In recent years many school districts have had to restructure their arts curriculums to meet the growing emphasis on standards that is central to most school reform. This unique collection is meant to assist educators, policymakers, grantmakers and other stakeholders by focusing on the potential benefits of arts education for students and communities alike, and providing examples of creative ways school districts are handling their constraints.
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This final evaluation report provides a description and analysis of program impacts in the pilot cohort of Turnaround Arts schools at the end of their second year, including summaries of: 1) the theory of action and program pillars, 2) the evaluation design and research questions, 3) program operation and implementation in the arts, and 4) outcomes and trends in school reform indicators and student achievement data.
Traditionally in the United States, schools and after-school programs have played a promi-nent part in teaching young people about the arts. Arts education has been waning in K-12 public schools in recent times, however. This is especially true in low-income communities, where public schools have often cut back on arts instruction so they can devote limited public education dollars to subjects such as writing and math that are the focus of high-stakes standardized tests.When we look outside of school, however, we see a strikingly different landscape, one full of promise for engaging young people in artistic activity. What makes this landscape possible is an eagerness to explore that springs from youths' own creative passions -- what we call "interest-driven arts learning" -- combined with the power of digital technology.This report is a step in trying to understand the new territory. It gives a rundown of scholarship in the areas of arts and out-of-school-hours learning; offers a framework for thinking about interest-driven arts learning in a digital age; examines young people's media consumption; provides a survey of youths' creative endeavors online and elsewhere, along with a look at the proliferation of technologies that young people are using in the arts; and concludes with thoughts about challenges and possibilities for the future
In schools across the country, educators recognize the power of the arts to change young lives. They know that students' sustained engagement with enriching, high-quality experiences in the arts promotes essential skills and perspectives -- like the capacity to solve problems, express ideas, harness and hone creativity, and persevere toward a job well done. And yet today, educators at many schools that operate with conventional schedules are forced to choose between offering their students valuable opportunities to pursue the arts and focusing on other rigorous core classes that also are necessary for success in the 21st century. This study, which highlights an exciting new approach, is produced by the National Center on Time & Learning (NCTL), an organization dedicated to expanding learning time to improve student achievement and enable a well-rounded education, with support from The Wallace Foundation, a national philanthropy seeking to improve education and enrichment for disadvantaged children. In these pages, we present portraits of five schools that are advancing arts education through an expanded school day as they create vibrant and inclusive models of truly enriching education for all students.
The arts embody one of the oldest forms of knowledge and knowing and action research provides opportunities to experiment with art as an integral part of the creation and dissemination of knowledge.This report is a personal account of a teacher with 16 years' experience as an elementary classroom teacher, who found that young children are drawn to an arts-based approach of inquiry, one that is grounded in arts practices. He describes many incidences inhis classroom where there have been many instances of students using methods to enhance their learning experiences that were similar to those found in artsbased learning and arts-based educational research settings.
While the previous two parts of PAIR report focused entirely on the impact of PAIR on teacher professional development and on student standardized academic test results, Part 3 of the report is organized into seven sections that present the analysis of multiple student arts integration learning assessment results and the intersection among teacher-student outcome variables by the final year of the project. The results are reported in seven different sections, each featuring its own table of contents, list of figures and tables, and an appendix:A. Snapshots of Arts Integration (SAIL) Interview Response Ratings analyzed for control treatment and within-treatment school differences in students' understanding of arts integration processes and connections;B. PAIR Student Survey Responses analyzed for control-treatment school differences in the perception of arts integration practices in their classrooms and control-treatment schooldifferences in the presence of classroom culture practices most highly associated with PAIR professional development goals and outcomes;C. PAIR Partnership Arts Integration Learning (PAIL) Student Work Samples analyzed for qualitative differences among within PAIR treatment school classroom practices and in relation to the documentation and assessment goals for the PAIR project;D. PAIR Portfolio Conference Performance Assessments of teacher verbal reflections and student individual and group performance assessments analyzed for qualitative differences in PAIR treatment school PAIR student work and portfolio conference performance assessments.E. PAIR Portfolio Conference Performance Assessments of student individual and group performance assessment data analyzed statistically for their relationship to SAIL assessments, PAIL classroom ratings, and teacher portfolio conference performance data.F. PAIR Treatment School Teacher-Student Outcome Intersections analyzed for statistically significant degrees of association between teacher professional development variables analyzed and student learning outcome data.
In the summer of 2010, the Chicago Community Trust (CCT) commissioned an initiative to help identify how arts organizations can better and more effectively serve Chicago Public Schools (CPS) through arts education programming and explore the ways in which arts providers are using the CPS Arts Guide. Four cultural organizations from different disciplines were selected to spearhead the initiative, consulting with and gaining input from arts education providers across Chicago. The Ravinia Festival, the Art Institute of Chicago, Hubbard Street Dance Chicago, and the League of Chicago Theaters were selected to represent their respective disciplines (music, visual arts, dance, and theatre/literary arts).Each convening institution was charged with researching the music education offerings of their respective sectors by conducting focus groups with colleagues, and surveying the arts partners within their discipline. Ravinia convened all music sector organizations known to the institution several times during the process to get their input at each phase of this project:In the summer of 2010, four meetings were held to introduce the sector to the project and obtain their feedback on the commission and design of a survey. It was important to Ravinia that the survey creation be as inclusive of all members of the music sector as possible. Subsequently, these meetings, which preceded the survey development,provided the background for most of the questions which ended up in the survey. In the fall of 2010, the same music organizations were invited to a meeting to review a draft of the survey and provide Ravinia with feedback. In this meeting, the music sector proved to be once again very engaged in the design process and confirmed to Ravinia that they desired a survey that would be thorough and comprehensive even if it required some time to answer.In the summer of 2011, Ravinia again met with a large number of representatives from the music sector to discuss the findings of the survey, dive deeper into some of the more surprising findings, and create recommendations.In all, a total of 8 meetings were held, with more than 90 people representing 53 organizations that were a part of the process
In the summer of 2010, the Chicago Community Trust (CCT) commissioned Hubbard Street Dance Chicago (HSDC) to undertake a project to better understand dance education programs offered to Chicago Public School (CPS) students by outside organizations, as well as how they are using the newly released CPS Guide for Teaching and Learning in the Arts. Along with HSDC, three other organizations were commissioned to complete similar projects for the arts disciplines of visual arts, music and theater (The Art Institute of Chicago, Ravinia Festival and The League of Chicago Theaters). The overarching goal for the initiative was to identify how arts organizations can more effectively serve CPS students through arts education programming. Specifically, this included a better understanding of the current capacity of dance education organizations as well as factors that could improve the quantity and effectiveness of dance education programming for CPS students.
In the summer of 2010, the Chicago Community Trust (CCT) commissioned four organizations representing four arts disciplines treated in the Chicago Guide for Teaching and Learning in the Arts (the Guide) -- visual arts, dance, theater, and music -- to undertake a project to better understand arts education programs offered to Chicago Public School (CPS) students and teachers by arts organizations. The Art Institute of Chicago was commissioned to lead the visual arts education portion of the project. The overarching goal for the initiative was to identify how arts organizations can more effectively serve CPS students through arts education programming. Specifically, this included a better understanding of the current capacity of visual arts education organizations as well as factors that could improve the quantity and effectiveness of visual arts education programming for CPS students and teachers. The overarching goal for the initiative was to identify how arts organizations can more effectively serve CPS students through arts education programming. Specifically this included a better understanding of the current capacity of visual arts education programming. Specifically, this included a better understanding of the current capacity of visual arts education organization as well as factors that could improve the quantity and effectiveness of visual arts education programming for CPS students and teachers. The primary components of the project were an in-depth online survey and two sets of focus groups, together whcih sought to create a picture of the current capacity of visual arts organizations to collectively serve Chicago Public Schools and teachers. These tools were also intended to identify the opportunities for further development of visual arts programs and to generate a set of recommendations to funders, to CPS, and to the visual arts sector itself. Of the 124 organizations that were identified as serving CPS with visual arts education programming, 67 responded to the survey and 36 attended one of the focus group sessions. Two organizations participated in at least one focus group, but did not complete the survey, 20 participated in at least one focus group and completed the survey, while ten participated in both focus groups as well as completing the survey, In collecting survey data, organizations were asked about the format used in their projects.
Based on documents, interviews, and site visits, reviews the design and impact of a program to boost teaching and learning quality at public arts high schools by supporting teachers' artistic and professional development. Lists issues for consideration.
This report is the second part of a three-part comprehensive report filed by both Dr. Burnaford and Dr. Scripp, as Co-Principal Investigators of the PAIR project.The first report, written by Dr. Gail Burnaford [2010], focused primarily on three years of collecting evidence of progress meeting PAIR teacher professional development goals, the evolution of teacher professional development outcomes in comparison with control group teachers, and speculation on theg eneral impact of high quality PAIRteacher practices on student learning.The second and third parts of this report, written by Dr. Lawrence Scripp and his research team from the Center for Music-in-Education and CAPE (2011-2012], focus on the impact of PAIR on student learning. This second report (2011) reports primarily on differences among control-treatment statistical comparisons of PAIR student academic test outcomes. The following third report (2012) features an extensive review of qualitative and quantitative aspects all PAIR student arts integration outcome data. In addition, it provides a comprehensive analysis of the possible statistical links between seven teacher professional development factors and four student learning outcomes.In this paper reports on a research project in arts integration education, conducted in the Chicago Public Schools in partnership with Chicago Arts Partnerships in Education (CAPE), a research-based organization focused on optimizing the impact of artists and arts learning in schools for the benefit of whole-school improvement in arts learning, teacher professional development, and school culture.
In July 2010, working with a nonprofit organization called Big Thought, officials at the Dallas IndependentSchool District embarked on an approach to summer school they hoped would change the image from one of punishment and failure and engage kids. The idea was to support teachers, artists, and others to replace worksheet-style instruction with teaching animated by music, visual arts, dance, and theater.The new arts-rich summer school program that resulted is just another sign of Dallas' initiative, spearheaded by BigThought (www.bigthought.org), to bring together schools, cultural organizations, and others to restore high-quality arts instruction to the many classrooms from which it has long been missing. "What's the goal of education: to assess kids or prepare them for life?" asks Craig Welle, executive director of enrichment curriculum and instruction for the Dallas Independent School District. "If you've taken the arts out of the education system, you are no longer preparing kids for life."This report talks about the history of arts education funding and the success of the Dallas initiative.
Coming Up Taller is a report filled with hope, a narrative about youth learning to paint, sing, write plays and poems, take photographs, make videos and play drums or violins. Here are stories of children who learn to dance, mount exhibitions, explore the history of their neighborhoods and write and print their own books. This report documents arts and humanities programs in communities across America that offer opportunities for children and youth to learn new skills, expand their horizons and develop a sense of self, well-being and belonging. Coming Up Taller is also an account of the men and women who share their skills as they help to shape the talents of children and youth and tap their hidden potentials. These dedicated individuals, often working long hours for little pay, are educators, social workers, playwrights, actors, poets, videographers, museum curators, dancers, musicians, muralists, scholars and librarians. The President's Committee believes strongly in the importance of including the arts and the disciplines of the humanities in the school curriculum. This study looks at what happens to young people when they are not in school and when they need adult supervision, safe places to go and activities that expand their skills and offer them hope. The individual programs described in this study take place in many locations, some unusual, in their communities. Children, artists and scholars come together at cultural centers, museums, libraries, performing arts centers and arts schools, to be sure. Arts and humanities programs also are based at public radio and television stations, parks and recreation centers, churches, public housing complexes, teen centers, settlement houses and Boys and Girls Clubs. In places unnoticed by mainstream media, acts of commitment and achievement are evident every day
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