Introduction
Visual communication is abundant in this society and an integral part of it; yet, the necessity for knowledge and appreciation of this aspect of existence is taken for granted by so many. People should consider this society without art. For the purposes of research, the term “art” includes everything from entertainment, such as museums, galleries, movies, theater, photography, magazines, music, and television to advertising, such as billboards, business ads, consumer products, shopping, and the Internet. Also included in the use of this term are newspapers, commercials, architecture, product design, interior design, landscaping, as well as many other things (Canaday, 1987). Art encompasses many aspects of society; yet, most people do not perceive it in that way. Without these things, there is practically nothing. This is solely the basis for stressing the importance of the arts in society and more specifically, the importance of arts education in schools (Hicks, 2001). For these reasons, the effects of integrating visual and performing arts in all subject areas on all levels will be investigated, especially on the secondary level, through action research.
In the BCATA Journal for Art Teachers, several articles discuss the effects of arts integration. One particular example explains how technology, combined with art, can facilitate the integration of the arts into all subject areas. Other articles describe ways to integrate arts into food science, botany, language arts, social studies, science and mathematics (1996). Visual art is the basis for mathematics and language, when cavemen used to draw pictures on cave walls to communicate with each other and to indicate the numbers in their herds, etc. The concepts of proportion, based on the Golden Mean, and perspective were developed by architects in the Renaissance era (Kleiner, 1996). Dance and theater-type storytelling existed before language. Ancient peoples used body language to communicate events to each other and ritual dances to communicate with the gods. Storytelling and folk tales were once a way of comparing different cultures and translating history, as were murals, which depicted the events of the Bible as well as other events (Cornett, 1999). When stories were first translated into books by the Celts, they were mostly illustrated. Mechanical devices were first designed on paper by artists like Leonardo da Vinci (Kleiner, 1996). Theatrical plays first originated in Greece in 356 B. C. as rituals and celebrations to the gods. The visual and performing arts date back thousands of years to the very core of human existence (Brockett, 1999). The arts are fundamental components of all cultures and time periods. “Very little that has come down through the ages has not in some way filtered through something that we can all identify as the arts” (Cornett, 1999). Yet, today, these things are considered trivial in most circles.
The state of Missouri has created a framework for grades K-12 that “focuses on educating students regarding the importance of Fine Arts in a global society and encourages the integration of all subject matter throughout the curriculum” (Missouri’s Framework for Curriculum Development in Fine Arts K-12, 1996). A Florida policy brief “provides information about the integration of the arts into K-12 curriculum as a mechanism to improve the performance of all students, particularly in the basic areas of reading, writing, and mathematics. This brief reports on selected research information in brain development and cognition (learning styles) as they relate to arts education as a curriculum reform effort” (Mikow-Porto, 1998).
The Constructivist learning theory plays a huge part in the integration of arts education. Students need to create their own learning; they need to be able to relate the aesthetics of their everyday lives to basic knowledge. This integration concept also incorporates the administration of whole-brain teaching, where students are challenged to use the creative sides of their brains in conjunction with the analytical sides (Arends, 1998; Cornett, 1999). There is evidence of higher learning through the arts. Research shows that SAT scores for students who studied the arts were 59 points higher on the verbal and 44 points higher on the math portion than for students with no experience in the arts (The College Board, Profile of SAT and Achievement Test Takers, 1995). Grade point averages of secondary students who concentrate in the arts are generally higher than those who don’t (National Center for Education Statistics).
In Nebraska, “The Community Discovered” project is a five-year endeavor, which evaluates the link of “technology and the visual and performing arts with other subject areas to transform the education of K-12 students” (Coufal, 1996). In California, “a drop in student enrollment in the arts is exacerbated by budget crises that result in cuts to existing arts programs.” The Speaker’s Task Force on Arts Education in California placed its focus on changing those statistics, because they saw the value of the visual and performing arts in society. They believed that all students should be fully immersed in the arts, whenever possible (Farr, 1990). “As many as one-third of today’s students will be employed in an arts-related occupation according to Rexford Brown of the Education Commission of the States. Arts education was acknowledged as important for achieving core competencies needed for employment; skills such as creative problem solving, responsibility, self-esteem, and sociability were thought to be nourished by arts participation” (U. S. Labor Department’s report, “Secretary’s Commission on Achieving Necessary Skills”, 1994).
The idea of an arts-based school reform “resulted from a grant-based whole-school reform initiative that called for placing art at the core of the curriculum (Transforming Education Through the Arts Challenge Grant) (Short, 2001). In an alternative elementary school in an inner city, the arts became a core subject. “Further, and more importantly, arts content would now determine the direction of classroom lessons. Responsibilities for making connections between learning in the arts and learning in core subject areas would shift to classroom teachers” (Short, 2001). “Studies indicate that when teachers make a conscious effort to link visual and verbal expression, students can attain in-depth understanding in both” (Olson, 1997).
In the February, 2002 issue of Art Education, the journal for the National Art Education Association, an article describes how visual images can bridge the gap between different cultures. “One World…In the midst of destruction and chaos, art stands as witness to the creative soul” (from “From the Ashes” flyer for a New York art exhibition, 2001). Silent, visual communication is understood in all languages and in all countries. Creativity is in each person, and it should be brought out in every person, so that they can appreciate one another. There is no better way to do that than through education (Orr, 2002).
Purpose—Action Research
The primary purpose of this research is to find a direct correlation between arts education and increased learning in students, specifically in grades 7 through 12. Other purposes for this research include the discovery of specific benefits obtained from studying visual and performing arts on the secondary level, as well as the discovery of how the arts can successfully be integrated into all subject areas. This research will also show the importance of the arts as core subjects in curriculum and how an entire school district can benefit from redesigning curriculum to focus on the arts.
Significance of the Study
“As many as one-third of today’s students will be employed in an arts-related occupation according to Rexford Brown of the Education Commission of the States. Arts education was acknowledged as important for achieving core competencies needed for employment; skills such as creative problem solving, responsibility, self-esteem, and sociability were thought to be nourished by arts participation” (U. S. Labor Department’s report, “Secretary’s Commission on Achieving Necessary Skills”, 1994). Cornett explains several reasons for integrating the arts into curriculum. The arts are fundamental components of all cultures and time periods. The arts are “natural components of interdisciplinary and integrated learning, providing a neutral ground to learn about varied and multiple communication symbols, content disciplines, skills, histories, values, and beliefs. The arts are our heritage.” The arts teach people that all they think or feel cannot be reduced to words. “They give voice to ideas and feelings, in ways no other form of communication can, because they are driven by emotions and passions” (Cornett, 1999). In 1993, Howard Gardner observed that when students engage in the arts, they have the opportunity to “be smart in different ways” (1993). “Because the arts are hands-on, experiential, and problem focused, students in arts-based classes develop creative problem-solving and higher-order thinking skills that are essential ‘smarts’”(Cornett, 1999).
The arts develop the brain. The arts provide avenues of achievement for students who might otherwise not be successful. “The arts can make most learning more memorable”, such as sketch journals and drawing to plan writing, songs written by children about long division, and drama in social studies where students reenact historical events. The arts develop a value for perseverance and hard work. “Students involved in the arts learn to value sustained work and understand its connection to excellence; the rewards from the arts are intrinsic—a good feeling of having done it yourself and the pride of independent problem solving.” The arts are a necessary part of life. “In the United States, the arts comprise a $300 billion business and are replete with career opportunities, ranging from interior decorating to teaching. Aristotle observed, ‘Art loves chance. He who errs willingly is the artist.’ Our economy depends on individuals who can imagine and produce products sought around the globe. Through drama, theater, dance and music, art and literature experiences, students learn to cooperate and work together as a team in ways critical to the success of corporations and family unity. Through the arts, students have chances to come to respect unusual points of view and learn that relationships matter, and they learn how important the form of ideas and feelings are to the content conveyed.” There is a strong, positive relationship between the arts and academic success (Cornett, 1999). The arts offer alternative forms of assessment and evaluation.
The arts can be a “feel good” alternative for students who turn to drugs and other destructive means to “get high.” Tom Stang, a twenty-year veteran teacher in an arts-based program for troubled youth believes “if there is one thing I have learned as a teacher, it is that the arts are the soul of the education program” (Larson, 1997). The arts can uplift and motivate us to soar spiritually and emotionally from the hope that comes from a good laugh, a beautiful song, or a satisfying painting. Enthusiasm is sparked by playing with ideas and creative discovery, and the arts release creative energy—motivational energy to fuel progress towards productive goals. The potential effects of this motivation are higher attendance rates, decreased dropout rates, fewer discipline problems, and happier students and teachers (Aschbacher and Herman, 1991).
Children dance, sing, laugh and learn to love language and school. Children who have had opportunities to explore different art media learn to take risks, experiment and problem solve. Children who start school expecting success and who continue to enjoy learning have a greater chance of staying in school. “The signs of being at risk develop early, so we can’t wait until high school to make learning relevant and exciting. Students can be shown how to learn math and science using musical intelligence, by kinesthetic means (dance/drama), or through the visual arts, giving them more means to enjoy learning and more reasons to return to the arts in the future. Teachers need not only teach to interests, but can develop interests by presenting subject matter in new ways” (Cornett, 1999).
Research Questions—Action Research
Limitations
For the purposes of research, existing boundaries will determine the extent of the study. The study will be limited to existing classes within the researchers’ school district.
Delimitations
Further limitations on this study will be comprised of only randomly selected classes in the high school. One class from each subject and one teacher from each subject will be studied.
Definitions
Abundant—plentiful; in excess (Berkley Publishing Group, 1989).
Aesthetics—the philosophy or study of the nature of beauty and art (Ragans, 1995).
Analytical—logical (Berkley Publishing Company, 1989; Ruch, 1963).
Arts Education—the teaching of the visual and performing arts (Hicks, 2001).
Assessment—strategies and techniques that teachers use to evaluate what students know and can do (Arends, 1998).
At-risk—a student who can be predicted to have problems with school learning because of social background and/or handicapping condition (Arends, 1998).
Basis—a fundamental principle or underlying concept (Berkley Publishing Group, 1989).
Botany—the study of plants (BCATA, 1996)
Constructivist—a learner behavior theory based on the idea that learners create their own environment; a view that knowledge is not fixed but instead personal and social in nature and that individuals construct knowledge and meaning through experience (Arends, 1998; Cornett, 1999).
Correlation—direct relationship (Cornett, 1999).
Culture—behaviors, customs, ideas, and skills of a group of people (Ragans, 1995).
Curriculum—proposed programs of study in an educational system (Arends, 1998).
Encompasses—contains; surrounds (Berkley Publishing Group, 1989).
Exacerbated—exhausted (Farr, 1990).
Facilitate—to ease (Berkley Publishing Group, 1989).
Experiential—skilled or knowledgeable through long practice (Berkley Publishing Group, 1989; Cornett, 1999).
Fine Arts—Works of arts or artistic expression, made to be enjoyed, not used, and judged by the theories of art; opposite of functional art (Ragans, 1995).
Folktale—a form of storytelling, which depicted events or legends from the past (Cornett, 1999).
Framework—basic concepts on which a program or model is developed or designed (Missouri, 1996).
Golden Mean—a line divided into two parts so that the smaller line has the same proportion, or ratio, to the larger line as the larger line has to the whole line. Perfect ratio (relationship of parts) discovered by Euclid, a Greek philosopher. Its mathematical expression is 1 to 1.6 (Ragans, 1995).
Integral—complete; essential (Berkley Publishing Group, 1989).
Integrating; integration—to make into a whole by joining a system of parts (Berkley Publishing Group, 1989).
Language arts—the study of the aesthetics of languages (Arends, 1998).
Murals—painting on a wall or ceiling (Ragans, 1995).
Performing arts—artistic expression through performance in theater, dance, and music (Cornett, 1999).
Perseverance-insistence (Berkley Publishing Group, 1989).
Perspective—a graphic system that creates the illusion of depth and volume on a two-dimensional surface. It was developed during the Renaissance by architect Filippo Brunelleschi (Ragans, 1995).
Proportion—principle of art concerned with the size relationships of one part to another (Ragans, 1995).
Reform—correct (Berkley Publishing Group, 1989; Short, 2001).
Renaissance—the name given to the period of awakening at the end of the Middle Ages. French for “rebirth”. Important renaissance artists are Leonardo da Vinci, Michelangelo, and Raphael (Ragans, 1995).
Replete—alive; full; satiated (Berkley Publishing Group, 1989).
Society—a group of people who share similar beliefs and values (Canaday, 1987).
Visual arts—artistic expression through visual media and communication (Cornett, 1999; Hicks, 2001).
Visual communication—any form of non-verbal communication of information, ideas, or emotions (Canaday, 1987).
Whole-brain teaching—a teaching method through which learners are shown how to use the creative side of their brains with the analytical side of their brains (Arends, 1998).
Procedure
Before the research study begins, permission will be obtained from different parties. The research office in the school district where the research is to take place will be contacted first. A detailed description of the research proposal will be submitted to the research office for approval. Upon approval from the research office, permission will be obtained from the district office through an in-depth description of the procedures to take place and the duration of time needed for the proposed research. Permission will be requested of the principal of the school or schools where the research is to take place. The researcher will stress the need for the research, as well as how the research study will be conducted. Once a group is selected for research purposes, letters will be sent home with all of the students involved, describing the purpose for the research and the methods of evaluation involved concerning the students.
In order to accomplish the research study, the researcher will select two or three colleagues who share the same interest as the researcher. This selection process will be done through the use of a questionnaire developed by the researcher, regarding the issues to be studied. The researcher will choose candidates who share similar beliefs in the issues under investigation by reviewing the responses given by those who answer the questionnaires. Considerations will be given to those colleagues who show a special interest in the study and who will have the necessary time to devote to the research. Informal interviews will be conducted after the responses to the questionnaires have been reviewed.
Once a team of researchers is established, individual groups of students will be randomly selected for study purposes. One class of students from each subject area in the school will be designated. If there are different class levels within a specific subject area, only one class will be selected. There will be a variety of different class levels under investigation. The subject areas to study will include but should not be limited to the following: mathematics, business information systems, history, geography, home economics, child development, social studies, biology, government, chemistry, English, foreign languages, ESL, journalism, speech and literature. A minimum of seventeen different classes and seventeen different teachers will be chosen, one from each of these areas. The total number of study participants will be anywhere from 400 to 500 individuals.
Once the classes have been chosen and permission obtained from the parents of each student, the researchers will informally observe the classes under normal conditions. The group of researchers will collect data pertaining to each individual class. Such data will include daily grades, major grades, pre-test grades, test grades and participation grades for each student, as well as notes taken during the informal observations. The research team will analyze these grades in order to determine the level of learning occurring in each class. Then, each teacher from the chosen groups will be given a survey pertaining to the issues to be investigated. The research team will then analyze the survey answers to determine the necessary knowledge and anticipated cooperation of each individual teacher. Once this is determined, the research team will review the upcoming units of study to be introduced in each subject area. A unit of study, which will last approximately six weeks, will be chosen for revision.
The research team and each teacher will collaboratively construct a revised unit of study to include the integration of the arts in as many ways as possible. Each teacher will be trained on how to successfully achieve this integration. Once a revision is decided upon, the unit of study will be introduced to the students, and a true experiment will be conducted. The class will be observed by one of the researchers during the entire unit. The researcher will take notes on students’ reactions to the activities, students’ participation levels, student successes and how well the teacher introduces and reacts to the material. The researcher will be available to the teacher at all times, in case there is any confusion. As the unit of study progresses, the researcher will report all elements of the structured observations to the research team. During this time, changes in the unit will be made if necessary. The research team will determine if changes are needed to increase learning, by analyzing the students’ participation levels.
When the unit of study is completed and the students have been tested on the material via a comprehensive test developed by the research team, the researcher will gather copies of data received during the investigation period. This data will consist of the same data acquired before the investigation period began. The research team will compare the data with the previous data and note any significant differences. The researchers will look for a substantial increase in grades as well as student participation. The researcher will observe the class again, for approximately six weeks, during which the subject matter will be taught without any arts integration. Again, the same data will be collected at the end of this time period and reviewed by the research team. The researchers will look for a substantial decrease in grades and student participation. At this time, an opinion survey, comprised by the researchers, will be given to the students and again, to the teachers. The research team will analyze the answers on these surveys. The research team will then compare the differences in collected data between all of the subject areas, and note any similarities.
Once all of the data from each class under investigation is collected, the research team will then review the same data: daily grades, major grades, and participation grades, collected from the Fine Arts classes. These classes include Visual Art, Band, Choir, Theater Arts, and Dance. The observation notes and collected data will be compared to the data collected in the general education classrooms. Comparisons and differences will be noted. Once this is completed, the researchers will conduct a qualitative, non-interactive study of similar data from a minimum of five secondary schools, which integrate arts into their curriculum. This data will be collected and compared to the data collected by the researchers during the investigation period of each class. The researchers will conduct a quantitative, non-experimental study on the causal comparative effects of arts integration into the subject areas studied.
Once a general hypothesis is reached, the research team will then separate those individuals who did not react positively to the arts integration. Each individual case will be analyzed to determine possible reasons for the negative reactions. These students’ grades will be reviewed and individual modifications will be determined, that will benefit each student.
Assumptions
It is assumed that teachers and students will respond honestly to the opinion surveys.
It is assumed that during the informal and structured observations, students will act as they normally act in the same setting.
It is assumed that data received prior to, during, and after the investigation time period is at least 90 % accurate.
References
Arends, R. I., Tannenbaum, M. D., Winitzky, N. E. (1998). Exploring teaching. Boston:
McGraw-Hill.
Arizona Comprehensive/Integrated
Arts Program (1978). Teaching Strategies from the
Arizona Comprehensive/Integrated Arts Program. Arizona,
1-86.
Arnheim, R. (1989). Thoughts on art education. Los Angeles: Getty Center for
Education in the Arts.
Berkley Publishing Group (1989). Roget’s II: The new thesaurus. New York: Berkley.
Ballengee-Morris, C., Stuhr, P. L. (2001). Multicultural art and visual cultural education
in a changing world. Art Education 54(4), 6-13.
Botzker, S. (1980). The cultural
exchange: A cross-cultural and
interdisciplinary
multicultural education curriculum for grades 4-8; 1-101.
Brockett, O. G., Hildy, F. J. (1999). History of the theatre. Boston: Allyn and Bacon.
Canaday, J. (1987). Mainstreams of modern art. Orlando: Harcourt Brace.
Cornett, C. E. (1999). The arts
as meaning makers: Integrating
literature and the
arts throughout the curriculum. Upper Saddle River, New Jersey: Prentice-Hall.
Coufal, K. L., Grandgenett, N.
F. (1996). The community
discovered: The search
for meaning through the integration of art and technology in k-12 education. (Evaluation Progress Report No. 1) Nebraska; 1-17.
Eisner, E. W. (2001). Should we
create new aims for arts education? Art
Education
54(5), 6-10.
Farr, S. (1990). Visual and performing arts: Restoring the balance. (Speaker’s Task
Force on Arts Education Report) California; 1-26.
Feinstein, H. (1989). Redesigning pre-service programs to implement DBAE:
Institutional realities. Art Education, 42(2), 6-9.
Grace, C. (1992). The portfolio and its use: Developmentally appropriate assessment
of young children. Eric Digest (Report No. EDO-PS-92-11) Illinois; 1-3.
Green, G. L. (2000). Imagery as ethical inquiry. Art Education 53(6), 19-24.
Hicks, J. (2001). How do you cure a sick horse? Art Education 54(2), 6-10.
Ignash, J. (1992). Describing the
non-liberal arts community college curriculum.
Eric
Digest (Report No. EDO-JC-92-06) California; 1-3.
Integrating art (1991). BLATA Journal for Art Teachers, 31(1), British Columbia; 1-43.
Level (1981; Report No, CE-1004) New Jersey; 1-222.
Jeffers, C. S. (2000). Drawing on semiotics: Inscribing a place between formalism and
contextualism. Art Education 53(6), 40-45.
Kleiner, F. S., Tansey, R. G. (1996). Gardner’s art through the ages, (10th Ed.). Orlando,
Florida: Harcourt Brace and Company.
Larson, G. (1997). American canvas. Washington, D.C.: National Endowment for the
Arts.
Lydiard, B. W., Norton, N. (1974). Special issue: Arts and
humanities. Kaleidoscope 12, 1-71.
Madeja, S. S. (1973). All the
arts for every child: Final report on
the arts in general
education project in the school district of University City, Missouri. 1-111.
Mikow-Porto, V. A. (1998). Improving basic education for all learners: The role of
arts education. SERUS Policy Brief, Florida; 1-12.
Missouri’s Framework for Curriculum Development in Fine Arts K-12 (1996). Missouri;
1-261.
Orr, P. P. (2002). Exploring the September 11th, 2001 terrorist attack through an
expressive mural project. Art Education 55(2), 6-10.
Ruch, F. L. (1963). Psychology and life (7th Ed.) Glenview, Illinois: Scott, Foresman.
Seabolt, B. O. (2001). Defining art appreciation. Art Education 54(12) , 44-49.
Short, G. (2001). Arts-based school
reform: A whole school studies one
painting. Art
Education 54(3), 6-11.
Simmons, S. (2001). Multiple intelligences at the middle level: Models for learning in art
and across the disciplines. Art Education 54(3), 18-24.
Sporre, D. J. (1990). The creative impulse: An introduction to the arts (2nd Ed.)
Englewood Cliffs, New Jersey: Prentice-Hall.
