Ebook PDF Creating Meaning Through Literature and The Arts Arts Integration For Classroom Teachers 5th Edition PDF

(eBook PDF) Creating Meaning Through
Literature and the Arts: Arts Integration

for Classroom Teachers 5th Edition,
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Contents
Special Features xv School Spotlight: Arts Integration in Action 37
Foreword xviii Implementing Quality Arts Integration: A Preview 39
Preface xix Arts Integration Pillars 39
Center Stage: Teachers 41
About the Author xxvii
Arts-Based Reform: National, Regional,
Part I and State Efforts 42

Government-Affiliated Organizations 42
Introduction to Arts Integration Arts Education Partnership (AEP) 43
The Partners in Education of the John F. Kennedy
Center for the Performing Arts 43
Chapter 1 Teacher Spotlight: First-Year Teacher 43
Conclusion 44
Creating Meaning Through Literature Other Resources 44
and the Arts 1
Introduction 1
Definition: Arts Integration 1
Chapter 2
Classroom Clip: Creative Inquiry 2 The Underpinnings of Arts Integration:
Titles Matter 2 Philosophy, Theories, Research,
Aliases 6 and Wisdom 45
Classroom Snapshot: Multi-Arts Integration
Introduction 45
in Social Studies 6
School Spotlight: Creating an Arts Integrated School 46
Teacher Spotlight: Judy Trotter 7
Arts Integration Philosophy 48
Unique Contributions of the Arts 8
Mission and Vision 48
Arts and the Communication Evolution 9
Intentional Dissonance 10 Do What, for Whom, and Why? 49
Human Essentials 11 Vision Statement 49
Gifts of the Arts 11 Theories That Inform Arts Integration 50
Intellectual Domain 12 Communication Theory 50
Social Domain 15 Constructivism 50
Personal and Emotional Domain 16 Creativity: Theory and Practices 51
Arts-Based Education and 21st-Century Life Beliefs About Creativity 51
and Learning 18 Creativity Theories 52
Arts Integration Models 19 Why Does Creativity Exist? 52
Legislating the Arts 20 Who? Creative Achievers 53
AI Evidence 20 What Is Creativity? 55
STEM to STEAM 21 How Does Creativity Happen? Brain Research 56
The Push for Arts Integration 21 How Does Creativity Happen? Creative Inquiry Process 57
Arts Integration and National Standards 23 Business World Classroom Clip: Real Life Creative
Common Core: Standards for the Nation 24 Inquiry 57
Classroom Clip: Tale of Two Lessons 26 Context 60
Integration and the Arts 31 Challenge 60
Integration Definition 31 Collect 60
The Case for Integration 31 Connect 61
Holistic Learning 32 Conclude 61
Wholes and Parts 32 Critique 62
Robust Arts Integration: Principles and Practices 33 Communicate 62
Not an “Activity” 33 Unpacking Creative Inquiry 62
Quality Signifiers 35 Teaching Creative Inquiry 63
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Teaching for Creativity: A Sampler 64 Quality Matters: AI Levels 95
Classroom Culture 64 Ladder of Robustness 96
Creativity Catalysts 67 Professional Learning 98
Creativity Quashers 67 Beyond Entertainment 98
Arts Integration and Creative Inquiry 68 Arts Integration Pillars 98
Cross Disciplinary Processes 69
Pillar I: Philosophy of Arts Integration 98
Arts Advantages: POP 70
Basic Arts Knowledge and Skills 70 Pillar II: Arts Literacy 99
Creative Teaching 70 Purposes of the Arts 100
Classroom Clip: Letter to the Teacher 71 Processes of the Arts 102
People 102
Multiple Intelligences Theory 71
Products/Art Forms as Texts 103
MI Practice 72
Arts Elements, Skills, and Concepts 103
Piaget’s Stages of Cognitive Development Theory 74 Visual Mnemonics 104
Piaget and Arts Integration 75
Pillar III: Collaborative Planning 104
Maslow’s Hierarchy of Needs 75
Maslow and AI 76 School Clip: Tanglewood Middle School 104
Vygotsky’s Social Development Theory 77 Planning Process 104
Vygotsky and AI 77 Planning Overview 105
Pronged Focus 106
Child Development and the Arts 77
Planning Questions 106
Brain Research 78
Standards and Benchmarks 106
Brain Facts and Educational Implications 79 National Core Arts Standards 107
Stress 79 Unit Planning and Organizing 107
Repeated Experiences 79 School-Wide Units 109
Empathy 80 Arts with Arts 110
Emotion 80 Field-Based Units 110
Shared Networks 80 Types of Collaboration 111
Arts Work and Brain Effects 81
Research Support for Arts Integration 81 Pillar IV: Aesthetic Learning Environment 111
Controllables 81 Stendhal Effect 112
Testing Inadequacies 82 School Snapshot: Normal Park Museum
Meta-Analysis 82 Magnet 112
Research Findings 82 Aesthetic or Anesthetic? 113
Academic Achievement (as Measured by Test Scores) 83 Small Changes 113
Cognitive Effects 83 Start with the “Known” 113
Motivational/Affective Effects 84 Displaying Art 113
Social Effects 84 Background Music 113
Learning Environment 84 Student Ownership 113
Diverse Learners 85 Pillar V: Literature as a Core Art Form 114
Arts Integration Philosophy: Five Ps 85 Arts-Based Literature 114
1. People 86
Pillar VI: Best Teaching Practices 114
2. Principles of Learning 87
1. What You Teach Is WHO You Are 114
3. Places 89
2. Inside-Out Motivation 115
4. Programs 90
3. Engagement and Active Learning 117
5. Pedagogy 90
4. Creative Inquiry 118
Conclusion 92
5. Explicit Teaching 119
Other Resources 92
6. Apply and Practice/Rehearse 121
7. Aesthetic Invitations 122
Chapter 3 8. Process and Product 123
Ten Pillars of Arts Integration 93 9. Management: Behavior, Time, and Materials 124
10. Independence and Self-Discipline 125
Introduction 93 Pillar VII: Differentiation for Student Needs 126
School Snapshot: Apalachee Tapestry Magnet School Detrimental Differentiation 129
of the Arts 94 Low Expectations 129
Implementing Arts Integration 95 Diverse Populations 129
Levels of Arts Integration 95 English Learners 129
Quantity Matters 95 Response to Intervention 130
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Pillar VIII: Instructional Design: 10. Increase Literacy 150

Routines and Structures 130 11. Are Vehicles for Learning Social Studies, Math,
Classroom Snapshot: Arts Routines and Science 151
and Inquiry-Based Units 130 12. Combat Illiteracy and Aliteracy 151
Instructional Design 133 Pillar II: Arts Literacy: Literary Content
Energizers and Warm-Ups 133 and Skills 152
Opening/Closing Routines 133 What Teachers Need to Know 152
Performances and Exhibits 134 Genre: Literary Forms 157
Grouping 135 Pillar III: Collaborative Planning 165
Centers and Stations 135 National Standards: Common Core 165
Clubs and Projects 135 Integrated Units 167
Pillar IX: Assessment for Learning 136 Classroom Snapshot: Social Studies/Arts-Based
Definition and Purposes 136 Read-Alouds 169
Issues 137 Special Disciplinary Connections 172
For Versus Of 137 Two-Pronged Lesson Plan 173
Assessing Assessment 138
Assessment Tools 138 Pillar IV: Aesthetic Learning Environment 173
High-Placed Criteria 138 Print-Rich Environment 173
Pillar X: Arts Partnerships 140 Pillar V: Literature as a Core Art Form 174
Arts Specialists 141 What Makes Literature Art? 174
Selection Sources 174
Teacher Spotlight 142
Arts Agencies/Organizations 143 Pillar VI: Best Teaching Practices 178
Arts Directory 143 1. What You Teach Is WHO You Are 178
Conclusion 143 2. Inside-Out Motivation 178
Other Resources 143 3. Engagement and Active Learning 179
4. Creative Inquiry 179
Part II 5. Explicit Teaching 181

6. Application and Practice 182
Integrating Five Arts: Literary Arts/ 7. Aesthetic Invitations 183
Poetry, Visual Art, Classroom Drama/ 8. Process and Product 184
Storytelling, Visual Art, Classroom Dance/ 9. Management: Behavior,Time, and Materials 184
10. Independence and Self-Discipline 184
Movement and Music
Pillar VII: Differentiation for Student
Needs 184
Developmental Stages 184
Chapter 4 Matching Levels 185
Integrating the Literary Arts Throughout Resources 185
the Curriculum 144 Pillar VIII: Instructional Design: Routines and
Structures 185
Introduction: Literature at the Core 144 Energizers and Warm-Ups 185
Literary Arts and Standards 144 Opening and Closing Routines 186
Classroom Clip: Creative Inquiry Using POV Haiku Reading and Writing Workshop 186
and Tableau 145 Arts-Based Read-Alouds 187
What Are the Literary Arts? 145 Independent Reading 187
Arts Integration Pillars 146 Literary Discussions 188
Performances and Exhibits 189
Pillar I: Philosophy of Arts Integration: WHY Integrate
Centers and Stations 190
the Literary Arts? 146
Flexible Small Groups 190
1. Add Arts Power to Literacy 146
2. Support Active Meaning Construction 146 Pillar IX: Assessment for Learning 191
3. Build Empathy and Respect for Others 147 Portfolios 191
4. Deepen Understanding 148 Exhibits and Displays 191
5. Give Comfort and Insight (Bibliotherapy) 148 Individual Conferences 191
6. Fulfill Aesthetic Needs 148 Pillar X: Arts Partnerships 192
7. Provoke Inquiry 149 Author/Artist Visits 192
8. Stimulate Moral Thinking 149 Conclusion 193
9. Reveal Cultural and Historical Heritage 149 Other Resources 193
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Chapter 5 Pillar III: Collaborative Planning for Visual Art

Integration 240
Literary Arts Integration: AI Toolbox Classroom Clip: Collaborative Planning 240
and Seed Strategies Unit Planning 240
Special Feature: Poetry 194 Pillar IV: Aesthetic Learning Environment 246
Introduction 194 Classroom Clip: Aesthetic Environment 247
Immersion 247
Classroom Clip: Creating Meaning from
Nonfiction 195 Pillar V: Literature as a Core Art Form 248
Planning Pointers 248
Organization 195
Caldecott Medal Award 249
I. Energizers and Warm-Ups (E/WUs) 196 Other Sources 249
II. Teaching About Literary Elements Picture Book Integration 249
and Genre Traits 198 Pillar VI: Best Teaching Practices 250
III. Connecting Literature to Curricular Areas 200 1. Center Stage: Teachers and Instructional Quality 251
English Language Arts: Literacy Focus 200 2. Inside-Out Motivation 251
Classroom Snapshot: Verbs, Nonfiction, 3. Engagement and Active Learning 251
and Pantomime 200 4. Creative Inquiry and Authentic Art 251
Math Focus 206 Classroom Clip: Creative Inquiry
Science Focus 208 with Visual Art 252
Social Studies Focus 210 5. Explicit Teaching 252
IV. Special Focus: Poetry Sharing Classroom Snapshot: Animal Adaptations
and Writing 213 and Clay Sculpture/Visual Art Push in 253
Poetry Integration Principles 213 6. Application and Practice 255
Classroom Snapshot: ELA Through Haiku 7. Aesthetic Orienting 257
and Tableau 217 8. Process and Product 258
Conclusion 218 9. Management: Behavior, Time, and Materials 258
Other Resources 219 10. Independence and Self-Discipline 259
Pillar VII: Differentiating for Diverse
Chapter 6 Learners 259
Child Development 259
Integrating the Visual Arts Throughout General Patterns of Artistic Growth 260
the Curriculum 220 The Brick Wall 261
Literacy Parallels 261
Introduction: Visual Learning 220 Early Primary K–2 Guidelines 261
Classroom Snapshot: Reading Visual Art 221 Primary/Intermediate Grades 3–4 Guidelines 262
Upper Grades 5–6: Guidelines 262
Arts Integration Pillars 222
General Preferences 262
Pillar I: Philosophy: Why Integrate Differentiating Instruction 263
Visual Art? 222 Websites 263
1. Visual Art Is an Essential Communication
Pillar VIII: Instructional Design:
Vehicle 222
Routines and Structures 263
2. Art Engages Emotions and Motivates 224
Energizers and Warm-Ups (E/WUs) 264
3. Art Develops Aesthetic Understanding 225
Routines and Rituals 264
4. Art Promotes Attention to Details 226
Art Discussions 264
5. Art Develops High Level Thinking 227
Stations and Centers 265
6. Art Gives Confidence to Be Unique 228
7. Art Promotes Respect for Diversity 228 Pillar IX: Assessment for Learning 266
8. Art Develops Concentration, Responsibility, Assessment Options 266
and Self-Discipline 228 Program Evaluation 267
9. Art Naturally Partners with Other Pillar X: Visual Art Partnerships 267
Disciplines 229 Guest Artists 268
10. Art Makes Learning Visible: Assessment 229 Classroom Snapshot: Problem Solving Through
Pillar II: Visual Art Literacy: Visual Art 268
Content and Skills 230 Conclusion 269
What Teachers Need to Know 230 Other Resources 269
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Chapter 7 6. Enhances Feelings of Well-Being 310

7. Develops Empathy 310
Visual Art Integration: AI Toolbox 8. Promotes Reflection on Moral Issues and Values 311
and Seed Strategies 270 9. Shapes Social Skills 311
10. Contributes to Aesthetic Development 312
Introduction 271 11. Is a Learning Avenue to All Curricular Areas 312
Classroom Snapshot: Integrating Visual Art in Science 12. Externalizes Learning So It Can Be Assessed 312
and English Language Arts 271 13. Drama Is Fun-damental 312
Visual Art Seed Strategies 272 Pillar II: Arts Literacy: Drama Content and Skills 313
I. Energizers and Warm-Ups (E/WUs) 272 History and Pioneers 313
Defining Classroom Drama 314
II. Teaching Visual Art Concepts and Elements 274
Drama and Literary Elements 315
III. Using Different Media 278
Pillar III: Collaborative Planning 319
General Tips 278
Meaningful Drama Connections 319
Mixing Colors: Color Triangles 278
Common Core and National Core Arts Standards 319
Drawing and Rubbing 279
Unit Planning 320
Drawing Ideas 279
Painting and Painting Tools 280 Classroom Clip: Creating Meaning Through
Printmaking 281 Drama 321
Collage 281 Pillar IV: Aesthetic Learning Environment 322
Artistic Techniques: Enlarge, Simplify, Crop 282 Pillar V: Literature as a Core Art Form 324
Displays and Bulletin Boards 282
Pillar VI: Best Teaching Practices 325
Murals 282
1. What You Teach Is Who You Are 326
Classroom Clip: Creative Inquiry for Mural Making 283 2. Motivation 326
Mixed Media 284 3. Engagement and Active Learning 327
Photography 284 4. Creative Inquiry Process 327
Three-Dimensional Art 285
Classroom Snapshot: Inquiry into Nonfiction
Book Making 286
Using Tableau 327
IV. Connecting Visual Art to Curricular Areas 288 5. Explicit Teaching 329
English Language Arts: LITERACY FOCUS 288 6. Application, Practice, and Rehearsal 330
Math Focus 293 7. Aesthetic Invitations 330
Classroom Snapshot: Problem Solving Using Art 8. Process and Product 330
and Math 294 9. Management of Time, Space, and Students 330
Science Focus 297 10. Independence and Self-Discipline 333
Social Studies Focus 299 Pillar VII: Differentiating for Diverse Needs 333
Conclusion 301
Other Resources 302
Multicultural Art Sources 302
Routines 334
Lessons Structures 335
Clubs 336
Chapter 8 Pillar IX: Assessment for Learning 336
Integrating Classroom Drama Throughout Assessment for Learning 336
Curricular Areas 303 Coaching 337
Assessment Resources 339
Introduction 303
Pillar X: Arts Partnerships 339
Classroom Snapshot: Social Studies Through Drama 304 Arts Agency Collaborations 339
Arts Integration Pillars 306 Arts Education Partnership 340
Pillar I: Philosophy: Why Integrate Drama? 307 Teaching Artists and Artist Residencies 341
Rationale for Drama Integration 307 Professional Development 341
1. Increases Motivation, Concentration, and Focus 307 School-Based Drama Specialists 341
2. Stretches Perspective Through Pretending 307 Teaching Artist Spotlight: Poetry Making
3. Enhances Comprehension and Writing 309 with the Drama King 342
4. Develops Speaking, Listening, and Nonverbal When There Is No Drama Specialist 343
Communication 309 Conclusion 344
5. Increases Creative Thinking Agility 310 Other Resources 344
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Chapter 9 6. Dance/Movement Build Focus and Concentration 390

7. Dance/Movement Develop Self-Control
Drama and Storytelling Integration: and Confidence 390
AI Toolbox and Seed Strategies 345 8. Dance/Movement Involve Integrated Brain–Body–Soul
Work 391
Introduction: Classroom Drama Recap 346 9. Dance/Movement Promote Health 391
Classroom Snapshot: Planning Radio Commercials 10. Dance/Movement Satisfy the Aesthetic Need for
to Show History Learning 346 Beauty 392
Chapter Organization 348 11. Dance/Movement Are Paths to Cultural Understanding
and Expression 392
I. Energizers and Warm-Ups (E/WUs) 348
12. Dance/Movement Can Be Powerful Cross-Curricular
II. Pantomime Seed Strategies 351 Learning Tools 392
Basics 351 13. Dance and Movement Are Fun! 393
Getting Started 352
Pillar II: Dance Literacy: Content and Skills 393
III. Verbal Improvisation Strategies 358 What Do Teachers Need to Know About Dance? 394
IV. Connecting Drama to Curricular Areas 364 Dance Materials 398
English Language Arts: Literacy Focus 365 Teaching Approach 399
Classroom Snapshot: Vocabulary Meanings Pillar III: Collaborative Planning 400
Through Drama 365 National Standards for Dance 401
Math Focus 369 Standards and Integration 401
Science Focus 371 Complementary Connections 402
Social Studies Focus 372 Two-Pronged Lesson Plans 405
V. Special Focus: Storytelling, an Integrated Pillar IV: Aesthetic Learning Environment 408
Art Form 374 Psychological Space 409
Community Snapshot: Storytelling Collaboration 374 Pillar V: Literature as a Core Art Form 410
Why Storytelling? 375 Dance-able Books 410
Strategies and Resources 376 Guidelines for How to Dance Books 410
Storytelling Sources and Resources 381 Pillar VI: Best Teaching Practices 412
Teacher Spotlight: Science and Drama 381 1. What You Teach Is Who You Are 412
Student Spotlight Day’s End 382 2. Inside-Out Motivation 412
Conclusion 382 3. Engagement and Active Learning 413
Other Resources 382 4. Creative Inquiry 414
Activity Books 382 5. Explicit Teaching 415
6. Apply and Practice 416
7. Aesthetic Orienting 417
Chapter 10 8. Process or Product 417
9. Management: Behavior, Time, and Materials 418
Integrating Dance and Creative Movement 10. Independence and Self-Discipline 420
Throughout the Curriculum 383 Pillar VII: Differentiating for Diverse Student
Needs 420
Introduction 383
Differentiation for Special Needs 420
Classroom Snapshot: Science and Skeleton
Dancing 384
Teaching Through the Arts 386 IDC Lesson Framework 421
Relax! You Need Not Be a Dancer 386 Squeezing 422
Arts Integration Pillars 387 Lessons That Fall Flat 422
Pillar I: Why Integrate Dance and Movement? 387 Routines: Start and Wrap-Up 423
1. Dance/Movement Are Indispensible Communication Four Corners Stations 423
Vehicles 387 Dancers/Dance Spotlight 423
2. Dance/Movement Develop Complex Thinking Processes Clubs 423
Needed for Creative Inquiry 388 Pillar IX: Assessment for Learning 424
3. Dance/Movement Are Integral to Real Life 389 Assessment Criteria: Observing and Creating Dance 425
4. Dance/Movement Develop Vital “Soft Skills”: Assessment for Learning 425
Responsibility, Respect, and Hard Work 389 Feedback 426
5. Dance/Movement Increase Sensitivity Observation with Anecdotal Records 426
and Cooperation 389 Debriefing 426
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Self and Peer Assessment 426 Pillar II: Music Literacy 469

Portfolio Entries 427 Defining Music 470
Pillar X: Arts Partnerships 427 Purposes and Roles 470
Initiating Collaboration 427 Music Elements and Concepts 470
Residencies 428 Music Processes or Skills 472
Musical Instruments 473
Classroom Clip: Science Through Dance 428
Genre and Music Styles 474
Student Spotlight: Advice from Kids 429 People of Music 474
Conclusion 429 Music Materials: Sources 475
Other Resources 430 Music and Songs to Know 476
Music Approaches 477
Chapter 11 Pillar III: Collaborative Planning 478
Nine National Standards for Music K–8 479
Dance and Movement Integration: Transfer 480
AI Toolbox and Seed Strategies 431 Complementary Connections 481
Unit Centers 483
Introduction 432
Two-Pronged Integrated Plans 484
Classroom Snapshot: States of Water Through Dance 432 Pillar IV: Aesthetic Learning Environment 485
Organization 434 Background Music: Research 486
I. Energizers and Warm-Ups (E/Wus) 434 Beyond Background Music 486
II. Dance BEST Elements and Concepts 438 Pillar V: Literature as a Core Art Form 488
III. Integrating Dance in Curricular Areas 443 Pillar VI: Best Teaching Practices 490
Literacy Focus: English Language Arts 443 1. What You Teach Is Who You Are 490
Math Focus 447 2. Inside-Out Motivation 491
Teacher Spotlight: Mary-Mac’s Minuet 449 3. Engagement and Active Learning 491
Science Focus 450 4. Creative Inquiry 493
Social Studies Focus 453 Classroom Clip: Complex Text 493
IV. Multiarts Focus: Integrating Dance 5. Explicit Teaching 494
with Other Arts 456 6. Apply and Practice 497
Teacher Spotlight: From Ballet to Fifth Grade 457 7. Aesthetic Orienting 497
Conclusion 458 8. Process and Product 498
Other Resources 458 9. Management: Behavior, Time, and Materials 498
Web Resources 458 10. Independence and Self-Discipline 499
Dance Activity Books 458 Pillar VII: Differentiation for Diverse Needs 499
Technology 499
Nature and Nurture 499
Chapter 12 Musical Development 500
Integrating Music Throughout Pillar VIII: Instructional Design:
the Curriculum 459 Routines and Structures 501
Lesson Segments 501
Introduction: Our Insatiable Appetite for Music 459 Daily and Weekly Routines 501
Music for Learning’s Sake 460 Energizers and Warm-Ups 502
Classroom Snapshot: Sing Out for America 461 Centers, Stations, Displays 502
Schoolwide Structures 503
Ten Arts Integration Pillars 462
Music and the Brain 463 Pillar IX: Assessment for Learning 503
Two-Pronged Assessment Planning 503
Pillar I: Philosophy: Why Integrate Music? 464
Feedback 503
1. Music Is a Significant Part of Life 465
Performance and Portfolios 503
2. Music Is a Vital Communication Vehicle 466
Interest Inventories 504
3. Music Provides a Foundation for Learning 466
Program Evaluation 504
4. Music Is a Vehicle for Creativity and Learning 467
5. Music Builds Desirable Character Traits 467 Pillar X: Music Partnerships 504
6. Music Promotes Physical and Mental Health 468 Music Specialists 504
7. Music Bonds 468 Classroom Snapshot: African American Music
8. Music Records and Reflects Cultural Identify and History 504
and History 469 Conclusion 506
9. Music Makes Us Happy 469 Other Resources 506
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Chapter 13 Appendix C
Music Integration: AI Toolbox Checklist for Planning with Artists 565
and Seed Strategies 507
Introduction 508
Classroom Snapshot: Using Music to Teach Social
Appendix D
Studies and ELA 508 Assessment Tools and Resources 566
Seed Strategies 511
I. Energizers and Warm-Ups (E/WUs) 511
II. Music Elements and Concepts 513
Appendix E
III. Integrating Music Throughout Curricular Discipline Prevention and Intervention 571
Areas 518
English Language Arts: Literacy Focus 518
Classroom Snapshot: Music-Based Language Arts 519 Appendix F
Math Focus 527 Arts-Based Book/Text Response
Science Focus 529
Social Studies Focus 531
Options 573
Artist Spotlight: A Master Creative Thinker 534
Conclusion 534
Other Resources 535 Appendix G
Artistic Birthday Buddies Project 575
Epilogue 536
Bibliography 538 Appendix H
Bibliography: Children’s Literature Arts-Based Field Trip Guidelines 576
References 556
Appendix I
Appendix A Websites: Resources for Arts
Developmental Stages: Characteristics Integration 577
and Suggestions 560
Seed Strategy Index 578
Appendix B Subject Index 581
Differentiating for Students
with Diverse Needs 563 Photo Credits 596
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RU = Research Update, RR = Ready Reference, PP = Planning Page
Chapter 1 PP 3.6: Questions for AI Unit Planning 106

PP 3.7: Unit Planning Web 109
RR 1.1: Gifts of the Arts 12 PP 3.8: Unit Development Sources
RR 1.2: Aligning Math Standards with Creative and Process 110
Inquiry 13 RR 3.9: Best Practices for Arts Integration 115
RU 1.3: AI for the FUN of It: From Entertainment RR 3.10: Inquiry Questions (IQs) 119
to Engagement 17 RR 3.11: PARTICULAR: (Acronym) Differentiation
RU 1.4: Arts Integration and Learning 22 Strategies 128
RR 1.5: Arts-Based Strategies Congruent PP 3.12: Two-Pronged Lesson Plan 134
with Common Core 25 RR 3.13: Checklists and Rubrics 139
RR 1.6: What Common Core and Arts Standards RR 3.14: Questions to Prompt Reflection 141
Have in Common 27
RR 1.7: Integral Connections: Reading, Writing,
Math, and the Arts 34 Chapter 4
PP 1.8: Arts Integration Toolbox: RU 4.1: Literature-Based Instruction 147
Strategies Preview 35 RR 4.2: Literary Elements 154
RR 1.9: Examples of Arts Integration Projects 36 RR 4.3: Genres and Subgenres 158
RR 4.4: Poetry Resource: Well-Known
Poets 159
Chapter 2 RR 4.5: Common Core Anchor READING
RR 2.1: Creative Achievers Profile 54 Standards: AI and the Literary Arts
RR 2.2: Creative Behaviors That Cause Connections 166
Trouble 55 RR 4.6: Common Core Anchor WRITING
RR 2.3: Creativity and Brain Research 57 Standards: AI and the Literary
RR 2.4: Creative Inquiry Process: Arts 167
Two I’s and Seven C’s 58 RR 4.7: Common Core Anchor LANGUAGE/
RR 2.5: Assessing Creative Work 62 SPEAKING and LISTENING
RR 2.6: Daily Creative Challenges 63 Standards: Arts Integration
RR 2.7: Creative Inquiry Template 66 and the Literary Arts 168
RR 2.8: Creativity Catalysts 67 PP 4.8: Author–Artist Study Sources 169
RR 2.9: Creativity Quashers 68 RR 4.9: Chapter-by-Chapter AI Strategies 171
RR 2.10: Gardner’s Eight Intelligences 72 PP 4.10: Creative Inquiry for Comprehension 171
RR 2.11: Piaget’s Stages of Development 74 PP 4.11: Literature and Social Studies 172
RR 2.12: Maslow’s Hierarchy of Needs 76 RR 4.12: What Makes Good Literature? 175
RR 2.13: Artistic Child Development 78 RR 4.13: Literature Selection Sources 176
RR 2.14: Artful Teaching 87 RR 4.14: Poetry Books 177
RR 4.15: Inquiry Questions (IQs) for Fiction 180
RR 4.16: Literary Discussions:
Chapter 3 Prep and Start Up 189
RR 3.1: AI Pillars: Questions for Planning 99
RU 3.2: Arts and School Success 100
RR 3.3: Arts Advocacy: Mini-Lesson and Discussion
Chapter 5
Topics 101 RR 5.1: AI Toolbox: Literary Arts 195
RR 3.4: Think Like an Artist 102 RR 5.2: Writing Choices A–Z 202
RR 3.5: Shared Vocabulary: Multiple Meaning RR 5.3: Words Alive: Arts-Based Word Wall 203
Arts Words 105 RR 5.4: Picture Book Art Criticism 205
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RR 5.5: Poem Patterns 207 RR 8.7: Literature for Drama 324
RR 5.6: Poetry Performance Strategies 214 RR 8.8: Attention Signals 331
RR 8.9: Particular Ways to Differentiate
Drama 334
Chapter 6 RR 8.10: Checklist: Drama Elements/Skills 338
RU 6.1: Visual Art and Achievement 223 RR 8.11: All-Purpose Inquiry Questions (IQs) 338
RU 6.2: Visual Imagery 225 RR 8.12: Touring Theatre Companies 340
RR 6.3: Aesthetic Development Stages 226
RR 6.4: Well-Known Artists 233 Chapter 9
RR 6.5: Picture Book Artists 233
RR 6.6: Art Materials and Media RR 9.1: AI Toolbox: Classroom Drama
Techniques 234 Integration 345
RR 6.7: Art Media in Children’s Books 235 RR 9.2: Pantomime Seed Possibilities A–Z 352
RR 6.8: Visual Art Elements 236 RR 9.3: Sound Story Example: Symbiosis 359
RR 6.9: Art Concepts and Design/Organizing RR 9.4: QU Script Example 361
Principles 236 RR 9.5: Improvised Scene Source
RR 6.10: Art Elements and Children’s Books 237 Material 363
RR 6.11: Subject Matter with Literary RR 9.6: Basics for Staging 364
Examples 237 RR 9.7: Arts Alive: SHOWTIME Task Cards
RR 6.12: Art Styles in Children’s Books 238 for “Symbiosis” 369
RR 6.13: Art Discussion Inquiry Questions (IQs) RR 9.8: Reader’s Theatre Tips 370
and Strategies 239 RR 9.9: Reader’s Theatre Script Example 371
RR 6.14: National Standards for Visual Arts 241 RR 9.10: How to Choose Stories 376
PP 6.15: Artist–Author Study Web 244 RR 9.11: Pointers for Learning Stories 377
RR 6.16: Museum Scavenger Hunt 245 RR 9.12: Pointers for Telling a Story 377
PP 6.17: Art/Math Lesson Plan 246 RR 9.13: Plot Skeleton for “Fable of the Farmer
RR 6.18: Kay’s Deadly Dozen 256 and Mule” 378
RR 6.19: From Scribbles to Pictures 260
Chapter 10
Chapter 7 RU 10.1: Dance and Achievement 388
RR 10.2: BEST Dance Elements
RR 7.1: AI Toolbox: Visual Art Seeds 270 and Concepts 396
RR 7.2: Art Elements: Questions RR 10.3: Laban Qualities of Movement 397
and Activities 276 RR 10.4: Well-Known Dance Figures 398
RR 7.3: Reading Art Subject Matter 277 RR 10.5: Dance Forms and Styles 398
RR 7.4: Recipes for Clays, Doughs, RR 10.6: Music for Classroom Dance 399
and Pastes 283 RR 10.7: National Dance Standards 402
RR 7.5: Puppet and Mask-Making Ideas 287 PP 10.8: Dance-Based Literacy Lesson 404
PP 7.6: Stained Glass Nine-Day Plan 289 PP 10.9: Skeleton Dance Unit Overview
PP 7.7: Art and Literacy Lesson (ALL) (Wrenn Cook) 406
Protocol 290 PP 10.10: Dance and Health
RR 7.8: Picture Books Art Strategies 291 (Circulatory System) 407
RR 7.9: Artist Experts 294 RR 10.11: Pre/Post–Dance Performance
RR 7.10: Artists Alive! 294 Materials 408
RR 10.12: Dance-Based Children’s Literature 411
RR 10.13: Dance Challenges: Exploring Letter Names
Chapter 8 and Shapes 424
RU 8.1: Drama and Academic Achievement 308 RR 10.14: Criteria to Create and Assess Dance-Based
RR 8.2: Shared Elements: Drama and Literary Lessons 425
Narratives 316 PP 10.15: Skeleton Dance Choreography
RR 8.3: Classroom Drama Elements Rubric 426
and Skills 317
PP 8.4: Drama Challenges to Increase
Comprehension/Understanding 318
Chapter 11
RR 8.5: National Standards for Theatre 320 RR 11.1: AI Toolbox: Classroom Dance
PP 8.6: Drama and Science (Primary Grades) 323 and Movement 431
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RR 11.2: Full Body Warm-Up (Axial/ RR 12.8: Favorite Songs 477

Non-Traveling) 432 RR 12.9: Solfège Music Syllables 479
RR 11.3: Five Ballet Positions 435 RR 12.10: Nine National Standards for Music 480
RR 11.4: Locomotor and Non-Locomotor (Axial) PP 12.11: Literature Through Music
Moves 439 (Grades 1–2) 484
PP 11.5: Dance and Math 448 RR 12.12: Background Music 487
RR 11.6: Environmental Sources of Dance PP 12.13: Music-Based Literature by Topic 488
Making 450 PP 12.14: Books by Music Categories 489
RR 11.7: Social Studies Movement RR 12.15: Musical Artists Who Record
Possibilities 454 for Children 490
RR 11.8: Five Dances from Around RR 12.16: Teaching Songs 495
the World 455
Chapter 13
Chapter 12 RR 13.1: AI Toolbox: Music Seed Strategies 507
RU 12.1: Music’s Effects on Learning 464 RR 13.2: Making and Finding Rhythm
RU 12.2: Academic Impact: Music Integration 465 Instruments 515
RR 12.3: Music Elements and Concepts 472 RR 13.3: Music Response Options 519
RR 12.4: Reading Music: Quick Reference 473 RR 13.4: Songs for Literacy 521
RR 12.5: Music Genre and Style 474 PP 13.5: Guided Music and Literacy Lesson 524
RR 12.6: Music Eras and Composers 475 RR 13.6: Song Writing 525
RR 12.7: Music and Song Resources 476 RR 13.7: Music Experts 526
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Foreword
There is a quiet but determined movement throughout K–12 education in this country led by
teachers who have discovered the power of integrating the arts into their teaching. Each year,
more teachers are incorporating the arts into their classrooms, often in partnership with arts
specialists. These educators are using a variety of teaching strategies that lead to active student
participation. This, in turn, leads to livelier classrooms.
Because our lives do not naturally fall into 50-minute segments during which we focus
on one subject at a time, many educators are also taking a second look at integrating multiple
disciplines in their instruction, with an eye on making learning more meaningful for students.
These ideas—teaching by integrating subjects and using the arts to teach other curriculum
areas—are not new to education; indeed, they have been advocated by arts groups and many
educational institutions for years.
In the 1960s, arts education began to enjoy the spotlight through the work of such or-
ganizations as the National Endowment for the Arts and the John D. Rockefeller III Fund.
Since then, educators and arts organizations have worked together more closely to provide
arts education experiences for students. Over the intervening years, hundreds of arts organiza-
tions have made it part of their mission to support the classroom teacher in efforts to teach in,
through, and about the arts.
Practitioners in the arts education field understand that professional learning in the arts is
valued, not only by experienced teachers, but also by university students studying to become
teachers. Indeed, professional learning in the arts for practicing teachers is such a growing field
precisely because course work in the arts is limited or nonexistent for preservice teachers. It is
time to provide more resources and information about the arts and integration at the under-
graduate level. With this book, Claudia Cornett has provided such a resource.
Creating Meaning Through Literature and the Arts is a valuable resource to both preservice
and veteran teachers who are new to the concept of arts integration. Educators will find basic
information about the four arts disciplines of dance, drama, visual art, and music; diverse appli-
cations of literature; strategies and lesson plans for interdisciplinary teaching; resource lists; and
an extensive bibliography. Readers will enjoy Dr. Cornett’s incorporation of many practical
examples and appreciate the Research Updates, which highlight arts and education research
and facts. Additionally, readers can witness integration through classroom vignettes placed
throughout the chapters. In these “Snapshots” and “Spotlights,” actual lessons are described in
which the arts are integrated into teaching and learning. As teachers continue to hear the cry
for education reform, school change, and school improvement with ever-increasing frequency,
many have turned to the arts. With her book, Dr. Cornett has provided a tool to guide teachers
on the path toward making the arts a meaningful part of the classroom experience.
Barbara Shepherd
Director, National Partnerships
The Kennedy Center
Washington, DC
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Preface
Arts integration is “the most significant innovation in the field over the last two decades. . . .”
—President’s Committee on the Arts and the Humanities (Duncan, 2011, p. 41)
Since the first edition of this book, arts integration (AI) has gathered steam across America.
Thousands of classroom teachers have been moved to re-imagine themselves—to collaborate
with art specialists to plan math lessons, consult with music teachers about social studies links,
bring the English language arts to life through drama, and turn science content into informative
and artistic dances. Instead of joining a robotic march toward standards implementation, these
AI teachers see themselves as instructional architects charged with envisioning innovative ways
to reach challenging educational goals. Today, their creative practices and indefatigable courage
are producing undeniably impressive learning results—concrete testaments to how the forces of
can’t do and won’t work are being defeated.
Indeed, the vision of the arts as the “fourth R” has become a classroom reality, with imagi-
nation and creative inquiry made integral to the educational main course. Instead of drill and
kill, AI teachers engage and un-cage, drawing students into problem solving by issuing intrigu-
ing challenges laced with what if and how might questions. Thus, AI breathes life into learning
in every content area.
Fueling Arts Integration

AI is powering a sea change in education. Fuel for this AI engine comes from numerous
sources, including . . .
• Growing dissatisfaction with an oppressive test-driven school culture and outdated teach-
ing methods that have failed to narrow troubling achievement gaps between haves and
have-nots.
• Challenging standards that demand students be prepared for 21st century higher education
and work, which requires coordination of complex thinking in order to comprehend so-
phisticated texts and skillfully articulate synthesized conclusions using written, spoken, and
multimodal communication forms.
• Mounting research results that confirm that the arts “level the playing field” for the hardest-
to-reach students by motivating and teaching them how to make sense of challenging sub-
ject matter.
• Ready access to searchable arts education research databases, such as those available at Arts
Education Partnership, which allow educators to maintain a bead on what works.
• Designation by federal legislation that the arts are to be treated as core academic disciplines with
equal status to other curricular areas.
• Government investment in diverse arts integration projects across the country, including
model dissemination grants and Title I funded programs.
• National organizations, such as the Kennedy Center’s Partners in Education, which support
school efforts to put arts-based educational research into practice.
• Philanthropic organizations such as Annenberg, Ford, Dana, and other foundations that have
given millions of dollars to investigate and support arts-based education.
In contrast to previous educational movements built on shifting sands, the foundation for
AI has a broad and rock solid base. A unique coalition of educators, arts and cultural organiza-
tions, government agencies, and hundreds of businesses and corporations have joined forces
around a common goal—to improve education by devising innovative instructional practices
that align with curriculum goals aimed at preparing students for our constantly evolving future.
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The efforts of diverse collaborations have honed AI into a powerful and nimble tool that has
proven to have potent effects on learning.
Mounting Evidence
A wealth of studies now document that carefully planned and thoughtfully implemented arts
integration (AI) projects can significantly impact students’ academic performance and develop
essential prosocial behaviors. Amazingly, AI models appear to have the most dramatic effects
on the cognitive and affective development of our most needy learners, particularly those from
the lowest income strata in the United States.
After decades of work, AI has shown itself to be more than just another educational reform.
Indeed, AI transforms; teachers dramatically alter their views about students and learning when
they place creative practices central to the arts at the core of instruction. Now, an expanding
research base documents that when substantial links are forged between the arts and other aca-
demic studies, an impressive range of positive educational consequences results. In particular,
AI approaches . . .
• Increase motivation for learning, primarily by teaching students to solve problems using cre-
ative processes inherent in arts work. Problem-centered teaching ignites curiosity and thus
motivates students to employ the highest levels of thinking—those embodied in creative
inquiry, with its component critical thinking.
• Elevate student achievement (learning, grades, scores), which reflects increased involvement
in the aforementioned self-motivating creative inquiry process. Some of the most difficult
to reach students are “turned on” by academic study infused with interesting arts-based
practices and content.
• Develop desired social skills. “Habits of the mind” most sought after in the 21st century, such
as independent problem solving—reliant on integrating a set of creative critical thinking
and working processes—is inherent in cross-disciplinary AI learning. As students develop
multiple skill sets, they also learn to collaborate with others, choose to persist at difficult
tasks, take prudent risks, think more flexibly, and deal with ambiguity and complexity with
confidence. With coaching from teachers and arts specialists, the self-efficacy of learners
grows. As kids become more capable, they feel increasingly empowered to be actors, in-
stead of puppets, on the stages of school, career, and life.
Zooming In on the AI Advantage

How has this unique instruction approach, with a host of variations, been able to break the
back of persistent student achievement gaps? At the heart of AI is the unstoppable force that
drives human success—creativity. And the arts are a major storehouse of creative practice.
Viewing the arts as potential instruments of daily learning in every curricular area invites
active creative investigation by students. In essence, the arts become learning levers, raising
motivation and thus increasing achievement as students become more involved and in control
of their own learning. In essence, the arts act as connective tissue for the entire curriculum—
parallel to how the processes of reading and writing must be woven throughout every dis-
cipline. But when the arts are added to every student’s communication repertoire, there are
special effects, particularly aesthetic engagement, which widens the circle of understanding to
include emotional ways to know and respond.
By design, AI is accompanied by traditional specialist-led arts classes meant to teach the
“arts for arts’ sake” courses. Without adding teaching time or subtracting rigor from any dis-
cipline, AI increases access to arts literacy by making arts learning integral in all classes. And
access to the arts is vital to achievement—as demonstrated by the correlation found between
low scores and inequities in availability of arts education opportunities (National Assessment of
Educational Progress in the Arts, 2003-2012).
Using principles described in previous paragraphs, schools that choose AI undertake to
develop the arts instructional efficacy of every teacher, create a more aesthetic school-wide
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Preface xxi
climate, and expand the circle of education to make families and community agencies genuine
partners in learning. Thus, AI boosts student achievement because it promotes . . .
• Focus on creative thinking. As students learn how to address challenges using the creative
inquiry process (imagine possibilities, collect information, connect ideas, conclude, critique,
and communicate), they expand their capacities to understand/comprehend, represent,
and share synthesized “big ideas.” Personal life, as well as educational and eventual ca-
reer success, becomes more probable as youth learn to manage this vital process. Indeed,
creativity is the source of innovation (e.g., technology), so it is unsurprising that CEOs
around the world claim it is the most important leadership quality (IBM Corporation,
2010). Moreover, employers rank arts study as second only to a track record in entrepre-
neurship in identifying those with the highest creative potential (Lichtenberg, Woock, &
Wright, 2008).
• More positive school climate. AI philosophy and practice establish a context for using creative
practice and promote a culture of respect for diverse ideas and unique ways to learn. Teach-
ers benefit when freed to take risks, experiment, and work together to solve p roblems.
Most importantly, kids benefit when their teachers are empowered to empower them.
• Greater collaboration. Teachers cooperate across grade levels and disciplines, working with
arts specialists to tackle every manner of learning challenge. Viewing themselves as learners
first, teachers work collaboratively with students—co-investigating academic challenges.
And collaboration doesn’t cease at the schoolhouse door. AI invites community mem-
bers in. Teaching artists, museum educators, parents, community leaders—all are potential
partners in cross-disciplinary planning for arts-based teaching and learning with real world
applications.
• Improved instructional effectiveness. Collaborative planning and implementation of inquiry-
oriented, problem-centered, and project-based cross-disciplinary work connected to real
world work and life produces memorable lessons with stunning learning results.
• Amplified use of differentiated teaching. AI instruction is customized in the sense that diverse
student needs, interests, and strengths are viewed as entry points for learning. AI works be-
cause it celebrates individual differences instead of suppressing them. When students learn
to skillfully employ multimodal arts communication to understand, represent, and express
their conclusions, they are liberated to search for their own special niches.
• Changed focus of assessment. Performance assessment with a bias for “do and show” is used to
design learning events personalized to student interests, strengths, and needs. Such lessons
have inherent motivational properties that sustain engagement with content.
• More efficient use of time and money. As school curricula are upgraded to meet higher stan-
dards, AI is able to ameliorate either/or problems in which subjects compete for time and
resources. By simultaneously addressing multiple learning outcomes, AI becomes an ef-
ficient, cost effective approach in which instructional time is saved; thus, the educational
budget is more wisely used.
AI: Educational Practice Aligned

with Research
Some of the most exciting research on teaching and learning involves study of the growth and
functioning of the human brain. Studies suggest that learning with, about, in, and through the
arts changes our minds. Particulars discussed in this book include how to use the arts to . . .
• Draw learners forward along a universal continuum of developmental stages that move to-
ward increasing complexity of thought (i.e., general to particular and concrete to abstract).
• Engage aesthetic understanding by integrating the brain’s emotional processing capacities with
the cognitive and physical. Arts experiences concentrate on noticing details and making
sense of them, which brings both immediate motivational rewards and cumulative benefits
as engagement with learning is extended.
• Rehearse or repeat information and skills by channeling learning through multiple modalities/
pathways, which activates more of the brain.
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• Represent ideas and emotions using multimodal thinking and forms, which allows more com-
munication choices that can be aligned to individual strengths, as well as the context or
audience.
The goal of AI instruction is for students to restructure information using multifaceted
communication—perhaps changing verbal information (words) into a visual form (drawing)—
which engages more of the brain’s potential. Learning effectiveness is expanded as domains
of understanding and expression are added; in other words, transfer of learning to long-term
memory is facilitated (Rudacliffe, 2010). Meaningful high caliber AI creates the conditions for
transfer of deep knowledge and skill learning, gained through arts work, to traditional academic
areas, and vice versa. What’s more, arts-based learning transfers to life in the 21st century with
its burgeoning demands for creative thinking and working.
In sum, arts-infused learning focuses on restructuring ideas. Prolonged engagement with
restructuring—a key process in creative thinking—transforms students from information re-
cipients into active meaning makers—thus, the title of this book. This deep change often eludes
measures common to standardized testing, but it is readily observable in thousands of AI class-
rooms each day. Working collaboratively to creatively solve problems that transcend curricular
boundaries, students huddle together in conversation and debate, further defining the problem,
collecting ideas, experimenting with connections, testing out conclusions, and deciding how to
communicate their thoughts. As teachers subtly and skillfully coach students toward increasing
independence, learners become increasingly more competent, confident, flexible, open to dif-
fering perspectives, proud of group efforts, and willing to both give and receive peer feedback.
It is clear kids are more engaged and thinking more deeply. Futhermore, students, teachers, and
parents involved in arts integration report everyone is just plain happier about school.
Literacy IS the Arts

Creating Meaning through Literature and the Arts tells the story of how arts integration (AI) has
grown so much in a few decades. It is the story of hundreds of arts-based schools. Some start-
ups, such as Hilton Head School for the Creative Arts (SC) and Tallahassee Magnet School of
the Arts (FL), have been at it for less than a decade. Others, such as Ashley River Creative Arts
(ARCA)—one of the schools featured in this edition—is pushing the 30-year mark. Old and
new, public, magnet, and charter, today’s AI schools draw upon cutting edge research, evolv-
ing state standards, and constructivist beliefs to transform teaching and learning. At schools
like Lady’s Island Elementary School (LIES)—another featured school—arts integration has
evolved as the student body and teaching staff have changed, which required a reboot of their
original model.
At these four AI schools, as well as hundreds of others, literacy is viewed as something
much greater than competency in the language arts. Why? AI expands educators’ perspec-
tives on how humans first communicated and spotlights the role of the arts in 21st century
communication. Indeed, the arts are now recognized as essential vehicles to understand and
express thoughts and feelings, playing both leading and supporting roles as multimodal ways to
represent ideas and emotions. No longer is literacy reduced to speaking, listening, reading, and
writing words alone (i.e., the language arts). Today, literacy is the arts—all the arts!
As the traditional stars of the curriculum, reading and math are means to understand and
express meaning. However, the arts equally and uniquely accomplish these same communi-
cation purposes but add more diverse results; indeed the arts have the potential to capture
thoughts and emotions too slippery for words. Moreover, today’s multimedia-dominated
and technology-driven world is captained by innovative thinkers—well-known masters of
problem-based creative practice. Unfortunately, there is a short supply creative thinkers. How
can schools help grow students’ capacity to orchestrate artistic processes needed to meet con-
temporary demands? Arts integration answers this question by making the creative inquiry
process central to learning across curricula areas.
As the first communication tools of early humans, the arts were sought out for their power
to uplift and elevate ideas and emotions. Today, the arts are treasured as repositories of culture
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with immeasurable intrinsic value. In additional, the instrumental purpose of the arts has been
rediscovered—in particular, how the arts are powerful communication tools that belong in
the inner circle of learning. In AI schools, the arts are no longer sequestered from the rest
of education, but rather are integral pieces of the educational puzzle. By uniting, combin-
ing, and orchestrating thinking and learning around artistic processes—summarized in creative
inquiry—AI elevates the act of teaching to art. Thus AI students are stirred by the beautiful,
invited to grapple with the profound, and allowed to determine for themselves what is good.
Through the arts, students create meaning—thoughts and emotions extended through visual
images, amplified with music and brought to life through dance and drama. In this man-
ner, the arts also give voice to those whose words are inadequate to meet the difficult task of
communication.
Indeed, the arts provide doors through which we can enter into real and fictional worlds
or windows that allow us to simply peek in. The arts are microscopes that permit us to zoom
in for an intense close up, or they can act as telescopes, making it possible to zoom out for a
broadened perspective. The arts create bridges of understanding and give energy and passion to
work. All in all, the arts give meaning and life to all they touch.
Text Organization
This book is not only about integration, but is also structured in an integrated manner.
• Part I (Chapters 1–3) includes content that is integrated into all subsequent arts-specific
chapters.
• Part II (Chapters 4–13) refers to information introduced in Part I, including repeated refer-
ence to figures that summarize essential components of the creative inquiry process.
• In addition, the arts-specific chapters (Chapters 4–13) refer to one another (e.g., discus-
sions about classroom management and discipline, assessment, etc.).
What this means is that a reader who chooses to study chapters relevant to one art form will
quickly see the need for access to other chapters and text features. To assist readers, the follow-
ing tools have been built into the book:
• Table of Figures: This important reference is located after the Table of Contents. The titles
of all the Ready Reference, Research Update, and Planning Page features in each chapter
are listed, along with numbers (chapter first).
Example: Planning Page 7.6 is found in Chapter 7, and is the sixth figure in the chapter.
• Classroom Clips, Snapshots, and Spotlights: These examples are included to make a bstract
ideas more concrete. Readers are invited to visualize how a menu of real arts-based teach-
ing strategies can be synthesized into a lesson and see how specific schools have transitioned
to a custom designed AI approach.
• Bolded Strategies: In most Classroom Snapshots, I have bolded key teaching strategies to
uplift them for the reader’s consideration as s/he builds a personal instructional AI toolbox.
• Website Citations: Because of legal issues, full URLs are usually not listed within the
body of the text. To locate websites, either do a search or use the abbreviated informa-
tion surrounded by parentheses immediately following content to find full citations in the
Bibliography at the end of this book.
Content Organization
Chapters in the fifth edition describe what arts integration includes, why AI is now an impor-
tant school reform, and how it can be variously implemented. Although there is no one right
AI model, common principles or pillars are discussed that support designs that make the arts
integral, as opposed to curricular add-ons. Ten AI Pillars serve as organizers for how to employ
the arts as learning tools, while maintaining strong traditional arts education classes taught by
specialists.
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Since classroom teachers are center stage in AI implementation, I have synthesized what
teachers new to AI need to know and be able to do to get started. Part I (Chapters 1–3) pro-
vides an overview of arts integration.
• Chapter 1 introduces the concept of arts integration as creating meaning through the arts using
updated research and a discussion of connections to Common Core.
• Chapter 2 briefly describes the beliefs, research, and theories that support AI. This chapter
features an in-depth discussion of the creative inquiry process including what it is, why it
is the core of AI, and how to teach thinking and working skills embodied in creativity.
• Chapter 3 is an overview of the AI Pillars, a set of ten common principles that support
diverse arts integration frameworks.
Part II begins a more in-depth look integrating each of five arts, with two chapters each
for the literary arts, visual art, drama, dance, and music.
• Even-numbered chapters explain practical ideas for using the ten AI Pillars (e.g., rationale,
planning units and lesson plans, arts literacy, best practices, differentiating instruction, as-
sessment for learning).
• Odd-numbered chapters with thumb tabs are compendia of seed strategies—brief idea starters
in the categories of (1) energizers/warm-ups, (2) ways to teach arts elements and concepts,
and (3) curricular areas of English language arts, math, science, and social studies.
Features New to This Edition

The fifth edition of Creating Meaning Through Literature and the Arts includes significant changes.
To begin with, a revised AI definition now matches the book’s title. This definition is front-
loaded in Chapter 1 and anchors the main message of the entire book. Other important addi-
tions and revisions include . . .
• Creative Inquiry: A student-friendly model of “creating meaning” is introduced in Part I
and discussed in detail in Chapter 2. Since creative thinking is the centerpiece process in
AI, strategies for teaching students how to use the “Two I’s and Seven C’s” are featured
in every chapter.
• Common Core State Standards: Interwoven throughout the book are examples of how
AI supports the standards, but more importantly goes beyond the floor these goals set.
Moreover, AI is presented as an innovative approach to meeting any student expectations
governed by 21st century work, learning, and life demands.
• Research Updates: One- to two-page figures summarize arts-based studies and research in
newer fields such as brain research and visual imagery.
• Ready References: These figures outline sources and information teachers need to consult
frequently as they implement AI. Some of these summarize basic arts literacy (by art form)
recommended for classroom teachers, as well as provide guidelines for using key instruc-
tional tools, such as several protocols for asking inquiry questions (IQs).
• Planning Pages: These figures are examples of actual AI lesson and unit plans for each
arts area.
• Snapshots and Spotlights: While there are encore presentations of favorite teachers,
schools, and lessons from past editions, during the past year I had the pleasure of working
with many new teachers, principals, and artists involved in AI. Their thoughts and ideas
bring a fresh perspective on arts integration to this edition.
• Classroom Clips: Short vignettes of the creative work of real and imagined people—
including teachers and students—pepper all chapters. I wrote these to continually bring the
reader back to concrete examples of AI’s unique and powerful contributions to education.
• Seed Strategies: A revised collection of AI teaching strategy “seeds” form the meat of odd
numbered chapters in Part II. Again, I think examples are everything to understanding,
and the seeds are meant to be just that. I urge readers to use them to prime the pump
for creative thinking about integrating aspects of each arts area with other curricular
material.
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escaped her as a blaze of red flashed up before her to die away in utter
hopeless blackness, and she was lying crushed and bleeding in the
wreckage of the cab, as motionless as the mare that lay dead beside her.
There is no city in the world where help is so speedily forthcoming for

the injured as it is in London. Almost before the crowd that ran shouting
after the runaway came up to the spot where the dead mare lay amid the
havoc she had wrought, Lavender and the cabman were taken to the nearest
hospital. Tender hands took the jewels from her torn neck and shoulders,
unclasped the winking serpent from her arm, and cut the stained gown from
her broken frame. Her wounds were dressed and she was already laid in a
spotless little bed ere she recovered consciousness.
"Who is she?" said the house-surgeon. "Does anybody know?"
"There are only initials on her linen," one of the nurses said; "perhaps
the cabman may be able to tell us by-and-bye."
The house-surgeon shook his head.
"'The poor fellow can never tell us anything now; he was dead before
they brought him in. This poor creature's hours are numbered too." He went
out to the constables who had brought the accident in. "One of you had
better come inside," he said; "the lady is dying, but she may recover
consciousness before the end," and, with an inspector of police, he resumed
his seat by the side of the bed. A quiver moved the tired eyelids, so faint
that only the surgeon saw it. He bent over Lavender.
"Lavender Holt," she murmured, her dazed brain reverting to what had
been almost her last conscious thought, and rhythmically the words forced
themselves from the white lips again and yet again—"Lavender Holt—
Lavender Holt."
"You are Lavender Holt?" the surgeon asked, and she made a sign of
assent.
"Can that be the woman who has been advertised for from Fairbridge
Manor?" the inspector whispered, an eager light shining in his eyes; "the
missing widow of the murdered man?"
The silence was painfully long drawn out, but again the white lips tried
to frame a name, and this time the inspector's suggestion helped.
"Try Ashley," he murmured, and with wonderful skill the surgeon

encouraged the wavering brain to act.
"You are Lady Holt," he said, "and you want to see Mr. Ashley, is that
it?"
A look of relief crossed her face. It was enough that her wish was
understood, but too much for her to grasp the fact that there was any danger
for anyone in what the wish involved. Behind her vacant look the surgeon
saw the glimmer of consciousness, and with infinite patience he extracted
from her that it was Melville whom she wished to see, and that he lived in
Jermyn Street.
"That is the brother of the suspect," the inspector whispered. "You had
better send for him at once," and without any delay a messenger was
despatched in a cab to Melville's chambers.
Before the tiny wave of strength had ebbed, Lavender found means to
ask for Lucille too, and said that she lived at The Vale, South Kensington.
That much done, her brain became clouded again, and for a space the others
could only wait and watch.
"She will probably have several periods of consciousness," the surgeon

said to the inspector, "but there is no chance of life for her. If you think that
she really is the widow of Sir Geoffrey Holt, who has been so sought after
of late, perhaps you had better arrange for her depositions to be taken next
time she comes round."
It was half-past eight before Lucille arrived, and later still before
Lavender opened her eyes again and saw her loyal servant kneeling near
her. She smiled, contented, but the worst ordeal was to come.
"Melville?" she whispered.

"He isn't here," they answered. "He said he would come at once, but
something has detained him by the way."
Someone stooped over her: a tall, grey man with kind eyes set in a stern
face, and he was speaking slowly and earnestly, so that each softly uttered
word conveyed its full meaning. He told her that the end was very near; that
if she had anything to say the minutes left in which to say it were but few,
and that if she knew anything about her husband and his end it was her duty
to reveal it all to man before she faced the judgment seat of God.
"Melville?" she said again, and in this supreme moment it was only his
absence that distressed her. He had promised not to fail her when she should
send for him, and now he was breaking his word because he could not trust
her not to betray him.
"You understand?" the grey man said. "You are going to tell me
everything you know, and I will write it down. The truth, dear lady, as
before the God who is calling you away to-night."
"Ralph Ashley is innocent," she said, and by degrees the broken story
was told; told in faint outline, but with sufficient clearness to make
corroboration easy afterwards. She told of her early marriage to Sir
Geoffrey and of her flight from him; of her marriage to Mr. Sinclair, made
in all good faith, and of his death; of her visit to Fairbridge Manor on the
fatal day from idle curiosity to see what might have been her home; of Sir
Geoffrey's murder by the man with whom she went, and how she only
chanced to be a witness of it because she was frightened by the storm; of
how she saw the weapon dropped into the river, and was intimidated into
silence afterwards; how she had always believed that an innocent man could
not be convicted, and that Ralph would be set free and the true facts never
be known. She told it all, but never gave a clue as to who her companion on
that momentous occasion was.
On that point she was obdurate. It was her duty to prevent the innocent
man from suffering, but she could not be brought to believe that it was her
duty to bring the guilty one to justice. That was her code of morals, and
while she was true to it in this last hour by doing what she could to set
Ralph free, she would not be false to it by breaking her solemn promise to
Melville.
"I'm very tired," she said, and in sheer compassion they let her be. She
contrived to affix some sort of signature to the statement they read over to
her, and then the others withdrew, leaving her to the care of the nurses and
doctors and the company of Lucille, who loved her so.
"Everything I have I've given to you," she said once, and later on sent a
farewell message to Sir Ross. Melville she did not mention any more; she
had kept her promise and that sufficed. So she lay, waiting for the end, with
an expression on her face in which fear had no part. Warm-hearted and
impulsive, no one could ever tell how much she may have repented the part
she played in spoiling Sir Geoffrey's life by her early desertion of him.
From that point onwards, however, within the limitations of her rather crude
nature, she had always been kind, straightforward, and true, and death
found her not afraid. Of many a better woman not so much can be said.
Lucille knelt by her, gently stroking her hair, grudging every second as
it sped. A faint smile flickered over Lavender's face, just lightening the
gravity that was settling on it, and for the last time the lips that had never
spoken an unkind word parted. Lucille bent her head nearer and caught the
whisper.
"Good-bye—dear."
CHAPTER XXVI.
FATE TAKES THE ODD TRICK.
Melville was on the point of leaving his rooms, his Inverness cape
hanging on his arm, when Jervis came into the room.
"A commissionaire, sir, has come and wants to see you."
"All right," said Melville casually; "send him up."
The man appeared and gave his message tersely; he was often sent on
errands such as this, but still was no adept in the art of breaking bad news.
"There has been an accident, sir, and you are wanted at once."
"Who is hurt?" Melville asked.
"Lady Holt," the man replied.
"Lady Holt?" said Melville; "and she sent for me?"
"Yes, sir; the cabman's killed and the lady's dying, they say. Will you
come back with me? I have a cab at the door."
"Is it as bad as that?" said Melville.
"They're waiting to take her depositions, if they can," the messenger

said. "It was an awful sight."
"Go back and say I'll come in half a minute," Melville said. "I shall be
there as soon as you, if not sooner."
He controlled his agitation until the door closed upon the man, and then,
turning the key in the lock, threw his cape upon the couch. In an instant he
realised to the full what this meant. With incredible swiftness he slipped off
his dress clothes and changed into a dark mourning suit, crammed some
linen and a couple of suits into a Gladstone bag, tipped the contents of his
despatch box into it, and took the banknotes from his writing-table drawer.
In a wonderfully short time his preparations were complete, and, grasping
the bag, he ran lightly down the staircase, and getting into the crowd in
Piccadilly Circus took a cab and drove to Charing Cross. Finding that he
still had some time to wait before the express left, he went into one of the
many small restaurants near the station and took a hasty dinner, which he
washed down with a plentiful supply of spirits. Before suspicion at the
hospital had definitely been turned upon him, he was lying back against the
cushions of an otherwise empty carriage and speeding through Kent upon
his way to Dover.
He did his utmost to concentrate his thoughts upon what was next to be
done, but, despite his endeavours, they would wander to the hospital where
Lavender was lying. If he had any sure information of what was going on
there, what the nature of the accident was, and who was with her, the
possible danger would have had less terror for him; but it was still too early
for any particulars to appear in the papers, and he could only allow his
overwrought imagination to supply the details for him. The commissionaire
had said that Lady Holt was dying, and used the ill-omened word
"depositions." That meant that Lavender had acknowledged her identity
either by accident or of design, and was about to make a full statement of
her knowledge of the events which culminated in Sir Geoffrey's death.
Doubtless, she was being influenced by some smooth-cheeked, smooth-
spoken parson to confess her sins before passing away, and in the
hysterical, neurotic state in which she had been these last few weeks—to
say nothing of the state to which the accident might have reduced her—that
task of professional persuasion might be only too easy to fulfil. She had tied
the label of conviction round his neck by asking for him by name, and while
his flight would possibly only be regarded as corroboration of her story, the
alternative course of staying was attended by too grave risks for any sane
man to contemplate. No good purpose could be served now by hoping for
the best or by trying to look upon the bright side of things. It was wiser to
look the probabilities squarely in the face, and they spelled hanging by the
neck for Melville Ashley.
As he sat there, rigid and impassive, he might have been taken for a
financier working out some vast calculation involving millions of money, a
statesman debating a point in international policy involving issues of peace
or war, a physician considering a new development of disease involving life
or death to his patient; no one would have taken him for what he was, a
murderer flying from the Nemesis that was trailing close after him. But his
cold face masked a heart aflame already. As on his way home from Monte
Carlo he cursed what he called his luck, so now on his way from London to
—he knew not where—he cursed the greater thing he called his destiny.
Only once could he remember having made any mistake in the way he
played the cards dealt out to him by fate, and what added bitterness to the
memory now was the fact that he made the mistake with his eyes open. He
cursed himself for having once been persuaded into doing a thing which at
the time he knew was imprudent. That once was when he agreed to take
Lavender with him by boat to Fairbridge Manor. But for that he would not
now be in this parlous plight. Even supposing he had still committed the
murder—which actually was never in his mind when he set out—he still
would not have been seen and been rendered subject to the mercies of an
emotional woman. Lavender would never have suspected him, and he could
have kept his own counsel and had no fear of nerves.
It was impossible for him to keep his mind from memories and turn it to
the future. He could only think of what had been and what might have been,
not of what was to be. Never before had his thinking powers played him
false like this; will and foresight were dispossessed by memory just at the
moment when he needed them as he had never needed them before. That
was the most pregnant fact of all, and he did not perceive it. If he thought of
the present it was only with some vague satisfaction that every moment was
taking him farther away from peril.
In the hospital the depositions were taken, and the grey man looked
across at the inspector of police and left the room with him. And soon the
inspector left the hospital and went to see his chiefs. There was no evidence
against any individual, for the name of the man who rowed her up to
Fairbridge had not escaped Lavender's lips, but Melville had not obeyed the
summons she had sent him, and the inspector was not alone in wanting to
know why. He went to Jermyn Street and asked for Mr. Ashley.
"I don't think he's at home," the hall porter said, and the inspector went
upstairs. On the top landing he met Jervis coming from another set of
rooms. "I want to see Mr. Ashley," he said again.
"He's dining out," said Jervis.
"Are you sure?"

"Quite," said Jervis. "I saw him dress, and a commissionaire brought
him a message just as he was finished. I haven't been in his rooms since, but
I'm sure he's out."
"Show me," said the inspector, and something about him quelled Jervis's
usual breezy impertinence.
"Look for yourself, if you don't believe me," he said, unlocking the door
and flinging it wide open. "Perhaps you will believe your own eyes."
The room bore unmistakable evidence of Melville's flight. His dress

clothes were flung upon the sofa, his despatch box stood open on the table,
his writing-table drawers were unlocked. Jervis's face of surprise only
confirmed the inspector's previous idea.
"You are Mr. Ashley's servant?" he enquired.
"Yes," said Jervis.
"Well, perhaps you can describe him to me; fully, please. I only want to
make enquiries in case there has been an accident. You will not be doing
him any injury."
So Jervis gave an accurate description of his master, and found several

photographs of him to bear the description out. From a study of the
wardrobe he saw what clothes were missing, and suggested what Melville
might be wearing, and soon the inspector was satisfied.
"You will be very well advised to keep a still tongue in your head," he
remarked. "If Mr. Ashley comes back, well and good, but if he doesn't, see
that nobody comes into these rooms unless I am with them at the time,"
and, leaving Jervis dumbfounded, he walked away.
Thus it came about that when the train in which Melville was travelling
reached Dover, the police there, as at many another likely spot for leaving
England, were in possession of a close description of him, and of
instructions not to lose sight of him if they saw him. His actual
apprehension might be deferred with safety, it could be accomplished at any
moment; but just as it is a mistake to strike too soon when playing a game
fish, so it is often one to arrest a man merely upon suspicion when a little
delay may justify the event and yet not prejudice its successful
performance. Moreover, if Lady Holt's statement were true, the police had
made one gross blunder as it was.
But while at Dover the detectives knew what Melville was like, and had
a clearly defined course of action in the event of his arriving there and
crossing the Channel, Melville had no idea of what they might be like, and
reached the end of this first stage in his journey without devising any
scheme for his next movements. He was so persuaded that Lavender had
betrayed him, and that already a warrant must be out for his arrest, that his
heart was broken ere the pursuit was begun. What was the good of thirty
pounds to a man for whom the whole world held no sanctuary? Would it not
have been wiser to remain in London until he could raise enough money to
take him, at any rate, an appreciable distance away? There might be greater
difficulty in leaving the country a week hence, but the difficulty would be
more worth trying to overcome if afterwards he had money to go on with.
Thirty pounds was almost useless. Again he blasphemed against his luck. If
the accident had happened twenty-four hours later he might have drawn a
considerable sum from Lavender, and even gone abroad. And it was just
like his cursed ill-luck that the cabman should be killed outright and
Lavender live to speak once more, whereas if the converse had happened he
would have been out of danger for ever, and nobody would have been a
penny the worse except his brother, whom everyone believed to be guilty,
and who might hang with pleasure so far as Melville was concerned.
He got furtively out of the carriage and scanned everybody about him;
in each face he fancied he detected the detectives whom he supposed to be
waiting for him, and even when he got aboard the packet unobserved, as he
believed, he stood cowering on one side, uncertain whether to go below or
linger to watch for the hand that surely must be laid upon him soon. His
nerve was utterly gone, and the only idea clear in his mind was that if an
attempt were made to arrest him ere the packet started, he must jump
overboard and endeavour not to relax his grasp upon his Gladstone bag, so
that he might be sure of not rising to the surface. That much, at any rate,
was certain: he must not be taken alive.
The night was mild, but very dark, and Melville stood forward watching
every figure as it came aboard, and finding the really short wait
interminably long; but at last the boat began to move away from the pier,
and he felt that he had another respite. With a sudden access of terror,
however, he saw two men rush to the end of the pier gesticulating wildly,
and he waited, feeling absolutely sick, until he saw they were too late and
had missed the boat. None the less, it accentuated his fear and stretched his
power of endurance to breaking point. In reality, they were two harmless
travellers, one an acquaintance of his own, who had tarried too long in the
hotel and lost the packet by mere carelessness. But Melville was convinced
that they were the men deputed to detain him, and while it was now too late
to draw back, it was fatal to go on. They would certainly telegraph to the
authorities at Calais, and freedom was his for another bare hour and a half.
How should he utilise it?
The coast line was lost in the darkness, and the lights grew smaller and
smaller. When the largest of them showed like pin-pricks, Melville sighed
and went below. He had something to do before the pin-pricks should
appear ahead and grow larger and larger until they fell upon the deck of the
boat at Calais. Going into the saloon he opened his bag and sat down upon a
couch. Taking a sheet of paper, he wrote a pencil note.
"I do not know what Lavender Sinclair may have said. This much, at
any rate, is true. My brother Ralph is innocent of the crime imputed to him.
I declare this upon my solemn oath.—MELVILLE ASHLEY."
He put the note, with Ralph's letter asking for the loan on which so
much had turned, and Lavender's first letter from The Vale, and his
remaining paper money, into an envelope, and addressed it to Mr. Tracy at
Lincoln's Inn Fields. Then he strapped up the bag, which he left unlocked,
and went on deck again. This was the end of it all? No god from a car could
come to save him this time; the Furies had reached their quarry and were
going to pull him down. He found a more or less deserted place upon the
deck and stood, a dark figure, against the rail; and so the moment came.
With one last glance around to make sure he was not observed, he got on to
the outside of the rail and dropped silently into the warm, dark water.
When he rose he was surprised to see how far behind he was left; he had
no idea the boat made such good speed. He stifled an impulse to call out,
but the natural instinct to swim was too strong to be resisted, and, even
managing to disengage himself from his thin overcoat, he began with slow
steady strokes to follow in the wake of the boat. The black mass of her
shape grew lower in the water, her lights drew away from him with ever
increasing speed, the salt burned his eyelids and stung his face. His arms
grew weaker with each more painful stroke, until at length, with his eyes set
upon the far lights of the boat which represented man, of whom he was
forsaken, and never once upon the stars, above which was enthroned the
God whom he had rejected, Melville gave up the impossible task of living,
and the last mechanical effort ceased.
CHAPTER XXVII.
THE PLACE OF PEACE.
When Lavender knocked away the keystone of the vaulted arch beneath
which Ralph Ashley was confined, the fabric fell to pieces easily. Provided
with a copy of her depositions, the police sought Mr. Tracy, and next day he
was engaged with the Treasury solicitors discussing the Fairbridge murder
in the light of the new facts, and gathering together sufficient evidence to
corroborate her statement and set the suspect free.
Of this, the most important part was Melville's pencilled note, which
reached Mr. Tracy about five o'clock the following evening. In itself his
suicide was held to be sufficient; that he had thrown himself overboard was
beyond question. It was proved that he had gone on board the packet at
Dover and that he was not on board at Calais; his Gladstone bag was there,
with the note and the enclosures, and what had happened in the interval was
self-evident. He, too, bore witness to his brother's innocence, and although,
like Lavender, he did not say who the murderer was, it was a simple matter
to name him now. All that was necessary was to prove that it was he who
rowed Lavender to Fairbridge the day the murder was committed.
To do this was not very difficult. Lucille and Jervis both could prove
that Lavender had been to Jermyn Street the day before the crime. The maid
could swear that on the following morning her mistress went out for the
day, taking a basket containing luncheon for two people, and that she
returned in the evening terribly agitated and wet through. The valet could
swear that Mrs. Sinclair took tea with Melville and asked him to take her
out next day; he had overheard that much, although he did not overhear the
answer, but he swore that next morning his master told him that he was
going out and would not require anything during the day; that he was
wearing flannels when he spoke, and that those garments were soiled and
creased as if they had got wet when on the following Monday they were
sent to the laundry. The manager acknowledged his surprise at finding
Melville in when he answered the bell in the evening, for it was unusual for
him to pass an entire afternoon in his rooms without requiring service of
any kind, and his professed ignorance of Jervis's absence was odd, in view
of the fact that he had himself given the leave of absence. Careful
investigation showed that the time permitted of his going to Fairbridge and
returning by the hour he saw the manager. The lock keeper at St. Martin's
proved that a lady and gentleman had hired his last boat, and left it outside
the lock on their return in order to make a rush to catch a train just due,
which they must have missed if they had waited to go through the lock to
the boathouse, and which would have got him back to Jermyn Street in time
to change and affect to have been at home all day; In Melville's rooms,
moreover, the police found ammunition similar to that found in the gun-
room at the Manor House, but no trace of the revolver which it fitted. Jervis
had often seen it, and swore that Melville generally carried it in his hip
pocket. Was it not, therefore, the one that Lavender declared her companion
had used and afterwards dropped into the river? Did not Ralph's possession
of its fellow prove his own innocence and not his guilt, as Mr. Tracy had
always contended?
Nor when it came to the question of motive was there any other
difficulty. The perjury Melville had committed in denying all knowledge of
Lady Holt's existence, and the inferences to be drawn from Sir Geoffrey's
accounts, pointed directly to the motive. The story Ralph had told to Mr.
Tracy of the hundred pounds explained the rest. Sir Geoffrey had paid
Melville's debts and given him a final two hundred and fifty pounds. That
Melville lost at Monte Carlo, where he was when Ralph wrote to him for
the loan. He applied to his uncle for further help and got a hundred pounds,
as the cheque itself attested. Yet, in spite of the fraud and its penalties, only
averted by Ralph's generosity, Melville went back to Fairbridge and got
more money from his uncle, as the cheque book again demonstrated. On
what plea did he get those further funds? Obviously, under the false
pretence that Lady Holt, whom, as her letter showed, he had seen in the
brief interval, was in poor circumstances; or else, perhaps, as hush-money
from his uncle, who believed that his wife was dead.
Finally, Sir Geoffrey made a will and refused to give Melville another
penny for himself or for Lavender, and then Melville shot his uncle, either
in a paroxysm of rage at being baffled, or hoping to benefit under some
intestacy, for the will was only executed a few days before the tragedy. The
whole story was complete, and could no longer be withstood. Within the
briefest possible period the Crown dropped the case against Ralph Ashley,
and he was free.
It was with a face stern and hard as granite that Ralph listened to Mr.
Tracy's disclosure of this horrible betrayal by his brother. He had been
looking death in the face, and its visage had almost turned him to stone,
although it could not make his high courage quail. It would have been bad
enough if the traitor had been any other man, but that it should be his own
brother, with whom he had played as a child, dreamed such fair dreams, and
thought such long, long thoughts, was the most cruel blow fate had ever
dealt him. He marvelled at the cool courage with which Melville had pitted
himself against the devil, and played the game right to the end. He
shuddered as he tried to picture what the end was like, when, with a certain
pagan courage, Melville threw himself into death's cold embrace. The life
was incomprehensible to him, but the death he could find it in his heart to
commend.
With Mr. Tracy he left the prison, of which the high walls had been
suffocating him so long.
"I will telegraph to Gwendolen at once," he said, "saying I will be home

to-morrow night and asking her to await me there. I will go up to London
with you now; there is a lot that I must do."
His whole occupation that first day of freedom was characteristic of the
man. Everything that could be devised to spare his brother's memory he
thought of and arranged—everything, that is, that did not detract from the
absolute declaration of his own innocence. He provided for the payment of
Melville's debts, from the greatest to the least, took possession of his
personal effects, so that nothing might fall into the hands of curious
strangers, and gave his whole wardrobe and a generous gratuity to Jervis on
the understanding that he should preserve silence as to his late master's
shortcomings. And Jervis acted loyally in accordance with the
understanding, for he had been a good and even affectionate servant to
Melville, who had always been kind and generous to him; he was, indeed,
Melville's sincerest mourner.
Ralph thought of all who had contributed, in however small a degree, to
his acquittal. Lucille was broken-hearted by Lavender's death, and would
accept nothing at his hands.
"I don't need it," she said. "Mrs. Sinclair has left me everything she had,
and they tell me I shall never need to work again. I'm going home to
Geneva as soon as ever I can."
She listened gratefully to Ralph's words of sympathy.
"You've had a lot to put up with," she sobbed, "but don't you believe my
mistress was a bad woman. She was frightened into holding her tongue.
Your brother frightened her. She was a changed woman from the first
unhappy day he crossed her path, and didn't dare stand up to him; but
whatever she did, no one shall say to me that she was a wicked woman."
And when Ralph soothed her she looked up at him with eyes that were
most pathetic.
"I don't know how you can be so forgiving when you've been so
wronged, I can't forgive your brother. But oh! how I wish that it was you
instead of him who came into her life! You could have told her, if she had
done wrong by Sir Geoffrey Holt, how to put it right, and she would have
done it. She never did a wrong thing knowingly in all her life;" and, indeed,
until fear came upon her and upset her judgment as to the proportion of
things, Lucille's epitaph upon her mistress was truer than many an epitaph
graven on stone and lying in cathedrals.
Next day Ralph arrived at Fairbridge. He acknowledged silently the

greetings of the knot of people gathered at the station. The situation was not
free from embarrassment for them; their joy at his complete acquittal would
have found expression in some tumultuous welcome but for the thought of
his brother, by the chance exposure of whose treachery that acquittal had
been secured.
Martin stood at the gate of the Manor House bareheaded, and Ralph put
out both his hands.
"So I have come home safe, Martin,"
"The Lord be praised for it!" the butler said; "the Lord be praised for it!
But, oh! poor Master Melville!" and the tears broke out and poured down
the old fellow's withered cheeks.
"Poor Melville!" echoed Ralph. "Well, we can't forget it, Martin, but we
can forgive him—you and I. Surely if anybody can forgive him it is you and
I—because he was——"
He could not finish; the sight of the faithful old servant sobbing as he
bent over his hands was too much for him, and the words died away into a
groan.
"God bless you, you dear old Martin! Who can doubt of God when such
kind hearts as yours are beating round them? Come, you must take me to
missy."
So Martin led the way to the library, where Gwendolen stood alone,
very pale and nervous, but very sweet. He opened the door and tried to say
Ralph's name, but it would not come, and with his hands before his face he
ran away and left them alone together.
* * * * *
That that part of the world which had inclined to believe in Ralph's guilt
hastened to shower congratulations upon him goes without saying, but the
recipient of them displayed something more than his wonted taciturnity in
his acknowledgment of them. Almost more than anything else, he resented
the fact that anybody who knew him could suppose him capable of such
rank ingratitude as to kill his only friend and benefactor. He tried to explain
his brother's life by some theory of criminal insanity, some lack of moral
sense, which made him not wholly responsible for all his actions; but for
the lack of charity displayed by so many of the average men and women of
the world he had nothing but savage detestation.
As soon as practicable after his release he married Gwendolen, and

spent the winter and spring with her abroad, only returning when early
summer was painting the Manor House garden in its fairest colours of leaf
and flower.
Mrs. Austen welcomed them with delight, gladly abdicating her position
as regent of the Manor House in favour of its new mistress, and returning
with unfeigned relief to the familiar surroundings of her own home at The
Grange.
"No, I won't stay to-night," she said, after giving them the sort of
welcome one can only get in English homes. "You don't really want me, and
I must go and sacrifice to my own household gods. I've deserted them much
too long as it is."
So the night of their return they dined alone, and after dinner walked
down to the houseboat. It was inevitable that their doing so should recall
sharply all the story in which they had played so important a part, and for
the first time for months they spoke of it by mutual accord.
"This houseboat will always be associated in my mind with some of the

supreme moments in my life," Gwendolen said softly. "It was here that you
proposed to me, here that Mr. Anstruther arrested you, and here that we are
spending our first evening together at home—all three times when one's
heart seems full to bursting."
Ralph looked at her gravely.
"Last time was a bad one, Gwen," he said, in his deep voice. "It was an
awful business!"
She stroked his hand, and the hard lines in his face were softened.
"Let it make the present good time seem all the better by contrast," she
rejoined. "After all, God's in His heaven, Ralph."
"Yes," he said slowly, "I suppose so; but that wasn't the thought that
kept my pluck up during those weeks of suspense."
"What did?" she asked.

"The thought of you," he answered, "and your belief in me. The
knowledge that you loved me and had faith in me made me swear to keep
the flag flying, don't you know. It wasn't the thought that God was in His
heaven and all that. As a matter of fact, all seemed very wrong with the
world."
Gwendolen checked him.
"You ought to have remembered that He gave you the love, if it meant
so much," she said. "Sometimes I've thought that if Melville had really
loved somebody it would have made all the difference and helped to make a
good man of him."
"Possibly," Ralph answered. "The only thing Melville ever loved was
money—that was at the bottom of it all."
"And so he had nothing to take him away from himself," Gwendolen

said. "Even if he hadn't been loved in return, the affection would have made
him unselfish, or at any rate less selfish."
She spoke with obvious ignorance of the fact that if there was one
individual for whom Melville felt anything like affection it was herself, and
Ralph looked at her in some surprise, for on more than one occasion he had
been very much aware of it. Melville deserved some credit for not having
told the girl of it, for to love and not to be loved in return by Gwendolen
was enough to make any man incline to go to the bad, and it looked as if
Melville had acted better than usual in refraining from revealing his
affection and trying to cut his brother out. But the whole thing was
unutterably painful still, and his heart ached when his thoughts turned, as
they often did, to his last sight of Melville standing in the witness box, so
handsome, so calm and self-possessed, apparently so eager in his desire to
help Ralph out of danger, and all the while betraying him with a kiss. His
wife heard his sigh and stopped it with a caress, and the touch of her lips
brought back happiness. So they remained in silent content, thanking God
that the trouble was overpast and that they were together and at home.
The faint notes of distant music were borne to them upon the breeze and
died away again, but the sound suggested something else to Gwendolen.
"Ralph, I meant to ask you before. Will you give me Melville's violin?"
"Of course," he answered, "if you want it. But you can't play it, can
you?"
"No," she replied. "I shall not even try, but I should like to have it. He
was a great musician. I will keep his violin in memory of the one great
talent God gave him, of which he never made anything but a perfectly good
use."
"You are a good woman, Gwendolen!" Ralph said, with admiration. "It's
just like you to have a pretty idea of that kind. It will help me a bit, too," he
added reflectively. "I find it none too easy to forget about—all that, and I
should like to remember only what was good about him. His music was
exquisite."
And so in the old Manor House at Fairbridge the Amati, from whose
strings Melville drew harmonies that thrilled the soul of all who heard them,
remains as a perpetual reminder of the one thing he did supremely well. The
magic spell it wove when it spoke in response to his command was as
nothing to the spell it weaves by its silence now, helping them to forget all
his sinfulness, and reminding them only of the one great talent God gave
him of which he never made aught but a perfectly good use.
WARD, LOCK & CO., LIMITED, LONDON, NEW YORK, AND MELBOURNE.
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(eBook PDF) Creating Meaning Through

Literature and the Arts: Arts Integration

Part I and State Efforts 42

Pillar VIII: Instructional Design: 10. Increase Literacy 150

Part II 5. Explicit Teaching 181

Chapter 5 Pillar III: Collaborative Planning for Visual Art

Chapter 7 6. Enhances Feelings of Well-Being 310

Chapter 9 6. Dance/Movement Build Focus and Concentration 390

Self and Peer Assessment 426 Pillar II: Music Literacy 469

Chapter 1 PP 3.6: Questions for AI Unit Planning 106

RR 11.2: Full Body Warm-Up (Axial/ RR 12.8: Favorite Songs 477

Fueling Arts Integration

Zooming In on the AI Advantage

AI: Educational Practice Aligned

Literacy IS the Arts

Features New to This Edition

There is no city in the world where help is so speedily forthcoming for

"Who is she?" said the house-surgeon. "Does anybody know?"

The house-surgeon shook his head.

"Try Ashley," he murmured, and with wonderful skill the surgeon

"She will probably have several periods of consciousness," the surgeon

"Melville?" she whispered.

FATE TAKES THE ODD TRICK.

"All right," said Melville casually; "send him up."

"Who is hurt?" Melville asked.

"Lady Holt," the man replied.

"Lady Holt?" said Melville; "and she sent for me?"

"Is it as bad as that?" said Melville.

"They're waiting to take her depositions, if they can," the messenger

"He's dining out," said Jervis.

"Are you sure?"

The room bore unmistakable evidence of Melville's flight. His dress

"You are Mr. Ashley's servant?" he enquired.

"Yes," said Jervis.

So Jervis gave an accurate description of his master, and found several

THE PLACE OF PEACE.

"I will telegraph to Gwendolen at once," he said, "saying I will be home

She listened gratefully to Ralph's words of sympathy.

Next day Ralph arrived at Fairbridge. He acknowledged silently the

As soon as practicable after his release he married Gwendolen, and

"This houseboat will always be associated in my mind with some of the

Ralph looked at her gravely.

"What did?" she asked.

Gwendolen checked him.

"And so he had nothing to take him away from himself," Gwendolen

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Chapter 9 6. Dance/Movement Build Focus and Concentration 390