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A case study: a viable arts program at one elementary school in California
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Content
Running head: A VIABLE ARTS PROGRAM 1
A CASE STUDY:
A VIABLE ARTS PROGRAM AT ONE
ELEMENTARY SCHOOL IN CALIFORNIA
by
Deara I. Okonkwo
A Dissertation Presented to the
FACULTY OF THE USC ROSSIER SCHOOL OF EDUCATION
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF EDUCATION
May 2014
Copyright 2014 Deara Ijoma Okonkwo
A VIABLE ARTS PROGRAM 2
Dedications
Okonkwo Family, there’s a new Doctor in the house! To God Be the Glory!
Simply stated, the endeavor of pursuing a doctorate degree could have not been
accomplished without the grace of my Creator and the devout support of my family.
To my dear mother, you are my faith to believe in what’s unforeseen, my strength to
pursue each of my ambitious dreams, and my guide along the way to encourage me to keep
going in times of trials in addition to celebrating God’s many blessings. I thank God for gracing
me with your as my mother, my friend, and my inspiration. You were my first teacher. The
wisdom that you have planted in me has blossomed exponentially. I have immense shoes to fill,
mommy. This is just the beginning, but I am eager and assertive in knowing that I have you as
“the wind beneath my wings.”
To my kind and compassionate father, whose insight and eruditeness I have been blessed
with, thank you for your steadfast love and guidance. I matriculated in your footsteps in
advancing my education at USC. Becoming a Triple Alumnae of the prestigious University of
Southern California is because of you, daddy. You knew, from the day that I was born, that I was
going to serve and be a light. Even before I was born, you dreamt of the wonders God would
perform through me and you eventually named me, “Deara,” meaning dear to your heart. Thank
you for always holding high expectations of me and nurturing me to excel above and beyond.
To my amazing brothers and sisters (let me list chronologically since there are so many…
smile) Jason, Prince, Yvonne, Chino, Godfrey, Sharon, Stella and Henry, thank you for your
abounding love and for being incredible role models. You all set the bar from what mommy and
daddy taught us to believe in and aspire to become and it is because of your examples that I have
been able to accomplish this great achievement.
A VIABLE ARTS PROGRAM 3
To my Grandma, Uncles, and Aunts, thank you for believing in me, holding me up to
high esteem, and above all, your constant prayers. I love each of you tremendously and will
continue being a light and role model for my cousins.
To my late Aunty Chio, I can feel the warmth of your smile from above and know that
are you are singing songs of praise in His name for using me as His instrument. I miss you so
much, but I know that you are with me in spirit and are so proud of the wonders God has
performed through me.
To my best friend, who was there since I imagined going to USC, where do I begin to
express my deepest gratitude? You have been there through thick and thin. From the countless
times you drove me to SC to for class, meetings or events to the innumerable hours we spent in
classrooms or the library studying. Since High School you have been a faithful friend and have
always been one of my greatest supporters. Thank you for your friendship, your encouragement,
your profound support and your love.
And finally to my 500+ scholars that I have been honored to serve, educate and empower,
this is for you. I did it and so can you. “Dream Big and Make it a Reality.” Remember that when
you do make it, give back and leave a legacy by which others can be inspired.
This dissertation is dedicated to my immediate and extended family, the ones by lineage
and those whom I have been blessed to know. Time to put this degree to work. “Let’s plant seeds
Together that will bloom and flourish Forever,” (Dr. Deara Ijoma Okonkwo).
A VIABLE ARTS PROGRAM 4
Acknowledgements
The completion of this dissertation and subsequent Doctorate of Education has been a
memorable journey. I would like to take this opportunity to first and foremost thank God for
being my strength and guide in writing this dissertation. Without Him, this accomplishment
could have not been possible.
I would like to express deepest appreciation to my committee chair, Dr. Stuart Gothold,
for coaching me through the entire process and devoting much time to frequently reviewing my
dissertation in an effort to produce my best work. Your wisdom, knowledge, and enthusiasm for
the arts inspired and motivated me in the completion of my dissertation. Thank you, Dr. Gothold.
In addition, I would like to thank my dissertation committee members, Dr. Dennis
Hocevar and Dr. Michael Escalante, for their constructive feedback and dedication. Your
academic support and input in addition to the personal cheering are greatly appreciated. Thank
you.
I would like to extend sincerest gratitude to my thematic dissertation colleagues for their
collaboration and teamwork. Thank you for your invaluable support and assistance throughout
the dissertation writing process. Congratulations to each of you and Fight On!
Furthermore, I would to acknowledge the leaders and stakeholders of XYZ School for
allowing me to conduct my study at the school site in effort to research a viable arts program.
Finally, a special thanks to my beloved parents, Engr. Ike and Kendra Okonkwo, for their
unconditional support, financially, spiritually, and emotionally. This dissertation is dedicated to
them for instilling in me strong values for higher education and providing their wisdom,
guidance and encouragement in support of my educational endeavor. I love you both so deeply
and thank you for believing in me and making my dream a reality.
A VIABLE ARTS PROGRAM 5
Table of Contents
List of Tables 7
List of Figures 8
Abstract 9
Chapter One: Overview of the Study 10
Introduction 10
Statement of the Problem 13
Purpose of the Study 13
Significance of the Study 14
Assumptions 15
Limitations 15
Delimitations 16
Key Terms Definitions 16
Organization of the Remainder of the Study 20
Chapter Two: Literature Review 21
Introduction 21
History of Arts Education 22
Current Climate 27
Constraints 28
Case for the Arts 29
Promising Practices 35
Summary and Critique 39
Chapter Three: Methodology 41
Introduction 41
Research Questions 43
Conceptual Model 43
Research Design 44
Criteria 47
Population and Sample 48
Instrumentation 52
Data Collection 53
Validity & Reliability 55
Data Analysis 56
Ethical Consideration 56
Summary 56
Chapter Four: Data Collection and Analysis 58
Introduction 58
Research Questions 60
Criteria 61
Methodology 62
Participants 63
Response to Research Questions 64
Data for Research Question One 64
Data for Research Question Two 73
Data for Research Question Three 81
Emergent Themes 85
A VIABLE ARTS PROGRAM 6
Strong Leadership with a Clear Vision 87
School-wide Commitment to the Arts 88
Effective Use of Time and Resources 90
Summary 91
Chapter Five: Conclusions and Recommendations 95
Introduction 95
Purpose, Significance and Methodology of the Study 96
Emergent Themes 97
Conclusions 100
Recommendations 101
Summary 103
References 105
Appendix A: Survey Protocol 110
Appendix B: Interview Protocol 113
Appendix C: Observation Protocol 114
Appendix D: Observation Reflection Protocol 119
Appendix E: Triangulation Matrix 124
A VIABLE ARTS PROGRAM 7
List of Tables
Table 1: Triangulation Matrix 47
Table 2: Student Subgroup Demographics 50
Table 3: Survey Results in Response to RQ1 71
Table 4: Survey Results in Response to RQ2 79
Table 5: Survey Results in Response to RQ3 84
A VIABLE ARTS PROGRAM 8
List of Figures
Figure A: Conceptual Model of Viable Arts Programs. 44
Figure B: Student Enrollment Pie Chart. 50
Figure C: Culture of XYZ’s Arts Program. 68
Figure D: Paradigm of How XYZ School’s Leadership Supports the Arts. 76
Figure E: Emergent Themes. 86
A VIABLE ARTS PROGRAM 9
Abstract
This qualitative study used a case study approach to examine the structure, leadership and
funding of arts programs that enable school leaders to maintain viable arts programs despite
accountability demands and fiscal constraints. The purpose of this study was to determine key
factors in sustaining arts programs in a school that has successfully implemented arts education
programs and has high student achievement. The subject of this case study was an elementary
charter school in Central, Los Angeles that has successfully demonstrated student achievement
as measured by the Academic Performance Index and had arts in education present. Findings
from the study identified leadership as a critical component in preserving a viable arts program.
The founder’s vision of a model school with a focus on dance was a shared vision amongst all
stakeholders, or in other words demonstrated a school-wide commitment to the arts. School
leadership provided the means for all stakeholders (teachers, students, parents) at XYZ to
recognize the significance of and support the arts programs. Findings also revealed how
leadership carefully considered ways to effectively use instructional time and resources to
support the arts programs. The observations and conclusions made through this qualitative case
study may be used as an impetus to reintroduce the arts in other schools.
Keywords: arts education, leadership, preserving arts education
A VIABLE ARTS PROGRAM 10
CHAPTER ONE: OVERVIEW OF THE STUDY
The economy of America is driven by innovation. The industries of auto mechanics,
entertainment, architecture, engineering, security, technology, medicine, and education continue
to expand owing to creativity and innovation. As the growing global economy is inherently
linked to the innovation, problem-solving and nonlinear thinking skills that can be used not only
in academic settings but in the professional world as well, the lack of creativity and innovation
can lead to the loss of global competiveness and slowed progress in the economy. Programs that
encourage creativity and catalyze imagination are regarded as highly essential to the prosperity
of a global economy (Friedman, 2005; Friedman, 2008; McKinsey & Co., 2009). Increased
emphasis on creativity helps to generate new ways of thinking about technology, sciences and
the world in general. Analytical problem solving thinkers are needed to sustain this long-term
prosperity and to further the enhancements in science, technology and engineering.
As the world changes rapidly as a result of advanced technology and globalization,
consideration of what it means to prepare students to be globally competent is increasingly
critical. While the educated person of the 21st century requires strong English and math skills,
there is growing recognition that the nation must prioritize programs that spark innovation,
problem solving and nonlinear thinking skills. There is a growing imperative that students must
be prepared to lead in a global workforce (Friedman, 2008). On a national level, as well as other
levels of government, there has to be an emphasis of these programs in the public schooling of
students.
The arts are a medium through which students can develop the 21
st
century skills (Eisner,
2002). As critical thinking, problem solving and flexibility are the demands of the global society,
schools with successful arts education programs prepare students to think and act in an ever-
A VIABLE ARTS PROGRAM 11
changing world. These schools reshape the traditional, reading, writing and arithmetic
framework to a model that integrates disciplines and requires multiple levels of thinking.
Programs in the arts encourage children to be creative and to use their imagination. They
encourage inquiry, innovation, problem solving and nonlinear thinking skills that can be used not
only in academic settings but also in the professional world. As quoted by President Barack
Obama, “The future belongs to young people with an education and the imagination to create.”
Increased emphasis on creativity helps to generate new ways of thinking about technology,
sciences and the world in general (Gullat, 2008).
Over the course of history, the role of arts education has varied. Arts education developed
during the years 1820 to 1850. During the 20-year span from 1850 to 1870, two different
approaches emerged in art education, which become the foundation for opposing theories in the
subsequent decades (DeHoyas, Lopez, Garnett, Gower, Sayle, Sreenan, Stewart, Sweny, &
Wilcox, 2005). The first approach was based on the belief of rigidity and practical learning. The
counterargument was that the art education should be natural, occurring through the senses. In
the 1950s, the Soviet Union’s Sputnik stirred the nation’s emphasis on science on mathematics,
reducing the focus on other subjects, namely the arts. In 1983, the National Commission on
Excellence in Education (NCES) published A Nation at Risk: The Imperative for School Reform,
claiming that students were not learning the basic skills necessary to be productive citizens, thus
less prepared than their global competitors.
Presently, the arts are struggling to remain a part of the curriculum in K-12 public
education. The underlying purpose of the most recent reauthorization of the Elementary and
Secondary Education Act (ESEA) of 1965 by the Bush Administration, the No Child Left
Behind (NCLB) Act (2001), is to ensure that students master basic skills of literacy and
A VIABLE ARTS PROGRAM 12
arithmetic as demonstrated by their scores on summative assessments. Even though the arts is
mentioned as a core subject in NCLB, English and math have taken precedence because those
disciplines are accompanied by a state mandated test that helps determines the school’s or
individual’s academic achievement level. Consequently, the presence of arts education has
diminished with the public education system in the United States (Chapman, 2005).
A growing body of research has revealed the arts to serve as an economy booster at the
local, state and national level (Americans for Arts, 2002; Eisner, 2002). The arts produce $849
million in business revenues in Virginia, and nonprofit arts organizations contributed 2,500 to
Louisiana (Americans for Arts, 2002). The arts generate a large and ever-increasing dollar
amounts for both private ventures and state governments.
Arts education has been associated with growth in academic performance and student
engagement. Students with an arts rich education have better grade point averages, score better
on standardized tests in reading and math and have lower dropout rates (Americans for the Arts,
1996; Kennedy, 2006). According to the College-Bound Seniors National Report (1999),
students taking courses in music performance and appreciation scored higher in the SAT than
students with no arts participation. Music performance students scored 53 points higher on the
verbal and 39 points higher on the math. Music appreciation students scored 61 points higher on
the verbal and 42 points higher on the math. According to Zero to Three (2002), music engages
children through the melodies that capture attention and sparks enjoyment. Evidence of children
engagement in arts was Arts Engage!, a transformative arts program, provided the opportunity
for children of ages 7 - 13 to partake in art projects inside the Electric City Trolley Museum
(Freda, 2012). Furthermore, Booker’s (2010) study found that arts engaged students, particularly
of their cultural heritage. Participation in quality arts programs have been deemed as valuable
A VIABLE ARTS PROGRAM 13
experience that broadens students’ perspectives and appreciation of the world around them. The
arts help students develop multicultural understanding. A 2005 report by the RAND Corporation
demonstrated that the intrinsic pleasures and stimulation of the art experience can connect people
deeply to the world and expose them to multiple and new perspectives. Furthermore, the
experience of art fosters the foundation to create social bonds and community togetherness
(Americans for the Arts, 2002). Especially in the context of the American society, where the
nation is becoming ever more diverse, the value of teaching children multicultural understanding
cannot be trite. A variety of arts in education programs are helping students embrace their own
culture and develop deeper understanding and appreciation for the diversity of the world, at large
(Booker, 2010).
Statement of the Problem
California’s public schools continue to face chronic budget deficits in addition to
accountability measures that have heightened the pressure for schools to increase student
achievement in reading and math. As a result, many schools have narrowed the curriculum,
which has often mitigated, or in some cases eliminated, instructional minutes devoted to the arts.
Some school leaders, however, have been able to sustain viable arts programs for their students
while managing the demands of accountability measures and budgetary constraints. Therefore,
there is a need for more information to determine how school leaders sustain viable arts
programs during a challenging era in education.
Purpose of the Study
The purpose of this study was to determine key factors in sustaining arts programs at
XYZ School. This study arose from the work a thematic dissertation group at the University of
Southern California. The thematic group consisted of eight colleagues led by Dr. Stuart Gothold.
A VIABLE ARTS PROGRAM 14
As a collective team, all eight colleagues met monthly from the month of December 2012 - May
2014 in order to determine the research design of the study and instruments for data collection.
Each dissertation studied a unique California school currently integrating arts in its educational
program and practices in order to identify its leadership, allocation of resources, and structure of
curriculum. Collectively, the eight case studies of this thematic dissertation group provided a
basis for greater understanding the nature of viable arts programs, as they exist in California
schools.
The group began the process of the case study by collaboratively conducting research on
the academic literature of the topic, after which the group identified three research questions for
the focus. These questions facilitated the research to best understand and describe the viable arts
program. The research questions were:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
Significance of the Study
The watchwords of current educational reform are “accountability and NCLB”. As many
states are impacted by decline in economy, schools are largely affected by budget cuts. As a
result, the arts programs in America's public schools are often one of the initial cutbacks in a
district’s budget. Research, however, shows that arts education engages children, increasing
student attendance and student achievement. Furthermore findings from studies show that arts
education enables children from low socioeconomic backgrounds to have a more level playing
field with children who partake in arts experiences outside of school. Moreover, for some
A VIABLE ARTS PROGRAM 15
students, particularly those who are low achieving or of low socioeconomic backgrounds, an arts
class could be what motivates students to learn.
Despite the breadth of literature available on art programs in education in the American
K-12 institutions, a significant gap remains. Though researchers have and reported many best
practices of arts education, there still lacks a breadth of scholarly literature associated with how
funding decisions are made to support arts programs in schools as well as characteristics of
leadership in schools where arts programs are viable and sustainable. This dissertation is one of
eight that will add to the literature on the significance of arts programs in education. The
observations and conclusions made through the qualitative case study may be used as an impetus
to reintroduce the arts in other schools.
Assumptions
Assumptions made by the researcher in this study were:
• The selected school was a good choice to study based on the established criteria.
• Data and scores were valid.
• Participant responses were honest.
• Participants had sufficient knowledge of the arts program that existed at the school.
Limitations
The following were the limitations of this study:
• The study focused on one elementary school with a viable arts program.
• Findings cannot be generalized to other schools.
• All participation in the study was voluntary.
• The study took place over a brief period of time, which allows for only a glimpse of the
arts program at the school.
A VIABLE ARTS PROGRAM 16
• Data collection was subject to researcher bias and interpretation.
Delimitations
The following were the delimitations of this study:
• Criteria were predetermined by the dissertation group.qulai
• The case study allows for transferability of findings as one of eight thematic case studies.
• Data collection instruments were delimited by the research team to focus on the impact of
structure, leadership and funding decisions on the school’s arts program.
• Data collection was delimited to six days of research over one semester.
Key Terms and Definitions
This dissertation uses the following terms. To ensure clarity for the reader and consistency
throughout, all terms are defined below.
• Academic Performance Index (API): The primary accountability system from
California’s Public Schools Accountability Act of 1999. The purpose of API is to
measure the performance and growth of schools and is based upon a numeric index that
ranges from a low of 200 to a high of 1000. Schools are expected to maintain an API of at
least 800 to be considered at an expected performance level (California Department of
Education, 2012).
• Adequate Yearly Progress (AYP): Part of the State of California’s accountability system
mandated by the No Child Left Behind Act of 2001. AYP indicated with a “yes” or “no”
whether a school or local educational agency made adequate progress toward four areas:
participation rate and percent proficient in both English Language Arts and mathematics,
API, and graduation rate (California Department of Education, 2012).
A VIABLE ARTS PROGRAM 17
• Arts Education or Arts in Education: Classroom instruction in the four disciplines of the
arts as established by national and state standards: visual art, music, dance, and theatre.
• Arts Infusion: Arts infusion strives to develop skills, knowledge, and/or understandings in
another content area where strategies and techniques of an arts discipline are used to
engage students and enliven curriculum (ArtsConnection, 2013).
• Arts Integration: Arts integration connects arts learning and other academic learning in
ways in which both are deepened, often resulting in an interdisciplinary understanding
(ArtsConnection, 2013).
• At-risk: Refers to students who are designated by referral to a continuation school of
being at risk of dropping out of high school. These students are credit-deficient and
experience social-emotional issues that inhibit them from performing at an acceptable
level at their resident high school (California Department of Education, 2012).
• California Standards Test (CST): The California Standards Test evaluates students’
proficiency in the areas of English-language arts, mathematics, science, and history-
social science. They are developed under the supervision of the California Department of
Education and are administered only to students in California public schools. Except for
a writing component of fourth and seventh grade English-language arts tests, all
questions on the CSTs are represented in an objective multiple-choice format. These
tests were developed in order to assess students’ performance on California’s Academic
Content Standards. The State Board of Education adopted these standards that specify
what all California children are expected to know and to demonstrate in each grade
(California Department of Education, 2012).
A VIABLE ARTS PROGRAM 18
• Common Core State Standards (CCSS) or Common Core Standards: The Common Core
State Standards Initiative is an education initiative in the United States that details what
K-12 students should know in English and math at the end of each grade. The initiative is
sponsored by the National Governors Association (NGA) and the Council of Chief State
School Officers (CCSSO) and seeks to establish conformity in education standards across
the states (Common Core State Standards Initiative, 2013).
• Discipline Based Art Education (DBAE): Excellence in Education Movement, also
referred to as, Discipline Based Art Education (DBAE) was established as a result of
growing concern for improving the quality of education with Instruction centered on the
works of arts and is taught through the four disciplines of art: production, criticism,
history and aesthetics (Zimmerman, 2010).
• Four Frames: According to Bolman and Deal (2008), the four frames are characteristics
that a leader may possess to some degree. The four frames are structural, symbolic,
human resource, and political.
• Leadership: An organized group of people working to achieve a common goal.
• Motivation: The precursor to and reason for student engagement; however, it may be used
interchangeably with engagement.
• No Child Left Behind Act of 2001 (NCLB of 2001): The No Child Left Behind Act is most
current federal legislation overseeing public education throughout the United States. It
requires states to develop assessments in basic skills to be given to all students in certain
grades as a condition to continue receiving federal funding for schools. The Act does not
set national achievement standards; standards are set by each individual state. The Act
A VIABLE ARTS PROGRAM 19
does mandate that each state demonstrates 100% student proficiency in reading and
mathematics by 2014 (No Child Left Behind Act of 2001, 2001).
• School Accountability Report Card (SARC): A required report from every California
school, which publicizes a school’s demographics, resources, safety, and performance
data (California Department of Education, 2012).
• School Culture: Refers to the values, norms and beliefs as evident in routine practices and
social interactions on a school campus.
• Student Engagement: When students make a psychological investment in learning.
• Viable Arts Program: A viable arts program is exemplified by meeting 3 of the following
criteria:
o The selected schools had to meet the three of the five criteria; the first two criteria
were required:
o The school demonstrates academic viability by a Similar Schools Ranking of 8, 9
or 10, along with a viable arts program.
o The school demonstrates relative stability, with the arts program (and hopefully
the leadership) in place for at least 3 years.
o The school is recognized as exemplary, through such evidence as awards (e.g.,
Bravo), accomplishments of graduates (high school), and/or competitive grant
awards.
o Evidence of master planning (e.g., Arts for All) is documented.
o The school serves a diverse community.
• Western Association of Schools and Colleges (WASC): The Accrediting Commission for
Schools, Western Association of Schools and Colleges (ACS WASC) is one of six
A VIABLE ARTS PROGRAM 20
regional accrediting associations in the United States. The ACS WASC accreditation
process fosters excellence in elementary, secondary, and adult education by encouraging
school improvement. WASC accreditation recognizes schools that meet an acceptable
level of quality, in accordance with established, research-based WASC criteria.
Organization of the Remainder of the Study
The remainder of this dissertation will be divided into four sections. The next section,
Literature Review, will examine the existing research of arts programs in education and best
practices of schools with viable arts programs. Chapter three will explain the methodology and
research design used in this qualitative case study a California elementary school with a viable
arts program. The purpose of chapter four is to summarize and discuss the key findings of the
qualitative study in response to the three research questions. The final chapter will present
implications for future research and draw conclusions about shared characteristics of schools that
have sustained viable arts programs despite the current climate of accountability and fiscal
constraints.
A VIABLE ARTS PROGRAM 21
CHAPTER TWO: LITERATURE REVIEW
This chapter will examine the existing research of arts programs in education and its
relation to the research topic. Many school leaders have reduced their arts programs as a result of
shifting priorities and accountability demands. However, some school leaders continue to
maintain viable arts programs. What factors are key to sustaining arts programs? The purpose of
this study was to determine key factors in sustaining arts programs at XYZ School. Beginning
with the background of arts programs, this chapter will discuss the history of arts education in
the US, the current climate surrounding arts education and the constraints arts programs face.
The chapter will then proceed to making the case for the arts identifying the advantages of arts of
programs. Additionally, the chapter will evaluate research that explores arts in education.
Following, promising practices will be addressed and a summary and critique will conclude the
chapter.
"It is deeply troubling that all students do not have access to arts education today," U.S.
Secretary of Education, Arne Duncan said in his remarks as he spoke at a Washington, D.C.
elementary school (Armario, 2012, p.1). Secretary Duncan’s concerns about the lack of existence
of viable arts programs in public schools are not uncommon. In fact, a recent survey reveals that
82% of the general public believes that an intense focus on math and reading has reduced the arts
programs in school settings (Rose and Gallup, 2003). Although the arts were valued as an
important part of culture during the time of antiquity, the arts were not perceived as an integral
component of education; the integration of arts in education was contentiously debated. The
concern for arts in schools has been a problem in US history for many reasons dating back to the
time of antiquity to today’s current climate in education. This chapter will begin by explaining
the background of arts program in American schools.
A VIABLE ARTS PROGRAM 22
History
Art education in the United States has been heavily influenced by the Greek perception of
arts (DeHoyas, et. al, 2005). The capitol building and other structures in Washington, D.C.,
stadiums, temple-like churches and many homes from the 1800s bear a resemblance to Greek
architectural style. Greek architecture has been popular as a symbol of classical elegance and
Western strength. Because American government and arts use foundational principles from
Greek culture, museums, courthouses, libraries, government buildings and monuments use Greek
architectural style. Notable ways in which we still use Greek style include columns, friezes and
decorative elements. The Lincoln Memorial, patterned after Doric architecture, is one famous
example of Greek architectural style today. In the eighth book of Politics, Aristotle advocated the
arts in education, specifically the inclusion of music and drawing (Post, 2005). He describes
education as four branches: reading and writing, gymnastic exercise, music, and drawing.
Aristotle argued that artistic training included mastery of a medium and gaining knowledge of
one’s environment.
Although the arts were valued as an important part of culture during the time of
antiquity, the arts were not perceived as an integral component of education. Instead, artists were
trained in workshops hosted by families in an apprenticeship model. Similarly, in today’s
society, the value of arts in schools is contentiously debated (Brenchley, 2012; Jones, 2009;
Sabol; 2010) even though research documents that the arts are highly valued in the American
culture (Kennedy, 2006; Nabori, 2012). Furthermore, during the Classical Era, the historical
period of the “patronage system, artists worked as servants to powerful noblemen DeHoyas, et.
al, 2005). According to Zongker (2011), affluent individuals support the arts to a greater extent
than their counterparts of lower socioeconomic status; moreover, a large percentage of upper
A VIABLE ARTS PROGRAM 23
class income earnings is spent on patronizing operas, museums, and other art foundations. By the
Hellenistic times, collecting art was prevalent (DeHoyas, et. al, 2005). Additionally, drawing
classes were a significant component in education during the Hellenistic era; yet when the
Romans gained control, the value of arts in schools lessened. Since the Middle Ages was marked
by the Fall of the Roman Empire, art instruction began to appear again; the development of craft
guilds, apprenticeships, and workshop treatises are the earliest methods of art instruction in the
western world.
In the United States, art education developed between the period of 1820 and 1850.
While growth was slow, drawing became a prevalent form of art instruction. In 1821, art
instruction was introduced in public school’s curriculum, but the movement faced strong
opposition. Leaders of The Common School Movement advocated for art education (DeHoyas,
et. al, 2005). Reformers perceived the movement as a method of closing the gap between the rich
and the poor. In 2001, No Child Left Behind Act was signed into authorization for similar
reasons (Chapman, 2005). While children from wealthier families may have experienced art
instruction outside of school through the apprenticeship, advocating art instruction in schools
offered art lessons to children from less affluent families. Stankiewiez (2002) argued that art
education connected youth with emerging cultural values and contributed to the construction of
the North American middle class. Between the 1820s and 1850s art was introduced in city-
schools of the east coast including Philadelphia, Baltimore and Cleveland. Massachusetts was the
initial state to adopt art as a component of the general education program. More states began to
integrate art into the school curriculum when provisions for art instruction were made in the
1870s.
A VIABLE ARTS PROGRAM 24
During the 20-year span from 1850 - 1870, two considerably different approaches
emerged in art education, which become the foundation for opposing theories in the subsequent
decades (DeHoyas, et. al, 2005). The first approach was based on the belief of rigidity and
practical learning. The counterargument was that the art education should be natural, occurring
through the senses. The Oswego Movement was a method developed in 1861 that employed the
use of hands-on learning such as blocks and charts to engage the child’s senses. Post (2005)
highlights the British Arts and Crafts Movement, which flourished between 1860 and 1910, was
a means of opposition against the rigidity of the mechanical production that took place during the
Industrial Revolution and makes a significant impact on arts in the US. Moving away from the
use of machines, British supporters of the movement created and constructed objects by hand.
The Arts and Crafts Movement spread to the US, shifting the concentration from industry and
machinery to ceramics, furniture making, needlework and painting. The Boston Metropolitan
Museum of Art opened in 1876, initiating the concept of public art education. Upper class
citizens financially supported the Boston Metropolitan Museum of Art and other art institutions.
Following 1880, there has been a great variety in art education programs (DeHoyas, et.
al, 2005). An educational innovator, Francis Parker argued that art is essential to learning since it
is a vehicle for children to express themselves. G. Stanley Hall introduces the Child Study
Movement, studying children’s cognitive development by comparing children’s illustrations to
primitive art. Additionally, the Picture Study Movement was conceptualized in 1892 in effort to
beautify schools and to promote art appreciation. Inventive Drawing became prevalent and was
thought to lead to the development of higher order thinking skills through the engagement of the
senses. In 1873, the Massachusetts Normal Art School was established to equip teachers in
drawing instruction.
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After 1900, systematic theories of art education evolved with a focus on child-centered
experiential learning (DeHoyas, et. al, 2005). Americans became immersed in means to sustain
democracy and since the fundamental basis of democracy is the foundation of Creative Self-
Expression, leaders of art education were able to benefit from the Progressive Education
Movement and arts became salient in American education again. The Progressive Education
Movement was established with a focus on child-centered experiential learning and marks the
beginning of empirical research within the educational system. Art education played a major role
in the Progressive Education Movement as research and empirical study begin to dictate the
change within the system. The debate sparked from the effects of the Progressive Education
Movement centers around the role of research; many of the individuals who generated research
about the role of arts in education were protagonists of arts, which make their research, in some
ways, one-sided.
Studies supporting the arts include the Eight Year Study of 1982 and the Owatonna Art
Project (DeHoyas, et. al, 2005). The Eight-Year Study was an intensive study designed to
restructure secondary education; the findings revealed that students in the most progressive
schools, schools whose curriculum included the arts, performed at higher levels than the control
group. The goal of the Owatonna Art Project was to integrate the community into the schools
and community so that educators and community leaders would be able to sustain the arts
programs after the conclusion of the project. It is salient to understand methods of sustaining of
arts programs because many arts programs have lessened in schools on the rise of accountability
demands and budgetary constraints (Abdollah, 2012).
Historical events between 1950s-1970s and 1971 -1990s are critical periods in art
education (DeHoyas, et. al, 2005). Art education in the 1950s - 1970s is greatly influenced by the
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global social context of the time, Sputnik and Brown vs. Board of Education. While events in
general history do not directly impact art education, the period between 1960 and 1969 is a
markedly turbulent decade in American history that art education was directly impacted by
events during this period. Concerns regarding America’s position in the global economy,
environmental changes, and the need for rapid advancements in the areas of math and science
were salient between the 2 decades between 1970 - 1990 due to the many social issues including
the U.S. involvement in the Vietnam War, Civil Rights issues, and the political controversy
regarding the Watergate incident. The events of this era sparked the educational debate to
improve and reform schools. The arts were positively impacted during this period political and
social activities started to reconsider the regimented and disciplined based education system and
perceived learning to be more of an experience; the notion of learning as an experience was also
espoused by proponents of the Arts-In-Education Movement.
The Accountability Movement emerged in the mid-1970s as a result of increased public
pressure to hold the nation’s educational system accountable for declining test scores (DeHoyas,
et. al, 2005). The concentration shifted from holistic curriculum and interdisciplinary pedagogy
to the development of assessment measures and instructional and behavioral objectives. The idea
of a national assessment gained stimulus in 1963. Furthermore, the National Assessment of
Educational Progress (NAEP) assessed nine and thirteen year old students’ performance in
drawing and art as well as knowledge about attitudes towards art. Educational researchers
resisted the use of behavioral objectives and qualitative research methods became the basis for
evaluating art instruction and student achievement. Excellence in Education Movement, also
referred to as, Discipline Based Art Education (DBAE) was established as a result of growing
concern for improving the quality of education with Instruction centered on the works of arts and
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is taught through the four disciplines of art: production, criticism, history and aesthetics. Today,
DBAE continues to be evident in many forms of curriculum reform movements (Zimmerman,
2010).
Current Climate
Recent accountability measures have raised the pressure for schools to increase test
scores in reading and math, reducing classroom time devoted to the arts. While some argue that
arts instruction has not been reduced (Armario, 2012), in elementary schools, test preparation
and test-taking skills may well exceed the 26 hours typically devoted to visual arts instruction in
a year (NCES, 2000; Sabol, 2010). The percentage of elementary schools with a drama arts
classes declined from 20% to 4% in the 2009 - 2010 school year (Lawrence, 2012). Although
some statewide arts assessments are underdevelopment, art test scores do not count as a measure
of Annual Yearly Progress (AYP refers to the requirement under NCLB legislation for schools
and districts to show annual growth towards Federal goals); in other words, student performance
on art examinations are not included in the overall cumulative performance of a school. The
decision to reduce time for art instruction in schools was even apparent in early US history;
opponents of the Progressive Education Movement viewed students as products; therefore, art
often failed to meet to standards for cost-efficiency (DeHoyas, et. al, 2005). Rose and Gallup
(2003) performed a survey and found that 82% of parents with children in public schools are
concerned that with an overwhelming focus of instruction on literacy and arithmetic, there will
be less emphasis on science, history, art and other important subjects. From the studies
concerning the reduction of arts programs in schools, it can be inferred that removing arts
programs in schools will unbalance the lever for the playing field between students of different
socioeconomic backgrounds. Even dating back to the time of antiquity, The Common School
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Movement was established to provide all children with a quality education irrespective of social
class (DeHoyas, et. al, 2005). Advocates of The Common School Movement described a sound
education as one that integrated the arts; several states have also defined a “quality” or
“adequate” education to encompass the study of the arts (National Art Education Association,
2004).
In the current climate, art often functions as a bribe or reward; students earn arts as
enrichment if they have mastered reading and math content standards. In many schools, arts are
perceived as a privilege. Students, who master reading or math on time, earn enrichment classes
such as art whereas their lower-achieving peers partake in tutorial or remedial work (Chapman,
2005). Alternative to being perceived as an integral component to education, let alone a means of
fostering critical thinking skills (DeHoyas, et. al, 2005), arts is perceived to be a hands-off,
minds-off busy work or a recreation activity for high achieving students (Spohn, 2008).
Constraints
The arts programs in America's public schools are routinely one of the first things cut to
save money and resources. In the last five years, funding for arts education in the Los Angeles
Unified School District has had a 76% drop from a budgeted high of $78.6 million to $18.6
million (Abdollah, 2012). The production of arts, an element according to DBAE, suffers when
funding for arts programs are cut. A teacher in Broward County, the nation's sixth largest school
district, argues that since he has less time with students in class and after school, holiday and
spring concerts have been canceled (Armario, 2012). While there has not been a dramatic
narrowing of the arts curriculum, there is a growing disparity between schools that offer arts
programs. Whereas many wealthier school districts have been able to sustain their arts programs,
students who qualify for free and reduced lunch are on average less likely to engage in arts
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classes at their schools (Armario, 2012). In other words, most troubling is the equity gap of arts
in schools.
Public schools are underfunded and underappreciated in general, accounting for part of
the reason arts programs are being cut (Chapman, 2005). Arts programs are especially vulnerable
to cuts in the many states that are already in financial trouble (Abdollah, 2012). Even in the 19th
century the value of arts in public education was highly debated. While the proponents argue that
the value of arts in schools is prominent, the opponents insist that arts must not necessarily be
publicly funded. The question then becomes if education is culturally perceived as a public good
and a quality education includes the arts, should the matter of sustaining arts programs in schools
be a debatable option?
The Case for the Arts
The benefits of arts programs include academic gains, student engagement, increased
creativity, social and civic development, economic development and increased quality of life.
Governor Mike Huckabee of Arkansas, relates his personal experience as he addresses the
essential role that arts plays in education (Education Commission of the States, 2006); a bass
guitarist for Capitol Offense, Governor Mike Huckabee selected arts in education as the focus of
his Education Commission of the States 2004-06 Chairmanship. He argues that arts are critical
because arts are not only linked to student achievement but are also salient to a competitive
workforce. In addition, many studies have shown the advantages of viable arts programs in
schools (Slywester, 1998; Zero to Three, 2002; Booker, 2010).
Music serves as a catalyst for development in children. Responding to music is a natural
phenomenon for young children (Zero to Three, 2002). The Zero to Three (2002) article is
comprehensive in describing how music is a tool for development in young children because it
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not only addresses the research behind why music work, but it explains how to integrate music
into teaching. According to Zero to Three (2002), music develops children’s intellectual, social
and emotional skills. In fact, music has been proven to synchronize the mind and body. Music
likewise fosters memory and retention through repetition; it aids with the understanding of the
sounds and meanings of words, and promotes interaction. Music reinforces learning through its
rhythmic beat that also helps with coordination. Additionally, patterns help in predicting the
prospective. Through music, children generally adopt more vocabulary, which is the building
block of language and literacy. Above all, music engages children through the melodies that
captures attention and sparks enjoyment.
Research has shown that arts instruction enhances neurological development. Slywester’s
(1998) study is similar the Zero the Three (2002) study, but also specifies how arts fosters brain
development and maintenance. Slywester (1998) shows that arts have important biological
values because the arts have proven to improve muscular systems and integrate emotion and
reason. This article substantiates the argument for why arts must be prioritized in schools on
national level. In other words, the fundamental role arts play on the brain development indicates
why it is unreasonable to deny children direct curricular access to the arts. His defense is that arts
is necessary for the brain’s sake and not merely because some disputable studies have found
causal relationships between the arts and math and/or literacy. According to Slywester’s (1998),
the arts are highly integrative and involve elements of life: (1) performance and aesthetics. The
article presents four emerging themes that provide the basis for the argument that arts are an
educational investment: 1) movement is central to life and the arts 2) sophisticated movements
must be learned 3) smooth movements enhance self-concept and 4) virtuoso movements are
transcendent.
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Involvement in the arts is associated with gains in math, reading, cognitive ability, critical
thinking, and verbal skill. A 2006 study by the Guggenheim Museum suggests that a foundation
in the arts can help boost literacy skills (Kennedy, 2006). Similarly, according to Burton,
Horowitz and Abeles (1999), well-constructed arts programs in dance, theater, music and visual
arts can improve reading comprehension, particular for early or remedial readers. The study
compared students in well-constructed arts programs to those in programs in which arts
programs were scarce. Likewise, the study shows that students who partook in arts education
programs demonstrated greater oral communication skills as well as written self-expression.
While the study shows how arts is associated with academic gains, the author argues that the
significance of the findings was not merely that there is a positive correlation between arts and
other subject areas, but even more that it is critical to integrate arts into the curriculum as a
distinct subject of its own. Similar to the Slywester (1998), Burton, Horowitz and Abeles (1999),
defend that arts alone play a critical role in neurological development.
Extensive research shows that arts education engages children. Many studies show that it
is not revelatory to recognize that arts engage children. According to Zero to Three (2002),
music engages children through the melodies that capture attention and sparks enjoyment. In a
school where student achievement was down and teachers’ morale was low, a bold strategy of
integrating arts into the curricula helped students embrace learning and retain their knowledge
(Nabori, 2012). Evidence of children engagement in arts was Arts Engage!, a transformative arts
program, provided the opportunity for children of ages 7 - 13 to partake in art projects inside the
Electric City Trolley Museum (Freda, 2012). Furthermore, Booker’s (2010) study found that arts
engaged students, particularly of their cultural heritage.
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Student involvement in the arts improves students' school attendance. Research reveals
how the arts make school a place children desire to be (Zero to Three, 2002; Booker, 2010;
Freda, 2012), particularly for at-risk students according to reference (National Endowment for
the Arts, 2012). The findings were compelling; students who participated in arts after school
programs were three times more likely to have higher attendance rates than their counterparts,
even though the students participating in the after school program were twice as likely to come
from low-income families, troubled homes or attend schools with high incidences of violence.
The arts, likewise, assist in rehabilitating at-risk youth and juvenile offenders. Research
has shown that both at-risk and incarcerated youth who partook in art-based delinquency
prevention programs showed substantial improvement in their behavior, social interaction and
academic achievement in relation to comparison groups (Americans for the Arts, 1996). The
YouthARTS Development Project, a collaborative effort between the US Department of Justice
Office of Juvenile Delinquency and Prevention and National Endowment for the Arts, found that
participants demonstrated both positive intermediate effects and long-term outcomes such as
fewer court referrals and increased academic gains.
Research shows that arts education enables children from low socioeconomic
backgrounds to have a more level playing field with children who partake in arts experiences
outside of school. Children from affluent families generally get exposed to the arts whether or
not public schools provide them. This was even noted during the Common School Movement of
1821 (DeHoyas, et. al, 2005). Protagonists of the Common School Movement perceived the
movement as a method of closing the gap between the rich and the poor; While children from
wealthier families may have experienced art instruction outside of school through the
apprenticeship, advocating art instruction in schools offered art lessons to children from less
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affluent families (DeHoyas, et. al, 2005). In 2001, No Child Left Behind Act was signed into
authorization for similar reasons (Chapman, 2005). Stankiewiez (2002) argued that art education
connected youth with cultural values and contributed to the development of the North American
middle class. Eric Cooper, founder of the National Urban Alliance for Effective Education,
defended the argument in stating that arts education helps children from low-income families
have a more level playing field with children who otherwise experience arts enrichment (Smith,
2009). Whereas many wealthier school districts have been able to sustain their arts programs,
students who qualify for free and reduced lunch are on average less likely to engage in arts
classes at their schools (Armario, 2012). Thus, arts programs are highly needed in inner-city
schools.
Arts learning can also improve self-esteem and teamwork. Research shows that well-
structured implemented arts in education programs have positive effects on students’ ability to
work cooperatively and interact with others (Americans for the Arts, 2002). According to Lake
(2011), art programs help children develop a sense of craftsmanship and children develop pride
in their finished work or participation in a production. As children are encourage to follow their
vision and do their best, they develop a greater sense of self-image and self-esteem consequently
leading to increased social participation in school. The national children’s art program illustrated
how children who participate in the arts are four times more likely to serve as a class official or
participate in academic fairs (Lake, 2011).
The arts help students develop multicultural understanding. A 2005 report by the Rand
Corporation argues that the intrinsic pleasures and stimulation of the art experience can connect
people deeply to the world and expose them to multiple and new perspectives. Furthermore, the
experience of art creates the foundation to forge social bonds and community cohesion
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(Americans for the Arts, 2002). Especially in the context of the American society, where the
nation is becoming ever more diverse, the value of teaching children multicultural understanding
cannot be cliché. A variety of arts in education programs are helping students embrace their own
culture and develop deeper understanding and appreciation for the diversity of the world, at large
(Booker, 2010).
Art programs are vital to producing well-rounded children adept for the 21st century
workforce. Art programs encourage innovation, problem solving and nonlinear thinking skills
that can be used not only in academic settings but in the professional world as well. In fact,
programs in the arts encourage children to be creative and to use their imagination as much as
possible. Increased emphasis on creativity helps to generate new ways of thinking about
technology, sciences and the world in general (Gullat, 2008) According to The Boston Globe, art
programs are key to helping students understanding of their place in relationship the rest of the
world.
The arts are an engine for economy building at the state and local level. A growing body
of research reveals the role arts play in the economic development of the country (Americans for
Arts, 2002). The arts produce $849 million in business revenues in Virginia, whereas nonprofit
arts organizations contributed 2,500 to Louisiana (Americans for Arts, 2002). This is to say that
the arts generate a large and ever-increasing dollar amounts for both private ventures and state
governments.
While the arts have been proven to be beneficial for the economy, the arts are also proven
to improve quality of life for individuals and communities. The Performing Arts Research
Coalition’s studies confirmed the role of arts in contributing to individual enjoyment and healthy
communities over 80% of the participants strongly agreed or agreed that the performing arts
A VIABLE ARTS PROGRAM 35
improved their communities (Americans for Arts, 2002). Although Guetzkow (2002) came to
similar findings, the study also criticized the ambiguity in defining “quality of life” which leaves
open disputes for the impact arts has made on individuals and communities, as a whole.
Promising Practices
Leadership in art education is a form of social action. As art was one of the primary
content areas instructed in schools (DeHoyas, et. al, 2005), it is befitting to argue that art
educators must take leadership in reinventing the school subject in response to dynamic social
conditions that has kept art in public schools for over 150 years. Teaching art from a social
perspective offers a distinct lens in the benefits of arts education in schools. From a social
perspective, teaching art is to demonstrate that the visual arts are essential to all social groups.
Art can be a social mediator, leading students from personal expression to cultural engagement.
Students have hands-on experience in organizing art experiences that help their community or
protect their environment through service projects. Even dating back to the 1900s, the arts were
greatly influenced by the global social context of the time. Americans become immersed in
means to sustain democracy and since the fundamental basis of democracy is the foundation of
Creative Self-Expression, leaders of art education were able to benefit from the Progressive
Education Movement and arts was considered to be essential in American education. Friedman
(2011) substantiates the historical recurrence arguing that leadership in arts is social
responsibility and a method of social action.
In response to negative impacts of policy, some art educators are enhancing student
learning through educational leadership that goes beyond traditional teaching. Creative
leadership relates to the leading edge of the field, teaching students about socio-cultural
conditions, sustainable design, visual technology and popular fine art (Friedman, 2011). In
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moving away from the traditional way of teaching art, schools and communities foster a cultural
transformation promoting stimulation in the field and new learning opportunities for students.
Effective leadership can both reinvent and sustain an arts program. According to
Freedman (2011), the arts were not eliminated from the schools within a certain district owing to
the advocacy of leaders within the community; the students, teachers, parents and community, at
large assumed to responsibility in ensuring that the arts were prioritized. Essentially, Freedman
(2011) indicates that attempts to cut art education could be prevented through advocacy coupled
with strong proactive leadership. Beginning with a clear vision of arts in education, Freedman
(2011), conveys the significance of including the fundamental basis for a vision of art education:
expressing that visual arts is essential to human life, considering the cultural and individual
impact of fine art and relations between arts and educational achievement. Furthermore, in the
wake of increased standardization, arts generates creative thinking and non-linear thinking which
is vital to preparing our students for the global economy and advancing technological world.
Freedman (2011) also argues that the vision must guarantee learning, certainly through using
appropriate measures of student achievement. Collectively, the aforementioned elements reflect a
vision that relates to the leading edge of the field, reflect best practices in the discipline and are
justified by a curriculum rationale.
Strategies for change-distributed leadership, collaboration, and networking are the
backbone of effective arts education programs (Freedman, 2011). Effective leadership involves
having a shared vision; a shared vision is effective for change. Communication, likewise, is
essential for shared vision. Communicating with teachers, administrators, parents and
community partners helps to promote essential values for a shared vision. Essentially, leadership
in art education mandates the active involvement of diverse stakeholders collaborating amongst
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distinct groups (i.e. negotiations between community leaders and administrators). While
leadership often takes the frame of symbolic leader to spark reform, it also requires the shared
vision or distributive power for sustained and effective change. Furthermore, in keeping with the
advancing technology, a shared vision or distributive leadership can evolve through social media
and networks in effective communication about burgeoning leadership projects.
Effective arts education programs must be supported by responsive policy and ongoing
tax levy funds in order to sustain quality arts programs (Remer, 2010). Many partnerships
stumble and disappear when grant funds run out (Abdollah, 2012). Freedman (2011) described
the importance of a shared vision for effective leadership in art education; furthermore, Remer
(2010) argues that responsive policy begins with distributive leadership, equivocal to a shared
vision. Unlike the Freedman (2011) article, Remer (2010) identifies steps for generating policy
that will in turn lead to educational reform, particularly for art education. The article explores the
process of applying lessons learned about high quality effective arts programs to conclude with
the following steps in aiding educational leaders and practitioners to create their own policy
statements: 1) identify and prepare a working group; 2) investigate the tasks; 3) take a periodic
recess to reconvene as a group for reflection and discourse; 4) resume small group discourse to
identify the gaps; 5) find additional assistance; 6) pilot the policies; 7) put the policies in action;
8) disseminate your policy and process.
Research indicates that key school characteristics influence schools' number of arts
partnerships (Casteneda & Rowe, 2006). Four factors were prevalent in determining a school’s
likelihood of an arts partnership: Arts Prototype School (APS) rank, financial resources, teacher
quality and educational program correlated to achievement record. Local community richness,
defined by arts organizations present in a nearby radius, further helped predict schools
A VIABLE ARTS PROGRAM 38
partnership with arts programs. Uniquely, this study brought to face the argument of fully
credentialed teachers being a salient characteristic in determining the predictability of
partnerships between schools and arts programs. The finds of this study has many implications
for both researchers and policymakers.
While funding for arts programs has been reduced, both the more affluent schools and
their counterparts have found ways to sustain arts programs for their students. Privately funded
arts programs have been sustained in wealthier school districts. In affluent schools, parent
organizations raise of money for the arts (Armario, 2012). Parents at Tony Public Schools in
New York City’s Upper West Side are an example of a group that sustains high-quality arts
programs despite budgetary constraints (Hing, 2012). On the other hand, arts organizations have
increased their school partnerships to counter the decline in curricular arts education and help
keep the arts alive, particularly for students in high-needs schools (NEA, 2012).
Several case studies highlight schools that find creative ways of funding their arts
programs despite budgetary constraints. Owing to the dearth of sufficient funds, some schools
have found more cost-effective means of infusing arts into their curriculum. Gullatt (2008)
argued that rather than arts competing with the 3 R’s, the arts should be integrated through
proper budgeting and allocation of funds, professional development and planning; in this way,
Gullatt (2008) found that arts could support student achievement. An earlier study also revealed
that arts integration programs led to academic gains across the curriculum, particularly for
students of low-socioeconomic backgrounds as well as those most at risk academically (Rabkin
& Redmond, 2003). Furthermore, the arts integration programs allowed students apply their
knowledge authentically. The Effingham Youth String Music Program and the National Youth
Orchestra Foundation creatively funded their arts program through the revenue generated from
A VIABLE ARTS PROGRAM 39
the seasonal concerts (Childress, 2006). The study illustrates a lighthouse or best practice in arts
education.
Summary and Critique
The case for the arts is backed with extensive research. The benefits of arts programs
include academic gains, student engagement, increased creativity, social and civic development,
economic development and increased quality of life. Studies indicate that arts play an integral
role in the development of young people. Just as parents involve the arts in teaching their young
children--singing, dancing and visual arts--our nation is encouraged to prioritize the arts
alongside the 3 R’s (reading, writing and arithmetic).
It is widely known that the watchwords of education in the current education reform are
“accountability and NCLB”. Furthermore as many states are impacted by deficits in the
economy, schools are faced with budget cuts. Consequently, the arts programs in America's
public schools are often one of the first things cut to save money and resources. Research,
however, shows that arts education engages children, increasing student attendance and student
achievement. Furthermore findings from studies show that arts education enables children from
low socioeconomic backgrounds to have a more level playing field with children who partake in
arts experiences outside of school. It is those students that U.S. Secretary of Education Arnold
Duncan and Governor of Arkansas Mike Huckabee argued are most impacted by budget cuts;
their families may not be able to afford a private art or music class after school. Moreover, for
some students, particularly those who are low achieving, an arts class could be what pushes them
to continue going to school. Often students express that it was through the visual arts that they
were able to express themselves and explore their identity. The arts validated who they were as
individuals.
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The research findings (Rabkin & Redmond, 2003; Gullatt, 2008; NEA, 2012) have
implications for future policy concerning arts an integral component of education. The literature
identifies several categories of best practices that characterize schools that have retained the arts
amidst budgetary constraints. As discussed in this chapter, these best practices are the broad
categories of (1) leadership, (2) partnerships and (3) arts integration. Underscoring the
development of each of these three categories is the notion of advocacy for the arts ranging from
studies that have proven how directly linked arts is to the development of the brain in young
children to the socio economic engagement arts fosters in youth.
Despite the breadth of literature available on art programs in education in the American
K-12 institutions, a significant gap remains. Though researchers have and reported the best
practices of arts education, there still lacks a breadth of scholarly literature associated with how
funding decisions are made to support arts programs in schools as well as characteristics of
leadership in schools where arts programs are viable and sustainable. In other words, while
researchers and practitioners may cite to apparently impressive case studies that report arts
programs link to student performance, the research finding rarely correspond to the leadership
nor funding decisions at schools that are faced with budgetary constraints and accountability
demands. This important gap in the literature highlights the significance of the case study that
will be the focus of the rest of this dissertation. While reporting on the best practices of arts
programs in schools may convey possible strategies for reintroducing arts in the curricula,
without a corresponding report on the leadership and funding decisions at schools, policymakers
and educators alike will not have suffice research to best select and implement viable arts
programs in K-12 schools. This dissertation is one of eight that will add to the literature on arts
programs in education.
A VIABLE ARTS PROGRAM 41
CHAPTER THREE: METHODOLOGY
This study addressed the problem that many school leaders have reduced their arts
programs as a result of shifting priorities and accountability demands. However, some school
leaders continue to maintain viable arts programs. Thus, the purpose of this study was to
determine key factors in sustaining arts programs at XYZ School. The first chapter presented an
introduction to the topic as well as its significance to the broad literature, while the second
chapter provided a review of the existing scholarly literature on the topic of arts programs in
education. Chapter three will explain the methodology and the research design used in this
thematic qualitative case study of viable arts programs at XYZ School. The methodology is
designed to answer the following research questions:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
This study arose from the work a thematic dissertation group at the University of
Southern California. The thematic group consisted of eight colleagues led by Dr. Stuart Gothold.
As a collective team, all eight colleagues met monthly from the month of December 2012 - May
to develop the research design, conceptual model and disseminate research for the literature
review. The group began the process of the case study by collaboratively conducting research on
the academic literature of the topic, after which the group identified three research questions for
the focus. Following, each member selected a school as the subject of an individual case study.
The selected schools had to meet the three of the five criteria; the first two criteria were required:
1. The school demonstrates academic viability by a Similar Schools Ranking of eight,
nine or 10, along with a viable arts program.
A VIABLE ARTS PROGRAM 42
2. The school demonstrates relative stability, with the arts program (and hopefully the
leadership) in place for at least three years.
3. The school is recognized as exemplary, through such evidence as awards (e.g.,
Bravo), accomplishments of graduates (high school), and/or competitive grant awards.
4. Evidence of master planning (e.g., Arts for All) is documented.
5. The school serves a diverse community.
The resulting selections comprised elementary, middle and high schools, public and
charter institutions, and across both urban and suburban settings.
The thematic dissertation group designed the literature, conceptual design and
methodology collaboratively. While the group worked together to develop methodology
instruments tools and criteria for school selection, each colleague worked independently to
research his/her school, gather data, perform data-analysis, and write the final dissertation.
Although each study was an individual effort and stands alone as an individual case study with
findings unique to each school site, when all studies are reviewed collectively and presented as a
whole, they provide insight in the relationship between school leadership, school curriculum, and
funding that contribute towards a viable arts program.
The thematic dissertation group was interested in learning how some school leaders have
been able to sustain viable arts programs despite accountability demands and budgetary
constraints. A qualitative case study methodology was selected as a means of focusing on a
descriptive in-depth understanding of a phenomenon in a natural context throughout the lens of
the researcher (Gall, Gall & Borg, 2003). The researcher was interested in how people interpret
their experiences, construct their world and attribute meaning to their experiences (Merriam,
2012). A case study was appropriate because it is particularly useful for examining outliers or
A VIABLE ARTS PROGRAM 43
situations that do not fit a general trend or practice (Gall, Gall and Borg, 2003). The approach of
a thematic dissertation generated themes and relationships across school settings.
Research Questions
The thematic dissertation group designed research questions in an effort to specify the
focus of viable arts programs that have been sustained despite accountability demands and
budgetary constraints. After reviewing the scholarly literature, the group discussed and
categorized the major themes of viable arts programs. Three particular components of viable arts
programs emerged: school leadership, school curriculum of programs and funding. Therefore the
three research questions guiding this case study are:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
Conceptual Model
The conceptual model (Figure A) illustrates the summary of findings in the literature
review on the key components of viable arts programs in education. Each of the components,
leadership, resources/priorities, arts programs (structure/curriculum), plays an interdependent
role in the context of the constraints and accountability demands. In other words, a viable arts
program is achieved despite the input of constraints and accountability when there is a symbiotic
relationship between leadership, funding and structure. The conceptual model represents the
research questions, which addressed the overall purpose of the study—to determine key factors
in sustaining viable arts programs.
A VIABLE ARTS PROGRAM 44
Research Design
This qualitative study used a case study approach to examine the structure, leadership and
funding of arts programs that enable school leaders to maintain viable arts programs despite
accountability demands and fiscal constraints. According to Gall, Gall and Borg (2003), the case
study should provide a detailed description of a phenomenon. Since the nature of a case study is
complex, the researcher selected three research questions for the focus of the study. The three
researched questions focused the investigation of viable arts education into three distinct
elements: structure, leadership and funding. The research questions shaped the instruments from
which the researcher could implement to collect data.
Figure A. Conceptual Model of Viable Arts Programs.
A VIABLE ARTS PROGRAM 45
A qualitative case study was appropriate for this research since it is used to examine
outliers or situations that do not fit a general trend or practice (Gall, Gall and Borg, 2003). The
study identified how several arts programs have been reduced due to accountability demands and
budgetary constraints. However, some school leaders have maintained viable arts programs.
XYZ School fit the description of an outlier since it did not follow a general trend (schools who
have reduced arts programs). Purposeful sampling was conducted of one school that has a viable
arts program in order to shed light on a specific setting.
The four frames of Bolman and Deal (2008) were integrated into the research design. The
structural, human resources, political and symbolic components of the organization captured
unique insights of the school’s daily operations and suggested recommendations for change. The
research design developed an understanding of the four frames in order to understand how
curriculum, leadership and funding support viable arts programs. The following identified
properties within each frame that were used to guide and organize the data collected in this
study.
1. A structural frame that emphasizes goals, roles, formal relationships and the rational side
of organizations.
• goals
• specialized roles
• formal relationships
• division of labor
• rules, policies, procedures
• hierarchies
A VIABLE ARTS PROGRAM 46
2. A human resources frame that emphasizes needs, attitudes, skills and the human side of
organizations.
• relationships
• human needs
• motivation
• socialization
• personal attributes
3. A political frame that examines power, conflict, and coalitions among those who have
vested interests to protect and advance within a context of scarce resources.
• power, conflict
• bargaining, negotiation
• coalitions
4. A symbolic frame that explores how organizations create meaning and belief through
symbols – including myths, rituals, and ceremonies.
• rituals, ceremonies, social norms
• stories
• heroes
• traditions
In summary, the researcher triangulated the data collection, and then sought to provide a
thick, rich description of the statement of the problem. The triangulation matrix helped the
researcher validate the findings in Chapter Four.
A VIABLE ARTS PROGRAM 47
Criteria
In alignment with the IRB, each school site selected to be a part of the study had to align
to three of the following agreed-upon criteria; the first two criteria were required:
Table 1
Triangulation Matrix
Research Questions Data Needs Data Sources Instrumentation
What are the arts
programs that exist at
XYZ school?
What’s the structure
of the arts programs
school?
XYZ School
Charter
Parent-Student
Handbook
Master Schedule
SARC
WASC
School Website
Facilities
available/designated
Equipment
Inventory
Master Calendar
Document Review
Administrative and
Parent Interview
Observations
Teacher Survey
How does leadership
at XYZ school
support the arts?
Who is involved in
sustaining the arts/in
others, the staffing?
Are there
partnerships?
What is the climate
or culture of the
school?
Where is the
leadership coming
from?
XYZ School
Charter
Professional
Development
Agenda
Master Schedule
Facility Use
Calendar
Document Review
Administrative and
Parent Interview
Observations
Teacher Survey
How are funding
decisions made at
XYZ school to enable
the arts to be
supported?
How funding is
allocated?
What resources are
provided?
Budget
Board meeting
minutes
Master Schedule
Document Review
Administrative and
Parent Interview
Observations
Teacher Survey
A VIABLE ARTS PROGRAM 48
1. The school demonstrates academic viability by a Similar Schools Ranking of eight,
nine or 10, along with a viable arts program.
2. The school demonstrates relative stability, with the arts program (and hopefully the
leadership) in place for at least three years.
3. The school is recognized as exemplary, through such evidence as awards (e.g.,
Bravo), accomplishments of graduates (high school), and/or competitive grant awards.
4. Evidence of master planning (e.g., Arts for All) is documented.
5. The school serves a diverse community.
The resulting selections comprised elementary, middle and high schools, public and
charter institutions, and across both urban and suburban settings.
Population and Sample
The study focused on one urban elementary school that met the established criteria of a
K-12 school with a viable arts program as determined by the thematic dissertation team. All five
criteria were met by XYZ School. The first criterion required the school to have achieved a
Similar Schools Ranking of eight, nine or 10, along with viable arts program. XYZ demonstrated
academic viability with a Similar Schools Ranking of 10 based on the 2012 API report. Further,
the school had a viable arts program primarily evident by the school day arts curriculum,
instructional bell schedule and after school dance program. The school met the second criterion
in demonstrating relative stability with the arts program and the leadership for the minimum of
three years. The arts program has remained an integral aspect of the educational program at XYZ
School since the founding year; in fact, the program has further developed since the initial period
demonstrated by the increase in number of students engaged in the programs, growth in
administration and staff in support of the programs, and awards and recognition that the school
A VIABLE ARTS PROGRAM 49
has accredited due to the promising practices and significant outcomes of the arts program at
XYZ School. Concerning school leadership, XYZ School nurtured leadership from within: three
of the School’s five instructional leaders were initially teachers. The principal of XYZ was
formerly the assistant principal and had served in the leadership capacity as administrator for two
years. The former principal was the instructional leader for four years assistant principal and four
years as principal. Additionally, the current arts director has served as director since the
founding year of operation.
The remaining three criteria were also met by XYZ School, demonstrating that XYZ
School met all five criteria. The school received several awards in recognition of its exemplary
arts programs including the Siart Foundation Charter School Excellence Award (2007 & 2008),
Insight Innovation Award (2008), Title 1 Academic Achievement Award (2010), Music Center
Bravo Program Award (2011) and most recently the Hart Vision Award for Charter School of
the Year (2012). Additionally, the school earned a full WASC accreditation in April 2011.
Evidence of master planning is documented including arts curriculum, master schedule, grade
level syllabi and benchmarks. The final criterion was met evidenced by the student demographics
based on the 2011-2012 School Accountability Report Card. The pie chart below illustrates the
student enrollment by race/ethnicity: 3.5% of students are identified as Black or African
American; .2% are American Indian or Alaska Native; 4.2% are Asian; 2.3% are Filipino; 84.3%
are Hispanic or Latino; 4% are White, .2% are identified as having two or more races and there
are no students identified as Native Hawaiian or Pacific Islander.
A VIABLE ARTS PROGRAM 50
Further demographics are identified in the Table 2. The following chart identifies the
student subgroups at XYZ. 90.4% of students are socioeconomically disadvantaged. 61% of
students are English Learners and 11.5% are identified as Students with Disabilities.
Table 2
Student Subgroup Demographics
Student Subgroup Enrollment
Socioeconomically Disadvantaged 90.4%
English Learners 61.0%
Students with Disabilities 11.5%
After learning about XYZ school in the media for its exemplary arts programs, the
researcher scanned the school’s website and accountability data on the school’s programming.
Following this review, the researcher contacted the school administration in March 2010 and the
Figure B. Student Enrollment Pie Chart.
Black or African American
American Indian or Alaska
Native
Asian
Filipino
Hispanic or Latino
Native Hawaiian or Pacific
Islander
White
A VIABLE ARTS PROGRAM 51
Principal confirmed that school was interested in participating in this study. In April 2010, a visit
to XYZ School was made in an effort to formally discuss my study to the Principal and tour the
school campus for general observations. The visit confirmed that XYZ School met the criteria of
the study and was an appropriate selection.
XYZ School is a K – 8 independent elementary charter school in CLA District. The
school was founded in 2005 and obtained its renewal authorization in 2012. The school co-
locates with XX K – 5 Elementary School, a traditional elementary school in CLA District. In
the first four years of operation, XYZ School was located in a densely populated neighborhood
near downtown Los Angeles. Impressed by XYZ’s innovative arts program and high student
achievement, CLA District invited XYZ School to move from its former location to co-locate
long-term with XX School.
XYZ School was founded as an outgrowth of the non-profit Dance for All Foundation’s
arts program. The foundation was established in 2000 in memory of the founder’s daughter, a
young dancer whose life tragically ended in 1999. The program began by providing 12 weekly
dance classes to 35 children in a low-income housing project near downtown, Los Angeles. The
program has since expanded to multiple sites offering 215 weekly classes to nearly 2,000 inner-
city students. Inspired by the impact dance had on student engagement and motivation to achieve
and in response to a growing demand from the community, Dance for All Foundation established
XYZ School in 2005.
XYZ is located on a residential street in a low-income and underserved community in
Central, Los Angeles. Adjacent to the school are two and three story apartments, reflecting
varying degrees of care. Surrounding the school community are Mexican and Latin American
A VIABLE ARTS PROGRAM 52
eateries, taco trucks, bakeries and markets. Buildings are embellished with cultural artwork and
traditional music can be heard from nearby restaurants, creating a spirit of cultural vibrancy.
Instrumentation
The research tools employed in this case study included interviews, observations,
document review and survey. The variety of methods was carefully considered by the thematic
dissertation theme with the purpose of triangulating the data to answer to the research questions.
The interviews consisted of administrators and parent. Due to scheduling conflicts, the Artistic
Director was not included in the interview participants. The observations consisted of classroom
instruction, arts instruction assemblies, performances and fundraisers. A thorough and detailed
document review included XYZ Charter, Parent and Student handbook, School Accountability
Report Card, school website, master schedule, and budget amongst others. Finally, a short yet
specific survey was distributed to teachers. The varied methods allowed the researcher to
substantiate the study’s validity.
Bolman and Deal’s four frames were also employed to develop an understanding of how
school leadership has supported a viable arts program at XYZ School (Bolman & Deal, 2008).
The structural frame revealed the goals, roles, formal relationships and the rational side of
organization including the rules and policies in place for the XYZ School’s arts program. The
needs, attitudes, skills and the human side of organizations were captured through the human
resource lens. Symbolically, school leadership was evident through the organization’s culture,
the values and artifacts that defined the arts program at XYZ. Finally, the political lens illustrated
the reality between conflict and power at XYZ School. The data collection instruments (survey,
document review, interview and observation) complemented each other and provided a thorough
A VIABLE ARTS PROGRAM 53
understanding of the entire school organization through all four lenses of Bolman and Deal
(2008).
Data Collection
Data collection consisted of interviews of selected school personnel, observations of
classroom and arts program, detailed document review and teacher survey. The data was
collected over a 2-month period beginning in the October 2013 through November 2013. The
researcher began with a detailed document review in an order to gauge an overview of the school
site. The researcher began the data collection activities with the document analysis of the
school’s electronic and hard copy data to provide the researcher with an overview of the school
site. The documents reviewed included: arts curriculum, XYZ Charter, API and statewide
standardized testing data, California Department of Education website information pertaining to
XYZ School, master schedule, mission statement, public correspondences (including Board
Meeting minutes), School Accountability Report Card (SARC), staff meeting minutes, school
newsletters, school website and WASC data. This information provided a preliminary basis for
understanding the school leadership and practices that would be continued during the site visit.
To further the data collection process, interviews were held the Founder/Executive
Director, Principal, Assistant Principal and member of the School Site Council. A letter of
consent to participate was signed and a copy was given to each participant for compliance with
IRB protocol. Prior to the interview, interviewees were informed that participation was entirely
optional and they could choose to not answer any question or stop the interview at any point
during the interview. Each interviewee received the same interview protocol and was permitted
the same time for the interview. Each interview was recorded and later transcribed for analysis.
Interview participants were frequently contacted by phone to verify specific statements made
A VIABLE ARTS PROGRAM 54
during interviews. The recordings and transcriptions were kept in a secure manner at the
researcher’s office. Confidentiality of the participants was maintained.
During the month of October and November, the researcher conducted observations of
classroom and events. A total of six observations were conducted and the duration of each
observation session ranged from 50 - 80 minutes. The thematic dissertation took careful
consideration in agreeing to schedule the observations at a variety of times as a means of
observing a wide range of behaviors and participants. The group created an observation template
(Appendix C) to categorize the activities and behaviors of students and faculty according the
Bolman and Deal’s (2008) Four Frames.
The final form of data collection was the teacher survey. The survey was administered
electronically. In order to achieve the highest possible response rate on the survey, the researcher
attended a faculty/staff meeting during which the meeting principal introduced the researcher and
explained the purpose of the study to the staff. Prior to the sending teachers the electronic link to
the survey the following day, participants received a letter in their mailbox explaining the survey
and their principal reinforced that completion of the survey was entirely optional and that they
choose to leave some or all of the survey portions blank. The confidentiality of the participants
was assured because there was no identification portion on the survey instrument thus the
responses were anonymous. 10 teachers, representing 55 percent of the teaching staff at XYZ
School, completed surveys.
A habitual practice of research emerged throughout the data collection process. The
researcher applied previous findings to guide further data collection activities. Thus, after each
form of data collections, the researcher wrote memos to highlight connections between data
instruments. For instance, the findings from the document review and admin interviews
A VIABLE ARTS PROGRAM 55
highlighted areas that became the key for observations. Also salient to note, at the end of each
research day, the researcher examined all materials collected during the day and secured them in
the researcher’s office.
Validity & Reliability
Qualitative case study researchers are interested in explaining a phenomenon in its
natural setting or context. In other words, the research of a case study solely represents a specific
setting as it existed at one time and place. As a result, the findings of case study may not apply
beyond the limited setting to different contexts. Triangulation, the process of using multiple
methods and sources of data-collection, was employed in an effort to make generalizations.
Additionally, triangulating the data minimized the chance that the researcher’s findings were of
error or bias. The research tools employed in this case study included interviews of selected
school personnel, observations of classroom and arts program, detailed document review and
teacher survey.
Qualitative case study is designed to promote validity and reliability. The process of
triangulation allowed the researcher to determine that the findings were both valid and reliable.
The thematic dissertation team created a triangulation chart to ensure that the data collection
process consisted of varied sources of information. In an effort to discover the leadership,
funding decisions and structure of the arts program at XYZ Elementary, the purpose of the case
study was to identify factors of association and not causalities. Thus, the researcher performed an
in-depth analysis of the selected school. Further, the thematic group assured the validity and
reliability of the data was evidenced by the behavior of the researcher as opposed to the
generalizability of the findings. Reliability was as ensured because the findings can be replicated
at another time as long as the same instruments and protocols were employed.
A VIABLE ARTS PROGRAM 56
Data Analysis
This study applied the steps outlined by Creswell (2003) to organize the data collected.
The data was analyzed through interpretational analysis. According to Gall, Gall and Borg
(2003), through interpretational analysis the researcher is able to explain a phenomenon by
finding themes or patterns in the data. The data was organized in the following sequence.
1. The researcher collected data: document review, interviews, observations and surveys.
2. The researcher categorized the major themes via color-coding.
3. The researcher generated rich and detailed descriptions from the categories.
4. The researcher created a qualitative narrative from the themes that addressed the
perspective of the case study participants.
5. The researcher analyzed the data and drew conclusions from the findings.
Ethical Consideration
This dissertation research was conducted in a manner that honors the participants being
studied. The researcher acknowledges that the process of data collection in case study research
has the potential for ethical dilemmas. To address the potential ethical problems, all data
collected remained secured in order to maintain confidentiality. The researcher also took care to
remain an objective observer. In compliance with the standards set in the IRB, the research did
not include students as direct subjects of this dissertation. All information pertaining to this
dissertation will be destroyed and discarded in the spring of 2014.
Summary
The purpose of chapter three was to discuss the methodology utilized in the quantitative
case study research of XYZ School. The study’s design was primarily based on the four frames
A VIABLE ARTS PROGRAM 57
of Bolman and Deal (2008) and the case study process outlined by Gall, Gall, and Borg (2003).
The results of the data collection process will be discussed in chapter four: the findings.
A VIABLE ARTS PROGRAM 58
CHAPTER FOUR: DATA COLLECTION AND ANALYSIS
Chapter One of this dissertation introduced the problem that arts programs are routinely
one of the first programs cut due to accountability demands and fiscal constraints. After a
thorough review of the scholarly literature in Chapter Two, best practices of schools with viable
arts programs were identified. These best practices are the broad categories of (1) leadership, (2)
partnerships and (3) structure. Chapter three explained the methodology and research design
used in this qualitative case and XYZ school became the subject of the study for this research
because it met the criteria developed by the thematic dissertation group as those that have a
viable arts program. The purpose of Chapter Four is to summarize and discuss the key findings
of the qualitative study in response to the three research questions. This chapter consists of the
following sections: Research Questions, Criteria, Methodology, Participants, Response to
Research Questions, Emergent Themes and Summary.
After learning about XYZ School in the media for its exemplary arts programs, the
researcher scanned the school’s website and accountability data on the California Department of
Education website. In an effort to gain entry into the school, the researcher contacted the school
administration March 2010 and the Principal confirmed that XYZ was interested in participating
in this study. In April 2010, the researcher visited the school in an effort to formally discuss the
study with the Principal and tour the school campus for general observations. The visit, along
with the information on the school’s website and public information on California Department of
Education website, confirmed that XYZ School met the criteria of the study and was an
appropriate selection.
XYZ School is a K – 8 independent elementary charter school in CLA District. The
school was founded in 2005 and obtained its renewal authorization under CLA District in 2012.
A VIABLE ARTS PROGRAM 59
Presently, the school shares facilities with XX K – 5 Elementary School, a traditional elementary
school in CLA District. In the first four years of operation, XYZ School was located in a densely
populated neighborhood near downtown Los Angeles. Impressed by XYZ’s innovative arts
program and high student achievement, CLA District invited XYZ School to move from its
former location to co-locate long-term with XX School.
XYZ School was founded as an outgrowth of the non-profit Dance for All Foundation’s
after school dance program. The foundation was established in 2000 in memory of the founder’s
daughter, a young dancer whose life tragically ended in 1999. The program began by providing
12 weekly dance classes to 35 children in a low-income housing project near downtown, Los
Angeles. The program has since expanded to multiple sites, offering 215 weekly classes to nearly
2,000 inner-city students. Inspired by the impact of dance on student engagement and motivation
to achieve and in response to a growing demand from the community, Dance for All Foundation
established XYZ School in 2005.
XYZ is located on a residential street in a low-income and underserved community in
Central, Los Angeles. A large population of Mexican and some Asian immigrants populate the
area. Adjacent to the school are two and three story apartments, reflecting varying degrees of
care. Surrounding the school community are Mexican and Latin American eateries, taco trucks,
bakeries and markets. Buildings are embellished with cultural artwork and traditional music can
be heard from nearby restaurants, creating a spirit of cultural vibrancy.
From a bystander’s perspective the outside appearance of XYZ blends in with the XX
school, but upon entering the entrance for XYZ it is apparent that there are unique difference
about the school. A bright painting of the school name and logo is painted on the bungalow
building facing the entrance. A school bulletin board, embellished with student artwork, displays
A VIABLE ARTS PROGRAM 60
the schools values, newsletter, calendar and arts-related programs for the month. A sense of
community is characterized by the presence of parent volunteers on campus. Parent volunteers
stand at the entrance gate to welcome visitors and provide them with a visitors tag. Visitors are
directed to follow the small royal blue footsteps painted on the school ground, serving as a
directional guide to the school main office. Gardening projects, pictures, awards and student
artwork surround the school buildings, emphasizing the purpose and programs of the school.
Bungalows are painted with pastel school colors, creating the feeling of peace and care. Music
from the dance studio can be heard in walking the main office.
An introductory meeting with the principal provided a broad overview of the school
curriculum and organization structures. The principal shared core aspects of the school’s
curriculum and staffing and also providing me with a general sense of the school’s foundation
and accomplishments. Following the meeting, the principal provided a tour of the campus and
the after school dance program. The initial visit to XYZ School lasted about one hour and
provided a warm welcome to the school that was serve as model for its exemplary arts program.
Research Questions
The research questions that guided this study focused on school leadership, school
curriculum of programs and funding. The specific questions were:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
The research questions support the study’s overall objective of identifying key factors in
sustaining viable arts programs despite accountability demands and budgetary constraints.
A VIABLE ARTS PROGRAM 61
Criteria
XYZ School was selected because the school met the criteria determined by the thematic
dissertation group. The first two of the five criteria, which were mandatory, were met by XYZ
School. The first criterion required the school to have achieved a Similar Schools Ranking of
eight, nine or 10, along with viable arts program. XYZ demonstrated academic viability with a
Similar Schools Ranking of 10 based on the 2012 API report. Further, the school had a viable
arts program primarily evident by the school day arts curriculum, instructional bell schedule and
after school dance program. The school met the second criterion in demonstrating relative
stability with the arts program and the leadership for the minimum of three years. The arts
program has remained an integral aspect of the educational program at XYZ School since the
founding year; in fact, the program has further developed since the initial period demonstrated by
the increase in number of students engaged in the programs, growth in administration and staff in
support of the programs, and awards and recognition that the school has accredited due to the
promising practices and significant outcomes of the arts program at XYZ School. Concerning
school leadership, XYZ School nurtured leadership from within: three of the School’s five
instructional leaders were initially teachers. The principal of XYZ was formerly the assistant
principal and had served in the leadership capacity as administrator for two years. The former
principal was the instructional leader for four years assistant principal and four years as
principal. Additionally, the current arts director has served as director for 9 years.
The latter three criteria were also met by XYZ School, demonstrating that XYZ School
met all five criteria. The school has received several awards and recognition in honor of its
exemplary arts programs including the Siart Foundation Charter School Excellence Award (2007
& 2008), Insight Innovation Award (2008), Title 1 Academic Achievement Award (2010),
A VIABLE ARTS PROGRAM 62
Music Center Bravo Program Award (2011) and most recently the Hart Vision Award for
Charter School of the Year (2012). Additionally, the school earned a full WASC accreditation in
April 2011. Evidence of master planning is documented including arts curriculum, master
schedule, grade level syllabi and benchmarks. The final criterion was met evidenced by the
student demographics based on the 2011-2012 School Accountability Report Card. Student
enrollment by race/ethnicity reveals a large majority of the student population identified as
Hispanic or Latino: 3.5% of students are identified as Black or African American; .2% are
American Indian or Alaska Native; 4.2% are Asian; 2.3% are Filipino; 84.3% are Hispanic or
Latino; 4% are White, .2% are identified as having two or more races and there are no students
identified as Native Hawaiian or Pacific Islander. Student subgroups are further disaggregated:
90.4% of students are socioeconomically disadvantaged; 61% of students are English Learners
and 11.5% are identified as Students with Disabilities.
Methodology
The process of data collection included information from various perspectives, sources,
and methods in order to allow for triangulation. Preceding the site visit in the fall, the researcher
performed a comprehensive document review including the Arts Curriculum, information from
the California Department of Education’s website, the Charter, Master Schedule, the school’s
mission, the vision statement, CST scores and data, School Accountability Report Card, Staff
Meeting Minutes, School Newsletters and summary of findings from the Western Association of
Schools and Colleges. The thorough investigation of the school’s documents provided a
fundamental understanding of the school’s program and further inquiry. Following, formal
interviews with teachers and administrators were conducted to further triangulate the data
obtained from the document review. Additional site visits occurred during the months of October
A VIABLE ARTS PROGRAM 63
and November 2013 in order to observe classroom instruction, arts instruction, fundraising
events, and school-wide assemblies. Teacher surveys were conducted as the final step of data
collection.
Throughout the data collection process, the researcher analyzed the data and used
observations to guide further data collection methodologies. Abiding by the principles of
Creswell (2003), information was coded and chunked, leading to the emergence of themes
associated with the leadership, curriculum and funding of XYZ School to determine how school
leadership sustains its arts program. As a means of extending the reliability and validity of the
findings, the four frames of Bolman and Deal (2003) were integrated into the research design.
Participants
After meeting with the executive director in the Spring of 2013, the researcher identified
the participants to be included in the study. Interview participants included two administrators,
one parent and the founder of XYZ School. The two administrative interviews included the
Principal and the Assistant Principal of Intervention and Assessments who was also a founding
teacher. Due to scheduling conflicts, the Arts Director was not included in the interview sample.
However, due to triangulation of observations, surveys and other administrative interviews, the
lack of the Arts Director interview did not detract from the findings. Observations were
conducted over four days and included classroom instruction, arts instruction, a fundraising
event, and school-wide assemblies. 10 teachers, representing 55 percent of the teaching staff at
XYZ School, completed surveys. Through interviews, observations and teacher surveys, various
stakeholders had an opportunity to contribute to the data collection process, maximizing the
opportunity for triangulation and increasing value to the outcome of the study.
A VIABLE ARTS PROGRAM 64
Response to Research Questions
Data for Research Question One
The first research question posed in this study was:
What are the arts programs that exist at XYZ School?
To understand the school’s arts programs and strategies to support its mission of
“engaging children to become more active learners” (XYZ School website), the data collection
process sought information about the master schedule, instructional strategies, and opportunities
for student achievement and engagement. The document review process showed that the school’s
formal programs and policies supported a viable arts program. According to the school’s mission
statement, the school “draw[s] upon the discipline, creativity and cognitive aspects of dance to
engage children to become more active learners and to enhance academic skill-building by
integrating dance throughout the curriculum” (XYZ Charter). In addition, the Expected School-
wide Learning Results further elaborated upon the school’s vision for enhancing the learning of
their students through the arts. The four objectives for measuring confident and active
participants in the arts are listed:
• Comfortably and confidently perform or share artistic products
• Demonstrate an appreciation for and enjoyment of multiple art forms
• Respond critically to others’ artistic products
• Recognize the way in which the physicality of dance and healthy living contribute to
success in school and life
The values described in the mission and Expected School-wide Learning Results of XYZ
School drive the school’s master schedule, pacing plans and instructional strategies. In other
A VIABLE ARTS PROGRAM 65
words, the structure of the arts programs at XYZ School have been sustained as a result of the
premise for which the school was founded and established.
“Dance and other arts serve as a vehicle to develop focus and attention, work ethic, active
participation and a commitment to excellence while developing students’ confidence and
motivation. The transfer of ideas, skills and focus from the discipline of dance to the
discipline required in an academic classroom is a powerful tool for promoting critical
thinking, English Language development, and the mastery of content standards, inspiring
students to develop habits of mind and take an active role in their education and future,”
(XYZ Charter).
The documentary analysis revealed the dance-themed curriculum at XYZ School and the
structure of the three main components of XYZ’s arts program.
At XYZ School, dance is taught as a core discipline. All students at XYZ School receive
one hour of dance instruction daily, with the exception of minimum days when the time is
curtailed to 45 minutes (Master Schedule). Students in kindergarten through fifth grade partake
in co-ed dance classes, ballet and one additional dance discipline; for example, third graders
dance courses include ballet and tap. Students in grades six through eight partake in single-sexed
dance classes, contemporary and one additional dance form. To culminate the school year,
students partake in an Annual Spring Recital, showcasing the artistic skills acquired from the
program.
Arts are also integrated across the academic curriculum at XYZ. Through
interdisciplinary, project-based programs, the school engages students in their learning,
improving both student achievement and behavior. The dance-themed curriculum builds on
children’s natural inquiry for learning and promotes intrinsic motivation in the learning process.
The teachers at XYZ School are committed to weaving the arts and standard curricula together to
create richer learning experiences for their students. Sixth graders at XYZ School recently
completed an Egyptian project-based assignment involving social sciences, math and visual arts
A VIABLE ARTS PROGRAM 66
(XYZ Charter). The seamless merge between core curricula and arts standards is an example of
how XYZ School built connections and provided engage contexts to provide richer learning
experiences for students.
The school offers additional arts programs beyond the instructional bell schedule. In
addition to the daily hour of dance instruction, students have the opportunity to partake in an
afterschool dance program in an effort to refine their performance skills through leveled classes
(School Newsletter). Dance for All Foundation provides offers dance classes throughout the
school week and on Saturdays for students who pay an additional fee of five dollars. Recent
dance graduates were awarded internships/scholarships at major universities and dance
companies including San Francisco Ballet, Complexions Dance Theater in NYC and Marat
Daukayev School of Ballet (School Website).
Students also have an opportunity to be apart of XYZ’s Company Kids and perform for
community events and other special performances (School Newsletter). This component of the
arts programs is limited and students have to audition to be apart of the Company Kids program,
which includes two additional hours of dance each day.
Parent and administrator interviews provided opportunities for triangulation of data and
more in-depth explanation of issues presented in the document review. The principal expressed
that “there is no secret” to the success of XYZ’s achievements; “the key to the success at XYZ is
the dance program,” (A. Smith, personal communication, October 11, 2013). The dance program
is not only what distinguishes the school from its neighboring counterparts, evidenced by the
“waiting list for nearly all grades at XYZ,” but also as expressed by the Assistant Principal it is
the core factor that enabled the school to thrive academically and financially (E. Jones, personal
communication, October 11, 2013). Further, the founder emphasized the premise for which the
A VIABLE ARTS PROGRAM 67
arts existed at XYZ; “without the arts programs, we be in violation of our Charter,” (R. Finn,
October 11, 2013). Response from parent interviewee further indicated the value of the arts
program at XYZ School; “my daughter loves learning because this school. The school offers a
very special program unlike the other schools around here,” (N. Lopez, October 11, 2013). The
arts program is the engagement piece at XYZ School. Through arts classes and arts integration,
students develop the joy in the learning process.
The predominant theme that emerged from interview responses was culture. Several
interview responses provided an indication that the school has clear structure for its arts
programs, which generates a strong culture for the arts. According to the principal, the arts are an
integral component of the school culture; “the arts are in everything we do at XYZ,” (A. Smith,
personal communication, October 11, 2013). The school’s dance themed curriculum builds on
children’s natural curiosity, fostering the intrinsic value of learning. Based on the responses for
the interviewees, culture was further divided into two sections: core and integration as illustrated
by the following figure.
A VIABLE ARTS PROGRAM 68
Comments abounded about the school’s concerted efforts to provide an exemplary arts
program. The founder described dance as “the focus” of the XYZ’s arts programs (R. Finn,
October 11, 2013). Interviews with the principal, assistant principal and parent also indicated that
dance is deemed as a core discipline. The principal stated that the school offers additional arts
programs “beyond the instructional bell schedule,” (A. Smith, October 11, 2013). In addition to
the hour of dance, students have the opportunity to partake in an afterschool dance program
where they “refine their performance skills through leveled classes,” (A. Smith, October 11,
2013). In the same interview, it was also learned that students also have an opportunity to
audition for XYZ “Company Kids and perform for community events and other special
performances,” (A. Smith, October 11, 2013).
The second aspect of the school’s culture revealed from the interview responses was arts
integration. Arts is embedded “throughout all content areas at XYZ School,” as indicated by the
assistant principal; the “discipline of dance carries over into the academics,” (E. Jones, October
Figure C. Culture of XYZ’s Arts Program.
Culture
Integration
Core
• 3. Therefore, the arts
are permeated through
school culture.
• 2. Additionally,
leadership supports arts
integration across
academic content areas.
• 1. Foremost, the arts are
deemed as core
discipline by all
stakholders.
A VIABLE ARTS PROGRAM 69
11, 2013). According to the principal, “teachers receive trainings on arts infusion and arts
integration,” throughout the school year and apply the methods into pedagogy (A. Smith,
October 11, 2013) . In describing the second component of the arts programs at XYZ, the
principal stated the teachers are “learning to involve more kinesthetic activities in learning as
part of our Movement Matters Campaign,” (A. Smith, October 11, 2013). Interview responses
also indicated the relevance of arts education and new Common Core Standards. The assistant
principal stated that the school’s “arts integration is also in alignment with the Common Core
Standards and the need for preparing our students to be globally competent,” (E. Jones, October
11, 2013). According to the founder, “the arts programs are designed to help students express
resilience and integrity as well as become problem solvers, critical thinkers and reflective
learners,” (R. Finn, October 11, 2013). The assistant principal’s responses were in congruence in
reference to her explanation of the impact of the arts program on students at XYZ School. The
assistant principal stated, “dance elevates overall engagement in students ability to achieve
academically and improving skill level in the specific art,” (E. Jones, October 11, 2013).
Onsite observations at XYZ were consistent with the data collected in the document
review and the interviews. From the start of the day at 8:00 a.m. to the end of school at 3:30
p.m., XYZ’s dance studios were filled with excitement and concentration. Sixth grade girls lined
up anxiously outside of the dance studio practicing the pliés, tendus and battements. Upon
opening the door, the girls rush into the studio to quickly dress into the black tights and Green
XYZ Dance Shirt. Class begins with a recitation of the learning objective and review of terms
from previous lessons. Terms are posted on the walls of the dance studio along with visual
representations of the concepts. Students proceed to take their positions on the dance floor as the
music begins to play. Dance begins. The students perform an intensive warm-up to contemporary
A VIABLE ARTS PROGRAM 70
music as the dance teacher floats around the room, scaffolding student learning. She corrects
student postures, demonstrates the skills side-by-side the learner; all the while the remaining 30
girls remain actively engaged in improving their dance techniques. Following the warm-up, the
students perform across-the-floor routines in groups of four. As before, the teacher is observed
facilitating student learning, extending students’ battements a la seconde and derrière. After the
vigorous dance warms, students begin rehearsing the learned choreography number. Throughout
the repetition of routine, girls are focused and express joy in the process of learning. The teacher
has students perform the choreography in small groups in an effort to differentiate student
learning; along the perimeter of the studio, classmates mark the routine and encourage their peers
with a round of applause at the end of the piece. After 45 minutes of non-stop movement across
the dance floor, the students stretch on the floor as the teacher passes out graded class
assignments and engages students in review. During the last 10 minutes of class, sixth grade
boys join the girls in the studio to watch a video on classical arts in connection with the historical
concepts students are exploring in history class in addition to the dance techniques learned in
dance class.
Classroom observations further indicated high levels of student engagement, and an
inherent structure system in each classroom that upholds the culture of high expectations. In all
classrooms, school values were posted reflecting the school-commitment to a shared vision.
Artwork from an interdisciplinary project is posted in a Math Science classroom. In a 5
th
grade
literacy classroom, students connect the discipline of dance to a literature assignment. In all
observations, teachers were observed facilitating students application of the school values and
students often referenced the values in discourse with their peers. In an effort to keep students
engaged and motivated, opportunities for movement were embedded within the lessons.
A VIABLE ARTS PROGRAM 71
Finally, results from the teacher survey illuminated the shared vision that all stakeholders
of XYZ have of the arts program at XYZ School. Table 3 identifies the survey questions related
to Question 1 and the relevant responses.
Table 3
Survey Results in Response to RQ1
Features of Arts Programs Hardly
Ever
Sometimes Often A lot No
Response
1. The school offers a curriculum of
sequential, standards-based instruction
in the major arts disciplines (dance,
film, music, theatre and visual arts).
0 3 3 4 0
2. There is a written school arts plan
that aligns with the district arts policy
and arts education plan.
1 3 3 0 3
3. The arts curriculum meets the needs
of diverse populations of learners.
0 1 3 5 1
4. Students are encouraged to draw on
their personal background and
experiences to inform their arts
learning.
0 1 4 5 0
5. A variety of artistic traditions are
explored from around the world.
0 1 2 7 0
6. Art instruction emphasizes
cooperation, interactive learning, and
team building.
0 0 3 7 0
7. Periodic report cards document
student learning in key arts standards.
1 0 3 6 0
8. Arts curriculum includes real-life
applications that prepare students for
postsecondary education, focused
training, and eventual employment.
0 1 4 5 0
9. Effective instructional relationships
have been established with the
business community to provide VAPA
students with technical resources, field
knowledge, and/or skill-building
experiences that will help them
succeed in the workplace.
1 3 2 0 4
A VIABLE ARTS PROGRAM 72
Through the survey data collected, a consistent theme emerged that XYZ School provides
an exemplary arts program. The majority of faculty and staff stated that the school offers a
curriculum of sequential, standards-based instruction in the major arts disciplines (70 percent, or
seven out of 10 responses stated often or a lot). 30 percent of the responses stated sometimes
indicating that the school could provide more opportunities for a curriculum in the major arts
disciplines. Similarly during the interview with the Assistant Principal, information regarding the
school’s efforts to expand its arts programs beyond dance was provided; the Assistant Principal
stated, “our dance program is robust; we are working to build our music and theatrical
department as well.” Question two, the school has a written arts plan that aligns with the district
arts policy and arts education plan, showed an indication of ambiguity as a result of no majority
of responses in none of the categories (30 percent stated sometimes, 30 percent stated often, 30
percent stated unsure and 10 percent stated hardly ever). Similarly, question nine stipulated a
sense of uncertainty. Question two and nine revealed the teaching staff’s lack of knowledge
regarding the congruence between XYZ’s arts education plan and CLA District. Nearly all
participants reported that the arts curriculum meets the needs of diverse populations of learners
(80 percent, 1 person reported sometimes and 1 person reported unsure or no response). Teacher
perceptions of student learning were overwhelmingly positive, with 90 to 100 percent reporting
either often or a lot for the remaining survey question. In every category, a majority of the
faculty and staff’s selections indicated they believed that the curriculum supported a viable arts
program.
Consistent with the promising practices discussed in Chapter Two, the arts programs at
XYZ School are characterized by a culture in which the arts is regarded as an integral component
of the educational program. Review of the school’s organizing documents, observations of
A VIABLE ARTS PROGRAM 73
classroom instruction, and arts related events, along with further explanations of the arts
programs through interviews and surveys revealed that student engagement and achievement at
XYZ School was attributed to dance and other arts being a key factor in learning at XYZ.
Surveys and document review predominately revealed that the structure of the arts program
fostered the significance of arts in education. Interviews and observations conveyed that the core
arts classes along with the arts integration espoused the culture of a viable arts program at XYZ
School.
Data for Research Question Two
The second research question posed in this study was:
How does leadership at XYZ School support the arts?
A review of the school’s organizing documents, the Charter, school website, WASC,
instructional bell schedule, and minutes from professional development illustrated that school
leadership played a pivotal role in sustaining the arts. Foremost, leadership recognized that the
arts are inextricably linked to student achievement and overall success thus made arts an integral
component of its educational program.
“The transfer of ideas, skills and focus from the discipline of dance to the discipline
required in an academic classroom is a powerful tool for promoting critical thinking,
English Language development, and the mastery of content standards, inspiring students
to develop habits of mind and take an active role in their education and future,” (XYZ
Charter).
The aforementioned statement from XYZ’s Charter indicates the school leadership’s value of the
role arts play in education. Leadership deemed arts to be a core component of the curriculum and
secondary aspect of its extra-curricular programs.
Aligned with the mission and vision for the prevalence of the arts in the curriculum, the
structure of the master calendar, bell schedule and meeting minutes revealed leadership’s support
A VIABLE ARTS PROGRAM 74
of the arts program. At XYZ School, all students partake in daily dance and weekly visual arts
classes (Bell Schedule). Outside of the core arts instruction, students partake in arts integrated
classes throughout academic content areas. This year, XYZ School increased professional
development time to co-planning sessions between arts instructors and content-specific teachers.
During the initial staff development for the year, the principal presented school goals aligned
with the school vision and based on the data from the previous school year (Staff Meeting
Minutes). Faculty was apart of the design of benchmarks and other measures to achieve school-
wide goals. This effort of engaging staff in a school-wide commitment to the arts exemplified the
school leaders’ human resource frame of leadership.
Interviews with teachers and administrators provided the opportunity for clarification
about the leadership’s role in preserving the arts. Responses to the first two interview questions
pertaining to how school leadership supports the arts revealed the symbolic and human resource
frames of leadership. According to the principal, the arts program originated from the school
leader’s vision that became reality owing to the “growing demand from the community” for a
dance-themed school to “further develop the experiences of students,” (A. Smith, personal
communication, October 11, 2013). In 2000, Dance for All Foundation was founded by a mother
who lost her only daughter to a tragic accident the year prior. The founder remarked upon the
establishment of the school; in memory of her “daughter who loved to dance,” the founder
established the foundation to provide an arena “for underserved student to take dance classes,”
(R. Finn, October 11, 2013). The program grew from “just a few classes taught to roughly 30
students to now over 200 classes serving approximately 2,000 students,” (R. Finn, personal
communication, October 11, 2013). Characteristically, the driving force behind the arts program
at XYZ School is the founder.
A VIABLE ARTS PROGRAM 75
Responses to the remaining interview questions (aligned with Research Question Two)
indicated school leaders’ structural frame of leadership. In learning that driving force behind the
XYZ’s program, subsequent interview questions gauged an understanding of how the arts
program continued to operate each year. The principal stated that the school’s Artistic Director
“oversaw the daily operations for the arts education program” at XYZ School (A. Smith,
personal communication, October 11, 2013). The Director was “responsible for staffing,
planning and evaluation of the arts program,” according to the assistant principal (E. Jones,
personal communication, October 11, 2013). Working collaboratively with the school
administration, the Director evaluated the program annually, making changes when necessary to
improve the quality of XYZ’s arts program. According to the principal, the Arts Director guided
dance instructors in the school’s recent efforts to provide “more arts integration experiences for
students,” (A. Smith, personal communication, October 11, 2013). Further, the assistant principal
stated the “content specific teachers are learning to move towards more arts integration,” (E.
Jones, personal communication, October 11, 2013). In the interview with the principal, she
revealed that the school is “embarking on a Movement Matters Campaign,” (A. Smith, personal
communication, October 11, 2013). Several interview responses reiterated the school leaders’
efforts to increasing professional development time to co-planning sessions between arts
instructors and content-specific teachers in an effort to enrich the arts integration experiences for
its students. The concerted efforts to move towards arts integration were consistent with the data
revealed in the document review.
“An integrated curriculum helps students apply skills, provides students with multiple
perspectives with which to build an integrated knowledge base, and encourages depth and
breadth in learning,” (XYZ Charter).
Interview responses from revealed other changes to the arts program at XYZ School.
While dance is the primary focus of arts education at XYZ, school leadership is moving its arts
A VIABLE ARTS PROGRAM 76
program to “expand the presence of music,” providing more variety of arts education classes (A.
Smith, personal communication, October 11, 2013). Factors contributing to the single-sexed
dance classes for XYZ’s middle grades were in response to the decline of motivation and student
engagement. According to the assistant principal, “our girls were beginning to self-conscious in
dance class which was never apparent in their earlier years,” (E. Jones, personal communication,
October 11, 2013). The assistant principal also explained that the decision to teach
contemporary in middle grades as opposed to ballet stemmed from the school leaders to make
“learning relevant and meaningful” for students (E. Jones, personal communication, October 11,
2013).
Interview responses revealed that school leaders ensure that there is proper funding and
resources to support the arts. Based on the responses from the interview, the following flow-chart
illustrates the paradigm on how school leadership supports the arts.
Figure D. Paradigm of How XYZ School’s Leadership Supports the Arts.
Professional
Development
Arts
Director
Principal
&
Vice
Principal
Staf6ing
Dance
Teachers
Other
Arts
Teachers
Funding
Executive
Director
Faculty
&
Parents
A VIABLE ARTS PROGRAM 77
Funding is mainly acquired through two means: (1) the Executive Director and (2)
administrators, teachers and parents. According to the principal, the Executive Director
“establishes partnerships” with community organizations and individual donors “to provide
financial resources for the arts program,” (A. Smith, personal communication, October 11,
2013). The parent interviewee stated the “faculty and parents” orchestrate school-wide
fundraisers; funds generated from the leadership efforts provide the “staffing and resources for
the arts program,” (N. Lopez, personal communication, October 11, 2013). According to the
founder, all dance teachers are “provided through the [Dance for All Foundation],” the
organization that the executive director established five years before founding XYZ School (R.
Finn, personal communication, October 11, 2013). The principal revealed that “Title 1 funds
sourced” the school’s “full-time visual arts teacher and music teacher” who support the arts
program at XYZ (A. Smith, personal communication, October 11, 2013). The founder stated the
school principal, assistant principal and arts director provide ongoing professional development
to train “content teachers and dance teachers on arts integration and teaching arts a core
discipline,” (R. Finn, personal communication, October 11, 2013).
During the onsite observations, evidence of school leadership’s role in preserving the arts
revealed the human resource frame of leadership. Throughout my observations, school
leadership served as a facilitator, empowering its employees to lead and take ownership of
XYZ’s arts education program. While the school created more administrative positions this year
in an effort to streamline responsibilities and better support teaching faculty, the principal was
engaged in all school activities. The principal performed learning walks, teacher conferences,
managed student discipline, facilitated professional development and led assemblies. Further,
during the XYZ’s Fall Festival, the school leaders served more as facilitators while parents and
A VIABLE ARTS PROGRAM 78
teaching faculty hosted the event. The founder was observed interacting with students and
families; the principal patrolled security at the gate; assistant principals monitored bathrooms; all
the while, parents and teaching faculty worked food and game booths, ticketing, and danced with
students on the playground under the string of lights, while DJ played their favorite songs. This
event profoundly captured the sense of community engagement in support of the arts.
Onsite observations also demonstrated the symbolic lens through which leadership
supported the arts. In each classroom the school values were posted and frequent reference to the
values conveyed student internalization of the school core values. A teacher stated, “I like how
Ashley was being resilient. Although she didn’t get it right the first time, she tried again.” In a 5
th
grade literacy class, students were encouraged to make connections between the dance culture at
XYZ and Zumba. Students were observed expressing their creativity, one of the core XYZ
School values. Further, as in the previous observation, the teacher acknowledged the student for
his creativity.
The teacher survey documented perceptions of the school leadership’s impact on
preserving the arts at XYZ School. Table 4 identifies the survey questions related to Research
Question 2 and the relevant responses.
A VIABLE ARTS PROGRAM 79
Table 4
Survey Results in Response to RQ2
Features of Arts Programs Hardly
Ever
Sometimes Often A lot No
Response
1. Teachers discuss student artwork, assessment and arts
instruction at grade level/subject-alike planning
meetings.
0 8 1 1 0
2. Teachers use arts learning outcomes to evaluate their
curriculum and instructional methods.
1 6 2 1 0
3. Instructional leaders review teaching outlines in the
major arts disciplines to ensure instructional sequencing.
0 2 7 1 0
4. A group of teachers meet regularly to engage in
professional dialogue about instruction, individual
student needs, and learning outcomes in and through the
arts.
0 7 2 1 0
5. Student arts learning outcomes are used to evaluate
the curriculum and instructional methods.
1 2 3 1 3
6. Parents are provided with specifics about their
student’s progress in arts learning/programs.
1 2 6 1 0
7. School administrators and staff have an organized
approach to arts education that aligns with the school
wide instructional plan.
0 2 4 4 0
8. Administrators review the Master class schedule to
ensure access to arts instruction for all students.
0 2 3 5 0
9. Administrators and teaching staff monitor the
appropriate placement of students in arts classes.
0 1 2 6 1
10. Through explicit policies and practices, school
leadership makes it clear that arts education is a
responsibility of the whole school and is critical to the
realization of the school’s mission and vision.
0 0 4 6 0
11. The school arts program enhances a sense of
community through fostering improved relations across
diverse student groups.
0 0 3 7 0
12. Parents regularly receive information on the
importance of arts learning.
0 2 4 4 0
13. Parents regularly receive information on how to
encourage their student’s arts learning in school and at
home.
1 1 4 3 0
14. Parents attend student exhibitions and performances. 0 0 2 8 0
15. Parents participate in classroom learning activities
and field trips in the arts.
0 2 3 5 0
16. Parents actively support the school arts program
(e.g., chaperone class trips, organize an arts booster
club, attend arts fundraisers).
0 2 3 5 0
17. Parents regularly receive information on arts-related
career pathways.
1 2 4 3 2
A VIABLE ARTS PROGRAM 80
Through the survey data collected, a consistent theme emerged that school leadership
established a culture of a school-wide commitment. All responses were positive for question 10,
describing that through explicit policies and practices, school leadership makes it clear that arts
education is a responsibility of the whole school and is critical to the realization of the school’s
mission and vision. Additionally, question 11 revolved around the human resource aspect of the
arts program at XYZ School; all responses were positive (often or a lot). Questions three, seven,
eight and nine pertained to school leadership’s efforts to provide structure and planning time for
the arts. In all responses the majority was often or a lot, indicating positive perceptions of the
structural component of XYZ’s arts program. Question six and 12 – 17 described high levels of
parental engagement in the arts (positive responses ranged from 70 – 100 percent for each
question).
Consistent with interview participant statements that the school recently made changes to
incorporate more arts integration opportunities for learners, teachers responses for questions one
and four indicated the instructional planning for arts integration was not often nor a lot (80
percent agreeing that student artwork, assessment and arts instruction were sometimes at grade
level/subject-alike planning meetings). Additionally, 70 percent expressed a similar attitude for
question four. Questions two and five related to the previous in that they described whether arts
learning outcomes are used to evaluate the curriculum and instructional methods. Responses
from both questions indicated that the evaluation process was not as frequent.
The findings from Research Question Two were largely consistent with the literature.
According to Freedman (2011), effective leadership involves having a shared vision; art
education mandates the active involvement of diverse stakeholders collaborating towards a
school-wide goal. While leadership often takes the frame of symbolic leader to spark reform, it
A VIABLE ARTS PROGRAM 81
also requires the shared vision or distributive power for sustained and effective change. XYZ
School leaders attribute the success of the arts program to its school-wide commitment to the
arts.
“We achieve our ideals in creating an environment in which learning best occurs by
starting with strong leadership, highly qualified and experienced teachers, a shared vision
by all stakeholders, and a structure and organization that promote school-wide academic
and behavioral expectations,” (XYZ Charter).
Data for Research Question Three
The final research question posed in this study was:
How are funding decisions made at XYZ School?
To understand funding decisions are made at XYZ’s School to support its vision of
supporting the arts, the data collection process sought information about the budget, financial
planning and organizational structure for the school. The document review showed the school’s
formal process, polices and organizational structures related to funding decisions at XYZ School.
Ultimately, XYZ School Board of Directors is responsible for monitoring and approving XYZ
School budgets. The process of constructing the budget involves engaging diverse stakeholders,
including administrators, teachers and other faculty and School Site Council (which is
representative of the aforementioned along with parents and community members). The
Executive Director, Principal and Director of Operations and Strategy are responsible for
finalizing the budget and the ED presents the budget to the board for approval.
Majority of the funding for the school arts program was provided through the non-profit
foundation under which the school operates (XYZ Charter). During the founding years of the
school operation, the dance program was entirely funded through Dance for All Foundation
A VIABLE ARTS PROGRAM 82
(XYZ Charter). Careful examination of the school’s budget revealed additional funding
allocation for the arts through Title I funds (XYZ Budget). Financial planning and annual budget
reflects the appropriate allocation of resources to ensure achievement of the school‘s vision and
mission as demonstrated by balanced budgets that address the school‘s priorities for the arts.
Funding included staffing, arts related field trips, dance attire, and other arts related materials.
The dance studio was converted from unused classroom space at XX Elementary and funded
through charter bond funds (XYZ Charter).
Interviews with administrators and parent provided opportunities for triangulation of the
data and more in-depth explanations to issues presented in the school’s organizing documents.
According to the principal, “there really aren’t much costs associated with the dance program at
our school,” (A. Smith, personal communication, October 11, 2013). The founder stated that the
dance teachers were “staffed through the [Dance for All Foundation],” (R. Finn, personal
communication, October 11, 2013). We have studios, mirrors, teachers and that’s all our students
need to learn dance. The principal remarked, “we received donations for arts supplies and
fundraise for the outstanding materials needed for our program,” (A. Smith, personal
communication, October 11, 2013).
Interview responses revealed that funding is mainly acquired through two means: (1) the
Executive Director and (2) administrators, teachers and parents. According to the principal, the
Executive Director “establishes partnerships” with community organizations and individual
donors “to provide financial resources for the arts program,” (A. Smith, personal communication,
October 11, 2013). The parent interviewee stated the “faculty and parents” orchestrate school-
wide fundraisers; funds generated from the leadership efforts provide the “staffing and resources
for the arts program,” (N. Lopez, personal communication, October 11, 2013). According to the
A VIABLE ARTS PROGRAM 83
founder, all dance teachers are “provided through the [Dance for All Foundation],” the
organization that the executive director established five years before founding XYZ School (R.
Finn, personal communication, October 11, 2013). The principal revealed that “Title 1 funds
sourced” the school’s “full-time visual arts teacher and music teacher” who support the arts
program at XYZ (A. Smith, personal communication, October 11, 2013). The founder stated the
school principal, assistant principal and arts director provide ongoing professional development
to train “content teachers and dance teachers on arts integration and teaching arts a core
discipline,” (R. Finn, personal communication, October 11, 2013).
According to the principal, funding decisions ensure that dance is taught as a core
discipline and integrated across subjects evidenced by the staffing and resources provided for
XYZ’s arts programs. School leadership is committed to “supporting programs that integrate the
arts and standard curricula together” to create richer learning experiences for their students (A.
Smith, personal communication, October 11, 2013). We are also very “creative” with our
resources (A. Smith, personal communication, October 11, 2013). . The move towards “more
arts integration is in effort to provide more arts instruction” throughout all content areas (A.
Smith, personal communication, October 11, 2013).
On-site observations partially revealed how funding decisions are made to enable the arts
to be supported. The researcher observed the Fall Festival, one of two annual fundraisers. The
event was predominately orchestrated by the parents in contrast to the previous year when it was
led by administration and faculty. Money raised from the event was used to support the cost of
production, costumes and other arts related materials. The researcher intended to observe a board
meeting to further triangulation the data presented in the school’s documents and interviews;
however, due to scheduling conflicts a board meeting was not observed.
A VIABLE ARTS PROGRAM 84
Finally, the staff survey further illuminated practices, attitudes, and strategies supporting
a global curriculum. Table 5 identifies the survey questions related to Research Question 3 and
the relevant responses.
Table 5
Survey Results in Response to RQ3
Features of Arts Programs Hardly
Ever
Sometimes Often A lot No
Response
1. The school employs highly qualified
teachers in the visual and performing arts and
contracts with additional individuals and
groups with expertise in the arts.
0 0 3 7 0
2. School budget (combined district, state
and federal funds) includes collaborative
planning in arts education (including all arts
disciplines).
0 2 3 5 0
3. Other community funding (teacher, grants,
donations, and bond, local tax) exists in arts
education (including all arts disciplines).
0 1 5 4 0
4. Supplemental learning materials, adequate
supplies and functional equipment are
available to students in all arts facilities and
courses.
0 1 3 6 0
Through the survey data collected, a consistent theme funding decisions enable the arts to
be supported at XYZ School. All staff, 100 percent of responses, agreed that the school employs
highly qualified teachers in the visual and performing arts and contracts with additional
individuals and groups with expertise in the arts. The majority of teachers reported that school
budget includes collaborative planning in arts education (including all arts disciplines). Almost
all respondents agreed that other community funding (teacher, grants, donations, and bond, local
tax) exists in arts education (90 percent of responses). Also, all but one response was positive in
that supplemental learning materials, adequate supplies and functional equipment are available to
students in all arts facilities and courses.
A VIABLE ARTS PROGRAM 85
Research studies consistently document the omission of quality arts education programs
in schools due to the budgetary limitations. In the last five years, funding for arts education in the
Los Angeles Unified School District has had a 76% drop from a budgeted high of $78.6 million
to $18.6 million (Abdollah, 2012). A teacher in Broward County, the nation's sixth largest school
district, argues that since he has less time with students in class and after school, holiday and
spring concerts have been canceled (Armario, 2012). Contrarily at XYZ School, the constraints
of funding have not reduced the quality of arts education. Partnerships must exist. Foremost, the
school’s most prominent arts program, dance instruction, was initially entirely provided for
through the non-profit foundation under which the school operates. XYZ’s Board of Directors is
ultimately responsible for funding decisions at XYZ and ensuring that the arts are financially
supported. Additionally, the arts programs are provided for through Title I funds and outstanding
materials are purchased through money earned from school-wide fundraisers. The adjustment of
the instructional bell schedule and use of after school time also affected the opportunities for arts
instruction at XYZ.
Emergent Themes
From the data collected to support the three research questions, three themes emerged as
characteristic of how school leadership successfully implemented its arts education programs.
• Data revealed the significance of the symbolic frame of leadership in arts education at
XYZ School, in other words, strong leadership with a clear vision aligned with goals and
values was prevalent. Above all arts, dance was prominent, serving as a metaphor for the
life at the founder’s daughter.
• In congruence with the findings of the literature, there was a school-wide commitment to
the arts programs at XYZ School.
A VIABLE ARTS PROGRAM 86
• Federal budget constraints did not negatively impact the school’s arts program at XYZ
School as a result of the strong partnership under Dance for All Foundation. The
partnerships espoused the effective use of time and resources in effort to preserve the
XYZ’s quality arts program.
The three themes that emerged from the data are interconnected as illustrated in the following
diagram.
Figure E. Emergent Themes.
First, there was a vision of using dance as a vehicle to empower youth, followed by a
plan that stakeholders (administrators, teachers, parents) agreed upon in order to implement
vision. Reconsideration of how the school used time and resources was incorporated in the plan
to ensure that the vision was successfully executed. These themes underscored the school’s
viable arts program, demonstrating ways that XYZ School’s leadership maintained its exemplary
arts program despite accountability demands and budget limitations.
Vision
Effective
use
of
time
and
resources
School-‐wide
commitment
A VIABLE ARTS PROGRAM 87
Strong Leadership with a Clear Vision
Unlike most research, symbolic leadership played an integral role in establishing the
dance themed curriculum at XYZ School. The symbolism of the arts was as result of the
founder’s personal connection to dance. In the interview with the founder, she describe that the
presence of the arts was profound at XYZ stemmed from her “vision of school where dance is a
vehicle for academic engagement,” (R. Finn, personal communication, October 11, 2013). To
begin to understand how the arts program continues to persists at XYZ, the researcher must first
ask the question of why the arts in the first place. “It began with one girl’s dream,” said the
founder in reference to her daughter, (R. Finn, personal communication, October 11, 2013).
Dance for All Foundation was established in memory of the life of her little girl who loved to
dance. Inspired to continue to dream of her daughter, the founder’s non-profit initially provided
dance instruction for underserved populations. It started as 12 classes a few days a week to 215
classes Monday – Saturday. From the Dance Foundation immense community support grew
catalyzing XYZ School, a dance themed school that “draw[s] upon the discipline, creativity and
cognitive aspects of dance to engage children to become more active learners and to enhance
academic skill-building by integrating dance throughout the curriculum” (XYZ Charter).
The symbolic frame of leadership is the premise for which the arts exist at XYZ School.
Observations and interviews were the primary sources of data collection that captured the theme
of school’s leadership clear vision of an exemplary arts program. A small framed picture of the
Natalia sits on a coffee table in the main office; her name is flanked on the school gates with an
yarn-weaved pattern; students scurry to dance class with their ballet shoes, resembling the
founder’s “little girl,” described the parent interviewee (N. Lopez, personal communication,
October 11, 2013). These observations and more exemplified the visionary’s efforts to further
A VIABLE ARTS PROGRAM 88
the legacy of her daughter’s life. Each interview participant made reference to the founder’s
commitment to the arts; in fact, the reference to the founder’s vision of the XYZ’s arts program
was the most prevalent theme that emerged from the interview responses.
All in all, the driving force behind XYZ’s arts program was revealed to have made the
most impact on the sustainability of XYZ’s arts program. Further, the principal’s profound
statement that “there would be no XYZ School without the arts,” illuminated the theme that the
strong leadership and advocacy for the arts is what enables the arts to continue year after year (A.
Smith, personal communication, October 11, 2013). .
School-wide Commitment to the Arts Program
The second theme emerged in response to the former; a school-wide commitment to the
arts exemplifies a shared vision amongst stakeholders at XYZ School. The policies,
organizational structures and curriculum and staff recruitment served as examples of the school’s
commitment to the arts. The school’s culture supported quality arts programs, with a schedule
that allowed for one hour of dance each day and professional development opportunities for
content specific teachers and dance instructors to co-plan lessons that integrated dance and
movement to engage students in deeper learning. Community engagement also exemplified
XYZ’s efforts to engage all stakeholders in its commitment to the arts. The Annual Fall Festival
in the first semester and the Annual Showcase are hosted by teachers and parents and open to the
school community and public, at large. These examples illustrate the structural frame of
leadership that school leaders at XYZ employed in efforts to sustain its arts program.
The Human Resource frame was also prominent characterizing the school leadership’s
role in empowering staff to lead arts program. Buy in from all stakeholders as needed to achieve
the goal of a school-wide commitment. The school leaders and parent emphasized the role of
A VIABLE ARTS PROGRAM 89
people and impact of relationships in the interviews. A parent described XYZ as “more than a
school” for her and her daughter. She further expressed XYZ “as family.” Observations of
school-wide events illustrated the principal as a facilitator who coaches, motivates, encourages
participation in the decision making process and empowers others to lead. First, the school
principals articulated clear goals. During the initial PD for the school year, the principal
presented the data along with the core school values. Collectively, the administrators and
teaching staff, identified benchmarks to achieve the school-wide student achievement goals
while maintainable an exemplary arts program. After identifying the arts in the school budget,
the school leadership and teaching faculty explored multiple approaches to providing its viable
arts program for students including the increase efforts for arts integration. To this end, school
leadership ensured that grade-level planning time would be considered in the master schedule to
allow for co-planning between content area teachers and art instruction teachers.
XYZ School’s leadership motivated its students by engaging them in innovative
instruction through hiring highly qualified teachers. The school has high expectations for all
students, a challenging and rigorous curriculum, and a collaborative environment for analyzing
and planning appropriate instruction based on data, and an atmosphere of respect and trust. It is a
student-centered school that sees itself as a learning environment for teachers and students, using
dance as an instruction vehicle. Average Daily Attendance (ADA) at XYZ SCHOOL has ranged
from 96-99% each year, serving as an indication that students and families value the school’s
programs and understand the importance of consistent attendance. During Friday morning
assemblies, the school leaders further engaged students by recognize individuals for their
commitment to XYZ values.
A VIABLE ARTS PROGRAM 90
Parent participation in arts-related events (fundraisers, performances, meetings) was
encouraged by school leadership. Parents frequently volunteer in the classrooms, dance and art
studios, parents participate in other arts related school activities, such as creating costumes for
dance recitals and attending arts related field trips and performances. Parents are also empowered
to serve in leadership roles; the Parents Association meets monthly to discuss ways to support
the School and students through networking, fundraising and volunteering. All in all, parent
participation at XYZ has been exceptional; in 2011-12 school year, more than 90% of parents
attended students’ culminating events and performances (XYZ Charter).
Through coaching teachers, motivating students and encouraging parental involvement,
XYZ School demonstrates school-wide commitment to the arts. Last year admin ran the Fall
Festival; this year, the parents hosted the event. Through its innovative instructional program,
arts enrichment opportunities, and a culture of high expectations and engagement, students,
families, staff and school leaders elude a strong sense of community belonging and support and
pride in our collective accomplishments. The impact this has on students’ self-confidence, work
ethic, ambition and love of learning cannot be overstated.
Effective Use of Time and Resources
Research studies consistently document the omission of quality arts education programs
in schools due to the budgetary limitations. In the last five years, funding for arts education in the
Los Angeles Unified School District has had a 76% drop from a budgeted high of $78.6 million
to $18.6 million (Abdollah, 2012). The production of arts, an element according to DBAE,
suffers when funding for arts programs are cut. A teacher in Broward County, the nation's sixth
largest school district, argues that since he has less time with students in class and after school,
A VIABLE ARTS PROGRAM 91
holiday and spring concerts have been canceled (Armario, 2012). Contrarily at XYZ School, the
constraints of funding have not reduced the quality of arts education.
XYZ School leadership effectively structured the school schedule and implemented the
resources and partnerships the school acquired, resulting in the success of its arts programs.
Foremost, the school’s most prominent arts program, dance instruction, was initially entirely
provided for through the non-profit foundation under which the school operates. Funding
decisions are determined by the Board of Directors who allocates resources to provide for quality
arts programs at XYZ School. Additionally, the arts programs are provided for through Title I
funds and outstanding materials are purchased through money earned from school-wide
fundraisers. The adjustment of the instructional bell schedule and use of after school time also
affected the opportunities for arts instruction at XYZ.
Summary
This chapter described the data collected in this case study of a California school with an
exemplary arts program. Using the research findings presented in Chapter Two to guide the
study, three broad research questions were developed to focus the data. These three research
questions were:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
The data collected provided examples and instances of programs, practices, and strategies of how
XYZ School’s leadership preserved its viable arts program.
XYZ School became the subject of this case study because it met the criteria established
by the thematic dissertation group as characteristic of schools with a viable arts program and
A VIABLE ARTS PROGRAM 92
academic viability with an SSR of eight, nine or 10. Through a triangulated data collection
process that included a review of the school’s organizational and operational documents,
interviews with teachers and administrators, observations, and surveys, clear themes emerged
that characterized the school leadership’s best practices in sustaining its exemplary arts
programs.
The most prevalent theme that emerged from the data was strong leadership with a clear
vision that supports the arts. The theme emerged across data from all three research questions.
School leadership played an integral role in enabling the arts to be supported. The culture,
traditions and values of XYZ School were profound as a result of strong symbolic leadership.
The metaphor of its arts programs translated into the Human Resources lens, revealing the family
oriented dynamic amongst the stakeholders at XYZ School. The relationship between the parents
and administration, teachers and students were strong owing to the foundation of the school. In
each interview, the founder’s impact on the arts program was prominent.
The second theme coincided with the first in that it addressed the shared vision amongst
all stakeholders, moreover, the school-wide commitment to the arts. XYZ School’s curriculum
and organizational structure included specific programs, practices, and strategies that addressed
globalization. An emphasis on critical thinking, instructional activities that promoted
interdisciplinary thinking and an arts integrated, school-wide focus on the discipline of dance
was captured through the data collection instruments.
The final theme addressed the impact of funding decisions at XYZ school; effective use
of time and resources is what emerged from the data. Daily dance classes provided the core arts
instruction to provide quality arts experiences for students. The school’s grade-level co-planning
meetings provided opportunities for content specific teachers and dance instructors to develop
A VIABLE ARTS PROGRAM 93
interdisciplinary and arts integrated learning project-based activities that went beyond the
classroom in relevance and application. Finally, the school built partnerships within the
community to build advocacy and establish funding for its arts programs. In a time of shrinking
budgets and shifting priorities, school leaders are urged to reconsider effective use of time and
resources to preserve viable arts programs. Reallocation of funds and tapping into Title I and
Title II funds can be used to arts teacher positions. Additionally, thinking creatively about a
school’s master schedule to free up time for content specific teacher and arts instructor to co-plan
for enriched learning opportunities that embed arts into instruction. Finally, building community
resources to expand and sustain the presence of a school’s arts program; the better people
understand the rationale behind arts education, the stronger they can advocate for it.
While XYZ has demonstrated successes in implementing the arts, particular areas remain
underdeveloped. Teacher surveys, interviews and observations revealed the need for increased
professional development in the arts to integrate them into core subjects more effectively.
Currently, XYZ School primarily draws upon the discipline and skills of the dance across
curricula whereas research indicated the need for arts to be integrated across curricula. In
addition to providing more opportunities for faculty professional development in arts integration
in alignment with the Common Core Standards, the need for expansion of XYZ’s arts program is
equally important in diversifying the curriculum. Presently, students receive one-hour of dance
each day throughout all grades. Offering other arts programs including music, visual and
performing arts and theatre can make students well rounded in arts education. Further, responses
from interviews indicated changes in the structure of the middle grades arts programs due to low
motivation of students; according to research studies, opportunities to study varied arts
disciplines heightens student engagement (Rabkin & Redmond, 2003).
A VIABLE ARTS PROGRAM 94
Nevertheless, this case study revealed the best practices of school leadership in
preserving the arts education programs at XYZ School. These actions included establishing a
vision aligned with clear goals and expectations, building coalitions beyond the organization that
provide additional resources, and ensuring effective use of time and resources to execute the
vision. The school leadership’s ability to apply all of Bolman and Deal’s (2008) four frames of
leadership was the premise for preserving the arts at XYZ School.
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CHAPTER FIVE: CONCLUSIONS AND RECOMMENDATIONS
At this moment in our nation’s history, there is great imperative around reforming
America’s public schools. Research studies indicate that many schools are no longer able to
engage and motivate their students (Chapman, 2005; Friedman, 2006). Students who do graduate
from high school are increasingly the products of narrowed curricula, lacking the creative and
critical thinking skills needed for success in a globally competitive workforce. In such a climate,
the outcomes associated with arts education, including increased academic achievement, school
engagement, and creative thinking, have become increasingly important. Decades of research
show strong and consistent links between high-quality arts education and a wide range of
significant educational outcomes (Booker, 2010; Burton, et. al, 1999; Eisner, 2002). As critical
thinking, problem solving and flexibility are the demands of the global society, schools with
successful arts education programs prepare students to think and act in an ever-changing world.
These schools reshape the traditional, reading, writing and arithmetic framework to a model that
integrates disciplines and requires multiple levels of thinking.
At the same time, due to budget constraints and emphasis on the subjects of high stakes
testing, arts instruction in schools is on a downward trend (Abdollah, 2012). Just when public
education needs it the most, the classroom tasks and tools that could best reach and inspire these
students –– art, music, movement and performing –– are less available to them. Sadly, this is
especially true for students from lower-income schools, where analyses show that access to the
arts in schools is disproportionately absent (Armario, 2012).
A VIABLE ARTS PROGRAM 96
Purpose, Significance and Methodology of the Study
The purpose of this study was to determine key factors in sustaining arts programs at
XYZ School. Research questions were identified to establish a focus in studying a viable arts
program. The research questions were:
1. What are the arts programs that exist at XYZ School?
2. How does leadership at XYZ School support arts?
3. How are funding decisions made at XYZ School?
XYZ School was selected as the subject of study because it met the criteria defined by the
thematic group as a qualified school with a viable arts program. Located in Echo Park, Los
Angeles and in a working class community, the school sought “to engage children to become
more active learners and to enhance academic skill-building by integrating dance throughout the
curriculum” (XYZ Charter). Not only did XX High School’s mission and vision statements
reference the topic of arts education, but the school incorporated a dance themed curriculum,
required students to partake in daily dance classes as part of the core curriculum, supported a
curriculum rich in arts integration to create opportunities for problem-solving and
interdisciplinary learning, and developed partnerships to further arts education programs. Given
its focus, XYZ School was an ideal subject for this case study and provided abundant
opportunities to understand one school’s leadership sustained its exemplary arts program.
Multiple instruments were developed in effort to triangulate the data collection process,
maximizing the validity and reliability of the study. The qualitative case study used a faculty
survey, interviews of selected school administrators and parent, extensive observations of school
classes/events, and a detailed document review to answer the research questions. Throughout the
A VIABLE ARTS PROGRAM 97
study, the researcher incorporated Bolman and Deal’s four frames of analysis (2008) to gather
relevant data using multiple methods and sources.
This study served an important role in the scholarly community. Despite the breadth of
literature available on art programs in education in the American K-12 institutions, a significant
gap remains. Though researchers have and reported many best practices of arts education, there
still lacks a breadth of scholarly literature associated with how funding decisions are made to
support arts programs in schools as well as characteristics of leadership in schools where arts
programs are viable and sustainable. Further, the observations made in this study revealed a
school committed to preserving arts programs through strong leadership with a vision that
encourages and supports arts education, collaboration within and beyond the school site, and
effective use of time and resources for arts instruction. This case study represents an excellent
example of what a school can implement through commitment, focus, and a shared-vision and
may be used as an impetus to reintroduce the arts in other schools.
Emergent Themes
From the data collected to support the three research questions of this case study, three
themes emerged as characteristic of how XYZ High School’s school leadership enables to arts to
thrive in the midst of the today’s educational climate. The themes are listed:
• Strong leadership with a vision that supports arts education programs
• School-wide commitment to the arts
• Effective use of time and resources
While all three themes coincided with the best practices identified in the literature, the -
data gathered from the first and final theme revealed unique highlights that were not profound in
the literature.
A VIABLE ARTS PROGRAM 98
Upon coding the data, leadership emerged as the most critical component of preserving
the arts education programs at XYZ School. The premise for which the arts program continued
year after year was primarily as a result of strong leadership with a vision that supports arts
education programs. While leadership was observed through each of the four lenses of the
Bolman and Deal (2003) framework for organizations, the Human Resource and Symbolic
frames were most prominent.
Symbolically, the school was a metaphor for the love of dance of the founder’s daughter
whose life tragically ended as a young child. The founder established a 501c3 nonprofit
foundation in honor of her daughter and the success of the program led to the establishment of
XYZ School, a uniquely designed elementary school that engages students in learning through
the arts. Core values of the arts including resilience, creativity and integrity, embellished the
classrooms. Observations of student learning exemplified student internalization of the core
values. Student artwork that decorated the campus symbolized the school values and illustrated
school leadership’s support of the arts programs. The Human Resource frame was also salient.
The school leaders emphasized of people in the interviews. Observations of school-wide events
illustrated the principal as a facilitator who coaches, motivates, encourages participation in the
decision making process and empowers others to lead. The political frame was identified
although not as profoundly. The founder played a political role in gaining advocacy and funding
for its arts programs. Structurally, school leadership ensured that time for the arts was embedded
in the instructional schedule and resources were provided to execute the programs.
XYZ’s school-wide commitment to the arts was evident in each of the four data
collection instruments. First, the school principals articulated clear goals. During the initial PD
for the school year, the principal presented the data along with the core school values.
A VIABLE ARTS PROGRAM 99
Collectively, the administrators and teaching staff, identified benchmarks to achieve the school-
wide student achievement goals while maintainable an exemplary arts program. After identifying
the arts in the school budget, the school leadership and teaching faculty explored multiple
approaches to providing its viable arts program for students including the increase efforts for arts
integration. To this end, school leadership ensured that grade-level planning time would be
considered in the master schedule to allow for co-planning between content area teachers and art
instruction teachers. The fourth step in establishing the school-wide commitment to the arts was
making the arts learning visible, which in turn is one means of engaging parents, the final part of
XYZ’s school-wide commitment.
School leadership effectively structured the school schedule and implemented the
resources and partnerships the school acquired, resulting in the success of its arts programs.
Foremost, the school’s most prominent arts program, dance instruction, is majorly provided for
through the non-profit foundation under which the school operates. Funding decisions are
determined by the organization’s Board of Directors who allocates funding resources to provide
for quality arts programs in schools. Additionally, the arts programs are provided for through
Title I funds and outstanding materials are purchased through money earned from school-wide
fundraisers. The adjustment of the instructional bell schedule and use of after school time also
affected the opportunities for arts instruction at XYZ.
The themes that emerged from the data revealed that the key factors for a school to
sustain arts education include strong leadership with a vision that encourages and supports arts
education, a school-wide commitment to the arts, and effective use of time and resources for arts
instruction. The findings demonstrated that embracing arts education creates a positive school
culture for all stakeholders. Through the arts, students were able to apply and improve their
A VIABLE ARTS PROGRAM 100
critical thinking skills and creativity. Additionally, the arts provide a form of differentiated
instruction that increased student engagement and motivation.
Conclusions
Arts education is an imperative in the present educational climate and in response to the
growing demand for 21
st
century learners. To best prepare students for the global workforce
competency, schools must provide students with recognize enriched learning experiences that
lead to a strong foundation in core content areas of literacy, mathematics and science. Further,
legislators and policymakers in the educational arena must encourage the arts as a means for
development of creativity and problem solving skills to ensure that all students will be competent
global competitors in the 21
st
century. Presently, however, the arts programs are routinely
omitted as a result of shifting priorities and accountability demands.
Despite the pressures of high-stakes testing and reduction of the arts education budget,
XYZ School has managed to preserve a viable arts program and maintain academic excellence.
Chapter Four of this dissertation documented best practices of how XYZ School maintained its
exemplary arts program. Leadership was identified as a critical component in preserving a viable
arts program. The driving force of the arts programs was the founder and Executive Director,
who ensured the operation of the arts programs each year. The founder’s vision of a model
school with a focus on dance was a shared vision amongst all stakeholders, or in other words,
and as identified as the second prevalent theme, a school-wide commitment to the arts. School
leadership provided the means for all stakeholders (teachers, students, parents) at XYZ to
recognize the significance of and support the arts programs. Finally, leadership carefully
considered ways to effectively use instructional time and resources to support the arts programs.
A VIABLE ARTS PROGRAM 101
This study revealed how one school sustained a viable arts program with strong leadership, a
school-wide commitment to the arts and partnerships.
Recommendations
This qualitative case study explored how one school sustained its viable arts programs
and high student achievement despite accountability pressures and budgetary constraints.
Through a dance-themed curriculum and by drawing upon the discipline of dance, XYZ School
sought “to actively engage and motivate each child to develop self-confidence, critical thinking
skills and habits of mind that serve as the foundation for a college preparatory education” (XX
High School Mission Statement). As a result of strong leadership, a school-wide commitment to
the arts, and effective use of time and resources, XYZ School’s leadership preserved its arts
education programs. In order for policymakers to commit to the arts in K-12 education, more in-
depth research is needed with a focus on leadership in relation to arts education. Based on the
data collected and analyzed in Chapter Four, the following recommendations for future research
are presented:
• Further research, including a replication of this study, with a larger sample of K-12
California schools that have successfully implemented arts education programs. A larger
population sample will allow researchers to generalize about the findings and results.
• Further studies should explore the impact of arts education on 21
st
century skills in a
school where its leadership is committed to the arts.
• Additional research should study key characteristics of school culture and student
outcomes associated with schools implementing arts integration across curricula.
A VIABLE ARTS PROGRAM 102
• Educational leaders seeking to promote arts education should seek partnerships with arts
in education foundations, recognizing that partnerships are critical for building and
sustaining arts programs.
• Educational leaders seeking to promote arts education should further investigate the role
of arts integration in the Common Core Standards and best practices that document how
teachers integrate the arts across curricula.
• Further research should determine how the arts could be included in standardized tests, or
other methods for assessing students in the arts.
The aforementioned studies should follow strict methodology guidelines to further
research on the need for arts in education. Foremost, a large enough sample size will increase the
generalization of the findings. The researchers should also determine specific criteria for
selecting the population and sample to validate that the criteria corresponds the purpose of the
study. Lastly, the studies should include a control group and an experimental group, in addition
to controlling for other factors that may affect the findings. With appropriate evidence, the arts
are more likely to establish a role in K-12 school curriculum.
The emergent themes from this study can also be considered as practical
recommendations for preserving a viable arts program. Foremost, there must be the presence of
strong leadership, with a clear vision for the arts. Without the vision, the arts program has little
advocacy, more or less significance. The vision must be shared amongst all stakeholders in an
effort to establish a school-wide commitment to the arts. Finally, in order to execute the vision,
partnerships must be formed between the school and arts in education foundations. Without
partnerships, the school arts program is limited by budgetary constraints. Collectively, the
A VIABLE ARTS PROGRAM 103
emergent themes, underscored XYZ School’s leadership success in preserving its viable arts
program.
Summary
The case for the arts has been supported by extensive research; studies have revealed that
successful arts education programs have been associated with academic achievement, social and
emotional development, civic engagement and equitable opportunity (Americans for Arts, 2002;
Kennedy, 2006). In fact, prior to the reductions in state and local budgets in the 1970s and 1980s,
the presence of viable arts programs was profound. The Progressive Education Movement was
the underlying foundation in establishing the importance of arts education in American schools
(DeHoyas, et. al, 2005). The arts were perceived to develop children’s cognitive abilities and
inquiry process. Even further, during this era, arts education was recognized and advocated for
due to the contributions to other subject areas, resulting to sufficient funding allocated to arts
education programs.
The standards-based movement and other educational reform legislation have led to the
decline of arts education programs in schools. The recent accountability measures have raised the
pressure for schools to increase test scores in reading and math, reducing classroom time devoted
to the arts. Instructional minutes that were formerly devoted to visual arts instruction have been
replaced with test preparation and test-taking skills (NCES, 2000; Sabol, 2010; Lawrence, 2012).
Additionally, although some statewide arts assessments are underway, art test scores do not
count as a measure of Annual Yearly Progress subjects. The subjects included in AYP include
English language arts and math. For the reason that arts education is not include in the
standardized assessments, it is one of the subjects often overlooked in schools, thus inciting one
of the prominent challenges educators face to sustain viable arts programs.
A VIABLE ARTS PROGRAM 104
Despite the reduction in school budgets and shifted priorities, some schools have been
successful in preserving the arts. Through curricular reform and organizational leadership, XYZ
School has sustained a viable arts program, as well as maintaining academic excellence as
measured by the Academic Performance Index. Key factors identified in sustaining arts
education include strong leadership with a vision that supports arts education, a school-wide
commitment to the arts, and effective use of time and resources. The aforementioned factors
were prominent characteristics of how XYZ’s school leadership was able to sustain its viable arts
program and were associated with positive outcomes of high student achievement and increased
parent and community engagement. Additionally, the findings demonstrate that embracing arts
education creates a positive school culture for all stakeholders. To further expand and promote
arts education in schools, educational policymakers and practitioners must recognize the
imperative for preserving arts education programs in schools and respond appropriately.
Policymakers and educational leaders can utilize research studies to make informed decisions;
the findings can be the evidence needed to support the adopted decisions. The demand for
creative and non-linear thinkers is at its peak (Friedman, 2006). While XYZ may demonstrate an
island of success, it is essential that the California and U.S. educational systems embrace arts
education programs in their curricular and organizational structures—setting the arts as core
curricula, funding full-time arts instructors and increased professional development for arts
integration—and further research around arts in education to better understand its affect on
student achievement furthermore building a competent workforce for the future.
A VIABLE ARTS PROGRAM 105
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A VIABLE ARTS PROGRAM 106
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A VIABLE ARTS PROGRAM 107
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profession. The High School Journal, 91(4), 12 - 25
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decline-in-arts-education-in-us-schools/
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A VIABLE ARTS PROGRAM 108
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http://www.edutopia.org/stw-arts-integration-reform-overview
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A VIABLE ARTS PROGRAM 109
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A VIABLE ARTS PROGRAM 110
Appendix A
Faculty Survey Instrument
Years in this school _______Years in education ______Subject or content taught______
Directions: Please mark only ONE box for each question.
Features
of
Arts
Programs
Hardly
Ever
Sometimes
Often
A
lot
Pedagogy
1. The
school
offers
a
curriculum
of
sequential,
standards-‐based
instruction
in
the
major
arts
disciplines
(dance,
film,
music,
theatre
and
visual
arts).
Hardly
Ever
Sometimes
Often
A
lot
2. Teachers
discuss
student
artwork,
assessment
and
arts
instruction
at
grade
level/subject-‐alike
planning
meetings.
Hardly
Ever
Sometimes
Often
A
lot
3. Teachers
use
arts
learning
outcomes
to
evaluate
their
curriculum
and
instructional
methods.
Hardly
Ever
Sometimes
Often
A
lot
4. Instructional
leaders
review
teaching
outlines
in
the
major
arts
disciplines
to
ensure
instructional
sequencing.
Hardly
Ever
Sometimes
Often
A
lot
5. A
group
of
teachers
meet
regularly
to
engage
in
professional
dialogue
about
instruction,
individual
student
needs,
and
learning
outcomes
in
and
through
the
arts.
Hardly
Ever
Sometimes
Often
A
lot
6. There
is
a
written
school
arts
plan
that
aligns
with
the
district
arts
policy
and
arts
education
plan.
Hardly
Ever
Sometimes
Often
A
lot
7. The
arts
curriculum
meets
the
needs
of
diverse
populations
of
learners.
Hardly
Ever
Sometimes
Often
A
lot
Student
Learning
1. Students
are
encouraged
to
draw
on
their
personal
background
and
experiences
to
inform
their
arts
learning.
Hardly
Ever
Sometimes
Often
A
lot
2. A
variety
of
artistic
traditions
are
explored
from
around
the
world.
Hardly
Ever
Sometimes
Often
A
lot
3. Art
instruction
emphasizes
cooperation,
interactive
learning,
and
team
building.
Hardly
Ever
Sometimes
Often
A
lot
4. Student
arts
learning
outcomes
are
used
to
evaluate
the
curriculum
and
instructional
methods.
Hardly
Ever
Sometimes
Often
A
lot
5. Parents
are
provided
with
specifics
about
their
student’s
progress
in
arts
learning/programs.
Hardly
Ever
Sometimes
Often
A
lot
6. Periodic
report
cards
document
student
learning
in
key
arts
standards.
Hardly
Ever
Sometimes
Often
A
lot
A VIABLE ARTS PROGRAM 111
7. Arts
curriculum
includes
real-‐life
applications
that
prepare
students
for
postsecondary
education,
focused
training,
and
eventual
employment.
Hardly
Ever
Sometimes
Often
A
lot
Environment
1. The
school
employs
highly
qualified
teachers
in
the
visual
and
performing
arts
and
contracts
with
additional
individuals
and
groups
with
expertise
in
the
arts.
Hardly
Ever
Sometimes
Often
A
lot
2. School
budget
(combined
district,
state
and
federal
funds)
includes
collaborative
planning
in
arts
education
(including
all
arts
disciplines).
Hardly
Ever
Sometimes
Often
A
lot
3. Other
community
funding
(teacher,
grants,
donations,
and
bond,
local
tax)
exists
in
arts
education
(including
all
arts
disciplines).
Hardly
Ever
Sometimes
Often
A
lot
4. School
administrators
and
staff
have
an
organized
approach
to
arts
education
that
aligns
with
the
school
wide
instructional
plan.
Hardly
Ever
Sometimes
Often
A
lot
5. Administrators
review
the
Master
class
schedule
to
ensure
access
to
arts
instruction
for
all
students.
Hardly
Ever
Sometimes
Often
A
lot
6. Administrators
and
teaching
staff
monitor
the
appropriate
placement
of
students
in
arts
classes.
Hardly
Ever
Sometimes
Often
A
lot
7. Supplemental
learning
materials,
adequate
supplies
and
functional
equipment
are
available
to
students
in
all
arts
facilities
and
courses.
Hardly
Ever
Sometimes
Often
A
lot
8. Through
explicit
policies
and
practices,
school
leadership
makes
it
clear
that
arts
education
is
a
responsibility
of
the
whole
school
and
is
critical
to
the
realization
of
the
school’s
mission
and
vision.
Hardly
Ever
Sometimes
Often
A
lot
Community
1. The
school
arts
program
enhances
a
sense
of
community
through
fostering
improved
relations
across
diverse
student
groups.
Hardly
Ever
Sometimes
Often
A
lot
2. Parents
regularly
receive
information
on
the
importance
of
arts
learning.
Hardly
Ever
Sometimes
Often
A
lot
3. Parents
regularly
receive
information
on
how
to
encourage
their
student’s
arts
learning
in
school
and
at
home.
Hardly
Ever
Sometimes
Often
A
lot
4. Parents
attend
student
exhibitions
and
performances.
Hardly
Ever
Sometimes
Often
A
lot
5. Parents
participate
in
classroom
learning
activities
and
field
trips
in
the
arts.
Hardly
Ever
Sometimes
Often
A
lot
6. Parents
actively
support
the
school
arts
program
(e.g.,
chaperone
class
trips,
organize
an
arts
booster
club,
attend
arts
fundraisers).
Hardly
Ever
Sometimes
Often
A
lot
A VIABLE ARTS PROGRAM 112
7. Parents
regularly
receive
information
on
arts-‐related
career
pathways.
Hardly
Ever
Sometimes
Often
A
lot
8. Effective
instructional
relationships
have
been
established
with
the
business
community
to
provide
VAPA
students
with
technical
resources,
field
knowledge,
and/or
skill-‐building
experiences
that
will
help
them
succeed
in
the
workplace.
Hardly
Ever
Sometimes
Often
A
lot
*
This
survey
was
adapted
from
the
School
Arts
Survey
developed
by
Griffin
Center
for
Inspired
Instruction
for
Arts
for
All,
a
program
of
Los
Angeles
County
Arts
Commission
and
Los
Angeles
County
Office
of
Education.
A VIABLE ARTS PROGRAM 113
Appendix B
Interview Protocol
1. What
arts
programs
currently
exist
on
campus?
2. How
did
they
get
started?
3. Who
is
responsible
for
keeping
these
arts
programs
going?
OR
Who
would
you
say
is
the
driving
force
for
the
arts
program
at
this
school?
4. How
do
they
work
to
make
sure
that
these
programs
keep
going
year
after
year?
5. When
are
the
arts
programs
available
to
students?
6. Are
there
different
levels
that
the
students
can
take?
7. (If
so)
who
decides
which
students
are
in
which
level?
8. How
we
know
that
the
arts
programs
are
successful?
AND
Who
is
involved
in
evaluation
8. process?
9. How
are
changes
made
to
the
program
when
necessary?
10. How
were
supplies
and
materials
provided
for
these
programs?
a. How
was
it
determined
that
these
were
necessary?
11. How
have
these
arts
program
changed
within
the
last
three
years?
12. What
changes
are
expected
for
the
future?
13. Are
there
partnerships
that
exist
between
this
school’s
arts
programs
and
the
community?
14. How
were
these
partnerships
formed
and
maintained?
15. Is
there
anything
else
that
you
would
like
to
share
with
me?
A VIABLE ARTS PROGRAM 114
Appendix C
Observation Protocol
Classroom
Observation
Tool
Site ____________________________ Location ________________________ Date: _________Time:_________
Observer _______________________ Purpose for Visit: ______________________________________________
Activity Description (s):___________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
What Learning Objectives were addressed:
A VIABLE ARTS PROGRAM 115
FACILITIES/EQUIPMENT
In the space below, provide a brief description of the site including size of the space including size, arrangement of
furniture, distinguishing features.
Art is displayed in common areas? No Yes
Evidence of the arts being integrated into the curriculum? No Yes
Is the activity site accessible to all potential participants? No Yes
Are there projects underway? No Yes
Is participant work displayed? No Yes
Are there any unmet maintenance needs? No Yes
Please rate the following features of the physical environment at the site.
Poor
Fair
Good
Excellent
NA
Attractiveness of physical facility (freshly painted, good lighting
etc.
Condition, appropriateness, and quantity of furniture
Ability to accommodate both large and small group activities at
same time
Availability of supplies/materials needed for the activity
Availability of books or other reading materials
Attractiveness to children/participants
Overall room/facility rating
A VIABLE ARTS PROGRAM 116
School
level
Observation
Protocol
Name
of
Observer
Date
Time
Location
Research
Questions
1. What
are
the
arts
programs
that
exist
at
XYZ
school?
2. How
does
leadership
at
XYZ
school
support
arts?
3. How
are
funding
decisions
made
at
XYZ
school?
Physical
Space
Define
the
physical
space
of
the
classroom.
• Geographical
• Physical
• EHS
artifacts
• Arts
program
artifacts
What
is
the
learning
experience
for
the
students
(lesson
objective)?
Participant
reactions
to
physical
setting.
Teacher
and
Students
Who
are
the
participants?
Demographic
information:
A VIABLE ARTS PROGRAM 117
• Age
• Ethnic
• Gender
What
are
the
roles
of
those
being
observed?
What
is
the
teacher
doing?
What
are
the
students
doing?
What
was
each
of
the
specific
participants
doing?
• Group
interaction
• Individual
action
• Passive
participants
• Active
participants
Role
of
the
Observer
What
am
I
doing?
What
is
my
role
throughout
the
observation?
Describe
some
of
my
interactions
with
other
participants
though
out
the
observation.
A VIABLE ARTS PROGRAM 118
How
did
my
interaction/
presence
affect
the
observation
process?
Sequence
of
Events
Beginning
Middle
End
A VIABLE ARTS PROGRAM 119
Appendix D
Observation Reflection Protocol
School
Organization
(Bolman
&
Deal,
2008)
Evidence
(circle
one)
Notes
(Description/Examples)
1.
Structural:
School
organization
emphasizes
environment,
goals,
and
policies,
etc.
None
Some
Most
NA
2.
Human
Resource
Frame:
School
organization
emphasizes
relationships,
skills,
and
needs,
etc.
None
Some
Most
NA
3.
Political
Frame:
School
organization
emphasizes
politics,
power,
and
competition,
etc.
None
Some
Most
NA
4.
Symbolic
Frame:
School
organization
emphasizes
rituals,
ceremonies,
and
stories,
etc.
None
Some
Most
NA
5.
Other:
None
Some
Most
NA
Art
is
integrated
successfully
into
the
curriculum
None
Some
Most
NA
Allowing
participants
to
practice
an
art
skill.
None
Some
Most
NA
Projects/Products/Presentations/
Performances
that
are
visible
during
the
session
(circle
those
that
apply)
None
Some
Most
NA
Other:
None
Some
Most
NA
**Overall
Session
Rating:
Poor
Fair
Good
Excellent
Misc:
A VIABLE ARTS PROGRAM 120
Pedagogy
Code
Questions
Hardly
Ever
Sometimes
Often
A
lot
Total
Responses
P1
The
school
offers
a
curriculum
of
sequential,
standards-‐based
instruction
in
the
major
arts
disciplines
(dance,
film,
music,
theatre
and
visual
arts).
0
1
1
6
8
P2
Teachers
discuss
student
artwork,
assessment
and
arts
instruction
at
grade
level/subject-‐alike
planning
meetings.
1
1
6
0
8
P3
Teachers
use
arts
learning
outcomes
to
evaluate
their
curriculum
and
instructional
methods.
0
2
4
2
8
P4
Instructional
leaders
review
teaching
outlines
in
the
major
arts
disciplines
to
ensure
instructional
sequencing.
1
3
2
2
8
P5
A
group
of
teachers
meet
regularly
to
engage
in
professional
dialogue
about
instruction,
individual
student
needs,
and
learning
outcomes
in
and
through
the
arts.
0
2
6
0
8
P6
There
is
a
written
school
arts
plan
that
aligns
with
the
district
arts
policy
and
arts
education
plan.
0
7
1
0
8
P7
The
arts
curriculum
meets
the
needs
of
diverse
populations
of
learners.
0
1
2
5
8
Student
Learning
Code
Questions
Hardly
Ever
Sometimes
Often
A
lot
Total
Responses
SL1
Students
are
encouraged
to
draw
on
their
personal
background
and
experiences
to
inform
their
arts
learning.
0
2
3
3
8
SL2
A
variety
of
artistic
traditions
are
explored
from
around
the
world.
0
1
5
2
8
SL3
Art
instruction
emphasizes
cooperation,
interactive
learning,
and
team
building.
0
2
4
2
8
SL4
Student
arts
learning
outcomes
are
used
to
evaluate
the
curriculum
and
instructional
methods.
0
2
5
1
8
SL5
Parents
are
provided
with
specifics
about
their
student’s
progress
in
arts
learning/programs.
0
6
1
1
8
A VIABLE ARTS PROGRAM 121
SL6
Periodic
report
cards
document
student
learning
in
key
arts
standards.
4
2
1
1
8
SL7
Arts
curriculum
includes
real-‐life
applications
that
prepare
students
for
postsecondary
education,
focused
training,
and
eventual
employment.
0
1
0
7
8
A VIABLE ARTS PROGRAM 122
Environment
Code
Questions
Hardly
Ever
Sometimes
Often
A
lot
Total
Responses
E1
The
school
employs
highly
qualified
teachers
in
the
visual
and
performing
arts
and
contracts
with
additional
individuals
and
groups
with
expertise
in
the
arts.
0
0
3
5
8
E2
School
budget
(combined
district,
state
and
federal
funds)
includes
collaborative
planning
in
arts
education
(including
all
arts
disciplines).
1
4
3
0
8
E3
Other
community
funding
(teacher,
grants,
donations,
and
bond,
local
tax)
exists
in
arts
education
(including
all
arts
disciplines).
0
5
3
0
8
E4
School
administrators
and
staff
have
an
organized
approach
to
arts
education
that
aligns
with
the
school
wide
instructional
plan.
0
6
1
1
8
E5
Administrators
review
the
Master
class
schedule
to
ensure
access
to
arts
instruction
for
all
students.
0
5
2
1
8
E6
Administrators
and
teaching
staff
monitor
the
appropriate
placement
of
students
in
arts
classes.
0
7
0
1
8
E7
Supplemental
learning
materials,
adequate
supplies
and
functional
equipment
are
available
to
students
in
all
arts
facilities
and
courses.
0
7
1
0
8
E8
Through
explicit
policies
and
practices,
school
leadership
makes
it
clear
that
arts
education
is
a
responsibility
of
the
whole
school
and
is
critical
to
the
realization
of
the
school’s
mission
and
vision.
1
6
0
1
8
A VIABLE ARTS PROGRAM 123
Community
Code
Questions
Hardly
Ever
Sometimes
Often
A
lot
Total
Responses
C1
The
school
arts
program
enhances
a
sense
of
community
through
fostering
improved
relations
across
diverse
student
groups.
0
2
5
1
8
C2
Parents
regularly
receive
information
on
the
importance
of
arts
learning.
6
2
0
0
8
C3
Parents
regularly
receive
information
on
how
to
encourage
their
student’s
arts
learning
in
school
and
at
home.
3
5
0
0
8
C4
Parents
attend
student
exhibitions
and
performances.
0
6
2
0
8
C5
Parents
participate
in
classroom
learning
activities
and
field
trips
in
the
arts.
7
1
0
0
8
C6
Parents
actively
support
the
school
arts
program
(e.g.,
chaperone
class
trips,
organize
an
arts
booster
club,
attend
arts
fundraisers).
3
5
0
0
8
C7
Parents
regularly
receive
information
on
arts-‐
related
career
pathways.
7
1
0
0
8
C8
Effective
instructional
relationships
have
been
established
with
the
business
community
to
provide
VAPA
students
with
technical
resources,
field
knowledge,
and/or
skill-‐building
experiences
that
will
help
them
succeed
in
the
workplace.
1
6
1
0
8
A VIABLE ARTS PROGRAM 124
Appendix E
Triangulation Matrix
Research
Questions
Document
Analysis
Survey
Interview
Observation
1. What
are
the
arts
programs
that
exist
at
XYZ
School?
√
√
√
√
2. How
does
leadership
at
XYZ
School
support
the
arts
programs?
√
√
√
√
3. How
are
resources
allocated
at
XYZ
School?
√
√
√
√
Abstract (if available)
Abstract
This qualitative study used a case study approach to examine the structure, leadership and funding of arts programs that enable school leaders to maintain viable arts programs despite accountability demands and fiscal constraints. The purpose of this study was to determine key factors in sustaining arts programs in a school that has successfully implemented arts education programs and has high student achievement. The subject of this case study was an elementary charter school in Central, Los Angeles that has successfully demonstrated student achievement as measured by the Academic Performance Index and had arts in education present. Findings from the study identified leadership as a critical component in preserving a viable arts program. The founder’s vision of a model school with a focus on dance was a shared vision amongst all stakeholders, or in other words demonstrated a school‐wide commitment to the arts. School leadership provided the means for all stakeholders (teachers, students, parents) at XYZ to recognize the significance of and support the arts programs. Findings also revealed how leadership carefully considered ways to effectively use instructional time and resources to support the arts programs. The observations and conclusions made through this qualitative case study may be used as an impetus to reintroduce the arts in other schools.
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University of Southern California Dissertations and Theses
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Asset Metadata
Creator
Okonkwo, Deara Ijoma
(author)
Core Title
A case study: a viable arts program at one elementary school in California
School
Rossier School of Education
Degree
Doctor of Education
Degree Program
Education (Leadership)
Publication Date
04/30/2014
Defense Date
02/26/2014
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
arts education,leadership,OAI-PMH Harvest,preserving arts education
Format
application/pdf
(imt)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Gothold, Stuart E. (
committee chair
), Escalante, Michael F. (
committee member
), Hocevar, Dennis (
committee member
)
Creator Email
deara7@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c3-408915
Unique identifier
UC11296223
Identifier
etd-OkonkwoDea-2477.pdf (filename),usctheses-c3-408915 (legacy record id)
Legacy Identifier
etd-OkonkwoDea-2477-0.pdf
Dmrecord
408915
Document Type
Dissertation
Format
application/pdf (imt)
Rights
Okonkwo, Deara Ijoma
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
Repository Name
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Repository Location
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Tags
arts education
preserving arts education