ARTS EDUCATION AND IN OF A SONG - University …...Arts Education and Teacher Growth The Reflective Practitioner in Search of a Song Master of Arts 1999 Angela Irene Elster Curriculum:

ARTS EDUCATION AND TEACHER GROWTH: THE REFLECTIVE PRACTITIONER IN SEARCH OF A SONG

Angela Irene Elster

A thesis submitted in wdonnity with the requirements for the degree of Master of Arts

Department of Cumculum, Teaching and Leaming Ontario Institute for Studies in Education of the

University of Toronto

O Copyright by Angela Irene Elster 1999

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Arts Education and Teacher Growth The Reflective Practitioner in Search of a Song

Master of Arts 1999

Angela Irene Elster Curriculum: Teaching and Learning

Ontario Institute for Studies in Education, University of Toronto

ABSTRACT

Arts Education and Teacher Growth: The Reflective Practitioner in Search of

A Sonq, reviews the experiences of teachen in a large metropolitan Board of Education

in southem Ontario who are participants in an arts education initiative. This five

year project is intended to develop, implement and institutionalize the way in which

cumculum is approached.

This study explores whether and to what extent, if any, this arts initiative has

influenced teachers' beliefs and practices in regards to the value of arts experiences as

pathways to leamhg in the classroom and across the disciplines. Within frameworks

suggested by relevant research and ernergent theory in the literature of arts education,

teacher development and educational change, the influence of this arts initiative

was found to be significant. The findings presented here may provide useful information

for those who are interested in advocating for arts education and those who desire

improving classroom practices through teacher education.

ACKNOWLEDGMENTS

My own joumey as a reflective practitioner has been one which spans many years

and changes, both professionally and personally. Somewhere in the midst of my journey 1

became committed to focusing on the heart and soul of the learner. I feel fortunate to

have been presented with opportunities to do so and I am left knowing that my mentor

and fiiend Lois Birkenshaw - Fleming provided many of these opportunities and

deserves a great deal of gratitude for believing in me. This thesis would not have been

written if it weren't for a number of special people, so please bear with me as I

acknowledge them. First, I would like to thank a group of five women who, one evening

after a delightful dinner, took the tirne to encourage me to apply to the Ontario Institute

for Studies in Education. The fnendship and rich educational experience provided by

Susan Davey, Avril Hill, Marg Evans, Marg McKnight, and Marilyn Vivian have proven

invaluable. My heartfelt thanks. 1 would also like to thank those who have assisted me

in the preparation of this thesis. My thesis advisor, Dr. Joyce Wilkinson, Ontario

Tnstitute for Studies in Education, University of Toronto, has proven to be an inspiration

who not only supported my work but became a beacon when I was lost and held my hope

when I couldn't. She gave me permission to follow my heart yet with a firm and

knowing hand propelled me forward. Special thanks also to Jack Miller who aEorded me

the possibility of recognizing that caring for the soul was acceptable - even at a post

graduate institution- as well as supporting me with this research. To Nancy Bell and Dr.

Peter Simon, The Royal Conservatory of Music, I offer my deepest gratitude for their

vision and cornmitment. As well, a great deal of personal thanks to Karen Rickers of The

Royal Conservatory of Music for ongoing support and for assisting with the many tables

in this study.

To al1 the teachers and principals who consented to participate in this study -

thank you for your courage and your dedication to the art of teaching. You are the

shapeshiflers - you hold the hope and the power to create effective change. Finally, 1

offer loving thanks to my parents Hilda and Tony Elster who have always provided

understanding, support and love. Lastly, no writing could be complete without the "paws

for thought" provided by my four footed family, Prospect, Shira, Emma, Ariella and

Tobi.

Page

]LIST OF TABLES

LIST OF FIGURES

CHAPTER 1: TEE SEARCH BEGINS

Background to the Problem Statement of the Problem Candidate's Bac kground Preparation to the Study The Thesis Question Subquestions Background to the Problematic The Educational Context The Conceptual Ftamework of the Study Definition of Terms

CHAPTER 2: LITERATURE REVIEW

Introduction Integrated Curriculum Arts Integration Educational Reform Implications of the Literature

CHAPTER 3: METEODS AND PROCEDURES

Kind of data collected Identification and Location of Participants Snidy Participants Characteristics of Study Participants Characteristics of Schools Description of Partnets in the Arts Initiative Instruments and Administration Ethical Review Procedures Data Collection The Teacher Survey Coniidentiality and Anonymity Procedures

vii

viii

CEAPTER 4: DATA ANALYSIS

Introduction The Teacher Surveys Teacher Evaluation Forms

CBAPTER 5: INTERPRETATIONS AND IMPLICATIONS

Introduction Interpretations The Teacher Surveys Data Trianplation Three Level Matrix Teacher Evaluation Forms The Final Verse Finding Our Voices

Teacher's Letter aiid Consent Form Principal's Letter and Consent Fonn Teacher Survey

APPENDIX Br

Teacher Evaluation Form

APPENDIX C:

Board of Education - Letter of Permission

LIST OF TABLES

TABLE

Table 1 : School and Study Participant Codes

Table 2: Survey Response

Table 3 : Question 1

Table 4: Question 2

Table 5 : Question 3

Table 6: Question 4

Table 7: Question 5

Table 8: Question 4 and 7 cornparison

Table 9: Trianplation

Table 10: Teacher Evaluation - School A

Table 1 1: Teacher Evaluation - School B

Table 12: Teacher Evaluation - School C

Table 13 : Teacher Evaluation - School D

Table 14: Teacher Evaluation - School E

Table 15 : Teacher Evaluation - School F

Table 16: Teacher Evaluation - School G

PAGE

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LIST OF FIGURES

FIGURE

Figure 1 : Question 1 - Cornparison by Category

Figure 2: Question 2 - Comparison by Category

Figure 3: Question 3 - Comparison by Category

Figure 4: Question 4 - Comparison by Category

Figure 5: Question 5 - Comparison by Category

PAGE

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Introduction

Backaround to the Problem

As we approach the year 2000 there are indications that education in Ontario will

experience less money, fewer teachers, more students and shidents with greater special

needs. We are facing a crisis in education. "As we move into the twenty-fust century,

we are undergoing major challenges" (Drake, 1992, p. 5). A ment study found sirnilar

challenges in the greater Metropolitan area, "administrators and teachers, already

overwhelmed by expanding mandates, are asked to relate to the lives of an increasingly

diverse and multicultural student body" (Korn, 1994, p.3). Major changes in the world

are making it increasingly more difficult to prepare the student to be " the responsible

citizen of the h r e with the life skills to live and work in a global world" (Drake, 1992,

p.50).

Along with these factors we are facing numerous challenges with regards to

cumculum. In 1995, when this researcher began investigating current educational issues,

the emphasis in education, which had traditionally been content based, was shifting to

skills, process and values, with content as the means rather than the end. The Ministry of

Education and Training had developed and begun to implement a new Ontario

cumculum, The Common Curriculum, which had brought outcomes based education to

the forefiont, Outcome based can be translated as what the student has learned and

integrated rather than what the teacher has taught. "The common Cumculum focuses on

results - referred to as "leaming outcomes" - rather thw on goals or the length of time to

be spent on specific areas of study" (MOET, 1995, p.9). The policy statement in The

Cornmon Cumculum includes "Al1 teaching should be based on a view of life as an

integrated whole, in which people, things, events processes, and, ideas are interrelated."

(MOET, 1995, p.18). In order to achieve student outcomes teachers were finding it

necessary to teach £iom an integrated perspective. The former Toronto Board of

Education stated, as part of its policy statement in A Cumculum for Al1 Students,

"program delivery focuses on connections made between and among subjects and with

the community. Integrating subject knowledge, skills, and values makes cumculum

content more interesting for studentsy7 (Toronto Board of Education, 1995, p. 4). Teachers

had not been encouraged or been provided with the necessary training to teach fiom this

perspective. In fact, it seems fair to Say that typical structures in education discourage

integration and a holistic approach.

Arts educators naturally teach fiom this perspective - that is, the integration of

subject knowledge, skills and values as a process. The Common Curriculum, in fact,

mandated that one of four core areas of ail teaching/learning time involve the arts. The

authors of the document validated the role of the arts in learning from a holistic

perspective. In the National Journal of Research in Music Education June Countryrnan

elaborates on this issue

Educators are currently working with a paradigm shift âom instnictional

objectives (what 1 will teach) to outcomes based education (what the student

learned). As we leam to think in "outcomes - based" terms we are called upon

to reevaluate how we spend our saident's time in our music classes. We are

asked to plan our programs (and defend them) based on a backward mapping

from what a high school graduate will need from Our program in the future. The

outcomes - based education literature stresses the importance of "performance",

meaning accomplishments in any discipline, where criteria and a high level of

success accompany the "performing". Arts educators realize, of course, that we

are in the vanguard of outcomes - based education (1994, p.33).

It made sense that a project that was sequential, sustainable, focussed on

curricular outcomes and involved community artists could hold significant value in

developing tools to meet the outcomes identified in The Common Cumculum. With this

in mind, in 1995, the teachers and administrators of seven schools in a large metropolitan

board began their joumey.

Two years later the same teachers found themselves with another Ontario

Cumculum. Although provincial govenunent promises had been made to abide by The

Common Cumculum for at least five years, in less than two, at the end of June 1997 it

was no longer the provincial standard. Concurrent to this research, for the period of one

academic year, only two documents existed to replace The Common Cumculum: one,

The Ontario Cumculum Grades 1-8. Mathematics (MOET); the other: The Ontario

Cumculum Grades 1-8. Languaae (MOET). Neither document was outcome based,

holistic or encouraging of integration. More than one year afier the revoking of The

Cornmon Cumculum Ontario teachers were presented with a new Science currkulum, a

new Physical Education cumculum, a new Social Sciences curriculum and finally a new

Arts curriculum. During the period of this research, teachers found themselves

overwhelmed with new guidelines and few implementation twls. Throughout al1

curriculum documents, outcomes became expectations, defined as,

The expectations identified for each grade descnbe the knowledge and skills

that students are expected to develop and to demonstrate in theù class work, on

tests, and in various other activities on which their achievement is assessed.

Teachen will use their professional judgement in deciding which instructional

methods will best foster the leaming described in the expectations. They will

base their decisions on the needs of students, the resources available, and the

recognition that good teaching should build strong persona1 values and positive

attitudes both towards the subject under study and towards learning in general.

High achievement is the goal for al1 students, and teachers, students, and parents

are expected to work together to help students meet the expectations specified.

(MOET, 1997, p.4)

Statement of the Problem

With the implementation of The Common Cumculum we were facing a dilemma

in that teachers were expected to teach fiom a holistic and integrated place often without

the support, training and modeling necessary to be successful. The political climate at the

time indicated less support and fewer oppomullties for training lay ahead. Those arts

educaton who might have pmvided leadership and modeled for others found their

teaching positions threatened. Even so, the hope remained that the guidelines put in place

by The Common Cumculum would somehow ensure that al1 students be provided with

an opportunity for self expression through the arts, that al1 students be provided with

motivating and engaging learning experiences. The termination of The Cornmon

Cumculum in June, 1997 created an even greater dilemma in this regard. It lefi less

incentive and opportunity for creative teaching/leaming. The arts had no place in the

new Ontario Curriculum. Not only did teachers find the arts in jeopardy, they found

themselves in the midst of a change in education policy and structure the likes of which

had never before been experienced in Ontario. September 1997 saw the implementation

of a new Ontario Cumculum. October 1997 brought with it a province wide teachers'

protest primarily regarding Bill 160. (MOET, 1997). November saw the passing of Bill

160 including a unilateral removal of Principals and Vice Principals from the Federation

of Teachers effective April 1,1998. The number of teachers in the schools was drasticaily

reduced and ultimately the number of classes available in a subject reduced. Historically

this kind of reduction has negatively influenced arts education. The new graduation

requirements implied further reduced time available for arts education. Compulsory

provincial testing during 1996, 1997 and 1998 created a "teach to test" mentality in many

schools, particularly in the elementary panel. As of June 1998 approximately 8,700

Ontario teachers had submitted their intent to retire as of September 1998. The

implication was there would be fewer teachers teaching a greater number hours and

larger classes. Teachers and administrators became demoralized and as a result students

suffered,

These circumstances resulted in limited opportunities for creative

teaching/learning and self-expression in Ontario schools. For many, a breach existed

between a desued level of opportunities for arts education and a typical level. As a result

of a lack of arts based opportunities in school, the development of the human potential of

students in the areas ofemotional and social well being, academic success, and arts

appreciation became limited if not abandoned.

A system level plan to implement the arts into the classroom, under the best of

cucumstances, will typically face many challenges. A resistant climate, coupled with

misconceptions about the nature and educational value of the arts and unease about the

use of arts based teaching/learning has traditionally contributed to the marginalization of

the arts in the cumculum. In light of this crisis in education the researcher chose to study

the influence, if any, of a five-year arts education initiative on teacher growth.

The arts initiative that i s the context of this study provides a unique opportunity to

track the progress of 49 classroom, or non arts, teachers who had arts infused into their

daily cumculum. The study examined the effectiveness of this system- generated arts

initiative on the school-generated planned change approach to teacher implementation of

the arts into the general cumculum. The researcher feels it is critical such a study take

place, at a time when arts education is in jeopardy. We need data to advocate for the arts

if we are to have a good chance of survival, as elaborated. Dr. Howard Russell in a paper

program Evaluation in the Arts) presented at the Drama and Research Symposium in

1983:

It may be true that school programs, or cumcula, which are evaluated, are

also valued, and as a consequence are likely to continue to exist or perhaps even

attract more time, more students, more money, or more attention. Also it may

be true that prognuns which are not evaluated, are not valued and as a

consequence may encounter a cut in allotted time, number of students budget,

or other. A third statement which seems to be even more likely to be tnie, is

that it is much more difficult to "measure" or evaluate prograrns in the arts than

it is in mathematics, science, reading, or other school subjects. The

consequences of these statements are not difficult to figure out, even for a

mathematician or an educational researcher. They suggest that there will not be

as much evaluation in the arts as in science and mathematics, and that in tum

there will be less time, less money, less attention and fewer students in arts

programs. If t his scenario fits a part of the world whic h you see, and if the

rationale which supports that scenario is in any sense like the rationale 1 have

presented, then you have an incentive to take another look at evaluation in the

arts, and that is precisely what 1 want you to do. (Russell, 1985, p.95-100)

The arts initiative which provides the context for this study, is a partnership

between a national music school, a large metropolitan board ofeducation, arts

organizations, comrnunity artists and the graduate department of a large university in a

metropolitan area. The program is designed to engage students in learning and to

enhance acadernic success through arts based expetiences. This unique collaborative

approach, with artists and teachers working together in the classroom, ernp hasizes

process and leaming over performance and entertainment. The arts are viewed as

expressive arts rather than traditional fine arts. They are viewed as motivators, catalysts

for acquisition of skills, avenues for self-expression and pathways to deeper

understanding. This outcorne-based arts program focuses on curricular integration that

will support teachers through arts expenences, exposing them to new skills and

techniques.

In 1994 the national music school commissioned an extemal assessor to conduct

an assessrnent of the status of arts education in Metroplitan Toronto Qom, 1994). In

the course of this study artists, parents, teachers, students and administrators were

interviewed. The report concluded that there was an identifiable and recognized need for

a comprehensive approach which focuses on cumcular integration and the development

of teaching skills. In 1994, the president of the national music school and the director of

a large metropolitan board of education agreed to support a five year pilot project in

seven schools: three elementary, two middle and two secondary. Subsequent meetings of

members of these two institutions, artists and arts organizations took place throughout

1994-1995 to plan the fiamework for the current project.

Candidate's Backpround Preparation Relative to the Study

My training as a musician and music educator began as a high school student in

Metropolitan Toronto. It was here that 1 first recognized my talent as a singer and my

dedication to music education. It may seem an unlikely start to this reflection, but 1 am

aware the joumey began at this point. 1 was unsupported by my family in seeking a

career in the arts. I t was the insight and sustenance provided by my music teachers that

altered my path. 1 learned then what a difference teaching fiom the heart could make. It

was my first lesson in values.

Subsequently, 1 attended the Faculty of Music, University of Toronto where 1

completed my undergraduate degree in Music Education. Although much of my training

and ski 11 development was valuable 1 graduated feeling uninspired and somew hat

disillusioned about teaching music. I also found my confidence as a singer had been

underrnined. I extended my training by studying Opera and Gennan Lieder at the

Mozarteum in Salzburg, Austria. Here 1 discovered a pathway to meaningful teaching.

Salzburg is home to the OrffInstitute where, one day, as I looked through the window, 1

sensed my destiny. Several years later 1 was enrolled as a student at this institute.

As an Orff specialist 1 have always taught with integration at the wre of my

process. The OtfFphilosophy embodies the natural link between speech (ianguage),

movement (dance), drama, singing and the playing of instruments. Brigitte Warner

elaborates,

Research has shown that the music-making of the young child resembles in

many ways the music-making of prima1 cultures. Stylistic similarities between

childhood music and that of prima1 man include the following: The music is

rhythm and movement oriented. It is not a separate artform, but rather

combines the elements of speech and drama, whether recited, chanted, or sung,

with those of sound and movement and with rhythm as the most vital force. It is

not abstract but functional in its relationship to life's experiences. It is not

usually premeditated or composed. It is transmitted oraily and therefore liable

to change. It is, for the most part, "ensemble music" in the sense that everyone

participates. (Wamer, 1 99 1, p. 14)

The essence of this approach is holistic and process centered. Well before a

holistic, integrated and process centered approach became well known, Car1 Orff strove

to develop a way of teachingilearning which respected the sou1 of the arts and the spirit of

leamers. 1 have studied this philosophy intensively at the University of Toronto and the

University of Manitoba as well as at the OrffInstitute in Salzburg, Austria, with leaders

in the field such as Lois Birkenshaw - Fleming, Doreen Hall and Judith Thomas.

My teaching has s p a ~ e d 18 years, includes two school boards, the Royal

Conservatory ofMusic and McMaster and York Universities. For many years I held a

position as an OrfFspecialist with the former Toronto Board ofEducation. In this board

the OrfFprograrn is a seed program in which the Oflspecialist works with the classroom

teacher, integrating the arts into daily cumculum. 1 worked amually in approximately 12

schools with 80 teachers and their students. This experience has provided me with a

unique oppominity to expenence a span from K. to the secondary panel, as a teacher,

collaborator and change agent. Collaboration with the classroom teacher and

administration was the infrastructure that detennined the success of the program. 1

worked in a wide range of schools (elementary, middle and secondary panel) and together

with teachers, administrators and students and was constantly in the process of disceming

the rationale of arts integration.

In my work at McMaster and York Universities as well as in the teacher training 1

direct at The Royal Conservatory of Music 1 experience arts education fiom a different

perspective. 1 teach courses ranging fkom The Foundations of Music Education to Orff

Teacher Certification courses. These are specialist courses designed to provide

participants with an overview of musidarts education, varying arts education

philosophies, classroom techniques and repertoire to be implemented in school settings.

Student teachers, classroom teachers, music and drama specialists and education students

form the student body. Occasionally administrators, including school principals, enroll in

this training. My roie in this capacity has provided me with an oveMew of the needs and

struggles of those who are working in the field of arts education. Generally speaking, 1

find an undercurrent of anxiety, frustration and concern throughout the arts education

community. 'What can we do?" is the most common question asked, one that is

addressed by Wolfe in The Arts Go to School:

There are many teachers, parents, school administrators, artists, and

psychologists who are convincecl of the importance of the arts in education.

Even so, school arts prograrns have become increasingly vulnerable in recent

years. With scarce resources and tight budgets, many school systerns have seen

arts as expendable exmis - nice to have in the curriculum when times are good,

but simply too expensive when times are tough. Arts advocates have found

cost-cutting arguments difficult to counter, the practical importance of the arts

difficult to demonstrate, and arguments in favor of the arts in education more

subtle than those in favor of reading or mathematics. Many arts supporters have

felt further fnistrated by not knowing how they could assist in bringing arts

programs into the schools. "What can we do?'is a refrain heard more and more

of'ten, especially fiom parents who are wncemed that the quality and the

richness of their children's education will be significantly augmented by

meaningful exposure and involvement in the arts+ (1983, p. 10)

This is consistent with the dynamics felt in my work in the children's department at The

Royal Conservatory of Music. Even here, at a national arts institution, I struggle with the

enigma of holistic musiclarts education as opposed to traditional music instruction on

"real instruments". This indicates that arts education itself is in transition as we begin to

explore and discover the deeper value of a holistic approach. It is no longer enough to

assume that every child will respond positively to a weekly piano lesson where the

criteria for leamingheaching is driven by an exam system. Bennett Reimer maintains,

If we rrtain Our present concentration on bands, orchestras, and chocuses as the

major ways to offer special musical oppominities, and if we continue to

concentrate on performance - focused methodologies as the major way to

provide general music education then we may find ourselves lefi in history dust.

(1989, p.28)

Currently 1 am the coordinator of the project whose influence is being examined

with this study. My role includes overseeing and managing al1 aspects of the initiative.

My background both as an artist and as an educator serves me well in this capacity. My

role also provides me with an oppottunity to witness and document the daily progress and

pending outcomes. A clear, objective perspective is required in order to successfiilly

meet the needs of this multifaceted initiative. Although my role as coordinator of this

initiative may be viewed as a limitation or bias in this study, it is this researcher's view

that this unique perspective provides more benefits than drawbacks. This researcher has

attempted to remain neutral and objective throughout the research process. Ongoing

feedback fiom the thesis cornmittee and a number of volunteers fiom the education

community provided additional objectivity.

Finally, my training towards certification as an expressive arts therapist at The

Institute of Human Relations (Toronto) and the International School for Interdisciplinary

Studies (ISIS, Toronto) adds richness to my work in arts education. It is here that I

received the validation, theory and relational experience which has built the foundation

for my persona1 views regarding the beauty of the interplay amongst movement, visual

art, writing and sound, as well as underlining the value of self-exploration and self

expression through the arts.

Through my personal experiences as a teacher, in teacher education, as an artist

and as a healer 1 am convinced of the critical importance of the arts in learning/teaching

and in life.

The Thesis Question

The Major Question

What, if any, influence has the introduction of an arts infused program hac

participating teachers at the primary, middle and secondary level?

A S S U ~ D ~ ~ O ~ S

Teachers' level of confidence will increase as they deepen their understanding of

arts education and the skills involved. Teachers with a limited arts background will gain

new tools to pmvide arts based activities and those with a rich arts background will be

validated and encouraged to take risks. Classroom teachers and teachers who have not

traditionally employed the arts in their teaching may open a window of oppominity for

themselves as well as for their students during a critical time of educational change in

Ontario. The researcher feels teachers will devote a greater amount of classroom time to

the arts. Because of the collaborative nature ofintegration, teachers will find greater

opportunity and necessity to dialogue with one another. As administrators witness teacher

growth, greater administrative support will emerge. Challenges in acquiring consistent

teacher cornmitment to such a project may exist since few of the teachers are experienced

in arts education and are already entrenched in a non-arts system. This rnay be

particularly significant at the rniddle and secondary level.

Subauestions

Subquestion 1

How, if at all, has the generalist teachers' cumculum been influenced by the arts

initiative?

Assum~tions

The researcher feels that this arts initiative will positively influence the

cumculum. Arts infusion will broaden the cumculum by introducing new avenues and

new toois to explore. Arts infùsion will serve as a vehicle for integration in either a

multidisciplinary, interdisciplinary or transdisciplinary fiamework. A greater number of

arts based activities will become a standard part of the curriculum. Relationships

between teachers and artists will deepen and thereby the cumculum will benefit.

Subauestion 2

How, if at all, has this arts initiative assisted teachers in meeting language

expectations?

Assum~tions

The arts initiative will assist teachers in meeting provincially mandated language

expectations. New assessrnent strategies, specific to the arts, will need to be developed.

Other school influences will rnake it diEcult to determine results specific to this

initiative.

Subauestion 3

How, if at all, have the participating teachers' perceptions of arts education been

in fluenced?

Assumm ions

The researcher believes the teachers will develop an increased sense of respect for

arts education, artists and the arts in general terms. The arts will be recognized and

valued as a vehicle for improved teacher collaboration and communication. Teachers

will demonstrate greater appreciation for the power of the arts in meeting curricular

expectations. Teachers will value the arts in engaging students in the learning process.

As a result teachers rnight demonstrate a greater degree of trust in regards to arts

education.

Limitations

This research will be limited to seven schools which are part of a large

metropolitan school board. Only current tiilly participating grades will be included in the

research. These are: grades one, two, three, six, seven, eight and nine. Literacy and arts

expectations, where avai lable, will be examined. Al l participating schools have existing

arts prograrns. Al1 participating schools have administrative support regarding this

program. Since implementation Superintendents and Trustees have been briefed;

however, actuai involvement has been limited to four Superintendents. The board of

education has hired only one former arts coordinator as well as one former program

leader on a part time basis to assist with management and implementation of the initiative

which is the subject of this study. This initiative is linked to only one board of education,

a public board.

Limitations of time and funds exist as this is an independent research project,

with feedback fiom the thesis cornmittee. The researcher used time above and beyond a

fiil1 time work schedule to conduct the research and mate this document without

professional clerical help.

Data is limited to that which was collected during the time fiame of this study and

only in the context of this arts initiative.

The very nature of the arts dictates sufficient time be allowed for reflection and

creative ideas to be assimilated. Our educational structures may limit ability to devote

sufficient time to the process thereby reducing effectiveness of intluence on both teachers

and students.

Background to the Problematic

The Educational Context

The Ontario Education system is reviewing and re-evaluating its structure, focus

and curriculum requirements. The new Ontario Curriculum for grades 1-8 Math,

Laquage, and Science were published between June of 1997 and May of 1998 as was

the Kindergarten cumculum. The Arts curriculum was completed in August of 1998; a

full year after the last cumculum was terminated. Immediate implementation, with no

implementation training, was expected. As well the secondary curriculum was still in the

revision process, so that these teachers depended on former MOET guidelines for

structures. Initial expectations were outlined in the MOET Ontario Secondary Schools

Detailed Discussion Paper (OSS DDP):

The secondary school program would build upon the program in Grades 1 to 8

and continue to focus on audent achievements in three areas: learner

development . . . .interpersonal development . . . . and career developrnent which

helps students to make informeci and appropriate choices and irnplement

successful transitions f?om school to educational, wotk and life roles (OSS DDP

1998, p. 14)

This is a powerful objective. The oppominity for al1 students to make the most

educated decisions is their right. In our current complex world we need creative thinkers

- teachers, administrators and students. We need to find ways to step out of current

patterns and Say "What if?" We have yet to see any evidence that those opportunities

exist within the current system and structures.

The Arts Education Context

Throughout the implementation period of The Common Curriculum Ontario

teachers were provided with opportunities to increase their awareness of the benefits of

consistent arts integration. Our current political and educational climate had made it

difficult for those teachers who had begun making arts based activities a part of their

daily curriculum. A move towards testing and accountability had brought about a shift in

focus. In many cases this left little room for the arts, particularly for those teachers who

were new to arts education or those who felt ovewhelmed and fiightened by the creative

process. The fact that MOET did not produce an arts curriculum for a full acadernic year

after the elimination of The Common Cumculum (MOET, 1995) indicated the low

priority of the arts. There is a deeply rooted system of attitudes regarding the value of arts

education that remains with us today. Traditionally there has been widespread concern

about the quality of Canadian education and the kind of student being produced. During

times of educational refonn the decree is often to retum to the basics, concentrating on

reading, writing, science and mathematics; as part of this equation arts programming is

often eliminated because it is not considered a cure subject. In abolishing arts

programming, the belief has been that reallocation of resources brings about the desired

result. The reality can be the opposite.

Ontario schools are faced with the challenge of major cutbacks and reailocation of

funds, as a result of educational restructuring. This may mean the loss of music and art

specialists. In many elementary schools the only arts pmgramming available is that which

is provided by the classroom teacher. According to Smithrim and Upitus;

Despite a long history of demonstrated importance and recognition of the arts in

education (Dewey, 1934; Eisner, 1972, 1976, 1994; Gardner, 1973,1983), arts

education is al1 but disappearing fiom many Canadian schools. (1997, p.207)

My experienced observation as an arts educator for the last 18 years supports these

findings. The degree of training and confidence varies considerably corn teacher to

teacher. This is directly related to a lack of training opportunities, as supported by a

number of Ontario studies which will be reviewed in the next chapter. In 1992, the Arts

Education Council of Ontario reported their findings on arts teacher education in The

artspaoer (Wilkinson, Emerson, Guillaumant, Mergler and Waddington).

According to this report, a 1985 study focusing on in-service arts education, The

forum for arts and media education. Teacher education in the arts found that:

Notoriously in Ontario the time limitations on pre- and in-service arts programs

for teachers are very restncting. At the pre-service level in consecutive

prognuns, the time available to train generalist teachers is quite insuficient.

(Wilkinson et ai., 1992, p. 3)

Among its numerous recommendationq the report suggested using workshop

methodologieq increasing awareness of new developments and promoting arts programs.

Four years later, the Arts Curriculum Centre (the predecessor of AECO)

conducted a Needs Assessrnent Survey of the 44 Boards of Education (Wilkinson et.ai,

1992) in the central region of Ontario fiom which teacher education in the Arts emerged

as the top priority. Subsequent strategic planning sessions of the AECO repeatedly

identified Arts teacher education as an urgent issue. Specifically, a Teacher Education

Committee at the AECO Annual General meeting at Sheridan College in June 1991

developed an Action Plan intended to establish supportive prognuns at faculties of

education. Objectives designated within that plan i ncluded:

requiring minimum hours for Arts in pre-service programs

establishing criteria for quality instruction at faculties

recommending an Arts component in administrators' courses or training

improving selection and professional development of Associate Teachers

improving communication between faculties and associate schools

communicating the philosophy of Arts Education to al1 perspective schools

addressing integrative and specialized approaches to the Arts

exploring appropriate, effective arts integration

promoting communication amongst Arts teachers in schools

(Wilkinson et al., 1992, p. 3)

The 1991 Arts-Work Conference, held in Toronto, made similar

recornrnendations. The 1992 Arts Education Council of Ontario (AECO) study of Pre-

semice Arts Teacher education evolving from these findings observed the following:

In addition to no preparation in some Arts, contact hours in the Arts are

abysmally low generally. Although teachers are required by law to teach the

Arts disciplines, statistically the majority of teachers are under-experienced in

Arts amas since, traditionally, the Arts are allocated low contact hours in

teacher education programs. If the public and the Ministry of Education expect

teachers who receive minimal to no training, to do justice to Arts teaching,

some equalization of oppominity must be provided in teacher education

programs. (Wilkinson et al., 1992, p.7)

Prescescky and Cooley (1997) talk about the lack of confidence many generalist

teachers experience regarding arts education and the integration of the arts into their

classroom curriculum. Historically we have not witnessed sustained and consistent

training or interest.

For centuries, philosophers, artists, and educators have argued about the

importance of meaningful arts experiences, and researchers have demonstrated

powemil and diverse ways in which the arts ecuich our lives (Csikszentmihalyi,

1997; Dewey, 1934; Dissanayake, 1995; Eisner, 1994; Gardner, 1983; Greene,

1995; Hamblen, 1993; Morrison, 1994). In response to these strong arguments,

penodically the importance of the arts resurfaces in the minds of teachers and

parents and other members of our camrnunities. Those teachers whose interest

in the arts peaks with the movement of the pendulum, as well as those teachers

who have a sustained interest in the arts, often swing fiom one approach to

another as the cornmitment and interest in the arts grows and wanes. (Smithrim,

Upitus, 1997, p.136)

The Conceptual Framework of the Studv

As a result of my own interest in music education, my primary conceptual

fiamework, both philosophically and pedagogically, is that which connects the learner to

a "whole" experience. My focus has always been on making connections and building

relationships. Through my own desue to provide rich arts experiences as a vehicle for the

leamingheaching process 1 have been prompted to explore and experience holistic

learning. "In summary, holistic education is an education of balance (for example, right

relationship), inclusion, and connection. " (Miller, 1993,~. 16). Now, in the midst of my

teachinfleaniing career I view my journey as a quest for relationship. The various

strands of my life have corne together and involve me as a woman, teacher, musician,

artist, coordinator, writer, healer, feminist, white middle class citizen of Canada. Maxine

Greene states "neither myself nor my narrative can have, therefore, a single strand. 1

stand at the crossroads oftoo many social and cultural forces." (1995, p. 1)

Numerous educators believe holistic education is a powerful route to saident

engagement and to higher order thinking (Cassie, Drake, Miller, 1990). As educators we

must ask ourselves "is this in the highest good for the leamer?' The answers may be

revealing. For at least the last twelve years there has been a growing awareness regarding

the value of integrated leaming. The Ontario Ministry of Education's 1986 document

Ages 9 t h r o u ~ h 12 states "learning is something children do, not something which is done

to them. It is a multi-sensory process, which requires children's active participation in

seeking and using information in an integrated marner in order to arrive at meaning."

(p. 5). Although this was written twelve years ago the researcher observes little evidence

teachers have been provided with the support or tools to accomplish this.

The methodological approach to this study is interpretive as well as constructivist.

It was important to approach this research in a marner which created a reasonably safe

and encouraging environment for the study participants. The theoretical basis of Kirby

and McKenna (1989) influenced this researcher in seeking to discover authentic means to

gather data which will assist in advocating for arts education. Kirby and M c K e ~ a

encourage researchen to progress past

the traditional academic understanding that knowledge can be created in a

vacuum, and begin to claim and incorporate the persona1 and political context

fiom which the knowledge springs as part of the data gathenng process.

(1989, p. 22)

Definition of Tenns

Arts education is the study of the arts and is defined by MOET as follows: "the arts speak

to our emotions, imagination, and intellect, and throw new light on our

experiences. From a wider perspective, the arts offer a picture of what people

have felt, thought, and valued over the ages, enabling us to see that people in the

past expressed ideas and feeling similar to out own. . . . .. Al1 of the arts -dance

drama, music and the visual arts - are valuable means of expression and

communication. It is therefore important for students to develop the ability to

communicate and gain understanding of how and why works of art are created.

. . . .It is important that schools offer a balanced arts program that includes al1 the

arts. Within this fiamework, each of the arts can be studied in depth, and aspects

of the study of each art CM also be integrated with the study of the other arts and

other cumculum areas. Through study of al1 the arts, siudents can l e m to see the

interrelationships among the different arts. (The Common Curriculum, 1995,

p.38)

Educational reform "is presumably to help schools accomplish their goals more

effectively by replacing some structures, prograrns and /or practices with better

ones." (Fullan, 199 1 p. 1 5 )

Expressive arts " are ancient forms being rebirthed to bring much needed integration and

balance into Our world. In early times people knew well that dance, song, art and

storytelling were part of the same process: that of being tiilly functioning and

creatively human. They also used the arts as a connection to each other and the

forces of nature. Dancing and song release feelings, energize the body, and evoke

community spirit. The visual arts bring forth imagery and metaphor." (Rogers,

1993, pxiv)

Fine arts are those (art forms) appealing to the mind or sense of beauty, especially

painting, sculpture architecture; (The Pocket Oxford Dictionary, 199 1, p. 275)

Holistic education is defined as "learning that makes connections" (Miller, 1990, p. 1)

Integrated curriculum is defined by MOET in the following terms " To live successfully

in todayts and tomorrow's world, al1 Canadians need qualities that will help them

to understand and respond constnictively to change. One of the most important of

these qualities is the ability to apply existing skills and knowledge in new ways in

order to meet the needs and solve problems as they arise. This ability can be

developed by encouraging students to practice using their skills and knowledge in

one field to lem in amther and to relate their learning to real Iife situations. An

integrated curriculum is one that is designed to develop this ability in students by

helping them to see the links between different subject areas and understand that

what they leam is meaningful in the context of the world outside the school. (The

Common Cumculum, 1995, p.33)

Literacv/Lanwane is defined by MOET as follows; "Language is central to the students'

intellectual, social, and emotional growth, and must be seen as a key element of

the cu~culurn. Parents, students, and teachers need to understand that language

is a crucial tool for leaming in a11 areas. Whether they are studying literature or

history, or learning science, students need fundamental language skills to

understand information and express their ideas. Through language learning,

students acquire skills that are essential in the workplace; for example they leam

to analyze ideas and information and to communicate them clearly, both orally

and in writing. Through the power of literature, they corne to understand other

people and themselves and to appreciate the power of words and the many

different uses of languages. By examining media productions, they develop the

ability to understand and interpret a range of media messages. (The Ontario

Curriculum, Language, 1997, p.5)

Ministrv of Education and Training in Ontario MOET) detemines the broad outlines for

education and is responsible for developing cumculum policy; determining

provincial standards for student achievement; setting diploma requirements;

evaluating and approving leaming materials for use in schools, distributing fbnds

allocated by provincial legislature to assist school boards with the operation of

schools; making regulations that govem the school year and school holidays, the

organization of schools and school boards, and the duties of teachers and school

board oficials; granting certificates to teachers. (MOET, 1998, on-line)

Chanter 2: Literature Review

Introduction

The arts initiative, which foms the context of this study, is a sequential,

sustained, five-year pilot project involving al1 of the arts in cunicular integration. The

focus of the study, within this context, is teacher growth. A search of related literature

reveals there exists little research of this nature. Two previous studies of this arts

initiative (Wilkinson, Edwards, Bright, 1996; Wilkinson, Bakan, Stathacos, 1997) will be

referred to in this study and, although pertinent, focus pr imdy on student growth. A

survey of the literature finds research related to curricular integration, arts integration and

educational reform. Insight can be gained in a separate examination of these three areas

as current literature searches reveal significant research in these areas. Since the arts

education initiative that provides the context for this study is specifically referred to in

ternis of cross-currïcular integration and is closely linked to MOET guidelines, this

researcher feels it is critical to gain a clear understanding of the context in which the

study participants find themselves. This review, therefore, provides a foundation to the

current practices of integrated cumculum, arts integration, and educational reform;

however, the lack of literature regarding arts integration and its influence on educational

reform and teacher growth provides support for the researcher to continue to develop this

study.

Intearated Curriculum

It is useful to begin with a review of the history of integrated cumculum.

Drake (1993) discusses the history of integration.

It is important to understand the context of integration as an idea with an

intellechial history. Disciplines were artificially created by humans to organize

their world, and were ofien defined by political needs (Beane, 1991). Eisner

(1992) points out that as early as the 1920s the progressive movement in

education advocated cumcular integration through themes because proponents

believed the disciplines prevented -dents fiorn seeing the relationships

between subjects and therefore decreased the content's relevance. (p. 2)

Drake (1993) tracks the evolution of integrated cumculum in Ontario and offers

that in her experience the process she outlined "is universal in many respectsy' (p.3).

Ontario chose to focus on increasing relevance in the "transition years" (grades

7-9) as explored in such documents as Hargreaves and Earl ' s (1 990) Rights of

Passage. Uncertain of how to go about this task, the government set up a

consultation process. The process involved a cornmittee headed by Gerry

C o ~ e l l y that traveled across the province to consult with community teachers,

principals, students, and parents in an effort to rethink traditional models and

values. The govemment fùnded 66 grass roots projects. The committee

followed the progress of these projects during the consultation process.

(1993, p.3)

These efforts helped build the foundation for the development and eventual

implementation of the MOET document, The Common Curriculum. This document

includes in its policy statement "Al1 teaching should refiect a holistic view of life and

experience in a world of cornplex and interrelated phenornena" (p.6). Integrated

cumculum alludes to a holistic approach to teaching/learning. Miller defines hoiistic

curriculum as follows:

The focus of holistic education is on relationships: the relationship between

linear thinking and intuition, the relationship between mind and body, the

relationships among various domains of knowledge, the relationship to the

earth, and the relationship between self and Self. In holistic C U ~ C U ~ U ~ the

student examines these relationships so he or she gains both an awareness of

thern and the skills necessary to transform the relationships where it is

appropriate. (1996, p.8)

Miller demonstrates that holistic education can be viewed as a way of linking

together various educational orientations. Three such orientations are transmission,

transaction and transformation. Transmission is viewed as the student receiving and

accumulating information by reading materials or listening to lecture style presentations

by a teacher. Transmission tends to be of greater use in the initial stages of leaming.

Transaction involves greater dialogue between the learner and the teacher. This

orientation is somewhat more interactive than transmission. Transformation orientation

focusses on the whole child. Of this Miller (1996) says " Certainly when we view the

student as less than a whole person, we diminish the chance for authentic learning to

occur" (p.7).

Miller outlines the growth of holistic cumculum in Ontario and voices his support

of the MOET document The Common Curricuhm.

Since 198 1 I have witnessed growing interest in holistic education. That year I

worked with one school in Niagara Falls to implement a holistic approach to

cumculum. In five years 1 have seen interest grow tiom one school to where

the Province of Ontario is now advocating holistic cumculum as a primary

vehicle for meeting learning outcornes. (1988, p.3)

In developing integrated curriculum almost al1 agree that it is the process which

empowers teachers, students and administraton to continue. That process can be time

consuming and hstrating. As a result attempts at integrating cumculum sometimes fail.

The researcher's personal experience supports the notion that given time and sufficient

support the process is valuable. Drake discusses the relevance of this process.

Nevertheless, the process outlined here may sound pessimistic. The

descriptions are not intended to be fiightening, but realistic. In asking severai of

the people represented on these pages if 1 should soften the experience, the

response was uniform. For them, undergoing the process was the most

important aspect of developing integrated cumculum; they bel ieved it is

essential to know that there is a stmggle ahead. It is just as important to know

that the journey is worth taking and that the process gets easier once you have

been through it. (1993, p.5)

In a fast changing world wit h expeditious technological and communication

advances we are finding leamers who cannot cope with traditional educational

fiameworks. There is an increasing drop out rate (Drake, 1993). Those who stay in

school often seem unprepared for the complex demands of li fe. We are definitely in the

midst of major global transformation. Ontario schools are at the forefiont of these issues.

Drake demonstrates the value of integrated curriculum for exactly these r«w>ns.

The concept of integrated cumculum makes sense for other reasons. Students

who drop out perceive little relevance in school life. Integration comects

subject areas in ways that reflect the real world. When we set cumculum in the

context of hurnan experience, it begins to assume a new relevance. Higher

order thinking skills become a necessity as the students begin to grapple with

real life issues and problems that transcend the boundaries of disciplines. (1993,

p.30)

Sumrnarv: Inteeted Cumculum Related Literature

It is clear there have been theoretical and practical developments in integrated

curriculum over the last ten years. It is also clear that there exists a commitment to

encourage and bring to life the realization of integrated curriculum for leamers. The

difficulty may lie in the realm of continued commitment under challenging

circumstances. It has been made evident that integrated cumculum is a process. Process

takes times and requires sustained support. With a new Ontario curriculum which is

based on expectations rather than learning outcomes, which is skills based rather than

process based, the momentum regarding integrated cumculum may lag behind.

Arts Intemation

The arts are a dynamic, process oîiented component of teachinflearning

curriculum. There is considerable research literature regarding the influence of the arts in

education. In the summary paper Understandinn how the arts contribute to excellent

education, the National Endowment for the Arts in Education in the USA reports

consistent ongoing evidence arts-based leaniing environments achieve; (a) higher

academic achievement, @) foster active engagement in learning (c) contribute to the

development ofa thriving school culture with committed and creative teachers, students,

and parents (d) play a role in generating a dynamic, coordinated, and cohesive

cumcuium, (e) build bridges to the larger comrnunity and other institutions (f) humanize

the leamhg environment (National Endowment of the Arts, 1991).

The initiative which forms the context of this study has, at its very core, the intent

to impiement the arts across the curriculum. While the initiative was generated and grew

as a result of emergent needs it was by no means thought the process of implementation

would be without challenges. In the first year assessment Wilkinson elaborates,

The pilot year 1995-96 offered challenges to the Canadian pioneers of a

community-system arts model. An exciting opportunity, it brought with it

confrontations to privately held ideologies of arts education, to preconceived

notions of the role of the teacher, artist, or administrator within this model and

to not always clearly defined understandings of curriculum integration

through the arts and/or learning outcomes. Many partnen successfilly

encountered and mastered the requisite shifts in thinking over the five months;

others have yet to resolve these issues. While the implementation process

may have been the source of challenges in some schools involved in the

project, others appear to have overcome these hurdles during the pilot phase.

Any new initiative without such tensions would hardly qualify as real.

(1996, executive summary, p. 1)

In the actions which became associated with finding solutions to these

challenges there was a consistent cornmitment that the solution be in the highest good of

the teachers and leamers. One of the most significant challenges was the wide ranging

cornfort level of generaiist (non-specialist) teachers hold in regards to the arts (Cooley,

1998; Upitis, 1998). What makes the arts so powerfiil yet creates such feu? We must

explore the very nature of art to attempt to find an appropriate response to this question.

Dewey recognized in the arts a powerfiil teaching/leaming tool. He speaks to

this issue by naming the arts experience "the esthetic experience" and views this as an

integral and integrated part of everyday Me.

In order to understand the esthetic experience in its ultimate and approved

forms, one must begin with it in the raw; in the events and scenes that hold the

attentive eye and ear of man, arousing his interest and affording hini

enjoyment as he looks and listens: the sights that hold the crowd - the fire-

engine rushing by : the machines excavating enormous holes in the earth; the

human - fly climbing the steeple side; the men perched high in air on girders,

throwing and catching red- hot bolts. The sources of art in human experience

will be learned by him who sees how the tense grace of the bal1 player infects

the onlooking crowd; who notes the delight of the housewife tending her

plants, and the intent interest of her good man in tending the patch of green in

&ont ofthe house; the zest of the spectator in poking the wood burning on the

hearth and in watching the darting flames and crumbling coals. (1934, p.5)

Similady, Knill calls this our aesthetic response. Although Knill positions his

definit ion fiom the place of expressive arts therapy this researc her feels there are parallels

to expressive arts in education.

If we are to explore aesthetics in a way that is truly pertinent to the arts in

psychotherapy, a way that nurtures the soul, it is necessary to leap beyond the

traditional understanding of formal aesthetics which concems itself with ideal

foms, and beyond the oversimplified statement that "beauty is in the eyes of

the beholder". Instead, we will concentrate on a phenomenon which we will

cal1 the aesthetic response. The phenomenon occurs within persons who

engage in the artisticlcreative process as artists, or performers and as

witnesses. This phenomenon does not provide for measuring art's beauty

against some objective ideal. Rather, the aesthetic response describes

characteristic ways of being in the presence of a creative act or work of art -

ways that touch the soul, evoke imagination, engage emotions or thoughts.

(1995, p.70-7 1)

The ancients resewed a sacred space for us with the ritual of art. The arts have

served to restore, to cdm, to energize, to heal, to guide and to teach us since the

beginning of time. The power of creativity and art are not new. Ancient cultures valued

the imagina1 world and honoured its comection to the imer and outer life. Dnimming,

dancing, singing, chanting, storytelling, mask making, image making are al1 examples of

traditions of comection and containment. Many of these examples were a part ofdaily

routine providing a place for the mending of failure, the building of self, the healing of

woundedness and offering a place where leaming and growth could take place. Dewey

speaks to this integration of the arts in our daily lives.

Yet in their own time and place, such things were enhancements of the

processes of everyday life.. . ..The collective life that was manifested in war,

worship, the fomm, knew no division between what was characteristic of these

places and operations, and the arts that brought color, grace, and dignity to

them. Painting and sculpture were organicaliy one with architecture, as that was

one with the social purpose buildings served. Music and song were intimate

parts of the rites and ceremonies in which the meaning ofgroup life was

consummated. Drama was a vital reenactment of the legends and histoiy of

group life. Not even in Athens cm such arts be tom loose fkom this setting in

direct experience and yet retain their significant character. Athletic sports, as

well as drama, celebrated and enforced traditions of race and group, instnicting

the people, commemorating glories, and strengthening civic pride. (1934, p.7)

Much of this has been removed from Our daily lives, particularity in educational

settings. Teachers, finding themselves in such an environment, are reluctant to move

towards the unknown, the unfarniliar. Similady, according to Prescesky and Cooley

(1998), generalist teachers ofien aren't conscious ofwhat they actually do know about the

arts. The popular myth that an artist is an extraordinary, gified individual often dissuades

the generalist teacher (and society as a whole) from becoming involved in creative

expression or acknowledging the artistic pursuits that are a part of their lives. "When

confkonted with the expectation that creative ans experiences are to be included in the

elementary curriculum, teachers often display a lack of confidence in their abilities" (p.2).

Therefore it stands to reason that even those generalists who in their private lives may

value the power of the arts, have not found a way to bridge this to their teaching/learning

environment.

Although Upitus (1998) agrees with Prescesky and Cooley she maintainq as a

result of her work with generalists in the Kingston area, that one time in-service or pre-

service fiameworks do not do enough to support generalists in theu quest to understand

the arts.

If al1 pre-senice teachers have to take courses in the iuts, then it is implied that

we expect al1 teachers to have the sensibility to the arts. This is an important

beginning. But 1 would argue that it is not enough - expectations could be

higher. With one course, we can hope to sensitize teachers and students to the

importance of the arts, and perhaps, to help them relate the arts to other subjects

and disciplines, but we cannot expect a high level of ski11 development. But, as

1 said, it is a beginning. We would accomplish a great deal if, as a nation,

mandatory arts courses were in place for al1 pre-service teachers, and if a

mandatory arts component was a regular i n - se~ce requirement. (Upitus, 1998,

p. 139)

In education the arts are capable of providing ideal tools to address current issues.

In the large metropolitan school board where the arts initiative which provides the

context for the focus of this study is taking place teachers face multicultural classes,

multiple intelligences, a large number of ESL classes, multiple leaming styles and a

range of emotional and special education needs. Given these realities, it would appear

that this is fertile ground for such an initiative. The research of Gardner (1993) has

signi ficant relevance for these issues. If one of the primary functions of education is to

support and develop intelligence then it seems logical that Gardner's theory of multiple

intelligences (1993) would be of significance to those concemed with successful

cumculum initiatives. Gardner names seven intelligences:

Verbal linguistic - language

Logical mathematical - numbers and abstractions

Visual spatial - visual and mental images

Body kinesthetic - physical movement and body awareness

Musical rhythrnic - responding to and using sound, rhythm and beat

Interpersonal - ability to respond to others

Intrapersonal - self awareness

Gardner's theory claims that these seven intelligences are possessed by al1

students to varying degrees. In reviewing the seven intelligences it becomes clear to the

researcher that most prevalent teaching addresses the verbal linguistic and the logical

mathematical intelligences. Integrated C U ~ C U ~ U ~ may prove to be valuable in

addressing al1 seven intelligences. The arts embody ideal vehicles for cumcular

integration with specific reference to Gardner's research. This powerful research reminds

us of the necessity to provide teachers with the training required to be able to meet the

needs of al1 students and multiple learning styles. The initiative which provides the

context for this study supports Gardner's theory and has developed tools to support

multiplicity and plurality. Traditional cumculum does not provide the range necessary to

support Gardner's theoty (Greene, 1995, p. 179). The researcher agrees with Greene, "It

must be wrong to neglect those potentials that ordinary cumcula do not permit us to

heed" (p. 179).

Artists naturally teach nom a place of integration but educational systems have

created challenges in allowing that gift to flourish. Arts education has historically been

faced with fragmentation and marginalization and as a resuh some artistdarts educators

are fnistrated with the limits to potential learning through the arts. As a society we face a

similar dilemma as we have severed the arts fiom our daily lives and positioned them in

isolation. Whether this means an evening at the symphony or a second grader singing in

the "Winter Concerty', without context the experience can at the very most hold less than

the potential value of the art f o n or at the very least prove completely meaningless.

Dewey elaborates on this issue.

When artistic objects are separated from both conditions of origin and operation

in experience, a wall is built around them that renders almost opaque their

general significance, with which esthetic theory deals. Art is rernitted to a

separate realm, where it is cut off fiom that association with the materials and

aims of every other form of human effort, undergoing achievement. A primary

task is thus imposed upon one who undertalces to write upon the philosophy of

the fine arts. This task is to restore continuity between the refined and

intensified forms of experience that are works of art and the everyday events,

doings, and sufferings that are universally recognized to constitute experience.

(1934, p.3)

Miller elaborates on the issue of fragmentation, although he is not making specific

reference to arts education.

The fkagrnentation 1 have been describing is also found in Our education system.

We divide knowledge into subjectq units, and lessons. Yet, students can ofken

not see the relationships between these subjects, the relationship between faas

within a subject, or the relevance of the subjects to life. (1996, p.2)

Thomas Moore clearly articulates the same problem with regards to arts education.

Even in Our schools a technical viewpoint is ofien dominant. The young painter

lems about materials and schools of thought, but nothing about the sou1 of his

vocation or the deeper significance of the content of his work. A voice major in

a university music department expects to become an artist, but in her lesson she

is hooked up to an oscilloscope that will measure the parameters of her voice

and indicate areas to be improved. The soul makes a quick exit before these

purely technical approaches to leaming. (1992, p.286)

We urgently need arts educators to gather together in order to unite their comrnon

vision and maintain the soul in education. However, even amongst those who teach the

arts there exists a lack of consensus. Countryrnan (1994) presents arguments regarding

traditional music instruction and traditional arts education positioned against a more

creative, reflective and persona1 approach. In "1 got rhythm, 1 got questions; Confessions

of a reflective practitioner", Countryman views arts educators as potential forerunners in

modeling tools to develop integrated curriculum. She discusses outcorne-based education

as an area where arts educators might provide strong leadership. However in the

researchers' professional experience not al1 arts educators agree with the pnnciples of

integration, particularly teachers in the secondary panel. Willingham examines the issue

of secondary school arts specialists.

Many of these teachers have been trained as dancers artists, and musicians and

have entered the teaching arena through a professional faculty. They cherish the

unique dimensions of their respective art discipline and bting very specialized,

persona1 skills to the classroom. The classroom is where the music or drama

tacher is able to engage students in acquiring the appropriate knowledge and

skills in order to learn to express themselves personally through the art form.

When the knowledge/skill base approach is eroded, the opportunity for the

student to meet the arts outcornes in an authentic context is also greatly diluted,

and the resuh is a superficial and limited exposure to the arts. (1996. p.48)

If this is hie, does that mean integrating the arts in a cross-curricular framework

is not possible or desirable? Willingham concludes that both approaches are compatible.

The very practices that are cherished by secondary school arts specialists are

embedded with a rich and varied array of integrative ingredients. The challenge

is, as 1 see it, to teach beyond Our subject content and project the skills,

knowledge. and values within Our disciplines into a context which addresses the

whole person in a complex and inter-co~ected world. (p.48)

Wolfe (1 983) elaborates and argues in favour of the arts as a core part of al1

cumculum through an assessrnent of the value of arts education for both the learner and

the teacher with a focus on teacher growth, bringing relevance to this study. In order that

arts educators take a leadership role in defending the value of the arts as well as modeling

integrated cumculum, boards of education and MOET will need to provide the necessary

opportunities. Arts education will need to find a balance between expressive arts and fine

arts. The core element in allowing expressive arts to flourish is that of allowing creativity

to manifest. Creativity is co~ected to spontaneity, intuition and a deeper sense of

knowing. Works of art are a reflection of that creativity. It is cntical the creative process

is given time and nurturing to develop and grow. The creative process is multi

dimensional and not at al1 simple to understand. Dewey demonstrates the significance of

creativity.

Works of art often represent to us an air of spontaneity, a lyric quality, as if

they were the unpremeditated song of a bird. But man, whether fortunately or

unfortunately, is not a bird. His most spontaneous outbursts, if expressive, are

not overflows of momentary intemal pressures. The spontaneous in art is

complete absorption in subject matter that is fiesh, the fieshness of which

holds sustained emotion.. . ..The inevitable self-movernent of a poem or drama

is compatible with any amount of prior labor provided the results of that

labour emerge in completion with an emotion that is fresh. (1934, p.70)

Creativity is the life force which we can authentically express through the arts.

Creativity, and the expression of our creativity, opens a pathway to our deepest dreams,

feelings, images and thoughts. It is the challenge of the art educator to l e m how to

travel this pathway and to help students retrieve their stories, songs, dances and images.

This is a challenge that longs for self expression. It is every child's prerogative to have

access to a rich imagina1 world. It is the teacher's prerogative as well. If teachers engage

in the creative process they too are nurtured. Pinkola-Estes (1995) uses the metaphor of a

river in describing how creativity nurtures.

Creating one thing at a certain point in the river feeds those who corne to the

river, feeds creatures far downstream, yet others in the deep. Creativity is not a

solitary movement. That is its power. Whatever is touched by it, whoever hears

it, sees it, senses it, knows it, is fed. That is why beholding someone else's

work, image, idea, fills us up, inspires us to our own creative work. A single

creative act has the potential to feed a continent. (1992, p.298)

Another powefil element of creativity is the soul connection or spiritual

connection. Creativity keeps the soul engaged and helps us maintain our connection to

the soul. Ifcreativity is so critical to living life with soul then aren't we obligated to

allow leamers the opportunity to experience creativity in education. What keeps teachers

and administration fiom experiencing creativity, fiom allowing the arts to touch them

deeply? 1s it fear of the unknown? 1s it a lack of oppominity or perhaps a lack of

acceptability? No matter what the personal dynamic is for each teacher the act ofbeing

creative is not as unreachable as many may assume. Car1 Rogers demonstrates that the

simple act of caring is a vehicle that fosters creativity. "Caring is an attitude that is

known to foster creativity - a numiring climate in which delicate, tentative new thoughts

and productive processes can emerge." (1980, p. 160)

The power of the arts, the value of arts in education, the arts and the generalist,

the vulnerability of the arts, arts educators and artists in our schools, the need for

creativity in the arts and in our lives, these issues have al1 been addressed in ans

integration. For me, one of the most compelling responses to al1 of these issues is

provided by Maxine Greene in Releasing the Imagination: Essavs on Education. the Arts,

and Social Change. Greene (1995) presents us with the premise that art aad imagination

shouid be the basis for al1 education.

We must make the arts central in school curricula because encounters with the

arts have a unique power to release the imagination. Stories, poems, dance

performances, concerts, paintings, films, plays - al1 have the potential to provide

remarkable pleasure for those willing to move out toward them and engage with

them. (Greene, 1995, p.27)

Summary: Integrated Arts Related Literature

There has been much written regarding the value of the arts and arts integration

in education. Still we experience schools with little or no arts programming, let alone the

arts as catalysts for student engagement and achievement across the curriculum.

Educational reform

This research focuses on teacher growth as a result ofpdcipating in the arts

initiative which forms the basis for this study. The teachers in this arts initiative are

pivotal in determining the success of the initiative. While the artists act as catalysts for

change, the teachers become the agents for change. Current research in teacher

transformation and educational reform informs the rationale and the methodology of this

study. Teachen' increased ski11 development and level of understanding is at the core of

study. Schon (1983, 1991) encourages this approach by advocating research that focuses

on the co~ection between research and practice. For the purposes of this study the

researcher has focussed on literature relevant to the initiative providing the context for

this study and to the research questions, which focus on teacher growth. It is the

researcher's belief teacher growth provides a rich pathway to educational reform.

Previous studies of the first and second year of this arts initiative demonstrated a wide

range of teacher response indicating teachers were in varying stages of the change

process. (Wilkinson et al., 1996, p. 16, 27,33,45, 65, 68 70; Wilkinson et al., 1997, p. 16).

The researcher believes this to be a natural evolution of developing integrated

curriculum. Drake elaborates

Don't forget there is more than one path to change. One is to change the beliefs

of those who are irnplementing something new. Another is to ask people to

implement the change even if they are not completely convinced. As people are

changing, they often make new meaning of the change, and their beliefs shift as

a result. In my experience, beliefs shift as we have new experiences, reflect on

them, and dialogue with others to make new meaning. (Drake, 1998, p. 182)

Fullan defines change as follows

A journey of unknown destination, where problems are Our fiiends, where

seeking assistance is a sign of strength, where simultaneous topdown bottom-

up initiatives merge, where collegiality and individualism CO-exist in productive

tension. (1993, p.viii)

Fullan maintains that as we move towards the twenty-fust century we must prepare

teachers and learners to deal with change.

Teachers' capacities to deal with change, l e m fkom it, and help students learn

from it will be critical for the future development of societies. They are not now

in a position to play this vital rule. We need a new mindset to go deeper.

(1993, p. ix)

Fullan tracks the spirit of educational reform fiom the 1960's to the present. He

describes the 1960's as a time when much money was spent on large scale national

cumculum efforts which led to disappointing results. The 1970's saw stagnation,

recovery and regrouping. By the end of the 70's confidence had once more been

established in the growing ideology that education and school were effective and made a

difiterence; however, society had lost faith. By the 1980's "society had had enough"

(p.2). The USA released A Nation at Risk and thus began large scale government

involvement in mandating curriculum and cornpetencies for teachers and lemers.

Canada, due to provincial autonomy, experienced less govemment control. At the same

time there appeared to be a move towards decentralization.

Overlapping these top - down regulatory efforts was another movement which

began after 1985. ?n the US it goes under the name of restructuring

(Elmore, 1990: Murphy, 1991). Here the emphasis is on school-based

management, enhanced roles for principals and teachers and other decentralized

components. (1 993, p.2)

According to Fullan the 1990's "present a combination of bifurcation and confusion"

(p.2). He maintains the stakes are high at the present time and does not recommend

staying in a state of confusion. Fullan suggests a new paradigm needs to emerge.

I maintain that we have been fighting an ultimately hitless uphill battle. The

solution is not how to climb the hi11 of getting more i~ovations or reforms into

the educational system. We need a different formulation to get at the heart of

the problem, a different hill, so to speak. We need, in short, a new mindset

about educational change. (1 993, p.3)

Fullan discusses his theory of the value of schools engaging in partnenhips.

"Leamhg organizations respect their environments because ideas are out there, politics

and partners are out there, and ultimately we are al1 out there" (p.84). Fullan argues that

these relationships require constant attention as the dynamic is not stagnant but one of

"dynarnic complexity" which demands "constant attention". Fullan points out that there

are many studies which indicate the majonty of schools do not explore or process ideas

fiom the outside yet those schools which seek outside ideas are achieving greater success

(Fullan, 1993).

There are countless studies now that show that the majority of schools do not

seek and process ideas from outside. But some schools do (although we have

no reason to believe that they sustain their innovative capacities). Rosenholtz's

(1989) depiction of 'stuck' and 'moving' schools in her sarnple of seventy-eight

elementary schools is clear about the difference between non-leaming and

leaming schools. Rosenholtz found that in the thirteen 'rnoving' schools in her

study, teachers leamed fiom each other and from outside. (1993, p.85 )

Other elements, identified by Hannay (1989), influence school change. For

example, change is a process (Fullan 1982). Change is persona1 (Fullan, 1982).

Change requires administrative support (Huberman and Miles 1984). Collaboration is at

the heart of change (Lieberman and Miller, 1984). Sustained administrative support is

important through the change process (Mc ûreal, 1989 and Miller, 1984). Professional

development is valuable during periods of change (Fullan, 1982 and Buskey, 1986).

Fullan (1991) provides an implementation mode1 to affect change. Fullan's four

areas of the process can be summarized as: clearly stating the intended change,

identifiing implementation factors, clariQing the implementation process and

documenting the outcornes.

The interactive factors which Fullan (1991, p.68) beiieves affect change are: need,

clarity, complexity and quality/practicality. Need for change was previously outlined in

this document. Fullan underlines the importance that teachers recognize both the need

and progress in meeting the need.

Clarity (or the lack of clarity) becomes a pivotal point in affecting school change.

Fullan maintains that problems related to clarity have been found in almost every study

related to educational change. The arts initiative which provides the context for this study

has had to deal with issues of clarity fiom the outset. The study participants have

demonstrated a consistent need for clarity. It is the researcher's view that clarity requires

concentrated effort and once again sustained, sequential programrning, both of which are

evident in the fkamework of the arts initiative being examined. Complexity is detennined

by the difficulty and extent of intended change. Fullan describes the dilemma between

simple changes and complex change. "Simple changes may be easier to cany out, but

they may not make much of a difference" (p.7 1). The best solution appears to be

incremental and sustained change. "the answer seems to be to break complex changes

into components and implement them in a divisible andor incremental manner" (p.72).

Fullan's description of quality appears clearly related to the intent of this study. Fullan

maintains that inadequate quaiity and insuscient resources are the result of decisions

made based on political necessity or perceived needs without time for process. Quality

requires follow-up, preparation time and sufficient materials. It is the researcher's view

the study participants have been provided with these elements.

It is possible, indeed necessary, to combine ambitious change and quality. 1

have maintained that it is what people develop in their minds and actions that

counts. People do not l e m or accomplish complex changes by being told or

shown what to do. Deeper meanings and solid change must be borne over time.

With particular changes, especially complex ones, one must stmggie through

the ambivalence before one is sure that the new vision is workable or right (or

unworkable or wrong) (Fullan, 1991, p.72)

The initiative which provides the framework for this study is a collaboration

between many partners. Fullan (1991, p. 68) views this type of collaboration as

important in affecting change. He lists the local characteristics as: district, community,

principal and teachers. He lists the external factors as: government and as other agencies.

The study participants are teachen and they have the support of the district, community

and principal. As well, they have the support of the govemment and other agencies as

these factors are inherent in the initiative which provides the context for this study. If the

study participants have been influenced by the arts initiative, have these characteristics

been helpful? Fullan ernphasizes that to effect successful change implementation needs to

be viewed as a change process. To accommodate implementation an assessment of

teaching rnaterials, teaching beliefs and teaching approaches must be taken. It is the

researcher's view that Fullan's framework is relevant to the research question as it

parallels the framework of the arts initiative which provides the context for the focus of

this study.

Wells ( 1 994) discusses the effect iveness of teacher researc h and educational

change. He maintains that valuing the practice-based knowledge and understanding of

teachers can bring about effective educational refom. Traditionally cumcular decisions

have been made fiom a hierarchical structure. He maintains this has threatened the

traditional structures.

Not surprisingly, therefore, the proposal to democratize the decision making

involved in bringing about educational change by recognizing and drawing

upon the very different expertise of inquiring teachers has met with opposition

or very limited enthusiasm by many of those who have a vested interest in

maintaining the status quo. (1994, p.2)

Wells also maintains that teacher research is not easily understood by those whose

experience has been shaped by traditional education research and policy making;

therefore, it is important for these teachers to find and to build a supportive community.

Wells provides an account of his own joumey as a teacher and researcher and attests to

his own experience that building comrnunity has proven to be successfui in affecting

personal transformation through collaboration amongst teachers (Wells and Chang

Wells, 1992).

Wilkinson (1996) elaborates on the significance of professional development in

achieving teacher growth.

Artist and teacher development sessions offer an ideal venue for the clarification

of many of the fuuy issues that have been raised as challenges to the project in

its pilot year. Most crucial from both teacher and artist perspectives appears to

be the need for artist-teacher planning time. Many of the challenges that

surfaced might be eradicated very quickly if these two professionals explored

together how to resolve problematic issues.. . ..Effectiveness of professional

development is evident in the amount and quality of follow-up activity teachers

engage in subsequently (Thiessen and Kilcher, 1991). Being meaningfully

involved in the process can minimize learned helplessness around 'integrating

the arts' and facilitate the institutionalization phase (Fullan, 199 1) of the project.

(Wilkinson et al., 1996, p.68)

Although the collaborative aspect discussed by Wilkinson can bring about

powerfiil resuhs in teacher growth and educational change, it also brings with it risk.

Hargreaves (1994) outlines the many different components of restructuring and cultures

of collaboration. He speaks to the acceleration and diversification of paradigm shifts of

the postmodem age. This paradigm has evolved to comprise a metaparadigm of

educational and organizational change. Hargreaves States that "one of the emergent and

most promising metaparadigms of the postmodem age is collaboration as an articulating

and integrating principle of action, planning, culture, development, organization, and

research" (p.245). He elaborates by outlining that collaboration can be helpful or harmful

depending on how it is approached.

Lf collaboration is central to educational restnicturing, its own meanings, like

the meanings of restnicturing more generally are neither consistent nor agreed.

Collaboration and restnicturing can be helpful or harmful, and their meanings

and realizations therefore need to be inspected repeatedly to ensure that theu

educational and social benefits are positive. But more than this, collaboration

itself is not synonymous with restnicturing, nor is it sufficient condition for

bringing about and working successfully through the project of restnicturing.

For collaboration, just as for restnicturing, what is really important is who

controls it, who is involved in it, what are its purposes, and what conditions are

necessary for it to be established and maintained. (1994, p.248)

Summarv: Educational Reform Literature

Although there exists a growing body of literature regarding educational reform,

outlining change is dependant on regional and local conditions. By being conscious of

individual conditions and by consistently acknowledging and responding to differences,

those who wish to affect educational reform can gain valuable insight fiom this growing

body of literature. In this shidy teacher change and growth is measured by examining

teachers practices as their body of knowledge changes. This takes time and sustained,

longitudinal research. This study describes the first three years of longitudinal research

and ongoing professional development in teacher growth and educational change.

Im~lications of the Literature

The process of developing, implementing and sustaining integrated cumculum

takes time and requires sustained commitment. The body of research is of significance to

this study as it provides insight and points of cornparison for what cm otherwise be an

insular joumey .

Literature regarding arts integration and hoiistic education spans decades and

provides useful descriptions and powerfil validation regarding the importance of arts

education in the cumculum. The literature offers perspectives for cornparison and

contrast for this study. Research in the field of educational change provides contemporary

cornparisons and offers substantial value to this study.

Chanter 3: Methods and Procedures

Within the context of a longitudinal study the researcher has used qualitative

methodology and procedures. The data was gathered through surveys and ongoing

teacher evaluations completed by teachers participating in this ar ts education initiative

throughout the past three years. In order to examine the effectiveness of this arts

initiative fiom the perspective of a planned change approach a variety of strategies were

used to compile, interpret and present data regardhg teacher growth. The approval

process of the Ontario Institute for Studies in Education, University of Toronto is

delineated in this chapter.

Kind of Data Collected

The data was collected in two ways: first, the participating teachers, on a regular

basis, submitted evaluations of artist sessions expressing their views on specific axts

disciplines and the effectiveness in the classroom. Secondly, these teachers were invited

to submit surveys outlining their views on arts education in response to the arts initiative

that provides the context for this study.

Identification and Location of Partici~ants

The criteria for teacher selection was based on teachers' current involvement in

this particular arts project. The number of years of teaching experience, teaching

specialty (if any), age, and gender of the teachers were not considerations in the process

of teacher selection as these were not considered relevant to this study.

Al1 of the teachers know the researcher as manager of this arts project. None is a

colleague or has a persona1 relationship with the researcher.

This locale was selected as a result of a study which took place in 1994 (Kom,

1994). This particular Board of Education was selected because of a history of supporting

rich arts based experiences, a commitment to the philosophy of this project and a creative

outlook As with most change, there has been evidence of some resistance to embracing

the vision of this project; however there was clear indication of less resistance dut-ing the

second year as well as the third year.

Study Participants

Selection

The sample population consists of teachers in a Metropolitan Board of Education,

in southem Ontario, who are participants in the arts infbsed program. Al1 teachers

participating in the arts initiative were invited to be part of this study.

Characteristics of participants

Al1 participants have a common link; they have al1 committed to being a partner

in this arts infbsed project for the five year implementation period. In grade 1 there are I 1

teachers, 10 female and 1 male. In grade 2 there are 11 teachers, 7 female and 4 male. In

grade 3 there are 10 teachers, 6 female and 4 male. in grade 6 there are 13 teachers, 8

female and 5 male. In grade 7 there are I l teachers, 8 female and 3 male. Ln grade 8 there

are 11 teachers 8 female and 3 male. In grade 9 there are 24 teachers, 15 female and 9

male. Al1 hold an undergraduate degree, B.Ed and are certified, by the Ministry of

Education and Training to teach in Ontario. It appears there is a greater continuity in the

elementary and middle panels. The secondary teachers appear less likely to remain in the

same grade or teach the same subject tiom year to year. The grade 1 and 6 teachers were

involved in this project for the third year. The grades 2,7 and 9 teachers were involved in

their second year. The grades 3 and 8 teachers were involved in their initial year. This

study attempts to explore the diverse backgrounds of the participants and how each of

them has been influenced, if at all, by having arts infused in their general CU-rriculum. As

the arts initiative which provides the context for this study, focuses on educational

transformation, current models of change may validate the findings of this research. The

researcher considers it critical to rewgnize teachers who are the focus of this study are a

minority since they are taking exceptional risks as they strive to work with community

artists and arts organizations, particularly at a time when arts education is not being

mandated by the governing powers.

Characteristics of Schools

There are seven schools participating in this project, three elementary (two K-5,

one K-4), two middle schools (one grade 6-8, one grade 5-8) and two secondary schools

(grade 9- 12 or 0.A.C).

One elementary and one middle and one secondary school are located in the

northwestem area ofthis board. These three schools consist ofa student population of

diverse ethnic backgrounds. There is a high E.S.L population and the region is

economically challenged.

Another elementary school, middle school and secondary school are located in the

mid-northem area of this board. These schools have a small percentage of diverse eihnic

backgrounds, a moderate E.S.L population and an upper middle class economic structure.

One elementary school is located in the south-eastem area of this board. This

school features a wide ethnic diversity, a high ethnic population and an econornically

challenged population.

The shidy includes seven schools in a 20 kilometer radius, al1 centralized within

the same Board of Education. The schools were constructed between 1968 and 1985.

Description of Partners in the Arts Initiative

The national music school, metropolitan board of education, graduate department

of a large metropolitan university, cornmunity artists and arts organizations are al1

considered partners. A fbll time manager and assistant, in the employment of the national

music school, coordinate the arts initiative.

The national music school takes a leading role in project planning, artist

development, staffdevelopment, program logistics and is committed to continued tiind

raising efforts to provide ongoing sustainability of this project. In addition, students from

the Professional School of this institution participate as artists where appropriate. The

overall management of this arts initiative is the responsibility of the program manager,

who is also the researcher.

The partici~ating board of education teachers are significant as this is essentially a

teacher driven project. Al1 teachers, in participating grades, take part in on site

professional development. By actively participating in stafl'developrnent sessions and in-

class artist visits, new teaching techniques are a component of the extensions that occur

between artist visits. The responsibility of application of these new techniques to daily in-

class experience rests with the teachers. Curriculum Support Resource Guides developed

by the music school, in collaboration with teachers and artists are intended to support

teachers with this process. Teachers are central to the design and success of this project.

Administration (Supexintendents, Coordinators, Principal, Vice-Principals,

Program Leaders) are al1 an integral part of this partnership. They are responsible for

supporting teachers, providing professional development release time and contnbuting to

the ongoing, sequential process to develop and deliver the program. There are a total of

three elementary Principals, two middle school Principals, two secondary school

Principals, four elementary Vice-Principals, two middle school Vice-Principals, six

secondary school Vice-Principals.

Artists working in this program have demonstrated a capacity and willingness to

work in a classroom environment. By participating in mandatory artist developrnent

sessions, artists are provided with oppominities to deepen their understanding of leaming

outcornes, to collaborate with one another in order to ensure a sequential approach and to

strengthen links to classroom cumculum. A cornmittee headed by the former

Coordinator of dance, drama and visual art, and comprised of teachers and

administrators, as well as representation fiom the music school, coordinate selection and

hiring of artists. The art forms currently being implemented are: Orff, drama, Afiican

storytelling/drumming, storytelling, visual art, puppetry, global percussion, photography,

poetry, creative writing, dance, drama, painting, book illustration, mask making, clay .

The arts organizations include a national ballet company and two national opera

companies, two theatre companies and a Puppet perfomance company.

The nraduate department of a large universitv provides third party assessrnent to

monitor the progress of this project on an ongoing basis.

Instruments and Administration

Ethical Review Procedures

The Ethical Review procedures of the Ontario Institute for Studies in Education at

the University of Toronto were completed and approved in July of 1997. An ethical

review was not required by the board of education but the research department of the

board of education required the researcher to submit a copy of the teacher survey before

consent was granted.

Studv Procedures

Upon receiving Ethical Review Certification as well as Board approval a letter

was sent to each Principal formally requesting permission to include hislher school in the

study. These letters (appendix D) were sent to each Principal by courier on Feb. 1, 1998.

Upon receiving the Principals' permission each teacher was sent a package by courier on

Feb. 15,1998. The package included a letter outlining the study, a copy of the survey as

well as a consent form and a stamped, self - addressed envelope.

Data Collection

Teacher evaluation forms are submitted regularly. They are collected by the

project manager and held at the music institution. Evaluation forms are catalogued by the

year. Surveys were collected on given dates.

The teacher evaluation form (Appendix B) was developed prior to implementation

of this arts project. Al1 elementary and middle school teachers were requested to submit

evaiuations following a series of artist visits. Secondary teachers were invited to submit

general comrnents and reflections following artist visits in place of the evaluation form,

should they choose this option. A survey (Appendix A) was developed by the researcher

for the purpose ofthis study. The survey was developed with the support and assistance

offellow students at OISENT. The survey was accompanied by a consent fonn as well

as explanations regarding anonymity procedures (Appendix A).

The Teacher Survey

The survey consists of nine questions. The first five questions request teachers'

views on their use of arts based teaching/leaming before being involved in this arts

project. The next four questions request teachers' views on their use of arts based

teachinglleaming since being involved in this arts project. Following these nine

questions there is space provided for additional comrnents.

The surveys were four pages in length and printed single sided on white paper.

Question 1, "Prior to this arts project 1 used arts based activities in my classroom (please

choose only one answer): A) every day B) three times a week C) once a week D) every

two E) once a month F) twice a year G) once a year H) never, and other. This question

assisted the researcher in determining the extent to which arts-based activities were

commonly used by each teacher.

Question 2, "Prior to the implementation of this arts education initiative 1 used arts based

activities; (please choose only one answer): A) in al1 areas of my curriculum B) in

several selected areas of my curriculum C) in arts subjects only D) never and, other.

This question was designed to determine whether and to what extent the arts were made

use of across the C U ~ C U ~ U ~ by individual teachers.

Question 3, " Pnor to implementation of this arts education initiative 1 used arts based

activities to assist in meeting "Literacy Outcornes": (please choose one answer and

provide examples) A) every day B) three times a week C) once a week D) every two

weeks and, other. This question helped the researcher determine to what extent, if any,

the teacher was using arts based activities to help meet MOET language outcornes.

Question 4, 'Trior to the implementation of this arts based initiative 1 felt confident using

the following art fonns in my classroom: (you may choose more than one answer)

A) singing B) percussion C) dance D) painting E) sculpting F) creative movement

G) soundscaping H) storytelling 1) composition J) puppetry K) mime and, other). With

this question the researcher was attempting to determine the degree of cornfort level

teachers felt with a wide range of art disciplines.

Question 5, "Prior to the implementation of this arts based initiative 1 took my class to

arts related field trips (concerts, performances, art galleries etc.): A) more than three

times a year B) at least three times a year C) twice a year D) once a year E) seldom F)

never. This question helped the researcher determine to what extent the teacher exposed

students to the arts through events outside of the school.

Question 6, "In what way, if any, has your view of arts education been influenced by this

arts education initiative?" With this question the researcher attempted to determine to

what degree, if any, the teacher's specific opinion or view of arts education has been

influenced,

Question 7, "With which art fonn (s), if any do you now feel confident in the

classroom?'This question was asked to help the researcher understand the teachers'

current paradigm.

Question 8, 'Tn what way, if any, do you envision using thesefthis art fom(s) in your

cumculum?" This question was designed to help the researcher determine the degree to

which arts activities were presently being implemented across the curriculum.

Question 9, "What do you know about arts education that you didn't know before

becorning involved in this arts education initiative?" This question helped the researcher

in determining the influence, if any. this arts education has had on perceptions regarding

arts education held by individual teachers.

Confidentialitv and Anonvmity Procedures

Al1 teachers and principals were notified, in writing, and verbally by the

researcher, that neither their names, the name of the school or the Board of Education

would be used in this study. The participating schools and participating teachers are

identified by codes. The codes were developed by the researcher in the following way:

The school was given a letter of the alphabet fiom A - G. The participating teachers were

given a number as well as the corresponding letter (Table 1). The consent forms as well

as surveys were marked with codes before being sent to the teachers. It was the

researcher's rationale that coding at the outset of the process would simpliQ the process

of ascertaining percentages of teachers willing to participate in the survey. This data itself

may prove to be of value to the study. Anonymity procedures taken by the researcher

were developed with the assistance of the researcher's supervisor, Dr. Joyce Wilkinson

and several students enrolled at The Ontario Institute for Studies in Education, University

of Toronto. The procedures, methods and instruments, designed by the researcher were

effective for the purpose of this study.

Table 1

/ School A

Study Participants Al,A2, A3, A4, AS, A6 Total Number of participants = 6

1 School B

Study Participants B 1, B2, B3, B4, B6, B7, B8, B9, B IO, B11, B12,B13, B14 Total number of participants = 13

1 School C

Study Participants C2, C3, C4, C5, C8, Cg, C 10 Total number of participants = 7

1 School D 1 Study Participants D 1, D2, D9 Total number of participants = 3

1 School E

Study Participants E2, E4, E8, E9, El 0, E12, E 13, E16, E25, E28 Total number of participants = 10

1 School F - -

Study Participants ~ 2 , ~ 3 , F4, F6 Total number of participants = 4

School G

Study Participants Gl,G4, GS, G6, G7, G12 Total number of participants = 6

Chanter 4: Data Anahmis

Introduction

Data Analysis Procedures

The researcher waited until al1 the surveys were submitted before examining

them, at which point the surveys were catalogued by school code and identification code

of participant. The researcher chose to review and group data by question rather than by

individual survey. Responses to the first question were read on each of the surveys and

the data was recorded. Then, responses to question two were read on each of the surveys

and the data was recorded. This process continued until al1 nine questions were

completed. The final conclusions are based on the collective themes that emerged

through this process.

Next, the teacher evaluations were reviewed. Only evaluations of the study

sample were examined and were grouped by school and grade. Again, each question was

examined one at a time allowing the researcher to seek commonalities.

This chapter will present the data fiom the teacher surveys as well as the teacher

evaluation forms. Each question will be analyzed individually with a focus on number of

respondents as well as content of response. Following each question a statement

outlining the researcher's conclusions will be made. The teacher surveys will be presented

first, followed by the data fkom the teacher evaluation forms.

The Teacher Surveys

Table 2

The teacher participants fiom each school corresponds to the number ofteachers

currently involved in this arts initiative and those who consented to be a part of this

study. There were 92 surveys sent out to participating teachers. Of these, 49 were

completed and retumed with consent forms. One survey fkom school B was retumeâ

indicating that teacher was no longer at the school. Seven teachers fiom school G were

not part of the arts education initiative. Therefore of the 92 original surveys sent only 84

teachen were eligible to participate and are referred to as the "study participants". Of

these 84 available teachers 49 agreed to participate in this research project. This

represents a 58.3% retum rate. Ofthe 49 participants, 26 were fiom the elementary panel

(school A = 75%, school B = 86.7%, school C = 70%) 13 fiom the middle panel (school

D = 37.5%, school E = 37%) and 10 fkom the secondary panel (school F = 66.7%, school

G = 60%)

SdiodE

10 17

L

Responu by Number - Surveys NOt RETURNED vs Retumed , Onnil

49 35 84

Odfai

58.3

SdiadF

4 2 6

SchadF

66.7

SehodG

6 4

10

SbiodG

60.0

M D

3 5

'SdiodC

7 3

10

SdiodC

70 .O

-SdiodB

13 2

Retumed Not Retumed

8

- 0

37.5

15

Sdiod6

86.7

SdioaA

6 2

v

Total

fimentago Responre

27

ScbdE

37 .O

8

School A

75.0

Question 1 : "Prior to the implementation of this arts education initiative, 1 used arts based

activities in my classroom?"

Table 3

The 26 teachers fiom the elementary panel who retumed surveys responded with

answers ranging fiom 0% who never used arts based activities prior to the

implementation of the arts initiative, to 26.9% who used arts-based activities everyday.

"Other" included the following two responses

a "varies"

r "whenever it fits with my program"

The 13 teachers fiom the middle school panel who retumed surveys responded

with answers ranging fiom 0% who nevet used arts based activities prior to the

irnplementation ofthe arts initiative, to 23.1% who used arts-based activities once a

week.

Othet responses included;

"twice a week"

"depends on the class"

"rarely used arts approach"

The 10 teachers from the secondary panel who retumed surveys responded with

answers ranging fiom 0% who never used arts based activities prior to the

implementation of the arts initiative, to 20% who used arts-based activities everyday.

Ouestion 2: "Prior to the implementation of this arts initiative, I used arts based

activities:"

Table 4

Response by Number

Elementary Middle Secondary

inrmnlmlaueuwwrchrcr~ardy

5 5 5 1 3 1 1

21

I

Schooi A School 6

L

Sdiool C School O

-

Sctiool E mod F School G Total

hJIwwrdmy-

O 5 2 2

-

5 2 3

19

hdummdmycunkulwn

26.9 53.8 50.0

1 O O O O 1 O 2

Rermnse r i a Perwntaao inmmiIllr#dulYItiriwtraWctSWY

57.7 30.8 20.0

imiw

O O O O O O O O

3.8 0.0

10.0

oOiw

O 2 O O 2 O 1 5

muu

0.0 0.0 0.0

nonigoiiir

O 1 O O O O 1 2

6 13 7 3

10 4 6

49

1

0Uw

7.7 15.4 10.0

mnigmrr

3.8 0.0

10.0

100.0 100.0 100.0

The 26 teachen fiom the elernentary panel who retumed sumeys responded with

answers ranging fiom 3.8% who used arts based activities in arts subjects only to 57.7%

who used arts-based activities in selected areas of the curriculum.

"Other" included the following two responses:

a "as can be integrated with curriculum"

a "in some areas of the cumculumy'.

The 13 teachers from the middle school panel who returned surveys responded

with answers ranging from 30.8% who used arts based activities in selected areas of the

curricdum to 53 -8% in al1 areas of the curriculum.

"Othe?' included the following responses:

"rarely"

"drama"

The 10 teachers from the secondary panel who returned surveys responded with

answen ranging fkom 10% who used arts based activities in arts subjects only to 50% in

al1 areas of the curriculum.

"Other" included the following responses:

" 1 or 2 selected areas of curriculum."

Question 3, "Prior to implementation of this arts education initiative, 1 used arts based

activities to assist in meeting "Literacy Outcornes:"

Table 5

The 26 teachers from the elementary panel who retumed surveys responded with

answers ranging fiom 7.7% who used arts based activities to assist in meeting "literacy

outcomes" every two weeks to 26.9?h who used them once a week.

"Other" included the following responses:

'9 occasionally used art to draw links from language and heighten comprehension."

"1 would try to use a theme, either from a story we worked on, or a

science/sociaVhealth theme - to incorporate an art idea or son& ie. Junk Food Blues,

Ice Cream,"

"painting, drawing, modeling, music as integration or follow-up", "depending on the

cumcular area. Eg . Drmatizing stories in the literacy program."

The 13 teachers fiom the rniddle school panel who retumed surveys responded

with answers ranging Êrom 7.7% who used arts based activities to assist in meeting

"literacy outcomes" every two weeks to 30% who used them everyday.

~ ~ h r O w W k l . a U m r

1 O 1 O 1 O 1 4

~ ~ W I I ( O O l h w

7.7 7.7

10.0

Response by Number -

-Y T W

- 6 13 7 3

10

4 , 6

49

1

100.0 100.0 100.0 .

O 4 O O 4 3 1

12

1 5.4 30.8 40.0

1 ~ ~ r w a i l o n a , 8 ~ nanigonir

O 1 O O 2 O 1 4

fmnigoiw

3.8 15.4 10.0-

L

School A School B

1

School C Schml D School E- -

School F Sctiool G Total

4 1 2 O O 1 O 8

O 1 1 3 3 2 2 O 2

12

Response as a Percentage

4 1 1 1 O 1 9

Elementary Middle Secondary

mmnmosrww(onarM1ç

23.1 30.8 20.0

23.1 1 5.4 10.0

26.9 0.0

10.0

"ûther" included the following responses :

r "Two times a week. The students used drama (eg. tableaux, role playing,

improvisation) to better understand plot, setting, and characterization of a story -

usage of storytelling for book reports; reciting poetry dramatically with visual art

backdrop."

r "Book activities need not be written reports.. . .they may be performancddrawings

and illustrations, songs -etc.", "Once a month 1 would have students role play the

characters in a novel, or an explorer such as Jacques Cartier.",

The 10 teachers from the secondary panel who returned surveys responded with

answers ranging fiom 10% who used arts based activities to assist in meeting "literacy

outwrnes" every two weeks to 20% who used them everyday.

"Other" included the following responses:

"Once a month 1 used drama (improvisation mostly) and oral presentations in English

and Global Education.", "once or twice during a school year I would incorporate

storytelling or puppets into Language Arts."

"Once a rnonth. Arts based activities include drama (monologues, presentations) Aiso

- the creation of visuals for research projects etc.", "gallery reports once a month."

Ouestion 4% 'Trior to implementation of this arts education initiative, I felt contident

using the following art forms in my classroom;"

pdnw ~- -- R>ud#iphg rloryWlng anpaiPlbi - mhw o(har

Sdiwl A Sdiool B Schod C Sdid D Sdiod E Schd F School G Total

Rusponm :as r Percentage I

pJliting rcir104h0 --#udwqhg-Y-m ampoJdkn WWY r

Elementaq 18.3 12.0 16.0 76.0 4.0 20.0 4.0 64.0 20.0 28.0 20.0 4.0 286.3 MMdle 46.2 30.8 38.5 46.2 30.8 46.2 30.8 61.5 53.8 53.8 38.5 15.4 492.3 . Secondary 10.0 20.0 10.0 50.0 40.0 10.0 0.0 100.0 70.0 20.0 20.0 0.0 350.0

5 8 2 3 3 1 O

22

O 3

-- -

O 1 3 O 2 9

2 1 1 2 3 1 O

10

3 I O 6 3 3 2 3 30

O O 1 2 2 1 3 9

1 1 3 1 5 O 1

12

-- -

O O 1 2 2 O O 5

- -.

3 7 6 3 5 4 6

34

-

1 2 2 2 5 4 3

19

1 3 3 3 4 1 1

16,

O 3 2 3 2 1 1

12

O 1 O 1 1 O O 3

16 39 27 26 38

1 5, 20

181

The 26 teachers from the elementary panel who retumed surveys responded with

answers ranging fiom 4% who were confident with sculpting and soundscaping, to 64%

who were confident with storytelling:

"Othef included the following responses:

"Structures."

"1 am not confident in any of these but do so to the best of my ability."

The 13 teachers from the middle school panel who retumed with answers ranging

from 30.8% who were cofident with percussion, sculpting and soundscaping, to 6 1.5%

who were confident with storytelling:

"Othet' included the following responses:

"Improvization, roleplaying."

"Photograms"

"Photography"

The 10 teachers fiom the secondary panel who retumed surveys responded with

answers ranging fiom 0% who were confident with soundscaping, to 100% who were

confident with storytelling:

Question 5, "Prior to implementation of this arts education initiative, 1 took my class to

arts related field trips (concerts, performances, art galleries etc.):

Table 7

The 26 teachers fiom the elementary panel who retumed surveys responded with

answers ranging from 23.1% who never took classes to arts related field trip, to 7.7%

who took their class on arts related field trips more than three times a year.

The 13 teachers from the middle school panel who retumed surveys responded

with answers ranging corn 23.1% who never took classes to arts related field trip, to

23 .l% who took their class on arts related field trips more than three times a year.

The 10 teachers fiom the secondary panel who rehimed surveys responded with

answers ranging fiom 10% who never took classes to arts related field trip, to 30% who

took their class on arts related field trips more than three times a y=.

Question 6 "In what way, if any, has your view of arts educaîion been influenced by

partici pating in this arts education initiative?" The researc her has divided responses into

thm groups; positive, neutral, negative.

SCHOOL A

Positive responses:

not as difficult as had been thought to integrate the arts into different subject (Al)

a more confident in using the arts (Al)

a use of arts meets the needs of multiple leamers (Al)

a can see greater number of opportunities to link literacy to the arts (A2)

cornfort level has increased (A2)

a does much more with the arts than previously (A2)

a experiences have supported previously held personal philosophy "you have to

reach children to teach them" (A3)

children had fun, were relaxed, and as a result they are involved and

they leam (A3)

positive program which enhances learning (A3)

success ot-iented and for al1 students (A4)

impact on students has proven to be substantial

ie. vocabulary retained from one grade to the next (A4)

important in supporthg the great variety of learning styles (A4)

expanded previous comfort level with visual art (A9

felt supported (AS)

felt cornfortable with additional related activities

including storytelling, puppetry, book illustration (AS)

observe joy in the children's faces (A6)

children are experiencing leaming from experts (A6)

children with behavioral and leamhg problems demonstrate interest (A6)

children are participating and experiencing success (A6)

Of the six saidy participants f?om school A, the researcher found no neutral or negative

responses.

SCHOOL B

Positive responses:

learned to appreciate and implement a wider group of activities in program (B 1)

has provided a different and exciting lens to view teaching and children's

leaming (B 1)

enjoyed being part of the partnership planning (B 1)

tried to increase understandings of arts and curriculum links (B2)

provides wonderfil extensions throughout the language and math curriculum (82)

much more relaxed in integrating music and visual arts into literacy themes (B3)

has seen first hand that it works (B4)

it engages and focuses the students (B4)

those who don't succeed often in other areas are able to here (B4)

gave a fresh outlook and was introduced to more resources and people (86)

is now more coddent and determined to keep the arts in daily program (86)

sees now how to integrate the arts into many different curriculum areas (B7)

sees that there is a variety of aspects to the arts, not just singing etc ... that can be

done (B7)

classical music can be understood and enjoyed by young children (B7)

aware of more varied arts fonns that may be utilized to enhance leaming @9)

a more aware of strategies and skills in certain art forms that can be taught (B9)

a stimulated thinking about inclusions in program (drama) ( B 1 1)

a particularly impressed with the potential program (B 13)

a reinforced belief in the importance and the effectiveness of its (the arts) use in

general cumculum (B 14)

Negative responses:

a due to budget cut backs the limited exposure was a drawback to meaningfbl and

sustained involvement (B 13)

Of the 12 study participants from school B the researcher found no neutral responses.

One study participant from school B did not answer this question.

Eleven out of the 20 responses indicated increased confidence. Four out of the 19

responses indicated influence on student learning. Six out of the 19 responses indicated

influence on integrated cumculum.

SCHOOL C

Positive responses:

more knowledge about how to implement arts in more areas of the cumculum (C2)

a selficonfidence in willingness to try (C2)

a has seen more opportunities to integrate arts education into other cumculum areas

the link to literacy was especially highlighted (C4)

a realized that you do not have to be an expert in an area, you just have to have enthusiasm

and a few basics (CS)

a the opportunity to work with artists and to view drama and music in a different way (Cg)

a was given more oppominities ta discover creative ways to support arts in the

classroom (C 10)

Neutra1 responses:

a has believed in arts based leaming for a long time, this has not changed (C3)

Of the six study participants from school C the researcher found no negative responses.

Two out of the seven responses indicated increased confidence. None of the seven

responses indicated influence on student leaming. Four out of the seven responses

indicated influence on integrated cumculum.

SCHOOL D

Positive responses:

a builds confidence to integrate, experience new ideas, prompt more discussion @ 1)

a kids meet Canadian artists, respect for cultures, gain new knowledge (Dl)

a strengthened interest in arts education 0 2 )

a more conscious of including the arts cross-curricular @2)

a reaffirmed that arts education is essential @9)

Of the three study participants fiom school D the researcher found no neutral or negative

responses,

SCHOOL E

Positive responses:

a the use ofdrawing to stimulate oral fluency has been enhanced (E8)

O the addition of soundscaping and the new awareness of how storytelling effectively

enhances writing (E9)

O gave more diverse teaching strategies which makes the learning process a lot more

enjoyable for students (E12)

the joy of celebrating and sharing with professional artists in the classroorn/school the

nature of their work, the vocabulary ofthe arts and the additional skills it offers

for student development (E22)

reminder of the multidimensionality of student skills and abilities which can be

expressed (E28)

ease and simplicity with which one can help students be successfbl in creative

ways (E28)

believes strongly in the arts, therefore this has been an extension of the classroom

program ( E W

Neutra1 responses:

don't know yet (E25)

Negative responses:

none really (E 13)

Of the nine study participants fiom school E the researcher found one study participant who did

not answer the question.

SCHOOL F

Positive responses:

a has seen shidents who would misbehave on outings really participate and benefit fiom

arts aaivities (F2)

a feels more confident taking risks in the arts areas (F3)

a a perfect medium for self expression (F4)

a very engaging way to explore various artists (F4)

a easy to see that students are rnotivated/stimulated by different approaches to leaming

through the arts (F6)

will continue to seek different art forms to teach cumculum (F6)

Of the four study participants from school F the researcher found no neutral or negative

responses.

SCHOOL G

Positive responses:

the connection between the arts and curriculum has been strengthened (Gl)

arts are a powerful communal and individual experience (G4)

it provides a springboard for discussion, leaming and speculation (G4)

realized that the students become more relaxed afler an art session (G5)

should incorporate more arts into the cumculum (G5)

has validated the teachers practise of leaming through the arts (G12)

has strengthened the integrated arts program at the school (G12)

has validated what the teacher as an educator has practised for 25 years (G16)

contact with artists (G7)

Of the ten study participants corn school G the researcher found no negative responses and four

study participants who did not answer this question.

In order to strengthen the integrity of these findings the researcher used data

triangulation (Denzin, 1978) by establishing categories within a database and then across

other databases. The categories which emerged during analysis of data for this question

are:

1. increased confidence

2. influence in classroom environment

3. increased integration

4. more tools to assist with arts integration

5. requires additional support

6. received validation

"Increased confidence" was indicated by school A study sample teachers 7 times

compared to school B = 12, school C = 2, School D = 3, school E = 1, school F = 2,

school G = 3. Every school has at least one teacher who has indicated increased

confidence as an influence of the arts initiative.

"Influence in classroom environment" was indicated by school A study

participants 1 1 times, compared school B = 4, school C = 1, school D = 2, school E = 4,

school F= 3, school G = 4. Every school had at least two teachers who indicated

classroom influence as an influence of this arts initiative.

"Increased integration" was indicated by school A study sample teachers 3 times,

compared to school B = 9, school C= 4, school D =2 , school E = 3, school F = 4, school

G = 6. Every school had at least two teachers who indicated increased integration as an

influence of the arts initiative.

"More tools to assist with cumculum" was indicated by school A study sample

teachers once, compared to school B = 3, school C = 4, school D = once, school E = 2,

school F = 2, school G = once. Every school had at least one teacher who indicated the

arts initiative as providing tools to assist with classroom cumculum.

"Requires additional support" was not cited by schools 4 C, D, F, G study

sample teachers compared to school B, once; school E = 2. Two schools indicated they

required additional support with the arts initiative.

"Received validation" was cited by school A study sample teachers 2 times

compared to school B = once, school C = once, school D = once, school E = once, school

G = 3, and school F = no mention. Al1 schools, with the exception of school F indicated

persona1 validation as an influence of the ans initiative.

Ouestion 7, "With which art fom(s) do you now feel confident in the classroom?"

SCHOOL A

Positive responses:

a different mediums in visual art (Al)

a Orff, storytelling, classical music (A2)

a Painting, creating (A3)

a Drawing, using multi media (A4)

Visual arts, storytelling, puppetry, creative movement, dance (AS)

a Stoiytelling, puppetry (A6)

Of the six study participants fiom school A the researcher found no neutral or negative

responses,

SCHOOL B

Positive responses:

a music, choral work, wider range of visual arts, percussion - in a simple way (BI)

a painting structures, rhythm movement (B2)

a soundscapes, Orff instruments and combining paints with construction paper (2

layers) (B3)

a same as before, plus soundscaping (B4)

a singing, puppetry, illustrating stories & telling stories in a more expressive manner (B4)

a drama, stoqtell hg, percussion(B7)

a singing, storytell ing, making use of puppets more effective1 y (B8)

a puppetry, visual arts, storytelling (B9)

a drama (B 1 1)

a drama (B 12)

a drama (B 13)

a visual arts, music (instrumental), drama (B 14)

Of the 12 study participants fiom school B the researcher found no neutral or negative

responses. One study participant tiom school B did not answer this question.

SCHOOL C

Positive responses:

a music, movement, picture-making (C2)

a most visual arts (C3)

a storytelling, puppey, visual arts (C4)

a dance & movement and drama (Cg)

a tableau (Cg)

a drama (CIO)

Of the six study participants from school C the researcher found no neutral or negative

responses.

SCHOOL D

Positive responses:

singing, percussion, painting, creating, movement, puppetry, riddles ( Dl)

a singing percussion, dance, painting, mative movement, storytelling, riddles,

PuPPetry 0 2 )

percussion and Orff instruments (Dg)

Of the three study participants fiom school D the researcher found no neutral or negative

responses.

SCHOOL E

Positive responses:

storytelling, puppetry (E8)

percussion and music (E 10)

drama (E12)

drama, music (E 13)

dance, drarna, drawing with multimedia, percussion, storytelling

and photography (E26)

dance-aerobics, sculpture, photography, movement, visual arts (E28)

photography, percussion, dance (E22)

Neutra1 responses:

a no change (E25)

Of the ten study participants from school E the researcher found no negative responses and two

study participants who did not answer the question.

SCHOOL F

Positive responses:

a music, art forms (F2)

a music, storytelling, role playing (F3)

visual arts, music, drama (F4)

Msual arts and perhaps percussion (F6)

Of the four study participants fiom school F the researcher found no neutral or negative

responses.

SCHOOL G

Positive responses :

9 music, art, percussion ( G1)

percussion (G4)

a storytelling with music (G5)

expanding cumculum mostly through writing, reading (G7)

a dance, acting, dnimming, sculpture, painting, set design (G12)

all(G16)

Of the ten study participants €tom school G the researcher found no negative responses and four

study participants who did not answer this question. A profile of teacher growth is provided

when this question is compared to question four. Table 8, on the following page outlines the

cornparison.

Tacsc art toms wcre rddcd to tbe pod af tdmcbcr talent wiîbia r daigarted scbool

BEFORE impkmentation

Tcrcbera witbin r dedgmted nchool feIt cornfortable uing t k Followiog art Forma

Before and After Msud arts O@ Storytcling Introduction of

classicd music PPinting & creating Dmuing M~W-mcrlia Ylsud Arts ~ P P * Making puppets Storytding C d v e movement Dance

Dance Singing Painting Storytelling Composition Creative Movement PuPP~Q'

Music Choral wotk Visual arts Percussion Painting Rhythm

D ~ m o Instrumental Music Singing Painting Storyîelling

Percussion mvw' Composition Dance Mime Creative Movement

School B

Music Mavernent Picture-muking Wsual arts Stmytelling P U P P ~ ' Dance Mouentent Dtama Tubleuun

Sing h g Dance Painting Sculpting Creative Movement Storytelling ~ppew Mime Soundscaping Composition

School C

Riddes Percussion Cm&e movement Puppchy Music O~insiruments

Singing Percussion Dance Painting Sculpting Creative Movement Soundscaping Storytelling Composition ~ P F W Mime Drama

School D

Stofytclluig Sin& Percussion Creative Movement Storytetling Drama Creative Movement Soundscaping Storytehg Composition Mime Improvisation Role Playing Sculpting Dance

School E

Music Vadous OH foms Rote playng Ylsuol a& Percussion Dmma

Storytelling Composition Singing Dance Painting ~ppeW Mime Sculpting

Schwl F

Music Mibual aH P mussion Sto*clting

wirk music wrtting Dance A h r g Dmmming set Design EvetyrhingJ

- Painting Sculpting Storytelling Composition Role Playing Poetry Percussion Creative Movement pwi'm' Mime Drawiag Collage

School O

Question 8. "In what way, if any, do you envision using thidthese art forrns in your cumculum?

SCHOOL A

Positive responses:

integrate more art foms into teaching, particularly more drama (Al)

persona1 goal is to reach greater numbers of students through arts based

activities (A 1)

feels cornfortable trying the arts based activities without the artist support (A2)

continue expanding and integrating what was learned this year (A3)

use of arts in many areas of the cumculum (A4)

particularly more connections in math (build vocabulary, elements of shape and

design) and social studies (clothing, dwellings, cross cultural studies) (A4)

experiences have provided first hand knowledge (content) for writing and

reading (A4)

integrate the arts across the cumculum (AS)

have the arts drive other cumculum areas, example; math - creating three

dimensional sculpture by using geometry, solids, painted and displayed (A5)

the arts can drive the basics (AS)

behavior modification (A6)

general atmosphere of the classroom (A6)

introducing new vocabulary in al1 subject areas (A6)

Of the six study participants fkom school4 the researcher found no neutral or negative

responses.

SCHOOL B

Positive responses:

continue to use the same art fonns but more fiequentiy (BI)

combine forms for use in special projects (B 1)

math, literacy, development of feelings and expression, problem solving (B2)

co~ected to everything covered in aftemoon theme (333)

throughout al1 the cumculum as related to our theme (B4)

more ways in which to use the forms within other cumculum areas (B6)

extending units using a variety of art forms (B7)

students respond well to al1 art forms (B7)

to promote oral language, especially with the ESL students by creating dialogues,

plays, stories using puppets (B8)

with a variety of literacy, math and science activities (B9)

drama in language arts and gym programs (B 1 1)

include in planning soundscapes and tableaux (B 12)

integrate into language and math activities, also into environmental studies for drama

effects (8 13)

al1 forms can be used in almost every part of cumculum eg: drama in literacy

(fairytales etc.), building structures in math and science. @ 14)

Ofthe 12 study participants from school B the researcher found no neutral or negative

responses.

SCHOOL C

Positive responses: a

8 continue using arts in the program (C3)

8 hope to expand on music (C3)

8 to support the literacy program (stocytelling, puppetry, drama) (C4)

8 to support the math, science, social studies programs (visual arts etc.) (C4)

8 follow up stories, play etc. (C8)

would like to plan a school musical or play, need to prepare students so that they will

want to participate (C9)

8 hope to use drama to augment the second steps of the program as a vehicle for

self-expression (C 10)

Of the six study participants fkom school C the researcher found no neutral or negative responses

and one study participant who did not answer the question.

SCHOOL D

Positive responses:

8 to enhance knowledge, promote/extend greater thinking, appreciation, promote hands-on

oppominities to create, experience, write 0 1 )

8 envisions using these art foms in al1 areas of the curriculum @2)

Of the three study participants from school D the researcher found no neutral or negative

responses and one study participant did not answer the question.

SCHOOL E

Positive responses:

a will use drama and storytelling to teach social skills and literacy (E8)

a used the important role of rhythm to help students see the patterns and natural rhythm in

the French language (E10)

O will use drama to teach oral skills to the students (E12)

will use drama in Social Studies and English (E 12)

a use dance to add to physical education (E22)

use percussion to accompany poetry, readings with rhythm, create instruments (E22)

use photography to do a collage on science topics, study of history in social sciences

(photograp hs as artefacts) (E22)

seeking more oppominities to integrate art fonns within the cumculum (E28)

Neutra1 responses:

same as before (E 13)

a same as now (E26)

Negative responses:

O didn't (E9)

a would like to have more unit integration (E25)

O new report cards separating areas may prove to be dificult (E25)

Of the ten study participants from school E, the researcher found one study participant who did

not answer the question.

SCHOOL F

Positive responses:

now tries to include an arts option as a way of a student demonstrating what they have

lemed (F2)

a will continue to use those techniques which have been introduced to -dents, arpanding

their use into other areas of the curriculum (F3)

the art forms could be used to develop and consolidate the mdents' creative writing

skills etc. (F4)

a music could be used as a part ofdramatic presentation (F4)

a could also be tied to literacy objectives through the use of reviews

written analysis etc. (F4)

percussion to use with poetry (F6)

a visual for almost anything (F6)

Of the four study participants fiom school F the researcher found no neutral or negative

responses.

SCHOOL G

Positive responses:

a continue to use the arts to promote curriculum (Gl)

a use percussion for storytelling, drama (G4)

can use these art forms when teaching poetry, storytelling and composition- writing (GS)

0 use integrated arts projects, productions, storytelling, dmmming as a way to enrich

l iteracy (G 1 2)

Neutra1 responses:

is already in the curriculum (G16)

Of the ten study participants fiom school G the researcher found no negative

responses and five study participants who did not answer this question.

In order to strengthen the integrity of these findings the researcher used data

triangulation (Demin, 1978) and found categones consistent with those which emerged

for question 6.

S tudy sample teachers at school A included three responses indicating " increased

confidence", compared to school B = 2, school C = O, school D = 1, school E = 1, school

F= 3, school G = O. Every school, with the exception of schools C and G, has at least one

teacher who has indicated increased codtdence as an influence of the arts initiative.

"Muence in classroom environment" was indicated by school A study

participants 7 times, compared to school B = 12, school C = 2, school D = O, school E =

1, school F = 3 and school G = O. Every school, with the exception of schools D and G,

had at least one teacher who indicated classroom influence as an influence of this arts

initiative.

"Increased integration" was listed by school A study sample teachers 9 times,

compared to school B = 12, school C = 4, school D = 2, school E = 7, school F = 7,

school G = 3 times. Every school had at least two teachers who indicated increased

integration as an influence of the arts initiative.

"More tools to assist with cumculum" was not indicted by school A study sample

teachen, compared to school B = 1, school C = 2, school D = once, school E = 8, school

F = 6, school G= 3. Every school, with the exception of school A, had at least one

teacher who indicated the arts initiative as providing tools to assist with classroom

curricufum.

"Requires additional support" was not indicated by schools A, B, C, D, F, G study

sample teachers compared to school E = 3. Only school E had teachers who indicated

they required additional support with the arts initiative.

"Received validation" was not cited by school A, B, C, D or F study sample

teachers compared to school E = 2, and school G = 1.

89

Ouestion 9, "What do you know about arts education that you didn't know before becoming

involved in this arts education initiative?"

SCHOOL A

Positive responses:

learned to integrate arts into other curricular areas with success (Al)

less fear of the arts (Al)

more confident using the arts (Al)

benefits of working with specialists (Al)

benefits to teachers as well as students (Al)

the arts reach a greater number of students than other curricular areas (Al)

recognition that grade one students are capable of benefiting fiom the arts (A2)

better understanding of what grade ones are able to accomplish (A2)

better understanding of what teacher personally can accomplish (A2)

has become an eager participant and acknowledges reluctant start (A2)

opened up the classroom program (A2)

confident enough to attempt current activities without the guidance of the artists (A2)

recognized there are many different fonns of art (A3)

recognized how much the arts cm be used in the classroom - in overall prograrnming

(A31

holds importance for d l students (A4)

meets the needs of every leamhg style (A4)

those who struggle at school and those who have low attention spans excel in

the arts (A4)

long lasting effects due to the hands on nature of experiences (A4)

provides countless materials for reading and writing (A4)

bas made a concentrated effort to use the arts daily in al1 areas of cuniculum (AS)

everything seems to fit (AS)

regrets that this awareness was not present at the beginning of the teaching career

(A51

make sense to students (AS)

students participate effortlessly and with a great deal of enjoyment (AS)

is now more secure in the belief that the arts teach creative thinking, problem solving,

risk taking, team work and communication (AS)

children who seem unreachable can be motivated if the "right key" is found (A6)

children who seem "hopeless" have corne "shining through" using arts as the

motivator (A6)

children need to hear another voice in the classroom (A6)

many ways to teach core data (A6)

Of the six study participants fiom school A, the researcher found no neutral and no negative

responses.

SCHOOL B

Positive responses:

a the power of art gives every child an oppominity to be successful (BI)

a the fieedom allows them to develop in different ways and to use talents

otheMnse hidden (B 1)

a project has made a significant contribution to class and teaching (B 1)

tons @2)

literature can come alive through music and paint (B3)

don? need a Masters in music in order to include music in the curriculum (B3)

percussion doesn't have to happen through the whole Song (B3)

singing a story makes it come alive and is easily remembered by students (B3)

lots of new ideadstrategies to help plan the integration of al1 my units (B4)

a staiting point to introduce various themes eg. building the students art vocabulary,

expressive words, storytelling, beats of words (syllables), lines, texture, contrasis (B4)

like doing more of it on a regular basis (B6)

cm do a pretty good job in some of the arts areas, even though not a pmicularly good

artist (B6)

knows that a lot can be done around the arts (B7)

they can be the core ofany unit (B7)

can extend the art form into any curriculum area (B7)

effective use of Orff instruments (BS)

be a more effective storyteller , use puppets effectively with students, stoiy illustrations

using different techniques (88)

learned to be more cornfortable with artistic style and vision, thus encouraging

students (B9)

more appreciative of representing ideas, thoughts and feelings through those artistic

forms that was less exposed to (69)

working with the artists help legitimize art related activities in the classroom (B9)

students are more interested and it helps them express themselves through a medium

*

that is not industry standard ( ' 9 )

a art provides an excellent environment for the students to leam, experiment and

communicate (B 10)

a art is an important aspect of teaching (B 10)

take every opportunity to do art with the class (8 10)

a the arts can be very important and play a major role on the cumculum (B 13)

now have more experience in using arts based media in cumculum (B 14)

Negative responses:

a the stress & demands for achievement in the traditional academic areas go against

extending arts programs (B 13)

if expectations included arts achievement as well as academic ones then there could be

more arts involvement, however this appears to be a political issue (B 13)

Of the 12 study participants fiom school B the researcher found no neutral responses and

one study participant who did not answer this question.

SCHOOL C

Positive responses:

0 kids can do more than the teacher thought they could (C2)

a didn't realize the extent to which it could be integrated across the cumculum (C4)

a students responded well to arts education and follow up activities in other subject

areas (C4)

is able to incorporate literacy, math, science and social studies outcornes throughout

lessons and activities (CS)

a approaches art with much more confidence (CS)

O is impressed with the students' creativity, ability and enthusiasm for the arts (CS)

O how to involve ESL students in drama eg (machines) even though they couldn't speak

they could participate (C8)

O working with an artist and seeing their approach to teaching their craft to others (C8)

Neutral responses:

O did not corne to lem anything new, just a refieshing of the memory (CIO)

Of the six study participants from school C, the researcher found no negative responses and one

study participant who did not answer the question.

SCHOOL D

Positive responses:

O learned more about percussion, riddles, painting @ 1)

O helped to reinforce methods of assessment/outcomes, etc. @ 1)

a how much children enjoy working with artist (Dl)

soundscaping @2)

a percussion (D2)

O chiidren have a lot of hidden talents, the exposure to the artists has been wonderfil (D2)

Neutral responses:

O has always had an interest in integrating the arts, therefore nothing particularly

different (D9)

Of the three study participants fiom school D, the researcher found no negative responses.

SCHOOL E

Positive responses:

O more about each fortn (what the stuâent leamed) (E2)

reaults of research on positive effects ofLTTA on education in general (E2)

appreciates the contributions of professional artists can make to the learning and the

aesthetic growth of students (E4)

was an incredibly rewarding experience for al1 (E4)

did not realize how important it was to include arts as a key component to teaching (E8)

(the arts education initiative) has legitirnized the role of the arts in education (E8)

it is an inspiration for the students and the teachers to have an artist make a

presentation (E9)

observed students being engaged, motivated and challenged to open their minds to

creative thought @ 10)

envisions the classroom program being enhanced by guest artists (E 10)

learned how to do tableaux and other diflerent ideas for drarna (E12)

was aware of the possibility of integration of the arts, but did not have the resources to

facilitate this (E22)

more aware of the possibilities of using the vocabulary of the arts to extend literacy

activities (E22)

that constructing 3D art fonns can be considered "sculpture" (E28)

that photography can now be quickly computerized into data files for transfer (E28)

exploration of media foms is an excellent basis for building vocabulary and

language (E28)

Negative responses:

found preparatory meetings tedious and unproductive, other than to arrange times and

schedules (E4)

a f i l s that the teacher and professional development input is unnecessary, the artists do

such a wonderfûl job (E9)

a found drama to be a disappointment (E13)

Of the ten study participants fiom school E, the researcher found no neutral responses and one

study participant who did not answer the question.

SCHOOL F

Positive responses:

learned that isk taking in a new art fonn can carry over to literacy, oral presentations and

can deepen the leaming expenence of al1 students (F2)

many students have hidden talents who have not had the opportunity or exposure to new

art foms F2)

the arts and motivation are closely linked (F2)

ESL and behavioural students may be fieed in an exciting way (F2)

realized that al1 students can be successful in a regular classroom, in spite of a lack of

"artistic ability" (F3)

knows now that arts should be a part of the curriculum in every classroom, as a

component of every subject (F3)

has seen weak, disinterested students engage in learning due to the use of arts in the

classroom (F3)

Arts education is a creative and "openy' approach to leaming (F6)

allows students to express themselves more freely and without bias (F6)

pennits them to l e m at their own level of competency (F6)

Of the four study participants fiom school F, the researcher found no neutral or negative

responses and one study participant who did not answer the question.

SCHOOL G

Positive responses:

was able to see the comection between the a r t s and cumculum (Gl)

the students were very inspired which allowed for excellent work (Gl)

saw the power of performance, how it validated the students, calmed and focused

them (G4)

students could produce their own work with pride (G4)

arts give students something to Say, which is the basis for al1 literacy (G4)

it can be included in the cumculum of al1 subjects (G5)

students responded positively to people who were engaged in the arts (G7)

this transfonns the definition of curriculum (G7)

it involves the classroom in "real" issues that allows students to engage through the arts,

or to see opportunities to address social issues that the arts raise (G7)

leaming through the arts is a whole-istic leaming (G12)

the student lems using al1 the senses, plus retains the learning experience longer than if

mere facts are presented (G12)

it was good to see other teachers begin to see the validity of the arts (G16)

Of the ten study participants fiom school G, the researcher found no neutral and no negative

responses and four study participants who did not answer this question.

Again, in order to strengthen the integrity of these findings the researcher used

data triangulation (Denzin, 1978) and found categories consistent with those which

emerged for questions 6 and 8.

Study sample teachers at school A included 13 responses indicating "increased

confidence", compared to school B = 10, school C= 1, school D = 0, school E = 1,

school F = 1 and school G = 1. Every school, with the exception of schools D, has at

least one teacher who has indicated increased confidence as an influence of this arts

initiative.

"Influence in classroom environment" was indicated by school A study

participants 15 times, compared to school B = 12, school C = 4, school D = 3, school E =

5, school F = 10 and school G = 9. Every school had at least three teachers who indicated

classroom influence as a result of this arts initiative.

"Increased integration" was indicated by school A study sample teachers 7 times,

compared to school B = 9, school C = 3, school D = O, school E = 2 times, school F =

6, school G = 6. Every school, with the exception ofschool D, had at least two teachers

who indicated increased integration as an influence of the arts initiative.

"More tools to assist with curriculum" was indicated by school A study sample

teachers 7 times, compared to school B = 10, school C = 2, school D = 5, school E = 12,

school F = 1, school G = 1. Every school had at least two teachers who indicated the arts

initiative as providing tools to assist with classroom curriculum.

"Requires additional support" was not indicated by schools 4 C, D, F or G study

sarnple teachers compared to school B = 2 and school E = 3.

"Received validation" was not indicated by schools A, B or F study sample

teachers compared to school C = 1, school D = 1, school E - 2 and school G = 1.

Additional comments

SCHOOL A

Positive responses:

feels forninate to be involved in this program (Al)

improved as a teacher (Al)

students have been exposed to arts forms that they have never experienced

before (Al)

teachers often get "trapped" into delivering "academics" but it is natural to make

transfers between the arts and literacy and numeracy (A2)

teacher is excited that the program is extending to include grade 4 as this teacher

will be teaching grade four next year (A3)

importance of the arts for children with special needs who would not have

oppominities for these experiences (A4)

more teachers (colleagues) are willing to take risks with the arts (AS)

although ihis can sometimes be a struggle we must continue (A5)

children must experience performances (A6)

must be taught by "doing" (A6)

children of al1 economic and social settings need to have what some children

"take for granted" (A6)

Of the six study participants fiom school A, the researcher found no neutral and no negative

responses.

SCHOOL B

Positive responses:

has been involved for 3 years, this was the first year the teacher was able to build an

integrated unit mund the artists' visit. (B4)

it was great, the students learned a lot and had a lot of fiin too 034)

would li ke more on creative movement (B L 1)

Of the 12 study participants fiom school B, the researcher found no neutral and no

negative responses and ten study participants who did not answer this question.

SCHOOL C

Positive responses:

O has been a tmly enjoyable and educational experience (C5)

O hopes to continue in the program (CS)

feels al1 students should have this enriching expetience (CS)

appreciates the program (C 10)

Negative responses:

needs some careful organizing so that it can be as powerful as it should and could be

( C W

Of the six study participants fiom school C, the researcher found no neutral responses and eight

study participants who did not answer the question.

SCHOOL D

Positive responses:

more time spent with the artist (Dl)

keep up the great work! (D2)

integrating the arts is essential to deepened leaming @9)

this program is an excellent way of bringing artists and theû art form to the schools (Dg)

Of the three study participants from school D, the researcher found no neutrd and no negative

responses.

SCHOOL E

Positive responses:

a (the arts education initiative) should be adopted by the new Ontario curriculum (E8)

a achieving this will force teachers to use arts in their curriculum (E8)

a was a wonderfbl oppominity to meet some very talented artists and to explore with

students their skills and leaming in response to meeting with artists (E22)

a gave the teacher an opportunity to observe students interacting with other adult teachers

and to appreciate their learning styles and changing values (E22)

student s benefited from hands-on creative act ivity (E28)

a this was preferred to planning or discussing the art form (E28)

a give them a camera, let them dance, let thern sculpt! (E28)

Negative responses:

a for teachers to become cornfoctable in teaching different art forms a lot more workshops

should be organized (E 12)

a (the arts education initiative) should not be an "add on" but a continuation of the

cumculum chat the class is involved in (E 13)

a the artists should be working with the students for a longer period of time (% year) ( '13)

a it is a valid program, but the effectiveness and the manner in which it was carried out

needs to be revisited (E13)

Of the ten study participants from school E, the researcher found no neutral responses and five

study participants who did not answer the question.

SCHOOL F

Positive responses:

a really gratefil for the experience (F2)

Of the four study participants fiom school F, the researcher found no neutral or negative

responses and three study participants who did not answer the question.

SCHOOL G

Positive responses:

a at their school they had not brought the arts into the classroom as much as we have

enjoyedAemed with the artists and then provided opportunities to refill, relate,

refiect and research (G4)

Of the ten study participants fiom school G, the researcher found no neutral and no negative

responses and Nne study participants who did not answer this question.

Once again, in order to strengthen the integrity of these findings the researcher

used data triangulation (Demin, 1978) and found categones consistent with those which

emerged for questions 6 and 8.

Study sample teachers at school A included 4 responses indicating "increased

confidence", compared to school B = 1, school C = O, school D = O, school E = 1, school

F= O and school G = O. Every school, with the exception of schools C, D, F and G has at

least one teacher who has indicated increased confidence as an influence of this arts

initiative.

"Influence in classroom environment" was indicated by school A study

participants 5 times, compared to school B= 1, school C = O, school D = 1, school E = 3,

school F= O and school Ge O. Every school, with the exception of schools C, D, F and G,

had at least 1 teacher who indicated classroom influence as a result of this arts initiative.

"hcreased integration" was listed by school A study sample teachers 3 times,

compared to school B = 1 school C = O, school D = once, school E = 3, school F = 0,

school G = 1. Four schools had at least one teacher who indicated increased integration as

an influence of this arts initiative.

"More tools to assist with curriculum" was indicated by school A study sample

teachers 4 times,, compared to school B = O, school C = 2; school D = 1, school E = 2,

school F = O, school G = O. Every school, with the exception of schools B, C, F and G,

had at least one teacher who indicated the arts initiative as providing tools to assist with

ctassroom cumculum.

"Requires additional support" was not indicated by schools A, F or G study

sample teachers compared to school B = 1, school C = 1, school D = 1, and school E = 5.

Four schools had at least one teacher who indicated they requùed additional support with

this arts initiative.

"Received validation" was not indicated by schools B, E or G study sample

teachers compared to school A = 4, school C = 4, school D = 1, and school F = 1. Every

school with the exception of schools A, F and G had at least one teacher who indicated

they were personally validated as a result of this arts initiative.

The following (table 9) provides a summary of these findings.

Table 9

2

Muence in the classroom

School

Citings

I,

Increased integration

A

27

School

Ci tings

B

25

A

38

B

29

School

Citings

Gained additio na1 tools

1 Received validation 1

C

3

C

7

School

Citings

School

Citings

A

22

C

11

B

3 1

A

O

School

Ci tings

G

4

D

4

D

6

A

12

F

16

E

13

D

5

C

8

B

14

B

4

A

6

E

4

J

G

13 .

F

6

E

15

D

8

C

1

B

1

F

17

E

24

D

1

C

6

G

16

F

9

E

10

G

5

G

5

D

3

F

O

G

O

E

5

F

1

Teacher Evaluation Forms

It is expected of participating teachers that these evaluation forms be submitted

after a unit with a specific artist/art form. Although not al1 the data on the evaluation form

are relevant to this study, the following data seem significant: rate of retum, teacher

response (question 3), literacy links (question S), questions (question 6), suggestions

(question 7).

The following data are listed in order of highest rate of retum to lowest rate of

retum and reflects the study sample participant evaluation retum over years two and three

of the arts initiative which provides the context for this study:

School A - 9 1% rate of retum, school D - 80% rate of return, school F - 72% rate of

retuni, school B - 72% rate of retum, school C - 67% rate of return, school E - 16% rate

of retum, school G - L5% rate of retum.

For the purposes of this study, only those evaluations belonging to the study

sample participants were selected for inclusion in analysis. See tables 9 to 15 on the

following pages for a summary of returns for the second and third year of the arts

initiative. Throughout the first year of the arts initiative the role of the teacher

evaluations had not become clear; therefore ody random submissions were expected and

received. In light of this, submissions fkom year 2 and 3 only were analyzed and included

in this study. Submissions on the following tables marked NA indicates that teacher was

not a participant in the arts initiative which provides the context for this study throughout

the year in question.

Table 10

School A

Study Participants

Year Vumber of responses

School A study sample participants demonstrate a consistently high level of retum at

91%. Only 3 evaluations were actually requested, the fourth being a voluntary response

to student musicians. The consistent rate of retum indicates a cornmitment has been

made to the arts initiative by study sample participants at school A. Al1 study participants

answered question 3, both years, with details outlining the success ofthe sessions as well

as their own follow-up ideas as indicated by the following example;

1 felt very privileged to have a master storyteller sharing his expertise. He

eflectively linked the story "The Porcelain Vase" to our theme "The Colour of

Feelings". The children had many opportunities to respond through visual arts

and creative written activities. (AS)

(The artist) let me paint too! L really enjoyed it; 1 liked how she made everyone

think their work was special regardless of whether or not they were stniggling;

tied in " Sea Theme" wit h extended reading, creative writing and artwork. ( A 3

Al1 but one evaluation contained responses to question 5, where teachers described the

literacy links they made as extensions to the artist sessions as illustrated by the following

examples;

Letters were written to the artist. Faky tales with (the artist) as a magic fairy

(were created). Lists of popular songs as they relate to the Four Seasons (were

created). (AS)

Once the children composed a piece of music, we extended the idea so that they

composed forms of creative writing. (Al)

Questions 6 and 7 are frequently lefi unanswered by study participants at school A. When

responded to the comments were constructive and often addressed issues of scheduling and

content as indicated b y the following exam ples;

Next year it might be wise to Vary the schedule among the 3 elementary schools.

Last year, we had (artist) first, after the PD, but this year it was last- 2 months

afier the PD and it's a long time, before we start. (A2)

1 think the artists should have more follow-up suggestions and visits. (A6)

Would be better if the artist didn't try to do too much and came more often. (A4)

It is ominous that more teachers didn't voice their questions and suggestions. in her

second year assessrnent of this arts initiative Dr. Joyce Wilkinson elaborates;

The asking of relevant questions is usually an indicator of high engagement and

creativity. It is unfortunate that so few teachers took advantage of this particular

opportunity for clanfication (Wilkinson et al., 1997, p.24)

Table 11

Scbool B

Study Participants

rlumber of responses

School B study sample participants demonstrate a fairiy consistent rate of retum at 72%,

with the third year of implementation demonstrating a greater cornmitment to submission

of evaluation forms. All study participants responded to question 3 but not dl outlined

their own follow-up. Those who did, demonstrated ownership of ideas;

1 thought it was a wonderful experience for them. I was able to easily tie it

into classroom activities with many follow-up activities. (B4)

1 was amazed! Follow-ups were easy to draw upon, both in math and literacy.

(W

(The artist's) lessons are as much fun and informative for the teachers as the

students. It was easy to find extensions. (B 1)

Al1 but two study participants included responses to question 5, descnbing literacy links.

At this school it appears most teachers are making some literacy links although there is a

range of usage as is evident in the following examples;

Writing, speaking, reading, readers theatre, dramatizing stories. (8 12)

The students had a chance to make up their own stones based on puppets they

have created. (B 1 O)

Vocabulary of music, oral fluency, listening skills. (B9)

Again responses to question 6 and 7 were limited. In some cases those who responded had

criticisms but others had constructive feedback as indicated by the following examples;

The visual artist should be someone who had experience working with grade

one students (or at least young children) fust and then be an accomplished

artist second. (itts not so important how much of an expert the person is

because visual arts doesntt need to be so complicated for grade one's) (B4)

This artist should be hired full time to do nothing but drama and more drama.

0313)

1 found the sessions short this time around. Either adding another session or

increasing the tirne per session would give time for going just that much

further. (B 14)

Table 12

School C

Study of Participants

Year Number

responses

School C study sample participants demonstrated the lowest return rate of the

three elementary schools at 67%. As previously mentioned, this school was new to the

arts initiative and this may have influenced the degree of cornmitment. A stronger rate of

return is evident in their second year of participation. Once again question 3 was

answered in every case but not always in regards to teacher follow-up. The responses to

this question indicated the teachers were developing strategies to implement the arts into

the cumculum as demonstrated by the following examples.

It (artist session) wasn't really tied in to what we were doing in the classroom at

the time, but that didn't seem to matter. 1 felt very cornfiortable with it and it

was easy to follow up with literacy ideas. (C4)

Excellent sessions. Related to sound explorations, work in Science as well as

patterning. Language development was noted in student response to "feelings"

in music. (C3)

Question 5, literacy links, was responded to in al1 cases. School C demonstrated a clear

understanding of the language connections to the artist sessions as outlined by the

following examples;

Children wrote about life in the picture. One child (Russian speaking) who had

been in class since September wrote his first story using sentences about the

picture - great inspiration. (C3)

Written responses to questions that (the artist) had left them with. Drama

throughout the year, short plays, poems, songs. (C 8, Cg, Cl0 - group

evaluat ion)

Questions 6 and 7 were responded to sporadically. Those who did respond made helpful

suggestions such as;

Are we supposed to rnaintain classroom management where the artist is in

charge? If so, how can we do this without intruding on his lesson? (C2)

Could we possibly have more sessions with the art form? (C 8, C9, C 10)

Table 13

School D

1 Sbdy Participants

Year Number of responses

School D study sample participants provided consistent feedback at an 80% retum

rate. Al1 study sample participants responded to question 3, in most cases indicating

classroom extensions were being made to varying degrees, as il lustrated by the following

examples;

Yes, integrated into classroom plans. We had lots of follow-up ideas. Artists

were easy to work with. @1)

We worked on music presentations. The children wrote the words to their

favounte Song and presented their music to the class. They worked in groups of

2or 3 - 0 2 )

Question 5 was consistently responded tc by study participants and illustrated a range of

literacy links as demonstrated by the following examples;

Research - percussion instruments around the world. Riddle books - research

types of riddles. Reflective joumals. Visual arts Nazka - school performance

and follow-up. @ 1)

Photography was dificult to link. We did some story writing, but I'm not sure

the students made the connection. (Dg)

Questions 5 and 6 were responded to fairly consistently with questions and suggestions

regarding content and structure, as indicated by the following examples;

Pm not sure how the joumals will work for next year, and so on. @9)

Individual team planning is essential for meaningfid artist experiences. (Dg)

Loved the programs - evaluation was easy to assess and achieve because of pre-

planning. @ 1)

Table 14

School E

Study Participants

Year Number of responses

School E study sample participants demonstrated an extremely low rate of retum

at 16%, making it difficult to get a sense of the influence of the arts initiative. This is

consistent with the rate of return of teacher survey. As data emerges @om school E it is

evident that the arts initiative is in jeopardy in this setting.

Responses to question 3 are varied and not consistent as demonstrated by the

fol10 wing examples:

Yes! We wrote stories based on his formula. The students were excited to read

anything by (the artist). I was able to use methods 1 learned £iom him. He has

enriched my language arts. (E2)

Yes, cultural connections and variations and similarities in cultural heritage.

F 9 )

No. 1 was disappointed that these two sessions did not relate to the native

studies unit. 1 also feel2-3 sessions was an inappropriate amount of time for the

artists to accompiish much. (E13)

Question 5 had limited responses and dernonstrated study sample participants were

stniggling with literacy connections as illustrated by the following examples;

Paragraph writing. (El6)

Communication - itts value and importance. Different types of communication.

History of communication etc. (E9)

Questions 6 and 7 were responded to infiequently and inconsistently. It is the

researcher's conclusion that the study participants at this school are simply overwhelmed

by daily expectations as demonstrated by the following examples;

1 wish 1 did have questions! Too tired to think at this point. (E9)

Let (the artist's ) sessions concentrate on producing sounds connected with

thoroughly absorbing experiences. If you must tie it to a language arts unit,

schedule him late in the year to allow us to cover the material adequately first.

(E2)

Table 15

School F

Study Participants

Year Number of responses

School F study sample participants submitted evaluations on a consistent bais at

a 72% rate of retum and contributed in a meaningful manner. Question 3 responses

indicated curriculum connections were made as a result of the artist sessions, as

illustrated with the following examples;

I don? think our Native Unit would have had the depth of meaning without his

(the artist's) input. A month later shidents have suggested using "the Native

way" to discuss their feelings about poetry and that format made them more

cornfortable in presentations. (F2)

The activities helped build CO-operative and team skills amongst the students.

Some of our more musical students were able to express themselves in a

musical medium. The activity was tied to the curricul~m with a mini research

job. (F4)

Question 5 was consistently responded to with indications that a range of literacy links

have been made by the study sample participants, some strong and others not significant,

as demonstrated by the following examples;

Writing, reading, poetry, responses, monologues. (F3)

Not clear. (F6)

Questions 6 and 7 were least consistently responded to but when they were the input was

meaningful as illustrated with the following examples;

More PD sessions on activities leading up to the session and also follow-up

activities would helpful. (F6)

Can we please have (artist) back next November to mincide with the

International Pow Wow at the Dome? This was a highlight of our Global

Geography course. (F2)

Table 16

School G

Study Participants

Year Number of responses

School G was unique in responding because while study sample participants

demonstrated a poor rate of retum at lS%, the Lead Teacher took an active role in

submitting regular feedback in the form of teacher and student written reflections. In

order that this school be included in this part of the study, the researcher chose to include

these testimonials as adequate substitution for the teacher evaluation. Testimonials

indicated ongoing cumculum connections and language development. Meaningfbl

questions and suggestions were not included as illustrated by the following example:

This is the second year that Pve enjoyed the challenge of making sure that the

drum project has a lot of validity for literacy at (school G). The dnimming

allowed us to focus on some other important foundations of our literacy

program. They are;

- transactional writing

- writing process

- "First Steps"

- cornputer literacy and introduction of the intemet

- group talk

- oral literacy

As well, the project helped me in my role as coordinator of Transition at (school

G) in these ways

- a small attempt at integration

- Homework Club

(G 4)

The researcher believes that there is strong leadership evident at school G and that

the reflective process developed by the Lead Teacher suffices. This is evidence of

a "top-down, bottom-up" merge (Fullan, 1993) which will empower teachers.

Chanter 5: Intemretations and Im~lications of Findinns

A large body of data has been collected as a result of the teacher surveys as well as the

teacher evaluations. In order to gain insight the researcher has opted to divide this chapter into

three sections. The first section will discuss answers and statements by study participants taken

fiom the cornpleted surveys. The second section will focus on the data fiom the ongoing

teacher's evaluation forrns. The third section will provide structure with a three level matrix .

Interpretations

The Teacher Surveys

The low rate ofreturn, 58.3%, is significant and the researcher feels this requires

improvement in future studies. The researcher had predicted a larger rate of return based on the

premise these teachers were participants in the arts initiative. Several factors may have

influenced the rate of retum. l997- 1998, as previously outlined, was an extremely difficult year

for educators in Ontario. Teachers fkequently discussed feeling hopeless, disi l lusioned,

overwhelmed and angry. Also, new provincial testing and reporting had added to an already

overworked teaching population. Finally, several schools involved in this arts initiative

struggled daily with critical educational challenges. Given these factors, along with the

challenges common to any new initiative (tnist, time, cornmitment etc.), the researcher feels it

was a particularly troublesome time to request anything else of teachers. Rather than abandon

analysis of the teacher surveys the researcher chose to consider the responding participants as the

"study sample" culled fkom the total participating teacher group and substantiate findings by

including teacher evaluations by the same study sample. The findings that have emerged cannot

be considered a reflection of al1 teachers but can be considered indications of changes which

exist within each school and do represent a majority of the partner teachers.

Question 1 asked the teachen to state the amount of time they used arts based

activities pnor to their involvement in this initiative.

Figure 1

It is evident fiom this data these teachers were previously already using the arts to a

significant degree. This finding is supported by a previous study of this arts initiative (Wilkinson

et al., 1996, p. 13- 14, 23,24, 55). What becomes clear, is al1 three panels demonstrate some

consistent use of the arts prior to irnplementation. The highest degree of consistent use is in the

elementary panel, next the rniddle panel and then the secondary. This appears to indicate that

elementary teachen have either greater oppominity or willingness to engage in arts based

activities. For a number of reasons the use of the arts is greater in the elementary panel and the

expectation is that these teachers began the initiative with a higher degree of familiarity and

cornfort. Cettainly it has been acknowledged the structures of the middle and especially the

secondary panel restrict the possibilities of integrated approaches, particularly for those who are

subject specialists (Drake, 1993; Willingham, 1996). The researcher feels it is significant to note

that teachers in the elementary panel may, as a group, be more familiar with arts integration and

are therefore more likely to use the arts on a consistent basis and seem prepared to take greater

risks.

Question 2 asked the teachers to what degree the arts were used across the cumculum.

For results see figure 2 on the following page.

Figure 2

When this data are arranged by school level, the rniddle and secondary panels

demonstrate the highest degree of response indicating cross-cumcular use of the arts prior to

implementation of this arts education initiative. The researcher views this as startling because

these two panels have greater division by subject area (Drake, 1993; Willingham, 1996). The

researcher believes there is a possibility that some teachers at the rniddle and secondary level had

already begun finding their own way of detennining what constitutes knowledge and learning. It

is also possible that implementation of The Cornmon Curriculum had begun to influence teacher

attitudes in the middle and secondary panei.

The researcher recognizes the low response rate in the middle school panel is significant.

It is possible the data are a reflection of the percentage of teachers committed to, or cornfortable

with, arts education as compared to those who are not as interested or committed. In other words,

those who took the time to respond may be teachers who already made significant use of the arts

across the curriculum.

What we cannot determine with this question is the subject areas that provided the

vehicle for integration. It is possible some subject areas provide a more obvious podium for

cross-curricular arts integration, for example: drama strategies used in English classes or French

songs infused into French classes. The next question was subject specific and significant data

emerged.

Question 3 asked teachers to what degree they used arts based activities in meeting

"Literacy Outcomes" prior to implementation of this arts initiative. See figure 3 on the following

page for results.

Pdor to the implementation of this arts educaüon Initiative, I used arts based acüvities to assid in meeting "Literacy Outcornes"; (Please chaose one answer and pmvide examples)

everyda y thrw tintes a week once a week every two wwk other no response *m

The researcher concludes, if teachers allotted one session a week, on average, to

artdlanguage integration then we find the study sample at the elementary panel at 73.1% ofthis

average, the middle panel at 46.2% and the secondary panel at 40%. The researcher finds it

significant this data are not congruent with the results of question 2, that the secondary and

middle panel demonstrated a higher degree of cross-cumcular arts integration. However, once

again the data appear congruent with previous data: that elementary schools provide greater

numbers of opportunities for integration.

The researcher is extremely interested in continuing to track this signiticance as it was

the English department in the secondary panel which was most often involved in the arts

initiative which provides the context for this study. It appears evident teachers in the English

department have not, as a rule, regularly used the arts in seeking to meet literacy expectations. It

will prove interesting to observe whether or not greater use of the arts in meeting literacy

expectations evolves in the secondary panel. Recent tacher testimonials at this level indicate a

growing use of the arts in meeting language expectations (literacy outcornes).

In a previous study of the first year of this arts initiative there were indications that

literacy links were important to teachers and were beginning to take place (Wilkinson et ai.,

1996, p. 26,36,45,49). The second year study indicated more clearly defined literacy links

(Wilkinson et al, f 997, p. 17, 22-24).

Question 4 asked teachers to determine the areas of the arts that they felt cornfortable

using prior to the implernentation of this arts initiative. See figure 4 on the following page for

result S.

Figure 4

It is a significant finding in the elementary and middle panel, the six art foms which

were isolated as being used most often prior to this initiative were al1 included in the seledons

ofartists/forms by teachers at the outset of this initiative. The researcher concludes it is safer (for

the teacher) to select art forms with which the teacher has had some contact. This pattern does

not seem to be prevalent in the secondary panel. The most revealing data which emerged in the

secondary panel was the high score for storytelling. At this level 100% of the respondents felt

confident with this specific art form. The researcher finds this data challenges the previous data,

question 3, where only 40% of the secondary panel study group used arts based activities to meet

language expectations. Storytelling is an art fonn and one with which this study group is clearly

cornfortable, so it stands to reason stotytelling is used with some fiequency in the middle and

secondary panel. The dichotomy may rest in the "knowing" storytelling is, in fact, an art form.

Upitus argues that professional development for teachers is critical in validating what the

generalist already knows and experiences in the arts in hidher own life, to view themselves as

" possessors of artistic knowledge" (Upitis, 1995)

The more that teachers come to understand what they already know, the more likely

they are to develop more skills and engage in more experiences that would deepen their

knowledge. (Upitus, 1997, p. 148)

Wilkinson, in her first year study of this arts initiative, supports this notion

One teacher shared her initial trepidation given her lack of background in the arts but

found that the professional development sessions had helped her to understand how the

program held together. Because rhythms and clapping were focussed on by two artists

dhe now confidently fills in that cciupk of minutes before recess with similar activities.

(Wilkinson, 1996, p. 16)

Prior to the implementation of this arts educatkn initiative, I took my class to arts relateâ field Mps (concerts, performance, art galleries etc); (Piease chooso one answer a d pcovide examples)

more than 3 limes at least three times twiœ a year once a year seldom pet Year per year

1 ~lementary W Middle P Seawidary 1

For question 5, the results were very different in the elernentary panel by cornparison to

the middle and secondary panels. The researcher feels it is significant 56.2% of the students

(elementary, middle, secondary) never experienced a field trip related to the arts. This may

explain why, at one point dunng the third year ofthe arts initiative, the secondary students, who

were audience members at a play, did not recognize that the number on their ticket corresponded

to a particular seat, or that it was expected they not eat or speak during the play. Of particular

note was the low number of arts related field trips in the elementary panel. This may be the

perceived dificulty teachers experience in travelling with young children as well as the dificulty

in obtaining parental consent, additional funding, or insurance costs.

The next four questions required written responses. These questions were designed to

obtain responses about views of implementation which would help the researcher determine the

influence, if any, of the arts initiative on teacher growth. The researcher divided responses into

three groups:

1. positive (indicates the teacher demonstrates growth)

2. neutral (indicates the teacher demonstrates impartial views)

3. negative (indicates the teacher demonstrates dhe has experienced this arts initiative in a

negativel y)

Question 6 questions the teachers' views on arts education as a result of this arts

initiative. The researcher views the results as significant. Of the three elementary schools

(schools 4 B, and C) one school (C) joined the initiative a year late and throughout the first year

of implementation proved to be dissatisfied with the initiative. The current data were gathered at

the end of the second year of implementation for school C and indicated greater degree of

satisfaction. Schools A and B were at the end of theù third year of implementation when the

data were gathered and data proved congruent with feedback received by the researcher

throughout the year. It appears the initiative has been a positive experience for a large majority

of the study sample in the elementary panel.

Responding teachers in schools C and D also indicate a generally positive

experience. The researcher views responses such as "Have believed in arts based

learning for a long time, this has not changed" as neutral. This response gives no

indication of growth, but does indicate validation of convictions previously held.

Throughout the arts initiative the middle panel proved to be tilled with the greatest

challenges to this point in time. It is interesting to note the middle panel had the lowest

survey rehirn rate. My personal experienced observation as an arts educator has

demonstrated that the transition years have oflen presented educational challenges which

seem congruent with those in this arts initiative.

The responding teachers fiom schools G and F appear to have experienced

significant success and teacher growth. The researcher feels it is significant the teachers

at school G almost refused to participate in the arts initiative throughout the first year of

implementation. At the end of the second year of implementation they are experiencing

success and are fully participating. As noted in the review of the literature successfbl

educational change is a process and requires time (Fullan, 1991). A natural human

reaction to change is resistance (Fullan and Miles, 1992). In fact Fullan cautions us

regarding the term "resistance" and suggests considering "personal change". The

researcher is compelled to consider the quest for personal meaning by the study

participants.

Question 7 addresses the teachers' level of confidence using the arts since

implementation of the arts initiative. The researcher feels it was important to compare

this question to the individual's response to question 4 as this provides a profile before

and after implementation (Table 8, p. 80). The data indicate almost every participant has

developed new skills in various art disciplines. In some cases (G5) growth is from the

farniliar to the next logical step within the same discipline. In other cases (BI and A5)

growth is demonstrated with explorations of new art forms. This represents risk taking

and commitment to learning. In professional development these teachers are transforming

into expressive artists but because they are teachers they are able to find ways to

authentically share their experiences with their students and other staff. The future holds

promise for continued growth as the study participants find pathways which hold

personal meaning.

Question 8 asks the teachers about their intended use of arts based activities

across their curriculum. Generally the high level of positive response indicates intent and

willingness on behalf of the teachers to use arts based activities across the curriculum.

The consistency of this high level of positive response also indicates a readiness to take

risks. The researcher believes this to be an indication of increased confidence and

familiarity with arts integration across the cumculum. Again because of the persona1

nature of change (Fullan, 1991) study participants demonstrate they are at varying places

in the change process but they are definitely engaged in change, particularly in regards to

integrated cumculum.

Question 9 asks the teachers about their personal growth since implementation of

the arts initiative. Once again, the researcher believes the high level of positive response

indicates increased confidence as well as p a t e r farnilianty with arts education across the

curriculum for the responding teachers. Teacher Al describes "benefits to teachers as

well as students". Teacher A2 feels "cornfortable ttying the arts based activities without

the artist this year." This comment leads the researcher to believe this teacher has begun

to internalize the experiences. Increased confidence and empowerment is evident.

Teacher A5 envisions having the arts "drive other cumculum areas." Teacher B8

suggests using the arts to "promote oral language, especially ESL students by creating

dialogues, plays, stories using puppets." Teacher B 13 intends to "integrate (the arts) into

language and math activities, also into environmental studies for drarna effects." The

preceding three comments indicate to the researcher that these teachers have acquired

suficient skills to implement cross cumcular arts integration. These comrnents also

indicate a persona1 ownership has been taken. Teacher Cl0 hopes "to use drarna to

augment the second steps of the program as a vehicle for self- expression." The

researcher feels this is a significant finding. The arts as a vehicle for self expression are

powerful (Dewey, 1934; Kni11,1995; Moore, 19%) and rare in traditional learning

environments. The researcher feels it is significant the study participants were provided

with tools to address Gardner's theory of multiple intelligences (1993) and sought to

determine any influence the initiative may have had in this framework. The participants

in this study recognize the need for change but it is the researcher's view that not dl the

participants recognize the means. This is congruent with Fullan's explanation of need as

an important element of change (199 1, p. 68). The study sample also demonstrate

Fullan's second characteristic of change; c f h l y as they have been provided with

opportunities to gain clarity as a result of the sequential and sustained nature of the arts

initiative. The fact that the arts initiative which provides the context for this study allows

for incremental, sustained change also support Fuilan's third characteristic of change;

complexity, (Fullan, 1991) as the study participants were provided with the tools and tirne

necessary to benefit fiom the rich arts based experiences. A series of incremental

changes offered a simple, gradua1 change process. The multi layered dynamics of arts

integration is filled with complexities and can easily overwhelm those new to the process

unless the required time and sequence is provided.

"additional comments"

The question was optional and therefore the degree of response is lower, but even here

we are given the impression that on the whole responding teachers have benefited from

this experience. It also indicates n degree of respect has been won on behalf of arts

education, artists and this arts initiative. Teacher Al feels "fortunate to be involved in this

program." Teacher B4 has, "for the first time in three years of personal involvement with

this arts initiative, built an integrated unit around the artist visits." Teacher CS feels "al1

students should have this enriching experience." Teacher D9 says "integrating the arts is

essential to deepened leaming." Teacher E8 feels this arts initiative "should be adopted

by the new Ontario curriculum." Teacher F2 feels "really gratefùl for the experience." It

is important to note that teacher F2 is fiom the secondary panel and, as a result, is in the

midst of major school transition. "Grateful" holds more meaning than usual.

Data Tnanmilation

Data triangulation revealed uniform categories from al1 schools in regards to

questions 6, 8,9 and "additional comments" (see table 9, p. 101). Many of the responses

were consistently positive. The fact 6 out of the 7 schools indicated they had at least one

teacher indicate increased confidence, influence in the classroom, increased use of

integration, acquisition of more tools to assist with arts integration and feeling validated

argues that the conditions for transformation are beginning to fonn.

Increased confidence using arts based activities

Schools A and B demonstrated the highest number of responses indicating

increased confidences, 27 and 25 indications respectively. As both of these schools are

elementary, these findings support previous data that indicated arts integration was less

problematic in the elernentary panel. School C, also an elementary school, indicated

considerably lower references to increased confidence with only 3 indicators found. As

school C began a year later than schools A and B, previous data has been validated in

regards to the change process requiring time.

Influence in classroom

Again, a similar pattern emerges with schools A and B demonstrating the highest

number of responses indicating awareness of influence in the classroom, 38 and 29

respectively. Once more, we find evidence that the elementary schools appear to have

experienced a greater degree of success than the middle or secondary panels. We also

find school C seemingiy less aware of the influences in the classroom; again congruent

with previous findings regarding the issue of the change process requiring suscient time

to take hold. The researcher finds it significant the two rniddle schools @ and E) as well

as the two secondary schools (F and G) responded with a greater number of indications

of influence in the clmsroom than with increased confidence. The researcher believes

this to be a reflection that awareness of the value of arts education is more easily

achieved than personal increased confidence and, in fact, this may be a necessary

sequence to achieve an increase in personal confidence.

lncreased Integration

Schools A and B indicated the highest number of responses regarding increased

integrution, with 22 and 3 1, respectively. It is significant to note that next in the sequence

are the two secondary schools, F and G with 17 and 16 responses, respectively, indicating

increaed integration. The researcher concludes that the secondary teachers of the study

sample developed an awareness of arts integration by observing the artist in the

classroom sessions but have not yet internalized the way in which they personally might

integrate the arts into the classroom environment. The researcher views this as directly

related to level of confidence. It is also significant that school E (middle school)

responded with a high number indicating increased integration. The researcher concludes

school E parallels the experience outlined for schools F and G in this instance.

Gained additional tools

In his category, once again, schools A and B demonstrate the highest incidences

of responses, 11 and 14 respectively, with school C (the new elementary school)

following with only one such response. School E, however, responded with 10

indications of having gained additional tools. This startling data is significant as it

demonstrates that school E study participants have become familiar with new tools,

possibly by observing artists in classroorn sessions, but have not yet developed the tools

to the point of feeling secure, as witnessed by the low level of increased confidence

responses. It is the researcher's conclusion that ongoing professional development is

critical in ensuring deeper development in this category. The researcher believes this

holds true for both of the secondary schools F and G, as the study sarnple participants

fiom both these schools responded with no indications of having gained additional tools.

Requires additional support

There were few responses by study participants in this categocy. Four schools

indicated need for additional support. Of the elementary schools, school B responded

with 4 incidences and schooi C with 1. School D also responded with 1 incidence. These

figures do not appear troublesome to the researcher. In fact, if there was no indication of

the requiring of additional support then the researcher would question the tnithfiilness

and authenticity of the responses The significant number of incidences came from school

E with 10 incidences. The researcher concludes that school E achieved some success but

because of dynamics specific to this school, additional support is required. Study

participants fiom both secondary schools, F and G, included no responses indicating the

need for additional support. The researcher believes this indicates a cornfort level with

what has been expenenced to this point in iime.

Received validation

The range of responses in this category is narrow compared to other categories.

The elementary schools range Rom 1 to 6. The middle schools range fiom 3 to 5 and the

secondary schools from 1 to 5. The researcher concludes that at least one study sample

participant fiom each school feels validated. It is the researcher's observation that stories

of feeling validated are ofien told in stafFrooms, cafeterias, meetings and other

gatherings. Validation for one person can easily create a feeling of safety and credibility

and thus begin the validation process for others.

Three-level matrix

As the focus of this study is to analyze teacher growth as a result of their

experiences through the arts it was necessary to discover a structure to help interpret

down the findings. The fiamework of the three-level matrix developed by Soren (1995)

and further developed by Smithrim and Upitus (1997) may be paraphrased as:

Level one - essential conditions present but lacking conditions for sustained teacher

growth

Level two - conditions present that provide capacity for sustained teacher growth and

transformation

Level three - exceptional changes affecting professional and persona1 practices.

Smithrim and Upitus (1997) describe this three-level transformational mattix in

their work with teachers in the Kingston area.

The first level identifies conditions that are necessary but not sufficient

conditions for teacher transformation to be sustained, These conditions inctude

a feeling of community, taking persona1 risks, the creation of public artifacts,

and connections and associations with prior experiences. The second level

identifies the potential for sustained transformation, as indicated by people's

changing images of artists, the role of the arts in the curriculum, the ro. of the

arts in children's lives, the nature of teaching/learning, and understanding self

and community. The third and final level of the transformation matrix identifies

ways in which profound changes manifest themselves as operationalized

practices. Indicators of such changes include long-term pursuit of new art

forms, teacher designed changes to cumculum, altered Iife practices such as a

lower reliance on passive entertainment and increased participation in

community arts events, and altered perceptions such as finding new meaning in

the texture ofeveryday experiences, and becoming more tolerant of diversity

and difference. (1 997, Smithrim, Upitus, p.2 12)

Question 6

Given this framework , in regards to question 6, it appears that at schools E and F there

are study sample participants who are developing conditions to achieve level 1;

level 1 - feeling of community

joy of celebrating and sharing with professional artists in the classroom~school

@22)

level 1 - connections and associations from prior experiences

believes strongly in the arts therefore this has been an extension of the classroom

(E28)

r level 1 - taking persona1 risks

feels more confident taking personal risks in the arts (F2)

There is some evidence that a teacher from school F is developing skills consistent with

level 2;

cr level2 - role of arts in curriculum

will continue to seek different art forms to teach cumculum (F6)

It appears that schools A, B, C, D and G have individuals who are at level 1 if not some

individuals at ievei 2.

r level 1 - connections and associations with prior experience

expanded previous cornfort level with visual art (AS)

level 1 - feeling of community

Arts are a powerfiil communal and individual experience (G4

level2 - role of arts in curriculum

sees now how to integrate the arts into many different curriculum areas (B7)

more knowledge about how to implement arts in more areas of the cumculum

(Ca

more conscious of including the arts cross-cumcular 0 2 )

Question 7

The responses to this question indicate a large number of study sample participants are

demonstrating level 1 conditions (Soren, 1 995; Smithrim, Upitius, 1996) such as taking

persona1 risks and associations with pior experiences. Exploring new art forms always

involves persona1 risk and many teachers are clearly doing just that. ûthers are building

on the familiar which also takes courage, trust and determination. The fact that many of

the study participants are developing new skills indicates they may also be changing their

images of artists (level2) as well as expanding their understanding of the role cf the arts

in the curriculum (level2).

Question 8

Feed back such as "persona1 goal is to reach greater number of students through arts

based activities" indicates persona1 goals are being set and an increased confidence level

is apparent. It appears evident the necessary conditions for persona1 and professional

growth are in place for many of these study participants. Using the previous framework it

appears many study participants are at the second level of this transfomational matrix.

level2 - nature of teaching flearning

Continue expanding and integrating what was learned this year (A3)

0 level2- role of arts in curriculum

Now tries to include an art option as a way of a student demonstrating what they

have leamed (F2)

Use of arts in many areas of the curriculum (A4)

The arts can drive the basics (AS)

Al1 foms can be used in almost every part of the curriculum (B 14)

To support the literacy program (C4)

Envisions using these art foms in al1 areas of the C U ~ ~ C U ~ U ~ @2)

Will use drama in Social Studies and English (E12)

Use integrated arts projects, productions, storytelling, dnimming as a way to

enrich literacy - G12

Question 9

Most study participants offer indications that they have achieved level 1, some level2,

and evidence of minimal level3 conditions.

a level 1 - taking personal risks

confident enough to attempt current activities without the guidance of the artists

(W

learned that risk taking in a new art form can carry over to literacy, oral

presentations and can deepen the learning experience for al1 students (F2)

0 level2 - nature of teachinfleaming

better understanding of what the teacher cm accomplish (A2)

don't need a Master (degree) in music in order to include music in the

cumculum (B3)

art is an important aspect of teaching (B 10)

did not realize how important it was to include arts as a key component to

teaching (E8)

Level3 - teacher designed changes to cumculum

this transfonns the definition of curriculum (G7)

Additional Comments

These comments are general but as they are voluntary and corne without

solicitation the researcher feels they deserve attention. Most comments indicated level 2

or 3 conditions.

Level2 - role of arts in education

integrating the arts is essential to deepened learning @9)

Level2- role of art in children's Iives

children of al1 economic and social settings need to have what some children

"take for granted" (A6)

Level2 - teacher designed changes to cumculum

Has been involved for 3 years, this is the first year teacher was able to build an

integrated unit around the artists' visits (B4)

Level3 - long term pursuit of new art forms

Although this can sometimes be a struggie we must continue (AS)

This three-level matrk adequately provides a framework for teacher growth at the

end of third year ofthe five-year initiative. It is, however, probable as the initiative

expands over the remaining two years other levels d l emerge. In order to accommodate

this growth current matrix may evolve. Laskey's research (1990) offers one such model

known as the AKOCL paradigrn. While Laskey's model provides a fiamework for

assessing professional development in drama, it is the opinion of this researcher that the

model may prove beneficial to the arts initiative which provides the context for this study

since;

. . . the overarching goals were to ensure that elementary personnel had

AWARMESS experiences, that most acquired KNOWLEDGE, that many

gained OWNERSHIP through direct experiential engagement with drama

processes, that as many as possible would develop COMMITMENT to drama

through extended persona1 application, and that most of these committed

leamer-participants would take some responsibility for enlarging their own

learning and that of others through shared or individual LEADERSHIP

expenences in designing, delivering, assessing and reassessing the direction of

leaming through drama as it was evolving in Brant County. (Laskey, 1990,

p.3 1)

Teacher Evaluation Forms

The rate of r e m of the teacher evaluation forms creates concern and deserves

attention. The assessment report of the second year of implementation (Wilkinson et al.,

1997) underlines this concem:

The retum rate of the teacher evaluation of the artistst sessions was very low.

Despite several follow-up reqwsts b y the managing arts partner, and agreement

by lead teachers at the June 1997 meeting that these forms would constihite

theù response to [the arts initiative], only a 53% overall retum rate occurred.

Thus, the findings that emerge fiom analysis of the entire teacher responses can

at best only be considered indications of trends fiom about half ofthe total

population within [the arts initiative]. (Wilkinson et al., 1997, p.9)

The rate of retum over the second and third year of implementation by study sample

participants at its highest is 91% and at its lowest is 15%. The issue of comrnitment is

critical for successful educational change. As these evaluation fonns are expected tiom

al1 teachers one would anticipate a consistently higher percentage. The three elementary

schools (School4 B and C) range from 91% to 67%. This higher retum rate is

consistent with the results of the teacher survey retum response. The teachers in the

elementary panel seem hrther along in their change process than the middle and

secondary panel. The researcher views this as fbrther confirmation that the elementary

panel is at the second level (Smithrim, Upitus, 1997) of change.

A startling observation is the retum rate of one of the secondary schools. School

F had the third highest return rate at 72%. Again, this is consistent with data obtained

fiom the teacher surveys. What is perplexing is the extremely low rate of retum 15%

fiom the other secondary school (School G). In many ways School G has demonstrated

comrnitment and growth. The researcher concludes there were other contributing factors

which iduenced the rate of retum. School G is a much larger school (population of

about 1,300) than School F, comprising ofstudents with serious social, economic and

educational challenges. The teachers fiom School G, involved in this initiative, ventüred

into new and rise territory when cornmitting to this arts initiative. On a daily basis they

deal with crisis. The researcher believes the time and effort required to fil1 out ongoing

evaluations seems ovewhelming. The Lead Teacher at school G regularly submitted

teacher and student feedback, which the researcher used in this study as a replacement for

the teacher evaluations (as mentioned earlier). If this is the preferred format for these

teachers, perhaps a new evaluation format needs to be developed, one which will make

the evaluation process a rewarding one for both teachers and project administration. The

secondary panel results substantiate Fullan's tiamework for change: change is a process - these teachers are in the change process, but not yet transformed and change is persona1 -

these two secondary schools are moving at a personal rate as are individual teachers.

The two middle schools (Schools D and E) are at opposite ends of the spectrum.

School D study sample participants demonstrate a high retum rate at 80% while School E

study sample participants have a retum rate of 16%. The surprisingly high retum rate of

school D study sample participants may be a reflection of the degree of cornmitment of

the study sample participants, not necessarily the entire school. Also, the Lead Teacher

at school D took an active role in collecting and submitting evaluation forms. The low

retum rate of school E is consistent with the data obtained fkom the teacher surveys.

These two schools present a similar profile to the two secondary schools previously

discussed, in that School E is rnuch larger and faces challenges with C&~S on a daily

basis. In fact, School E is the feeder school for School G. It is the view of the researcher

that the teachers in school E are overwhelmed by the effort it takes to complete ongoing

evaluation forms. In order that these teachers are provided with the oppominity for

personal and professional growth, the arts initiative will have to find ways to meet the

specific needs of this school; otherwise, the objectives will not be met.

The researcher views the teacher evaluation forms as indicators of what the

teachers hold important. As previously indicated, the overall retum rate was low

however, within the retums the section on literacy links was repeatedly responded to and

proved significant (Wilkinson, 1997, p. 22).

The majority of these describe language literacy events, specifically oral skills,

reading and writing. Sporadic references to cultural, numerical, musical,

artistic, and dramatic literacy skills portend the emergents of teacher awareness

of literacy development across a broader range of intelligences than just the

linguistic one, a trend worthy of tracking. (Wilkinson, 1997, p.22)

Another area with a high rate ofresponse was that of program support (Wilkinson

et al., 1997, p.22) where participating teachers had opportunities to offer their views,

ideas and concems regarding management issues. It is, however, significant to note

additional opportunities for questions and suggestions were met with less than a 50%

response rate, as the program assessrnent underlines:

More than 50% of the total teacher database offered no response to this

question. Only 14 responses within the 78% confidence level sample within the

total group asked questions about (the arts initiative). ... The asking of relevant

questions is usually an indicator of high engagement and creativity. It is

unfortunate that so few teachers took advantage of this particular opportunity

for clarification. (Wilkinson et al., 1997, p.24)

The final verse

As this search for a sang cornes to an close it is important to develop a profile of

study participants' personal and professional growth as well as where in the continuum of

the change process we find them. We will conclude with a summary of findings

involving the suwey data, the teacher evaluation as well as the researcher's own

observations as program manager and attempt to ascertain conditions which will allow us

to detemine where on the three level matrix each school finds itself.

Schooi A

The teacher surveys indicate a high level of retum and mostly positive response,

of which much addresses issues regarding persona1 risk as well as the benefits of arts

integration into daily curriculum. The high number of instances of increased confidence,

influence in the classroom, increased integration and the acquisition of new tools indicate

the arts initiative has had a positive infiuence. At the time of the survey many teachers

had been involved for three years and had begun to demonstrate both persona1 and

professional growth. The teacher evaluations have been consistent and demonstrate

cornmitment and interest in further development of this initiative. Many of the comments

on the surveys as well as the teacher evaluations indicate conditions are present for level

2 on the transformational matrix which "identifies the potential for sustained

transformation" (1 997, Smithrim, Upitus, p.2 12).

School B

The teacher surveys indicate a high level of retum and mostly positive response,

of which much address issues regarding persona1 risk as well as the benefits of arts

integration into daily curriculum. The instances of negative response appear to corne

mostly fiom study participants who were in the first year of participation. The high

number of instances of increased confidence, influence in the classroom, increased

integration and the acquisition of new tools indicate the arts initiative has had a positive

School D

For school D, a rniddle school, the teacher surveys indicate an unacceptable low

level ofretum with a mixture of positive and negative responses, many of which address

issues regarding the structure and content of the arts initiative. It is important to note

school D was also added more than a year d e r implementation had begun. The study

participants were not part of the planning process, the artist selection process or the initial

staff developrnent sessions. The instances of negative response may, in part, be a

reflection of this. The comparatively moderate number of instances of increased

confidence, influence in the classroom, increased integration and the acquisition of new

tools indicate the arts initiative has had some influence but more tirne is required to have

significant influence. The teacher evaluations have been inconsistent but demonstrate

degree of cornmitment and interest in fbrther development of this initiative. Schooi D

study sample participants demonstrate conditions for attaining level 1 on the

transformational matrix detined as "conditions that are necessary but not sufficient

conditions for teacher transformation to be sustained" (Smithrim, Upitus, 1998, p. 212)

School E

The survey data, the teacher evaluation data as weli as the researchers' own

obsenrations as program manager indicate a staff that does not yet demonstrate evidence

of change. Both teacher surveys as well as teacher evaluations indicate an unacceptable

low level of retum with a mixture of positive and negative responses, many of which

address issues regarding the structure and content of the arts initiative. The teachers at

School E are not yet demonstrating level one (Upitus 1998) conditions. Ifwe view

change Erom Fullan's fiamework (1982), that change is a process, perhaps these teachers

influence. At the time of the survey many teachers had been involved for three years and

had begun to demonstrate both personal and professional growth. The teacher

evaluations have been consistent and demonstrate commitment and interest in fiirther

development of this initiative. As with school4 many of the comrnents on the surveys

as well as the teacher evaluations indicate conditions are present for level2 on the

transformational matrix.

School C

For school C the teacher surveys indicate a moderate level of return with a

mixture of positive and negative responses, many of which address issues regarding the

structure and content of the arts initiative. It is important to note school C was added

more than a year after implementation had begun. The study participants were not part of

the planning process, the artist selection process or the initial staff development sessions.

The instances of negative response may be a reflection of this aspect. The comparatively

lower number of instances of increased confidence, influence in the classroom, increased

integration and the acquisition of new tools indicate the arts initiative has had some

influence but more time is required to have significant influence. The teacher evaluations

submissions have been inconsistent but those submitted dernonstrate a degree of

commitment and interest in further exploration and development of this initiative. School

C study sample participants demonstrate conditions for attaining level 1 on the

transformational matrix defined as "conditions that are necessary but not sufficient

conditions for teacher transformation to be sustained" (Srnithrim, Upitus, 1998, p. 212)

require more tirne. Since change is persona1 (Fullan, 1982) the participants at this school

are likely to develop at a different Pace fiom other schools. Given the importance of

sustained administrative support, although School E has administrative support, the

administration is new this year and the relationship between teachers and administration

is just begiming. With regards to the value of professional development, although the

teachers at school E support professional development they have made it clear the format

has proven to be exiremely dificult. When al1 the teachers in a given grade (in this case

representing an entire fioor of the school) are absent fiom the school, issues of discipline

and management become critical. In other words, when al1 of these classes are facilitated

by supply teachers because regular classroom teachers are involved in professional

development sessions, students view this as an oppominity to engage in problematic

behavior. This not only creates dificulty for the administration but also for those teachers

who are attempting to continue their regular teaching. It is the view of the researcher that

special considerations, unique to the individual setting, must be made to ensure the best

environment for education change. The study participants have demonstrated some

personal and professional change by being influenced in individual ways: individual

pace, individual degree of participation, individual level of ownership, individual

leadership - individual yet in almost every case involved in the change process. The arts

initiative will need to be modified in order to meet the unique needs of these study

participants.

School F

School F teacher surveys indicate a moderate level of return with a mixture of

positive and negative responses, many of which address issues regarding the structure

and content of the arts initiative. The comparatively high number of instances of

influence in the classroom and increased integration indicate the arts initiative has had

some influence but more time is required to have significant influence. School F study

sample participants submitted evaluations on a consistent basis and contributed in a

meaningful manner. Given this is a secondary school, thus generally more challenging

when implementing change, the researcher concludes study sample participants of school

F demonstrate attaining conditions for level2 on the transformational matrix identified.

School G

School G teacher surveys demonstrate a moderate level of return with a mixture

of positive and negative responses, many of which address issues regarding the structure

and content of the arts initiative. The comparatively high number of instances of

influence in the classroom and increased integration indicate the arts initiative has had

some influence but more time is required to have significant influence. School G study

sample participants demonstrate an unacceptable low level of retum of teacher

evaluations, but, as previously mentioned, substituted these with teacher and student

testimonials on a consistent basis and contributed in a meaningful manner. Given this is a

secondary school, thus generally more challenging when implementing change, the

researcher concludes that some study sample participants of school G demonstrate

attaining conditions for level 1 on the transformational matrix identified, with other

teachers already at the level2 stage.

To conclude, it is clear that teacher growth is evident to varying degrees in every

school. The most significant resource in this quest for teacher growth is tirne - time to

plan, to develop curriculum and to intemalize concepts (Wilkinson et al., 1996, p. 37,

4 1).

The issue of time is the greatest obstacle, particularly given the current educational

climate in Ontario. Drake elaborates:

This is the strongest and most common recommendation in the literature.

People need time not only to plan but also to make sense of new ways to deliver

curriculum, Often it is dificult for a teacher to find suscient time. For

example, in Ontario, the govemment is planning to cut teacher preparation time

while simultaneously asking teachers to adopt new methods of preparation.

Cutting time is an effort to Save money, but it does not allow for the absolute

necessity of allowing teachers time to make subjective meaning of the changes

being required. (Drake, 1998, p. 178)

As these teachers continue their process the issue of time will continue to present

challenges as will resistance, scheduling, organizational structures and govemment

cutbacks. The researcher is confident that an "authentic methodological paradigm shifl"

(Wilkinson et al., 1996) will take place as long as the consistent support of the arts

initiative continues. It significant to note that this study as well as the prior assessments

of the arts initiative (Wilkinson at al., 1996; Wilkinson et al, 1997.) al1 converge on this

finding. The convergence of the three becomes a powerful outcome of this study.

Findinn Our voices

With collaboration at the heart of change (Lieberman and Miller, 1984), many of

the teachers involved in this arts initiative are demonstrating improved communication

links and the beginnings of the collaborative process. Study participants are al1 involved

in a series of workshops that bring together theù own staffas well as the staffof at least

one, usually two, other schools. Collaboration with one another as well as with artists is

core to the initiative. These teachers are new to the collaborative process but some

collaboration is beginning to take place.

Given the importance of sustained administrative support (Huberman and Miles,

1984) it is critical that administration remain closely connected to future developments.

As this arts initiative has been driven by ongoing central administrative support @oth

financial and philosophical), the influence of the initiative is a direct result of this

administrative support. It is important teachers are aware of sustained administrative

support (Mc Greal, 1989 and Miller, 1984) and recognize they have full local and school

support. This past year (April 1998), the attendance of three principals at a spring retreat

demonstrated to attending teachers and artists the degree of support in the finest way

conceivable.

Many study sample participants were involved in their third year of the initiative,

at the time of this study. The third year, in many ways, was the most fortuitous. The

challenges, including resistance and ownership, of the first two years appeared

diminished, supporting Fullan's theory that change is a process and process requires tirne.

Value of professional development (Fullan, 1982 and Buskey, 1986) has also

been demonstrated. Professional development is one of the key elements of this arts

initiative; therefore, the study participants are involved in ongoing sequential, sustained

professional development. It is the researcher's view that professional development has

influenced the study participants positively.

The teacher evaluation forms indicate the arts initiative has influenced teachers'

approach to meeting language expectations. A specific study is requùed to do this data

justice but almost every study participant who submitted evaluation fonns has been able

to demonstrate literacy links. In some cases the extent of the literacy link is the student

reflection in the arts joumals but the researcher views this as valid, in fact critical in

regards to atts education. In some cases teachers spoke of extended writing oppominities

but did not acknowledge these when addressing cumculum links. These responses, once

again, appear to indicate generalist teachers are often not conscious of what they actually

manage successfÙlly in the arts (Prescesky and Cooley 1998).

The researcher views this study as the beginning of a longitudinal study of these

study participants in this arts education initiative. Although there are still many issues

and challenges ahead, the emergents of this study indicate the professional growth of the

responding study participants has been influenced by this arts initiative. In most cases

with this 58% of the total group, the influence has been positive. Growth and change are

evident. It is fortunate that the arts initiative still has two years of implementation as this

study supports the notion that time is the critical factor in regards to educational change,

particularly in arts education where participants may have M e or no prior experience.

Findings of this research can provide a deeper awareness amongst teachers,

artists, administrators, teacher educatots and government officials. With this deeper

awareness perhaps the arts can become closer to being part of every student's learning

environment across the cumculum. It is the researcher's belief fiirther research is needed

in the area of teacher growth and the arts. The role teacher education and undergraduate

programs play in perpetuating the lack of importance of the arts in education is of

concem to the researcher.

As 1 come to this stage of the joumey 1 recognize education is dynamic and fluid,

as opposed to static and this document may provide a small window into a moment of

time. My own joumey, through the process ofthis study, has been that of the learner. As

an artist and arts educator who views the arts as self-expression, the oppominity to

accumulate and analyze data is a relatively new and rare experience. 1 welcome the

opportunity to continue this path and do whatever is possible to provide additional

glimpses through the window. Perhaps therein lies my metaphor; to this point in time 1

have provided windows for teachers and learners; perhaps through this research I can

bring greater depth, meaning and understanding to the view which will help them find

their voices and songs.

As the millenium approaches teachers will face challenges as yet unimagined.

They will require tools to lead the next generation to becoming creative thinkers and

problem-solvers. The key to the acquisition of these tools will be detemiined by the

nature ofteacher education provided by leading educational institutions. We will need to

look beyond traditional teacher education and find new pathways to become the reflective

practitioners required to wpe with the world as it will be. The study sample participants

in the arts initiative which provided the context for this study are on their way to finding

new pathways to allow them to meet the growing needs of their own cornmunity of

learners. They are, in their own way, through the arts, finding unique individual voices

that enable them to sing their songs.

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Upitus, Rena (1997). Pre-service and in service teacher education in the arts. Xn C o ~ e c t combine communicate. revitalizing the arts in Canadian schools. Cape Breton, Nova Scotia: The University College of Cape Breton Press

Wamer, B. (1 991). Orff-schulwerk: atmlications for the classroom. Englewood Cliffs, New Jersey: Prentice Hall Inc.

Wells, Gordon. (1 994). Chanaine schools from within creatin~ communities of inqui?. Toronto, Ontario: OISE Press.

Wilkinson, J., Emerson, J., Guillaumant, D., Mergler, J., Waddington, N., Pre-service art teacher education in Ontario. Ar t s~a~er 2 (3), 3-7.

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Tcaclicr's Lettcr Appcndix A

Dear {name of teacher), We invite you to participate in an important research project Ming conducted at your school. As you know, you and your students have been involved in a unique new partnership called Leamhg Through The Arts. We are attempting to gain a better understanding of the impact of this program on your currïculwn. More specifically, we are interesteâ in documenting how Leamhg Through The Arts has influenced how you approach teaching and how you respond to arts education. Such information may prove useful in helping teachers find new strategies to engage students in leaming, particularly those where traditional strategies have been unsuccessful or perhaps not meaningful. In addition the results may prove beneficial in advocating for arts education.

This study has ben approved by the Ethical Review Board of the Ontario lnstitute for Studies in Education (O. I.S.E.), and by the Principal of your school. This research project should be an enjoyable and rewarding experience for you and will connect directly to activities taking place in your classroom. To help you with your decision, we will briefly describe the research project.

You will be askeâ to complete a series of questions relating to the use of the arts in your curriculum. These questions will determine the amount of arts activities used in yow cuniculum and establish which art forms wereiare being explored. You will also be asked a series of questions designed to detemine your comfort lever with the arts in your classroom. Subsequently, you will be asked a second series of similar questions reiating to your perceptions since being involved with Leaming Through nie Arts. These questions wHI be designed to measure the influence (if any) on your choice of materials, the amount of time arts are integrated into your curriailum, and your own comfort level with arts based activities. If you consent to participate in this research project you wiII also be asked to keep a personal journal to record your responses to exploring arts acavities in your classroom.

All data collecteci in this study will be confidential; each participant will be assigned a 10 number and will be be identifid by that number once the data is collected. In any report resulting from mis study, your name and school will not be identified. Only mysetf, my cornmittee and a group of graduate students will have access to the collected data. Aâditionally, you may deade to withdraw consent, in written form, at any time during the study.

Please consider this invitation to participate and complete the attached consent form, indicating whether or not you wish to paftake. Should you have any questions about this, please contact me a1 (416) -2824 ext.223. Your participation is important to this study. I look forward to learning from you and with you. Thank you for your consideration.

Sincerely,

Angela Elster

CONSENT FORM

I have read and understood the letter concerning the research project regarding the influence of arts education on curriculum to be conducted at my school by Angela Elster of the Ontario lnstitute for Studies in Education. I understand that all information gathered for this project will be used for research purposes only and will be considered conf idential . I understand that permission to participate may be withdrawn at any time, in written form.

Narne:

School:

Grade:

When did you become involved in Learning Through The Arts? --

Please check one of the following

a) Yes, 1 agree to participate in the research project b) No, I do not agree to participate in the research project.

Signature:

If you wish a sumrnaiy of the results wtien they become available, please contact me.

Please retum this form no later than March 6,1998 to:

Angela Elster Royal Conservatory of Music 273 Bloor St W. Suite 204 Toronto, Ontario M 5 S 1 W4

Principal's Lcttcr Appendir A

January 15,1998 To: From: Angela Elster

Dear We wish to in& yow teachers to participate in an important reçearch project. As you know many of your teachers and students have been involved in a unique new partnership called Learning Thfough the Arts. We are atternpting to gain a better understanding of the influence of this program on the classroom curriculum. More specifilly, we are interested in documenting how Leamirig Through the Arts has influemed the way in which your teachers appcoach teaching and how they respond to arts education. Such information may prove useful in helping teachers find new strategies to engage students in leaming, particularly those where traditional strategies have been unsuccessful or perhaps not meaningful. In addition the results may prove beneficial in advocating for arts education.

This study ha$ been approved by the Ethical Review Board of the Ontario Institut0 for Studies in Education (OISWAJT). This research project should be an enjoyable and rewarding experience for your teachers and will connect directly to activiües taking place in the dassroom. To help you with your decision, we will briefly describe the research project.

Your teadiers will be asked to amplete a series of questions relating to the use of the arts in their curriculum. These questions will determine aie amount of arts activities used in the ainiailurn and establish which art f m s werelare being explored. niey will also be asked a series of qUBStiOm designed to determine thek cornfort IeM with aie arts in the âassrm. Subsequdy, aiey will be asked a second series of similar questions relating to their peco8~0cls sinœ bdng involveci with Leamirrg mmugh The These qU88fjocis will be designed @ measwe the influe1108 (if any) on choice d mWals, the amount d tkne aits are integiated Into the cuniwlum, and teadiers'cOmfO(t~with~krsedactivfties. Iftheyoonsenttopacticipateinaiis

All data c o l i ~ In Ws study will be OordMBntiB1; each participant will be assigned a 10 cwniber and will be be idenafied by that mmibes onoe the data is cdlec(sd. In any report rwlting f m this shidy, ywf name, yow teadiers' nemes and school will not be Wî. Only mysetf, my cornmittee and a group d graduate students will have access to the cdlected data. Additionally, pertidpams may decide to wiaidraw consent, in written f m , at any Mme during the study.

Please consider this invitation to participate and amplete the attachai consent form. indicating whether or not you wish to partake by Çebruary 1, 1998. Should you have any questions about Ws, please contact me at (416) 408-2824 ext.223. Your schools' participation is impoctant to this study. Thank you for your consideration.

SMcerely, Angela Elster

CONSENT FORM (Principal)

I have read and understood the letter conceming the research project regarding the influence d arts education on curriculum to be conducted at my school by Angela Elster of the Ontario lnstitute for Studies in €ducation. I understand that al1 information gathered for this project will be used for research purposes only and will be considered confidential. I understand that permission to participate may be withdrawn at any time, in written form.

School:

When did your school becorne involvecl in Learning Through The Arts?

Please check one of the following

a) Yes, I agree to participate in the research project b) No, I do not agree to participate in the research project.

Signature:

If you wish a summary of the results when they becorne available, please contact me.

Please ieturn this form by Feb. 1.1998 to:

Angela Elster Royal Conservatory of Music 273 Bloor St W. Suite 203 Toronto, Ontario M5S 1W4

Teacher Survey Appendix A

Teacher Survey 1. Prior to the classroom irnplementation of Leaming Through The Alts I used arts based activities in my classroorn;

(Please chaose one answer only)

0 A) everyday 0 8) three times a week Q C) once a week O D) every two weeks O E) once a rnonth 0 F) twice a year 0 G) onœ a year Q H) never

Other:

2. Prior to the implementation of Leaming Through The Arts I used arts based activities;

(Please choose one answer only) p A) in al1 areas of my curriculum

B) in several selected areas of my curriculum Q C ) in arts subjects only g D) never 0 Other:

3. Prior to the irnplementation of Leaming Ihmugh The Arts 1 used arts based activities to assist in meeting "Literacy Outcoms";

(Please choose one answer and provide examples)

A) evecyday (give examples)

-- - -

8) three tirnes a week (give examples)

C) once a week (give examples)

O) every two weeks (give examples)

-

E) other (please specify and give examples)

Prior to the implementation of Leaming Through The Arts I felt confident using the following art forms in my classroom;

(You may choose more than one answer)

A) singing Q B) percussion p C) dance

O) painting Q E) sculpting

F) aeative movement 0 G) soundscaping Q H) storytelling p 1) composition Q J) PuPWY Q K) mime 0 Other:

5. Prior to the implementation of Leeming Thmugh The Arts I took my class to arts related field tnps (concerts, performance, art galleries etc.)

(Please chwse one answer and provide examples)

A) more than three times per year (give examples)

6) at least three times a year (give examples)

- - - -

C) twice a year (give examples)

-- -

D) once a year (give examples)

E) seldorn (give examples)

6. In what way. if any. has your view of arts education been influenced by participating in Leaming Through The Atts?

7. With which art fom(s), if any. do you now feel ccnfident in the classroom.

8. In what way, if any, do you invision using thidthese art fom(s) in your curriculum?

9.What do you know about arts education that you didn't know before becoming involved in Leaming Through The Arts?

Teacher Evaluation Appendix B

LEARNING THROUGH THE ARTS PARTNERSHTP - TEACHER EVALUATION

Artist me: Session #: Date:

Teacher: School: Grade:

Student Response:

How did tbe shidents respond? Were the expectations clearly communiccited to

them?

Mist Input:

Did the artkt mpond weU to the ehlldren? Was hdshe pmpared? Was it grade appropriate?

Tacher's Response: How did you leel? Was it tied to what you arc doing iii the classroom? Were you able to think of any follow-up ideas?

How cao the program coordinators and management team support the process .

between artist sessions?

5. Wbrit Utaacy h k s have you made In your eLPssroom?

Any questions?

Suggestions?

TbrnLs for your input! 1t is very much appredated.

to: Outreilch Coordinottor Royal Conservatory OC Music 273 Bloor St. W Totoiito, ON M5S 1w2

Toronto District 5050 Yongc Sircct

North York. Ontario M2N SN8

Dr. Angela Elster The Royal Conservatory of Music 273 Bloor Street West Toronto, ON MSS LW2

Dear Dr. Elster:

This will confirm that the Learning Though the Arts project was approved to be conducted in the former Board of Education for the City of North York in 1995. The principal investigator at that time was Dr. Joyce Wilkinson.

The administration of the tacher survey has also been approved for administration in seven schools. I have notified the principals of those schools.

Plesse keep me informeci of any friture data collection associateci with this project. e Sincerel y,

Michael Kozlow Ph.D Chief Research and Assessrnent Officer