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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The PAIR (Partnerships for Arts Integration Research) complete final report is an evaluation of a four year, federal Department of Education funded Arts in Education Model Development and Dissemination (AEMDD) project administered by the Chicago Arts Partnerships in Education (CAPE) in partnership with the Chicago Public Schools. This project brought together 3 pairings of school populations (a world languages focused magnet cluster school with a fine-arts focused magnet cluster school; a math and science focused magnet cluster school with a fine arts focused magnet cluster school; and a literature and writing focused magnet cluster school with a fine arts magnet cluster school) to work with teaching artists in 4th, 5th, and 6th grade classrooms. Results from the six schools were compared with six control schools of similar status, resources, student population, demographic factors, and comparable levels of academic achievement prior to the start of the PAIR project.The PAIR research and evaluation focuses extensively on teacher impact and student achievement. Two principal investigators noted for their work in the fields of teacher education, student learning, and arts in education teaching and learning practices engaged in this research: Dr. Gail Burnaford, School of Education faculty at Florida Atlantic University, who examined the impact of PAIR on classroom teachers, and Dr. Lawrence Scripp, Director of the Center for Music-In-Education, Inc, who analyzed student arts integration and academic learning outcomes and their relation to PAIR teacher professional development outcomes and controlled for student demographic factors. Burnaford's and Scripp's cumulative findings on the impact of PAIR on teacher professional development, student learning and the intersections between teacher and student outcomes over the three-year time period of the project are presented in the three-part comprehensive report.Lawrence Scripp and Laura Tan Paradis (PAIR research coordinator) provide a brief summary of the project findings as an addendum to the comprehensive three-part PAIR Report.
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 summer 2010, the Chicago Community Trust commissioned four nonprofit arts organizations, including the League of Chicago Theatres, to work with arts educators and develop practical and actionable recommendations that will enable arts partners to serve more Chicago Public Schools (CPS) students -- and serve them better -- through arts education. Over the past year, the theatre and literary arts education communities have contributed countless hours and numerous invaluable insights, many of which are reflected in this report. This study asked a few straightforward questions: What is the capacity of Chicago's theatre and literary arts partners? What will enable arts partners to increase that capacity, and what is getting in their way? How can supports -- new or existing -- be created, adapted, expanded, or simply better distributed to give arts partners new tools and techniques? Through an extensive survey, interviews, and numerous group convenings, this study came at those questions from a variety of angles. And strikingly, the copious amounts of data generated and the extensive conversations all pointed to a few basic ideas.Fundamentally, the ability of theatre and literary arts partners to develop new programs depends on the relationships they have built. And their ability to sustain successful programs, too, depends on the relationships they have built. What is the biggest constraint to their capacity? Those same relationships. This becomes particularly true in an environment in which resources are constrained -- the single most effective step that individual theatre and literary arts partners can take is to concentrate on the relationships they are building with principals and teachers and with their contacts in the district office. When working with high schools, where challenges and distractions are even greater, these steps become ever more critical. Theatre and literary arts partners already know that principals and teachers are critical to their success. We recommend that:Arts partners work closely with principals and teachers to understand schools' priorities and goals prior to pitching potential program offerings. Many groups have found that customizing or semi-customizing their programs after such a conversation leads to a better and longer-lasting fit with the school. Arts partners may want to reach out to other school stakeholders such as resource coordinators, curriculum coordinators, parents, and local school councils, among others, to conduct a needs assessment. Theatre and literary arts partners should also take advantage of the wealth of information that existing "matchmaker" organizations know about schools. Similarly, when they find a "true believer" -- a principal, teacher, parent, student that can enthusiastically engage others about the impact of the organization's arts programs and/or the field -- that person should be enlisted immediately as an advocate to his or her peers. Lastly, the theatre and literary arts education community should work together to share their successes and strategies on an ongoing basis.Funders assist by providing information about local needs and introductions to key leaders in communities. Funders should also support training for arts partners in developing and sustaining effective partnerships.CPS help arts partners make connections with principals and should facilitate opportunities for supportive principals and teachers ("true believers") to share their arts education experience with their peers.These critical relationships and partnerships can help theatre and literary arts partners weather a complicated set of challenges within schools. Some arts partners have described CPS as a place of tremendous uncertainty, where a sense of being in "survival mode" prevails. In this environment, where principals and teachers are under pressure to improve test scores and academic outcomes, translating the value of arts programming can be difficult: effective tools do not yet exist; arts partners do not have access to the data that could help them make their case; assessment and evaluation can be difficult and frustrating for all concerned. To ensure that theatre and literary arts partners can build successful, sustainable programs for CPS students, we recommend that:Arts partners evaluate and measure programs based on the priorities and goals they jointly establish with school leadership, so they can then demonstrate progress according to the schools? needs. Arts partners should share program evaluations with all stakeholders, including teachers and students, and could engage these stakeholders in focus groups to deepen their understanding of program impact. The theatre and literary arts partners also expressed a strong interest in working together, across organizations, to share and learn from each others approaches to assessment.Arts partners, funders, and CPS generate greater awareness of the assessment tools and supports that currently exist for arts partners because a large number of providers do not know about current resources in Chicago. Arts partners, funders, CPS should also collaborate to demonstrate arts program effectiveness in terms that matter to school leaders, such as the linkages between these programs and academic outcomes.Funders provide resources for deeper, quantitative studies of program effectiveness, especially in academic terms. Funders should also enter into a dialogue with arts partners to establish effective approaches to assessment that will meet both the funders' needs and the schools' needs, without being burdensome for arts partners.CPS enhance the Chicago Guide for Teaching and Learning in the Arts to include the supports that theatre and literary arts partners say would most enable them to expand capacity: best practices in developing and continuing relationships with principals and teachers; guidance on translating the impact of theatre and literary arts programs to Common Core standards and academic outcomes; and comprehensive approaches to assessment. CPS should also complete the sections still in development, such as the literary arts chapter, and ensure greater awareness of the Guide among classroom teachers and arts partners. Active users of the Guide could be enlisted to train non-users.Meanwhile, the field as a whole -- arts partners, funders, CPS, and stakeholders -- needs to continue working together to transform policy and support for arts education. Everyoneshould engage new CPS district leadership and push to establish changes in policy that will lay the groundwork for stronger arts education in schools, including graduation requirements, structural support for arts education, and training requirements for principals and teachers. It has never been easy to work with large districts like Chicago Public Schools, which itself faces many challenges in trying to help its students succeed personally and academically. And it is to the credit of arts partners that they choose to bring their dedication, passion, and ingenuity to a task that is simply so challenging. The data that follow paint a vivid picture of these challenges. The recommendations will absolutely require hard work by many parties -- but the heartening news is that they are attainable. Part of the solution is in helping people better relate to each other in creative ways.
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.
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.
Forty years ago, there was widespread belief that teachers and schools had little influence on students' achievement independent of their socioeconomic background and context. More recent studies of teacher effects at the classroom level, however, such as those using the Tennessee Value-Added Assessment System, have found that differential teacher effectiveness is a strong determinant of differences in student learning, far outweighing the effects of differences in class size and heterogeneity.Students who are assigned to several ineffective teachers in a row have significantly lower achievement and gains in achievement than those who are assigned to several highly effective teachers in sequence. Teacher effects appear to be additive and cumulative, and generally not compensatory. These issues have been the topic of much other research over the last 50 years . More and more research is conducted with teacher practice and professional development as part of the context for investigating student outcomes. That is what the PAIR project has done during this research initiative. The Partnerships in Arts Integration Research (PAIR) project was a three-year initiative focused on the intersections between arts and non-arts content learning in two mathematics and science, two world languages and two writing Magnet Cluster Schools in Chicago. This section of the final report will focus on the impact of the project on the teachers, with particular attention to the third year of the project in which documentation was more intentional and systematic in each school. The 6 PAIR schools were matched with 6 control schools also in the Arts Magnet Cluster Schools program in Chicago Public Schools. A Year-End Curriculum and Teaching Survey was administered to 4th, 5thand 6th grade teachers in all twelve schools during Year Three of the project. Other data were also collected from the teachers in the 6 PAIR schools, including professional development session surveys and attendance figures, portfolio conference transcribed comments, student work and teacher practice labels and documentation from work completed at professional development sessions (documentation panels and curriculum maps).
Based on site visits, interviews, and literature and document reviews, presents a comparative case study of how six community initiatives were launched to improve arts education through collaboration among multiple organizations and how they evolved.
The Developing Early Literacies Through the Arts (DELTA) project, made possible by an Arts in Education Model Development and Dissemination Grant from the U. S. Department of Education, consisted of a three-year collaboration between the Chicago Public Schools and CAPE, focusing on the contribution of arts integration to text literacy development in grades 1, 2 and 3. The DELTA study demonstrates how arts learning promotes multiple literacy learning processes that depend more on creative response, imagination, experimentation and aesthetic experience than do methods of learning that emphasize formulaic responses to rule-based literacy instruction.
This report is a culmination of three years of study of the impact on effective teaching of educators and artists engaging as partners in action research (inquiry based study of their own practice), in documenting the effects of arts integration on student learning (creating a "culture of evidence"), and in collaborating with other action research teams and with formal researchers to actively investigate qualities of teaching and learning at participating schools (what CAPE calls "layered research").
The purpose of this monograph is to highlight the development of CAPE and its effects through the multiple inquiry lenses trained on the program over its first six years. The story is one of development and learning by school communities, teachers, and artists as they became increasingly and more deeply involved in arts-integrated instruction. It is also a story of increasingly tangible and measurable effects on student learning as the program matured.
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