Art Integration Book

Arts Integration
Frameworks, Research & Practice »

A Literature Review
Gail Burnaford, Ph.D. with Sally Brown, James Doherty & H. James McLaughlin
Arts Integration
Frameworks, Research & Practice »
A Literature Review » April 2007
Gail Burnaford, Ph.D. with Sally Brown, James Doherty & H. James McLaughlin
“ [W ] e n e e d n o t l o o k u p o n a r t a s q u a l i t a t i v e l y a p a r t f r o m t h e r e s t o f l i f e .
I n s t e a d , we n e e d t o s e e i t a s a re f i n e m e n t ,
a clar ification, and an intensification
o f t h o s e q u a l i t i e s o f eve r y d ay e x p e r i e n c e t h a t we n o r m a l l y
call complete.
(Jackson, 1998, p. 8) ”
Empire State Partnerships (ESP)
Third Space
ArtsBridge
Transforming Education Through the Arts Challenge (TETAC)
41 Meta-Analyses: Arts and Non-Arts Learning

Critical Links: Learning in the Arts and Student Achievement
and Social Development
Reviewing Education and the Arts Project (REAP)
Meta-Analyses Included in REAP
» Dance and Academic Skills
» Visual Art and Reading
contents
» Music and Mathematics
» Music and Reading
contents
» Drama and Verbal Achievement
46 Discrete, Small-Scale Arts Integration Studies 2003-2007

49 Arts Integration Dissertations
iv Introduction 49 Teacher Development and Arts Integration Research

53 International Research and Arts Integration
1 one » Historical Context for Arts Integration

55 seven » Methods and Practices
5 two » Professional Associations, Standards and Arts Integration 55 Multiple Arts Integration Practices
63 Drama Integration Practices
11 three » Definitions for Arts Integration 65 Dance Integration Practices
12 Arts Integration as Learning “Through” and “With” the Arts 67 Visual Arts Integration Practices
13 Arts Integration as a Curricular Connections Process 70 Music Integration Practices
14 Arts Integration as Collaborative Engagement
75 eight » Conclusion
17 four » Arts Integration and Higher Education 75 Next Steps for Research and Practice
76 Arts Integration…To Get to the Other Side
21 five » Theoretical Frameworks for Arts Integration
79 References
29 six » Research in arts integration
30 Large Scale Research and Evaluation 95 Appendix A
Champions of Change An Inventory of Arts-Related Academic and Social Outcomes Found in Critical
Links Indexed by the Academic and Social Arena Where They Have Impact, and
North Carolina A+ Schools
by Study
Oklahoma A+ Schools
Arts for Academic Achievement (AAA)
ArtsConnection 101 Appendix B
An Inventory of Arts-Related Academic and Social Outcomes Found in Critical
Links—Organized by Cognitive Capacities and Motivations
ii Arts Integration Frameworks, Research, and Practice: A Literature Review iii

No curricular movement exists in a vacuum; arts units, or problem-based learning projects are not
integration stems from or is related explicitly to other specifically addressed, because arts processes, vocabulary,
methods that purport to engage students in learning. and elements are often not an explicit focus for these
We also include an overview of the position statements descriptions. The review does not address initiatives
of Professional Arts Education Organizations where the arts are a casual or unintended byproduct
regarding arts integration and a summary of State of learning and teaching rather than an explicit goal. It
Standards regarding arts integration and general arts does not investigate projects described in the literature
education. Then, we introduce selected Definitions in which the arts are used only as a culminating project
and Theoretical Frameworks for “arts integration” (i.e., a mobile to demonstrate children’s understanding of
programs and practices. the planets).
We describe the Research related to arts integration Additionally, while attempts were made to be inclusive,
teaching and learning as it exists in published and this literature review does not incorporate the vast
available studies and reports. Research includes meta- number of privately and publicly funded project
introduction
introduction analyses, compendia, case studies, and dissertations
that may incorporate quantitative and qualitative
initiatives that have been implemented over the past
20 years for the simple reason that many of the project
methodologies. Because extensive meta-analyses have evaluation reports are not published and articles or books
been reported and discussed in Critical Links: Learning are not available that describe the work for a larger
in the Arts and Student Academic and Social Development audience. Due to time constraints, we were not able to
and Reviewing Education and the Arts Project (REAP), we search in depth the studies and practices internationally,
I
n this literature review, we attempt to describe what has been written between 1995 have chosen to summarize relevant research from those although a few are included in the scope of this review.
two compendia and refer the reader directly to them We know that much of the work on arts integration has
and 2007 regarding arts integration. We have unavoidably encountered specific issues for further investigation. We then present other relevant been done in these arenas and regret that not more of
research and evaluation studies, particularly from 2003 these stories can be included here.
and trends that continue to shape the field. We have examined the range of practices
to the present, which are not included in either of the
We also encountered many conference proceedings and
labeled as arts integration as described in published and available materials. Terms such as two compendia.
presentations related to arts integration and chose not to
“interdisciplinary,” “arts-infused,” or “cross-disciplinary,” not to mention “thematic” and The review also includes annotations of books and include most of them in this review. Ideally, this review
articles targeted for classroom teachers, arts specialists, can serve as a springboard to encourage current and
“arts-based,” kept our conversations challenging. We have included some international and teaching artists, that represent Methods and future project directors and researchers to expand the
resources although our emphasis is on arts integration in the United States. Practices in arts integration. The Conclusion section audience of their work.
synthesizes the trends and questions that emerged during
this investigation that we offer as possible future areas
What This Review Includes every source on the topic, but we believe that we have for research and practice. It is our hope that this review
The literature is limited to reports, books, articles, examined most of the relevant work in the field to will encourage those committed to arts education to
and research summaries that explicitly name arts date. Ideally, this review will contribute to continued communicate their goals, innovations, evidence of
integration or, in some cases, interdisciplinarity, as the dialogue and increasing rigor in research and practice efficacy, and research-based teaching approaches to afford
focus. While topics such as the role of teaching artists, with respect to how, when, and to what degree arts all young people access and experience in and through
arts partnerships, the preparation of arts teachers and integration becomes an accepted and well-defined the arts.
classroom teachers, school reform, budgets for the arts, element of the curriculum.
and political considerations relevant to the arts are all The review begins with the Historical Context What This Review Does
highly pertinent, they are not the focus of this review regarding curriculum integration and related Not Address
and will only be discussed as they relate explicitly to educational or curricular approaches to teaching For the purposes of this review, discussions of curricular
arts integration. We cannot claim to have uncovered and learning that are relevant to arts integration. approaches such as thematic units, literature-based
iv Arts Integration Frameworks, Research & Practice » A Literature Review v

» o n e » t w o » t h r e e » f o u r » f i v e » si x » s e v e n » e igh t
1
Historical Context
for Arts Integration
Arts Education worked to undo many of the Johnson administration’s

There have long been advocates for arts education in the efforts to advance the arts. The NEA shifted its focus and
public schools. Utah founded the first state arts agency in began emphasizing professional development of teachers
1899 and by the middle of the twentieth century, civic and artists working in schools.
organizations such as museums and symphonies regularly
began to schedule educational activities as part of their Arts Integration
missions (Remer, 2003). The New Deal provided public The idea of arts integration is related to structural,
support of the arts, which resulted in artists working conceptual, and philosophical notions that are connected
with schools, but the primary opinion, despite Dewey to curricular movements in schools. In the early
and the Progressives, was that the arts were enrichment twentieth century, the organization of the secondary
or primarily for the wealthy or talented. school curriculum as a series of distinct subject areas,
Public support engendered through the Kennedy while persistent, was also consistently challenged
administration’s appointment of a special consultant (Cruikshank, 2000). In 1918, the Cardinal Principles
for the arts was extended during the era of Johnson’s of Secondary Education report recommended the
Great Society. In 1965, the Rockefeller Brothers organization of the curriculum around major themes,
Fund produced a set of recommendations calling for including health, fundamental processes, and civic
the nurturing of children’s appreciation for great art. education. Integrated curriculum, as well as “correlated
The formation of the National Endowment for the curriculum,” “fused curriculum,” and “project
Arts (NEA) spearheaded support for artists in schools curriculum” all were touted as improved means to
initiatives in the 1960s, which contributed to a burg- prepare young adults for adult life (Cruikshank, p. 179).
eoning interest in arts integration. William Heard Kilpatrick, a collaborator and colleague
The economic downturn of the mid to late 1970s, of John Dewey, outlined the “project method,”
followed shortly by the publication of A Nation at Risk, which was a precursor to later integration approaches.
1
Kilpatrick’s article “The Project Method” (1918) The general term curriculum integration has been models, including performance, artists-in-residencies,
described this approach, proposing that the interests applied since the 1960s, particularly in middle schools and guest instructors in an art form, they are familiar
H i s t o ric al C o nt ex t f o r A rt s I n t eg rat i o n
of children be the units or themes of study, thus (Beane, 1997). Arts integration proponents have drawn partners in regular education classrooms where they plan
making learning more relevant and meaningful. Dewey upon the work of Beane, as well as Heidi Hayes Jacobs with classroom teachers to integrate at least one art form
responded in 1931 during a speech at Harvard University. (1989, 1997, 1998) and Robin Fogarty (1991). Beane and one non-arts content area.
He stated that neither of the two ways of organizing has advocated moving the subject-centered school
Arts integration, as a curricular area, provided rich
the curriculum—by subject and by project—would curriculum structure toward a full integration model.
opportunities for teaching artists to define and refine
clarify the curricular “confusion” that was apparent. He explains,
their work with children and teachers in schools. The
Dewey proposed that subjects be reorganized so that
arts integration movement afforded content specialists in
“the interdependence of knowledge and the relationship Imagine for the moment that we are
areas such as reading, math, science, and social studies, to
between knowledge and human purpose would be made
confronted with some problem or discuss, experience, plan, and teach with arts specialists in
clear” (Kliebard, 2004, p. 149). There needed to be a
schools. Arts integration encouraged classroom teachers
study of “the interrelation of subjects with one another”
puzzling situation in our lives. How to explore whether, how, and to what degree the arts
in order to determine how they might work together to
could play a role in their classrooms.
“increase both intellectual curiosity and understanding, do we approach the situation? Do
while disclosing the world about us as a perennial source Teaching artists find themselves in a field without
of esthetic delight” (p. 150). we stop and ask ourselves which part
formally recognized certification, working with in-
of the situation is language arts, or school arts teachers or classroom teachers, teaching in
Parallel with Dewey’s thinking, the National Council
their own art domain, but perhaps also entering the
of Teachers of English (NCTE) issued a landmark
music, or mathematics, or history, or world of science standards or literacy benchmarks.
report in 1936 titled A Correlated Curriculum (Weeks,
Meanwhile, boards of education, principals, and state
1936). This convincing treatise described a democratic art? I don’t think so. Instead, we take
legislatures are pressing for reading, mathematics, science,
education that combined subject-specific learning
on the problem or situation using and social studies achievement, often placing the arts in
with interdisciplinary and integrated options for
schools at risk.
learning at the secondary level. A Correlated Curriculum
whatever knowledge is appropriate or
provided examples of “correlations” between English Arts integration gained attention in the 1960s and 1970s
and other subject areas from classrooms representing pertinent without regard for subject when arts partnerships became common structures for
the work of 43 researchers. While the report had only engaging community organizations and public schools,
area lines. (Beane, 1997, p. 7)
minimal impact at the time, its presence served as a particularly in large urban areas (Remer, 1996). In 1999,
foundation for the theories offered by James Beane the Arts Education Partnership (AEP) published Learning
and others later in the century. Cruikshank explains: Partnerships: Improving Learning in Schools with Arts Partners
“What is remarkable about A Correlated Curriculum…
Teaching Artists and
in the Community (Dreeszen, Aprill, & Deasy) at the
is the emphasis that it places upon the integrity of the Arts Partnerships request of the U.S. Department of Education and the
intellectual pursuits embodied in particular disciplines The availability of teaching artists to schools and National Endowment for the Arts. This was followed
at the same time that it recommends a disregarding of classrooms—most obviously in urban areas—has also by a 2002 publication, Teaching Partnerships: A Report
discipline lines” (p. 191). That orientation is consistent contributed to arts integration. Teaching artists, who of a National Forum on Partnerships Improving Teaching of
with many current practices in arts integration. In are typically not certified teachers but who do practice the Arts (Arts Education Partnership, 2002). These two
the mid-twentieth century, problem-based learning an art form as a profession, are considered integral to publications reflected a growing trend for describing
and inquiry learning built on this notion, suggesting success in some models for arts integration. The term the nature of partnerships involving public schools, arts
that the questions students ask to work through an “teaching artist” has its roots in the early 1970s and organizations, and universities. While not all partnerships
investigation or problem create an approach to learning was coined by June Dunbar of the Lincoln Center reflected in these documents focused on arts integration,
that is multidisciplinary and relevant to the real world. Institute to avoid the use of the clinical term “resource the proliferation of sustained partnerships contributed to
These elements persist in contemporary arts integration. professional,” according to Eric Booth (2003). Although the discussion of arts education that involves classroom
teaching artists also work in schools in non-integration teachers as well as arts specialists and teaching artists.
2 Arts Integration Frameworks, Research & Practice » A Literature Review 3

» f o u r » f i v e » si x » s e v e n » e igh t
2
Professional Asso ciations,
Standards, and Arts Integration
I
n 1992, a Consortium of National Arts Education Associations published a Joint Statement
on Integration of the Arts with Other Disciplines and with Each Other that served as a position
statement for the American Alliance for Theatre and Education (AATE), the The National
Association for Music Educators (MENC), the National Art Education Association (NAEA), and
the National Dance Association (NDA).

»one »two »three
While affirming that all students should be provided cautions against the exclusive use of the arts for this
with sequential and comprehensive instruction in purpose, to the detriment of arts-specific instruction.
all specific art disciplines and that these programs
The development of the Arts Education Assessment
should be taught by qualified art, music, theatre, and
Framework by the National Assessment Governing Board
dance teachers, this position statement also noted that
(National Assessment Governing Board, 1997) marked
“integrated” courses may be “valid and useful when
the third time that music and the visual arts had been
well designed and well taught” (1992). The document
addressed in a national assessment (in this case, as part
offered cautions regarding integrated programs that
of the National Assessment of Educational Progress).
have little coordination or synthesis, and affirmed that
The framework team considered a series of questions,
such programs cannot substitute for discrete programs
including one particularly relevant to this literature
of high quality. The Joint Statement does endorse the
review: Should the definition of the arts be cut sharply
possible appropriateness of arts instruction as a means
into four strands (dance, music, theater, and visual arts)?
of enriching the teaching of other subject matter but
The proposed assessment consists of a series of exercises
5
Pr o f e s s i o n al A s s o c iat i o n s , S ta n dards , a n d A rt s In t egrat io n
for all students in the sample, at least one special study, B Recognize that expansion is in arts association journals and books. We have therefore 11 reads: “Students participate as knowledgeable,
and a series of background questions. Both processes necessary in teacher prepara- included some of those references using the term reflective, creative, and critical members of a variety of
(creating, performing/interpreting, and responding) and tion, especially in dance and interdisciplinary in this review. literacy communities” (http://www.ncte.org).
content were considered to be “applied” in combination theatre, if the standards of
Many non-arts professional associations offer standards The most definitive statements with respect to
and “integrated” at various levels. NSAE are to be met. Arts
consistent with curriculum integration designs. integration come from the National Middle School
specialist teachers must work
In 2001, the Consortium of National Arts Education The National Council of Teachers of Mathematics Association (http://www.nmsa.org). The 2005
to become more proficient at
Associations, including AATE, MENC, NAEA, and (NCTM) document notes Standard 4: Knowledge National Middle School Association’s Position Statement
communicating their art to
the National Dance Education Organization (NDEO), of Mathematical Connections: “Candidates recognize, on Curriculum, Instruction, and Assessment describes
their fellow faculty. Addition-
published To Move Forward: An Affirmation of Continuing use, and make connections between and among three elements of quality curriculum for the middle
ally, the arts specialist teachers
Commitment to Arts Education. This policy statement mathematical ideas and in contexts outside mathematics grades. NMSA supports curriculum for students that
must learn to work with other
commented on the balance of needs for standards-based to build mathematical understanding” (http://www. is relevant, challenging, integrative, and exploratory.
curriculum specialists. (pp. 2-3)
arts education with respect to the generalist teacher and nctm.org). The National Science Teachers Association According to the website, an integrative curriculum
the arts specialist, as follows: Then, in 2002, the Consortium published a document (NSTA) Program Standard B includes the following: “focuses on coherent ideas and concepts irrespective
titled Authentic Connections: Interdisciplinary Work in “The program of study must emphasize student of arbitrary subject boundaries and enables students
1 The Generalist
Teacher
the Arts. The stated purpose of the document was
to “assist and support educators in interdisciplinary
understanding through inquiry. The program of study
in science should connect to other school subjects”
(http://wwww.nsta.org). The National Council for
to see connections and real-world applications.”
More specifically,
A While many elementary school work and to clarify how the arts can be taught with
Integrative learning opportunities:
teachers serve as a general integrity through the interdisciplinary arts content the Social Studies organizes standards by strands, one
source of instruction in their standards” (p. 3). Despite the intentional use of the of which is culture and diversity. The Standard and Engage students in rigorous, in-depth study.
schools, they should not be term “interdisciplinary,” the Consortium’s work in Indicator relevant to this review state,
Address reading, writing, and other
relied upon to serve the role this document affirmed “meaningful connections, high
fundamental skills within all subject areas.
of an arts specialist effectively. quality examples from the arts and other disciplines,” Standard: Social studies prog-
and “in-depth learning,” and addressed similar goals Enhance critical thinking, decision-making,
rams should include experiences
B Where generalist teachers associated with the literature regarding arts integration. and creativity.
are serving this role, their The definition posed for interdisciplinary education also that provide for the study of culture
preparation needs to involve echoes definitions for current arts integration practice: Require students to reflect on their learning
an understanding of all four “Interdisciplinary education enables students to identify and cultural diversity, so that the experiences.
of the arts fields. Their training and apply authentic connections between two or more
learner can: (Indicator) describe Enable students to apply content and skills to
should also include instruction disciplines and/or to understand essential concepts that
their daily lives.
on how to effectively work transcend individual disciplines” (p. 3).The Authentic ways in which language, stories,
with arts specialists when Connections publication represents a collective initiative Cultivate multiple intelligences and students'
those opportunities arise. across arts education professional associations to folktales, music, and artistic creations
individual learning styles.
publicly acknowledge the presence of interdisciplinary
serve as expressions of culture and
2 Specialist curriculum projects, programs, and curricula in Since 1995, state and federal budgets have made it
Arts Teacher schools. The document affirmed the importance of the influence behavior of people living possible for districts and state departments of education
Preparation national standards in arts disciplines and urged planning to develop and implement standards in the arts. To date,
and implementation of programs that utilized these in a particular culture every state except for Iowa has adopted standards for
A Specialist teachers in the four
standards as norms for practice. the arts. Twenty-seven states have mandated standards
fields are best served by a (http://www.socialstudies.org).
for arts education and twenty have set voluntary
preparation that involves work Because this Consortium chose to use the term standards (see Tables 1 and 2 on p. 9).
with faculty in their arts disci- interdisciplinary, arts specialists have used the term for The National Council of Teachers of English and the
pline as well as faculty familiar programs and curriculum that could also be labeled International Reading Association jointly issued a set of The practice in schools, however, does not always
with teaching methodologies. integration. This is especially true of articles published 12 standards, 1 of which pertains to this review. Standard make scheduling and structural accommodations

Pr o f e s s i o n al A s s o c iat i o n s , S ta n dards , a n d A rt s In t egrat io n
» State standards for arts education (2006)
for interdisciplinary implementation (Detels, 1999). standards from other disciplines also » Arts Standards (Mandated)
» Arts Standards (Not Mandated)
Instead, as Detels notes, “they assign all responsibility
address music, such as this excerpt
for teaching the arts to single-disciplinary specialists
in the various arts disciplines, as if schools commonly from the Curriculum Standards for Alaska Massachusetts South Carolina Alabama Maryland Tennessee
have specialists in all four disciplines, and as if students California Michigan South Dakota Arkansas Mississippi Texas
commonly take courses in each of those areas at every the Social Studies that applies to Colorado Minnesota Virginia Colorado Missouri Utah
level—which is far from the case” (p. 121). (theater & dance)
New York Wisconsin
(music & art)
Montana Vermont
the early grades: “Describe ways in
Connecticut Delaware
Many disciplinary specialists do see how standards North New Jersey Washington
which language, stories, folktales, Hawaii Carolina Florida
can support cross-disciplinary boundaries while still New Mexico West Virginia
Idaho North Dakota Georgia
maintaining instruction within an art form. Rosen- music, and artistic creations serve as Ohio Wyoming
Illinois Ohio Iowa
bloom (2004) cites music standards 8 and 9 as a Oklahoma
expressions of culture and influence Indiana Rhode Island Kentucky
rationale for studying high school social studies topics, Oregon
such as the French Revolution, as an interdisciplinary Louisiana
Pennsylvania
project in which the music teacher engages students in
behavior of people living in that Table »1 Maine
listening to and analyzing “La Marseillaise.” Music culture.” These statements remind us
scholar Janet Barrett (2001) further explains: Table »2
that, although educational institutions
Interdisciplinary connections can open segment knowledge into separate

» States with Arts Integration » States with Arts
up possibilities for comprehensive packages called “subjects,” deep in Limited Disciplines Integration Standard
study while preserving the integrity understanding often depends upon
and validity of musical experience. the intersections and interactions of Washington, DC Nevada Arizona Indiana Louisiana
(art, music) (music, theater, art)
Idaho Kentucky New Mexico
It is not surprising, then, to find the disciplines. (p. 27) Kansas (high school level)
(music, theater, art) Illinois
many examples of “relationship
In all four major arts disciplines—visual art, drama,
standards” in national, state, and dance, and music—there are seven states with explicit
Table »3 Table »4
standards and indicators that underscore the importance Tables 1–4: The 2005-2006 State Arts Education Policy Database, www.aep-arts.org
local proposals for curricular reform.
of interdisciplinary connections among the arts and
The National Standards for Music other disciplines (see Tables 3 and 4). Arizona offers one
example of options for integration, as described in state
» Arizona State Standards Related to Arts Integration
Education include two versions of this standards (see Table 5).
idea: “Understanding relationships

Creating Art Art in Context Art as Inquiry
between music, the other arts, and Students know and apply the Students demonstrate how Students demonstrate how
arts disciplines, techniques, and interrelated conditions the arts reveal universal
processes to communicate in influence and give meaning concepts and themes. Students
disciplines outside the arts” (Content to the development and
original or interpretative work. reflect upon and assess the char-
reception of thoughts, ideas, acteristics and merits of their work
Standard 8) and “Understanding and concepts in the arts. and the work of others.
music in relation to history and

Table »5
culture” (Content Standard 9). Similar
(Arizona State University & the Arizona Board of Education, 2007. Available at: http://www.mpsaz.org/arts/perf_arts/performing_arts.htm)

3
Definitions for
Arts Integration
T
he term “arts integration” has also evolved over the past 15 years as school districts,
state arts councils, and arts organizations have experimented with various models of
implementation. Some programs and schools have chosen not to use the term at all, although
descriptions of the curriculum appear to belong in this domain. Much work in the arts
professional journals that could be termed integrative is labeled interdisciplinary, perhaps
because, as noted in this review, the term evokes less controversy and challenge from within
the arts professions. Some of that work is included in this literature review.
The term “integration” comes from the Latin word integration, much less a universally held definition of the
integrare, which means to make something whole, term (Parsons, 2004). Practitioners sometimes speak of
a root also used, for example, in the word integer, interdisciplinary studies, a multidisciplinary curriculum,
meaning “whole number” (Grumet, 2004). Terms such and integrated learning in relatively interchangeable
as arts-infused curriculum (Ingram & Reidell, 2003), terms. An Arts Education Partnership 2002 National
learning in and through the arts (Bamford, 2006; Forum on the topic produced the document Creating
Bloomfield & Childs, 2000), learning with the arts Quality Integrated and Interdisciplinary Arts Programs
(Goldberg, 2006) and arts as a vehicle for learning all (Deasy, 2003), in which Richard Deasy referred to arts
represent slightly different iterations familiar to readers of integration as “the effort to build a set of relationships
arts integration project and program reports. between learning in the arts and learning in the other
skills and subjects of the curriculum” (p. 2). He noted
Current interest in arts integration has not appeared
that the term means different things to different
to produce a consensus on the theory or practice of
11
people in different situations and context. The report
synthesized the views on arts integration from 13
Catterall, 2002a, 2002b, 2005; Deasy, 2002; Eisner, 1998;
Hetland & Winner, 2000; Horowitz, 2005; Ingram, 1 Arts learning and experiences, to
varying degrees, reorganize neural
pathways, or the way the brain
Those who describe arts integration in this way
emphasize the need for genuine authenticity in
identifying a common concept or unifying idea and
invited partnerships and revealed that various programs 2003; Keinanen, Hetland, & Winner, 2000; McKean,
and initiatives across the United States had different 2000; Moga, Burger, Hetland, & Winner, 2000; Myers functions. Extended and or deep guarding against false or superficial integration claims
points of emphases for arts integration. Some affirmed & Scripp, 2007; Perkins & Salomon, 1988; Rabkin & learning in the arts reinforces these that are not consistent with the disciplines involved
D e f i n i t i o n s f or A rt s I n t eg rat i o n
the importance of assessing how and what students learn Redmond, 2004; Scripp, 2002;Vaughn, 2000). developments. (Kelner & Flynn, 2006; Nixon & Akerson, 2002). Nixon
as elements of arts integration practice; others defined and Akerson refer to the goal of mutual integrity of
A body of literature has been created among researchers
2
arts integration specifically as differentiated instruction; The development and re-organization the disciplines as equal development that contributes
who are interested in how learning occurs in and to cognitive growth in academic areas addressed.
for others, professional development was a key element of brain function due to learning in
through the arts (Butzlaff, 2000; Catterall, 1998, 2002a, Burnaford, Aprill, and Weiss (2001) describe the process
that defined arts integration as an integration of people the arts may impact how and how well
2002b, 2005; Deasy, 2002; Hetland & Winner, 2004; of such common concepts or ideas as the elegant fit.
rather than of specific content. the brain processes other tasks. (p. 7)
Keinanen, Hetland, & Winner, 2000; Moga, Burger,
Despite the lack of consensus on any one definition, Hetland, & Winner, 2000; Perkins & Salomon, 1988; The literature includes discussions of the importance of
there appear to be categories of definitions that are Rabkin & Redmond, 2004; Scripp & Subotnik, 2003; real-world content and application as a characteristic
syntheses of definitions-in-action. For this review, Winner & Cooper, 2000; Winner & Hetland, 2000). in arts integration that links curricular areas (Burnaford,
we have created three categories: arts integration While it can certainly be argued that any experience Aprill, & Weiss, 2001; Goldberg, 2006). The use of
as learning “through” and “with” the arts; arts one has will cause some neural transformation, it is inquiry by teachers, artists, and students as the basis for
integration as a curricular connections process; also reasonable to assume that extended learning or arts integration extends that framework for integration
and arts integration as collaborative engagement. training in the arts creates an environment where when real questions guide both the design and the
Arts Integration implementation (Amdur, 1993; Balick, in Wolf &
there is more of this active relationship between what
Catterall (2005) identifies as conversation and silence. as a Curricular Balick, 1999; Blasingame, Erickson, & Woodson, 2005;
Conversation refers to the external conversation that Connections Process Brown & Nolan, 1989; Burnaford, 2007; CAPE UK
occurs as students and teachers discuss a work of art, its 2005; Chancer & Rester-Zodrow, 1997; Efland, 2002;
symbols, its historical significance, and its importance Eisenkraft, Heltzel, Johnson, & Radcliffe, 2006; Eisner,
to the current classroom discourse. Silence refers to 2002; Mason & Steedly, 2006; Weiss & Lichtenstein, in
Much has been written about arts integration as a
the internal conversation that occurs as student-artists press; Wilhelm, 2005; Wilhelm & Edmiston, 1998).
means to connect certain elements of curriculum across
wrestle with form, with ideas and meaning, and with content fields. A curricular focus on a “big idea” or
Arts Integration as Often, those who implement arts integration stress
how to execute ideas that are forming in their minds. “shared concept” larger than specific concepts in any
Learning “Through” and the importance of using the vocabulary and language
It is in this silence that most neurological processing one content domain may represent a more unified and of the art form when making curricular connections
“With” the Arts and, therefore, neurological change likely occurs. complex approach to curriculum design (Brown & (Weiss & Lichtenstein, in press). Common language is
Catterall proposes the following: “The Rosetta stone Nolan, 1989; Burnaford, Aprill, & Weiss, 2001; Ingram & a partial litmus test for ensuring cognitive development
for understanding transfer from learning in the arts to Seashore, 2003; Kelner & Flynn, 2006; Krug & Cohen- and conceptual understanding of the art form.
Phrases such as learning in and learning through the other domains may emerge as comprehension of the Evron, 2000; Weiss & Lichtenstein, in press). Integrated State standards that articulate arts integration as an
arts also represent a locus of controversy in this field. impact of arts-related neurological development curriculum, some argue, is most inherently concerned approach toward the teaching of both arts and non-
Those who have attempted to define arts integration on individual abilities to accomplish non-arts tasks” with ideas (Parsons, 2004). Beane (1997) adds a caution, arts curriculum usually underscore the need for clear
often have pointed to the potential for the transfer of (p. 6, emphasis in original). noting that the reduction of the term “integration” objectives and outcomes in both the arts content and
learning between the arts and other subjects (Rabkin Since transfer has been at the heart of much recent to mean the simplistic connection of content in the identified non-arts topic or subject.
& Redmond, 2004, 2006). There is continuing debate research into arts learning, as well as recent criticism different school subjects reduces the importance of the
about the appropriate methodologies for measuring connections for larger issues in the curriculum, such Others have identified the notion of parallel processes,
of arts integration, Catterall suggests a “central theory”
such transfer and how/which arts concepts and skills as inquiry, democratic processes, and problem solving. rather than parallel content, as the framework for arts
that may suggest research programs with respect to arts
should be examined with respect to transfer to and Beginning with a shared concept or big idea supports integration (Burnaford, Aprill, & Weiss, 2001; Weiss
learning and transfer:
from other content skills and concepts (Bamford, 2006; the notion that arts integration can address these larger & Lichtenstein, in press). A parallel process approach
Bradley, 2002; Burton, Horowitz, & Abeles, 1999, 2000; issues in the curriculum. to arts integration suggests that the school classroom

could and should use the processes often embodied mutual support of arts specialists or teaching artists.
in the art forms as tools for learning and engaging Regardless of who is involved, many have affirmed the
students.Yenawine (2005) noted that learning to look need for collaborative planning and inclusion of parents
Arts Integration
is a process of stages, just as learning to read is a process and community in order to engage students (Bresler,
of employing a series of gradually more complex
as Collaborative 1995; Grumet, 2004; Heath, 2001; Hefferen, 2005;
Engagement
D e f i n i t i o n s f or A rt s I n t eg rat i o n
steps. He compared the concepts of reading readiness, Mason & Steedly, 2006; Myers & Scripp, 2007; Stokes,
reading levels, and reading for comprehension as they 2001; Strand, 2006; Werner, 2001).
might be applied to visual literacy in the world of art.
The fact that arts integration is engaging for students is
Seeing those parallels across disciplines enables viewers Claire Detels (1999) represents another theory regarding much discussed in the literature. Grumet (2004) explains:
and readers not only to become more skilled but also the purpose and general results of arts integration in
more to be more capable of making meaning (p. 846). school settings:
You will find animation and engage-
Schergen (Weiss & Lichtenstein, in press) described
the need to create a “studio environment” for arts Single-disciplinary specialization in ment as kids make pilgrim hats at
integration, borrowing from the visual arts, in order for
such processes to be experienced. the arts has led to extraordinary levels Thanksgiving. You will find interest
Popovich (2006) stressed the importance of students’ of complexity and virtuosity in the and attention as they gather around
interests in curriculum that is integrative. She compared
areas of research and practice, but it the dancer who is visiting their
the curriculum theories focused on phenomenology,
postmodernism, autobiographical text, and interdiscip- school for a three week residency.
also has had the effect of isolating the
linary integration that view the individual’s experiences
as a central source of curriculum. Popovich also noted specialists who teach about the arts But their interest in making things is
that having students conduct original research is a
from each other and from contacts too often contained within these
central framework for arts integrative curriculum.
Process portfolios which document students’ research and influences from other academic experiences and not intertwined with
on a big idea through a variety of means, including
sketches, online resources, observations, and reflective disciplines. (p. 119) their academic subjects. In contrast,
journaling, are part of integrative arts learning.
these integrated arts programs have
Arts integration is often defined as a process of collab-
oration. Just who is involved in the collaboration differs rescued the arts from educational
according to the program or research project. Eric
Booth (2003) suggests the need for a teaching artist cul-de-sacs where they have been
from the community as the heart of arts integration. In
sequestered . . . . And they have
this model, the teaching artist participates in integration,
not only of content but also of the community he/she rescued the academic curriculums
represents. Because arts partnerships are often involved
from their dead ends in the flat,
in integration processes, the role of community becomes
central to the conversation about the focus and structure dull routines of schooling that
for the content in arts integration.
leave students intellectually
Others describe arts integration as a process involving
in-school arts specialists (music or art teachers, for unchallenged and emotionally
example) and classroom teachers. Still others have
disengaged.(pp. 49-50)
proposed that arts integration is possible and productive
for classroom teachers alone to embrace, without the

4
Arts Integration and
Higher Education
D
iscussion about integration is not limited to PreK-12 schooling. As part of the Harvard
Interdisciplinary Studies Project, Mansilla and Gardner (2004) commented on the
increased attention to interdisciplinarity, while simultaneously raising awareness of its often
dubious quality. They pose three core “symptoms” of quality interdisciplinary work based
on an analysis of current institutional interdisciplinary programs and practices: consistency,
balance, and effectiveness.
Ross Miller (2005), Director of Programs for the Office of

Education and Quality Initiatives with the Association of
American Colleges and Universities (AAC&U), affirms the
2 Intergrative leverage (Has a new
understanding been generated
that would not have been possible
importance of quality in assessing student learning in higher using a single discipline?);
education integrative learning experiences.
He notes that at the college level, integration can involve

knowledge and skills from different disciplinary areas, the 3 Critical stance (Is the goal of the
work significant and does the
integration withstand critique?)
consideration of multiple perspectives in problem solving,
adapting skills across contexts, and reflecting on connections (Mansilla, as cited in Miller, p. 13).
(pp. 11-12). Miller underscores the value of Mansilla’s
foundations for assessing integrative learning: Both of these criteria for quality are or could be applied
to arts integration initiatives at all academic levels.
1 Disciplinary grounding (Have

appropriate disciplines been
selected and are the concepts
used in accurate ways?);
17
The Southeast Center for Education in the Arts (SCEA) at the University of Tennessee has proposed a comprehensive
A rt s I n t e g rat i o n a n d Hi g h er Ed u c at i o n
definition for arts integration (http://www.utc.edu/SCEA). The characteristics provided by SCEA summarize the key
elements in definitions provided by practitioners, evaluators, and researchers. SCEA has also situated arts integration in
the larger context of curriculum integration, as we have chosen to do. No single definition accurately characterizes the
field; however, the elements identified by SCEA are consistent with the literature in this review.
Arts Integration is instruction combining issue as a framework for building student Integrating curriculum with the reasoning ability, to make connections, and
arts involves:
two or more content areas, wherein the arts competence. The arts can enrich and to think creatively.
Organizing instruction that is often
constitute one or more of the integrated deepen student understanding in this drawn from life experiences—allowing
students to question and engage in Integrated arts lessons can be extremely
areas. The integration is based on shared educational framework. Knowledge and real-life issues
rich and deeply layered learning
or related concepts, and instruction in study of the arts develop the abstract
Combining subject areas—not
experiences for students who experience
each content area has depth and integrity thinking skills necessary for complex and separating them. Students learn and
use skills from all disciplines and across
them. Teachers report that with an
reflected by embedded assessments, imaginative problem solving. disciplines to become knowledgeable
about personal and global issues integrated curriculum that includes
standards, and objectives.
Curriculum integration is a way of Developing skills and applying the arts, students have moments of
knowledge in more than one area
Integrated instruction is often designed, organizing studies around real-life issues of study exhilaration, personal transformation,
implemented, and evaluated in that are significant to both young people and academic or life choice change.
In an integrated curriculum, education
collaboration with other teachers, arts and adults, and applying content and skills Teachers and artists who have successful
through the arts allows students to
specialists, community artists, and from many subject areas and disciplines at experiences report profound changes in
learn how to analyze, evaluate and draw
institutions; and delivered, experienced the same time. Curriculum integration is a their approach to individual students, to
reasoned conclusions from what they
and assessed through a variety of teaching approach that enables students learning, and to the classroom in general.
see and hear. They learn to reflect on
modalities: artistic processes, inquiry and teachers to identify and research Many teachers, parents, students, and
the meaning of their perceptions and
methods, and intelligences. problems and issues without regard to administrators believe that integrating
experiences. They learn to convey ideas,
subject-area boundaries, providing students the arts makes classrooms better learning
feelings, and emotions by creating their
Integrated (or interdisciplinary) learning
the experience in a learning setting that will environments. The arts provide a window
own visual art and by performing
uses the knowledge and methods of
prepare them for effective teamwork in to understanding the connections among
dance, music, and drama. Knowledge
several disciplines in combination to
the future. all subject areas. (reprinted by permission
and experience in the arts provide
explore a central concept, object or
of the author)
children the capacity to expand their

5
Theoretical Frameworks
for Arts Integration
F
rameworks, models, and planning guides are often the bases for the implementation
of arts integration and are profoundly affected by issues such as beliefs about roles for
the arts in schools, experience and training in the arts, roles in schools and communities, and
available resources. Models for arts integration are often compared to traditional approaches
to arts-specific curriculum designs. Four approaches to arts curriculum are examined by Krug
and Cohen-Evron (2000):
1 using the arts as a resource for other

disciplines;
Boix Mansilla’s (1998) discussion of interdisciplinary
learning notes that there are three necessary elements:
“an emphasis on knowledge use; a careful treatment of
2 enlarging organizing centers through each discipline involved; and appropriate interaction
the study of the arts; between disciplines.”
Arnold Aprill (2001) calls for a new model of curricular
3 using the arts to interpret ideas or

themes in other subjects; and
integrity which needs to move away from “core” subject
to education as a “whole” and a model of integrated
instruction. Aprill asserts that arts integration must be
4 understanding life-centered issues viewed as a domain of knowledge that can stand side-by-
through a combination of the arts and side with other content areas.
other subjects.
21
The o r e t i c al Fram ew o r k s f o r A rt s I n t eg rat io n
Howard Gardner’s multiple intelligences theory has “co-equal” style addresses the content, goals, skills, and periodicity, units, ratio-proportion, symmetry, pattern, weave their maps of knowledge and
provided teachers and teaching artists with a framework structure of the arts and non-arts disciplines equally. and constants-variables. These subject areas also share
understanding. Such works can serve
for integrating the arts in the regular education class- The affective integration style, Bresler notes, emphasizes strategies such as counting and measuring, parts/
room (1983, 1993, 1999). Gardner’s original list of the potential of the arts to evoke feelings, and gives wholes, similar/different, parsing/chunking, classifying, as places in the web of knowledge
intelligences, including logical-mathematical, linguistic, students an opportunity to express themselves and be and naming (p. 32). Common structures and strategies
musical, spatial, bodily-kinesthetic, interpersonal, and creative across disciplines. The social integration style can become the organizing principles for planning and where paths of inquiry may cross, and
intrapersonal, provides teachers with a straightforward suggests a more political goal for principals, who employ implementing integration.
where connecting links between
planning tool for the purposes of arts integration. The arts integration as a way to connect with communities
Brown (2007) suggests a set of questions to consider
multiple intelligences approach has been extended through partnerships and projects. domains become established. The
before initiating arts integration. What is the content?
well beyond the arts and has been the impetus for
Wiggins (2001) presents three main questions: What What is appropriate instruction? Who provides the maps of knowledge that individual
designing whole schools around approaches that address
is interdisciplinary, who benefits, and does it work instruction? What strategies are implemented? How
students’ capacities. learners develop for themselves
better than traditional methods? Drawing on the will assessment occur? She notes,
Eisner refers to the concept of integrated arts that research of Bresler, Beane, and Gardner, Wiggins focuses
should resemble the hypothetical map
represent one of four curricular structures (2002): on three main areas regarding integrated instruction: Arts integration is like a weaving
1) theoretical, 2) curricular, and 3) instructional. Wiggins of the curriculum. (p. 164)
1 focus on a particular historical period

or culture;
finds Bresler’s notion of “subservient” integration to
be very common in schools (e.g., singing the ABC’s
wherein the design may repeat a
pattern or be variable. Just as the Arts integration thus can be described as a system
and calling it arts integration). Wiggins cautions arts for mapping knowledge. Efland sees an art work as
2 focus on the similarities and specialists to be aware and knowledgeable of the types warp and weft strings are integral a point where paths of inquiry can converge, further
differences between and among the of integration and their outcomes and to be strong underscoring the relationship between a conceptual
parts of a woven whole, the arts are
art forms themselves; educators in their own field. framework for arts integration and for inquiry or
an integral part of the curriculum and problem-based learning. Cognitive learning theory
Wiggins and Wiggins (1997) claim that it is possible
3 identification of a major theme or idea underscores learners’ needs to map knowledge,

for music teachers to develop interdisciplinary curricula are valuable in all aspects of teaching
that can be explored through the arts sometimes separating in order to understand, and then
if they focus on integrating conceptual connections
and other fields as well; and finding connections and relationships between ideas,
that are curricularly appropriate to music and to other and learning. (p. 72)
vocabulary, and concepts.
targeted content areas. The authors also suggest that
4 access through the process of solving

a problem that has roots in the arts
and other content fields.
arts teachers, in this case, music teachers, take the lead
in planning such curriculum in order to ensure that
no one discipline is considered the “core” (p. 40).
The weaving metaphor is common in arts integration
discussions (Blecher & Jaffee, 1998; Chen, 2005; Hansen,
Bernstorf, & Stuber, 2004; Mantione & Smead, 2003).
Marshall (2006) draws on cognitive theory to establish
an argument for what she terms substantive arts
integration. She discusses state standards, especially in
They suggest models that integrate learning processes, California, reminding the reader that:
Cognitive psychologist Arthur Efland (2002) offers
Sample units, projects, and programs representing these affective responses, and themes-based or cognitive
the view of a work of art, not simply as an outlet
structures can be found in the literature. responses (that affirm the value of arts and non-arts Art education principles represented in
for personal expression, but also as a reflection of a
concepts).
Liora Bresler (1995) describes four arts integration larger world or cultural environment. An art work standards and frameworks necessitate
“styles”: subservient, co-equal, affective integration, and Bamberger (2000) outlines a research procedure for can therefore become the locus for the integration of
social integration. The “subservient” style has been the investigating common learning processes in projects that knowledge of what is within and what is part of the lessons that go deep: mining the
target of often intense criticism from arts communities “juxtapose activities that embody underlying conceptual outside world. Efland notes:
concepts behind images, ideas and
and there is evidence that such practices exist (Mishook structures and problem-solving strategies” (p. 32). For
& Kornhaber, 2006). Bresler describes this model as one example, Bamberger describes music, mathematics, Works of art might serve as cognitive processes—and broad: making a web
in which the arts serve the basic academic curriculum and sciences as disciplines that share structures and
in terms of content, pedagogy, and structures. The strategies. Shared structures include hierarchies, landmarks to orient learners as they of connections between art content,

artmaking and other domains and movement in the United States. The atelier, conceived artist and illustrator choices, and media. The correlation implement an interdisciplinary curriculum with each
as a place for observing, documenting, researching, between subjects is apparent in the instructional subject retaining its particular and individual integrity
ideas. Therefore, they do not isolate materials themselves (e.g., picture books). (Hope, 2003). The organic theory of curriculum is easily
and theorizing about students’ learning, has become
art as a hermetic field but call for part of the framework for designing arts integration in identified in many arts integration programs and projects.
Claudia Cornett (2003), a literacy specialist, offers a
some contexts. “The role of the atelier, integrated and
comprehensive guide for teachers who want to Aprill (2001) objects to the treatment of discipline-
an integrated arts education that combined within the general framework of learning
integrate the arts and their literacy curriculum. She specific arts instruction and arts-integrated teaching
and teaching strategies, was conceptualized as a retort
connects to all areas of inquiry. (p. 19) describes the process as teaching with, about, in, and as dichotomous practices with different sets of rules
to the marginal and subsidiary role commonly assigned
through the arts, and offers teachers detailed lesson rather than a continuum in which varied but connected
to expressive education” (Gandini, Hill, Cadwell, &
Inquiry has become a springboard for teachers and plans and principles to integrate drama, visual art, practices inform and illumine each other (p. 25). Scripp
Schwall, 2005). For some, the Reggio perspective
artists who are engaged in arts integration. David dance, and music. While the reading and writing and Subotnik (2003) call for a framework for innovation
gave voice to a broader goal—to reform teaching by
Amdur (1993) describes a process of “contextual guidelines are central to this approach, Cornett is also “based on comprehensive, interdisciplinary programs that
adopting the pedagogies of “expressive education” in
inquiry” which stems from Discipline-Based Art careful to incorporate the requisite fine arts standards are intended to benefit all children in public schools” (p.
learning areas beyond as well as in the arts.
Education (DBAE). He states that such inquiry is in her text. Kelner and Flynn (2006) also propose to 8). This approach does not exclude arts-specific teaching
consistent with arts integration because it encourages The Arts Integration Mentorship Model (AIM) develop reading comprehension through drama, and and learning and is in fact dependent upon it as part
students to question concepts across the disciplines. from the Center for Community Arts Partnerships at suggest this merging of purposes because the two fields of a continuum of arts learning. They further suggest a
The Chicago Arts Partnerships in Education (CAPE) Columbia College builds upon a literacy curriculum, have some “natural links” (p. 2). There appears to be framework as a path of innovation “from performance-
has made teacher and artist inquiry questions the primarily writing, as a springboard for arts integration. some research to support or endorse the use of drama based, non-compulsory curricula for the benefit of the
focus of professional development, documentation Cynthia Weiss, Director of AIM, describes the model in conjunction with the teaching of reading (Podlozny, talented few toward comprehensive, interdisciplinary
approaches, and assessment for action research teams in as a learning spiral (Weiss, in Weiss & Lichtenstein, in 2000; Wagner, 1998, 2002), with proposed connections programs designed for the benefit of every child in the
and across schools (Burnaford, 2007). Arts integration press). The learning spiral engages teachers, artists, and Cynthia Weiss calls parallel processes that can be school community” (p. 9).
and action research are increasingly linked as processes students in asking inquiry questions that, together with identified and assessed in multiple disciplines.
Brown and Nolan (1989) describe an evolution of
for designing, examining, and assessing both teacher and the overarching big ideas are driving forces in arts
Rosenbloom (2004) proposes three philosophies of integration that often occurs as teachers and students
student learning (Burnaford, 2007; CAPE UK 2005; integration. Content goals, including arts goals, demand
interdisciplinary curriculum as arguments for and against become more familiar with and expert in integrating
Mason & Steedly, 2006; Rich, Lane, Polin, & Marcus, the learning of shared language and language specific
the practice in schools, particularly in the field of music. knowledge and skills (see Table 6 on p. 26). Although
2003). Chancer and Rester-Zodrow (1997) describe a to individual content domains. In the arts integration
The purist philosophy represents the view that music not specifically termed arts integration, the Brown and
model where inquiry serves as the impetus for “Moon learning spiral, reminiscent of Bruner’s spiral curriculum
study should never be diluted or devalued by attempting Nolan framework is applicable and could serve as one
Journals,” in which elementary students observe, write, (1960), learning occurs through immersion in doing,
to integrate it with other subjects (Freyberger, 1995; such continuum for arts learning.
and draw as they learn about the phases of the moon, making, and sharing that in turn engenders new
Gee, 2003). There are those in the arts community who
time, changes of seasons, and other natural phenomena. intentions for teaching and learning on the part of all Ingram and Seashore (2003) in their Summative
feel strongly that integration is unacceptable under any
The lessons, guided by writing and visual art goals, engaged in the process. Evaluation of the Arts for Academic Achievement
circumstances. Bennett Reimer explains: “We do not
address the content of the science curriculum through (AAA) four-year initiative in Minneapolis described
A common set of models for integrating the arts teach music as a way to teach other subjects, just as other
the process of students’ questions. five models for implementing arts integration that they
has emerged from the field of language arts/literacy. subjects are not taught as ways to teach music” (1997,
observed in the 31 participating schools: “1) Residency
Documentation in and through arts integration can Literacy specialists have long been aware of the power p. 9); and, “While music can enhance a variety of other
Model; 2) Elaborated Residency Model; 3) Capacity
be seen in the Reggio Emilia schools (Gandini, Hill, of integrating teaching and learning regarding visual values, musical values are what we music educators
Building Model; 4) Co-Teaching Model; and 5)
Cadwell, & Schwall, 2005), in which young children imagery and written words, especially as they are should principally serve. We are the profession that
Concepts Across the Curriculum Model” (p. 3). These
investigate and document their world explorations, thus interconnected in picture books (Alejandro, 2005; Chu, provides those values, which matters so much to human
five models, though not characterized as a strict
“making learning visible” (Project Zero and Reggio 2005; Greenberg, 2005; Kiefer, 2005;Yolen, 2005). beings” (2004, p. 10).
continuum, could represent a progression of implem-
Children, 2001). The Reggio Emilia perspective on While much of this work is not titled explicitly as “arts
The utilitarian philosophy conversely notes that entation approaches with increasing engagement and
the atelier or studio as a metaphor as well as a literal integration,” authors suggest ways for classroom teachers
music is only valuable as it illuminates other subjects, participation from within the school and across the
laboratory in schools and schooling has informed many to help students notice the pictures, draw meaning, and
a perspective not evident in arts integration literature. content disciplines as participants become more
of the practitioners and theorists in the arts integration at the same time learn about the visual representation,
The organic philosophy suggests that it is possible to comfortable and familiar with integration.

Snyder (2001) describes the processes of connection, Correlational curriculum, in short, is not a systematic, art form and subject area needs to be learned for its
correlation, and integration as current trends in regular part of the curriculum. For Snyder, integration own sake, its particular literature, and its medium of
education. She cautions against connection as the occurs when a broad theme is selected that cuts across expression before the process of its explicit synthesis
most popular, most used, and least meaningful way of content areas so that disciplines can interpret and with other subjects becomes meaningful. Thus, learning
linking disciplines (p. 34). From Snyder’s perspective, explore the theme in unique, yet related ways. She notes in the context of its integration with other subject
connection is when one discipline is used in the that when schools truly move toward arts integration, areas becomes an optimal condition for assuring that
service of another. Snyder notes that connections, for scheduling and school goals also start to change. This fundamental concepts and processes shared between an
example, rarely develop musical concepts and skills but view represents a continuum toward integration that art form and other domains become more deeply and
they are the most popular approach to helping students is measured, not just through student learning but also broadly understood (Myers & Scripp, 2007).
realize relationships between prior knowledge and through school schedules and explicit goals. This stance, describing the coexistence of arts
newer experiences. Correlation in Snyder’s conceptual integration (synthesis) with the need for explicit,
The Music-in-Education National Consortium
framework occurs when two disciplines share common defined learning within an arts discipline as taught by
(MIENC), a national network of universities, arts
materials or activities. She notes that with correlation qualified and trained arts professionals (differentiation),
organizations, school reform foundations, and
no plan is made to develop important ideas across may be the future of arts integration within a larger
partnering schools, has responded further to this
disciplines to form generalizations (p. 35). When vision for arts education in public schools.
theory of integration as part of a continuum (Scripp
correlation becomes consistent in a school, Snyder
& Subotnik, 2003). For MIENC, the framework of
comments that many schools begin to seek funding
integration is situated in a tension between processes of
for professional development, teaching artists, and/or
differentiation and synthesis, maintaining the integrity
arts materials. She notes that in the current climate of
of the art form as a separate discipline while also
testing accountability, correlational curriculum often
affirming the value of teaching for transfer with respect
stops as teachers and students prepare for standardized
to shared concepts and processes. Each differentiated
high stakes tests, usually in mathematics and reading.
» Evolution of Curriculum Integration Approaches (Brown & Nolan, 1989)
» » »
Integration through Integration through Integration through
Integration through
common the practical student centered
correlation
themes and ideas resolution of issues inquiry
between subjects
and problems
Table »6

6
Research in
Arts Integration
W
e will discuss the research in terms of categories, including large-scale longitudinal
research projects, meta-analyses, single site studies, dissertation studies, and research
on arts integration with respect to teacher development. Several prior general reviews have
been helpful. John Clinton’s brief review (http://www.sde.state.ok.us/Art/pdf/ResearchArts.pdf)
noted correlational studies and causational studies, while Russell and Zembylas (2007) compiled
a literature review on arts integration research, limiting their discussion to empirical studies
that were published in refereed journals or presented at conferences between 2000 and 2005.
This literature review, while not exhaustive, represents Horowitz and Webb-Dempsey (2002) identify three
current trends and studies typical of the field and issues that are of critical importance to understanding
includes qualitative and quantitative studies as well as the research in arts education. For any review of arts
methodological and theoretical pieces concerned with integration, these questions are especially salient:
arts integration. The review may suggest areas for future
investigation and will raise dilemmas and challenges for First, what is the nature of the arts
research in this field. A final section will briefly discuss
a new international study within which trends across learning experience, and if we can
countries for teaching through the arts is one parameter
sufficiently understand it, how are we
for investigation (Bamford, 2006).
to capture or measure it? Second, are
29
the learning disciplines of art, music, Partnership, and the President’s Committee on the and high school years, and especially between grades 10 outscored non-CAPE schools in every case, although
Arts and the Humanities. While not all of the studies and 12” (p. 7). the differences were small and not statistically significant”
dance, and drama similar enough to
in Champions describe projects and partnerships that (p. 50).
Low-SES students involved in band and orchestral music
each other to merit being grouped explicitly name arts integration as the implementation
programs outscored low-SES no-music students on the There was a high level of teacher-artist collaboration
approach, all of the projects in the compendium
together as “arts education,” or criterion-referenced NELS mathematics assessment. and teacher buy-in, but low levels of average attendance
have elements of integration consistent with the
Likewise, low-SES students who were more involved in at the CAPE workshops. Students had positive attitudes
definition and theoretical frameworks provided in this
R e s e arc h i n A rt s I n t eg rat i o n
are we better off dissecting each drama activities had greater reading proficiency and a about arts-integrated instruction, but there were no
literature review. Further, Champions has become a
more positive self-concept, and the gaps widened over differences in student motivation between CAPE
discipline separately? And finally, frequently quoted and consistently used source for
time, as compared to low-SES students with little or and non-CAPE schools. Student achievement on
support regarding arts integration programs and
what kinds of outcomes should we no involvement. standardized reading and mathematics tests favored
projects. Therefore, we include brief summaries of the
CAPE students over a period of years; in 1997-98, some
studies here. This study, which utilized large-scale national data from
expect as a result of arts learning, of the differences became significant. The actual data are
25,000 students over a 10-year span, did not claim to
not reported.
or, to put it another way, how show causation. “The main implication of this work is
Catterall, J. S., Chapleau, R., & Iwanaga, J. (1999). that the arts appear to matter when it comes to a variety For a subsequent 1998-1999 study, CAPE school student
do the arts contribute to human
of non-arts outcome. . . .In addition, although not the achievement was compared to that of students in all
Involvement in the arts and human development:
development? (p. 98) main theme of this paper, our data support long-held Chicago public schools. On reading and mathematics
General involvement and intensive involvement
concerns that access to the arts is inequitably distributed standardized tests, students in CAPE schools outscored
in music and theater arts. In E. B. Fiske (Ed.),
in our society” (p. 17). other students on all 52 comparisons. There were strong
Champions of change: The impact of the arts on
differences in 6th grade and moderate differences in
learning (pp. 1-18). Washington, DC: The Arts third grade, using performance growth over a 6-year
Education Partnership. span. There were no achievement effects in eighth grade,
Catterall, J. S., & Waldorf, L. (1999). Chicago Arts
while there were differences favoring CAPE students
The research team used data from the National Partnerships in Education: Summary evaluation. In E.
in high schools, but the sample was too small to make
Educational Longitudinal Survey (NELS) to examine B. Fiske (Ed.), Champions of change: The impact of the
significant comparisons.
the relationships between general involvement in the arts on learning (pp. 47-62). Washington, DC: The Arts
Large-Scale Research arts and academic performance, between involvement Education Partnership. To investigate the nature of high quality integrated
and Arts Integration in instrumental music and mathematics achievement, arts curriculum, the researchers chose to observe and
and between involvement in theater arts and human In a 6-year study, Catterall and Waldorf examined the interview 10 teacher-artist pairs known for working
development (such as increased reading proficiency and impact of the Chicago Arts Partnerships in Education successfully. Based on the teacher-artists’ self-reports
enhanced self-concept). There was a focus on middle (CAPE) on public school classrooms, on teachers and about “what it takes to succeed,” the authors determined
Champions of Change a set of characteristics that would “boost their success in
and high schools students, particularly on the gains artists, and on students. The authors used large-scale
Fiske, E. (Ed.). (1999). Champions of change: The made by economically disadvantaged students (p. 3). surveys of students and teachers, along with standardized integrated curriculum” (p. 59):
impact of the arts on learning. Washington, DC: test data.
Analyses of the quantitative data (e.g., standardized test
The Arts Education Partnership and the President’s On the teachers’ side, these are willin-
scores, academic grades, and dropout rates) showed CAPE was extensively integrated into the public schools.
Committee on the Arts and the Humanities. The visual arts and theater proved to be the most
that the probability of having more arts experiences in gness to let go of some control,
school was greater for economically advantaged students popular art forms with regular classroom teachers, and
This 1999 report compiles seven major studies that reading and social studies were most often integrated openness to new ideas, flexibility, and
than for low-socioeconomic status (SES) students.
provide evidence of enhanced learning and achievement with the arts (mathematics was least frequently chosen
However, students with high involvement in the arts, risk taking . . . . On the artists’ side, we
when students are involved in a variety of arts as an integrative subject area). “On teacher survey scales
across the socio-economic strata, performed better in
experiences. Champions of Change was developed with about school climate, quality of relationships with
school and stayed in school longer than students with would identify organizational skills,
the support of the GE Fund, the John D. and Catherine parents, professional development, instructional practices,
low involvement (p. 6). Also, “the relative advantage
T. MacArthur Foundation, the Arts Education and relationships with the community, CAPE schools punctuality, good listening skills, as
for arts-involved youngsters increases over the middle

well as interest in and understanding elementary, secondary, and undergraduate students, the end, we are left with a key question: “What is it of multiple intelligences, as well as other theories of
and their regular and specialist teachers. The research about sustained and coherent collaboration that supports intelligence and recent brain research. 
of how children learn. (p.60) the development of a taste for more than convenient
focused on students’ “imaginative, emotional, and
Established in 1995 by the Kenan Institute for the
intellectual responses” to the Shakespeare texts (p. 82). solutions or a capacity for understanding complex
Catterall and Waldorf looked not only at changes in Arts, the A+ Schools Program began with 25 schools,
Students are quoted to provide evidence of learning in meanings?” (p. 98). And, more broadly, we can consider
scores on the Iowa Test of Basic Skills (ITBS) but also representing the diversity of North Carolina schools and
four realms: Learning about Shakespeare, about acting, what role “qualitative research can play in providing
at teacher, student, and administrator attitudes about the communities, participating in an extensive four-year
about working in creative communities, and about a deeper, if not yet conclusive, understanding of what
CAPE project. A number of trends emerged: evaluation. The results of the initial evaluation and the
oneself (p. 85). Seidel interviewed administrators and effects arts education programs have and why these
subsequent evaluation in the eighth year attributed the
teaching artists, and observed the entire process from effects may occur” (pp. 92-93).
1 Positive changes in school climate

resulted because of CAPE, based
on school community surveys.
classes to rehearsals to performances, in order to derive
a set of principles that guide the work. From those data, North Carolina A+ Schools
success and sustainability of the Program to the use of
the arts in school reform, the professional development,
and the statewide network created to support teachers
Seidel asserted that Shakespeare & Company represents
Climate includes qualities such and schools.
“an important model of rigorous project-based Corbett, D., McKenney, M., Noblit, G., & Wilson, B.
as principal leadership, focus on
learning” (p. 84). (2001). The arts, school identity, and comprehensive There are seven Policy Reports summarizing the 4-year
instruction, positive colleagueship,
education reform: A final report from the evaluation of pilot of A+ Schools in North Carolina. The Executive
and widespread participation in
the A+ Schools Program. Winston-Salem, NC: Kenan Summary of the seven reports reflects the evaluation
important decisions.
Institute for the Arts. based on an extensive data set, including surveys,
Wolf, D. P. (1999). Why the arts matter in education:
interviews, and on-site research in the schools (Nelson,
2 Significant progress was seen in Just what do children learn when they create an opera.
Marron, V. (2003). The A+ Schools Program: 2001). The evaluation was directed by Bruce Wilson,
getting support of school principals In E. B. Fiske (Ed.), Champions of change: The impact
Establishing and integrating the arts as four languages Dickson Corbett, and George Noblit. With respect to
for CAPE. of the arts on learning (pp. 91-98). Washington, DC: this arts integration literature review, findings suggested
of learning. Journal for Learning through Music,
The Arts Education Partnership. that there was evidence of more institutionalized arts
4(Summer), 91-97.
3 CAPE succeeded in getting teachers

and artists to collaborate, with more
success in co-planning than in truly
The Creating Original Opera (COO) project by its
very nature integrates reading, writing, music, and
Nelson, C. A. (2001). The arts and education reform:
Lessons from a four-year evaluation of the A+ schools
integration in the school curriculum at the end of
the 4-year pilot. Two-way arts integration was more
evident, meaning that more arts were infused into the
co-teaching.
acting. In this study, researcher Dennie Palmer Wolf core curriculum and more core curricular ideas were
program, 1995-1999. Executive Summary. North
generated qualitative data from observations, interviews, infused into the arts (Nelson, 2001, p. 5). “The arts
Executive Summary of A + Schools. Winston-Salem,
student ethnographies, and collections of student work were no longer considered a distraction from the core
4 Teachers believed that an arts
integrated curriculum has learning,
attitudinal, and social benefits for
in four classrooms, and then asked the teachers to
identify evidence of student learning that was directly
NC: Thomas S. Kenan Institute for the Arts.
The A+ Schools Program is a whole school reform

curriculum. On the contrary, two-way arts integration
provided opportunities for students to encounter the
related to their students’ participation in COO. The central ideas of the curriculum more frequently and
children (p. 52). model that views the arts as fundamental to how teachers
goal was to find moments of shared problem-solving more diversely, increasing the chance for all students
teach and students learn in all subjects. The mission of
during the opera work and compare their characteristics to master content at a deeper level” (Nelson, p. 5).
the A+ Schools Program is to create schools that work
with what took place during non-opera classroom Curriculum based on the multiple intelligences and
for everyone—students, teachers, administrators, parents
interactions (e.g., during a math lesson). thematic integrated units was also more evident at the
Seidel, S. (1999). “Stand and unfold yourself”: A and the community. The program was also designed to
monograph on the Shakespeare & Company Research Wolf determined from a process of data analysis, provide arts-specific instruction in all four art forms at end of the 4-year pilot. In general, arts were legitimized
conducted with the teachers, that there was more least once a week in a set of pilot schools, during the in the schools and more arts instructional personnel were
Study. In E. B. Fiske (Ed.), Champions of change: The
sustained and coherent collaboration over time first 4 years, with a second phased in arts integration retained in the schools after pilot funding ended.
impact of the arts on learning (pp. 79-90). Washington,
DC: The Arts Education Partnership. when students were engaged in creating the opera than initiative over a 3-year period (Marron, 2003). According During the last 3 years of the A+ pilot, the distribution
when working in other aspects of the curriculum. The to the A+ website (http://aplus-schools.uncg.edu/) of A+ schools across the state’s performance categories
Steve Seidel, a Harvard Project Zero researcher, author used analytical tables and verbatim transcripts the central vision of A+ is to create enhanced learning matched that of schools in the state as a whole. Students
conducted a student interview study of Shakespeare of classroom dialogue and interview responses to show opportunities for all students by using arts-integrated in A+ schools achieved gains over the 3-year period
& Company’s educational program working with the specific features of collaborative interactions. In instruction which incorporates Howard Gardner’s theory equal to those of students statewide in both mathematics

and reading. This is compelling, given that A+ served Oklahoma A+ Schools Montgomery, Barry, & Raiber, 2004). On Oklahoma’s enhanced by integrating the arts (Werner, 2002, p. 2).
schools with larger proportions of minority students Academic Performance Index (API), there was marked A preliminary evaluation conducted in 2002 involved
than the state as a whole. Data also indicated increased Barry, N. H., Gunzenhauser, M. G, Montgomery, D., &
improvement among the 14 schools participating. 21 teaching artists as informants who participated in
parental communication, community involvement, Raiber, M.A. (2003). Oklahoma A+ Schools® research Researchers reported a clear pattern of increasing interviews and focus groups. This evaluation of the
teacher collaboration, and substantive assessments improvement for fifth-grade students on the Oklahoma initiative revealed changes in three areas:
through the 4-year pilot. report year one (2002-2003). Edmond, OK: University Core Curriculum Test in the 2004 evaluation study.
of Central Oklahoma, Oklahoma A+ Schools®
1 Artists felt they deepened their
Upon completion of the evaluation in North Carolina, sense of mission, expanded their
other states began to express interest in the Program. Arts for Academic professional networks, and learned
A joint research team from the University of Oklahoma
In 2000 the North Carolina Program began a 4-year
and Oklahoma State University formed to investigate
Achievement (AAA) valuable assessment skills.
process to assist the Kirkpatrick Foundation in
the success of the Oklahoma A+ program, modeled
Oklahoma City in establishing a statewide A+ Schools Ingram, D., & Reidell, E. (2003). Arts for academic
2
after the North Carolina project, over a 6-year span Teachers, according to participating
Program in Oklahoma (http://www.okaplus.ucok.edu/). achievement: What does arts integration do for
(Barry, Gunzenhauser, Montgomery, & Raiber, 2003). artists, increased their ability to
Today, the Oklahoma A+ Schools program has 31 students? Unpublished manuscript, Minneapolis,
The researchers identified 10 research questions to collaborate, grew in their ability to
schools, with plans to continue adding schools each year. MN, Center for Applied Research and Educational
investigate the impact of the A+ program in its 14 integrate the arts, and made changes
One year after beginning work with the Oklahoma schools. The research is largely qualitative in nature, Improvement. in their practice.
project, the North Carolina program began a similar concerned with school culture, teacher engagement, Ingram, D., & Seashore, K. R. (2003). Arts for
process with a private foundation to assist in estab- student attendance and attitudes, and reports of self-
lishing a statewide program in Arkansas (http://www.
aplusnetwork.org/). Arkansas now has 14 A+ schools,
efficacy. Scores on the Stanford Nine test showed
increases in the maximum scores earned in 9 of the 10
academic achievement: Summative evaluation report.
Unpublished manuscript, Minneapolis, MN, Center for
Applied Research and Educational Improvement.
3 Schools, according to artist informants,
improved in terms of school climate
and the sense of community as a
with plans to add schools each year. In 2003, the three percentile reports on this test, with the tenth category
result of the arts integration work
statewide A+ Schools programs, North Carolina, staying at the same level. The minimum scores on 6 of Werner, L. R. (2002). Artist, teacher, and school change (Werner, 2002).
Oklahoma, and Arkansas, came together to form the the categories were higher after the first year of the A+
through Arts for Academic Achievement: Artists reflect
National A+ Schools Consortium to further their program, with three categories showing a decrease in
on long-term partnering as a means of achieving The project funded teams at 31 schools during the first
mutual interests in guiding the development of future minimum score. The seven categories of the Oklahoma
change. Minneapolis, MN: Center for Applied Research year of implementation and expanded to include 45
statewide A+ Schools programs. Core Curriculum Test for fifth-grade students showed
and Educational Improvement. schools by the third year. The majority of the teams
mixed results in the 2003 evaluation.
In addition to the usual measures of student achieve- were in elementary schools, but four middle schools and
ment and school success (expected gains in test scores, The researchers identified four emergent themes Arts for Academic Achievement (AAA) was a study six high schools were also involved. Schools developed
student and teacher attendance, student discipline, from the data. They looked closely at the teachers’ implemented with the Minneapolis Public Schools a variety of approaches to integrating the arts through
and parental involvement), the A+ Schools Program engagement with the A+ curriculum, curriculum in partnership with the Perpich Center for Arts collaborations among classroom teachers, arts partners,
evaluators identified the unique contributions that the planning, community building, and school infrastructure. Education. Unlike arts integration initiatives that and arts specialist teachers. There was also great variation
arts in education make to students’ intellectual, social, Areas noted for improvement included increasing the focus on partnerships as a way to restore discipline- in the art forms and non-arts disciplines that AAA teams
and emotional growth. This “value-added” case for the presence of arts specialists in the schools and developing based arts instruction to the curriculum, the purpose chose as the focus of their work together.
inclusion of the arts in a school’s curriculum proved clearly defined leadership roles. of the Arts for Academic Achievement project was to
In the final year of implementation, 77% of the teachers
to be a strong justification for A+, and schools have strengthen instruction and improve student learning
The second report on the progress of the implement- in AAA schools reported they integrated the arts into
continued to achieve growth on North Carolina’s in non-arts areas such as reading and science. In this
ation of the A+ Schools model in Oklahoma largely their students’ lessons. Elementary teachers were more
accountability tests comparable to that of other schools project, arts integration was not intended to replace
focused on eight relationships that emerged as essential likely to integrate the arts than secondary teachers—
statewide without “narrowing” the curriculum (i.e. the comprehensive, sequential arts instruction already
during the observation of schools and the feedback 81% versus 70%, respectively. English/reading was the
not eliminating non-tested subjects such as science, provided by trained arts educators in the district. Instead,
from teachers and administrators. These “eight essentials” most common focus of arts integration, as it had been
history, and the arts) (Corbett, McKenney, Noblit, & the project was based on the belief that students benefit
are collaboration, infrastructure, school climate, throughout the program. In the last year, 38% of the
Wilson, 2001). from a curriculum that includes both disciplinary-based
multiple intelligences, arts, curriculum, experiential elementary teachers who integrated the arts said they
instruction in the arts and non-arts instruction that is
learning, and enriched assessment (Gunzenhauser, integrated English/reading “a lot.” In contrast, only 16%

said they integrated mathematics lessons “a lot.” The ArtsConnection project worked with more than observational data to construct and administer rating Partnerships five year evaluation report. New York:
120 New York City public schools in programs that scales on a self-report survey of teacher perceptions Center for Children and Technology.
Just over half of the teachers (54%) who integrated
included dance, the visual arts, theater, and music. The about support for their work, their own practice, and
the arts said they worked with an external arts partner. The Empire State Partnerships (ESP) is a collective
teaching artists used a variety of teaching methodologies student development. The instrument consisted of 14
Fifty-seven percent of the elementary teachers and 28% of 56 cultural organization partnerships involving 84
to work with students, with no single “ArtsConnection variables that had been identified as vital to the success
of the secondary teachers reported working with an organizations and 113 schools. The program is funded by
teaching model” in effect in the partner schools. The of integrated arts education, which then became
in-school arts specialist to integrate the arts (Ingram the New York State Council for the Arts (NYSCA) and
purpose was to “see if classrooms with the strongest subscales. Each subscale was composed of 1-5 items.
& Seashore, 2003). the New York State Education Department (NYSED).
arts programming and the most evidence of cognitive, The researchers analyzed the data by determining mean
Ingram and Seashore reported results that indicate social, and personal development also showed evidence scores and standard deviations for each item, and mean The 5-year evaluation study of the program focused on
a significant relationship between arts integrated of potential gains in academic areas” (pp. 34-35). One scores for subscales. The author reported that “overall, the impact and thematic development of arts teaching
instruction and improved student learning in reading. of the strongest connections was between drama and teachers responded very favorably” (p. 38). Researchers and learning, particularly during Summer Seminars, the
In some cases, the relationship between arts integration English/Language Arts, “particularly in verbal expression also examined the correlations between teacher variables major professional development initiative in ESP. The
and student achievement was more powerful for and listening skills” (p. 35). and student outcomes, and found that “collaboration partnership was created to fund schools and cultural
disadvantaged learners, the group of students that between teachers and artists” and teacher “comfort organizations who design curricular program initiatives
Hefferen summarizes the foundations of ArtsConn- that integrate the arts with core curricular areas across
teachers must reach to close the achievement gap. level with the arts” was significantly associated with 6
ection’s model for the simultaneous professional multiple grade levels in New York schools (Baker,
Gain scores on the reading test were higher for third other subscales.
development of artists and teachers. The Professional Bevan, Admon, Clements, Erickson, & Adams, 2004).
grade students whose teachers integrated the arts into
Development initiatives included Artist Institutes, a On 5 of the 14 subscales, there was a mean score of
English/reading lessons. The relationship between arts The report examined data sources that included surveys
Share and Deconstruction Process, Backward Design, greater than 4.25: “Collaboration between teacher
integration and reading achievement was stronger for of program participants, interviews of participants, and
study groups, and mentoring to create supportive and artist; [Student] expression of ideas or feelings;
students in the free- and reduced-price lunch program observations.
learning environments for participants (p. 22). Cooperative learning; [Student] ownership of learning;
and students in the English-language learner program. In the introduction to this report, the authors recognize
Particular processes used to engage artists and teachers and Seeing students from a new light or from a different
Each of these statistically significant relationships is the importance of key leaders in both NYSCA and
that are an outgrowth of the major concepts include: perspective”. Subscales that had the least positive
based on a model that also considered the effect of NYSED who helped overcome a prevailing sense of
Planning and Reflection Meetings, the Video responses, with a mean less than 4.00, were Student
student characteristics, such as race/ethnicity and distinctly separate camps and helped form a sense of
Description Process, and Lesson Study (adapted from elaboration of their school work and Student writing
special education. For third-graders, the relationship community working together toward mutually agreed-
Japanese teacher education practices). Each teaching process.
of arts integration and math achievement was also upon goals.
artist residency in the ArtsConnection project lasted 8
statistically significant. Gain scores on the reading test The ArtsConnection researchers also reported
to 15 weeks, with one hour of direct contact with the
were higher for fourth-grade students whose English/ differences related to the level of teachers’ experience Empire State Partnerships started with three key theories
teaching artist each week for the children involved.
reading teacher integrated the arts. Gain scores on the with artist residencies. “The most experienced teachers to support their belief in arts integration:
mathematics test were higher for fifth-grade students During the first 4 years of the project, careful curricular [with arts integration] had higher mean scores in ratings
whose teacher integrated the arts into mathematics
lessons. It was not the mere presence of arts integration
links were developed between the arts and the
classroom core subjects, especially English and social
of collaboration with artists, comfort level with the arts,
seeing student in a new light, and school leadership. 1 Learning through the arts allows
different learners to approach the
subject matter in different ways, thus
but rather the intensity of the initiative that related studies. In the last 3 years of the study, the focus was Differences between the groups were greatest in the
most directly to gains in student learning (Ingram & on developing connections between dance, drama, and area of comfort level with the arts” (p. 45). The biggest providing avenues into the content for
Reidell, 2003). literacy instruction. Extensive analysis of qualitative as differences between teachers having greater experience more students.
well as quantitative data indicated that cognitive skills and those having less experience were found in the areas
ArtsConnection
Hefferen, J. (2005). Professional development:
such as creativity, elaboration, originality, and the ability
to conceive of multiple ways of representing a problem
were all enhanced by the experience with the arts.
of “elaboration and writing process.” These two areas had
the lowest mean subscale scores overall, which suggests
that future researchers may want to pay special attention
2 Allowing students to encounter
subject matter in a variety of ways—
for instance mathematics taught at
Building a faculty of reflective practitioners. In B. Rich Additionally, students self-reported that they were more to less experienced teachers’ practices in those areas. the blackboard by a teacher but later
(Ed.), Partnering arts education: A working model from confident, and teachers identified positive risk-taking encountered again through dance
behavior as an outcome of the arts initiative. instruction—builds a redundancy that
ArtsConnection (pp. 22-26). New York: Dana Press. Empire State Partnerships (ESP)
enhances learning.
In the last year of the study, researchers used Baker, T., Bevan, B., Admon, N., Clements, P.,
Erickson, A., & Adams, S. (2004). Empire State

3 Work brought in by teaching artists
not only introduces novelty to the
classroom—a stimulating “differ-
Third Space
Stevenson, L. M., & Deasy, R. J. (2005). Third
Fowler, K. (2003). The first lesson. Irvine, CA: Center
for Learning through the Arts.
from a focus on the individual (self) and domain (arts) to
a larger social/cultural sphere (field). Findings indicated
that important interdisciplinary connections could be
ence” from the typical classroom space: When learning matters. Washington, DC: Arts In response to the need for arts instruction in public made, mentor relationships developed, and a nurturing
presentation—it also serves to Education Partnership. schools, the University of California’s Irvine campus environment for the development of creativity built
stimulate student engagement in new developed the first ArtsBridge program in 1996. In through ArtsBridge program activities.
ways. (p. 3) Stevenson and Deasy, under the auspices of Arts 1997, California’s Department of Education called for
Education Partnership (AEP), sought to examine Keith Fowler (2002), Director of ArtsBridge from 1996-
an educational renaissance to revive artistic achievement
the question: “How do the arts contribute to the 2004, emphasizes the aim of the program to provide
The group’s initial report on the project identified three in its schools. The following year, the state legislature
improvement of schools that serve economically “regular, on-going arts education” (p. 1). He notes the
elements that required attention: writing and developing perceived the strength of the ArtsBridge model and the
disadvantaged communities?” Researchers sought initial challenges of asking teachers to commit for four
grants, professional development for the classroom potential of the eight UC campuses to contribute to
schools with outstanding arts programs in which at years to the project, noting the need for teachers to be
teacher and the teaching artist, and dissemination of this desired renaissance in arts education. Funding was
least 50% of the students were from economically enthusiastic about the arts in order for it to work. The
projects. Goals continued to be refined in the 5-year allocated to develop the program across the University
disadvantaged families. The resulting collection of ArtsBridge organizers learned that teachers themselves
project, with more emphasis being placed on promoting of California system. In 2001, a grant from the U.S.
10 case studies illustrates how teachers, artists, and needed to be the ones to apply to participate rather
best instructional practices and whole school change as Department of Education’s Fund for the Improvement
communities can use strategies found in arts instruction than being nominated by their administrators. The
partnerships matured. of Postsecondary Education (FIPSE) funded the
to improve their schools. The research results indicated selection of art forms was also a challenge, with teacher
dissemination of the ArtsBridge model for programs
Through a survey administered to teachers, teaching the potential for the arts to connect schools to preferences and available university student artists
on 11 new campuses. In 2005, the national ArtsBridge
artists, and program coordinators, evaluators sought to communities. Informants, including students in the case not always a perfect match. As with all curriculum
America office moved to Lawrence University of
identify changes that benefited students as a result of the study schools, indicated that learning became more initiatives of this type, Fowler cited the need for time for
Wisconsin and the UC ArtsBridge Office moved to UC
ESP project. Results indicated that students appeared relevant because of arts teaching. Case studies articulated teachers to plan with university scholars. These lessons
San Diego. There are currently ArtsBridge programs on
to apply themselves for longer periods of time as well the processes by which schools built and sustained arts learned are valuable for the field as arts partners further
22 university campuses in 13 states and at the University
as work more collaboratively in the ESP projects. The programming. The arts were present in both discrete art investigate bringing arts programs, including those
of Ulster in Northern Ireland.
results regarding improved standardized test scores classes and integrated arts instruction in all 10 case study focused on integration, to scale across all art forms.
were more mixed, but generally, the perception was schools. Discrete arts classes were taught by certified The basic premise was to engage fine arts students
In 2006, ArtsBridge was awarded a $250,000 grant
that students were improving while the project was in arts specialists with integrated arts being taught by and faculty mentors from universities to plan and
from National Geographic for a Mapping the Beat
progress in partner schools. Underachieving students teaching artists. Case study descriptions demonstrated implement arts projects in host schools and classrooms.
project which brings various forms of cultural music
performed better than expected, according to the the interaction between both arenas for arts instruction The research agenda was multidimensional, with central
into classrooms as students learn about United States
informants. The most positive results were reported and proposed what students learned and how the arts questions that are relevant to this review: “How does
history and geography. The Journal for Learning through
with respect to the project’s impact on students’ self- in both contexts contributed to the school and larger ArtsBridge enhance knowledge and appreciation of the
the Arts: A Research Journal on Arts Integration in Schools
perceptions of success (p. 43). community. (See also the Methods and Practices section arts among classroom teachers and how are the arts used
and Communities has become an online repository for
of this review.) to incorporate instruction in other academic areas? To
The Empire State Partnerships project is an example of documentation of ArtsBridge programs across the
what degree does service as an ArtsBridge host teacher
a statewide, large-scale project that focused intensively country (see also Methods and Practices in this review).
increase confidence in presenting arts instruction to
on professional development of teachers and teaching ArtsBridge pupils?” (Center for Arts Research in Education, 2002).
artists as the avenue for successful arts programming,
Center for Arts Research in Education. (2002).
Transforming Education through
either integrative or arts-specific. Now, we need further Brouillette and Burns (2005) examined the effects of
ArtsBridge research note. Irvine, CA: Author. Available the Arts Challenge (TETAC)
research to examine the efficacy of specific approaches ArtsBridge America on arts students who participated as
toward professional development (e.g., action research, at: www.arts.uci.edu/ucartsbridge guest artists in host classrooms. The study indicated that Hutchens, J., & Pankratz, D. B. (2000). Change in
inquiry learning, questioning, project-based learning, or the transition from student to teaching artist required arts education: Transforming Education through the
Brouillette, L. R., & Burns, M. A. (2005). ArtsBridge
teaching for understanding). transformation of abstract procedural knowledge into a Arts Challenge (TETAC). Arts Education Policy Review,
America: Bringing the arts back to school. Journal for more flexible and fully assimilated performance capacity (101)4, 5-10.
Learning through the Arts, 1(1), 46-78. that could be adapted to a wide variety of situations. In
addition, ArtsBridge helped university students move

Transforming Education through the Arts Challenge institutionalize art as a subject of and the need for time for schools to embrace the the best work done at a period of time” (p. ii).
(TETAC) was a $15 million study that was part of the strategies of TETAC. The final report noted that
study in its own right. Schools in The study summaries include a set of research questions
Annenberg Challenge, with additional funding from Comprehensive Arts Education does provide a model
the J. Paul Getty Trust. This 5-year project involving followed by discussions of the methodologies and
one site may have access to local for integrated arts instruction that is adaptable, although
35 schools in the United States stressed leadership and concluding with a commentary essay. For each research
demanding. The lessons learned from TETAC are
professional development for administrators and museums and their collections, study reviewed, two readers present a summary of
instructive for large-scale evaluations that are focused on
teachers. Intended to promote inquiry into learning the study and discuss the implications of its results
national implementation of any arts education model or
whereas others may not. Would for the field of future research. Richard Deasy, in his
and to help teachers see themselves as artist-teachers, program. Further research on how to accommodate local
TETAC was designed to teach teachers to develop introduction, suggests that the purpose of this collection
arts specialists educated in isolation and state norms and mandates while institutionalizing
their own integrated units, contributing to building “is to recommend to researchers and funders of research
models and practices that extend across sites is needed.
capacity at the local level for Comprehensive Arts from classroom teachers learn to promising lines of inquiry and study suggested by recent,
Education (CAE). TETAC was a project of the strong studies of the academic and social effects of
collaborate? Would classroom learning in the arts” (p. iii). We also refer readers to two
National Arts Education Consortium, formed by six
regional arts education institutes in California, Florida, teachers understand the value of a appendices of An Inventory of Arts-Related Academic
Nebraska, Ohio, Tennessee, and Texas in 1996. Thirty- and Social Outcomes Found in Critical Links. Appendix
five partner schools in eight states engaged in a 5-year curriculum that integrated several A is indexed according to “academic and social arena
project to place arts education at the core of the where they have impact, and by study,” and Appendix B
subjects? Can traditional school
curriculum and assess resulting student achievement. is “organized by cognitive capacities and motivations.”
TETAC consortium members explored, assessed, and structures be manipulated to allow Meta-Analyses: Arts and
The notion of transfer is a major theme for study in
documented ways in which intensive professional Non-Arts Learning the essays and selected studies included in Critical Links.
movement away from isolated
development, comprehensive arts education, and The Compendium Summary in the document offers an
systemic school reform could transform schools and planning and teaching events toward inventory of 65 core relationships titled as The Arts and
their extended communities.
more collaboration among project
Critical Links Academic and Social Outcomes (pp. 152-153). In doing so,
Throughout the project, the Consortium collectively this volume became a focal point for general dialogue
Deasy, R. J. (Ed.). (2002). Critical links: Learning in the in the field of arts education since its publication in
documented and evaluated on the national and local participants? (p. 6)
arts and student academic and social development. 2002. As Deasy proposed, the volume prompted further
levels the progress of the Challenge project as a whole
and with each participating school. The assessment These questions are part of the challenge of establishing
Washington, DC: Arts Education Partnership. research and documentation of integration programs and
and evaluation data were gathered by Westat, Inc. and maintaining quality arts programs and the impact of approaches that attempt to impact student learning.
This 2002 report is a compendium of research in arts
of Maryland, a third-party, independent, national scale on success. In 2003, Debra Ingram from the University of
education with more than 40 summaries of studies in
evaluation firm. Minnesota reviewed Critical Links for the Teaching Artist
TETAC had multiple goals and outcomes beyond the the disciplines of dance (7 studies), drama (19 studies),
In 2000, Hutchens and Pankratz described the scope of this review. Joy Frechtling from Westat and multi-arts (17 studies), music (15 studies), and visual arts Journal. She noted that while Critical Links showed
challenges and questions relevant to designing and Donald Killeen from TETAC wrote about the challenge (4 studies), along with essays and perspectives by leading incredible detail in describing programs and the details of
implementing a Comprehensive Arts Education model of reporting large-scale outcomes on a project such as scholars. Published by the Arts Education Partnership research findings, and its authors were careful at all times
across contexts that incorporates arts specific learning, TETAC for the Research Perspectives on School Reform: (AEP), with funding from the National Endowment to present their research data in a format that was specific
arts integration, schools, and community resources: Lessons from the Annenberg Challenge (2003). Frechtling for the Arts and the U.S. Department of Education, to the study, rather than to generalize those results
and Killeen reported that TETAC was intended to Critical Links explores current practices in arts education, (Ingram, 2003). Rather than make large claims about
address two agendas, one educational and one political examines the effect of the various arts disciplines transfer or broad claims that involvement in drama causes
Schools in one site may plan to
(p. 71). While decision making and oversight were on students’ achievement and personal growth, and improvement in reading skills, Ingram reminded readers
integrate art across the subject carried out at the national level, independent task forces recommends future lines of research. A final essay by that the study’s authors hoped to offer correlational
were responsible for implementation. Some schools in James Catterall discusses the concept of transfer with results concerning the impact of arts on learning. Ingram
areas in the curriculum, and asserted that while we are not always able to track down
the project were already arts-focused, whereas others respect to arts learning. The Foreword to Critical Links
those in another site may work to had no special emphasis on the arts. The evaluation of reminds the reader that compendia “attempt to capture direct causation between exposure to any skill or idea
the project was affected by the uneven implementation and success in another realm, we can point to consistent

trends showing that one area improves in the presence REAP conducted a comprehensive search for all d) visual arts and reading; and e) dance Butzlaff, R. (2000). Can music be used to teach
of certain stimuli. Ingram’s review drew this important studies from 1950-1999 (published and unpublished, and reading. reading? Journal of Aesthetic Education, 34(3),
distinction between attempting to show transfer of and appearing in English) that had tested the claim 167-178.
cognitive skills and attempting to show transfer of that studying the arts leads to some form of academic Hetland and Winner propose directions for further
affective development. It is the latter connection that improvement. Searches turned up 11,467 articles, research. They encourage research to build theory to Beginning with the hypothesis that instruction in music
proponents of arts integration would have the most books, theses, conference presentations, technical investigate what happens in schools where the arts may help children with reading, Butzlaff conducted
success supporting, Ingram claimed. reports, unpublished papers, and unpublished data. are given a prominent role and seem to be related to a meta-analysis of 94 research studies examining the
One hundred eighty-eight reports investigating the improvement among students. The researchers also connection between music and writing. After eliminating
Reviewing Education and the Arts relationship between one or more arts areas to one or advocate the construction of theory-driven experiments studies that did not include random assignment of
more academic areas met the criteria for the report. to see if the arts provide some motivational entry point participants as well as those that identified reading ability
Project (REAP)
Effect sizes were calculated and a set of 10 meta- for some students that supports improvement. We before making music assignments, 31 reports were
Winner, E. & Hetland, L. (2000). The arts and analyses were conducted. A meta-analysis combines and have included selected meta-analyses from the REAP deemed useful in the meta-analysis. Six of these were
academic achievement: What the evidence shows. compares effect sizes across groups of studies that address study relevant to this review on arts integration and experimental studies and 25 were correlational studies.
Double Issue of Journal of Aesthetic Education 34(3-4). similar research questions. refer the reader to the complete REAP study for more
Since learning to read music has some structural
information.
Three areas were found in which a substantial number similarities to learning to read written text, there may be
Hetland, L., & Winner, E. (2000). The arts and
of studies had demonstrated a clear causal link between physical benefits from learning one skill when attempting
academic achievement: What the evidence shows.
education in an art form and achievement in a non-arts, Meta-Analyses Included in REAP to master the other. Listening to music requires tonal
Arts Education Policy Review, 102(5), 3-6.
academic area. The effect sizes found in these three areas distinctions be made, while reading requires the
Burger, K., & Winner, E. (2000). Instruction in visual art:
ranged from small to large. Although small or medium development of phonological distinctions. Finally, most
In the Reviewing Education and the Arts Project (REAP), Can it help children learn to read? Journal of Aesthetic
differences may seem trivial, they may in fact turn out early music learning is centered on simple songs where
Winner and Hetland investigated the hypothesis that Education, 34(3/4), 277-293.
to be of practical importance. lyrics are learned as well. These are hypotheses that the
the arts impact non-arts learning. The researchers
author presents as possible reasons for linkages between
further affirmed the importance of this report, noting The results were divided into three groups: The researchers proposed two possible mechanisms
music and reading.
the political and economic consequences of supporting by which visual art instruction could have a positive
arts education in order to help students learn non-
arts content for the purpose of standardized test score 1 Areas where a reliable causal
relationship has been shown are:
a) the relationship between listening
effect on reading ability and readiness. The explanation
for a cognitive connection is that training in the visual
Butzlaff recognizes that the correlational studies do
show a strong and statistically reliable link between
achievement. When the arts are justified solely by arts leads to increased attention to visual detail and an the study of music and performance on standardized
instrumental claims of their impact on other areas in the to music and spatial-temporal increased ability to deduce patterns visually. If this is reading/writing tests. He points out that correlational
curriculum, they claim that the arts have been devalued reasoning; b) learning to play true, we should see improvement in reading skills. In a studies cannot support any underlying explanation for
and this places the arts in jeopardy: music and spatial reasoning; and c) motivational model, engaging students in projects this relationship.
classroom drama and verbal skills. that integrate visualization with reading and writing
If the alleged benefits of the arts skills will motivate them to improve their reading. Each
do not appear on standardized 2 Areas where the research shows

some slight causal link area:
a) learning to play music and
of these hypotheses was tested on younger children who
were just beginning to be exposed to reading instruction.
Keinanen, M., Hetland, L., & Winner, E. (2000).
Teaching cognitive skill through dance: Evidence
tests, then support for the arts may A thorough database and journal search yielded 10 for near but not far transfer. Journal of Aesthetic
mathematics; and b) dance and
studies that met the criteria of the authors. They Education, 34(3/4), 295-307.
diminish. If the arts are given a role in nonverbal reasoning.
conducted two meta-analyses, one on each of the
our schools because people believe proposed mechanisms, and found no evidence of a causal Keinanen, Hetland, and Winner examined the
the arts cause academic improvement, 3 Areas where they found no reliable
causal relationship were: a) arts-rich
education and improvement on
relationship. Researchers did recognize a positive impact
on reading when visual art is integrated as an entry point
relationship between learning in arts and non-arts
content in a study to investigate the ways in which
for students. dance can enhance academic skills. After meta-analyses
then the arts will quickly lose their verbal or mathematics scores; b) arts- of four studies relating dance to reading and three
rich education and creative thinking; studies relating dance to nonverbal reasoning skills, they
position if academic improvement
c) learning to play music and reading;
does not result. (p. 3)

concluded that the evidence does not provide adequate
support to conclude that dance instruction improves
Vaughn, K. (2000). Music and mathematics: Modest
support for the oft-claimed relationship. Journal of
Vaughn concluded by posing further questions:
2 The motivational argument—
The authors discuss how arts learning
reading skills. There is evidence that dance participation
improves some nonverbal skills such as visual-spatial
Aesthetic Education, 34(3/4), 149-166.
1 Do individuals who voluntarily choose
to study music (and these may be
individuals with high musical ability
could motivate students and have a
positive impact on their learning in
other areas. The ways they identify
relationships. Vaughn similarly sought to find evidence for a very
but I cannot say for sure) show higher are perseverance, high standards,
specific type of relationship between music exposure
mathematical achievement than those bonding, positive mentors, and stress
and mathematics achievement in a meta-analysis
who choose not to do so? reduction. They also point out that,
Podlozny, A. (2000). Strengthening verbal skills
investigation. After conducting a search yielding 4,000
possible references, the author excluded any studies in unfortunately for the arts specialists,
through the use of classroom drama: A clear link.
2
which music time was offered as a reward for academic Do individuals exposed to a music if art is present in the schools it
Journal of Aesthetic Education, 34(3/4), 239-275. is introduced increasingly as a
achievement, studies in which mathematics lessons were curriculum in school (not voluntarily
taught using mnemonic jingles, and studies looking at selected) show higher mathematical supporting tool in other classes.
Podlozny surveyed research on the effects of drama
the relationship between high-achieving math students achievement as a consequence of this
instruction on students in the United States, the United
Kingdom, and Holland. A search of academic databases
and journals yielded 200 experimental studies from
and musical aptitude. Additionally, no studies were
included in the meta-analysis that did not include a
music instruction?
3 The link could be an
epiphenomenon—Winner and Cooper
3
measured outcome in mathematics, a control group, and Does background music heard while suggest that the schools which show
1965 through 2000. The bulk of these studies looked at
sufficient statistical data provided to compute an effect thinking about math problems serve learning growth correlated to arts
the relationship between drama instruction and verbal
size.Vaughn was seeking evidence of a unidirectional, to enhance mathematical ability at learning may have a variety of other
achievement.
causal relationship between exposure to music and least during the music listening time? factors present, along with their
The author conducted 7 meta-analyses on a final total improvement in mathematics. Twenty-five studies (p.163) commitment to arts, that spur greater
of 80 studies, 38 of which were published. She looked qualified for the investigation: 8 correlational studies student learning.
at the impact of drama instruction on the following examining whether students who voluntarily study
outcomes: oral measures of story understanding, written music have higher math scores, 5 experimental studies The report included in the REAP study by Winner
measures of story understanding, reading achievement, examining the relationship between music instruction Winner, E., & Cooper, M. (2000). Mute those claims: and Cooper is the result of a search of seven significant
reading readiness, oral language development and and math performance, and 12 experimental studies No evidence (yet) for a causal link between arts study electronic databases. Of the 1,138 results obtained,
improvement, vocabulary development, and writing looking at the effects on math test scores when music is and academic achievement. Journal of Aesthetic researchers analyzed 31 studies that met their criteria
skills. On all outcome measures except vocabulary played in the background while testing. Education, 34(3/4), 11-75. for inclusion, including the use of a control group
development, there was at minimum a moderate or comparison group and some assessment of a non-
Vaughn found a highly significant, positive relationship
positive relationship between drama instruction and Winner and Cooper note three basic arguments for arts academic outcome. Of their 31 studies, 28 were
between music instruction (both vocal and instrumental)
the desired output. causal relationships between arts study and overall unpublished, 2 were published in non-peer reviewed
and subsequent mathematics performance.Vaughn
academic achievement: publications, and 1 appeared in a peer-reviewed
The author theorized that since students are asked to expressed a bit of skepticism regarding these results,
journal. Despite some skepticism, Winner and Cooper
process text more actively in their drama settings, they noting that while correlation is a necessary condition
develop the skills identified above in a more rigorous,
active manner. Even on the vocabulary measure, there
for claiming causality, it is not a sufficient cause. Students
who choose to study music may have other contributing
1 The cognitive structure argument—
Can cognitive skills learned while
working in the arts transfer to success
conclude that “there is indeed a relationship between
arts education and composite measures of academic
achievement, and this relationship can be generalized
was some indication that drama instruction had a factors that lead to their improved performance in
in other academic areas? They argue to both new subjects who might have been selected
positive impact. mathematics, or they may simply be in better school
that, unless such transfer possibilities for these studies and to future research studies on this
environments. A follow-up meta-analysis on students
are made explicit to the learner, question” (p. 24).
who had received musical training for 4 to 6 months
this is unlikely to occur. The transfer
showed no significant evidence of improvement in their
argument is one that is hard to defend
math scores.
for supporters of the arts, or any other
learning experience.

to transfer best practices and integrate the arts, and Korn-Bursztyn, C. (2003). School change and VSA arts, an affiliate of the John F. Kennedy Center
improve parent/community participation. Units were the arts: A case study. Teaching Artist Journal, 1(4), for the Performing Arts in Washington, D.C.,
project-based and focused on topics such as “Exploring conducted research recently to investigate the benefits
Discrete, Small- Scale 220-227.
the Universe” as frameworks. At the end of the pilot of arts integration on students with disabilities. The
Arts Integration year, standardized test results showed improvement, Korn-Bursztyn’s case study investigated the growth main concepts centered around the use of specific
Studies, 2003-2007 particularly for those students with the poorest test experienced by teachers and the visiting teaching rubrics to assess learning outcomes in the areas of
records. On the Stanford Achievement Test, participating artists in one large public elementary school in New communication, problem-solving, academic and
students’ scores rose by 15% in reading and 18% in math York City. This school had recently undergone a fairly functional literacy and cultural domains. The
Andrzejczak, N., Trainin, G., & Poldberg, M. (2005). compared to the previous school year. This is consistent radical shift in its demographic profile and a 2-year evaluative process focused on the use of rubrics to assess
From image to text: Using images in the writing
with Winner and Hetland’s (2000) observation in the partnership with a local arts organization was drawn up student progress in arts integration. The 2-year study
REAP study that test scores do seem to improve when to involve kids in public performances based on their involved seven teachers of special needs children from
process. International Journal of Education and the
arts learning is in place, although researchers cannot social studies curriculum. different areas across the country. The process involved
Arts, 6(12), 1-17.
exactly say why this is so. telephone conferences to discuss strategies and provide
The large public elementary school being investigated
feedback as to their process for utilizing the rubrics in
A qualitative inquiry project conducted by two was in the midst of an extended period of demographic
their classes. Phase II was more defined and included a
teachers and a higher education professor examined changes. The school formerly had a central core
Kinney, D. W., & Forsythe, J. L. (2005). The effects specific plan for implementing the rubrics and a CoP,
the benefits of integrating visual art and the writing of middle class families, which changed due to an
a community of practice, involving more support for
process. Methods included parent, student, and teacher of the Arts IMPACT curriculum upon student emerging immigrant population. In addition to these
the teachers. The results demonstrated a consensus of
interviews, field observations, and artifact analysis. performance on the Ohio Fourth-Grade Proficiency changes, the school was experiencing a dramatic change
agreement as to the value of the rubrics. Teachers stated
Participants were a 7-year-old boy and an 8-year-old Test. Bulletin of the Council for Research in Music in staff and administration due to a wave of retirements.
improved speed of learning and cognitive development.
girl who drew pictures and then wrote about their Education, 164(Spring), 35-48. A new, untenured principal was in place and there was a
However, it seemed that some of the teachers were
creations. Findings revealed that the creation of visual growing population of younger teachers on the staff.
confused with the implementation of rubrics and
art enhanced the writing process. In providing written One study investigated the effects of a comprehensive
The school had a successful experience in collaborating required additional support.
responses to their visual art, participants took more arts curriculum (Arts IMPACT) on students’ scores
time to elaborate thoughts, produced strong descrip- with a local cultural arts organization and this
on the Ohio Fourth-Grade Proficiency Test. In the
tions, and developed concrete vocabulary. The students’ experience laid the groundwork for a new 2-year
Arts IMPACT program, students in two schools in
art work and poetry are included in the article. Other partnership between the organizations. The partnership Mishook, J. J., & Kornhaber, M. L. (2006). Arts
Columbus, Ohio, received weekly arts instruction
findings and implications of the study are discussed and consisted of 10-week residencies with the goal of a final integration in an era of accountability, Arts Education
with specialists in art, music, drama, and dance. The
recommendations for future research are provided. performance that drew on the school’s social studies
arts team also worked with classroom teachers to plan Policy Review, 107(4), 3-11.
curriculum. The first year of the residency program saw
experiences that integrated the arts into the curriculum
the artists working with students in grades K–2, while In Mishook and Kornhaber’s investigation of the impact
in order to reinforce learning in other academics
the second year involved children in grades 3–5. Where of standardized test scores on arts education, they
Bolak, K., Bialach, D., & Dunphy, M. (2005). Standards- and the arts. Two other schools with demographics
the teachers in the school had traditionally arranged focused on 18 schools in Virginia, half of which were
based thematic units integrate the arts and energize similar to the Arts IMPACT schools (family income,
public events around the arts talents of the children arts-focused schools. Their study was not specifically
students and teachers. Middle School Journal, 36(5),
school size, and racial composition) were chosen for
identified as gifted, the teaching artists came in and focused on arts integration; nonetheless, 15 of the
comparison. Results indicated that the Arts IMPACT
9-19. were able to successfully engage a broader group of the
schools scored significantly higher on math, science, 18 principals interviewed for the study mentioned
school’s children in the integrating performance. “arts integration.” More importantly, the principals
and citizenship subtests. No significant differences were
Middle schools have often been sites for thematic
found on reading and writing subtests. Higher income who discussed arts integration did so often as a way
units that have integrated the arts. Bolak, Bialach,
students performed significantly better than low-income to describe activities related to the subject areas being
and Dunphy describe one such project in an urban
students, regardless of curriculum. It was concluded that Mason, C. Y., & Steedly, K. M. (2006). Rubrics and emphasized in standardized tests. The researchers then
school district. The school board approved a year-long
the intense arts instruction had either a positive effect an arts integration community of practice. Teaching sought to determine what the principals meant by the
integrated arts pilot program for two classes of sixth
upon student achievement or no adverse effect. Exceptional Children, 39(1), 36-43. term “arts integration.” Using Bresler’s typology, they
grade students. Objectives of the pilot were to increase
found that some schools, most notably the non-arts
achievement for all students, form collegial teams

focused schools, identified a “subservient” use of the arts Stack, Y. (2007). ArtsSmarts at Caslan School: A
to serve the subjects being tested, while other schools, longitudinal case study. Kelowna, British Columbia,
particularly the arts-focused more wealthy schools, Canada: Society for the Advancement of Excellence in
maintained a “co-equal” stance toward arts integration.
Teacher Development
Education.
Mishook and Kornhaber also discussed one arts-focused Arts Integration and Arts
school with a “poor” student population that seemed to Between 2003 and 2006,Yvette Stack conducted Dissertations Integration Research
move toward a more subservient stance regarding the a longitudinal study examining the impact of the
role of the arts as the study proceeded. This school and ArtsSmarts program at a small K-9 school in Edmonton,
others in the country seem to adopt arts integration Canada. The goals for the project included improved Every time that we fly in a commercial
The first dissertation we found that explicitly focused on
as a way to improve their standardized test scores. The student achievement, attendance, and behavior, as well arts integration was completed in 1989 (Jensch). Since
authors’ findings suggest a relationship exists between as changes in teacher practices and increased parent/ airliner, the federal government insists
then, 29 others have completed dissertation studies that
a strong arts program and the subsequent chances community involvement. ArtsSmarts was a program targeted specific elements of arts integration. There is a that the flight attendants remind us of a
for success in a co-equal arts integration curriculum intended to infuse arts and culture into the curriculum much greater emphasis on elementary school experience
design. In addition, Mishook and Kornhaber’s with support from over 50 teaching artists in visual arts, counterintuitive rule that “in the event
than in any other grade level in schools. Four were
concerns regarding socio-economic status and the drama, music, dance, video, storytelling and creative primarily quantitative studies (Andrews, 1997; Matthews,
implementation of arts integration programs warrant writing. Researchers used mixed methods, with data of the loss of cabin pressure” might
2001; Ray, 1997; Smilan, 2004); most were classroom
further research. sources including interviews, project evaluations from or school case studies (Aulgur, 1997; Backenroth, 2004; save our lives and those of people we
students, report card marks, and achievement test scores. Broadwater, 2002; Cerniglia, 2006; Corn, 1993; Feldman,
Results were mixed; standardized test scores and report 2003; Humphries Mardirosian, 2002; Lindsley, 2002; love. Before take-off they tell us that if
Soundy, C., & Qui, Y. (2006/2007). Portraits of picture card marks during the study declined significantly Morris, 2005; Smar, 2000; Werner, 2001). oxygen masks drop out of the ceiling
power: American and Chinese children explore literacy
from the baseline year, while attendance increased only
slightly. Changes in teacher practice were becoming A number of dissertation researchers investigated the
through the visual arts. Childhood Education, 83(2), during flight, we are to momentarily
evident in Year 3. Overall, 73% of teachers reported impact of arts integration and professional development
68-74. for arts integration on teachers and artists (Alesandrini,
positive changes in practice and the parents and ignore the child sitting next to us and
community provided evidence of positive response, as 1999; Barr, 2006; Brown, 2001; Castaneda, 2002; Coryell,
This cross-cultural study explored the relationship 1995; Hill, 1999; Hull, 2003; Jensch, 1989; Richmond- put on our own mask first. For me, at
seen in improved attendance at performances and other
between pictures and words with young children. Cullen, 1999; Slater, 2004; Stokes, 2001; Waldon-
school activities. least, this always comes as a surprise.
The authors designed a study to learn what children’s Guyton, 2004; Werner, 2001). Three dissertations were
own drawings reveal about their viewing skills part of larger initiatives that studied the impact of arts I’m quite sure that my first instinct, if
and to examine the interplay between visual and integration in Mississippi’s Whole School Initiative
verbal literacies in order to determine how two I were traveling with a child, would
(Tabereaux, 2002), North Carolina’s A + Schools (Gerstl-
communication systems—visual and verbal literacies— Pepin, 1998), and South Carolina’s Visual and Performing be to reach for her mask and get it
contribute to children’s abilities to extract meaning Arts Framework (Gunter, 2000).
from picture books. Data were obtained from two situated on her face. This has always
groups of kindergarten children that participated in Dissertations become integral as initial explorations of
Picture Power, a thematically based read-aloud project methodologies for assessing impact. Eisner (2003) has been my first reflex as a teacher: first
that featured a variety of picture books about houses. called for more research in the field of arts education
and foremost come my students, then
One group consisted of 22 children from Philadelphia regarding teaching and learning processes and outcomes.
and the other, 30 children from Fuzhou, China. The Dissertations, whether they are discrete investigations or myself. (Seidel, 2005, p. 2)
results revealed how the children became the audience part of a research agenda in a large-scale project, offer the
during picture book reading, experienced the characters’ opportunity to examine specific practices in schools and
Some have argued that an integrated approach to
thoughts, and learned to visualize through the classrooms that are promising and possibly replicable.
arts curriculum requires a more trained teacher than
intersection of visual and verbal literacies. does a disciplinary approach (Parsons, 2004). There is

little research on the effectiveness of arts integration in one summer session, a course usually mandated by Bond, K. E., & Etwaroo, I. (2005). “If I really see Damm, R. J. (2006). Education through collaboration:
preparation for future or practicing teachers, though certification agencies. The purpose of the course is you…”: Experiences of identity and difference in a Learning the arts while celebrating culture. Music
there is a call for involvement of higher education in generally to prepare classroom teachers with musical higher education setting. In M. C. Powell & V. M. Speiser Educators Journal, 93(2), 54-58.
the development of quality training not only for skills so that they can integrate musical activities (Eds.), The arts, education, and social change: Little
teachers but also for teaching artists working in schools into their classes or, in certain situations, be able to signs of hope (pp. 87-100). New York: Peter Lang. Damm describes a collaboration between university and
(Detels, 1999). Action research methodologies are also provide music instruction for students. The researchers elementary school teachers to teach arts integration.
employed in some circumstances as a way of examining conducted pre- and post-surveys of participating Jeffers, C. S. (2005). Transformative connections: The partnership course was designed to augment or
arts integration practices (Burnaford, 2007; CAPE students related to their perceptions of their own ability Linking service-learning and pre-service art education. replace more traditional methods courses taught in the
UK, 2005). and capacity to teach music in their classrooms. In M. C. Powell & V. M. Speiser (Eds.), The arts, university setting. Instead, in Damm’s study, the topic
education, and social change: Little signs of hope (pp. of Native Americans was chosen and an 8-week unit
Of particular relevance for this review was the final of study was developed. The university and elementary
149-158). New York: Peter Lang.
portion of the survey, labeled “Integration of Music into students researched the music, art, and dance of Native
Andrews, B. (2006). Re-assessing the effectiveness of the Elementary Classroom.” This section investigated the
McDermott, M. (2005). Torn to pieces: Collage art, Americans. Some of the activities included mask making,
an arts partnership in teacher education. International participants’ intention to integrate music and then asked
social change, and pre-service teachers education. In songs, dances, authentic instruments, and instrument
Review of Education 52(5), 443-459. them to evaluate their confidence level in integrating making. The combination of research, application, and
M. C. Powell & V.M. Speiser (Eds.), The arts, education,
music into reading/language arts, math, science, and presentation linked all the elements and addressed social
In Canada, elementary teachers are increasingly social studies activities. In this last section, the survey and social change: Little signs of hope (pp. 49-60). New
studies, history, art, science (acoustics), visual art, dance,
expected to deliver arts instruction in their classrooms included items to address the participants’ intention York: Peter Lang.
and music. The model represents a partnership approach
because financial exigencies have restricted the hiring to use music in one of the four integration styles: to preparing teachers for integration by engaging them
of specialists. One study examined the effectiveness subservient, affective, social integration, and co-equal/ Powell and Speiser (2005) edited a volume of project
with elementary students while they are learning about
of an arts partnership between a Canadian university cognitive (Bresler, 1995). An open-ended statement and descriptions within which there are examples of teacher
and designing curriculum.
faculty of education and local school boards. In this question concluded the survey: 1) List specific ideas preparation and professional development programs
partnership, university staff and specialist arts teachers on how you might include music in your elementary that have engaged processes of arts integration (Bond
together delivered the integrated arts component in classroom; and 2) What factors might deter your & Etwaroo, 2005; Jeffers, 2005; McDermott, 2005).
teacher education. Findings indicate that specialist arts inclusion of music in your elementary classroom? On McDermott describes a case study in teacher education McBee, R. H. (2001). Why teachers integrate. The
instruction, peer learning methods, and theory/practice the final day of class, participants completed this music in which collage becomes the medium by which pre- Educational Forum, 64, 254-260.
integration strengthen such training in the arts. The integration survey a second time. service teachers examine their own beliefs, values, and
confidence of beginning teachers to teach the arts can identities, while engaging in collage making. Bond and McBee conducted in-depth interviews with 10
Researchers were interested to see how participation in Etwaroo provide an account of an undergraduate course elementary teachers and compared the findings of her
be promoted by observing colleagues, engaging in team
the class would alter students’ intentions and confidence they created titled “Dance, Movement, and Pluralism” qualitative study with an extensive literature review. She
learning activities, and obtaining peer feedback. The
in integrating music into certain academic areas in which students (not necessarily prospective teachers) concludes that curriculum integration could not really
use of integrated arts theory and a focus on practical
(reading/language arts, math, science, and social studies). explore issues of personal identity and social change be consistently present in classrooms due to obstacles
applications of concepts, coupled with reflective
There was a positive significant change in both areas. through movement. Carol Jeffers outlines the ways in such as lack of time, lack of materials, lack of congruent
discussion, can also promote conceptual understanding.
With regard to Bresler’s styles of integration, there was which pre-service art education and service learning can standards and assessment tools, and the deeply entrenched
a slight decrease in intention to use the affective style be linked in order to connect prospective art teachers view of segmented curriculum. Despite these challenges,
(arts used to change mood of the classroom, creative with their communities (see Methods and Practices in McBee’s study did indicate that there are teachers who
Berke, M., & Colwell, C. M. (2004). Integration expression, and building self-esteem). There was a lack this review). view integration as a powerful way to impact students’
of music in the elementary curriculum: Perceptions of significant increase in the social integration style academic performance, particularly in the area of literacy.
of preservice elementary education majors. Update: (toward participation in school or community events,
Applications of Research in Music Education, 23(1), program, assemblies, holidays). It is possible that students’
22-23. increased awareness of Bresler’s levels helped them
understand the difference between using music as a
Berke and Colwell’s study focused on elementary teaching tool (subservient) and integrating music as part
education majors enrolled in a music methods course of conceptual teaching (co-equal/cognitive).

McCammon, L. A., & Betts, D. (1999). Helping kids Mota, G., Costa, J. A., & Leite, A. (2004). Music Zwirn, S. G., & Graham, M. (2005). Crossing borders: research-based case study on this topic. Although every
to imaginate: The story of drama education in one education in context: The construction of the teacher’s The arts engage academics and inspire children. country surveyed reported the presence of arts education,
elementary school. ERIC ED 430262. identity within cross-disciplinary collaboration in the Childhood Education, 81(5), 267-273. there was a distinction between education in the arts
and education through the arts, the latter meaning
arts. Bulletin of the Council for Research in Music
A study involving action research and case study Zwirn and Graham designed a collaborative course for “education which uses creative and artistic pedagogies
Education, 161/162(Summer/Fall), 181-188.
methodologies recounts the results of the researchers pre-service and in-service elementary school teachers. to teach all curricula” (p. 12). Methods included a
teaching the faculty at one school how to support The two collaborating professors believe that the arts, comprehensive survey and case study analysis of 23
Mota, Costa, and Leite designed a case study within
integrating drama through peer mentoring and especially when integrated with other subject areas, participating countries. Instruments are included in
a larger research project that examined innovative
coaching. Initially, one teacher participated and at have the ability to foster creative and innovative new the volume.
practices in a primary school with an integrated arts
the end of the project, nine were involved in the curriculum. While the school started an expansion ways for students to think about, understand, and
The two primary aspects of this research were 1) to
integration. Although the research study proved of its curriculum, a music teacher was hired to represent their knowledge. They noted that their course
establish a knowledge base regarding the structure of
successful, there was an overall decline in interest and become part of the arts learning area. The researchers is especially popular with experienced teachers but that
each organization and the teaching practices and 2) to
involvement as the study progressed due to participant investigated the development of this music teacher’s new teachers experience some anxiety approaching
apply qualitative and quantitative methods of analysis in
time constraints, challenges with mentoring and identity within the innovative and integrative climate this experience. This methods course places an emphasis
order to assess what Bamford terms an arts-rich program.
collegiality among the teachers, and logistics. of the school, analyzing the teacher’s diary, field notes, on students working together to problem-solve through
Some of the questions posed in the initial survey were
and other observational data. Findings indicate that, project work, especially creative projects. Rather than
The limited research regarding teacher development as follows:
while significant gains were brought about by cross- placing emphasis on a pre-determined correct answer,
and arts integration suggests the need for more teachers are taught to encourage creative approaches How was teaching organized in arts-rich
disciplinary collaboration, some problems remain to
investigation of professional development regarding toward valid expressions of knowledge, according to programs?
be solved concerning the role of specific musical
arts integration processes and approaches that not only the authors.
skills development. The study raises important issues
affect teacher practices in classrooms but ultimately Who is responsible for curricular development
regarding the role of an arts specialist in an all-school
impact student learning. and the implementation of arts-rich programs?
integration initiative.
What are the differences between arts-rich
programs taught in the different countries?
McKean, B. (2000). Arts everyday: Classroom
Werner, L., & Freeman, C. J. (2001, April). Arts What determines the difference in content
teachers’ orientation toward arts education. Arts and
integration: A vehicle for changing teacher practice. from country to country?
Learning Research, 16(1), 177-194.
Presentation at the annual meeting of the American
Educational Research Association, Seattle, WA.
International Research What can be expected or recommended of
McKean conducted a year-long multiple case study
and Arts Integration arts-rich programs for the future?
of six elementary classroom teachers to investigate
teachers’ primary orientations to the creative arts, What effect has arts integration had on teacher The result of this research found that education in the
the production arts, and the academic arts. McKean practice? This question is the basis for a 1999-2000 arts is present in almost every country of the world;
found that teachers’ childhood experiences and formal Arts for Academic Achievement study. Individual teacher Bamford, A. (2006). The wow factor: Global research however, the term is culture and context sensitive. The
education both influence primary orientations. No interviews, group interviews, and classroom observations true benefits of arts-rich programs were seen primarily
compendium on the impact of the arts in education.
matter what their orientation, all teachers in the study were the primary source of reference. Two areas seemed in high-quality programs with teachers trained in
Münster, Germany: Waxmann Münster.
perceived the arts as vehicles for self-expression. Also, to produce the most significant results: Changes in the specific methodologies and also in schools with
regardless of primary orientation, the arts were seen as the way teachers conceptualize how learning can take administrative support.
Anne Bamford served as principal investigator on a
enabling the learning of other subjects. place within the classroom, and changes in instructional
commissioned 2004 study/analysis of arts education
choices. “Teacher conceptualization” included making Throughout the book, case studies are referenced in
in 40 countries and organizations around the world.
room for integration, changing the classroom climate, order to illuminate various theories and support for arts
The project was a joint effort among UNESCO, the
thinking differently about what was displayed or education. While the scope of Bamford’s study is larger
Australia Council for the Arts, and the International
emphasized within the classroom, and using more and than the investigation of arts integration, the survey
Federation of Arts Councils and Culture Agencies. The
varied resources to teach. “Instructional choice change” does examine the degree to which commissioners of
main goal of this project was to establish an international
involved taking more risks, building more connections education internationally identify learning through the
compendium from various countries regarding arts
to the “core” curriculum, and building teaching skills. arts as one approach to be used in schools.
education, and as a result, became the first international

7
methods &
practices
P
art of the literature in arts integration revolves around the stories of schools and classrooms
that have embraced the processes for teaching and learning it has introduced, perhaps for
the first time, to many teachers and parents. In this section, books and articles are reviewed that
demonstrate practice. They are not research descriptions but are intended to either illustrate
how arts integration occurs, either with multiple art forms in the classroom or with one art form
as the integrative medium. There are also pieces that advocate arts integration based on first
hand experience rather than research.
districts. Appel provides brief research evidence for the

value of arts integration and underscores the importance
of teacher development in order to be successful. He
describes the OCPAC Summer Institute, a collaborative
Multiple Arts Integration arts education outreach venture involving the Orange
Practices County Performing Arts Center; University Extension
at the University of California, Irvine; Orange County
Department of Education; California Arts Project; and
Appel, M. P. (2006). Arts integration across the local providers specializing in the visual and performing
curriculum. Leadership, 36(2), 14-17.
arts. The Institute provides an in-depth review of
standards and frameworks across the curriculum and
The author addresses a school administrator audience, practical strategies to engage pupils through integrated
noting why and how a long-range plan for arts education arts projects in the visual and performing arts.
that includes integration is important for schools and
55
Blecher, S., & Jaffee, K. (1998). Weaving in the methodologies and strategies for accomplishing with the music, it really brought everything together.” Cowan, K., & Albers, P. (2006). Semiotic
arts: Widening the learning circle. Portsmouth, NH: this task. The final section of the book discusses a Students were able to better express the music in their representations: Building complex literacy practices
Heinemann. completely integrated curriculum with the arts as playing as well as applying musical elements to their own through the arts. The Reading Teacher, 60(2), 124-137.
another core subject. The models illustrated and the visual representations.
The two authors of this text are team teacher relationships among teacher professional development, The writers discuss the development of complex literacy
Teachers met weekly over the 8-week span of this
researchers in a first and second grade multi-age implementation, and student progress are defined practices through the arts. They present social semiotics
project to develop strategies and implement concepts.
classroom. They place a heavy emphasis on creating throughout the book. (meaning communication systems) as a framework for
Overall, the teachers and students felt the project was
a community of learners in a “languages-rich discussing the role of the arts in literacy. Reading and
successful in developing conceptual connections across
environment with music and movement” (p. 16). The writing are not the only forms of communication:
the curriculum.
book includes many student work samples, including Burnaford, G., Aprill, A., & Weiss, C. (2001). Drama, music, dance, and visual arts are all systems
m e t h o d s & pra c t i c es
poetry and children’s sketches. The teachers use the A second project, Colours, was similar in nature and of communication and could be studied as such in
Renaissance in the classroom: Arts integration and
term integration during “immersion workshops” involved band, art, and language arts. The students schools. Cowan and Albers introduce art as a system of
meaningful learning. Mahwah, NJ: Lawrence Erlbaum.
(p. 97), some called Artist Workshops and others called connected the expressive movements of the music to communication to their students through a series of
Opera Workshops. No arts specialists or teaching artists color in art and literature. The project culminated with mini-lessons that involve semiotic texts. They discuss
This text presents a methodology for arts integration
are involved in these lesson descriptions provided. The a multi-media presentation during the band concert. semiotic processes that engage students in grades 4-5, by
based on six years of project examples from 33
activities are intended to be used by classroom teachers. The authors concluded that the cross-disciplinary units providing examples using visual imagery, dramatization,
partnerships in Chicago. Based on interviews with
participants as well as student, teacher and artist work enhanced student learning and that it was necessary to and other arts experiences as frameworks to build
samples, and observations, the authors developed a pursue this type of educational process. vocabulary, enhance verbal agility, and illustrate student
Bloom, A., & Hanny, J. (2006). Integrating art from general framework that was applicable to partnership understandings. The article also summarizes recent
models involving artist and teacher teams planning, literacy research that links arts and literacy, and the
around the world into the classroom. Phi Delta
implementing, and assessing standards-based arts authors connect their own practice to this research base.
Kappan, 87(8), Inside back cover. Cornett, C. E. (2006). Center stage: Arts-based read
integration curriculum. The methodology, informed by alouds. The Reading Teacher, 60(3), 234-240.
The authors provide a list of websites through which examples from projects and programs includes steps for
teachers can access online resources on multicultural Getting Started by finding the “Elegant Fit,” Moving Cornett described what she terms arts-based literacy in Daniel, V. A. H., Stuh, P. L., & Ballengee-Morris,
art and art history, museum collections, lesson plans, Through the Curriculum using a variety of Parallel this article focused on teachers who apply arts processes C. (2006). Suggestions for integrating the arts into
and additional information on various cultures. Art Processes, and Going Beyond the Unit to incorporate in their read-aloud sessions with young children because curriculum. Art Education, 59(1), 6-11.
educators can use these resources to develop units of meaningful assessments and public exhibitions or they believe that the arts are essential for constructing
study on art and culture and can take advantage of the performances to demonstrate the work. The text also meaning. Cornett invokes current research regarding arts The authors of this article are three faculty mentors
opportunity to display and view artwork created by includes first-person accounts by artists and teachers integration and reviews the literature on read-alouds as in a 5-year project that employed arts integration
their own students and those from around the world. who describe their own development and the learning well, noting that arts-based literacy instruction “gives strategies to reform five public schools in Ohio. The
from arts integration initiatives. equity to all the communication arts, both verbal and project, part of Transforming Education through the
nonverbal” (p. 236). She notes that meaning is created Arts (TETAC), used teacher collaboration and
Bloomfield, A., & Childs, J. (2000). Teaching
through parallel processes, with creative problem inquiry-based learning as frameworks for curriculum
Burrack, F., & McKenzie, T. (2005). Enhanced student solving using the same before, during, and after stages as development. The authors outline a process for
integrated arts in the primary school. London:
the writing process, the reading process, and the scientific developing integrated curriculum units in a school,
David Fulton. learning through cross-disciplinary projects. Music
method (p. 236). She affirms the value of classroom working from big ideas to key concepts to essential
Educators Journal, 91(5), 45-50.
teachers collaboratively planning with arts specialists to questions and then, finally, to arriving at a coherent,
This book defines arts integration in a two-step process
find meaningful connections across content. Examples of integrated, working classroom filled with artistic
with dance, drama, visual art, and music as integral The project focused on one piece of band literature,
arts-based literacy instruction involving visual art, drama, expression as well as a rigorous curriculum. A
components in the primary classroom. The first section Daniel Bukvich’s “Hymn of St. Francis,” and sought
music, and dance are provided. curricular unit focused on the essential questions
of the book reflects on each discipline and examines to deepen the students’ understanding of what they
were playing by associating visual art with the music. concerning “community” is followed through these
integration between two and then all of the arts
disciplines. There are numerous diagrams illustrating According to one student, “When the picture mixed stages in this article.

Drake, S. M. (2001). Castles, kings. . . and standards. integration deepens both curricular content knowledge and writing. The production was performed at the high lyrics of the songs. The unit ends with a public display of
Educational Leadership, 59(1), 38-42. and appreciation of the arts. school and exhibits were held at Progreso Latino, an student work.
education and community service organization building
The author, a professor at Brock University in Ontario, in Central Falls, Rhode Island. As the authors explain,
Canada, works with a fourth-grade teacher to develop “In the nine performance pieces that make up ‘Postcards,’
Goldberg, M. (2006). Integrating the arts: An Powell, M. C., & Speiser, V. M. (Eds.). (2005). The arts,
an integrative unit that will address stated standards students’ photographs are combined with music, dance,
approach to teaching and learning in multicultural and education, and social change: Little signs of hope. New
while engaging the students and the teachers involved. and a theatrical performance of their writing portraying
multilingual settings (3rd ed.). Boston: Pearson. York: Peter Lang.
Looking through standards for the variety of topics personal stories of the immigrant experience” (p. 66).
for which the fourth-grade students in his school
The main purpose of this book is to present a Mary Clare Powell and Vivien Marcow Speiser
were responsible, Adrian DeTullio designed a unit
methodology of teaching for arts integration in public have edited a collection of project and curriculum
on medieval times. Social studies and language arts
schools, with a particular emphasis on second language Mantione, R., & Smead, S. (2003). Weaving descriptions, some of which represent integration in
standards for research and writing were to be utilized,
learners and students from diverse ethnic and cultural through words: Using the arts to teach reading one or more art forms. This collection is particularly
as well as a stated science standard of formulating
backgrounds. The author begins with a methodology comprehension strategies. Newark, DE: International representative of a strand of arts integration practices
questions and identifying solutions regarding structural
chapter for arts integration that accommodates and Reading Association. that explicitly claim to also encourage social change
and mechanisms. Finally, the arts were incorporated
includes all students. One of the key components and social justice. Powell and Speiser provide case study
through a standard of presenting a problem and its
throughout this book is the author’s discrimination of This informative text, co-authored by a literacy specialist project examples involving international students in the
solution through drama or dance. Periodically during
learning with the arts, through the arts, and learning and a classroom teacher, offers six strategies for reading United States as well as program descriptions from other
the 7-week unit, DiTullio would point out explicitly
about the arts. Each chapter, with clustered topics by comprehension accompanied by arts-based lessons to countries, including Ghana, South Africa, and Thailand.
when the students were integrating the curriculum, but
content (literacy, humanities, science, and mathematics) make connections for each strategy. These arts activities The volume is the ninth in the Lesley University Series
for the most part they simply went about their work
applies these principles to various projects and concepts. are intended to be used by classroom teachers and feature in Arts and Education. The chapter written by Speiser
seeing connections that they might not have seen had
For example, the chapter on literature through and with a variety of disciplines, including music, photography, and Speiser outlines the value of the arts in mental
they studied their history in isolation from science,
the arts focuses on writing, poetry, story comprehension, and movement. There are no roles for teaching artists health and community settings, as well as in education,
writing, and artistic representation.
drama, spelling, and journal writing. At the end of each or arts specialists and, as the title suggests, the arts are as a means of working through conflict. The pieces in
chapter, there is a summary of key elements, a brief intended to be used in order to address the reading this volume suggest a wider application of the term
overview of the chapter, study questions, and suggestions strategies. The book includes an excellent bibliography of “arts integration,” consistent with the research in Critical
Fisher, D., & McDonald, N. (2004). Stormy weather: for further research and study. The book concludes children’s literature, as well as an Appendix with a Matrix Links regarding the impact of integration on human
Leading purposeful curriculum integration with and with a chapter regarding the integration of school and of the Arts, focused on developing “sensory imagery” development.
through the arts. Teaching Artist Journal, 2(4), 240-248. community through the arts. (156-158).
The authors provide a hands-on guide through the

Rabkin, N., & Redmond, R. (Eds.). (2004). Putting the
development of an arts integration unit with elementary
Landay, E., Meehan, M. B., Newman, A. L., Wootton, Nelken, M. (2004a). Chanson in clay: “The sounds arts in the picture: Reframing education in the 21st
school children. The unit combined the science of
K., & King, D. W. (2001). “Postcards from America”: of our language are intimate to us, they enter our century. Chicago: Columbia College.
weather by learning about storms, music by examining
Linking classrooms and community in an ESL class. ears, our bodies. The meanings are decoded with our
songs with storm or weather themes, and art and music
English Journal, 90(5), 66-74. minds.” School Arts, 103(6), 40-41. Rabkin and Redmond describe Putting the Arts in the
to move and express the feeling generated by storms.
Picture as a book that “disaggregates arts integration from
Additionally, they provide a glimpse of the motivation
The authors describe a semester-long project that Beginning with recordings of a Navajo song and a conventional arts education, and examines its features
to do so with teachers and a school where integration is
integrated the work in two high school English classes French-Canadian song, Nelken has her students listen as a pedagogical strategy, how and why it works” (p. 8).
not the norm.
with an after-school community-based program. In meditatively to the songs. They discuss impressions of The text is a series of stories highlighting arts integration
Fisher and McDonald note that they do not aim to the project, students produced visual records of their the recordings, whose words they do not understand, projects in the United States, Mexico, and Africa.
dilute the content of the arts or of the core curriculum friends, families, homes, and neighborhood and then from clues about instruments, tone of voice, and pace of Valuable insights for educators are provided, such as a
in the school. Rather, they present one concrete translated those images into print texts. They created the song. They share their impressions with each other summary of the structural characteristics of successful
example to demonstrate their view that meaningful nine performance pieces based upon their photography before Nelken presents them with the translations of the arts integration programs and organizations. The authors

also challenge the reader to look at alternative ways a 10-year program called PARTNERS (Partners in studying Greek sculpture, students read an adaptation Karen Stevens describes two basic styles of educational
to think about how we process the world around us. Arts and Education Revitalizing Schools), which of Homer’s The Odyssey, they studied Greek history as systems: The routine norm of School as Factory and
Rabkin and Redmond refer to arts integration as a began as a pilot program in 8 elementary schools and it was associated with Homer’s epic tale, they presented the newer concept of School as Studio. The student
“change strategy” (p. 8) and provide case descriptions of has expanded to serve 5,000 students in grades K-12 a dramatic interpretation of some of the scenes from becomes the artist and experiences the arts as an active
projects in Chicago, Minneapolis, and Boston. per year. Students are drawn from 33 elementary The Odyssey, they studied their own bodies in their participant in all disciplines. She proposes a proactive
schools and 4 high schools. The PARTNERS program performance of battle scenes and, finally, this informed approach to arts education through daily arts experiences
The authors note that in too many places administrators
concentrates on arts-infused projects in the classroom their own sculpture design. instead of isolation and the arts integrated in every
have allowed “the arts to survive at the margins of
to improve literacy, cultural sensitivity, creativity, and subject at every grade level. According to Stevens, the
education as curriculum enrichments, rewards to good In a short, organized, and entirely manageable unit of
self-confidence. school as a studio of learning and artistic, interpretive
students, or electives for the talented” (p. 60), rather than study, sixth graders were able to tie together their
expression will help transform education.
placing themselves in a position where “they asked The Kennedy Center in Washington, D.C., represents a studies in art, history, English, and drama. Many of the
how the arts could contribute to making schools work variety of programs across the country, many of which fears that teachers often report about the idea of art
better, particularly for low-income and other struggling have elements of arts integration. Changing Education integration is that it would be difficult to envision a
students” (p. 60). The authors concentrate on the public Through the Arts is one such partnership with 13 schools plan and even more difficult to carry it out. Simple Stevenson, L. M., & Deasy, R. J. (2005). Third
display of knowledge that arts learning values, pointing in the metropolitan area that helps teachers develop presentations such as this one are powerful arguments space: When learning matters. Washington, DC: Arts
out the importance of engaging arts specialists in the arts integrated curriculum. Since 1975, the Kennedy in favor of integrating the curriculum as fully as possible, Education Partnership.
school’s neighborhood. They note the particular nature Center has been promoting professional development igniting the imaginations of the teachers involved as well
of arts integration initiatives that do not look the same for teachers integrating the arts, with more than 1,600 as the students. This text represents a summary of a research study (see
in all schools but rather “reflect each school’s particular teachers participating each year (p. 47). Research section of this review) to address the primary
strengths, interests, and available resources” (p. 64). research question, “How do the arts contribute to
the improvement of schools that serve economically
Sternberg, R. E. (2006). Arts at the core: How six
Riggins-Newby, C. G. (2003). Achievement through
disadvantaged communities?” The book presents 10
districts integrate arts education into the curriculum.
Rich, B., Lane, L., Polin, J., & Marcus, S. J. (Eds.).
case studies addressing this question: 4 elementary, 2
the arts. Principal, 82(3), 8. American School Board Journal, 193(6), 44-47.
kindergarten through grade eight schools, 2 middle
(2003). Acts of achievement: The role of performing
Riggins-Newby highlights one urban school’s attempt schools, and 2 high schools. Arts integration projects
art centers in education. New York: Dana Press. Ruth Sternberg describes this project for the American
to incorporate the arts into the academic Standards of described include the Dream Keepers project done at
School Board Journal in which six school districts
Learning that were established for all Virginia schools. Central Falls High School as part of the ArtsLiteracy
This book is a compilation of program profiles from (Beaufort County, SC; Cleveland, OH; Corvallis, MT;
The author describes the qualities that make this arts- Project at Brown University. Multiple art forms,
33 states and the District of Columbia representing a Northgate, PA; Syosset, NY; and Twin Ridges, CA)
integrated school, Jefferson-Houston School for the including poetry, music, theater, and visual art, were
variety of artist residency models from school partners integrated the arts. Each district had distinct focus
Arts and Academics in Alexandria,Virginia, and others, engaged with a classroom of students learning English
identified as performing arts centers. In addition, goals and content fields that were involved. The South
so successful. She points out opportunities for a public as a second language. Students explored the theme of
there are 8 case studies of performing arts centers that Carolina project teachers reported learning new ways
display of both academic knowledge and artistic, creative dreams through the poetry of Langston Hughes, the
represent cross-curricular projects and curriculum. to assess student gains and losses beyond the state’s
skills. She highlights the professional development paintings of Marc Chagall, the music of Miles Davis, and
While not all of the profiles could be termed arts traditional testing structures. Cleveland’s K-8 School
opportunities that such schools make a priority, and she the novel The Long Way to a New Land, by Joan Sandin.
integration, most do explicitly connect with school and of the Arts incorporated the arts integrated approaches
non-arts curriculum. The Scottsdale Center for the Arts makes a concise, clear plea to urban educators to more with their discipline-based arts education curriculum. All 10 case study schools integrated language arts with
in Scottsdale, Arizona, has a signature program called fully integrate the arts into their students’ lives. Twin Ridges in California was part of the Annenberg drama. Fifth-grade students mounted an original opera
Cultural Connections that educates young people about Rural Challenge in which seed grants were awarded to written with a teaching artist from the Cleveland
diverse cultures through the arts. Cal Performances on teaching artists to work in rural schools with an emphasis Opera. Their experience regarding the development of
the campus of the University of California, Berkeley, Smith, S. S. (2001). The Ulysses Project. Arts & on involving children in public art. narrative and characterization was consistent with other
offer programs to schools such as African American case study school classrooms in which drama enabled
Activities, 129(4), 33, 40.
history through modern dance. The Bushnell Center students to better understand character. School officials
for the Performing Arts in Hartford, Connecticut, and This short piece presents a well-developed integrated at Peter Howell Elementary in Tucson, Arizona; Pierce
Stevens, K. (2002). School as studio: Learning through
a local school district have partnered to implement unit on Greek history and art. In the process of Street Elementary in Tupelo, Mississippi; and Hand
the arts. Kappa Delta Pi Record, 39(1), 20-23.

Middle School in Columbia, South Carolina, all credit of the assessment process. This process could be applied PACE, or Performance Assessment Collaboratives integrate the study of literature with arts skills to explore
the integrated arts programs for the improvement of to any art form as it is integrated with topics and for Education, was organized under a grant from the their world. In one project, each month of the year, the
students’ test scores, including improvement in reading concepts in science. Rockefeller Foundation. Six sites participated and students wrote poetry with some natural phenomenon
and mathematics (pp. 62-63). teachers in those sites created “portfolio cultures” (p. or weather pattern as a theme (e.g. the gold of the
vii) in order to assist middle school students to learn autumn leaves in September, the ice and snow of
to write nonfiction. The volume’s collection of teacher December, the coming green of March). The students
Thompson, M. J. (2005). The artful teaching and
stories stresses the value of meaningful assessment as part incorporated their poetry into a dance performance to
Stokrocki, M. L. (2005). Interdisciplinary art learning handbook: Student achievement through the
of teaching and learning. For each teacher story, there Vivaldi’s “Four Seasons.” The overarching theme in their
education: Building bridges to connect disciplines arts. Minneapolis, MN: The Perpich Center for Arts
is a “Response from a Colleague.” The editors stress the literature studies was the search for peacefulness
and cultures. Reston, VA: National Art Education Education.
depth of art experiences that the middle school students in nature.
Association.
and teachers had in these projects:
This handbook, as its title suggests, provides blueprints Another such unit involved a literature study of West
Stokrocki’s book explains the concept of interdis- for a versatile arts education model for arts integration. African countries. The students learned about the
At one time or another, all of (the
ciplinarity and provides examples from this country Full of tools, processes and examples from its field sites, African art form of adinkra, a cloth that can be worn
as well as New Zealand, Turkey, Poland, Germany, the handbook offers the practitioner research-based teachers) have encountered (or been as well as read. The students designed their own “story
Australia, and Israel. The integration programs and support for building arts-based and arts-infused learning. cloth” with the unifying theme of peace. Wright and
units presented have a substantial cultural dimension This model is powered by the belief that all students can caught up in) projects where the arts Kowalczyk summarize: “In our classrooms, students
regardless of the content, which includes projects achieve high academic standards in and through the arts. should be free to celebrate their language and literacy
were shoehorned into some unnatural
focused on art and geology, ecology, and aesthetic The initiative began in 2002 as a 3-year project funded as readers, writers, thinkers, poets, dancers, musicians,
education, among others. Examples include programs by the U.S. Department of Education Arts Education or trivial union . . . . And although artists, and dreamers”(p. 63).
in higher education. Stokrocki’s book provides Model Development and Dissemination Grant Program.
multiple approaches to integration as well as theoretical To develop the model, the Minneapolis Public School these author-teachers don’t necessarily
frameworks for judging the quality and value of arts District worked together with the state of Minnesota’s
identify themselves as artists, actors,
integration in the curriculum. Faith Benzer’s chapter Perpich Center for Arts Education. Over the years of
includes an array of Internet resources to support development, a team of designers synthesized arts- or musicians, they aren’t interested in
integrative teaching and learning. based and inquiry-based learning approaches that were
then applied in urban, rural, and small city settings. having students trace over a photo,
Supported by a network of artists and educators who make a diorama, or write a rap about Drama
continue to work as peer coaches, more than 50 schools,
Subramaniam, K. (2006). Six rules for integrating the Integration Practices
organizations, agencies, and arts partners in Minnesota, the order of the planets. If the arts
arts. Science Scope, 29(8), 61-62.
North Dakota, and Iowa currently use the Artful
are coming to their classrooms, these
Handbook to guide their change process. A network of
Subramaniam presents six guidelines for engaging
educators and artists throughout Minnesota and the teachers want the very best. (p. 5)
science students specifically with scientific facts and Kelner, L. B., & Flynn, R. M. (2006). A dramatic
United States continues to generate and refine methods
creativity. The first rule aligns artistic thoughts with the approach to reading comprehension: Strategies
of artful teaching and learning.
specific science concepts being taught. The second step and activities for classroom teachers. Portsmouth,
is to have students list skills they need in both areas;
NH: Heinemann.
next, students explore questioning techniques that will Wright, M. F., & Kowalczyk, S. (2000). Peace by piece:
demonstrate comprehension of the scientific and artistic Wolf, D. P., & Balick, D. (Eds.). (1999). Art works! The freeing power of language and literacy through the
The authors present various means by which drama
concepts. The fourth process is to name cognitive skills Interdisciplinary learning powered by the arts. arts. English Journal, 89(5), 55-63.
can be integrated at a quality level that would enhance
leading to evaluation of the student’s project, which is Portsmouth, NH: Heinemann. a child’s ability to read and comprehend. The idea
also tied to the fifth rule that attempts to connect the Veteran middle school teacher authors describe a unit
for this book stemmed from a 2003 professional
artistic process to inquiry skills and facts for further This volume is a collection of chapters written by on integrated peace studies. They designed a number of
development project at the John F. Kennedy Center for
discussion. The final step brings both the teacher and practitioners describing a variety of interdisciplinary/ different opportunities for their language arts students to
the Performing Arts in Washington, D.C. Kelner was the
student to rubrics in the formative and summative steps integrative projects. The collective of teachers, termed

drama specialist in this original project. The authors Theatre becomes one of the integration. The chapter begins with a brief discussion drama. The strategies are adapted from drama games,
of this book decided to expand upon the project and on the customary means of instruction: Discipline- tools, and other approaches, and include descriptions
disciplines within the overall
provide more detailed step-by-step guidelines so all centered or vertical teaching practices, and horizontal of activities such as role play, tableaux, dramatic play,
teachers would be able to integrate drama with reading. curriculum and the preparation methods, referring to integration or teaching across radio shows, and memory circles. Wilhelm’s perspective
the curriculum. The authors state, “The most effective is consistently geared to help teachers and students
This accessible book presents tips strategically through- focuses not only on finding teachers make judicious use of both models, no matter make connections across modalities and experiences.
out each chapter as well as guidelines specific to
what their discipline may be” (p. 97). The chapter His suggestions are grounded in inquiry that stems
drama and those for reading. The breakdown of goals, connections between the theatre
presents five projects presented in the horizontal method from student as well as teacher questions. Through this
responses, and assessment for each field of study provides
and the chosen content derived of teaching in order to better demonstrate the means of text, Wilhelm articulates the goal of integrating these
a comprehensive journey through each process. The
employing this methodology. This section concludes with practical strategies with strong theoretical frameworks
authors present a very detailed process for integrating from other disciplines, but also on a brief summary of the elements required for integration. that teachers can appropriate and use in their planning.
art and language arts or to be more specific, drama and
Authors recommend that the beginning teacher not He argues, moreover, that the use of new strategies can
reading comprehension. They state that “two separate providing opportunities for students
try to implement the horizontal method until late in reshape teachers’ theoretical thinking. The title aptly
but equal learning domains, art and another subject
to invest the curriculum with their the school year. Each chapter concludes with extension describes the classrooms that adopt these strategies; they
area, can be brought together in ways that synergistically
activities and special hints and resources that are valuable are action-oriented and strive for student engagement at
advance the learning of both farther than either could own background, interests, and for the beginning teacher. all levels in the reading process.
go alone” (p. vii).
information. (pp. 23-24)
The lessons center on four strategies: Story dramatiza-
tion, character interviews, tableau, and human slide Weber, J. (2005). Using theater to teach history in
show. Along with these strategies for drama, the authors
an English class: An experiment in arts integration.
present strategies for reading comprehension and then Orzulak, M. M. (2006). Reviving empathy and Teaching Artist Journal, 3(2), 112-116.
specifically for integration. Each lesson is presented with imagination: Arts integration enlivens teaching and
details so specific that there is little left for chance.
learning. English Journal, 96(1), 79-83. The author, formerly associated with the Baltimore
Shakespeare Festival, provides a case study of a unit that Dance
The writer describes classroom practices and integrates literature, history, and theater. The author was Integration Practices
McKean, B. (2006). A teaching artist at work: professional development activities that were influenced a teaching artist, working with two English teachers
Theatre with young people in educational settings. by her participation in “Teaching Nonfiction through to introduce middle school students to Shakespeare.
Portsmouth, NH: Heinemann. Theatre,” a course that used the topic of Islam to show Rather than simply rely on the text to be of natural
how arts integration can be used to teach nonfiction. interest to the students, the guest teacher uses the history Dunkin, A. (2006). Dancing in your school: A guide for
In this book, McKean provides a framework for Participation in the course revitalized the writer’s of the period and some thoughtful acting activities to preschool and elementary school teachers. Hightstown,
teaching as a teaching artist working in schools. She understanding that when teachers can experience “hook” the children. The author discusses the different NJ: Princeton Book Company.
discusses the value of both content and pedagogical teaching techniques as active participants, they can perspectives of the two participating teachers and
knowledge for teaching artists, while reminding imagine new methods for engaging students as creative reflects on how these perspectives shape the curriculum This text offers a rather comprehensive set of experien-
readers of the importance of maintaining artistry in the participants in the classroom. involving arts integration with a visiting teaching artist. ces for elementary children in dance education
classroom. The author defines educational terms for including, but not limited to, dance integration. A
teaching artist readers who may not be familiar with chapter titled “Dancing as Kinesthetic Reinforcement
educational jargon. McKean contributes an especially of Learning” outlines the application of multiple
Patterson, J., McKenna-Crok, D., & Swick, M. (2006). Wilhelm, J. D. (2002). Action strategies for deepening
cogent definition for arts integration that incorporates intelligences to dance and movement in classrooms.
Theatre in the secondary school classroom: Methods comprehension. New York: Scholastic.
the needs, interests, and modes of learning of the The book explicitly provides resources teachers seeking
and strategies for the beginning teacher. Portsmouth,
students. She explains the important role that theatre to integrate dance with poetry, storytelling, sculpture,
NH: Heinemann. This text, designed for classroom teachers, is intended
could have in schools that integrate its processes and painting, music, and sound effects. The text, written by
to provide teachers, particularly at the middle school
practices: a dance educator, includes a variety of lesson plans and
The fifth chapter in this book is pertinent to arts level, with a vast range of research-based strategies for
directions for implementation for classroom teachers. In
improving students’ reading comprehension through

the introduction, Dunkin notes that one does not have systematic effort to examine what happens to similar the positive results with arts integration and a cross parallel aspects of light and color. Seminar discussions
to be a dancer in order to facilitate the lessons (p. x). The youth who did not participate” (p. 15). learning amongst other disciplines. Through dance, the were built into the class structure to allow greater
author claims that the dance lessons can also enhance students experienced and identified learning styles, the depth of conversation and to explore more deeply the
students’ “creative and learning skills” (p. xi). importance of identifying the body as an extension of art and science connections. To aid the novice reader
learning, the value of the social aspect of the arts, and in seeing how such a class might work, Bopegedera
McIntyre, K. L. (2005). Cultural dances and stories
their association of the arts to their prospective fields presents a sample laboratory as part of this research
from around the world: A discovery of world cultures
of study. article. In his conclusion, this longtime chemistry teacher
Hanna, J. L. (2001). Bringing magic into your school. through dance and drama curriculum designed for
acknowledged not only the success of combining art and
Principal Leadership: High School Edition. 2(3), 21-24. grades K-5. Irvine, CA: Center for Learning through the science for the students in the experiment but also the
Arts. Available at: http://repositories.cdlib.org/clta/ lasting impact that this research has had on his teaching.
Judith Hanna, writing for a principal audience, offers a
artsbridge/20050701KM
rationale for high schools to incorporate dance into the
curriculum. She advocates for dance as an “independent The University of Hawaii sponsored an MFA candidate
discipline” (p. 22) but also suggests the potential for Chessin, D., & Zander, M. J. (2006). The nature of
to teach a 60-hour dance and drama curriculum at
cognitive “transfer of learning” (p. 22) that is possible Friends of Ali’iolani Elementary School where there
science and art. Science Scope, 29(8), 42-46.
through dance education, drawing up the application were no fine arts programs. The K-5 curriculum was Visual Arts
of multiple intelligences as one approach to dance Integration Practices This article is a description of the collaboration between
designed to help students understand world cultures
integration. She notes that students “can learn dance, an art teacher and a science teacher. Teachers realized that
as well as basic principles of dance and drama, with
learn about dance, and learn through dance” (p. 23). students could learn concepts related to decision making
standards-based pre- and post-verbal and written tests
and problem solving as they integrated science and art at
in these three areas, as well as performance-based
Bopegedera, A. M. R. P. (2005). The art and science the middle school level. The co-planning was precipitated
assessments. McIntyre describes the curriculum as
of light: An interdisciplinary teaching and learning unfortunately by a reduction in the art teacher’s time
Heath, S. B. (2001). Three’s not a crowd: Plans, learning through dance and drama, about dance and
experience. Journal of Chemical Education, 82(1), 55-59. at the school due to budget constraints. The science
roles, and focus in the arts. Educational Researcher, drama, and about oneself through dance and drama.
teacher had formerly dismissed art as a secondary subject
30(7), 10-17. This project is part of ArtsBridge America.
The author discusses an interdisciplinary unit of a until she began working with the art teacher in units on
course designed with the help of a visual artist from nature printing, plant taxonomy, and observation skills.
Heath’s study of after-school arts programs holds Evergreen State College. A group of 50 junior and
some important ideas for the study of curriculum Nikitina, S. (2003). Movement class as an integrative senior level students, all art majors, enrolled in the
integration. Concentrating on what she calls the “third experience: Academic, cognitive, and social effects. course. The author, a chemistry teacher, worked with
environment” for learning (not in the classroom or on Chilman, K. (2004). An integrated mural project.
Journal of Aesthetic Education, 37(1), 54-63. them on a unit studying light to see the differences
the athletic team), Heath points out several important School Arts, 103(8), 50-51.
between how artists and scientists understand light:
parallels between what works in the after-school arts Nikitina offers a reflection and collection of thoughts on “Although seemingly disparate, art and science have
environment and what works in other collaborative The art teacher and science teacher in this middle
a program, Claire Mallardi’s “Movement for Actors and much in common. Both disciplines require careful
work environments, such as the classroom or the school planned this integrated project emanating from
Directors,” presented to students at Harvard University. observation, contemplation, record keeping, attention
science laboratory. an environmental unit in the science classroom. They
Mallardi’s course is meant to “train the body to keep up to detail and, in the 21st century, use of advanced
chose 20 interested students as the Eco-Team, who then
Heath examines two specific arts forms and their with the mind” and to encourage the students to be able technology” (p. 55). This quote indicates that the author
attended several meetings to discuss and draw ideas,
effects: Dance and the visual arts. She saw an emphasis to combine physical activities such as dance, reading, approached the unit with an open mind, recognizing
listen to a professional muralist, and create a plan for
on the process of working through ideas, what she visiting art exhibits, attending shows and concert, and the essential similarities in the disciplines of study. This
publicizing and finding wall space. Students and teachers
calls the “temporal arc” that moves from planning and peer evaluation. According to the author, Mallardi’s would make it easier for him to note any differences.
collaborated and obtained site permission, finalized
preparation to practice and deliberation with sufficient course is inherently integrative because it demonstrated
The faculty and students involved in this interdisciplinary the mural design in proportion to the wall space, and
space and time to allow for trial and error learning. how the arts naturally “transcend the boundary of body
unit were immersed in their study for a significant period gathered materials.
Heath also anticipates the primary criticism leveled with the mind.”
of time. A series of skill development art workshops were
against the research in support of arts integration. She Along with the public art that was created, community
The responses from the students were indicative of paired with science laboratory experiments exploring
acknowledges that “almost no evaluations make any

interest and support was garnered for the school and “All artists are chemists” (p. 33), note the authors of Holder, C., & Pearle, L. (2005). Fracturing fairy tales: Nelken sets up a still life that is similar to the one that
the art department. Most importantly, students of the this article. In this curriculum unit, chemistry students The stories of two teacher-learners. Knowledge Quest, Goings painted. She talks her students through the scene
team reportedly took on leadership roles in the school create an original artwork and describe the chemistry 33(4), 19-20. and discusses any artistic ideas that they may have
community and the outside community. The Eco-Team principles involved in their work. Before beginning the about the scene and then she introduces the painting.
students prepared a presentation for the chamber of challenge, students learn the chemistry concepts and As the title suggests, this article describes the This approach allowed her students to develop their
commerce asking for assistance in securing a wall site related art techniques through a series of eight activities. collaboration of two teachers, a librarian and an art own imagination first, rather than simply accept
and funding for the next mural, and are writing a grant The 5-week chemistry unit centers on the Artist as teacher, who worked with elementary children to the artists’ interpretation before allowing their own
for additional funding from other sources. Chemist and uses a problem-based, inquiry learning “fracture” well-known fairy tales and then illustrate imagination to bloom.
model. Students learn chemistry through a series of their retold tales in art class. The article demonstrates the
eight activities. collaboration, while each teacher describes her approach
to the project with a fourth/fifth grade class. Olshansky, B. (2006). Artists/writers workshop:
Coufal, K. L., & Coufal, D. C. (2002). Colorful wishes:
The fusion of drawing, narratives, and social studies. Focusing in on the art of writing. Language Arts, 83(6),
Communication Disorders Quarterly, 23(2), 109-121. Fello, S., Paquette, K. R., & Jalong, M. R. (2006/2007). 530-533.
Talking drawings: Improving intermediate students’ Jones, M., & Ross, B. (2005). Picturing a story.
Coufal and Coufal examine third-grade students comprehension of expository science text. Childhood Teaching PreK-8, 35(6), 50-51. The focus of this workshop is “to create a democratic
who use drawings to help develop a sense of narrative Education, 83(2), 80-86. classroom community in which words and pictures
composition. Since “[s]tudies of children’s early writings This article describes a planned collaboration between are treated as equal and complementary languages for
have documented that beginning writers spontaneously The writers describe Talking Drawings, a research- a fifth-grade teacher and a school art specialist in which learning” (p. 530). This workshop combines reading and
use drawing as an alternative symbol system” (p. 109), it based strategy that can be easily incorporated into students were taught to link visualization in reading, art as partners to enhance the verbal and written skills of
is only natural to look for ways to take advantage of this science curricula in the intermediate grades. This descriptive writing, and illustration. Students illustrated children. The children, many of whom may be unable to
tendency by infusing arts instruction into early writing strategy enables children to combine their prior each other’s writings as well as their own descriptions. express themselves in writing, utilize pictures from which
situations. The studies quoted above are by Bissex, knowledge about a topic with new information derived They then wrote and illustrated books for the first-grade they create collages. Through these collages, the children
Caldwell and Moore, Dyson, and Wilson and Wilson. from expository text. It involves students translating class in the school. create a story and this stimulates them to “tell” their
The findings of these researchers are also consistent recently acquired understandings into illustrations story. The pictures come first and the words follow, but
with Vygotsky’s findings that children comfortably and further elaborating their understandings through the process goes back and forth to continue the stimulus.
move between systems of drawing and writing. Since discussion with partners. The writers provide examples Kegel, S. (2006). The art and science of aerial
The goal is to teach the children “the language of words
children seem to see little difference between words and of the use of Talking Drawings that reflect students’ as well as the language of pictures.” Photographs and text
perspective. School Arts, 106(3), 38-39.
visuals as effective symbol systems for communicating misconceptions and understandings regarding the topics that capture the voices of children who took part in an
ideas, they are more naturally comfortable with the of space, oceanography, and rain forests. Kegel describes an activity on aerial perspective for artists/writers workshop are provided. The workshop
coexistence of these instructional techniques. elementary school students that combines art and science enabled children to explore meaning making by moving
and introduces Chinese painting and poetry. between pictures and words.
What Coufal and Coufal find in their research is that
the mystery of language, written or otherwise, is a Fowler, K. (2003). The first lesson. Irvine, CA: Center
process of gaining control of, and making sense of, the for Learning through the Arts.
environment around us. As such, they propose that Patterson, B. (2001). Blending art and geometry with
Nelken, M. (2004b). Setting the table. School Arts,
“curriculum integration is more than a reorganizing Fowler, Director of ArtsBridge from 1996-2004, precision. Arts & Activities, 130(1), 46.
103(5), 25.
of subject area—It is a change in philosophy” (p. 113). describes this lesson plan for first and second grade that
integrates visual arts and reading skills. The project is This brief how-to article concentrates on one classroom The author, an art teacher in a Texas elementary school,
designed to introduce the concept of “thinking in the exercise. Nelken shows the careful planning and analysis presents a quick and useful how-to lesson in integrating
box and out of the box,” and in this case, perceiving the that lies behind a successful arts project in the classroom. the study of art history with geometry and technology.
Eisenkraft, A., Heltzel, C., Johnson, D., & Radcliffe, Beginning with an introduction to two twentieth
box as an artist’s portfolio. Here, her students are introduced to a painting by Ralph
B. (2006). Artist as chemist. The Science Teacher, century artists, Charles Demuth and Charles Sheeler,
Goings, called “Still Life with Red Mat.” But rather than
73(8), 33-37. she worked with the students to understand their ideas
looking at the painting and then trying to emulate it,

behind the design of their paintings. This allowed a music to other disciplines and cultures. The following is both a composer and teaching artist and presents
discussion of history and a discussion of geometry to quote is pertinent to these standards: “Although extensive listening notes cued to instances of this
occur side-by-side in the classroom. Students then educational institutions segment knowledge into seminal jazz piece. Cabaniss describes his goal to move
discussed how to emulate these drawings and worked separate packages called subjects, deep understanding beyond nurturing appreciation to developing active
on their computer using a graphic design program. They
Music often depends upon the intersections and interactions communication with students. The author developed a
had to understand the basic geometric principles of the Integration Practices of the disciplines” (p. 27). Barrett illustrates music series of leading technical questions designed to promote
shapes that they worked with and had to master a design interdisciplinary curriculum examples that secure the an active conversation among the students and build
program that would allow them to make their art ideas integrity of music as well as other disciplines engaged activities for the classroom based on those questions.
a reality. This is a simple lesson idea that any art, math, or in learning and teaching. Barrett cautions against false
Andrews, L. J., & Sink, P. E. (2002). Integrating
computer teacher could easily adapt to their classroom. connections, noting that “when connections between
music and reading instruction: Teaching strategies for
music and another discipline are valid, the bonds
upper-elementary grades. Reston, VA: The National Collett, M. J. (1991). Read between the lines:
between the disciplines are organic; that is, they make
Association for Music Educators (MENC). Music as a basis for learning. Music Educators Journal,
sense without forcing a fit or stretching a point” (p. 28).
Stokrocki, M. L. (2003). ArtsBridge to the Yavapi 78, 42-45.
The author describes the Facets Model as a method of
children: A desert ecology unit in visual art. This book was labeled on The National Association
teaching and implementing a work from many different
Irvine, CA: Center for Learning through the Arts. for Music Educators (MENC) website as their “answer This describes the experiential learning process provided
angles. She poses a perspective of curriculum that is
Available at: http://repositories.cdlib.org/clta/ to the No Child Left Behind Act” (www.menc.org). by arts education. The 20-year old program, Learning to
composed of elemental, structural, and expressive facets.
artsbridge/20030601MS The text addresses effects of music and reading Read Through Arts (LTRTA), is an integrated approach
integration on students’ achievements and attitudes, to teaching in the elementary curriculum. Integration is
In this ArtsBridge project, a University of Arizona including a review of related research, and contains considered a collaborative effort between the specialist
specific materials and teaching techniques for using Barrett, J. R., McCoy, C., & Veblen, K. (1997). Sound and the classroom teacher. LTRTA was originally
professor and faculty mentor worked with an art
children’s literature to teach music concepts and skills. ways of knowing: Music in the interdisciplinary established in New York City as a Title I program.
“scholar-teacher” and graduate student to offer an art
class to Yavapi third graders. The 10-week program In addition to providing applications of integration classroom. Belmont, CA: Wadsworth.
In this methodology, the concept of sequential arts
was based on the theme “Our Place in the World” theory for the classroom, the lessons highlight related
Written by scholars and professors of music education, education is combined with an integrated curriculum.
(www.artsednet.getty.edu) and included art history, art standards from the National Standards for Music
this text offers a design for teaching and learning with The result of this method of instruction has proven
criticism, and creating art components. The team used Education. Addressing the important topic of the
music integrated throughout the curriculum. The that “students learn more with a curriculum based on
a pre- and post-questionnaire and drawing to assess in effects of music and reading integration on students’s
authors demonstrate elaborate links between music and integrated thematic units generated by the arts.” Two
part what students learned. achievements and attitudes, this book presents 20
our traditions, history and expressive natures. The book musical pieces, Prokofiev’s “Peter and the Wolf ” and
lessons for integrating selected music and reading
demonstrates in detail how teachers can develop teaching Saint Saëns’ “Carnival of the Animals” provide examples
concepts and skills. Designed for upper-elementary
materials, and collaborate with music and arts specialists for this approach in the article. LTRTA has been able to
music and reading teachers, it provides specific
Walling, D. R. (2006). Brainstorming themes that and classroom teachers to develop interdisciplinary demonstrate learning achievements in reading, sciences,
materials and teaching techniques.
connect art and ideas across the curriculum. Art enriched learning experiences for students. Case “and an effectiveness on both the attitude and total
Education, 59(1), 18-23.” studies of applied concepts, guided exercises to develop achievement of the child” (p. 45).
interdisciplinary materials, and sample listening and
The purpose of this article is to suggest an instructional Barrett, J. R. (2001). Interdisciplinary work and musical
lesson plans are provided.
brainstorming approach to exploring connections integrity. Music Educators Journal, 87(5), 27-31.
Cosenza, G. (2006). Play me a picture, paint me a
between the visual arts and “ideas” that extend beyond song: Integrating music learning with visual art. General
the art class to other areas of the curriculum. The author The focus of the article is on curriculum development
Cabaniss, T. (2003). A teaching artist prepares. Music Today, 19(Winter), 7-11.
gives two examples of such ideas, Art and Conflict and that challenges students to be able to relate their
learning to life-long, meaningful experiences. The first Teaching Artist Journal, 1(1), 31-37.
Art and the Commonplace. For the former, he describes Elements present in most musical compositions—form,
the work of Picasso and Goya and how historical studies reference is made to the national standards for music’s
The author describes how he prepared a unit examining style, timbre or color, flow, contrasts of tension and
of war and conflict can be pursued through art works “relationship standards”: Content Standard 8 and
Miles Davis’ classic recording “All Blues.” The author release, mood, and cultural derivation or influences—are
and the story of these artists’ work and lives. Content Standard 9. Both standards refer to relating
also found to greater and lesser degrees in visual works

of art. This is the basic premise of this article that Garland, T. H., & Kahn, C. V. (1995). Math and music: Rogers, G. L. (2004). Interdisciplinary lessons in
offers direction for art and music teachers interested Harmonious connections. Palo Alto, CA: Dale Seymour. musical acoustics: The science-math-music connection.
in integrating the two disciplines. In Cosenza’s Music Educators Journal, 91(1), 25-30.
approach, students examine a work of art by an artist In this book, the authors examine the relationships
or craftsperson from a specific cultural or stylistic between math and music. Using mathematical concepts Rogers describes the concept of acoustics as the “perfect
tradition and “use their impressions and ideas about the such as proportions, patterns, Fibonacci numbers, interdisciplinary topic” (p. 26) because of the natural
artwork to create a movement piece and soundscapes geometric transformations, trigonometric functions, intersections of the disciplines of music, science, and
with unpitched percussion and/or vocalized sounds, or and fractals, they discuss how such concepts are also mathematics. The article includes a Glossary of Acoustics
musical compositions with harmony and/or melody inherent in music. Mathematics can be used to analyze Terms for Musicians and provides basic scientific
using ostinato-based melodies and accompanying musical rhythms, to study the sound waves that produce information, using musical examples, to enable musicians
patterns with layers of rhythms, to accompany the musical notes, to explain why instruments are tuned, to participate in planning such a unit with peers.
movement.” The reverse can also be done, beginning and to compose music. The book is organized into
with a piece of music and working toward the eight chapters: 1) “The Essence: Introduction”; 2) “The
development of a work of art. This approach is most Beat: Rhythm”; 3) “The Tone: Frequency, Amplitude”; Veblen, K. K., & Elliott, D. J. (2000). Integration for or
suited to upper elementary and middle school students, 4) “The Tune: Tuning”; 5) “The Song: Composition”;
against? General Music Today, 14(1), 4-8.
according to the author, although the activity may be 6) “The Source: Instruments”; 7) “The People: Human
adapted for younger students. Connections”; and 8) “The Curiosities: An Assortment.” The co-authors present competing arguments for
An epilogue, end notes, bibliography, and index integrating music education with other subject areas.
conclude the book. Veblen, who argues in favor of music integration,
Dudley, L., Pecka, W., Lonich, N., Kersten, F., Adair recognizes that lack of time and demands placed on
Hauser, A. J., & Trimble, G. O. (1994). Idea bank: Math, schools to sequentially construct curriculum do not
science, whole language—and music. Music Educators Hansen, D., Bernstorf, E., & Stuber, G. (2004). The allow integration to be the rule; rather, integration
music and literacy connection. Reston, VA: The needs be used carefully. As a music educator, she is
Journal, 81(2), 48-50.
National Association for Music Educators (MENC). also concerned that this might be the only musical
Responding to National Music Content Standard 8, exposure that students receive. She is careful to note
“Understanding relationships between music, the This is a practical text with ideas that can immediately that integration in other classrooms is an extension of
other arts, and disciplines outside the arts,” the authors be used in the classroom. This book goes beyond standard exposure to music.
describe multiple examples of music being incorporated a thematic link between reading and music to an Elliott argues against integration. He is concerned
into the regular classroom. They begin by stating, examination of those skills that are directly parallel in not only that the importance of music as a field of
“Integrating music into all curriculum areas is a natural music learning and text reading, including decoding, knowledge will be de-emphasized through integration,
process” (p. 48), and then offer examples integrating and comprehension. There is a discussion of writing but he also argues that a view of “the arts” as a field of
music with mathematics (fractions), science (the rain in the music classroom and a variety of instructional knowledge is a mistaken one. Each of the arts, he argues,
forest), and whole language (vocabulary development). examples as well as specific strategies for music and is a particular kind of endeavor. He further argues against
The article stresses the need for teacher collaboration reading teachers to support each other. A notable the idea of transfer from any one academic area to
across disciplines and provides suggestions for how chapter is titled, “Music Teachers Are Literacy Teachers another as being a reasonable expectation.
to work with colleagues to plan and implement arts and General Classroom Teachers Are Music Teachers.”
integrated curriculum. The text also presents research supporting the links
between music and literacy, a chapter on assessment,
and student work samples.

8
Conclusion
structures, strategies are most effectively integrated and at

which developmental level(s).”
Evaluation and research is clearly needed in the area of

Next Steps for teacher development with respect to arts integration.
Research and Practice Teacher education programs do not always prepare
teachers for collaborative planning, working with arts
specialists in schools or teaching artists in communities.
The “emerging roles for teaching artists” in schools,
Elliot Eisner (2002) notes that what the field of
as well as the optimal preparation and development of
arts education needs with respect to research is an
teaching artists are important areas for investigation as
agenda. The same could be said of this emergent
well. School change studies are needed to document
field of arts integration. In 2004, the Arts Education
what happens when teaching artists, museum docents,
Partnership (AEP) outlined new opportunities for
university interns, cultural organization education
research in arts education. Many of the topic areas
directors are all in integrative partnerships with
listed in this document begin with “The Arts and…”
schools and teachers. Whole school studies, including
or “Arts Learning and…”, suggesting the need for
investigation of leadership patterns that examine what
and interest in how the arts intersect with areas such
happens when arts integration practices are introduced,
as literacy and language, self-identity, social skills,
expanded, and institutionalized are also important
persistence, resilience, group learning, and participa-
contributions to the field.
tion in a democratic society, to name a few. Further
investigation of transfer, the “impact of arts on cognitive Arts integration researchers need to continue to test
development” and the “interaction of cognitive and and critique methods for assessing the quality of teaching
affective processes in the arts” is warranted. More study is and impact on learning in arts integration curriculum
also needed concerning “which content skills, concepts, with methodology designs shared for different scopes
75
and scales of implementation. Certainly, the dialogue skills, and understanding that we
regarding causation, correlation, and connection
need in order to create a world and
must continue without allowing that conversation to
dominate either research or practice. These research live lives that we consider decent and
programs, if implemented and disseminated, become
Arts Integration…To Get
tools for engaging policy makers and researchers beyond to the Other Side morally acceptable.
the arts community.
Seidel challenged the listeners to think about what was
Maxine Greene notes, “Mastery of a range of languages
In March 2005, New York University and the New really worth learning about in these times, citing such
is necessary if communication is to take place beyond
York based project ArtsConnection hosted a conference “big ideas” as human rights, languages, globalization,
small enclosures within the culture; without multiple
titled, “Beyond Arts Integration: Defining Learning monuments, sadness, and density as topics rich enough
languages, it is extremely difficult to chart the lived
in Arts Education Partnerships.” The conference, by to be worth the journey to “the other side.” Seidel
landscape” (1995, p. 57). After examining the perspectives
its very title, provokes comment and intrigue. Are we proposed that these topics are so fundamentally complex
concerning arts integration in and across professional
and rich that it’s hard to imagine teaching them without
conclusion
indeed “beyond” arts integration in education? Or, are
associations, arts organizations, and in higher education,
we simply beyond the need to defend the presence integrating the arts because other disciplines alone could
it appears that continuing communication is essential if
of arts integration in schools and classrooms, so that not fully address their richness. The arts bring artistry;
quality arts education that incorporates integration is to
we might now truly examine teaching and learning the arts bring artistic process, such as improvisation,
continue. Dissemination of effective integration practices
demonstrated in those classrooms? composition, interpretation, practice, performance,
within the arts and non-arts fields that preserve the
and critique, Steve argued.
integrity of the disciplines is crucial. Compelling Steve Seidel presented the keynote address at that
theoretical frameworks are needed that illustrate arts conference (http://www.artsconnection.org/keynote. This literature review would indicate that arts integration
specific and arts integrative learning as a continuum. html) and titled his talk, “To get to the other side: is indeed a path for many students, teachers, artists,
More contributors to this dialogue serve to break down Curricular integration, dangerous ignorance, and the schools, and communities. It is our hope that sharing
false dichotomies in order to further genuine and drama of learning.” He began, in traditional keynote research and practice will allow new research agendas,
authentic research consistent with the arts domains style, with a joke: new perspectives, and new conversations across pathways
themselves. Dana Balick (1999) reminds us that “under- to indeed get to “the other side.”
standing is rarely, if ever, a solo enterprise” (p. 153). Why did the arts educators and the
The field would benefit from a wide dissemination
other teachers in the school integrate
of project implementation and evaluation reports as
well as teacher writings regarding the development their curricula? To get to the other
of integrative instructional and assessment practices.
Often such reports are not published and are not side. Okay, that’s not really a joke.
readily available so that others can learn from what has It’s actually serious and it’s the title of
already been done. Scripp and Subotnik (2003) call for
the publication of integrated learning curricular units this talk.
with explicit objectives that draw upon collaborative
efforts among higher education faculty, teaching artists Of course, Seidel knew he would have to describe what
and classroom teachers. Such curricula, if distributed he meant by “the other side”:
across schools and networks, could be field tested and
evaluated by practitioners and researchers in arts fields Right off, I’d like to try to name what
and non-arts fields, as well as assessed in diverse contexts
and classrooms by more than one teacher. is on the “other side”: I’d say that on
the “other side” are the knowledge,

R
» R e f e r e n c e s » a pp e n di x a » App e n di x b
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a
Appendix a
An Inventory of Arts-Related Academic and Social Outcomes Found in

Critical Links Indexed by the Academic and Social Arena Where They
Have Impact, and by Study
This index on the following page is based on a chart from James Catterall’s essay, “The Arts and the Transfer of Learning,” in
the research compendium, Critical Links: Learning in the Arts and Student Academic and Social Development. Catterall’s original
chart provides a preliminary inventory of the academic and social outcomes that are shown to be, by the studies collected in
Critical Links, related to learning in the arts; this index groups those outcomes by the academic or social arena in which the
have impact (e.g., reading and language development, mathematics) and/or by any special population of students for which
particular outcomes were found.
Additionally, next to each outcome indexed in this chart, are listed examples of studies in Critical Links that find a
relationship between arts learning and that outcome. The studies are indicated by the name of the study author (printed
in parenthesis after the outcome listed). Following the index is a listing of the study titles and authors, designed to facilitate
locating the studies in Critical Links.
This chart does not claim to be exhaustive, but rather is intended to be a useful tool in finding material that is target to
specific reader needs or interests. The specific studies and the essays in Critical Links should be referenced for more detailed
information, particularly on the strength of the relationship of a particular arts learning experience to an outcome/s
(the strength of these relationships varies by study). »
95
Reading and Language Development General Academic Skills
Basic Reading Skills SAT verbal scores (Vaughn & Winner) Paying attention Expressive skills (Rose, Mentzer & Boswell,
Reading readiness (Podlozny, Burger & Winner) Schaffner, Burton & Horowitz)
Language instruction/learning (Lowe— Concentrated thought
Basic reading skills—consonant sounds, vowel French language) Imaginativeness (Fink)
Focused perception (de la Cruz,
sounds, segmentation (Rose) Oral language development (de la Cruz, Burton & Horowitz, Kariuki) Performance on standardized tests (Catterall,
Kassab, Podlozny; Pellegrini, 1984b) 1998 & April 1999)
Literacy and Language Development Higher-order thinking skills (Kim;
Story comprehension (DuPont, Pellegrini & Explicit language development Pellegrini, 1984b) Non-verbal communication skills (Parks & Rose)
Galda, Podlozny, Williams & Silvern, Wolf, (Pellegrini, 1984b)
Problem-solving dispositions/strategies Persistence (Ross)
Page, Parks)
Writing (Palmer Wolf)
Perseverance/Persistence
Character identification (Goodman, Page) Writing quality (Moore & Caldwell, Kariuki) Creative thinking: i.e., fluency, originality,
Risk taking (Burton & Horowitz)
Character motivation (Page) abstractness of thought (Mentzer & Boswell,
Writing achievement (Podlozny)
Leadership (Horn)
A ppe n di x a
Minton, Kim, Burton & Horowitz, Moga)
Sophisticated reading skills/interpretation of Writing fluency (Pellegrini, 1980)
text (Parks) Elaboration and flexibility (Minton)
Seeking resources to improve writing (Horn)
Skill with subsequently read, unrelated texts
(DuPont, Podlozny) Persuasive writing (Wagner)
Reading, verbal skills (Page, Wilhelm)

Reading achievement (Butzlaff, Podlozny)
Self-motivation General Social Skills
Engagement/attendance (Page, Palmer Wolf, Social tolerance (Ross)

Horn, Seidel, Center for Music Research,
Understanding social relations (Fink)
Corbett et. al., Wilhelm)
Mathematics Science Ability to explore complex issues and
Educational aspirations (Heath)
emotions (Seidel)
Ownership of learning (Burton & Horowitz)
Math achievement/skills (Rauscher, Vaughn; Reasoning about scientific images (Tishman) Attention to moral dilemmas (Schaffner)
Catterall, 1998, April 1999, and July 1999) Self-concept (Rose, Mentzer & Boswell, Horn,
Increased peer interaction (Schaffner)
Kassab, Wolf, Burton & Horowitz, Seidel)
Spatial reasoning (Costa-Giomi)
Conflict resolution skills (Pellegrini, 1984a)
Self-confidence (Ross, Horn)
Spatial temporal reasoning (Rauscher, Hetland
Empathy for others (Catterall—April 1999;
a&b, Bilhartz, Rauscher & Zupan) Self-efficacy (Kennedy)
Burton & Horowitz, Harland)
Nonverbal reasoning (Kienenan) Self-esteem (Kassab)
Collaboration skills (Burton & Horowitz,
SAT math scores (Vaughn & Winner, Vaughn) Palmer Wolf, Seidel)
Positive social behavior (Standley, Horn)
Community service (Catterall, 1998; Heath)
Self-control/regulation (de la Cruz, Baum
& Owen)
Courtesy to others (de la Cruz)
Social Compliance (de la Cruz)
Social Problem Solving skills (Williams & Silvern)

Compendium studies by
Impacts on grade-level of the student
Special Populations the Whole School population examined
Lower SES Students At-risk students Instructional practices in the school Of the 62 Compendium studies*
Story understanding—written Self- confidence, self-image, seeking (Seidel, Nelson)
29 examine Elementary students,
measure (Podlozny) additional resources to support writing,
Professional culture of the school
positive social behavior (Horn) 18 examine Middle school students,
Story recall, conflict-resolution (Seaman, Burton & Horowitz, Nelson)
(Pellegrini, 1984a) Self-perception, momentum, accuracy (Wolf) 14 examine High School students, and
School climate (Seaman, Burton &
A ppe n di x a
Reading skills (Rose) Self-efficacy, (Kennedy) Horowitz, Nelson) 11 are Meta-analyses (including various
age groups).
Academic achievement (test scores), (Remedial reading students): School identity (Nelson)
student retention, self-concept, community Story comprehension and skill with * Please note that when a study examined more than one age
Community engagement (Seaman, Nelson) group it was counted once for EACH relevant age group. Therefore
service, student boredom (Catterall, 1998) subsequent unrelated text (DuPont)
the total number listed here, 72, is higher than the actual number of
Reduced dropout rates (Catterall, 1998) studies in the Compendium, 62.
Math achievement, empathy, tolerance Self-regulation (Baum & Owen)
(Catterall, April 1999) Teachers innovation (Burton & Horowitz)
Educational aspirations, community
Special education students service (Heath) Increased teacher awareness of student abilities
Ignoring distractions, courteous behavior, (Burton & Horowitz)
Engagement (Center for Music Research)
self-control , following directions, and oral
expressive language sills (de La Cruz) Incarcerated youth
(Youth in the study were also low-income
Writing skill, focused perception (Kariuki)
and had low-English proficiency):
(Two boys with learning disabilities): confidence, tolerance, persistence (Ross)
writing and drawing (Mentzer & Boswell)
Reading, engagement (Wilhelm)
Young Children
Story comprehension (Page; Pellegrini &
Galda, Pellegrini, 1984a)
Persuasive writing (Wagner)
Math and reading (Catterall, July 1999)

b
Appendix b
An Inventory of Arts-Related Academic and Social Outcomes Found in

Critical Links—Organized by Cognitive Capacities and Motivations
This chart on the following page is based on a chart from James Catterall’s essay, “The Arts and the Transfer of
Learning,” in the research compendium, Critical Links: Learning in the Arts and Student Academic and Social Development.
Catterall’s original chart provides a preliminary inventory of the academic and social outcomes that are shown to be,
by the studies collected in Critical Links, related to learning in the arts.
This chart separates out the outcomes Catterall lists for each art form (drama, multi-arts, music, dance, and visual arts)
into two areas: 1) outcomes related to cognitive capacities and 2) outcomes related to student motivation. The specific
studies and the essays in Critical Links should be referenced for more detailed information, particularly on the strength
of the relationship of a particular arts learning experience to an outcome/s (the strength of these relationships varies
by study). »
101
» Drama » multi-arts » music » dance » visual arts
Understanding social Conflict resolution Empathy for others Spatial temporal reasoning Creative thinking— Content and
relationships skills Math achievement/proficiency fluency organization
Creativity/Creative thinking
Originality, elaboration of writing
Ability to understand Skill with subsequently
(Academic and Social Skills)
Reading, verbal and Reading achievement

complex issues and read, unrelated texts and flexibility Sophisticated
mathematics skills Cognitive development
emotions Expressive skills reading skills/
Problem-solving Collaboration skills Spatial reasoning interpretation
Concentrated thought dispositions/ Reading skills
» Cognitive Capacities
Leadership Quality of writing of text

Story comprehension strategies)
Higher-order thinking skills Nonverbal reasoning Reasoning about
(oral and written) Prolixity of writing
Special Populations Creativity in poetry scientific images
Character Impacts on School SAT verbal scores
Lower SES Students:
A ppe n di x b
Social tolerance Reading readiness
identification story understanding, Instructional practice in the school Skills for second
Character motivation story recall, conflict Professional culture of school language learners Special populations
Increased peer resolution School climate Two boys with
interaction learning disabilities:
Community engagement writing and drawing
Writing proficiency and identity
and prolixity Reduced dropout rates
Engagement Self-confidence Self-efficacy Self-confidence

General self-concept Risk taking Self-concept Persistence
(Attitudes and Dispositions)
Paying attention Appreciation of

Special Populations
Self-initiating individual/group
Special education students: social development
ignoring distractions, courteous Persevering
behavior, acceptable use of Task persistence
free time
Ownership of learning
At-risk students:
Achievement motivation
self-confidence, self-image,seeking
otivations
additional resources to support writing Cognitive engagement

Educational aspirations
Engagement/attendance
»M
About the Authors
Dr. Gail Burnaford is currently a Professor in Curriculum and Instruction at Florida Atlantic University (FAU). Much of her
research and school-based work for the past fifteen years has focused on the role of arts in schools. She is a musician, sang with
the Atlanta Symphony Chorus and Chamber Chorus for ten years under the direction of Robert Shaw, and now sings with the
South Florida Master Chorale. Dr. Burnaford conducts research, evaluation, and professional development with the Chicago
Arts Partnerships in Education (CAPE), Ravinia Music Festival, Hubbard Street Dance Company, and other arts organizations
working with schools. She regularly provides professional development for teaching artists, arts specialists, and teachers focused
on arts partnerships, action research, and documentation. Dr. Burnaford holds a PhD from Georgia State University. Prior to
coming to FAU in 2003, she was the Undergraduate Director of Teacher Education in the School of Education and Social
Policy at Northwestern University. Her research and teaching interests include teacher development, and teaching and learning
policy, as well as arts education.
Sally Brown holds a Bachelor and Master of Arts in Music from Florida Atlantic University in Boca Raton, Florida. She is
currently working toward a PhD in Comparative Studies/Fine and Performing Arts also at Florida Atlantic. Ms. Brown is a
middle school choral director at A. D. Henderson University School and a graduate teaching assistant in the Choral and Vocal
Studies Department of Music at FAU.
James Doherty lives in Summit, New Jersey with his wife Beth and son Gram. He is the Math Department Chair of
Kent Place School, an independent, K-12, all-girls’ school. Jim holds a BS and M.Ed. in Mathematics Education from the
University of Florida, Gainesville. He is a doctoral candidate studying Instruction and Curriculum in Florida Atlantic
University’s Department of Teacher Education and is interested in leadership, professional development and the preparation
of mathematics educators.
Dr. H. James McLaughlin is an Associate Professor and Director of Graduate Studies in the Department of Teacher
Education at Florida Atlantic University. He holds a PhD from the University of North Carolina at Chapel Hill and prior to
coming to FAU in 2004, he was an Associate Professor in the College of Education at the University of Georgia. He teaches
graduate courses in global education and curriculum and instruction and conducts program evaluation research. His research
interests also include rural education in Mexico and teacher development.

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What are some of the definitions and frameworks for arts integration discussed in the literature?

What are some of the definitions and frameworks for arts integration discussed in the literature?

What are some of the large-scale research studies on arts integration mentioned?

What are some of the large-scale research studies on arts integration mentioned?

Arts Integration

Frameworks, Research & Practice »

a clar ification, and an intensification

41 Meta-Analyses: Arts and Non-Arts Learning

46 Discrete, Small-Scale Arts Integration Studies 2003-2007

iv Introduction 49 Teacher Development and Arts Integration Research

1 one » Historical Context for Arts Integration

ii Arts Integration Frameworks, Research, and Practice: A Literature Review iii

iv Arts Integration Frameworks, Research & Practice » A Literature Review v

Arts Education worked to undo many of the Johnson administration’s

2 Arts Integration Frameworks, Research & Practice » A Literature Review 3

the National Dance Association (NDA).

6 Arts Integration Frameworks, Research & Practice » A Literature Review 7

Interdisciplinary connections can open segment knowledge into separate

idea: “Understanding relationships

music in relation to history and

8 Arts Integration Frameworks, Research & Practice » A Literature Review 9

professional journals that could be termed integrative is labeled interdisciplinary, perhaps

12 Arts Integration Frameworks, Research & Practice » A Literature Review 13

14 Arts Integration Frameworks, Research & Practice » A Literature Review 15

Interdisciplinary Studies Project, Mansilla and Gardner (2004) commented on the

increased attention to interdisciplinarity, while simultaneously raising awareness of its often

on an analysis of current institutional interdisciplinary programs and practices: consistency,

balance, and effectiveness.

Ross Miller (2005), Director of Programs for the Office of

He notes that at the college level, integration can involve

1 Disciplinary grounding (Have

18 Arts Integration Frameworks, Research & Practice » A Literature Review 19

and Cohen-Evron (2000):

1 using the arts as a resource for other

Arnold Aprill (2001) calls for a new model of curricular

3 using the arts to interpret ideas or

1 focus on a particular historical period

3 identification of a major theme or idea underscores learners’ needs to map knowledge,

4 access through the process of solving

22 Arts Integration Frameworks, Research & Practice » A Literature Review 23

24 Arts Integration Frameworks, Research & Practice » A Literature Review 25

» Evolution of Curriculum Integration Approaches (Brown & Nolan, 1989)

26 Arts Integration Frameworks, Research & Practice » A Literature Review 27

been helpful. John Clinton’s brief review (http://www.sde.state.ok.us/Art/pdf/ResearchArts.pdf)

30 Arts Integration Frameworks, Research & Practice » A Literature Review 31

1 Positive changes in school climate

3 CAPE succeeded in getting teachers

The A+ Schools Program is a whole school reform

32 Arts Integration Frameworks, Research & Practice » A Literature Review 33

34 Arts Integration Frameworks, Research & Practice » A Literature Review 35

36 Arts Integration Frameworks, Research & Practice » A Literature Review 37

38 Arts Integration Frameworks, Research & Practice » A Literature Review 39

40 Arts Integration Frameworks, Research & Practice » A Literature Review 41

do not appear on standardized 2 Areas where the research shows

42 Arts Integration Frameworks, Research & Practice » A Literature Review 43

44 Arts Integration Frameworks, Research & Practice » A Literature Review 45

46 Arts Integration Frameworks, Research & Practice » A Literature Review 47

48 Arts Integration Frameworks, Research & Practice » A Literature Review 49

50 Arts Integration Frameworks, Research & Practice » A Literature Review 51