. Despite systemic challenges, they have developed a model for collaboration that works for us, that we are excited to share. This article examines real and perceived divides between university and classroom teaching. It also looks at real and perceived divides between general education and visual arts education. The authors describe their collaboration, how they navigated the divide between their jobs and disciplines by combining the second author's intensive knowledge and experience with 4th-grade curriculum and first author's visual art expertise to create an integrated lesson plan that they could share with other teachers. It also discusses the benefits of their collaborative model of visual arts integration between an elementary school teacher and university professor.
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    Subjects:
      – SubjectFull: Art Education
        Type: general
      – SubjectFull: Integrated Curriculum
        Type: general
      – SubjectFull: Lesson Plans
        Type: general
      – SubjectFull: Teaching Methods
        Type: general
      – SubjectFull: Art
        Type: general
      – SubjectFull: Elementary School Students
        Type: general
      – SubjectFull: Elementary School Teachers
        Type: general
      – SubjectFull: Grade 4
        Type: general
      – SubjectFull: Painting (Visual Arts)
        Type: general
      – SubjectFull: Teacher Collaboration
        Type: general
      – SubjectFull: College Faculty
        Type: general
      – SubjectFull: General Education
        Type: general
      – SubjectFull: Art Teachers
        Type: general
    Titles:
      – TitleFull: Making Connections: Collaborative Arts Integration Planning for Powerful Lessons
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Carpenter, Tara
      – PersonEntity:
          Name:
            NameFull: Gandara, Jayme
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2018
          Identifiers:
            – Type: issn-print
              Value: 0004-3125
          Numbering:
            – Type: volume
              Value: 71
            – Type: issue
              Value: 4
          Titles:
            – TitleFull: Art Education
              Type: main
ResultId 1