SongMakers: An industry-led approach to arts partnerships in education

Reported benefits of arts partnerships with schools range from improvements in students' motivation and engagement in learning to teachers' increased confidence in teaching the arts, and strengthened school and community relationships. Yet, in the scholarship on arts partnerships to date, limited critical attention has been given to the impact of programs primarily driven by government supported industry-based imperatives. There may be legitimate concerns that, in primarily servicing economic or employment needs, industry–school partnerships overlook social and interpersonal aspects of learning in favor of goal-orientated skills training to meet “the market.” This article informs arts education policy and industry directions by acknowledging this concern and reporting on the outcomes of an industry–schools partnership where industry “training” appears to be leveraging a number of more holistic student learning outcomes. Jointly funded by industry and government, SongMakers is an Australian artist in residence program that aims to improve the export potential of Australia's contemporary music industry and contribute to the implementation of a contemporary music curriculum. It involves professional songwriters and producers with international recording experience working as mentors to students who create and produce new music in intensive two-day workshops. This article outlines how the program is demonstrating emergent positive impact not only on students' music knowledge and skill development, and understanding of the contemporary music industry, but on engagement, confidence in learning, and self-efficacy. It does not argue that all industry programs can or will achieve such impacts, but that diverse kinds of arts partnerships in schools can contribute to a viable ecology of quality educational practice in the arts.     

Cognition and Student Learning through the Arts

In recent years, an increasing number of studies have suggested connections among cognition, social and emotional development, and the arts. Some of this research indicates that students in schools where the arts are an integral part of the academic program tend to have an academic advantage over students for whom that is not the case. This study examines factors in schools and at home that contribute most to the variance in student learning and achievement, particularly as they relate to the arts, using a sample of more than 8,000 students in grade 5. The findings suggest that in-school arts programs alone may have less of an impact on student achievement than previous research has proposed. Parental influences likely have more of an effect than school on most children, and efforts to involve parents in the arts with their children may be more productive than simply providing arts programs in schools.     

Wood and Paper Cut-Outs

Prior research suggests that the No Child Left Behind Act (NCLB) is having an adverse effect on school music programs, particularly in schools that have not made “adequate yearly progress.” In many instances, music programs are being reduced or eliminated, music teachers are being required to assist with the teaching of other subjects, academically low-achieving students are being precluded from participating in music, and the overall time allotted for music is being reduced. Because the arts are excluded from NCLB's list of tested subjects—that is, subjects for which schools are held accountable—music has been relegated to a noncore status, even though the law identifies the arts as a core academic subject. This article discusses changing paradigms within music education and how some music teachers are adapting to these shifts.     

Three Primary Color Wheel

This longitudinal study (2001–09) of two Hong Kong secondary schools highlights six issues with an integrated arts curriculum: first, integration of knowledge and skills negatively precedes the integration of learners’ construction of meaning; second, integration is perceived as challenging the profession's status; third, teachers are unaccustomed to co-teaching; fourth, teachers have little prior experience conceptualizing cross-discipline teaching and learning; fifth, Hong Kong's current systemwide education reform places arts integration as a relatively low priority; and sixth, because integrated arts curriculum implementation is not mandatory, the vagaries of individual school management create a plethora of integration approaches that confound the task of forging a common definition. Remedial recommendations include cascading “seed projects” to broaden teachers’ views of integrated arts and teaching, facilitating supportive school timetabling, and sharing integrated learning outcomes in the individual schools.     

Does Arts Education Develop School Readiness? Teachers’ and Artists’ Points of View on an Art Education Project

More than 98 percent of children in Finland attend preschool, where different kinds of projects are carried out in order to strengthen the children's abilities. This article focuses on the effects of one arts education project from a school readiness point of view. The main question was, How did the Helsinki arts education project affect the children's learning skills and attitudes? The target groups were children aged three to nine years who participated in the arts project in day care centers and schools. A multidimensional evaluation method was used for the analyses. The research data consisted of interviews of the program artists and educators (n = 23), follow-up reports (n = 9), and other materials. The results show that the program motivated children and aroused their interest in thinking, problem-solving, practicing, and learning. It offered children opportunities to experience success, which increased their self-confidence and skills. The project also strengthened their abilities in listening, goal-oriented work, evaluating others’ work, and receiving feedback, which are all abilities required for school entrance. The subject matter of their school courses was also integrated into their achievements.     

From Lessons Learned to Local Action: Building Your Own Policies for Effective Arts Education

This article explores the process of using lessons learned about high quality, effective arts education programs to help local educational leaders and practitioners create their own policy statements. It raises questions about policy implications from those lessons and connects them to the readers'own experience. It provides an intellectual framework and an action agenda for developing local policy at the classroom, school, or district level that supports high quality arts education for every student. It argues that effective arts education programs must be supported by responsive policy and ongoing tax levy funds to have a greater chance for providing quality arts teaching and learning that endures.     

For what purpose the arts? An analysis of the mission statements of urban arts high schools in Canada and the United States

While general arts programs have declined in many schools across the United States and Canada, the number of specialized art programs in public secondary schools has swelled since the 1980s. While this increase is often celebrated by arts educators, questions about the justification of specialized arts programs are rarely raised, and their value is often taken for granted. In this article, we examine the mission statements of eighty-four specialized arts programs across two countries to examine the ideas, values, and commitments that are expressed in these public statements. In addition to a close thematic analysis, we describe how these mission statements reflect different conceptions of the role of the arts in education and consider the ways in which arguments that seek to broaden access to the arts are combined with the goal of serving a narrow subset of the student population. We argue that analyzing mission statements provides a clearer picture of the ideas that shape these programs, and that in order to foster an informed public conversation about the purpose and value of an education in the arts, educators committed to the arts must engage in this serious discussion.     

American Glass

Exploring the complicated issues of assessment in the arts, the authors discuss assessment of arts education and arts programs from a qualitative perspective: experiential, naturalistic, and ethnographic interpretation. With special attention to the practices of teaching, learning, and administration of education in the arts, quality is sought with emphasis on observations and judgment rather than instruments and measurement.     

Arts curriculum implementation: “Adopt and adapt” as policy translation

This article examines macro, meso, and micro understandings of policy enactment within Western Australian primary school arts education where a new national arts curriculum is being revised and implemented through a process colloquially known as “adopt and adapt.” This article focuses on how a government-led implementation policy has influenced arts teaching and learning in unintended ways. It Includes a theoretical reflection and a consideration of the effects of such policies. Using policy enactment theory as the enquiry lens, four contextual variables are highlighted for their impact on teachers and schools. The variables include situated contexts, material contexts, professional cultures, and external factors. Effects are discussed through the perspectives of 11 arts curriculum leaders drawn from in-depth semi-structured interviews. Marginalization of the arts, the disconnection of schools and teachers to the arts and professional learning impacts are discussed as results of this policy translation.     

Research,practice, and policy connections: The ArtPlay case study

ABSTRACT

This article explores the nexus between arts-based research, theory, practice, and policy. It does so through reference to a longitudinal study of ArtPlay, a unique Australian community arts center that offers artist-led workshops involving young people aged 3–13 years. The ethnographic and action research study investigated how children responded to ArtPlay workshops (engagement), how they benefited from such experiences (learning), and what broader encounters with culture and community were evident (cultural citizenship). Over a 4-year period (2007–2012), data collected included dual researcher observations of 39 workshops (100+ hours), interviews with artists, ArtPlay staff, teachers, and other stakeholders (60+ hours), family surveys (350+ returns), demographic mapping of families, family focus groups, and meeting notes. Through deep immersion in the site, the researchers, experienced in diverse art forms, collaborated with the organization to theorize how constructs such as engagement, learning, and cultural citizenship are interpreted and translate into practice. The research indicates that ArtPlay offers children engaging encounters with the arts that promote intrinsic learning. With reference to these findings, and relevant policy and theory, this article discusses the impact of participatory research on an organization's capacity to interpret and respond to the interests and needs of children and artists.     

Arts Education Partnerships: Informing Policy through the Development of Culture and Creativity within a Collaborative Project Approach

Arts education partnerships have become an important means for developing and sustaining school arts programs that engage students, teachers, and communities. Tapping into additional perspectives, resources, and support from arts agencies and postsecondary institutions, arts education partnerships strengthen arts education infrastructure within schools and develop a web of sustainable relationships whereby stakeholders mutually benefit. This article provides a snapshot of an arts education partnership in action that develops creative and cultural competencies in middle school students through a theme-based collaborative project approach. This article informs policy by recommending support for arts education partnerships that develop social and creative capital among schools and postsecondary institutions and within the communities surrounding these institutions.     

Issues in performing arts teacher preparation program evaluation policy

Solid, well-grounded teachers can be instrumental in solving the problems facing our schools and students because it is successful teachers who are the most valuable, in-school contributors to our students' success. The importance of teacher preparation programs (TPPs) in developing quality teachers has been reinforced by researchers who have demonstrated that preparation linked directly to practice benefits teachers in their first year of teaching. In contrast, federal legislation and government officials' statements suggest that TPPs are responsible for many of the problems facing public education, which has resulted in additional regulations and systems designed to evaluate TPPs' success in preparing effective teachers, including graduates' knowledge of appropriate content. In order to analyze the status of TPP evaluation as it relates to arts education, past models for TPP assessment are reviewed, newer models are discussed, and the possible effects on teacher evaluation processes are outlined. Early research and scholarly writing into the noted and projected effect of these models are discussed as well as suggestions and implications for future models and research into TPP effectiveness.     

Catalogue

The author presents reviews that identify success factors in music and arts education partnerships between cultural institutions and K-12 schools. She incorporates the evaluation of one Massachusetts partnership, Arts Can Teach (ACT), to examine the connection between partnerships and K-12 arts-program policy decisions. ACT is a collaborative effort among Boston's Wang Center for the Performing Arts, the Lynn Public Schools, and LynnArts, which matched music specialists and teachers in other disciplines with practicing artists for oneyear partnerships. Success factors of the ACT partnership are considered in terms of their similarity to success factors from the literature on music education partnerships. The author discusses implications for increasing and sustaining music and arts education programming and local arts education policy development.     

Theorizing the nexus of STEAM practice

ABSTRACT

Recent advances in arts education policy, as outlined in the latest National Core Arts Standards, advocate for bringing digital media into the arts education classroom. The promise of such Science, Technology, Engineering, Arts, and Mathematics (STEAM)–based approaches is that, by coupling Science, Technology, Engineering, and Mathematics (STEM) and the arts, new understandings and artifacts emerge that transcend either discipline. Evidence of this can be seen through fundamental shifts in both fields; in the arts, artists are expanding the creative potential for design through computational flexibility, which affords artists the ability to exceed the limitations of their tools. The infusion of the arts into STEM has shown to be equally transformative, with the emergence of tools and communities that not only engender new content understandings but also invite participation from populations historically underrepresented in STEM fields. Drawing on over a decade of research at the intersection of the arts, creativity, and new technologies from the Creativity Labs at Indiana University, this article theorizes the learning that takes place at effective couplings of STEAM to assist today's educators in realizing the potential for transformative experiences for learners of all levels. This article provides a synthesis of this past work across two compelling cases of STEAM-based tools, materials, and activities (i.e., the media-rich programming environment Scratch as well as the work the LilyPad Arduino used to create electronic textiles), incorporating findings from more than 50 peer-reviewed papers and books, and conceptually outlines an approach to “gathering STEAM” in arts education classrooms today. Implications are explored for policy makers in teacher education to think about preservice curriculum and field experiences; policy makers in arts education to think about tools needed in classrooms today; as well as how art education can play a critical role in STEM disciplines and offer solutions to address STEM pipeline challenges. Such efforts extend current and prior discussions in the arts education landscape about the use of new technologies, and draw our attention to how new technologies can be leveraged for artistic expression.     

The arts in Brazilian public schools: Analysis of an art education experience in Mato Grosso State,Brazil

This article examines the relation between official policy on art education in Brazilian basic education and what is actually taught and done in public school teaching in Mato Grosso, Brazil. Making use of interpretative analysis, I directly observed art classes in schools selected in the state of Mato Grosso. I also analyzed the laws, guidelines, parameters, and other official documents related to art education in Brazilian primary and secondary schools and compared them to the observed practices in the selected schools. Specifically in Mato Grosso, there is a gap between the theoretical guidelines of these documents and what is taught and done in public schools. Conceptions of the discipline of art education in official documents are not in line with the practices of this discipline in the researched elementary schools, a discord that may contribute to art being misunderstood as a lesser discipline. Using the results of this research, I intend to seek effective ways to discuss the arts in the curriculum of primary and secondary schools and highlight their importance in school curricula. My objective is not only that these results benefit public schools by encouraging the expansion of concrete and effective public policies for the quality and improvement of primary and secondary school education and the training of arts teachers, but also that these results will assist researchers studying arts education by showing how to extend that study beyond the academic walls.     

Collage in Aluminum

An immediate critical task of the arts education field is to resolve the polarities of low-quality integrative and overly marginalized discipline-specific approaches to teaching in schools. In pursuing this challenge, the author defines three teaching approaches—arts as craftsmanship, arts as play, and arts as inquiry—and calls for re-weighted proportional use of all three through thoughtful policy and restructuring within the field. The article frames what a coequal process of collaborative curriculum planning between different types of teachers looks like, and challenges schools of education and schools of arts to rethink their approaches to educating the next generation of teachers.     

Ping Pong Dolls

This article examines ways in which music education advocacy efforts have become disconnected from the unified visions and declarations of music educators espoused in the Tanglewood and Housewright declarations and are thus reifying the disconnect between what we value and what we say we value. We first analyze the policies posited by the recently formed Music Education Policy Roundtable and consider several counterarguments. Second, we suggest new directions in music education advocacy by discussing ways to make our programs more culturally relevant and valuable to our schools and communities. Finally, we conclude with a call for our professional organization to take a leadership role in situating the arts as an important element of American public school education by reigniting national aims discussions that lead to liberal and humanistic education policies.     

Merging movements: Diverse dance practices in postsecondary education

This article examines students' choices in a postsecondary dance major curriculum where students selected to study one or more of five dance practices (African and Diaspora Movement Practices, Contemporary Ballet, Movement Language Sources, Postmodern Contemporary Dance, and Urban Movement Practices) each semester along with required coursework centered on inquiry, the ability to pose and pursue informed questions, and creativity, the process of making something new. Using a qualitative research approach, the study investigated three main questions: What factors drive students' course selections?; How do students fuse information from diverse dance practices?; and What do students learn through taking courses with peers who study diverse dance practices? The study's findings suggest that the selection and study of diverse dance practices in combination with a curricular emphasis on creativity and inquiry led students to feel empowered in their dance education, develop and articulate individualized movement approaches, and increased awareness of dance and creative problem-solving ability. Postsecondary dance programs prepare future citizens, artists, educators, and administrators who may find themselves in leadership or other positions that require a re-thinking and implementation of arts policies in public schools and other settings. As such, the study's findings also speak to the potential for arts policies and their implementation to evolve in a way that situates dance as a critical component of a comprehensive education.     

Diving into the Rio Grande Valley: Meaningful experiences in arts educator preparation

As the Texas Education Agency implements new standards for arts teachers and U.S. arts education policy stakeholders articulate a need for culturally competent educators, teacher preparation programs must respond and consider methods to prepare developing teachers to meet such standards. Preservice arts educators need exposure to a variety of art forms and opportunities to practice teaching in diverse settings in order to explore and exercise culturally responsive arts education. This research project examines the impact of a university program that places preservice teachers in the Rio Grande Valley near the Mexico/U.S. border in South Texas. The group surveyed includes 10 student teachers, two thirds of the total program participants. The research specifically examines the value of the experience for student teachers through surveys and follow-up interviews. The study concludes that student teaching in the Rio Grande Valley helps prepare participants to teach across identity markers and offers them important experience that helps prepare them to meet these new standards set by state policy makers. The article recommends offering more support and reflexive opportunities for these student teachers.     

Teaching the arts as a second language: A school-wide policy approach to arts integration

The arts can be used to teach, not just as activities that enhance learning, but also as the primary medium through which students process, acquire, and represent knowledge. This means the arts can function as a language. If we accept this metaphor, and we truly want students to be fluent in the artistic languages, then the arts can be taught in the same constructive, sequential way language is taught, where the rules of the system are explicitly learned and fluency is acquired through regular application within a meaningful context. This article provides a framework for the implementation of effective arts integration in line with second language learning: Arts as a Second Language. In doing so, it addresses two common problems in arts education: when arts integration is disconnected from artistic development, and when discipline-based arts education is disconnected from other learning. Nine principles for teaching with an Arts as a Second Language policy are proposed. Ultimately, it is a call for pedagogical reform that enables equitable access for all students to learn in, about, and through the arts with school-wide policy that scaffolds artistic learning across the grades, embedded in meaningful contexts.