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Striving For High-Quality Arts Education: The Oregon Community Foundation
Striving For High-Quality Arts Education: The Oregon Community Foundation
October 2017
The mission of
The Oregon Community Foundation is to
improve life in Oregon and promote
effective philanthropy.
www.oregoncf.org
Caitlin Ruffenach
Madeline Baars
The Oregon Community Foundation
This report was developed by the research department at The Oregon Community Foundation
as part of the evaluation of the Studio to School Initiative. The Initiative evaluation is assessing
the effectiveness of the Initiative in meeting its goals to expand arts education opportunities
for youth through the development of high-quality, sustainable, equitable arts education
programming. To do so, the research department is collecting data about the work of the 18
Studio to School projects that are funded through the Initiative as well as providing information
to support development of arts education programming, such as this report. We are grateful to
many people, including the Studio to School evaluation advisory group members and OCF staff
who supported the development of this report.
For more information about the Studio to School Initiative, contact Michelle Boss Barba at
mbossbarba@oregoncf.org. For more information about the evaluation of the Studio to School
Initiative, contact Kim Leonard at kleonard@oregoncf.org.
Dear Reader,
This report summarizes the existing literature purpose, which often evolve within programs over
that explores quality in arts education. Following time. According to The Qualities of Quality, “ideas
a general overview of the literature, the first part about what constitutes quality can and should vary
of the report is organized using the eight Studio to across settings, depending on the purposes and
School principles for the pursuit of high-quality, values of the program and its community” (p. 45). In
equitable, sustainable arts education programming. fact, definitions of quality should evolve over time
Just as the principles are interrelated, there is also within programs as well (Seidel et al., 2009). Ulti-
overlap in the literature on quality in arts education. mately, programs seeking to improve quality should
Existing literature also provides more detail about not strive to embody every element of quality found
particular aspects of arts education — such as those in this literature review. Rather, they should decide
who provide arts education (e.g., teaching artists) what elements best fit with their goals, programs and
and their contribution to quality. Therefore, the community context.
summaries for each principle are of varying length,
Despite the differences in context, two overarching
breadth and depth. The second part of the report is
themes stood out across the literature:
an annotated bibliography that describes the context
and relevant findings for each report included in this 1. Schools and organizations with high-quality arts ed-
literature review. ucation programs demonstrate the value of the arts
through their commitment to programs. This dedi-
OVERVIEW OF THE LITERATURE cation is demonstrated through both words (e.g.,
developing a shared mission and vision for arts ed-
The literature on quality in arts education explores
ucation and creating a strategic arts education plan)
programs in a variety of contexts, including out-of-
and actions (e.g., hiring high-quality arts educators
school-time programs provided by arts organiza-
and investing in professional-grade materials and
tions, in-school curriculum and programs developed
spaces) that signal to students and communities
as part of communitywide initiatives to increase
that the arts matter and are worthy of investment.
access to arts education. These programs often in-
clude a combination of sequential arts learning, 2. High-quality arts education programs aim to give
arts integration and exposure opportunities that are students a taste of the working world of the arts by
taught by arts specialists, teaching artists and/or bringing professionalism, discipline and real-world
non-arts classroom teachers.1 Considering context is practice into the classroom.
important because it can change program goals and
1
Several sources reviewed argue that sequential arts instruction is essential for high-quality, in-school arts education and that
the arts should be treated as a core subject even if they are also integrated into other subjects (Baxley et al., 2014; Waldorf &
Atwill, 2011).
OSA/Gilbert Heights
Hood River
Honor the diverse perspectives, nication also paves the way for shared decision-making
experiences, and contributions of among stakeholders, which itself is an indicator of quali-
all involved ty arts education (Baxley et al., 2014).
Cultivate a school environment where ogy for student learning, high-quality programs ensure
arts learning can thrive that the space and materials lend a sense of authen-
ticity to the classroom setting. In other words, programs
High-quality arts learning environments are, first strive to replicate professional artistic workspaces (Se-
and foremost, physically safe. As with any other idel et al., 2009). Not only do students need dedicated
youth-serving space, they should be located some- classroom space, but they also need functional spaces
where safe and secure (Weitz, 1995). Spaces should for performing and exhibiting works of art (Baxley et al.,
also be appropriate for working in the various disci- 2014). Dedicating space for arts programming and pro-
plines (Seidel et al., 2009). For example, a basketball viding high-quality, professional materials signals to stu-
court or concrete courtyard may not be the safest en- dents that those classes are valuable. Artistic spaces and
vironment for young dancers who are either barefoot high-quality materials can also inspire students and spark
or wearing soft-soled shoes. creative energy. Aesthetically pleasing materials, tools
and instruments can draw students in and engage them
Beyond physical safety, arts learning environments in arts learning (Seidel et al., 2009).
must also be emotionally safe. Many works of art are
meant to elicit strong emotional responses, and the Adequate time is necessary to reap many of the bene-
creative process itself can be emotionally taxing and fits of arts education. The amount of class time devot-
deeply personal (Seidel et al., 2009). Students should ed to the arts determines both the speed and depth
feel safe enough to express their feelings and know of work. Working over a longer period of time allows
they will be respected and supported. There are sev- students to engage in several creative cycles of plan-
eral ways to create an emotionally safe environment. ning, producing and sharing work and to incorporate
The arts educator can model respect for students’ what they learn into subsequent cycles (Seidel et al.,
creative processes and works of art. Out-of-school- 2009). Allowing for adequate time means that the arts
time programs can set expectations for respect of self should be given stand-alone instructional time even
and others through materials such as program hand- if a school also integrates the arts into non-classroom
books (Montgomery et al., 2013). subjects (Baxley et al., 2014). When arts integration is
the only arts offering, quality usually suffers because
High-quality programs use space and materials that re- classroom teachers are not trained to teach the arts
flect aspects of professional artistic practice (Big Thought and preparing students for high-stakes testing leaves
& Wolf Brown, n.d.; Seidel et al., 2009; Waldorf & Atwill, classroom teachers with less time and willingness to
2011). Beyond providing adequate materials and technol- dedicate to arts integration (Seidel et al., 2009).
Build appreciation and support for arts enhances the programs’ efforts when resources are
education in schools and communities more plentiful” (Rowe et al., p. 11).
High-quality arts education programs make sure that Performances and exhibitions can provide opportune
family members feel welcome and invited to partic- venues for teachers and administrators to share their
ipate (Montgomery et al., 2013). This is essential be- vision for arts education in their schools (Stoelinga et al.,
cause families have many competing priorities and 2015). These visible, culminating experiences are also
parents or caregivers may have limited experience an essential part of the artistic process for students,
with the arts. Inviting families to participate may in- giving youth something to work toward and providing
crease their comfort and make them more willing to incentives to meet deadlines (Montgomery et al., 2013).
keep their students engaged. Engaging parents can These events also allow students to take positive risks
take several forms, including holding family nights, by sharing their art with friends, family and the broader
communicating with them about the school’s arts ed- community. In turn, audiences may see the youth from
ucation programs, engaging them as volunteers in the a different perspective (Montgomery et al., 2013). Final-
classroom or for field trips and inviting them to perfor- ly, culminating events can help youth reflect on their
mances or exhibitions (Waldorf & Atwill, 2011). artistic process and incorporate what they learn into
the subsequent creative cycle of planning, producing
Engaging community beyond family members ex- and presenting (Montgomery et al., 2013).
pands opportunities for youth and builds the art pro-
gram’s reputation (Montgomery et al., 2013). Growing When art occupies a central place in the school envi-
and sustaining quality arts education programs re- ronment, this demonstrates the value of art education
quires community support. With the reductions in and belief in the quality of student work (Montgomery
school budgets for the arts, programs are increasingly et al., 2013; Seidel et al., 2009). Seeing or hearing works
dependent on financial resources from the community. of art created by their peers can motivate students to
In order to attract, build and sustain community sup- produce their own art (Montgomery et al., 2013). Dis-
port, teachers, parents, students and school adminis- playing their own art can also boost students’ self-es-
trators should actively promote the arts programs in teem and give purpose to their artistic undertakings
their community (Baxley et al., 2014; Waldorf & Atwill, (Seidel et al., 2009; Stoelinga et al., 2015). Displays of
2011). “Creating broad-based ownership of the invest- student work may also spark discussions about the
ment in arts partnerships helps to keep programs going artistic abilities of youth and provoke reactions to the
through difficult times when resources are scarce and works of art themselves (Seidel et al., 2009).
Eric Booth, one of the leading teaching artists in the U.S. today, de-
fines a teaching artist as “a practicing professional artist with the
complementary skills and sensibilities of an educator, who engag-
es people in learning experiences in, through, and about the arts”
Lane Arts Council/Oaklea (Seidel et al., p.52).
Annotated Bibliography
Arts Education Partnership. (2002). Creating Quality Baxley, J., Burgess, S., Melnick, L., & Nesbit, M. (2014).
Integrated and Interdisciplinary Arts Programs. Arts Education in the South Phase II: Profiles of Quality.
In 2002, the Arts Education Partnership brought to- South Arts, a regional arts organization serving nine
gether 13 partnerships working in arts integration in Southern states, partnered with the Southeast Cen-
K-12 and postsecondary settings. The forum partic- ter for Education in the Arts to develop a series of
ipants were selected based on their success in in- case studies of exemplary school-based arts ed-
tegrating the arts across the curriculum. This report ucation programs. The main question guiding the
summarizes the major ideas, practices and chal- case studies was, “What are the traits of quality in-
lenges raised by forum participants. school arts education programs in the South?” State
arts councils nominated 31 high-quality programs.
The final nine case study participants selected rep-
resent diversity in geography, art form, grade level
(K-12) and school focus (arts focus or traditional
school environments). Case studies examined ac-
cess, teacher quality, resources, assessment, school
culture and curriculum. Across the nine programs,
the researchers found that in high-quality programs,
relationships matter, the arts are part of a shared vi-
sion/mission, the arts are core and students experi-
ence the working world of artists.
Big Thought & Wolf Brown. (n.d.) Six Dimensions of Bodilly, S. J., Augustine, C. H., & Zakaras, L. (2008).
Quality Teaching and Learning. Revitalizing Art Education Through Community-
As part of the Dallas Thriving Minds Initiative, Big Wide Coordination.
Thought convened panels of local and national The report was published by the RAND Corpora-
experts to develop this framework for judging the tion and sponsored by The Wallace Foundation. It
quality of arts education programs. The framework explores how six arts education initiatives involving
was further tested and refined over several years of multiple partners began and evolved. The report
the initiative. According to the second-year evalu- also analyzes what partners became involved and
ation of Thriving Minds, the first three dimensions the strategies used to improve quality and access to
are “elements of effective instruction necessary to
arts education. The report found that the sites spent
support creative learning, while the last three are el-
more time expanding access, but all attempted to
ements necessary for rigorous and creative learning
improve quality through activities including:
in the arts.” The six dimensions are:
• Requiring that curriculum be aligned with state
1. Climate that Supports Learning
arts standards
2. Engagement and Investment in Learning
• Developing curriculum frameworks and arts
3. Classroom Dialogue and Sharing
assessment tools
4. Skills, Techniques and Knowledge of the
• Qualifying programs offered by providers outside
Discipline
the schools
5. Creative Choices
• Putting in place peer modeling, review
6. Expectations, Assessment and Recognition and ranking
The dimensions are defined by examples of observ-
able activities or behaviors in the classroom. A com-
panion document describes the spectrum of quality
observed across dimensions from Less than Basic
to Advanced.
Waldorf, L., & Atwill, K. (2011). Arts for All School Weitz, J.H. (1995). Coming Up Taller: Arts and Human-
Arts Survey: Measuring Quality, Access and Equity ities Programs for Children and Youth at Risk.
in Arts Education. This report was commissioned by the President’s
The survey is a tool developed by Arts for All as part Committee on Arts and Humanities and explores
of its goal to make quality, sequential arts educa- quality in out-of-school-time arts and humanities
tion a reality in all K-12 classrooms in Los Angeles programs. The findings are based on interviews with
County. It was developed to measure access to and 218 programs and visits to nine sites. The author re-
quality of arts education based on an extensive lit- ports that these programs:
erature review and consultation with 13 administra-
1. Create safe places for children and youth
tors, teachers and consultants with expertise in arts
where they can develop constructive relation-
education. The survey measures quality and access
ships with their peers
across 16 indicators:
2. Offer small classes with opportunities for
1. Expert instructors
youth to develop close, interactive relation-
2. Arts as core subjects ships with adults
3. Accessibility 3. Place a premium on giving youth a chance to
4. Academic focus succeed as a way to build their sense of worth
5. College and career preparation and achievement
3 10 11 12 13
14 1
6
15
9 16
8 17
5 7
4
18 2
1. Arts in Education of the Gorge/Hood River 12. Pacific Crest Sinfonietta/King School
Middle School (first three years only)
2. Ashland Arts Center/Ashland Middle School 13. Portland Children’s Museum/Woodlawn School
3. Caldera/Peninsula School 14. Regional Arts and Culture Council (RACC)/
4. Coos Art Museum/Sunset Middle School Evergreen Middle School and Eastwood and
5. Ethos, Inc./Elkton Charter School Quatama Elementary Schools
6. Fishtrap, Inc./Joseph Charter School 15. Siletz Bay Music Festival/Oceanlake and Taft
Elementary Schools and Taft High School (7-12)
7. Harney County ESD/Harney County Arts in
Education Foundation 16. Sisters Folk Festival/Sisters Elementary and
Middle Schools
8. John G. Shedd Institute for the Arts/Agnes
Stewart Middle School 17. Sunriver Music Festival/La Pine Middle School
9. Lane Arts Council/Oaklea Middle School 18. Three Rivers School District/Illinois River Valley
Community Development Organization and
10. Open Signal/Open School
RiverStars Performing Arts
11. Oregon Symphony Association/Gilbert Heights
Elementary and Alice Ott Middle School