Close
About
FAQ
Home
Collections
Login
USC Login
Register
0
Selected
Invert selection
Deselect all
Deselect all
Click here to refresh results
Click here to refresh results
USC
/
Digital Library
/
University of Southern California Dissertations and Theses
/
Through the eyes of art: uncovering promising practices in arts-themed learning in California charter elementary schools
(USC Thesis Other)
Through the eyes of art: uncovering promising practices in arts-themed learning in California charter elementary schools
PDF
Download
Share
Open document
Flip pages
Contact Us
Contact Us
Copy asset link
Request this asset
Transcript (if available)
Content
THROUGH THE EYES OF ART: UNCOVERING
PROMISING PRACTICES IN ARTS-THEMED LEARNING
IN CALIFORNIA CHARTER ELEMENTARY SCHOOLS
by
Jennifer J. Prager
________________________________________________________
A Dissertation Presented to the
FACULTY OF THE ROSSIER SCHOOL OF EDUCATION
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF EDUCATION
December 2006
Copyright 2006 Jennifer J. Prager
ii
TABLE OF CONTENTS
List of Tables iv
List of Figures v
Abstract vi
Chapter 1: Overview of the Study 1
Promise of Arts-Themed Learning 3
The Role of Charter Schools 6
Purpose of Study 10
Organization of Dissertation 11
Chapter 2: Literature Review 12
What Is Arts-Themed Learning? 12
Defining the Four Disciplines of Arts-Themed Learning 17
Arts Education History 21
Theoretical Framework 28
Structure of Arts-Themed Learning 34
Research Supporting Arts-Themed Learning 36
Ideas for Effectively Implemented Arts-Themed Learning 47
Challenges to Implementation and Gaps in Research 52
Summary 55
Chapter 3: Research Methods 56
Research Design and Research Methods 56
Data Collection Instruments and Procedures 60
Data Analysis 66
Summary 66
Chapter 4: Findings 68
Santa Barbara Charter School 68
New City School 91
Chapter 5: Conclusions 117
Connections to Prior Research 117
References 136
iii
Appendices
Appendix A: MMACCS Advertisement 146
Appendix B: E-Blast Reminder 147
Appendix C: Nomination Form 154
Appendix D: Charter School Profile 158
Appendix E: Document Checklist 160
Appendix F: Pre-Site Telephone Interview (Principal) 161
Appendix G: On-Site Interview (Principal) 163
Appendix H: On-Site Interview (Lead Teacher) 166
Appendix I: On-Site Interview (Teacher) 169
Appendix J: Classroom Observation 171
Appendix K: Compendium Template 173
Appendix L: Fiber Arts Children’s Literature List 174
Appendix M: Fiber Arts Poems and Songs 175
iv
LIST OF TABLES
Table 1: Triangulation across Data Collection Instruments 65
Table 2: Profile of Santa Barbara Charter School 70
Table 3: Profile of New City School 93
v
LIST OF FIGURES
Figure 1: Theory of Action- How the Articulated Fiber Arts
Program Links to Higher Student Performance 79
Figure 2: Theory of Action- How the Visual and Performing
Arts Festivals Link to Higher Student Performance 100
vi
ABSTRACT
The purpose of this study was to explore how promising practices in arts-
themed learning (ATL) were utilized to increase student performance. A case study
was conducted at two California charter elementary schools. This qualitative study
was primarily descriptive and included interviews with charter personnel, a review of
archival documents, and observations of ATL activities at school sites. The research
questions guiding this study included: What are the promising practices in ATL that
high-performing charter schools use to improve student performance? How are
resources used to successfully implement the promising practices in ATL? What
challenges have charter schools faced in implementing the promising practices in
ATL? What evidence exists to show that promising practices in ATL have resulted in
positive educational and social-emotional outcomes?
The study uncovered common benefits, issues, and concerns associated with
the implementation and maintenance of ATL programs. Benefits included increased
self-esteem and self-confidence and greater student interest in school. Students also
exhibited enhanced problem-solving skills in both social and academic areas. Some
challenges that were encountered pertained to providing ongoing funding for the arts
programs and finding adequate locations to host arts events. A key component to
successful ATL implementation was community involvement in the forms of
donations of materials, assistance in fundraising events, and expertise in the arts.
Such commonalities should inform practitioners and policymakers about the
essential components of ATL implementation, research, and future steps.
vii
Implications are that schools seeking successful ATL programs should form
alliances with the surrounding communities and utilize available community
resources and support. ATL schools should also approach the arts as a core subject,
teaching the disciplines separately as well as integrating them in all academic subject
areas. Staff should have discussions about, exposure to, and training in various arts
forms. District leaders should actively support alternative methods of arts and
academic assessment, such as portfolios, rubrics, and student-led conferences.
Finally, the information disseminated MMACCS compendium should inspire
educators to implement ATL as a means of improving student performance.
1
CHAPTER ONE
OVERVIEW OF THE STUDY
Our society values measurements and data-driven analysis as the most
objective study methods relevant to any problem, social or otherwise. It is no
surprise, then, that these same tools would be used to make educational decisions
regarding allocations of money and resources. A prime example of this is the passage
and implementation of the No Child Left Behind Act of 2002 (NCLB), signed by
President George W. Bush. As a reauthorization of the Elementary and Secondary
Education Act (ESEA) initially passed in 1965, NCLB was written to ensure that a
quality education would be received by every student, regardless of his or her
background or socio-economic status. Performance measurements and data-driven
analysis are key components of NCLB.
Despite the fact that the United States spends more money per pupil than
almost any other nation in the world, results from the Trends in International
Mathematics and Science Study (TIMSS) show that fourth-grade students in the
United States are outperformed by students in seven other countries, while eighth-
grade students in the United States are outperformed by their peers in nine countries
(National Center for Education Statistics [NCES], 2004). The National Assessment
of Educational Progress (NAPE), also known as the Nation’s Report Card, revealed
that only 32% of fourth graders and 29% of eighth graders perform at or above the
“proficient” level in mathematics, and only 31% of fourth graders and 32% of eighth
graders perform at or above the “proficient” level in reading. Of the 48.2 million
2
students in the nation’s school systems, 8.5% are English language learners (ELL),
and approximately 13.4% of students between the ages of 3 and 24 receive federal
services for disabilities (NCES, 2004). Both second language learners and students
of lower socio-economic status (SES) fared worse than the national average in the
math and reading categories.
In California, the existence of an achievement gap between minority and
lower SES students and their non-minority and higher SES counterparts is of great
concern (Orfield & Yun, 1999). Economically disadvantaged students make up
38.5% of the national total of students; in California, this number increases to 47.2%
of the student population. While English language learners (ELL) compose 8.4% of
the total national student population, in California ELL represent 25.2% of the
student population. Furthermore, one out of every four students in the State of
California is a second language learner, and 48.1% of the students are eligible for
free and reduced lunches.
Minority and lower SES students are not the only students suffering in
California. The State Department of Education’s statistics for the year 2003 show
that California scored below the national average in fourth and eighth grade reading
and mathematics proficiency exams (NCES, 2004). While the national average in
per-pupil expenditures was $7,875, California is estimated to have spent $7,244 per
pupil in 2002–03, 8% less than the U.S. average (EdSource, 2004). Californian
student achievement results on standardized tests are at the bottom of the 50 states,
ranking higher than only Louisiana and Mississippi (Rand, 2005). Given these
3
dismal statistics, it is imperative that California begins to consider innovative ways
to raise the academic achievement of its students.
Promise of Arts-Themed Learning
The effect of over-emphasizing testing and specific academic programs is a
corresponding under-emphasis in other areas, including physical education, science,
and the arts (Loschert, 2004; Manzo, 2003). The less emphasis there is on these
areas, the less funding they receive, and the less funding they receive, the less
implementation of programs in these areas. The “narrowing of the curriculum”
means that schools are losing arts teachers, art supplies and resources, and artistic
opportunities (Loschert, 2004). Because reading and math have been elevated to
positions of all-encompassing importance, incentives are given to support those
subjects at the cost of eliminating valuable programs in other areas, such as the arts.
While reading and math are of course important skills, over-emphasis on these areas
results in the replacement of creativity and independent thinking skills by testing
drills and rote memorization.
Despite research promoting the need for the arts to be an integral part of daily
instruction, the reality is that the federal government allocates monies elsewhere. For
example, research indicates that integrating artistic disciplines into the general
curriculum can increase a student’s general learning abilities (Rooney, 2004), but
because many schools are utilizing standardized instruction programs to increase test
scores, they are unable to maintain a curriculum rich in the arts.
4
Arts-themed learning targets and utilizes instruction in the four arts
disciplines (referred to in this dissertation as “the arts”): visual arts, music, drama,
and dance (Seaman, 1999). One example of such an arts-themed curricula is required
instruction in the arts, such as dance or drawing classes. Arts-themed curricula may
also make use of community and local artists and performances, perhaps utilizing
these artists’ expertise and resources to teach children about the arts and other
subjects. Finally, arts-themed curricula may include the comprehensive integration of
all forms of art across all academic and non-academic areas, creating a truly
interdisciplinary curricula approach. An example of this might be a school creating a
musical about the Gold Rush as part of its history curriculum. An arts-themed school
would integrate the arts across all curriculum areas.
According to the literature on arts-themed school reform, the comprehensive
approach increases and integrates arts education, as well as “fosters instructional
strategies that engage students through hands-on activities and experiential learning”
(A+ Schools Program, 2001). As educator Edgar Dale once said, “People will
remember 20% of what they hear, 30% of what they see, 50% of what they see and
hear, and 90% of what they hear, see and do” (Bray, 1999). In other words, more
learning acquisition takes place during hands-on, experiential learning. The arts
provide such opportunities.
According to Fiske (1999), the main benefits of arts-themed learning, or arts
education, are threefold: 1) It increases students’ motivation, interest, and self-
concept; 2) it addresses the individual needs of diverse and at-risk learners; and 3) it
5
improves academic achievement. Such benefits have been associated with improving
students’ learning abilities, thinking skills, social development, self-esteem, and
willingness to try new things. Arts-themed learning has also been particularly
effective in these areas with diverse learners (Ingram & Riedel, 2003). According to
Eisner (2002), arts integration establishes flexibility in the standardized education
approach, which encourages teachers to support diversity and individuality. Finally,
specific programs have been found to benefit students who generally struggle with
academics (Mardirosian & Fox, 2003).
Furthermore, students who participate in the arts are more motivated to go to
school. The increase in attendance and participation has, in turn, been linked to
improved student communication skills (Fogg & Smith, 2001). Students attend
school more often because they enjoy what is being taught, leading to more in-depth
participation and communication. The result of this is an increase in self-esteem and
attention to creativity (A+ Schools Program, 2001). Seaman (1999) also found that
arts-immersed schools exhibited positive social and environmental factors, such as
increased interest in learning and feeling of self worth which, in turn, increased
willingness to learn and apply new skills related to creativity, self-direction, and
complex thinking. As noted previously, the incorporation of the arts into the
education process has been proven to increase academic performance. Data collected
for the College Board in 2004 show that students involved in the arts annually
outscore those who do not participate in the arts. For example, students who studied
music scored 40 points higher on the math portion of the SAT than students without
6
arts exposure; students who were involved in theatre scored on average 66 points
higher on the verbal portion of the SAT than their non-artistic counterparts. Similar
results have been found in the area of reading (Paige & Huckabee, 2005). Overall,
research suggests that students involved in creative endeavors get better grades,
perform better on tests, are more productive citizens in the community, and watch
less TV, all of which add to the growing body of evidence showing that the arts can
be particularly beneficial to students from disadvantaged backgrounds (Paige &
Huckabee, 2005).
The Role of Charter Schools
Charter schools are publicly-funded schools that are guided by a charter or a
contract. A public agency, such as a school district, can grant a charter, but charter
schools are not under the direct control of the granting agency. Charter schools have
quickly become one of the fastest growing reform movements. What started as one
school in one state (Minnesota) in 1991 has transformed into almost 3,400 charter
schools in 40 states and the District of Columbia. According to the United States
Department of Education, between 2000 and 2004, over 1000 new charter schools
opened. Approximately 800,000 students attend charter schools, and waiting lists
exist at more than 70% of the schools (Center for Educational Reform [CER], 2005).
California enacted the second charter school law in 1992, where there are now more
than 470 charter schools serving 170,000 students (Ed-Data, n.d.).
7
The primary purpose of charter schools is to improve student learning and to
provide educational opportunities and choices for all students. Perhaps the most
compelling characteristic of charter schools is that they are autonomously operated.
Charter schools are not tied to the bureaucracy and regulations associated with public
schools, which tend to deal predominantly with issues of compliance. Charter school
educators have the opportunity to try new and innovative strategies for teaching.
While an increasing number of children in the public school system are falling
through the cracks or are designated at-risk, special needs, or low income, charter
schools show promise in helping these students in ways that public schools cannot.
Part of the reason for this is that charter schools are less encumbered by the
bureaucratic barriers that face most other public schools and guide their curriculum.
Without this burden, charter schools have the potential to innovate in ways that may
provide help to at-risk students and spark system-wide change.
At the most basic level, charter schools embrace choice. For example, a
charter school can be established by parents, community groups, organizations,
teachers, or any other member interested in creating a unique learning environment
for children. Parents choose to send their children to a charter school, and teachers
choose to teach there. In addition, a charter school’s teaching method is guided by
the school’s philosophy, not governmental mandates. Having such a choice in
education is empowering. It means that there is more than one safe, predictable way
to attain student achievement. It means teachers are there because they want to be,
8
and students are there because their parents want to be part of an innovative
education process.
Charter schools were originally conceived as laboratories for innovation. In
fact, the terms “innovative” and “promising” are often associated with charter
schools because they create competition for students, perhaps even pressuring
existing public schools to become more innovative and flexible by providing
innovative instruction practices. In this way, charter schools, advocates argue, can be
leaders in education through their establishment of new ways of teaching and
implementing promising practices. Many are hopeful that other public schools will
see the success within the charter schools and implement the same promising
practices, causing a chain reaction of effective instruction far beyond the charter
schools’ walls (Bulkley, 1998).
While charter schools have been described as engaging in innovative and
promising practices (Bulkley, 1998), little research has actually been conducted
regarding specific promising practices and their effectiveness. To expand our
knowledge of these innovative strategies, specific research must be undertaken on
promising practices and their resources, their challenges, and the evidence
supporting their effectiveness. The present study focuses on uncovering promising
practices in the area of arts-themed learning.
“Promising” practices are those which have been shown by scientifically-
based research to be “promising” in their effectiveness (Craciun, 2002). Rarely are
ideas totally new or completely innovative, but an old idea can be addressed with a
9
new perspective. In this way, charter schools can make use of old education ideas in
new ways that produce promise or hope for other schools. This dissertation will
examine practices at specific school sites that can be demonstrated, explained,
evaluated, and replicated, thus providing a foundation of research evidence for the
effectiveness and challenges of promising practices and arts-themed learning.
The use of arts-themed learning has much promise for children both
academically and personally. Using arts-themed learning across all school
curriculum has shown promise in its ability to impact social and emotional factors
such as self-efficacy and self-esteem, in boosting academic performance through
increased attendance and motivation, in fostering skills that can be transferred to
work environments, and in positively affecting the community Deasy, 2002; Fiske,
1999; Williams, 1995). However, despite the fact that recent research in arts-themed
learning has shown potential for high student achievement in academic and non-
academic subjects, it is not a widely used instructional strategy. Part of the reason for
its limited use is the emphasis on standardized testing accountability in language arts
and mathematics. Such emphasis—some would argue, over-emphasis—is in direct
opposition to the comprehensive and cross-disciplinary goal of arts education (Paige,
2004). As noted earlier, arts classes, teachers, and resources are being pushed out of
the standard curriculum. In spite of this, arts-themed learning is taking place in “hot
spots.” This study is designed to uncover such “hot spots” in California charter
elementary schools.
10
Purpose of Study
The purpose of this study is to uncover and examine the promising practices
of arts-themed learning in high performing California charter elementary schools and
to explore how the schools utilize arts-themed learning to improve student
performance. This study is part of a thematic dissertation cohort that consists of 10
doctoral students, all researching different promising practices related to increasing
school performance in the following areas: parent involvement, teacher and
administrative leadership, project-based learning, student behavior, high school
reform, improving math and science education through the use of technology, special
education, school-university partnerships, and literacy for English language learners.
The data gathered and analyzed from the 10 dissertations, as well as from relevant
documents and resources, will be compiled for a web-based compendium of
promising practices as part of the Multiple Measures of Accountability for California
Charter Schools (MMACCS) project. MMACCS will also include a quantitative
database of performance indices. The goals of MMACCS, which is under the
auspices of USC’s Center on Educational Governance, are to increase accountability
by creating multiple measures of school performance, to improve student learning
through data-driven decision making, and to enhance innovation by sharing
promising practices from California charter schools (Center on Educational
Governance [CEG], n.d.).
Given the necessity for American schools to remain competitive, they must
continue to research effective instructional strategies to improve student achievement
11
and school success. By conducting a multi-site case study related to the use of arts-
themed learning in charter schools, this research will provide interested individuals
and organizations, as well as communities and other stakeholders, with research-
based information related to arts education for the purpose of increasing student
performance.
Organization of Dissertation
Chapter One of this dissertation has provided a basic description of the
importance of arts-based learning in general, and more specifically, in California
charter elementary schools. Chapter Two reviews the relevant research as it relates to
the challenges of implementing arts-based instruction, and also identifies pertinent
trends and patterns in the area of arts-themed learning. Chapter Three defines the
research questions and research methods, as well as discusses the data collection and
data analysis procedures. Chapter Four provides a detailed analysis of how high-
performing charter schools utilized promising practices related to arts-themed
learning to increase student performance. Finally, Chapter Five offer conclusions
related to the four research questions and discusses the implications of the study for
practitioners and policymakers.
12
CHAPTER TWO
LITERATURE REVIEW
This study investigates the effectiveness of arts-themed instruction in
California charter elementary schools in order to understand both the benefits and
challenges associated with the implementation of arts-themed learning. Prior to
conducting the investigation, it is important to review the literature as it relates to the
history, purpose, benefits, and implementation of arts-themed charter schools.
Specifically, this chapter provides a detailed definition of arts-themed instruction.
Next, an overview of the origins and evolution of arts-themed instruction is
examined, a relevant conceptual framework is explored, and recent findings related
to the benefits of arts-themed instruction are presented. Finally, the chapter
concludes with a brief discussion of other factors to consider, such as challenges in
implementation and research gaps in the field of arts-themed learning. The goal is to
link the evidence investigated to arts-themed learning and student performance.
What Is Arts-Themed Learning?
“Art does more than hang on a wall or bow before a curtain. Art interacts
with an audience, changing society and changing with it” (The Arts: A Competitive
Advantage for California).
Arts-themed learning, or arts education, has recently become the subject of
increasing studies and research as a viable way to improve student performance.
Though the specific terms used to define such an endeavor diverge, the basic
13
philosophies are the same. For example, Dobbs (1992, p. 10) defined arts education
as “a written and sequential organized curriculum consisting of lessons containing
content drawn from the four foundational arts disciplines [drama, dance, music, and
visual arts].” Another term used to define arts-themed learning, used by the Getty
Education Institute, is “discipline-based art education” (DBAE), which builds on the
premise that art is a necessary component of every child’s education and follows the
philosophy that “art can be taught most effectively by integrating content from four
basic disciplines…into a holistic learning experience” (Wilson, 1997, p. 1). Finally,
the term “arts in education” (AIE) refers to the use of drama, dance, music, and
visual art to learn about history, conflict resolution, oneself, and art as a craft (Fiske,
1999).
Art integration means that the four disciplines of dance, drama, music, and
visual arts are part of, and a means of teaching, all areas of instruction (Rabkin &
Redmond, 2005). Integration also infers the creation of “whole” curriculum by
bringing together several subjects and disciplines. In addition to arts integration, the
terms “infusion” and “interdisciplinary” are used. The infusion of the arts, as in
“arts-infused” curriculum, refers to the introduction of the arts into core curriculum
where the arts may have been completely overlooked. An interdisciplinary approach
to the arts describes teachers of different disciplines (e.g., dance and drama) and
subjects (e.g., math and music) cooperating/collaborating to produce instruction and
curriculum.
14
The arts are one of mankind’s most visual and essential forms of language,
and if we do not educate our children in the symbol system called the arts, we
will lose not only our culture and civility but our humanity as well. (Ernest
Boyer, President of the Carnegie Foundation for the Advancement of
Teaching)
According to the California Department of Education and the California State
Board of Education, the support of arts education was demonstrated by the
development of the Visual and Performing Arts Framework for California Public
Schools, Kindergarten through Grade 12, originally published in 1982 and updated
in 1996. The following six essential ideas of art education are listed in the framework
(California Department of Education [CDE], 1996).
First, the arts are core subjects because each of the four arts disciplines
contains a rich and particular body of knowledge and skills which create the ability
for children to understand and make sense of their world. Through the study of the
arts, students develop the ability to perceive aesthetically; to make connections
between art, people, and lives lived; to discuss visual, kinesthetic, and auditory
relationships; to locate artworks in time and place; to make judgments; and to
continue to make sensory connections in the world. It allows one to create a new
world, explore intangible elements of life, and create solutions to currently
unanswered issues.
Second, the arts enrich and are enriched by other subjects, such as history,
health, geography, and science, by supplying students with a rich tapestry of
perspectives of a period of time and demonstrating how the arts both reflect and
15
motivate the beliefs of a society. Students can make connections between disciplines
through the arts.
Third, the arts promote creativity, thinking, and joy. For example, knowledge
and thinking are a requisite for understanding art. Though responses to art are often
emotional, students can be taught to analyze the qualities of the art that produce
those emotions. In this way and others, the four arts link mind and body. Each of the
disciplines has emotional and intellectual components, involving the whole self. Joy,
excitement, anticipation, and exhilaration are all by-products of participation in the
arts. The unexpected nature of the arts may produce surprise, and the risk-taking
associated with participation may result in a sense of exhilaration and pride.
Expansiveness of one’s self-perception can also occur when one identifies with a
character, image, or representation in art and allows the imagination to come to life.
Fourth, the arts offer different ways to make meaning regardless of students’
abilities, language capacities, or special needs. The arts encourage and give merit to
meaning, which often is not represented through words or numbers. The arts inspire
self-expression by offering opportunity for success in ways some students have never
experienced.
Fifth, the arts both reflect and influence culture. In California, where our
schools serve a remarkably diverse body of students, the amalgam of students,
cultures, and backgrounds become a symphony to the arts. When a variety of
cultures and languages come together, there is an expansiveness of ideas and an
enrichment of one another, which can be reflected in the arts. The arts have a way,
16
through sounds, colors, forms, and shapes, to bring people together and express
cultural values that may be difficult to describe in words. The arts influence cultures
and societies in which they were created and serve as a living record of a time,
connecting the present with the past. As students study the arts, they gain awareness
of how past and present cultures communicate through dance, drama, music, and
visual forms.
Sixth, the arts promote aesthetic literacy through understanding images,
metaphors, sounds, and movements, as well as reading and writing. Students learn
the essence of civilization through a basic arts education (National Endowment for
the Arts [NEA], 1988), which is represented almost wholly by ancient forms of art:
the pottery of pre-Shang China, the 11
th
Century Bayeux, France tapestries, the pre-
Spain African empire displayed in bronze statues of Benin, the pyramids of Egypt,
and the Mayan temples found in the Mexican and Central American jungles. But
exposure alone is not enough. Aesthetic learning comes from reflection, analysis,
and synthesis in an attempt to find meaning and put information in context. An
aesthetically literate person understands that aesthetic value comes from both
experience and perception.
17
Defining the Four Disciplines of Arts-Themed Learning
Dance
“My art is just an effort to express the truth of my being in gesture and
movement” (Isadora Duncan [1877–1927]).
Dance education is an expansive arts discipline defined as an instructional
program that prepares students to express themselves through the performance of one
or more of the specific dance forms. Dance instruction is also inclusive of
choreography, dance history and criticism, and dance production (NCES, 1994).
Dance education is an integration of physical and mental processes. It
promotes verbal responses and encourages children’s health. Comprehensively,
dance can express and develop the whole self through using innate creative skills to
produce spontaneous response and discover artistic form through the use of the body.
When one dances with a partner, a greater sense of respect for and understanding of
diversity is also developed.
The current status of dance in United States schools ranks behind music and
visual arts. Only 43% of all United States elementary schools responding to a 1994
survey by the NCES offered any instruction in dance. Only 4% of schools offered
dance as a subject taught by a specialist. In addition, until the adoption of the 1996
Visual and Performing Arts Framework, it was not possible to receive a dance
teaching credential (CDE, 1996).
18
Drama
“Drama is the ability to put oneself into another’s shoes” (Dorothy
Heathcote).
Drama, or theatre, is a powerful foundational discipline of arts education
which is, and has always been, a reflection of its time. Religious and historical events
have always found their voice in the theatre. Through storytelling, folk tales, and
other verbal traditions, cultures have been able to hold on to the legends and customs
and continue to convey the message to humanity. The heritage of Greek civilization
is revealed through the epics of Homer and the Parthenon. Even today, many events
and celebrations take a theatrical form. One example is the opening ceremony of the
Olympic Games.
Drama education is defined as an instructional program that describes the
study of dramatic works and their performance. This includes instruction in dramatic
literature, dramatic styles and types, and the principles of organizing and performing
plays. In the 1994 NCES survey, only 8% of schools surveyed provided drama as a
separate subject taught by a specialist. However, approximately 80% of the
respondents indicated that they do incorporate drama/theatre in some ways, such as
through story reenactment. Another 16% reported that classroom instruction
incorporated drama into the language arts curriculum. At this time, California does
not offer a theatre teaching credential.
19
Music
“Music can name the unnamable and communicate the unknowable”
(Leonard Bernstein [1918–1994]).
Music education, the heart of the disciplines that drives the body of arts-
themed learning, is an instructional program that encompasses the study of music
performance, music appreciation, music theory, the historical development of music,
the fundamentals of various musical instruments, and vocal and instrumental
performance. Many cultural myths and religions represent music as a divine gift. In
fact, the word “music” comes from the Greek “muse,” any of the nine sister
goddesses in Greek mythology who prevail over the arts and sciences.
Music is taught in more than half of all elementary schools. Two-thirds of
these elementary schools teach music by a specialist only; 22% employ both a
specialist and classroom teacher; and 8% leave music instruction for the classroom
teacher alone (NCES, 1994).
Music is a powerful representation of cultural heritage, demonstrating the
human need to construct sounds and express the depths of human feelings where
words cannot. Studying music helps students learn the traditions and constructs of
their own culture, as well as the cultures of others. Romain Rolland (1866–1944)
said. “Every form of music is allied with some form of society and makes it easier to
understand.”
20
Visual Arts
“There is nothing in art that there wasn’t some of before” (David Smith
[1906–1965]).
Visual arts is a foundational discipline of arts-themed learning that is, by far,
the most integrated and implemented of the four art forms. Visual arts education is
an instructional program that includes fine arts; communication and design arts;
architecture and environmental arts; and crafts such as ceramics, jewelry, and works
in wood, paper, and other materials (NCES, 1994).
The visual arts have been with us since pre-historic times, the evidence of
which is provided by images painted and etched on cave walls such as those in
Lascaux, France and Altamira, Spain. All cultures and civilizations utilize visual art
to communicate ideas, customs, traditions, and beliefs. Visual art creates images that
become an integral part of human language and pictures are often the first signs of a
child attempting language. The discipline of visual arts includes visual art creation,
interpretation, and perspective, and allows children to acquire an appreciation and
understanding of time and place.
Visual art is offered in most elementary schools, with 28% providing
instruction by the classroom teacher. About one-half of elementary schools have at
least one specialist on campus. Close to 90% of schools with visual arts specialists
on staff integrate other subjects into their teaching of visual arts (NCES, 1994).
21
Arts Education History
Mankind’s most enduring achievement is art. At its best, it reveals the
nobility that coexists in human nature along with flaws and evils, and the
beauty and truth it can perceive. Whether in music or architecture, literature,
painting, or sculpture, art opens our eyes and ears and feeling to something
beyond ourselves, something we cannot experience without the artist’s vision
and the genius of his craft. (Barbara Tuchman, Pulitzer Prize winning
historian)
At the National Level
In the 1960’s, a school reform initiative took place which was based on the
ideas of Jerome Bruner (1960). Rather than simply learning facts about school
subjects, Bruner believed that students should be provided “an understanding of the
fundamental structure of whatever subject we choose to teach” (p. 11). The difficulty
in teaching the complex subjects related to the arts during the 1960’s and 1970’s was
complicated by the lack of professionally trained teachers in the subjects.
In the 1980’s, the Getty Institute for the Arts was still facing the challenges of
preparing the field for a comprehensive arts education program (Clark, Day, &
Greer, 1987). The initiative based on Bruner’s philosophy failed in the 1960’s and
1970’s because so few advocates, teachers, and supporters stepped forward to
participate. During this time, more fully-defined arts education principles and
characteristics were reported by the Rand Corporation (Day, 1984), the Getty Center
for Education in the Arts (1985), and journal articles and books in the arts disciplines
(Clark et al., 1987; Crawford, 1987; Dobbs, 1992; Kleinbauer, 1987; Risatti, 1987;
Spratt 1987). As this evolution continued through the 1980’s, it became apparent
22
there was too much emphasis placed on the discrete characteristics of the individual
disciplines, and not enough emphasis on a holistic body of art knowledge. This was
because, at the time, arts disciplines were presented separately; no integration model
existed.
In the last 25 years, the arts have been included in federal education reform
legislation. National standards for arts education were created which mandate the use
of the arts in educational reform. This led to the development of state content
standards in dance, drama, music, and the visual arts in order to facilitate sequential
and comprehensive arts programs in California’s K-12 schools.
Between 1977 and 1988, there were three major national reports establishing
the merit of arts education. The first study, Coming to Our Senses: The Significance
of the Arts for American Education, was conducted by the Arts, Education and
Americans Panel in 1977. The panel was headed by David Rockefeller, Jr., and
included former U.S. Commissioner of Education Francis Keppel, a variety of
educators, and corporate leaders. The panel concluded that the status of arts
education was far behind its potential. Two key phrases still used today—“the arts
are basic” and “arts literacy”—came from this study. The second report, Can We
Rescue the Arts for America’s Children? Coming to Our Senses—10 Years Later
(Fowler, 1988), was sponsored by the American Council for the Arts. The third
report, prepared by the National Endowment for the Arts (NEA), was called Toward
Civilization (1988), and represented an exhaustive two-year study requested by
Congress in accordance with the reauthorization of the National Endowment for the
23
Arts. Toward Civilization outlined four purposes for arts education which included
civilization, creativity, communication, and critical thinking (pp. 14–18). The study
reported three major findings: 1) The arts in education were treated as superfluous to
reading, mathematics, and the sciences; 2) there were no arts education guidelines,
nor any agreement across states and districts as to what such requirements might
look like; and 3) the arts were being taught strictly from a production and
performance perspective, without the recognition that an integrated approach to the
arts would yield a higher quality of arts literacy. All three studies concluded that
basic arts education in America in the 1980’s was nearly nonexistent and that there
was a lack of resources, both human and material, necessary to provide meaningful
arts education (Airulla, 2004).
After the completion of its 1988 study, the NEA assumed a participatory role
in furthering educational reform by influencing federal policy and, more importantly,
providing financial support for arts education as well as becoming a partner with the
United States Department of Education (Remer, 1996). In particular, the NEA
recommended that the arts be placed back into the National Assessment of
Educational Progress (NAEP).
Congress later passed legislation that included the arts in 1994 in its Goals
2000: Educate America Act, which established the arts as one of the core content
areas in which students should display competency (Fowler, 1996). While this was a
step towards creating an arts-inclusive education, states and local districts had not
created set standards in any academic subjects, which limited their compliance
24
(Remer, 1996). Soon after, national standards were composed for teaching outcomes,
curricula content, and teacher certification (Remer, 1996). It took two years to
develop a national consensus of what should be learned and taught in the arts. The
National Visual Arts Standards Task Force worked to develop standards in arts
education, which included dance, theatre, music, and visual arts benchmarks for
grades 4, 8, and 12 (1994).
In 1997, for the first time in its 20 year history, the Nation’s Report Card
(NAEP) included the arts in its determination of basic subjects proficiency (Remer,
1996). Performance-based assessment of artistic understanding in the four arts
disciplines was used to evaluate the level of arts education in schools.
In 1999, Champions of Change: The Impact of Arts on Learning was
compiled by the Arts Education Partnership (AEP). The landmark study illustrated
the implications of arts education on students (Fiske, 1999) and demonstrated that
the arts can successfully alter the experience of learning through programs that
provide interaction between students and the arts. Further conclusions were that
successful arts programs with the support of staff, resources, and community,
“provide opportunities for complex and self-directed learning experiences” (Airulla,
2004, p. 28). In 2001, the non-profit organization Americas for the Arts embarked on
a public awareness campaign that included a nation-wide survey regarding the
importance of the arts in education, and found that 95% of parents believed that the
arts are important in preparing children for the future. In addition, 91% of surveyed
25
parents saw the arts as a meaningful part of a well-rounded education (Americas for
the Arts, 2001).
In 2002, Critical Links: Learning in the Arts and Student Academic and
Social Development (Deasy) was published, which comprised 62 research studies
related to the scope of arts education. In addition to analyzing the most prominent
information about arts education research (i.e., the academic and social effects of
studies in the arts), this compendium also indicated where more work was needed.
On the State Level: California
The tide of political advocacy and national trends towards the arts has ebbed
and flowed over the years, influencing every state. California’s response has been
affected by its own statewide agendas and propositions. A setback for the arts in
California occurred with the passage of Proposition 13 in 1978 (Beyette, 2001),
which profoundly affected local governments through the Property Freeze Tax. The
freeze drew monies away from schools, causing schools to take funds from other
programs perceived as non-essential—such as the arts (Beyette, 2001).
Consistent with the state’s image of innovation, the California State
Department of Education, in 1996, created Visual and Performing Arts Framework
for California Public Schools: Kindergarten Through Grade Twelve, discussed
earlier in this chapter. This report was the first time schools were provided with
comprehensive guidelines to implement a K-12 arts program.
26
In 1983, the Hughes-Hart Educational Reform Act, Senate Bill 813, was
passed, mandating one year of visual or performing arts coursework in high school
(Arts Education Advisory Committee [AEAC], 1990). The same year, the High
Schools for the Arts Program was implemented by the California Legislature, which
created high schools for gifted and talented students who wanted a future in the arts.
This step led to the creation of the Fine Arts Curriculum Implementation Center by
the State Department of Education’s Office to Staff Development (AEAC, 1990).
Four years later, funding cuts eradicated the program.
In 1989 and 1990, two reports were unveiled that examined the status of arts
education in California’s public schools. The first, Arts Education in California:
Thriving or Surviving?, found enormous disparity from district to district in arts
education implementation because implementation, curriculum, courses offered, and
the scope of the programs were determined at the local level (Thompson et al.,
1989). There seemed to be no uniformity of procedure among the schools. The report
found that most grades K-6 included only basic or introductory lessons in the arts,
and the lack of trained teachers in the arts led the report’s authors to conclude that
“Few students in K-6 receive a full, comprehensive arts education program”
(Thompson et al., p. 5).
The report also provided a more complete image of the state of arts education
in California. Though 21 semester hours of training were required for teachers in the
humanities and fine arts, due to the absence of State-approved arts courses, teachers
entered the workforce without any arts training (Thompson et al., 1989). In 1987,
27
arts instruction for grades K-6 averaged 115 minutes per week, whereas the federal
report Towards Civilization recommended that 270 minutes of arts instruction be
conducted a week (NEA, 1988). The results of the state study called for more
adequate teacher training and for a standardized, statewide plan for K-12 arts
education (Thompson et al., 1989). The report concluded that while the arts were
being taught in California public schools, they were just barely present.
The second report, Strengthening the Arts in California Schools: A Design
for the Future (AEAC, 1990), did not offer much more hope than the first. There was
an urgent need for arts teachers: “In 1987, the percentage of school districts
indicating a shortage of arts teachers was exceeded only by shortages of foreign
language specialists in the core curriculum” (p. 22). This report found the same lack
of standard implementations across districts, but also noted that the establishment of
such an extensive curriculum would take time.
Several initiatives have come to light in recent years. Despite the current pull
towards a back-to-basics approach with curriculum, changes have occurred. First, in
January 2001, California adopted standards that detailed a standard for student
literacy in dance, drama, music, and visual arts, just as it has for the other core
subjects of reading, mathematics, science, social studies, and history (California
State PTA, 2005). Second, one full year of high school arts instruction is now a
requirement for admission into a state public university. In addition, in February,
2001, the state PTA catapulted an awareness and advocacy campaign targeting
legislators, parents, media, and school boards. The campaign, called SMARTS: Bring
28
Back the Arts, set out to ensure that all public school students get quality arts
education from grades preK-12 (California State PTA, 2005). Finally, the Los
Angeles Unified School District in 1999 adopted a 10-year Arts Education Plan
which acknowledged the powerful role of the arts in education. The goal of the plan
is that every graduating senior will be proficient in one art form and have an
overview of the arts through history (Beyette, 2001). As of 2001, there were four
other California school districts with arts education policies and future plans:
Pomona, Compton, Montebello, and Long Beach (Beyette, 2001).
Theoretical Framework
When words are no longer adequate, when our passion is greater than we are
able to express in a usual manner, people turn to art. Some people go to the
canvas and paint; some stand up and dance. But we all go beyond our normal
means of communicating and this is the common human experience for all
people on this planet. (Murrray Sindlin, conductor)
As stated previously, goals for arts education encompass not only learning a
specific art discipline, but also cross-learning in other subjects through writing,
expressing, debating, thinking critically, and relating historically. The growing
diversity among learners in the United States, and California in particular, requires
an approach that takes into account the needs of a diverse population. The phrase
“every child can learn” does not address how the child will learn. To presume that
there is only one way to teach contradicts the knowledge that people learn in
different ways.
29
Until 1979, the method for measuring intelligence was the standard IQ test.
As part of its ruling in the Larry P. v. Riles case, the Ninth Circuit Court issued an
injunction against California schools that prevented them from using certain IQ tests
on African American children. The IQ measures were found to erroneously
categorize tested children as mentally retarded when they were not because of the
test’s cultural biases (National Association of Special Education Teachers [NASET],
2004). The court findings had greater implications beyond the immediate case. Basic
IQ tests were found to test for specific white, middle-class cultural proficiencies that
are not, in fact, measures of intelligence. Because California schools are attended by
a diverse population of students, such IQ tests are inappropriate; schools must
instead seek out measures, whether for testing or instruction, that account for a
variety of cultures and learning styles.
One person who did this was Howard Gardner (1997). Arguing for a theory
of Multiple Intelligences, Gardner did not concede to the idea of “one form of
cognition” that covers the vast range of human thinking (Education World, 1998).
Traditionally, people were believed to be born with a certain potential for
intelligence, and it was presumed that once normal growth and schooling occurred,
the potential level of intelligence would be reached (The Education Coalition [TEC],
n.d.). Gardner rejected this idea and instead proposed that that there are seven
intelligences (a number that he later expanded to eight). According to Gardner,
intelligence is “a biopsychological potential to process information in a cultural
setting to solve problems and create products that are of value in a culture” (Propper,
30
2001, p. 1). The eight intelligences, though not dependent on each other, do not
operate separately, either: “The intelligences are used concurrently and typically
complement each other as individuals develop skill or solve problems” (Brualdi,
1996, p. 2). In matters of cognition, linguistics, and culture, Gardner’s theory of
Multiple Intelligences “challenges the traditional view of intelligence as a unitary
capacity [and proposes that intelligence] cannot be adequately measured by an IQ
test” (TEC).
Intelligence is not fixed; it is alive and active, growing and becoming.
Everyone is intelligent in a sundry of ways, which is why Gardner’s theory has such
potential for ensuring the success and self-esteem of students in such a culturally
diverse state as California. When Gardner’s book, Frames of Mind: The Theory of
Multiple Intelligences, was published, it enlightened teachers, many of whom already
knew that children were not one-size-fits-all. His book provided teachers a way of
understanding students’ differences by categorizing intelligence into eight areas:
logical/mathematical, musical/rhythmic, verbal/linguistic, interpersonal,
intrapersonal, bodily/kinesthetic, visual/special, and naturalistic (Gardner, 1983;
Brualdi, 1996). With such a tool at their disposal, teachers were able to look at what
a child could do well, not just what s/he could not do (Guignon, 1998).
Logical/mathematical intelligence, or “number/reasoning smart,” is an
intelligence that uses numbers, sequencing, and patterning to solve problems.
Thinking is logical and systematic, and this intelligence deals with the abstract.
Students with this intelligence have an aptitude for numbers, reasoning, and problem
31
solving, and they like to figure things out by asking questions, exploring, and
experimenting (Armstrong, 1998). Musical/rhythmic intelligence, or “music smart,”
is an intelligence that includes the ability to recognize and compose musical pitches,
tones, melodies, and sounds, and is highly appreciative of music (Armstrong, 1998).
Verbal/linguistic intelligence, or “word smart,” is an intelligence that involves the
use of language and words, recall, memorization, and poetry. Interpersonal
intelligence, or “people smart,” is the ability to interact with others and understand
and interpret behaviors such as moods, motivations, and feelings from both verbal
and non-verbal cues (Armstrong, 1998). Often, people with this intelligence work
well in groups or partnerships and have difficulty being alone (Wilkens, 1996). Intra-
personal intelligence, or “self smart,” revolves around understanding one’s own
goals, strengths, feelings, and motivations, and a person with this kind of intelligence
tends to shy away from others and find comfort in being along (Armstrong, 1998).
Bodily/kinesthetic intelligence, or “body smart,” refers to using the body for self-
expression (Armstrong, 1998). This intelligence requires the use of body movement,
touching, and making things. These students enjoy using manipulatives and being
active. Visual/spatial intelligence, or “picture smart,” includes people who have the
ability to visualize objects and spatial dimensions, as well as create mental images
and pictures (Wilson, 1997). This intelligence utilizes colors, shapes, and forms and
their relationships to each other. Naturalistic intelligence, or “nature smart,” is the
latest addition to the previous seven intelligences (Education World, n.d.). These
learners have the ability to utilize the environment and distinguish among, classify,
32
and identify patterns in nature. They have a love of the outdoors, animals, and
fieldtrips.
In using the eight separate, yet interwoven, intelligences, it becomes clear
that all students can learn and improve when engaged in varied activities. Arts
education is a prime recipient of the benefits of using a Multiple Intelligences
framework. Teachers can effectively meet the instructional needs of the diverse
student population in their classrooms. While the traditional educational systems rely
heavily on mathematical and verbal intelligences, multiple intelligence bridges the
gap between the traditional and the diverse. Utilizing all the intelligences in this
manner can facilitate a deeper understanding of subject material through arts skills
development, because imagination is a key to exploring and understanding what
might be, not just what is (Eisner, 2002).
Cognitive psychologists seem to have always known that learning in one
setting has positive effects beyond the perimeters of that setting. The entire education
system follows that idea, as students’ future learning scaffolds upon previous
knowledge; in other words, there is a transfer of information when learning in one
context is applied to learning in another context (Catterall, 2002). The entertainment
of a variety of cognitive processes of creating and perceiving images goes beyond
school walls. The world in which we live is steeped in sight, sound, and movement,
unconsciously becoming part of our everyday existence.
Cognitive development refers to abilities and expertise that can be applied
successfully to academic or social learning situations (Darby & Catterall, 1994).
33
During cognitive transfer, pathways to the brain are routed upon experiencing
something a first time, then accessed when the same experience occurs again.
Catterall (1993) used the idea of listening to a single note for the first time. A series
of brain interactions occur related to feeling, attitudes, and thoughts. The second time
the brain hears the same note, those feelings, attitudes, and thoughts are triggered as
neural impulses to the parts of the brain related to memory and autonomous
responses. If all of these responses occur for a single note, the cognitive structures
would be even more significantly impacted if the art experience was more in-depth.
This cognitive restructuring or neural reorganization, if a result of
participating in the arts, should positively impact skills in related areas (Catterall,
2003). This transfer of experience can be cognitive (skill-based) or affective
(motivation-based) and can have a near or far connection. Cognitive transfer can
increase academic achievement or social understanding, while affective transfer
increases the person’s interest level, self-worth, inclination to access skills, and drive
for success (Catterall, 2003).
The compelling reasons for arts education…are the likelihood that skill and
craft gained in the arts help students to understand that they can improve in
other consequential activities and that their heightened skill can give pleasure
to themselves and to others. (Gardner, 1999, p. 5)
In addition, the Critical Links compendium (of which Catterall is a part)
reported that at-risk and failing students who participated in arts-themed learning
gained a heightened sense of self-concept directly related to the idea of performing
(Deasy, 2002). Transfer of learning is referred to as “near” (similar contexts) verses
“far” (disparate contexts). Far transfer is considered more advantageous than near
34
transfer. The connection between acting out a story and reading comprehension is
near, while the connection between playing music and math skills is far (Catterall,
2003). This transfer of information is referred to as “overlapping of lenses,” and
leads to both depth and breadth of knowledge (Wilson, 1997).
Structure of Arts-Themed Learning
The main difficulty in implementing arts-themed learning in schools is
determining the model of involvement. There are four basic models: 1) in-class,
teacher-led curriculum; 2) artist-teacher-led curriculum; 3) artist-in-residence or
community involvement; and 4) discipline-based arts education. Historically, arts
education in schools, if implemented at all, takes place isolating arts from other
disciplines, and is usually very superficial. At the elementary level, teachers are
required to teach math, language arts, science, history, social studies, and the arts.
The classroom teacher is considered to be endowed with expertise in art, regardless
of whether or not s/he actually has training in the arts. Teachers decide the content
and degree of implementation within state content standards. In this first model,
although teaching relates to a specific subject taught, it is often perceived as having
no greater value beyond the topic. Arts are taught as isolated subjects, with little
generalizing to other subjects.
The second model of implementation (artist-teacher-led curriculum) takes
place when students receive an elective or designated time to learn a specific form of
art. Often the art form is taught separately from other arts (e.g., dance class or choir).
35
More in-depth training takes place in this model; children can explore the particular
art form more intensely, and often there is a concluding art show (e.g., a music
assembly, an art exhibit, a theatrical performance). In addition to the depth of study,
an additional benefit of this model is that the instructor, called an art specialist,
usually has more training in the particular art discipline than a general classroom
teacher. Art specialists are hired specifically to teach a particular art discipline
(Fiske, 1999). Though art specialists traditionally operate in isolation from other
instructional programs, there appears to be an increase in the communication
between art specialists and classroom teachers in how lessons can be incorporated or
related to instruction in other subjects (Wilson, 1997).
The third model utilizes artist residency programs and brings in various
aspects of the community. Members of the community network—including arts
educators, artists, administrators, parents’ agencies, and community organizations—
provide instruction to schools in the arts areas. This can occur directly at the school
(the school receives grants for this type of instruction) or from the community (an
organization receives funds to bring this type of instruction to schools). Sometimes
the instruction is vigorous and occurs over months, while other times it is sporadic.
A positive aspect of this model is that there tends to be more collaboration among the
artists, community organizations, and schools. Evaluators believe that when teachers
plan and teach art collaboratively with other teachers or community artists, there is a
much greater likelihood that art will be taught well and will be taught regularly
36
(Wilson, 1997). Also, partnership between school and community has proven to be a
key factor in keeping arts education alive (Fiske, 1999).
The fourth model, discipline-based arts education, is the most comprehensive
form of arts-themed learning. Research has shown this model to be the most
effective in teaching the arts and other subjects. When works of art are placed in
their respective historical and cultural settings, when works of art are related to
literature, sciences, and other subjects, when children create their own works of art
based on the teachings of other artists, art is more powerful (Wilson, 1997). This
type of arts-themed learning requires higher-level critical thinking and places more
value on the arts and what the arts have to offer. Arts-themed learning requires that
the arts be a part of every child’s education, every day.
Research Supporting Arts-Themed Learning
Some people study an arts discipline for the sheer pleasure of learning a new
skill (e.g., taking salsa lessons), but in a school setting, the use of arts education has
several benefits: 1) the arts reach out to and motivate at-risk populations; 2) the arts
positively impact academic achievement; and 3) the arts provide for alternative
assessments of learned skills in all academic and non-academic areas.
Motivation, Interest, and Self-Concept
Participation in the arts increases motivation and interest, and heightens self-
concept in a number of ways. Through its transfer to affective learning, the arts
37
contribute to an individual’s willingness to put his or her skills to use. This is
accomplished through both intrinsic and extrinsic interests in what they are learning,
their engagement in the task at hand, the importance they assign to success, the
attributions they make for their success, and the feeling of self-worth generated
through successful performance (Catterall, 2003). This heightened self-concept of “I
can succeed” in a specific art form can lead to a transfer of that belief into other
areas.
The Critical Links compendium concludes that children are more engaged
when involved in artistic activities in school than when involved in other curricular
activities (Deasy, 2002). The Chicago Arts Partnership in Education program has
reported higher levels of engagement when integrating the arts and academic
learning (Deasy, 2002). In addition, at-risk children have related their success in
school to a revived and enthusiastic interest resulting from participation in the arts
(Horn, 1992). When the arts become central to the learning environment, schools and
other settings become places of discovery (Fiske, 1999). Changes in attitudes
towards school, in terms of motivation and engagement, have often been attributed to
the arts (Deasy, 2002). As students become more engaged in learning, attitudes
toward self and school improve. They are more willing to take risks and try new
things (Ritter, 1999). Additionally, the arts help students develop communication and
cooperation skills. As students better express themselves, their relationships improve
(Burton et al., 1999). Researchers found that students who participated more in
music activities showed fewer at-risk behaviors (New American Schools, 2003).
38
According to Jan Harp Domene, California State PTA president, “We felt very
strongly that if we brought the arts back to our schools, it would give kids a reason to
get up in the morning. Some kids need to have that little hook that gets them excited
to get out of bed and go to school” (Beyette, 2001, p. 2). Students invest emotionally
in arts-integrated classrooms. Their thinking capacities grow, they work harder, and
they learn from each other, transforming classrooms into learning communities
(Rabkin & Redmond, 2005).
Toward Civilization: A Report on Arts Education, by the National
Endowment for the Arts (1988), argued that the use of art programs as a means of
increasing self-esteem and responsibility should be encouraged. For some students
who do not have many successes, either academically or socially, the arts offer
opportunity for the desired experience of success (California Music Educators
Association [CMEA], n.d.). Through the arts, students learn to express what it is to
be human (Deasy, 2002). Study after study indicates that students are more engaged
and motivated when allowed to participate in the arts. For example, the California
Arts Council’s Alternatives in Education Program demonstrated links between the
arts and positive benefits including: reduced truancy; better attendance; calmer, more
self-directed behavior; more respect for people; and less playground problems
(CMEA, n.d.).
All students, and at-risk and diverse learners in particular, achieve more and
have a greater likelihood to stay in school when they truly enjoy what is being taught
(Fiske, 1999). The arts are equalizers: they present learning in a multitude of ways,
39
representing cultural diversity and building upon one’s own experiences. At-risk
youth are motivated by equal access to educational opportunities (Annenberg
Institute for School Reform, 2003).
In addition to increased motivation and self-concept for diverse and at-risk
learners who participate in arts-themed learning, there are other gains as well.
According to Eisner (2002), arts education encourages flexibility of teaching and
environment, which promotes diversity and individuality. Arts-themed learning gives
everyone a chance to succeed, and different kinds of learning activities are more
meaningful to different kinds of learners (Eisner, 2002). Ingram (2003) noted a
significant relationship between arts education and reading and math improvements,
especially for at-risk learners and those who perform poorly on achievement tests.
Arts education not only addresses diversity, but the arts can address issues directly
related to multiculturalism (Eisner, 2002).
In a study conducted by the Ford Foundation, a partnership was built between
public schools and the city’s arts and cultural programs. This program, called
ArtsPartners, was run by 62 arts groups in California. The program has benefited
students of every ethnic, socio-economic, and academic grouping. The study found
that arts programs make a difference at a time when kids with fewer advantages tend
to struggle and fall behind, between first and fourth grade (Reardon, 2005). One
example cited in the study is at Hogg Elementary School, where the population is
predominantly English language learners and come from lower socio-economic
backgrounds. The kinds of writing the students are producing in fourth grade are as
40
good as those of sixth graders in wealthier settings with more advantages (Reardon,
2005). More importantly, the arts are a matter of equity. All students should benefit
from and experience what arts-themed learning has to offer (Reardon, 2005).
Academic Achievement Impact
The four disciplines of arts-themed learning, explained earlier, offer skills
that are applicable in many ways. In dance, traditional and creative styles impact
learning differently. Traditional dance improves self-confidence, reading skills,
expressive skills, and persistence. It impacts areas related to social tolerance,
creativity in poetry, and non-verbal reasoning. Creative dance affects more general
creative thinking in areas related to fluency, originality, elaboration, and flexibility
(Catterall, 2002). Drama, the second discipline, offers its own set of strengths and
skills. Dramatic enactment improves students’ oral and written story comprehension,
writing proficiency and fluency, conflict resolution skills, and concentrated thought.
It helps students recognize character identification and motivation, increases peer
interaction, and helps in understanding social relationships and emotions (Catterall,
2002). The third arts discipline is music. If one participates in early childhood music
training, there is increased cognitive development. Listening to music increases
spatial reasoning, spatial temporal reasoning, quality of writing, and length of
writing. Piano keyboard learning improves spatial reasoning and mathematical
proficiency. Piano and voice training increase capacity for long-term spatial temporal
41
reasoning. Instrument training helps reading skills and SAT verbal scores. The fourth
discipline is visual arts. Drawing helps in the content and organization of writing.
Visualization training creates sophisticated reading skills and improves interpretation
of text. Reasoning about art transfers to reasoning about scientific images. Finally,
instruction in visual art improves reading readiness (Catterall, 2003).
One of the most thorough studies in the area of arts education, conducted by
the University of California, Los Angeles, found higher levels of student
involvement and academic achievement among those who took advanced art classes
(Catterall, 1997). Cemrel, Inc., an educational research firm, compiled 67 studies in
California in 1980 and found that when the arts were included in the curriculum,
improvement in student achievement was shown in the areas of reading, writing, and
math (Milley et al., 1983). Several studies cite improvement in scores on
standardized tests. Soundpost, published by the Music Educators National
Conference (MENC), reported that students who take art courses have generally
scored higher on the SAT than those without arts classes (CMEA n.d.). In the
ArtsPartners project, they found that there were larger gains for students who
participated in the arts in the area of literacy as assessed by standardized tests
(Reardon, 2005).
A study by the College Entrance Examination Board showed that students
with four years of arts-themed learning outperformed non-arts-themed learning peers
on the verbal portion of the SAT by 59 points and on the math portion by 44 points
(Beyette, 2001). The Opening Minds Through the Arts (OMA) program, in
42
conjunction with the University of Arizona, found similar results. Through the
incorporation of arts lessons across all other aspects of teaching, one school found
significant improvements. In one year of participation with OMA, first graders went
from scoring in the 40
th
percentile on the SAT/9 verbal and math sections to the 80
th
percentile. OMA has had similar impact upon other schools as well, and has
significantly narrowed the achievement gap for Hispanic students (Loschert, 2004).
Across Arizona, on average, students who study the arts score 40–60 points higher
on the verbal portion of the SAT and 15–40 points higher on the math portion
(Loschert, 2004). A study by the Imagination Project at UCLA’s Graduate School of
Education and Information Studies tracked 25,000 students nationwide over a 10-
year period, with the project eventually releasing its data in 1997 (O’Dell, 2000).
Findings showed that 47.5% of students with little involvement in the arts scored in
the top half of standardized tests, while, 65.7% of students with high arts
involvements scored above the test median.
Mathematics
Most research shows a strong correlation between some form of music and
math skills. Music enhances skills related to the organization of ideas and
classifying, comparing, matching, and discriminating sounds (Deasy, 2002). The
previously mentioned OMA project found success using music to review and explore
basic counting and numerical patterns (Loschert, 2004). Research by Rauscher and
Shaw (1998) suggested that music can enhance spatial-reasoning ability, as apparent
43
by preschoolers who received music lessons versus those who did not.
Supplementing this, a UC Irvine study found that preschoolers who took eight
months of keyboarding lessons improved their spatial reasoning by 46% (Beyette,
2001). ArtsPartners in Dallas (2005), in conjunction with the Ford Foundation, uses
specific skills in music for assistance in math. For example, students studied and
worked with half notes and quarter notes through musical exercises, and in the
course of this instruction, students attained better understanding of fractions and
ratios.
The Chicago Arts Partnerships in Education (CAPE) worked with Chicago
public schools to bring the arts to classrooms. They worked with 37 schools, 53
professional arts organizations, and 27 community organizations. In areas related to
math achievement, sixth-grade students participating in the CAPE programs showed
significant improvement on the standardized test ITBS (Iowa Test of Basic Skills).
Prior to the introduction of CAPE, students in these schools averaged a mere 28% at
or above grade level. Students at schools with CAPE programs averaged 40%. By,
1998, more than 60% of CAPE schools performed at or above grade level on the
ITBS. Students at Chicago public schools not participating in CAPE averaged a little
over 40% (Fiske, 1999).
Language Arts
Teachers implementing creativity in their classrooms feel the most
comfortable doing so in the language arts curriculum (Fiske, 1999). The connection
44
between the theatre and language disciplines, related to theatre’s language-rich
environment that actively engages children, makes theatre a natural partner in
language arts education. Catterall (1997) and others (Deasy, 2002; Rooney, 2004)
have noted that the use of drama in preschool and with young children is very
effective in teaching and motivating children to develop higher-order language and
literacy skills.
Other researchers have noted the connection between these two disciplines.
For example, researchers for the Harvard Project Zero’s project REAP, a
comprehensive series of meta-analytic articles reviewing the state of the evidence for
transfer of arts learning to non-arts cognitive achievement, found the most significant
causal links between drama and language skills. “When children act out stories, their
verbal skills, including comprehension, grow more than when they simply read the
stories and discuss them” (Winner & Hetland, 2000, p. 2). Another study (Sullivan,
1982) found links between movement and language arts learning. Creative
movement was found to help students express feelings as words and actions. In
addition, storytelling appeared to help auditory perception.
Research on students whose schools participated in the ArtsPartners program
demonstrated other benefits of integrating the arts in education. The students
participating in the program performed better on their writing assignments, which
were scored according to the use of syntax, ideas, word choice, organization, and
voice. In one study, fourth graders averaged a score of 2.39 out of 4 points on
45
conventional writing assignments. After participating in ArtsPartners activities, the
average score rose to 3.06 (Reardon, 2005).
The 1999 Champions of Change compendium looked at the relationship
between theatre and language skills. They examined reading skills for two low socio-
economic groups in eighth grade. One group was involved in theatre; the other group
had no such involvement. The former group outscored the latter on reading
assessments throughout the years of the study until, in twelfth grade, nearly 20%
more of the students involved in theatre were highly proficient in language skills
than their peers with no theatre involvement (Catteral, Chapleau, & Iwanaga, 1999).
The CAPE study in Chicago found the same type of reading proficiency
advantages. The reading test scores at or above grade level of 29 similar schools
were compared on the ITBS sixth-grade reading test. CAPE schools, when compared
to non-CAPE schools, scored 8% higher in 1993, and the score gap increased to 14%
by 1998. (Fiske, 1999).
Science
Less direct connections have been found between science and arts education.
The research article, “Feeling Strong, Feeling Free-Movement Exploration for
Young Children” (Sullivan, 1982), made several connections between movement and
science knowledge. Creative movement encourages young children to explore with
their bodies and become aware of how their bodies move. In addition to learning
body awareness, creative movement teaches children about force and time (e.g.,
46
being limp, energetic, slow, or quick), space (where the body and others are oriented
in the room), weight (relationship of their body to the ground), locomotion
(movement through space), working with others (learning to solve problems and
develop trust), and isolations (learning how individual parts of the body can move).
Visual arts can be used to build a bridge between the physical world and the inner
world of feelings and meanings.
Additional Benefits of Arts-Themed Learning
Ultimately, the education system seeks to promote and develop effective and
productive members of society. The arts can contribute significantly to the
acquisition of skills correlating to successful participation in the work environment.
For example, a study by the United States Department of Labor (U. S. Department of
Commerce, 1991) that looked at how prepared America’s youth were to enter the
workforce found that arts education helps students make important strides in the core
competencies needed for employment. Arts education prepares students in all five
competencies delineated in the 2000 “SCANS Report for America”: interpersonal
skills, ability to use resources, manipulation of information, understanding of
systems, and use of appropriate technology (U. S. Department of Commerce, 1991).
Arts education produces “real world” benefits. Artistic appreciation and
production contribute significantly to the flexibility of “knowledge workers” that is
important in the economy of the 21
st
century. Business leaders are looking for
higher-order thinking skills in judgment, imagination, cooperative decision making,
47
leadership, communization skills, and the ability to both pose and solve problems
(Cortines, 1999). As Jane L. Polin, manager of the General Electric Foundation,
noted, “We see a tremendous need for workers who are creative, analytical,
disciplined, and self-confident. And we believe that hands-on participation in the arts
is one of the best ways to develop these leadership abilities in young people” (CDE,
1996, p. viii).
Ideas for Effectively Implemented Arts-Themed Learning
As the executive director of Los Angeles County Arts Commission Laura
Zucker stated, “one hundred percent of the people interviewed [for the countrywide
study of arts programs in 80 of 82 districts via Arts in Focus] believe that arts
education is important…but there is a gulf between the belief and the
implementation” (Beyette, 2001, p. 2). An effectively implemented comprehensive
arts-themed learning program is pivotal to its success. Laced within the myriad of
studies and research articles reviewed for this study, themes emerged regarding the
characteristics of a comprehensive arts education program. Four such themes include
1) time, resources, and planning; 2) systematic implementation; 3) contributions
from complex consortia; and 4) research and evaluation. Each of these themes will
be considered in detail below.
48
Time, Resources, and Planning
The first theme, time, resources, and planning, includes professional
development, teacher training, and adequate staffing. To succeed, arts-themed
learning programs must be long-term with adequate and reliable funding. Most
importantly, professional development opportunities are paramount to effective
instruction. Champions of Change (1999) contended that the best teachers are
lifelong learners. Participation in challenging professional training can be life-
changing, which in turn affects teaching experiences. Well-trained staff and teachers
potentially can become leaders of systemic change.
Pre-service and in-service professional development opportunities are
necessary to design and improve arts-themed learning and teaching. Teacher training
in arts-based strategies supports the Multiple Intelligences framework of engaging all
learners. Training can be used to ease the integration of cooperative learning groups,
self-directed learning, project-based learning, and self-assessment (Rooney, 2004).
Profession development must also address specific tools and practices, even
technology. Cross-disciplinary professional development helps establish a common
language and intertwined strategies among diverse teachers. This type of training
brings people together for common causes (Rooney, 2004).
Planning an arts program takes time and sometimes must be implemented in
incremental steps. If this is the case, sufficient time must be allotted to assure the
program is systematically implemented. However, regardless of how much planning
49
occurs, it is also necessary to have sufficient resources, which can take the form of
materials, technical assistance, time in the school day, facilities, and staffing.
Systematic Implementation
Systematic implementation means that changes in initiatives must occur at
the same time at all levels of arts education (Wilson, 1997). Implementation must be
comprehensive and sequential. Like other disciplines, skills in the four arts
disciplines require a program that builds on itself throughout children’s development,
building upon previous skills taught throughout all grade levels.
Systematic implementation also requires a commitment on every level,
nationally and locally. Government officials must support these policies to ensure
such commitment (AEAP, 1997). Required is a collective support for the arts and a
common goal towards implementation. At the school board level, policy and
frameworks must be supported, and it is critical that superintendents articulate the
vision. Administrators must coordinate the arts implementation process within the
school system. Principals need to support and embrace policies and programs, and
teachers must work together to deliver the content. An inclusive arts program is not
possible without this collective support.
Contributions from a Complex Consortia
Within the community are local agencies, museums, art groups, and other
organizations that comprise an important consortia. Together they can facilitate
50
change through development, support, and implementation of new art programs
(Wilson, 1997). According to Gaining the Arts Advantage (Fiske, 1999), the number
one critical factor in maintaining arts-themed learning in schools is the active
participation from influential agencies in the community. They form networks
promoting the importance of the arts through political activity, student performances
and exhibitions, museums and concert halls, and involvement with artists inside and
outside of schools.
Community involvement can garner encouragement, feedback, and support.
Mentorships can be created and community resources and skilled personnel can
assist in related after-school programs. Partnerships within the community can link
artist-teachers and provide opportunity for professional development (Rooney, 2004;
Fiske, 1999).
Parents and families are another important component of community
interaction. A program in Redondo Beach, California, for example, trained parents as
volunteer art teachers, and provided them with adult art education classes (Rooney,
2004). Often, parents must make many adjustments in their schedules for their
children are to participate in arts programs (Fiske, 1999). Fortunately, even parents
who avoid their children’s schools tend to assist or attend arts events (AEAP, 1997).
Research and Evaluation
Assessment is an important part of the arts. Students need to be assessed in
the arts to determine what they know, what they learned, and what the next steps
51
should be in their education. This helps ensure that appropriate curriculum and
instruction are being utilized, and secures accountability.
The most conducive form of assessment is performance assessment.
Performance assessment evaluates knowledge and understanding through means
other than tests. The arts create an arena for assessment because the arts are
inherently outcome-based, requiring students, even when involved in ensemble
endeavors, to work independently (Daniel, 2000). For example, a sculptor’s outcome
must take the form of an actual piece of art: a sculpture. A dancer or actor will
perform in a show or play. A musician will play or sing a piece of music. A
successful outcome is the completion of the task or goal.
If one takes a Multiple Intelligences approach, authentic assessment is a
requirement, but the use of traditional pen and paper tests excludes knowledge
gained by other intelligences. Knowing how a student learns will assist in the
assessment process. Assessment from a Multiple Intelligences perspective means
that one can look at an actual product or at artistic skills gained by a student to show
his or her knowledge in another area. For example, one might memorize the “Give
me liberty or give me death” speech by Patrick Henry to show comprehension of the
writing of the Constitution. Or, a student could rap the multiplication tables or build
a model of a California Mission.
Integral to arts education reform is development, research, and evaluation
across arts curricula (Wilson, 1997). Performance assessment of portfolios, projects,
exhibitions, reflections, and performances to assess a student’s gain of knowledge
52
and skills is an important aspect of such reform. Self-assessment and collaborative
assessment should also be an ongoing part of participation in the arts. Researchers
agree that the content of these programs cannot only be about the arts; student
achievement and school improvement must be central to their mission (Rabkin &
Redmond, 2005). The Visual and Performing Arts Framework (CDE, 1996) noted
that learning must occur in the arts, through the arts, and beyond the arts.
Challenges to Implementation and Gaps in Research
In analyzing implementation themes, there are several factors to consider,
such as current challenges based on the political climate and gaps in current research.
In particular, there are issues related to the No Child Left Behind Act and its high
stakes testing, as well as problems related to facilities, staffing, and research. The
enactment of NCLB has raised the bar for proficiency levels in reading and math
because it uses test scores as the vehicle for holding schools accountable for student
learning (NCLB, 2002). As noted earlier in 2002, the emphasis on these subjects has
threatened the amount of time left for other subjects, including the arts. A recent
report by the National Association of State Boards of Education (NASBE) noted that
the arts are at risk of becoming obsolete due to this testing emphasis (Manzo, 2005).
Brenda L. Welburn, NASBE’s executive director, noted, “With heavy focus on
testing a limited number of subjects, schools are using all the available time to shore
up kids’ basic skills in order to have them show improvement on tests” (Manzo,
2005, p. 1). Research has further shown that teachers spend more time on tested
53
subjects than they do on non-tested subjects. Though arts are considered core
curriculum, there are no required tests; particularly problematic in this respect is that
what the arts teach is generally not measurable on typical tests (Airulla, 2005).
A second challenge is related to staffing and facilities. Implementation
constraints can occur when staff, administration, or board members do not share the
same arts-commitment philosophy. At all levels, there are teacher attrition issues and
principal and superintendent turnover, which necessitate a considerable amount of
retraining of new staff. In addition, adding arts-themed learning in an already-
established school can be a monumental barrier to overcome. A realignment of goals
and priorities are required for the entire staff (Wilson, 1997; Reardon, 2005). In
addition to staffing issues, facility availability can be another hurdle. Many do not
consider specific facilities required for the arts to ensure the safety of all involved
(Daniel, 2000). For example, dancers require a suspended floor to reduce injuries.
Visual arts studios require proper ventilation to reduce potentially hazardous
chemicals and fumes in the air.
Research in arts-themed learning reveals a third area of concern: a lack of
research, weak research, and not-replicable programs. Although many studies have
shown a correlation between arts and increased achievement, few are able to show
causal links. The biggest obstacle is that the arts infuse so many skills at the same
time that it is impossible to isolate them (Rooney, 2004). Most existing studies are
qualitative rather than quantitative, and because it is difficult to use random sampling
and control groups in qualitative studies, many of their findings are not replicable
54
(Burton et al., 1999). For example, Critical Links (1999) pointed out a number of
cases in which experiments are not repeatable and do not take into account the
innumerous external factors which may affect results. To prove a causal link requires
a classical experimental design with isolated factors, which is not possible in the arts
(Burton et al., 1999).
Several studies have cited inconclusive results between arts and academic
outcomes (Rooney, 2004; Catterall, 2002; Winner & Hetland, 2000). Catterall called
for more research at the end of the Critical Links compendium. Specifically, more
studies are needed in the areas of visual arts and dance. Better and more creative
research designs that examine the complexities of the arts-learning experience must
occur (AEAP, 1997). Winner and Hetland (2000) contended that much of the arts-
academic linked research is weak because it does not address the quality of arts
programs, or the kind of thinking and learning promoted. Airulla (2005) posited that
research should search for bridges between the arts and non-arts subject matter.
As the field of arts-themed learning grows, so grows the need for adequate
assessment that reveals the depths and complexities of the arts. Knowing the full
range of effects of arts learning requires valid and reliable assessment instruments
that can measure arts instruction outcomes (AEAP, 1997). The development of new
forms of assessment in all domains is needed (AEAP, 1997). Typical evaluation,
according to Eisner (2002), conforms to a predicted outcome, but the arts are not
about conformity. As such, evaluation should be formative, based on observation,
and include frequent feedback (Rooney, 2004).
55
An issue that encompasses all of these challenges to effective implementation
is financial constraints. Budgetary problems have resulted in teacher layoffs,
classroom closures, and program cuts (Herbert, 2004). Funding is always uncertain,
and the cost of creating and expanding arts education can be prohibitive. Because
most public funding is funneled toward programs related to math and reading, other
programs, like the arts, are left wanting. Doyle from the State Department of
Education concluded, “If it’s not tested, it’s not taught…those test scores for math
and reading, there’s big dollars attached. There are no such rewards right now for the
arts” (Beyette, 2001, p. 3).
Summary
Benefits from arts-themed learning range from heightened self-esteem to
acquired work-related skills. Involvement in the arts offers unparalleled
opportunities for learning. While it may never be possible to detail numerically all of
the advantages the arts have to offer, arts education matters. There is an abundance
of anecdotal evidence supporting the benefits of arts-themed learning.
In Chapter Three, I will describe in detail the methods used to conduct a
multi-school case study of promising practices at arts-themed charter elementary
schools. Chapter Three will also delineate the research questions that will be the
focus of the case study and data collection procedures.
56
CHAPTER THREE
RESEARCH METHODS
The goal of this research is to provide a detailed analysis of how high-
performing charter schools utilize promising practices related to arts-themed learning
to increase student performance. In this chapter, I will describe in detail the methods
used to conduct a multi-school case study of promising practices at arts-themed
charter elementary schools. In order to facilitate replication by others, details about
how the study was conducted will be provided, including research design, data
collection instruments, and data collection processes and procedures.
Research Design and Research Methods
This investigation seeks to explore how high-performing charter schools were
able to increase student performance by implementing a curriculum based on arts-
themed learning. The unit of analysis used in this study is the promising practice of
arts-themed learning. Data collection focused on uncovering programs, processes,
and policies related to arts-themed learning and how those promising practices were
implemented.
To date, few studies have focused on promising practices in charter schools,
with the exception of the study, Learning from Charter Schools in Los Angeles (Los
Angeles Unified School District [LAUSD], 2005). As explained in Chapter One,
promising practices are strategies implemented in the hopes of future excellence,
benefits, or improved school performance. Charter schools offer more opportunity
57
for implementing promising practices because these schools have more decision-
making authority and are free from many state rules and regulations (Wohlstetter,
Smith, Malloy, & Hentschke, 2005).
Research Questions
The following four research questions guide this study:
1. What are the promising practices in arts-themed learning that high-
performing charter schools use to improve student performance?
2. How are resources used to successfully implement the promising
practices in arts-themed learning?
3. What challenges have charter schools faced in implementing the
promising practices in arts-themed learning?
4. What evidence exists to show that promising practices in arts-themed
learning have resulted in positive educational and social-emotional
outcomes?
Taken together, these research questions explore and describe the process of arts-
themed learning.
Research Design
This study is primarily descriptive and utilizes a qualitative methodology to
capture a picture of policies, programs, and processes used to create a comprehensive
and successful arts education program. A qualitative approach, in Patton’s words, is:
58
…an effort to understand situations in their uniqueness as part of a particular
context and the interactions there. This understanding is an end in itself, so
that it is not attempting to predict what may happen in the future necessarily,
but to understand the nature of that setting- what it means for participants to
be in that setting…what’s going on for them, what their meanings are, what
the world looks like in that setting- and in the analysis to be able to
communicate that faithfully to others who are interested in that setting. The
analysis strives for depth of understanding. (Patton, 1985, p. 1)
The power of qualitative research is that it may be perceived as more personal. The
results are uncovered while maintaining the uniqueness and complexity of the
phenomenon under study (Patton, 2002). Two other characteristics are inherent in
qualitative investigations: 1) the researcher is the main tool for data collection and
analysis, and 2) field work is the main data collection procedure (Merriam, 1998).
Multiple case study design is a form of qualitative research. A case study,
according to Stake (1995), involves a researcher’s exploration of an event, activity,
process, or person(s). The case study is limited by time and activity, and a variety of
data collection procedures are used. In the present study, research methods include
interviews, classroom observations, focus groups, and archival documents. Data
collected from these sources will be used to triangulate the findings, which can be
characterized as the use of “multiple investigators, multiple sources of data, or
multiple methods to confirm the emerging findings” (Merriam, 1998, p. 204).
Triangulation helps establish both validity and reliability.
Limitations and Strengths
Research methodologists have analyzed both the strengths and limitations of
the case study design. Weaknesses include 1) researcher bias, 2) lack of statistical
59
(theory-tested) data, and 3) lack of control group (Merriam, 1998). First, because the
research is conducted by a primary source, the researcher, there is a possibility of
bias. Second, in an educational environment, quantitative, numerical, and precise
data (such as test scores) are not produced by case studies. Thirdly, case studies do
not use a control group. In other words, one portion of a study population is not
removed from the treatment or intervention (in this study, arts instruction) in order to
compare groups and investigate causality.
Fortunately, case studies also provide benefits. Donmeyer (1990) suggested
three strengths of a case study design: 1) accessibility, 2) seeing through the eyes of
the researcher, and 3) decreased defensiveness. Accessibility refers to the notion that
case studies situate the reader firmly in a time and place, giving the reader access to
experiences, situations, and interactions. Case studies also allow us to see something
we already know in a new way. This is how we see through the eyes of the
researcher. Additionally, decreased defensiveness occurs as the reader takes in the
presented information vicariously: An experience through another is often more
acceptable than direct presentation of data, which can cause one to be defensive.
Finally, case studies have proven useful in studying educational innovations
(Merriam, 1998).
60
Data Collection Instruments and Procedures
Nomination Process
For a charter school with arts-themed learning to be included in the Multiple
Measures of Accountability in California Charter Schools (MMACCS) compendium,
the school had to first be nominated. The charter schools were ultimately nominated
through purposeful sampling. In the June, 2005 issue of The Charter Journal (p. 26),
an advertisement appeared which delineated the dissertation cohort’s 10 research
areas, the reason for the compendium, the criteria used for selection, and the benefits
to participating schools (See Appendix A). The dissertation cohort was comprised of
10 doctoral students at the University of Southern California (USC), with each
student examining a distinct area of promising practices. As a follow-up to the
original advertisement, the California Charter School Association (CCSA) sent out a
listserv E-Blast reminder on July 11, 2005 to 4000 subscribers to nominate schools
with promising practices for the study (See Appendix B).
To increase the pool of nominated charter schools, charter school experts in
California were contacted by e-mail. Three organizations were contacted: 1) the
California Department of Education, Charter Schools Division; 2) the Charter School
Development Center (CSDC), which provides technical assistance, training, and
resources to California charter school developers, operators, charter-granting
agencies, and policymakers; and 3) the CCSA, which is the state’s professional
organization serving the charter community. In addition to the experts from these
three organizations, members of the dissertation cohort solicited nominations
61
themselves, based on their research into schools and promising practices. Most of
this research was conducted via the Internet.
All nominated schools completed the nomination form (See Appendix C) on
the Center on Education Governance’s (CEG) website
(www.usc.edu/dept/education/cegov/). The purpose of completing the form was to
get descriptions and objectives of specific promising practices and to gather
information regarding a school’s documentation of evidence. Key contact
information was also obtained. A total of seven nominations were received in the
area of arts-themed learning.
Screening/Pre-Site Interview
In line with the research questions, specific selection criteria were established
to ensure a variety of promising practices that have been implemented for a sufficient
amount of time. First, all schools had to have implemented the promising practices
for more than one year. This was to guarantee that schools had data to support their
claims of success. Second, each school had to demonstrate innovation in its
application of the promising practice, as “more of the same” was not our goal. Third,
as noted above, schools had to present evidence of positive change. Fourth, the
school’s promising practices had to have potential for replicability at other sites. The
MMACCS compendium of promising practices was created “to inspire educators to
develop useful policies, practices, and programs that will improve student
performance” (MMACCS advertisement, in The Charter Journal, 2005). Practices
62
that are replicable and transferable can then be disseminated to other schools and
interested parties.
The last three criteria are in line with what Merriam (1998) identified as three
important factors to consider in sample selection: positive impact of test scores or
other means, promising practices that are “intrinsically interesting,” and opportunity
for maximum variation to reach a broader population. Applying these criteria, two
schools were ultimately chosen for the sample.
At this junction in the study procedures, it was imperative to begin to collect
factual data about the chosen charter schools, gather necessary documents, and get
permission for on-site visits. Some information about the sample schools was
accessed on the Internet. The schools’ websites provided basic school and program
information, as well as the mission statement and the school charter. Additional
information, such as test scores, was found on the California Department of
Education (CDE) website (www.cde.ca.gov) through a program called DataQuest.
Searching the DataQuest database by the school name provided recent test scores
and rankings. All information about the two sample charter schools was entered on
the Charter School Profile protocol (See Appendix D). The forms were then kept
until the site visit, at which point a school representative was asked to verify the data.
The dissertation cohort created a checklist of necessary documents to be
collected (See Appendix E). Those documents included the charter petition, policy
documents related to promising practices, school handbooks, program evaluations
related to promising practices, and any other helpful assessment data. The
63
information that was not available on the school’s website was gathered from the
school directly. Each school was contacted by sending an e-mail requesting that
selected documents be sent/provided to the researcher either before or during the site
visit.
The next step was to conduct the pre-site telephone interview. The Pre-Site
Telephone Interview—School Principal Protocol (See Appendix F) was used to
provide structure during the site visit and to ensure that all relevant information was
acquired. The school principal was reminded of the purpose of study and the benefits
to his or her school for participating in the study. S/he was asked seven questions in
the areas of background/laying the foundation and scheduling/logistics of the
upcoming site visit. The interviews lasted about 10 minutes.
Site Visit
The site visit took place over two days, attended by one researcher, on
November 21 and 23, 2005 at the first charter school and on December 6 and 7, 2005
at the second charter school. In addition to principals, school staff involved in the
arts-themed learning promising practices were interviewed. The researcher also
observed classrooms to capture the promising practices in action. The researcher
conducted five tape-recorded interviews at the first school, and 4 tape recorded
interviews and 2 observations at the second school, which were set up with the
assistance of the principal.
64
Interviews lasted an average of 45 minutes and were guided by corresponding
protocols. Interviewees included the principal, using the On-Site Principal Interview
Protocol (See Appendix G); lead teacher(s) of the promising practice, using the On-
Site Lead Teacher Interview Protocol (See Appendix H); and classroom teachers
with expertise in promising practices, using the On-Site Teacher Interview Protocol
(See Appendix I). The protocols asked principals and the lead teachers 26 questions
in the following categories: theory of action and history, implementation details,
resource requirements, and additional recommended resources. The teacher
interview protocol contained 17 questions in the areas of evidence of impact, lessons
learned, and additional recommended resources. Observations of classrooms
demonstrating arts-themed learning promising practices were also conducted. The
Classroom Observation Protocol was used (See Appendix J) to detail observations.
The protocol contained two main categories: classroom environment and academic
lessons. Table 1 demonstrates the triangulation of data across archival documents,
observations, and interviews. The bulleted items under each research question are
items from the compendium template (See Appendix K), developed collaboratively
by the research team. Table 1 reflects the triangulation of data collection instruments
to address the research questions and school demographics.
65
TABLE 1: TRIANGULATION ACROSS DATA COLLECTION INSTRUMENTS
Archival
documents
Observations Interviews
Background of School
(Demographics)
Research Question #1:
What are the promising practices in arts-
themed learning that high performing
charter schools use to improve student
performance?
Description of PP
Goal of PP
Theory of action for PP
Research Question #2:
What resources are used to implement the
promising practices successfully?
Time (start-up/planning time)
Time PP has been in place
Budget information
Staffing (level and expertise
needed)
Facility/space
Professional development/training
Other (e.g., technology)
Additional resources (e.g., books,
articles, websites)
Research Question #3:
What challenges have charter schools faced
in implementing the promising practices?
History of PP in school
Lesson learned (benefits
and challenges)
Next steps for sustainability
Research Question #4:
What evidence exists to show
that promising practices have
resulted in positive educational
outcomes?
Evidence of impact (e.g.,
evaluation reports)
Supporting documents (e.g.,
lessons plans, parent contracts,
staff development manuals)
66
Data Analysis
After the site visits concluded, the next step was to analyze data collected
from the multiple sources. Interviews were tape-recorded and later transcribed. The
interviews, observations, and archival documents for each charter school were then
manually coded and analyzed for “themes and recurring patterns of meaning”
(Merriam, 1998, p. 160). A code captures a “chunk of data” that has the capacity to
remain meaningful when decontextualized from the whole. A theme takes a code and
gives it shape. The codes and themes were guided by the content of the compendium
template. According to Merriam, it is imperative for the researcher to convey
understanding of the interviews and observations. The gathered data and detailed
observations were woven together to reveal how promising practices in arts-themed
learning are effectively implemented.
Summary
The purpose of Chapter Three was to provide enough detailed information so
that other researchers could replicate the study. The use of a qualitative multiple case
study design was chosen to create a vivid, comprehensive look at arts-themed
learning promising practices at two high-performing California charter elementary
schools. The schools were nominated, the sites were visited, and the gathered
information was analyzed in order to create a complete picture of the specific
promising practices, the required resources for their implementation, the challenges
faced in their implementation, and existing evidence of positive outcomes. All of this
67
information about arts-themed learning promising practices will be incorporated into
the MMACCS compendium as part of an interactive website. Public schools, charter
schools, and others interested in gaining insight into innovative promising practices
will have access to MMACCS.
68
CHAPTER FOUR
FINDINGS
The purpose of this study was to provide a detailed analysis of how high-
performing charter schools utilized promising practices related to arts-themed
learning to increase student performance. A multi-school case study was conducted
at two arts-themed charter elementary schools. This study applied qualitative
research methods to capture the policies, programs, and processes used to create
successful promising practices in the area of arts education. Interviews, observations,
and document analysis were carried out at the two charter schools in the study.
Presented in this chapter are findings related to the promising practices in
Santa Barbara Charter School and New City School. First, background information
about each is provided and then the specific promising practice is described. A
theory of action is presented linking the specific promising practice to improved
student performance. Finally, the essentials of implementing the promising practice
are described to inspire other educators to replicate the arts innovations.
Santa Barbara Charter School
Introduction to the School
Santa Barbara Charter School (SBCS) is located in Goleta, California, in the
Santa Barbara School District. The start-up charter school, which opened in 1993,
was created by educators and parents who came together as a community with the
shared belief that nurturing the physical, intellectual, social, and emotional
69
development of children helps in the achievement of academic goals. The school’s
mission is to nurture “lifelong learners by cultivating the interest and building of
skills of both students and their families in the arts, academics, and relationships”
(“SBCS Charter,” p. 7). By embracing a Multiple Intelligences framework and a
constructivist approach, the stated goal of SBCS is to “help students learn to solve
problems well, think critically and creatively, and to become academically
competent, responsible, and productive members of the community” (“SBCS Hopes
and Aspirations,” 2002). SBCS wrote the school’s charter and opened its doors
within six months to nearly 60 students on the campus of Goleta Valley Junior High
School. Table 2 shows basic background information about SBCS. Including the
home-based program (HBP), SBCS now has 284 students in grades K-8 with 10.5
teachers. Excluding the HBP, there are 210 students and 8.5 teachers. The Director
of Education is also a half-time administrator and the Director of Operations is also
20% PE specialist. SBCS has one Resource Specialist and one Fiber Arts Specialist.
The school’s demographics indicate that 65% of the student population is White,
19% Hispanic, with smaller percentages of Asian (8%) and African American (3%)
students.
70
TABLE 2: PROFILE OF SANTA BARBARA CHARTER SCHOOL
Status (conversion/start-up) Start-up
Charter authorizer Santa Barbara School District
Year chartered 1993
Year opened for operation with students 1993
Student enrollment:
With the home-based program (HBP)
Current
Projected
Without the HBP
Current
Projected
284
287
214
214
Grades served
Current
Projected
K-8
K-8
Student population by subgroups:
Ethnicity
African American
Asian
Hispanic
White
Other
English Language Learners
Subsidized meals
Special needs
(percentages)
3
8
19
65
5
3
12
8
Teachers part of a collective bargaining
unit?
No
Per pupil spending (year) $7,009
School address 6100 Stow Canyon Road
Goleta, CA 93117
Type of school (site based, non-site based) Site based
Contact information (805) 967-6522
office@SBCharter.org
www.sbsdk12.org/schools/elementary/
sbcharter.shtml
Link to school website www.sbcharter.org/
71
Description of Articulated Fiber Arts Program
SBCS teaches academics through the arts and has implemented the
Articulated Fiber Arts Program (AFAP) which they created since the school’s
inception. The school’s priorities are reflected in its mission statement (see previous
section for mission statement). Cultivation of the arts is listed first, followed by
academics and relationships. “Arts” was purposefully placed first to show the
school’s commitment to the arts. According to the Director of Education, “We
believe that the rich variety of artistic, interpersonal, and intellectual activity allows
every child the opportunity for excellence in some area” (“SBCS Hopes and
Aspirations,” 2002). One way SBCS strives to achieve this is through the
implementation of the AFAP. The AFAP is primarily K-5, however, some electives
are also offered in middle school. The program integrates and incorporates visual arts
elements within a developmental progression of art and academic skills and
concepts, while teaching specific handwork such as finger knitting, rope making,
spool knitting, crocheting, knitting, weaving, and sewing.
The AFAP is cross-curricular because all academic subjects are integrated in
the Fiber Arts lessons. “Our integrated approach allows students to explore different
disciplines using a variety of media and activities. Learning is maximized as students
utilize personal strengths and cultivate individual gifts” (“SBCS Education Plan,”
p.1). The cross-curricular program scaffolds upon previously taught skills to produce
both individual and group pieces of work. The AFAP is guided by two key
components. Central to the program’s success is the use of literature within each
72
Fiber Arts lesson and the required participation in a culmination showcase of work.
First, the use of literature is a part of almost every lesson, starting with a Fiber Arts-
related story. These stories address issues related to multiculturalism and sometimes
stereotypes, such as Mr. Nick’s Knitting, which is about a man who knits.
Alternatively, the literature may link academics with the Fiber Arts project at hand.
For example, a second grade art and science project concentrating on the seasons
may start with the reading of The Seasons Sewn by Ann Whitford Paul. The second
key component of the AFAP is the culmination project. Students working
individually or in groups prepare a project to showcase at an annual Fiber Arts
exhibit at the Santa Barbara Museum of Art’s Ridley-Tree Education Center,
1
or
another location.
As noted earlier, there is a specific progression through the AFAP. In
kindergarten and
first
grade, students explore both art and academic concepts
including color patterns, geometric shapes, over-under patterns, counting, measuring,
multicultural stories, talking sticks, farm life, and natural fibers as the students learn
to finger knit (producing a braid-like piece of yarn) and spool knit (using toilet paper
rolls and popsicle sticks to create a snake-like weaving). As the young students learn
about farms and farm animals, relevant literature is read and discussed. In addition to
visiting a farm, the students explore the origins of fibers in the school’s Fiber Arts
1
Santa Barbara Museum of Art is a privately-funded, non-profit institution dedicated to
demonstrating the importance of the arts through educational outreach programs, and multicultural
exhibitions and art collections.
73
Museum. The museum contains real fibers and pictures of animals. They make
finger puppets from the spool knitting project.
In second grade, the students explore the color spectrum and the color wheel,
woven trees and plants, weather, geology, patterns, measuring, counting and
community outreach. According to the Director of Education, community outreach is
part of every grade level. Students sewed a quilt and gave it to Transition House for
the homeless. Students wove saddle blankets and donated them to the local
equestrian riding program for disabled students. Finally, the Director of Education
mentioned that students had crocheted squares which were linked to make a blanket
for children to use while riding in an ambulance. For each project, students
developed their academic skills, like measuring, counting, and learning about
weather.
In
third and fourth grade, the students learn about color blending, in-depth
patterning, Navajo-style weaving, California history timelines, embroidery (to
practice cursive writing), tapestry, quilting and yarn pictures. In class, the students
articulate their knowledge by producing straw weavings (using straws and yarn to
create products that look like belts) and hula hoop weavings to make rugs. To
demonstrate understanding of California history, these students created a Fiber Arts
project incorporating writing, reading, history, and math. The students wove
specifically colored and textured strips of yarn representing a segment or event in
California’s history, such as four rows of gold yarn sewn together to represent the
1848 California Gold Rush. The students also had to use math skills to measure their
74
weavings so that they were all the same length. The students wrote about each event
and all strips were sewn together, creating a California timeline tapestry.
In fifth grade, the students explore color and texture collages, cardboard loom
weaving, costume and pillow making, woven Muñecas, American history timelines,
multicultural fiber facts, multicultural literature and math-related skills. They focus
on knitting, whether to make a simple square or an entire blanket, and used\ their
math skills to measure each row of stitches so the sides were equal lengths. The
colors each student chooses must demonstrate patterning or opposite/complementary
according to the color wheel. They also produce wearable products – hats or belts.
Similar to the California Timeline project, the older students read and studied United
States history, and created a project reflecting a United States historical timeline.
Some students knitted a strip representing the year George Washington was elected
as the first president and wrote a narrative about it. Other students knitted a strip
representing the Civil War and wrote about that time period.
One of the school’s founding members and the Head Teacher described how
knowledge and comprehension of math, science, language arts and history are
addressed. Fiber Arts are linked to language arts through stories. Story elements,
such as character, plot, setting, cause and effect, and sequence, are developed as
stories are read and discussed with children. In the younger grades, alphabet sound
and knowledge emphasizes Fiber Arts related words such as Yarn (/y/, letter “y”) or
Wool (/w/, letter “w”). “So much of Fiber Arts is math,” said the Head Teacher.
Skills related to color, patterns, counting, geometry, symmetry, and measurements
75
are utilized during every Fiber Arts activity. In science, the students must know
where fibers come from. The students examine pictures and fiber samples to
determine the origins. Students will determine the difference between man-made
plant and animal fibers. “They understand where things come from. It’s not like you
go to the store and you buy a sweater. But, what went into making that sweater. And
cotton…What’s cotton?” (Head Teacher, personal communication, December 6,
2005). Also, the students have dyed wool using plants and flowers. Students have
even planted and grown the specific flowers used. Students have knitted works
which represent seasons, biomes, and geographic structures. Fiber Arts links to
social studies because “it’s about multicultural education, introducing different
handworks from different countries. And it is about what people used to do
historically” (Head Teacher, personal communication, December 6, 2005). Social
studies and history are addressed by learning about different cultures and their
handwork all over the world. Students learn about California or U.S. history by
knitting and labeling tapestry timelines created by the students to represent different
events in history.
Finally, oral language is developed as students participate in Work Study, a
program that teaches children to be reflective, critical, and interpretive about pieces
of art created by themselves, their peers, or artwork in a museum. Through Work
Study, a piece of art is held up and children are asked, “What do you think? What do
you see?” These reflective skills carry over when the children visit museums.
76
To culminate each year, completed works are displayed for the greater
community to view. This means that students must complete individual and group art
pieces, and be able to reflect and discuss the work. The work, both for display and
use, is donated, sold, or taken home by the students.
Goals of the Articulated Fiber Arts Program
The goals of the AFAP can be divided into two categories: academic and
social.
Goal #1: Increase Academic Skills
The first goal of the Fiber Arts program is to enhance knowledge of and
increase skills in academic areas while doing Fiber Arts. The staff that was
interviewed all echoed the importance of teaching the academics through the arts, a
philosophical foundation grounded in Howard Gardner’s Theory of Multiple
Intelligences. “It’s a different way of synthesizing,” explained the Director of
Education. By integrating the arts and academics, “…whether social studies
curriculum or science curriculum, you bring the kids alive” (personal
communication, December 6, 2005). Additionally, the Director of Education said,
“Fiber Arts speaks to a lot of the developmental milestones that the children reach,
particularly fine motor skills. The small motor control and coordination develop a
child’s dexterity, which is evidenced in handwriting.”
77
Goal #2: Improve Social Skills and Self-efficacy
The second goal of the AFAP is to improve students’ social skills and self-
efficacy by providing an “alternate way of synthesizing information” (Director of
Education, personal communication, December 6, 2005). Understanding and
stimulating the “whole” child is a key component of the school’s philosophy. In
interviews, all the staff agreed that “Fiber Arts is something all the kids can do. They
can all have success at it” (teacher, personal communication, December 6, 2005).
One staff member stated, “They are inspired to learn more.” Another said, “It’s
important to give children an opportunity to shine, so that they can see their own
strengths and other children can see theirs.” “It builds self-esteem… self-expression.
Kids get a greater self-awareness” (Fiber Arts Specialist, personal communication,
December 6, 2005). The staff feels these successes transfer into other areas in which
students may be more challenged.
Fiber Arts activities are structured in such a way that the students have the
opportunity to talk to their friends, help other students, or be part of a larger group
while working on an activity. During classroom observations, there were several
times when a child sought out another child for assistance, and the student
responded. The staff has also witnessed, on multiple occasions, that students will
prefer to knit, as opposed to playing outside, during recess. Further, these activities
encourage sociability. Children are motivated to make what the older children have
made and children are also encouraged to work through the frustration of learning
how to do handwork.
78
Theory of Action for the Articulated Fiber Arts Program
The preferred outcome of SBCS is higher student performance. For the staff,
this means, “Every child deserves to realize his/her potential whether or not his/her
needs and accomplishments can be measured and met in a conventional manner”
(“SBCS Hopes and Aspirations,” 2002). According to the Director of Education,
Fiber Arts is very “tactile, sensual, and sensory,” and thus provides a “different way
of synthesizing” arts and academic information (personal communication, December
6, 2005).
As detailed in Chapter Two and in the “SBCS Education Plan,” by adopting
Howard Gardner’s Theory of Multiple Intelligences as a theoretical foundation,
“breadth and depth” of learning can be provided “for students with different learning
styles and types of intelligences” (“SBCS Education Plan,” p.1). SBCS is a
“materials-based program” which emphasizes “hands-on” learning as opposed to a
“pencil and paper” approach (Fiber Arts Specialist, personal communication,
December 6, 2005). SBCS insists on teaching arts as a “substantive discipline” and
“learning academics through the arts” because the arts “deepen and enrich instruction
across disciplines” (“SBCS Charter,” p.7).
Though the school participates in California’s mandated standardized testing,
the staff sees the need for more than test-taking skills in the 21
st
century. More
important to the staff are students who learn “effective decision-making, problem-
solving, and communication skills” and who “develop strong relationships with self,
others, community, and environment” (“SBCS Education Plan,” p. 1). Education at
79
SBCS is a “process of living and participating” as opposed to a “preparation” for
living and participating. In other words, learning is active and embedded in real-life
situations (“SBCS Hopes and Aspirations,” 2002). The small school size bolsters
“thoughtful school culture” in which “discussion and dialog thrive” (“SBCS
Education Plan,” p. 1). The AFAP is an integral part of the school’s approach toward
achieving higher student outcomes while helping students learn by “constructing
meaning from their own experiences (“SBCS Charter,” p. 7). Figure 1 depicts the
theory of action underlying the Articulated Fiber Arts Program and how it links to
benefits and outcomes.
FIGURE 1: THEORY OF ACTION- HOW THE AFAP LINKS TO HIGHER
STUDENT PERFORMANCE
Promising Practice Short Term Benefits Preferred Outcomes
Y Y
Articulated Fiber
Arts Program
(AFAP)
All K-5 students are
taught handwork
skills ranging from
rope making to
knitting
Increased student
performance
“Every child
deserves to realize
his/her potential
whether or not
his/her needs and
accomplishments
can be measured
and met in a
conventional
manner” (“SBCS
Hopes and
Aspirations,” 2002).
Completion of group or
individual project
Art appreciation and
creation
Reduction of stereotypes
Increased interest in
school
Increased motivation,
self-esteem, and self-
confidence
Increased sociability
Gained knowledge in
academic and non-
academic areas
80
Implementation of Articulated Fiber Arts Program
History
The AFAP began the first year the school opened in 1993.The school is
described as a “staff/parent cooperative” (“SBCS Education Plan,” p.1). Many
parents moved to the charter school from neighboring private schools, wanting a
non-traditional alternative that aligned with their views of child-centered education.
One of the founding parents sought to provide something “that would make the
program more appealing” (Director of Education, personal communication,
December 6, 2005), and so this parent hired a fiber artist to work with one of the
three starting classes. She borrowed the idea from one of the nearby private schools
that did handwork with the students. The Fiber Art Specialist, described as
“talented,” “inspirational,” and “passionate,” made a living creating, selling, and
showcasing Fiber Arts. During the first year, the Fiber Artist brought her own box of
materials and supplies to the school, and she did all the prepping and lesson planning
herself. In the second year, the Fiber Arts Specialist enrolled her own children in the
charter school. In addition, the school decided to hire the artist and created a more
organized program for the students. As her children moved through the grades, the
program evolved into a Fiber Arts K-5 developmental progression of skills. The
entire staff credits the success of the program to the originating fiber artist who
spread the spark to others. “When [Fiber Arts] was introduced… it became a
defining part of our program and who we were,” explained the Director of
Education. “We say that Fiber Arts is in the water…It’s in the air…and it becomes
81
part of the school…It was passed down” from the first artist and now involves
everyone at school (Director of Education, personal communication, December 6,
2005).
The combination of financial and educational support helped get the program
off the ground. “We’ve had the money to support it. We’ve had a Specialist who
taught teachers in the process of teaching children, [and] we have teachers who
believe in the benefits of it, who value it themselves” (teacher, personal
communication, December 6, 2005).
Time
In the beginning, because the Fiber Arts Specialist had her own materials,
samples, and ideas, there was little start-up/planning time required of staff members
at SBCS. “She already had the equipment and the skills to do it, so it got off to a
quick start” (Fiber Arts Specialist, personal communication, December 6, 2005).
It wasn’t until the second year, when the school decided to expand the
program to other classes and grades, that planning and organizing occurred.
According to the staff, the most time-consuming task was scheduling. The staff
needed to talk about and philosophically commit to the AFAP, because it was going
to take time away from other activities. Budget cuts and limited Specialist hours
have reduced implementation of either Fiber Arts or visual arts lessons. The schedule
is determined by each grade level and the Specialist. As an example, the first-second
grade team alternates the two art forms for one hour weekly, in six-week blocks.
82
Lessons Learned
The staff interviewed at SBCS all concur that the largest obstacle to
overcome with the AFAP is the budgetary constraint. Funding cuts have left staff
looking for companies to donate supplies and parents to donate time to help. “A
program like this, with limited time and funding, cannot exist without parent help,”
explained a teacher. Several interviewees also spoke about the demands of the
federal No Child Left Behind Act. “In this era of high-stakes testing, it is a challenge
to get all that material across that is going to be tested, and also have time for arts
activities and PE and music” (Head Teacher, personal communication, December 6,
2005). The staff is aware that as new teachers join the school, it is important to bring
them in to the culture of the AFAP (Director of Education, personal communication,
May 30, 2006). Another challenge for the school is ensuring that the staff continues
to believe in the importance of the AFAP. Finally, despite the success of SBCS,
people in surrounding communities still do not know what Fiber Arts are. The staff
feels the ongoing need to educate the community about the benefits of Fiber Arts.
The end of the year showcasing of work has helped disseminate information and
shore-up interest in the AFAP.
SBCS intends to continue the AFAP, finding it an integral part of the school,
and is dedicated to adjusting to the challenges of funding and high-stakes testing.
According to the staff interviewed, time and money are critical to being able to
sustain the program. Because the AFAP currently receives no outside funding, one
83
teacher mentioned the possibility of grants; the school may have to search out
alternative forms of funding.
Another important step for sustainability is training and supporting teachers.
“To sustain the program, I think we need to support teachers to enable them to do it
[Fiber Arts]” (teacher, personal communication, December 6, 2005). Described in
detail in the Staffing and Training sections, the AFAP has only one Fiber Arts
Specialist, with limited classroom hours. To compensate, teachers have had to play a
primary role in implementing Fiber Arts activities. “Teachers need to be trained” if a
Specialist cannot conduct all lessons, explained the Head Teacher (personal
communication, December 6, 2005). The teachers currently are all trained in Fiber
Arts basics, but it is an ongoing issue. The teachers are responsible for incorporating
children’s literature into all lessons and at times, as observed by the interviewee,
teachers are required to purchase supplies with classroom funds.
A final step to sustainability is related to community outreach. The need for
parent help is increasing. The need to find a more permanent venue for their annual
art exhibit is also a challenge. According to those interviewed, the school needs to
take time to spread information about the AFAP to stakeholders and to other
community members in order to build some external support for the program.
Despite the challenges faced in the implementation of the AFAP, the teachers
all agree that Fiber Arts is important. “I learned,” said the Head Teacher, “that the
value of Fiber Arts is easily forgotten when I am so busy doing other things”
(personal communication, December 6, 2005). “But then I do it and I see” how
84
important it is to the students, she continued. The Director of Education concurred
that it is necessary to keep providing Fiber Arts because the students expect it and
look forward to it (personal communication, December 6, 2005). The details of
student successes will be presented in the Evidence of Impact section of this chapter,
but the staff has learned that arts instruction goes far beyond the arts. “I’ve noticed
when children are stimulated in one area [arts], they use that energy and the inertia
carries over into other areas” (Director of Education, personal communication,
December 6, 2005). As stated in the Theory of Action section in this chapter, learning
through the arts is seen by the SBCS staff as “fundamental to success in every other
discipline” (“SBCS Education Plan,” p. 3).
Evidence of Impact
Despite the dedication and commitment the staff has to the AFAP, it is
difficult to link specific test score gains to participation in the program due to the
multi-dimensional nature of the arts (Eisner, 2005). As Chapter Two articulated,
despite the lack of concrete evidence, schools that participate in the arts perform
better on standardized tests than those that do not. SBCS improved its Academic
Performance Index (API) from 706 in 2003-2004 to 755 in 2004-2005. Although
there is no proof that participation in the AFAP led to the increase, the staff whole-
heartedly agrees “that arts are good for children” (Director of Education, personal
communication, May 30, 2006). The Head Teacher acknowledged a correlation
between the arts and academics “because the students are more enthusiastic and
85
engaged at school, which leads to being more open to other learning opportunities”
(personal communication, June 19, 2006).
Evidence of the Program’s impact is also seen in the students in more
intrinsic ways. Teachers notice increased motivation during Fiber Arts (teacher,
personal communication, December 6, 2005). There is also apparent “higher self-
esteem” and “self-confidence” as students take ownership of their work (teacher
personal communication, December 6, 2005). Students also learn to work
independently and as a group. They are required to set goals and complete several
projects. One teacher reported “the pride a child displayed” when he completed a
project (personal communication, December 6, 2005). School becomes a place where
“the children are having fun” (Director of Education, personal communication,
December 6, 2005). They are “more sociable” and “seek out other peers” for
assistance (Fiber Arts Specialist, personal communication, December 6, 2005). The
Director of Education pointed out that a sense of community develops within the
school as the AFAP “is now a defining part of what our school is” (personal
communication, December 6, 2005).
Students choose Fiber Arts as a preferred activity. One of the staff’s favorite
quotes was from one fifth grade boy to another, “Dude, let’s knit.” Interviewed
teachers noted the high number of students who choose to knit during recess. In
addition, students have the option to participate in Knitting Club. Knitting Club is an
elective for third and fourth graders that provides the opportunity to work on a child-
86
initiated project in a non-stressful, environment. Currently 28 out of 52 students have
elected to participate in Knitting Club.
Teachers also commented on the skills students acquire by participating in
the AFAP. They have seen improvements in the students’ dexterity, coordination,
and fine-motor skills (Director of Education, personal communication, December 6,
2005). There is a reduction in gender and racial stereotypes as students explore world
cultures through Fiber Arts (Head Teacher, personal communication, December 6,
2005). The students also have a “greater awareness of where things come from,” how
they are made, and the work that goes into making something as simple as a belt
(Fiber Arts Specialist, personal communication, December 6, 2005). They become
both art creators and appreciators, learning about color, design, and other aspects of
art. “Museum docents love [the children]” because of their ability to reflect on pieces
of art (Director of Education, personal communication, December 6, 2005). Overall,
the teachers see that Fiber Arts activities have a “therapeutic” effect on the students.
Proven only by their own observations, every teacher who was interviewed
commented on how Fiber Arts “calms” and “relaxes” students (teacher, personal
communication, December 6, 2005). “Even the most hyperactive students who
typically can’t sit still,” engage in Fiber Arts activities with focus (Fiber Arts
Specialist, personal communication, December 6, 2005).
Evidence of the Program’s impact is also seen in the teachers. Every teacher
at the school knows how to knit. Recently, a fifth grade teacher was hired and the
school rallied around teaching him to knit. Now the teacher knits with his class
87
during Fiber Arts lessons. Further, the interviewer observed almost every teacher at
the school wearing a hand-knitted garment, such as a belt, sweater, hat, or scarf.
According to the Director of Education, the staff is committed to the AFAP. They
are willing to “be flexible,” “make time,” and “provide Fiber Arts instruction” at
whatever level the school can support. “They are not willing to give it up. They see
the importance in it” (Director of Education, personal communication, December 6,
2005).
Finally, evidence of the Program’s impact is reflected in the parents. Several
parents have learned how to knit and the middle school elective is taught by a parent
volunteer. The Director of Education stated that results from the end-of-the-year
survey revealed that “parents describe being very pleased with the AFAP” (personal
communication, December 6, 2005).
Resource Requirements
Budget Information
According to the school secretary, $7,009 is allocated toward annual per
pupil expenditures. For the 2005-2006 school year, $1024 was budgeted for the
AFAP to cover the salary of the Specialist. She is paid $32 an hour for 32 hours: 16
teaching hours and 16 prep hours. An additional $200 is spent on materials during
the year. The materials and resources required to maintain the Fiber Arts are
purchased, donated or put together. Parents are the number one resource for the Fiber
Arts program, preparing materials, creating looms, assisting in the classroom, and
88
being an integral part of all aspects of the program. Another resource of the AFAP is
the Arts Task Force (ATF), a group of six parents and two teachers who meet for an
hour, once a month, and make decisions regarding implementation of the Arts at
SBCS. The ATF is open to any interested teachers and parents; their responsibilities
are to attend meetings and/or help organize activities. Through the commitment of
the ATF, financial support was raised for the AFAP for the 2005-2006 school year.
The ATF made and sold an “Elementary Sing-Along Songbook” which raised
approximately $200, and they printed sets of greeting cards displaying student fiber
artwork on the front, which raised over $500. The ATF is also responsible for
organizing several fundraising activities: Annual Family Music Celebration (raised
approximately $100), Annual Family Contra Dance (raised approximately $100), and
a Retrospective Fiber Arts Show (raised a “few” hundred dollars). Over the past two
years, the ATF has produced three concerts, which raised a combined total of
approximately $7,500. At the fundraising events, parents and community members
have opportunities to make additional donations towards the AFAP. “Close to 50%
of the AFT funds raised have supported our Fiber Arts Program” (ATF founding
member, personal communication, April 30, 2006).
Staffing
To achieve high student performance, the school starts with a dedicated staff,
embracing the same vision for the school: the arts are important and other academic
areas can be taught through the arts. Including the HBP, there are 10.5 teachers at
SBCS, all of whom have varying Fiber Arts skills. Not counting the HBP, there are
89
8.5 teachers. Though the skills of the staff vary, they all have the minimal skills
needed to teach Fiber Arts to the students. There are two Directors. The Director of
Education is also half-time teacher. The Director of Operations is also 20% PE
specialist. The school has one Resource Specialist and one Fiber Arts Specialist. All
of the teachers/staff are knowledgeable of the school’s materials-based approach,
they adhere to a constructivist approach, and they accept a Multiple Intelligences
framework. The staff agreed that having the “right” Fiber Arts Specialist was very
important because the Fiber Arts Specialist is the person responsible for the bulk of
the planning and organization of the program. Despite the allocation of 16 hours of
prep time, she concedes that she volunteers many more hours in order to make the
program successful. To ease her burden, teaching is shared with the classroom
teachers. In addition, the classroom teachers have responsibility for incorporating the
literature books into the lessons. The teachers and Specialist generally collaborate on
projects on a weekly basis. Teachers approach the Fiber Arts Specialist with specific
needs, or she checks in with teachers in their classrooms to see if they need anything
from her. The small size of the school and the close proximity of classrooms
facilitate communication among all involved in the AFAP.
Professional Development/Training
Planning and organizing for the AFAP occurs at weekly staff meetings. In the
beginning, these conversations about Fiber Arts helped teachers to develop a
common language. The entire staff meets every Wednesday afternoon, from 3:15 to
5:15, to plan and discuss projects, ideas, and concerns. Fridays are minimum days to
90
compensate for the staff meeting time spent. In her interview, the Specialist
discussed touching base with teachers on a daily basis, but this is more ad hoc than
systematic. There are no funds available for training. Training is provided to the
classroom teachers and parent volunteers when they join the school. For example,
the newly hired teacher, who had no knitting experience, was trained by the
Specialist and other teachers voluntarily. Thus, all teachers at the school know the
basic knitting and weaving stitches, and they often knit at the same time as their
students.
Structure of the Articulated Fiber Arts Program
“Consistency is key” to maintaining a successful AFAP, explained the Head
Teacher. “It does not have to be every week. But it has to be consistent.” The
Specialist meets with each of the grade levels to work out a Fiber Arts schedule.
Though “each class has their own balance of arts activities,” the first and second
grades provide one hour a week, of either Fiber Arts or visual arts, for alternate six
week blocks (Director of Education, personal communication, May 17, 2006). The
kindergarten teacher also does her own variation of a rotating schedule. Some factors
to consider when creating the schedule are time away from core subjects, prep time,
and availability of parents (Director of Education, personal communication, May 17,
2006).
91
Recommended Resources
Books
Children literature list (See Appendix L)
Fiber Arts Poems and Songs (See Appendix M)
Web Sites
Santa Barbara Fiber Arts Guild- www.sbceo.k12.ca.us
Santa Barbara County Office of Education- www.sbceo.k12.ca.us
Teachers Network- http://www.teachersnetwork.org/
Sources of Technical Assistance
Portable Fiber Arts Museum
Vessels lending library and assistance program
New City School
Introduction to the School
New City School (NCS), located in Long Beach, California and chartered by
Long Beach Unified School District, opened its doors in 2000. The school, which
spans K-8, was started by two public school teachers, and a group of parents and
educators who were “concerned about the state of education” and were looking for a
public school alternative to the large and often impersonal traditional education
system (“Building Community Through Innovative Urban Education: a Relevant and
Culturally Diverse Visual and Performing Arts Program [Nissan Grant],” 2005). The
founding directors saw a specific need to provide alternatives for families of English-
92
language learners and low-income households. They recognized and encouraged an
environment that valued the uniqueness of every family (“NCS Handbook,” n.d.).
Two distinctive practices at New City School are: 1) the use of three multi-
age clusters (K-1-2, 3-4-5, 6-7-8), whose students remain with the same teacher for a
three-year period; and 2) the absence of traditional grades to evaluate student
learning. The school utilizes student-led conferences (SLC) and assesses student
progress in achieving rubrics, as set forth in students’ Individual Learning Plans
(ILP).
By utilizing a constructivist approach in which the aim is to create individual
thinkers, NCS emphasizes visual and performing arts, bilingualism/ biculturalism,
reasoning, and community engagement (“Nissan Grant,” 2005). Part of New City
School’s mission statement states, “…the families and staff of the New City School
will work together as partners to understand the needs and interests of the students,
to act in the service of justice, and to extend learning opportunities into the home and
community” (“NCS Charter,” 2004). Visual and performing arts are integrated
across all academic areas. The school offers ongoing opportunities for students to
develop skills in music, drama, dance, art, and creative writing. Student projects
culminate in three signature Visual and Performing Arts Festivals.
Seeking to become a model for urban K-8 learning, the school started in 2000
with 80 K-3 students. Table 3 shows basic background information about NCS.
With 190 students in grades K-8, NCS plans to expand to include high school grades.
The school’s demographics indicate that 68% of the school’s population is Hispanic,
93
19% White, with smaller percentages of African American (8%) and Asian (2%)
students.
TABLE 3: PROFILE OF NEW CITY SCHOOL
Status (conversion/start-up) Start-up
Charter authorizer Long Beach Unified School District
Year chartered 2000
Year opened for operation with students 2000
Student enrollment:
Current
Projected
190
200 + high school
Grades served:
Current
Projected
K-8
K-12
Student population by subgroups:
Ethnicity
African American
Asian
Hispanic
White
Other
English-language learners
Subsidized meals
Special needs
Percentages:
8
2
68
19
3
45
63
5
Teacher’s part of a collective bargaining
unit?
No
Per pupil spending (year) $6486.48
School address 1230 Pine Ave.
Long Beach, CA 90813
Type of school (site based, non-site based) Site based
Contact information (562) 436-0689
info@thenewcityschool.org
Link to school website www.thenewcityschool.org
94
Description of Visual and Performing Arts Festivals
NCS has five stated outcomes that students must demonstrate achievement
in: 1) autonomy (independent thinking), 2) English/Spanish oral proficiency, 3)
purposeful community participation, 4) expertise in reasoning/problem solving, and
5) creative expression. The festivals are a way students can show achievement in
these outcome areas, with specific emphasis on creative expression.
Teachers learn about and implement Jean Piaget’s Constructivist theory and
embrace Howard Gardner’s Multiple Intelligences (MI) framework. “What we know
about student learning is things need to be connected,” explained the co-director. The
more things exist in separate, unrelated parts, the less they will make sense in the
long run. The co-director continued, “You can memorize a lot of things, but when we
are talking about real learning and understanding, the more things can connect to
students’ real life, the more that learning sticks and makes sense” (personal
communication, November 23, 2005).
To accomplish real learning, the staff and students spend a whole year on a
theme, learning about it in reading, math, science, art, and drama. Many skills in
various academic subjects are taught through themes such as California-native plants
and birds, ocean life, conservation, and historical people and events. The themes are
also carried out in the festivals. For example, one cluster was studying wetlands all
year, “specifically focusing on wetland bird life and the other animals that co-exist
with the birds” (co-director, personal communication, November 23, 2005). The
students visited wetlands during the year. They wrote reports about the birds and
95
wetlands. They made wetland bird masks. They also made “art related to what they
were studying that inspired their passion for the environment” (co-director, personal
communication, November 23, 2005).
All students are required to participate in three annual festivals each school
year to demonstrate their talent and cultural sensitivity. The three festivals are: 1) the
Fall Harvest and Mask Festival, 2) the Evening for Peace and Human Rights, and 3)
the Spring Garden, Music, and Dance Festival. By gathering the community together
through the arts, “We bring whatever we have been working on to our school
families and community, and share things we are not able to show in the
conferences” (music specialist, personal communication, November 23, 2005). The
History section of this promising practice profile will describe how the three festivals
came into existence. They are loosely associated with seasonal changes and socio-
political events.
The first festival is the Fall Harvest and Mask Festival which is held at the
end of October or beginning of November. Each student cluster makes masks related
to something they are learning about. For example, in the cluster that was learning
about Simon Rodia and the Watts Towers, students made masks out of recycled
materials they gathered while on a camping trip. The masks were critiqued by the
creators, peers and instructors using a rubric and prompts such as, “Does this reflect
your best work?” (teacher, personal communication, November 23, 2006). Finally,
the masks were displayed in a parade at the festival. Accompanying the mask parade
are dances the students learned in elective classes. The dances ranged from a student-
96
led hip-hop performance to a traditional Middle Eastern dance. The festival
culminated in a potluck where parents, friends, and community members could
socialize while enjoying foods reflective of the Fall Harvest.
The second festival is the Evening for Peace and Human Rights. This
festival, presented in late December or early January, reflects the document,
Universal Declaration of Human Rights by Eleanor Roosevelt, and coincides with
United Nations Human Rights Day. During this festival, music and dance pieces are
presented. Most of the festival is dedicated to dramatic theatrical skits related to
universal themes such as freedom, equality, and humanity. For example, this year the
youngest cluster studied environmental justice and used two literature stories to
create an original play about ocean and pollution. The two older student clusters
studied human rights issues. The middle cluster performed skits about the
Underground Railroad and escaping to freedom. The older cluster performed pieces
after studying about the disappearing women in Juarez, Mexico. This festival
culminated with a silent auction fundraiser of items parents had donated from local
community sponsors.
The third festival is the Spring Garden and Dance Festival, performed in late
May or early June. This festival, celebrating May Day, the school garden, and spring
themes, is performed in two parts. The first part consists of skits and performances
outside and is very similar to the fall festival. The second part is an evening musical
performance in an enclosed facility. Musical pieces are both interpretational and
original.
97
Goals of Visual and Performing Arts Festivals
The school has two main goals for the festivals related to community
building and the authentic showcasing of art.
Goal 1: To Build Community
The overarching goal of the festivals is to “bring together the larger school
community, the parents, and the community members” (co-director, personal
communications, November 23, 2005). Festivals are non-denominational to include
as many people as possible. As one teacher reflected, “It wouldn’t work here without
the cooperation on many levels: community, parents, and students.” Not only does a
sense of community develop within the school, but parent help, business sponsors,
and dedicated citizens are all necessary components of successful festivals. Prior to
one festival day, the director wrote a goal on the board for the staff: every family,
teacher, and student should have a good time. Being part of the festivals should make
everyone happy and proud. During the 2005 Fall Harvest and Mask Festival, all but
one of the 190 families attended.
Goal 2: To create an authentic showcase
The second goal of the festivals is to create an authentic showcase of the
students’ visual and performing artwork. NCS strives to “foster a greater
appreciation, celebration, and understanding of cultural diversity through the arts.”
(“Nissan Grant,” 2005). All students must participate in creating and showcasing
artistic creations. The staff is committed to making sure that the learning and
expression are authentic. The expression of the learning is designed to cover
98
different mediums: drama, dance, music, visual arts, and creative writing. The
festivals allow all diverse learners to succeed and perform to a real audience. Having
to perform in front of an audience raises the stakes, according to an interviewed
teacher.
Theory of Action for the Visual and Performing Arts Festivals
The preferred outcome of NCS is higher student performance. More
specifically, NCS seeks to create independent critical thinkers who will “demonstrate
expertise in reasoning and problem solving, English and Spanish literacy, creative
expression, and historical perspective” in the 21
st
century (“NCS Charter,” 2004).
To achieve the preferred outcome, NCS has a curriculum that is enriched by
the arts. By incorporating an ongoing and integral visual and performing arts
program, NCS is building a stronger community and valuing cultural diversity
(“Nissan Grant,” 2005). The arts-infused curriculum creates a high-interest/low-
stress environment for learning (co-director, personal communication, November 23,
2005). In addition, “the arts enable students, teachers, and parents to see that when
there is no one right way to learn, we are able to expand our capacity to create, learn,
and teach” (teacher, personal communication, April 9, 2006)
NCS is guided by the Constructivist theoretical framework of Jean Piaget and
the entire staff has been educated to accept that learning must be active and relevant
and constructed by the individual (“NCS Charter,” 2004). The staff’s “shared
knowledge about teaching and learning” shapes the program (NCS website). The aim
99
of education, according to Piaget, is autonomy: “the ability to think for oneself and
decide between right and wrong in the moral realm and between truth and untruth in
the intellectual realm” (Kamii, p. 673). NCS supports this definition by creating a
school environment for students that “provides support and inspiration for their
development…” in which “…teachers model the confidence, creativity, intellectual
and moral autonomy that is expected of the students” (“NCS Charter,” p. 16). This
adherence to autonomy creates a safe, supporting environment that emphasizes an
individualistic approach to education while challenging students to be “self-
motivated, competent, and life-long learners” (NCS website).
Opposing what NCS describes in a 2005 parent letter as “rote memorization”
and “blind obedience” encouraged by standardized testing, the school promotes and
values community building over competition (“NCS Parent Letter,” 2005). NCS is
preparing students to be vital members of their communities who are able to deal
with the “formidable challenges of 21
st
century living” (“NCS Charter,” p.4). Figure
2 depicts the theory of action underlying the festivals and how they link to benefits
and outcomes.
100
FIGURE 2: THEORY OF ACTION- HOW THE VISUAL AND PERFORMING ARTS
FESTIVALS LINK TO HIGHER STUDENT PERFORMANCE
Promising Practice Short Term Benefits Preferred Outcomes
A A
Implementation of the Visual and Performing Arts Festivals
History
As noted earlier, NCS began its first year in 2000 and the Visual and
Performing Arts Festivals were part of the school’s original curriculum. “Building
community and valuing cultural diversity through visual and performing arts
programming has been an ongoing and integrated program of NCS since its
beginnings” (“Nissan Grant,” 2005, p. 5). Aptly described by the other co-director,
“Like a lot of good things, part of the festivals is original and part of it is copied from
good things you see other places” (co-director, personal communication, November
23, 2005).
According to one of the co-directors, a group of five parents created the
original five learning outcomes for student achievement: 1) autonomy (independent
Visual and Performing
Arts Festivals
All students are
required to perform in
musical, dance, visual,
and/or theatrical pieces
in three signature
festivals: Fall Harvest
and Mask Festival,
Evening for Peace and
Human Rights, and
Spring Garden and
Dance Festival
Art appreciation and
creation
Increased interest in
school (high attendance)
Increased motivation,
self-esteem, and self-
confidence
Parent and community
participation
Gained knowledge in
academic and non-
academic areas
Building sense of
community
Valuing cultural diversity
Increased student
performance
Expertise
demonstrated in 1)
autonomy
(independent
thinking), 2)
English/Spanish oral
proficiency, 3)
purposeful community
participation, 4)
expertise in
reasoning/problem
solving, and 5)
creative expression.
101
thinking), 2) English/Spanish oral proficiency, 3) purposeful community
participation, 4) expertise in reasoning/problem solving, and 5) creative expression.
The fifth outcome, creative expression, is taught through the elective classes, which
the children choose throughout the elementary grades. Some examples of electives
taught are drawing, painting, sculpture, garden arts, baile folklorico, square dancing,
crochet, photo, drama, storytelling, and violin. The philosophy of the school is that
electives provide for a “high-interest, low-stress opportunity to learn” (co-director,
personal communication, November 23, 2005). Every child also receives two hours
of music instruction a week (Music specialist, personal communication, November
23, 2005).
The measurable outcomes of student work completed in electives are
displayed during the three signature festivals in which all students are required to
participate. One co-director described, “The festivals started when the school started.
We take being a public school very seriously, and we want to make sure everything
we do is inclusive” (co-director, personal communication, November 23, 2005). The
co-director described that at a former school in which she worked a principal became
“frustrated” that the school’s Halloween celebration became divisive; many of the
working class families were not able to “afford fancy costumes” (personal
communication, November 23, 2005). In addition, the “opulence of junk food”
consumed during the celebration and the isolation of those who religiously disagreed
with the holidays were troubling (co-director, personal communication, November
23, 2005). “So in the interest of separating what we do at school and how people
102
practice their personal faith in their homes, we wanted to make sure that whatever we
did could be supported by a more pan-religious belief,” explained the co-director
(personal communication, November 23, 2005).
Out of this, the Fall Harvest Mask Festival was born; and over time, it
expanded to incorporate food and music. The co-director clarified, “In the first year,
the masks were not very inspired…The artwork was minimal. Nevertheless, the
community liked it. The fall festival has evolved into most people’s favorite day, as
far as the parents go” (personal communication, November 23, 2005). The second
festival, Evening for Peace and Human Rights Festival was the antidote to school
Christmas celebrations. The 1948 document, Universal Declaration of Human Rights
(Eleanor Roosevelt), became the foundation for original presentations performed at
the Evening for Peace and Human Rights Festival.
The third signature festival, Spring Garden and Dance Festival, is a
celebration of traditional May Day ideas: the end of spring and the coming of
summer. Though, admittedly, the staff felt, “Well, gosh, we haven’t had a festival in
a long time,” and perhaps it was time to create one (co-director, personal
communication, November 23, 2005). It has since developed into a two-part festival.
The students perform dance and elective pieces during a day performance, much like
the Fall Harvest and Mask Festival, but there is a separate music performance in the
evening. The music component takes place in a more formal enclosed setting, such
as the neighborhood church, because it was difficult to perform a quality music
festival outdoors where the other festivals are held. The students perform original
103
musical pieces that they have been working on all year. (co-director, personal
communication, November 23, 2005).
Time
The co-directors and teachers readily attest that in the beginning, the school
operated in “survival mode” (teacher, personal communication, November 21, 2005).
Planning and organization were done last minute. “In the beginning, we didn’t plan
much because we didn’t know what the festivals were going to be” (co-director,
personal communication, November 23, 2005). Detailed more in the Professional
Development section of this chapter, festival planning starts months before the
festivals take place, with the Spring Garden and Dance Festival taking a whole
school year to plan.
Through reflection and experience, the staff figured out appropriate timelines
to follow. “The first year there were 80 kids, so we squished into the front music
room. The next year it was outdoors,” described the co-director (personal
communication, November 23, 2005). “As a staff,” a teacher explained, “we talked
about what went wrong, what we could do better next time” (personal
communication, November 21, 2005). Another teacher said, “Knowing you have
gotten through it one year gives you the confidence to do it better the next year”
(personal communication, November 23, 2005). The staff was very specific about
what didn’t work and used that feedback as a guide to design subsequent festivals.
104
Lessons Learned
While the teachers clearly see the benefits of the festivals, especially when
students are performing, there are challenges as well. First, NCS faces budget issues;
the school is now pursuing alternative forms of funding, such as foundation support.
For instance, the school has a full-time music specialist who is funded on grant
money. The school received a grant this year for visual and performing arts from the
Nissan Foundation. “Part of that is to help pay for our music specialist’s salary, since
she’s unfunded” (co-director, personal communication, November 23, 2005).
Detailed in the Budget Information section of this chapter, the school hosts several
key fundraising events to ease the budgetary burdens.
Another challenge that the staff has to address every year is related to
facilities. While NCS enjoys the festivals being performed in the school’s yard, the
staff realizes the outside location does not suit all festivals, specifically the Spring
Garden and Dance Festival. The sound quality for the instrumental music is poor.
The music specialist articulated, “The kids work very, very hard and families don’t
get to hear what it really sounds like. That is frustrating” (personal communication,
November 23, 2005). The school performs in different community locations on
stages, like the local church. But the difficulty is that there is no space that belongs to
NCS. The space changes every year, and the time allotted to rehearse in the space is
minimal. The school would eventually like to find a quality space in which the
school can have access at its convenience.
105
The staff had some definite ideas of what the next steps should be to create
more effective festivals. First, as stated previously, the staff feels a strong need to
find an indoor performance space that belongs to NCS that could accommodate 200
students and their families. A teacher explained, “It feels differently when you are on
the stage with lights. That would definitely be the next step for us” (personal
communication, November 21, 2005). In addition, the staff knows there is a need to
continue to find alternative forms of funding, such as the Nissan Grant.
During interviews, teachers mentioned three other areas in need of
improvement. First, NCS needs to design a formal way of documenting festival
successes. Although they take photos and some videos, one teacher mentioned the
lack of time to do these things. Another teacher reflected, “It is so hard when you are
in the middle of things and you are constantly pushing yourself through extreme
hours” (personal communication, November 23, 2005). But the staff wants to have
data, “in published form,” describing what they do at NCS and how they do it. They
want to be able to have the data and say “Here is the quantifiable evidence and
measurements that show what we are doing” (teacher, personal communication,
November 23, 2005). Paradoxically, the teachers are aware of the difficulty of
making quantifiable, meaningful data when it comes to the intangible factors of
artistic creation. The staff would also like to provide the parents with DVD’s or
video cassettes of the festivals. In addition, they would like to have students prepare
electronic portfolios as part of their graduation requirements. This would be proof
106
that “they have completed work and achieved in the four domains for visual and
performing arts” (teacher, personal communication, November 23, 2005).
Students and teachers have learned, through reflection and rubrics, how to
critique and improve their own work, the work of their peers, and the overall
experience of the festivals. Performances are often recorded and played back to
students “so that they can evaluate their performances and prepare for the next
program with group goals in mind, such as good stage presence, convincing dramatic
characters, strong voice projection, coordinated movements, and “professional
behavior” (“NCS Charter,” p. 29). Through the years, the staff has learned how
important the festivals are to the students: “Kids love them. Kids love to perform, to
be appreciated and to be taken seriously. They just smile, smile, smile through the
shows. And you can see how proud they are. There’s this authentic reason to do it”
(co-director, personal communication, November 23, 2005).
Evidence of Impact for the Visual and Performing Arts Festivals
The arts, by nature, have many diverse attributes which make gathering
quantifiable data extremely problematic. Yet, qualitative research supports that self-
esteem, self-confidence, and self-efficacy all improve when one participates in
artistic endeavors. One co-director sees the number one benefit of the festivals is for
the students to build confidence. The co-director reasoned, “If you can get out there
and Salsa dance in front of 200 people, you can come into the classroom and tackle a
math problem” (personal communication, November 23, 2005). The staff recognizes
107
the impact when “nearly all of our kids consider themselves artists, dancers, or
musicians” (co-director, personal communication, April 9, 2006). “When kids know
they are successful and respected by the community for their talents and skills in one
area, they are often able to gain the confidence it takes…to initiate growth in areas in
which they struggle” (teacher, personal communication, April 9, 2006).
The drama teacher described having students in his class blossom in all their
classes. “People would come back to me and say, ‘What did you do to that kid?’ I
didn’t do anything. I gave that person the opportunity to express himself and it would
just carry over” (teacher, personal communication, November 23, 2005). The drama
teacher also described his observations while running a theatrical production, “I
would see that anything extracurricular would naturally carry over into the
classroom. I may not have a measurable correlation between those things, but it was
just obvious to anybody” (teacher, personal communication, November 23, 2005).
One line of reasoning articulated by a teacher was that the classroom cannot always
teach to the “whole child.” Some skills accessed by the arts in a non-academic, low-
stress, high-interest format results in personal growth.
There was one student in particular where, on paper, you would say this was
a very poor student. He didn’t turn in assignments. He had poor involvement
in anything that we did. But when it came to the festivals, he was the kid that
set up the audio system. He was there to help out in whatever aspect you
needed. He was there to greet the parents. In fact, he was the one student that
stood out to parents who had never been to the school before. (teacher,
personal communication, November 23, 2005)
108
Those qualities, the teacher continued, are not measurable. What that child appears to
be on paper in an academic setting is far different than how he appears during the
festivals.
Further proof of the successes or benefits of the festivals pertains to
attendance. The co-director reported that attendance was higher at school on elective
days, though specific numbers are still pending. The co-director continued, “When
people want to be at school, you have already fought the battle” (personal
communication, November 23, 2005). In the two weeks leading up to the festivals,
the absence rate is typically zero. The teachers note every child eagerly comes to
school, is hesitant to leave, and insists on bringing immediate and extended family
members to the festivals. As noted earlier, “Only one family did not attend the Fall
Harvest and Mask Festival this year,” bragged the co-director (personal
communication, November 23, 2005).
The staff knows everyone by face and name, and the school purposefully
capped school capacity at 200 to achieve this closeness (“NCS Charter,” p.7). The
closeness of the students and staff is encouraged in the festivals by having the
community work together for a common goal. The students often have to collaborate
to succeed. For example, at the Fall Harvest and Mask Festival, some students
displayed huge puppets which required 4-5 students, each, to make work which
creates goodwill among students (co-director, personal communication, November
23, 2005).
109
According to the staff interviewed, most evidence of the impact of the
festivals is anecdotal. Watching the faces of students and parents during and after the
festivals tells it all. “The parents look happy. The kids look happy,” said the music
specialist. Another teacher added, “The parents are wonderfully appreciative.”
Coming up to the staff even weeks after the festival, expressing how much they
enjoyed the event. A teacher stated, “We get thank you cards and notes” (personal
communication, November 21, 2005). Parents attend the events and bring extended
family members as well. The teacher continued, “Some will fly in from across the
country” (personal communication, November 21, 2005). NCS has a high percentage
of families with two working parents. Yet, the festivals are important enough for
them to attend that they take off work. “It is a priority,” explained a teacher. The
students take ownership of the festivals. They run the sound equipment, choreograph
some of the original performances, clean up the yard, and pass out flyers. “It has
really become a community-owned event” (co-director, personal communication,
November 23, 2005). The fact that there are no student absences in the weeks
leading up to the festivals, and the attendance of almost every family at the festivals,
is proof to the staff of the festivals’ impact.
Because one of the festivals’ goals is to promote community involvement, the
staff agrees that the festivals provide a forum in which to congregate. “Parents love
to see their kids perform. There’s no easier way to get parents to school” than to tell
them their child will be performing (co-director, personal communication, November
23, 2005). The festivals are a way “for the arts to bring together the community, to
110
share with the community the things the kids are working on” that are not paper-
based (music specialist, personal communication, November 23, 2005). NCS seeks
to “empower children to become active learners and problem solvers so they can
grow into thoughtful, contributing members of their communities” (“Nissan Grant,”
2005). This year, nine out of 20 middle-schoolers (45%) looking at perspective high
schools feel so comfortable in an arts environment that they decided to attend the
visual and performing arts magnet high school next year (co-director, personal
communication, April 9, 2006).
Finally, high-stakes tests are used to show the school’s progress toward
meeting the academic goals set forth by the federal No Child Left Behind Act. “NCS
has never had high standardized test scores,” states a school letter to parents in
August 2005. “We have never done extensive, explicit test preparation.” As a matter
of fact, the school focuses on the arts, bilingual education, and community
involvement to “make a statement by refusing to prioritize instruction on test-taking
and test preparation” (“NCS Parent Letter,” 2005). Despite this, NCS API scores
jumped 104 points, from 580 in 2003-2004 to 684 in 2004-2005. “Proficiency levels
on the tests more than doubled from the previous year. Tremendous growth was
made and students in all areas (grades 2-7, English Language Arts and Math) scored
higher than in the previous year” (“NCS Parent Letter,” August 2005). Though there
is no direct causal relationship between the arts curriculum and the rise in NCS test
scores, NCS suggests test scores are higher in groups of students who participate in
some form of art versus groups of students who do not.
111
Resource Requirements for the Visual and Performing Arts Festivals
Budget Information
The school will spend $1,500 on the festivals this year but most materials,
such as paint and other craft supplies, are donated by local community businesses.
The co-director explained, “The festivals are surprisingly inexpensive.” The music
program and community outreach to local artists are integral components to the
festivals’ success. The music program requires a budget of $60,000 to cover the cost
of the Music Specialist’s salary and music equipment, and another $20,000 is spent
to bring in outside visiting artists and performers. Last year, NCS received a Nissan
Grant of $20,000 which helped fund the music specialist.
There are also key fundraising events. The Evening for Peace and Human
Rights auction is organized by parents who collect donated items for a silent auction
for the second festival, of which all proceeds fund the visual and performing arts
programs at NCS. At the end of the year, there is an auction of the students’ artwork.
For 11 days, the artwork is advertised and displayed on their website for bidding, and
there is also a special live event with entertainment and artwork. For this auction, the
goal of NCS is to raise $10,000 for the visual and performing arts programs.
Expanding the participatory role of the community, New City School
collaborates with outside agencies. They work with the Los Angeles Music Center
and the Carpenter Performing Arts Center (Long Beach). The students go to see
performances at these venues, and artists from there visit the school to conduct
student workshops or perform for them.
112
According to interviews with the NCS staff, parents are an immeasurably
important part of the festivals’ successes. Parents organize, fundraise, teach skills to
the students, and attend all the festivals. One teacher commented, “The parents are
super involved. They are as much a part of the preparation and execution of the
events as the teachers are. Everyone is so involved that there is great ownership
throughout the school” (personal communication, November 23, 2005).
Staffing
The school has nine regular teachers and one music specialist. The teachers
teach in pods of three, each pod having at least one art specialist, two of the nine
teachers are also 50% administrators at NCS. One co-director is responsible for the
behind-the-scenes organization: budgeting, staff planning, and other administrative
tasks. The other co-director is more visible, “traditionally being out front in charge of
more of the people-oriented things,” she explained. She takes an active role in hiring
the staff and making sure they are philosophically aligned with the school’s mission.
The music specialist was brought in to create more structure and organization in the
music program, explaining, “The kids had some music instruction, but they didn’t
have much structure or time allocated to music” (personal communication,
November 23, 2005). Regarding the artistic experience of the staff, according to the
NCS Charter, “New City School may employ or retain staff to provide instruction in
the visual and performing arts including, but not limited to dance, music, art and
acting” (p. 34). Some NCS staff also had expertise in theatre direction, film making,
music, sculpting and painting. Several staff members have already received degrees
113
in the arts (music and visual arts) and other staff are currently enrolled in arts degree
programs.
For a staff to be so pedagogically aligned in philosophy takes buy-in. “We
hire people who already believe,” explained one of the directors. “And I don’t need
to explain why the arts are important. They get it.” Interviewed staff members all
describe themselves as having a strong commitment to the arts, flexibility, and
collaboration skills. “It comes back to the quality of the teachers,” continued the co-
director. One teacher described the level of commitment required for some of the
back-to-back, 12-hour planning days that he thinks unionized teachers would not
tolerate. The music specialist described the staff as having a strong artistic
inclination and high expectations: “We don’t settle; we don’t want to settle”
(personal communication, November 23, 2005).
Not only have the festivals grown and evolved over time, so have the roles of
the co-directors. “Each year, I have less dominance in everything here at the school,”
explained a co-director. “There was an initial, maybe necessary, sort of public
personality when you start an organization, where the leaders had to be out in front”
(personal communication, November 23, 2005). The co-directors were in front “in
terms of professional development, parent communication, teaching teachers about
why these things were important, why creative expression was an essential part of
our school” (co-director, personal communication, November 23, 2005). Now, this
co-director only emcees the festivals, and writes and prints the programs.
114
Facilities/Space
The school has a yard with a large grassy area. There is a track that runs
around the perimeter of the yard. The outdoor festivals take place in the yard with
audience members sitting on the grass. There is an indoor music room that is used
for music instruction and that was used for festivals in the early years of NCS when
there were only 80 students. The music portion of the Spring Garden and Dance
Festival takes place in a nearby community facility, such as the community church.
As discussed earlier (see Lessons Learned), NCS staff would like to find an enclosed
performance space of their own.
Professional Development
Preparation and planning among staff has solidified “because you can’t just
pull the festivals together in a week. The festivals become part of who we are and
what we do” (co-director, personal communication, November 23, 2005). During the
late summer before school begins, there is a two-week professional development
session in August. During those two weeks, the staff decides how they are going to
address the five school outcomes, including creative expression, in the upcoming
school year. Units and themes are planned and the festivals are mapped out. Then,
during the school year, the staff has a two-hour weekly staff meeting imbedded in the
school schedule. The students start school late on those days. During the meetings,
the staff discusses the festivals, on an as-needed basis. About one month before the
festival, discussions are held and often separate committees are formed for the sole
purpose of organizing the festival. But, overall, the staff feels they have scheduling
115
and time management under control, although a teacher commented, “No matter how
much planning we do, it always feels rushed.” Once the pre-planning has been done,
teachers’ take the theme to their student clusters and develop it through curriculum
and instruction activities.
In addition to staff meetings, there are 12-15 full professional development
days each year. “We do a lot of talking about pedagogy and why we do what we do.
We bring in the arts and talk about the arts as they link to pedagogy, and the ways we
think children learn” (teacher, personal communication, November 21. 2005).
Additional planning days are organized after school hours to prepare as the festival
dates get closer.
Preparation in the classroom for the festivals is ongoing. As noted earlier,
teacher planning for the Fall Harvest and Mask Festival begins before the school
year starts and students start working on performances right away. A three-week
mini unit that covers freedom, equality, and humanity is conducted in each cluster
leading up to the Evening of Peace and Human Rights Festival. And the Spring
Garden and Dance Festival is planned and worked on all year long. The music
specialist begins planning and organizing the spring festival the summer before the
school year starts (music specialist, personal communication, November 23, 2005).
“That one takes all year because kids compose their own music” (co-director,
personal communication, November 23, 2005).
116
Structure of the Visual and Performing Arts Festivals
The students are taught in multi-grade clusters by three different teachers for
a three-year cycle: K-1-2, 3-4-5, and 6-7-8. Each cluster studies different themes for
an entire year. All students receive two hours of music instruction a week and must
take elective classes in the visual arts, dance, drama, and creative writing. Elective
classes are taught two days a week for 50 minutes each. The products from these
classes are performed/exhibited in the festivals.
117
CHAPTER 5
CONCLUSIONS
The purpose of this study was to explore the promising practices of arts-
themed learning (ATL) in two California charter elementary schools: New City
School (NCS) and Santa Barbara Charter School (SBCS). Although the promising
practices at each charter school were distinct, the implementation experiences of the
two schools were similar, both to one another and to previous research studies of
ATL.
In this chapter, the conclusions related to the research questions, originally
posed in Chapter Three, are discussed. Because this research will be disseminated
through the MMACCS compendium website to “inspire educators to develop useful
policies, practices, and programs that will improve student performance” (MMACCS
advertisement, in The Charter Journal, 2005), its implications for practitioners and
policy makers are also described. Finally, the chapter concludes with
recommendations for future research.
Connections to Prior Research
Research Questions
Research Question One: What are the promising practices in arts-themed learning
that high-performing charter schools use to improve student performance?
SBCS implements a K-5 Articulated Fiber Arts Program (AFAP) which
teaches specific handwork such as finger knitting, rope making, spool knitting,
118
crocheting, knitting, weaving, and sewing. At NCS, all students are required to
participate in three annual festivals: 1) the Fall Harvest and Mask Festival, 2) the
Evening for Peace and Human Rights, and 3) the Spring Garden, Music, and Dance
Festival. Across these promising practices, similarities were uncovered in the ways
in which the practices were implemented.
Both SBCS and NCS approach the arts as a required subject, as basic as
language arts and mathematics. The arts are a basic and pivotal means for humans to
communicate and understand (Williams, 1995). A SBCS teacher stated, “I have long
felt that my “definition of basic skills” is much broader than what is out there. “To
me, handwork is a basic skill” (personal communication, December 6, 2005). A NCS
teacher expressed, “I see the arts not as a luxury, but as a necessity for all children”
(personal communication, April 9, 2005). Research supports the notion that the arts
are representative of various ways of thinking and learning, and their presence in
schools is as basic as any other subject (Williams, 1995). The schools’ commitment
to ATL is apparent in their mission statements; SBCS and NCS specifically address
the arts as part of the schools’ goals.
In implementing ATL, both SBCS and NCS utilized different ways to assess
student progress, including rubrics, portfolios, performances, and parent/student
conferences. These alternatives provided for opportunities to express knowledge and
for competence to be demonstrated beyond quizzes and tests, regardless of primary
language, socioeconomic status, or special needs.
119
Another notable implementation feature of both ATL practices was
community involvement. According to Gaining the Arts Advantage (1999) and the
staff at both charter schools, cooperation between school and community was
critical. NCS’s mission statement emphasizes the role of community-building over
competition and works to “extend learning opportunities into the home and
community” (“NCS Charter,” 2004). At NCS, community involvement is one of
their guiding goals. The co-director explained, “The festivals bring together the
community and share with the community” what students cannot otherwise show in
traditional academic settings (personal communication, November 23, 2005). The
schools also draw from the community by inviting parents and other experts with
skills to help teach at the school. NCS and SBCS both see community involvement
as key to their success. Both schools also exhibit student work at community venues.
Finally, both schools stressed aesthetic literacy in implementing their arts
programs. Aesthetic literacy requires making judgments about what one sees. To
accomplish this requires involving students in the artwork analysis process
(Williams, 1995). Students become visually incisive and open to diverse perspectives
by confronting works of art from different point of views. Both charter schools
created structured opportunities for children to reflect upon the work of artists, peers,
and themselves. At NCS, this reflection and analysis took place during the creation
process and at the completion of a project. For example, as the NCS students were
making masks, they critiqued their own works and the works of others and filled out
journals of their reflections. At the completion of the mask project, the students filled
120
out guideline-requirement rubrics of the same artworks. At SBCS, reflection and
analysis took place in their Work Study program where the students were presented
with works of art and were asked to reflect on the artworks as it pertained to artistic
qualities and emotions. According to research, the ability to judge and critique art
increases critical thinking skills by providing the opportunity for students to think
independently and creatively, and ultimately helps students understand what art
means to them in their own lives (Williams, 1995).
Research Question Two: How are resources used to successfully implement the
promising practices in arts-themed learning?
There are five categories of resources which intertwine to make the ATL
programs at SBCS and NCS successful: 1) funding, 2) staffing, 3) facilities, 4)
professional development, and 5) time. Pertaining to funding, both NCS and SBCS
expressed that the funds needed to offer the festivals and the Fiber Arts Program
were not excessive. While the staff did not feel overwhelmed by the cost of the ATL
programs, they agreed that finding sources of funding was ongoing and challenging.
The schools incorporated fundraising events, grants, and community donations of
materials, assistance, and expertise to make the ATL programs successful.
Pertaining to staffing, the key, according to all interviewed teachers and
directors at SBCS and NCS, was to have a staff pedagogically aligned to the same
philosophy to emphasize the importance of the arts. At both schools, the directors
took very seriously the need to find the “right” teachers or specialists. Neither charter
school described the process of finding dedicated teachers as difficult. “The teachers
121
who gravitated to our school,” explained a NCS teacher, “did so because of their
predisposed dedication to the arts” (personal communication, November 23, 2005).
In part, this may be related to the fact that each school’s mission statement
specifically emphasizes the school’s focus on ATL. The directors and teachers at
SBCS and NCS described the interview process as intensive, followed by whole-
staff discussion regarding the interviewee’s ability to be part of an arts-driven team.
It was also important that the staff had some knowledge of the art forms
taught. If, like at NCS, a teacher was not trained in an arts area, he/she was paired
with a trained teacher. Research indicates that educated and experienced teachers,
including arts teachers, are more effective in the classroom (Ferguson, 1991). Part of
what made the ATL programs successful at SBCS and NCS was the parent
participation. Despite their volunteer status, they are a crucial component of the
programs. Parent volunteers donated time, energy, and knowledge to assist students,
prep materials, and help organize events such as the festivals, auctions, or art
exhibits.
In regards to facilities, the literature supports the need for specific facilities to
be incorporated into arts-themed learning, whether a well-ventilated room for fumes
from art projects or a stage with special lighting for theatrical performances (Daniel,
2000). SBCS and NCS use the space they have to the best of their abilities; no space
goes unused. NCS also required facilities for its dance and drama electives. But, due
to limited rooms with adequate space, dance and theatre electives were staggered to
allow for the maximum use of all rooms. NCS had specific spatial needs when
122
performing the music part of the Spring Garden and Dance Festival. When the
schools were no longer able to adequately host an event, such as what happened with
the spring festival at NCS, the schools extended to the community for help. Both
schools utilized community spaces to host art exhibits, fundraising events and
auctions, and performances.
Pertaining to professional development, SBCS and NCS spent weekly
planning time discussing pedagogy and the importance of the arts and planning and
organizing arts projects and events. Each school observed one minimum day per
week to discuss and coordinate upcoming ATL activities or disseminate ATL
research or literature for discussion. As events drew closer, the teachers attended
additional meetings to make sure everything was done. NCS invests two weeks of
professional development prior to the start of every school year mapping out ATL
for the year. The staff discusses themes and projects, arts-academic integration, and
requirements to commit to the projects.
In regards to time, the teachers’ schedules were considered when organizing
arts classes and electives. At SBCS, most planning was done by the Fiber Arts
Specialist. At NCS, because everything occurred in clusters, the clusters worked
together to organize classes and space. Availability of space at NCS was a factor
when planning. Electives at NCS were offered twice weekly. At SBCS, Fiber Arts
classes were offered for one hour weekly, depending on grade level.
123
Research Question Three: What challenges have charter schools faced in
implementing the promising practices in arts-themed learning?
NCS and SBCS have faced similar challenges in implementing arts-themed
learning in the following areas: 1) political climate and program recognition, 2)
staffing and facilities, and 3) time and resources. Findings from past studies support
the need for trained staff, time allocation, functional facilities, and adequate
resources. Additionally, the enactment of NCLB has raised the bar for proficiency
levels in reading and mathematics (NCLB, 2002). The NEA study, Toward
Civilization (1988), pointed out that the disadvantage of putting increased emphasis
on the three R’s results in having to cut time and resources allocated to the arts,
considered a “frill.”
The current political climate and program recognition are ongoing issues for
each school. As stated earlier, NCS and SBCS do not compromise arts instruction for
test preparation. The head teacher at SBCS commented, “In this era of high-stakes
testing, it is a challenge to get all the material across that is going to be tested, and
also have time for arts activities, physical education, and music” (personal
communication, December 6, 2005).
In addition, the schools have to work to cultivate recognition for their
programs. At SBCS, a teacher noted, “I do think people need to know a little bit
more about the Fiber Arts Program” (personal communication, December 6, 2005).
Teachers interviewed at both schools mentioned that at some point they had to
answer questions from parents or other stakeholders about why they spend so much
124
time on the arts. Getting the community to accept and support alternative schooling
styles, implementing promising practices that are being curtailed in traditional public
schools, is at times, very challenging and “political” (teacher, personal
communication, November 23, 2005).
NCS and SBCS admitted it was an ongoing effort to maintain the community
support for the promising practice. The importance of community networks is that
they promote the importance of the arts program through political activity, student
performances and exhibitions and involvement with artist both inside and outside the
schools (Fiske, 1999). NCS and SBCS utilize community members for all of the
aforementioned reasons.
The second area of challenges NCS and SBCS faced related to staffing and
facilities. Past research supports that implementation of an effective arts-themed
learning program requires that there is a shared philosophy among staff (Wilson,
1997). Because both the festivals and the Articulated Fiber Arts Program were
implemented at the schools’ inception, goals and priorities were aligned from the
start. The challenges since have been ensuring that new staff members shared the
same arts philosophy. As suggested earlier, the charter school contracts, which
include the schools’ missions, are used as teacher recruitment tools.
Although both schools have unique needs, the challenges of providing
adequate facilities for the promising practices at NCS and SBCS are constant. NCS
has learned to cope with the availability of space for dance, music, and drama
classes: “We are always juggling space and rooms” (co-director, personal
125
communication, April 9, 2006). The NCS interviewed staff agreed that it was a
yearly challenge to find an inside location with a stage for performances. “It would
be nice to have our own facilities,” said a NCS teacher (personal communication,
November 21, 2005). SBCS faced the same challenge when they had the end of year
art exhibit. It took a lot of work to secure a location that would host the art show
(Fiber Arts Specialist, personal communication, December 6, 2005).
The third area of challenges NCS and SBCS faced pertained to time and
resources. Time must be spent planning and organizing the arts program, training
teachers, and arranging schedules. Both charter schools agreed that scheduling arts
instruction across several grades and classes was difficult because of the need to
coordinate class schedules, make sure facilities and resources were available, and
work around instruction of required subjects. It was also time-consuming to get
everything completed for a festival or art show.
Research Question Four: What evidence exists to show that promising practices in
arts-themed learning have resulted in positive educational and social-emotional
outcomes?
SBCS and NCS utilize promising practices in ATL to positively impact
student performance. Arts integration is a way of creating a “whole” curriculum and
a “holistic learning experience” (Rabkin & Redmond, 2005, Wilson, 1997). The
positive outcomes of ATL are organized into social-emotional and educational
categories.
126
Students who participate in ATL have shown positive social-emotional
growth. While academic skills are impacted by ATL, often that improvement is due
to a greater overall sense of self-confidence and motivation. Spector (2000) posited
that the creative and expressive nature of the arts (with and without words) increases
motivation and shows students that individuality and self-expression are important.
The teachers at NCS understood and expressed that the strength of ALT is that there
is no one answer or one way to interpret a piece of art or respond to music.
Both schools acknowledged that the skills acquired in the specific promising
practice, especially when coupled with an increased self-esteem, resulted in
increased motivation in other subjects. This is consistent with Catterall’s (2002)
findings that learning in one setting has positive impact beyond that setting. For
example, NCS and SBCS said the students demonstrated higher self-esteem and self-
concept as they participated in the arts programs. The students wanted to produce
their best work and show their work to others. The most important evidence to
teachers at NCS was that the motivation to come to school was increased by the
festivals: days leading up to and during the festivals had zero student absences.
Research has shown that students involved in ATL voiced less boredom with school
and were less likely to drop out of school (Deasy, 2002).
Research has shown that participation in ATL improves communication and
cooperation skills which improve relationships (Burton et. al., 1999). Teachers
reported that the sense of camaraderie developed by the shared arts experience at
NCS and SBCS became an avenue for further learning. Teachers described students
127
who participated in ATL as being more open to learning, more tolerant of others, and
more able to solve and work through problems. At SBCS, children are very social
while participating in arts projects. While some of the Fiber Arts activities require
direct instruction, for a great portion of it, students casually gather in groups and do
the Fiber Arts work.
ATL lead to improved performance at SBCS and NCS because it provided
for different ways to make meaning. NCS and SBCS made available opportunities
for learning and success for all students, including at-risk, special needs, and second
language learners. Horn (1992) found that at-risk students felt participation in the
arts contributed to their success in school. Past studies also concluded that children
engaged in the arts showed less at-risk behavior (New American Schools, 2003);
SBCS and NCS attested to less behavior problems during arts activities.
The teachers at SBCS have repeatedly seen “hyperactive” children able to
focus and remain on-task for extended periods of time while doing Fiber Arts, and
NCS staff agreed the students were more willing to tackle difficult academic
problems after participating in the festivals. NCS, having 65% of the population
English Language Learners, found the arts to be a high-interest, low-stress way of
engaging in instruction. Students at NCS and SBCS looked forward with anticipation
to art classes and were more enthusiastic when other academic classes utilized the
arts. For example, a SBCS science lesson on the seasons became an outlet of creative
expression and knowledge as the students weaved a seasonal tapestry. The arts
provide a forum in which expression can be displayed without words or numbers.
128
Academically, ATL correlates to positive educational outcomes. Deeper
insights are gained by understanding the relationships between the arts and other
subjects (CDE, 1996). A NCS teacher summed it up, “All other curriculum can be
taught through the arts” (personal communication, April 9, 2005). NCS and SBCS
have found ways to teach the academic subjects through the use of the arts, whether
it’s measuring pieces of yarn or performing a play about pollution. Most research
correlated ATL with improvement in language arts and mathematics skills.
Participating in ALT has been correlated to improvements in language arts
skills such as reading. In Study of Arts (Gardiner, 1998), first grade students who
received regular arts training in the classroom demonstrated improved reading scores
and were more advanced mathematically than a first grade control group. The
Critical Links compendium also documented improvements in reading readiness and
reading skills (Deasy, 2002). A 1993 UCLA study found students who participated
in ATL improved in cognitive and problem solving skills and were able to transfer
these skills to other subjects and situations outside of school (CAC, 2001).
At SBCS, teachers correlated Fiber Arts skills to increased handwriting and
other fine motor skills. SBCS and NCS reported that students were able to use
critical thinking to solve problems in a creative and independent manner. NCS uses
music to teach many academic skills, supporting research which said exposure to
singing in the curriculum during the primary grades can improve reading skills
(Blackburn, 1996). Additionally, the drama teacher at NCS said students thrive
academically after participating in theatre electives. According to research, theatre
129
improves oral fluency (one of NCS’ five outcome areas), comprehension, and
writing proficiency (Catterall, 2002).
Participating in ATL has been correlated to improvements in mathematic
skills such as sequencing, spatial reasoning, and coordination. Research indicated
that sequential skill-building is positively affected when music is incorporated in the
curriculum (Gardiner et al., 1996). Higher brain functions, such as spatial reasoning,
used to solve complex math problems were enhanced by taking music lessons or
listening to music (Rauscher & Shaw, 1998). Teachers at NCS saw students improve
in solving math equations after participating in festivals. Instrument practice
improved coordination, concentration, and math proficiency in areas of basic
counting, classifying and comparing, and patterning. SBCS attested that Fiber Arts
activities contributed to student improvement in these skills: “Fiber Arts is all about
counting, figuring out color patterns, and measuring” (Fiber Arts Specialist, personal
communication, December 6, 2005). The music specialist at NCS also commented
on the math skills the students learn through music: counting and patterning through
rhythms and beats (Personal communication, November 23, 2005).
The documented proof of increased academic performance, discussed in
Chapter Four, is that API scores at SBCS and NCS have increased. SBCS scores rose
from 706 in 2003-2004 to 755 in 2004-2005. NCS scores rose 104 points, from 580
in 2003-2004 to 684 in 2004-2005. Although test scores at both schools have
increased, neither school can specifically say it is because of arts-themed learning.
130
To the contrary, there are research studies that have made that exact conclusion
(Reardon, 2005; Beyette, 2001; Loschert, 2004; O’Dell, 2000).
Like the numerous studies cited in Chapter Two, test scores are higher in
groups of students who participate in some form of art versus groups of students who
do not. The results from a 1999 College-Bound Seniors National Report confirm
this; Students who took coursework in music performance scored 53 points higher on
the verbal portion of the SAT and 39 points higher on the math portion, and students
who took coursework in music appreciation scored 61 points higher on the verbal
portion of the SAT and 42 points higher on the math portion. Other studies have
found similar positive results on SAT test scores after participating in ATL (Beyette,
2001; Paige, 2004; College Board, 2001).
Implications for Policy and Practice
Based on the study’s conclusions, students at NCS and SBCS have benefited
from participating in ATL. Both schools impressed the importance of using ATL to
teach the “whole” child, as well as to teach the required academic subjects in a
“holistic” manner. The ultimate goal of education is to prepare students to have the
knowledge and skills necessary to succeed successfully in society. The arts are an
integral part of the preparation process and are one of six areas recognized as
essential to student success in college (College Board, 1983). National estimations
are that 10 out of 30 students will eventually be employed in an arts-related
occupation (CAC, 2001). Taking this, as well as the promising practices explored in
131
this study into consideration, implications may be inferred for future educational
practices and policies.
Teachers
Both NCS and SBCS seek out teachers who whole-heartedly believe that the
arts are important. This passion is necessary in order to inspire the students to take
risks. To maintain this level of commitment, both schools spent professional
development and planning time discussing the arts, the school’s mission and
philosophy, and guiding framework. A well-trained staff can potentially become
leaders of systemic change and influence policy and practice (Fiske, 1999).
The implications of this are that potential teachers must be exposed to the
four arts disciplines and trained in strategies to incorporate ATL into everyday
teaching. All of SBCS had to learn the basics of knitting. NCS school co-directors
and teachers bragged that their strength in delivering ATL was the high number of
them trained in one or more art form. Also, the staff at both schools regularly
discussed methods and materials needed for arts and academic integration. While the
teachers and aides received arts training in post-secondary schools, they
acknowledged there were no teaching credentials available in certain arts areas;
currently in California, there are no credentials offered in dance or theatre. To
facilitate effective ATL in schools, credentials must be made available in all four arts
disciplines.
132
Principals
All interviewed principals (or directors) at NCS and SBCS were also teachers
of academics and arts. Holding both positions allowed them hands-on interaction
with students and direct understanding of how to best support the teachers.
Implications to principals are that taking an active role in the school’s practices is
crucial. This also allows for principals to be instructional leaders and serve as
examples during the initial stages of program development, and step back when other
staff and students take a more active role. The directors at SBCS and NCS knew
first-hand how stressful it was for teachers to fit all required subjects into a day, and
still insisted on providing time for arts while problem-solving with teachers on how
to get it done.
Principals must reinforce the importance of arts integration and ensure that
Multiple Intelligences strategies are being utilized on a daily basis. Principals should
also facilitate conversations and professional development opportunities to explore
the importance of ATL and come to a common understanding as a staff. The
directors at SBCS and NCS described the schools’ first year as one in which they had
to be a leader and put practices in place, making sure teachers understood and felt
part of the schools’ vision. The directors all emphasized that a lot of pedagogical and
philosophical discussion occurred the first year. The idea of the staff being a team
permeated the teachers’ perspectives.
133
District Leaders
It is important for district leaders to support and encourage diversity
of instruction within schools. Providing for opportunities to utilize alternative
methods for evaluating individual performance, such as portfolios, should be just as
encouraged as the drive towards standardized tests, which speak more to a schools’
achievement than the individual. In the face of being political correct, the SBCS and
NCS communities acknowledge they focus away from testing and towards more
informal assessments. Both schools utilize rubrics to assess student work and both
schools hold conferences with parents to discuss progress. NCS has student-led
conferences in which the students play the teacher role with the parents to show what
they learned. Just as there are different ways of learning, there are different ways of
measuring that learning. District leaders can disseminate information and support for
alternative assessments, just as they currently promote the need for standardized
testing. District leaders are in the position to be able to create new systems of
evaluation and inspire all those working in the district.
Policy Makers
Replicating ATL promising practices, such as those from SBCS and NCS,
could potentially swing the education pendulum toward more meaningful and
inclusive arts education. Several years ago, NCS was one of many schools
participating in the end-of-the-year Fiber Arts exhibit. As programs were cut, fewer
schools participated in the exhibit. For the last few years, NCS has been the only
participant in the exhibit. If more schools implemented arts-themed learning
134
successfully, arts instruction would be protected and provided as regularly as
language arts and math. More purposeful dissemination to policy makers of the
positive impact of ATL on student performance might be one way to accomplish
this.
Next Steps for Future Research
The literature in Chapter Two, SBCS, and NCS supported the need for more
research linking arts and academics. Researchers contended that future studies
should focus on the quality of arts programs or how arts and non-arts subjects can be
integrated and assessed. Numerous studies have shown links between arts and
increased academic and social-emotional performance. Consequently, the focus
ought to be on disseminating those studies, not conducting additional studies. Future
research, instead, should concentrate on 1) how ATL promising practices can be
successfully replicated or adapted; and, 2) effective means of evaluating ATL
programs and student progress.
The difficulty with the current system of assessment is that it conforms to a
predicted outcome, grades or test results (Eisner, 2000). Unfortunately, the arts are
not about conformity. The arts provide for self-expression and creative freedom.
Rooney (2004) suggests evaluation should be formative, based on observation, and
include frequent feedback. Evaluation of progress in arts and academics can take the
forms of portfolios, rubrics, curriculum-embedded assessments, performances and
works of art. NCS and SBCS used all of the above to evaluate work. NCS held
135
student-led parent conferences to discuss student progress in place of a traditional
grading system. Both schools created student portfolios and NCS would eventually
like to create electronic portfolios.
Additionally, teachers at NCS and SBCS were interested in sharing ideas,
learning from others, and finding helpful resources. Unfortunately, both schools
found the availability of such connections nonexistent. Surprisingly, neither school
found information on the Internet about other organizations participating in similar
ATL promising practices. SBCS used to communicate with others in the Fiber Arts
community through a non-profit organization’s newsletter, Vessels, which no longer
exists. SBCS and NCS had teachers who expressed a need for this type of
communication. A forum for sharing ideas on ATL is greatly needed. MMACCS
could serve as a model of an internet database bringing together educational
practitioners and policymakers for a common cause.
In conclusion, the findings from this study provide insight into how arts-
themed learning practices can be effectively implemented at the elementary school
level. While both programs were unique, the evidence presented here confirmed
earlier studies that suggested there are many ways students benefit from arts
education. It is the hope that the information disseminated on the MMACCS Web
site will encourage educators, policy makers, and researchers to look for new and
innovative ways to improve student performance and to create learners capable of
excelling in the 21
st
century.
136
REFERENCES
A+ Schools Program (2001). North Carolina A+ Schools Program: Schools that
work for everyone. In The Arts and Education Reform: Lessons from a Four-
Year Evaluation of A+ Schools. Greensboro, NC: The University of North
Carolina.
Airulla, B. (2004). The benefits of arts education: an investigation of causality and
individuals’ perceptions. Columbus OH: ETD from OhioLink. Retrieved
January 10, 2005, from http://communication.sbs.ohio-state.edu/sense-
making/meet/2005/meet05airulla_lit.pdf.
Airulla, B. (2005). Sense-Making Methodologies and Art Education: Moving Beyond
Rhetoric to Discover Substance. Paper presented at a non-divisional
workshop held at the meeting of International Communication Association,
New York City.
Americans for the Arts (2001). Art: Ask for More. Washington D.C. Retrieved Feb
10, 2005 from http://www.americansforthearts.org/public_awareness.
Annenberg Institute for School Reform. (2002). Opportunities and accountability:
Arts environments as models of equity. Retrieved March 16, 2005, from
http://www.annenberginstitute.org/work/project_Ford.html.
Armstrong, T. (1994). Multiple intelligences in the classroom. Alexandria, VA:
Association for Supervision and Curriculum Development.
Arts Education Advisory Committee. (1990). Strengthening the arts in California
schools: A design for the future. Sacramento: California State Department of
Education.
Arts, Education, and American Panel (1997). Coming to our senses: The significance
of the arts for American education. New York: McGraw-Hill Book
Company.
Beyette, B. (2001). The Arts Come Back to Class. Los Angeles Times, September 9,
E1-3.
Blackburn, G.B. (1986). The effects of a videotaped musical treatment on learning of
Dolch sight words by kindergarten students. Dissertation Abstracts
International, 47, (7) 187. (University Microfilms No. 86-13,968).
137
Boyer, Ernest L. (1983). High School: A Reporton Secondary Education in America.
New York: Harper & Row.
Bray, B. (1999). Dale's Cone of Experience. Adapted from Wiman & Meirhenry
(1960), Educational Media. Retrieved March 15, 2005, from
http://www.compstrategies.com/staffdevelopment/4cueadlearn/sld002.htm.
Brualdi, A. (1996). Multiple Intelligences: Gardner’s Theory. ERIC Digest, ED 410
226, 1996–09-00. Retrieved December 22, 2004, from
http://www.eric.ed.gov/contentdelivery/servlet/ERICServlet?accno=ED4102
26
Bruner, J.S. (1960). The process of education. Cambridge, MA: Harvard University
Press.
Burton, J., Horowitz, R., and Abeles, H. (2000) Learning in and Through the Arts:
Curriculum Implications. In. Ted Fiske (Edi.). Champions of Change.
Washington, DC: Arts Education Partnership.
California Department of Education. (1996). Visual and Performing Arts Framework
for California Public Schools, Kindergarten through Grade 12. California
Department of Education: Sacramento, CA.
California Music Educators Association. (n.d.). Improving the Three R’s with Arts
Education [Brochure]. California Alliance for Arts Education.
California State PTA (2005). SMARTS: Bring Back the Arts Campaign, a public
awareness and advocacy initiative to assist California communities in
garnering support for arts in education. Retrieved March 15, 2005, from
http://www.capta.org/sections/programs-smarts/sample-speech.cfm.
Carroll, S. J., C. Krop, J. Arkes, P. A. Morrison, & A. Flanagan (2005). California’s
K-12 public schools: How are they doing? RAND Corporation. Retrieved
March 6, 2005, from
http://www.rand.org/pubs/monographs/2004/RAND_MG186.pdf.
Catterall, J. (1997). Involvement in the Arts and Success in Secondary Schools. Los
Angeles: The UCLA Imagination Project. Graduate School of Education and
Information Studies, University of California at Los Angeles. Retrieved
January 10, 2005, from http://pubs.artsusa.org/library/ARTS042/html/1.html.
138
Catterall, J. (2002). The arts and the transfer of learning. In R. Deasy (Ed.), Critical
links: Learning in the arts and student academic and social development.
Washington, DC: Arts Education Partnership.
Catterall, J., Chapleau, R., and Iwanaga, J. (1999). Involvement in the Arts and
Human Development: General Involvement and Intensive Involvement in
Music and Theater Arts. In E. Fiske (Ed.), Champions of Change: The Impact
of the Arts on Learning. The John D. and Catherine T. MacArthur
Foundation, GE Fund and Arts Education Partnership.
Center for Education Governance Multiple Measures of Accountability for
California Charter Schools (MMACCS). (n.d.). Retrieved March 16, 2005
from http://www.usc.edu/dept/education/cegov/proj_mmaccs01.html.
Center for Education Reform (2005), All about charter schools. Retrieved March 25,
2005, from
http://www.edreform.com/index.cfm?fuseAction=document&documentID=1
964
Clark, G.A., M.D. Day, and W.D. Greer (1987). Discipline-based art education:
Becoming students of art. Journal of Aesthetic Education. 21(2): 129-93.
College Board. (1983). Academic Preparation for College: What students need to
know and be able to do. New York: The College Board.
College Board. (2001). 2000 College-bound seniors, a profile of SAT program test
takers: National report. New York: The College Entrance Exam Board.
Cortines, R. (1999). Introduction. In L. Longley (Ed.), Gaining the Arts Advantage:
Lessons from School Districts that Value Arts Education. President's
Committee on the Arts and the Humanities and Arts Education Partnership.
Craciun, K. and Snow-Renner, R. (2002). No Child Left Behind Policy Brief: Low-
Performing Schools. Department of Education: Washington D.C. Retrieved
March 15, 2005, from http://www.ecs.org/clearinghouse/35/19/3519.pdf.
Crawford, D.W., (1987). Aesthetics in discipline-based art education. Journal of
Aesthetic Education. 21(2): 227-38.
Daniel, R. (2000). The Right Staff: The True Key to Arts-Focused Schools of
Choice. Arts Education Policy Review 101(6) 33-37.
139
Darby, J. T., and Catterall, J.S. (1994). The fourth R: The arts and learning. Teachers
College Record, 96, 299-328.
Day. M, E. Eisner, R. Stak, B. Wilson, & M. Wilson. (1984). Art history, art
criticism, and art production: An examination of art education in selected
school districts (Pub. No. R-3161/2-jpg). Santa Monica, CA: RAND
Corporation.
Deasy, R.J. (Ed.). (2002). Critical Links: Learning in the Arts and Student Academic
and Social Development. Washington D.C.: The Arts Education Partnership.
Retrieved April 21, 2005, from http://www.aep-
arts.org/PDF%20Files/CriticalLinks.pdf.
Dobbs S.M. (1992). The DBAE Handbook. Santa Monica, CA: Getty Center for
Education in the Arts.
Donmoyer, R. (1990). Generalizability and the Single-Case Study. In E.W. Eisner
and A. Peshkin (eds.), Qualitative Inquiry in Education: The Continuing
Debate. New York: Teacher’s College.
Ed-Data (n.d.). State of California Educational Profile Fiscal Year: 2003-2004.
Retrieved March 16, 2005, from http://www.ed-
data.k12.ca.us/Navigation/fsTwoPanel.asp?bottom=%2Fprofile.asp%3Flevel
%3D06%26reportNumber%3D16.
EdSource (2004). How California Ranks: A look at the state’s investment in K–12
education over the past decade. A National Comparison. Retrieved May 17,
2005, from http://www.edsource.org/pdf/RankingsFinal04.pdf.
Eisner, E. W. (1998). The enlightened eye: Qualitative inquiry and the
enhancement of educational practice. Upper Saddle River, NJ: Prentice Hall,
Inc.
Eisner, E.W. (2002). The arts and the creation of the mind. New Haven, CT: Yale
University Press.
Fiske, E. (Ed.). (1999). Champions of Change: The Impact of the Arts On Learning.
Washington D.C.: The Arts Education Partnership and The President’s
Committee on the Arts and the Humanities.
Ferguson, Ronald. (1991) Paying for Public Education: New Evidence on How and
Why Money Matters. Harvard Journal on Legislation 28(2), 465-498.
140
Fogg, T. and Smith, M. (2001). The artists-in-the-classroom project. A closer look.
Educational Forum, 66, 60-70
Fowler, C. (1988). Can we rescue the arts for America’s children? Coming to our
senses-10 years later. New York: American Council for the Arts.
Gardiner, M. F. (1998). How study of arts, music may enhance pupil's skills in
reading and math. Paper presented at 1998 Annual Meeting of American
Association for the Advancement of Science (AAAS), Philadelphia,
Pennsylvania.
Gardiner M.F., Fox A., Knowles F., & Jeffrey D. (1996) Learning improved by arts
training. Nature. May 23; 381(6580):284.
Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. New
York: Basic Books Inc.
Gardner, H. (1997). Multiple Intelligences as a Partner in School Improvement.
Educational Leadership. 55(1), 20-21.
Gardner, Howard (1999). The happy meeting of multiple intelligences and the arts.
Harvard Education Letter, 15/6 (November/December), 15(6), 5. Howard
Gardner, op. cit.
Goals 2000 Arts Education Partnership. (1997). Priorities for Arts Education
Research. Washington, DC: Council of Chief State School Officers.
Guignon, A. (1998). Multiple Intelligences: A Theory for Everyone [Online].
Retrieved March 12, 2005, from
http://www.educationworld.com/a_curr/curr054.shtml.
Herbert, D. (2004). Finding the Will and the Way to Make the Arts a Core Subject:
Thirty Years of Mixed Progress. The State Education Standard. 4 (4).
Retrieved March 5, 2005, from
http://www.nasbe.org/standard/15_Winter2004/Herbert.pdf.
Horn, J. (1992). An exploration into the writing of original scripts by inner-city high
school drama students. New York, NY: National Arts Education Research
Center. National Endowment for the Arts/United States Department of
Education.
141
Improving the Three R’s with Arts Education. (n.d.). California Music Educators
Association, pamphlet. Portola, CA.
Ingram, D., and Reidel, E. (2003). Arts for academic achievement: What does arts
integration do for students? Center for Applied Research and Education
Improvement, University of Minnesota. Retrieved January 10, 2005, from
http://education.umn.edu/CAREI/Reports/Annenberg/DoforStudents.pdf.
Kleinbauer, W.E. (1987). Art history in discipline-based art education. Journal of
Aesthetic Education. 21(2):205-15.
Landmark Cases in Special Education. (2004). National Association of Special
Education Teachers. Retrieved January 10, 2005, from
http://www.naset.org/landmarkcases.0.html.
Loschert, K. (2004). Curtain Call: How NCLB is dimming the lights on the arts and
other subjects. NEA Today. Retrieved February 16, 2005, from
http://www.nea.org/neatoday/0411/coverstory.html.
Manzo, K. (2003). Arts, Foreign Languages Getting Edged Out. Education Week.
23(10)3.
Mardirosian, G.H., and Fox, L. (2003). Literacy learning intervention for at-risk
students through arts-based instruction. A case study of the imagination quest
model. Presentation at the Learning Conference 2003: What Learning Means,
Institute of Education, University of London. Retrieved April 2, 2005, from
http://2003.learningconference.com/ProposalSystem/Presentations/P000607.
Merriam, S. (1998). Qualitative Research and Case Study Applications in Education.
San Francisco: Jossey-Bass.
Milley, J., Buchen, I., Okerlund, A. & Mortarotti, J. (1983). The arts: An essential
ingredient in education. Position paper of the California Council of Fine Arts
Deans. (Available from the School of Fine Arts, California State University,
Long Beach).
Multiple Intelligences: A Theory for Everyone. (1998). Education World. Retrieved
March 18, 2005, from http://www.educationworld.com/a_curr/curr054.shtml.
National Endowment for the Arts. (1988). Toward Civilization: A Report on Arts
Education. Washington, DC: Government Printing Office.
142
New American Schools (2003). The Leonard Bernstein center for learning.
Retrieved February 21, 2005, from
http://naschools.org/contentViewer.asp?highlightID=57&catID=189
New City School. (n.d.). Handbook. School document.
New City School. (2004). Charter Renewal. Long Beach Unified School District.
School document.
New City School. (2005). Parent Letter. School document.
No Child Left Behind (2002). No Child Left Behind Act of 2002. Retrieved January
12, 2005, from http://www.ed.gov/nclb/landing.jhtml.
O’Dell, L. (2000). Artfully Improving Education. Los Angeles Times, October 8, B2.
Orfield, G. & Yun, J. (1999) Resegregation in American schools. Retrieved February
10, 2005, from
http://www.civilrightsproject.harvard.edu/research/deseg/reseg_schools99.ph
p.
Paige, Rod. (2004). Forun focus: arts awareness and advocacy. (Editorial). American
Music Teacher, December 1. Retrieved February 21, 2005, from
http://www.findarticles.com/p/articles/mi_m2493/is_3_54/ai_n864079.
Paige, R. and Huckabee, M. (2005). Putting arts education front and center.
Education Week. Retrieved March 5, 2005, from
http://www.ecs.org/clearinghouse/58/06/5806.pdf.
Patton, M.Q., (1985). Quality in Qualitative Research: Methodological Principles
and Recent Developments. Invited address to Division J of the American
Educational Research Association, Chicago, Ill.
Patton, M.Q., (2002). Qualitative Research & Evaluation Methods. (3
rd
ed.)
Thousand Oaks, CA: Sage.
President’s committee on the arts and the humanities and Arts Education Partnership
(1999). Gaining the Arts Advantage: Lessons From School Districts That
Value Arts Education. President’s committee on the arts and the humanities:
Washington D.C. Retrieved online March 6, 2005 from
http://www.pcah.gov/gaa/.
Rabkin, N. and Redmond, R. (2005). Arts Education: Not All is Created Equal.
Education Week, April 13.
143
Rauscher, F.H., & Shaw, G.L. (1998). Key components of the Mozart Effect.
Perceptual and Motor Skills, 86, 835-841. Retrieved April 2, 2005, from
http://www.uwosh.edu/departments/psychology/rauscher/Key.pdf.
Reardon, C. (2005). Deep in the Arts of Texas. Ford Foundation Report. Winter.
Retrieved March 20, 2005, from
www.fordfound.org/publications/ff_report/view_ff_report_detail.cfm?report_
index=549.
Remer, J. (1996). Beyond Enrichment: Building effective arts partnership with
schools and your communities. New York: American Council on the Arts.
Risatti, H. (1987). Art criticism in discipline-based art education. Journal of
Aesthetic Education. 21(2):217-225.
Ritter, N. (1999). Teaching interdisciplinary thematic units in language arts.
Bloomington, IN: ERIC Clearinghouse on Reading, English, and
Communication. Retrieved April 2, 2005, from
http://reading.indiana.edu/ieo/digests/d142.html.
Rooney, R. (2004). Arts-Based Teaching and Learning: Review of the Literature.
Rockville, MD.: Westat. Retrieved February 12, 2005, from
http://www.vsarts.org/documents/resources/research/VSAarts_Lit_Rev5-
28.pdf
Santa Barbara Charter School. (2002). Education Plan: Cultivating the Arts,
Academics, and Relationships. School document. August.
Santa Barbara Charter School. (2002). Hopes and Aspiration. School document,
November 21.
Santa Barbara Charter School. (2004). Charter 2003-2008. Santa Barbara School
District. School document
Seaman, M. (1999). The arts in the basic curriculum project: A ten-year evaluation.
Looking at the past and preparing for the future. College of Education,
University of South Carolina.
Spector, H. (2000). Research and results from the Youth Arts Project. Paper
presented at the Arts Forum 2000, Charlotte, N.C.
144
Spratt, F. (1987). Art production in discipline-based art education. Journal of
Aesthetic Education. 21(2): 197-204.
Stake, R.E., (1995). The art of case study research. Thousand Oaks, CA: Sage.
Sullivan, M. (1982) Feeling Strong, Feeling Free-Movement Exploration for Young
Children, Washington D.C.: NAEYC, 5
th
Printing.
The Education Coalition (n.d.) Learning Styles and Multiple Intelligences. from
"Prism on the Future," Teleconference Magazine, August 9, 1999, by Carla
Lane, Ed.D.. Retrieved April 29, 2005, from
http://www.tecweb.org/eddevel/prism/prism1.html.
Thompson, S., A. Sun, and L. Beattie. (1989). Arts Education in California: Thriving
or Surviving? CA State Assembly Office of Research report.
U. S. Department of Commerce (1991). What Work Requires of Schools: A SCANS
report for America 2000. The Secretary’s Commission on Achieving
Necessary Skills, U.S. Department of Labor. Retrieved April 17, 2005 from
http://wdr.doleta.gov/SCANS/whatwork/whatwork.pdf.
U.S. Department of Education, National Center for Educational Statistics.(n.d.). The
condition of education 2004. Retrieved March 16, 2005, from
http://nces.ed.gov/pubs2004/2004077_TOC.pdf.
U.S. Department of Education, National Center for Education Statistics (2004).
National Assessment of Educational Progress Data: The Nation’s report
card. Retrieved April 24, 2005, from http://nces.ed.gov/nationsreportcard.
U.S. Department of Education. (2004) A guide to education and No Child Left
Behind. Office of Public Affairs. Retrieved March 15, 2005, from
http://www.ed.gov/nclb/overview/intro/guide/guide.pdf
Wilkins, D.K. (1996). Multiple Intelligences activities. Huntington Beach, CA:
Teacher Created Materials, Inc.
Williams, Harold M. (1995). Don’t ignore the arts.(value of arts education). USA
Today, September 1. Retrieved March 20, 2006, from
http://www.highbeam.com/doc/1G1:17582599
145
Wilson, B. (1997). The Quiet Evolution: Changing the Face of Arts Education. Los
Angeles, CA: The Getty Education Institute for the Arts.
Winner, E. and Hetland, L. (2000) Does Studying the Arts Enhance Academic
Achievement? Education Week, 20(9) 46, 64.
Wohlstetter, P., J. Smith, C.L. Malloy, and G.C. Hentschke. (2005). Charter school
partnerships…8 key lessons for success. Los Angeles, CA: Center for
Educational Governance.
146
APPENDIX A: MMACCS ADVERTISEMENT
Multiple Measures of Accountability for California Charter Schools
Do you know of a charter school implementing an innovative policy,
practice, or program that should be widely disseminated?
If so, then here’s your chance to share!
What do we want?
Nominations of charter schools with Promising Practices
The University of Southern California’s Center on Educational Governance
(CEG), in partnership with CCSA, is requesting nominations of charter schools
with Promising Practices in the following 10 areas:
1. Administrative and teacher
leadership
2. Arts – themed charter schools
3. English language development in
the primary grades
4. Increasing high school graduation
rates
5. Parent involvement
6. Project-based learning
7. School-university partnerships
8. Special education
9. Student discipline
10. Uses of technology for instruction
in middle school math and science
Why do we want your nominations of Promising Practices?
We are developing a compendium of promising practices that can inspire
educators to develop useful policies, practices, and programs that will improve
student performance.
What criteria will we use to select Promising Practices?
Demonstration of innovative practice
Evidence of positive change
Potential to transfer and be useful to other schools
And what do schools get if their Promising Practices are selected?
Recognition and award at the annual CCSA conference!
Publicity!
One-year membership to MMACCS!
Ready to nominate? If so, then log on to
www.usc.edu/dept/education/cegov/
and complete the nomination form.
Deadline for nomination is July 15, 2005
Center on Educational Governance, Rossier School of Education, University of Southern California
Los Angeles, CA 90089-4039 (213) 740-0697[phone] (213) 749-2707[fax] www.usc.edu/dept/education/cegov/
147
APPENDIX B: E-BLAST REMINDER
From: listserv@charterassociation.org
[mailto:listserv@charterassociation.org]
Sent: Monday, July 11, 2005 3:06 PM
To: wohlstet@usc.edu
Subject: Charter Journal Online - July 11, 2005
Dear Friends and Colleagues,
Welcome to the Charter Journal Online. Please note that the “Question from the Field” section will
return in August 2005. In this edition, the California Charter Schools Association is pleased to bring
you:
CHARTER NEWS
1. California Charter Schools Visa Affinity Credit Card from California Credit Union Offers New
Fundraising Opportunity for Schools
2. Charter Regulations Approved
3. Nominations for USC's Center of Educational Governance's "Promising Practices" Awards Due this
Friday, July 15, 2005
4. Charter School Revolving Loan Fund
5. Positive Labor Relations Workshop This Month – (3) Regional Sessions, (1) Online Session
6. Charter School Facility Grant Program – Forms Due by August 22, 2005
UPCOMING EVENTS
1. Why Writing Matters Conference at Renaissance Arts Academy – August 1-5, 2005
IMPORTANT INFORMATION
1. Update Information on the California Commission on Teacher Credentialing (CCTC)
IN THE PRESS
1. Fire Causes Major Damage at CHIME Charter School
2. Enrolling Students At Last
3. Los Altos Community Continues its Fight for a Public School
Sincerely,
Caprice Young
President/Chief Executive Officer
California Charter Schools Association
CHARTER NEWS
1. California Charter Schools Visa Affinity Credit Card from California Credit Union Offers New
Fundraising Opportunity for Schools
148
About the Affinity Card Program:
The California Charter Schools Association is excited to announce that application forms are now
available for individual (consumer) and school (corporate) Visa Affinity Credit Cards from the
California Credit Union.
The Charter School Affinity Visa Card program will return a full one percent of all purchases to the
California charter school movement. Half of one percent of purchases will be returned directly to
individual charter schools and the other half of one percent goes to the Association to fund critical
programs that further support your school and students.
The individual (consumer) Affinity Card - which is available to all school employees and your
students¹ families - carries an extraordinarily low fixed rate (based upon credit of individual
borrowers), has no annual fee and includes an interest-free grace period. So the more cardholders
who obtain a card and designate your school as the beneficiary, the more money you can raise for
your school!
Schools may also apply for a School Affinity Credit Card - so as you make school-related purchases
for this coming school year, you can get additional money back for other school activities.
How to Apply for Individual (Consumer) Affinity Credit Cards:
Please let your school staff, Board, and students' families know that they can now APPLY ONLINE
for an individual consumer affinity credit at:
- http://www.californiacu.org/
- Click on Individuals
How to Apply for School (Corporate) Affinity Credit Card:
To obtain an application form for a School (Corporate) Affinity Credit Card, go to:
- http://www.californiacu.org/
- Click on Schools
2. Charter Regulations Approved
In the last two weeks two set of regulations have been approved that have a significant impact on
charter schools.
The Education Audit Appeals Panel (EAAP) adopted regulations that establish audit standards for
charter schools for the 2005-06 school year. The Charter Association has been involved with the
development of these regulations for over a year. In the end, we voiced opposition and concern with
several parts of these regulations, but overall, the final regulations were much improved form earlier
drafts. While the bulk of these regulations impact only the non-classroom based and independent
study charter schools, several of the provisions affect all charter schools.
The Association strongly encourages all charter schools to meet with their auditors as soon as possible
to review these regulations and determine if any changes must be made to school level record-keeping
and procedures to ensure compliance with these new regulations. While these regulations may not
pose any new requirements on some schools, others may find they need to make significant changes
in order to comply. The regulations can be found on the web site at:
http://www.eaap.ca.gov/NewWebSite0804/AuditGuide.htm.
149
On a much more positive note, this week the State Board of Education adopted amendments to the SB
740 funding determination process. These changes have been advocated by the Association over the
last several months, and we supported their adoption. Funding Determination forms that conform to
the new regulations will be developed by the CDE, and they may apply to decisions for the 2005-06
fiscal year and beyond. A recent version of the regulations is posted to the CDE web site at as Item
37 at:
http://www.cde.ca.gov/be/ag/ag/yr05/agenda0605.asp.
The SBE adopted these regulations with two minor and clarifying amendments, which will be posted
to the CDE web site soon. We would like to thank the CDE staff and the Advisory Commission for
all of their work and thoughtful deliberation on these amendments.
3. Nominations for USC's Center of Educational Governance's "Promising Practices" Awards Due this
Friday, July 15, 2005
Do you know of a charter school implementing an innovative policy, practice, or program that should
be widely disseminated? The University of Southern California’s Center on Educational Governance,
in partnership with the California Charter Schools Association, is requesting nominations of charter
schools with Promising Practices. Schools will be recognized and awarded at the upcoming annual
charter schools conference, gain free publicity, and acquire one-year membership to Multiple
Measures of Accountability for California Charter Schools (MMACCS). The deadline for
nominations is this Friday, July 15.
Log on to http://www.usc.edu/dept/education/cegov/ to complete the nomination form.
4. Charter School Revolving Loan Fund
The Charter School Revolving Loan Fund provides low-interest loans to new charter schools to help
meet purposes established in the schools' charters.
Eligible Applicants are non-profit organizations, other organizations or agencies. The required
criteria for eligible applicants are start-up public charter schools whose locally approved charter
petition has been numbered by the California State Board of Education and has a County District
School (CDS) code. Eligible charter schools can not be conversion charter schools or charter schools
renewed by their charter-authorizing entity.
View at http://www.cde.ca.gov/fg/fo/profile.asp?id=617.
5. Positive Labor Relations Workshop This Month – (3) Regional Sessions, (1) Online Session
Attention charter school operators! As you know, California charter schools have recently
experienced an increase in the efforts of the Teacher Unions to organize charter schools. Positive
working relationships among all employees are vital to healthy and successful charter schools. Learn
how to create positive labor relations at your charter school by attending our upcoming Positive Labor
Relations Workshop. This workshop explores organizational structures that foster mutually
productive and effective working relationships. The workshop will also discuss EERA, PERB and
collective bargaining policies as they apply to charter schools. School leaders wishing to formalize a
healthy working environment as well as learn more about the collective bargaining process are
strongly encouraged to attend.
150
Presenter: Liebert Cassidy Whitmore
The Association is proud to offer three (3) regional sessions and one (1) online session:
- LOS ANGELES
Monday, July 25, 2005, 10am to 3pm
The Accelerated Charter School
4000 South Main Street, Los Angeles, CA 90037
- SAN DIEGO
Tuesday, July 26, 2005, 10am to 3pm
High Tech High
2861 Womble Road, San Diego, CA 92106
- SAN FRANCISCO
Wednesday, July 27, 2005, 10am to 3pm
Life Learning Academy
551 8th Street, Treasure Island, San Francisco, CA 94130
- 2-DAY ONLINE SESSION
Thursday, July 28 and Friday, July 29, 2005, 10am to 12pm
REGISTRATION FEE: $120 for Members, $200 for Non-members
EXCLUSIVE MEMBER OFFER: SAVE today by purchasing an annual workshop pass for only
$950 and 60% off the member rate and 75% off the nonmember rate on your choice of:
- One seat at each of the Association's Workshops for a FULL YEAR, plus one copy of a Workshop
DVD
OR
- A total of 20 seats at any combination of the Association's Workshops for a FULL YEAR, plus on
copy of a Workshop DVD
THERE ARE TWO WAYS TO REGISTER:
- Register ONLINE at http://www.charterassociation.org under Events and pay by credit card.
- Go to http://www.charterassociation.org under Events to download a registration form to FAX to
Ana Fernandez at (213) 244-1448.
QUESTIONS?
Contact Ana Fernandez at (213) 244-1446, x 2215 or via e-mail at anaf@charterassociation.org.
6. Charter School Facility Grant Program – Forms Due by August 22, 2005
The Charter School Facility Grant Program was enacted by Senate Bill (SB) 740 (Chapter 892,
Statutes of 2001, Education Code Section 47614.5) for the purpose of providing assistance with
facilities rent and lease expenditures for charter schools that meet certain eligibility criteria. Eligible
charter schools may receive reimbursement for facilities rent and lease costs in an amount of up to
$750 per unit of classroom-based average daily attendance (ADA), as certified at the 2004-05 second
principal apportionment, but no more than 75 percent of their total annual facilities rent and lease
151
costs. If there are insufficient funds to reimburse all eligible charter schools at the maximum level,
the funding provided to each eligible school will be reduced on a pro-rata basis. It is anticipated that
funding will be distributed in the fall of 2005; however, distribution of funding will be contingent
upon approval of the 2005-06 budget and any amendments.
To be eligible for reimbursement, a charter school site must be geographically located within the
attendance area of a public elementary school in which at least 70 percent of the pupil enrollment is
eligible for free or reduced price meals, or serving a pupil population that meets or exceeds 70 percent
eligibility for free and reduced price meals.
Charter schools occupying existing school district or county office of education facilities and charter
schools receiving reasonably equivalent facilities from their chartering authority pursuant to
Education Code Section 47614 (Proposition 39) are not eligible for reimbursement.
Additional conditions of the Charter School Facility Grant Program provide that:
- Charter schools receiving funding through this program that have exceeded their enrollment
capacity must extend admissions preference to those students currently attending the charter school
and to those students who reside in the elementary school attendance area in which the charter school
is located, and
- Charter schools relocating to the attendance area of an eligible elementary school must give
admissions preference to the students who reside in the eligible elementary school's attendance area.
These conditions are intended to ensure that the needs of students residing in predominantly
financially disadvantaged areas are also being met.
To apply for reimbursement funding for expenditures incurred during the 2004-05 fiscal year, charter
schools must submit a 2004-05 Application for Eligibility and a 2004-05 Facility Expenditure Report.
(Even if you received funding under this program for 2003-04, eligibility must be established
annually.) Multi-site charters must submit a separate application for each site for which they are
seeking reimbursement. Copies of the required forms will be mailed to you in early July and will be
posted on the California Department of Education website located at
http://www.cde.ca.gov/fg/fo/profile.asp?id=618. The completed forms will be due in our office by
August 22, 2005.
The CDE will determine the eligibility of your school for this program based on the application for
eligibility and the Free and Reduced Price Meals data on file at the CDE. Your facility expenditure
report will only be considered if your school is eligible based on the Free and Reduced Price Meals
data.
The CDE will determine the amount of reimbursement after all eligible applicants have submitted
their applications and expenditure reports. All information provided on the application and
expenditure report is subject to audit to ensure compliance with program requirements.
If you have any questions about this or the Charter School Facility Grant Program, please contact
Oluwole Olukoya at (916) 327-5929 or by e-mail at oolukoya@cde.ca.gov.
152
UPCOMING EVENTS
1. Why Writing Matters Conference at Renaissance Arts Academy – August 1-5, 2005
Renaissance Arts Academy is holding their first annual "Why Writing Matters" Professional
Development Institute in conjunction with the UCLA Writing
Project at Renaissance Arts Academy this summer. A link to information about the institute can be
found on the Renaissance Arts Academy web site at: http://renarts.org/wwm.php.
Dates: August 1-5, 2005
Individuals Fee: $475
School Teams of 3 or more Fee: $450 each
If you have any questions, please contact Lee Myrick of the Renaissance Arts Academy by e-mail at
lee@renarts.org or call (323) 259-5700.
IMPORTANT INFORMATION
1. Update Information on the California Commission on Teacher Credentialing (CCTC)
Approval of Addition to California Code of Regulations, Title 5 Sections 80021 and 80021.1,
Pertaining to Short-Term Staff Permits and Provisional Staff Permits
The Office of Administrative Law approved the addition of Title 5 Sections 80021 and 80021.1
pertaining to Multiple Subject, Single Subject and Education Specialist Short-Term Staff Permits and
Provisional Internship Permits on June 4, 2005. The new permits will be effective July 1, 2005 and
will replace the current Emergency Multiple Subject, Single Subject and Education Specialist Permits.
The Commission currently issues emergency permits at the request of employing agencies that are
unable to sufficiently recruit fully credentialed teachers. Emergency permits are valid for one year and
authorize the holder to provide the same service as a full teaching credential. To employ an individual
on an emergency permit, the employing agency must have a valid Declaration of Need for Fully
Qualified Educators (DON) on file with the Commission during the valid period of the permit. The
DON is a form submitted annually to the Commission by county offices of education, public school
districts, statewide agencies or non-public schools/agencies that provides the employing agency's
estimated number of emergency permits that will be requested during the school year. Employing
agencies must certify recruitment practices and estimate staffing on the Declaration of Need form.
The DON is the employing agencies proof to the Commission that there is a need to hire individuals
that are not fully credentialed.
On December 4, 2003, the Commission took action to discontinue the issuance of multiple subject,
single subject and education specialist emergency permits with the understanding that there would be
a continuing need for a document that addressed unanticipated staffing needs. With the assistance of
stakeholders representing districts, county offices of education, colleges, universities and professional
organizations, it was determined that there are two distinct types of staffing needs. One document is
needed to meet immediate teacher vacancies and another to staff classrooms when, after a diligent
search, no appropriately credentialed teacher could be found. Thus, the Commission developed the
Short-Term Staff Permit (STSP) and the Provisional Internship Permit (PIP). The STSP is intended to
immediately staff classrooms based on unforeseen circumstances and the PIP is intended to staff
classrooms when the employer has conducted a diligent search yet is unable to recruit a credentialed
teacher. These new permits may be issued for a total of three years combined. Within this time period,
153
an individual should complete the subject matter competence requirement to qualify for an internship
document or preliminary credential.
Read full text of this correspondence here: http://www.ctc.ca.gov/notices/coded/050011/050011.html.
The PDF version is available here: http://www.ctc.ca.gov/notices/coded/050011/050011.pdf.
The CCTC web site can be reached at: http://www.ctc.ca.gov.
IN THE PRESS
1. Fire Causes Major Damage at CHIME Charter School
CHIME charter school, the California Charter Schools Association’s 2004 charter school of the year,
is in the midst of cleaning up after a devastating fire that damaged the school’s administrative offices.
No one was injured but the blaze caused an estimated $110,000 in damages. Principal Julie Fabrocini,
whose office was damaged in the fire, told the Los Angeles Daily News, “It's going to take an
enormous amount of staff time to re-create student files.” Read more about the fire at CHIME and the
effort to re-build before the start of the school year:
Fire Damages CHIME Offices – The Los Angeles Daily News, July 6, 2005
http://www.dailynews.com/Stories/0,1413,200~20954~2954151,00.html#
2. Enrolling Students At Last
Charter school leaders are known for their drive and determination and that’s what it took to get The
Academy of Culture and Technology up and running. After being granted a three-year charter to
teach sixth through twelfth grade, Tomas Ursa, the school’s director said, “We wore them out…In the
end they praised us for having such a great program.’’ Several colleges, including Harvey Mudd, Cal
Poly Pomona and Pitzer helped to get the Academy off the ground. Read more about this new charter
school and its program:
Charter School Gets off Ground – The Inland Valley Daily Bulletin, July 7, 2005
http://www.dailybulletin.com/Stories/0,1413,203~21481~2954779,00.html#
3. Los Altos Community Continues its Fight for a Public School
In an opinion piece that appeared in last week’s San Jose Mercury News, editorial writer Patty Fisher
highlights the determination and gusto of parents in Los Altos to build a school of their own following
the school district’s decision to close the community’s last remaining public school two years ago. In
response, the community raised $5 million and opened a charter school. ``The community clearly
wants to acquire a public school,'' Mayor Breene Kerr said, ``and Bullis Charter School represents our
best opportunity to do so, at least in my lifetime.'' Read this opinion piece in full:
Hills Parents Unite Over Public School – The San Jose Mercury News, July 6, 2005; Patty Fisher
opinion http://www.mercurynews.com/mld/mercurynews/12064215.htm
If you would like to unsubscribe, please send an e-mail with your first and last name to
info@charterassociation.org.
154
APPENDIX C: NOMINATION FORM
MMACCS Promising Practices Compendium:
Nomination Form
INTRODUCTION:
CEG developing compendium of Promising Practices (General purpose)
We are investigating Promising Practices in 12 areas; in subsequent years,
additional areas will be included
Define “Promising Practice” and give concrete examples (e.g., Parent
Volunteer Catalogue)
Selection by educational researchers at USC. Selection criteria include:
Evidence of positive change
Innovativeness of Promising Practice
Potential for transferability and usefulness across school sites
Benefits of participating
Opportunity to present at annual CCSA conference in spring
Recognition in form of a plaque; awarded by CCSA and USC at
annual CCSA conference
Publicity in the local newspaper
Free one-year membership to MMACCS
Site visits in Fall 2005
SECTION I
Please complete all questions.
1. Title of your Promising Practice:
155
2. In which general area does your Promising Practice fit it? (Please select one
category):
_____ Administrative and teacher leadership
_____ Arts – themed charter school
_____ English language development in elementary school
_____ Increasing high school graduation rates
_____ Parent involvement
_____ Project-based learning
_____ School-university partnerships
_____ Special education
_____ Student discipline
_____ Uses of technology for instructional purposes in middle school
3. What is the objective/goal of the Promising Practice?
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
4. How long has the Promising Practice been implemented? ________________
5. Provide a brief summary (100 words) of your Promising Practice:
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
156
6. Documentation of evidence for Promising Practice success (mark all that
apply):
_____ No data exist to support the results of this practice
_____ Anecdotal evidence
_____ Internally-conducted evaluation
_____ Externally-conducted evaluation
7. Please indicate the perceived areas of positive changes produced by your
Promising Practice:
a. Positive changes for target population (mark all that apply):
_____ Students
_____ Teachers
_____ Parents
_____ Other (Please specify: __________________________)
b. The changes were in the following areas (mark all that apply):
_____ Academic achievement (e.g., increased knowledge and
skills)
_____ Attitudes/Behavior (e.g., improved attendance;
decreased drop- out rate; decrease in discipline
problems)
_____ School Operation/Management (e.g., improved cost
effectiveness; expansion/efficiency of service delivery)
_____ Other (Please specify; _________________________)
157
SECTION II
Contact Information: Please include contact information for any follow-up
questions.
1. Name of Nominator: _____________________________________________
2. Key Contact Name for Nominated School: ___________________________
3. School Name: __________________________________________________
4. School Address: ________________________________________________
5. School Phone Number/ fax/ email address:
______________________________________________________________
______________________________________________________________
______________________________________________________________
6. Summer Contact Information: _____________________________________
158
APPENDIX D: CHARTER SCHOOL PROFILE
Researcher: ________________
Date: ___________________
School Information
School Name: _______________________________________________________
Address: ____________________________________________________________
_____________________________________________________________
Phone #: ________________________ Fax #: __________________________
Principal’s Name: ____________________________________________________
Contact Information (if different from Principal): ___________________________
Email Address: ______________________________________________________
School Web site: _____________________________________________________
Promising Practice: ___________________________________________________
Charter Information
Type of School: Conversion_______ Start up_______
Year Chartered: __________ Year Opened: _______
Charter Authorizer: ____________________________________________________
Student Population Information
Student Enrollment: Current _______ Projected _______
Grades Served: Current _______ Projected _______
Enrollment by Subgroups (#/%):
Ethnicity (#) Special Populations (%)
African American _______ Free/Reduced Lunch _______
Asian _______ Special Needs _______
Hispanic _______ ELL _______
White _______ Other _______
Other _______ (Specify Other______________)
(Specify Other______________)
159
Teacher Information
Number of Full-time Administrators: _______
Number of Full-time Teachers: _______
Teacher Union Membership: Yes _______ No _______
Budget Information
Per Pupil Spending (Year): ___________________
160
APPENDIX E: DOCUMENT CHECKLIST
School Name: __________________ Date of Scheduled Site Visit: _________
Promising Practice: __________________________________________________
Researcher: ________________________________________________________
To be collected prior to site visit and at site visit
Document Type Document Title Retrieval Date
Charter (Petition):
Renewal Petition
Policy Documents Related to
Promising Practice
Handbook
(Faculty, Staff, Student)
Program Evaluations
(Related to arts-themed learning)
Other Assessment Data
(Related to arts-themed learning)
161
APPENDIX F: PRE-SITE TELEPHONE INTERVIEW (PRINCIPAL)
School Name: ___________________________ Date:___________
Name of Interview Subject:____________________________________________
Researcher: ________________________________________________________
Start Time: __________ End Time: _______ Total Time (minutes): _______
[Introduction]
I am working with the University of Southern California’s Rossier School of
Education. We are studying promising practices in California charter schools.
Through a nomination process, your school was identified as having success in/with
arts-themed learning. The purpose of this interview is to learn more about arts-
themed learning at your school and to schedule a site visit at a time this fall when it
is convenient for you.
The information from this research will be used to create a Web-based compendium
of promising practices. The Web site will be hosted by USC’s Center on Educational
Governance and is part of the MMACCS project – Multiple Measures of
Accountability for California Charter Schools. The goal of the compendium is to
spread new knowledge and innovation about promising practices to inspire educators
to improve school performance.
By participating in this study, your school will get recognition at the annual
California Charter Schools Association conference, publicity in the media, and a
one-year free membership to MMACCS.
This preliminary interview should take only around 5-10 minutes. Is now a good
time? (If not – when would a better time be to talk with you?) Do you have any
questions for me before we begin?
A. Background- Laying the Foundation
1. How long have you been the principal at this school?
2. What is your background and previous experience in education?
162
3. How long has this school been using arts-themed learning?
4. Who else on campus is involved with arts-themed learning?
[Probe for lead teachers, teachers, parents]
B. Scheduling and Logistics
5. We are planning to visit schools some time this fall, in October or November.
Our visit will last no more than two days and we would like to speak with
you again, along with the other people you mentioned who are involved with
arts-themed learning. If possible, we also would like to observe a
professional development session related to arts-themed learning [and to visit
a few classrooms].
a. What month and days are best to visit your school?
b. Will it be possible to attend a professional development session
related to arts-themed learning during the visit?
c. [Will we be able to observe a few classrooms during our visit?]
6. Who should we speak with about arranging the visit and scheduling
interviews? I can fax you a schedule and a list of people we would like to
interview.
7. We would also appreciate copies of some school documents before the site
visit. With whom should we speak about getting the documents? I can fax
the list. If this is too burdensome, we can make copies when we visit.
[Closing]
Thank you very much for your time. I look forward to visiting your school on
________.
163
APPENDIX G: ON-SITE INTERVIEW (PRINCIPAL)
School Name: __________________________ Date:_______________
Name of Interview Subject:____________________________________________
Researcher: ________________________________________________________
Start Time: __________ End Time: ________ Total Time (minutes): _____
[Introduction]
Thank you for agreeing to meet with me. I am working with the University of Southern California’s
Rossier School of Education. We are studying promising practices in California charter schools.
Through a nomination process, your school was identified as having success in/with arts-themed
learning. The purpose of this interview is to learn more about arts-themed learning at your school.
The information garnered from this research will be used to develop a Web-based compendium of
promising practices as part of the Multiple Measures of Accountability for California Charter Schools
(MMACCS) project. The goal of the compendium is to spread new knowledge and innovation about
promising practices to inspire educators to improve school performance.
By participating in this study, your school will get recognition at the annual California Charter
Schools Association conference, publicity in the media, and a one-year free membership to
MMACCS.
This interview should take around 45 minutes. Do you have any questions for me before we begin?
A. Theory of Action and History
1. Can you briefly describe arts-themed learning at your school?
2. What is the goal of arts-themed learning?
3. Please tell me about the history of arts-themed learning at your school.
(Probe: How/why did it get started, who were the people initially involved in developing the
practice)
4. Can you tell me a little about your role as principal with respect to arts-themed learning?
5. Who have been the main people involved with the planning and implementation of arts-
themed learning?
164
6. In your opinion, what factors have contributed to the successful implementation of arts-
themed learning?
7. How do you think that arts-themed learning will lead to school improvement and higher
student performance?
B. Implementation Details
8. How long has arts-themed learning been in place?
9. How much start up/planning time was needed to implement arts-themed learning?
10. How much planning time on a monthly basis is needed to maintain implementation of
arts-themed learning?
11. How often do you collaborate with other staff members in order to sustain arts-themed
learning?
12. What do you see as the next steps for ensuring sustainability of arts-themed learning?
13. How do you know arts-themed learning is making a difference? [What is the evidence of
impact?]
14. What are the benefits of implementing arts-themed learning?
(Probes: Benefits for students, staff, administrators, parents)
15. What are the challenges of implementing arts-themed learning?
(Probes: Challenges for students, staff, administrators, parents)
16. What lessons have you learned by implementing arts-themed learning?
C. Resource Requirements
17. How much of your budget is spent on arts-themed learning?
165
18. What is the level of staff expertise required with respect to arts-themed learning?
19. What facilities are needed to carry out arts-themed learning?
20. How much professional development time has staff received to implement arts-themed
learning?
21. Do you think the training/professional development that has been conducted meets the
needs for people to effectively implement arts-themed learning?
(Probe: What other types of PD do you think would be helpful to effectively implement
promising practice?)
D. Recommended Resources for Additional Information
22. Are there any books that have been helpful to you in implementing arts-themed
learning?
23. Are there any articles that have been helpful to you in implementing arts-themed
learning?
24. Are there any Web sites that have been helpful to you in learning about arts-themed
learning?
25. Are there any sources of technical assistance that have been helpful to you in
implementing arts-themed learning?
26. Additional Comments:
[Closing]
Thank you very much for your time. Your comments and insights are invaluable for our
research.
166
APPENDIX H: ON-SITE INTERVIEW (LEAD TEACHER)
School Name: ___________________________ Date:____________
Name of Interview Subject:____________________________________________
Position:____________________________________________________________
Researcher: _______________________________________________________
Start Time: ________ End Time: ______ Total Time (minutes): ________
[Introduction]
Thank you for agreeing to meet with me. I am working with the University of Southern California’s
Rossier School of Education. We are studying promising practices in California charter schools.
Through a nomination process, your school was identified as having success in/with arts-themed
learning. The purpose of this interview is to learn more about arts-themed learning at your school.
The information garnered from this research will be used to develop a Web-based compendium of
promising practices as part of the Multiple Measures of Accountability for California Charter Schools
(MMACCS) project. The goal of the compendium is to spread new knowledge and innovation about
promising practices to inspire educators to improve school performance.
By participating in this study, your school will get recognition at the annual California Charter
Schools Association conference, publicity in the media, and a one-year free membership to
MMACCS.
This interview should take around 45 minutes. Do you have any questions for me before we begin?
A. Theory of Action and History
1. Can you briefly describe arts-themed learning at your school?
2. What is the goal of arts-themed learning?
3. Please tell me about the history of arts-themed learning at your school.
(Probe: How/why did it get started, who were the people initially involved in developing the
practice)
4. Can you tell me a little about your role as lead teacher with respect to arts-themed
learning?
5. Who have been the main people involved with the planning and implementation of arts-
themed learning?
167
6. In your opinion, what factors have contributed to the successful implementation of arts-
themed learning?
7. How do you think that arts-themed learning will lead to school improvement and higher
student performance?
B. Implementation Details
8. How long has arts-themed learning been in place?
9. How much start up/planning time was needed to implement arts-themed learning?
10. How much planning time on a monthly basis is needed to maintain implementation of
arts-themed learning?
11. How often do you collaborate with other staff members in order to sustain arts-themed
learning?
12. What do you see as the next steps for ensuring sustainability of arts-themed learning?
13. How do you know arts-themed learning is making a difference? [What is the evidence of
impact?]
14. What are the benefits of implementing arts-themed learning?
(Probes: Benefits for students, staff, administrators, parents)
15. What are the challenges of implementing arts-themed learning?
(Probes: Challenges for students, staff, administrators, parents)
16. What lessons have you learned by implementing arts-themed learning?
C. Resource Requirements
17. How much of your budget is spent on arts-themed learning?
168
18. What is the level of staff expertise required with respect to arts-themed learning?
19. What facilities are needed to carry out arts-themed learning?
20. How much professional development time has staff received to implement arts-themed
learning?
21. Do you think the training/professional development that has been conducted meets the
needs for people to effectively implement arts-themed learning?
(Probe: What other types of PD do you think would be helpful to effectively implement
promising practice?)
D. Recommended Resources for Additional Information
22. Are there any books that have been helpful to you in implementing arts-themed
learning?
23. Are there any articles that have been helpful to you in implementing arts-themed
learning?
24. Are there any Web sites that have been helpful to you in learning about arts-themed
learning?
25. Are there any sources of technical assistance that have been helpful to you in
implementing arts-themed learning?
26. Additional Comments:
[Closing]
Thank you very much for your time. Your comments and insights are invaluable for our
research.
169
APPENDIX I: ON-SITE INTERVIEW (TEACHER)
School Name: ___________________________ Date:____________
Name of Interview Subject:____________________________________________
Position:____________________________________________________________
Researcher: _________________________________________________________
Start Time: _________ End Time: ________ Total Time (minutes): ______
[Introduction]
Thank you for agreeing to meet with me. I am working with the University of Southern California’s
Rossier School of Education. We are studying promising practices in California charter schools. The
purpose of this interview is to learn more about arts-themed learning at your school.
Through a nomination process, your school has been identified as having success in/with arts-themed
learning. A Web site that includes this knowledge will be developed detailing promising practices in
California charter schools. The Web site is being hosted by Multiple Measures of Accountability for
California Charter Schools (MMACCS) and the Center for Educational Governance.
This interview should only take 30 minutes. Do you have any questions for me before we begin?
A. Evidence of Impact
1. What has been the impact of arts-themed learning on students?
2. What has been the impact of arts-themed learning on parents?
3. What has been the impact of arts-themed learning on teachers?
4. What has been the impact of arts-themed learning on other constituents/stakeholders (e.g.
investors, community groups etc.)?
5. Was any system for measuring the success of arts-themed learning adopted during the
planning stages?
6. Are you aware of any research studies that confirm the impact of arts-themed learning on
student performance? If yes, may we please have copies?
170
B. Lessons Learned
7. What benefits have you experienced as a result of implementing arts-themed learning?
(Probes: Benefits for students, staff, administrators, parents)
8. What challenges have you experienced while implementing arts-themed learning?
(Probes: Challenges for students, staff, administrators, parents)
9. Have there been any efforts to improve the effectiveness of arts-themed learning? If yes,
explain.
10. What efforts have been made to help sustain arts-themed learning at your school?
11. What future steps are needed to ensure the sustainability of arts-themed learning?
12. What recommendations would you make to other educators that are thinking about
adopting arts-themed learning?
C. Recommended Resources for Additional Information
13. Are there any books that have been helpful to you in implementing arts-themed
learning?
14. Are there any articles that have been helpful to you in implementing arts-themed
learning?
15. Are there any Web sites that have been helpful to you in learning about arts-themed
learning?
16. Are there any sources of technical assistance that have been helpful to you in
implementing arts-themed learning?
17. Additional Comments:
[Closing]
Thank you very much for your time. Your comments and insights are invaluable for our research.
171
APPENDIX J: CLASSROOM OBSERVATION
School Name: _________________________________ Date: ______________
Teacher’s Name: _______________________________ Observer: ___________
Type of Class: _____________________________ Grade Level: _________
Time Started: _____ Time Ended: _________ Total Time (minutes):_____
Number of Students Observed: ________
Lesson Topic (e.g., volcanoes, verbs): ____________________________________
Instructional Goal (e.g., word recognition, comprehension):________________
____________________________________________________________________
Indicate Language(s) Used for Activity:
English c Spanish c Eng/Span. Combo c Other c
A. Classroom Environment
1. How does the arrangement of the room support arts-themed learning?
(seating, learning centers, bulletin boards, display of student work, etc.)
2. What resources in the classroom support arts-themed learning?
(presence of aids/parents, technology, books, learning manipulatives, etc.)
B. Academic Lesson
1. What is the intended purpose of the lesson?
(As written or stated by teacher-consider related standards)
172
2. What is the structure of the lesson?
(Whole group, small group, pairs-consider instructional time spent)
3. Explain the sequence of events and distribution of time during the lesson as it relates
to arts-themed learning.
4. Describe the Teacher-Student interactions observed.
5. Describe the Student-Student interactions observed.
6. List (and collect copies) of pertinent resources from the lesson.
(lesson plans, handouts, teacher’s guide)
7. Additional Notes
173
APPENDIX K: COMPENDIUM TEMPLATE
MMACCS Promising Practices Compendium:
Content of Template
Profile of Charter School:
Status (conversion or start-up)
Charter authorizer
Year chartered
Year opened for operation with
students
Student enrollment: current and
projected
Grades served: current and
projected
Student population by subgroups
(ethnicity, ELL, subsidized meals,
special needs)
Teachers part of a collective
bargaining unit? ?yes ?no
Per pupil spending (X/Y)
School address
Type of school: ?site-based ?non
site-based ?hybrid
Contact information (i.e., school
email; phone)
Link to school Web site
Goal of PP
Description of PP
Theory of Action for PP
Implementation Details:
History
Time (start-up/planning time; time
PP has been in place)
Lessons learned (benefits,
challenges, next steps for
sustainability)
Evidence of impact
Resource Requirements:
Budget information
Staffing (level and type of staff
expertise needed)
Facility/space
Professional development/training
Other (e.g., technology)
Supporting Documents and Materials
(printable in PDF format):
Lessons plans
Parent contracts
Video to support PP
Staff development manuals
Evaluation reports (data
demonstrating results of PP)
Recommended Resources for Additional
Information:
Books
Articles
Web sites
Sources of technical assistance
Potential funding sources
174
APPENDIX L: FIBER ARTS CHILDREN’S LITERATURE LIST
AUTHOR TITLE
Beskow, Elsa Pelle’s New Suit
Blackwood, Mary Derek, the Knitting Dinosaur
Blood, Charles L. and Martin Link The Goat in the Rug
Burns, Diane L. and Dan Scholten Here’s to Ewe
Castaneda, Omar S. Abuela’s Weave
Chupa, Mae Rockland The New Work of our Hands
Coerr, Eleanor The Josefina Story Quilt
dePaola, Tomie Charlie Needs a Cloak
Ernst, Lisa Campbell Sam Johnson and the Blue Ribbon
Quilt
Flournoy, Valerie The Patchwork Quilt
Franklin, Kristine L. The Shepherd Boy
Heyer, Marilee The Weaving of a Dream
Hilton, Nette The Long Red Scarf
Johnston, Tony and Tomie dePaola The Quilt Story
Kiser, Kevin Sherman the Sheep
Martinez, Ruth Mrs. McDockerty’s Knitting
Miles, Miska Ann and the Old One
Musgrove, Margaret The Spider Weaver A Legend of the
Kente Cloth
Official National Park Handbook Lowell The Story of an Industrial City
Oughton, Jerrie The Magic Weaver of Rugs
Paul, Ann Whitford Eight Hands Round – A Patchwork
Alphabet
Paul, Ann Whitford The Seasons Sewn
Polacco, Patricia The Keeping Quilt
Sanders, Scott Russell Warm as Wool
Seignabose, Francoise Jeanne Marie Counts Her Sheep
Wallace, Barbara Brooks Argyle
Wild, Margaret Mr. Nick’s Knitting
Willing, Karen Bates and Julie Bates Dock Quilting Now and Then
Yagawa, Sumiko The Crane Wife
Znamierowski, Nell Step by Step Weaving – a Complete
Introduction to the Craft of Weaving
175
APPENDIX M: FIBER ARTS POEMS AND SONGS
Beeswax Poem
Squeeze and warm, squeeze and warm,
So that I can make your form.
Thank you, sun, thank you, bees,
I’ll think of you each time I squeeze.
Wax, wax, soft become,
I will warm you like the sun.
Out of you I’ll bring each form
That is waiting to be born.
Finger Knitting Poem
By Wendy Canter
Little bird, how quick you learn
To feed yourself so catch the worm.
Through the hole with such delight,
There is a little worm to bite.
Again and again, come back to pull,
The little worm until you’re full.
You’ll grow and grow everyday,
Your wings are strong so fly away.
Weaving Song 1
Weave, weave, weave us together,
Weave us together with beauty and love.
Weave, weave, weave us together,
Weave us together with beauty and love.
176
Weaving Song 2
(to the tune of “Inch by Inch” Garden Song)
Inch by inch, row by row
Gonna watch my weaving grow,
Just take a warp and a weft, you know,
And a little cardboard loom.
Inch by inch, row by row
Throw the shuttle through the shed,
Over, under, every thread
Til it’s woven into cloth
Weaving Chant
Overlap, slap, clap
Overlap, slap, clap
Overlap, overlap, overlap slap, clap
Felting Chant
Of all the felt I ever felt
I never felt felt
Like this felt felt.
Making Yarn Song
(to the tune of “This is the way we…”)
This is the way we *_________ our wool
To make it into yarn.
*Insert: tease, card, spin, wash, set
Tube Knitting
Before tube knitting, when introducing: read Sherman the Sheep, by Kevin Kiser,
with children saying (in book):
We’re sheep (3 claps)! We’re sheep (3 claps)!
(variation in middle section)
“Cause we’re sheep (3 claps)! We’re sheep (3 claps)!
Abstract (if available)
Abstract
The purpose of this study was to explore how promising practices in arts-themed learning (ATL) were utilized to increase student performance. A case study was conducted at two California charter elementary schools. This qualitative study was primarily descriptive and included interviews with charter personnel, a review of archival documents, and observations of ATL activities at school sites. The research questions guiding this study included: What are the promising practices in ATL that high-performing charter schools use to improve student performance? How are resources used to successfully implement the promising practices in ATL? What challenges have charter schools faced in implementing the promising practices in ATL? What evidence exists to show that promising practices in ATL have resulted in positive educational and social-emotional outcomes?
Linked assets
University of Southern California Dissertations and Theses
Conceptually similar
PDF
Creating connections: an implementation study of promising practices for mentoring in California charter schools
PDF
Investigating promising school leadership practices in two California charter schools
PDF
Writing across the curriculum: exploring promising practices in two California charter schools
PDF
Investigating the promising practice of teacher evaluation in two California charter schools
PDF
School leaders' use of data-driven decision-making for school improvement: a study of promising practices in two California charter schools
PDF
A study of promising practices in two California charter schools: using technology to increase parent involvement
PDF
The integration of academics into career-technical education in two California charter schools
PDF
School-wide implementation of the elements of effective classroom instruction: lessons from high-performing high-poverty urban schools
PDF
A case study of promising leadership practices employed by principals of Knowledge Is Power Program Los Angeles (KIPP LA) charter school to improve student achievement
PDF
"Creaming" students in the charter school admission process: a case study of admission practices in charter schools
PDF
The factors present in an outperforming charter middle school: a case study focusing on promising practices, school leadership, and cultural norms
PDF
A community struggling to create a charter school: a rural case study
PDF
Understanding measures of school success: a study of a Wisconsin charter school
PDF
Improving foundational reading skills growth in middle school: a promising practices study
PDF
Teacher perceptions of classroom management practices in public elementary schools
PDF
Latina elementary principals’ promising practices to disrupting disproportionate suspension of Latina and Latino students
PDF
Allocation of educational resources to improve student achievement: Case studies of four California charter schools
PDF
Charter schools, data use, and the 21st century: how charter schools use data to inform instruction that prepares students for the 21st century
PDF
School-wide implementation of the elements of effective classroom instruction: lessons from a high-performing, high-poverty urban school
PDF
Arts in education and organizational culture
Asset Metadata
Creator
Prager, Jennifer Jaye
(author)
Core Title
Through the eyes of art: uncovering promising practices in arts-themed learning in California charter elementary schools
School
Rossier School of Education
Degree
Doctor of Education
Degree Program
Education (Curriculum
Publication Date
10/05/2006
Defense Date
08/09/2006
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
art in education,art in the classroom,arts-themed learning,charter schools,OAI-PMH Harvest,promising practices
Language
English
Advisor
Wohlstetter, Priscilla (
committee chair
)
Creator Email
jprager@usc.edu
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-m86
Unique identifier
UC1154472
Identifier
etd-Prager-20061005 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-20525 (legacy record id),usctheses-m86 (legacy record id)
Legacy Identifier
etd-Prager-20061005.pdf
Dmrecord
20525
Document Type
Dissertation
Rights
Prager, Jennifer Jaye
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Repository Name
Libraries, University of Southern California
Repository Location
Los Angeles, California
Repository Email
cisadmin@lib.usc.edu
Tags
art in education
art in the classroom
arts-themed learning
charter schools
promising practices