October 2019 Draft California Arts Framework: Chapter 8
Chapter 8 Transcending Disciplinary Boundaries—Connecting the Dots of Learning
Emphasis Quote
If you don’t take the time to think about and analyze your life, you’ll never realize all the
dots that are connected.
Beyoncé—Musician, Businesswoman
Chapter Introduction
The awe and wonder of learning in dance, media arts, music, theatre, and visual arts
provide powerful pathways of cognitive engagement and motivation for students. The
arts disciplines offer unique ways of learning about, experiencing, knowing, and
exploring the world. The arts positively impact student learning and their school
communities. The arts inspire, engage, and when integrated, build pathways to
transcend discipline boundaries. They improve cognition, memory, risk-taking, higher
order thinking, and creativity. Using their own experiences and knowledge, young artists
can explore themes across all aspects of their world and interests—arts, mathematics,
literature, sciences, history, environment, and social issues.
Sequential, standards-based, discrete instruction in the disciplines of the arts is an
essential component in impactful arts integration. When teachers intentionally,
respectfully, meaningfully, and appropriately design and implement integrated
instruction they provide students with opportunities to discover connections and to
synthesize learning. Arts integrated curriculum augments and extends discrete
discipline-specific arts and non-arts learning. Student learning then is able to transcend
discrete subject-specific boundaries through connecting the dots.
Page 1 of 34
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
October 2019 Draft California Arts Framework: Chapter 8
Contents of this Chapter
Arts Integration within the California Arts Framework
Approaches to Integration
o Three Categories of Integrated Curriculum Approaches
o Multidisciplinary Approaches
o Interdisciplinary Approaches
o Transdisciplinary Approaches
Attentiveness to Students’ Arts Learning
Conclusion
Arts Integration within the California Arts Framework
Emphasis Quote
Obviously, integration, like other concepts, is a construction, and can mean very
different things in terms of contents, resources, structures, and pedagogies to different
people; yet the multiplicity of meanings is not always explicit in the ways that the term is
used.
Liora Bresler—Arts Education Researcher
For over one hundred years, there have been a range of integrated approaches to
curriculum design that have been discussed and implemented for a variety of
educational purposes (Bresler 1995). The language, definitions, and models are as
varied as the number of approaches. Arts education researcher Marina Sotiropoulou-
Zormpala points to the benefits of arts education’s focus on process and creativity, that
encourages students to “learn while they are creating, and create what they are
learning” (2015). The Kennedy Center articulates arts integration approaches from the
advantages to the learner, “Students engage in a creative process which connects an
art form and another subject area and meets evolving objectives in both.” Creating isn’t
the only artistic process in which integration is possible. The other three artistic
processes of the California Arts Standards, Presenting/Performing/Producing,
Page 2 of 34
1
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
October 2019 Draft California Arts Framework: Chapter 8
Responding, and Connecting, also provide entry points of connections or integration
with other disciplines.
For the purposes of providing guidance to teachers the Arts Framework defines arts
integrated instruction as instruction in which students are engaged in one or more arts
disciplines through the Arts Standards four artistic processes and another subject area
or areas. There are multiple integrated approaches. However, to deepen and expand
students’ learning, the intersection of content areas must authentically connect while
addressing, assessing, and forwarding the learning objectives in all subjects.
Additionally, Dr. Mariale Hardiman, Director of the Neuro-Education Initiative at Johns
Hopkins School of Education, states while arts integration can be beneficial, “Arts
integration should not replace arts education…” (2019). For students to gain the most
value and benefits from arts integration approaches students need sequential,
standards-based arts learning.
Intentional integration can serve as a nexus between students’ discrete content area
learning and connecting learning can deepen conceptual understanding and the
acquisition of desirable skills and habits. Intentional and strategic integration can also
address issues of “time” in the elementary classroom. Whatever the reason teachers
are wishing to employ arts integration approaches, teachers should be aware of and
understand the multiple models of integration and choose the one that best fits their
instructional purpose and the needs of their students.
Emphasis Quote
Consumed by the vast unknowableness of both outer space and the oceans on our
planet, I think of the connectedness between everything and how we see patterns
where we choose to look. When looking at the night sky and trying to recognize
constellations, I try to picture the first people to draw those imaginary lines between the
random pinpricks of light, making sense out of chaos. Then I wonder, if those lines
connecting the dots across the cosmos were real, what they would look like from
elsewhere in the universe. There is so much we do not know…We still try to figure
things out. To imagine. To find meaning.
Page 3 of 34
2
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
October 2019 Draft California Arts Framework: Chapter 8
Oliver Jeffers—Visual Artist and Author
It is natural for humans to connect and incorporate new learning throughout their lives.
This occurs in ways that are sense-making, provide new insight, and are useful for
navigating this complex world. Teachers in classrooms daily combine one or more of
the arts disciplines with other disciplines in formal and informal approaches that cross
curricular boundaries. Researcher Liora Bresler identified four styles of arts integration
found within schools: subservient, co-equal/cognitive, affective, and social integration.
(1995).
Page 4 of 34
3
80
81
82
83
84
85
86
87
October 2019 Draft California Arts Framework: Chapter 8
Figure 8.1: Bresler’s Four Styles of Arts Integration
The Arts Framework definition of arts integration aligns most closely to Bresler’s co-
equal/cognitive integration style. In this style teachers approach the integration of the
identified content areas equally in the design of their instruction. This style of arts
integration requires that teachers have discipline-specific knowledge, pedagogy, skills,
and capacities in each of the content areas or co-teach with another educator with the
needed content knowledge, skills, and knowledge. Bresler found that teachers
implementing the co-equal/cognitive style “often encouraged active perception and
critical reflection on the technical and formal qualities of a project.” This exploration
“included higher-order cognitive skills as well as aesthetic qualities.” As an example, a
dance teacher may partner with a teacher of mathematics to design and teach an
integrated unit on symmetry through the lenses of mathematics and dance. The
integrated approach to the concept of symmetry within math and dance study provides
students with beneficial social, inquiry-based, and physical learning aspects in both
subjects.
The three other styles of arts integration Bresler identified in schools, subservient,
affective, and social integration, are explained here in brief to illustrate the differences in
approaches.
Page 5 of 34
4
88
8990
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
October 2019 Draft California Arts Framework: Chapter 8
In the subservient style, “the arts serve the basic academic curriculum in its contents,
pedagogies, and structures.” In this style of integration arts activities are used as a
teaching tool to assist students in achieving the learning objectives in other curricular
areas, such as mathematics or science. There may or may not be any intentional arts
teaching that takes place or alignment to the arts standards. Singing a song about
mathematics facts or state capitals is a subservient integration example. The arts are
seen as in the service of the other content area(s).
Bresler identified two subcategories within the affective style, mood and creativity.
These categories relate to the roles that the arts integration fulfills. For example,
teachers may use the affective approach to alter the mood of the classroom. They may
play music in the background to relax students or as they work on other learning tasks.
Teachers may have students stand up and “move” to the music to get the wiggles out.
These types of mood altering activities often combine with the subservient approach
and in most cases the students are not actively engaging in any of the artistic processes
or have had any instruction related to the mood altering arts integration. In the second
affective integration subcategory, creativity, the focus is on “activity.” In this style, a
teacher might play music in the background, have out various drawing materials and
paper, and invite their students to draw what they feel or imagine as they listen to the
music. Students are offered little or no direct, explicit arts instruction.
Bresler’s social-integration style of arts integration is similar to the affective integration
style in that the arts complements other subjects of the curriculum. Bresler identified
that in this style “the arts provided for the social functions of schooling.” In this style site
administrators, striving to engage all stakeholders in the school as a community, often
use the arts at social functions to help create the sense of community. Administrators
expect students to perform at school events and “communicated their expectations to
the teachers.” In this style Bresler found the “emphasis was less on the education of the
audience or performers [students], and more on the instant and on the eye catching.”
Bresler states that “these integration styles reflect some fundamental differences in
assumptions about the relationship of art and arts instruction to the larger curriculum
and educational goals, emphasizing different roles of the arts in the school.”
Page 6 of 34
5
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
October 2019 Draft California Arts Framework: Chapter 8
The basis of the Arts Framework’s guidance and discussion of various arts integration
approaches and models combines Bresler’s co-equal/cognitive style and the Kennedy
Center’s definition of arts integration, and includes all artistic processes of the California
Arts Standards. Intentional and effective arts integration should complement discrete
arts instruction to benefit students’ learning in the arts and the other subject(s) being
integrated as disciplinary boundaries are transcended.
Designing arts integration instruction requires teachers working either alone or in
collaboration with others, who are knowledgeable and have disciplinary skills in the
subject areas they are integrating. They are able to identify the most effective approach
to combining instruction to deepen learning and be proactive in meeting all of their
students’ needs. When teachers partner with other educators in integrated approaches,
co-planning time is necessary to develop powerful arts integrated curriculum. This
planning can take place in a variety of ways. Educators could meet to plan together
either physically or virtually. They also could plan in isolation and then meet to combine
and refine ideas. In whatever manner the planning takes place, allowing time for
reflection prior, during, and after the integration instruction takes place is important.
Arts integration instructional designs cross disciplinary boundaries and as such require
careful and thoughtful selection of the corresponding standards to be addressed and the
most effective integration approach and model for the intended learning goals. Teachers
pay attention to the sequential learning in all subjects being integrated, look for
opportunities to deepen student understanding, and design opportunities to move the
learning forward. Teachers using integration approaches must be able to design and
implement assessments that provide evidence of student learning in all of the integrated
content areas being taught.
Sidebar:
In California’s Arts Standards the arts are approached as five disciplines. In some
societies and cultures, especially in music and dance traditions, the arts are not always
conceptualized or practiced as separate arts disciplines within cultural schemas. Lewis
in his A Cross-Cultural Perspective on the Significance of Music and Dance to Culture
Page 7 of 34
6
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
October 2019 Draft California Arts Framework: Chapter 8
and Society provided insight into this integration or melding across arts disciplinary
boundaries.
In some societies there are no general terms for music and dance, but rather specific
names for different performances that involve music and dance. When Japanese
researchers first began to analyze dance apart from the specific repertoire to which it
belonged, they had to invent a word for “dance” (Ohtani 1991). Seeger (1994) describes
how the Suyá of the Amazon forest do not distinguish movement from sound since both
are required for a correct performance. A single word ngere means to dance and to sing
because, as the Suyá say, “They are one.”
-Lewis 2013.
It is important for educators when addressing cultural art forms to understand and honor
the foundational cultural arts schemas.
The multifaceted nature of integrated teaching requires the necessary knowledge, skills,
planning time, strategies for any accommodations or modifications needed, and
resources for teachers to be able implement effective arts integration. The following
sections of this chapter provide guidance on approaches to arts integration and various
models found within each approach.
Approaches to Arts Integration: Multidisciplinary—Interdisciplinary—Transdisciplinary
Drake and Burns in their 2004 book, Meeting Standards Through Integrated Curriculum,
describe integrated curriculum in “its simplest conception …” as “making connections.”
Drake and Burns offer that making connections through meaningful and well-designed
integrated curriculum provides opportunities for students to find relevancy and move
beyond superficial learning. Students can become “the producers of knowledge rather
than consumers.” Dance, media arts, music, theatre, and visual arts offer through their
content, the four artistic processes, and the nature of authentic arts learning, rich
opportunities for integration within the arts disciplines and with other content areas.
Page 8 of 34
7
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
October 2019 Draft California Arts Framework: Chapter 8
Three Categories of Integrated Curriculum Approaches
Drake and Burns identify three categories of integrated curriculum approaches:
multidisciplinary, interdisciplinary, and transdisciplinary. These curriculum approaches
provide options for planning enriched learning opportunities in the arts for students. To
begin the process of developing an arts integrated unit or lesson, teachers should
identify the type of curriculum approach that fosters student agency and best fits the
learning objectives they have for their students. As educators work to design integrated
instruction through probing deeper and deeper into the disciplines and their related
standards for connections, Drake and Burns found that the “boundaries of the
disciplines seemed to dissolve abruptly.” The differences between the categories are
nuanced with the “…essential difference between the three approaches
(multidisciplinary, interdisciplinary, and transdisciplinary) was the perceived degree of
separation that existed between subject areas.” Understanding these three categories
of approaches provide a starting place for teachers when they are considering
combining learning of one or more arts disciplines with learning in other subject areas,
or integration between the arts disciplines themselves.
As the three categories provide guidance on selecting an appropriate approach, there
are a range of instructional design models that have emerged from practitioners using
integrated approaches. Robin Fogarty’s How to Integrate the Curricula (2009) provides
additional insight through offering ten models of curricula integration. In the following
sections of this chapter, Drake and Burns’ three approaches will be discussed and
examples will be provided using a selection of Fogarty’s models, see Figure 8.2.
Page 9 of 34
8
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
October 2019 Draft California Arts Framework: Chapter 8
Figure 8.2: Drake and Burns’ Integrated Approaches Paired With Fogarty’s Instructional Models
These are not the only models that exist but are provided as examples for educators to
consider when looking to add arts integration lessons or units to their discrete,
sequential, standards-based teaching of the arts disciplines.
Multidisciplinary Approaches
In multidisciplinary approaches the focus is on the disciplines themselves and a
connecting theme common to all disciplines. Teachers using multidisciplinary
approaches identify and employ the standards from the selected disciplines to organize
their instruction and to determine a common theme. The instruction, standards, and
assessment are aligned. They work together, while accentuating students’ mastery of
discipline procedures. Disciplinary skills and concepts are taught and can at times
include interdisciplinary skill sets. The assessment of learning is discipline-based, which
may include a culminating activity that integrates the disciplines taught. Educators
function as facilitators and as resources for specialized disciplinary learning. Models
included within this approach are interdisciplinary, service learning, learning centers,
and fusion models. Fogarty’s shared model is one example from the multidisciplinary
category.
Fogarty’s Shared Model
The shared model requires the careful examination of at least two selected disciplines
to identify and build upon the authentic intersections within the selected disciplines. The
shared model provides multiple entry points for curriculum design and opportunities for
co-teaching. This type of instruction can be designed by a multiple subject teacher, two
Page 10 of 34
9
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
October 2019 Draft California Arts Framework: Chapter 8
or more multiple subject teachers, two or more single subject teachers, or a single
subject arts teacher wishing to incorporate two or more subdisciplines within their
subject area. Teachers search for common big ideas across the disciplines in the
shared model.
Figure: 8.3 Shared Model
In the shared model the intersection of concepts or ideas drawn from each of the
disciplines’ standards becomes the focus of the integrated instruction. The teacher(s)
identify overlapping ideas, concepts, topics, attitudes, processes, procedures, or habits
found within both disciplines. For example, designing instruction around the intersection
of the cross cutting concept of observing patterns in science and process of “seeing” the
visual arts element of pattern, provides students a rich intersection of concepts and
skills. The disciplinary concepts are taught discretely in both subjects and then
Page 11 of 34
10
239
240
241
242
243
244
245
246
247
248
249
250
251
October 2019 Draft California Arts Framework: Chapter 8
thoughtfully combined to deepen and enrich student learning. The teacher(s) might
through meaningful planning, engage students in authentically combining the learned
skills and concepts of observation, describing, and replicating of patterns from both
science and visual arts to create both a scientifically and an aesthetically rigorous
illustration or visual presentation on the concept of pattern.
The following provides a snapshot of a shared model between a science and visual arts
teacher. The teachers co-planned their integration focused on the cross cutting process
of seeing or observing, identification of patterns and details, and ability to communicate
visually their observations or inspirations. Each teacher taught the shared big ideas
within their own classroom.
Snapshot: A Shared Model—Visual Arts and Science
Ms. A. and Mr. B. teach at the same school and share fifth grade students. Ms. A.
teaches science, along with other subjects, and Mr. B. is the visual arts teacher. The
school has set aside time each week for teachers to co-plan with other teachers. Ms. A.
and Mr. B. are meeting to see if there was a way to help students discover the
connections between their learning in science and their learning in visual arts.
Ms. A. shares that in her grade five classroom her students are exploring in science the
concept of patterns and how to observe and describe patterns as scientists. This
learning is in support of developing their abilities to demonstrate scientific
understandings through developing models, such as illustrated diagrams. Ms. A.’s
Students are growing in their understanding of the use of models, Science standard 5-
PS3-1, and gaining skills in being able to develop and use models to describe
phenomena. This is a performance expectation found within the Science and
Engineering Practices: Developing and Using Models.
In parallel instruction in Mr. B.’s visual arts class, the same students are honing their
visual arts skills to identify, observe or “see” patterns, natural or human-made, and
recreate in a variety of contexts as artists. Mr. B. shares with Ms. A. that his students
are expanding their abilities to “Apply formal and conceptual vocabularies of art and
Page 12 of 34
11
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
October 2019 Draft California Arts Framework: Chapter 8
design to view surroundings in new ways through art-making,” Visual Arts Connecting
artistic process, Synthesize process component, Standard VA:Cn10.1.5a. Mr. B. shared
he examined the visual arts standards horizontally across the previous grade levels and
through the use of teacher created assessments, identified gaps in the students’ artistic
learning. He recognizes the need to provide additional instruction to address these gaps
so that his students will gain age appropriate drawing abilities. He shares that his
students are honing their drawing and observation skills and gaining an understanding
of the use of patterns and texture as structural elements of visual arts.
In their co-planning time, Ms. A. and Mr. B. share and discuss their individual learning
objectives around observation, patterns, and learning to identify and describe as artists
and scientists growing out of their respective science and visual arts standards. They
use a Venn diagram to find the overlapping academic language, processes, skills, and
big ideas they want their students to learn.
They discover many overlapping visual arts and scientific topics, concepts, and
components. Another common objective found in their discrete disciplinary teaching, is
supporting their students’ abilities to include or create appropriate “visual displays” to
enhance the development of main ideas or themes. This common connection grows out
of the grade five (Standard SL.5.5) California Common Core State English Language
Arts & Literacy in History/Social Studies, Science, and Technical Subjects (the arts).
Mr. B decides to provide his students with examples of artists and artworks that utilize
the environment and textiles with specific attention to patterns and textures. He will also
share works from artist-scientists that found inspiration from their scientific study or
work. He plans to engage his students in the next level of learning in contour drawing to
capture details and patterns in their artwork. When appropriate, he will use, along with
visual arts academic language, terms from science he knows they are learning in Ms.
A.’s classroom. He structures his instruction to help students discover how many artists
observe, capture, and use as inspiration, natural objects and natural phenomena for
creating artworks. He will ask his students to replicate in their sketchbooks the patterns
they discover using their observation and drawing skills. The intentional skill building
Page 13 of 34
12
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
October 2019 Draft California Arts Framework: Chapter 8
activities of seeing and drawing will continue throughout the year so that students can
hone their artistic skill and practice. The practice pieces captured in their sketchbooks
will become inspiration for a later artwork in which students will have the choice of
drawing, painting, photography, or printmaking.
Ms. A. structures her instruction to include an opening opportunity for the students to
share with her their emerging artworks and developing skills of observational drawing
learned in Mr. B.’s visual arts class. She also shares visual images captured by
scientists that while scientifically accurate also have aesthetic elements. She will share
scientific journals and notebooks that contain detailed drawings, sketches, and
diagrams. She invites the students to use their visual arts drawing and observational
skills in the scientific context of observing to create illustrated diagrams and drawings in
their science interactive notebooks.
Ms. A. and Mr. B. conclude their planning by setting dates to meet as they implement
their plans to share progress, reflect upon and examine student learning in progress,
and make any adjustments to plans as needed. They also set planning date after the
conclusion of the shared unit to review the resulting student work and plan next steps.
Note:
In the Snapshot above, the integration involved visual arts and science. The multiple
subject elementary teacher could have expanded the integration to include
mathematics. The teacher could identify related practices or standards in mathematics,
for example Mathematical Practice 7. Look for and Make Use of Structure. This practice
calls for “students to look closely to discern a pattern or structure” (Standards for
Mathematical Practice, 2013).
The instructional approaches that include the content areas of science, technology,
engineering, arts, and mathematics are often called STEAM. Multiple subject and teams
of single subject teachers can plan together to design such multidisciplinary
approaches.
Page 14 of 34
13
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
October 2019 Draft California Arts Framework: Chapter 8
In the shared model a teacher or co-teachers determine potential courses of action the
students can explore in combining the connecting concepts and skills to transcend
student learning across all disciplines.
Ensuring students can access standards-based integrated instruction, requires carefully
planned units or lessons using UDL principles and guidelines that support and
accommodate the diversity and variability of learners. For students to understand the
“why,” “what,” and “how” of standards-based multidisciplinary learning, instruction needs
to provide students with opportunities to make connections from one discipline to
another. Students are supported in making connections when standards, essential
questions, and enduring understandings are aligned (Drake 2004). Effective shared
integration instruction supports deep learning for transfer and requires sufficient
planning time to move beyond superficial or artificial connections. If two or more
teachers are collaborating on a unit or planning for co-teaching, dedicated shared
planning time is needed for disciplinary conversations, examination of the two or more
sets of standards, and for the construction of the instructional lessons or units. Teachers
need time together to examine each content area to identify the potential “shared”
concepts, skills, or techniques. A Venn diagram is a useful tool as teachers narrow and
refine intersecting possibilities and to make sure all integrated lessons are universally
designed. Teachers also need time to consider the sequencing and alignment of the
discrete instruction in both areas that must take place prior to the integrated lessons.
Teachers may discover that one of the pair must adjust their sequencing of instruction
to create alignment that facilitates the integrated lesson or unit.
If a multiple subject educator is working alone, the planning still requires time to identify
the overlaps, sequence instruction, and to create the learning opportunities in the
shared integration. The individual teacher may need to seek out additional resources,
expertise, and secure materials needed for planning or implementation of the integrated
learning experience. All categories and models of arts integration requires an extended
planning time for either individual or collaborative approaches.
Page 15 of 34
14
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
October 2019 Draft California Arts Framework: Chapter 8
The arts disciplines combine well with each other and other subject areas in the shared
model due to the process nature of learning in the arts. When strategically and
successfully implemented, a shared model of integration helps students find coherence
across their disciplinary learning.
The figure below provides an example of a group of second grade standards selected
by a teacher from which they will develop a shared arts integration unit. The standards
are from dance, science, English language arts, and English language development.
The students have acquired the necessary prior knowledge and skills needed in all
focus disciplines. The teacher has determined the unit will focus on movement
characteristics and kinesthetic awareness in dance. Students will use their previous
learning from their science studies of water and the different states that water could be
found (solid, liquid, gas) depending on the temperature in different weather conditions
as ideas for the creation of the dance phrase.
Figure: 8.4 Example of Selected Standards for a Shared Unit
Dance Science English Language Arts
English Language Development
PerformingProcess Component:Express
2DA:Pr4c. Select and apply appropriate characteristics to movements (e.g., selecting specific adverbs and adjectives and apply them to movements). Demonstrate kinesthetic awareness while dancing the
2ESS2-3Obtain information to identify where water is found on Earth and that it can be solid or liquid.
RI.2.1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text.
RI.2.7 Use information gained from the illustrations and words in a print or digital text to demonstrate understanding of its characters, setting, or plot.
ELD.2. Part 1.A.BR.1 Exchanging information and Ideas
Contribute to class, group, and partner discussions, including sustained dialogue, by listening attentively, following turn-taking rules, asking relevant questions, affirming others, adding pertinent information, building on responses, and providing useful
Page 16 of 34
15
364
365
366
367
368
369
370
371
372
373
374
375
376
377
October 2019 Draft California Arts Framework: Chapter 8
Dance Science English Language Arts
English Language Development
movement characteristics.
feedback.
Students will progress through a series of integrated lessons leading to a summative
performance assessment in dance. The unit will also have a series of formative
assessment in dance, science, and English language arts. The summative assessment
will ask students to collaboratively create a dance phrase that will demonstrate an
appropriate selection and application of movements, locomotor or non-locomotor, while
safely moving through space that relate to their chosen adverbs and adjectives related
to matter. Throughout the sequence of lessons, a variety of dance formative
assessments, informal and formal, will provide the teacher and students evidence of the
students’ abilities to move safely with other dancers in a variety of spatial relationships
and formations with other dancers, while sharing and maintaining personal space. The
arts integrated unit will provide students an opportunity to deepen their overall
understanding of the shared concepts.
The following vignette is an example of a fifth-grade teacher using a shared model of
instruction from a larger unit in the Creating process, focused on the Imagine process
component. The timeframe is dependent on the length of each session and size of the
class, so may span multiple class sessions. Students in the example are from two sub-
disciplines of music, choral and instrumental. The example supports developing
artistically literate students through addressing a music Creating standard combined
with a writing standard from the California Content Literacy Standards for Technical
Subjects. The arts are considered technical subjects within the California Content
Literacy Standards. As such, the notion of “text” in technical subjects is expanded to
include discipline-specific language and symbol systems. In music, this notion translates
that teachers support students in learning to read and write (play and compose) in
music using musical notation, standard English language, and often in languages other
than English.
Page 17 of 34
16
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
October 2019 Draft California Arts Framework: Chapter 8
Vignette: Shared Model Music and Literacy Standards
MusicCREATING—Anchor Standard 1: Generate and conceptualize artistic ideas and work.
Enduring Understanding: The creative ideas, concepts, and feelings that influence
musicians’ work emerges from a variety of sources.
Essential Question: How do musicians generate creative ideas?
Process Component: Imagine
Performance Standard: 5.MU:Cr1b.: Generate musical ideas (such as rhythms,
melodies, and accompaniment patterns) within specific related tonalities, meters, and
simple chord changes.
California Common Core State Standards English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Writing Standard, Fifth Grade: W.5.2 Write informative/explanatory texts to examine a topic and convey ideas
and information clearly.
Ms. D. used a shared model approach to combine a Creating music standard and an
English language arts standard California Content Literacy Standard for Technical
Subjects as the students work to compose (write) and perform in small groups or with
partners. Ms. D.’s learning activities and creative process supports students’ English
language development. Ms. D’s students are engaged in collaborative conversations,
share their ideas, and have other opportunities to interact with and through the English
language and the language of music.
In the fall of the school year, students are ready to begin to collaboratively engage in the
process of composing. Ms. D. finds it is a good entry and launching point to future
composing for instrumental or choral students throughout the school year.
Ms. D. explains that the theme for the compositions will be the fall season and students
will work within a small group to develop their musical piece. To provide all students
with a bank of English language words and sounds related to the fall season, Ms. D.
engages students in brainstorming on chart paper. The class shares thoughts, sounds,
images, ideas, words, and phrases related to fall. The brainstorming session concludes
Page 18 of 34
17
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
October 2019 Draft California Arts Framework: Chapter 8
and the charts are hung. Ms. D. encourages the students to add to the chart as they
worked and other words emerge.
The students are introduced to creating preliminary musical compositions through the
combining of different rhythms. The groups self-select to compose their musical ideas
for instruments, as a choral piece, or combined piece. The students compose, write,
using standard musical notation, a technical language symbol system of music.
Students in their collaborative groups of three or four compose and manipulate different
rhythms to create an eight-measure draft composition in 4/4 time that represents the
season of fall.
Choral and combined groups additionally compose lyrics using English language over
their composed melodic line. These groups generate within their group lyrics, selecting
words or phrases from the brainstorming or language that emerge within the group.
As they work to develop their compositions, Ms. D.’s students develop their command of
the English language as they generate and share their ideas and collaborate to merge
ideas (an ELD Mode of Communication). The students exchange information and ideas
with other groups through oral collaborative conversations on a range of social (fall
season) and academic (music) topics. This authentic collaboration within the process
component of Imagine and in writing, provides students opportunities to interact in
meaningful ways (ELD Part 1: Interacting in Meaningful Ways). Students engage in
producing language using the academic language of music (ELD C. Productive 12.
Selecting and applying varied and precise vocabulary and language structure to
effectively convey ideas.).
Ms. D.’s students will perform their draft compositions for the class either on their
instruments, through singing their song, or through both playing and singing. As the
audience, students will pay attention to each performance and provide feedback to the
performing group. After each performance, the Ms. D. will lead the “audience” in
providing feedback to their peers on aspects of the composition that worked well, things
that might be revised, and on areas that could be refined. Students have previous
Page 19 of 34
18
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
October 2019 Draft California Arts Framework: Chapter 8
experience in providing feedback to peers and Ms. D. has established supportive
feedback protocols, so the students need little guidance in this process.
Formative assessment occurs throughout the process as Ms. D. observes and when
necessary provides guidance to students working collaboratively to compose, revise,
rehearse, and perform. Ms. D. gains informal information on students’ individual
progress in composing, working collaboratively, playing, and/or singing. Students will
write a self-reflection on their creative process, the struggles they had, and what they
want to try when composing again in the future. This provides the students with a
metacognitive opportunity to process their experience and Ms. D. with additional insight
on the students’ self-perception.
Interdisciplinary Approaches
In the interdisciplinary approach a teacher or teachers identify common learnings that
are found across the disciplines. Drake and Burns note that in interdisciplinary
approaches the “teacher also focuses on ‘big ideas’” that contain concepts that transfer
“to other lessons.” Teacher(s) organize the curriculum around the common skills and
concepts that are found embedded in the disciplines’ standards and that connect the
disciplines. While the identified interdisciplinary skills become the focal point of the
learning, students are also using and honing disciplinary skills. Assessment within the
integrated unit’s lessons are interdisciplinary, addressing each of the selected
disciplines. Students gain skills that cross disciplines to foster higher level thinking and
deeper comprehension of the concepts and essential understandings found across the
disciplines.
Fogarty’s Nested Model
An example of an interdisciplinary arts integration approach is the nested model.
Fogarty defines the nested model as one where multiple skills and standards drawn
from two or more content areas are authentically clustered and combined through one
topic or concept. In this model, the teacher must be able to see within each subject area
and teach to “…multiple dimensions to one scene, topic, or unit.” Skilled teachers can
Page 20 of 34
19
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
October 2019 Draft California Arts Framework: Chapter 8
use the nested design to increase the learning from a lesson by focusing on natural
grouping of multiple dimensions of learning and multiple standards.
The nested model’s multidimensional focus is on one topic. Students use and connect
their cognitive, social, processes, or technical skills from multiple disciplines on the
single topic. In designing a lesson or unit using the nesting model, teachers start with
identifying the arts specific discipline areas standard, the content focus of the lesson or
unit, and the potential skills sets that naturally relate to the content and enhance the
learning. One method teachers can use to select and combine skills for nested
integration is to examine the discipline-specific arts standards they are teaching and
identify thinking, technical, process, and social skills found within those standards.
Teachers then identify another arts discipline or content area that has related skill sets
that “nest” around the selected arts focus.
The snapshot that follows provides an example of how an elementary teacher is
thinking about using the nested model to design an integrated media arts and
mathematics unit.
Snapshot: Sample Nested Model
Ms. H.’s second grade students have been working on telling and writing time and the
relationships of time (Mathematics 2.MD Work with time and money…7. Tell and write
time from analog and digital clocks to the nearest five minutes, using a.m. and p.m.) In
their media arts studies the students have acquired the skills and knowledge and can
create a media artwork. They are able to relate information through the media works
that would be presented to an audience. As a class they are also getting ready for the
annual open house in which the community members, families, and friends are invited
to visit classrooms.
Ms. H. realizes this provides a real-world opportunity to nest aspects of the students’
understanding and skills in media arts and math to synthesize their learning. Her idea is
to engage the students in creating multiple stop motion videos that demonstrate to the
open house visitors what happens during a regular school day in their class. She thinks
Page 21 of 34
20
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
October 2019 Draft California Arts Framework: Chapter 8
her students will be excited to share their films explaining about their classroom with the
visitors. In this way she can nest learning two media arts standards (2MA:Pr6 Identify
and describe presentation conditions and audience and perform task(s) in presenting
media artworks and 2MA:Cn10a Use personal experiences, interests, information, and
models in creating media artworks) within the context of learning two mathematics
standards.
She imagines that the students will work in collaborative groups. Each group will have a
specific time frame of the daily schedule. They will use their skills in math and media
arts to create an initial storyboard of their video, gain feedback from others, revise, and
then begin to create their images for the video. The groups will need to take into
consideration the variety of classroom visitors that will view their videos during open
house. She realizes that this provides an opportunity to ask the groups to explain their
choices when they present their storyboards. The videos will need to inform the viewers
the actual class time their video is sharing and show through a bar graph where their
specific time falls in the school day (Mathematics Standard: 2.MD Represent and
interpret data…10. Draw a picture graph and bar graph (with single-unit scale) to
represent a data set with up to four categories…)
The more Ms. H. does her initial thinking the more she feels her students will be excited
about the task.
As she gets closer to starting to create the actual learning sequence, she thinks about
what each of her students will need in order to be successful and what types of
assessments she will use to determine achievement in both media arts and math.
Figure 8.5: Nested Standards Example
Page 22 of 34
21
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
October 2019 Draft California Arts Framework: Chapter 8
In all models, teachers need to pay careful attention to the sequence of learning in all
the content areas when choosing to integrate to ensure students’ success. Appropriate
formative assessment strategies and tools need to be identified and used to create
assessments that address student growth in both the arts learning and nested
content(s). Assessments can be informal, formal, or a combination that provides the
student and teacher constructive information on learning for all areas being integrated.
To be effective, students need to understand the learning goals of the nested
instruction. Authentic learning and skill combinations grow out of natural intersections in
the nested areas that are rich, authentic, and meaningful. The teacher(s) must be
specific about the various layers of learning taking place, so that students are able to
recognize and internalize the learning.
The nested model can be applied to a lesson or to an entire unit of instruction. It
supports the students in making connections and develops skills in multiple areas. This
model can be used by a single teacher that has expertise in the multiple content areas,
Page 23 of 34
22
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
October 2019 Draft California Arts Framework: Chapter 8
such as a multiple subject elementary teacher or can be a collaborative unit between
two or more content teachers.
The arts standards, which are based on artistic processes, are well suited to the nested
model and combine well with other content areas that focus on process, such as
English language arts. The nested model, when used after initial instruction in each
content area, provides opportunities for students to practice, refine, and hone skills in
new ways.
The following high school snapshot provides insight into the early planning stages of a
collaborative project by two teachers, dance and theatre, using the nested model.
Snapshot: High School Dance and Theatre Teachers’ Beginning Planning for the
Nested Model
Each spring the theatre and dance teacher at a high school design a collaborative
project for their students. The project provides their students with the opportunity to pull
from the knowledge, skills, and creative abilities they have developed to research,
develop, refine, and perform an original collaborative artistic work. This year the
teachers have decided to have their students create an original theatre work (devised
theatre) based on the students’ choice of a contemporary or historical event. At their
first planning session both teachers begin an initial brainstorm to identify and share
some possible primary discipline standards that will focus the collaboration. The table
below captures their first brainstorm. In their next planning session, they will review and
add or revise their identified standards as needed.
Dance Standards Theatre Standards
Acc.DA:Cr.1.a. Synthesize content generalized from stimulus materials to choreograph dance studies or dances using original or codified movement.
Adv. TH:Cr.2.b. Collaborate as a creative team to discover artistic solutions and make interpretive choices in a devised or scripted drama/theatre work.
Page 24 of 34
23
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
October 2019 Draft California Arts Framework: Chapter 8
Dance Standards Theatre Standards
Acc.DA:Cn.10.b. Use established research methods and techniques to investigate a topic. Collaborate with others to identify questions and solve movement problems that pertain to the topic. Create and perform piece of choreography on this topic. Discuss orally or in writing the insights relating to knowledge gained through the research process, the synergy of collaboration, and the transfer of learning from this project to other learning situations.
Acc.TH:Pr.4.b. Identify essential text information, research from various sources, and the director’s concept that influence character choices in a drama/theatre work.
Acc.DA:Cr.3.a. Clarify the artistic intent of a dance by refining choreographic devices and dance structures, collaboratively or independently using established artistic criteria, self-reflection and the feedback of others. Analyze and evaluate impact of choices made in the revision process.
Acc.TH:Re.9.a. Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.
The teachers then begin to determine the academic skills the students have developed
from their study of English language arts, history, along with their discipline academic
and technical skills in dance and theatre that will be “nested” within their instructional
design. The project’s design will ask students to employ multiple learned skills including
researching, imaging, inferring, summarizing, critiquing, as they create and then perform
their collaborative work. The project will also provide students opportunities to
purposefully utilize and hone their life long thinking and social skills including
collaboration, consensus seeking, problem solving, conflict resolution, and
communication.
Prior to the planning session each teacher met with an English or history colleague to
gain insight into possible contemporary or historical topics and related texts, primary
sources, and other types of materials to stimulate the students’ creative work. The
dance and theatre teacher share what they learned from their conversations to develop
a list of possible topics and related sources. The students as a group will have the
Page 25 of 34
24
575
576
577
578
579
580
581
582
583
584
585
586
587
588
October 2019 Draft California Arts Framework: Chapter 8
option to come to agreement on the topic either from the potential topics or identify
another topic. The students as a group will determine their source materials for
research. They can choose to begin their research with texts or primary sources such
as “Letter from Birmingham Jail,” by Martin Luther King, Jr., The Diary of a Young Girl,
by Anne Frank, “The Emancipation Proclamation,” “Take the Tortillas Out of Your
Poetry,” by Rudolgo Anaya, “Universal Declaration of Human Rights,” The Grapes of
Wrath, by John Steinbeck, and The Namesake, by Jhumpa Lahiri or students can
identify other credible source materials to use in their research.
Transdisciplinary Approaches
The third category, transdisciplinary integration grounds student learning in a “real-life
context” through a focus on students’ questions, concerns, and acquiring of life skills.
Drake and Burns note this category lends itself to project-based learning and the use of
“student questions as the basis for curriculum” (Drake and Burns 2004). The disciplines
in this model may or may not be specifically identified during the learning process for
the students, as the focus is on real-life, solving problems, and acquiring of knowledge
that is “interconnected and interdependent.”
Students gain experience in the application of knowledge and interdisciplinary skills in
obtaining essential understandings across the disciplines. The teacher or teachers in
transdisciplinary approaches function as a “co-planner” and “co-learner” alongside the
students. The assessment, similar to the interdisciplinary approach but with less
emphasis on specific discipline learning, is focused on growth in the students’
interdisciplinary skills and understanding of cross cutting concepts.
Fogarty’s Network Model Expanded
Expanding Fogarty’s network model can be a useful guide in planning transdisciplinary
instruction. In an expanded network model, interdisciplinary teams, or a self-contained
classroom teacher, combines basic elements from the selected disciplines to create
authentic learning projects or performances. The network approach utilizes an expert or
multiple experts to add to the students’ overall experience and learning, which provides
added value for the students.
Page 26 of 34
25
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
October 2019 Draft California Arts Framework: Chapter 8
Student learning occurs in the network model as the students work together with the
expert on real world projects. For example, students from theatre, music, dance, visual
arts, and media arts classes, come together with a professional lighting designer, to
produce a theatrical production or a schoolwide exhibition of student work. They provide
networking opportunities for the theatre students as they explore the full range of
production aspects. Learners in network models discover the interrelationships and
connectedness among different disciplines, gain insight into careers, and see the
operational functioning of their disciplines in real world situations.
In the following snapshot a team of teachers at a designated STEAM (Science
Technology Engineering Arts Mathematics) elementary school are exploring using the
network model of transdisciplinary integration to design their next STEAM project.
Snapshot: Exploring the Network Model of Transdisciplinary Integration—Elementary
The team of teachers for grade three at a STEAM elementary school gather together at
their weekly collaborative planning time to begin thinking about the design of their third
upcoming grade level integrated STEAM project. The team always begins planning well
in advance of the project’s projected implementation date. Their projects draw from the
various individual disciplinary standards in STEAM the teachers have been teaching
toward (the A in STEAM represents dance, media arts, music, theatre, and visual arts).
The students are asked to integrate and use the knowledge and skills they have
acquired in addressing the project’s authentic real-world performance task. The projects
are structured so that students work collaboratively in groups on the task.
For this third project the teacher team wants to expand their integrated approach by
including disciplinary experts from the community to work alongside the students. The
teachers brainstorm potential experts that could be asked to work with the students.
They generate a list of experts that includes a local mural artist that has worked with the
students at the school on other projects, a local marine biologist, a parent that is an
engineer for an immersive theme park, and a theatre professor of the local university’s
children’s theatre group that often performs at the school.
Page 27 of 34
26
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
October 2019 Draft California Arts Framework: Chapter 8
Figure 8.6: Example of Experts in Network Model
The team then begins to brainstorm potential project focuses and related assessment
strategies. At their next planning session, they will narrow their ideas, confirm the
expertise needed, and begin to contact the experts.
Attentiveness to Students’ Arts Learning
Thoughtful, well-planned and implemented instruction that connects learning is needed
to prepare students for a global, interconnected world. It is critical for teachers to
understand that approaches that combine or integrate content areas are not a
replacement for specific discrete instruction in any content area. When choosing an
integrated approach, teachers must be clear on the purpose and thoughtfully consider
the approach chosen and the model within the approach and how those choices will
benefit their students. The approach must match the purpose and be authentic to all
disciplines being combined, to be considered integrated instruction.
The insight, skills and habits gained, personal agency, and joy growing out of learning in
the disciplines of dance, media arts, music, theatre, and visual arts contribute and
connect to the whole of a person. Connecting arts learning to other content areas can
support students as they continue to learn, thrive, and navigate their world.
Page 28 of 34
27
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
October 2019 Draft California Arts Framework: Chapter 8
Many times, well-meaning lessons that are called integrated, when examined closely
are not, given that they are using a process or technique from an arts discipline without
providing students with foundational instruction in the arts discipline. An example is
asking students to “illustrate” a story. Asking students to make marks on paper or a
tablet to capture details, sequence of events, or actions found in the story, can be useful
in providing insight for the teacher. The educators can see how students understood the
story, the level of attention to details in the text, and comprehension of events.
However, if the students have not had prior visual or media arts instruction on the
elements of visual arts composition, acquired and practiced the skills needed in drawing
or using a digital mark making tool, the “illustration” activity is not an integration of visual
or media arts. The images students created can be assessed through the lens of
English language arts but not as an indication of a student’s capacities or learning in
visual or media arts. Similar examples can be found across all the arts disciplines. The
singing of songs to remember specific content, such as the multiplication tables or the
capitals of the states, asking students to “act out” or pantomime vocabulary words or
events, or asking students to “dance” to the music, often take place without prior
learning in music, theatre, or dance. These types of activities can engage students, help
students remember details and provide quick ways for the teacher to check for
understanding. These types of activities are examples of subservient integration
(Bresler 1995).
At times when such engagement through subservient integration takes place, it can be
misunderstood and mislabeled as “arts enhanced” or “arts infused” as it appears that
the students are learning in the arts or using their learning in the arts. The existence of
students’ arts disciplinary learning may or may not exist. One could argue, in the
examples provided, that without any foundational learning or skill development in the
“used” artistic process of the discipline, all of these labels are incorrect and should not
be used. In order to correctly label an activity as integrated or interdisciplinary, it is
necessary to ensure foundational learning and skill development in the artistic process
of the arts discipline, aligned learning objectives and assessments for the subjects
being integrated. Using labels such as “arts enhanced” or “arts infused” can give the
impression to students, parents, and community members, that arts education has
Page 29 of 34
28
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
October 2019 Draft California Arts Framework: Chapter 8
occurred, and students have gained knowledge and skills in one or more of the arts
disciplines. If the enhancement or infusing of the arts into other content areas lacks
discrete arts instruction and learning or has not been intentionally integrated, the arts
are being used in a subservient manner as a teaching strategy.
At the elementary level in schools without single subject credentialed arts teachers, the
general classroom teacher is often the sole provider of arts education. Professional
learning related to teaching the arts that addresses the content, artistic skills,
pedagogical, and instructional design needs of elementary teachers is critical for
success (see Chapter 9 Implementing Effective Arts Education, and Appendix H
Professional Learning Resources). The realities of classroom time call for elementary
teachers to carefully craft the balance of discrete and integrated approaches to arts
learning. In school settings that have single subject arts teachers, these arts teachers
can be a resource to the multiple subject elementary teacher providing the content
expertise needed to support arts integration approaches. Additionally, local arts
institutions such as museum, symphony, artist communities, and university arts
departments can be content resources and arts expertise for elementary teachers.
Supported by the necessary professional learning and resources, elementary teachers
are able to access the integrated approach or approaches that work best in their
teaching context and with their students.
Note or Sidebar
A longer lasting potential harmful outcome of the mislabeling of these types of activities
can occur when students are not perceived as successful in their “singing” or “acting” as
other students when put in these situations. Some students may be seen as more
successful or creative, possibility due to prior learning in the arts or private lessons. This
informal identification of students by other students or educators, through well-
intentioned comments such as “You are so talented” or “You are such an artist,” can
lead seemingly less successful students to feel and believe they are “not creative.”
Students, without the advantage of prior learning in the arts, begin to think they lack the
capacity to learn in the arts and this can lead to developing a fixed mindset around an
Page 30 of 34
29
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
October 2019 Draft California Arts Framework: Chapter 8
unfounded sense of lack of artistic ability. In the worst cases this unfounded self-belief
about a lack of ability to learn in the arts can stay with them through adulthood. A
common reaction of people of all ages that have not had the learning opportunities
provided by quality, standards-based, sequential, comprehensive arts education is that
“I’m not creative” or “I can’t dance” or “I can’t draw.”
The overarching goal of interdisciplinary approaches in any content area is to maximize
student learning outcomes. It is often the case that most educators would agree that in
the enhanced or infused approach, the focus is on the non-arts subject. Students are
able to access foundational learning and skill development in the arts within the lesson
to enrich the experience, when the foundational learning has been provided. The “arts”
aspect acts as an enhancement to the learning activity or is permeated or infused into
the other subject in an effort to increase student engagement. In these practices,
students are not assessed on the arts portion of enhance or infused activities, unlike in
integrated approaches. The learning focus remains on the other subject, but the
activities are made more engaging through the students’ use of their prior arts learning.
These types of designs that “use” the arts, when well-crafted and scaffolded carefully
with sequential, standards-based, comprehensive discipline specific arts learning, can
offer students opportunities for practice and experimentation of the arts skills and
concepts they’ve learned.
Conclusion
Emphasis Quote
In order to accurately depict Apollo scenes, events and images in my paintings, I
meticulously construct physical scenes using models of astronauts, the lunar module,
the moon rover and Surveyor. NASA’s office moon photos are studied so that the
craters and moon rocks are places where they should be. A special studio light is
positioned so that the direction and length of the shadows are exactly as they would
have existed on the moon.
Page 31 of 34
30
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
October 2019 Draft California Arts Framework: Chapter 8
My preparation for a new painting is almost as meticulous as the training for my own
moon landing.
Alan Bean—Astronaut and Artist
The arts disciplines “allow students to experience awe and wonder at what they are
learning” (Marina Sotiropoulou-Zormpala 2016). Through thoughtful and intentional arts
integration, students are offered powerful and appealing pathways to deepen learning.
To reach its full potential, arts integration must not be in place of, but combined with,
discipline-specific, standard-based, comprehensive arts education (teaching and
learning). Intentional and strategic planning and instruction that combines arts concepts,
skills, and content with learning in other subject areas advances the potential for
students. Their integrated learning can transcend discrete subject-specific boundaries
and synthesize into a new unified whole. Artist-astronaut Alan Bean found painting to be
a way to express his experiences on the moon. Similarly, artistically literate students
can combine learning to create and communicate the intersections they discover. Arts
integration can support students in connecting their discrete disciplinary learning—the
dots—and in doing so transcend the learning silos within and across subjects.
Page 32 of 34
31
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
October 2019 Draft California Arts Framework: Chapter 8
Works Cited
Bean, Alan. 2018. Alan Bean First Artist on Another World.
https://www.alanbean.com/precision_recreation.cfm (accessed July 24, 2019).
Bresler, Liora. 1995. “The Subservient, Co-Equal, Affective, and Social Integration
Styles and Their Implications for the Arts.” Arts Education Policy Review; 96 (5): 31–
37, DOI: 10.1080/10632913.1995.9934564.
https://www.tandfonline.com/doi/abs/10.1080/10632913.1995.9934564
California Department of Education (CDE). 2013. California Common Core State
Standards English Language Arts & Literacy in History/Social Studies, Science, and
Technical Subjects. Sacramento: California Department of Education.
California Common Core State Standards Mathematics Electronic Edition. 2013.
https://www.cde.ca.gov/be/st/ss/documents/ccssmathstandardaug2013.pdf
(accessed July 27, 2019).
California Department of Education (CDE). 2016. History-Social Science Framework for
California Public Schools Kindergarten Through Grade Twelve. Sacramento:
California Department of Education.
California Department of Education (CDE). 2016. 2016 Science Framework for
California Public Schools Kindergarten Through Grade Twelve. Sacramento:
California Department of Education.
Contardi, Gina, M. Fall, G. Flora, and C. Treadway. 2000. "Integrated Curriculum A
Group Investigation Project." EDP 603.
Drake, S., and R. Burns. 2004. Meeting Standards through Integrated Curriculum.
Alexandria, VA: Association for Supervision and Curriculum Development (ASCD).
Fogarty, R. J. 2009. How to Integrate the Curricula. 3rd ed. Thousand Oaks, CA:
Corwin.
Hardiman, Mariale, Ranjini Mahinda JohnBull, Deborah T. Carran, and Amy Shelton.
2019. “The effects of arts-integrated instruction on memory for science content.”
Trends in Neuroscience and Education. 14: 25–32. (accessed July 29, 2019).
https://www.sciencedirect.com/science/article/ pii/S2211949317300558 .
Page 33 of 34
32
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
October 2019 Draft California Arts Framework: Chapter 8
Jeffers, Oliver. 2019. “For All We Know.” https://www.oliverjeffers.com/forallweknow
(accessed July 24, 2019).
The Kennedy Center ArtsEdge. “What is Arts Integration?” http://artsedge.kennedy-
center.org/educators/how-to/arts-integration/what-is-arts-integration (accessed July
27, 2019).
Klass, Perri, M.D. "Using Arts Education to Help Other Lessons Stick." The New York
Times. March 4, 2019. https://www.nytimes.com/2019/03/04/well/family/using-arts-
education-to-help-other-lessons-stick.html. (accessed March 6, 2019).
Lake, Kathy. 1996. Integrated Curriculum. School Improvement Research Series
(SIRS). Northwest Regional Educational Laboratory. Close-up #16.
Lewis, Jerome. 2013. Music and Dance to Culture and Society Insight from Ba Yaka
Pygmies. https://www.academia.edu/3480517/A_Cross-
Cultural_Perspective_on_the_Significance_of_Music_and_Dance_to_Culture_and_
Society (accessed July 24, 2019).
National Council for the Social Studies. The College, Career, and Civic Life (C3)
Framework for Social Studies State Standards. http://www.socialstudies.org/c3
(accessed July 3, 2019).
Silverstein, Lynne B. and Sean Layne. 2010. Defining Arts Integration. The John F.
Kennedy Center for the Performing Arts.
Sotiropoulou-Zormpala, Marina. 2016 “Seeking a Higher Level of Arts Integration
Across the Curriculum.” Arts Education Policy Review, v117 n1 pp. 43–54.
https://eric.ed.gov/?id=EJ1087485 (accessed July 27, 2019).
Sotiropoulou-Zormpala, Marina, Sarah Ray, Prateek Reedy, and Nadiv Rahman. 2015.
Final Evaluation Report: Turnaround Arts Initiative. President’s Committee on the
Arts and Humanities.
California Department of Education: October 2019
Page 34 of 34
33
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820