Arts Integration Professional Development: the Higher Order Thinking (HOT) Schools approach

The arts have the power to expand cognitive potential through the development of higher order thinking skills, the use of the imagination, forms of self-expression and pathways to self-knowledge. When teachers are educated to integrate the arts in their classrooms, the result is transformation of the learning environment. In this qualitative case study I examined teacher experience in the Higher Order Thinking (HOT) Schools Arts Integration (AI) Professional Development (PD) program. While my research was informed primarily from the perspectives of arts specialist teachers, classroom teachers, and teaching artists, it also includes the voices of other stakeholders in the HOT educational community including administrators, HOT program directors, and parents. I obtained data through questionnaires, interviews, and observations in which I documented teacher experience during various forms of HOT AI PD and their implementation in the classroom. Teachers reported professional growth and described how HOT AI PD had transformed their teaching practice. This was accomplished through experiential and ongoing PD that teachers found inspiring and relevant to their teaching. The various forms of PD included a weeklong residential summer institute with professional teaching artists and various presenters, weekend mini-institutes to reinforce the summer institute content and to share best practices, administrator PD, and various one-day events on different topics. The HOT Schools program is a supportive network providing help and guidance throughout the school year. Emergent themes were related to teacher benefits, student benefits, PD strategies, and how the HOT program builds community. Teachers expressed satisfaction with hands-on PD strategies focused on student-centered learning, with emphasis on process rather than product, encouraging deep learning through the arts. Participants’ narratives highlighted the effectiveness of PD strategies utilizing teachers as instructors for their peers, and collaborative residencies with professional teaching artists in the schools. Teachers enjoyed enhanced collegiality resulting from collaborative work when creating arts-integrated curricula, and arts specialists teachers appreciated the respect they received from classroom teachers who recognized the value of the arts as modes of inquiry. Teachers demonstrated enthusiasm for the program and expressed how they had experienced professional renewal and satisfaction in their teaching as a result of their participation in HOT AI PD

Contours of Inclusion: Inclusive Arts Teaching and Learning

The purpose of this publication is to share models and case examples of the process of inclusive arts curriculum design and evaluation. The first section explains the conceptual and curriculum frameworks that were used in the analysis and generation of the featured case studies (i.e. Understanding by Design, Differentiated Instruction, and Universal Design for Learning). Data for the cases studies was collected from three urban sites (i.e. Los Angeles, San Francisco, and Boston) and included participant observations, student and teacher interviews, curriculum documentation, digital documentation of student learning, and transcripts from discussion forum and teleconference discussions from a professional learning community.The initial case studies by Glass and Barnum use the curricular frameworks to analyze and understand what inclusive practices look like in two case studies of arts-in-education programs that included students with disabilities. The second set of precedent case studies by Kronenberg and Blair, and Jenkins and Agois Hurel uses the frameworks to explain their process of including students by providing flexible arts learning options to support student learning of content standards. Both sets of case studies illuminate curricular design decisions and instructional strategies that supported the active engagement and learning of students with disabilities in educational settings shared with their peers. The second set of cases also illustrate the reflective process of using frameworks like Universal Design for Learning (UDL) to guide curricular design, responsive instructional differentiation, and the use of the arts as a rich, meaningful, and engaging option to support learning. Appended are curriculum design and evaluation tools. (Individual chapters contain references.

Evaluation of arts across the curriculum

This is the final report on the evaluation of the Arts Across the Curriculum (AAC) project, prepared bythe evaluation team in the Quality in Education Centre (QIE) at the University of Strathclyde, who were commissioned by the Scottish Government (formerly Scottish Executive) Education Department.Arts Across the Curriculum is a three-year pilot project sponsored by the former Scottish Executive'sFuture Learning and Teaching (FLaT) programme1, the Scottish Arts Council, and seven localauthorities in which the initiative is being piloted. In order to be eligible to participate in AAC, localauthorities had to have a Creative Links Officer in post. The seven Creative Links Officers were responsible for the management of the AAC project in their local authority

Interrogating community dance practice and performance in African contexts : case studies of a New York University and Makerere University collaboration in Kampala, Uganda (2010) and a collaboration between the Eoan Group and the University of Cape T

Includes abstract. Includes bibliographical references (leaves 130-142)

Teaching Artists Research Project

There have been remarkable advances in arts education, both in and out of schools, over the last fifteen years, despite a difficult policy environment. Teaching artists, the hybrid professionals that link the arts to education and community life, are the creative resource behind much of this innovation. Their best efforts are redefining the roles the arts play in public education. Their work is central to arts organizations' strategies for civic engagement and diverse audiences. Excellent research has shown that arts education is instrumental to the social, emotional, and cognitive development of thousands of young people. But little is known about teaching artists. The Teaching Artists Research Project (TARP) deepens our understanding of world of teaching artists through studies in twelve communities, and it will inform policy designed to make their work sustainable, more effective, and more meaningful. A dozen study sites were selected where funding was available to support exploration of the local conditions and dynamics in arts education: Boston, Seattle, Providence, and eight California communities (San Francisco/Alameda County, Los Angeles, San Diego, Bakersfield, San Bernardino, Santa Cruz, Salinas, and Humboldt County). A thorough literature review was conducted, and NORC conducted stakeholder meetings and focus groups, identified key issues and began designing a multi-methods study that would include surveys for both artists and program managers as well as in-depth interviews of stakeholders -- teaching artists, program managers, school officials, classroom teachers and arts specialists, principals, funders, and arts educators in a wide variety of venues.There are no professional associations and no accreditation for teaching artists, so a great deal of time was spent building a sample of teaching artists and program managers in every study site. The survey instrument was developed and tested, and then fielded on-line in the study sites sequentially, beginning in Chicago, and ending with the southern California sites. To assure a reliable response rate, online surveys were supplemented by a telephone survey. Lists of potential key informants were accumulated for each site, and interviewers were recruited, hired, and trained in each site. Most of the interviewers were teaching artists themselves, and many had significant field knowledge and familiarity with the landscape of arts education in their community. The surveys collected data on some fundamental questions:Who are teaching artists?Where do they work? Under what terms and conditions?What sort of education have they had?How are they hired and what qualifications do employers look for?How much do they make?How much experience do they have?What drew them to the field? What pushes them out?What are their goals?Qualitative interviews with a subsample of survey respondents and key informants delved deeply into the dynamics and policies that drive arts education, the curricula and pedagogy teaching artists bring to the work, and personal histories of some artists. The interviews gathered more detailed information on the local character of teaching artist communities, in-depth descriptions and narratives of teaching artists' experiences, and followed up on items or issues that arose in preliminary analysis of the quantitative survey data. These conversations illuminated the work teaching artists believe is their best and identified the kinds of structural and organizational supports that enable work at the highest level. The interview process explored key areas with the artists, such as how to best develop their capacities, understand the dynamics between their artistic and educational practice, and how to keep them engaged in the field. Another critical topic explored during these conversations was how higher education can make a more meaningful and strategic contribution toward preparing young artists to work in the field. The TARP report includes serious reflection on the conditions and policies that have affected arts education in schools, particularly over the last thirty years, a period of intense school reform efforts and consistent erosion of arts education for students. The report includes new and important qualitative data about teaching artists, documenting their educational background, economic status, the conditions in which they work, and their goals as artists and educators. It also includes new insights about how learning in the arts is associated with learning in general, illuminating findings from other studies that have suggested a powerful connection between arts education and positive outcomes for students in a wide range of domains

Arts-based pedagogies in Social Work education: does it measure up?

Social work education is confronting unprecedented socio-economic and political challenges resulting from globalisation, demographic and cultural transformation combined with technological advances. How it prepares students by keeping to the true spirit of an empowering and emancipatory yet a robust and fit-for-purpose approach to education, demands a creative approach. Our own endeavours as educators from the UK in searching for novel approaches, has led us to experiment with the arts as a means of enriching social work pedagogy (Hafford-Letchfield et al, 2012). Social work epistemology has traditionally been founded on social science theoretical frameworks so borrowing methods from the arts seems to naturally build on this interdisciplinary approach. However, the need for accountability led us to conduct a wider exploration of what is involved in arts-based learning and to look for potential new methods for research and evaluation which bring us closer to understanding why arts-based approaches might be effective in learning and teaching? In this short article we share selected findings from a systematic review of the available evidence (Leonard et al, 2017). We highlight key messages and principles for educators interested in designing an evaluation of arts-based pedagogies and what we have learned about doing this to best effect

Scrapbooking as a tool for transdisciplinary professional learning about HIV and AIDS curriculum integration in higher education

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Arts Infusion Initiative, 2010-15: Evaluation Report

For youth involved in the criminal justice system, a better future depends on improving their social and emotional learning skills -- skills like conflict resolution, career readiness and preparation for the future. An assessment by the Urban Institute shows how the Arts Infusion Initiative helped achieve just that for young people detained in the Cook County Juvenile Temporary Detention Center (JTDC), and for high-risk youth in the Lawndale, Little Village, Back of the Yards and South Shore communities. From 2010 to 2015, this catalytic approach to restoring the peace for Chicago's youth supported 14 nonprofits providing teens with rigorous arts instruction, infused with social and emotional learning goals. Funded by The Chicago Community Trust, the $2.5 million Initiative built collaborations with the Chicago Police Department, Chicago Public Schools, and Northwestern and Loyola Universities. The Urban Institute's mixed-method evaluation (2.9MB), commissioned by the National Guild for Community Arts Education with funding from the Trust, concluded that "the fields of education, juvenile justice and family and youth services can benefit tremendously from the emergent approaches embodied in the Arts Infusion Initiative." Among the successes their research revealed:Participants showed substantial improvements in social and emotional learning skills, as measured by conflict resolution, future orientation, critical response and career readiness. Improvements ranged from 27% in conflict resolution and career readiness, to 29% for critical response and 36% for future orientation.The initiative helped foster collaboration between program directors, public schools, community policing and the detention center. Examples include the Trust and the Chicago Alternative Policing Strategy program working together to open a high-tech digital music lab at JTDC. Chicago Public Schools' plan for a new Digital Arts Career Academy for at-risk and court-involved high school youth is a direct result of the positive effects Arts Infusion had on youth, and of the relationship forged between CPS and the Trust.The program exposed at-risk youth to new skills and technologies that opened their minds to a positive future. Arts Infusion grants enabled many participating programs to purchase -- often for the first time -- modern, professional-grade equipment to which many youth had never been exposed. Better Boys Foundation used its funding to purchase enough modern film lab equipment to serve a full 17-student class -- previous classes had only one camera to share among all students

Participatory relationships matter: Doctoral students traversing the academy

In this article, we take our thoughts for a walk through our three different doctoral journeys and experiences with the Post Philosophies and the Doing of Inquiry Webinar Series (2020–2021). The webinars presented an example of Slow scholarship, enabling us to think deeply and differently from others and develop new ideas to take further. The online connections offered opportunities for extending learning spaces beyond traditional bounded structures. Here we explore the rich learning gained from each other’s experiences of research, learning, and teaching in different higher education settings and ways in which these intersected with the webinars during the global COVID-19 pandemic. We contend that the generosity of senior academics in leadership positions who embraced global networks of communication, connected students with experts, and learned with and from their students through communal egalitarian spaces has enormous potential to support students as they traverse often demanding and challenging doctoral journeys

The Kresge Foundation: Annual Report 2013

This annual report shows you Kresge by the numbers -- with circles sized to reflect grant and social investment activity in 2013. To help illustrate the big picture, we map the inner workings of six circles, six signature efforts engaging our programs, tools, partners and endowment. Multiply that complexity -- circle by circle -- and you will come to understand Kresge as a whole. This is how we work to expand opportunity in America's cities