Language policy,language ideology,and visual art education for emergent bilingual students

ABSTRACT

In 1968 the Bilingual Education Act marked the first comprehensive federal intervention in the schooling of language minoritized students by creating financial incentives for bilingual education in an effort to address social and educational inequities created by poverty and linguistic isolation in schools. Since that time federal education policies related to language instruction for emergent bilingual students have undergone a number of shifts that reflect changing ideological perspectives on language and citizenship. These shifts, in turn, frame seemingly neutral educational requirements for preservice and practicing art educators related to language and visual art instruction, implicating art educators in ideological stances toward students and families who primarily speak languages other than English. This article reviews the Elementary and Secondary Education Act in its most recent reauthorization as the Every Student Succeeds Act, and offers insight into ideological implications of standards and assessments that impact art educator preparation and art teaching practices with regard to language in the art classroom, including the National Core Arts Standards and the Education Teacher Performance Assessment. Implications regarding ways art education, framed by ideological policies, might support or undermine social and educational inequities educational policies are intended to address are discussed.     

Comparing the effects of art education and science education on creative thinking in high school students

What is the link between art and creativity? The purpose of this study was to determine the role of art education in creative thinking. A causal-comparative research design was used. Arts and science high school students (N = 162) participated. Results showed that creative thinking in visual arts students in Grade 10 with high scores differed significantly from that in music and science students; however, this difference was not found among students in Grade 11. A main reason for this result in Grade 10 students might be the non-routine problem-solving process in visual arts education, in which artwork production is an important component in creative thinking development. Considering this result, it was concluded that the effect of different education disciplines—called education department effect—on creative thinking can be significant.     

An interview with Olivia Gude about connecting school and community arts practice

ABSTRACT

Olivia Gude has a long and distinguished career as both a public artist and an art educator. She is currently the Angela Gregory Paterakis Professor and Chair of Art Education at the School of the Art Institute of Chicago (SAIC), where she works with graduate and undergraduate students to prepare for working as artist educators in school and community settings. Her scholarly work includes a number of articles and book chapters about art education and community art. Prof. Gude has worked as a community public artist for many years and has created over 30 large-scale mural and mosaic projects, working with intergenerational groups, teens, elders, and children. I interviewed Prof. Gude at the SAIC building in downtown Chicago to discuss how her school, university, and community art engagement as well as her work with the National Coalition for Core Arts Standards, might offer suggestions for transforming arts education for the twenty-first century and provide authentic connections between school and community. Prof. Gude discusses important enduring understandings and big ideas from the new Visual Arts National Core Arts Standards, the Spiral Workshop youth art and research project she created while at University of Illinois at Chicago, and how her experience as a community artist informs her work with students in classroom settings.     

Effects of selected nonmusical characteristics and band festival participation,scores, and literature difficulty

The purpose of this study was to examine potential validity concerns regarding the use of music festival scores as an element of value-added assessment practices mandated by federal education policy. Nonmusical school and band characteristics of band size, school enrollment, school percentage of minority enrollment, and school percentage of students eligible for free and reduced-price lunch were compared to concert band festival participation, scores, and literature selection. Results of a one-way ANOVA revealed that schools with lower enrollments and higher percentages of minority students and students eligible for free or reduced-price lunch programs were less likely to participate in a concert band festival. MANOVA results using composite festival score and literature difficulty as dependent variables indicated a significant three-way interaction for school size, free/reduced-price lunch category, and band size, with an additional interaction for minority category and school enrollment. Significant main effects were found for band size and for school enrollment. Composite festival scores were found to be higher for schools with a lower percentage of minority students and larger band sizes. Smaller bands, as well as bands from schools with lower enrollment and higher percentages of students eligible for free and reduced-price lunch, tended to perform less difficult literature. These results suggest that policymakers should recommend caution in the use of festival results for teacher evaluation purposes.     

Education Through Art

In this article, the author revisits a case study presented in Arts Education Policy Review 105(1) in September/October 2003. The author discusses Arts Collaborator's Incorporated's (ACI) efforts to educate the community about art and about arts opportunities in River City. Themes visited in the discussion are community development through the arts, and connecting economic development to education. Implications for the arts education community that the author draws from this discussion are (a) ACI has assets and connections that the arts education community may not have, (b) ACI uses its influence to teach and promote certain kinds of art, and (c) the arts education community needs to be aware of advocacy groups to maintain education standards and to fully use available opportunities.     

Arts integration in rural Minnesota: A collaborative arts integration framework

In this article, we demonstrate that arts integration holds unique promise and benefits for helping rural teachers to provide more equitable arts opportunities for their students. These benefits include: professional network development in the service of both curricular development for arts integration and connecting teachers who often work in isolation; additional funding to allow for collaborative planning; and introduction to arts experiences and cultural resources for use in arts-integrated unit planning and implementation. We describe the Perpich Arts Integration Project—an innovative, state-funded program centered on a Collaborative Arts Integration Framework in three rural regions of Minnesota. Then, through data collected via a three-year longitudinal program documentation and evaluation, we describe several themes that we have identified about the implementation of arts integration in rural schools. Finally, we will describe a series of considerations and implications for rural schools seeking to implement such a program in the future.     

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.     

Painting masterpieces on Walls

Arts organizations that partner with schools to design, implement, and evaluate arts education programs are rethinking traditional practices of evaluation to more directly engage school partners, artists, and administrators. External arts partners are also being held accountable for learning outcomes that result from their programs. In this article, the authors describe an urban arts organization that is moving toward an institutional culture that engages teachers, artists, students, parents, and administrators in a process of documentation and action research that enhances the ability to evaluate teaching and learning. This layered research approach within an arts organization enables participants to link teaching standards to student work and contributes to the larger dialogue about arts education programs in schools.     

Improve your Frames with Inserts

The field of education in the United States is in a period of unprecedented change. Educators in all disciplines are challenged to understand and respond to the waves of reform sweeping over the national education landscape. Linking these reforms to meaningful outcomes that will produce more rigorous and effective measures of quality and performance in our schools is an ongoing goal for all educators as they work to respond to calls for educational reform. Changes in the general field of education have direct implications for arts education policy and practice. Arts educators find themselves in the position of making sense of these landmark reforms and changes in the context of arts education and determining what courses of action and responses they should pursue on the road to meaningful reform. This report provides an overview of a selected number of contemporary developments in the general field of education, brief summaries of consequential studies and education-related reports, and an examination of some policy issues these developments and reports raise for arts educators as they work to shape the future landscape of arts education.     

Learner involvement in art and design education assessment: The missing matrix in Botswana's primary schools

Art in Botswana primary schools is taught under the umbrella term Creative and Performing Arts (CAPA), a subject that encompasses various arts disciplines. The arts disciplines are Physical Education, Music, Design and Technology, Home Economics, and Drama and Dance. The subject introduces learners to various disciplinary knowledge, media, and techniques in the arts. This study focused on the visual arts as a component of CAPA. It investigated the extent to which primary school teachers involved learners in the assessment processes. The qualitative study involved 12 randomly selected primary school teachers from four purposively selected schools and four administrators purposively selected by virtue of their senior positions in practical subjects. The methodology was premised on Parlett and Hamilton's (1972) concept of illuminative evaluation, Black, Harrison, Lee, Marshall, and William's (2004) and Lindstrom's (2007) learner participation models, as well as Feldman's (1994) art criticism model. Data revealed that pupils did not meaningfully participate in the assessment of their own work due to teachers' limited knowledge of appropriate assessment procedures. Teachers did not share the assessment criteria, which were limited to numerical grades and comments such as good, fair, and excellent. Pupils were not involved in critical analysis and evaluation of their art and craft works while in progress. Teachers emphasized the end product and marking was done without any prior negotiation of grading criteria with learners. The study recommends a shared approach to assessment, which values both the process and product of artistic engagement by the learner. Teacher education programs are encouraged to seriously consider assessment of the arts, particularly self assessment as it is this critical dimension that measures children's artistic growth and development.     

Developing products for conservation decision-making: lessons from a spatial biodiversity assessment for South Africa

South Africa's first national assessment of spatial priorities for biodiversity conservation, released in 2005, aimed to identify conservation priority areas for mainstreaming into all sectors at national and provincial scales. This National Spatial Biodiversity Assessment (NSBA) was based on a planning for implementation approach in order to deliver defensible products useful to decision-makers. The NSBA aimed to produce a map of broad-scale priority areas for future finer-scale assessment and conservation action. This map summarized information on species, ecosystems, ecological processes, and the pressures they face from human activities. Owing to the complexity of the priority area map, two additional user-friendly products — maps of ecosystem status and protection levels — were developed. These products represented the habitat loss and protected area coverage of South Africa's ecosystems relative to their conservation targets. A year after release, we reflect on the NSBA process, products and uptake by implementing agencies (with a specific focus on the terrestrial biodiversity assessment) in order to contribute to the growing body of documented best practice in conservation planning. The ecosystem status product has been widely used at national and provincial scales due in large to its clear and compelling message. The protection level and overall priority map have also witnessed uptake, the former in guiding the expansion of protected areas and the latter as an integrated map of national biodiversity status. The strong collaboration of local planners and implementers with in-depth experience of biodiversity assessment, using a systematic approach and focusing on communicating a few high level messages, appears to have contributed to the initial, successful uptake of the NSBA. We conclude with a call to address data and monitoring shortcomings before the next NSBA in 2010.     

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.     

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.     

The New Teacher of Art

Because of education reform policy and misconceptions about artistry and artistic assessment, visual art education remains in the margins of high school education. One response to the lack of supportive arts education policy is the Advanced Placement (AP) Studio Art Program, a visual arts assessment at the high school level that engages large numbers of students in rigorous art experiences. This article reviews the structure and characteristics of the AP portfolio assessment as a basis for critique and policy analysis. At issue are the reliability of this assessment's measurements and its level of credibility with key constituencies. These concerns are especially relevant in a testing culture in which objective evaluations are highly regarded and art education programs are often threatened. The authors suggest possibilities for future research and policy recommendations for secondary art education.     

Pushing back frontiers: Towards a history of art in a global perspective

Traditionally, art history is a discipline focusing on the developments of Western art and architecture. It is time, however, to broaden our perspective. The world is changing, art is changing, somutatis mutandis is art history. This does not happen on its own accord. Art history needs rewriting and art historians have to do it. We need to take a critical look at our premises and points of departure, and we need to change the art historical curricula at universities and art schools. At Leiden University, the Netherlands, the Department of Art History has opted for a new orientation and decided to study the history of art from a global perspective. This means that students will meet with three lines of approach to the visual art and material culture from regions other than the West. Firstly, they are introduced to the art and material culture of Asian, African, and Amerindian civilizations by colleagues from those fields, which Leiden is so fortunate to have. The Faculty of Arts at Leiden University, houses a wide variety of language and culture studies of the world. The second approach focuses on interactions, mutual influences, and interculturalization processes in art and culture. And the third addresses methodical-theoretical reflection on art history in a global perspective. The aim here is to formulate a theoretical framework for the study of art worldwide, thereby pursuing ‘comparative art history’. In order to achieve these perspectives, exchanging ideas and concepts with anthropologists can be very productive.     

Relationships between Geriatric Oral Health Assessment Index scores and general physical status in community-dwelling older adults

doi: 10.1111/j.1741‐2358.2011.00597.x Relationships between Geriatric Oral Health Assessment Index scores and general physical status in community‐dwelling older adults Objective: The aim of this study was to investigate the relationships between Geriatric Oral Health Assessment Index (GOHAI) and general physical status among community‐dwelling older adults. Background: Geriatric Oral Health Assessment Index is a patient‐centred assessment of oral health for older adults. We hypothesised that GOHAI is a significant indicator of general physical status of older adults. Methods: This study included 354 adults (age, ≥65 years) living independently. Body mass index, handgrip strength and one‐leg standing time with eyes open were used to evaluate the general physical status. Spearman’s rank correlation coefficients were calculated to examine the relationships between the GOHAI scores, its three subdivided categories (physical function, psychological function and pain and discomfort) and each physical status measurement. A stepwise linear regression model was applied with each physical status measurement as the dependent variable and the GOHAI scores and its subdivisions as the principal independent variable. Results: Positive correlations were found between the GOHAI scores, its three subdivided categories and handgrip strength. The physical function category positively correlated with one‐leg standing time. The GOHAI and the pain and discomfort category scores were retained in the final models of stepwise regression for handgrip strength, and significant relationships persisted after adjustments for demographic, psychosocial, medical and dental status. Conclusion: The GOHAI scores and its pain and discomfort category score may be significant indicators of body muscle strength.     

Evaluation of Florida Palustrine Wetlands: Application of USEPA Levels 1, 2, and 3 Assessment Methods

Three categories of wetland assessment methods have been recognized by the United States Environmental Protection Agency, including Level 1—Landscape-scale Assessment; Level 2—Rapid Field Methods; and Level 3—Intensive Biological and Physico–Chemical Measures. This study incorporates wetland assessment methods for each assessment level, including the Level 1 Landscape Development Intensity (LDI) index, Level 2 Wetland Rapid Assessment Procedure (WRAP), and Level 3 Florida Wetland Condition Index (FWCI). Using a neighborhood analysis in Geographic Information Systems (GIS), an LDI index map was created using 1995 land use, creating a calculated LDI index value for each 30 m² area in Florida. Level 1–3 assessment procedures were employed at 193 palustrine emergent (n = 75) and forested (n = 118) wetlands. Significant correlations were found among the multiple Level 1–3 assessment procedures using the nonparametric Spearman’s correlation coefficient for pair-wise comparisons of LDI and WRAP, LDI and diatom FWCI, WRAP and diatom FWCI, LDI and macrophyte FWCI, WRAP and macrophyte FWCI, LDI and macroinvertebrate FWCI, and WRAP and macroinvertebrate FWCI (|r| > 0.50, P < 0.01). Defining the relationship between Level 1–3 assessment methods may be used to estimate the more intensive and species assemblage-specific Level 3 FWCI assessment scores for wetlands with Level 1 or Level 2 scores. Inferences can then be made as to wetland condition based on established correlations with intensive assessment methods.     

On Art Education and Testing in a Period of Educational Reform

This interview deals with arts education in Iran. After the Islamic Revolution of 1979, a drastic change occurred in arts education. In terms of aim, arts education in Iran assumed a teleological orientation according to which art should be a process aimed at appreciating the manifestation of God's beauty in the world. As for curricular subjects, some branches of art such as dance are prohibited or used in modified and restricted forms. Arts education has a marginalized position in Iran for two reasons: one, which is more or less global, is that science and mathematics are widely granted a superior position in education, and the other is based on a religious understanding of some arts being inherently associated with sinful activities prohibited in Islam. However, a development in this religious understanding has led to a critical approach according to which the alleged association with sinful activity is denied and thus the prohibited forms of art can be allowed under some conditions. This new approach may have different educational consequences in the realm of arts education.     

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.     

Students' colleges and achievement in an advanced course

The aim of the present study was to determine whether a significant relationship exists between a student's college (Allied Health, Arts and Science, Education, and Graduate School) and achievement in an advanced-level course in human physiology (PGY 412G). The mean percentage of correct answers on four multiple-choice tests, collectively totaling 400 points, was used to assess each student's performance. A four (college)-by-three (academic year) analysis of variance was used for statistical comparisons among 660 students enrolled in PGY 412G from the fall semester of 1995 through the spring semester of 1998. Subsequent pairwise comparisons tests found that the College of Education students had a significantly lower mean percentage of correct answers (61%) compared with students in each of the other colleges (P < 0.001). No significant differences in percentage scores were found among students enrolled in Allied Health (78%), Arts and Science (78%), or the Graduate School (77%). Also, percentages of correct answers averaged across all students were significantly lower during the 1997-1998 academic year than those in either the 1996-1997 year (P < 0.001) or the 1995-1996 year (P < 0.05). Students' scores during these two earlier years did not differ significantly. Upward letter grade adjustments based on class distributions were made each semester, and more As and Bs and fewer Cs and Ds were given as course grades than expected from an absolute assessment scale. This grade inflation benefited low-scoring students from all colleges, particularly those students enrolled in the College of Education. To improve the understanding of human function of these low-scoring students may require special educational programs.