Vous êtes sur la page 1sur 128

Arts in the Schools 1

Running Head: Arts in the Schools

Capstone Curricular Project:


Using Arts in the Schools to Reach Students with Social, Emotional, and/or Behavioral Needs
Mina Blyly-Strauss
Concordia University, Saint Paul

Arts in the Schools 2


Table of Contents
Chapter 1: INTRODUCTION............ 5
Background. 5
Purpose of the Capstone. 6
Definition of Terms............ 6
Summary. 14
Chapter 2: REVIEW OF LITERATURE... 15
Historical Perspective on Arts Process in United States Schools... 16
Creative Arts Process as Therapy... 17
Creative Arts in Residential Settings.. 20
Creative Arts in Community and School Settings.. 22
Creative Arts as Behavior Intervention.. 26
Creative Arts Process in Academics... 30
Arts Integration... 30
Creative Arts in Mathematics Instruction... 32
Creative Arts in Language Arts Instruction............ 34
Creative Arts in Social Studies Instruction............ 38
Creative Arts in Science Instruction... 40
Creative Arts in Assessment... 42
Differentiated Instruction Theory and Practice.......... 42
Diverse Challenges and Responses in the Inclusive Classroom........ 45
Conclusions 48
Chapter 3: METHODS... 49

Arts in the Schools 3


Rationale for Project... 49
Identification of the Problem.. 49
Apparent Nature of the Problem. 50
Proposed Actions to be Taken............ 51
Description of Setting. 55
Plan for Implementation. 55
Plan for Evaluation. 56
Chapter 4: PROJECT DISCUSSION. 57
Tier One.. 57
Laying the Foundation 57
Instructional Environment.. 58
Instructional Methods. 59
Assessments 61
Tier Two. 61
Preparations 62
Instructional Environment.. 63
Instructional Methods. 63
Assessments 73
Staff Care 64
Tier Three........... 64
Preparations 65
Instructional Environment.. 65
Instructional Methods. 65

Arts in the Schools 4


Assessments 66
Caregiver Care 66
Chapter 5: PROJECT SUMMARY AND REFLECTION. 67
Key Concepts Learned from the Research Base 67
Key Components of Proposed Curricular Model........... 68
Projected Impact on Students with Social, Emotional, and/or Behavioral
Concerns. 68
Plans for Future Professional Development........... 69
References...70
Appendix A, Core-Content Lesson Plans... 80
Mathematics Lesson Plans..81
Language Arts Lesson Plans...84
Social Studies Lesson Plans88
Science Lesson Plans.. 91
Appendix B, Art Therapy Activity Sheets..96
Feelings .............. 97
Appendix C, User Questionnaire 112
Questionnaire.. 113
Appendix D, Complete Bibliography. 116
Bibliography........... 117

Arts in the Schools 5


Chapter One
Introduction
There is demonstrated need for programming to meet the social, emotional, and/or
behavioral needs of students in inclusive classroom settings. Students with emotional and/or
behavioral disorders (E/BD), in particular, have a drastically higher high school drop-out rate in
both Minnesota (Minnesota Title V Maternal and Child Health Needs Assessment Fact Sheets,
2004) and the nation (Lane, Carter, Pierson, & Glaeser, 2006; Nelson, Benner, Lane, & Smith,
2004; Wagner, Kutash, Duchnowski, Epstein, & Sumi, 2005) than both those in the general
education population and in the special education population as a whole. Many of these students
also have co-occurring severe academic underachievement (Lane et al.; Nelson et al.; Ryan &
Ferguson, 2006) and/or documented learning disabilities (Wagner et al.).
Background
Coming from a creative arts background and noting the poor school success rates of
students identified as E/BD, this author sought to find a creative method which showed potential
to meet both the mental health and academic needs of this special needs student demographic,
promoting school success and completion. The creative process has both a very personal and
intrinsic value and a more communally shared value through the message that a piece of artwork
communicates (Ishaq, 2006; Stanley, 2003; Taylor, 2005b). Although the intrinsic value of the
artistic process is often difficult to define and describe, the authors proposed methodology looks
to the more concrete value to youth/student populations documented through a variety of
research studies conducted in the areas of art therapy and arts integration.
Review of the aforementioned research base has lead this author to conclude the
following: use of well-structured arts-production activities can foster good mental health in

Arts in the Schools 6


people and lead to more thorough understanding of abstract academic concepts through a process
which acknowledges feelings and experiences and makes hard-to-grasp concepts tangible
through a multi-modal procedure. Even though there is a wealth of existent information on ways
that art activities have been used in clinical settings to aid in mental wellbeing (Colwel, Davis, &
Schroeder, 2005; Holyoake & Reyner, 2005; Savins, 2002; Wikstrom, 2005), there appears to be
a lack of application of these concepts to students within a school environment. The importance
of both academic achievement and mental wellbeing to the success of students with emotional
and/or behavioral disorders in the classroom in undeniable and the potential for use of the
creative process in contributing to this success should not be ignored.
Purpose of the Capstone Project
The goal of this capstone project was to create a curricular model to combine school-wide
arts integration with application of more targeted arts-therapy-based interventions to meet the
unique needs of individual learners dealing with social, emotional, and/or behavioral needs. In
this project the author developed a curricular framework and examples of differentiated
academic activities incorporating arts process into social studies, language arts, science, and
math concept learning. Creative-process-based activities designed to address the social/emotional
needs of students with both documented and undocumented emotional and/or behavioral
concerns are also presented. Curricular materials were designed to show ways that art-process for
academic and mental wellbeing could be infused into student instruction at a variety of primary
and secondary grade levels.
Definition of Terms
It is important to understand the following essential terminology when proceeding
through the following chapters of this capstone project:

Arts in the Schools 7


Arts
The arts are a broad category of creative media that include visual arts (painting, drawing,
collage, sculpture, etc.), media arts (photography, video, and film), music, drama, and dance.
Arts Enrichment
An arts activity (or activities) that is added on as a supplement to the general education
curriculum, such as through an after-school project or a break from the usual classroom routine
to do a one-time art project.
Arts Integration
Arts integration is the complete integration of arts throughout a schools curriculum, contributing
both a vehicle for instruction in core content areas as well as a thoroughly integrated
understanding of the creative process and theories.
Attention Deficit Hyperactivity Disorder (ADHD)
A. Either (1) or (2):
(1) six (or more) of the following symptoms of inattention have persisted for
at least 6 months to a degree that is maladaptive and inconsistent with
developmental level:
Inattention
(a) often fails to give close attention to details or makes careless mistakes in
schoolwork, work, or other activities
(b) often has difficulty sustaining attention in tasks or play activities
(c) often does not seem to listen when spoken to directly

Arts in the Schools 8


(d) often does not follow through on instructions and fails to finish schoolwork,
chores, or duties in the workplace (not due to oppositional behavior or failure to
understand instructions)
(e) often has difficulty organizing tasks and activities
(f) often avoids, dislikes, or is reluctant to engage in tasks that require sustained
mental effort (such as schoolwork or homework)
(g) often loses things necessary for tasks or activities (e.g., toys, school
assignments, pencils, books, or tools)
(h) is often easily distracted by extraneous stimuli
(i) is often forgetful in daily activities
2. six or more of the following symptoms of hyperactivity-impulsivity have
persisted for at least 6 months to a degree that is maladaptive and inconsistent
with developmental level:
Hyperactivity
(a) often fidgets with hands or feet or squirms in seat
(b) often leaves seat in classroom or in other situation in which remaining seated
is expected
(c) often runs about or climbs excessively in situations in which it is inappropriate
( in adolescents or adults, may be limited to subjective feelings of restlessness)
(d) often has difficulty playing or engaging in leisure activities quietly
(e) is often "on the go" or often acts as if "driven by a motor"
(f) often talks excessively
(g) often blurts out answers before questions have been completed

Arts in the Schools 9


(h) often has difficulty awaiting turn.
(i) often interrupts or intrudes on others (e.g., butts into conversations or games)
B. Some hyperactive-impulsive or inattentive symptoms that caused impairment were
present before age 7 years.
C. Some impairment from the symptoms is present in two or more settings (e.g., at school
[or work] and at home).
D. There must be clear evidence of clinically significant impairment in social, academic,
or occupational functioning.
E. The symptoms do not occur exclusively during the course of a Pervasive
Developmental Disorder, Schizophrenia, or other Psychotic Disorder and are not better
accounted for by another mental disorder (e.g., Mood Disorder, Anxiety Disorder,
Dissociative Disorder, or a Personality Disorder). (Diagnostic & Statistical Manual of
Mental Disorders, pp. 83-85).
Creative Arts Process
A creative arts process is the method one uses and the perceptual experience one has during the
creation of a piece(s) of art.
Differentiated Instruction
Ensuring that what a student learns, how he/she learns it, and how the student demonstrates
what he/she has learned is a match for that student's readiness level, interests, and preferred
mode of learning (Tomlinson, 2001). Instruction can be differentiated at one or more of three
levelscontent (what is being taught), process (how it is being taught), and product (how
learning is exhibited).
Emotional and/or Behavioral Disorders (E/BD)

Arts in the Schools 10


Emotional or behavioral disorders (EBD) refers to a condition in which behavioral or emotional
responses of an individual in school are so different from his/her generally accepted, ageappropriate, ethnic, or cultural norms that they adversely affect educational performance in such
areas as self-care, social relationships, personal adjustments, academic progress, classroom
behavior, or work adjustment (Council for Exceptional Children, 1991).
Emotional Disturbance (ED)
Emotional disturbance means a condition exhibiting one or more of the following
characteristics over a long period of time and to a marked degree that adversely affects a child's
educational performance: (A) An inability to learn that cannot be explained by intellectual,
sensory, or health factors. (B) An inability to build or maintain satisfactory interpersonal
relationships with peers and teachers. (C) Inappropriate types of behavior or feelings under
normal circumstances. (D) A general pervasive mood of unhappiness or depression. (E) A
tendency to develop physical symptoms or fears associated with personal or school problems
(IDEA, 2004).
Expressive Arts Therapies
The expressive arts therapies are a collection of fields including arts therapy (visual media),
music therapy, and dance/movement therapy. They are grounded not in specific techniques or
media but in how the arts' can respond to the multitude of human experience from life
challenging situations to self-realization (International Expressive Arts Therapy Association,
2004).
Fetal Alcohol Syndrome (FAS)
FAS is characterized by abnormal facial features, growth deficiencies, and central nervous
system (CNS) problems. People with FAS might have problems with learning, memory,

Arts in the Schools 11


attention span, communication, vision, hearing, or a combination of these FAS is a permanent
condition. It affects every aspect of an individuals life and the lives of his or her family (The
Centers for Disease Control and Prevention, 2006).
Fetal Alcohol Spectrum Disorder (FASD)
FASD is an umbrella term describing the range of effects that can occur in an individual whose
mother drank alcohol during pregnancy. These effects may include physical, mental, behavioral,
and/or learning disabilities with possible lifelong implications (The FASD Center, 2008).
Media Arts
For the purpose of this paper, media arts are inclusive of the media of photography, video, and
film.
Music
For the purpose of this paper, music refers to the expressive acts of singing or playing a musical
instrument, as well as in some cases writing/composing music.
Performing Arts
For the purpose of this paper, the performance arts include dance, drama/acting, storytelling, and
puppetry.
Positive Behavioral Support and Intervention (PBIS)
A three-tiered, school-wide, program model for the promotion of positive student behaviors.
Post-Traumatic Stress Disorder (PTSD)
A. The person has been exposed to a traumatic event in which both of the
following have been present:
(1) the person experienced, witnessed, or was confronted with an event or

Arts in the Schools 12


events that involved actual or threatened death or serious injury, or a threat to the
physical integrity of self or others
(2) the person's response involved intense fear, helplessness, or horror. Note:
In children, this may be expressed instead by disorganized or agitated behavior.
B. The traumatic event is persistently reexperienced in one (or more) of the
following ways:
(1) recurrent and intrusive distressing recollections of the event, including
images, thoughts, or perceptions. Note: In young children, repetitive play may
occur in which themes or aspects of the trauma are expressed.
(2) recurrent distressing dreams of the event. Note: In children, there may be
frightening dreams without recognizable content.
(3) acting or feeling as if the traumatic event were recurring (includes a sense
of reliving the experience, illusions, hallucinations, and dissociative flashback
episodes, including those that occur upon awakening or when intoxicated). Note:
In young children, trauma-specific reenactment may occur.
(4) intense psychological distress at exposure to internal or external cues that
symbolize or resemble an aspect of the traumatic event
(5) physiological reactivity on exposure to internal or external cues that
symbolize or resemble an aspect of the traumatic event
C. Persistent avoidance of stimuli associated with the trauma and numbing of
general responsiveness (not present before the trauma), as indicated by three (or more)
of the following:
(1) efforts to avoid thoughts, feelings, or conversations associated with the

Arts in the Schools 13


trauma
(2) efforts to avoid activities, places, or people that arouse recollections of the
trauma
(3) inability to recall an important aspect of the trauma
(4) markedly diminished interest or participation in significant activities
(5) feeling of detachment or estrangement from others
(6) restricted range of affect (e.g., unable to have loving feelings)
(7) sense of a foreshortened future (e.g., does not expect to have a career,
marriage, children, or a normal life span)
D. Persistent symptoms of increased arousal (not present before the trauma), as indicated
by two (or more) of the following:
(1) difficulty falling or staying asleep
(2) irritability or outbursts of anger
(3) difficulty concentrating
(4) hypervigilance
(5) exaggerated startle response
E. Duration of the disturbance (symptoms in Criteria B, C, and D) is more than
one month.
F. The disturbance causes clinically significant distress or impairment in social,
occupational, or other important areas of functioning.
Specify if:
Acute: if duration of symptoms is less than 3 months
Chronic: if duration of symptoms is 3 months or more

Arts in the Schools 14


Specify if:
With Delayed Onset: if onset of symptoms is at least 6 months after the stressor
(Diagnostic & Statistical Manual of Mental Disorders, pp. 427-429).
Response to Intervention (RTI)
RTI is a tiered model of research-based interventions used as an alternative to a discrepancy
formula when determining eligibility for special education services. Often times it takes the form
of three tiers: general education; targeted research-based interventions to meet individual student
needs; then, if a student does not respond as expected to the interventions, they may be referred
for a comprehensive special education evaluation to possibly enter into the third tierspecial
education.
Transmediation
A process of moving information from one communication system to another (Hoyt, 1992).
Visual Arts
For the purpose of this paper, visual arts are inclusive of the creative acts of painting, drawing,
print-making, digital compositions, and sculpture.
Summary
This paper proposes a three-tiered curricular model that utilizes the expressive arts and
creative process to meet the social, emotional, and/or behavioral needs of students in K-12
inclusive settings.

Arts in the Schools 15


Chapter Two
Review of Literature
Use of the creative arts process in therapeutic settings has been found to aid in the
emotional and mental well-being of young people by helping them learn and practice social skills
(Henley, 1998; Holyoake & Reyner, 2005; Karkou & Glasman, 2004), improving selfunderstanding and self-concept (Colwell et al., 2005; Henley; Holyoake & Reyner; Wikstrom,
2005), and coping with pain and trauma (Colwell et al., 2005; Orr, 2002; Savins, 2002; Wikstrom, 2005).
Arts therapy techniques address a vital and increasingly relevant area to public education, as
Dobbs (1998) points out:
These modalities of treatment frequently help to reach children who do not easily respond
to traditional talk therapy. For anyone who has spent time working in schools, it has
become increasingly clear that the severity of problems that children bring into school
settings is rising dramatically (p. Xii).
Combining creative arts processes with academic areas has also proven effective in
engaging and motivating children (Boldt & Brooks, 2006; Bryan, Chilcoat, & Morrison, 2002;
Chen, 2006; Eisenkraft, 1999), developing greater student capacity to visualize and/or synthesize
and transmediate content (Bustle, 2004; Edens & Potter, 2007; Hibbing & Rankin-Erickson,
2003; Hoyt, 1992), improving verbal and written language skills (Eisenkraft, 1999; Hibbing & RankinErickson, 2003; Hoyt, 1992; Olshansky, 1994), increasing social skills and self-concept (Egenberger, 1997;
Fawcett & Hay, 2004; Hoyt, 1992), raising test scores (Burnaford, Aprill, & Weiss, 2001; Cade &
Gunter, 2002; Tunks, 1997; Werner, Simmons & Bowling, 1989), and leading to greater parent
and community involvement within the school process (Burnaford et al., 2001; Gould, 2000; Schramm,
2000). This apparently powerful combination of arts and academics has, however, seen little

Arts in the Schools 16


widespread use, primarily popping up in projects within isolated single classrooms or school
buildings.
Historical Perspective on Arts Process in United States Schools
Over time, arts education in the United States has fluctuated between being seen as
instrumental preparation for industry, as developing a sense of personal and social refinement
and privilege, and as an area that is purely superfluous and takes away too much from other
subject areas (Burnaford et al., 2001; Dobbs, 1998).
Amongst the earlier formalized instances of deliberate placement of art in a United States
school setting was when Dr. Samuel Gridley included a form of music therapy in the curriculum
of the Perkins School for the Blind in Boston, Massachusetts, upon its opening in 1832. This
curricular aspect remains even after over 170 years (Frostig & Essex, 1998).
In the 1870s, Massachusetts, at Horace Manns urging, was the first state to mandate the
artsdrawingin public schools in order to keep their children competitive in the world
(Burnaford et al., 2001; Dobbs, 1998). In the late 1800s the child study movement (a facet of
emerging psychology) had focused in on how drawing may reveal emotional and mental growth,
adding a newfound value in self-expression to drawing education (Dobbs, 1998).
By the early 20th Century the tides were beginning to turn, or at least expand, as picture
study and manual arts study were added to drawing as means to teach moral values and
engage in socially-productive behaviors (Dobbs, 1998). With the rise of the middle-class after
World War II came enhanced interest in the arts and other curricular options for children, leading
to a more stratified access to public school-based arts education (Burnaford et al., 2001). Arts
education during this time period also continued to maintain a focus on moral values and
socially-appropriate and -productive behaviors (Dobbs, 1998).

Arts in the Schools 17


Under the Kennedy administration, which offered a strong commitment to arts and
culture, and the Johnson administration, with its Great Society vision, many new arts
education programs came into fruition. This promise was soon cramped by renewed concern
about the ability of our nation to compete with the rest of the world, ushering in a focus on
academic accountability and standards starting in the 1970s and building throughout the 1980s,
calling into question many of the newly emerged arts education initiatives (Burnaford et al.,
2001).
Throughout the history of the United States school system, the lack of public and
administrative support for in-depth arts education, arts therapy, and arts-integration programming
was mirrored by a lack of sufficient training for educators in the methods of arts theory,
production, and history. This has often further handicapped the possibility for high quality and
sustainable program development (Burnaford et al., 2001; Dobbs, 1998; Gould, 2000; Karkou &
Glasman, 2004).
Although there had been pushes by progressive education theorists such as John Dewey
in the early part of the 20th Century to create a more fully integrated curriculum that
encompassed art along with other subject areas, this view of the place of arts within education
has never fully taken hold in our public education system (Burnaford et al., 2001; Dobbs, 1998).
Creative Arts Process as Therapy
For centuries, art, music, and movement have been used therapeutically by many
cultures in various situations (Frostig & Essex, 1998, p. X). Although this is the case, art
therapy did not form into a recognized field of practice in the United States until the late 1940s
and early 1950s, combining the visions of sisters Margaret Naumburg, a psychoanalyst, and
Florence Cane, an art educatorboth of whom focused on aspects of image-making (Frostig &

Arts in the Schools 18


Essex, 1998; Malachiodi, 2007). Edith Kramer was one of the first American art therapists, in the
1940s, to focus her work on children (Waller, 2006).
Use of the creative arts to help with the processing of complex feelings has been
particularly relevant for work with young people and those who have experienced trauma
because they offered a multi-sensory experience (Henley, 1998; Malachiodi, 2007; Tillinghast,
1977) and facilitated expression in ways not dependent on access to an extensive verbal
vocabulary (Karkou & Glasman, 2004; Malachiodi, 2007; Osborne, 2003; St. Claire Pond, 1998);
therefore being able to help bridge an often difficult divide between internal and external realities
(Osborne, 2003; Stonach-Buschel, 1990; Wikstrom, 2005). Such factors were especially relevant and
important for those with moderate or even severe or multiple disabilities (Henley, 1998; Ulman, 1992;
Osborne, 2003; Tillinghast, 1977).
Expressive arts therapies have offered a number of consistently noted benefits to young
people, in relation to both personal and social development. Arts therapy has been found by
numerous authors and researchers in a variety of therapeutic settings to promote gains in selfesteem, self-concept, and a general feeling of personal wellbeing (Holyoake & Reyner, 2005;
Malachiodi, 2007; Rousseau, Drapeau, Lacroix, Bagilishya, & Heusch, 2005; Waller, 2006).
Additionally, it has provided aims for social confidence and inclusion (Colwell et al., 2005;
Henley, 1998; Karkou & Glasman, 2004).
Creative therapeutic processes have also proven useful with helping young people
manage health related symptoms (Malachiodi, 2007; Savins, 2002; Wikstrom, 2005); to work
through tough emotions and situations and develop a sense of control over them (Henley, 1998;
Malachiodi, 2007; Savins, 2002; Stonach-Buschel, 1990); as a springboard for greater verbal expression
and elaboration on thoughts and feelings (Malachiodi, 2007; Savins, 2002; St. Claire Pond, 1998;
Wikstrom, 2005); and as a tool for focusing and constructively engaging the energy of those

Arts in the Schools 19


with ADHD (Henley, 1998; Waller, 2006).
While a number of studies were completed focusing on the use of expressive arts therapy
with children and youth, a majority of them have not been conducted in school settings. It
appears that the pattern of programming represented in these studies mirrors the incidence of
such programs in existence which, according to Frostig and Essex (1998), is a big and potentially
costly mistake because
school-based counseling including expressive arts therapies needs to become available in
more schools across the nation. One compelling reason for this recommendation is that
there is a large population of underserved children who never make it through the door of
a community mental health center or a private practice office the development of a
trusting therapeutic relationship particularly for disenfranchised or at-risk children or
those with histories of trauma requires more than offering a safe space to talk and the
assurance of confidentiality. Children need to check out their therapists the visibility
and accessibility of school-based counselors facilitates the formation of therapeutic
alliances which are frequently more successful than those in clinics or private practice
therapy where a child usually sees a therapist only once a week (p. Xiii).
Although a number of authors have recommended a place for expressive arts therapy in
schools (Frostig & Essex, 1998; Karkou & Glasman, 2004; Orr, 2002; Osborne, 2003), there is
no clear consensus on the reason for a dearth of school-based programs. Suggestions that have
been put forth include a strictperhaps unnecessarydivide between arts education and arts
therapy (Karkou & Glasman, 2004; Osborne, 2003), a lack of comfort with the child-focused/guided

Arts in the Schools 20


approach to intervention (Osborne, 2003), and a lack of regular assessment tools that measure the
effectiveness of the intervention (Osborne, 2003).
Through recent and foundational research, key components have been found that
contribute to the success of expressive arts therapy interventions. These include creating a safe
space for the art therapist and/or educator and child to interact and develop a sustained
relationship (Osborne, 2003; Stonach-Buschel, 1990; Ulman, 1992; Walker & Shaffer, 2007) and
keeping a focus on the creative process instead of a right way to have a piece of artwork look
(Karkou & Glasman, 2004; Malachiodi, 2007; Ulman, 1992; Waller, 2006).
Creative Arts in Residential Settings
Residential settings reporting on expressive arts therapy use included hospitals (Colwell
et al., 2005; Savins, 2002; Wikstrom, 2005), residential treatment centers (Holyoake & Reyner,
2005; Waller, 2006), and a juvenile incarceration facility (Walker & Shaffer, 2007). While some
interventions took place in group settings (Holyoake & Reyner, 2005; Walker & Shaffer, 2007;
Waller, 2006), others took place one-on-one (Colwell et al., 2005; Savins, 2002; Wikstrom, 2005).
A majority of the programs were intended to tackle mental health related concerns
(Colwell et al., 2005; Holyoake & Reyner, 2005; Walker & Shaffer, 2007; Waller, 2006), while
others were designed with the intent of addressing physical/medical areas of concern (Savins,
2002; Wikstrom, 2005). Expressive media used included the visual arts (Colwell et al., 2005;
Savins, 2002; Walker & Shaffer, 2007; Waller, 2006; Wikstrom, 2005), music (Colwell et al., 2005),
and performing arts (Holyoake & Reyner, 2007; Savins, 2002).
A comparison study was completed between two forms of expressive arts interventions,
visual arts and digital music, to determine the effects that each had on the self-concepts of
hospitalized children. Both forms of intervention were found to lead to increases in different

Arts in the Schools 21


aspects of self-concept, though Colwell et al. (2005) noted that those participating in the music
intervention appeared more visibly excited at what they were doing and spent a longer amount of
time working on their compositions.
The effects that art and play therapy had on helping hospitalized children deal with and
express their pain was investigated in an effort to help the children get appropriate emotional and
medical support. Savins (2002) found that using artistic media such as drawing, puppets, and
drama allowed children to more easily voice what they were feeling and to develop a sense of
control over their situations to help them to better cope. As the author notes
Using a metaphor enables a child to talk about things that are complex and not easily
described. Finding an image in words, play or drawing can be comforting a way of
feeling understood and connected. Metaphors and images reach a part of the brain that
words alone cannot, especially the traumatized brain (p. 15)
Wikstrom (2005) also looked at the effects of art and play therapy on children, framing a
research question around the self-expressive possibilities of these media. The author found that
after an initial warm-up/experimentation period, the children independently began to open up to
the play therapist and discuss their creations. Prominent themes that emerged included fear,
powerlessness, and longing. As the children were able to work through these issues their artwork
changed, reflecting their shifting perceptions of their situations.
Growing Through Loss was a program that worked with young people in a juvenile
corrections facility to address the roots of depression and grief/loss related behaviors. Through
self-awareness activities, family-awareness activities, social skills training, and art therapy the
young people learned to identify and discuss their feelings and constructively acknowledge and
commemorate lost family members and friends. Walker and Shaffer (2007) noted a major impact

Arts in the Schools 22


for this program, with close to 90% of both boys and girls showing a reduction in levels of
depression, 90% showing an understanding of the correlation between loss/grief and maladaptive
behaviors, and these young people exhibiting a significantly lower recidivism rate when
compared to a control group (25% vs. 75%).
The formation and impact of a therapeutic dance group on adolescents residing in a
mental health treatment setting was discussed by Holyoake and Reyner (2005). The authors
noted that from the very beginning young people were involved in setting up the group,
designating the ground rules to make it a safe space, and welcoming other young people to
participate. Within the group setting the young people were able to grow close to each other,
express themselves, and gain self-confidence.
Waller (2006) described early experiences she had working with adolescents within a
mental health treatment setting near the beginning of her career and how theories have changed
since then, though the basic tools and relationship formation remained the same. The author
described how even seemingly simple techniques such as making potato prints lead to increased
self-esteem if the products received genuine positive feedback from others. Not to leave the
reader with an overly-idealized vision of the role of an art therapist, the author advised that what
one sees in this role is not easily forgotten so therapists must have some way to work through
what they see from others.
Creative Arts in Community and School Settings
Expressive arts therapy programs have taken place both in community (Henley, 1998;
Stonach-Buschel, 1990; Tillinghast, 1977) and school settings (Orr, 2002; Rousseau et al., 2005;
St. Claire Pond, 1998). Others have recommended new implementation models for within school
settings (Frostig & Essex, 1998; Osborne, 2003; Ulman, 1992), speculating on the potential

Arts in the Schools 23


benefits based on what had been seen when similar types of programs were implemented in other
settings. And yet others reported on educational groundwork that had been laid, with teacher
training, for incorporating a comprehensive mental health program into the schools (Karkou &
Glasman, 2004), but had not yet seen the final desired program in action.
Most of the art therapy interventions that were implemented took place in group settings
(Henley, 1998; Orr, 2002; St. Claire Pond, 1998; Tillinghast, 1977), while the proposed program
types tended to envision more of a one-on-one setting (Osborne, 2003; Ulman, 1992) as they
focused on the relationship that develops between art teacher/therapist and student. A clear
majority of interventions utilized the visual arts (Henley, 1998; Orr, 2002; Rousseau et al., 2005; St.
Claire Pond, 1998), though performing arts (Karkou & Glasman, 2004) and music (Karkou &
Glasman, 2004; Tillinghast, 1977) were also represented.
Through activities such as free play, friendship circle, and group expressive arts projects
children with ADHD were able to discuss upsetting experiences, work through why they were
upsetting and what could be done differently, and visualize future outcomes that could be more
positive through strategies such as the creation of conversation/situation comics. This was not
always a smooth process, Henley (1998) noted, as fears, inhibitions, anxieties, and impulsivities
inevitably emerged as deeply entangled with personal identity. The author concluded
By drawing upon all the strategiesbehaviorism, cognition, empathy, creativity, group
process, and medicationit is possible that children with ADHD will indeed master their
formidable challenges in ways that permit them to remain true to themselves the
expressive arts, in particular, can facilitate and enhance the effectiveness of all the other
interventions (p. 11).

Arts in the Schools 24


A case study considered the ways that art therapy could be used to address PTSD in
children. Stonach-Buschel (1990) noted that because those suffering from PTSD lose the
capacity to symbolize, fantasize, and sublimate that it may be easier for them to start working
towards expression through a tangible means such as art. By beginning to reproduce the trauma
in art than the child is able to begin to face it, to begin to take back a sense of control by
manipulating the symbol(s) of their experience, and eventually become able to talk about their
experience(s) with the therapist.
A school-based art therapy project was designed as a preventative measure to enhance
self-esteem and minimize emotional and behavioral problems of immigrant and refugee children.
Though the teachers involved in the experimental group had feared the projectusing drawing,
painting, and writing to discuss the journeys each had taken as well as cultural mythswould
open up a can of worms too big for them to handle, this did not occur. Rousseau et al. (2005)
found that those in the experimental group reported significantly lower levels of mental health
symptoms than those in the control group and self-esteem enhancement appeared most
significant for those in self-contained language-learner settings than those in the mainstream.
Through work with music and visual arts, young children with multiple disabilities (many
of whom were nonverbal) were stimulated to recognize sounds and objects not previously
recognized, to begin to verbalize responses, and also showed improvements in gross motor.
Tillinghast (1977) explained the theory behind the program: The method of stimulation is based
on the theory that an experience is not maximally perceived until it is seen, heard and felt.
Children deprived of various senses (sight or hearing) are given substitute stimulation. The
sensory modality most stimulated included the visual, auditory, and tactile areas (p. 97).

Arts in the Schools 25


A mural project was done with pre-service art teachers, in reaction to the devastating
events of September 11th, and Orr (2002) discussed how a similar process can be used for K-12
students to help them process and respond to pressing current events. Students worked in groups
to create murals which they later reflected on and chose to share with others through exhibition
around campus. The goal was not to have the students re-enact the images of the day but to
explore their personal responses to them. Through this process many students expressed relief at
being able to address what was going on and do something positive with their feelings.
St. Claire Pond (1998) explored the effects that a group art therapy intervention had on
the loneliness of two third grade students. Interventions took place once a week over eight weeks
and utilized the following order: discussion of the nature of relationships and important social
skills; art-making activity; then discussion about what was created. The loneliness ratings of the
two children fluctuated over the weeks, appearing to be more closely tied to peer reactions in the
classroom than to the intervention. Both children showed improvement in expressive
communication over the duration of the intervention, though neither reported significant
reductions in loneliness on the last day of intervention.
Frostig and Essex (1998) envisioned complete mental health programming located within
schools to best meet the needs of many of todays troubled learners. They outlined roles to be
taken by an expressive arts intern and supervising (likely contracted) arts therapist. They
described case-management procedures, collaboration and communication guidelines, and
professional development needs. Through implementation of their recommended program set-up,
these authors believed that schools would be better able to meet the increasing mental health
needs of many students.
Osborne (2003) outlined a rationale for the use of arts therapy within arts education to

Arts in the Schools 26


engage students with Autism. The author noted, Art provides the opportunity for common
ground between the pupil with autism and the therapist or teacher, being as it is independent of
verbal communication and less fundamentally concerned with cognitive ways of knowing as
many other curriculum subjects like mathematics or science are (p. 417). Within such a context,
the author believed, the child with Autism could begin to bridge their inner world with the outer
world of others.
Ulman (1992) also believed that art therapy has a place within arts education. The
personal relationship between the art teacher and the student who is emotionally disturbed has
been considered one of the most important factors in therapeutic effect. This connection allows
the teacher to encourage the student to delve into personal experiences and work them into a
comfortable space. Although most often one-on-one sessions have been envisioned, sometimes
there may be occasion for the production of group projects.
The Labyrinth project was designed to do the following: increase awareness of issues
relating to suicide and parasuicide amongst secondary teachers; develop skills in secondary
teaching staff in use of arts to address students social and emotional issues; and provide support
for secondary students through use of art to develop their emotional and social skills. Karkou and
Glasman (2004) found a statistically significant improvement in teacher awareness and comfort
with using the arts to address social and emotional issues. There were also ten projects being
piloted in schools to work on the programs third objective, but those findings were not presented
in this study.
Creative Arts as Behavior Intervention
There are a number of ways that the expressive arts were used to address severe
behavioral concerns relating to youth, as well as to bring awareness to childrens experiences

Arts in the Schools 27


with mental health concerns. Such programs were scattered and placed within schools (Gill &
Hayes-Butler, 1988; Hickman, 2006; Jaime & Knowlton, 2007; Winter, 2005), after-school
programs (Respress & Lutfi, 2006), and corrections facilities (Dufresne, 2006; Venable, 2005).
Projects took place primarily in group settings (Dufresne, 2006; Gill & Hayes-Butler,
1988; Respress & Lutfi, 2006; Venable, 2005), although a couple also had one-on-one
components (Buggey, 2007; Newman, Woodcock, and Dunham, 2006; Winter, 2005). Most of
the projects involved either the visual arts (Hickman, 2006; Jaime and Knowlton, 2007; Respress
& Lutfi, 2006; Venable, 2005), media arts (Buggey, 2007; Gill & Hayes-Butler, 1988; Newman, Woodcock,
& Durham, 2006; Winter, 2005), or performing arts (Dufresne, 2006; Gill & Hayes-Butler, 1988), although
there was one project which incorporated music (Respress & Lutfi, 2006).
Videotaped role-play was placed within the context of a school-wide discipline program.
Video technology makes it possible to document and replay behaviors while role-play has been
shown to significantly impact behavior and attitudes. Gill and Hayes-Butler (1988) posited that if
schools were to raise academic achievement they must be open to the use of multi-disciplinary
approaches, such as those involving use of the media, to set clearly understood behavioral
expectations in order to create an environment conducive to learning.
Video self-modeling of desirable behaviors have increased in possibilities because recent
computer editing technology have made it possible to assemble these videos with a level of
precision not previously possible, meaning that it can now be manipulated to present an image of
a child doing something that they have not yet done on their own. Buggey (2007) described the
processes used with a number of students, depending on their skills and developmental level:
videotaping role play, in some situations, when a child is able to perform an activity with
coaching; prompting a child to say individual words and later editing these into short phrases, in

Arts in the Schools 28


another situation; and at another time videotaping extended periods of activity and then pulling
out and stringing together short snippets of desired behavior, such as eating. Through these
processes, behavioral improvements have been noted in following routines, responding
appropriately to disappointment or being asked to do something that the child didnt want to do,
responding verbally to questions, stringing words together in communication, and increasing
self-esteem in reading.
An effort was made, through mentoring roles, to promote empathy and proper behavior in
two male students with chronic reports of problem behaviors in school. Each of the students had
a demonstrated interest in the arts and was guided through the process of creating and teaching
an art lesson to other students. The first student tried to teach his lesson to peers in his regular art
class but they didnt take him seriously. The second student taught his lesson to younger students
participating in an after-school program and received a fairly positive response from the kids.
Hickman (2006) noted that both students expressed satisfaction with parts of the lessons they
created, reported boosts in self-esteem, and were better able to take the perspective of the
teachers role.
A series of visual support strategies have been recommended as helpful when working
with students with behavioral problems and cognitive delays. Two of these strategies are social
stories and comic strip conversationswhich was also described by Henley (1998) in relation to
his work with students with ADHD. According to Jaime and Knowlton (2007), both of these
strategies offer easy-to-understand visual cues for behaviors, making them quite useful for
students who have limited vocabulary and/or difficulty processing verbal stimuli.
A project provided 10- and 11-year-olds with training on photographic image-making
and then asked them to photograph places of significance to them at school. Upon getting the

Arts in the Schools 29


pictures back, students were asked to write captions and short explanations, which were later
followed-up on through teacher interview. The resulting images and writings brought out a
number of incidents of consistent bullying and social discord, mediated by gender norms, which
the teacher was then able to be especially watchful for and to press administration to take actions
to try to prevent from repeating in the future (Newman, Woodcock, & Dunham, 2006).
A photography contest was designed for high school students in a treatment program for
emotional disturbance. One student from each of the six homerooms was invited to participate,
based on interest and willingness to follow the contest rules. Each student was provided with a
disposable camera and three half-hour lessons in composition and technique. After their pictures
came back from being processed, students picked their favorite photo and wrote about it before
making their submission. The winners had their photos enlarged and exhibited. Winter (2005)
notes, [the students] willingness to engage the project, put energy behind it, and what they
finally came to say was powerful and insightful for the whole school community (p. 148).
An after-school violence-prevention program used the fine arts (music, drama, dance, and
visual arts) to build African American middle schoolers self-esteem and improve academic
achievement. In comparison to the control group, Respress and Lutfi (2006) reported that students
participating in the arts program showed statistically significant improvements in self-esteem and
grade point average.
A volunteer-run prison-based performing arts project created opportunities for youth and
adults in the corrections system to participate in theater productions. Dufresne (2006) found that
in this environment respect had been fostered between the artist volunteers and participants
through unconditional acceptance, and participants had been able to come to relate to themes
found in Shakespeare and others work. As one participants comments illustrated, I shared the

Arts in the Schools 30


role of Hamlet with three other guys. At first none of us understood any of it, but after a while
we not only understood it, we saw how it applied to our lives (Manuel, as Quoted in Dufresne,
2006, p. 46).
Two pre-service art teachers completed a mural project with youth in a juvenile detention
center. The youth submitted drawings for consideration and the winning design was painted onto
a large wall in a commons area of the facility. Venable (2005) noted that participants indicated
on an exit survey that they enjoyed the project and were glad that they had participated. Writing
in his project diary, one of the pre-service teachers considered an impactful incident where he
had complimented a participant on his painting skills
[The juvenile offender] turned to look at me and gave me this blank stare. When I asked
what was wrong, he confided in me that no one had ever told him that he was doing a
good job. I think I was more shocked than he was. No wonder these kids keep coming
back to [the juvenile center], no one expects any better out of them (p. 51).
Creative Arts Process in Academics
Expressive and creative arts processes have been combined with formal academic areas
through a variety of different levels of enrichment and integration, from targeted skill-boosting
activities (Edens & Potter, 2007; Hibbing & Rankin-Erickson, 2003; Sendova, 2005; Werner,
Simmons & Bowling, 1989) to isolated classroom projects (Bryan et al., 2002; Chen, 2006;
Olshansky, 1994; Schramm, 2000) to full-blown arts integrated curriculum and schools
(Burnaford et al., 2001; Gould, 2000).
Arts Integration
Arts integration has been envisioned as an instructional method where creative arts
processes and theories are thoroughly and seamlessly combined with a variety of other content

Arts in the Schools 31


areas (Brown, 2007; Burnaford et al., 2001; Flowers, 1998; Tunks, 1997). Tunks laid out the basic
premise behind arts integration that all art forms inherently embody the components of math,
science, language arts, and social studies He also cautioned that art activities alone are not
enough to meet students needs, as active teaching of transfer is important because students do
not necessarily recognize the connection between concepts presented in the arts and the same
concepts in different settings (p. 25).
Although it has taken careful planning by a cross-disciplinary teamgenerally involving
content-area teachers, arts specialists and/or community artists, and possibly other community
membersto develop quality arts integration programming, there was not one right format that
this type of program was suggested to take (Burnaford et al., 2001; Gould, 2000; Schramm,
2000; Tunks, 1997). As Burnaford et al. pointed out, Arts integration is a way of thinking about
learning and teaching; it is not a formula, and it is not a strict structure that requires specific
resources (p. 6).
Arts integration efforts have come both from within schools (Flowers, 1998; Gould,
2000; Schramm, 2000), through collaboration with art teachers and specialists, and from outside
of them (Burnaford et al., 2001; Tunks, 1997), through collaborations with community artists
and organizations. As with any new initiative taken on by a school, staff development was noted
as a necessary component to ensure that everyone involved was comfortable with the process and
its components (Brown, 2007; Gould, 2000). Rewards for such efforts have been multifaceted,
including increasing creativity and higher-order thinking skills in students (Brown, 2007; Burnaford et al.,
2001), higher levels of student interest and motivation (Brown, 2007; Burnaford et al., 2001; Flowers, 1998;
Schramm, 2000), higher academic achievement and standardized test scores (Burnaford et al., 2001; Gould,
2000; Tunks, 1997), and greater levels of community involvement (Burnaford et al., 2001; Gould, 2000).

Arts in the Schools 32


Creative Arts in Mathematics Instruction
The combination of arts and mathematics curriculum has focused on visual concepts in
geometry (Chen, 2006; Sendova, 2005) through the use of origami and computer modeling, on
use of musical mnemonics (Cade & Gunter, 2002) and movements (Werner, Simmons, &
Bowling, 1989) to learn division and multiplication facts, on solving word problems through
drawing (Edens & Potter, 2007), on understanding number relationships through photography
(Flowers, 1998), and on developing cognitive connections needed for mathematics visualization
through music (Grandin, Peterson, & Shaw, 1998).
Origami was used to help students who are deaf and hard-of-hearing learn about and
practice geometric concepts in a tangible way. Chen (2006) recommended starting out by
introducing relevant mathematics terms, then breaking students into small groups and providing
each with appropriate-weight paper and a sheet with directions to follow along with what the
instructor is demonstrating. Then, after the folds have been completed, to unfold it and
reconsider the steps that were taken and reflect on how they related to the concept(s) under
study. Through origami, the author said, concepts such as spatial visualization, intersecting
planes, area and volume, and mirror images can be explored. In addition to engaging both mental
and physical processes in the study of math, this type of project has built social skills such as
paying attention, following directions, and collaborating with a peer(s).
Middle school students and pre-service teachers engaged in computer-aided design as a
hands-on way to explore geometric concepts. By looking at modernist styles of art, such as that
of De Stiji and Kandinski, and making similarly styled geometric images on computers, students
were able to work with concepts such as shape-permanence, and calculating angles and

Arts in the Schools 33


dimensions. Sendova (2005) found great enthusiasm and display of complex thinking and depth
of understanding in both children and pre-service teachers who had participated in the study.
A musical mnemonic for division-by-7 facts was taught to three middle-school age
students at a day school for students with severe emotional or behavioral disorders. Cade and
Gunter (2002) found this technique to be quite effective, with students increasing their scores on
division-by-7 facts by 79-92 percentage points after learning the technique during the first
intervention and maintaining a score of 100% after reviewing the technique during the second
intervention.
Werner et al. (1989) recommended ways to integrate mathematics and movement,
including: having student create number shapes with their bodies and draw them in the air and on
the floor; having students keep score on games or activities by counting by 1s, 2s, 3, 4,s, 5s, etc.;
having students compute averages, scoring percentages, or heart rate after physical activities; and
finding and comparing the distance of motor actions, such as hop, step, and jump.
A significant correlation was found between students levels of development of spatial
understanding, as determined through analysis of students drawings, and mathematical problem
solving skills. Schematic visual representations were also found to positively correlate with
mathematical problem solving ability. Edens and Potter (2007) discussed implications of their
findings for possible collaborations between art teachers or specialists and math teachers,
suggesting possible forms of collaboration including A Draw for Math task is an example of an
integrated approach, an approach that the art specialist can model for classroom teachers who
can incorporate the Draw for Math task into a math lesson in the regular classroom (pp. 294295). Flowers (1998) recommended another medium, photography, to open up the opportunity

Arts in the Schools 34


to explore a number of different subject areas, including the mathematical relationship between
shutter speed and aperture to gain a desired exposure.
Use of music education, starting in preschool, has been recommended to improve
American students spatial-temporal (ST) reasoning, which is necessary for many math and
science applications. Both music and spatial-temporal reasoning involve pattern development.
Music, as something that even the youngest of children has demonstrated access to, can act as a
bridge to building the capacity necessary for complex math and science applications, Grandin et
al. (1998) argued. The authors saw current practices as representing a mismatch between
teaching methods in American schools and what was needed for students to be able to compete
on a higher level with their peers in other nations
The current educational system concentrates on developing LA [language-analytic]
reasoning skills and neglects the complementary ST form of reasoning. We propose that
new methods be developed to teach math and science using ST reasoning We strongly
suggest that music education be present in our schools, preferably starting in preschool,
to develop hardware for ST reasoning in the child's brain.
Creative Arts in Language Arts Instruction
The creative arts were paired with both reading (Barnitz & Speaker, 1999; Egenberger,
1997; Eisenkraft, 1999; Hibbing & Rankin-Erickson, 2003) and writing (Bentley, 2006; Bustle,
2004; Flowers, 1998; Olshansky, 1994) instruction. Art activities have been used to help
struggling readers visualize the meaning in what theyre reading (Eisenkraft, 1999; Hibbing & RankinErickson, 2003), to spur deeper understanding and discussions about material being read (Bustle, 2004;
Eisenkraft, 1999; Groce, 2004; Hibbing & Rankin-Erickson, 2003), to encourage greater elaboration in

Arts in the Schools 35


written work (Bustle, 2004; Olshansky, 1994), and, to teach about grammatical and phonetic concepts
(Werner, Simmons, & Bowling, 1989).
Language arts related projects have made use of the visual arts (Bustle, 2004; Eisenkraft,
1999; Hibbing & Rankin-Erickson, 2003; Hoyt, 1992), media arts (Barnitz & Speaker, 1999;
Bentley, 2006; Egenberger, 1997; Flowers, 1998), and performing arts (Groce, 2004; Hoyt,
1992; Werner et al., 1989). Some courses have been taught with multiple content areas (e.g.,
science, social studies, language arts) integrated together (Bentley, 2006; Egenberger, 1997), while
other projects took place within a solely language arts environment (Eisenkraft, 1999; Groce, 2004;
Hibbing & Rankin-Erickson, 2003; Hoyt, 1992).
Barnitz & Speaker (1999) envisioned a literacy classroom which incorporated students
cultural and linguistic backgrounds into instruction and projects and utilized authentic
assessments. Instruction would be incorporated into thematic units which used culture-specific
literature, in addition to traditional texts, and projects such as audio-video reports on dialects
spoken in students communities would be used to get rid of dialect prejudice and to share
information with others through a schools closed-circuit televisions.
Teachers in a variety of subject matters have used visual arts in their assessment
processes. For example, Bustle (2004) found that visual arts, such as painting, have been used
within a cyclical process of reading, writing reflections, creating visual representations, and then
writing some more. By writing again after having completed their paintings, students were better
able to elaborate on their original writings.
Literature study merged with historical study and biology through creation of a class
video inspired by the book Prairie Song. The students learned to take ideas found in books and
research them further to develop their own story of the prairie which they were able to share with

Arts in the Schools 36


others through the video that they created. During the process, students were able to work in
small groups, to figure out social skills of coming to agreement and dividing tasks among
themselves, to practice storytelling through creation of their scripts, and to express their
knowledge through visual and verbal means as recorded to tape (Egenberger, 1997).
Benefits were seen when weaving watercolor into the process of reading and analyzing
the book Winterkill. With the addition of watercolor painting to help students visualize scenes
from the book, motivation and participation increased and discussions and critiques of both the
artwork and the book content gained greater depth and relevancy to students lives (Eisenkraft,
1999).
Following training in use of storytelling, teachers incorporated this medium into their
language arts lessons. Groce (2004) found that a number of uses were enacted: teacher-led
storytelling with prompts to help gauge skill-levels in areas such as comprehension, prediction,
sequencing, and retelling; student-centered storytelling about things of personal significance to
promote development of oral language; and student dramatization of books to practice
sequencing and retelling. The teachers participating in the study found a number of benefits to
their incorporation of storytelling for diverse learners, including increased interest, relation to
background knowledge, participation, and motivation.
Hibbing and Rankin-Erickson (2003) suggested drawing, among other things, as helpful
to use to both help teachers monitor students reading comprehension and to help students
process what they were reading or hearing. The authors explained how drawings have been used
to these ends within their classrooms:
One way we have structured students drawings is to have them quickly draw one sketch
on a series of television screens each day after the read-aloud. This communicates to

Arts in the Schools 37


students that the purpose of this drawing is to track the action of the story and to
represent the main idea or events of each days reading. The drawings of the previous
days provide an excellent source of information to help students activate background
knowledge and reconnect with the text. The drawings also serve as a tool to help students
make predictions about the subsequent reading (p. 762).
Readers Theatre and the visual arts have been used as tools of transmediation for
struggling readers and writers. For those strong in verbal language, the use of expressive
intonation and rehearsal evident in Readers Theatre invited students to immerse themselves in a
piece of reading. For those without strong verbal or writing skills, use of visual arts media, such
as drawing, painting, and clay, served as an effective way for students to communicate their
understandings and process their inner-thoughts. These methods have been effective with a
diverse array of students, including those who were low-functioning cognitively, those who were
learning disabled, and those whose first language was not English. Hoyt (1992) noted,
Classrooms that offer children a variety of communication systems facilitate learning in ways
that stimulate the imagination, enhance language learning, and deepen understanding (p. 584).
Werner et al. (1989) suggested a number of kinesthetic ways that language arts objectives
could be addressed within the curriculum. Ideas included: having students write the alphabet
with their bodies; teaching predetermined movements for short and long vowel sounds, then
having students close their eyes and do the movements while listening to the sounds; teaching
predetermined movements to correspond with verbs, adverbs, and prepositions on color-coded
flash cards, then having the students combine the movements to match the various flash card
combinations being displayed; and, printing out action words and having a volunteer hold them
up one at a time while the rest of the class responds with the correct movement.

Arts in the Schools 38


Video production was used to merge study of military history with creation of visual
montages and a poetry anthology. Students performed historical research (making use of a
variety of different textual sources), structured and created a visual/video montage on their topic
on a computer, and then wrote poems inspired by the images and knowledge they had assembled.
As Bentley (2006) explained, This task attempted to address the complex and often emotive
issues surrounding war and conflicts through a contemporary approach that encouraged the use
of a mixture of texts and mediums to express students ideas (p. 91). Flowers (1998)
recommended photography as another a great way to tie-in language arts concepts such as
vocabulary building and detailed word usage to describe visual images.
Image-Making within the Writing Process had children create visual imagery that they
then wrote stories from. This method was shown to have many benefits to childrens writing,
such as increasing use of descriptive language, moving students towards fiction writing,
increasing the number of topics written about, leading to more fully developed plots, and
strengthening the sense of beginning, middle, and end. As Olshansky (1994) noted, Adding a
rich visual and kinesthetic component to the writing process not only dramatically alters
childrens story-making process, but it also greatly enhances their finished pieces (p. 355).
Creative Arts in Social Studies Instruction
The combination of arts and social studies curriculum has occurred either as part of an
integrated unit project (Bentley, 2006; Egenberger, 1997) or, more commonly, as an enrichment
activity complementing the social studies content (Bustle, 2004; Bryan et al., 2002; Groce, 2004;
Werner et al., 1989). As enrichment activities, the arts have been recommended to be brought in
either as a culminating activity (Bustle; Bryan et al.) or as periodic thematic enrichment
additions to a unit (Groce; Werner et al.).

Arts in the Schools 39


The visual arts (Bustle, 2004; Bryan et al., 2002), media arts (Bentley, 2006; Egenberger,
1997; Flowers, 1998), and performing arts (Groce, 2004; Werner et al., 1989) have found their
ways into the social studies curriculum in attempts to make the curriculum come alive to
students. As Bryan et al. point out, students regard social studies as a tiresome subject. The
unpopularity is caused in part by traditional approaches to instruction and partly by the textbooks
employed in such instruction. Therefore, there has been much potential for an increase in
student engagement and motivation brought about through a change from traditional content
teaching methods.
As an integrated unit, a piece of childrens literature on the prairie was the launching
point from which students engaged in independent research focusing on a related historical
aspect and then combined their findings into a group-produced video documentary. Through this
process the students were highly motivated and gained many different skills in the areas of
independent research, teamwork and compromise, writing, technology, and public speaking in
addition to the social studies (and science) content knowledge that they were scaffolded in the
uncovering of (Egenberger, 1997).
Bentley (2006) also described implementation of an integrated unit in which students
engaged in historical researchthis time about military conflicts occurring in the twentieth
centuryand created video montages inspired by their research. The students then took the
historical content further by creating poetry anthologies based off of it. Going through this
process, students were able to gain greater insight and emotional connection to the conflicts of
war than they may have otherwise, creating powerful poetry and image sequences.
Flowers (1998) took this concept one step further. He recommended instead of just using
the others images, to have students look at photography as a tool of such disciplines as history,

Arts in the Schools 40


sociology, and geography. He also suggested having students consider the effects that
photographs have on society.
Bryan et al. (2002) suggested students produce comic books to show a synthesis of the
information learned in a unit, believing that this medium will help students see the material as
relevant to their own lives, will motivate them to work hard on learning it, and that teaching
about the artistic medium will help prepare students for things that they are likely to come in
contact with outside school walls. Bustle (2004) also found that book creation, in this case more
of a visual portfolio dealing with content from an eighth grade unit on human rights, was used as
a culminating activity.
Once trained in storytelling techniques, teachers incorporated it back into their social
studies curriculum. For example, Groce (2004) found a number of ways that storytelling
elements played out in curriculum: multi-cultural stories were brought in to teach about different
cultures; students told stories about a historical figure to kick off an activity related to the same
time period; stories with metaphors were used to start discussions on different topics; and
teachers would tell students most of a story but have the students write their own endings.
Werner et al. (1989) suggested bringing a different performance media into the social studies
curriculum, teaching students dances from regions that they were learning about and having
students create their own dances utilizing symbolism that they were studying.
Creative Arts in Science Instruction
Combined arts and science instruction has taken a number of forms including arts
integration of units (Burnaford et al., 2001; Egenberger, 1997; Schramm, 2000), arts integration
of entire curriculums (Gould, 2000), and arts as enrichment activities in relation to different
types of science units (Flowers, 1998; Groce, 2004; Werner et al., 1989). Arts integrated units

Arts in the Schools 41


covered topics in Astronomy (Burnaford et al.), ecosystems (Egenberger), and genetics
(Schramm) and all actively engaged participating students and included some form of authentic
assessment in their implementation. Suggestions for arts enrichment came in the areas of
chemistry (Flowers), physics (Burnaford et al; Flowers; Werner et al.), biology (Burnaford et al.;
Flowers; Schramm), and ecology (Egenberger; Flowers; Groce). Artistic media used included the
visual arts (Burnaford et al.; Schramm), media arts (Egenberger; Flowers), and performance
(Burnaford et al.; Groce; Werner et al.).
Burnaford et al. (2001) stated that educators must ask whether the arts and the science
curriculum are truly in conflict. When designed carefully, arts integration projects can involve
fundamental science concepts. Dancing to understand Newtons laws of motion and creating the
DNA storybook illustrate how the concepts in the science textbook were embedded in the art
project (p. 127). Not only does incorporating such subject matter increase student motivation, it
also helps with transference. Werner et al. (1989) echoed the suggestion of considering physics
and human movement together.
Inspired by a childrens book, Egenberger (1997) has had her classes delve into all facets
of the prairie while conducting research for documentary videos. Groce (2004) found teachers
working on similar content using storytelling about nature to activate student background
knowledge prior to starting a new ecology unit. Flowers (1998) brought in yet a different
approach to ecology, suggesting that students could look at the impact that photographic
equipment and processes have on the environment and ways that things like the silver from
photographic processing can be recovered.
One integrated unit focused on the works of one sculptor and two scientists. Through
such learning activities as fieldtrips, guest speakers, classroom instruction, conducting research,

Arts in the Schools 42


and creating projects, students were able to tackle and process biology concepts in a variety of
different ways (Schramm, 2000). Flowers (1998) suggested a variety of ways that a different
medium, photography, could be incorporated with concepts of biology through curriculum, such
as by comparing retinal color sensitivity to film color sensitivity, making analogies between parts
of the eye and parts of a camera, and human anatomy as studied through portraiture.
Creative Arts in Assessment
Classroom assessment has been interesting to consider in relation to art process activities
for a number of reasons, including the following: the method of assessment for arts integrated
and arts-enriched material is likely to be authentic or portfolio based (Bryan et al., 2002;
Burnaford et al., 2001; Egenberger, 1997; Schramm, 2000) and/or make use of rubrics
(Burnaford et al.; Mason & Steedly, 2006), assessments done on art products such as drawing
can offer insight into math preparation (Bustle, 2004; Edens & Potter, 2007), and arts-integration
programs and arts-focused schools have been shown to have improved academic achievement
(Burnaford et al.; Respress & Lufti, 2006; Woods & OShannessy, 2002) and higher
standardized test scores (Burnaford et al.; Gould, 2000).
Differentiated Instruction Theory & Practice
Though posited by some as an approach best suited for those identified as gifted and
talented (Betts, 2004; Dinnocenti, 1998), others would like to see the net widened to make access
to differentiated instruction available to all learners (Keck & Kinney, 2005; Renzulli & Reis,
1998; Renzulli, 2005). Renzulli (2005) explained this second view
the research clearly and unequivocally provides a justification for much broader
conceptions of talent development. These conceptions argue against the restrictive
student selection practices that guided identification procedures in the past traditional

Arts in the Schools 43


identification procedures have restricted services to small numbers of high-scoring
students and excluded large numbers of at-risk students (p. 82).
Differentiating instruction has fit well with Americas democratic ideal by ensuring
equity in the learning process (A Teachers Guide, 2007; Keck & Kinney, 2005; Renzulli,
2005). This is because differentiated instruction assumes differences and acts on them to bring
out the best in each student (A Teachers Guide, 2007; Keck & Kinney; Renzulli & Reis,
1998; Tomlinson, 2004). As Renzulli (2005) noted,
this vision of schools for talent development is based on the belief that everyone has an
important role to play in societal improvement, and that everyones role can be enhanced
if we provide all students with opportunities, resources, and encouragement to aspire to
the highest level of talent development humanly possible (p. 84).
Teachers are able to begin differentiating curriculum once they are secure in their content
knowledge, understand their students as individuals, and are willing to be flexible and creative in
designing appropriate instructional and assessment materials (A Teachers Guide, 2007; Keck
& Kinney, 2005; Renzulli & Reis, 1998). It is important for teachers to keep in mind many
aspects of a students profile such as present achievement levels in each subject area, interest
areas, and learning styles so that student motivation for learning can be enhanced while meeting
their academic needs (Betts, 2004; Keck & Kinney; Renzulli, 2005; Tomlinson, 2004). The
evaluation process behind differentiated instructional planning needs to be holistic as a child
may not be reading at grade level, but that does not mean that child is not capable of working or
thinking at grade level or above (Keck & Kinney, p. 13).
Differentiation can take place on content, process, and/or product levels of curriculum
design (A Teachers Guide, 2007; Dinnocenti, 1998; Keck & Kinney, 2005; Renzulli & Reis,

Arts in the Schools 44


1998). On a content level, Keck and Kenney noted that students are empowered when they can
simultaneously work on and have meaningful conversations about the same content as their
classmates (p. 14).
Dinnocenti (1998) observed that differentiated process can take many forms such as
problem-based learning, Socratic method, simulations, independent study (guided and unguided),
and higher-level thinking questions. Assessment can be effectively differentiated by making use
of rubricsguides that identify the criteria for demonstrating mastery of assigned workcan
empower students to choose how they will show what they know and also provide them with a
way to assess the quality of their own work (A Teachers Guide, 2007). Differentiation can be
done on individual, small group, or whole class levels depending on which level of design is
being targeted (A Teachers Guide, 2007).
Development and implementation of effective differentiated instruction programming
takes time and energy up front from teachers, students, administration, parents, etc. and a shift
from common misperceptions such as that one person holds all the answers and that change must
be linear, but it offers incredible rewards and can make the educational process quicker, easier,
and more engaging in the long run (A Teachers Guide, 2007; Renzulli & Reis, 1998; Renzulli,
2005). The process of differentiation is student-centered, moving teachers from the role of
knowledge dispensers to organizers of opportunities to learn (Betts, 2004; Dinnocenti, 1998;
Renzulli & Reis; Renzulli; Tomlinson, 2004).
Diverse Challenges and Responses in the Inclusive Classroom
Students entering todays inclusive classrooms have a wide range of personal, social,
cultural, linguistic, emotional, academic, behavioral, and physical needs. While some of these
needs, most often perceived as deficit areas, have been commonly recognized and serviced

Arts in the Schools 45


through special education (Cade & Gunter, 2002; Jaime & Knowlton, 2007; Peetsma, Vergeer,
Roeleveld, & Karsten, 2001; Wagner et al., 2005); others have been more difficult to document
or discern (Ryan & Ferguson, 2006); or may have been only partially met due to bias that allows
manifestations of disability or academic underachievement to overpower potential student
strengths and abilities (Hickman, 2006; Renzulli, 2005; Rizza & Morrison, 2003; Taylor, 2005a;
2005b).
Many students have come from diverse cultural and linguistic backgrounds, often
struggling to succeed within the white, middle class, social and academic constructs of the
American public school system (Fore, Burke, & Martin, 2006; Garcia & Ortiz, 2006; Hoover &
Patton, 2005; Klinger & Edwards, 2006). Such a mismatch between background knowledge and
school expectations has lead at times to lowered levels of value being placed on home culture
(Barnitz & Speaker, 1999) and/or a lack of connection between newly introduced concepts and
existing mental frameworks which can result in a seeming lack of relevance, academic
underachievement, and over-referral for special education services (Garcia & Ortiz; Klinger &
Edwards). Cultural bias in standardized measures used in special education assessments can
compound these problems (Fore et al., 2006).
For culturally and linguistically diverse students, the importance of recognition of
students diverse backgrounds and incorporation of culturally relevant teaching practices into
teachers repertoire to aid in increasing student achievement and minimizing bias in the
assessment process have been stressed (Barnitz & Speaker, 1999; Garcia & Ortiz, 2006; Hoover
& Patton, 2005; Klinger & Edwards, 2006). When looking to minimize over-representation of
culturally and linguistically diverse learners in special education categories, such as emotionally
and/or behaviorally disordered or mildly mentally retarded, a general education-based initiative

Arts in the Schools 46


has often been recommended, such as Response to Intervention (Garcia & Ortiz; Klinger &
Edwards), as well as use of curriculum-based and authentic assessments (Barnitz & Speaker;
Fore et al., 2006; Hoover & Patton).
Students being serviced for emotional and/or behavioral disorders are multi-dimensional,
with a variety of strengths and needs. Many of these students have displayed poor social skills
(Lane et al., 2006; Osborne, 2003; Ryan & Ferguson, 2006; Wagner et al., 2005), an abundance
of externalizing and negatively perceived behaviors (Hickman, 2006; Lane et al., 2006; Nelson et
al., 2004; Rizza & Morrison, 2003), and possessed poor receptive and expressive communication
skills (Ryan & Ferguson; Wagner et al.).
Although many students receiving special education services because of emotional and/or
behavioral needs have been cognitively gifted, with 27.7% of elementary and middle school
students and 62.7% of secondary school students fitting these characteristics according to
national surveys (Wagner et al., 2005), teacher perceptions have not always admitted this
potential (Rizza & Morrison, 2003). This lack of proper identification of student strengths can be
extremely detrimental in the long-run, as Rizza and Morrison explain
gifted students who exhibit oppositional behaviors are at risk for misdiagnosis of their
exceptionality if there is only a focus on their negative behaviors students with EBD
who are viewed only through the lens of negativity may not receive an education
commensurate with their true abilities. They are at risk of succumbing to a self-fulfilling
prophecy if their teachers do not recognize that they have positive qualities that can help
them succeed in school and life. This risk is heightened for the twice-exceptional student
whose true gifts and talents may be hidden because of emotional problems and then
overlooked because of stereotypes.

Arts in the Schools 47


Despite potential, students served through special education as emotionally or
behaviorally disturbed have generally experienced high levels of academic underachievement
(Lane et al., 2006; Nelson et al., 2004; Ryan & Ferguson, 2006; Wagner et al., 2005). They have
had a higher school drop-out rate than their peers with other disabilities (Lane et al.; Nelson et
al.; Wagner et al.); possessed a low rate of participation in post-secondary education (Lane et al.;
Nelson et al.); and experienced an unusually high rate of incarceration (Lane et al.; Ryan &
Ferguson).
While many students may have visible externalizing behaviors or cultural or linguistic
clues that teachers can tune into when designing instructions, others, such as those with FASD
may have just as serious needs to be attended to but these needs remain essentially invisible
(Ryan & Ferguson, 2006). While those diagnosed with FAS can receive special education
services for a recognized medical condition, those with the more subtle effects of FASD are
dependent on the perceptions and practices of their general educators to ensure their academic
achievement.
The instructional methods and atmosphere for these students is key to their success in
school. As Ryan and Ferguson (2006) note, To a large extent, the teachers experiences with the
students in this study were as much about who they were as teachers, and their level of
confidence and experience, as about the particulars of the students abilities or disabilities (p.
371). Experienced teachers were found to naturally modify and differentiate their curriculum for
all students, including those with FASD, while inexperienced teachers taught all students,
including those with FASD, in the same manner.
In an effort to more effectively deal with students varied behavioral needs, a proactive
school-wide program model called positive behavior interventions and supports has been

Arts in the Schools 48


developed (Freeman, Eber, Anderson, Irvin, Horner, Bounds, & Dunlap, 2006; Kalke, Glanton,
& Cristalli, 2007; Netzel & Eber, 2003; Scott, 2007). This three-tiered model has a broad level of
behavioral expectations and instruction aimed at the entire staff and student body, a targeted
level of interventions aimed at the 10-15% who do not respond to the first level, and a highly
individualized wrap-around level of support for the 5% who do not respond to either of the first
two levels of instruction and support (Freeman et al.; Kalke et al.; Netzel & Eber; Scott). This
behavior model has been shown to be effective when implemented in both inclusive school
settings (Freeman et al.; Netzel & Eber) and in day programs and residential settings for students
with the most severe emotional and/or behavioral concerns (Kalke et al.).
Conclusions
Although a strong body of research is in existence verifying the effectiveness of
curriculum integrating creative arts processes with other academic areas and in utilizing arts
processes to aid in the emotional and mental well-being of young people through expressive arts
therapy, neither set of practices has seen consistent or widespread usage of these concepts within
the public school system in the United States. Many elements of arts-based integration and
curricular enrichment fit well within a differentiated curricular framework. In addition many of
these same techniques of instructional differentiation and authentic curriculum-based assessment
also have shown potential to meet the diverse needs found in todays inclusive classrooms.

Arts in the Schools 49


Chapter Three
Methods
Arts integration has been described as a model of education in which artand all other
subject areasare seamlessly stitched together to create a deeper, richer educational experience
and are connected to the larger community outside the school walls (Winslow, as quoted in
Burnaford et al., 2001, p. XXXiX). This concept is far from new, as it came from a book
published by Winslow (1939) and though the concept has persisted over the intervening decades,
has generally lacked the power of consistent implementation.
This capstone project recommends a three-tiered, school-wide, differentiated curricular
model that incorporates the expressive arts and creative process for the benefit of all students in
an inclusive school environment, with most significant potential impact for students with social,
emotional, and/or behavioral concerns who have not historically faired well in these educational
settings.
Rationale for Project
Although there is clearly an extensive body of research documenting the deficits and
needs of young people with social, emotional, and/or behavioral concerns, along with isolated
programs in the United States, Canada, and Europe utilizing creative processes and expressive
arts media to meet such needs in both the general student population and the more targeted
population of children and adolescents with severe emotional disturbance, there does not appear
to be a comprehensive program design in existence to bridge these needs and strategies.
Identification of the Problem
Children and adolescents with social, emotional, and/or behavioral needs have
historically struggled throughout their school years. These young people have often experienced

Arts in the Schools 50


severe academic underachievement (Cade & Gunter, 2002; Lane et al., 2006; Nelson et al., 2004;
Wagner et al., 2005) and extremely high school drop-out rates (Lane et al.; Osborne, 2003;
Nelson et al.; Wagner et al.). These early problems have often followed these students beyond
the K-12 environment, as they have experienced low enrollments in post-secondary education
(Lane et al.; Osborne; Nelson et al.) and unusually high rates of incarceration (Lane et al.; Ryan
& Ferguson, 2006).
Apparent Nature of the Problem
Young people with social, emotional, and/or behavioral needs have often not experienced
school failure because of any inherent deficit in cognitive potential. Many, in fact, appeared to be
intellectually gifted (Rizza & Morrison, 2003; Wagner et al., 2005). What they have often
experienced are poor expressive and/or receptive language skills (Ryan & Ferguson, 2006;
Wagner et al., 2005), poor social skills (Lane et al., 2006; Osborne, 2003; Ryan & Ferguson,
2006; Wagner et al.), high rates of externalizing behaviors (Lane et al.; Osborne, 2003; Nelson et
al., 2004; Wagner et al.), negative perceptions of teachers (Rizza & Morrison), and a high
number of family risk factors (Keller, Bost, Lock, & Marcenko, 2005; Ryan & Ferguson;
Wagner et al.).
While students in inclusive educational settings may simply drop out of the educational
process, even those children and adolescents who were placed in restrictive settings in an effort
to better manage their behaviors and offer treatment for mental health concerns have often not
found school success in this environment. These students have continued to struggle
academically (Boldt & Brooks, 2006; Cade & Gunter, 2002; Peetsma et al., 2001) and
behaviorally (Boldt & Brooks; Kalke et al., 2007) in residential and day-treatment settings. In
response, some self-enclosed settings have piloted program models and strategies suggested for

Arts in the Schools 51


general education and inclusive settings, such as positive behavior interventions and supports
(Kalke et al.), arts strategies targeted to specific academic skills (Cade & Gunter), and arts
enrichment (Boldt & Brooks; Winter, 2005).
Although limited implementation of research-proven strategies have had some positive
effects on academic and behavioral achievement of students in self-contained settings (Boldt &
Brooks, 2006; Cade & Gunter, 2002; Waller, 2006), this model has failed to service the majority
of students with less obvious, emerging, needs for support placed in less restrictive environments
(Newman & Woodcock, 2006; Ryan & Ferguson, 2006) or to address the social stigma that
young people in restricted settings often face from their peers attending general education
environments (Whitehurst & Howells, 2006). What is needed, instead, is a comprehensive
program model to be implemented in inclusive settingseither along with general education
initiatives such as positive behavioral interventions and supports and response to intervention or
on its ownthat will better meet all students social, emotional, and behavioral needs.
Proposed Actions to be Taken
This author proposes creation of a three-tiered, arts-infused, inclusive, school-wide
program to help meet the social, emotional, and behavioral needs of the K-12 student population
in the United States. With this type of three-tiered curricular model, the first tier is designed to
service all students, the second tier is designed to meet the more specialized needs of the 5-15%
who dont have all of their needs met by the first tier, and the third tier is individually tailored to
meet the needs of the 1-5% who have not been able to have all of their needs met by the first two
tiers (Freeman et al., 2006; Netzel & Eber, 2003; Scott, 2007). In the case of this proposed threetiered model, use of the expressive arts and creative processes is the connecting force, with the

Arts in the Schools 52


second and third tier working to meet more specialized social, emotional, and behavioral needs
than were able to be met at the first-tier level.
The use of the expressive arts and creative processes appeared ideally suited to such a
curricular model, as they have proven effective at increasing levels of student interest and
motivation (Boldt & Brooks, 2006; Burnaford et al., 2001; Cade & Gunter, 2002; Sendova,
2005), providing a structured basis for development of group social skills (Colwell et al., 2005;
Egenberger, 1997; Woods & OShannessy, 2002), breaking down social barriers (Ishaq, 2006;
Whitehurst & Howells, 2006; Woods & OShannessy), raising self-esteem (Fawcett & Hay,
2004; Hickman, 2006; Rousseau et al., 2005; Waller, 2006), working through social problems
and emotional struggles (Henley, 1998; Stonach-Buschel, 1990; Walker, 2007), processing and
coping with crises (Ahmed & Siddiqi, 2006; Orr, 2002), positively shaping behavior (Buggey,
2007; Gill & Hayes-Butler, 1988), expressing knowledge and experience without need for
extensive verbal skills (Karkou & Glasman, 2004; Osborne, 2003; Taylor, 2005a; Wikstrom,
2005), and fostering personal empowerment (Stanley, 2003; Taylor, 2005b).
Tier one of the proposed model infuses the expressive arts within the core-content areas
of social studies, language arts, mathematics, and science. While it does not utilize the full
content spectrum including arts theory and arts history found within some arts integration efforts,
it does work to differentiate the processes and products found within these content area
classrooms. This level of arts infusion is designed to benefit all students by creating additional
opportunities for varied interests and skills to be tapped into on a regular basis.
This first tier has had a strong research base in arts integration, enrichment, and targeted
skills activities which have shown promise in increasing interest and motivation in academic
content (Brown, 2007; Burnaford et al., 2001), gains in social skills (Egenberger, 1997; Woods

Arts in the Schools 53


& OShannessy, 2002) and self-expression (Fawcett & Hay, 2004; Respress & Lufti, 2006;
Stanley, 2003; Taylor, 2005a), decreases in problem behaviors and/or behavioral tendencies
(Boldt & Brooks, 2006; Respress & Lufti), increases in content comprehension (Bustle, 2004;
Eisenkraft, 1999; Hibbing & Rankin-Erickson, 2003), gains in the usage of higher-order thinking
skills (Brown; Burnaford et al.; Hoyt, 1992), greater content relevancy to students lives
(Burnaford et al.; Hoyt), and gains in academic achievement in both classroom-based (Boldt &
Brooks; Respress & Lufti; Tunks, 1997; Woods & OShannessy) and standardized (Burnaford et
al.; Gould, 2000) assessments. Because of these factors, a majority of students are likely to find
themselves engaged in learning, with relatively low levels of frustration, while practicing social
skills in a structured environmentreducing the incidence of disruptive off-task behaviors and
promoting a high academic self-concept.
Tier two of the present model is a pull-out intervention strategy for young people visibly
struggling with social, emotional, and/or behavioral concerns within the school environment,
even after the curricular modifications identified in the first tier. The second tier incorporates
social skills development within the context of weekly group art therapy sessions. In this setting,
students would be able to have scaffolded social interactions with peers, to gain self-confidence
and expressive communication skills, and to develop healthful relationships while working on
projects that could beautify their school and community.
This second tier has a strong research base in arts-based behavioral interventions and
group art therapy programs which have shown promise in helping young people build a sense of
social belonging (Holyoake & Reyner, 2005), become more verbally expressive of thoughts and
feelings (Newman et al., 2006; St. Claire Pond, 1998; Waller, 2006), work through grief and/or
trauma (Ahmed & Siddiqi, 2006; Orr, 2002; Rousseau et al., 2005; Walker & Shaffer, 2007),

Arts in the Schools 54


understand how feelings and emotions can impact their behavior (Walker & Shaffer), discover
and learn about better ways to handle tough social situations (Henley, 1998), experience feelings
of personal accomplishment (Acharya-Baskerville, 2006; Venable, 2005; Waller), develop a
sense of empowerment (Stanley, 2003; Taylor, 2005b), and break down social barriers and biases
(Ishaq, 2006). Because of these factors, this type of small-group setting should be ideal for
giving struggling students additional support and a sense of safety and belonging within the
school environment to work through fairly common, though stressful, experiences young people
often face such as parents divorcing, death of a loved one, substance abuse issues, parental loss
of employment, bullying, gang-related in-school conflicts, or low self-esteem or self-efficacy.
Tier three of the proposed model is a pull-out intervention strategy for those who have
either not responded as expected to the tier two interventions or who are experiencing very
serious and immediate mental health crises. At this level, young people would receive a multidimensional needs assessment and development of an individualized plan of treatment called an
Individualized Creative Intervention (ICI) plan. This plan could include provisions for things
such as individual arts therapy sessions, mentoring, provision of individualized behavioral
adaptations or strategies, referrals to outside agencies as needs indicate, etc.
This third tier has a strong research base in individual arts therapy practice and intensive,
individualized, arts-based behavioral interventions which have shown promise in providing an
expressive outlet for even the most severely and/or multiply challenged young people (Osborne,
2003; Tillingshast, 1977; Taylor, 2005a; Ulman, 1992), working through difficult emotions and
experiences to develop a sense of control over them (Savins, 2002; Stonach-Buschel, 1990;
Waller, 2006; Wikstrom, 2005), building self-esteem (Colwell et al., 2005; Stonach-Buschel;
Taylor, 2005b), increasing empathy (Hickman, 2006), and positively shaping behaviors (Buggey,

Arts in the Schools 55


2007; Gill & Hayes-Butler, 1988). Because of factors such as these, this highly individualized
level should be able to provide beneficial services to the minority of students with a wide-range
of skills and needs not serviced intensively enough through the first two tiers of the model.
Description of Setting
This school-wide curriculum model is designed for implementation by general education
programs in inclusive elementary, middle, and high school settings. This curricular model may
be implemented concurrently with other three-tiered, school-wide, models such as PBIS and/or
RTI, or on its own. An inclusive setting was designated because these settings have a number of
noted benefits to students with special needs, including higher academic achievement (Peetsma
et al., 2001), than more restrictive placements and because a number of students with needs in
these areas may go initially unrecognized and/or inappropriately serviced within these
environments without pre-existing built-in supports (Newman et al., 2006; Rousseau et al., 2005;
Ryan & Ferguson, 2006). Promotion of a curricular model to make inclusion of students with
social, emotional, and/or behavioral needs more practical also falls in line with IDEAs
qualification of Least Restrictive Environment (IDEA 2004, Statute: TITLE I / B / 612 / a / 5).
Plan for Implementation
Due to the limited timeframe of this project, the curriculum model will not be piloted in a
school at this time. It will be made available as a resource through the Concordia University, St.
Paul, library and online to education students and teachers.
When considering implementation of this curricular model, it is recommended that
schools start small, piloting tier one activities in a few classrooms while building up a larger
faculty buy-in. Once a base-level of support is in place with teachers and administrators, tier one
activities may be spread into additional classrooms. Tiers two and three will follow

Arts in the Schools 56


implementation of tier one, possibly in succeeding years as the school staff builds up knowledge
and confidence in their abilities and additional resources can be located to assist with the more
highly specialized demands of these more targeted tiers.
Throughout the implementation process, its important to note that extensive
collaborations and ongoing staff development will be called for.
Plan for Evaluation
Teachers and schools piloting this curricular model are encouraged to complete and
return the enclosed survey (see Appendix C) for analysis of program strengths, weaknesses, and
possible adaptations.
When considering implementation of this curricular model, it is important to note that the
first tier is designed as a preventative measure. Because of this, it is important that an accurate
base-line on observable/documentable things such as referrals for disruptive behavior,
detentions, suspensions, attendance, grades, classroom participation, students attitudes towards
learning, etc. be established prior to implementation of this model to be able to fairly judge the
effects of the curricular differentiation over an extended period of time. Prior to implementing
tiers two and three it is also important to collect base-line data, both for the school as a whole
and for the students who will likely be targeted due to their insufficient responses to the prior
tier(s).

Arts in the Schools 57


Chapter Four
Project Discussion
Below is outlined this authors proposed three-tier, arts infused, curriculum to be
implemented within inclusive school settings to help meet the needs of K-12 learners with social,
emotional, and/or behavioral needs. When considering each tier, a brief overview of the nature of
the tier is included, along with recommendations in the areas of preparation, environmental
considerations, instructional methods, and recommended assessment methods.
Tier One
The first tier of this model is designed to positively effect the learning experience of all
students in the school environment by creating a more creative, multi-sensory, multi-modal, and
expressive path to core-content mastery. By incorporating the expressive arts and creative
processes throughout the school curriculum, many students whose interests and talents had
previously been untapped, along with those with a variety of learning styles (visual, auditory,
kinesthetic), would be able to be engaged in the curriculum in ways that they had previously not
found connections with. With increased interest, motivation, engagement, along with related
increases in academic self-concept, many acting-out behaviors born of disengagement, boredom,
and feelings of frustration are likely to be prevented.
Laying the Foundation
Prior to piloting a school-wide initiative such as this, it is important to build the
foundation which will help it achieve the social validity that will motivate the school staff to
faithfully see the program through (Scott, 2007). This process should start at least a year before
the model is to be fully implemented, with formation of a team interested in pursuing
implementation, initial introduction of the related research-base at staff meetings and/or in-

Arts in the Schools 58


services, and possibly limited trials of differentiating the curriculum through the creative arts in
classrooms where the teacher shows strong initial interest. During this initial time period, current
teaching practices, beliefs, and resources within the school should be surveyed and new
connections made to community arts organizations and other potential resources that would be
able to contribute needed expertise and materials as the curricular model goes school-wide.
As with past arts integration models (Burnaford et al., 2001; Gould, 2000) and schoolwide program models (Freeman et al., 2006; Garcia & Ortiz, 2006; Klinger & Edwards, 2006;
Scott, 2007), solid staff development on the possibilities of the creative arts and on collaborative
teaming skills are required prior to implementing this curricular model. While many teachers are
confident in their content knowledge of their own subject area, they may lack familiarity or selfefficacy in the creative media that are to be put into use. They may also lack experience with
effective collaborative teaming for planning purposes and team-teaching, both of which are
important when implementing this model.
This author recommends beginning this staff development effort at the beginning of the
school year and then providing monthly booster sessions to bring school staff and others
involved in implementing the curricular model together for the express purpose of checking in
with each other on how things are going, problem-solving classroom concerns, and presenting on
relevant techniques such as portfolio and rubric assessments. Those participating in this initial
training and the booster sessions should include classroom teachers and paraprofessionals, arts
specialists and community artists, administrators, and guest presenters.
Instructional Environment
The arrangement of the physical environment will vary from school to school depending
on the physical structure of the classrooms and the grade levels of the students. For elementary

Arts in the Schools 59


classrooms, it may be helpful to include stations for different art media so that students have a
clear understanding of where they should go to work with paints, music, poetry/creative writing,
etc. For middle school and high school classrooms, separate storage containers (boxes, baskets,
clear crates, etc.) for supplies related to specific arts media may serve as mobile art centers which
can be moved between different desk or table groupings. Each classroom should have its own
supply of basic materials (paints, paper, scissors, glue, tape, crayons, colored pencils, plaster,
computer with graphics and music software, etc.). Other, more costly or less often used supplies
(pottery wheel, sewing machine, video camera, digital sound recorder, easels, etc.), may be
shared by grade-level or content-area teams or even among classrooms located on a specific floor
or wing of the building.
The social/emotional environment should be welcoming of allstudents, school staff,
community artists, families and community members. There should be commonly agreed upon
standards of behavior regularly reviewed in classrooms and posted around the school, along with
high expectations for respect for each individuals contributions to the learning community.
Students and staff alike should be trained and practiced in the art of constructive criticism, as an
environment rich in art activity is likely to encourage interest in others work, so that comments
and feedback are generally framed in a supportive and helpful manner.
Instructional Methods
Much of the instruction, especially initially, should be conducted in a team-teaching
environment, with an art/music/drama specialist or teacher (or community artist) working
alongside a content area teacher(s) and possibly a special education teacher to plan and
implement arts integrated units. As Friend and Cook (2007) bring out, there are a variety of types
of co-teaching relationshipsone teaching, one observing; station teaching; parallel teaching;

Arts in the Schools 60


alternative teaching; teaming; and one teaching, one assistingwhich may be utilized in a
classroom environment. For this particular curricular model, however, it is recommended that the
primary team teaching models utilized be teaming (all teachers/specialists are responsible for
planning and instruction) and station teaching (each teacher/specialist responsible for part of the
planning and part of the instruction).
When planning units, it is recommended that consideration be made for placement of
differentiation through arts to take place at the process (how one learns) and/or product (what
they create with their new knowledge) levels, ensuring that all students in the inclusive setting
have access to the same general education standards and curriculum, but allowing room for
varying interests and strengths to be utilized in the learning of it. This concept is modeled off of
Tomlinson and McTighes (2006) conception of differentiation within the Understanding by
Design framework utilized in the sample lesson plans presented in Appendix A. To build in the
necessary planning time for these professionals, it is recommended that the school offer an early
release day one day per month.
To start off with, team-teachers may want to integrate on or two artistic media within one
or two units per class per trimester/semester/quarter and build from there. Instruction
differentiated through the arts and creative processes by its very nature will vary in format
depending on the medium and intended outcomes. While initial content instruction may be best
in a whole-group lecture or forum format, many media and techniques such as video, drama, and
muraling are quite conducive to small group process and others, such as poetry or ceramics may
work best individually. It is up to individual teaching teams to determine an appropriate
format(s) for their lessons based on team members knowledge of the content area, artistic
media, and student needs.

Arts in the Schools 61


Assessments
It is recommended that assessment of student work be conducted through a combination
of rubrics, which may at times be effectively developed and scored by students (Mason &
Steedly, 2006; Burnaford et al., 2001), and portfolio assessment, which allows studentsand
othersto document and see their growth in knowledge and skill over time (Bustle, 2004;
Schramm, 2000). School and community exhibitions of student work are also advised, as gaining
public recognition for their work generally increases students self-esteem and motivation to
continue to produce work (Burnaford et al.; Fawcett & Hay, 2004) and the exposure to families
and the community can raise awareness of what students are learning and going through
(Stanley, 2003; Winter, 2005; Woods & OShannessy, 2002) and attract valuable human and
economic resources.
Ongoing assessment should also take place in relation to overall program impact as well
as the efficacy of individual integrated units of study. By collecting monthly records on measures
such as referrals for disruptive behavior, detentions, suspensions, attendance, grades, classroom
participation, students attitudes towards learning, etc., comparisons can be made to the
previously obtained baseline data. Additionally, by self-evaluating units that they are teaching,
co-instructors can make timely changes to best meet the needs of each child in the class to ensure
that they get the most out of the experience as possible.
Tier Two
The second tier of this model is designed to meet the more specific social, emotional,
and/or behavioral needs of the 5-15% of students who continue to show needs in these areas after
participating in tier one activities for several months. This tier utilizes an assortment of small,
weekly, groups to work through fairly common struggles young people experiencesuch as a

Arts in the Schools 62


sense of loss from a divorce or death of a loved one, difficulty making friends, poor self-esteem,
substance abuse, and serious peer conflicts. By incorporating direct social skills training, grief
counseling, etc. into group activities that facilitate expression and a sense of control from
working through issues within arts-based activities, students can gain a sense that they are not
alone, that their feelings have been acknowledged, and that there are valid and realistic ways to
move forward.
Preparations
After tier one has been successfully launched, preparations should be started for
implementation of tier two. Such preparations include reviewing data on school and community
resources that was previously collected to determine what could easily be pulled into play for
group therapeutic work and what would still need to be obtained. Frostig and Essex (1998)
recommend either hiring or contracting with an art therapist to provide direct services and to
supervise art therapy interns from local universities. This author concurs that this would be an
economical way to get such services started in the school environment.
This author also recommends providing training in therapeutic process through arts to
others on the school staff, such as the art teacher, special education teacher, school social worker,
and chemical dependency specialist as they may be able to integrate the process into their
established routines and/or co-facilitate art therapy sessions with arts therapy interns to increase
students comfort level by the presence of familiar and trusted adult models.
Anonymous self-report data should be collected on students specific needs, as well as
teacher reports of social, emotional, and/or behavioral needs/concerns demonstrated by specific
students. From this information, the art therapist, arts therapy interns, and other school staff can
begin planning group interventions targeting reported and observed need.

Arts in the Schools 63


Instructional Environment
The environment where these second tier interventions take place should feel comfortable
and home-like, with soft furniture, table and/or floor lamps, pictures on the walls, etc. The social
workers office or a student lounge may be possible locations. An understanding should be
established up-front, among students and facilitators, that what is shared in the room stays in the
room. Art materials should be kept on shelves, in baskets sorted by type, for easy access. There
should also be filing drawers for student files and portfolios.
Instructional Methods
Once weekly group sessions have been planned and fit into the school schedule, teachers
can refer students that they are concerned about to the relevant group. Students can also self-refer
to these groups, as many internalizing behaviors, especially, may escape teachers notice. A
maximum of 5-7 students should be established for each group and regular attendance expected,
to allow for an intimate environment to be created and maintained.
Hour-long group intervention sessions will incorporate direct instruction in topics such as
social skills, anger management strategies, positive thinking, coping with grief, resistance to peer
pressure, etc. (depending on the focus area addressed by the group), individual and group
expressive art-making activities focused on students experiences relating the topic that had been
taught about, and discussion of the finished art pieces, their meanings to their creators, and other
group members questions and comments in relation to them. See Appendix B for one possible
type of activity.
Assessments
Progress can be tracked through assemblage of individual student portfolios, student selfreport, art therapist/intern/school staff observations of individuals during group sessions, and

Arts in the Schools 64


teacher and/or parent report of changes in the classroom and/or at home during the process of
group intervention.
Staff Care
Both preparation beforehand and regular follow-up care are important for art therapists,
art therapy interns, and other school staff involved in group art therapy sessions, as Waller
(2006) notes
Once seen, an image cannot be unseen and many images I have seen have stayed with
me even though they may have been worked through. So it is important for processing
to take place, even if this happens on a nonverbal level. By processing I mean a working
through of the symbolic content until it has no longer any power (p. 280)
It is therefore recommended that those adults involved in facilitating group sessions meet
together every Friday afternoon to discuss and work through difficult things that they have heard
and seen from students in these group situations. Confidentiality, as with all work in schools, is a
must so anonymity of the specific students involved should be maintained in this group setting.
While in some cases a group may be successful in facilitating this debriefing/work out session on
their own, in other cases bringing in another therapist or group facilitator from outside the school
may be beneficial.
Tier Three
The third tier of this model is designed to meet the most severe chronic or immediate
needs of the 1-5% of students who are still struggling even after participation in tiers one and
two. Through creation of an Individualized Creative Intervention (ICI) plan, a multi-disciplinary
team that includes the student, school social worker and/or psychologist and/or art therapist,
individuals from the students social world (friends and/or family), classroom teacher(s), and

Arts in the Schools 65


representative(s) from community programs servicing youth document the nature of the students
needs and design and implement an individualized service plan to meet those needsboth at
school and at home/in the community. It is important to note that just because a student is being
serviced through an ICI plan, it does not mean that they are necessarily no longer involved in tier
two group interventions.
Preparations
Tier three can either be planned for concurrently with tier two or it can be initiated after
the successful launch of the second tier. When considering the individualized wraparound nature
of this third tier it is important to have established and/or be actively establishing connections
with a range of community youth services and counseling programs to ensure that interventions
taking place in school have corresponding counterparts being implemented at home as well as,
preferably, in the community.
Instructional Environment
Team planning meetings and individual sessions can take place in the same comfortable,
home-like, room in which group interventions take place. Depending on the interventions
described in the plan, there may also be components that take place in the students classroom(s),
in their home, and/or in the community.
Instructional Methods
This is a highly individually tailored method designed and implemented by multidisciplinary teams that are pulled together based on individual student need(s). Because of the
high level of individuation it is hard to generalize about what the structure of an ICI plan may
look like for any given student. Likely examples of interventions include one-on-one crisis
management and therapy for those with high risk of suicide attempts, empathy-building and

Arts in the Schools 66


anger management activities for those exhibiting extremely aggressive behaviors, and videobased behavior-shaping strategies for those needing to build capacity within expected school
routines.
Assessments
Assessments should take the form of portfolio analysis, student self-report, and
therapist/teacher/community partner/parent observation and report. It should be ongoing and
focused on specific social, emotional, and/or behavioral goals specified in the students ICI plan.
Caregiver Care
As in tier two, this third tier also requires training beforehand along with ongoing
opportunities to work through things that come up in relation to each student. For this purpose,
support groups should be established for those involved in creation and implementation of ICI
plansschool personnel, community partner(s), art therapist and/or art therapy interns, parents,
and friends. These support groups should be set up both during school hours and in the evening
to increase the likelihood for participation.

Arts in the Schools 67


Chapter Five
Project Summary and Reflection
This capstone project proposed creation and implementation of a school-wide, threetiered, arts-infused, curricular model to meet the social, emotional, and/or behavioral concerns of
K-12 students in inclusive school settings. The proposed curricular model was based on a
research base on characteristics and outcomes of students with social, emotional, and/or
behavioral concerns/needs, the process and results of arts integration efforts, methods of
incorporating the arts into core academic content areas (math, language arts, social studies, and
science), art therapy approaches with young people in community and residential settings, and
instructional challenges when working within inclusive classrooms.
Key Concepts Learned From the Research Base
Students with social, emotional, and/or behavioral concerns have often exhibited poor
social skills, language delay, aggressive behaviors, a high number of family risk factors, severe
academic underachievement, high rates of school drop-out, low rates of post-secondary
education enrollments, and high rates of incarceration. Some young people with severe social,
emotional, and/or behavioral needs have been sent to self-contained residential and/or day
treatment programs in an effort to better meet their mental health needs, although continued
struggles once enrolled in such programs has lead program managers to seek new approaches to
working with these students, such as through arts interventions.
Trial and implementation of arts integration, individual and group arts therapy,
specifically-targeted arts/academic interventions, and arts enrichment programming have in most
cases resulted in increases in positive characteristics such as student interest, motivation,
engagement, social participation, self-esteem and self-concept, communication, and academic

Arts in the Schools 68


achievement, and decreases in negative characteristics such as acting-out behavior and selfinjurious behaviors.
Key Components of Proposed Curricular Model
The proposed curricular model brings together research on characteristics of students
with social, emotional, and/or behavioral needs with isolated program elements that have proven
effective at meeting and/or accommodating the specified needs to create a school-wide, threetiered, arts-infused, K-12 program model to be implemented in inclusive school settings. This
curricular model could be implemented either alongside other three-tier models such as positive
behavioral interventions and supports or response to intervention or on its own.
As with other three-tier models, the first tier of this model is to be experienced by all
students in the school through arts-integrated academics. The second tier is to be experienced by
the 5-15% of students who likely will exhibit continued need beyond whats offered in tier one
and is composed of group-based intervention. The third tier is to be experienced by the 1-5% of
students who continue to exhibit further needs after participating in the first two tiers and is
comprised of creation and implementation of Individual Creative Intervention (ICI) plans.
Projected Impact on Students with Social, Emotional, and/or Behavioral Concerns
This author predicts that the three-tiered curricular model described within this capstone
project will have a positive effect on students with social, emotional, and/or behavioral concerns
which will make the school staff in inclusive settings more confident in these students potential
for success in their current placement.
By increasing student interest, motivation, social engagement, and achievement, tier one
is predicted to prevent many minor and moderate problems from occurring. By directly
addressing specific student needs and letting students know that they are not alone, tier two is

Arts in the Schools 69


predicted to help students work through moderate social, emotional, and/or behavioral concerns
and come out stronger and more self-confident in the end. By meeting students with the greatest
needs where they are at and individually tailoring plans which stretch across the school, home,
and community environments, tier three is predicted to work over time to meet the needs of even
those with the most serious and/or imminent behavioral and mental health needs.
Plans for Future Professional Development
Incorporation of the expressive arts into learning is an area which this author has had a
sustained personal interest in for many years. Concern with meeting the needs of young people
with social, emotional, and/or behavioral needs has also been a personal interest of this author
for a number of years, encountering related issues while working as a media arts instructor.
Because of this background, this author has no doubt that she will be continuing to investigate
and work with these and related issues in future professional and academic pursuits as both a
community artist and as a teacher of students who have been identified as having emotional
and/or behavioral disorders.

Arts in the Schools 70


References
A Teachers Guide to Differentiating Instruction. (2007, January). The Center for
Comprehensive School Reform and Improvement.
Acharya-Baskerville, M. (2006). Arts in health care: Evaluation within a child and
adolescent mental health service. Mental Health Practice, 10(3), 18-22.
Ahmed, S. H., & Siddiqi, M. N. (2006). Healing through art therapy in disaster settings.
Lancet, 368, 529-529.
Barnitz, J. G. & Speaker, R. B. (1999). Linguistic perspective in literacy education. The
Reading Teacher, 52(8), 874-877.
Bentley, M. (2006). Mixing media: Microsofts Movie Maker, montage and war poetry in
the English classroom. Screen Education, 41, 90-91.
Betts, G. (2004). Fostering autonomous learners through levels of differentiation
[Electronic version]. Roeper Review, 26(4).
Boldt, R. W., & Brooks, C. (2006). Creative arts: Strengthening academics and building
community with students at-risk. Reclaiming Children and Youth, 14(4), 223-227.
Brown, S. (2007). An arts-integrated approach for elementary level students. Childhood
Education, 83(3), 172-174.
Bryan, G., Chilcoat, G., & Morrison, T. (2002). Pow! Zap! Wham! Creating comic books
from picture books in social studies classrooms. Canadian Social Studies, 37(1).
Buggey, T. (2007). A picture is worth Video self-modeling applications at school and
home. Journal of Positive Behavior Interventions, 9(3), 151-158.
Building the legacy: IDEA 2004. Sec. 300.8 child with a disability.
http://idea.ed.gov/explore/view/p/,root,regs,300,A,300%252E8,.

Arts in the Schools 71


Burnaford, G., Aprill, A., & Weiss, C. (Eds.). (2001). Renaissance in the classroom: Arts
integration and meaningful learning. Mahwah, NJ: Lawrence Erlbaum.
Bustle, L. S. (2004). The role of visual representation in the assessment of learning.
Journal of Adolescent & Adult Literacy, 47(5), 416-423.
Cade, T., & Gunter, P. L. (2002). Teaching students with severe emotional or behavioral
disorders to use a musical mnemonic technique to solve basic division calculations.
Behavior Disorders, 27(3), 208-214.
The Centers for Disease Control and Prevention (2006).
http://www.cdc.gov/NCBDDD/fas/fasask.htm.
Chen, K. (2006). Math in motion: Origami math for students who are deaf and hard of
hearing. Journal of Deaf Studies and Deaf Education, 11(2), 262-266.
Colwell, C. M., Davis, K., & Schroeder, L. K. (2005). The effect of composition (art or
music) on the self-concept of hospitalized children. Journal of Music Therapy, 42(1), 4963.
Dinnocenti, S. T. (1998). Differentiation: Definition and description for gifted and
talented. Storrs, Connecticut: University of Connecticut, National Research Center on the
Gifted and Talented.
Diagnostic & Statistical Manual of Mental Disorders (DSM) (4th Edition). (1994).
Washington D.C.: American Psychiatric Association.
Dobbs, S. M. (1998). Learning in and through art. Los Angeles, CA: The Ghetty
Education Institute for the Arts.
Dufresne, J. (2006). Crime is easy, Shakespeare is hard. Reclaiming Children and Youth,
14(4), 245-248.

Arts in the Schools 72


Edens, K., & Potter, E. (2007). The relationship of drawing and mathematical problem
solving: Draw for math tasks. Studies in Art Education, 48(3), 282-298.
Egenberger, P. (1997). Integration through video: Seeing beyond the literary work into
history and science. English Journal, 86(7), 55-58.
Eisenkraft, S. (1999). A gallery of visual responses: Artwork in the literature classroom.
English Journal, 88(4), 95-102.
The FASD Center (2008). http://www.fascenter.samhsa.gov/index.cfm.
Fawcett, M. & Hay, P. (2004). 5x5x5 = Creativity in the early years. Journal of Art &
Design Education, 23(3), 234-245.
Flowers, J. (1998). Photography: An integrated technology education approach. The
Technology Teacher, 58(3), 23-26.
Fore, C., Burke, M. D., & Martin, C. (2006). Curriculum-based measurement: An
emerging alternative to traditional assessment for African American children and youth.
The Journal of Negro Education, 75(1), 16-24.
Freeman, R., Eber, L., Anderson, C., Irvin, L., Horner, R., Bounds, M., & Dunlap, G.
(2006). Building inclusive school cultures using school-wide positive behavior support:
Designing effective individual support systems for students with significant disabilities.
Research and Practice for Persons with Severe Disabilities, 31(1), 4-17.
Friend, M., & Cook, L. (2007). Interactions: Collaboration Skills for School
Professionals. Boston, MA: Pearson Education.
Frostig, K., & Essex, M. (1998). Expressive arts therapies in schools: A supervision and
program development guide. Springfield, IL: Charles C. Thomas.
Garcia, S. B., & Ortiz, A. A. (2006). Preventing disproportionate representation:

Arts in the Schools 73


Culturally and linguistically responsive prereferral interventions. Teaching Exceptional
Children, 38(4), 64-68.
Gill, W. & Hayes-Butler, K. (1988). Using role play and video technology in building
schoolwide discipline programs. Education, 109(2), 196-199.
Gould, E. S. (2000). An exemplary arts integration project. General Music Today, 14(1),
19-23.
Grandin, T., Peterson, M., & Shaw, G. L. (1998). Spatial-temporal versus languageanalytic reasoning: The role of music training. Arts Education Policy Review, 99(6), 1114.
Groce, R. D. (2004). An experiential study of elementary teachers with the storytelling
process: Interdisciplinary benefits associated with teacher training and classroom
integration. Reading Improvement, 41(2), 122-128.
Henley, D. (1998). Art therapy in a socialization program for children with attention
deficit hyperactivity disorder. American Journal of Art Therapy, 37(1), 2-12.
Hibbing, A. & Rankin-Erickson, J. (2003). A picture is worth a thousand words: Using
visual images to improve comprehension for middle school struggling readers. The
Reading Teacher, 56(8), 758-770.
Hickman, R. (2006). Raising pupils self-esteem through leadership activities in art.
Journal of Art and Design Education, 25(3), 329-339.
Holyoake, D. D. & Reyner, C. (2005). Moving body and mind: A nurse-led dance group
for young people with a mental illness. Paediatric Nursing, 17(4), 36-39.
Hoover, J. J. & Patton, J. R. (2005). Differentiating curriculum and instruction for

Arts in the Schools 74


English-Language learners with special needs. Intervention in School and Clinic, 40(4),
231-235.
Hoyt, L. (1992). Many ways of knowing: Using drama, oral interactions, and the visual
arts to enhance reading comprehension. The Reading Teacher, 45(8), 580-584.
IDEA 2004, Statute: TITLE I / B / 612 / a / 5.
http://idea.ed.gov/explore/view/p/%2Croot%2Cstatute%2CI%2CB%2C612%2Ca%2C5
%2C.
International Expressive Arts Therapy Association (2004).
http://www.ieata.org/main/learn/ourorganization.html.
Ishaq, A. (2006). Development of childrens creativity to foster peace. Lancet, 368, 526527.
Jaime, K., & Knowlton, E. (2007). Visual supports for students with behavior and
cognitive challenged. Intervention in School and Clinic, 42(5), 259-270.
Kalke, T., Glanton, A., & Cristalli, M. (2007). Positive behavioral interventions and
supports: Using strength-based approaches to enhance the culture of care in residential
and day treatment education environments. Child Welfare, 86(5), 151-174.
Karkou, V. & Glasman, J. (2004). Arts, education and society: The role of the arts in
promoting the emotional wellbeing and social inclusion of young people. Support for
Learning, 19(2), 57-65.
Keck, S., & Kinney, S. C. (2005). Creating a differentiated classroom. Learning &
Teaching with Technology, Spring 2005, 12-15.
Keller, T. E., Bost, N. S., Lock, E. D., & Marcenko, M. O. (2005). Factors associated

Arts in the Schools 75


with participation of children with mental health problems in structured youth
development programs. Journal of Emotional and Behavioral Disorders, 13(3), 141-151.
Klinger, J. K. & Edwards, P. A. (2006). Cultural considerations with response to
intervention models. Reading Research Quarterly, 41(1), 108-117.
Lane, K. L., Carter, E. W., Pierson, M. R., & Glaeser. B. C. (2006). Academic, social,
and behavioral characteristics of high school students with emotional disturbances or
learning disabilities. Journal of Emotional and Behavioral Disorders, 14(2), 108-117.
Malachiodi, C. A. (2007). The Art Therapy Sourcebook. New York, NY: McGraw-Hill.
Mason, C. Y., & Steedly, K. M. (2006). Rubrics and an arts integration community of
practice. Teaching Exceptional Children, 39(1), 36-43.
Minnesota Title V Maternal and Child Health (MCH) Needs Assessment Fact Sheets:
Children with Special Needs School Completion (2004).
http://www.health.state.mn.us/divs/cfh/na/factsheets/mcshn/schoolcompletion.html
Nelson, J. R., Benner, G. J., Lane, K, & Smith, B. W. (2004). Academic achievement of
K-12 students with emotional and behavioral disorders. Exceptional Children, 71(1), 5973.
Netzel, D. M., & Eber, L. (2003). Shifting from reactive to proactive discipline in an
urban school district: A change of focus through PBIS implementation. Journal of
Positive Behavior Interventions, 5(2), 71-79.
Newman, M., Woodcock, A., & Dunham, P. (2006). Playtime in the borderlands:
Childrens representations of school, gender, and bullying through photographs and
interviews. Childrens Geographies, 4(3), 289-302.
Olshansky, B. (1994). Making writing a work of art: Image-making within the writing

Arts in the Schools 76


process. Language Arts, 71(5), 350-356.
Orr, P. P. (2002). Exploring the September 11th terrorist attack through an expressive
mural project. Art Education, 55(2), 6-10.
Osborne, J. (2003). Art and the child with Autism: Therapy or education? Early Child
Development and Care, 173(4), 411-423.
Peetsma, T., Vergeer, M., Roeleveld, J., & Karsten, S. (2001). Inclusion in education:
Comparing pupils development in special and regular education. Education Review,
53(2), 125-135.
Renzulli, S. (2005). Applying gifted education pedagogy to total talent development for
all students. Theory into Practice, 44(2), 80-89.
Renzulli, J. S., & Reis, S. M. (1998). Talent development through curriculum
differentiation. National Association of Secondary School Principals, 82, 61-74.
Respress, T. & Lutfi, G. (2006). Whole brain learning: The fine arts with students at risk.
Reclaiming Children and Youth, 15(1), 24-31.
Rizza, M. G., & Morrison, W. F. (2003). Uncovering stereotypes and identifying
characteristics of gifted students and students with emotional/behavioral disabilities.
Roeper Review, 25(2), 73-77.
Rousseau, C., Drapeau, A., Lacroix, L., Bagilishya, D., & Heusch, N. (2005). Evaluation
of a classroom program of creative expression workshops for refugee and immigrant
children. Journal of Child Psychology and Psychiatry, 46(2), 180-185.
Ryan, S., & Ferguson, D. L. (2006). On, yet under, the radar: Students with fetal alcohol
syndrome disorder. Exceptional Children, 72(3), 363-379.
Savins, C. (2002). Therapeutic work with children in pain. Paediatric Nursing, 14(5),

Arts in the Schools 77


14-16.
Schramm, S. L. (2000). Genetic robots: An integrated art and biology curriculum. Art
Education, 53(3), 40-45.
Scott, T. M. (2007). Issues of personal dignity and social validity in schoolwide systems
of positive behavior support. Journal of Positive Behavior Interventions, 9(2), 102-112.
Sendova, E. (2005). Visual modeling as a motivation for studying mathematics and art.
Educational Media International, 42(2), 173-180.
Stanley, N. (2003). Young people, photography and engagement. Journal of Art &
Design Education, 22(2), 134- 44.
St. Claire Pond, S. (1998). The promotion of acceptance and belonging with group art
therapy: A study of two lonely third grade students [Electronic Version]. American
Journal of Art Therapy, 36(3).
Stonach-Buschel, B. (1990). Trauma, children, and art [Electronic version]. American
Journal of Art Therapy, 29 (2).
Taylor, M. (2005). Access and support in the development of a visual language: Arts
education and disabled students. International Journal of Art & Design Education, 24(3),
325-333.
Taylor, M. (2005). Self-identity and the arts education of disabled young people.
Disability & Society, 20(7), 763-778.
Tillinghast, J. (1977). Developmental arts for exceptional children: Program report.
Journal of Clinical Psychology,6(3), 96-97.
Tomlinson, C. A. (2004). Sharing responsibility for differentiating instruction [Electronic
version]. Roeper Review, 26(4).

Arts in the Schools 78


Tomlinson, C. A., & McTighe, J. (2006). Integrating Differentiated Instruction &
Understanding by Design: Connecting Content and Kids. Alexandria, VA: Association
for Supervision and Curriculum Development.
Tunks, J. (1997). Integrating community arts programming into the curriculum: A case
study in Texas. Arts Education Policy Review, 98(3), 21-26.
Ulman, E. (1992). Art education for the emotionally disturbed [Electronic version].
American Journal of Art Therapy, 30(3).
Venable, B. B. (2005). At-risk and in-need: Reaching juvenile offenders through art. Art
Education, 58(4), 48-53.
Wagner, M., Kutash, K., Duchnowski, A. J., Epstein, M. H., & Sumi, W. C. (2005). The
children and youth we serve: A national picture of the characteristics of students with
emotional disturbances receiving special education. Journal of Emotional and Behavioral
Disorders, 13(2), 79-96.
Walker, P. & Shaffer, M. (2007). Reducing depression among adolescents dealing with
grief and loss: A program evaluation report. Health & Social Work, 32(1), 67-68.
Waller, D. (2006). Art therapy for children: How it leads to change. Clinical Child
Psychology and Psychiatry, 11(2), 271-282.
Werner, P., Simmons, M., & Bowling, T. (1989). Combining the arts and academics.
Journal of Physical Education, Recreation & Dance, 60(7), 55-57.
Whitehurst, T., & Howells, A. (2006). When something is different people fear it:
Childrens perceptions of an arts-based inclusion project. Support for Learning, 21(1),
40-44.
Wikstrom, B. M. (2005). Communicating via expressive arts: A natural medium of self-

Arts in the Schools 79


expression for hospitalized children. Pediatric Nursing, 31(6), 480-485.
Winter, T. F. (2005). Lessons through the lens: Youth as photographers. Reclaiming
Children and Youth, 14(3), 148-151.
Woods, P., & OShannessy, J. (2002). Reintroducing creativity: Day 10 at Hackleton
school. The Curriculum Journal, 13(2), 163-182.

Arts in the Schools 80


Appendix A
This appendix includes twelve arts-infused lesson plansthree for mathematics, three for
language arts, three for social studies, and three for science. There are examples for each content
area for elementary, middle school, and high school students. Each lesson plan is modeled off of
the Understanding by Design framework laid out by Wiggins and McTighe (2005), and
incorporates two Minnesota educational standards, one state standard for the core-content area
and one state standard for the arts.

Arts in the Schools 81


Mathematics Lesson Plans
Subject: Mathematics
Grade Level: Kindergarten
Lesson Theme: PATTERNS, FUNCTIONS AND ALGEBRA Patterns and Functions /
VISUAL ARTS
Desired Results
MN State Standards:

Sort, classify and compare objects based on their attributes. Understand simple repeating
patterns.
Use the tools, basic skills, and techniques of at least three different mediums.

Understandings:
Students will understand that

Essential Questions:

Objects can be placed in groups based on


similarities and differences that they have
between one another.

Students will Know

How can you tell if an object belongs in a


defined group?

Students will be able to

That objects can be sorted by a single


attribute such as size, shape, texture, or
color.
That the same object could be placed in a
variety of groups depending on the
attribute under consideration.

Sort a group of objects by a single attribute


such as size, shape, texture, or color.
Describe why they grouped objects the way
that they did.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Create three collages, each focused on a


different color.
Create three groups of objects with clay,
each group of objects having a different
texture.
Paint three different pictures, each focused
on a different kind of shape.

Observation
Verbal prompts

Learning Plan
Learning Activities:

Large group sing a song on sorting, then provide an overview and modeling of sorting by
single characteristic
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding

Resources
Whiteboard, whiteboard markers, manipulatives (for demonstration), construction paper, colored
tissue paper, scissors, glue sticks, clay, trowels & rolling pins, paint, paint brushes, container for
water/water, aprons

Adaptations

Enlarged pictures/print/manipulatives
Enhanced audio
Extended time
Visual instead of oral presentation

Arts in the Schools 82

Subject: Mathematics
Grade Level: 5
Lesson Theme: PATTERNS, FUNCTIONS AND ALGEBRA Patterns and Functions /
VISUAL ARTS
Desired Results
MN State Standards:

Understand and describe patterns in numbers, shapes, tables and graphs.

Use the tools, basic skills, and techniques of at least three different mediums.
Understandings:
Essential Questions:
What are characteristics of a pattern?
Students will understand that
Recognizing patterns can help predict what How do I continue a pattern that has
already been started?

will come next.

Students will Know

Performance Tasks (choose one):

Students will be able to

How to identify patterns by looking for


repeating image/number sequences.
How to continue patterns that have already
been started.
How to create their own pattern.

Create their own repeating patterns.


Extend patterns that have been started for
them.
Describe how and why they
designed/continued the patterns the way
that they did.

Assessment Evidence
Other Evidence:

Follow a bead pattern and extend it to


create a bracelet, then create your own
patterned bead bracelet.
Continue a colored tessellation pattern,
then create your own tessellation.
Finish a patterned woven placemat, then
create your own.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group provide an overview and modeling of pattern identification


Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, color tiles and other manipulatives, colored pencils, markers,
crayons, rulers, construction paper (a variety of colors/patterns), scissors, glue sticks, beads (a
variety of sizes/shapes/colors), elastic string, handouts with patterns, notebooks & pencils for
reflections

Adaptations

Enlarged pictures/print/manipulatives
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 83


Subject: Mathematics
Grade Level: 9-11
Lesson Theme: SPATIAL SENSE, GEOMETRY AND MEASUREMENT Spatial
Sense / VISUAL ARTS Analysis and Interpretation
Desired Results
MN State Standards:

Use models to represent and understand two- and three-dimensional shapes and how various
motions affect them. Recognize the relationship between different representations of the same
shape.
Understand the connections between visual arts and other disciplines outside the arts, such as
mathematics, science, or history.

Understandings:
Students will understand that

Essential Questions:

Three-dimensional objects can be


represented in scale by models.

Students will Know

How can you represent something huge,


like a building or bridge, in a meaningful
way?
In what ways do architects and other design
professionals use mathematics?

Students will be able to

Setting a ratio can make it possible to


accurately scale down large 3-D objects
into accurate models.
Use of computer modeling programs can
accurately depict a variety of
characteristics of 3-D objects.

Create and manipulate a 3-D or simulated


3-D model of a large object.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Create a scale model of the classroom


using paper products.
Create a scale model of the school using a
computer modeling programming.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group provide an overview and visual examples of 3-D scale modeling
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, computers with powerpoint and modeling software, projector,
rulers, measuring tape, notebooks, pencils, construction paper, graph paper, poster-board paper,
scissors, string, glue, tape

Adaptations

Enlarged pictures/print/manipulatives
Enhanced audio
Touch-screen computer instead of mouse
Use of more substantial manipulatives (such as blocks) instead of paper products
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 84


Language Arts Lesson Plans
Subject: Language Arts
Grade Level: 1
Lesson Theme: SPEAKING, LISTENING AND VIEWING Speaking and Listening /
THEATER
Desired Results
MN State Standards:

The student will communicate effectively through listening and speaking.


The student will communicate a story and character using voice, movement, costume, and
props.

Understandings:
Students will understand that

Essential Questions:

Words have power and can be used in a


variety of ways.

Students will Know

Words are symbols that communicate


meaning.
Communication is a 2-way streetit
requires both talking and listening.
What you say to people can have an impact
on them.

Performance Tasks (choose one):

How do you show how you feel and what


you think with words?
What makes a good listener?

Students will be able to

Demonstrate active listening


Communicate feelings through symbols
Present a message about something that
they care about

Assessment Evidence
Other Evidence:

Role-play good and bad listening skills and


discuss why they are good/bad.
Use voice tone, facial expressions, and
color choice of costume to express 3
different feelings.
Act out a familiar storybook with peers,
putting oneself in the place of the storys
characters.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group sing a song on communication, prompting to see what kids know about
communication skills, overview of vocabulary and communication process
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, variety of childrens books, role-play scripts, costumes/props


from dramatic play area, paper, pencil

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 85

Subject: Language Arts


Grade Level: 6
Lesson Theme: READING AND LITERATURE Literature / THEATER Artistic
Creativity and Performance
Desired Results
MN State Standards:

The student will actively engage in the reading process and read, understand, respond to,
analyze, interpret, evaluate and appreciate a wide variety of fiction, poetic and nonfiction
texts.
The student will express and communicate ideas using the components of theater.

Understandings:
Students will understand that

Essential Questions:

Literature can be brought to life through


theater.

Students will Know

How do words on a page indicate feelings,


settings, and relationships?
How can a piece of literature be presented
through drama?

Students will be able to

Both literature and plays involve common


elements such as setting, plot, and
characters.
Literature has been adapted to create plays
and movies.
When adapting a piece of literature for
drama its important to pay close attention
to the descriptive words that have been
used.

Identify key descriptive wording in a piece


of literature.
Use descriptive wording to identify the
setting and mood of a scene.
Create a short dramatic adaptation of a
piece of literature.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Adapt a short story into a one-act drama.


Adapt a poem into a drama or monologue.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group prompting to see what kids know about identifying descriptive wording and
about literature that was adapted to stage and/or screen, discussion of important vocabulary
and key considerations when looking to visualize reading, overview of readers theater with
description and modeling
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, cloze notes on descriptive wording/readers theater, variety of


literature samples, dramatic costumes/props, notebooks, pencils

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 86

Subject: Language Arts


Grade Level: 9-12
Lesson Theme: SPEAKING, LISTENING AND VIEWING Media Literacy / MEDIA
ARTS Analysis and Interpretation
Desired Results
MN State Standards:

The student will critically analyze information found in electronic and print media, and will
use a variety of these sources to learn about a topic and represent ideas.
The student will support personal reactions to media art works using the components of
media arts.

Understandings:
Students will understand that

Essential Questions:

Electronic and print media often represent


the viewpoint(s) of their creator(s).

Students will Know

Students will be able to

That media often represents the point-of


view of its creator.
Key words and phrases that indicate
opinion is being expressed.

2 ways to intentionally express their point


of view through media.

2 ways to minimize bias in creation of media.

Performance Tasks (choose one):

What can you look at when determining the


point-of-view(s) of a piece of media?
How can you represent your own point-ofview through media?
What can you do to minimize bias in the
creation of a piece of media?
Identify the point of view expressed in a
newspaper article, a TV commercial, and a
segment of news broadcast.
Create a piece of media representing their
own point-of-view.
Create a piece of media designed to
minimize bias.

Assessment Evidence
Other Evidence:

Create a 30 second video showing your


point-of-view on a contemporary issue of
importance.
Create a 500-word editorial on a
contemporary issue of importance.
Create 60-second audio broadcast showing
balance of opinions on a contemporary issue
of importance.
Create a set of 4 posters demonstrating 4
different perspectives of a contemporary
issue of importance.

Observation
Verbal prompts
Personal reflection statement
Quiz

Learning Plan
Learning Activities:

Large group prompting to see what kids know about identifying descriptive wording and
about literature that was adapted to stage and/or screen, discussion of important vocabulary
and key considerations when looking to visualize reading, overview of readers theater
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Arts in the Schools 87


Whiteboard, whiteboard markers, computers (with DVD player, powerpoint software, video
editing software, sound editing software, word processing software), video/computer projector,
digital cameras, video cameras, digital audio recorders, newspapers, magazines, TV commercials
and news stories, video tape, poster-board, markers, pencils, rulers, colored pencils, construction
paper, glue

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 88


Social Studies Lesson Plans
Subject: Social Studies
Grade Level: K-3
Lesson Theme: U.S. HISTORY Family Life Today and In The Past / VISUAL ARTS
Desired Results
MN State Standards:

The student will understand how families live today and in earlier times, recognizing that
some aspects change over time while others stay the same.
The student will understand the characteristics of visual art from a variety of cultures and
historical times.

Understandings:
Students will understand that

Essential Questions:

Family life changes depending on the


technology and resources available.

Students will Know

How has the experience of childhood


changed over time?

Students will be able to

That technology and availability of


resources impacts family life.
That the way that theyre growing up is
likely different from the way their parents
grew up, which is likely different from the
way their grandparents grew up.

List at least 3 technological changes that


have impacted family life over the past 100
years.
Identify two areas of difference between
their parent(s)/grandparent(s) childhoods
and their own.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Create a family scrapbook showing their


own, their parent(s) and/or their
grandparent(s) childhood.
Create a series of drawings or paintings
depicting their family at a minimum of 5
different points in time.
Create a short story where they discuss
what their life couldve been like if they
had been born in a different time.

Observation
Verbal prompts
Written interview(s) of
parent(s)/grandparent(s)

Learning Plan
Learning Activities:

Large group sing a song on families, then provide an overview with pictures/visuals of
ways that families of different cultural groups have changed over time
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concepts; prompt
for understanding

Resources
Whiteboard, whiteboard markers, family pictures from different periods of time, construction
paper, scissors, notebooks, pencils, crayons, colored pencils, markers, watercolor paints,
paintbrushes, glue sticks, scrapbook papers, magazines (to cut up), interview template for families

Adaptations

Enlarged pictures/print
Scissors with a variety of handle types
Extended time

Enhanced audio
Auditory story capture instead of written
Visual instead of oral presentation

Arts in the Schools 89


Subject: Social Studies
Grade Level: 4-8
Lesson Theme: GEOGRAPHY Interconnections / DANCE
Desired Results
MN State Standards:

The student will give examples that demonstrate how people are connected to each other and
the environment.
The student will create movement sequences with or without music.

Understandings:
Students will understand that

Essential Questions:

People come together to form communities


because of a variety of different forces and
influences.

Students will Know

Students will be able to

That geographic, economic, social, cultural,


etc. factors influence where people choose
to live.
That the above factors shape both the
formation and continuation of
communities.
That changes in one or more of the above
factors will have impact on communities.

Performance Tasks (choose one):

What forces have resulted in your


community forming the way it has?
How do these forces influence daily life in
your community?
Identify key factors that influence the
make-up of their community.
Respond in self-empowering ways to
factors they see as negatively impacting
their community.

Assessment Evidence
Other Evidence:

Create a solo movement sequence

depicting an individuals decision to move


into or out of a neighborhood.

Create a group movement sequence


depicting the varying forces which impact
formation of a community.
Create an individual or group movement
sequence which proposes positive changes
to be made in geographic, economic, social,
cultural, etc. factors impacting their
community.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group prompting to see what kids know about their communities, overview of
geographic and system/structural forces that impact where people live, examples of how these
factors can be seen in play with the things kids identified as characteristic of their communities
Small group/center activity practice concept with chosen performance task
Large group come back together to share work; review concept; prompt for understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, cloze notes on geographic/structural forces, notebooks, pencils

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 90

Subject: Social Studies


Grade Level: 9-12
Lesson Theme: ECONOMICS Economics and Public Policy / MUSIC Creation and
Performance
Desired Results
MN State Standards:

The student will apply economic theories and concepts to public policy issues.
The student will use artistic processes to create an original or perform an existing single,
complex work or multiple works in music.

Understandings:
Students will understand that

Essential Questions:

The problem of poverty in the U.S. has a


number of roots, effects, and potential
solutions.

Students will Know

How is poverty defined and who defines it?


What factors impact whether or not a child
grows up in poverty?
What could be done to reduce the number
of children and families living in poverty?

Students will be able to

What the U.S.s official definition of


poverty is.
That poverty impacts many children and
families.
That economic forces impact the poverty
rate.

Identify economic, social, and cultural


indicators of poverty.
Identify at least 2 ways that poverty
impacts children in their
school/community.
Propose at least 2 policy decisions which
could help reduce povertys impact on
children and families.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Compose a song or rap that explains what


poverty is.
Compose a song or rap that explains what
impact poverty has on children and
families.
Compose a song or rap that proposes a
way(s) to reduce poverty.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group prompting to see what kids know about poverty, overview of federal definition
of poverty, characteristics associated with poverty, and economic principles that are relevant
Small group/center activity practice concept with chosen performance task
Large group come back together to share insights and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, computer w/powerpoint software, projector, notebooks, pencils

Adaptations

Enlarged pictures/print
Enhanced audio
Computer-generated instead of oral composition
Audio-taped or videotaped reflection instead of written one

Extended time

Arts in the Schools 91


Science Lesson Plans
Subject: Science
Grade Level: 3
Lesson Theme: PHYSICAL SCIENCE Energy Transformation / MUSIC
Desired Results
MN State Standards:

The student will explore the characteristics and properties of sound and light.

Sounds created when an object is impacted


by another object differ depending on the
physical properties of the two objects.

The student will play simple rhythms and melodies on classroom instruments.
Understandings:
Essential Questions:

How can you create a sound that is high in


Students will understand that

Students will Know


That some objects when struck create high

pitch sounds while other objects create low


pitch sounds, depending on their physical
properties.

pitch?
How can you create a sound that is low in
pitch?

Students will be able to

Identify some physical properties which


seem to correspond with production of
high/low pitch sounds.
Create a variety of high, low, and midrange pitch sounds.

Assessment Evidence
Performance Tasks (choose one):
Other Evidence:

Create an individual rhythm or melody


containing a variety of high, low, and midrange pitch sounds.
Create a group rhythm or melody
containing a variety of high, low, and midrange pitch sounds.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group sing a song that uses a variety of pitches, then provide an overview of the
principles in practice and examples of different pitches
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concepts; prompt
for understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, varying sizes of glass-wear filled with different amounts of
water, felt-tipped drumsticks, different sized cymbals, lab-books to report findings, pencils,
notebooks

Adaptations

Enlarged pictures/print/manipulatives
Enhanced audio
Do an activity with variances in lights instead of sounds
Extended time
Visual instead of auditory presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 92


Subject: Science
Grade Level: 7
Lesson Theme: HISTORY AND NATURE OF SCIENCE Scientific Enterprise /
MUSIC Artistic Interpretation
Desired Results
MN State Standards:

The student will know that science and technology are human efforts that both influence, and
are influenced by, society.
The student will understand the connection between a work of music, its purpose, and its
cultural and historical contexts.

Understandings:
Students will understand that

Essential Questions:

Technological changes over time have


impacted the development of science and
music.

Students will Know

Students will be able to

That science and technology are both


changed by humans over time.
That tools of music-making, like other
technologies, have changed over time.
How technological limitations and changes
has influenced how and by whom music is
made.

Performance Tasks (choose one):

In what ways are science and technology


related?
In what ways are music and technology
related?
How has change in one instigated change in
the other?

Identify 5 ways that technological change


has impacted scientific development over
time.
Identify 3 ways that technological change
has impacted musical development over
time.
Create a work of music and describe how
the medium (technology) they chose
impacted the creation of their composition.

Assessment Evidence
Other Evidence:

Research the history of a percussion


instrument and create a work of music
with it.
Research the history of a strings instrument
and create a work of music with it.
Research the history of a digital medium
and create a work of music with it.

Observation
Verbal prompts
Personal reflection statement
Essay, oral, or powerpoint presentation

Learning Plan
Learning Activities:

Large group prompting to see what kids know about technological change, overview of
major technological changes and how they have been influenced by and impacted some
aspect(s) of society (i.e. printing press, steam engine, microscope, space shuttle, computer),
discuss how technology of music has also experienced change over time
Small group/center activity practice concept with chosen performance task
Large group come back together to share experiences and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, computers (w/powerpoint software, digital music software,


internet access, word-processing software), projector, library/books, assortment of instruments,

Arts in the Schools 93


digital audio recorders, notebooks, pencils

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Visual instead of oral presentation
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 94


Subject: Science
Grade Level: 9-12
Lesson Theme: EARTH AND SPACE SCIENCE Earth Structure and Processes /
MEDIA ARTS Creation and Performance
Desired Results
MN State Standards:

The student will investigate the impact humans have on the environment.
The student will use artistic processes to create a single, complex work or multiple works
in media arts

Understandings:
Students will understand that

Essential Questions:

Human actions can and have impacted the


earth in both positive and negative ways.

Students will Know

That human actions in the past shaped the


way the environment is today.
How human actions in the present continue
to impact the environment.

Students will be able to


Name 5 early domesticated species of

Performance Tasks (choose one):

How did human actions in early history lead


to plant and animal domestication?
How have human actions related to
migration and immigration impacted the
location and distribution of plant and
animal species?
How have human actions during and since
the industrial revolution impacted the
environment?

plants and/or animals.


Describe the journey of at least 1 plant
species and 1 animal species that were redistributed through immigration.
Investigate and create a personal response to
1 contemporary environmental issue rooted
in human actions.

Assessment Evidence
Other Evidence:

Research a contemporary environmental


issue and create a 2-minute documentary
about it.
Research a contemporary environmental
issue and create a photo essay on it.
Research a contemporary environmental
issue and create a 4-minute audio broadcast
on it.

Observation
Verbal prompts
Personal reflection statement

Learning Plan
Learning Activities:

Large group prompting to see what kids know about human actions impact on the
environment (past & present), overview of key processes/changes across time
Small group/center activity practice concept with chosen performance task
Large group come back together to share insights and work; review concept; prompt for
understanding
Individual write personal reflection statement

Resources

Whiteboard, whiteboard markers, computers (w/powerpoint software, video editing software,


sound editing software, word-processor software, internet access), cloze notes on environmental

Arts in the Schools 95


change over time, video cameras, video tapes, digital audio recorders, digital cameras, batteries
(for cameras, recorders), microphones w/cables to connect to audio recorders and video cameras,
library/books, notebooks, pencils, printer

Adaptations

Enlarged pictures/print
Enhanced audio
Extended time
Audio-taped or videotaped reflection instead of written one

Arts in the Schools 96


Appendix B
The activity sheets in this appendix incorporate a visual arts process into a framework for
helping young people master their feelings that was laid out by Jaffe & Gardner (2006). The first
two sections of these sheets can be filled out at the beginning of a therapy session, followed by
discussion of the pictures drawn and alternative approaches that could be taken in tough
situations. Through this discussion, youth can select strategies that could work for them, which
they can then place in the third column for later reference.

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Happy

Arts in the Schools 97

Feelings

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Sad

Arts in the Schools 98

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Angry

Arts in the Schools 99

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Nervous/Anxious

Arts in the Schools100

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Overwhelmed

Arts in the Schools101

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Scared

Arts in the Schools102

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Jealous

Arts in the Schools103

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Impulsive

Arts in the Schools104

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Confident

Arts in the Schools105

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Shy

Arts in the Schools106

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Sympathetic

Arts in the Schools107

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Confused

Arts in the Schools108

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Hopeless

Arts in the Schools109

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Bullied

Arts in the Schools110

______________________________
2.) ___________________________
______________________________
3.) ___________________________
______________________________
4.) ___________________________
______________________________
5.) ___________________________
______________________________
6.) ___________________________
______________________________
7.) ___________________________
______________________________

______________________________

2.) ___________________________

______________________________

3.) ___________________________

______________________________

4.) ___________________________

______________________________

5.) ___________________________

______________________________

6.) ___________________________

______________________________

7.) ___________________________

______________________________

When I feel this way I should


1.) ___________________________

When I feel this way it looks like

1.) ___________________________

I feel this way when

Feeling Bored

Arts in the Schools111

Arts in the Schools112


Appendix C
This appendix contains a user questionnaire for those who consult and/or implement this
curriculum model. The information gathered will be used in the refinement and documentation of
the curricular model. Completed questionnaires should be returned to this project author via
either email (digitalmyths@aol.com) or postal mail (Attn. Mina Blyly-Strauss, 3425 Blaisdell
Avenue South, Minneapolis, Minnesota 55408). Thank you for your participation in the valuable
assessment of this curricular model!

Arts in the Schools113


User Questionnaire
1.) What grade-level(s) of students do you work with? (check all that apply)
Elementary (K-4)

Middle School (5-8)

High school (9-12)

2.) What is your role in your school? (check all that apply)
Teacher

Paraprofessional

Administration

Counseling

Other (please describe) ________________________________

3.) What is your area of academic specialty? (check all that apply)
Social/Emotional/Behavioral Support

Art

Administration

Core-Content Area (which one(s)?) _______________________________________________


Other (please describe) _________________________________________________________
4.) Why were you interested in this curricular model?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
5.) After reading through the model and reviewing the appendices, is there anything youre
confused or unclear about? If so, please identify these areas. (attach a separate sheet if necessary)
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6.) Have you implemented any part(s) of this model in your school? Yes

No

If you answered Yes on the question above, please answer the remaining questions.
7.) At what stage of curricular implementation are you currently in?

Arts in the Schools114


______________________________________________________________________________
______________________________________________________________________________
8.) What has been the easiest part(s) of implementation?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
9.) What has been the hardest part(s) of implementation?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
10.) If I knew then what I know now about implementation, I wouldve
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
11.) To date, what results have you seen on students?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
12.) To date, what results have you seen on staff members?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

Arts in the Schools115


13.) To date, what results have you seen on the learning/school community as a whole?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
14.) Are there any modifications your school has made, to date, to this curricular model? If so,
what?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
15.) What is the next step(s) your school is planning to take in implementation?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
16.) What type(s) of parent/community reaction has implementation had?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
17.) Would you be open to participating in further study of the implementation of this curricular
model? (if so, please provide name and contact information)
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

Arts in the Schools116


Appendix D
This appendix contains a bibliography of sources used in the creation of this capstone
project. For further study on any of the topics addressed in the paper, these resources can be used
as starting points in the search for greater depth of knowledge in these areas.

Arts in the Schools117


Bibliography
A Teachers Guide to Differentiating Instruction. (2007, January). The Center for
Comprehensive School Reform and Improvement.
Acharya-Baskerville, M. (2006). Arts in health care: Evaluation within a child and
adolescent mental health service. Mental Health Practice, 10(3), 18-22.
Ahmed, S. H., & Siddiqi, M. N. (2006). Healing through art therapy in disaster settings.
Lancet, 368, 529-529.
Barnitz, J. G. & Speaker, R. B. (1999). Linguistic perspective in literacy education. The
Reading Teacher, 52(8), 874-877.
Bentley, M. (2006). Mixing media: Microsofts Movie Maker, montage and war poetry in
the English classroom. Screen Education, 41, 90-91.
Betts, G. (2004). Fostering autonomous learners through levels of differentiation
[Electronic version]. Roeper Review, 26(4).
Boldt, R. W., & Brooks, C. (2006). Creative arts: Strengthening academics and building
community with students at-risk. Reclaiming Children and Youth, 14(4), 223-227.
Brown, S. (2007). An arts-integrated approach for elementary level students. Childhood
Education, 83(3), 172-174.
Bryan, G., Chilcoat, G., & Morrison, T. (2002). Pow! Zap! Wham! Creating comic books
from picture books in social studies classrooms. Canadian Social Studies, 37(1).
Buggey, T. (2007). A picture is worth Video self-modeling applications at school and
home. Journal of Positive Behavior Interventions, 9(3), 151-158.
Building the legacy: IDEA 2004. Sec. 300.8 child with a disability.
http://idea.ed.gov/explore/view/p/,root,regs,300,A,300%252E8,.

Arts in the Schools118


Burnaford, G., Aprill, A., & Weiss, C. (Eds.). (2001). Renaissance in the classroom: Arts
integration and meaningful learning. Mahwah, NJ: Lawrence Erlbaum.
Bustle, L. S. (2004). The role of visual representation in the assessment of learning.
Journal of Adolescent & Adult Literacy, 47(5), 416-423.
Cade, T., & Gunter, P. L. (2002). Teaching students with severe emotional or behavioral
disorders to use a musical mnemonic technique to solve basic division calculations.
Behavior Disorders, 27(3), 208-214.
The Centers for Disease Control and Prevention (2006).
http://www.cdc.gov/NCBDDD/fas/fasask.htm.
Chen, K. (2006). Math in motion: Origami math for students who are deaf and hard of
hearing. Journal of Deaf Studies and Deaf Education, 11(2), 262-266.
Colwell, C. M., Davis, K., & Schroeder, L. K. (2005). The effect of composition (art or
music) on the self-concept of hospitalized children. Journal of Music Therapy, 42(1), 4963.
Dinnocenti, S. T. (1998). Differentiation: Definition and description for gifted and
talented. Storrs, Connecticut: University of Connecticut, National Research Center on the
Gifted and Talented.
Diagnostic & Statistical Manual of Mental Disorders (DSM) (4th Edition). (1994).
Washington D.C.: American Psychiatric Association.
Dobbs, S. M. (1998). Learning in and through art. Los Angeles, CA: The Ghetty
Education Institute for the Arts.
Dufresne, J. (2006). Crime is easy, Shakespeare is hard. Reclaiming Children and Youth,
14(4), 245-248.

Arts in the Schools119


Edens, K., & Potter, E. (2007). The relationship of drawing and mathematical problem
solving: Draw for math tasks. Studies in Art Education, 48(3), 282-298.
Edyburn, D. (2003). Research and practice (Associate Editors Column): Measuring
assistive technology outcomes in mathematics. Journal of Special Education Technology,
18(4), 76-79.
Egenberger, P. (1997). Integration through video: Seeing beyond the literary work into
history and science. English Journal, 86(7), 55-58.
Eisenkraft, S. (1999). A gallery of visual responses: Artwork in the literature classroom.
English Journal, 88(4), 95-102.
The FASD Center (2008). http://www.fascenter.samhsa.gov/index.cfm.
Fawcett, M. & Hay, P. (2004). 5x5x5 = Creativity in the early years. Journal of Art &
Design Education, 23(3), 234-245.
Flowers, J. (1998). Photography: An integrated technology education approach. The
Technology Teacher, 58(3), 23-26.
Fore, C., Burke, M. D., & Martin, C. (2006). Curriculum-based measurement: An
emerging alternative to traditional assessment for African American children and youth.
The Journal of Negro Education, 75(1), 16-24.
Freeman, R., Eber, L., Anderson, C., Irvin, L., Horner, R., Bounds, M., & Dunlap, G.
(2006). Building inclusive school cultures using school-wide positive behavior support:
Designing effective individual support systems for students with significant disabilities.
Research and Practice for Persons with Severe Disabilities, 31(1), 4-17.
Friend, M., & Cook, L. (2007). Interactions: Collaboration Skills for School
Professionals. Boston, MA: Pearson Education.

Arts in the Schools120


Frostig, K., & Essex, M. (1998). Expressive arts therapies in schools: A supervision and
program development guide. Springfield, IL: Charles C. Thomas.
Garcia, S. B., & Ortiz, A. A. (2006). Preventing disproportionate representation:
Culturally and linguistically responsive prereferral interventions. Teaching Exceptional
Children, 38(4), 64-68.
Gentry, M., Chinn, K., & Mouton, R. (2004-2005). Effectiveness of multimedia reading
materials when used with children who are deaf. American Annals of the Deaf, 149(5),
394-403.
Gill, W. & Hayes-Butler, K. (1988). Using role play and video technology in building
schoolwide discipline programs. Education, 109(2), 196-199.
Gould, E. S. (2000). An exemplary arts integration project. General Music Today, 14(1),
19-23.
Grandin, T., Peterson, M., & Shaw, G. L. (1998). Spatial-temporal versus languageanalytic reasoning: The role of music training. Arts Education Policy Review, 99(6), 1114.
Groce, R. D. (2004). An experiential study of elementary teachers with the storytelling
process: Interdisciplinary benefits associated with teacher training and classroom
integration. Reading Improvement, 41(2), 122-128.
Henley, D. (1998). Art therapy in a socialization program for children with attention
deficit hyperactivity disorder. American Journal of Art Therapy, 37(1), 2-12.
Hibbing, A. & Rankin-Erickson, J. (2003). A picture is worth a thousand words: Using
visual images to improve comprehension for middle school struggling readers. The
Reading Teacher, 56(8), 758-770.

Arts in the Schools121


Hickman, R. (2006). Raising pupils self-esteem through leadership activities in art.
Journal of Art and Design Education, 25(3), 329-339.
Hobbs, R. (2001). Improving reading comprehension by using media literacy activities.
Voices from the Middle, 8(4), 44-50.
Holyoake, D. D. & Reyner, C. (2005). Moving body and mind: A nurse-led dance group
for young people with a mental illness. Paediatric Nursing, 17(4), 36-39.
Hoover, J. J. & Patton, J. R. (2005). Differentiating curriculum and instruction for
English-Language learners with special needs. Intervention in School and Clinic, 40(4),
231-235.
Hoyt, L. (1992). Many ways of knowing: Using drama, oral interactions, and the visual
arts to enhance reading comprehension. The Reading Teacher, 45(8), 580-584.
IDEA 2004, Statute: TITLE I / B / 612 / a / 5.
http://idea.ed.gov/explore/view/p/%2Croot%2Cstatute%2CI%2CB%2C612%2Ca%2C5
%2C.
International Expressive Arts Therapy Association (2004).
http://www.ieata.org/main/learn/ourorganization.html.
Ishaq, A. (2006). Development of childrens creativity to foster peace. Lancet, 368, 526527.
Jaffe, A. V., & Gardner, L. (2006). My Book Full of Feelings: How to Control and React
to the Size of Your Emotions. Shawnee Mission, KS: Autism Asperger Publishing
Company.
Jaime, K., & Knowlton, E. (2007). Visual supports for students with behavior and
cognitive challenged. Intervention in School and Clinic, 42(5), 259-270.

Arts in the Schools122


Janney, R., & Snell, M. E. (2004). Modifying Schoolwork. Baltimore, MD: Paul H.
Brookes Publishing Company.
Kalke, T., Glanton, A., & Cristalli, M. (2007). Positive behavioral interventions and
supports: Using strength-based approaches to enhance the culture of care in residential
and day treatment education environments. Child Welfare, 86(5), 151-174.
Karkou, V. & Glasman, J. (2004). Arts, education and society: The role of the arts in
promoting the emotional wellbeing and social inclusion of young people. Support for
Learning, 19(2), 57-65.
Keck, S., & Kinney, S. C. (2005). Creating a differentiated classroom. Learning &
Teaching with Technology, Spring 2005, 12-15.
Keller, T. E., Bost, N. S., Lock, E. D., & Marcenko, M. O. (2005). Factors associated
with participation of children with mental health problems in structured youth
development programs. Journal of Emotional and Behavioral Disorders, 13(3), 141-151.
Kim, A., Vaughn, S., Wanzek, J., & Wei, S. (2004). Graphic organizers and their effects
on the reading comprehension of students with LD: A synthesis of research. Journal of
Learning Disabilities, 37(2), 105-118.
Klinger, J. K. & Edwards, P. A. (2006). Cultural considerations with response to
intervention models. Reading Research Quarterly, 41(1), 108-117.
Lane, K. L., Carter, E. W., Pierson, M. R., & Glaeser. B. C. (2006). Academic, social,
and behavioral characteristics of high school students with emotional disturbances or
learning disabilities. Journal of Emotional and Behavioral Disorders, 14(2), 108-117.
Malachiodi, C. A. (2007). The Art Therapy Sourcebook. New York, NY: McGraw-Hill.
Mason, C. Y., & Steedly, K. M. (2006). Rubrics and an arts integration community of

Arts in the Schools123


practice. Teaching Exceptional Children, 39(1), 36-43.
Minnesota Title V Maternal and Child Health (MCH) Needs Assessment Fact Sheets:
Children with Special Needs School Completion (2004).
http://www.health.state.mn.us/divs/cfh/na/factsheets/mcshn/schoolcompletion.html
Nelson, J. R., Benner, G. J., Lane, K, & Smith, B. W. (2004). Academic achievement of
K-12 students with emotional and behavioral disorders. Exceptional Children, 71(1), 5973.
Netzel, D. M., & Eber, L. (2003). Shifting from reactive to proactive discipline in an
urban school district: A change of focus through PBIS implementation. Journal of
Positive Behavior Interventions, 5(2), 71-79.
Neuman, S. & Koskinen, P. (1992). Captioned television as comprehensible input:
Effects of incidental word learning from context for language minority students. Reading
Research Quarterly, 27(1), 94-106.
Newman, M., Woodcock, A., & Dunham, P. (2006). Playtime in the borderlands:
Childrens representations of school, gender, and bullying through photographs and
interviews. Childrens Geographies, 4(3), 289-302.
Olshansky, B. (1994). Making writing a work of art: Image-making within the writing
process. Language Arts, 71(5), 350-356.
Orr, P. P. (2002). Exploring the September 11th terrorist attack through an expressive
mural project. Art Education, 55(2), 6-10.
Osborne, J. (2003). Art and the child with Autism: Therapy or education? Early Child
Development and Care, 173(4), 411-423.
Peetsma, T., Vergeer, M., Roeleveld, J., & Karsten, S. (2001). Inclusion in education:

Arts in the Schools124


Comparing pupils development in special and regular education. Education Review,
53(2), 125-135.
Renzulli, S. (2005). Applying gifted education pedagogy to total talent development for
all students. Theory into Practice, 44(2), 80-89.
Renzulli, J. S., & Reis, S. M. (1998). Talent development through curriculum
differentiation. National Association of Secondary School Principals, 82, 61-74.
Respress, T. & Lutfi, G. (2006). Whole brain learning: The fine arts with students at risk.
Reclaiming Children and Youth, 15(1), 24-31.
Rizza, M. G., & Morrison, W. F. (2003). Uncovering stereotypes and identifying
characteristics of gifted students and students with emotional/behavioral disabilities.
Roeper Review, 25(2), 73-77.
Rousseau, C., Drapeau, A., Lacroix, L., Bagilishya, D., & Heusch, N. (2005). Evaluation
of a classroom program of creative expression workshops for refugee and immigrant
children. Journal of Child Psychology and Psychiatry, 46(2), 180-185.
Ryan, S., & Ferguson, D. L. (2006). On, yet under, the radar: Students with fetal alcohol
syndrome disorder. Exceptional Children, 72(3), 363-379.
Savins, C. (2002). Therapeutic work with children in pain. Paediatric Nursing, 14(5),
14-16.
Schramm, S. L. (2000). Genetic robots: An integrated art and biology curriculum. Art
Education, 53(3), 40-45.
Scott, T. M. (2007). Issues of personal dignity and social validity in schoolwide systems
of positive behavior support. Journal of Positive Behavior Interventions, 9(2), 102-112.
Scrase, R. (1998). An evaluation of a multi-sensory speaking-computer based system

Arts in the Schools125


(Starcross-IDL) designed to teach the literacy skills of reading Sendova, E. (2005).
Visual modeling as a motivation for studying mathematics and art.
Educational Media International, 42(2), 173-180.
Sendova, E. (2005). Visual modeling as a motivation for studying mathematics and art.
Educational Media International, 42(2), 173-180.
Staal, L. (2000). The story face: An adaptation of story mapping that incorporates
visualization and discovery learning to enhance reading and writing. The Reading
Teacher, 54(1), 26-31.
Stanley, N. (2003). Young people, photography and engagement. Journal of Art &
Design Education, 22(2), 134- 44.
St. Claire Pond, S. (1998). The promotion of acceptance and belonging with group art
therapy: A study of two lonely third grade students [Electronic Version]. American
Journal of Art Therapy, 36(3).
Stonach-Buschel, B. (1990). Trauma, children, and art [Electronic version]. American
Journal of Art Therapy, 29 (2).
Taylor, M. (2005). Access and support in the development of a visual language: Arts
education and disabled students. International Journal of Art & Design Education, 24(3),
325-333.
Taylor, M. (2005). Self-identity and the arts education of disabled young people.
Disability & Society, 20(7), 763-778.
Terwel, J. (2005). Curriculum differentiation: Multiple perspectives and developments in
education. Journal of Curriculum Studies, 37(6), 653-670.
Tillinghast, J. (1977). Developmental arts for exceptional children: Program report.

Arts in the Schools126


Journal of Clinical Psychology,6(3), 96-97.
Tomlinson, C. A. (2001). How to Differentiate Instruction in Mixed-Ability Classrooms.
Alexandria, VA: Association for Supervision and Curriculum Development.
Tomlinson, C. A. (2004). Sharing responsibility for differentiating instruction [Electronic
version]. Roeper Review, 26(4).
Tomlinson, C. A., & McTighe, J. (2006). Integrating Differentiated Instruction &
Understanding by Design: Connecting Content and Kids. Alexandria, VA: Association
for Supervision and Curriculum Development.
Tunks, J. (1997). Integrating community arts programming into the curriculum: A case
study in Texas. Arts Education Policy Review, 98(3), 21-26.
Ulman, E. (1992). Art education for the emotionally disturbed [Electronic version].
American Journal of Art Therapy, 30(3).
Venable, B. B. (2005). At-risk and in-need: Reaching juvenile offenders through art. Art
Education, 58(4), 48-53.
Wagner, M., Kutash, K., Duchnowski, A. J., Epstein, M. H., & Sumi, W. C. (2005). The
children and youth we serve: A national picture of the characteristics of students with
emotional disturbances receiving special education. Journal of Emotional and Behavioral
Disorders, 13(2), 79-96.
Walker, P. & Shaffer, M. (2007). Reducing depression among adolescents dealing with
grief and loss: A program evaluation report. Health & Social Work, 32(1), 67-68.
Waller, D. (2006). Art therapy for children: How it leads to change. Clinical Child
Psychology and Psychiatry, 11(2), 271-282.
Werner, P., Simmons, M., & Bowling, T. (1989). Combining the arts and academics.

Arts in the Schools127


Journal of Physical Education, Recreation & Dance, 60(7), 55-57.
Whitehurst, T., & Howells, A. (2006). When something is different people fear it:
Childrens perceptions of an arts-based inclusion project. Support for Learning, 21(1),
40-44.
Wiggins, G., & McTighe, J. (2005). Understanding by Design. Alexandria, VA:
Association for Supervision and Curriculum Development.
Wikstrom, B. M. (2005). Communicating via expressive arts: A natural medium of selfexpression for hospitalized children. Pediatric Nursing, 31(6), 480-485.
Winter, T. F. (2005). Lessons through the lens: Youth as photographers. Reclaiming
Children and Youth, 14(3), 148-151.
Woods, P., & OShannessy, J. (2002). Reintroducing creativity: Day 10 at Hackleton
school. The Curriculum Journal, 13(2), 163-182.

Vous aimerez peut-être aussi