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Sustaining arts programs in public education: a case study examining how leadership and funding decisions support and sustain the visual and performing arts program at a public high school in Cal...

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Content Running Head: SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 1

SUSTAINING ARTS PROGRAMS IN PUBLIC EDUCATION:
A CASE STUDY EXAMINING HOW LEADERSHIP AND FUNDING DECISIONS
SUPPORT AND SUSTAIN THE VISUAL AND PERFORMING ARTS PROGRAM AT A
PUBLIC HIGH SCHOOL IN CALIFORNIA

by

David L. Dunstan

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 David L. Dunstan
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 2

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 3

Acknowledgements
My journey to pursue the Doctor of Education (Ed.D.) in Educational Leadership at
University of Southern California represented the most significant academic challenge of my
career. Without the support, patience, encouragement and guidance of the following people, I
would not have completed this case study. I owe each of them my deepest gratitude.
My committee chair and members: Dr. Stuart Gothold, chair, and Dr. Pedro Garcia and
Dr. Dennis Hocevar for their expertise and guidance.
Dr. Stuart Gothold for his scholarly wisdom, knowledge and commitment to the highest
standards as he guided eight co-investigators in our thematic dissertation group. His patience
and expertise throughout the dissertation process inspired and motivated me to investigate the
challenges confronting arts education in public schools.
Dr. Pedro Garcia for the leadership, insightful expertise and educational experiences he
shared with our cohort as a former superintendent in three foundational courses in the Ed.D.
program, and for his decision to join my dissertation committee.
Dr. Dennis Hocevar who expertly infused his inquiry course with a wonderful capacity to
learn qualitative data analysis, and for joining my dissertation committee.
I am sincerely grateful to each of my doctoral candidate colleagues and co-investigators
in my thematic dissertation group: Jeanette Archambault, Pamela Brown, Kyle Bruich, Gregoire
Francois, Carla Foronda, Deara Okonkwo, and Lucia Perales.
I am profoundly grateful to Robyn Young, Tom Hixon, Evelyn Rivas, Ryan Rivas, Josh
Patterson, Rose Max, Sam Perez, Lindsey Pruitt, Kevin Foster and Tizoc Estrada, my colleagues
and the gatekeepers of the visual and performing arts program who participated in this research
project with unwavering interest and enthusiasm.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 4

My principal, Kristen Tepper, whose support and leadership inspired me as she also
pursued a Doctor of Education degree at University of La Verne.
My colleagues at school and in the district for supporting me as a life-long learner,
dedicated teacher and educational leader during the past seven years. I extend a grateful shout-
out to Amy Bodnar, coordinator of curriculum and instruction, who made academia sound fun
and encouraged me to climb this highest of academic mountains.
Dr. Rob Filback, the program lead with the MATESOL program at University of
Southern California, for his continuing support of the USC TESOL Society, which I co-founded
in 2005, and for his encouragement to get more involved in the ESL profession.
Dr. Julietta Shakhbagova, Associate Professor in the MATESOL program at University
of Southern California, for advising me to pursue the Ed.D. degree after I graduated from the
former MS in TESOL program in 2006.
Dr. Shannon Stanton for her guidance to write a dissertation for my Master of Arts degree
in Education at Whittier College, and for her recommendation to pursue the Doctor of Education
(Ed.D.) in Educational Leadership at University of Southern California.
My professors, Dr. Pat Gallagher, Dr. Sandra Kaplan, Dr. Sylvia Rousseau, Dr. Julie
Slayton, and Dr. Jamy Stillman, Ed.D. Program Advisor, Katy Lin, and my esteemed doctoral
candidate colleagues in the Teacher Education and Multicultural Societies concentration, in the
Ed.D. program. I also extend my thanks to Leena Bakshi in the K-12 cohort for her help.
Robert Dunstan, Eric Dunstan, and Mark Dunstan, for their expertise and knowledge with
statistical analysis.
This dissertation is dedicated to my mother and father, Rosemary and Robert Dunstan,
for their resilience, patience, compassion, and sacrifice as parents.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 5

Table of Contents
List of Tables 7
List of Figures 8
Abstract 9

Chapter One: Overview of the Study 10
Statement of the Problem 11
Purpose of the Study 13
Significance of the Study 14
Limitations of the Study 14
Delimitations of the Study 15
Definition of Terms 16
Organization of the Remainder of the Study 20

Chapter Two: Literature Review 21
Overview 21
History of Arts Education 21
Current Climate with Accountability and NCLB 26
Constraints Faced by Schools 30
Benefits of Arts Programs 31
Current Studies Supporting Arts in Curriculums 33
Arts and Student Achievement 36
Promising Practices 40
Leadership 40
Partnerships 42
Funding 45
Summary 46

Chapter Three: Research Methodology 49
Research Questions 50
Conceptual Model 50
Research Design 51
Site Selection Criteria 53
Evidence of a Viable Arts Program 53
Methodology 58
Participants 59
Instrumentation 61
Data Collection 62
Validity and Reliability 65
Data Analysis 66
Ethical Considerations 68
Summary 69

Chapter Four: Data Collection and Analysis 71
Research Questions 73
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 6

Data Collection 74
Data and Analysis for the Research Questions 75
Data and Analysis for Research Question 1 75
Visual Arts Program 84
Performing Arts Program 89
Drama Program 92
Analysis Summary 97
Data and Analysis for Research Question 2 99
Visual Arts Program 104
Performing Arts Program 109
Analysis Summary 116
Data and Analysis for Research Question 3 118
Visual Arts Program 121
Performing Arts Program 123
Drama Program 126
Analysis Summary 128
Summary 129
Emergent Themes 131
Collaborative Leadership 131
Community Partnerships 134
Resourceful Funding Decisions 136

Chapter Five: Implications and Recommendations 141
Findings and Themes 141
Implications and Recommendations 147
Summary and Conclusion 150

References 155
Appendixes 166
A. Faculty Survey 166
B. Faculty Interview Questions 169
C. Observation Protocol 1 170
D. Observation Protocol 2 173
E. Recruitment Announcement and Consent Form 175
F. Institutional Review Board Information Fact Sheet 176

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 7

List of Tables
Table 1: Site Demographics 57
Table 2: Survey Questions: #1-7 78
Table 3: Survey Questions: #8-14 81
Table 4: Survey Questions: Leadership 100
Table 5: Survey Questions: Funding 119

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 8

List of Figures
Figure A: Conceptual Model 51

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 9

Abstract
The purpose of this qualitative research case study was to investigate leadership and funding
decisions that determine key factors responsible for sustaining arts programs in public schools.
This dissertation represents one of eight dissertations in a thematic dissertation group at the
University of Southern California. Each researcher conducted a qualitative research case study
at a separate, individual school site. While the educational climate, financial constraints and use
of standardized testing to evaluate schools continue to threaten arts programs in public education,
Eastland High School, the site of this case study, managed to sustain its visual and performing
arts program. Understanding the key factors that sustained the arts program at Eastland High
School shaped the foundation of this research study. A qualitative lens investigated three
research questions to understand: (1) arts programs at the school, (2) leadership decisions that
support the arts program, and (3) funding decisions made at the site. The triangulation of data
identified several emerging themes relevant to the three research questions. The first significant
theme found collaborative leadership built ongoing social and political capital among all
stakeholders to support and sustain the arts program. The findings discovered community
partnerships represented a second important theme, which contributed toward the longevity of
the arts program. A third theme determined resourceful funding decisions guided school leaders
to build successful arts programs. The implications of this case study indicated collaborative
leadership and resourceful funding decisions sustain viable arts programs in public schools.
Based on the evidence analyzed and discussed in the findings, the case study provided
educational leaders with recommendations for future research and advice to sustain arts
education in public schools.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 10

CHAPTER ONE: OVERVIEW OF THE STUDY
While the current educational landscape threatens the survival of arts programs in public
education, some schools manage to sustain and support their arts programs. Current trends in
education indicate public schools have increasingly narrowed their curriculums to enroll
underachieving students in more remedial reading and math courses with less time available to
pursue visual and performing arts courses (Beveridge, 2010). Political and societal pressure
have forced school districts to improve academic performance among all students struggling to
improve their reading and math scores on standardized tests. Although President George W.
Bush and Congress introduced the No Child Left Behind Act in 2001 to implement increased
accountability in public schools, the long term impact has eroded public and political support for
arts programs in public schools (Anne, 2010).
During the current 2013-14 academic year, the educational climate enters a crossroads
when schools face the deadline under NCLB requirements to achieve literacy and numeracy
proficiency among all students. Research studies have found public schools narrowing
curriculum with more remedial math and reading courses that create a standardized testing
culture (Beveridge, 2010; Linn, 2005). Stillwell-Parvensky (2011) identified underperforming
schools relying on Title I funds to support remedial courses. The review of literature explores the
history of Title 1, a federal funding source originally intended to close the achievement gap and
support curriculum across all disciplines, including the arts, at schools with low income students
(Stillwell-Parvensky, 2011).
Underachieving school districts and schools in Program Improvement status dominate the
infrastructure of public school systems in California (Beveridge, 2010). Districts and schools
that depend on federal Title I funds, which may support remedial core subjects with no
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 11

accountability to support arts programs, also influence the call among educational reformers to
design new intervention curriculums that improve academic achievement in reading and math
(Black & Williams, 1998; Stillwell-Parvensky, 2011). Arts programs in public schools may
struggle to maintain relevance and visibility in their campus and local communities among
students, faculty, parents, alumni, as well as in the media (Robert, 2010; Tredway & Wheat,
2010).
Using a phenomenological approach with a case study research design, the researcher
used qualitative methods to investigate a viable arts program at a public high school (Creswell,
2009; Merriam, 2009). The research was conducted at Eastland High School with a diverse
population of ethnic cultures in Southern California. The qualitative research study sought to
understand the leadership and funding decisions that affect, guide and impact the outcomes of a
successful arts program at Eastland High School. Implications from the study may underscore
the benefits of sustaining arts curriculums in secondary education.
All participants in the study were identified by pseudonyms. Participants were informed
about the nature of the research in a formal letter that described the methodology of the research
and the research instruments used to conduct observations, interviews and surveys. No students
participated in the research study. (University Park Institutional Review Board, University of
Southern California, UP-IRB#: UP-13-00187, 2013).
Statement of the Problem
Some arts programs have survived in an educational climate that threatens visual and
performing arts curriculums as schools narrow their focus on reading and math curriculums to
raise standardized test scores. Many school leaders have reduced their arts programs as a result
of shifting priorities and accountability demands (Anne, 2010). However, some school leaders
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 12

continue to maintain viable arts programs. The research questions seek to understand the reasons
that explain how a school sustains its arts programs. This qualitative research case study
identified the key factors responsible for sustaining arts programs in public education.
Public education and arts programs have enjoyed a turbulent history in the United States.
The Industrial Revolution introduced vocational arts to the emerging middle class as more
students enrolled in public schools. John Dewey (1934) and Ralph Tyler (1949) advocated the
importance of arts education in the development of children and their early learning experiences.
Dewey supported a student-centered, arts-focused curriculum. However, the Great Depression,
World War II, the subsequent Cold War and other significant historical events impacted and
influenced political movements and bureaucracies that shaped educational policy throughout the
last century. During the 1950s and 1960s, federal funding for the arts declined significantly
(Heilig, Cole & Aguilar, 2010).
National and state funding sources for K-12 schools are not specifically designed to
support visual and performing arts. While the National Endowment for the Arts (NEA) was
founded in 1965 with the intention to support the arts in society, the agency lacked a vision to
encourage schools to embrace arts programs (Heilig, Cole & Aguilar, 2010). The Elementary
and Secondary Education Act (ESEA), also initiated in 1965, sought to consolidate federal funds
and close the achievement gap at underperforming schools. However, the ESEA did not
specifically allocate funds to support arts programs. In Chapter Two, the literature review
explored the history of arts programs in public schools.
Given the current political and societal climate, public schools are under extreme
pressure to raise math and reading scores. Accountability to increase scores impacts all
stakeholders, from teachers and administrators to superintendents and leaders at the local, state
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 13

and national branches of government (Anne, 2010; Beveridge, 2010). Amid bureaucratic levels
of accountability at schools, administrative leaders, department leaders and leadership teams
make decisions that impact their visual and performing arts programs. The researcher
investigated the leadership and funding decisions that contribute toward the success of a viable
arts program at Eastland High School.
Purpose of the Study
The purpose of this study was to determine key factors in sustaining arts programs at
Eastland High School. This dissertation represents one of eight dissertations in a thematic
dissertation group at the University of Southern California. Each researcher conducted a
qualitative research study at a separate, individual school site. The collective breadth of research
conducted among the eight co-investigators of the thematic dissertation group provided
significant evidence to analyze and understand the various strategies employed at public schools
to sustain successful arts programs. The literature influenced and guided decisions among the
eight co-investigators to develop the research questions.
The three research questions were developed through a collaborative discussion process
and an investigation of literature relevant to arts education in public schools. The research
questions guided the development of methodology that shaped this qualitative research study.
The data collection instruments were developed collaboratively and with a defined purpose to
answer the three research questions. The thematic dissertation group agreed to investigate the
following three research questions:
1. What are the arts programs that exist at Eastland High School?
2. How does leadership at Eastland High School support arts?
3. How are funding decisions made at Eastland High School?
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 14

Significance of the Study
This qualitative research study will contribute to scholarly research and literature related
to public school arts education programs (Creswell, 2009). The study provided educational
policy makers with evidence to understand the significance of leadership and funding decisions
that drive and sustain arts programs. The research study provides evidence to close the gap in
the current literature.
The current climate in education has focused more attention on standardized testing and
squeezed arts curriculums. At a single school site, the study investigated the leadership
responsible for an arts program, examine partnerships between the arts program and local and
national organizations that support the arts, and determine administrative funding decisions that
impact the arts program. Findings from the qualitative research case study contributed to local,
state and national discussions among all stakeholders regarding the future of arts programs in
public education.
Limitations of the Study
The limitations in this qualitative case study address conditions that the researcher could
not control. The case study was limited by its geographic location and the time constraints to
collect data. While the researcher conducted the case study at a site where he also works as a
teacher, the principal and school leadership team held the power to approve or deny his research
proposal. A researcher may conduct a research study at his or her own worksite (D. Hocevar,
personal communication, March 15, 2013).
The researcher reflected on research bias and his direct and indirect influence on
responses from participants (Maxwell, 2013). Participants in the study were informed of the
purpose of the study. The researcher discussed with participants the research questions, the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 15

interview questions, the data collection instruments, and the timeline to conduct the data
collection process during the fall semester. Each participant was identified with a pseudonym to
protect their privacy. Participants were assured that the research study was objective and
purposeful.
The review of documents and implementation of surveys, observations and interviews
transpired at one site during a limited time in fall 2013. Therefore, the responses were unique
and reflect a specific time period among participants in the study. The researcher also had no
capacity to ascertain the accuracy of information that participants shared during the interviews,
observations and faculty survey.
Delimitations of the Study
The thematic group, based on an investigation of the literature and the current climate,
identified criteria to select schools with arts programs. Despite the limitations of the study, the
researcher developed delimitations to limit the extent of the study’s external validity. Before
selecting a school to serve as the subject of the case study, the thematic dissertation group
developed school selection criteria. Each school site that participated in the qualitative case
study aligned with IRB and met the criteria. Along with having a viable arts program, the
following criteria determined the eligibility of a selected school:
 Graduate placement with awards, recognition and success of graduates
 Three years of operation and longevity with the same leadership
 Similar schools ranking (8, 9, or 10) with a viable arts program
 Diverse student body
 Evidence of planning as a visual and performing arts school
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 16

The selection criteria reinforced external validity through its capacity to limit generalizations
about the findings of this study to relevant schools that share similar criteria.
Definitions of Terms
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 Academic Performance Index refers to the
annual measurement of academic performance and growth at public schools. The API is a
measurement scale of 200 to 1000 that ranks schools based on their performance on
California standardized tests. The California State Board of Education has established that
all public schools must earn at least 800 on the API or face consequences (California
Department of Education, 2013).
 Adequate Yearly Progress (AYP): The Adequate Yearly Progress criteria involves
assessing annual data from each public school regarding their graduation rate, participation
rate on standardized tests, percent proficient on standardized tests and the API. The NCLB
Act holds schools accountable with AYP goals. All public schools that receive federal
funding are accountable to administer standardized tests that measure all students and
determine the success or failure of their school. In addition, Title I schools, such as
Eastland High School in this dissertation case study, must make AYP, which measures the
annual progress students should make to demonstrate academic growth, based on indicators
from standardized testing among student subgroups (Beveridge, 2010).
 Annual Measureable Achievement Objectives (AMAOs): Annual Measureable
Achievement Objectives define academic and performance targets, and decide whether a
school makes progress to meet its AYP targets (Beveridge, 2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 17

 California High School Exit Exam (CAHSEE): The CAHSEE is administered to students
in tenth grade and assesses their English and math skills. A score of 380 on either section
indicates proficiency in the subject. 350 is the minimum score to pass each section. Schools
hold students accountable to pass the CAHSEE in order to graduate. Students in 11
th
and
12
th
grades may retake the exam several times each year until they pass. The annual
CAHSEE passage rate is a performance indicator at each school (California Department of
Education, 2013).
 California Standards Test (CST): The California Standards Test determines the academic
proficiency level of students in four subject areas: English-language arts, mathematics,
science, and social science. The CSTs assess the mastery of California Academic Content
state standards with multiple choice assessments. An additional writing assessment is
administered with the English-language arts tests in fourth and seventh grades. The
California Department of Education (2013) approved the CST exams as an annual
measurement tool to assess the mastery of standards at each grade level in California public
schools.
 Elementary and Secondary Education Act (ESEA): The ESEA, passed by Congress in
1965, is a landmark federal educational policy initiative reauthorized every five years. It
allocates categorical federal funds to public schools under guidelines to promote equity
and close achievement gaps (Lorraine & Milbrey,1982). NCLB is the most recent version
of the ESEA.
 English Language Learners (ELLs): When students initially enroll in the California public
school system, parents and guardians indicate if a second language is spoken at home on
the Home Language Survey. Along with this information and students’ performance on
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 18

the California English Language Development Test, students are designated as ELLs in the
California public education system. There are five levels of ELLs: Beginning, Early
Intermediate, Intermediate, Early Advanced and Advanced. ELLs are expected to make
academic progress and work toward English language fluency in order to earn
reclassification or reclassified-fluent-English-proficient (RFEP) status. ELL student
populations and their testing outcomes constitute a source of measurement for annual API
and AYP results. ELLs with Spanish as their primary or home language dominate the
landscape of ELL student populations in California and throughout the nation (California
Department of Education, 2013).
 Long Term English Learners (LTELs): LTELs represent a persistent underachieving ELL
subgroup at the secondary level. LTELs have been ELLs in California or other state-wide
public school system for more than six years, have not made sufficient academic progress
since their classification as ELLs in elementary school, and repeatedly fail the CAHSEE.
The California Department of Education (2013) does not provide specific data related to
LTELs within the ELL subgroup. California also lacks a clear policy regarding LTELs
and has not implemented a state-wide unified action plan to hold districts accountable to
improve academic achievement among LTELs. Spanish-language ELLs represent the vast
majority of LTELs, who are primarily found in the 6-12 secondary grades and tend not to
academically advance toward graduation (Olson, 2010).
 National Endowment for the Arts (NEA): The NEA is a federal agency founded in 1965
with a mission designed to advocate public support for the arts (Heilig, Cole & Aguilar,
2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 19

 No Child Left Behind (NCLB): In 2001, Congress approved the No Child Left Behind Act.
The NCLB holds public schools accountable to achieve annual AYP goals. All public
schools that receive federal funding are accountable to administer standardized tests to all
students and determine the success or failure of their school. The United States Department
of Education, which oversees the implementation of NCLB, directs state-wide
Departments of Education to hold school districts accountable to achieve proficiency in
math and reading among all students by 2014. When districts fail to meet their annual API,
AYP and AMAO targets, they face consequences under NCLB, such as Program
Improvement status and other interventions (United States Department of Education,
2013).
 Program Improvement (PI): Under NCLB mandates, Title I schools in California that fail
to meet their AYP targets after two years are designated with the PI status. While operating
under PI status, a school that fails to improve earns subsequent years of PI designation.
NCLB requires PI schools to implement interventions and reforms to resolve problems
with their academic performance. (California Department of Education, 2013).
 Standardized Testing and Reporting (STAR): The Standardized Testing and Reporting
(STAR) exam includes the California State Standards (CST) test. The tests involve math,
reading, writing, science and history. Public schools administer the annual STAR test each
spring in order to assess the academic performance of students and measure the
performance off each school. (California Department of Education, 2013).
 Title I: Federal funds are allocated toward public schools located in low-income areas with
a goal to close the achievement gap among underachieving students. Schools are held
accountable under NCLB to use Title I funds to support school-wide curriculum goals that
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 20

guide students to master academic standards. If a school fails to achieve academic progress
while under Program Improvement status, a consequence may impact future Title I funds
until the school implements changes. Title I schools, such as Eastland High School in this
case study, are held accountable to make annual AYP targets, which measure the annual
progress of students and demonstrate academic growth, based on indicators from
standardized testing among all student subgroups. (Stillwell-Parvensky, 2011; California
Department of Education, 2013).
Organization of the Remainder of the Study
The dissertation was designed in the following sequential structure. In Chapter Two, the
Literature Review discussed the history of arts education in public schools and explored the
learning theories, political policies and organizations that have influenced and impacted public
school arts programs. The Research Methodology, in Chapter Three, explained the research
design and methodology to support this qualitative case study about an arts program at a public
high school in California. The Data Collection and Analysis, in Chapter Four, examined
evidence and findings collected to answer the three research questions in the case study. The
dissertation concludes with Chapter Five, Implications and Recommendations, discussed the
findings and implications relevant to public school arts programs and offered suggestions for
future research.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 21

CHAPTER TWO: LITERATURE REVIEW
Overview
The purpose of this study was to determine key factors in sustaining arts programs at
Eastland High School. Many school leaders have reduced their arts programs as a result of
shifting priorities and accountability demands (Anne, 2010; Beveridge, 2010; Robert, 2010).
However, some schools leaders continue to maintain viable arts programs. What factors are key
to sustaining arts programs in a school? Chapter One provided a background regarding the
emerging fiscal and societal challenges confronting arts programs in public school curriculums.
In this chapter, significant themes that impact arts programs in public education will be
discussed. Chapter Two begins with an exploration of the history of arts programs in the
schools. This exploration includes a discussion of the current climate, impact of NCLB,
accountability and financial constraints on arts programs in public schools. Next, the chapter
examines current studies supporting the arts as a part of a balanced curriculum and analyze the
benefits of arts programs that result in student achievement. Finally, Chapter Two explores
significant areas of promising practice. The discussion focuses on leadership, partnerships,
funding and case studies related to arts education programs in public schools.
History of Arts Education
Arts education in public schools has endured a historical struggle as a valued educational
and social service that holds inherent benefits to learning. In the 1800s, Horace Mann
recommended schools integrate visual arts and music into their curriculums to enhance learning
experiences for students (Gullatt, 2008). During the late 1800s, only the wealthy class enjoyed
access to education and the privilege of industrial arts-themed courses. The Industrial
Revolution that occurred from the late 1700s to the mid-1800s inspired schools to offer drafting
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 22

and technical drawing courses to students of the postindustrial era in the late 1800s (Heilig, Cole
& Aguilar, 2010).
The emerging middle class in the postindustrial era created a fundamental shift in public
education that welcomed students from all social classes (Heilig, Cole & Aguilar, 2010). The
improving economy encouraged the middle class to enjoy the theater, attend concerts, support
museum exhibits and welcome arts programs into school curriculums. Heilig, Cole and Aguilar
(2010) consider the increasing school enrollment among middle class students as a significant
indicator that influenced the integration of arts courses in public schools, a curriculum that only
the wealthy class previously enjoyed in the mid-1800s.
The progressive education movement in the early 1900s influenced the integration of
both visual and industrial arts into core curriculums in public schools (Bresler,1995). John
Dewey (1934), an advocate of progressive education in the 1930s, emphasized the importance of
learning experiences for children. A learning experience equates to an objective found in a unit
of curriculum (Tyler, 1949). Dewey found the integration of arts into a student-centered
curriculum empowers students to become leaders of their own learning experiences (1934;
1938/2010). In Basic Principles of Curriculum and Instruction (1949), Ralph Tyler advocated
the importance of designing curriculum with learning experiences to motivate students and
connect with their background knowledge, families and community. Dewey (1938/2010)
considered the traditional, rigid organizational patterns in schools, with their row-by-row seating
charts, rules and schedules, symbolic of the gaps between traditional philosophies of education
and emerging learning trends and theories. Proponents of progressive education in public
schools believed curriculum should embrace an understanding of the social factors and
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 23

community that influence their students, and emphasized the “principle of learning through
personal experience” (Dewey, 1938/2010, p. 42).
The early 1900s witnessed a growing prosperity in the economy and public in education.
John Dewey, Ralph Tyler and other educational theorists developed prominent theories to
explain learning processes and child development. Among the learning theories, behaviorism
gained an influential hold in public schools during the 1930s and 1940s (Gullatt, 2008; Mayer,
2011). Behavorial theories focus on observable behavior and events. Addressing the learning
process, behavioral theories from the 1920s through the 1950s suggested children experience a
permanent change in behavior as a result of an experience (Mayer, 2011). In 1941, the Social
Cognitive Theory (SCT) developed from the work of psychologists John Dollard and Neal E.
Miller and gained later prominence in the 1960s through the research of Albert Bandura
(Ambrose, 2010). The SCT model provided explanations to describe how children learn through
their observation of others and represented a new movement in the history of education for the
development of learning theories. The learning theories complemented the arts-focused, student-
centered curriculum that Dewey advocated for schools to adopt (1934).
While learning theorists gained prominence in the first half of the twentieth century, the
Great Depression financially crippled the economy in the late 1920s and World War II prolonged
long-term financial constraints throughout the 1940s. Both historical events coincided with
severe budget cuts to public education and a concurrent decline in financial support for arts
programs (Heilig, Cole & Aguilar, 2010). Although the 1950s experienced a rebound in the
economy, the growing Cold War conflict motivated the United States to increase federal funding
for its space programs and develop satellites and advanced technology against the Soviet Union
(Cochran-Smith & Fries, 2005). The decision of the United States government to increase the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 24

funding of its space program, and tout the need for future scientists and engineers in an era of
competitive globalization, led to more financial support toward the development of math and
science curriculums in public schools; consequently, funding for arts programs suffered
throughout the 1950s (Heilig, Cole & Aguilar, 2010).
The 1960s welcomed the National Endowment for the Arts (NEA), a new federal agency
founded in 1965 and tasked with the responsibility to advocate public support for the arts (Heilig,
Cole & Aguilar, 2010). President Lyndon B. Johnson signed the Elementary and Secondary
Education Act (ESEA) in 1965 and consolidated categorical federal funds for public schools
with a goal to promote equity and close achievement gaps among the divergent social classes
throughout the nation (Lorraine & Milbrey,1982). In spite of its original intentions, the ESEA, a
landmark federal educational policy initiative reauthorized every five years, generally failed to
resolve persistent inequity and underachievement in public schools in subsequent decades.
During the era of President Ronald Reagan, the NEA shifted greater attention toward
people of color and underserved communities. In 1983, the NEA advocated support of Hispanic
arts through its Folk Arts Program and initiated National Heritage Fellowships to recognize
talent and creativity across all genres and cultures (Bauerlein & Grantham, 2009). While the
NEA endorsed the arts in society, arts programs in public schools faced pressures as student
achievement floundered in core subjects. In 1983, the Department of Education addressed the
problems in public schools with A Nation at Risk (1983), a report that called for improvements
with public school accountability. The report further threatened arts programs as public school
administrations faced pressure to improve academic outcomes in core subjects (Heilig, Cole &
Aguilar, 2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 25

Frank Hodsoll, the head of the NEA during the Reagan era, allocated research funds to
study the status of arts education programs in public schools; under the leadership of Hodsoll in
1988, the NEA published Toward Civilization: A Report on Arts Education, amid concerns that
the arts lacked political, financial and societal support in public school education (Bauerlein &
Grantham, 2009; Heilig, Cole & Aguilar, 2010).
The NEA continued to advocate for the arts and forged an alliance with other national
organizations to support legislation. Heilig, Cole and Aguilar (2010) found the cooperation of
the Department of Education, the NEA and National Endowment for the Humanities, which led
to the creation of the National Voluntary K-12 Standards in 1994, acknowledged a need for
highly qualified arts teachers to lead K-12 arts education programs. The subsequent adoption of
the Goals 2000: Educate America Act in 1994 recognized the arts as an essential cornerstone of
core curriculum in public schools (Heilig, Cole & Aguilar, 2010).
However, public schools continued to face political and societal pressure to improve
student achievement and accountability. A national response eventually emerged as a landmark
piece of federal legislation and educational policy. In 2001, President George W. Bush and
Congress reauthorized the ESEA, adopting the No Child Left Behind (NCLB) Act with long-
term goals to address student achievement and introduce an era of accountability based on
standardized testing that further eroded federal financial and political support for public school
arts programs (Anne, 2010).
The Goals 2000: Educate America Act retained arts in schools as part of balanced
curriculum through the 1990s. NCLB also identified and retained arts as a core standard (Heilig,
Cole & Aguilar, 2010). While higher education required a minimum of one year of arts
education at the secondary level, state governments recognized if they complied with the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 26

minimum requirements of NCLB to improve reading and math scores on high stakes
standardized tests, this would ensure their annual access to federal funds. As a consequence, the
adoption of NCLB created an educational and political landscape that threatened the survival or
public school arts programs (Anne, 2010).
Current Climate with Accountability and NCLB
The current educational landscape obligates stakeholders to navigate complex layers of
bureaucratic accountability and endure an array of consequences related to NCLB. Over the past
12 years, the United States Department of Education (2013) has held state governments
accountable to implement NCLB at public schools and demonstrate Adequate Yearly Progress
(AYP), or face consequences through Program Improvement (PI) and other interventions.
School districts are held accountable in their annual efforts to achieve proficiency among all
students in reading, writing and math by 2014 (Heilig, Cole & Aguilar, 2010). As the 2013-14
academic year concludes, the implementation of the NCLB Act has failed to achieve its original
long-term goals to improve public schools and student achievement by 2014. The current
climate at public schools reflects a culture of increased accountability based on the overriding
goal to use standardized testing to measure student achievement.
Increasing demands to improve student performance on the Standardized Testing and
Reporting (STAR) exam, which includes the California State Standards (CST) test, has
intensified pressure on bureaucratic stakeholders to push for educational reform. Annual
Measureable Achievement Objectives (AMAOs) define performance targets among student
populations and decide whether a school makes progress with its Adequate Yearly Progress
(AYP) targets (Linn, 2005). Public schools receive federal funding and are held accountable to
administer standardized tests that measure the academic progress among all students. AMAOs
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 27

and AYP determine the success or failure of their school and contribute to its ranking in the
annual Academic Performance Index (API). AYP only focuses on math and reading, two
significant core subjects in public schools, creating a standardized testing culture at schools that
relegates the arts and other non-core subjects to the background while administrators and faculty
use any available funds for remedial math and reading classes to increase test scores (Beveridge,
2010; Linn, 2005).
Increasing student performance on the STAR exam and the CST has driven schools to
implement reforms designed to support math and reading achievement (Black & William, 1998).
Title I schools that fail to meet AYP targets are designated as Program Improvement (PI) schools
(Stillwell-Parvensky, 2011). Schools earn PI status if they fail to meet annual AMAO and AYP
targets and resolve problems with underachieving student populations, such as English language
learners (ELLs), who may negatively impact results on annual California High School Exit Exam
(CAHSEE) and CST standardized tests. Stillwell-Parvensky (2011) observed NCLB
consequences may require a school in PI status to change its entire staff or adopt other radical
changes.
Expanding levels of bureaucratic downward accountability drive the momentum of the
hierarchy chain, from the United States Congress that approved the NCLB Act in 2001 to the US
Department of Education (2013) that continues to direct state governments to hold their school
districts accountable in their efforts to push all students to achieve proficiency in reading and
writing by 2014. The flow of accountability at the school site level, between the principal
(director) and teachers (providers) often results in disagreements and unfulfilled objectives
(Hentschke & Wohlstetter, 2004). According to Goldberg and Morrison (2003), stakeholders in
bureaucratic accountability are responsible for student learning outcomes, but their push for
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 28

number-driven AMAO targets and AYP and API results tends to neglect the need for quality
instruction and the needs of students. Annual AMAO targets drive bureaucratic stakeholders to
implement changes in campus communities, affecting professional and community
accountability (Adams, 2010).
Bureaucratic accountability, professional accountability and community accountability
represent persistent external and internal pressures in the organizational structure of school
systems (Adams, 2010; Goldberg and Morrison, 2003; Waters, Marzano & McNulty, 2003).
Bureaucratic accountability affects each and every stakeholder regarding the implementation of
NCLB. Upward accountability governs relationships between subordinates and superiors
(Burke, 2004). In school systems, the hierarchical system of accountability expects
administrators and certificated faculty to hold credentials required for their work assignments
and to fulfill their assigned responsibilities. Administrators may hold teachers accountable to
collaborate among colleagues to observe best-teaching practices and research-based instructional
strategies, participate in peer-evaluation processes and uphold their obligation to teach state
standards for annual state-mandated assessments (Goldberg & Morrison, 2003). However,
administrators and faculty may work in separate contexts and buildings, in isolation from each
other, with each faculty member more accountable to themselves than to each other (Stecher &
Kirby, 2004). A marginalized and isolated arts program within a campus community may
struggle to maintain visibility and experience turnover among arts faculty as its reputation
diminishes among students, parents and faculty (Robert, 2010; Tredway & Wheat, 2010).
Community accountability often binds the interests of the public school with the
surrounding community. Goldberg and Morrison (2003) have found community accountability
lacks consistent clarity among stakeholders throughout many contexts, including public
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 29

education. While many parents and community leaders may not understand API and AYP, the
local media and newspapers share annual reports about standardized testing and information
about school rankings. School administrators may invite parents to join parent-leadership
organizations. However, parent involvement among mainstream students remains limited at the
high school level (Freedman, 2011; Linnea, 2003).
The current climate at schools operate under local, state and federal accountability that
recognize student achievement based on results from math and reading tests (Beveridge, 2010).
Student under-achievement among African American and Hispanic students has not improved
during the past 12 years of NCLB implementation (Gail & Tawannah, 2012). Among student
populations in California that impact accountability and NCLB, ELLs pose persistent challenges
for educational leaders seeking to close the achievement gap. Olson (2010) found California
lacks a state-wide solution to academically support emerging problems with ELLs and Long
Term English Learners (LTELs).
LTELs constitute a growing percentage of disadvantaged students enrolled in remedial
math and English courses with less time available in their academic schedules to choose electives
in the arts (Beveridge, 2010; Olson, 2010). Beveridge (2010) found PI schools dependent on
Title I funds lack the incentive to support the arts when school leadership narrows the curriculum
to improve math and reading scores on standardized tests in order to avoid possible
consequences under NCLB guidelines. Findings from the research corresponded with the
concerns raised in recent research studies that found Title I schools tend to exclude at-risk
students from arts programs in order to enroll them in math and reading remedial education
courses (Robert, 2010; Tredway & Wheat, 2010). The implications from their research
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 30

suggested Title I schools contributed toward emerging patterns that identified increasing
numbers of at-risk students were excluded from visual and performing arts programs.
Constraints Faced by Schools
School districts throughout the United States face dire financial constraints amid
increasingly complex challenges to meet the non-negotiable demands of NCLB (Heilig, Cole &
Aguilar, 2010). The federal government has steadily increased its involvement in local school
districts whose underachieving schools face consequences and financial accountability connected
to NCLB. Emerging market forces and fiscal accountability increasingly influence the media,
parents, elected school board officials and other stakeholders in education. In 2010, the federal
government supported elementary and secondary schools with a $14.5 billion Title I budget
(Stillwell-Parvensky, 2011).
In 1965, as a result of the Congressional approval for ESEA, Title I represented a new
federal funding source designed to close the achievement gap and support students in low-
income neighborhoods who were considered at risk to meet the educational state standards to
graduate (Moser & Rubenstein, 2002). Initial federal evaluations sought to assess the effective
implementation of Title I funds on low-income, underachieving students during the late 1960s,
but a lack of federal accountability during the past 40 years has revealed patterns of inequitable
use of Title I funds at districts and schools (Stillwell-Parvensky, 2011). In her research,
Stillwell-Parvensky (2011) found inequities prevalent at a majority of Title I schools based on
evidence that shows Title I schools use funds to support remedial math and reading interventions
with little or no financial support devoted toward arts programs or non-core subjects. A growing
chorus of economists and educational leaders compare schools and student learning outcomes
with factories and products (Chapman, 2005; Groff, Smith & Edmond, 2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 31

Beveridge (2010) and Anne (2010) agree that the high-stakes testing climate at schools
has placed scheduling constraints on students with less time available to study the arts. In 2007,
during Congressional hearings to improve NCLB, the Arts Education Partnership (AEP)
recommended the use of Title I funds to encourage schools to financially support arts programs
and develop community partnerships with arts organizations (Anne, 2010). However, Anne
(2010) found the Bush administration wanted the 2007 NCLB Improvement Act to implement
further budget cuts to arts programs in public schools. While Congress rejected the NCLB
Improvement Act in 2007, arts programs continue to lack financial support at Title I schools
(Heilig, Cole & Aguilar, 2010).
Benefits of Arts Programs
The arts have the potential to promote motivation, confidence and social skills among
children and teens (Alejandro, 1994; Tredway & Wheat, 2010; Creedon, 2011). Children have
the potential to embrace a life-long appreciation for the arts through school curriculums that
support comprehensive, interdisciplinary arts programs. As children enter their teen years, their
involvement in arts programs provide opportunities to collaborate and interact with others,
develop leadership skills and become global citizens. Creedon (2011), Olshansky (2008) and
Alejandro (1994) agree that arts programs provide academic and social benefits for at-risk
students.
Creedon (2011) observed at-risk students in urban schools responded favorably to arts
programs. He argues their participation in a multidisciplinary arts program offers students a
productive educational solution to counter stress they may develop from other classes, through
their interaction with peers and teachers, in their families and urban neighborhoods. Music,
dance, theater and visual arts have the capacity to connect productively with the emotional and
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 32

physical needs of children. At-risk students experienced significant improvement on reading and
writing tests in a controlled case study that measured the use of visual literacy to support
instruction and the learning process (Olshansky, 2008).
In a case study with elementary students, Alejandro (1994) found her methodology to use
visual literacy in her English language arts curriculum effectively motivated students to improve
their reading and writing skills. Students created colorful visual narratives to demonstrate their
reading comprehension and artistic paintings to help them remember new vocabulary. Her
students posted significant gains on standardized tests (Alejandro, 1994). Findings from her
research study contributed toward a growing awareness among students, faculty, parents and all
stakeholders of the benefits of arts in education.
The growing charter school movement includes over 4000 charter schools since the first
charter school was founded in 1992 (Zimmer & Buddin, 2009). Given the constraints evident in
traditional public schools, parents, educators and community leaders have embraced autonomy in
a concentrated effort to develop curriculum and educational missions at their own charter schools
(Gratto, 2002). Arts programs are experiencing success in alternative curriculum formats at
charter schools. In her analysis of alternative arts programs at charter schools, Gratto (2002) has
found arts curriculums produce favorable learning outcomes among both at-risk and high
achieving students.
An education grounded in the arts elevates the capacity for students to collaborate with
each other and foster metacognitive abilities across all subjects (Music, 2010). A solid arts
education empowers students to share their learning experiences across the curriculum.
Understanding the value of learning through an active participation in an arts program, integrated
across the curriculum, provides life-time benefits for students (Juno, 2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 33

Current Studies Supporting Arts in Curriculums
Curriculums with arts education programs provide a character-building foundation for
students to construct a multidisciplinary knowledge. Barone and Eisner (2006) cite the
emergence of arts-based educational research. Case studies have found visual literacy continues
to expand its appeal beyond elementary education and gain wider acceptance at secondary
schools (Bryce, 2012; Cathleen & Marilyn, 2010; Carpenter & Cifuentes, 2011; Frey & Fisher,
2008).
Recent case studies have examined the impact of visual literacy. While visual literacy is
more prevalent in elementary education, where students may use visual story boards and graphic
novel images to guide their reading comprehension, the dominant pressure of standardized
testing at secondary schools tends to discourage visual literacy (Bryce, 2012). In her case study
to observe the Mano a Mano project, which embedded visual arts into the curriclum, Bryce
(2012) found secondary students valued texts supported with visual imagery and showed
increased motivation to search for meaningful interpretation of a text. Image galleries
complemented assignments designed to encourage student reflection and further their
understandings of cultures (Carpenter & Cifuentes, 2011).
Findings from recent research studies agreed that successful learning outcomes were
observed among students enrolled in interdisciplinary curriculum that connects core subjects
with the arts (Gratto, 2002; Kratochvil, 2009; Juno, 2010). In her case study at public schools in
Oakland Unified School District, Juno (2010) observed students articulating the learning
processes involved to produce assignments for arts courses and core subjects with an emphasis
on the visibility of the learning process beyond the product of a poster or presentation.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 34

Noblit, Corbett, Wilson and McKinney (2008) examined a series of case studies
conducted at public schools undergoing reform with the implementation of the A+ Schools
Program, an arts instructional-based interdisciplinary program. Schools implementing the A+
Program designed their interdisciplinary curriculums to provide students with daily instruction in
visual arts, music, dance and theater arts (Noblit, Corbett, Wilson & McKinney, 2008). The
authors observed varied levels of effective implementation of arts instruction during four years
of observations at 24 schools. Some schools used their limited resources to hire arts specialists
while other schools relied on professional development and their current arts faculty to guide
instruction in dance, drama, music and visual arts. While funding problems to support the A+
Program impacted the goals among the 24 schools to implement the interdisciplinary arts
curriculum, findings from their case studied indicated school leadership and faculty bonded
together within the 24-school network to overcome financial limitations (2008). Their findings
indicated a culture of collaboration developed among the faculty at each school, and throughout
the network of 24 schools, and sustained their resolve to effectively integrate arts instruction
across the curriculum (Noblit, Corbett, Wilson & McKinney, 2008).
Gratto (2002) found successful arts programs at alternative public schools. Orange
County High School of Arts in Santa Ana, California is a significant leader as a specialized high
school with a comprehensive arts curriculum and active community partnerships (Gratto, 2002).
Business and community partnerships among arts organizations represent a core element of
charter schools, alternative schools and specialized schools throughout the nation. Her research
found the Mesa Arts Academy in Arizona functions like a community arts center rather than a
traditional school (Gratto, 2002). Other notable charter schools that blend the local arts and
cultural traditions into their arts curriculums include the Idyllwild Arts Academy in California
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 35

and the Savanna Arts Academy in Georgia. The Roland Hayes School of Music in Boston,
Massachusetts and the New Orleans Charter Middle School in Louisiana offer a diverse range of
entrepreneurial courses and high quality arts courses to a primarily African American student
population living in low socioeconomic neighborhoods. New Orleans Charter Middle School
has designed a total immersion arts curriculum that welcomes instruction from professional
artists and their organizations.
Gratto (2002) also found thriving arts programs at magnet schools, which function as
schools within a traditional school. In contrast to the usual arts elective at traditional public
schools, she observed magnet school arts programs enroll students for a majority of the day in
arts courses and set aside less instructional time for regular math and reading courses. Examples
of magnet schools with successful arts programs include the Mid-Pacific School for the Arts in
Honolulu, Hawaii and the William Penn Performing Arts Institute at the William Penn High
School in York, Pennsylvania. (Gratto, 2002).
Despite external pressures from NCLB and high stakes testing, an elementary charter
school with program improvement status overcame struggles to maintain the integrity of its arts
program (Kratochvil, 2009). In her case study, Kratochvil (2009) examined student involvement
in the four art disciplines, professional development for faculty and arts in the school culture.
Findings from her case study revealed the school culture embraced the individual creativity of
each student as an artist and celebrated their work at exhibits and performances within the
campus and local community. However, inconsistent knowledge of arts standards among core
subject faculty represented an area of concern that contributed to inequitable quality-driven arts
instruction. With a majority of its students at-risk to underachieve in the prevailing high stakes
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 36

testing environment, the case study found the arts program endured through its ongoing response
toward social injustice (Kratochvil, 2009).
In a separate case study that focused on social justice and arts education, Kraehe and
Brown (2011) found preservice teachers responded favorably to increased collaborative
engagement through arts activities. Preservice teachers responded with increased levels of
motivation to understand culturally responsive art produced among historically marginalized
ethnic and cultural groups. However, the social justice elements that motivated students and arts
instructors also elicited some evidence of reluctant self-reflection among other faculty (Kraehe &
Brown, 2011).
In their analysis of the ten-year Los Angeles Unified School District Arts Prototype
program, Castaneda and Rowe (2006) found schools with a high API and consistent leadership
were more inclined to develop strong partnerships with arts organizations. Trends among the
200 arts organizations that partnered with Los Angeles Unified schools suggested that successful
partnerships involve schools with an arts-focused professional development plan and an
interdisciplinary arts curriculum. In addition, the schools implemented an active calendar of art
exhibits, musicals and theater performances that featured students which appealed to parents and
the local community (Castaneda & Rowe, 2006). The partnerships provided an ongoing culture
of collaboration between the arts programs and the community.
Arts and Student Achievement
Active participation in arts education programs has produced positive learning outcomes
with interdisciplinary curriculum tied to standardized testing and academic student achievement.
Co-constructing knowledge between a teacher and students encompasses a wide variety of
pedagogical differences (Dewey, 1938/2010). Vygotsky recognized arts contribute to the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 37

learning process and construction of knowledge (Gullatt, 2008). An interdisciplinary nature is
evident in successful arts programs that bind together curricular themes and encourage cross-
department collaboration. Recent case studies have documented success at public school arts
programs and their impact on academic achievement among disadvantaged students and their
long-term contributions to low income neighborhoods through community partnerships
(Tredway & Wheat, 2010; Kratochvil, 2009; Noblit, Corbett, Wilson & McKinney, 2008;
Olshansky, 2008).
Evidence from case studies investigating at-risk, low income and struggling students
enrolled in arts-integrated courses at public schools found their standardized test scores increased
(Kratochvil, 2009; Gullatt, 2008; Strickland, 2008; Rabkin & Redmond, 2003). Skills gained in
dramatic arts and music programs encouraged students to apply their knowledge and motivation
to learn other core subjects (Gullat, 2008). Patterns of discouraging enrollment in arts courses
was noticeable among at-risk and low income students who had dropped out of school.
According to Strickland (2008), high school drop outs reported that they spent significantly less
time enrolled in arts courses and more time in remedial instruction to learn math and reading
skills.
Students living in low socio-economic neighborhoods have performed academically
better on standardized tests when actively enrolled in arts courses (Rabkin & Redmond, 2003).
Their research found current educational leadership tends to ignore research studies that
document the social and academic benefits that at-risk and low income students gain from their
participations in arts programs. At 23 schools in Chicago with art-integrated programs, case
studies found noticeable increases in reading and math standardized test scores among students
identified as disadvantaged and at-risk to drop out (Rabkin & Redmond, 2003). Rabkin and
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 38

Redmond (2003) discovered low income, at-risk students showed more motivation to participate
and learn at schools when involved in interdisciplinary arts programs.
Alejandro (1994), Tredway and Wheat (2010), and Creedon (2011) agreed that the arts
contribute toward student achievement. In a case study with her second grade students,
Alenandro (1994) documented significant gains in reading and writing on standardized tests after
integrating visual arts and visual literacy into her curriculum (Creedon, 2011). The principal at
East Oakland School of the Arts reported significant academic improvement and success among
students when he fully integrated arts into a school-wide curriculum and made a long-term
commitment to support the arts program (Tredway & Wheat, 2010). Their research found a
single leader who makes an arts program an active element in an interdisciplinary curriculum
witnesses academic gains in student achievement. A single leader with exceptional social and
political skills can advocate for interdisciplinary collaboration to accept arts curriculum across all
curriculum. Trends evident in the literature suggest academic achievement developed at schools
where administrators supported the arts (Farbman, Wolf & Sherlock, 2013; Kratochvil, 2009;
Olshansky, 2008).
The National Center on Time and Learning investigated learning outcomes among five
public schools through their commitment toward arts education. Based on the findings, each
school successfully improved academic achievement on standardized math and reading tests
through school-wide curriculums that adopted a dual commitment to pursue student achievement
in the arts and across all disciplines (Farbman, Wolf & Sherlock, 2013). Farbman, Wolf and
Sherlock (2013) recognized students respond well to a school environment that fosters a well-
rounded education with an appreciation for the arts. The Metropolitan Arts and Technology
Charter High School, founded in a poor neighborhood near San Francisco in 2005, embraced a
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 39

vision that eliminated remedial education and empowered students to improve reading and math
skills through a school-wide curriculum committed to the arts (2013). Evidence from their
research found underachieving ninth grade students, who were previously denied elective
courses in the arts and forced to take remedial math and reading courses, developed the
necessary skills to improve their literacy and numeracy knowledge through a well-rounded
education that embraced the arts (Farbman, Wolf & Sherlock, 2013).
Sequoia Elementary, a public school in Oakland, started with a single arts course and
transformed into a comprehensive interdisciplinary arts program over the course of 12 years
(Koppman, 2010). The process to integrate arts into the curriculum required a long-term
commitment from each faculty member to collaborate and sustain a vision. Faculty received
ongoing training to understand and appreciate the four art disciplines. At the heart of the
program was a commitment to empower students, parents and faculty to value an arts education.
Koppman (2010) found the arts program at Sequoia Elementary resolved inequity issues among
students and functioned as an ongoing source of pride for the community.
In her case study at a middle school in California, Kratochvil (2009) found sustained
long-term leadership and faculty collaboration contributed to the successful integration of arts
into a curriculum. The school underwent a collaborative transformative process to develop a
school-wide action plan to support a dance program. The success of the dance program has
defined the culture of the school with intrinsic and extrinsic benefits for students, parents and
community members (Kratochvil, 2009). Measuring success and achievement in performing and
visual arts disciplines requires a mixture of professional arts experience and objective reflection
with respect to the individual artistic achievement of each student (Davis, 2008). Although
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 40

recent case studies show pockets of success throughout the educational landscape, the literature
reflects the ongoing struggles to maintain and sustain arts programs in public schools.
Promising Practices
Leadership
A multidisciplinary, comprehensive arts education fosters motivation and leadership
qualities through a curriculum that builds awareness of social justice and cultural engagement. A
single leader who cultivates strong social and political capital can build long-term success for a
public school arts program (Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006;
Gratto, 2002). Collaborative leadership among arts faculty, community partners and
administrators contributed to the successful integration of an interdisciplinary arts curriculum at
24 public schools in a longitudinal case study that studied arts-based school reform (Noblit,
Corbett, Wilson & McKinney, 2008). Administrative leadership that recognizes and supports the
arts as it is defined in NCLB as a “core academic subject” have the potential to improve and
elevate the reputation of arts programs in public schools (Anne, 2010, p. 10).
Sabol (2010) reported NCLB has forced educational leaders to reevaluate their funding
priorities and shift attention away from arts education programs in order to finance remedial
courses in reading and math. Leaders at schools in program improvement have encouraged art
teachers to embed reading and math skills into their arts curriculums and further erode quality
time devoted to arts instruction (Freedman, 2011; Sabol, 2010). With many schools struggling to
emerge from long-term PI status, Freedman (2011) found districts and school leadership teams
have considered eliminating arts programs to focus more attention on test preparation and the
improvement of reading and math scores.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 41

A school undergoing educational and organizational reform depends on consistent
leadership to motivate faculty to improve and hold everyone accountable to succeed (Clark &
Estes, 2002). Clark and Estes (2002) describe motivation as an interaction between staff and the
environment in which they interact with others and conduct their tasks. They have found an
active choice, persistence and mental effort are the hallmarks of motivation (2002). Personal
mastery among employees leads to personal motivation and self-directed accountability (Senge,
2007).
Clark and Estes (2002) have found that gaps in performance are directly attributable to
ineffective organizational work processes and ineffective financial management regarding
resources. In public education, a school in need of improvement requires an accountable
leadership team that communicates effectively from the bureaucratic level to the professional
level, as well as to the community level, in order to motivate all stakeholders to improve and
hold each other accountable to succeed (Clark & Estes, 2002). Interconnected relationships
among stakeholders at all levels of education contribute layers of accountability that resemble
corporate business organizations (Childress, Elmore & Grossman, 2006).
Consistent, effective leadership was a recurring promising practice evident at public
schools with successful interdisciplinary arts programs. The Arts and Humanities Academy at
Berkeley High experienced success when administrators developed a strong partnership with the
Alameda County Office of Education to support their mission to integrate arts across the
curriculum (Tredway & Wheat, 2010). A collaborative faculty and administrative team with a
commitment to the arts and its value to students, parents and the community helped a music
program succeed in the campus and local community at Oakland Unified School District
(Willner, 2010).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 42

Tredway and Wheat (2010) found effective leadership at the Arts Magnet School in
Berkeley, California embedded the arts holistically into the school-wide curriculum without
sacrificing attention toward reading and math. The principal advocated the importance of arts
throughout the campus community and steered the school toward artistic and academic
recognition. While the current climate at schools face a narrowing of the curriculum, NCLB-
related consequences and financial constraints, findings from current research studies recognize
that a single leader has the power to establish a supportive tone for the arts in a school culture
(Tredway & Wheat, 2010; Sabol, 2010; Willner, 2010).
Partnerships
Partnerships offer opportunities for schools to secure financial and community support
for their arts programs as traditional funding sources decline. Arts education programs and their
diverse portfolio of music, drama, art exhibitions and performances depend on community
support from parents and local, state and national partnerships. According to Tredway and
Wheat (2010), local arts organizations are as vital to a school community as partnerships with
national organizations. Partnerships with arts organizations provide schools with alternative
opportunities to secure funding as schools face financial constraints and decreasing budgets
(Anne, 2010; Tredway & Wheat, 2010; Gratto, 2002).
A successful music program depends on its ongoing capacity to develop and nurture
relationships with students, parents and alumni as well as maintain visibility within the campus
community and beyond the local community. In research related to turnover among music
teachers, Robert (2010) found arts programs with supportive administrative leadership and
ongoing, long-term community partnerships retained faculty and developed a strong reputation
for music and performing arts programs within the community. However, based on survey
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 43

results from 1,903 surveys with music teachers, many of whom worked part-time or on
temporary contracts, a lack of administrative, faculty and community support resulted in a high
turnover rate (Robert, 2010).
Local talent shows and musical performances represent some of the enduring, integral
elements of ASCEND (A School Cultivating Equity, Nurturing Diversity) schools in Oakland
Unified School District (Willner, 2010). Music and core subject teachers co-teach and work
collaboratively together to build a culture of support for the music program in the school and
surrounding community. Willner (2010) found the successful integration of the arts and music
into the core curriculums at ASCEND schools developed from leadership in Oakland Unified
School District who recognized the importance of arts programs and their influence on academic
achievement.
An alliance within the campus community between artists, students, parents, alumni and
all educational stakeholders provides an ongoing foundational framework to support the arts with
the surrounding local community. Building a coalition among community partners proved an
effective strategy for the superintendent in Alameda county who implemented a coalition to
support arts programs in public schools during the late 1990s (Music, 2010). The superintendent
recognized that California universities and colleges required students to earn at least a year of
credit in an arts program. While arts received minimal support in NCLB standards, Music
(2010) found the superintendent developed community partnerships to support arts in the core
standards and build a coalition of bureaucratic support for interdisciplinary arts curriculums in
her school district.
A vibrant theater and drama program has opportunities to connect productions to local
community members and organizations, and elicit financial support from partnerships with local,
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 44

state and international theater groups (Linnea, 2003). In an examination of charter and magnet
schools with active arts academies and programs, Gratto (2002) cited ongoing local community
partnerships that recognized student achievement in the arts and celebrated their talents. The
Annenberg Foundation Arts for Academic Achievement Challenge Grant supported the musical
talents among students enrolled in the Ramsey International Fine Arts Center, a K-8 magnet
school located in Minneapolois, Minnesota (Gratto, 2002). Gratto (2002) also discovered strong
community partnerships involved in the Whittier Community School for the Arts in Minnesota
supported low income students and their musical and artistic talents. The research findings
validated the positive influence of effective leadership on arts programs.
Arts exhibitions may showcase student work both traditionally and digitally across all
forms of media and elevate the reputation of its arts program among community members and
citizens in the global community. Social media, corporate organizations and arts organizations
recognize the importance of partnerships to support public school arts programs. Arts
organizations, such as The Arts Education Partnership, and corporations like Microsoft and Pepsi
have provided scholarships and grants to students for their accomplishments in visual and
performing arts (Anne, 2010).
The Arts Prototype School in Los Angeles Unified School District engaged in a long-
term plan to develop partnerships with arts organizations (Castaneda & Rowe, 2006). They
discovered teacher quality, enrollment in arts programs, administrative leadership and financial
factors influenced the development of community partnerships and their potential for longevity.
Castaneda and Rowe (2006) agree with other research studies that found public school leaders
cultivating long-term community partnerships to fund arts programs (Anne, 2010; Tredway &
Wheat, 2010; Gratto, 2002).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 45

Funding
The decline in traditional public school funding sources that arts programs relied on for
some financial support, has motivated the implementation of prudent fiscal accountability,
innovative fundraising initiatives and community partnerships. Title I funds originally intended
to support schools with low income students across all subjects, including the arts, have become
the financial lifeline to support remedial intervention courses and improve results on
standardized tests that meet AMAO and AYP obligations under NCLB (Stillwell-Parvensky,
2011). The literature provided an understanding of funding issues explored in the third Research
Question, which explored how funding decisions are made at public schools.
Although NCLB recognizes arts education among the core standards, the current
emphasis on standardized testing to improve API school rankings has created concern among
supporters of arts education in public schools. Despite the narrowing of school curriculums to
adopt more remedial courses for math and English and other consequences related to NCLB,
Sabol (2010) found visual and performing arts programs continued to operate with high quality
arts faculty and strong enrollment numbers. His survey involved over 3,000 members in the
National Art Education Association (NAEA), an arts organization that supports the visual and
performing arts in elementary, secondary and higher education. However, 61 percent of
respondents to his survey indicated NCLB did not contribute favorably to arts education
programs in public schools (Sabol, 2010).
In response to less availability of Title I funds to support arts programs, recent research
has focused attention on arts programs whose leaders cultivate financial support among
community partnerships (Anne, 2010; Beveridge, 2010; Sabol, 2010). As traditional funding
sources decline, school leaders seeking to support their arts programs have proactively developed
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 46

partnerships with local and national arts organizations and coalitions with social media and
corporate organizations to recognize artistic talent among students (Music, 2010; Tredway &
Wheat, 2010).
According to Castaneda and Rowe (2006), schools with higher API secured stronger
financial partnerships. Through their partnerships with schools, arts organizations contributed to
professional development, sponsored exhibitions and maintained the visibility of the school and
its artistic achievements within the community. While schools with lower API scores in PI status
receive Title I funds to support low income and disadvantaged students, school leaders tend to
divert funds toward intervention programs to improve test scores and ignore arts programs. As a
consequence, Castaneda and Rowe (2006) found underperforming schools lack the leadership
required to develop community partnerships with organizations that may support arts programs
and contribute positive outcomes to the neighborhood.
Summary
Arts education programs in public schools face a restrictive climate of accountability,
NCLB requirements and financial constraints. Evidence found in the literature review
demonstrated specific arts programs succeeded at schools where leadership and community
partnerships valued arts programs in education (Creedon, 2011; Tredway & Wheat, 2010;
Kratochvil, 2009; Noblit, Corbett, Wilson & McKinney, 2008; Olshansky, 2008). Creedon
(2011), Olshansky (2008) and Alejandro (1994) found effective school leaders advocated the
benefits of arts programs and their influence on student achievement. Intersecting political and
societal agendas and issues will determine the future sustainability and success of arts education
programs in K-12 curriculums.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 47

The history of arts education reflects an ongoing, persistent struggle to remain relevant in
the current climate of NCLB, accountability and high-stakes testing. Policy makers, educational
leaders and teachers represent a cross-section of stakeholders with the capacity to advocate for
arts programs in public schools that serve disadvantaged students in low socioeconomic
neighborhoods (Creedon, 2011; Anne, 2010; Tredway & Wheat, 2010; Kratochvil, 2009).
Sustaining arts education programs in public schools requires investigating and justifying the
benefits of arts programs and their impact on academic student achievement in the current era of
high stakes standardized testing and accountability.
The growth of charter and magnet schools witnessed a concurrent emergence of arts
academies designed with progressive mission statements and visionary leadership teams who
support arts programs in local communities (Zimmer & Buddin, 2009). This chapter identified
the significance of school leaders who embrace arts education and support the integration of
interdisciplinary arts programs across core subject curriculums to enhance academic achievement
(Anne, 2010; Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto, 2002).
Despite the current literature available on the benefits of arts education programs in K-12
public schools, a gap exists in the scholarly literature to sufficiently identify and understand the
factors involved in sustaining arts education programs (Creedon, 2011; Anne, 2010; Beveridge,
2010). In a discussion of current promising practices, the literature review discussed how
leadership develops and supports arts programs, explained who initiates partnerships with arts
organizations and revealed how leaders and partnerships address funding issues (Freedman,
2011; Sabol, 2010). This case study was implemented to investigate and understand the key
factors in sustaining an arts program. Results from this case study, designed to address these
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 48

specific key factors, provided educational stakeholders and policy decision makers with
significant data to preserve arts education programs in public schools.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 49

CHAPTER THREE: RESEARCH METHODOLOGY
This qualitative case study examined the key factors involved in sustaining the visual and
performing arts (VAPA) program at Eastland High School. Chapter One established an
introduction to the topic. Chapter Two explored the history of arts education in public schools
and existing scholarly literature about the current climate, accountability and financial
constraints influencing arts programs in public education. Chapter Three will explain the
methodology and research design used in this qualitative case study.
A collaborative process guided the development of the qualitative case study that
involved eight doctoral candidates in a thematic dissertation group at the University of Southern
California. Dr. Stuart Gothold, the chair of the thematic dissertation group, provided guidance,
scholarly advice and leadership. The group met from October 2012 through May 2013 to discuss
arts programs in public schools, decide appropriate themes to study based on an investigation of
the literature and develop research questions, listed below. Each member of the group chose an
individual school as the site of their qualitative research case study. Each school and its arts
program met specific criteria based on similar schools ranking, at least three years of operation,
evidence of curriculum planning, graduate placement and socio-economic diversity. The schools
represented elementary, middle and high school levels in both public and charter contexts.
The development of the research questions, conceptual framework and methodology
involved a thorough discussion and collaborative process among each member of the thematic
group. The interview questions, observation protocol and survey instruments were developed
through cooperation and teamwork. Each member investigated and wrote a literature review,
selected an individual school site, collected and analyzed documents relevant to their research
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 50

site, conducted observation and interview protocols, collected and analyzed data and wrote his or
her own dissertation.
Research Questions
The thematic dissertation group collaborated to develop three research questions to
investigate how school leaders maintain a viable arts program. The three research questions
guiding this qualitative study were:
1. What are the arts programs that exist at Eastland High School?
2. How does leadership at Eastland High School support arts?
3. How are funding decisions made at Eastland High School?
Creswell (2009) suggests the use of “what” and “how” to start research questions, along with the
use of exploratory verbs, such as discover, explore and describe. The research questions
contributed to the research goals of the study (Maxwell, 2013).
Conceptual Model
The conceptual framework is a system of concepts, assumptions, expectations, beliefs
and theories that supports and informs the research (Maxwell, 2009). The thematic dissertation
group collaborated to design the conceptual model (Figure A). A viable arts program involves
the initial interconnected components of financial constraints and accountability which create the
overall input that connects with leadership. As expressed in the conceptual framework, the term,
viable, indicates an enduring arts program has longevity, capable leadership, funding and other
foundational, influential components.
The model reflects how decisions are made among faculty, and how those decisions
influence the culture, climate and leadership at the school. The conceptual model shows that
specific input categories influence the school leadership whose decisions impact the use of
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 51

resources and funds. The stakeholders, partnerships and facilities, along with time and funding,
determine the use of resources and priorities involved in a successful, viable arts program.
Figure A: Conceptual Model

The conceptual framework model shows how multiple aspects within the structure of the school,
including the curriculum, instructional components and the staffing contribute to a viable arts
program. Figure A provides a road map with a visual definition of a viable arts program to guide
the thematic dissertation group throughout the research study (Maxwell, 2013).
Research Design
The research design used a qualitative case study approach to collect and analyze the data
required to understand the phenomenon explored in the research questions. The knowledge gap
indicates the current literature lacks specific research and findings connected to the problem
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 52

statement (Merriam, 2009). The gap in the literature indicates there is a lack of research that
assesses how visual and performing arts programs survive and prosper in public schools.
Through interviews, surveys, observations and a review of documents, a case study
framework examined the arts program at Eastland High School. Three research questions guided
the researcher to explore the comprehensive nature of the arts program at Eastland High School,
discover how leadership supports the arts program and ascertain the bureaucratic and
administrative challenges involved in funding the arts program. The case study also explored
partnerships with local arts organizations, policy-planning issues, parent and community
outreach and interdisciplinary curriculum designed to encourage cross-department collaboration
and participation in the arts.
Merriam (2009) explains that a qualitative researcher, using a phenomenological
approach, seeks to capture the experiences of participants through an interpretation of descriptive
data. The research design involved a phenomenological approach to describe the living
experience of the participants. Along with phenomenology, the study also sought to explore the
culture through ethnography in order to describe the beliefs, values and living experiences based
on the research questions (Merriam, 2009). Interviews and observations sought to capture the
experiences of select faculty to develop a narrative analysis of their stories. The researcher was
the primary data collection instrument who immersed himself in the school culture with a lens
and purpose to document the environment of the arts program through observation and interview
protocols (Maxwell, 2013).
The research study sought to understand the conceptual model of a viable arts program
through its organizational structure. Bolman and Deal (2003) assigned four frames to
organizations which encompass structural, human resources, political and symbolic components.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 53

The organizational structure of schools provides the research design with the opportunity to
analyze a viable arts program through four perspectives known as the four frames (Bolman &
Deal, 2003).
Site Selection Criteria
Each school site chosen to participate in the qualitative case study aligned with the
Institutional Review Board based on specific criteria. The school must have an active arts
program demonstrated through, but not limited to, the following criteria:
 Graduate placement with awards, recognition and success of graduates
 Three years of operation and longevity with the same leadership
 Similar schools ranking (8, 9, or 10) with a viable arts program
 Diverse student body
 Evidence of planning as a visual and performing arts school
Evidence of a Viable Arts Program
The site selection criteria required a site to have a viable visual and performing arts
program. Eastland High School was selected as the subject of this case study. In 2011-12, the
school improved 20 points to earn a 680 API, but dropped to a 658 API in the 2012-13 academic
year. (California Department of Education, 2013). Based on the School Accountability Report
Card (2012), Eastland High School earned a score of 8 when compared to other schools in the
similar schools ranking system. Participants in the study were informed of the purpose of the
study. The researcher discussed with participants the research questions, the interview questions
and other data collection instruments. Each participant was identified with a pseudonym and
were assured the research study was objective and purposeful.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 54

Eastland High School has an active visual and performing arts program that met the
school site criteria required to participate in the research study. The arts program has maintained
a stable leadership team that has guided it through more than three years of successful operation
since the school opened in 2005. Annual art awards and district-wide recognition among
students enrolled in the visual and performing arts programs, a diverse student body and
consistent organizational and cross-curricular planning are evident in the arts program at
Eastland High School.
The visual and performing arts program has received numerous accolades. Robbie, the
department chair of the VAPA program, was one of the co-founders of the school in 2005.
Under her leadership since 2005, Robbie has improved the quality and reputation of the VAPA
program among students, parents and alumni. In 2009, when the school moved to a newly
constructed campus, the school opened a new theater with state-of-the-art technology to serve the
campus and local community. During 2012-13, the Eastland High School theater hosted
musicals, dramas, dances, symphony performances and art exhibitions.
Interdisciplinary collaboration at art department meetings demonstrated a majority of
faculty and administrative support the arts. Robbie was a visible leader at each monthly school-
wide faculty meeting where she shared cross-department highlights, promoted VAPA events and
advocated for the arts. At the final faculty meeting in spring 2013, Robbie shared visual learning
outcomes produced among the diverse students who participated in the interdisciplinary
Wasteland project. The school leadership team and faculty showed a consistent commitment to
sustain and support the visual and performing arts programs, and support future partnerships with
local art museums.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 55

Evidence of cross-curricular planning involved a partnership between the local Museum
of Art and History with the VAPA program at Eastland High School. Robbie and the Assistant
Art Director of the Museum of Art and History collaborated to secure a $3,300 grant to
implement the Green MOAH Initiative and Wasteland Project at the VAPA program at Eastland
High School, from September 2013 to June, 2013. Over 600 students enrolled in the VAPA
program participated in the project to collect illegally dumped waste in the local community and
produce art to showcase at exhibits at Eastland High School and at the Museum of Art and
History through June 2013. The math, English and AVID departments collaborated with Robbie
and other faculty in the VAPA program to produce project-based learning exercises based on
themes explored in the Wasteland project.
At the final celebration for the Wasteland project in December, 2013, Robbie announced
a future project for the 2013-14 academic year, based on the wind (personal communication,
December 11, 2013). Students would investigate and explore the wind as an interdisciplinary
project. With Eastland High School located in a desert community, the wind represented a
relevant theme with the capacity to bind the Eastland visual and performing arts program with
local community art, environmental and energy organizations in the desert community.
Eastland High School is one of eight comprehensive high schools in a rural, urban
district, located approximately 60 miles northeast of Los Angeles, California. It meets the
criteria determined above, demonstrating a stated commitment to the visual and performing arts
through evidence of cross-curricular planning, longevity of the VAPA program and partnerships
with schools and local arts organizations. The school’s mission emphasizes a rigorous and
collaborative education to meet the potential of each student.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 56

The school is located approximately 60 miles northeast of the Los Angeles basin, in the
high desert at the base of the San Gabriel Mountains. From 2004 to 2007, the city underwent
rapid growth with new homes constructed adjacent to Eastland High School. However, real
estate development declined significantly when the economic recession expanded in 2008.
Formally a rural, desert community, the city has rapidly developed urban and suburban
neighborhoods. The city has a diverse population of approximately 340,000 (Eastland High
School, 2013; Western Association of Schools and Colleges, 2012).
A brief history of the school is provided in the Single Plan for Student Achievement
(Eastland High School, 2013). Eastland High School was founded on August 22, 2005 and
welcomed a diverse student body of 628 ninth graders. The current student population is
approximately 2,600 with four grade levels. Eastland High School is the eighth and newest
comprehensive high school in the union high school district that serves approximately 25,000
students and another 2,000 adult education students. The student body is composed of students
from three primary feeder schools from two elementary school districts. The high school district
and elementary districts are not unified. The majority of students provide their own
transportation to school. Three buses currently serve students who live more than three miles
away. Bus services are available for students with disabilities (Eastland High School, 2013;
Western Association of Schools and Colleges, 2012).
Based on the School Accountability Report Card (Eastland High School, 2013), the
school has approximately 2,600 students, 100 teachers, and five administrators. Table I, below,
shows the demographics at the site. Most students are English-only with approximately 12 % of
the population designated as ELLs. Over 50 % of students are Hispanic, 31 % are African-
American, 14 % are White, and 2 % represent Asian/Filipino/Pacific Islanders (Eastland High
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 57

School, 2013). The majority of students are economically disadvantaged. As a result of their
lower socioeconomic status, over 80 percent of the students qualify for free or reduced lunch. Of
the 100 teachers, there is an even proportion of male and female faculty. All teachers have
English learner authorization and are encouraged to use Specially Designed Academic
Instruction in English (SDAIE) strategies with their ELLs.
Table 1: Site Demographics
(Eastland High School, School Accountability Report Card, 2013).
Table 1 indicates the current student demographics at Eastland High School. The local
community has three feeder middle schools whose students enroll at Eastland High School. The
school allocates 57 minutes per period for six periods each day. An extended school day is
offered during the zero period before school, and a seventh period after school, four days a week.
On Wednesdays, the school operates on a shorter class schedule to provide professional
development opportunities for the staff. Minimum days are only scheduled for finals at the end

Ethnicity
Number of
Students
Ethnicity Percent of Student
Body
African American 814 African American 31.45%
American Indian/
Alaska Native
12 American Indian/
Alaska Native
0.46%
Asian 14 Asian 0.54%
Hispanic 1311 Hispanic 50.66%
White/not Hispanic 366 White/not Hispanic 14.14%
Pacific Islander 5 Pacific Islander 0.19%
Filipino 36 Filipino 1.39%
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 58

of each semester and on the back to school night (Eastland High School, School Accountability
Report Card, 2013.
Methodology
An organized methodology investigated three research questions that defined the
foundation of the research study (Creswell, 2009). A conceptual framework informed the
research through a visual depiction of the interconnected components that contribute to a viable,
sustained arts program, including financial constraints, accountability demands and leadership
decisions (Maxwell, 2013). A review of current literature indicated a gap existed regarding how
leadership and funding decisions impact arts programs in public schools (Merriam, 2009).
The rationale behind the survey, interview protocol and observation protocol developed
from the literature. The two department chairs, Robbie and Ted, shared historical details about
the visual and performing arts programs and their context in the development of Eastland High
School. Their interviews provided the research study with an opportunity to capture the history
of a program (Creswell, 2009). While Creswell (2009) discusses a limitation found when
interviews occur outside their natural setting, interviews with Robbie, Evette, Joel, Ted, Saul,
and Leanne occurred on campus in their natural classroom settings. The interviews and
observations complemented each other as separate sources of data for triangulation. The
researcher applied advice from Bogdan and Biklen (2003) to write field notes based on the
context of each interviews, adding observations to complement transcribed interviews with
additional descriptive data.
Four sources of data collection instruments provided four distinct sources of data to
analyze and determine their validity when applied to each research question. Creswell (2009)
defined triangulation as a process to understand the research through different sources of data.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 59

This case study triangulated data collected from four data collection instruments. A review of
documents preceded the implementation of a school-wide survey and a structured sequence of
interviews and observations. The varied approaches to data collection reinforced reliability and
validity of the data (Creswell, 2009). A thematic coding process was applied to the review of
documents, transcribed interviews, observation notes and results from the survey. The four
frames, identified as the structural, human resource, political and symbolic frames, informed the
thematic interpretation of the data to examine the organizational aspects of the arts program at
the school (Bolman & Deal, 2003).
Participants
Participants in this qualitative case study understood the purpose of the study through
preliminary meetings with the researcher. Each participant was informed of the three research
questions, the data collection process, and the data collection instruments, including the survey,
interview and observation protocols. Throughout this case study, each participant was identified
with a pseudonym. The researcher assured each participant that the research design and its
implementation met objective and purposeful criteria under Institutional Review Board
guidelines.
The researcher met with Kate, the principal, in August, 2013, and commenced with the
implementation of a data collection plan to conduct interviews, observations and a faculty survey
at Eastland High School. At the first staff meeting, all faculty were invited to participate in the
data collection process, informed of the purpose of the research study and provided instructions.
The researcher implemented the online survey with 78 full-time faculty whose teaching
assignments represented core subjects, special education and elective subjects at Eastland High
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 60

School. Long-term substitute teachers and part-time teaching faculty were excluded from the
data collection process.
Interviews were conducted among seven participants. The interviews included the
principal, the department chair of the visual arts department, the department chair of the
performing arts department, the art teacher responsible for developing a partnership between the
school and a local art museum, the graphic design instructor, the director of the drama
department and a lead instructor with the Eastland marching band. A focus group interview
involved Robbie, the visual arts department chair, Evette, the art teacher and Joel, the graphic
design instructor. Interviews with Kate, the principal, Ted, the chair of the performing arts
department, Saul, the marching band instructor, and Leanne, the director of the drama program,
were conducted individually. The interview protocol used a semi-structured design with 16
open-ended questions (Appendix B). The semi-structured interview questions enabled the
researcher to elicit information and descriptive stories from participants (Merriam, 2009). A
digital audio recorder captured their responses and expanded commentary beyond the 16
questions. The researcher reflected on his research bias, specifically his direct and indirect
influence on responses from participants during each interview process (Maxwell, 2013). The
researcher reassured each interview participant that his intentions were objective and meaningful
with a purpose to answer the research questions.
Observations were conducted in art classes, at art department meetings, at a cross-
departmental interdisciplinary meeting, and at a Title I parent meeting with art faculty and
administrators. Two evening observations involved theatrical performances of The Princess
Bride, on September 12, 2013, and Charlie and the Chocolate Factory, on December 5, 2013,
presented at the school theater. The researcher spent four mornings observing Ted and Saul
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 61

instruct and lead the two marching bands as they prepared for their evening performances at
football games. Observations continued at four football games to document Ted and Saul
leading the two marching bands among cheering crowds of parents, faculty, students and other
members of the local community.
Instrumentation
The qualitative case study used a faculty survey, interviews of selected school
administrators and teachers, extensive observations of school classes and events, and a detailed
document review to identify the curricular elements, organizational structures, and perceived
student outcomes connected to the visual and performing arts program.
Research instruments were collaboratively developed among the eight members of the
thematic dissertation group. The three research questions guided the decision to align research
tools with the needs of each research question. Research tools were required to investigate arts
programs at public schools, determine how school leadership supports arts programs and
ascertain funding decisions at each site. The thematic dissertation group discussed relevant
research tools, based on their literature reviews and knowledge gained from their respective
inquiry coursework at University of Southern California, which required piloting interview and
observation protocols at individual sites. The group decided to apply the following data
collection instruments to their research study: (1) a review of documents at the school site; (2) a
faculty survey (Appendix A); (3) an interview protocol implemented with faculty and
administrators (Appendix B); and (4) two observation protocols (Appendices C & D).
According to Maxwell (2013), researcher bias and understanding participant reaction to
interview questions from the researcher are significant issues to consider. A semi-structured
interview uses “open-ended questions” and “flexible words” to encourage the researcher to
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 62

explore interviewees’ responses and elicit natural descriptive data and stories (Merriam, 2009, p.
90). The semi-structured interview, recorded via a digital audio recorder, enables the researcher
to interview participants with a list of 16 open-ended questions (Appendix B). The semi-
structured interview focuses on the experiences of the selected participants in VAPA classes at
the school site. The semi-structured interview encouraged participants to reflect and respond to
the interview questions with stories, relevant commentary and descriptive data. Each participant
agreed to an audio-recorded interview to provide a rich source of data for analysis.
The observation protocol relied on descriptive field notes to capture experiences among
the participants that were later embellished with observer comments before memory of the
observations faded (Bogdan & Biklen, 2003; Erickson, 1984). Advice from the literature
suggested narrowing the research focus to observe specific participants, such as instructional
leaders and administrators, based on their actions in the research setting (Bogdan & Biklen,
2003). While time limitations afforded a limited range of interviews and observations, the data
collection instruments were designed to capture the lived experiences of each participant in the
research study (Erickson, 1984).
Data Collection
In May, 2013, the principal and assistant principal reviewed the research questions and
problem statement, and interviewed the researcher before they granted approval for him to
conduct the study at Eastland High School. Entry to the research site and the art classroom was
accomplished through a collegial working relationship between the researcher and the gatekeeper
of the VAPA department (Merriam, 2009). Prior consent from Robbie, the department chair,
was granted to the researcher to conduct interviews with her and other art faculty. She provided
access to the research setting to observe art, drama and music classroom settings. As a teacher
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 63

with the English department, the researcher was aware of his outsider role as an observer in
VAPA classes. Maxwell (2013) emphasizes the importance for researchers to establish a
comfortable rapport with participants and develop a conscientious understanding of the routines
prevalent in the research setting. The researcher openly shared his role as a doctoral student with
Robbie which contributed to their collegial cooperation (Bogdan & Biklen, 2003).
The process of data collection relied on the surveys, interviews, observations and
document review in accordance with the instruments. In August, 2013, the researcher began the
data collection process with a thorough document review of the school’s electronic and hard-
copy materials. The School Accountability Report Card (SARC), Single Plan for Student
Achievement (SPSA) and Western Association of Schools and Colleges (WASC) report
provided significant information about the school, yet limited data relevant about the visual and
performing arts program at Eastland High School.
Erickson (1984) discusses the importance of ethnographers to become part of the
environment they study for as long as it takes in order to accurately describe it. While not a
faculty member of the VAPA department, the researcher developed productive relationships with
department faculty during the past six years and visited their classrooms on many occasions to
monitor and observe ELLs. In order to answer the research questions, the researcher sought to
accurately describe the teachers as real people and not as simple caricatures (Erickson, 1984).
The interview protocol used a semi-structured design with 16 open-ended questions
(Appendix B). The semi-structured interview questions allowed the researcher to elicit
information and descriptive stories from participants. Interviews provided the researcher with
the opportunity capture the history of the school and its art program (Creswell, 2009). Merriam
(2009) suggests that effective interview questions should not duplicate information obtained
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 64

from other data collection methods. All participants agreed with the researcher to digitally audio
record their interview responses to the 16 questions and capture their expanded commentary.
Open-ended questions produced descriptive data and encouraged each interviewee to feel
comfortable to share stories and extra information (Merriam, 2009). Interviews were transcribed
and coded into the themes for data analysis to answer the research questions.
The literature supported changes that the thematic dissertation group made to the
observation protocol. Bogdan and Biklen (2003) discuss the problem that researchers face when
challenged as outsiders to feel and experience what their participants experience on a daily basis
in school environments. The researcher approached his role with a measured degree of empathy
for the VAPA faculty, as if he could really walk in their shoes and understand their daily
experiences. During initial observations, researchers tend to describe everything; however, they
learn to narrow their observations to specific topics in subsequent observations in order to
answer their research questions (Bogdan & Biklen, 2003). Observations were designed to focus
specifically on capturing descriptions and topics described in the two observation protocols.
The thematic dissertation group agreed to use two observation protocols (Appendices C &
D). The first protocol provided a descriptive list with specific elements to observe based on the
four frames (Bolman & Deal, 2003). The second observation protocol provided researchers with
a guiding rubric to write descriptive data (Appendix D). While limitations of time afforded
approximately 12 observations, the researcher wanted to understand the experiences of each
participant in the research study.
The second observation protocol (Appendix D) relied on descriptive field notes to capture
experiences among the participants that were later embellished with observer comments before
memory of the observations faded (Bogdan & Biklen, 2003; Erickson, 1984). The literature also
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 65

guided improvements made to the observation protocol. After piloting the observation protocol
in spring 2013, the researcher determined that the collected data covered too wide a scope in the
art classroom. The literature advised narrowing the observation protocol to focus on specific
participants and their actions in the setting (Bogdan & Biklen, 2003). Improvements to the
observation protocol helped design the research focus to specifically look for specific behaviors
among participants and aspects of the physical space. The observations also focused on the
social organization and rituals among VAPA faculty in the classroom community (Erickson,
1984).
Transcriptions of hand-written observation field notes provided a descriptive narrative.
Merriam (2009) advises researchers to immediately transfer hand-written fieldwork notes into a
descriptive narrative before significant time passes and memory of the observation experience
diminishes. The researcher applied “Malinowskian ethnography” to his observation experiences
to find meaningful purpose among each participant based on the parameters of the research
questions (Erickson, 1984, p. 52). This approach provided the narrative with an authentic
perspective.
Validity and Reliability
Rudestam and Newton (2001) discuss the importance of describing internal validity and
external validity. One method of research relies on observation with corresponding written field
notes. Evidence from videotaped interviews, when compared with the recorded field notes, offer
an opportunity to assess credibility and confirm internal validity (Rusestam & Newton, 2001).
Regarding external validity, the general essence of the research findings may hold relevance for
stakeholders in arts programs at other secondary schools.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 66

Based on the research design, a data analysis of documents, observations and interviews
provided opportunities to triangulate the data. The varied sources of data supported external
validity and reliability. The thematic coding process allowed me to triangulate interview
responses with observational descriptive data and develop a narrative analysis about each
respondent selected to participate in the research study.
Data Analysis
The deliberate process to collect data from site documents, a survey, interviews and
observations provided an ideal breadth of data to code and analyze for triangulation. Data
collected from participants was organized into three thematic categories to answer the three
research questions. A coding process was applied to data collected among participants
(Creswell, 2009). The interviews provided respondents with opportunities to explain and discuss
issues relevant to the questions and issues in the survey.
Creswell (2009) advises researchers to use specific steps to organize data for coding and
analysis. The researcher used a color coding scheme to transcribe quotes, information and
relevant data from the review of documents, survey, interviews and observations that specifically
addressed three themes that emerged from the data related to the research questions. The
following steps were involved in the analysis of the data:
 The exact number of respondents and nonrespondents for the survey was reported.
 Response bias regarding nonrespondents and their impact on the research was determined
with a respondent/nonrespondent analysis.
 A descriptive analysis was developed to apply to all independent and dependent variables.
 Rich, descriptive data described themes found in observation field notes, interviews,
surveys and documents.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 67

 The review of documents, faculty survey, observations and interviews were organized and
coded into thematic categories to answer the three research questions, based on the four
frames (Bolman & Deal, 2003).
 An analysis of the data.
The coding process involved an analysis of field notes to categorize themes in order to
answer the three research questions. Audio-recorded interviews, based on an open-ended
interview protocol, were transcribed. Observation field notes were coded for analysis. Evidence
from photographs taken in art classrooms and at performances and exhibitions, as well as
partnerships between the school and local museum, provided additional information to code for
analysis.
The review of documents, faculty surveys, interviews and observations yielded
significant data to explore in order to understand the key factors of a viable arts program and
answer the research questions. The pilot study provided opportunities for reflection to improve
the data collection instruments. The implementation of data collection instruments and
subsequent data analysis evolved into a narrative analysis about one administrator, the chair of
the visual and performing arts program and additional faculty in the arts program. The survey,
interviews and observations, conducted from August to October, 2013, revealed several patterns
of data to organize into themes.
A thematic analysis centered on three themes designed to objectively answer the research
questions: (1) conditions of the arts programs at Eastland High School; (2) leadership decisions
that support the arts programs; and (3) funding decisions at the school that impact the arts
programs. The structural frame, the human resources frame, the political frame and the symbolic
frame were applied to the data analysis (Bolman & Deal, 2008).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 68

Bolman and Deal (2008) developed four frames to examine organizations that were
applied to the data analysis and narrative. For the purpose of this case study, the structural frame
applies to the organizational structure of the school and departments in the school. The human
resource frame concerns the interpersonal relationships and needs of teachers, administrators,
parents and students within the school organization. The political frame regards the bureaucratic
nature at Eastland High School and how each stakeholder and department navigates the political
structure of the organization. The symbolic frame refers to the reputation of the school, symbols
that define its culture as a brand and institution within the community (Bolman & Deal, 2003).
Ethical Considerations
Creswell (2009) discusses important ethical issues to consider before undertaking
research. The researcher obtained approval from the thematic dissertation committee to conduct
the research study at his own worksite (D. Hocevar, personal communication, March 15, 2013).
Dr. Hocevar confirmed that the researcher may conduct the study at his worksite, Eastland High
School, in accordance with the mission of the Rossier School of Education at the University of
Southern California.
While the researcher has limited working relationships with participants in the VAPA
program, he acknowledged, disclosed and assessed personal biases regarding his research study
to all participants and maintained an objective self-discipline during the data collection process.
The researcher is currently an English learner instructional coach and instructor in the English
Language Development (ELD) and Advancement via Individual Determination (AVID)
departments at Eastland High School, with more than 12 years of teaching experience with
English language learners.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 69

The researcher acknowledged potential ethical problems regarding research bias among
direct and indirect participants at Eastland High School, which serves as both his research and
work site. The researcher informed all participants that data collected from the document
review, surveys, observations and interviews would remain confidential during and after the data
collection process. The thematic dissertation group agreed during the IRB process to keep all
data confidential and secure for at least five years after the conclusion of their respective
research studies (University Park Institutional Review Board, University of Southern California,
UP-IRB#: UP-13-00187, 2013).
Acknowledging his past teaching experiences and current assignment at the research site,
the researcher was honest and transparent with participants at Eastland High School. He
considered himself a participant observer in this qualitative case study (Maxwell, 2013;
Creswell, 2009; Erikson, 1984). The researcher maintained objectivity during the research study
in order to objectively interview and observe all relevant participants. No student participants
were approached during the data collection process in compliance with the standards that the
thematic dissertation group agreed to adopt for the IRB agreement.
Summary
Chapter Three examined the methodology used to investigate the research questions in
the qualitative case study. The thematic dissertation group agreed on the conceptual model to
understand the components responsible for a viable arts program. Each of the eight co-
investigators agreed on the three research questions to guide the qualitative research study.
As discussed in Chapter Three, the thematic dissertation group designed, piloted and
approved the data collection instruments, decided the criteria to select individual sites for their
individual, respective research studies and collaborated to write the IRB application, under the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 70

supervision of Dr. Gothold, the thematic dissertation chair. The chapter also explained the
process to collect data and code the data into manageable themes for thematic analysis. The
dissertation committee clarified and confirmed the researcher may conduct the qualitative
research study at his own worksite (D. Hocevar, personal communication, March 15, 2013). The
researcher examined his research bias and ethical issues. The four data collection instruments
contributed significant data for triangulation to write a narrative descriptive analysis.

.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 71

CHAPTER FOUR: DATA COLLECTION AND ANALYSIS
Chapter One introduced and discussed the current financial constraints, accountability
demands and educational climate impacting arts programs in public education. Three research
questions guided the study to investigate: (1) arts programs that exist at the school, (2)
leadership decisions that support the arts program, and (3) funding decisions and their impact on
the arts program. An exploration of the history of arts in public education and a review of the
scholarly literature in Chapter Two identified significant patterns regarding leadership and
funding decisions that sustain arts programs (Kratochvil, 2009; Robert, 2010; Sabol, 2010).
Supportive, long-term administrative leadership, community partnerships and promising
practices were significant topics explored in the literature to support the research questions
(Anne, 2010; Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto, 2002).
Chapter Three discussed a thorough description of the methodology that guided the
qualitative research case study (Creswell, 2009; Merriam, 2009; Maxwell, 2013). The subject of
the case study, Eastland High School, met the school selection criteria established by the
thematic dissertation group. Data was collected at the site from a review of relevant documents, a
school-wide survey, interviews and observations. As explained in the methodology, each
participant was identified with a pseudonym. Chapter Four will present and analyze the data
collected from the review of site documents, the survey, interviews, and observations to answer
the three research questions.
Before the research study commenced in August of the 2013-14 academic year, the
culminating effects of a prior interdisciplinary art project, initiated in 2012-13, continued to
impact the campus community and provide a rich source of data to explore in the review of site
documents, interviews and observations. During the spring semester of 2012-13, the visual arts
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 72

department initiated a partnership with the local Museum of Art and History to create Wasteland:
Turning illegally dumped waste into art, a semester-long interdisciplinary project at Eastland
High School. The project utilized art and environmental education to engage teachers and
students, and bring the community together to improve their understanding of illegal dumping
through the arts.
Eastland High School is a comprehensive high school. Arts education has developed a
strong relationship with the majority of faculty and students in the campus community. The
leaders of the visual and performing arts departments advocate for arts education and sustain
awareness of the arts through interdisciplinary curriculum. The visual and performing arts
program developed from a concept to build a visual and performing arts school in the district.
Less than 10 years ago, architects and district leaders agreed to build Eastland High School on an
undeveloped section of the desert. Stakeholders, including Robbie, the visual arts department
chair and her colleague, Ted, the performing arts chair, shared a vision to establish Eastland High
School as the leading visual and performing arts program among eight comprehensive high
school sites in the district. Constructed over several years and opened in a series of stages, from
2005 to 2009, the school features a $20 million dollar visual and performing arts complex that
looms over the surrounding empty desert (Eastland High School, 2013).
The arts program embellishes Eastland High School with symbolic characteristics
(Bolman & Deal, 2003). A single two-lane road leads past an elevated, electronic display board
with the inscription: “Eastland High School Performing Arts Complex.” Behind the display
board, an elegant, circular driveway, adorned with beautiful palm trees, welcomes parents,
students and community members to the school entrance situated between a rectangular single-
story administrative building on the left and the vast two-story performing arts complex on the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 73

right. Symbolic characteristics of the arts program are evident in the campus community and
complement the data (Bolman & Deal, 2003).
In May, 2013, the researcher shared his research proposal with Robbie, the visual arts
department chair, and Evette, the lead art teacher responsible for the implementation of the
Wasteland project. Both teachers listened to the research proposal and understood the three
research questions. They provided a brief history of the arts program and its emerging strengths
amid the changing educational climate at Eastland High School, and in the community. Each
teacher also allowed the researcher to conduct preliminary observations of art classrooms and
gain an inside look of each stage of development with the Wasteland project, which led to the
culminating annual art showcase, in May, 2013.
The mutual and collegial respect that Robbie and Ted show for each other allowed the
researcher to build a comfortable trust with key faculty in the visual and performing arts program
(Bogdan & Biklen, 2003; Merriam, 2009; Maxwell, 2013). The trust allowed the researcher to
plan his formal research study which required access to art classes and key faculty for interviews.
Kate, the assistant principal, along with the principal, whose leadership supported the visual and
performing arts program, approved the research proposal for the researcher to commence with
the data collection process, beginning in August, 2013.
Research Questions
A collaborative discussion process among the eight doctoral students in the thematic
dissertation group, and an investigation of literature relevant to arts education in public schools,
decided the three research questions. The overall theme sought to understand how school leaders
sustain arts programs at their school. The research questions influenced the methodology that
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 74

drove this qualitative research study. The thematic dissertation group decided to investigate
three research questions:
1. What are the arts programs that exist at Eastland High School?
2. How does leadership at Eastland High School support the arts?
3. How are funding decisions made at Eastland High School?
Data Collection
The data collection process commenced at the beginning of the 2013-14 academic year.
The researcher collected the Eastland High School Single Plan for Student Achievement (2013)
and School Accountability Report Card (2013), the most recent Western Association of Schools
and Colleges (2012) report, and specific literature relevant to the visual and performing arts
programs at the site. In August, 2013, at the opening faculty meeting, Kate, the principal,
promoted from her role as assistant principal the previous year, provided the researcher with the
opportunity to announce his research study. Within a week, the researcher implemented a
school-wide survey for faculty via Google Docs.
Over the course of the fall 2013 semester, from September through December, the
researcher observed a sequence of art classes in session, two theatrical productions in the
evenings, four early morning marching band practices and four performances of both Eastland
marching bands at four separate home football games. Additional observations were conducted
at two interdisciplinary cross-department meetings with a focus on visual arts. The researcher
formally interviewed Kate, the principal, Robbie, the visual arts department chair, Ted, the
performing arts department chair, Evette, the lead art teacher, Joel, the graphic design instructor,
Leanne, the director of the drama department, and Saul, a math instructor who leads the
freshman marching band, one of two bands at the school. The researcher used a transcription
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 75

service to transcribe each audio-recorded interview. Data from the review of documents, survey,
interviews and observations were organized into three thematic categories, with reference to the
four frames, to answer the three research questions (Bolman & Deal, 2003). The coding process
applied the guidelines and advice Creswell (2009) recommended for qualitative research.
Data and Analysis for the Research Questions
The first research question investigated the visual and performing programs at the
research site: What are the arts programs that exist at Eastland High School? This first section
analyzes the combined findings from a review of documents and the statistical survey. The data
was coded into three thematic categories, organized to answer the first research question.
Following an analysis of the documents and survey data, two separate sections analyze interview
and observational data relevant to the visual arts program and the performing arts program. The
review of documents, survey, interviews and observations provided significant data to explore in
a triangulated analysis.
Data and Analysis for Research Question 1
An analysis of site documents revealed information in the literature regarding the visual
and performing arts programs at Eastland High School. According to the school mission and
vision, “Eastland High School empowers individuals to strive for excellence and to achieve their
full potential through a rigorous and collaborative education. Eastland High School equips
critical thinkers to be socially literate contributors in a rapidly changing world” (SPSA, 2013, p.
1). The Single Plan for Student Achievement emphasized a college culture and explained that A
through G courses are available for students on the master schedule. The SPSA did not indicate
that students are required to take an arts course to meet A through G requirements. There was no
description or information about the arts programs evident in the SPSA. The School
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 76

Accountability Report Card provided a synopsis of the vision and goals of Eastland High School,
as expressed in the SPSA. However, the SARC neglected to acknowledge and describe the
visual and performing arts programs at Eastland High School (2013). The most recent Western
Association of Schools and Colleges report also lacked descriptive information about the arts
programs (2012).
The data collection process collected literature at the site regarding the visual and
performing arts programs at Eastland High School. Literature obtained from the visual arts
department briefly discussed goals and potential career paths in the arts. The handout also
described the various pathways of arts courses available to prospective students. The performing
arts program provides literature about the marching band, color guard, music and drama courses,
and encourages parent involvement. Each art department has a separate department chair and
leadership style. The document review process showed both the visual and performing arts
programs provide students with opportunities to explore a variety of art forms and gain valuable
learning outcomes.
The survey was distributed online via Google Docs to the entire faculty. Sixty percent of
the school faculty responded to the anonymous online survey, composed of 30 questions in four
thematic categories. Survey responses to each question were coded as follows: 4 = always, 3 =
most of the time, 2 = sometimes, and 1 = never. There was no comment box included in the
survey to record qualitative responses. The validity of the survey instrument was conducted
among the eight co-investigators in the thematic dissertation group who reviewed each question
and its relevance to answer the three research questions.
For the purpose of this research, only responses from VAPA faculty, mainstream teachers
and administrators were reported. Based on the history of the VAPA program and its
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interdisciplinary relationship with faculty and administrators at the site, the analysis of survey
data included all recorded responses. Forty-seven out of seventy-eight faculty completed the
survey. Four administrators and 43 mainstream teachers responded to the survey. Of the 43
mainstream teachers, six faculty were full time teachers in the VAPA program. In addition, a
math teacher worked as the freshman band instructor, an English teacher led the drama
department for the performing arts program, and a social science teacher directed one of the four
theatrical productions. Given the interdisciplinary cooperation evident among faculty that
support arts education and the VAPA program, the analysis of survey data did not separate
VAPA faculty responses from mainstream faculty responses.
Among the recorded data, 45 responses represented the mean, mode and median for the
survey questions. The level of participation among each of the 30 questions revealed a slight
range among respondents. Forty-seven responses represented the highest level of participation,
while 43 responses represented the lowest level of participation. Forty-five responses
represented the most frequent number of responses recorded among the 47 respondents in the
data set. The survey results indicated a majority of the certificated faculty and administrators
participated in the survey. The responses provided a valid source of data regarding four thematic
features of the arts program: (1) pedagogy, (2) student learning, (3) learning environment, and
(4) community. Each theme provided a source of information to understand the arts programs at
the school.
The following two tables analyze survey responses applicable to Research Question 1.
The objective was to analyze the survey questions with relevant data to understand the visual and
performing arts programs offered at the site. Below, Table 2 identifies responses related to
pedagogy in the arts programs at Eastland High School.
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Table 2: Survey Questions: #1-7
Survey Questions:
Pedagogy in the Arts Programs
1
Never
2
Sometimes
3
Most of
the Time
4
Always
1. The school offers a
curriculum of sequential,
standards-based instruction in
the major arts disciplines
(dance, film, music, theatre
and visual arts).
2 13 18 13
2. Teachers discuss student
artwork, assessment and arts
instruction at grade
level/subject-alike planning
meetings.
7 19 9 10
3. Teachers use arts learning
outcomes to evaluate their
curriculum and instructional
methods.
8 23 7 7
4. Instructional leaders review
teaching outlines in the major
arts disciplines to ensure
instructional sequencing.
17 14 9 5
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.
6 19 9 12
6. There is a written school arts
plan that aligns with the
district arts policy and arts
education plan.
13 14 12 8
7. The arts curriculum meets the
needs of diverse populations
of learners.
0 13 18 16

The collected data in Table 2 suggested a majority of faculty believe the school offers a
curriculum of sequential, standards-based instruction in the major arts disciplines. For the first
survey question, 54 % (31 out of 47) reported a positive response, choosing most of the time or
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 79

always. In addition, 72 % (34 out of 47) indicated a positive response that the arts curriculum
meets the needs of diverse students.
A contrast emerged among the negative responses recorded for Questions 2-6, in Table 2.
A recurring theme found teachers across all disciplines do not discuss student artwork,
assessment or arts instruction. In Question 2, 58 % of respondents indicated they do not, or only
sometimes, discuss student artwork (26 out of 45). In the next question, 41 %, a majority of the
faculty, expressed they do not use student art learning outcomes to evaluate their curriculum and
instructional methods (31 out of 45).
Question 4 also recorded a negative response. Sixty-nine percent (31 out of 45) said
instructional leaders do not review instructional pacing plans for arts curriculum with them. The
lack of instructional leadership corresponds with the negative responses collected for Question 5.
Fifty-four percent (25 out of 46) reported teachers do not, or only sometimes, meet to discuss
instruction, individual student needs, and learning outcomes through the arts. Only 21 % of
respondents (21 out of 46) reported they regularly meet, or meet most of the time, to discuss
these topics. Question 6 indicated a solid 58 % (27 out of 47) felt that the school arts program
does not align with the district arts policy and arts education plan.
These responses illustrated several challenges existed within the arts programs, as seen
through the structural, political and human resource frames (Bolman & Deal, 2003). A majority
of respondents found the school offers a solid arts curriculum that meets the needs of diverse
students, indicating two aspects of the visual and performing arts program, the structural and
human resources frames, operate adequately. However, given the negative feedback elicited
from Questions 2-6, the evidence suggests other aspects of the structural and human resource
frames require improvement. A majority of faculty expressed they do not collaborate to discuss
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 80

learning outcomes achieved through the arts. This raises a concern that corresponds with
findings produce in previous research studies (Kratochvil, 2009; Kraehe & Brown, 2011). The
data shows a pattern evident among the majority of faculty that the school lacks interdisciplinary
collaboration time with a focus on arts education. The literature review discussed the
significance of research that recognized the importance of consistent leadership and faculty
collaboration to support interdisciplinary integration of arts across the curriculum. (Kratochvil,
2009).
Only a minority of faculty, 21 % (21 out of 46), in Question 5, said they meet regularly to
discuss instruction, individual student needs, and learning outcomes in and through the arts.
Given that 58 % (27 out of 47) felt that the school arts program lacks an organizational plan that
aligns with the district arts policy and arts education plan, the evidence suggests the VAPA
curriculum may function well with VAPA faculty, yet wield limited influence with other core
subject and elective departments. The evidence further indicates the need to strengthen
leadership within the structural and human resource frame to create a curriculum plan, and
improve the visibility of the arts curriculum in the campus community. Bolman and Deal (2008)
emphasize the need for organizations to develop organizational plans with goals and objectives.
A school-wide plan that emphasizes the visual and performing arts would reflect the positive
influence of leadership within the political frame and position the organizational plan as part of
the symbolic frame or culture of the school.
Table 3 explores student learning outcomes and similar themes found in the arts
programs. The responses provided additional information for analysis to answer Research
Question 1. Table 3, below, shows responses specific to student learning in arts programs at
Eastland High School.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 81

Table 3: Survey Questions: #8-14
Survey Questions:
Student Learning in the
Arts Programs
1
Never
2
Sometimes
3
Most of
the Time
4
Always
8. Students are encouraged to
draw on their personal
background and experiences to
inform their arts learning.
2 15 14 15
9. A variety of artistic traditions
are explored from around the
world.
2 15 11 16
10. Art instruction emphasizes
cooperation, interactive
learning, and team building.
0 14 12 21
11. Student arts learning
outcomes are used to evaluate
the curriculum and
instructional methods.
4 12 15 14
12. Parents are provided with
specifics about their student’s
progress in arts
learning/programs.
5 19 13 7
13. Periodic report cards
document student learning in
key arts standards.
13 11 8 13
14. Arts curriculum includes real-
life applications that prepare
students for postsecondary
education, focused training,
and eventual employment.
0 21 9 16

Two consistent, encouraging themes emerged in Table 3. The majority of faculty
reported positive feedback that the arts programs encourage students to use their background
knowledge and experiences to inform their learning experiences through the arts. The survey
results stated that the school explores a variety of artistic traditions. In Question 10, an
encouraging 71 % of the faculty (33 out of 47 respondents) indicated that art instruction places
an emphasis on cooperation, interactive learning and team building. The use of student learning
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 82

outcomes to evaluate the effectiveness of the arts curriculum and instructional methods also
yielded positive feedback in the following question. Sixty-four percent of respondents (29 out of
45) reported the use of student arts learning outcomes to measure the effectiveness of the
curriculum and instructional methods.
The remaining three survey questions in Table 3 asked respondents to reflect on parent
access to the arts programs, student grades and the preparation students experience in arts
programs to prepare them for postsecondary education and future careers. The majority of
faculty indicated, in Question 12, that parents are not provided with sufficient information to
understand the academic progress of their students in the arts programs. While 55 % (25 out of
46) reported that the arts programs prepares students for college and careers, 45 % of
respondents to Question 14 suggested room exists to improve. Triangulation with interview data
regarding this topic recognized the increasing importance of career and college readiness themes,
and the need for the arts programs to embrace them. Evidence triangulated from interviews and
observations complement these responses.
An analysis of responses recorded in Table 3, through an application of the four frames,
showed the VAPA program was successful with several elements of the structural and human
resource frames (Bolman & Deal, 2008). Question 11 showed that a majority of respondents felt
the VAPA program meets the instructional needs of students and that learning outcomes are used
to measure the effectiveness of the curriculum and instruction. However, the analysis of
Question 4, in Table 2, indicated a concern. Forty-one percent (31 out of 45) said they did not
meet collaboratively on a regular basis to discuss student arts learning outcomes to evaluate their
curriculum and instructional methods.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 83

The analysis of survey results explored in Tables 2 and 3 explored data relevant to the
first research question. Table 2 addressed pedagogy and Table 3 focused on student learning. In
Table 2, while a majority of faculty felt that the school provided a curriculum standards-based
instruction in the arts, the responses also indicated a lack of consistent collaboration to discuss
student learning outcomes and pedagogy. Table 3 showed a majority of the faculty arts agreed
that the VAPA program provided students with valuable learning experiences through the arts
and an understanding of artistic traditions. However, Table 3 indicated a majority of respondents
felt the VAPA programs lacked a clear communication plan with parents to discuss academic
progress. Meeting the needs of parents is relevant within the human resource frame, and
influences the other frames. The survey results suggested the VAPA program may need a
structured parent plan. Bolman and Deal (2008) emphasize the positive influence of
organizational plans that navigate the political frame and develop a reputation for organizations
via the structural, human resource and symbolic frames.
Interviews with instructional leaders in the visual and performing arts programs
acknowledged their efforts to build partnerships with parents, improve communication and
increase parent involvement. Ted emphasized the significance of their booster club, a student
and parent volunteer organization that continues to grow and contribute toward the financial
strength of the performing arts program (personal communication, December 16, 2013). Robbie
clarified that the visual arts program lacks a booster club and indicated plans are underway to
develop one. She further clarified that parents are actively involved in other aspects of the visual
arts program, specifically with the annual arts showcase, and acknowledged the need to improve
parent outreach with parents of VAPA students and increase their involvement in the campus
community (personal communication, October 23, 2013).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 84

This year, Kate, the principal, founded a Parent Involvement Committee, under Title I
guidelines, to increase opportunities for parents and guardians of students to get involved in the
campus community. Observations at two Parent Involvement Committee meetings and School
Site Council meetings documented Kate and Robbie actively involved in the process to promote
parent outreach. The Parent Involvement Committee and School Site Council elected parent
leaders as well as faculty and student leaders. As an elected teacher on the School Site Council,
Robbie actively promoted the arts programs at Eastland High School. Kate demonstrated a
consistent leadership style to encourage Robbie to participate at the meetings and elicit parent
interest to support the annual art showcase and other events. Evidence collected at the School
Site Council and Parent Involvement Committee meetings supported findings from the survey,
interviews and observations calling for improved parent outreach to support the arts programs
(Kate, personal communication, December 9, 2013).
While the findings from the review of site documents and survey were helpful, they
offered a limited understanding of the VAPA program at Eastland High School. An analysis of
the qualitative data collected from interviews and observations provided an in-depth
understanding of issues related to Research Question 1. The qualitative observational and
interview data was triangulated with the site documents and survey results. The following two
sections analyze interview and observational data among faculty in the visual and performing
arts program to answer the first research question.
Visual Arts Program. The visual arts program includes Art 1, Drawing 1, Painting 1,
Sculpture, Digital Imaging, Graphic Design, Honors Art and Advanced Placement Art Studio.
The AP Art Studio class offers a dual curriculum with 3D art, such as ceramics, and 2D art, such
as photography and graphic design. The arts program offers levels 1 and 2 courses for
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 85

multimedia production, photography, illustration, graphic design, drawing, painting technique
and ceramics. The arts program may add an AP art history course in the future based on student
interest and sufficient funding.
In a focus group interview with Robbie, the visual arts department chair and coordinator
of cross-curricular instruction, Evette, the lead art teacher who initiated the Wasteland project
during the previous academic year, and Joel, the AP art studio and graphic design teacher, the
participants discussed details about arts programs offered at Eastland High School. Robbie has a
dignified, down-to-earth, approachable personality that defines her personal and professional
relationships, and complements her resilient approach to education. Throughout her 30 year
teaching career, Robbie has experienced the historical narrative of arts education in public
schools. She maintains a consistent, purposeful enthusiasm to support the arts in public schools
and the arts program at Eastland High School. Patterns regarding her leadership emerged from
the evidence collected from interviews with Robbie and observations of her in art class, at
department meetings and among colleagues in formal and informal settings.
Evette has worked alongside Robbie for eight years in the art department at Eastland
High School since the school opened in 2005. She and her husband, both of whom are in their
late twenties, teach at the same school and celebrated the birth of their daughter this year. Her
husband, an English teacher, provides a constant source of cross-department collaboration with
the art department. As a bilingual teacher, Evette advocates for the instructional needs of
English language learner students in her art classes. While Robbie symbolizes the voice and
heart of the art program, Evette symbolizes its future. Through interviews and observations,
Evette demonstrated a quiet fortitude and ambitious resolve to lead, sustain and elevate the status
of the art program (Personal communication, October 23, 2013).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 86

Joel was hired in 2005 as a new graphic design art teacher at Eastland High School.
Construction of the new school facilities gradually opened over the following years. In 2009,
Joel and the other art teachers transitioned from the temporary bungalow classrooms to the new
art classes. Throughout the observations and interviews with Joel, his sense of humor and
easygoing personality resonated among his colleagues and students.
Robbie provided a descriptive history about the visual arts program and the benefits that
students gain through their collaboration and interaction with peers in art classes (Personal
communication, October 23, 2013). Before she collaborated with other VAPA leaders to co-
found the visual and performing arts program at Eastland High School, in 2005, Robbie was the
coordinator of a visual and performing arts academy at another high school in the district.
Robbie was one of the co-founders of Eastland High School and shaped its original vision to
serve as a visual and performing arts school in the district. Her co-founders included Ted and
Saul, two marching band instructors in the performing arts program.
Robbie wields a leadership style with high integrity that reflects her appreciation toward
the arts and teaching profession. Throughout her career, Robbie has demonstrated a capacity to
build productive relationships with classified and certificated faculty. When Eastland High
School opened its campus, and used a small school operations model to bind students and faculty
together as cohorts in five small thematic schools, Robbie was the lead teacher for the small
school of visual and communication arts. While the small school model met unforeseen
challenges and obstacles after a new administrative leadership team discontinued the small
school concept during 2008-09, Robbie remained resilient in her journey to advocate for the arts
program. She continued to overcome challenges and maintain an optimistic effort to bind faculty
and students together through her positive energy and enthusiasm. Research from the literature
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 87

review validates the influence of a single leader at a school, who cultivates cultural and social
capital, and has the capacity to lead and sustain arts program in public education (Tredway &
Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto, 2002). The literature review
identified the significance of collaborative leadership, a leadership style that Robbie administers
as the visual arts department chair and through her role as the coordinator of cross-curricular
instruction (Noblit, Corbett, Wilson & McKinney, 2008).
An application of the four frames indicated Robbie embraces interconnected elements of
each frame as the leader of the visual arts department at Eastland High School. Her capacity to
advocate for the visual arts through interdisciplinary team building to support cross-departmental
projects reflects her success with the structural frame, human resource frame, political frame and
symbolic frame. Robbie is respected among her peers and perceived as a symbol of resilience
who perseveres. The symbolic frame is as relevant to her as it is toward the arts showcase and
interdisciplinary events she champions on behalf of the visual arts department (Bolman & Deal,
2008).
During the past two years, Robbie has initiated interdisciplinary professional
development workshops to encourage faculty to embrace and create cross-curriculum content
that supports the arts. The emergence of California Common Core State Standards has
motivated Robbie to support the integration of cross-curriculum mapping into her
interdisciplinary workshops and emphasize the need for team teaching among faculty. Last year,
she secured a $3,300 grant from the Los Angeles County Board of Supervisors and the Illegal
Dumping Task Force to fund the Wasteland project, a recycled art project between Eastland
High School and the local Museum of Art and History. The Wasteland project in 2012-13, and
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 88

the new Crosswinds project for 2013-14, represent two recent interdisciplinary endeavors that
Robbie and her colleagues initiated on behalf of the arts program at Eastland High School.
Observations of Robbie in her art class developed through her collegial working
relationship with the researcher (Merriam, 2009). The walls of her classroom radiated with
symbolic achievements and validated the symbolic and structural frames (Bolman & Deal, 2008).
Trophies, awards and newspaper clippings decorated the walls, visibly announcing prominent
stories from the past and indicating student achievement. In her class, approximately 36 students
worked collaboratively at large tables with eight seats. Robbie fostered a self-directed learning
environment that empowered students to take control of their own learning experiences with art.
Each student worked at their own independent pace in a collaborative setting. Robbie proactively
interacted with students and clearly showed an interest in their progress. She showed colorful
student samples to motivate and guide students as they created their own works of art. This
observation connected with research in the literature review that documented the positive
engagement and motivation found among at-risk students enrolled in arts programs (Olshansky,
2008; Creedon, 2011). Findings from their research studies corresponded with the positive learning
outcomes, motivation, and social skills development evident among students in her art classes.
Robbie clarified that each art class reflects the personality and artistic talents of its lead
instructor (Personal communication, October 23, 2013). Evette has painting skills which
encouraged the visual arts program to start a painting class. Joel, with his graphic design talents,
leads a graphic design course. In the past, when an instructor has departed, regardless of the
situation or politics, the administrative team and visual arts department discontinued a class if an
art teacher with expertise in the subject area could not replace the departing teacher. An example
of this situation occurred when the sculpture teacher retired several years ago. A new sculpture
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 89

teacher was not hired to continue the course and the course was cancelled. When a new art
teacher arrived, Robbie ensured art classes matched the instructional and creative talents of the
new teacher (Personal communication, October 23, 2013). The three art teachers constitute the
foundation of the visual arts program and have cultivated a reputation as personable,
independent, resourceful and creative among their colleagues.
Performing Arts Program. The performing arts program supports two marching bands,
one of the few high schools in California and throughout the nation that offer two marching
bands. The Eastland Senior Marching Band represents upperclassman while the Eastland
Marching Band is designed for freshmen students. Ted, the performing arts chair, is the director
of the Eastland Senior Marching Band. Saul, who teaches algebra for four periods and assists
teachers as an instructional coach for two periods, volunteers his time to lead and direct the
freshman Eastland Marching Band. Saul has volunteered his time as a band director every
morning for the past eight years at Eastland High School without any stipend or financial
incentive. He also volunteers his time to lead the freshman marching band at the football games,
other sporting events and tournaments. Each marching band includes a color guard composed
with a majority of female students. Approximately 300 students are enrolled in both bands and
color guards with each section composed of approximately 150 students (Ted, personal
communication, December 16, 2013). Observations and interviews with Ted and Saul provided
an in-depth perspective of the courses that the performing arts program offers.
The structural organization of the performing arts program includes two marching bands
and two color guards. In addition, the performing arts program offers a symphonic band, concert
band and wind symphony. Beginner level and advanced level courses are available for
percussion, the orchestra, guitar and many other instruments. An active choir program thrived at
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Eastland High School until the choir instructor transferred to another site, due to administrative
decisions and internal school politics which did not value the choir. Since 2011, the choir
program has been on hiatus and remains a missing element of the performing arts program. Ted
and Saul suggested the choir course may return in the near future, provided administration agrees
that a student need exists, and decides to hire a new choir instructor. A freshman and advanced
level of color guard complements the curriculum and appeals to a majority of female students.
Ted has taught music for over 25 years, holds National Board Certification in music for
early and middle childhood, and co-founded the visual and performing arts program at Eastland
High School. He is the chair of the performing arts department. Throughout observations, Ted
demonstrated an uncompromising, determined work ethic. Ted is an approachable leader who
holds high expectations of himself, his staff and students to succeed. Ted values his colleagues
as equal collaborators, each with their own respective talents, and expects them to function as
one team. While the performing arts program has three full time teachers, Ted clarified that the
other staff are volunteers who dedicate their time on a daily basis to support the marching bands,
theatrical performances and other aspects of the program (Ted, personal communication,
December 16, 2013).
One of the volunteers, Saul, is a full-time math teacher. Saul is the lead instructor with
the freshman marching band at Eastland High School. During an early morning practice session
with students, Saul motivated his students with a story about his undergraduate years at
University of Southern California when he played saxophone on the USC marching band and
enjoyed the privilege of attending football games and participating in national band tournaments.
He also earned a leadership role as a section leader of the USC marching band (Saul, personal
communication, December 17, 2013). Now in his late thirties, Saul is an energetic music teacher
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 91

with 20 years of teaching experience in marching band programs. He has four children and
instills morals and family values into his lessons, lectures and practice routines with students on
the marching band. A series of observations of Saul guiding the Eastland Marching Band at
morning practice sessions, and on the public stage at football games, revealed his dedicated
commitment to teaching and conscientious capacity to work well with students.
During the early morning practice sessions, Saul used the main rehearsal room to teach
the freshman marching band and color guard while Ted guided and instructed the upperclassman
outdoors on a practice field. During the regular instructional time of the day, the rehearsal rooms
were used to teach courses related to the music curriculum, which include beginning and
advanced sections of percussion, the symphonic band, the wind ensemble, and other courses.
Walls of the rehearsal rooms are adorned with marching band trophies from local and state
tournaments and festivals. They represent symbols of success and pride for the performing arts
program. The symbolic references, which Bolman and Deal (2008) define as the symbolic frame
of the organization, characterized the marching band and color guard. They have cultivated the
spirit, culture, brand and ritual experiences prevalent in the campus community.
The performing arts program hopes to develop its own pathway or academy. An
independent academy would empower Ted, Saul and the performing arts faculty to supervise
enrollment and maintain greater autonomy over the performing arts department. Currently, the
guidance department, with feedback from Ted, Saul or Kennan, enrolls freshman students in
beginning level music courses after they indicate an interest in music during freshman
registration and orientation.
If they are just beginning instrumentalists, the counselors can just put them in one of the
beginning classes; however, if they want to be in one of the advanced classes, percussion,
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 92

symphonic band, the wind ensemble, then they need a signature from the teacher who
teaches that specific class, because those are classes that are much more difficult, so
they'll need a recommendation, and approval from that, uh, director who's teaching that
class (Saul, personal communication, October 4, 2013).
Saul explained that the music department takes the initiative to sign up students before the
academic year begins. Then, they take the sign up lists to the guidance department and
counselors to register the students. This approach further informs the guidance counselors that
students on the list have made a commitment to enroll in specific music courses that match their
interests. In separate interviews, Saul and Ted explained the purpose of the freshman marching
band is to introduce and prepare students for the upperclassmen marching band (Ted, personal
communication, December 16, 2013; Saul, personal communication, October 4, 2013 &
December 17, 2013).
The data provided an opportunity to analyze the performing arts through the lens of the
four frames (Bolman & Deal, 2008). An application of the four frames indicated the performing
arts band has shaped and influenced the culture at Eastland High School. The marching band and
color guard reflected symbols of pride in the campus community. Their performances at football
games, tournaments and local parades strengthened the reputation of the entire performing arts
program. The evidence and descriptive analysis in this section focused on the marching band
and color guard in the performing arts program. The following section describes the drama
program which falls under the supervision of Ted and the performing arts program.
Drama Program. The drama program is part of the performing arts department and
offers students three levels of drama courses and a stagecraft course to support four theatrical
productions each academic year in both theaters at the school. Ted is the chair of the performing
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arts department and director of the marching bands. He also closely collaborates with Leanne,
the director of the drama program.
Leanne, an English teacher in her late 20s, has an interest in classic literature and
Shakespeare. She built the drama program after the new, state-of-the-art theater opened in 2009.
Leanne began her teaching career at Eastland High School in 2006 and cleared her secondary
credential two years later. Leanne is the only drama teacher on campus and has created a culture
of collaboration, creativity and integrity in the drama program. When she staged her first
production, The Taming of the Shrew, the cast lacked a sufficient number of actors. In less than
a few years, the drama program has developed an impressive reputation in the campus
community. Willy Wonka and the Chocolate Factory, a musical stage production that premiered
on December 5, 2013, compelled over 80 students to audition for 25 character roles. Leanne
produced and directed Willy Wonka and the Chocolate Factory in collaboration with Ted, who
conducted the symphony during the theatrical performance.
Leanne explained that Eastland High School produces the most stage productions among
the eight comprehensive high schools in the district. Stage plays are performed at the main
theater, which has 603 seats, and at the smaller Black Box Theater, which has approximately 120
seats.
We have two theaters instead of just one theater, and so we’re able to do a larger main
stage show plus Black Box shows which are a lot smaller. We try to do four shows a year
after school, plus my drama one students will do two performances a year, and my
advanced drama students will do four performances a year. So there’s (sic) ten
opportunities to be on stage in front of everybody else (Leanne, personal communication,
October 11, 2013).
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 94

Observations of The Princess Bride, on September, 12, 2013, and Willy Wonka and the
Chocolate Factory, on December 5, 2013, documented two theatrical performances during the
fall semester and captured the experiences of participants at the main theater.
Collaboration was evident among the teachers and students in the visual and performing
arts programs through their active support of the drama department and its theatrical productions.
Leanne invited a social science teacher, with a strong interest in theater, to direct The Princess
Bride, while she produced the show, an undertaking which involved a comprehensive production
team with many volunteer staff and the need to hire freelance professionals. One freelance
choreographer was hired to train student actors to use swords during the fight scenes in The
Princess Bride.
Given the funding challenges, a topic explored in more detail in the section to answer the
third research question, Leanne tapped the resourceful talents of the stagecraft course to build
sets and create costumes. She hired a professional choreographer to train the main characters to
learn sword fighting and maintained a visible presence throughout rehearsals. Leanne worked
closely with Joel and students in his graphic design course to produce an elegant, colorful poster
to promote The Princess Bride, the first of four quarterly theatrical productions planned
throughout 2013-14.
On a cool desert evening in September, 2013, at the premier of The Princess Bride,
Leanne welcomed over 200 parents and students to the theater and engaged in small talk with
many guests. The director, theater manager and various student leaders with production
responsibilities, also greeted an enthusiastic audience as they entered the beautiful theater and
chose seats on the main floor or upstairs in the elegant balcony. The Princess Bride enjoyed a
theatrical run for three nights with an additional show on Saturday afternoon.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 95

Based on their positive learning experiences gained from The Princess Bride, many
students auditioned for acting roles and behind-the-scenes responsibilities with the December
musical, Willy Wonka and the Chocolate Factory. Leanne collaborated with Ted and the music
department to integrate live symphonic musical numbers into her production of Willy Wonka and
the Chocolate Factory.
I think it’s super important to be a reflective practitioner especially in a theater program
or a music program because you need to know that what you’re doing reached the
students or if it didn’t reach them, if it was appropriately leveled (Leanne, personal
communication, October 11, 2013).
The subsequent production, Willy Wonka and the Chocolate Factory, symbolized the
growing strengths of the performing arts program with a live symphony orchestra that
complemented the stage action of the actors.
Evidence from observations of the show indicated Leanne and Ted, the performing arts
chair and musical director of the show, depended on an expansive range of people, from students
and parents to faculty and administrators, to successfully produce the musical interpretation of
the classic Roald Dahl story. Research from the literature review complemented the evidence.
Robert (2010) found a collaborative culture among administrators and faculty in arts programs
contributed toward the successful longevity of arts programs and sustained their reputation in the
community.
Data collected from observations of Willy Wonka and the Chocolate Factory, on
December 5, 2013, noted a majority of interview participants in this research study attended the
show. Kate, the principal, Robbie, the visual arts department chair, Evette, the art teacher, and
Joel, the graphic design teacher, whose students designed the promotional poster, attended the
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premiere. Leanne and Ted actively directed the show. Before the curtain rose to start the first
act, Leanne greeted each parent, student, teacher and community member who entered the
theater. Approximately 200 people attended the opening night, with many attendees choosing to
sit in the elegant balcony.
The climactic musical numbers in the chocolate factory symbolized the creative efforts
among the director and stage crew to create the illusion of a chocolate factory on stage. Willy
Wonka and the Chocolate Factory concluded with a rousing encore from the orchestra when the
entire cast assembled on stage. As Kate, Robbie, Ted, Evelyn, Joel, and over 200 students,
families and other guests exited the theater, Leanne and the actors, in costume, hurried to the
foyer to thank them for attending and supporting the show. This simple, hospitable gesture
indicated a clear, symbolic example of their effort to build a relationship with members of the
campus and local community, and gain further support to sustain the visual and performing arts
program at Eastland High School.
The four frames illuminate the management strengths and weaknesses inherent in the
drama program (Bolman & Deal, 2008). An examination of the evidence through the four
frames revealed the theater has cultivated a status as a symbol of the campus. Its towering
presence over the campus community reinforced the reputation of the site as a visual and
performing arts school. An analysis of the drama program through the symbolic frame clearly
indicated that the theatrical productions, student actors, stage crew, the symphony and other
elements forged a cohesive organizational structure. Bolman and Deal (2008) explored the
importance of organizations and cultures and their relationship with the people who personify
each aspect of the organizational structure. As a new organization, the drama program continues
to develop distinctive qualities that define its role in the culture at Eastland High School. Leanne
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and Ted want the drama program to achieve consistent success. Observational data collected
from rehearsals and the performance of Willy Wonka and the Chocolate Factory affirmed the
drama program represents a high standard of theatrical production.
Analysis Summary. Data collected from the review of site documents, survey,
interviews and observations provided a valid source of evidence to triangulate to answer the first
research question. The triangulation of descriptive and observational data found patterns
relevant to compare with data collected from the survey and site documents (Creswell, 2009). A
thorough review of site documents provided an introductory overview about the arts programs.
Analysis of the survey data showed a majority of the faculty agreed the school provided a
comprehensive arts program. However, the survey data revealed several concerns that
corresponded with interview data. Interviews with Robbie and Ted, the leaders of the VAPA
program, indicated their agreement with the majority of survey respondents who found the
school lacked an arts education plan. While the survey and interview data agreed that the school
supported a strong curriculum in the arts, the data also called for more interdisciplinary
collaboration and open communication with parents to encourage their involvement.
The qualitative data from interviews and observations revealed Robbie, Ted, Leanne and
Kate actively supported parent involvement. Under her leadership as the principal, Kate founded
a new Title I Parent Involvement Committee that reported its goals and accomplishments to the
School Site Council, an elected organization of faculty, parents and students. As an elected
teacher member on the School Site Council, Robbie actively promoted the arts at several
meetings this semester with parent leaders in attendance. Evidence collected at the School Site
Council and Parent Involvement Committee meetings corresponded with findings from the
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survey and interviews regarding a growing movement to increase parent involvement and
connect them with the arts programs.
The visual and performing arts program, from the perspective of the structural frame and
human resource frame, indicated the organization has strengths and areas to improve. Evidence
of strengths included a collaborative leadership quality among leaders, students and volunteers.
The evidence suggested that Robbie and Ted are moving the visual and performing arts program
forward and building a reputable structural frame to achieve consistent, high quality results. In
interviews with Kate, Robbie, Ted, Saul and Leanne, each recognized a need to improve parent
involvement. The lack of parent involvement indicated an area of weakness to address related to
the human resource frame. However, given the emerging strengths evident in the structural and
symbolic frames, the visual and performing arts programs has the leadership qualities to develop
a successful parent plan (Robbie, personal communication, September 9, 2013; Saul, personal
communication, December 17, 2013).
Data from observations and interviews found the visual and performing arts program
offers a comprehensive arts program with high quality instructors. Each participant in the study
advocated for the arts program. While the program lacks an AP art history course, a choir and
dance curriculum, each participant in the research study showed a commitment to advocate for
the arts and welcome new arts programs to the school. Observations of consistent collaboration
among students and faculty indicated their capacity to engage in effective interdisciplinary
collaboration to develop stronger metacognition skills, an aspect of learning and interaction
documented in the literature review (Juno, 2010; Music, 2010). Active engagement among
students in arts programs strengthened their confidence to succeed in all subjects across the
curriculum.
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Data and Analysis for Research Question 2
The second research question focused on leadership: How does leadership at Eastland
High School support the arts? Evidence from a review of site documents, survey data,
interviews and observations indicated Eastland High School has the strongest arts program in the
district. The school won the district-wide art showcase during the past three years, 2011-2013. It
is the only high school in the district and region with two marching bands and color guards.
Qualitative data collected from interviews and observations provided an opportunity to explore
and understand leadership at the site.
A triangulated analysis, coded into three thematic categories, identified three distinct
themes for the collective breadth of qualitative data. The first theme recognized the importance
of collaborative leadership. The second theme found community partnerships represented a
significant aspect of the arts program. The third theme, explored in detail for Research Question
3, involved resourceful funding decisions.
Based on the evidence collected to answer Research Question 2, a leader with a
collaborative leadership style, with the capability and patience to exercise prudent financial
decisions, guided each department in the visual and performing arts program toward independent
and collaborative success. Each participant in this research study demonstrated a tactful skill to
navigate the bureaucracy and build a coalition of support among faculty, administrators, parents
and students. Observations and interviews with instructional leaders verified their capacity to
support two interdisciplinary projects, launched under the guiding leadership of Robbie and the
visual arts program, based on funding secured through community partnerships.
The seven survey questions discussed below, in Table 4, address the second research
question.
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Table 4: Survey Questions: Leadership
Survey Questions:
Leadership
1
Never
2
Sometimes
3
Most of
the Time
4
Always
4. Instructional leaders review
teaching outlines in the major
arts disciplines to ensure
instructional sequencing.
17 14 9 5
15. The school employs highly
qualified teachers in the visual
and performing arts and
contracts with additional
individuals and groups with
expertise in the arts.
2 8 10 27
16. School budget (combined
district, state and federal
funds) includes collaborative
planning in arts education
(including all arts disciplines).
7 23 12 4
18. School administrators and
staff have an organized
approach to arts education that
aligns with the school wide
instructional plan.
6 19 12 8
19. Administrators review the
Master class schedule to
ensure access to arts
instruction for all students.
4 19 11 11
20. Administrators and teaching
staff monitor the appropriate
placement of students in arts
classes.
4 18 17 6
22. 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.
13 16 9 6

Among the 30 survey questions, the seven questions above provided data related to
leadership and the arts programs at Eastland High School. A majority of responses indicated
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 101

leadership is not actively involved in curriculum planning and instructional planning to support
arts across all disciplines. Question 4 indicated 69 % (31 out of 45) reported that instructional
leaders never, or only sometimes, reviewed curriculum in the arts courses to supervise
curriculum sequencing or mapping. While a majority of responses to Question 15 (78 %, 37 out
of 47) indicated that the school hires highly qualified instructors for the arts programs, Question
18 (55 %, 25 out of 45) revealed administrators and faculty do not have a unified vision to
support arts education. Responses to Question 18 also indicated the majority of respondents felt
the school lacks an organized approach to align arts education with a school-wide instructional
plan.
Access to arts programs and appropriate placement were explored in Questions 19 and
20. In Question 19, a slim majority of 51 % (23 out of 45) felt administrators do not ensure
students have access to arts classes through a careful review of the master schedule. However, a
slight majority of respondents to Question 20 (51 %, 23 out of 45) indicated that administrators
and teachers closely monitor the appropriate placement of students in arts courses. More
significantly, in Question 22, approximately 66 % (29 out of 44) said the school never, or only
sometimes, clearly communicates that arts education is a responsibility among all faculty at
Eastland High School.
Interviews with leaders in the VAPA program and with one administrator provided a
valuable source of data to triangulate with data obtained from the review of documents, survey
and observations. The visual and performing arts departments, each with its own guiding leader,
have nurtured productive relationships with the principal and her administrative team. Interviews
were conducted with Kate, the principal, Robbie, the visual arts department chair, Ted, the
performing arts department chair, Evette, the lead art teacher, Joel, an AP studio art and graphic
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design teacher, Leanne, the drama director, and Saul, the leader of the freshman marching band.
Leadership was examined in a variety of contexts. The principal provided an administrative
perspective of leadership for analysis, while Robbie and Ted explained their perspective as
instructional leaders of their respective arts programs. Understanding how leadership supports
and sustains the arts required investigating how each participant in this research study also
navigates the bureaucracy.
Triangulation with interview data revealed concerns that corresponded with the survey
results. Robbie and Evette expressed concern about school-wide remedial intervention courses,
such as the two-hour block Scholastic Read 180 literacy intervention course and CAHSEE
support course, which tend to deprive ninth and tenth grade students from the opportunity to
enroll in art courses (Robbie & Evette, personal communication, September 9, 2013). Their
responses supported findings in the review of literature regarding Title I public schools that offer
more test preparation and remedial courses to meet NCLB expectations (Kratochvil, 2009).
Robbie and Evette expressed concerns that narrowing school curriculums lessened the
availability of arts courses for at-risk students, a theme of concern reflected in current research
studies investigating Title I public schools (Anne, 2010; Sabol; Kratochvil, 2009).
Interviews with the principal and instructional leaders in the visual and performing arts
programs confirmed that the school is moving forward to support and sustain the arts programs.
The principal indicated that “collaboration” and “cross-curricular literacy” signified positive
learning outcomes evident among students enrolled in visual and performing arts programs
(Kate, personal communication, September 9, 2013). In separate, individual interviews with
Ted, Saul and Leanne in the performing arts program, they reflected on the value of an arts
education and acknowledged that administrative leadership supports the arts programs at
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Eastland High School. In the review of literature, Anne (2010) found administrative leaders who
understand and value the arts, as an academic subject and one of the A-G requirements, have the
influence to promote the reputation of arts programs at schools. The longevity of an
administrator cultivates increasing amounts of social and political capital to support arts
programs (Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto, 2002).
Rose, Evette and Joel agreed that teamwork and collaboration were essential leadership
qualities to successfully guide interdisciplinary projects and motivate students and faculty to
work together on behalf of the arts. They cited the success of the Wasteland project and
subsequent Crosswinds project as examples of interdisciplinary collaboration and leadership.
Robbie described the difficult challenges to bring a cross-section of faculty together to support
an interdisciplinary project. “It’s like building a new program, because there are some people
that want to jump on board,” while other faculty may decide to wait until they see if the project
idea works (Robbie, personal communication, October 23, 2013). She also commented that
there are some faculty who may never support cross-department collaboration. However, she
optimistically stated, based on the effort of the “first group of people that initiated” the
Wasteland project, “there will be another set of people that will jump onboard a subsequent
project, and complement the first wave of supporters to build a supportive culture in the campus
community” (Robbie, personal communication, October 23, 2013).
Results from the survey found a majority of faculty value the arts and want the arts to
remain an integral part of the mission and vision of Eastland High School. The survey data also
recognized the importance of leadership to support interdisciplinary art projects. The next two
sections in Chapter Four examine leadership more closely in the visual and performing arts
programs, based on data collected from observations and interviews.
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Visual Arts Program. Effective, instructional leadership influenced the learning
environment of each art class visited during observations. Each teacher effectively created and
sustained an active learning environment that embraced the sociocultural theory and encouraged
individual growth among the students. Robbie expected her students to feel a sense of value in
her art class where their artwork was shared and appreciated among peers. Her high expectations
contributed toward the development of their intrinsic motivation to value and appreciate the arts.
She also valued and cultivated student leadership by modeling leadership as a teacher throughout
her daily routine
At a collaborative focus group interview organized with Robbie, Evette and Joel, each
participant of the visual arts department shared stories and commentary that expanded beyond
the structured interview questions. Joel, the graphic design instructor, reported that individual
critical thinking is an evident benefit with students who work independently on their projects.
Number one, they have to think for themselves, but also especially when you give them a
project that’s more open-ended, they have to really think about how they’re going to do it
and approach it. It really delves into critical thinking, I think, more than most other
subjects ever give you a chance to. (Joel, personal communication, September 9, 2013).
One of their independent, creative decisions involved holding monthly department
meetings early in the morning, before school started, at a country-style restaurant located a few
miles from Eastland High School. Other faculty and administrators were welcome and
encouraged to attend. A sequence of observations at their early-morning art department
meetings at the restaurant indicated Robbie, Evette and Joel constitute a family whose members
value each other. They are lifelong friends, have professional respect for each other and their
respective talents, and act with confidence as proactive leaders within their art department.
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Observations recorded five teachers assembled for breakfast at a local restaurant for an
official art department meeting. Robbie warmly greeted everyone, ordered coffee and breakfast,
then initiated the meeting. The main agenda topic regarded her proposal to start a visual arts
academy. Robbie said she planned to meet the principal to discuss her proposal and encouraged
other teachers to support the academy concept (Personal communication, October 23, 2013). Joel
mentioned a possible obstacle with a competing proposal from the performing arts department,
which also wants an independent academy. Robbie clarified that she had no “power to influence
the final decision” from administrators, who may choose to support a single visual arts and
performing arts academy, or support two separate, independent academies (Personal
communication, October 23, 2013). She explained that both arts programs have separate
leadership teams, operate with separate funding decisions, and would function more optimally as
separate academies. Robbie further clarified that the art program pathway would function like an
academy with art and core subject teachers aligned with cohorts of art students, separate from the
mainstream students and faculty.
Looking ahead toward that afternoon, Robbie emphasized the significance of a cross-
department meeting she organized to occur after school. With the implementation of California
Common Core State Standards on the horizon, Robbie decided the art department should take the
initiative to organize a cross-department meeting to foster interdisciplinary collaboration that
embeds art content and themes into core subject curriculum. Robbie suggested that she would
like the art department to work with the English department to develop a school-wide writing
rubric for essays that all departments may share and use.
Later that day, at the interdisciplinary department meeting, on October 23, 2013, where
observations continued, Robbie welcomed approximately 45 faculty and several administrators
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to the meeting. Kate, the principal, and two other administrators also joined the meeting. The
atmosphere in the room felt comfortable and purposeful. Robbie opened the meeting and
announced its purpose “to begin cross-departmental discussions to set the stage for future
collaboration to support students” (Robbie, personal communication, October 23, 2013).
Robbie and her leadership efforts connected with findings from Sobol (2010), whose
research recognized the value of embedding visual literacy throughout all curriculum on a master
schedule. The interdisciplinary meeting reassured the visibility of the visual arts program and its
position to support visual literacy across the curriculum. Robbie personified the type of
leadership necessary to support an arts program explored in the literature (Anne, 2010;
Castaneda & Rowe, 2006; Gratto, 2002). Robbie clearly led the interdisciplinary meeting with
confident leadership. Throughout the meeting, she remained consistently approachable and
interacted confidently among each of the faculty, including the principal, other department chairs
and core subject faculty. The principal and other department chairs acknowledged Robbie as the
leader of the meeting. From her perspective, Kate, the principal, commended the collaboration
evident among faculty at the meeting (Personal communication, October 23, 2013).
Interdisciplinary collaboration was an evident quality of the Wasteland project. Evidence
of critical thinking and student leadership were evident learning outcomes among students and
faculty involved in the Wasteland project. While the Wasteland project occurred during spring
2013, before the research study commenced in fall 2013, the project continued to radiate a
positive impact within the campus community, and earn faculty and community recognition
throughout the fall semester. The success of the Wasteland project resulted from a dedicated
team of faculty in the visual and performing arts programs and from administrative leadership
who supported the project as a school-wide endeavor.
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It was a collaboration among students who came together and stretched their minds about
what art is, and how art can be made from found objects and recycled materials, and by
cleaning up the environment. By engaging in environmental education and hands-on art
making, these students transformed illegally dumped materials into sculptures, raising
awareness and actively mitigating the problem (Robbie, personal communication,
September 9, 2013).
On January 7, 2014, the researcher observed a recognition ceremony, held at Los Angeles
County Chambers, to honor Robbie, Evette, Kate the principal, and the entire project team of
students and faculty for their participation in Wasteland: Turning illegally dumped waste into
art. Students and faculty traveled from Eastland High School to Los Angeles to receive their
award from the Los Angeles County Board of Supervisors.
The purpose of the Wasteland project was to educate students, through an
interdisciplinary approach, about issues and problems regarding illegal dumping in the local
community and its economic, environmental and aesthetic impact on the desert environment.
Over 600 visual and performing arts students involved themselves in the project, creating
sculptures of art from waste collected from an illegal dump site within a five mile radius near the
school. Faculty from the math, English, social sciences and AVID departments integrated
thematic elements of illegal dumping and the Wasteland project into their curriculums. The
project culminated with a formal museum exhibit that presented the sculptures at the local
Museum of Art and History and at the annual Arts Showcase at Eastland High School, during
May, 2013.
Seven months later, at a faculty meeting on December 11, 2013, the school recognized
the ongoing learning outcomes evident among students and faculty through their participation in
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the Wasteland project. Robbie and Evette gave a presentation with information and photographs
about the Wasteland project that occurred during the previous semester. Robbie emphasized the
increased outreach evident between the school and local community as a result of the successful
project which raised awareness about illegal dumping in the community. She also emphasized
the hands-on cooperation and collaboration evident among students as they visited a nearby
illegal dump site to collect trash, organize a cooperative plan to collaboratively create a sculpture
from the trash, and work together on a daily basis to construct their projects in their art classes.
The principal acknowledged the positive impact of the Wasteland project. Reflecting on
the Wasteland project, the interdisciplinary school-wide community endeavor initiated between
the Eastland High School visual arts program and the local Museum of Art and History, via a
$3,300 grant from an illegal dumping task force agency, Kate observed that interdisciplinary
pedagogy united core subject faculty with the art department. The principal said students
experienced “connections between their classes” in core subjects through the Wasteland project
(Kate, personal communication, September 9, 2013).
The visual arts department chair shared her insights about the interdisciplinary
collaboration witnessed among departments and teachers during the Wasteland project:
I think that this was one of the first projects, and in terms of something to that scale, that
connected with other disciplines on campus. I don’t think it went [as] perfectly as we had
imagined, I think, because it was our first time doing this, but I do think it was successful
because so many other teachers on campus were involved that weren’t just from the arts.
(Robbie, personal communication, September 9, 2013).
At the faculty meeting, on December 11, 2013, Robbie announced the next
interdisciplinary collaboration, led through her leadership with the arts program. The project,
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based on wind, offered opportunities for further interdisciplinary expansion and growth with the
visual and performing arts programs. Robbie and Evette concluded their presentation with an
announcement about the new interdisciplinary project based on wind. “If you have any ways to
connect wind to your subject area, please think about it.” (Robbie, visual arts chair, personal
communication, December 11, 2013). The Wasteland project cultivated media awareness in
newspapers, local television news programs and on local internet news websites. The success of
the Wasteland project revealed the potential for further interdisciplinary collaboration between
the arts programs and core subjects. The subsequent Crosswinds project, proposed in December,
motivated faculty across all disciplines to implement the project under the leadership of the
visual arts department.
Performing Arts Program. Observations and interviews with faculty leaders in the
performing arts program provided a wide breadth of data for analysis. Observations were
conducted at four marching band practice sessions, from 6:30 to 7:30 in the morning, and at four
subsequent football games during the evenings. On September 26 and 27, 2013, the researcher
observed two early morning practices with Saul and the freshman marching band. Observations
of Ted and his marching band were conducted on October 3 and 4, 2013. Each marching band
and color guard has approximately 150 students. An integral theme evident in the observations
involved student and faculty leadership.
During observations, Saul waited patiently as students collected their instruments from
cabinets and protective cases. The wind and symphony sections took their seats near the podium
while the drum line and percussion students formed a standing frame behind the symphony.
Students in the color guard created a wide perimeter around the marching band ensemble. While
many students held instruments, others did not have an instrument. Saul explained that there
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were not enough instruments for students despite increasing enrollment in the two marching
bands (Saul, personal communication, October 4, 2013). Students have learned to compromise
and share instruments. The limited number of instruments were purchased with funds when the
school opened. Saul also volunteered his time each morning to conduct and lead the students in
the freshman marching band. His algebra classes began later that morning at 7:45 am. An
analysis of funding issues is explored in the Chapter Four section devoted to the third research
question.
Saul guided the marching band and color guard through several practice routines with
traditional, popular songs played to motivate the home team at football games. Throughout the
rehearsal, students behaved with purposeful dedication. They exhibited a drive to succeed and
demonstrated a maturity to work together. Saul stopped the rehearsal to share a personal story
from his days as an undergraduate saxophone player and section leader on the marching band at
University of Southern California. Saul shared a personal story about his first appearance with
the USC marching band, known as the Trojan Marching Band, at the Los Angeles Memorial
Coliseum. His participation on the university band helped develop his confidence and leadership
skills.
Saul used his story to fire up the freshman students with a sense of purpose and
motivation, and find energy within themselves to support the Eastland High School football team
at the game later that evening. Saul explained that the marching band represents the spirit of the
school. Saul wanted the freshmen students to understand their roles as leaders at the school and
as symbols of school pride. He then led the students through a rehearsal of “We Will Rock
You.” Leadership, motivation and teamwork were constant themes evident with Saul as his
work ethic led the marching band. (Saul, personal communication, September 27, 2013).
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In the evening, approximately 10 hours later, Saul and the freshman marching band
joined Ted and the upperclassman band as they marched into the football stadium for their home
game between Eastland High School and a crosstown rival. Saul and the freshman band took up
three rows in the bleachers. Approximately 85 marching band students and 45 color guard
students represented the freshman marching band. Their presence in the stands reminded
parents, families and students in the audience to cheer for the football team and support the
marching band, through their music. Their performance reinforced the message that Saul gave
earlier in the morning, regarding their responsibility to symbolize the pride and spirit of the
football team for Eastland High School.
Crowds of students, parents and their families filled the remaining seats in the bleachers.
After a female English teacher sang a rousing rendition of the "The Star-Spangled Banner," the
National Anthem of the United States, the football players launched onto the field, fired up with
music from the freshman marching band, and started the game. Throughout the football game,
Saul wore only a short-sleeve shirt with the school colors and emblems. His energy to lead the
band fought off the frigid cold weather. Observations from the elevated announcement box
found Saul maintained a consistent, visible presence as a band conductor and leader. He also
maintained a vigilant eye on the football field and guided students to play songs depending on
the circumstances of game.
While Eastland High School lost the football game on September 27, 2013, Saul and the
freshman marching band and color guard played music in the bleachers until 9:15 pm,
celebrating the spirit and pride of their football team as the last parents exited the stadium.
During an interview with Saul, he explained the purpose of the freshman marching band and
color guard. The first year marching band and color guard introduce ninth grade students to the
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high level of expectations for upperclassman, who wear the symbolic school uniforms and
represent the school at all events and tournaments. “We have the opportunity to become leaders,
to direct people, to show them the music, to show them what goes on, and then, once you're an
upperclassman, you can also help the incoming students, the freshmen” (Saul, personal
communication, December 17, 2013).
Saul shared his perspective about the two marching bands and their impact on the campus
community. The marching band symbolizes a functioning leadership organization on campus
and represent a sense of purpose for students, beyond the academic subjects. He explained that
students begin to develop leadership skills and take ownership of their position as important
members of the school culture. They develop a sense of pride and self-confidence.
We're also the pride of the school. We do keep the school moving, kind of like the
heartbeat of the school when we play at football games and at the pep rallies. We want to
be a presence on campus to show the students that high school is very important. It's a
very important stepping stone for their future, but at the same time we know that high
school is also a time where they're still having fun, and we want our students to have fun
at school, and at the same time demonstrate leadership for the other students (Saul,
personal communication, December 17, 2013).
Ted explained that the freshman marching band and color guard provided an opportunity
for ninth grade students to experience the marching band without experiencing the intimidation
to audition for the upperclassman marching band. According to Ted, the upperclassman band is
the largest marching band in the desert valley region where Eastland High School is located.
This academic year, he and the performing arts program decided to launch two marching bands
and color guards. The upperclassmen marching band and color guard had exceeded their
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expectations, and its reputation increasingly attracted more incoming first year students to
audition (Ted, personal communication, December 16, 2013).
At a subsequent observation, Ted led the upperclassmen marching band and color guard
through their early morning practice routines on the grass field next to the school gymnasium.
Ted relied on a military-style, disciplined approach to guide and mentor students through the
practice sessions. They marched in unison as he shouted orders like a military sergeant
commanding soldiers with drills. The students responded with orderly precision. Approximately
110 students participated in the morning practice. One of the key student leadership roles, known
as the major, led the rehearsal as a conductor while Ted navigated through their practice routines,
making suggestions to students, offering criticism, encouragement and a motivational push to
continue practicing toward the perfection he expected.
As the sun rose above the school theater and rays of warm sunshine penetrated the cold
morning air, Ted ensured that each student in the color guard maintained a precise poise as they
danced in a complex arrangement with the marching band. The marching band played three
songs for “Pandora’s Box,” a performance show based on the Greek mythological tale about a
rebellious daughter who opens a gift, a box that her father forbade her to open (Ted, personal
communication, October 4, 2013). Ted used his iPad to take notes on a rubric that evaluated
each student throughout the practice session. He said students receive an evaluation and grade,
based on the rubric, after each performance at football games, tournaments and other events.
At the football game that evening, on October 4, 2013, the marching band students wore
their regal purple and black uniforms. They marched into the stadium and onto the field for the
halftime show with confidence and pride. As the halftime show started, Ted greeted the crowed
over the loudspeakers and introduced the upperclassmen Eastland High School marching band.
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Ted was a visible presence throughout the game, on the field leading the marching band and
color guard, and coordinating their movements. Saul and the freshman marching band, as
described in more detail above, remained on the sidelines in a supporting role and respectfully
observed the upperclassmen marching band and color guard as they performed the halftime
show.
During the performance, Ted used his iPad to grade students on the marching band and
color guard, as well as evaluate their overall performance of “Pandora’s Box,” based on the
mythical story. He evaluated their musical performance through their capacity to captivate and
emotionally move the audience with music, marches and dances. Ted assessed their individual
skills to perform with musical instruments, batons and flags, as well as their collective teamwork
and collaboration on the field. The evaluation also documented the visual performance,
choreography and synchronized movements of the marching band and color guard. The
assessment provided a meaningful academic evaluation that Ted planned to share with students
to motivate them to reflect on their performance and improve. Ted explained each performance
is an emotional experience that further motivates students to improve and perfect their skills.
We have these real life, real world experiences that are emotionally charged, whether it’s
a performance, a football game, or whatever, this is where they are making friends
forever. So, the arts are the way to motivate, to keep kids in school to help them, to teach
them to care for themselves because other people in those groups count on them, and
they’re much more willing to, at times, to step up for their friends, than they are to step
up for themselves (Ted, personal communication, December 16, 2013).
The upperclassmen color guard danced in flowing red and white dresses, designed and
created by volunteers with the performing arts program, to reflect the good and evil characters
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that Pandora released from the box. As the marching band moved in intersecting, coordinated
patterns across the field, the color guard played characters in the mythological tale, personalizing
the conflicts and emotional moments for the audience to understand and experience. Ted
explained that the mythological story of Pandora connected with students and their parents (Ted,
personal communication, December 16, 2013). As the show concluded, the parents, families,
students and teachers in the bleachers applauded and cheered. The applause continued until each
member of the band and color guard exited the field.
The upperclassmen marching band and color guard performed the same show at every
football game during the fall season, and at two events in November. On November 14, 2013,
they performed at the annual marching band showcase at Eastland High School. The entire band
also competed at the Western Band Association regional tournament, held on November 23,
2013 in Fresno, California, an event that featured over 20 other high school bands. Each
performance strengthened the reputation of the marching band and color guard program.
Ted assessed each performance, relying on his own observations and evaluations
recorded on his iPad rubric, to constructively move students forward to improve their
performance. With a reflective perspective, Ted expressed that the two marching bands, color
guards and entire performing arts program make school relevant to students. In essence, Ted
clarified that the band and color guard keep students motivated to stay in school and succeed
(Ted, personal communication, December 16, 2013).
During the first years of operations, Ted said the district did not have confidence in him
or the fledgling marching band to recruit students. Initially, the district would purchase an
instrument for each student who enrolled in the marching band. While construction crews
continued to build the new campus, and the performing arts program operated out of bungalows,
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the marching band developed as a symbol of pride at Eastland High School, and attracted
increasing numbers of students to audition. The marching band continued to grow and
enrollment increased, but the district wavered on its agreement to match enrollment with more
funds for Ted and the program to purchase instruments. Ted explained that the district
incorrectly predicted that enrollment in the marching band would decrease. Based on this
evidence, the district did not initially support the performing arts program; however, the
significant success and growth of the marching band helped it overcome this initial perspective
and influenced the district to adopt a more supportive approach.
When the new facilities opened in 2009, the performing arts program continued to
support a single marching band. As more students enrolled in the marching band, a symbol of
pride in the campus community, the performing arts department started a freshman marching
band that would prepare students with leadership, confidence, music comprehension skills and
other skills expected of them to succeed as members of the upperclassmen marching band (Ted,
performing arts chair and marching band director, personal communication, December 16,
2013).
Analysis Summary. Triangulation of data from the site documents, survey, interviews
and observations identified collaborative leadership and community partnerships as two
emerging themes. Interviews and observations with leaders in the visual and performing arts
program and the principal documented the collaborative relationships they cultivated with
faculty and community organizations. While the survey only had seven questions related to
leadership, the survey data yielded patterns that corresponded with interviews with each leader.
The survey results found a majority of the faculty wanted VAPA and administrative
leaders to align arts education across all disciplines and with a school-wide instructional plan.
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Interview and observational data validated survey results that called for an organized arts
education plan at Eastland High School. The interdisciplinary art meeting, documented on
October 23, 2013, connected a cross-section of data collected from the survey, interviews and
observations. Along with ensuring visibility of the arts program, the interdisciplinary meeting
documented the importance of collaborative leadership through interviews and observations.
Given the results analyzed from the survey and interviews, a majority of faculty, the VAPA
leaders and principal considered the arts a significant cornerstone of Eastland High School.
The breadth of descriptive data found Robbie and Ted consistently sought to elevate the
status and reputation of the VAPA program. The multiple observations documented a consistent
and effective leadership style among each leader in the visual and performing arts program. In
the visual arts program, Robbie developed a leadership style reminiscent of a family leader,
nurturing faculty and students. The evidence also suggested that the performing arts program
builds student leaders who value their roles as members of the marching band and color guard,
representing Eastland High School with pride and honor. The performing arts program clearly
provided students with leadership, discipline and a sense of purpose.
Evidence from the interviews and observations validated the role of a collaborative leader
who leads a program toward success. This point was explored in the review of literature,
specifically research relevant to leaders who cultivated social and political capital to support arts
programs at schools (Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto,
2002). Robbie and Ted, the respective leaders of the visual and performing arts programs,
demonstrated a collaborative, resilient leadership style to guide each department through
challenges and toward success. Results from the survey and interviews indicated a need to
cultivate a comprehensive parent involvement plan. Triangulation with interview data revealed
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leaders in the visual and performing arts program were concerned about the enrollment of ninth
grade students in remedial education courses for math and reading that excluded students from
the arts. While challenges exist, the analysis of data found administrators and VAPA leaders
worked collaboratively to support the arts through interdisciplinary collaboration at the site.
Data and Analysis for Research Question 3
The third research question explored the process involved in funding decisions made at
the site: How are funding decisions made at Eastland High School? Funding the visual and
performing arts program represents complex arrangements between the leaders of the VAPA
program and the principal. Title I funds are not approved at the district or site level to support
arts education and visual and performing arts programs. The economy in California and
throughout the United States suffered a severe economic recession in 2008. Over the past six
years, the economy improved, but the VAPA budget at Eastland High School has not increased.
The history of Eastland High School and its expensive performing arts complex coincided with
the timeline of the economic recession and its slow recovery.
In 2008, funding at the state level for schools declined as community expansion plans and
housing construction imploded around Eastland High School. Ted explained that the decline in
funds at the district level impacted plans to finish construction of Eastland High School and its
$20 million performing arts complex. Ted, Robbie, and Saul were co-founders of the performing
arts complex and communicated directly with the architects who designed the school in the early
2000s. While community and district leaders demonstrated resilience to secure the funds
necessary to complete the complex in 2009, the economic recession in 2008 contributed toward a
decline in available funds for each site throughout the district (Robbie & Evette, personal
communication, September 9, 2013; Ted, personal communication, December 16, 2013).
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Evidence collected from the survey, interviews and observations is discussed in this
section. The subsequent three sections explore specific findings relevant to funding decisions
made in the visual arts, performing arts and drama programs. The collective breadth of evidence
provided a greater understanding of how leaders at Eastland High School make funding
decisions that impact the arts program.
Funding-related questions in the survey provided a valuable source of information for
data collection to answer the third research question. The funding sources at Eastland High
School represent a complex aspect of the bureaucracy. Table 5, below, lists four survey
questions related to Research Question 3 with their responses.
Table 5: Survey Questions: Funding
Survey Questions:
Funding
1
Never
2
Sometimes
3
Most of
the Time
4
Always
15. The school employs highly
qualified teachers in the visual
and performing arts and
contracts with additional
individuals and groups with
expertise in the arts.
2 8 10 27
16. School budget (combined
district, state and federal
funds) includes collaborative
planning in arts education
(including all arts disciplines).
7 23 12 4
17. Other community funding
(teacher, grants, donations,
and bond, local tax) exists in
arts education (including all
arts disciplines).
2 31 9 4
21. Supplemental learning
materials, adequate supplies
and functional equipment are
available to students in all arts
facilities and courses.
4 17 17 5

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The data set suggested mixed feelings from respondents regarding the allocation of funds
to support the arts programs at Eastland High School. In Question 15, a majority of respondents,
78 % (37 out of 47), indicated the school employed highly qualified teachers in the visual and
performing arts programs, and hired experts in the arts on separate contractual arrangements.
Interviews with Leanne, the director of the drama department, and Robbie and Ted, the
respective department chairs of the visual and performing arts, confirmed that funding decisions
to support the arts may involve protracted negotiations and compromises with the principal to
gain her support.
The Princess Bride, a theatrical production produced in September, 2013, needed to hire
a freelance choreographer with expertise in fencing to train the student actors. Kate, the
principal, listened to the proposal, supported the decision and approved the hiring of a fencing
expert, on a temporary contract. This process required the director and department chairs to
justify the financial and instructional needs to the principal, to gain her approval to pay for a
freelance contractor. In other contexts, proposals to hire a choir teacher to support a choir course
or start an advanced placement art history course have met with resistance. In order to justify
adding a choir course or AP art history course to the master schedule, Robbie and Ted must
demonstrate to Kate that a student need exists, with the necessary enrollment numbers (Robbie,
personal communication, September 9, 2013).
Question 16 revealed 65 % of respondents (30 out of 46) felt the budget at Eastland High
School did not include collaborative planning to support arts education across all disciplines.
This indicated faculty want more time to collaborate and support arts education. In the next
question, 71 % of respondents (33 out of 46) reported other community funding sources, such as
grants, donations and financial bonds, were not available to supports arts education. The
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negative responses reflected findings described in the literature review. Declines in traditional
funding sources, specifically Title I funds, have raised awareness among school leaders of the
need to secure financial relationships through partnerships and organizations with the capacity to
provide grants for arts programs in public education (Castaneda & Rowe, 2006; Music, Tredway
& Wheat, 2010; Stillwell-Parvensky, 2011).
Visual Arts Program. Interviews with the visual arts department chair shared
information regarding funding sources and issues relevant to sustain the program. When
Eastland High School was founded in 2005, Robbie reported that the school was originally
designed with a vision to serve as the leading visual and performing arts school throughout the
district. In 2009, the school opened a state-of-the art theater with 603 seats to host four theatrical
productions a year, as well as other events with the visual and performing arts program.
Interviews with Robbie, Ted and Saul confirmed that Title I funds are not available for
the visual and performing arts programs at Eastland High School. The visual arts program is
funded separately from the performing arts program. Art, graphic design, painting and other
related courses represent the visual arts department. The marching band, color guard, drama and
music courses define the performing arts program. While the faculty in each program
collaborate and work together under the visual and performing arts banner, the visual arts and
performing arts programs are separate entities at Eastland High School, each operating under
separate financial constraints. The AP studio art class is funded through the operational budget
of the school. The principal decides the funding available for AP classes. Kate clarified in an
interview that she may expand the AP program with an AP art history course, depending on
student interest (Personal communication, September 9, 2013).
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Funding decisions at the administrative level support the basic operational needs of art
classes. However, Robbie explained that a decline in the financial budget for the visual arts
program coincided with budget cuts across the district and at each site. “This is the first year that
we had to really cut back. We lost about $3,000 out of about an $8,000 budget that we had”
(Robbie, personal communication, September 9, 2013). The budget for 2013-14 was
approximately $5,500. When Eastland High School opened, the budget for the visual arts
program was approximately $11,000. In recent years, administrative decisions have trimmed the
operational budget to about $8,000 (Robbie, personal communication, September 9, 2013).
While budget cuts continue to impact the visual arts program, Robbie felt the arts courses remain
active and continue to produce artistic achievement.
I think that we're totally sustainable. I think we have to make adjustments according to
what the budget is, and that makes sense, but, and of course, we are not always going to
get the best of everything because the core (sic), well actually Common Core's going to
help us, but you know with the core subject areas, they're going to be the ones that get the
concentrated, most money. (Robbie, personal communication, September 9, 2013).
Robbie said each teacher in the visual arts program, which includes Evette, Joel and two
other faculty, discussed their respective inventories, art projects and other operational costs at the
beginning of the year. Purchasing art supplies involved adopting new resourceful approaches,
such as looking for paper and paints at local discount stores, rather than relying on traditional art
supply distributors. Collaboratively, they decided which projects to reduce in scale and cost.
Their resourceful efforts to implement a frugal approach toward their supplies and inventory
helped the visual arts department sustain a productive, academic momentum in all art classes.
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The visual arts program also proactively decided to seek outside funding sources and build
community partnerships to support interdisciplinary projects.
Performing Arts Program. Ted explained that the principal decides how to use the
funds available in the principal’s allocation fund. The principal validated this point. While Ted
and the performing arts program have a supportive relationship with the principal, he recognizes
there is a limitation of funds available to support the marching band, color guard, music courses
and theatrical productions. (Ted, personal communication, December 16, 2013).
A limited amount of the principal’s allocation fund is allocated to support the preparation
of performances with the orchestra and the drama department. When the orchestra performs in a
theatrical production for the drama department, the principal’s allocation fund provides the
necessary funding. The orchestra course is part of the school curriculum. Willy Wonka and the
Chocolate Factory, a musical with an orchestra, qualified for the principal’s funds because
students practiced performing the symphonic music during class time.
Students enrolled in either of the two marching bands make a commitment to pay a $120
enrollment fee. The fee covers a variety of expenses related to the operational costs to maintain
the marching bands and color guards. With an annual enrollment capped at about 300 students,
the performing arts program collects approximately $36,000. Ted and Saul explained the district
and site refused to provide the necessary funds to purchase new instruments to match increasing
enrollment over the past several years (Ted, personal communication, December 16, 2013; Saul,
personal communication, December 17, 2013). Students are aware they must share instruments.
Evidence from observations at practice sessions, and at the football games and other events,
indicated sharing instruments did not discourage students, and may have contributed to their
willingness to share and compromise until funds materialize to fully support the program. The
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fees cover the costs to maintain the program, including transportation, limited purchases of new
instruments and uniforms, maintenance for current instruments and uniforms, and specialized
instruction. A tour and travel shirt, as well as food and water, are included with the fee and
support students on tournaments and other travel-related excursions.
However, the $120 enrollment fee does not adequately cover operation costs. Title I
funds are not allocated to support the performing arts and other school funding sources are
extremely limited. The cost to invest in new instruments and repair deteriorating instruments
represent ongoing concerns.
In the beginning, the district bought us instruments, but we got to the point where they
said there's no more money for instruments. Our program continued to grow, but our
amount of instruments didn't. So, we had to go to a booster organization, now, so that we
can raise money by selling candy. We work at the AV Fair, where we break down all the
chairs in the field, and we raise money by doing different activities, and that helps pay for
instrument repairs, [and] when we have to buy new [instruments] (Saul, personal
communication, October 4, 2013).
As members of the marching band and color guard, students are expected to participate in
fundraising efforts to pay for additional costs beyond their initial membership fee. Fundraising
also allows students and their families who cannot afford the $120 fee to raise money to pay any
balance owed to the program. Through his leadership to develop a community partnership with
the organization that produces the annual city fair, Ted has cultivated an annual opportunity for
students to volunteer their time to clean the fairgrounds, raise money selling tickets and
strengthen the reputation of the marching band and color guard within the community.
Developing community partnerships that provide volunteer and fundraising opportunities was a
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response to the problematic effort to secure funds at school (Ted, personal communication,
December 16, 2013).
We tried the ASB funding model. The problem with the ASB funding model is you
cannot buy an instrument with ASB funds because it is school operated, even non-profit.
The Ed Code does not allow you to buy an instrument with ASB funds. So the kids can't
raise money through their own campus club stuff, because the district is responsible for
that, from an Ed Code standpoint. So we only have, at that point, one option, which is to
run these booster clubs, that, pretty much, every band, that's any band, in the country runs
(Ted, personal communication, December 16, 2013).
A viable solution to raise funds was achieved through a booster club, an organization that
raises money through the active support of parents, students and community partnerships (Ted,
personal communication, December 16, 2013). The Eastland High School Booster Club
program is the most significant funding source that supports the marching bands and color
guards in the performing arts program. Student and parent fundraising, through the booster
program, provide an invaluable opportunity to raise money throughout the year.
The funding issue really gets down to the booster clubs. Throughout the nation, the
booster clubs are the ones that, really, you know, fund music programs on an annual
basis. The districts are in charge of the facilities, and, you know, especially the
instruments, [at] the beginning, [when the program started]. Although, most districts do
not continue that process, and currently, ours is not. (Ted, personal communication,
December 16, 2013).
Interviews with Ted and Saul established their long-term goal to achieve financial
autonomy for the performing arts program. They want the program to support itself financially.
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Given their excellent reputation on campus and in the local community, through consistent
performances, recruiting students for the marching band and color guard has been exemplary.
Ted and Saul explained they decided to cap enrollment at 300 students until they have the
finances to purchase new instruments and uniforms, resolve issues related to transportation
expenses and achieve more financial autonomy. While the booster club has helped them maintain
a high level of efficiency, and administrative support remains consistent, Ted believed the best
long-term strategy to sustain the performing arts program involves an organizational
transformation into an academy model that operates with financial autonomy at Eastland High
School (Ted, personal communication, December 16, 2013; Saul, personal communication,
December 17, 2013).
Drama Program. Leanne is responsible for overseeing funding decisions with the
drama program. Ted is the chair of the performing arts program and works closely with Leanne
to support the drama program. Purchasing the rights to produce scripts, as well as pay royalties,
represent challenging financial constraints for Leanne as she leads a drama department striving
to grow and prosper. She clarified that a drama fund does not exist to financially support the
three levels of drama classes, which are a separate entity from the theatrical productions. The
drama department receives no Title I funds.
Leanne explained that the drama department began with a small budget of $300 in their
first year of operation. However, her first production, The Taming of the Shrew, and subsequent
theatrical productions, benefited from local media attention generated from the opening of the
new theater, a towering architectural landmark that symbolized the $20 million invested in the
visual and performing arts complex. The new theater inspired parents and students to experience
the opulent theater and contribute to the box-office revenues. At the end of their first year, Lucy
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reported the drama department collected $8,000 in ticket sales. However, subsequent annual
theatrical revenues have not matched the $8,000 earned in the first year. The isolated,
geographic location of the school and its theater, situated next to vast, undeveloped swaths of
desert, and miles away from the vibrant city center, may discourage parents and students to drive
to evening productions. Leanne remains resilient and each theatrical production exceeds the
previous play in production value and preparation.
There is no drama fund. There is no money for the drama program whatsoever except for
what I bring to it, but like I said, none of my after-school stuff can be used to pay for
anything during classes (Leanne, personal communication, October 11, 2013).
Costumes and sets rely on recycled materials from previous productions. Although the drama
department raises funds with ticket sales, the box office revenue is insufficient.
The theatrical production, Willy Wonka and the Chocolate Factory, had a $10,000 budget
and enjoyed four performances at the Eastland High School theater, from December 5 to
December 7, 2013. Ted clarified that the principal, through her principal’s allocation fund, paid
the estate of Roald Dahl about $3,500 for the rights to use Willy Wonka and the Chocolate
Factory for the musical. The entire budget for the production cost approximately $10,000. The
sets and costumes required the stage crew and production team to achieve more with less. The
complexity to produce Willy Wonka and the Chocolate Factory required many rehearsals,
compromises, discussions, and an unwavering commitment among Leanne, Ted, the students,
and volunteers to achieve a performance that symbolized the excellence of the performing arts
program. Their commitment to produce the theatrical show reflected their teamwork and
dedication to the arts. “Our mission is to teach life through music and dance” (Ted, performing
arts chair and band director, personal communication, Dec. 16, 2013).
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Analysis Summary. Evidence collected and analyzed from the survey, interviews and
observations established that funding decisions are decided at the administrative level. The site
documents revealed limited funding information. The survey instrument also revealed
limitations with only four questions devoted to funding. A majority of survey respondents
indicated the school budget failed to involve school faculty across all subjects to discuss the
budget and its relevance to arts education at the site. In addition, over 70 % of respondents (33
out of 46) felt the school lacked opportunities to pursue outside sources of funding through
grants and donations.
Data from interviews and observations, triangulated with data collected from the site
documents and survey, provided clear and evident patterns to analyze. Interviews with Robbie,
Ted and Kate clarified their respective responsibilities regarding funding decisions. Ultimately,
Kate, the principal, makes final funding decision. However, evidence from interviews and
observations indicated that funding decisions developed from collaborative leadership and
organizational goals to pursue outside funding sources.
The visual arts chair and performing arts chair acknowledged that the principal showed
consistent support to provide funds for their operations. While administrative support is evident,
the department chairs recognize the limitations of available funds. The visual arts program has
successfully forged relationships with local organizations to secure grants that support
interdisciplinary projects, such as the Wasteland and Crosswinds projects. Although the
performing arts program has developed less partnerships with community organizations, it
developed a successful booster club to raise funds and arranged a long-term agreement with the
annual fairgrounds to gives students opportunities to volunteer and raise money.
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Observations and interviews regarding current funding efforts through the booster club
indicated the performing arts program collected an additional $20,000 in annual revenue during
2013-14, an amount that complemented the approximate $36,000 collected from annual fees
among 300 students. However, Ted clarified that the operational costs required to purchase new
instruments, pay for the maintenance of current musical instruments and uniforms, and finance
transportation to games and tournaments, exceed their annual collected revenue (Ted, personal
communication, December 16, 2013). Ideally, according to Ted, the performance arts program
requires an operational budget of $150,000.
Ted showed a determined resolve to guide the performing arts department toward
financial autonomy through the development of an academy organizational structure. He
explained his rationale and motivation to start an academy during the interview.
We were trying to create an environment where we raise our own funds through
performances that we do, or productions that we put on. I mean, if it's going to be a
performing arts academy, then it needs to be funded in a performing arts manner (Ted,
personal communication, Dec. 16, 2013).
Robbie also clarified that the visual arts department wanted to start an academy and decided to
start a booster club to raise funds that supplement their operating budget (Robbie, personal
communication, November 20, 2013). Overall, each department expressed a goal to achieve
financial autonomy as an independent visual and performing arts academy on the campus at
Eastland High School.
Summary
Chapter Four provided a descriptive analysis of qualitative data collected from a
California public high school with a viable arts program to answer the three research questions.
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The thematic analysis organized the qualitative data into three themes to answer the research
questions: 1) conditions of the arts programs at Eastland High School; 2) leadership decisions
that support the arts programs; and 3) funding decisions that impact the arts programs at the
school. The coding process applied the guidelines from Creswell (2009). The structural, human
resource, political, and symbolic frames, four organizational frames that Bolman and Deal
(2008) created to examine organizational structures at schools, were also applied to the data
analysis.
The analysis of survey responses, coded into thematic categories to answer the research
questions, provided data to understand the arts program and some specific data relevant to
leadership and funding decisions. The survey reflected a valid response from a majority of the
certificated faculty and administrators. Pedagogy, student learning, the learning environment
and community represented four categories of questions in the survey instrument. However, the
four categories of survey questions were not perfectly aligned with the three research questions.
This limitation in the survey instrument required identifying specific survey questions relevant to
answer the research questions.
The data analysis for each research question included an analysis of relevant survey
responses. While 47 respondents out of 78 faculty participated in the survey, representing 60 %
of the faculty, the level of participation for each of the 30 questions revealed a slight range
among the respondents. Thirty-one faculty did not respond, initiate or complete the survey after
two reminders from the researcher. As the mode, 45 was the most frequent number of responses
recorded among the 47 respondents in the data set. Given the limitation of its design, the survey
results provided an additional lens to understand the arts program.
The interviews and observations provided significant qualitative data to explore.
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The breadth of qualitative data collected from the interviews and observations complemented the
review of site documents and survey results. Triangulation of data collected from each data
instrument identified three themes. The first significant theme found a collaborative leader built
ongoing social and political capital among all stakeholders to support and sustain the arts
program. The second theme identified the importance of community partnerships and their
contribution toward the longevity of the arts program. Resourceful funding decisions
represented the third theme found in the analysis of data.
Emergent Themes
Collaborative Leadership
The first significant theme recognized the influential impact of collaborative leadership
on the arts programs. Based on evidence triangulated from data collected from the site
documents, survey results, interviews and observations, a clear pattern emerged that
collaborative leadership is a key factor that sustains the arts program at Eastland High School.
The visual and performing arts departments, each with its own guiding leader, have nurtured
productive relationships with the principal and her administrative team.
In the survey, seven of the 30 questions collected data regarding leadership and the arts
programs at Eastland High School. A majority of respondents reported administrative and
VAPA leadership do not cohesively plan curriculum across all disciplines. The survey results
suggested school leadership should reevaluate its organizational structure to support arts
education at Eastland High School. Approximately 69 % of respondents (31 out of 45) indicated
instructional leaders fail to initiate curriculum development connected to the arts. A majority of
respondents, 55 % (25 out of 45), felt administration and faculty lacked an agreed vision
regarding arts education at the school. Furthermore, the survey results indicated administrators
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and teachers value collaboration and should develop an arts education plan at Eastland High
School. Given the results of the survey, a majority of respondents support the arts and want art
education to remain an integral part of the mission and vision of Eastland High School.
Triangulating the survey results with interviews validated concerns regarding the limited
parent involvement with the arts program. The lack of an effective parent involvement plan to
support the arts was also evident in the site literature (Eastland High School, SPSA, 2013. The
need to develop an effective parent involvement plan was found among the majority of survey
respondents and in interviews with leaders of the VAPA program and the principal. In response,
Kate started a Title I Parent Involvement Committee that reported directly to the School Site
Council, on which Robbie was an elected teacher leader. During the data collection process,
interview and observation data collected at the Parent Involvement Committee and School Site
Council meetings recognized the growing movement to improve parent involvement at Eastland
High School.
The review of site documents complemented the survey results which aligned with
evidence from interview and observation data regarding leadership. As introductory
information, the site documents represented an initial source of data to answer the research
questions with limited information related to the collaborative leadership theme. While site
documents lacked detailed descriptions about the leadership, the WASC and SARC reports
described interdisciplinary collaboration, brief details about the arts programs, student learning
outcomes and organizational structure information.
The interview and observation evidence showed Robbie and Ted cultivated effective
instructional leadership, student leadership, and parent leadership within their respective art
departments. Their effort to build social and political capital complemented previous research
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studies that examined a single leader in successful arts programs (Anne, 2010; Tredway &
Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006; Gratto, 2002). Each leader demonstrated
his or her capacity to inspire others in their organization to succeed. Evidence collected from
interviews and observations of Robbie at a department meeting, a subsequent interdisciplinary
faculty meeting, and interaction among her peers, on October 23, 2013, demonstrated her
collaborative leadership style and consistent advocacy of the arts. Robbie and her resilient
efforts provided a counterpoint to the survey results that indicated a majority of faculty wanted
more curriculum planning across all disciplines to support the arts.
Bolman and Deal (2008) identified the significance of leadership in the four frames of an
organization. Leadership among Robbie and Ted impacted and defined the structural frame,
human resource frame, political frame and symbolic frame of the arts programs (Bolman & Deal,
2008). Robbie and Ted were reflective leaders and driven with a shared goal to improve the
status and reputation of the arts programs within the campus community. Their individual drive
to succeed reflected personal mastery and an unwillingness to fail. Each leader expected, sought
and demonstrated personal mastery in their area of expertise, a leadership concept that each
participant in this case study expected of themselves and among others on their team or in their
departments (Senge, 2007).
As the principal, Kate was a visible leader at the interdisciplinary art department
meetings, theatrical performances, and all football games, showing her support for the visual and
performing arts programs. Collaborative leadership among Robbie and Ted was clearly evident
in their relationship with Kate. Their collaborative leadership reflected a motivational drive to
hold themselves and other stakeholders accountable as they pursued a high level of excellence
for their students in their visual and performing arts programs. In the literature review, Clark and
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Estes (2002) define accountable leadership as a style of leadership that navigates efficiently
between bureaucratic and professional layers of an organization. The evidence demonstrated
that Robbie and Ted effectively navigated the bureaucracy at Eastland High School while
maintaining professional teaching standards in their respective visual and performing arts
programs.
Evidence from this case study contributes new findings to the scholarly literature
regarding collaborative leadership and arts programs. Robert (2010) recognized an arts program
develops years of longevity in school cultures that welcome a strong foundation of collaborative
leadership. Interdisciplinary art projects, interdepartmental art curriculum meetings, and
theatrical and musical performances provided varied sources of data that collectively validated
the collaborative leadership responsible for their success. Based on the evidence collected from
the site documents, survey, interviews and observations, a resilient collaborative leadership
culture sustains the arts program at Eastland High School.
Community Partnerships
The second significant theme found each participant in this case study cultivated
successful interconnected relationships and community partnerships among stakeholders within
the campus community and local community. While rural homes, affordable apartment
complexes, mobile home parks and suburban neighborhoods share a diverse landscape with
undeveloped desert lots in the community, Eastland High School remains a symbolic indicator of
the potential strength that schools influence on their communities.
Results found from the triangulation of data collected from site documents, the survey,
interviews and observations found school leadership should reevaluate its organizational
approach to support arts education at Eastland High School. Furthermore, the results indicated
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administrative and VAPA leadership should create an art education policy that clearly supports
arts education at Eastland High School. However, the site documents and survey lacked specific
questions related to community partnerships. While the site documents and survey instrument
revealed a limitation to explore community partnerships, the theme emerged from interview and
observational data.
Robbie and Ted showed a persistent resolve to overcome fiscal challenges and develop
community partnerships with local organizations supportive of the arts. Interview and
observation evidence documented their resolve to develop long-term community partnerships
with the local museum and with the parent community through the booster club. While they
were collaborative and supportive, Kate, Robbie and Ted recognized their respective individual
limitations to navigate the bureaucratic structure of the school, given the financial constraints of
the school budget.
Through interviews and observations, the principal showed her support for Robbie to
pursue grants with local organizations to finance interdisciplinary projects. The success of the
community partnership with the local museum, as evidenced in the Wasteland project, led to the
new interdisciplinary art project, Crosswinds, financed through a grant and the ongoing
partnership between Eastland High School and the museum. Interviews and observations at site
meetings between Robbie and the curators of the museum indicated their resolve to build social
and political capital through their relationship with goals to elicit further financial and
community support with other local organizations. Their efforts validate findings in the
literature that identified the benefits of community partnerships for arts programs in public
education (Anne, 2010; Tredway & Wheat, 2010; Gratto, 2002).
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Given the decline in site funds available to support the arts and interdisciplinary projects,
Kate, Robbie and Ted recognized the value of cultivating community partnerships. The principal
and VAPA department chairs clearly developed collaborative and supportive working
relationships that contributed to the strength of the arts program. The interaction of each leader
suggested Kate, Robbie, and Ted valued a collaborative leadership approach, which empowered
them to discuss, listen, negotiate and overcome challenges to support the visual and performing
arts. The evidence clearly showed each leader collaboratively understood the need to pursue
more grants and cultivate new reciprocal relationships with organizations supportive of the arts
programs at Eastland High School. Interviews and observational data related to the
interdisciplinary Wasteland and Crosswind projects underscored the value of community
partnerships and the need to implement innovative financial decisions, the third theme that
emerged from the analysis of data.
Resourceful Funding Decisions
The third significant theme recognized prudent, resourceful funding decisions supported
the arts program. Four questions in the survey asked respondents questions regarding funding
related to the arts program. While the survey lacked questions to understand how leadership use
site funds to support the arts, a majority of respondents felt the school budget does not involve
collaborative planning among faculty in all disciplines to support arts education. Furthermore,
71 % of respondents (33 out of 46) indicated grants, donations, financial bonds and other sources
of funding were unavailable to supports arts education at the site. These findings corresponded
with previous research studies that documented the pressure among public school arts programs
to pursue community partnerships and secure financial support through grants (Castaneda &
Rowe, 2006; Music, Tredway & Wheat, 2010; Stillwell-Parvensky, 2011).
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Data from interviews and observations, when coded and triangulated with the survey
data, revealed a consistent pattern among leaders to overcome financial constraints. Interviews
with Robbie, Ted and Leanne found each leader recognized the limits of available site funds to
support the arts program. While Robbie emphasized that the visual arts program has a
sustainable budget, she relies on frugal decisions to support the operations of art courses
(Robbie, personal communication, September 9, 2013). Students in the marching band and color
guard pay annual enrollment fees; however, Ted explained that the collected monies do not cover
the maintenance of instruments, uniforms, transportation costs and other annual expenses (Ted,
personal communication, December 16, 2013). Given these funding challenges, multiple
observations and interviews at rehearsals and performances, including a sequence of football
games, musical exhibitions and theatrical performances, documented consistent, high quality
performances with the marching band, color guard and theatrical performers.
Ted described how the booster club provided a financial lifeline for the performing arts
program. Interviews with Ted, Saul and Leanne documented the significance of the booster club
and its capacity to raise funds to support the operational budget of the performing arts program.
Volunteer work among faculty, students and parents assisted the operations of the marching band
and color guard. Observations and interviews validated the role of volunteers throughout many
facets of the performing arts program. Volunteers donated materials and time to create costumes
for the color guard and actors in the theatrical shows. Since 2005, when the school was founded,
Saul has volunteered his time at every early morning rehearsal, every Friday night football game,
and at every community appearance with the freshman marching band and color guard. While
volunteers are essential, Ted and Saul also indicated the importance of fundraising, as evidenced
through the long-term relationship between the school and the annual fairgrounds where students
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raise money each year through volunteer work (Ted, personal communication, December 16,
2013; Saul, personal communication, December 17, 2013).
The findings in this case study complemented previous case studies that investigated
financial decisions among school leaders who supported arts programs in public education.
Trends in previous research found school leaders who valued arts education cultivated financial
partnerships with local organizations to provide a financial lifeline for their arts programs
(Castaneda & Rowe, 2006; Music, Tredway & Wheat, 2010). Evidence from partnerships with
the local museum, fairgrounds and other organizations validated the financial decision among
VAPA leaders to pursue outside funding sources.
As a comprehensive high school, with external pressure to raise math and reading scores
in order to continue receiving Title I funds, Eastland High School relies on limited funding
sources to maintain the operations of the school, including its visual and performing arts
program. While Stillwell-Parvensky (2011) found Title I public schools were more reliant on
limited Title I funds, a source of federal financial assistance originally intended to support low
income students across all disciplines, including the arts, the evidence collected in this case study
found the site leadership team has managed to sustain its arts programs at a Title I school.
Evidence from the interviews found Robbie and Ted implemented resourceful action
plans to gain financial support through booster organizations, grants and community
partnerships. Each leader indicated Title I funds were not available for the arts programs. They
expressed concern that Title I funds may support remedial education and other school operations,
rather than the arts program, a financial strategy applied at other schools with viable arts
programs and limited financial resources (Sabol, 2010). Funding issues raised concerns among
Robbie, Ted and Saul that ninth grade students may experience less opportunities to enroll in the
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visual and performing arts courses. Interview, observation and survey evidence complemented
the discussion in the literature review which found narrowing curriculums emphasized a
standardized testing culture at public schools that marginalized arts programs (Beveridge, 2010;
Linn, 2005).
While interviews with the visual and performing arts chairs confirmed that Title I funds
were not an option, they were determined to seek other sources of revenue. Their effort to seek
grants and cultivate community partnerships to support the arts corresponded with research
studies that investigated schools seeking financial options beyond traditional funding sources
(Music, Tredway & Wheat, 2010). As traditional funding sources decline at schools, and Title I
funds remain unavailable to support the arts, the data analysis found Robbie and Ted decided to
develop community partnerships with local art organizations and initiate fundraising campaigns
through booster clubs. They also shared a goal to create a visual and performing arts academy,
or two separate academies, with more financial and academic autonomy (Robbie, personal
communication, September 9, 2013; Ted, personal communication, December 16, 2013).
The analysis of data found administrative and departmental leadership interconnected to
support a single goal to sustain and support the arts at Eastland High School. The shared goal
among Robbie, Ted and other instructional leaders to transform the visual and performing arts
departments into separate academies, or one academy, reflected the operational goals found in
the literature regarding corporate business organizations (Bolman & Deal, 2008; Childress,
Elmore & Grossman, 2006). Through purposeful, deliberate and patient collaboration, each
participant in this case study showed exceptional leadership qualities to advocate for arts
education, and sustain the visual and performing arts program at Eastland High School.
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While the principal may decide to support two separate academies, or recommend both
departments merge as one visual and performing arts academy, a momentum was clearly evident
that leaders in the VAPA program seek financial and academic autonomy. Each participant in
this research study demonstrated a persistent resolve to lead and advocate for arts education.
Their individual and collaborative leadership has produced a culture among teachers, students,
and parents to advocate for the arts and sustain the exemplary success of the visual and
performing arts program at Eastland High School.

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CHAPTER FIVE: IMPLICATIONS AND RECOMMENDATIONS
California is one of 14 states that requires course credits in the arts for admission to any
of its public colleges or universities (Arts Education Partnership, 2012). While the Arts
Education State Policy Summary (2012) indicated California is one of 27 states that does not
require course credits in the arts for high school graduation, the state does require students to
earn credits in the arts to qualify for college and university admission. This requirement
obligates the district and administrative leadership to maintain the visual and performing arts
program at Eastland High School, given its mission statement and vision to support a college-
going culture on campus. While the unpredictable educational climate, financial constraints and
use of standardized testing to evaluate schools continues to threaten the arts in public education,
Eastland High School proved it has capable leaders and sources of funding to sustain its visual
and performing arts program. Understanding the key factors that sustained the arts program at
Eastland High School shaped the foundation of this research study.
Findings and Themes
This qualitative case study identified a gap in the scholarly literature regarding the factors
involved to sustain arts education programs in K-12 public schools. While the review of
literature acknowledged declines in school budgets and other constraints to maintain arts
programs, the literature also discussed research studies regarding viable arts programs and key
factors responsible for their success in the current educational climate (Anne, 2010; Beveridge,
2010; Music, 2010; Sabol, 2010; Tredway & Wheat, 2010). Funding, leadership, partnerships,
promising practices and student achievement through arts programs were explored in the
literature and applied to the design of data collection instruments. Each topic influenced the
themes and trends found in the analysis of data.
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A coding process applied the guidelines and advice that Creswell (2009) recommended to
analyze the four sources of qualitative data collected in this case study. The collective breadth of
data, collected through a review of site documents, a survey, interviews, and observations
provided evidence for triangulation to answer the three research questions in this qualitative case
study. The four frames model, designed to examine organizations, was applied to the data
analysis to answer the three research questions (Bolman & Deal, 2008). The evidence was coded
into three thematic categories that emerged from the evidence. An analysis of the evidence
concluded that leaders at the site embraced a collaborative leadership style, developed
community partnerships, and implemented resourceful funding decisions. These themes
represented the three key factors responsible for sustaining the visual and performing arts
program at Eastland High School.
Findings from the research study produced three significant themes. The first theme
recognized the strength of collaborative leadership that cultivated support for the arts programs
at Eastland High School. While Kratochvil (2009) found consistent leadership and faculty
collaboration helped arts programs succeed across the curriculum, leaders with longevity in their
positions held more influence. The review of literature recognized the importance of a leaders
capable of building social and political capital among all stakeholders to support and sustain arts
programs (Anne, 2010; Tredway & Wheat, 2010; Music, 2010; Castaneda & Rowe, 2006;
Gratto, 2002). The principal and the leaders of the visual and performing arts departments
showed a consistent effort to collaborate, contributing toward a supportive culture in the campus
community. A collaborative culture contributes toward the longevity of arts programs in public
schools (Robert, 2010). Bolman and Deal (2008) recognized the importance of leadership in the
four frames of an organization. Findings from this research study found Kate, Robbie and Ted
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 143

cultivated significant social and political capital as leaders of their respective departments. Each
leader developed their own effective, visionary leadership style.
Interviews and observations captured an example of collaborative leadership at an
interdisciplinary meeting on October 23, 2013. Robbie led the meeting with visible support from
Kate and other administrators and department chairs. She sought to connect core subjects with
the arts curriculum through common themes and collaboration. As a successful art teacher with
a highly regarded reputation among her colleagues, students and parents, Robbie demonstrated
she was a capable instructional leader who influenced positive learning outcomes at
interdisciplinary art department meetings. Robbie mentioned the need for teachers to
acknowledge emerging trends with the California Common Core State Standards. She
emphasized the need for departments to proactively collaborate with each other to support the
college and career themes found in the new standards (Robbie, personal communication, October
23, 2013).
A second example of collaborative leadership involved the Wasteland interdisciplinary
project. The school-wide project initially involved the VAPA faculty, through their partnership
with the local museum, and approximately 660 visual and performing arts students who took
action against illegal dumping in the local community. Students collected objects of trash from
the dumpsites to create works of recycled art. Exceptional pieces of recycled art premiered at the
annual Eastland High School visual and performing arts showcase and at the local museum. As
more departments and faculty integrated learning objectives from the project into their
curriculum, the Wasteland: Turning illegally dumped waste into art project eventually motivated
over 2000 students and approximately 60 faculty to get involved in supportive activities.
Learning outcomes from the Wasteland project inspired stakeholders at all levels of the school,
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 144

and at the local museum, to support the subsequent Crosswinds interdisciplinary project, which
underscored the importance of collaborative leadership as a central theme that emerged from the
analysis of data.
A second theme found school leaders developed community partnerships with local
organizations and museums to support the arts. The Wasteland and Crosswinds projects
represented two interdisciplinary art projects developed with grants through the local museum
and other organizations. Without community partnerships, Eastland High School and the local
community may never have experienced the benefits gained from each project. The significance
of community partnerships that support public school arts programs was discussed in the
literature review (Castaneda & Rowe, 2006; Music, 2010; Sabol, 2010; Tredway & Wheat,
2010). The interdisciplinary art projects, performances of the marching band, and plays
produced in the new school theater represented work achieved through a collaborative culture
and strong leadership that resonated with the community. Each project and event represented
symbolic activities that defined the school culture and further strengthened the reputation of the
school in the local community.
A clear example of community partnerships was evident within the performing arts
program which holds a strong reputation in the local community. The marching band and color
guard were considered symbols of pride at Eastland High School and in the city. Their parades,
dance performances and pep rallies at football games, tournaments and local events defined their
reputation as high quality leaders and representatives of the performing arts program. Leaders of
the arts program at Eastland High School found it mutually beneficial to forge long-term
community partnerships with the local museum, civic leaders, and the annual fair. In an
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 145

interview, Saul explained the significance of the marching band and its role as a symbol of pride
in the local community.
We're also the pride of the school. We do keep the school moving, kind of like the
heartbeat of the school when we play at football games and at the pep rallies. We want to
be a presence on campus to show the students that high school is very important (Saul,
personal communication, December 17, 2013).
Ted provided additional evidence to further explore the relevance of community partnerships
through the compassion students, faculty, parents and volunteers develop as they work together.
The arts are the way to motivate, to keep kids in school to help them, to teach them to
care for themselves because other people in those groups count on them, and they’re
much more willing to, at times, to step up for their friends, than they are to step up for
themselves (Ted, personal communication, December 16, 2013).
The third theme involved the resourceful funding decisions made among leaders to
support the visual and performing arts program. While Eastland High School remains under
program improvement and receives Title I funds to close the achievement gap, leaders of the
visual and performing arts programs implemented resourceful strategies to raise funds with
parent-led booster programs and community partnerships. Ted, Robbie, Evette and Saul
expressed concerns regarding the narrowing of core curriculum with less ninth grade students
enrolled in arts courses. While previous research indicated many Title I public schools tend to
exclude at-risk, low income students from the arts, in favor of enrolling them in reading and
math courses, evidence from this case study offered a counterpoint (Sabol, 2010; Stillwell-
Parvensky, 2011). Eastland High School maintained high enrollment numbers for both marching
bands, color guards, drama courses and visual arts courses. Given the success and growth of the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 146

VAPA program as traditional funding sources decline, implementing resourceful funding
decisions represented a significant theme responsible for sustaining the arts programs at Eastland
High School.
An example of resourceful funding decisions connects with the history of the school. In
the early 2000s, as newly constructed suburban neighborhoods transformed the barren desert and
welcomed families to the expanding community, student enrollment increased. The increasing
enrollment and socioeconomic prosperity justified calls among district leaders to construct a new
high school in the neighborhood. Robbie, Ted and Saul participated in the architectural planning
committees to design Eastland High School as the leading performing and visual arts complex in
the district. As the leader, Ted spearheaded the effort to develop a performing arts program at
the proposed site, which eventually became Eastland High School in 2005. When construction
was completed on the performing arts complex and theater in 2009, the investment cost the
district and local community over $20 million.
There was just a temporary campus, but we knew that we already had our vision and that
it was not just music for some, but music for all, and we wanted it to be the school where
anybody and everybody could come, too. (Saul, personal communication, October 4,
2013).
In interviews with Saul, Ted and Robbie, each teacher clarified that they took the risk to transfer
to Eastland High School based on a district-approved vision to build a new school with a mission
to support a strong visual and performing arts program. However, the financial strain to support
the visual and performing arts program necessitated the implementation of innovative and
resourceful funding decisions.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 147

The resourceful funding theme complements the collaborative leadership and community
partnership themes. As the 2013-14 academic year concludes, raising funds through the booster
club, community partnerships and grants represents a necessary financial decision to sustain the
visual and performing arts program at Eastland High School. Reflecting on each theme that
emerged from this case study, collaborative leadership, community partnerships and resourceful
funding decisions are three essential components evident in the current arts program.
Complementing the three themes discussed above, the research discovered each art
department functions like a family with a paternal or maternal leader overseeing layers of family
members, each guiding, mentoring and taking care of each other with compassion and
conviction. In the visual arts department, teachers spent years working with Robbie under her
leadership and guidance, aware of her 30 year career in the district as a leader, mentor, colleague
and friend. Robbie nurtured each teacher in her department with a supportive, conscientious
mentoring quality. She also nurtured students through each four-year cycle and valued their
future contributions to the school as alumni. In the performing arts department, Ted commanded
authority and respect like a paternal patriarch, while also cultivating a family-like atmosphere
among the teachers, students and volunteers who worked with him. Together, Robbie and Ted
behaved like a brother and sister, mutually respectful of each other, equally competitive and
confident, and completely devoted toward a shared goal to sustain the arts programs at Eastland
High School. Family themes clearly resonated among the faculty, students and parent volunteers
in the visual and performing arts programs.
Implications and Recommendations
Given the evidence triangulated from data collected from the site documents, survey,
interviews and observations, a need exists to create and implement an arts education plan at the
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 148

site. Eastland High School is not a fully integrated arts school. The visual and performing arts
program functions like an informal arts academy with approximately 600 out of 2500 students
enrolled in arts courses. An organizational goal among the VAPA site leadership team seeks to
transform their operations into a formal academy, with financial and creative autonomy, based
on the original vision of the school as the main visual and performing arts school in the district.
While this case study found two interdisciplinary art projects cultivated school-wide
support, a formal VAPA academy may limit future school-wide cross-departmental support
among faculty unaffiliated with the academy. Given the financial constraints and declining
budgets available to support the arts, under which leaders have learned to cultivate community
partnerships and implement resourceful funding decisions, Robbie and Ted believe a formal
visual and performing arts academy would ensure financial and creative autonomy for the arts
programs (Robbie, personal communication, October 23, 2013; Ted, personal communication,
December 16, 2013).
Results from triangulating data collected from the site documents, survey, interviews and
observations found school leadership should reevaluate its organizational approach to support
arts education at Eastland High School. Based on the results, administrators and faculty should
consider the creation of a unified arts education policy that clearly supports arts education at the
site. An arts education plan would define the role of the visual and performing arts program at
Eastland High School and determine the pros and cons of a proposed VAPA academy.
From a structural perspective, the visual and performing arts program has hired the best
and most qualified instructors. The structural frame of an organization informs all stakeholders
of its expectations and goals and connects with the human resource frame, political frame, and
symbolic frame (Bolman & Deal, 2008). While many aspects of the organizational structure
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 149

were evident, including supportive administrative leadership and interdisciplinary collaboration,
the evidence suggested that the visual and performing arts program should revisit its structural
design and support the creation of a school-wide art education plan. A strong organizational
structure, with goals and objectives, would influence the other three frames.
Based on evidence analyzed from the findings, implications from this research study
recognize a need to further investigate the role of leadership in viable arts programs at public
schools. Findings from the case study suggested effective leadership, with a consistent
motivation to support the arts, represented a non-negotiable element required to sustain arts
programs in public education. An analysis of the data and exploration of the findings described
in Chapter Four encouraged the following recommendations for future research:
 Investigate Title I funding in public education with a research focus to understand Title I
budgets and their availability to support visual and performing arts programs.
 Conduct research in public schools that evaluates patterns of enrollment among ninth grade
students in arts programs and two-hour block intervention classes for remedial math and
reading.
 Further research should explore how public schools with viable arts programs integrate the
arts across the curriculum and improve math and reading skills without a reliance on
remedial education curriculum.
 Explore trends among leaders of arts programs who pursue grants, build community
partnerships, welcome parent involvement, and foster inter-district collaboration at school
districts to support and sustain arts programs.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 150

 Further research should conduct case studies to explore leadership and learning outcomes
at schools that promote a school-wide arts culture and curriculum, and require students to
enroll in arts courses beyond the minimum A-G requirement.
 Investigate the positive learning outcomes among children enrolled in student-centered arts
curriculums at public schools that integrate arts across an interdisciplinary curriculum.
Summary and Conclusion
The arts reflect the nature of human nature, define and identify thousands of cultures
throughout history and the world, and elevate the education and knowledge of students, parents,
teachers and people in all societies in our global community. Dewey (1934) and Tyler (1949)
recognized the benefits of student-centered arts curriculums in the development of children
during their early learning experiences. The arts engage students in school, develop their
confidence to collaborate effectively with others, improve their metacognitive and social skills,
and build a confident self-awareness of their talents and appreciation for the arts.
Evidence from this case study documented a motivation among Robbie, Ted and other
instructional leaders in the visual and performing arts program to transition from two separate
departments into one financially autonomous academy at Eastland High School. Based on the
analysis of data to understand the key factors that sustain the visual and performing arts program
at Eastland High School, leaders at the site should consider the following recommendations:
 Elicit feedback from all stakeholders in the campus, district and local community to
revisit and apply the original vision of Eastland High School as the main visual and
performing arts school in the district.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 151

 Adopt the Visual and Performing Arts Framework for California Public Schools to
develop an arts education plan to guide the curriculum and school culture with a focus
on arts education.
 Restore the choir program.
 Implement a dance curriculum with ballet, hip hop and other dance styles based on
student need and culturally relevant pedagogy.
 Expand the Parent Involvement Committee to include parents of students in the arts
program.
 Describe the VAPA program in the Single Plan for Student Achievement, the School
Accountability Report Card and Western Association of Schools and Colleges report
in 2014-15.
 Consider the allocation of Title I funds to support the operations of the visual and
performing arts program at Eastland High School.
Interviews with Ted, the performing arts chair and marching band director, emphasized
the importance to connect the arts with underachieving students who may lack the motivation to
learn core subjects and graduate from high school. Ted explained that students’ participation in
the marching band, theatrical performances and color guard makes school meaningful for them.
He explained that a performing arts academy would embed the California Common Core State
Standard subjects into an interdisciplinary curriculum that values the performing arts (Ted,
personal communication, December 16, 2013). His concept for a performing arts academy
would invite core subject teachers to collaborate with performing arts faculty as one cohesive
team. Cohorts of students would pursue their four-year high school education through a
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 152

sequence of meaningful, student-centered learning experiences built on a foundation of arts
education (Dewey, 1934; Tyler, 1949).
This case study provided a qualitative lens to understand how effective leadership and
funding decisions support a viable arts program that empowers students and faculty to share
learning experiences through the arts and across an interdisciplinary curriculum (Creswell,
2009). Based on the findings discussed in this qualitative research case study, school leaders who
support arts education in public schools should consider the following advice:
 Align arts education with a school-wide and district-wide instructional plan.
 Improve the visibility of the arts program in the local community to strengthen
community partnerships with local museums, organizations and businesses that share
an interest to financially support the arts.
 Implement interdisciplinary, collaborative curriculum planning to support arts
education across all disciplines.
 Initiate school-wide interdisciplinary arts projects, like the Wasteland and Crosswinds
projects, developed with grant funds and community partnerships.
 Consider the use of Title I funds to support the operations of visual and performing arts
programs.
 Welcome parent involvement with a structured organizational plan based on clear
expectations and communication to expand the outreach of visual and performing arts
programs to parents and alumni.
 Initiate state-wide, inter-district collaboration among successful visual and
performing arts programs in public education.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 153

Sustaining the arts in public education is increasingly relevant as schools wrestle with
financial constraints and external pressure to increase standardized test scores in math and
reading. Educators in visual and performing arts programs found students enrolled in art, music
and drama programs develop an intrinsic motivation to succeed across all disciplines (Posnick-
Goodwin, 2013).
Students who are “below basic” lose their electives and get put in intervention classes.
But if you take away art, music and drama, what incentive do kids have to succeed in
school? The arts provide a reason for kids to stay out of trouble. The arts level the
playing field. In arts classes, you’ll find high-achieving kids and so-called troublemakers
working together and getting along. They have to, just like in the real world. My son
was never the best student in the world, but his saving grace was music. I credit his band
director with helping him to graduate from high school. (Reyna, 2013, as cited in
Posnick-Goodwin, 2013, p. 11).
A viable arts program provides life-time benefits for students. This research study
determined that the arts program has elevated the social and political status of Eastland High
School among students, faculty, parents and other stakeholders in the local community. The case
study found administrative, departmental and faculty leadership exercised a consistent,
collaborative leadership style responsible for the successful visual and performing arts program
at Eastland High School.
Given the current challenges confronting educational leaders to adopt the California
Common Core State Standards, the arts have endured as a source of stability throughout the
history of public education. Findings from this case study will contribute to the scholarly
literature devoted toward understanding the benefits that students and school communities
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 154

experience, as a result of effective leadership that supports and sustains arts programs. While
financial constraints, standardized testing, accountability demands, educational reform, and other
interconnected challenges remain visible on the horizon, effective, collaborative leadership
emerged as the essential factor responsible to influence productive funding decisions that sustain
a viable arts programs at a public school.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 155

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SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 166

Appendix A
Faculty Survey
Years in this school _______Years in education ______Subject or content taught______
Direction: Please check only ONE box for each question.
Features of Arts Programs 1
Never
2
Sometimes
3
Most of
the Time
4
Always
Pedagogy

1. The school offers a curriculum of
sequential, standards-based instruction in
the major arts disciplines (dance, film,
music, theatre and visual arts).

2. Teachers discuss student artwork,
assessment and arts instruction at grade
level/subject-alike planning meetings.

3. Teachers use arts learning
outcomes to evaluate their curriculum
and instructional methods.

4. Instructional leaders review
teaching outlines in the major arts
disciplines to ensure instructional
sequencing.

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.

6. There is a written school arts
plan that aligns with the district arts
policy and arts education plan.

7. The arts curriculum meets the
needs of diverse populations of learners.

Student Learning
8. Students are encouraged to draw
on their personal background and
experiences to inform their arts learning.

9. A variety of artistic traditions are
explored from around the world.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 167

10. Art instruction emphasizes
cooperation, interactive learning, and
team building.

11. Student arts learning outcomes
are used to evaluate the curriculum and
instructional methods.

12. Parents are provided with
specifics about their student’s progress
in arts learning/programs.

13. Periodic report cards document
student learning in key arts standards.

14. Arts curriculum includes real-
life applications that prepare students
for postsecondary education, focused
training, and eventual employment.

Environment
15. The school employs highly
qualified teachers in the visual and
performing arts and contracts with
additional individuals and groups with
expertise in the arts.

16. School budget (combined
district, state and federal funds) includes
collaborative planning in arts education
(including all arts disciplines).

17. Other community funding
(teacher, grants, donations, and bond,
local tax) exists in arts education
(including all arts disciplines).

18. School administrators and staff
have an organized approach to arts
education that aligns with the school
wide instructional plan.

19. Administrators review the
Master class schedule to ensure access
to arts instruction for all students.

20. Administrators and teaching
staff monitor the appropriate placement
of students in arts classes.

21. Supplemental learning materials,
adequate supplies and functional
equipment are available to students in
all arts facilities and courses.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 168

22. 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.

Community
23. The school arts program
enhances a sense of community through
fostering improved relations across
diverse student groups.

24. Parents regularly receive
information on the importance of arts
learning.

25. Parents regularly receive
information on how to encourage their
student’s arts learning in school and at
home.

26. Parents attend student
exhibitions and performances.

27. Parents participate in classroom
learning activities and field trips in the
arts.

28. Parents actively support the
school arts program (e.g., chaperone
class trips, organize an arts booster club,
attend arts fundraisers).

29. Parents regularly receive
information on arts-related career
pathways.

30. 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.

* 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.
SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 169

Appendix B
Faculty Interview Questions
1. What arts programs currently exist on campus?
2. How did they get started?
3. Who is responsible for keeping these arts programs going? 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 do you know that the arts programs are successful? Who is involved in evaluation
process?
9. How are changes made to the program when necessary?
10. How were supplies and materials provided for these programs?
11. How was it determined that these were necessary?
12. How have these arts program changed within the last three years?
13. What changes are expected for the future?
14. Are there partnerships that exist between this school’s arts programs and the community?
15. How were these partnerships formed and maintained?
16. Is there anything else that you would like to share with me?

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 170

Appendix C
Observation Protocol 1: Part 1
Observation

Site _________________ Location ________________ Date: _________Time:_______
Observer ____________ Purpose for Visit: ____________________________________

Activity Description (s):______________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

What Learning Objectives were addressed:
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 171

Appendix C
Observation Protocol 1: Part 2

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
...........................................................................











SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 172

Appendix C
Observation Protocol 1: Part 3

Bolman & Deals
4 Frame’s

Evidence (circle one)

Description/
Examples

Structural Frame:

O.C.:
None Some Most NA

Human Resource Frame:

O.C.:
None Some Most NA

Political Frame:

O.C.:
None Some Most NA

Symbolic Frame:

O.C.:
None Some Most NA

# of Participants Engaged (circle one)

Art is integrated
successfully into the
curriculum
None Some Most NA

Allowing participants to
practice an art skill.
None Some Most NA

Projects/Products/Present
ations/Performances that
are visible during the
session (circle those that
apply)
None Some Most NA
Other:
____________________

None Some Most NA

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 173

Appendix D
Observation Protocol 2: Part 1
Name of Observer Date Time
David Dunstan Research Questions
Location 1. What are the arts programs that exist at
Eastland High School?
2. How does leadership at Eastland High
School support arts?
3. How are funding decisions made at
Eastland High 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.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 174

Observation Protocol 2: Part 2
Teacher and Students
Who are the
participants?

Demographic
information:
 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 thoughout
the observation.

How did my interaction/
presence affect the
observation process?

Sequence of Events
Beginning

Middle

End

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 175

Appendix E
Recruitment Announcement and Consent Form
Date

Dear [School administrator/representative],

I am a doctoral student at the University of Southern California in Los Angeles working towards
an EdD, focusing on Educational Leadership. I am currently working on my dissertation and am
looking for a school to examine as a case study, exemplifying some of the best practices public
schools that are actively committed in retaining arts education in the face of high stakes testing
and post No Child Left Behind.

I would need to visit [School’s name] for approximately 6 days this fall - to observe what goes
on, to talk to faculty and staff, to visit classes, to understand the school. From this visit, I will
then identify the best practices and the impact of the arts on school culture. While this case
study will form the basis for my dissertation at USC, it will also serve as a model to other
schools seeking to develop their own arts education program.

I would love to talk to you about this opportunity further when you have time. Though the actual
school visit would not occur until the fall, I am in the process of finalizing my site selection. I
hope that you would be agreeable to allowing me to study [School’s name].

Sincerely,

David Dunstan
Ed.D. candidate
University of Southern California

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 176

Appendix F
Institutional Review Board Approval
University of Southern California
Rossier School of Education
3470 Trousdale Parkway
Los Angeles, CA 90089

INFORMATION/FACTS SHEET FOR NON-MEDICAL RESEARCH

PRESERVING THE ARTS

PURPOSE OF THE STUDY
The topic that will be studied is arts education in public K-12 schools. The purpose of the study
is to identify how public schools in California are able to maintain arts education as a priority
within their instructional time, while managing other demands that have emerged from mandated
accountability measures and budget constraints.

The study aims to add to the existing literature by specifically identifying how the school
addresses and demonstrates the significance of the arts, as well as determine how the school is
funding the arts and the perceived impact of arts education on school culture in order to have this
information accessible to educators to assist them in applying similar strategies and practices that
can aid in retaining the arts within their schools.

Your participation is voluntary. Your relationship with your school/district will not be affected,
whether or not you participate in this study.

PARTICIPANT INVOLVEMENT
Researchers will be looking for cultural norms, practices, and programs that have assisted your
school in thriving in the area of the arts.

If you agree to participate, you will be asked to complete an 30 question survey. The survey is
anticipated to take 20 minutes to complete.

You may also be asked to participate in an interview; the interview will be audio-recorded with
your permission and is anticipated to take 45 minutes to complete.

You will be asked to allow researchers to observe the general school environment, classroom
instruction, VAPA events, staff meetings, leadership meetings, and parent meetings.

CONFIDENTIALITY

Any identifiable information obtained in connection with this study will remain confidential and
will be disclosed only with your permission or as required by law.

SUSTAINING ARTS PROGRAMS IN PUBLIC SCHOOLS 177

The survey and observational data will not contain identifiable information; interview data will be
coded with a false name and any identifiable information will be maintained separately from
responses.

The data will be stored on password protected computers and maintained for three years after the
study has been completed and then destroyed.

The members of the research team, the funding agency and the University of Southern California’s
Human Subjects Protection Program (HSPP) may access the data. The HSPP reviews and
monitors research studies to protect the rights and welfare of research subjects.

When the results of the research are published or discussed in conferences, no identifiable
information will be used.

INVESTIGATOR CONTACT INFORMATION
Jeanette Archambault via phone (626) 533-0731 or email: jarchamb@usc.edu; Pamela Brown via
phone (310) 946-5592 or email: pamelarb@usc.edu; Kyle Bruich via phone (909) 833-0004 or
email bruich@usc.edu; David Dunstan via phone (310) 889-4740 or email: dunstan@usc.edu;
Gregoire Francois via phone: (562) 706-2146 or email: gfrancoi@usc.edu; ; Carla Foronda via
phone: (310) 918-1151 or email carlafor@usc.edu; Deara Okonkwo via phone (323) 253-8972 or
email dokonkwo@usc.edu; Lucia Perales via phone (323) 317-0232 or email lperales@usc.edu.

IRB CONTACT INFORMATION
University Park Institutional Review Board (UPIRB), 3720 South Flower Street #301, Los
Angeles, CA 90089-0702, (213) 821-5272 or upirb@usc.edu.

Abstract (if available)

Abstract The purpose of this qualitative research case study was to investigate leadership and funding decisions that determine key factors responsible for sustaining arts programs in public schools. This dissertation represents one of eight dissertations in a thematic dissertation group at the University of Southern California. Each researcher conducted a qualitative research case study at a separate, individual school site. While the educational climate, financial constraints and use of standardized testing to evaluate schools continue to threaten arts programs in public education, Eastland High School, the site of this case study, managed to sustain its visual and performing arts program. Understanding the key factors that sustained the arts program at Eastland High School shaped the foundation of this research study. A qualitative lens investigated three research questions to understand: (1) arts programs at the school, (2) leadership decisions that support the arts program, and (3) funding decisions made at the site. The triangulation of data identified several emerging themes relevant to the three research questions. The first significant theme found collaborative leadership built ongoing social and political capital among all stakeholders to support and sustain the arts program. The findings discovered community partnerships represented a second important theme, which contributed toward the longevity of the arts program. A third theme determined resourceful funding decisions guided school leaders to build successful arts programs. The implications of this case study indicated collaborative leadership and resourceful funding decisions sustain viable arts programs in public schools. Based on the evidence analyzed and discussed in the findings, the case study provided educational leaders with recommendations for future research and advice to sustain arts education in public schools.

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Asset Metadata

Creator Dunstan, David Lawrence (author)

Core Title Sustaining arts programs in public education: a case study examining how leadership and funding decisions support and sustain the visual and performing arts program at a public high school in Cal...

School Rossier School of Education

Degree Doctor of Education

Degree Program Education (Leadership)

Publication Date 04/15/2014

Defense Date 03/05/2014

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag arts education,Educational Leadership,funding decisions,OAI-PMH Harvest,Public schools,visual and performing arts

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Gothold, Stuart E. (committee chair), García, Pedro Enrique (committee member), Hocevar, Dennis (committee member)

Creator Email ddunstan@hotmail.com,dunstan@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-378243

Unique identifier UC11296529

Identifier etd-DunstanDav-2356.pdf (filename),usctheses-c3-378243 (legacy record id)

Legacy Identifier etd-DunstanDav-2356.pdf

Dmrecord 378243

Document Type Dissertation

Format application/pdf (imt)

Rights Dunstan, David Lawrence

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 University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA