Art Education in the Elementary Classroom: Integration and Collaboration Charity L.

Brown

ART EDUCATION IN THE ELEMENTARY CLASSROOM 2

Abstract As an elementary generalist and art specialist teacher, I reflect on my art experiences out of school and in elementary, junior high, and high school. As a graduate student, I have come to understand how the qualities that made my art education positive are grounded in art educational theory. This realization leads to my consideration of how these experiences and theories influence how I now teach art and integrate art across the curriculum. Two important outcomes of this reflection are: a) the understanding that when cross-curricular integration of art occurs in conjunction with a quality, dedicated art program art, education may come out of the periphery toward the centre of learning and meaning making; and b). the recognition that elementary teachers with a background in art, like myself, have the unique potential to contribute to supports and resources for quality art instruction by generalist colleagues as well as co-equal cognitive art integration across the curriculum. This reflective journey has helped me identify an important role for myself, and other elementary art specialists, as someone who supports generalist teachers in offering quality arts instruction and integration.

ART EDUCATION IN THE ELEMENTARY CLASSROOM 3

Art as a State of Being "Art seems to me above all a state of soul." Marc Chagall (Hynes, 2011) When I look back on my art educational experiences as an elementary student, I remember very few positive experiences. I remember being ridiculed by the other students in kindergarten for drawing rain as vertical lines on my page as opposed to the large tear drop shaped blobs that they drew. I remember my grade three teacher criticizing my dinosaur project because the chicken bones I had brought to paste onto my single sheet of green construction paper were not white enough. I remember the frustration I felt when my references to Picasso were missed in a mixed media collage that I entered in a school art contest when I was in grade 4 or 5. For me, the majority of lessons that made art wonderful were those I experienced outside of school. My mother, who initially trained as a high school art and social studies teacher and sometimes did freelance calligraphy or design work, would always allow my brother and me to experiment with her art supplies. I remember competing with him to see who could design the most interesting womens fashions in oil pastel on sheets of drawing paper and always sharing our designs with our mother afterwards. Looking back, I understand the sharing of our work in our family as critiques, because we pointed out what we did well and discussed how to improve. Creative expression was always something that was part of our family, from my mothers calligraphy to our grandmothers crafting, sewing, and quilting to my father reaching for his cigarette pack and later for scraps of paper to explain his thinking more clearly with diagrams and pictures. Visiting art galleries was something my mother and I have done for as long as I can remember and I do not remember a time ever in my life that my family did not encourage me to

ART EDUCATION IN THE ELEMENTARY CLASSROOM 4

express myself visually. Whether everyone in my family recognizes it or not, Chagalls statement of art being a state of soul applies directly to all of us. This legacy has fueled the passion for art and for living life artistically that drives me in my teaching practices. The Redemption of School Art School art is a term first coined by Arthur Efland (1976) to describe art that has been produced in an institutionalized way, with little opportunity for thought or creativity or concern for the outcomes of art curricula. School art also has very little connection to what professional artists do and does not provide students with opportunities to work and think like an artist (Efland, 1976). School is a direct product of the industrial revolution and the division between the academic style and the desire to imbue the poor with higher culture (Efland, 1976). This desire combined with the need to create factory workers with the ability to read and produce technical drawings based in geometry (Efland, 1983) was the beginning of what we now recognise as cookie cutter, craft-based school art activities. These activities have more to do with students ability to follow instructions correctly than with challenging children to think, express, and create, which are the outcomes of authentic art instruction. I have two truly positive memories about my elementary school art experiences. These experiences are distinct because they moved beyond the school art style of instruction and connect to what I believe about art education now. For two art projects, one in grade four and one in grade five, I was allowed choice. I was required to follow instructions but my art was my own and it was not expected to look like everyone elses. In grade four, as we studied the history of first nations people in the prairies and the Riel Rebellion, my teacher introduced us to a project that allowed us to draw inspiration from Aboriginal art. We decorated brown paper bag buffalo hides with symbols inspired by the

ART EDUCATION IN THE ELEMENTARY CLASSROOM 5

designs that decorated the tepees of the Plains Cree. We were allowed to choose the symbols that appealed to us and to adapt them to reflect ourselves, so that each symbol had personal relevance and meaning to us as the artists. After we had drawn our symbols in crayon, we were encouraged to take a risk by crumpling up our work and soaking it in a brown paint wash. I remember feeling excitement even as I felt terror at the possibility of ruining my work. I trusted my teacher and her support provided a safe environment in which students could take a risk and try something that could possibly destroy what we had created. This is my earliest memory of a teacher allowing me to express myself artistically and it is one of the few art projects I made in elementary school that I still have, twenty five years later. Later in grade five we experimented with what I now know as value scales. This was a lesson that I understand now met curricular outcomes, as we explored value, colour theory, manipulation of brushes and brush strokes, as well as making connections to mathematics in the recognition of basic geometric shapes. In this project, we used black, white, and a colour of our choosing to experiment and mix a variety of shades and use them to show the transition from dark to light on two separate pieces of paper. When the paper dried, we cut one of the sheets into a variety of geometric shapes and collaged them onto the other sheet in a way that was pleasing to us. Again, every piece was different and reflected the wants of each student. We had to think about value, colour, and composition and we were challenged to find a way to create a visually satisfying product. This project was not simply another cut and paste example of Eflands (1976) school art. This project gave me the opportunity to make choices and decisions for myself, thinking and creating in much the same way that I work now as a practicing artist. This project and the one from grade four sparked my desire for choice and creative independence that continued into my junior high and high school art educational experiences.

ART EDUCATION IN THE ELEMENTARY CLASSROOM 6

When I was in grade seven, my mother taught grade two and one combined class of high school art at our kindergarten to grade twelve school. She was able to arrange for an artist to drive the two hours from Whitehorse, Yukon, to the small town of Carmacks to work with all of the students in our school. I remember delighting in the mentorship of this artist and the freedom to explore and experiment with clay for the first time. This artist in residence, a potter, taught us to hand build with clay. At first he taught us basic techniques of wedging, joining, making pinch pots, and constructing with slabs and coils but then he encouraged us to push the clay to its limits. We were expected to problem solve as we built and created sculptures. I appreciated the freedom and choice that was afforded to me and my classmates. This was most definitely not the school art I was so used to but more in line with what Smilan and Miraglia (2009) described as a partnership between the art teacher, visiting artist, and community partners. This kind of partnership incorporates art education pedagogy and a studio based perspective of art making (Smilan & Miraglia, 2009). In her role as art teacher and coordinator for our artist in the school, my mother became what Smilan and Miraglia (2009) referred to as an authentic art integration specialist. She created a strong partnership in our school by creating a team that included herself as art teacher, other classroom teachers, the visiting artist, our community, and of course, the students. In grade eight, in another school, my art teacher was a practicing artist who once again encouraged us to explore, choose, and take risks. He allowed me and my classmates a tremendous amount of creative freedom while still expecting us to master some basic skills. Our art classes were not simply a provision of materials: we were expected to demonstrate the skills taught. I remember at one point, when we were working with clay, my teacher gently pointed out where I

ART EDUCATION IN THE ELEMENTARY CLASSROOM 7

could make some changes to help make the figure I was working on more lifelike. He did not insist I change the sculpture; his observation allowed me the freedom to choose the direction of my art. I still have that sculpture, a tiny genie on a magic carpet of clay, and every time I look at it I think to myself, Yes, Mr. K. You were right!. I did not make the changes he suggested but the beauty of his teaching style was that even though I did not make those changes at the time, I remember them still when I am working with the human figure and I pay more careful attention to the ways that limbs bend and move. This more self-critical approach to my work is a direct result of my artist/teacher pushing me to be both an artist and a communicator. He wanted me to see myself as an artist in the position that Grushka (2005) described: The artist is now critical interpreter of her art-making relative to the world. (p. 361). Grushka also described the development of artists who demonstrate their capacity to reflect beyond self as artist, to interpret the political moment and to begin to articulate their role as cultural communicators and active makers of meaning (p. 362). My art teacher did not force me to change but, in his way, he taught me to be more critical about my own art work and consider what I communicate to my viewers. Art was no longer just about the manipulation of materials but about developing the ability to interpret it as well, a skill that some consider to be of equal importance (Charman & Ross, 2006). That brief moment in grade eight art class helped me begin to create meaning in my work and thus consider my role as an artist and a communicator with more depth. I began to learn not only speak in the language of an artist but to ask questions (Charman & Ross, 2006) of the art works I created. As I entered high school, I was fortunate once again to experience this ideal in art education a teacher who had a hybrid education, schooled in studio-based arts as well as art education pedagogy (Smilan & Miraglia, 2009, p. 40). In both junior high and high school, I had

ART EDUCATION IN THE ELEMENTARY CLASSROOM 8

positive art experiences based on mutually respectful relationships between teacher and students. My teachers, who were practicing artists, included choice, exploration, and risk throughout their guidance of the creative process. They taught with a focus on the students learning, not just the product, and as students we came to understand that not every piece is successful and that every sketch is not a great work of art. The focus on our work being fridge- worthy was replaced, in my opinion, with a focus on skill development and creative expression. Exposure to my teachers art displayed in public spaces and galleries was also a positive experience. I remember the respect I felt for my teacher when I saw her work on display. Because of her dual role as artist and teacher, the art gallery was no longer a fearsome and impossible goal for us as students. Through her efforts we had access to primary sources by experiencing original art through visits to local public and private galleries. This access set the tone for further exploration of ones culture by developing skills to interpret visual language (Unrath & Luehrman, 2009, p. 41). My high school art teacher expected us to respond to the works we viewed from multiple perspectives, considering historical and cultural significance in addition to the more formal qualities of composition, shape, form, colour and meaning. This consideration that moves beyond the more simple visual and emotional response is an essential step, according to Unrath and Luehrman (2009), in the development of visual literacy. Our studio practice in the school provided us with opportunities to develop and refine our skills of art making but we also learned about meaning making from the works of others through museum and gallery visits. This same teacher also worked to find opportunities for students to share work publicly. I remember the excitement I felt when she organised public showings of our work or arranged for us to make public art within our community. One such time was an effort to increase the funding for our art program. Our class was hired by the local CIBC bank to paint temporary murals

ART EDUCATION IN THE ELEMENTARY CLASSROOM 9

reminiscent of the work of Ted Harrison for the annual Yukon Sourdough Rendezvous winter festival. The work was our own, yet inspired by Harrisons bold colours and style (Gibson, 2009) The murals were only on display for a few weeks, painted on the glass office walls and windows around the bank, but the experience was meaningful. We developed a sense of ownership for our program, a sense of connection to a well known Yukon artist, and a sense of pride at being able to produce something very large scale in a central and public location in our community. We were given an authentic experience as artists because our art went beyond simple school culture (Efland, 1976) and because we could see our art as valuable and as a valid contribution to our community. Finally, I also appreciated the teachers who allowed me to include art history or art making as part of my learning in other subjects. I was passionate about art and I wanted to extend it outwards and into my other subjects of study. Art was an area in which I felt skilled and I thought that being able to transfer my skills into other subject areas would help me to produce quality work in all areas. As a student, attempting to integrate art across the curriculum was difficult because it was simply me finding ways to include art as part of my learning. I did not know how to integrate art in a quality way, so much of my work was done without additional art instruction. My teachers were amenable to me presenting my work artistically but based on what I know now as an educator, my attempts to integrate art then were limited. However, I think it is important to note that even as a student, I wanted to integrate art across the curriculum in my own studies. Even at that time I understood that if I could work my passion into my core subjects I could make my learning more engaging and personally meaningful. Art as Education Now, as a generalist teacher in a grade six classroom, I try to steer away from the kinds of projects that provided negative experiences for me. I now recognize that my own negative

ART EDUCATION IN THE ELEMENTARY CLASSROOM 10

experiences were the result of the school art style of instruction identified by Efland (1976). Instead, I attempt to provide my students with authentic art experiences that have meaning, allow for choice and experimentation, and appeal to the multi-modal nature of learning and to the 21st century literacies of my students. As a graduate student, artist, and teacher, my understanding of what a quality art education looks like in a fifty to sixty minute allotment of time has evolved. How does an elementary teacher provide authentic and varied experiences within such a limited time? Initially in my teaching career, as in high school, I thought the answer was easy art integration across the curriculum. However, as I have learned, art integration is a loaded term and its meaning needs to be understood more deeply to be practiced well. A general understanding of art integration among teachers is making a poster for science, drawing maps in social studies, or listening to music to calm the students after recess. These were my own solutions in my work as a student because making a poster or re-interpreting a story visually was far more engaging for me than writing papers. The problem is that there is often very little actual art instruction in these kinds of activities, so that they fit Breslers (1995) definition of the subservient approach to art integration. Subservient art integrative activities tend to focus on the technical and simple activities of coloring, cutting, and pasting; ... Ideas drawn from suggested activities in books or magazines designed for teachers (Bresler, 1995, 20). This approach may make for a more interesting classroom but there is little opportunity for creativity or personal expression if the projects do not include authentic artistic instruction and goals for artistic learning. So herein lays the difficulty: How can elementary teachers integrate art across the curriculum in a way that is not subservient and that maintains the integrity of quality art instruction, while appealing to 21st century and multi modal literacies? Definitions

ART EDUCATION IN THE ELEMENTARY CLASSROOM 11

In my experience, it is important to understand the language associated with education in order to clearly see how it applies to art integration and quality art education. I have heard and seen specific terms used when justification of art integration is made but have wondered at the source of the terms. For my purposes, I will share my own working definitions because I believe that for art integration to be truly successful, it needs to complement a quality art program, be multimodal, and appeal to 21st century literacies. The definition of 21ST century literacy continues to evolve but the abilities to critically evaluate, problem solve, communicate, collaborate and develop social awareness (Rheingold, 2009; Partnership for 21st Century Skills, n.d.) are consistently present. Twenty-first century literacy is the ability to critically analyse, design, collaborate, and communicate creatively. The definition of multimodal literacy also continues to evolve but I, like Brown and Lapadat (2009) draw on the work of Jewitt and Kress (2003) to define multimodal literacy as meaning making using the full spectrum of human expression (Willow Brown, personal communication, November 10, 2009). Some key features of multimodal literacy are student responsibility, choice, and opportunities to exercise creativity across the curriculum through the arts and technology. Differentiated instruction and critical thinking through informed consumption and creation of work are, in my experience, valued components of the multimodal classroom because words are (relatively) vague, often nearly empty of meanings; by contrast images are full, plain with meaning. With image the placement of depicted entities relative to one another in the image-space is the principle used for meaning making. (Kress, 2004, 11). In addition, In the multimodal landscape of communication, choice and therefore design become central issues. (Kress, 2004, 21).

ART EDUCATION IN THE ELEMENTARY CLASSROOM 12

Just as 21st century and multimodal literacies require definition, so too do quality art instruction and art integration. Quality art instruction can be, as described by DiBlasio (1992) the teaching of the foundational skills of art making, appreciation and reading images critically (or Broudys aesthetic scanning. Quality art instruction is the teaching of art as a serious subject in its own right (Smith, 1995). Whether or not it is integrated, art that is taught without attention to skill or history is trivialised and loses meaning to become what is known as school art (Efland, 1976). Within Breslers (1995) model of coequal, cognitive integrated art lessons, the art instruction must maintain its authenticity and be of equal value to the subject area content. The integrated art then becomes coequal and cognitive rather than subservient and merely adding spice to other subjects (Bresler, 1995). Dedicated art instruction gives students the skills and is about developing a sense of art (Smith, 1995, 9) while integration gives students additional opportunities to develop these skills through complementary lessons. It is my belief that this style of art education and integration can help teachers, especially elementary teachers, avoid some of the challenges we face when it comes to meeting cross curricular outcomes through integration while still maintaining the integrity of our art programs.

Art Integration as Practice Much of what I do in my classroom now is based on my positive experiences as a student, my work as a teacher associated with the Learners Platform Network, and on what I have learned as a graduate student. As an elementary, secondary, and graduate student, I have appreciated when my teachers or instructors allowed me the opportunity to make choices, draw on my experiences and talents, explore and inquire into subjects that matter to me, and exercise critical interpretation

ART EDUCATION IN THE ELEMENTARY CLASSROOM 13

of my own and others work to create personal meaning and ownership. I try to provide these opportunities in my classroom to enhance my students learning through art education and integration. When art instruction occurs in tandem with integrated projects that provide this kind of experience, I believe the integration meets Breslers (1995) definition of co-equal cognitive style and maintains the integrity of the art curriculum and of my art program. Art integration and quality art instruction are not without challenges. In elementary classrooms in Alberta about 10% of instructional time is allocated for art and music. This translates to roughly 60 minutes of official art instruction and practice per week, depending on the school. The Alberta Initiative for School Improvements (AISI) last cycle focused on student engagement in learning, to improve student learning through initiatives that enhance student engagement and performance and reflect the unique needs and circumstances of each school authority (AISI Education Partners, 2008 p. 2). It is my belief that this focus on engagement led to a push for greater integration of the arts in elementary classrooms without providing generalist teachers with the knowledge base to do so in a manner that provided quality art education. I propose that pushing teachers into this approach without training or resources produces integration that more closely resembles Breslers (1995) subservient style of integration. Subservient integration ignores the need for quality instruction in art as a content area and leads to the trivialised, meaningless work that Efland (1976) describes as school art. Making a poster in science, a map in social studies or using tangrams to make pictures of animals in math class lose meaning and value as integrative projects if there is no art instruction. We cannot as teachers, just provide our students with art materials and expect them to create meaningful art (Smilan & Miraglia, 2009). There needs to be a deep understanding by teachers that art could play a more important role in the curriculum (Smilan & Miraglia, 2009, p. 42).

ART EDUCATION IN THE ELEMENTARY CLASSROOM 14

This understanding that art education can play a more important role in the curriculum has been a strong factor in my involvement in the Learners Platform Network and why I believe it is a way for elementary generalist teachers to better provide their students with quality art instruction and art integration across the curriculum. The Learners Platform Network has the potential to provide generalist elementary teachers with the resources they need to integrate art across the curriculum while still providing quality art instruction, even if the teachers themselves lack a background in art. The Platform Ten (Brown & Lapadat, 2009) are the guiding principles of the Learners Platform and they include all of the things that are important to me as a learner: the opportunity to have choice, to use my talents and experiences to express my learning, to explore and inquire into subjects, and to interpret work critically within a community of learners to create personal meaning and ownership. Currently, the Platforms, or unites of study, are infused with opportunities for students to produce and critically evaluate work, often with opportunities to create visual art. However, their focus is primarily on language arts outcomes. In theory, because lessons are multimodal, they do support coequal, cognitive art integration because a multimodal approach to learning starts from a theoretical position that treats all modes as equally significant for meaning and communication. (Jewitt & Kress, 2003, p. 2), which means that being a visual learner is as valuable as being a kinesthetic or aural learner. Additionally, the provision of student choice leads students to choose modes of expression that they enjoy or are suited best. However, as much as multimodal theory supports the Platforms as integrative, I find that when I am using the Platforms, including the ones I have co-written, additional art instruction is necessary. I add this additional instruction because without quality art instruction, the artistic value of such projects is subservient to content rather than as an equal and integral part of the work and

ART EDUCATION IN THE ELEMENTARY CLASSROOM 15

integration that places arts as secondary to academic tested subjects does not serve the childrens needs for a rigorous well-balanced educational experience (Mishook & Kornhaber, 2006, p. 10). As I teach art lessons with the expectation that students will continue to use the skills they learn across subject areas, I help students develop a stronger understanding of art outcomes as they use them to create meaning in other subject areas. Art integration then begins to serve as an important conduit for young people to examine, better understand, and shape themselves, their communities and the society in which they live (Darts, 2007, p. 88). In teaching these additional art lessons, I more clearly understand the profound lack of support and structures for collaboration between generalist and specialist teachers. As Smilian and Miraglia (2009) have observed, problematic situations we witness in schools include classroom teachers with little or no art education; community artists, untrained in the art of teaching, replacing, or circumventing art teachers; and the misapplication of well intended art curricula. (p. 39). This current lack of resources and support for generalist teachers recalls Eisners (as cited in Efland, 1976) assertion that art education remains a peripheral concern within general education (p. 39). It seems that little has changed in more than thirty years, in spite of a media explosion that has made visual literacy an essential skill for navigating the modern world. Ideally, as I continue to work with and write Learners Platforms, I will be able to include the quality art lessons that I have been teaching to accompany Language Arts lessons. As an art specialist and elementary generalist, I have the potential to bring important skills and knowledge to school-based examinations of the media (Darts, 2007, p. 83). I can use what I have learned to provide other teachers and students with materials for both quality art instruction and coequal, cognitive integration by presenting and modelling textual, contextual, aesthetic and technical analysis techniques (Darts, 2007, p. 87).

ART EDUCATION IN THE ELEMENTARY CLASSROOM 16

Creating Learners platforms that include quality art instruction alongside opportunities for art integration addresses the issue that integration is often left as the classroom teachers responsibility with a lack of formal requirements and materials (Bresler, 1995). Provision of materials like the Learners Platform, or teacher involvement within the Learners platform Network, may increase the attention to quality arts integration. This is important because often, integration in the absence of specialists assistance, little attention was paid to aesthetics or to a sophisticated style (Bresler, 1995, 36). This is not to belittle the efforts of generalist teachers to integrate art but to make the point that without support in how to teach the art outcomes, the goal of providing a quality art program to support integration can be elusive, especially when teachers do not have training or access to an art specialist. Often, there is a lack of structures to facilitate collaboration among the specialized teachers in the school (Bresler, 1995, 15). Mishook and Kornhabers (2006) findings also emphasize the need for greater supports and resources because the schools in which they found the most coequal, cognitive art integration were schools where there was a strong arts mission, as well as experienced staff and committed administrators (p. 10). What this means is that for a generalist classroom teacher to offer a quality art program as well as coequal, cognitive integration they require support of policy, administration, and coworkers. The Learners Platform Network and the creation of units in collaboration with art specialists like me could be an important step towards providing generalist teachers with the supports and tools for both quality art instruction and integration in elementary schools. Conclusion For me, art class became an environment in which I could choose, create, explore, inquire, make meaning, critically interpret, and take ownership of my learning in an authentic manner. As a student I sought ways to extend what I learned through my art experiences into other areas of the

ART EDUCATION IN THE ELEMENTARY CLASSROOM 17

curriculum. My willingness to take risks in art is transferred to other subjects and areas of my life, helping me improve my understanding of the world around me. When I was given choice and ownership of my work through quality art instruction and coequal, cognitive integration, I observed that my level of achievement increased. This increased achievement across the curriculum is not unique to my experiences but can observed in classrooms where both quality art instruction and coequal cognitive integration take place (Mishook & Kornhaber, 2006). Providing students with opportunities to represent and understand the world around them in a variety of modes develops students abilities to interact and understand the world and draw meaning from it (Bresler, 1995; Brown and Lapadat, 2009; Darts, 2007). As generalist teachers, we need to critically evaluate our art educational practices and understand when our instruction strays from quality instruction and becomes Eflands (1976) school art. Along the same lines, we also need to develop an awareness of the various styles of art integration with the goal being art integration that reflects Breslers (1995) definition of coequal, cognitive integration. Also, we need to work with and collaborate with art specialists to create authentic learning experiences for our students in which they learn to think and see the world as artists do. There also needs to be a network of support for non-specialist teachers, so that they are not left alone in their attempts to integrate. Resources such as the Learners Platform Network and the units written and shared through the network have the potential to support generalist teachers in their efforts while also connecting them to art specialists. This reflection has helped me identify the important contributions that I can make as a teacher leader, artist, and scholar in both my school and my school district.

ART EDUCATION IN THE ELEMENTARY CLASSROOM 18

References AISI Education Partners. (2008). Alberta initiative for school improvement: AISI handbook for cycle 4, 2009-2012. Retrieved from: http://education.alberta.ca/media/922727/final %20cycle%204%20handbook- january%202009.pdf Bresler, L. (1995). The subservient, co-equal, affective, and social integration styles and their implications for the arts. Arts Education Policy Review, 96(5), 31-37. Retrieved from http://login.ezproxy.library.ualberta.ca/login?url=http://search.ebscohost.com/login.aspx? direct=true&db=aft&AN=503299136&site=ehost-live&scope=site

ART EDUCATION IN THE ELEMENTARY CLASSROOM 19

Brown, W., & Lapadat, J. (2009). The learners platform network. [website]. Retrieved from http://learnersplatform.ca Charman, H, & Ross, M. (2006). Contemporary art and the role of interpretation: Reflections from Tate Moderns Summer Institute for Teachers. International Journal of Art and Design Education, 1, 28-41. http://tinyurl.com/6j2veuw Chauvin, B. A. (2003). Visual or media literacy? Journal of Visual Literacy, 23(2), 119-128. Retrieved from http://www.ohio.edu/visualliteracy/JVL_ISSUE_ARCHIVES/JVL23%282%29/JVL23% 282%29_pp.119-128.pdf Choi, H., & Piro, J. M. (2009). Expanding arts education in a digital age. Arts Education Review, 110(3), 27-34. Retrieved from Policy

http://heldref.metapress.com/openurl.asp? 34

genre=article&id=doi:10.3200/AEPR.110.3.27-

Darts, D. (2007). Learning through new eyes: Rethinking media, popular culture and art education. In R. Irwin, K. Grauer, & M. Emme (Eds.), ReVisions: Readings in Canadian art teacher education. (3rd edition). (pp. 80- 89). Diblasio, M. K. (1992). The road from nice to necessary: Broudy's rationale for art education. Journal of Aesthetic Education, 26(4), 21-35. Retrieved from http://www.jstor.org/stable/3332714 Dineen, R., & Collins, E. (2005). Killing the goose: Conflicts between pedagogy and politics in the delivery of a creative education. International Journal of Art and Design Education, 24, 43-52. Retrieved from http://login.ezproxy.library.ualberta.ca/login?

ART EDUCATION IN THE ELEMENTARY CLASSROOM 20 url=http://search.ebscohost.com/login.aspx? direct=true&db=a9h&AN=16073551&site=ehost-live&scope=site

Efland, A. (1976). The school art style: A functional analysis. Studies in Art Education, 37-44. Retrieved from http://www.jstor.org.login.ezproxy.library.ualberta.ca/stable/1319979

17(2),

Efland, A. (1983). School art and its social origins. Studies in Art Education, 24(3), 149-157. Retrieved from http://www.jstor.org.login.ezproxy.library.ualberta.ca/stable/1319735 Eisner , E. (2008) Art and knowledge. In G. Knowles & A. Cole (Eds.), Handbook of the arts in qualitative research. Perspectives, methodologies, examples, and issues. Thousand Oaks, CA: Sage Ernst, K. (1997). Student sketch journals. art in your curriculum. Teaching Pre K-8, 27(6), 26-27. Retrieved from vid=2&hid=7&sid= http://web.ebscohost.com.login.ezproxy.library.ualberta.ca/ehost/pdf? 2967997c-72d3-47e9-87b3-a80f97b39a52%40sessionmgr14

Foundation for Critical Thinking. (2009). Defining critical thinking. [web article]. Retrieved from http://www.criticalthinking.org/aboutCT/define_critical_thinking.cfm Fischman, G. (2001). Reflections about images, visual culture, and educational research. Educational Researcher. 30(8), 28-33. http://www.jstor.org.login.ezproxy.library.ualberta.ca/stable/3594347
Gibson, K. (2009). Ted Harrison: Painting paradise. Crown Publications, Victoria.

ART EDUCATION IN THE ELEMENTARY CLASSROOM 21

Grushka, K. (2005). Artists as reflective self-learners and cultural communicators: An explanation of the qualitative aesthetic dimension of knowing self through reflective practice in art making. Reflective Practice, 6(3), 353-366. http://tinyurl.com/24apsas Jewitt, C., & Kress, G. (2003). Introduction. In C. Jewitt & G. Kress (Eds.). Multimodal literacies. (pp. 1-17). New York: P. Lang. Jones-Kavalier, B. R., Flannigan S. L. (2006). Connecting the digital dots: Literacy of the 21st century. Educause Quarterly, 29(2), 8-10. Retrieved from http://net.educause.edu/ir/library/pdf/EQM0621.pdf Hynes, M. (2011). Art and Soul. Tapestry. CBC Radio. [radio show and website]. Retrieved from http://www.cbc.ca/tapestry/episode/2011/07/17/art-and-soul-1/ Kress, G., (2004). Reading images: Multimodality, representation and new media. [video clip and web article]. Retrieved from http://www.knowledgepresentation.org/BuildingTheFuture/Kress2/Kress2.html Marshall, J. (2005). Connecting art, learning, and creativity: A case for curriculum integration. Studies in Art Education, 46, 227-241. Retrieved from
http://www.jstor.org/stable/3497082

Marshall, J. (2010). Five ways to integrate: using strategies from contemporary art. Art Education, May, 13-19. http://tinyurl.com/3wyxpg9

ART EDUCATION IN THE ELEMENTARY CLASSROOM 22

Mayo, S. (2007). Implications for art education in the third millennium: Art technology integration. Art Education, 60(3), 45-51. Retrieved from http://www.naeareston.org/index.html Mishook, J. J., & Kornhaber, M. L. (2006). Arts integration in an era of accountability. Arts Education Policy Review, 107(4), 3-11. Retrieved from
http://login.ezproxy.library.ualberta.ca/login? url=http://search.ebscohost.com/login.aspx? direct=true&db=afh&AN=21700287&site=ehost-live&scope=site

Partnership for 21st Century Skills. (n.d.). The intellectual and policy foundations of the 21st century skills framework. White paper. Retrieved from http://www.21stcenturyskills.org/route21/images/stories/epapers/skills_foundations_final .pdf Pearse, H. (2005). Themes, cross-curricular connections and daily drawing. In K. Grauer, & R. Irwin (Eds.), Starting With. (2nd edition). (pp. 62- 71). Rheingold, H., (2009, July). 21st Century Literacies [video file]. Video posted to http://blip.tv/file/2373937/ (accessed October 17, 2009). Smith, R. A. (1995). The limits and costs of integration in arts education. Arts Education Policy

Review, 96(5), 21-25. Retrieved from http://login.ezproxy.library.ualberta.ca/login?

url=http://search.ebscohost.com/login.aspx? direct=true&db=aft&AN=503299124&site=ehost-live&scope=site

ART EDUCATION IN THE ELEMENTARY CLASSROOM 23

Smilan, C., & Marzilli Miraglia, K. (2009). Art teachers as leaders of authentic art integration. Art Education, 62(6), 39-45. Retrieved from url=http://search.ebscohost.com/login.aspx? direct=true&db=ehh&AN=44995674&loginpage=Login.asp&site=ehost-live&scope=site
Unrath, K. & Luehrman, M. (2009). Bringing children to art bringing art to children. Art Education, January, 41-47. http://tinyurl.com/3zhzuyf

http://login.ezproxy.library.ualberta.ca/login?