I am surrounded here by a depth and breadth of knowledge and experience. Yet we are all learning and noticing things that we may have “walked by” before. The architectural detail, the story within the painting, the artist’s and architect's connection with the community, even the wallpaper!! We have spent our weekdays in class and related field trips and on the weekends we go together or alone and do more touring and learning about this part of the country. There really is not too much down time!

I’ve tried to get a chance to talk with each one of my fellow NEH'ers over the last 3 ½ weeks. About half are from New England and half from the rest of the country. They will be an inspiration and a resource to me after I leave here. We are all busy preparing final presentations for Thursday and Friday. I look forward to hearing from my new-found colleagues. This really has been an experience of a lifetime. (Although maybe that’s not the way to say it because I want to apply for another one when I’m eligible in three years!)

Wow…this week has zipped by!
This institute has been a wonderful example of scholarly rigor. The presenters/scholars share with us what they know, back it up with references and THEN we get to see the REAL THING in person! This week we talked about landscape and literature. The Hudson River school of artists and authors such as James Fennimore Cooper and Henry Thoreau were introduced to me. We traveled to the Wadsworth Atheneum in Hartford, Connecticut to experience the paintings in person. Much of the information was in greater depth than I can recall, but the connections between the literature and the art of the time are evident. I knew what I was looking at and had a sense of being in the presence of an artifact of history. There really is sooooo much more to a painting than originally meets the eye at first or quick glance!

Works of Art

A Salem State creative writing professor came to our class one day this week and presented a wonderful lesson on poetry! We were active participants in a lesson that I will some day replicate in a form for second graders. His “quotable quote” to me was … “A work of art (writing, painting, music) is a way of organizing your world and what you’ve learned.”-- JD Scrimgeour.

I think I need to do more art!

Reading for class and for my unit. Landscapes will be a topic that our week will begin with. Took in the local landscape yesterday: the northeastern seacoast. Went to two different art museums today… one contemporary and one (old) European. Vastly different … light compared to dark, large spaces compared to small spaces. Working on my assignment (a unit).

Presidents

I will never teach “President’s Day” the same way! Even at second grade the students know about Lincoln, a log cabin and the penny; Washington as the father of our country. But what do the presidential portraits reveal about the person and the office! Next February I will teach using resources from the National Portrait Gallery and the Smithsonian Institution. Last Friday we were enriched with the knowledge of yet another expert, Ellen Miles, from the NPG. The connections between the portrait, the person and the office were enlightening and fascinating We followed the content with actual doing. We were led in an art-making (self-portrait) lesson with a member of Lesley University’s art education faculty. I REALLY liked this part. I think we should do the art-making more often in this institute, but that’s my bend. It would probably raise the affective filter for some of my colleagues here.

Connections

I am surrounded by history! Yesterday we toured a federal period house as well as the Salem Custom House. Nathaniel Hawthorne worked there.

Also these last two days we have visited museums and have received welcomes and presentations from their education departments. Representatives of both institutions made it clear that they value working with educators and want to make their collections useful to us. Many, including these museums, have great resources in person and online both. Yesterday was the Peabody Essex Museum in Salem and today was the Worcester Art Museum in Worcester. At the PEM we completed activities related to using objects… observe, write, share. At the WAM she told us about the studio wing of their museum and how they strive to make a connection between looking at art and making art. Both are strategies that we encourage using in our Arts LINC classrooms. At the PEM I saw a “Panorama of a Whaling Voyage” (ca. 1860) --- a wooden stage with scrolling screens. It was a colonial version of Kamishibai. At the WAM I saw a Thomas Hart Benton “Corn and Winter Wheat” that will be a good landscape to show my students for during our Field to Table unit. We are seeing works of artists represented in the Picturing America poster sets that many schools across the country received from the NEH. Today we also saw the “real” Paul Reverse silver tea set too!

Connections, connections, connections.

Picturing America Institute

I am participating in a Picturing America National Endowment of the Humanities Teacher Institute this month at Salem State College in Salem, Massachusetts. I arrived on July 4 and it started on Sunday, July 5. It will be four weeks of listening, learning, sharing, observing, participating, and integrating visual art, language arts, and history! We have started off at a running pace! It is wonderful to have the opportunity to work with curricular specialists and others who have worked with integration in different settings. The faculty that has been assembled to lead us through these weeks already has my mind going in many directions. Their expertise both individually and collectively is amazing. I will need to narrow down some of my thoughts for a project, but for now I’m taking it all in and it’s comfortably spinning in my brain! This really is incredible! I’m thankful to have received this opportunity!

Prairie Bliss

Peace

We have a class of practicing and future teachers who are all learning about arts integration into the elementary classroom right now. The focus is the prairie and its' enveloping sense of place. As they are composing their narratives I am writing for the blog. As I/we teach this class I have this uncomfortable feeling. I am not as much in control as I'd like to be. It is a disconcerting feeling but in many ways it is good for me, for this is what I ask the teachers around me to do- get out of your comfort zone and try something else. Stay in this place where you are not in total control and be ok with it. We plan the lessons around the big ideas of integration but the truth is we do not know how it will come out, what will fall flat and will succeed.

This morning we stepped into the prairie in Spring Creek right outside Denton. We spent close to two hours walking around taking photographs. Slowly as time progressed we hushed fanned out and spent time connecting with the surroundings- with photographs as the focal lens. The mood was muted and perfect for sensing and focusing on emotions. We took the risk and the time... Still there is a lot to do to help these practicing and future teachers as well as ourselves make connections and link all of this to actual classroom instruction.

It would be great to examine these experiences as they develop, my guess is that my concerns and feelings are not unique.

Another Denver Airport post: Creative Teachers

We had our end of the year meetings in both sites over the last 10 days, Nebraska and California. As Monique, Nancy and I discussed the energy and immense productivity we saw in the meeting we started recognizing how uniquely creative and collaborative our teachers are. Our approach focuses on key ideas while letting teachers create their units and variations. The idea is that fidelity is to core ideas and not a prescribed lesson. Our principles are about process, thinking and integration. Our teachers have become amazing at using this platform to be creative. Even though grades have created units together the products were often different in meaningful ways. For example all second grades created a stamp as one assignment- but those were not uniform in the classes- showing that kids are creative, not between classroom showing that teachers are creative. More than that they UNDERSTAND what are the key ideas and where they can be creative and create variations that reflect their classrooms, individuality and skill/ comfort level.
As a researcher this has cost me much- and they are constantly aware of the research asking " we don't want to screw up the data". But the results are exactly what we wanted- implementation that is powered by teachers, sustainable, meaningful. For a second there I thought - if I had to retire right now, I would have retired happy.
If we want a creative generation we need to let teachers be creative! For that to happen professional development must provide the space for teacher creativity to emerge.

More Thoughts about Creativity

Before I start I'd like to send a hello to Regina Murphy of Ireland, and invite her to contribute to the blog (let me know and I'll set this up). I never intended this blog to be a one person act and what Regine is doing I find extremely interesting (I'll let her tell about it...).

In my last post I focused on skill as a part of creativity and potentially a filter for measuring "higher order" processes.
The question stays- what is creativity? My understanding is still evolving and this blog seems to be one of the places I do my thinking, so here goes:
Creativity has a strong creative domain component- like expertise in any field it is highly contextualized. If you are a sculptor a painter or a mathematician your deep understanding of your field is part of being creative or it at least a necessary but not sufficient condition. Such domain knowledge is what enables the artist (and I use this term to include anyone attempting to create an art product) to translate a vision, intent to a product. As Mike Jackson explained to me [I am paraphrasing] For me creativity is when I can translate what I see in my mind on the paper, then it is a good product. I care about the process the most, once it is done I stop being engaged.
Yet, people who describe themselves (or by others) as creative seem to be able to carry some of their creativity with them into new domains explore them and finally be engaged with them in full. Looking at the Universal Learning Model that my colleagues and I are focusing on- creativity becomes a multi-dimensional construct that combines several aspects of learning. The first is knowledge of the domain, most important is procedural knowledge that drives the creative process itself. Second is focus- single minded focus of attentional resources (i.e. working memory) to the task at hand. It is the experience of Flow or just extreme focus on the work that is often romantically portrayed. Finally and maybe the characteristic that most often helps the artist transcend a creative genre and learn a new one- Motivation.
The most universal feature of creativity is motivation. Motivation directs attention and allows the focus described above, which in turn leads to learning of new knowledge of the domain and most importantly the process. In motivation I think the most important features are slef-concept, seeing one's self as an artist or creative person. The second is the longing for complete engagement or flow. I think that once you develop Flow, you constantly search for it. And if you cannot find it you look for new domains in which you can re-experience it. Oliver Sacks describes such a case in "The Case of the Colorblind Painter". A desperate search by the artist for the way to rediscover flow probably the experience that ancient artists used to describe as the presence of a muse.
More later

On Being Skillful

We often disregard the skills. We want kids to think (adults too for that matter). As we try to measure things like creativity, we try to avoid the skill threshold or work around it.
I am like that too to a certain degree. But, as I think about these constructs I strongly believe that creativity, intelligence, and learning are all deeply embedded in domain knowledge and a threshold of skills that allow you to engage meaningfully with the the subject matter.
In other words, Tiger Woods that cannot putt well is just a golf bum who thinks a lot about the game, Einstein without his knowledge of math is just a crazy dude sleeping on a park bench. Before we disregard skills in favor of other "higher order" thinking we must remember that when Bloom created his taxonomy he did not mean that knowledge is not as important as any other level in his hierarchy.
Sooooo, my point is that teaching skills and measuring them should not be disregarded. Moreover, if we intend to measure any higher order thinking about these things- creativity, interpretation. We must also measure skills- to make sure that skills are not the filter that mediates what we measure. If we do not, what we claim is creativity may just be a proxy to skill level and out of school experiences.
In fact, I would argue that the only way to reliably measure creativity is a dynamic assessment in which students are first provided a meaningful context to work in and provide content knowledge and then their actions with these building blocks are measured.

AERA

I just finished the AERA presentation on literacy and arts. Despite the fact that we had a round table presentation on a friday afternoon- 7 people showed up.
I presented our the results but on the way conveyed key ideas that have been guiding our research for the past three years.
The first thing I thought was- we need a better forum. As much as I like the Arts and Learning special interest group- too few people pay attention. We must make sure that we reach a wide audience. I think we have something to say. There were also two graduate students in the mix and I thought to myself... they seem to be getting their education in a place that cannot support their interest in arts yo... So nery few places do that. Maybe we need to advertise our expertise or offer a way for students to participate in classes across institutions.
As you can sense these are only beginning thoughts as I enjoy my free afternoon in San Diego.
I can see a number of institutions with faculty interested in education in and through the arts creating a consortium that would help graduate students the kind of classes that really enhance their thinking. Maybe AEP can be the organizing mechanism...
Another random thought- Oxford University Press is interested in a book about arts integration. The editor and I had some ideas about what is needed and how a book can be molded in that direction but I invite comments from others...
Off to get some fish tacos...

What did I learn?

In my last post I was just before my visit to Skinner Academy Arts magnet.
So what did I learn? I learned that things are much better than I imagined in many areas but not all the way where we should be in other ways.
What is encouraging? Well all of our teachers are enthusiastic, they are excited to participate and do the cycles and all of that even when the project stops. What they really have said is- these are well designed units and they are part of our teaching now. We like them, the kids like them, they achieve our learning goals and require some energy in maintenance. I think that the project really encouraged this pattern by focusing on providing professional development and supports that lead to independent application. Our teachers do with a lot of support and very little other resources. As a result once practices become entrenched these "scaffolds" can be easily removed and the building still stands. After we will be gone teachers will not miss the resources as much because they have not come to rely on stipends, lavish classroom products etc.
So if it's all so good what is still missing?
The ongoing struggle is define the boundaries between the arts and music specialists and the classroom teachers. We have different ways of negotiating the boundaries in our different schools (this goes well beyond Skinner). The patterns are- disconnect: you do your thing I'll do my thing, Soap box: I am the expert on this (classroom teachers do this too) you must listen to me, Servitude- Tell what you need me to do . These are all paths on the way to true collaborative practice. We are simply not there yet.
Finally, I've seen only some evidence that the practices we encourage are "spilling over" to the general curriculum as an everyday occurrence. But more on that next week...

Spending Time

Monday I am spending a whole day at Skinner Magnet Center. This is very exciting as I often do school and classroom visits but they are so short that I do not have enough time to sit and talk at length with multiple groups of teachers. As we planned our work this semester, the emphasis was on understanding what is happening in our schools. The results is this visit coming after multiple observations of participating teachers' classrooms.
The questions on my mind are many:
What is working well?
What are the obstacles to arts integration in the different grades?
How is the depth and consistency of arts integration mediated by teacher dynamics (leadership, group vs. individual teacher)?
How do they feel collaboration with Arts specialist is going?
Are teachers stretched or is there some capaciuty (now in our third year) to push even further?
Most important of all- how do they see and feel about arts integration? will they still be doing it after we left?
More questions than answers this week. I'll fill in some answers (or more questions) next week.

Change in Teacher Practice

It is still cold but I am assured that spring is almost here...
The question that is always on our mind is how do we help teachers change their every day practices while honoring the efforts and pressures they have to contend with daily.
Recently I read a masters thesis by Alinda Stelk one of Dr Kathy Wilson's students in it she quotes from Black and William:
Similiarly, Black and William state in their 1998 volume Inside the Black Box, "Teachers will not take up attractive sounding ideas, albeit based on extensive research, if these are presented as general principles which leave entirely to them the task of translating them into everyday practice- their classroom lives are too busy and too fragile for this to be possible for all but an outstanding few. What they need is a variety of living examples of implementation, by teacher with whom they can identify and from whom they can can both derive conviction and confidence that they can do better, and see concrete examples of what doing better means in practice" (pp.15-16)... Cahnages require teachers seeing temselves as learners and working with researchers to learn more."
The fit to our experiences is immediatly validating and daunting. Validating since it is identical in many ways to our practice, daunting because we need to imagine what such a system might look like. It does show as many of the AEMDD grants have in past and present that demonstration projects are invaluable labs for examining such change.
The question still remains; How do we translate it beyond existing projects? Or are we 'doomed' to have pockets of excellence in a sea almost completely devoid of Education in and trough the Arts? One possible answer has grown out of practice in Reading and more recently Math- coaching. Coaches are part of schools but they have the great advantage of focusing on "close distance". They are not of the classroom, but available enough and know enough to be immediately helpful. Their focus is mainly on helping teachers reach their potential and thus reach students mostly through the change in teachers practice. Coaches have the time and distance to think compare and transfer new ideas as well as plan, assess, and critique.
In a recent visit to a reading first school I discussed the new vocabulary emphasis with the coach (one of our best).
She said "We wanted all of our teachers to go into the units and decide which vocabulary should be taught. It was too much for them, finally me and [a coach from another school] used some time in the summer to go through the units and pull the vocabulary out. They simply did not have the time!" Her experience similar to ours is that teachers can be asked to do so much at any point, as expertise grows they can do more but still they need modeling, support and ideas- and I would claim, coaches in their close distance are the way to go.
We can think about it as re purposing the teaching artist/ artist in residence more explicitly guiding them to work with teachers as many projects have been doing to a certain degree for a long while. But as I read my own text I realize that repurposing is the wrong approach. We need the artists to help us build domain knowledge but coaches who are (were) classroom teachers as coaches. It goes back to the observation of Black and William:"What they need is a variety of living examples of implementation, by teacher with whom they can identify and from whom they can can both derive conviction and confidence that they can do better".
Can we (those outside the classroom) do better?

Honesty

We have reached a great point in our project. As in all professional development we spend quite a while building understanding , confidence in each other, and fidelity to the program.
We use fidelity in a very different sense than other programs. When we talk about fidelity is not about adhering to a specific script, instead its about confirming to "big ideas" of integration, quality and discourse.
The process by which teachers learn trust and accept the research team and vice versa is long. In my experience, it takes at least two full years of work together usually much more. I also believe that many projects never actually get to the point where participants from all sides feel confidence about what they are doing and what everyone else is doing.
In Arts LINC we are there. We now have quite a few teachers that keep us honest. Let me give you an example, one of our teachers emailed me today about a problem in our Teacher Log. Some other teachers expressed concern but he questions were concrete grounded in the work. I immediately found that in answering her questions (coming from a need to understand and help the research) I found some of the redundancy in our data collection. I was called to the carpet and found wanting (in a small way). Similarly another teacher looking at the data for kindergarten is asking pesky questions. When I say pesky I mean they bother me because they force me to think again about my chain of reasoning and force me to retrace my steps and make sure my data and interpretations are correct. I lose that- so if you are teachers on any research project, ask, question, participate. Do not let your question prevent you from action, but remember that the researchers can learn from you as much as you larn from them. That is what makes ist so valid ... and fun.
Not much about art this time-

Getting our hands dirty

We all are afraid to get our hands dirty, metaphorically speaking.in the army every friday was dedicated to cleaning our equipment, as a loader and later Tank commander I was in charge of cleaning the machine guns. Early friday I would start the dance of trying to clean without getting dirty. The problem is that everything needed to be washed in a half barrel of diesel and motor oil. The dance would usually end midmorning with me covered with a few diesel stains. From that point on I would embrace the dirt and oil. I did not care anymore, but as a result had the cleanest MGs in the company. The metaphor for me is clear. To do something well we sometimes have to get our hands dirty, and embrace the dirt.
Some teachers I know are literally avoiding trying any 'messy' media. I have really tried to resist professional development. It's not that I do not do a decent job, instead it's the feeling that I'd rather do something else. As a result I tried to use colleagues and students in that capacity. Having done some professional development recently- which turned out well, I finally realized I have to get my hands dirty and love it. Stretching the metaphor, I think that Education in and through the arts should identify these areas that canbeuseful but nobody wamts to touch. Then we shpuld take the plunge.
Come to think of it, quantitative research is exactly one such area, but I am sure there are others. Thoughts anyone?

Transition

The new administration that is getting ready to settle in DC is a cause to celebrate and a cause to worry. President elect Obama is quoted as a supporter of arts education a good sign. Further, a change is always an opportunity to do something new and bold. On the other hand this administration is handicapped by major challenges economically and on the international stage. Will there be enough political will for battles in education let alone arts education?
At these point I always emerge as the eternal pessimist. The choice of secretary of education and the focus of this administration may signal that the time is not right.
Politics aside the economic situation may very well signal that we need a new creative generation, that the whole child initiative (ASCD) and specifically arts education can provide answers not found anywhere else.

Reading the Signs

As the economic situation turns sour across the nation and the world funders and the public at- large seem to shy away from the arts. "This is not the time to support the arts..." they seem to say, people are hungry. I understand the need to support the hungry and homeless now, but at the same time we cannot let the arts and arts education clear the stage until things get better. If the arts are basic then they apply in good times and bad.
It is the shadow of "high" expensive art that is a luxury most enjoyed by the rich that is cast over the whole field. If arts education helps all students be better citizens, more aware of the world, more creative, and higher achievers across the board- then we must especially in times of difficulty make room for arts education.

Out in the Real World

I'm on my way back from southern California and a visit with our teachers at Lake Elsinore Unified School District. Unlike previous times this was not a professional development day for, but instead I visited about nine classrooms. In some I got to see products and exchange a few words. In others I saw integration in action- both visual art and music.
So, what did I learn? First I re-learned that we must stay close to our classrooms. We must understand the complexities and pressures that our teachers face and celebrate the ways they find to be professional in uneasy times.
The picture on the left is from one of our classrooms. Students drew a tree in four seasons and wrote an artist statement discussing the choices they made as artists.
The work was great- diversified and creative. It illuminates a topic we've been thinking about in assessment of creativity at the classroom level. The more products look identical the less likely it is that students were actually creative. This classroom showed that you can have a teacher who is not an artist be able to guide a very specific art activity and still leave a lot of room for creativity.
In music integration we observed kindergartners playing ORFF instruments to Saint-Saëns' Carnival of the Animals. The children really started taking to it after a while. It did make me acutely aware of how important classroom organization is with music, and the importance of creating a routine that our students can get used to in transition to music.
More thoughts about music integration next time.

Adding Music

We are now trying the addition of music to our literacy classrooms! It is truly an adventure! We are learning to use the Orff Schulwerk process. Already I've found moments that I can do an assessment of vocabulary knowledge by the movements (actions) the children choose to represent their vocabulary words!

Around the Corner

I am sitting in Washington DC surrounded by leaders of arts education projects nation-wide. Seven years ago we all fitted around one long table in Charleston SC. It was a lot more intimate and in some ways more helpful. The question in my mind is whether it represents a true change in the direction for educational reform. ASCD started the Whole Child initiative and Hal talked about a shift in public opinion as part of his Imagine Nation report. Is this shift real? Or does it stay in this room? The realities that we see in schools are still far from this vision. They may be around the corner, and we who are very close to the wall with our eye on the classroom cannot see it coming. It could also be that we are simply “going to church” and dreaming of a better world, willing to suspend our belief until we go back to the challenging environments of schools and high stakes.
The only way to go and change is low stakes assessment of students and teachers- regardless of how much money or directives we can write. If we are to move in the direction of an Imagine Nation we need teachers ready to do that. Art education is rarely taught in teacher preparation program by full time faculty. Very few research universities have faculty researching Arts Education. So a shift to an Imagine Nation needs a shift in our teacher preparation programs- are we even close? I am eternally skeptical and would love to again be proven wrong.

Working with future teachers

I spend a good portion of my time with pre-service teachers. For a while I was reluctant to challenge them with arts integration. But now that I am bringing it up and even modeling a full VIEW process I can see the difference it makes. About a third of my students decided to integrate the arts into their writing lessons in practicum. The message has definitely resonated with my students and I am oh so curious to see what will happen.
For me this was in some waysan unintended consequence. While it makes sense it took me a while to connect this aspect of my research with my teaching. Now, I am consiously looking for ways to help future teachers see the connections. It is about turning the tide from a fragmented elementary curriculum to a more cohesive integrated approach.

Bracing for Impact

No matter who wins the elections next month we can expect a shift in the way education is talked about and funded. (Education Week is sponsoring a debate between the two education advisers)
I wonder how funding for Arts education will change or even if it will.
Regardless I feel that those of us who are integrating the arts need to start looking for funds beyond the ones earmarked for the Arts. If we can support our claim of benefits going both ways we should be able to convince grant panels in literacy math and professional development. I am not we will be successful immediately but a change in administration may be just the right moment to try.
A short post of some fairly random thoughts this time.

Boots on the Ground

Our project is challenged by working in two very different contexts. In California we work mainly with generalists (classroom teachers) while in Nebraska the work centers on the collaboration between specialists and generalist. Further complicating this issue is the geographical distance of 1500 miles. The Department of Education have asked us to present about ways we resolve the conceptual and geographical distance effectively.
This is where technology is enormously helpful, and I am always technology happy. Experience have taught me though that technology can have only a supporting role in a project like ours. I believe very strongly that professional development can be most successful when we understand each others context and practices. Further, there is no way to understand context and practice without sharing the same contextual space, seeing students, classrooms, and interactions.
As a former soldier it is a "Boots on the Ground" approach. Beyond understanding the context I believe that deep professional development the kind we know makes a difference is about relationships of trust shared experiences and even friendship. Such relationships can only happen in face to face meetings.
We travel from site to site for more than just a 4 hour PD we visit classrooms, and when budgets allow we take teachers with us so they can learn from the different contexts and practices.
Technology used on top of that can help maintain the relationships created during face to face meetings but not replace them.

Not Just Friday Afternoon

We gathered on a Sunday a few weeks ago with some friends and their friends. There was this teacher-thread throughout the group. One was another primary grade teacher at an arts focus elementary school in another area of the state.

Arts LINC, etc. came up in the conversation (imagine that!) and the teacher from afar was excited to tell me that each week they give their seven and eight-year-olds a prompt and related instruction with the end 'assignment' to write a five paragraph essay. They are given time each day and have until Friday to finish it. However, if they are finished early, say Wednesday or so, they can do art that is related. The kids that take all week to write don't have time to do art (my comment: don't get to).

The arts program there includes a focus on an artist and composer of the month, a two-year cycle (so the kid will get same artists/composers in K, 2, 4) and the time designated for that is Friday afternoon. They also have a “club time” one afternoon a week with things like guitar club. I’m guessing that this is a program example that plays out in some other schools across the country.

It is becoming clearer each day that I am involved in Arts LINC that we ARE about INTEGRATION and not about ENHANCEMENT. I started to explain the difference to her, but then decided to save that for another situation. At least her students were getting something from a teacher that was enthusiastic and committed to including the arts.

I have always so off-handedly given an example from my own childhood as a differences to the philosophy, strategy and research of Arts LINC. (The example I use: "You may write about your summer vacation and if you have time, you can illustrate it.") I know now that an example like that is still real. So....the next article we write should be titled, "Not Just Friday Afternoon".

Thinking Like an Artist

There is a growing pattern in the professional development of teachers to move away from an emphasis on pedagogical skills to thinking like domain experts. In many ways the idea is not new, yet the application is intriguing. Science teachers spend the summer being scientists working in university lab- thus learning the fabric of science. Math teachers spend their time learning and working math. Perhaps the most established of such ideas is the Writing Project. In the Writing Project each participant is encouraged to write and see herself as a writer, as a result, the logic dictates, she is more likely to teach writing, understand her students process, and finally help them identify themselves as writers.
The question that started emerging in our work is whether that is also true for teachers who are charged with teaching the arts in their classroom? We envision trying to foster Studio Habits of Mind with teachers as a way of transforming their practice. I think this may be a transformational piece for classroom teachers who are not formally trained as art specialist. For them (and me in all honesty) the last time they were engaged with any sustained effort of art making was in school (K12).
There might be a catch that must be considered: can elementary teachers who are asked to teach all, or almost all, subjects be domain experts in all these areas? Can we really expect depth of understanding and real experiences in Math, Art, Science, Writing, History etc.? I am excited about this idea but as I look at the larger context and being able to scale such practices up- I am sure we can scale our pedagogical ideas up (VIEW) but as for teachers thinking like artists, I am not so sure anymore.

Back in Action

A few weeks ago I watched a presentation on a video podcast out of TED Talks. In this particular one the speaker stated that the apparent failure of instructional technology in making large achievement gains is linked to the fact that most studies are conducted in "high achievement" schools. His point was that in such schools technology cannot make much of a difference. In struggling schools, however, it may make tremendous difference. It started me wondering whether that was true about arts integration too.
That is, does arts integration help students in lower achieving schools? In a way it's an empirical question we'll be able to answer this year.
On the other hand the arts are very different from technology. Class and professional status influence exposure to technology much more than exposure to the arts, especially creating art. My sense is that middle class/professional parents are much more likely to expose their children to technology than arts (sadly). So, the question is still open waiting for some data to shed light...

Thinking Statewide

Just before I go on vacation I had the chance to work with the teachers on the Sheldon Statewide project. The teachers who showed up were fantastic to work with. Ideas flowed and I am interested in seeing the lessons in action. This year I hope we can actually video classrooms in action and record teacher thoughts immediately after they engage with arts integration. The idea is to get as close as possible to the action without being in anybody's way.
At the same time I was looking around the room and observed how essential the conversations between content teachers and art teachers were. What we tend to forget is that we speak very different languages and have a very different view of the classroom. In many ways we do not see the same kids as some of our students act very differently in the art room and the classroom. For us to be able to make integration work in our schools we must make these partnerships more permanent. The effort of understanding each others language and emotion will pay off only if we continue interacting.
If you have any ideas about sustaining collaboration I'd love to her about it.
The blog will be back the last week of August- ready to start another year of arts integration.

Arts Wall

I was invited to participate in the process of developing ideas for the Sheldon statewide art education program.
The language arts focus will be on poetry but that's not what I wanted to write about this time. In the discussions the idea of using word wall to focus students' work in the language arts. It struck me that we can in units use a parallel arts wall. So what can be part of the arts wall? Well it really depends on objectives and accumulated ideas.
The arts wall can have basic shapes lines or textures, color wheel, a list of techniques (for example tissue, taping, and salt in a unit using water color as medium). The idea is to represent things on a an arts wall using both words and artifacts- so it does not just become a word wall of arts words but actually something different.
Another part of the art wall can be reproduction of art that fits with the subject matter, for example scenery when discussing foreground, middle ground, and background. If for example students are exploring a museum (in person or online) they can bring examples to the classroom arts wall and explain to their classmates why they think it belongs (oral rehearsal). I like even better reproducing parts of art in a way that allows a focus on technique o detail.
Moe about the statewide will probably emerge after the workshop on July 28th and 29th.

Music in the Heart of summer

Monique left last weekend. We've worked very hard and achieved a lot during the past few weeks. I really appreciated her thoughts every time we met, which was quite often even if not as often as I wanted to. Our conversations about music was a strand we followed all five weeks since it is a part of our grant, it is starting in earnest next year, and of course because Monique was participating in a music ed course.
I don't think we still know everything we want to do next year, but here is an idea we started developing. One thing you have to know Monique and I are very concrete albeit in different ways. That is why our conversations moved from big theoretical approaches to the nuts and blots of a unit.
In this case its a life cycle unit focused on the butterfly. The idea is for the students to integrate music in a meaningful way that supports learning about the butterfly, life cycle AND music. For example students can be set up in pairs, with a music instrument (ORF based but also keyboards etc would work). Each pair would be responsible for creating music to fit the stage in the life cycle of the butterfly. Each pair would record the music (on paper and/or tape) and play it to the group explaining why they chose this representation (Oral Rehearsal) . It could also be used for a game where the rest of the class tries to guess what stage it is and present a reason why they think there is a fit.

Interesting that Guy would say this today-- “exposure to rich experiences in different domains in our home and community is what makes us diverse and different contributing to the rich tapestry of society”
Today I got re-acquainted with one of those community members that contributes to the rich tapestry…
In 2005 I met Tom Palmerton, at the Lewis & Clark Visitor Center in Nebraska City. He is the sculptor of “Pointing the Way” a Lewis, Clark & Seaman bronze. It was a casual meeting as neither of us was interested in getting in the middle of the crowd at the Opening Program and were standing around outside the building with a few others. Once I realized who he was and what he had created, I began asking questions. He graciously explained his process to me and I knew that some day I would like to visit his studio in Brownville. Today was the day.
He is a 77-year-old artist (father and grandfather) that received his formal training from the Kansas City Art Institute using the GI bill. Originally from Council Bluffs, IA, he returned to that area and spent some time in Omaha. In the early 1970s he came to Brownville. His studio and gallery are in one of the historic Brownville buildings. He spends his days there creating and is usually closed on Sunday. But we called ahead, and he was happy to come and open it up for us (I was with my parents). He’s made many historical figures and many animals and birds. He also is quite a painter and has many framed paintings on the walls. He showed us both working areas—the room for the bronzes and the loft for the painting. He once again, graciously explained the entire process to me. (I think I have to try it to really understand it!)
Today he was working on the wings of a butterfly that will be part of a large bronze butterfly sculpture. The completed sculpture will be part of the Butterfly & Insect Pavilion at the Henry Doorly Zoo. Of course, I took an immediate interest in the subject matter because of our Arts LINC & Science Unit, “Living Things Grow and Change”. Sometime when I’m in Omaha, I’ll go the zoo. He already has several sculptures there. I’ll have to see art at the zoo!
A connection between art and science. A connection with a living and working artist. I feel like I’ve met a rock star.

Home and School

My Mom is visiting from Israel this week. I our conversations we turned to the importance of home environment to the development of visual art. The discussion started from my comment that Itai my youngest (2) seems to enjoys visual art activities (sometime on inappropriate surfaces such as counters, tables and the inside of my car). Art was never emphasizd in our house (though my sister became a musician) we visited museums but were not really encouraged to be actively engaged in any art form. In her comment I am not sure if my Mom meant that Itai will not really ever be an artist because we at home are not ourselves very artistic... This got me thinking about breaking the cycle of non-engagement. Since the home is so important in determining the disposition and capabilities of students, can school change any of that? This is true with language, literacy, and of course art.
As parents I can encourage Itai (and the rest) to be engaged with art, to feel safe trying new forms of expression and seeking out art. As educators our role is to provide the same experiences, environment, attitudes, and expectations that will support a relationship with art and literacy regardless of the home environment. We do need to understand though that our actions cannot erase all differences between home environments... there is too much to overcome.
And in reality exposure to rich experiences in different domains in our home and community is what makes us diverse and different contributing to the rich tapestry of society.

The Language of Art

I am continuing in an Eisnerian angle. Monique and I have been talking about the idea of using the language of the artistic process in Arts LINC. Right now we aren't emphasizing this element. Should we? Te students we're working with may be too young to understand how artistic language can be used beyond the art lesson. I think we are afraid of mechanical application without a depth of understanding.
At the same time I have gone back to something we did in the past, have students discuss colors with precision. In Project RAISE we had such emphasis that led to writing about color for example "the tortilla brown smoke". Most color metaphors used by students, however, were not based on actual observation and were used indiscriminately. I think though that this can be a great opportunity to discuss metaphoric language with a concrete referent.
The progression starts with reading and speaking about colors, the art work focusing on observing the color of the object you are painting. In oral rehearsal students describe the work in terms of colors (not exclusively). The teacher models and help students come up with color metaphors that are highly descriptive of the art. In following sessions the focus shifts from description of the art to using the metaphor to create an emotion and disposition in the written pieces. Finally the discussion can turn into observing the use of color in the work of artists and the use of figurative language in text and how both are very intentionally and consistently used to create a cohesive piece.
We must be ready, though, to adjust this process to developmental level. We also must be OK with students applying these concepts at varying degrees of accuracy and proficiency- students must be allowed to be playful here before they become proficient.
Joy in language and art y'all.

Nancy & I were asked to participate in the Arts Integration Forum at the University of Tennessee-Chattanooga. So… in early May we presented our model of arts integration for professional development. In preparing, we refined and solidified our views and practice of delivering professional development in arts integration. These have developed over the years using our experiences with previous grants and currently with Arts LINC. In Chattanooga, we were surrounded by many experts in the field of arts integration in all arts disciplines. We were honored to be part of the conversation and collaboration in this work as well as inspired to keep on track with the research… and the writing!

http://www.utc.edu/Outreach/SCEA/forum.php
http://www.utc.edu/Administration/UniversityRelations/news/2008/05/09/national-arts-and-education-forum-hosted-by-southeast-center/

Walking is always a part of travel that I do, it at least gives me an “overview” of the area. I took the photo on one of my morning walks before we gathered each day. The Tennessee River is in the foreground, downtown Chattanooga in the middle and Lookout Mountain in the distance.

Art Cognition and Meta Cognition

Monique and I have been thinking about our theoretical foundations as we explore the benefits of arts integration (we are writing a paper really). We came up with two distinct categories linked to learning. The first was cognitive. In this category we included the use of intertwined symbol systems in young children's' writing development as in Anne Dyson's work. The overlap between mental categories are also common to all academic domains e.g. careful observation unites science and visual art. Also the emphasis on motivation, engagement, and emotions as Burger and Winner claim. The work of social constructivists transfers us from the cognitive to higher order thinking and metacognition. Our claim that the process that Vygotsky identified as developmental carries over into mental operations in new domains- that is when we enter a domain we know very little about we have to rely on a semi-developmental progression from concrete to abstract ideas. Here enter Elliot Eisner and his emphasis on the mental operations connected to creativity, appreciation and complex processing. Efland and his focus on Metaphor as a key mental process fits the scheme here too.
I know this is a little heavy for a blog but these are the ideas we're exploring now.

Summer Promises

More than any other summer, this summer opens with the promise of great achievement. I (we really) have much data to go through- the goal is to send at least three papers for publications- we must take all that we've learned and gathered evidence on and share it with others. Monique has made it to Nebraska and we are going to set the bar high- but I hope reasonable. We will spend the next five weeks improving existing texts that we've been working on for a while. As I said high hopes but- then again it is much easier at the beginning of summer than at its end.
Nancy is staying in California finishing her dissertation that I hope she will share with us through this blog.
I've said it before but it is worth repeating- I see my role as moving the field from lore to evidence. I believe that we know and we've seen the impact of the arts in the curriculum but we must also provide evidence. The kind of evidence that decision makers would like to look at. In my case it is quantitative- the challenge is continuously look for valid measures that do not reduce a complex story to a single measure.
Jean and I have also promised to work with the Sheldon Museum of Art on their Statewide program, nothing is set yet but I hope we'll be able to contribute something to this great program serving communities across Nebraska.

Evidence Based Education and Patience

There is great pressure right now for educational research to focus on evidence based practice. At the same time there is pressure on students to teach using the same kind of evidence. I have no problem with the approach- but I would like to see space and time for activities that may not have immediate visible impact on students. For example, I am pretty sure that taking students to the Opera, museum, and theater will not produce much of a result on their achievement tests that year. The experience is just not enough. The cumulative effect of these experiences over time should make a great difference but I suspect we are not patient enough to wait.
The same seems to hold for vocabulary development. Not every word that students read or hear will become part of their working vocabulary immediately. A year or so ago I was talking to one of our kindergarten teachers about vocabulary growth in her students. We were both somewhat frustrated by what seemed to be the lack of use of target vocabulary by the students. The conversation really started me thinking about the patience. We want results now but need to recognize that in some areas we need patience and the understanding that the impacts are beyond one or even three years in school.

A Day with CA Teachers

I love coming to work with Arts LINC teachers in California. There is a charge in the air- they are here to work- as professionals. I shared our latest findings. Students starting the writing process with visual arts gain more in vocabulary and their writing is much improved in both quantity and quality. Furthermore, English language learners benefit greatly from the visual arts strategy.
We also found that creating the art was a lot more powerful than just observing it. The teachers reported that they can do without the arts but they find that they have to work much harder to motivate and scaffold their students. The art is a powerful scaffold and the personal investment with it as a motivator, memory bank, and resource should not be underestimated.
The teachers are a powerful group to interact with and I am energized to go back and start looking in more details at our data. It is going to be a great summer to look at the data and ponder how we can make this even better. All areas visual arts, writing and vocabulary seem to benefit. The works the teachers brought with them from spring units were fantastic sa sample of kindergarten art is at the top. Oops boarding the plane back to NE. Great Memorial Day weekend to all.

Assessment of Student Art

I sat all Friday morning with Mindy Amy and Kristen with the explicit goal of looking at kindergarten student Art and trying to come up with a scoring scheme.
Some people refer to such attempts as "subjective" others resist any attempt to assess student art. My experience shows that these assessments are not more subjective than others we use- as long as we clearly define expectations. If the person making the judgment is well trained and the definitions are clear there is no problem. The only risk is in starting to make assumptions about student intent, that's where our work gets tricky. I have a really hard time attributing intent in art making to young students. We, therefore, tried to limit such attributions and make judgments only based on what is actually present in the artwork. In the future I'd like to accompany some of the work with some audio and a few aesthetic question son we can better understand intent- then again there is always more data to collect.

A few months back we brought an graduate student with Art experience to work with us on assessment. She pointed out that we cannot understand the assessment without knowing the teacher's goals within a lesson. The media and directions controlled the outcomes to the point that interpretation losses validity. While I do not completely agree [in early childhood we observe often like that] tapping into teacher goals has been very illuminating. For example in the attached student art the intent was to focus on secondary colors as students drew apples with watercolors. Despite the explicit goal focusing on colors the art allowed to observe two more features. Many students tried to give their apples a three dimensional feel by using color gradations and lines. The second was that in trying to describe their apples they almost never described the colors in any way...

Looking at the Art provides a window to what students can do. It also provides a window to what teachers are emphasizing in their instruction and what they deem less important. The vocabulary [not presented here] by the way was great.

Our assessment of student art includes now the developmental rubric (originally by Nancy A.) though we are adding to it a parallel space rubric that will apply to still life portraits etc. Then we assess whether state standards are achieved and teacher explicit goals are met. Finally we assess the number of links between the art and language activity. In the case of Apple art the language generated was a list of three descriptors for the apples. Even for a first time I must say that we were incredibly consistent with very few disagreements. We will continue working on this for most of the summer so stay tuned.

Sunday Morning Tea- Looking for Clarity

As I sip my tea, black with honey, I am looking for clarity. In her Swanson award acceptance speech Margaret Macintyre-Latta used the fog of her childhood's Canada as a metaphor for her educational worldview. The talk made me think of my own childhood and the bright unrelenting light of Israeli summers as well as the clear crisp days where you can see for ever. In my own work I look for clarity, the kind that I can hold firmly in my hand. This approach is limited as somethings are elusive and defy clarity. The context is a chapter I am writing about Evaluation of Arts Education programs, I am trying to clarify to myself what I mean by Professional Development as Curriculum. Curriculum doubtlessly matters, but in recent years we seemed to start focusing on curriculum as the only thing that matters, maybe even more it is curriculum as driven by assessment but I digress. [the tea cup is empty and my throat feels much better] The failure of this approach may be the seen in the demise of Reading First [disclosure I am the Reading First evaluator for Nebraska].
In Arts LINC we are using a different approach that looks at teacher professional development as the key to changing the way classrooms work and student achieve. This is by no way original, but we are explicitly trying to change the way we all talk about change in school. It does take guts to say what we offer is not the only thing that can work just a version of it. But what does it mean to turn the Professional Development in the curriculum? We have some teachers that have internalized the ideas of arts integration into their practice so well that in their day to day practice it is inseparable. Others do the units we ask them to with varying degrees of fidelity but it is clear that they have not internalized it as part of everyday practice. Maybe clarity is by looking at examples. The tea is done children waking up more later...

Oral rehearsal

Yesterday I gave every student had a different piece of metamorphosis art created by Maria Merian. I had them observe their own silently for a few minutes.

I then used a QUEST book to provide questions and had them each share their responses with a partner. At one point I gave them one minute to talk before they had to switch turns.
They had to use as many of our target vocabulary words as they could that "worked" with the painting.

When the timer went off, they said, "That went too fast!"

Arts and literacy connections

In the quote from the Writing Committee NCTE 2004 they wrote: Writers often talk in order to rehearse the language and content that will go into what they write.
It would seem to me that the arts provide another vehicle to rehearse the ideas and content in a more holistic manner. They go on to discuss how important writing is for thinking--thus I would propose that the arts also provide children with opportunities for thought that then can be translated into text. NancyA

York

Arts LINC was born out of the work on visual art and writing, a part of Project RAISE (Reading and arts integrated for Student Excellence). The project uncovered a consistent theme of vocabulary development with students who were involved in active VIEW (Visual Integration to Enhance Writing) classrooms. As the project evolved we observed the change in oral language for all students. At the same time research literature about vocabulary development has reached a point of maturity. Research has pointed to increasing vocabulary as a key to narrowing the achievement gap. Arts LINC seeks to build on the work of VIEW that helped children communicate through art and writing and add the dimension of focused vocabulary development. It is the conviction of this project that the arts add for the student the dimension of meaning and emotion to literacy acquisition.

We spent the day with our teacher-researchers in York. The energy in the room was great. The question is how can we maintain this energy and get better at what we do...