Transcending Disciplinary Boundaries - Curriculum ... · Web viewEmphasis Quote. Obviously, integration, like other concepts, is a construction, and can mean very different things

October 2019 Draft California Arts Framework: Chapter 8

Chapter 8 Transcending Disciplinary Boundaries—Connecting the Dots of Learning

Emphasis Quote

If you don’t take the time to think about and analyze your life, you’ll never realize all the

dots that are connected.

Beyoncé—Musician, Businesswoman

Chapter Introduction

The awe and wonder of learning in dance, media arts, music, theatre, and visual arts

provide powerful pathways of cognitive engagement and motivation for students. The

arts disciplines offer unique ways of learning about, experiencing, knowing, and

exploring the world. The arts positively impact student learning and their school

communities. The arts inspire, engage, and when integrated, build pathways to

transcend discipline boundaries. They improve cognition, memory, risk-taking, higher

order thinking, and creativity. Using their own experiences and knowledge, young artists

can explore themes across all aspects of their world and interests—arts, mathematics,

literature, sciences, history, environment, and social issues.

Sequential, standards-based, discrete instruction in the disciplines of the arts is an

essential component in impactful arts integration. When teachers intentionally,

respectfully, meaningfully, and appropriately design and implement integrated

instruction they provide students with opportunities to discover connections and to

synthesize learning. Arts integrated curriculum augments and extends discrete

discipline-specific arts and non-arts learning. Student learning then is able to transcend

discrete subject-specific boundaries through connecting the dots.

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Contents of this Chapter

Arts Integration within the California Arts Framework

Approaches to Integration

o Three Categories of Integrated Curriculum Approaches

o Multidisciplinary Approaches

o Interdisciplinary Approaches

o Transdisciplinary Approaches

Attentiveness to Students’ Arts Learning

Conclusion

Arts Integration within the California Arts Framework

Emphasis Quote

Obviously, integration, like other concepts, is a construction, and can mean very

different things in terms of contents, resources, structures, and pedagogies to different

people; yet the multiplicity of meanings is not always explicit in the ways that the term is

used.

Liora Bresler—Arts Education Researcher

For over one hundred years, there have been a range of integrated approaches to

curriculum design that have been discussed and implemented for a variety of

educational purposes (Bresler 1995). The language, definitions, and models are as

varied as the number of approaches. Arts education researcher Marina Sotiropoulou-

Zormpala points to the benefits of arts education’s focus on process and creativity, that

encourages students to “learn while they are creating, and create what they are

learning” (2015). The Kennedy Center articulates arts integration approaches from the

advantages to the learner, “Students engage in a creative process which connects an

art form and another subject area and meets evolving objectives in both.” Creating isn’t

the only artistic process in which integration is possible. The other three artistic

processes of the California Arts Standards, Presenting/Performing/Producing,

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Responding, and Connecting, also provide entry points of connections or integration

with other disciplines.

For the purposes of providing guidance to teachers the Arts Framework defines arts

integrated instruction as instruction in which students are engaged in one or more arts

disciplines through the Arts Standards four artistic processes and another subject area

or areas. There are multiple integrated approaches. However, to deepen and expand

students’ learning, the intersection of content areas must authentically connect while

addressing, assessing, and forwarding the learning objectives in all subjects.

Additionally, Dr. Mariale Hardiman, Director of the Neuro-Education Initiative at Johns

Hopkins School of Education, states while arts integration can be beneficial, “Arts

integration should not replace arts education…” (2019). For students to gain the most

value and benefits from arts integration approaches students need sequential,

standards-based arts learning.

Intentional integration can serve as a nexus between students’ discrete content area

learning and connecting learning can deepen conceptual understanding and the

acquisition of desirable skills and habits. Intentional and strategic integration can also

address issues of “time” in the elementary classroom. Whatever the reason teachers

are wishing to employ arts integration approaches, teachers should be aware of and

understand the multiple models of integration and choose the one that best fits their

instructional purpose and the needs of their students.

Emphasis Quote

Consumed by the vast unknowableness of both outer space and the oceans on our

planet, I think of the connectedness between everything and how we see patterns

where we choose to look. When looking at the night sky and trying to recognize

constellations, I try to picture the first people to draw those imaginary lines between the

random pinpricks of light, making sense out of chaos. Then I wonder, if those lines

connecting the dots across the cosmos were real, what they would look like from

elsewhere in the universe. There is so much we do not know…We still try to figure

things out. To imagine. To find meaning.

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Oliver Jeffers—Visual Artist and Author

It is natural for humans to connect and incorporate new learning throughout their lives.

This occurs in ways that are sense-making, provide new insight, and are useful for

navigating this complex world. Teachers in classrooms daily combine one or more of

the arts disciplines with other disciplines in formal and informal approaches that cross

curricular boundaries. Researcher Liora Bresler identified four styles of arts integration

found within schools: subservient, co-equal/cognitive, affective, and social integration.

(1995).

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Figure 8.1: Bresler’s Four Styles of Arts Integration

The Arts Framework definition of arts integration aligns most closely to Bresler’s co-

equal/cognitive integration style. In this style teachers approach the integration of the

identified content areas equally in the design of their instruction. This style of arts

integration requires that teachers have discipline-specific knowledge, pedagogy, skills,

and capacities in each of the content areas or co-teach with another educator with the

needed content knowledge, skills, and knowledge. Bresler found that teachers

implementing the co-equal/cognitive style “often encouraged active perception and

critical reflection on the technical and formal qualities of a project.” This exploration

“included higher-order cognitive skills as well as aesthetic qualities.” As an example, a

dance teacher may partner with a teacher of mathematics to design and teach an

integrated unit on symmetry through the lenses of mathematics and dance. The

integrated approach to the concept of symmetry within math and dance study provides

students with beneficial social, inquiry-based, and physical learning aspects in both

subjects.

The three other styles of arts integration Bresler identified in schools, subservient,

affective, and social integration, are explained here in brief to illustrate the differences in

approaches.

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In the subservient style, “the arts serve the basic academic curriculum in its contents,

pedagogies, and structures.” In this style of integration arts activities are used as a

teaching tool to assist students in achieving the learning objectives in other curricular

areas, such as mathematics or science. There may or may not be any intentional arts

teaching that takes place or alignment to the arts standards. Singing a song about

mathematics facts or state capitals is a subservient integration example. The arts are

seen as in the service of the other content area(s).

Bresler identified two subcategories within the affective style, mood and creativity.

These categories relate to the roles that the arts integration fulfills. For example,

teachers may use the affective approach to alter the mood of the classroom. They may

play music in the background to relax students or as they work on other learning tasks.

Teachers may have students stand up and “move” to the music to get the wiggles out.

These types of mood altering activities often combine with the subservient approach

and in most cases the students are not actively engaging in any of the artistic processes

or have had any instruction related to the mood altering arts integration. In the second

affective integration subcategory, creativity, the focus is on “activity.” In this style, a

teacher might play music in the background, have out various drawing materials and

paper, and invite their students to draw what they feel or imagine as they listen to the

music. Students are offered little or no direct, explicit arts instruction.

Bresler’s social-integration style of arts integration is similar to the affective integration

style in that the arts complements other subjects of the curriculum. Bresler identified

that in this style “the arts provided for the social functions of schooling.” In this style site

administrators, striving to engage all stakeholders in the school as a community, often

use the arts at social functions to help create the sense of community. Administrators

expect students to perform at school events and “communicated their expectations to

the teachers.” In this style Bresler found the “emphasis was less on the education of the

audience or performers [students], and more on the instant and on the eye catching.”

Bresler states that “these integration styles reflect some fundamental differences in

assumptions about the relationship of art and arts instruction to the larger curriculum

and educational goals, emphasizing different roles of the arts in the school.”

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The basis of the Arts Framework’s guidance and discussion of various arts integration

approaches and models combines Bresler’s co-equal/cognitive style and the Kennedy

Center’s definition of arts integration, and includes all artistic processes of the California

Arts Standards. Intentional and effective arts integration should complement discrete

arts instruction to benefit students’ learning in the arts and the other subject(s) being

integrated as disciplinary boundaries are transcended.

Designing arts integration instruction requires teachers working either alone or in

collaboration with others, who are knowledgeable and have disciplinary skills in the

subject areas they are integrating. They are able to identify the most effective approach

to combining instruction to deepen learning and be proactive in meeting all of their

students’ needs. When teachers partner with other educators in integrated approaches,

co-planning time is necessary to develop powerful arts integrated curriculum. This

planning can take place in a variety of ways. Educators could meet to plan together

either physically or virtually. They also could plan in isolation and then meet to combine

and refine ideas. In whatever manner the planning takes place, allowing time for

reflection prior, during, and after the integration instruction takes place is important.

Arts integration instructional designs cross disciplinary boundaries and as such require

careful and thoughtful selection of the corresponding standards to be addressed and the

most effective integration approach and model for the intended learning goals. Teachers

pay attention to the sequential learning in all subjects being integrated, look for

opportunities to deepen student understanding, and design opportunities to move the

learning forward. Teachers using integration approaches must be able to design and

implement assessments that provide evidence of student learning in all of the integrated

content areas being taught.

Sidebar:

In California’s Arts Standards the arts are approached as five disciplines. In some

societies and cultures, especially in music and dance traditions, the arts are not always

conceptualized or practiced as separate arts disciplines within cultural schemas. Lewis

in his A Cross-Cultural Perspective on the Significance of Music and Dance to Culture

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and Society provided insight into this integration or melding across arts disciplinary

boundaries.

In some societies there are no general terms for music and dance, but rather specific

names for different performances that involve music and dance. When Japanese

researchers first began to analyze dance apart from the specific repertoire to which it

belonged, they had to invent a word for “dance” (Ohtani 1991). Seeger (1994) describes

how the Suyá of the Amazon forest do not distinguish movement from sound since both

are required for a correct performance. A single word ngere means to dance and to sing

because, as the Suyá say, “They are one.”

-Lewis 2013.

It is important for educators when addressing cultural art forms to understand and honor

the foundational cultural arts schemas.

The multifaceted nature of integrated teaching requires the necessary knowledge, skills,

planning time, strategies for any accommodations or modifications needed, and

resources for teachers to be able implement effective arts integration. The following

sections of this chapter provide guidance on approaches to arts integration and various

models found within each approach.

Approaches to Arts Integration: Multidisciplinary—Interdisciplinary—Transdisciplinary

Drake and Burns in their 2004 book, Meeting Standards Through Integrated Curriculum,

describe integrated curriculum in “its simplest conception …” as “making connections.”

Drake and Burns offer that making connections through meaningful and well-designed

integrated curriculum provides opportunities for students to find relevancy and move

beyond superficial learning. Students can become “the producers of knowledge rather

than consumers.” Dance, media arts, music, theatre, and visual arts offer through their

content, the four artistic processes, and the nature of authentic arts learning, rich

opportunities for integration within the arts disciplines and with other content areas.

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Three Categories of Integrated Curriculum Approaches

Drake and Burns identify three categories of integrated curriculum approaches:

multidisciplinary, interdisciplinary, and transdisciplinary. These curriculum approaches

provide options for planning enriched learning opportunities in the arts for students. To

begin the process of developing an arts integrated unit or lesson, teachers should

identify the type of curriculum approach that fosters student agency and best fits the

learning objectives they have for their students. As educators work to design integrated

instruction through probing deeper and deeper into the disciplines and their related

standards for connections, Drake and Burns found that the “boundaries of the

disciplines seemed to dissolve abruptly.” The differences between the categories are

nuanced with the “…essential difference between the three approaches

(multidisciplinary, interdisciplinary, and transdisciplinary) was the perceived degree of

separation that existed between subject areas.” Understanding these three categories

of approaches provide a starting place for teachers when they are considering

combining learning of one or more arts disciplines with learning in other subject areas,

or integration between the arts disciplines themselves.

As the three categories provide guidance on selecting an appropriate approach, there

are a range of instructional design models that have emerged from practitioners using

integrated approaches. Robin Fogarty’s How to Integrate the Curricula (2009) provides

additional insight through offering ten models of curricula integration. In the following

sections of this chapter, Drake and Burns’ three approaches will be discussed and

examples will be provided using a selection of Fogarty’s models, see Figure 8.2.

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Figure 8.2: Drake and Burns’ Integrated Approaches Paired With Fogarty’s Instructional Models

These are not the only models that exist but are provided as examples for educators to

consider when looking to add arts integration lessons or units to their discrete,

sequential, standards-based teaching of the arts disciplines.

Multidisciplinary Approaches

In multidisciplinary approaches the focus is on the disciplines themselves and a

connecting theme common to all disciplines. Teachers using multidisciplinary

approaches identify and employ the standards from the selected disciplines to organize

their instruction and to determine a common theme. The instruction, standards, and

assessment are aligned. They work together, while accentuating students’ mastery of

discipline procedures. Disciplinary skills and concepts are taught and can at times

include interdisciplinary skill sets. The assessment of learning is discipline-based, which

may include a culminating activity that integrates the disciplines taught. Educators

function as facilitators and as resources for specialized disciplinary learning. Models

included within this approach are interdisciplinary, service learning, learning centers,

and fusion models. Fogarty’s shared model is one example from the multidisciplinary

category.

Fogarty’s Shared Model

The shared model requires the careful examination of at least two selected disciplines

to identify and build upon the authentic intersections within the selected disciplines. The

shared model provides multiple entry points for curriculum design and opportunities for

co-teaching. This type of instruction can be designed by a multiple subject teacher, two

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or more multiple subject teachers, two or more single subject teachers, or a single

subject arts teacher wishing to incorporate two or more subdisciplines within their

subject area. Teachers search for common big ideas across the disciplines in the

shared model.

Figure: 8.3 Shared Model

In the shared model the intersection of concepts or ideas drawn from each of the

disciplines’ standards becomes the focus of the integrated instruction. The teacher(s)

identify overlapping ideas, concepts, topics, attitudes, processes, procedures, or habits

found within both disciplines. For example, designing instruction around the intersection

of the cross cutting concept of observing patterns in science and process of “seeing” the

visual arts element of pattern, provides students a rich intersection of concepts and

skills. The disciplinary concepts are taught discretely in both subjects and then

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thoughtfully combined to deepen and enrich student learning. The teacher(s) might

through meaningful planning, engage students in authentically combining the learned

skills and concepts of observation, describing, and replicating of patterns from both

science and visual arts to create both a scientifically and an aesthetically rigorous

illustration or visual presentation on the concept of pattern.

The following provides a snapshot of a shared model between a science and visual arts

teacher. The teachers co-planned their integration focused on the cross cutting process

of seeing or observing, identification of patterns and details, and ability to communicate

visually their observations or inspirations. Each teacher taught the shared big ideas

within their own classroom.

Snapshot: A Shared Model—Visual Arts and Science

Ms. A. and Mr. B. teach at the same school and share fifth grade students. Ms. A.

teaches science, along with other subjects, and Mr. B. is the visual arts teacher. The

school has set aside time each week for teachers to co-plan with other teachers. Ms. A.

and Mr. B. are meeting to see if there was a way to help students discover the

connections between their learning in science and their learning in visual arts.

Ms. A. shares that in her grade five classroom her students are exploring in science the

concept of patterns and how to observe and describe patterns as scientists. This

learning is in support of developing their abilities to demonstrate scientific

understandings through developing models, such as illustrated diagrams. Ms. A.’s

Students are growing in their understanding of the use of models, Science standard 5-

PS3-1, and gaining skills in being able to develop and use models to describe

phenomena. This is a performance expectation found within the Science and

Engineering Practices: Developing and Using Models.

In parallel instruction in Mr. B.’s visual arts class, the same students are honing their

visual arts skills to identify, observe or “see” patterns, natural or human-made, and

recreate in a variety of contexts as artists. Mr. B. shares with Ms. A. that his students

are expanding their abilities to “Apply formal and conceptual vocabularies of art and

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design to view surroundings in new ways through art-making,” Visual Arts Connecting

artistic process, Synthesize process component, Standard VA:Cn10.1.5a. Mr. B. shared

he examined the visual arts standards horizontally across the previous grade levels and

through the use of teacher created assessments, identified gaps in the students’ artistic

learning. He recognizes the need to provide additional instruction to address these gaps

so that his students will gain age appropriate drawing abilities. He shares that his

students are honing their drawing and observation skills and gaining an understanding

of the use of patterns and texture as structural elements of visual arts.

In their co-planning time, Ms. A. and Mr. B. share and discuss their individual learning

objectives around observation, patterns, and learning to identify and describe as artists

and scientists growing out of their respective science and visual arts standards. They

use a Venn diagram to find the overlapping academic language, processes, skills, and

big ideas they want their students to learn.

They discover many overlapping visual arts and scientific topics, concepts, and

components. Another common objective found in their discrete disciplinary teaching, is

supporting their students’ abilities to include or create appropriate “visual displays” to

enhance the development of main ideas or themes. This common connection grows out

of the grade five (Standard SL.5.5) California Common Core State English Language

Arts & Literacy in History/Social Studies, Science, and Technical Subjects (the arts).

Mr. B decides to provide his students with examples of artists and artworks that utilize

the environment and textiles with specific attention to patterns and textures. He will also

share works from artist-scientists that found inspiration from their scientific study or

work. He plans to engage his students in the next level of learning in contour drawing to

capture details and patterns in their artwork. When appropriate, he will use, along with

visual arts academic language, terms from science he knows they are learning in Ms.

A.’s classroom. He structures his instruction to help students discover how many artists

observe, capture, and use as inspiration, natural objects and natural phenomena for

creating artworks. He will ask his students to replicate in their sketchbooks the patterns

they discover using their observation and drawing skills. The intentional skill building

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activities of seeing and drawing will continue throughout the year so that students can

hone their artistic skill and practice. The practice pieces captured in their sketchbooks

will become inspiration for a later artwork in which students will have the choice of

drawing, painting, photography, or printmaking.

Ms. A. structures her instruction to include an opening opportunity for the students to

share with her their emerging artworks and developing skills of observational drawing

learned in Mr. B.’s visual arts class. She also shares visual images captured by

scientists that while scientifically accurate also have aesthetic elements. She will share

scientific journals and notebooks that contain detailed drawings, sketches, and

diagrams. She invites the students to use their visual arts drawing and observational

skills in the scientific context of observing to create illustrated diagrams and drawings in

their science interactive notebooks.

Ms. A. and Mr. B. conclude their planning by setting dates to meet as they implement

their plans to share progress, reflect upon and examine student learning in progress,

and make any adjustments to plans as needed. They also set planning date after the

conclusion of the shared unit to review the resulting student work and plan next steps.

Note:

In the Snapshot above, the integration involved visual arts and science. The multiple

subject elementary teacher could have expanded the integration to include

mathematics. The teacher could identify related practices or standards in mathematics,

for example Mathematical Practice 7. Look for and Make Use of Structure. This practice

calls for “students to look closely to discern a pattern or structure” (Standards for

Mathematical Practice, 2013).

The instructional approaches that include the content areas of science, technology,

engineering, arts, and mathematics are often called STEAM. Multiple subject and teams

of single subject teachers can plan together to design such multidisciplinary

approaches.

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In the shared model a teacher or co-teachers determine potential courses of action the

students can explore in combining the connecting concepts and skills to transcend

student learning across all disciplines.

Ensuring students can access standards-based integrated instruction, requires carefully

planned units or lessons using UDL principles and guidelines that support and

accommodate the diversity and variability of learners. For students to understand the

“why,” “what,” and “how” of standards-based multidisciplinary learning, instruction needs

to provide students with opportunities to make connections from one discipline to

another. Students are supported in making connections when standards, essential

questions, and enduring understandings are aligned (Drake 2004). Effective shared

integration instruction supports deep learning for transfer and requires sufficient

planning time to move beyond superficial or artificial connections. If two or more

teachers are collaborating on a unit or planning for co-teaching, dedicated shared

planning time is needed for disciplinary conversations, examination of the two or more

sets of standards, and for the construction of the instructional lessons or units. Teachers

need time together to examine each content area to identify the potential “shared”

concepts, skills, or techniques. A Venn diagram is a useful tool as teachers narrow and

refine intersecting possibilities and to make sure all integrated lessons are universally

designed. Teachers also need time to consider the sequencing and alignment of the

discrete instruction in both areas that must take place prior to the integrated lessons.

Teachers may discover that one of the pair must adjust their sequencing of instruction

to create alignment that facilitates the integrated lesson or unit.

If a multiple subject educator is working alone, the planning still requires time to identify

the overlaps, sequence instruction, and to create the learning opportunities in the

shared integration. The individual teacher may need to seek out additional resources,

expertise, and secure materials needed for planning or implementation of the integrated

learning experience. All categories and models of arts integration requires an extended

planning time for either individual or collaborative approaches.

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The arts disciplines combine well with each other and other subject areas in the shared

model due to the process nature of learning in the arts. When strategically and

successfully implemented, a shared model of integration helps students find coherence

across their disciplinary learning.

The figure below provides an example of a group of second grade standards selected

by a teacher from which they will develop a shared arts integration unit. The standards

are from dance, science, English language arts, and English language development.

The students have acquired the necessary prior knowledge and skills needed in all

focus disciplines. The teacher has determined the unit will focus on movement

characteristics and kinesthetic awareness in dance. Students will use their previous

learning from their science studies of water and the different states that water could be

found (solid, liquid, gas) depending on the temperature in different weather conditions

as ideas for the creation of the dance phrase.

Figure: 8.4 Example of Selected Standards for a Shared Unit

Dance Science English Language Arts

English Language Development

PerformingProcess Component:Express

2DA:Pr4c. Select and apply appropriate characteristics to movements (e.g., selecting specific adverbs and adjectives and apply them to movements). Demonstrate kinesthetic awareness while dancing the

2ESS2-3Obtain information to identify where water is found on Earth and that it can be solid or liquid.

RI.2.1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text.

RI.2.7 Use information gained from the illustrations and words in a print or digital text to demonstrate understanding of its characters, setting, or plot.

ELD.2. Part 1.A.BR.1 Exchanging information and Ideas

Contribute to class, group, and partner discussions, including sustained dialogue, by listening attentively, following turn-taking rules, asking relevant questions, affirming others, adding pertinent information, building on responses, and providing useful

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Dance Science English Language Arts

English Language Development

movement characteristics.

feedback.

Students will progress through a series of integrated lessons leading to a summative

performance assessment in dance. The unit will also have a series of formative

assessment in dance, science, and English language arts. The summative assessment

will ask students to collaboratively create a dance phrase that will demonstrate an

appropriate selection and application of movements, locomotor or non-locomotor, while

safely moving through space that relate to their chosen adverbs and adjectives related

to matter. Throughout the sequence of lessons, a variety of dance formative

assessments, informal and formal, will provide the teacher and students evidence of the

students’ abilities to move safely with other dancers in a variety of spatial relationships

and formations with other dancers, while sharing and maintaining personal space. The

arts integrated unit will provide students an opportunity to deepen their overall

understanding of the shared concepts.

The following vignette is an example of a fifth-grade teacher using a shared model of

instruction from a larger unit in the Creating process, focused on the Imagine process

component. The timeframe is dependent on the length of each session and size of the

class, so may span multiple class sessions. Students in the example are from two sub-

disciplines of music, choral and instrumental. The example supports developing

artistically literate students through addressing a music Creating standard combined

with a writing standard from the California Content Literacy Standards for Technical

Subjects. The arts are considered technical subjects within the California Content

Literacy Standards. As such, the notion of “text” in technical subjects is expanded to

include discipline-specific language and symbol systems. In music, this notion translates

that teachers support students in learning to read and write (play and compose) in

music using musical notation, standard English language, and often in languages other

than English.

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Vignette: Shared Model Music and Literacy Standards

MusicCREATING—Anchor Standard 1: Generate and conceptualize artistic ideas and work.

Enduring Understanding: The creative ideas, concepts, and feelings that influence

musicians’ work emerges from a variety of sources.

Essential Question: How do musicians generate creative ideas?

Process Component: Imagine

Performance Standard: 5.MU:Cr1b.: Generate musical ideas (such as rhythms,

melodies, and accompaniment patterns) within specific related tonalities, meters, and

simple chord changes.

California Common Core State Standards English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Writing Standard, Fifth Grade: W.5.2 Write informative/explanatory texts to examine a topic and convey ideas

and information clearly.

Ms. D. used a shared model approach to combine a Creating music standard and an

English language arts standard California Content Literacy Standard for Technical

Subjects as the students work to compose (write) and perform in small groups or with

partners. Ms. D.’s learning activities and creative process supports students’ English

language development. Ms. D’s students are engaged in collaborative conversations,

share their ideas, and have other opportunities to interact with and through the English

language and the language of music.

In the fall of the school year, students are ready to begin to collaboratively engage in the

process of composing. Ms. D. finds it is a good entry and launching point to future

composing for instrumental or choral students throughout the school year.

Ms. D. explains that the theme for the compositions will be the fall season and students

will work within a small group to develop their musical piece. To provide all students

with a bank of English language words and sounds related to the fall season, Ms. D.

engages students in brainstorming on chart paper. The class shares thoughts, sounds,

images, ideas, words, and phrases related to fall. The brainstorming session concludes

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and the charts are hung. Ms. D. encourages the students to add to the chart as they

worked and other words emerge.

The students are introduced to creating preliminary musical compositions through the

combining of different rhythms. The groups self-select to compose their musical ideas

for instruments, as a choral piece, or combined piece. The students compose, write,

using standard musical notation, a technical language symbol system of music.

Students in their collaborative groups of three or four compose and manipulate different

rhythms to create an eight-measure draft composition in 4/4 time that represents the

season of fall.

Choral and combined groups additionally compose lyrics using English language over

their composed melodic line. These groups generate within their group lyrics, selecting

words or phrases from the brainstorming or language that emerge within the group.

As they work to develop their compositions, Ms. D.’s students develop their command of

the English language as they generate and share their ideas and collaborate to merge

ideas (an ELD Mode of Communication). The students exchange information and ideas

with other groups through oral collaborative conversations on a range of social (fall

season) and academic (music) topics. This authentic collaboration within the process

component of Imagine and in writing, provides students opportunities to interact in

meaningful ways (ELD Part 1: Interacting in Meaningful Ways). Students engage in

producing language using the academic language of music (ELD C. Productive 12.

Selecting and applying varied and precise vocabulary and language structure to

effectively convey ideas.).

Ms. D.’s students will perform their draft compositions for the class either on their

instruments, through singing their song, or through both playing and singing. As the

audience, students will pay attention to each performance and provide feedback to the

performing group. After each performance, the Ms. D. will lead the “audience” in

providing feedback to their peers on aspects of the composition that worked well, things

that might be revised, and on areas that could be refined. Students have previous

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experience in providing feedback to peers and Ms. D. has established supportive

feedback protocols, so the students need little guidance in this process.

Formative assessment occurs throughout the process as Ms. D. observes and when

necessary provides guidance to students working collaboratively to compose, revise,

rehearse, and perform. Ms. D. gains informal information on students’ individual

progress in composing, working collaboratively, playing, and/or singing. Students will

write a self-reflection on their creative process, the struggles they had, and what they

want to try when composing again in the future. This provides the students with a

metacognitive opportunity to process their experience and Ms. D. with additional insight

on the students’ self-perception.

Interdisciplinary Approaches

In the interdisciplinary approach a teacher or teachers identify common learnings that

are found across the disciplines. Drake and Burns note that in interdisciplinary

approaches the “teacher also focuses on ‘big ideas’” that contain concepts that transfer

“to other lessons.” Teacher(s) organize the curriculum around the common skills and

concepts that are found embedded in the disciplines’ standards and that connect the

disciplines. While the identified interdisciplinary skills become the focal point of the

learning, students are also using and honing disciplinary skills. Assessment within the

integrated unit’s lessons are interdisciplinary, addressing each of the selected

disciplines. Students gain skills that cross disciplines to foster higher level thinking and

deeper comprehension of the concepts and essential understandings found across the

disciplines.

Fogarty’s Nested Model

An example of an interdisciplinary arts integration approach is the nested model.

Fogarty defines the nested model as one where multiple skills and standards drawn

from two or more content areas are authentically clustered and combined through one

topic or concept. In this model, the teacher must be able to see within each subject area

and teach to “…multiple dimensions to one scene, topic, or unit.” Skilled teachers can

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use the nested design to increase the learning from a lesson by focusing on natural

grouping of multiple dimensions of learning and multiple standards.

The nested model’s multidimensional focus is on one topic. Students use and connect

their cognitive, social, processes, or technical skills from multiple disciplines on the

single topic. In designing a lesson or unit using the nesting model, teachers start with

identifying the arts specific discipline areas standard, the content focus of the lesson or

unit, and the potential skills sets that naturally relate to the content and enhance the

learning. One method teachers can use to select and combine skills for nested

integration is to examine the discipline-specific arts standards they are teaching and

identify thinking, technical, process, and social skills found within those standards.

Teachers then identify another arts discipline or content area that has related skill sets

that “nest” around the selected arts focus.

The snapshot that follows provides an example of how an elementary teacher is

thinking about using the nested model to design an integrated media arts and

mathematics unit.

Snapshot: Sample Nested Model

Ms. H.’s second grade students have been working on telling and writing time and the

relationships of time (Mathematics 2.MD Work with time and money…7. Tell and write

time from analog and digital clocks to the nearest five minutes, using a.m. and p.m.) In

their media arts studies the students have acquired the skills and knowledge and can

create a media artwork. They are able to relate information through the media works

that would be presented to an audience. As a class they are also getting ready for the

annual open house in which the community members, families, and friends are invited

to visit classrooms.

Ms. H. realizes this provides a real-world opportunity to nest aspects of the students’

understanding and skills in media arts and math to synthesize their learning. Her idea is

to engage the students in creating multiple stop motion videos that demonstrate to the

open house visitors what happens during a regular school day in their class. She thinks

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her students will be excited to share their films explaining about their classroom with the

visitors. In this way she can nest learning two media arts standards (2MA:Pr6 Identify

and describe presentation conditions and audience and perform task(s) in presenting

media artworks and 2MA:Cn10a Use personal experiences, interests, information, and

models in creating media artworks) within the context of learning two mathematics

standards.

She imagines that the students will work in collaborative groups. Each group will have a

specific time frame of the daily schedule. They will use their skills in math and media

arts to create an initial storyboard of their video, gain feedback from others, revise, and

then begin to create their images for the video. The groups will need to take into

consideration the variety of classroom visitors that will view their videos during open

house. She realizes that this provides an opportunity to ask the groups to explain their

choices when they present their storyboards. The videos will need to inform the viewers

the actual class time their video is sharing and show through a bar graph where their

specific time falls in the school day (Mathematics Standard: 2.MD Represent and

interpret data…10. Draw a picture graph and bar graph (with single-unit scale) to

represent a data set with up to four categories…)

The more Ms. H. does her initial thinking the more she feels her students will be excited

about the task.

As she gets closer to starting to create the actual learning sequence, she thinks about

what each of her students will need in order to be successful and what types of

assessments she will use to determine achievement in both media arts and math.

Figure 8.5: Nested Standards Example

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In all models, teachers need to pay careful attention to the sequence of learning in all

the content areas when choosing to integrate to ensure students’ success. Appropriate

formative assessment strategies and tools need to be identified and used to create

assessments that address student growth in both the arts learning and nested

content(s). Assessments can be informal, formal, or a combination that provides the

student and teacher constructive information on learning for all areas being integrated.

To be effective, students need to understand the learning goals of the nested

instruction. Authentic learning and skill combinations grow out of natural intersections in

the nested areas that are rich, authentic, and meaningful. The teacher(s) must be

specific about the various layers of learning taking place, so that students are able to

recognize and internalize the learning.

The nested model can be applied to a lesson or to an entire unit of instruction. It

supports the students in making connections and develops skills in multiple areas. This

model can be used by a single teacher that has expertise in the multiple content areas,

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such as a multiple subject elementary teacher or can be a collaborative unit between

two or more content teachers.

The arts standards, which are based on artistic processes, are well suited to the nested

model and combine well with other content areas that focus on process, such as

English language arts. The nested model, when used after initial instruction in each

content area, provides opportunities for students to practice, refine, and hone skills in

new ways.

The following high school snapshot provides insight into the early planning stages of a

collaborative project by two teachers, dance and theatre, using the nested model.

Snapshot: High School Dance and Theatre Teachers’ Beginning Planning for the

Nested Model

Each spring the theatre and dance teacher at a high school design a collaborative

project for their students. The project provides their students with the opportunity to pull

from the knowledge, skills, and creative abilities they have developed to research,

develop, refine, and perform an original collaborative artistic work. This year the

teachers have decided to have their students create an original theatre work (devised

theatre) based on the students’ choice of a contemporary or historical event. At their

first planning session both teachers begin an initial brainstorm to identify and share

some possible primary discipline standards that will focus the collaboration. The table

below captures their first brainstorm. In their next planning session, they will review and

add or revise their identified standards as needed.

Dance Standards Theatre Standards

Acc.DA:Cr.1.a. Synthesize content generalized from stimulus materials to choreograph dance studies or dances using original or codified movement.

Adv. TH:Cr.2.b. Collaborate as a creative team to discover artistic solutions and make interpretive choices in a devised or scripted drama/theatre work.

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Dance Standards Theatre Standards

Acc.DA:Cn.10.b. Use established research methods and techniques to investigate a topic. Collaborate with others to identify questions and solve movement problems that pertain to the topic. Create and perform piece of choreography on this topic. Discuss orally or in writing the insights relating to knowledge gained through the research process, the synergy of collaboration, and the transfer of learning from this project to other learning situations.

Acc.TH:Pr.4.b. Identify essential text information, research from various sources, and the director’s concept that influence character choices in a drama/theatre work.

Acc.DA:Cr.3.a. Clarify the artistic intent of a dance by refining choreographic devices and dance structures, collaboratively or independently using established artistic criteria, self-reflection and the feedback of others. Analyze and evaluate impact of choices made in the revision process.

Acc.TH:Re.9.a. Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.

The teachers then begin to determine the academic skills the students have developed

from their study of English language arts, history, along with their discipline academic

and technical skills in dance and theatre that will be “nested” within their instructional

design. The project’s design will ask students to employ multiple learned skills including

researching, imaging, inferring, summarizing, critiquing, as they create and then perform

their collaborative work. The project will also provide students opportunities to

purposefully utilize and hone their life long thinking and social skills including

collaboration, consensus seeking, problem solving, conflict resolution, and

communication.

Prior to the planning session each teacher met with an English or history colleague to

gain insight into possible contemporary or historical topics and related texts, primary

sources, and other types of materials to stimulate the students’ creative work. The

dance and theatre teacher share what they learned from their conversations to develop

a list of possible topics and related sources. The students as a group will have the

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option to come to agreement on the topic either from the potential topics or identify

another topic. The students as a group will determine their source materials for

research. They can choose to begin their research with texts or primary sources such

as “Letter from Birmingham Jail,” by Martin Luther King, Jr., The Diary of a Young Girl,

by Anne Frank, “The Emancipation Proclamation,” “Take the Tortillas Out of Your

Poetry,” by Rudolgo Anaya, “Universal Declaration of Human Rights,” The Grapes of

Wrath, by John Steinbeck, and The Namesake, by Jhumpa Lahiri or students can

identify other credible source materials to use in their research.

Transdisciplinary Approaches

The third category, transdisciplinary integration grounds student learning in a “real-life

context” through a focus on students’ questions, concerns, and acquiring of life skills.

Drake and Burns note this category lends itself to project-based learning and the use of

“student questions as the basis for curriculum” (Drake and Burns 2004). The disciplines

in this model may or may not be specifically identified during the learning process for

the students, as the focus is on real-life, solving problems, and acquiring of knowledge

that is “interconnected and interdependent.”

Students gain experience in the application of knowledge and interdisciplinary skills in

obtaining essential understandings across the disciplines. The teacher or teachers in

transdisciplinary approaches function as a “co-planner” and “co-learner” alongside the

students. The assessment, similar to the interdisciplinary approach but with less

emphasis on specific discipline learning, is focused on growth in the students’

interdisciplinary skills and understanding of cross cutting concepts.

Fogarty’s Network Model Expanded

Expanding Fogarty’s network model can be a useful guide in planning transdisciplinary

instruction. In an expanded network model, interdisciplinary teams, or a self-contained

classroom teacher, combines basic elements from the selected disciplines to create

authentic learning projects or performances. The network approach utilizes an expert or

multiple experts to add to the students’ overall experience and learning, which provides

added value for the students.

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Student learning occurs in the network model as the students work together with the

expert on real world projects. For example, students from theatre, music, dance, visual

arts, and media arts classes, come together with a professional lighting designer, to

produce a theatrical production or a schoolwide exhibition of student work. They provide

networking opportunities for the theatre students as they explore the full range of

production aspects. Learners in network models discover the interrelationships and

connectedness among different disciplines, gain insight into careers, and see the

operational functioning of their disciplines in real world situations.

In the following snapshot a team of teachers at a designated STEAM (Science

Technology Engineering Arts Mathematics) elementary school are exploring using the

network model of transdisciplinary integration to design their next STEAM project.

Snapshot: Exploring the Network Model of Transdisciplinary Integration—Elementary

The team of teachers for grade three at a STEAM elementary school gather together at

their weekly collaborative planning time to begin thinking about the design of their third

upcoming grade level integrated STEAM project. The team always begins planning well

in advance of the project’s projected implementation date. Their projects draw from the

various individual disciplinary standards in STEAM the teachers have been teaching

toward (the A in STEAM represents dance, media arts, music, theatre, and visual arts).

The students are asked to integrate and use the knowledge and skills they have

acquired in addressing the project’s authentic real-world performance task. The projects

are structured so that students work collaboratively in groups on the task.

For this third project the teacher team wants to expand their integrated approach by

including disciplinary experts from the community to work alongside the students. The

teachers brainstorm potential experts that could be asked to work with the students.

They generate a list of experts that includes a local mural artist that has worked with the

students at the school on other projects, a local marine biologist, a parent that is an

engineer for an immersive theme park, and a theatre professor of the local university’s

children’s theatre group that often performs at the school.

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Figure 8.6: Example of Experts in Network Model

The team then begins to brainstorm potential project focuses and related assessment

strategies. At their next planning session, they will narrow their ideas, confirm the

expertise needed, and begin to contact the experts.

Attentiveness to Students’ Arts Learning

Thoughtful, well-planned and implemented instruction that connects learning is needed

to prepare students for a global, interconnected world. It is critical for teachers to

understand that approaches that combine or integrate content areas are not a

replacement for specific discrete instruction in any content area. When choosing an

integrated approach, teachers must be clear on the purpose and thoughtfully consider

the approach chosen and the model within the approach and how those choices will

benefit their students. The approach must match the purpose and be authentic to all

disciplines being combined, to be considered integrated instruction.

The insight, skills and habits gained, personal agency, and joy growing out of learning in

the disciplines of dance, media arts, music, theatre, and visual arts contribute and

connect to the whole of a person. Connecting arts learning to other content areas can

support students as they continue to learn, thrive, and navigate their world.

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Many times, well-meaning lessons that are called integrated, when examined closely

are not, given that they are using a process or technique from an arts discipline without

providing students with foundational instruction in the arts discipline. An example is

asking students to “illustrate” a story. Asking students to make marks on paper or a

tablet to capture details, sequence of events, or actions found in the story, can be useful

in providing insight for the teacher. The educators can see how students understood the

story, the level of attention to details in the text, and comprehension of events.

However, if the students have not had prior visual or media arts instruction on the

elements of visual arts composition, acquired and practiced the skills needed in drawing

or using a digital mark making tool, the “illustration” activity is not an integration of visual

or media arts. The images students created can be assessed through the lens of

English language arts but not as an indication of a student’s capacities or learning in

visual or media arts. Similar examples can be found across all the arts disciplines. The

singing of songs to remember specific content, such as the multiplication tables or the

capitals of the states, asking students to “act out” or pantomime vocabulary words or

events, or asking students to “dance” to the music, often take place without prior

learning in music, theatre, or dance. These types of activities can engage students, help

students remember details and provide quick ways for the teacher to check for

understanding. These types of activities are examples of subservient integration

(Bresler 1995).

At times when such engagement through subservient integration takes place, it can be

misunderstood and mislabeled as “arts enhanced” or “arts infused” as it appears that

the students are learning in the arts or using their learning in the arts. The existence of

students’ arts disciplinary learning may or may not exist. One could argue, in the

examples provided, that without any foundational learning or skill development in the

“used” artistic process of the discipline, all of these labels are incorrect and should not

be used. In order to correctly label an activity as integrated or interdisciplinary, it is

necessary to ensure foundational learning and skill development in the artistic process

of the arts discipline, aligned learning objectives and assessments for the subjects

being integrated. Using labels such as “arts enhanced” or “arts infused” can give the

impression to students, parents, and community members, that arts education has

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occurred, and students have gained knowledge and skills in one or more of the arts

disciplines. If the enhancement or infusing of the arts into other content areas lacks

discrete arts instruction and learning or has not been intentionally integrated, the arts

are being used in a subservient manner as a teaching strategy.

At the elementary level in schools without single subject credentialed arts teachers, the

general classroom teacher is often the sole provider of arts education. Professional

learning related to teaching the arts that addresses the content, artistic skills,

pedagogical, and instructional design needs of elementary teachers is critical for

success (see Chapter 9 Implementing Effective Arts Education, and Appendix H

Professional Learning Resources). The realities of classroom time call for elementary

teachers to carefully craft the balance of discrete and integrated approaches to arts

learning. In school settings that have single subject arts teachers, these arts teachers

can be a resource to the multiple subject elementary teacher providing the content

expertise needed to support arts integration approaches. Additionally, local arts

institutions such as museum, symphony, artist communities, and university arts

departments can be content resources and arts expertise for elementary teachers.

Supported by the necessary professional learning and resources, elementary teachers

are able to access the integrated approach or approaches that work best in their

teaching context and with their students.

Note or Sidebar

A longer lasting potential harmful outcome of the mislabeling of these types of activities

can occur when students are not perceived as successful in their “singing” or “acting” as

other students when put in these situations. Some students may be seen as more

successful or creative, possibility due to prior learning in the arts or private lessons. This

informal identification of students by other students or educators, through well-

intentioned comments such as “You are so talented” or “You are such an artist,” can

lead seemingly less successful students to feel and believe they are “not creative.”

Students, without the advantage of prior learning in the arts, begin to think they lack the

capacity to learn in the arts and this can lead to developing a fixed mindset around an

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unfounded sense of lack of artistic ability. In the worst cases this unfounded self-belief

about a lack of ability to learn in the arts can stay with them through adulthood. A

common reaction of people of all ages that have not had the learning opportunities

provided by quality, standards-based, sequential, comprehensive arts education is that

“I’m not creative” or “I can’t dance” or “I can’t draw.”

The overarching goal of interdisciplinary approaches in any content area is to maximize

student learning outcomes. It is often the case that most educators would agree that in

the enhanced or infused approach, the focus is on the non-arts subject. Students are

able to access foundational learning and skill development in the arts within the lesson

to enrich the experience, when the foundational learning has been provided. The “arts”

aspect acts as an enhancement to the learning activity or is permeated or infused into

the other subject in an effort to increase student engagement. In these practices,

students are not assessed on the arts portion of enhance or infused activities, unlike in

integrated approaches. The learning focus remains on the other subject, but the

activities are made more engaging through the students’ use of their prior arts learning.

These types of designs that “use” the arts, when well-crafted and scaffolded carefully

with sequential, standards-based, comprehensive discipline specific arts learning, can

offer students opportunities for practice and experimentation of the arts skills and

concepts they’ve learned.

Conclusion

Emphasis Quote

In order to accurately depict Apollo scenes, events and images in my paintings, I

meticulously construct physical scenes using models of astronauts, the lunar module,

the moon rover and Surveyor. NASA’s office moon photos are studied so that the

craters and moon rocks are places where they should be. A special studio light is

positioned so that the direction and length of the shadows are exactly as they would

have existed on the moon.

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My preparation for a new painting is almost as meticulous as the training for my own

moon landing.

Alan Bean—Astronaut and Artist

The arts disciplines “allow students to experience awe and wonder at what they are

learning” (Marina Sotiropoulou-Zormpala 2016). Through thoughtful and intentional arts

integration, students are offered powerful and appealing pathways to deepen learning.

To reach its full potential, arts integration must not be in place of, but combined with,

discipline-specific, standard-based, comprehensive arts education (teaching and

learning). Intentional and strategic planning and instruction that combines arts concepts,

skills, and content with learning in other subject areas advances the potential for

students. Their integrated learning can transcend discrete subject-specific boundaries

and synthesize into a new unified whole. Artist-astronaut Alan Bean found painting to be

a way to express his experiences on the moon. Similarly, artistically literate students

can combine learning to create and communicate the intersections they discover. Arts

integration can support students in connecting their discrete disciplinary learning—the

dots—and in doing so transcend the learning silos within and across subjects.

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Works Cited

Bean, Alan. 2018. Alan Bean First Artist on Another World.

https://www.alanbean.com/precision_recreation.cfm (accessed July 24, 2019).

Bresler, Liora. 1995. “The Subservient, Co-Equal, Affective, and Social Integration

Styles and Their Implications for the Arts.” Arts Education Policy Review; 96 (5): 31–

37, DOI: 10.1080/10632913.1995.9934564.

https://www.tandfonline.com/doi/abs/10.1080/10632913.1995.9934564

California Department of Education (CDE). 2013. California Common Core State

Standards English Language Arts & Literacy in History/Social Studies, Science, and

Technical Subjects. Sacramento: California Department of Education.

California Common Core State Standards Mathematics Electronic Edition. 2013.

https://www.cde.ca.gov/be/st/ss/documents/ccssmathstandardaug2013.pdf

(accessed July 27, 2019).

California Department of Education (CDE). 2016. History-Social Science Framework for

California Public Schools Kindergarten Through Grade Twelve. Sacramento:

California Department of Education.

California Department of Education (CDE). 2016. 2016 Science Framework for

California Public Schools Kindergarten Through Grade Twelve. Sacramento:

California Department of Education.

Contardi, Gina, M. Fall, G. Flora, and C. Treadway. 2000. "Integrated Curriculum A

Group Investigation Project." EDP 603.

Drake, S., and R. Burns. 2004. Meeting Standards through Integrated Curriculum.

Alexandria, VA: Association for Supervision and Curriculum Development (ASCD).

Fogarty, R. J. 2009. How to Integrate the Curricula. 3rd ed. Thousand Oaks, CA:

Corwin.

Hardiman, Mariale, Ranjini Mahinda JohnBull, Deborah T. Carran, and Amy Shelton.

2019. “The effects of arts-integrated instruction on memory for science content.”

Trends in Neuroscience and Education. 14: 25–32. (accessed July 29, 2019).

https://www.sciencedirect.com/science/article/ pii/S2211949317300558 .

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Documents

Transcending Disciplinary Boundaries - Curriculum ... · Web viewEmphasis Quote. Obviously, integration, like other concepts, is a construction, and can mean very different things