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2
 Arts Integration

Practical and engaging, Merryl Goldberg’s popular guide to integrating the arts throughout the K–12
curriculum blends contemporary theory with classroom practice. Beyond teaching about the arts as a subject in
and of itself, the text explains how teachers may integrate the arts—literary, media, visual, and performing—
throughout subject area curriculum and provides a multitude of strategies and examples. Promoting ways to
develop children’s creativity and critical thinking while also developing communications skills and fostering
collaborative opportunities, it looks at assessment and the arts, engaging English language learners, and using
the arts to teach academic skills.
This text is ideal as a primer on arts integration and a foundational support for teaching, learning, and
assessment, especially within the context of multicultural and multilingual classrooms. In-depth discussions of
the role of arts integration in meeting the goals of Title I programs, including academic achievement, student
engagement, school climate, and parental involvement, are woven throughout the text, as is the role of the arts
in meeting state and federal student achievement standards.

Changes in the 5th Edition

New chapter on arts as text, arts integration, and arts education and their place within the context of
teaching and learning in multicultural and multilingual settings.
Title I and arts integration (focus on student academic achievement, student engagement, school
climate, and parental involvement—the four cornerstones of Title I).
Attention to the National Core Arts Standards as well as their relationship to other standardized tests
and arts integration.
More (and more recent) research-based studies integrated throughout.
Examples of how to plan arts-integrated lessons (using backward design) along with more examples
from classrooms.
Updated references, examples, and lesson plans/units.
Companion Website: www.routledge.com/cw/goldberg.

Merryl Goldberg is a Professor of Visual and Performing Arts at California State University San Marcos, USA.
She is founder and director of Center ARTES, an organization dedicated to restoring the arts to education,
author of numerous publications, and recipient of many grants relating to her work with the arts in schools.
Prior to entering academia she recorded numerous CDs and was on the road for 13 years playing the
saxophone with the Klezmer Conservatory Band.

3
Arts Integration
Teaching Subject Matter through the Arts in Multicultural Settings
Fifth Edition

Merryl Goldberg

4
Fifth edition published 2017
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2017 Taylor & Francis
The right of Merryl Goldberg to be identified as author of this work has been asserted by her in accordance
with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including photocopying and
recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only
for identification and explanation without intent to infringe.
First edition published by Pearson 1992
Fourth edition published by Pearson 2011
Library of Congress Cataloging in Publication Data
Names: Goldberg, Merryl Ruth, author.
Title: Arts integration : teaching subject matter through the arts in multicultural settings / by Merryl Goldberg.
Description: 5th Edition. | New York : Routledge, 2016. | Includes bibliographical references and index.
Identifiers: LCCN 2016008569 | ISBN 9781138647374 (hardback) | ISBN 9781138647381 (pbk.) | ISBN
9781315627076 (ebook)
Subjects: LCSH: Arts—Study and teaching (Elementary)—United States. | Multicultural education—Activity
programs—United States.
Classification: LCC NX280 .G65 2016 | DDC 700.71—dc23
LC record available at http://lccn.loc.gov/2016008569
ISBN: 978-1-138-64737-4 (hbk)
ISBN: 978-1-138-64738-1 (pbk)
ISBN: 978-1-315-62707-6 (ebk)
Typeset in Sabon
by Apex CoVantage, LLC

5
With lots and lots of love
to my daughter
Liana Cai –
you’re one heck of
an amazing kid

6
Brief Contents

About the Author

Preface
Acknowledgements

1 Art as Text, Arts Integration, and Arts Education

2 Art Integration: A Methodology for Learning

3 What Does It Mean to Be a Learner?

4 Piaget, Imitation, and the Blues: Reflections on Imagination and Creativity

5 Communication, Expression, and Experience: Literacy and the Arts

6 The Voices of Humanity: History, Social Studies, Geography, and the Arts

7 The Wonder of Discovery: Science and the Arts

8 Puzzles of the Mind and Soul: Mathematics and the Arts

9 Setting the Stage for a Turn of Events: Subject Matter Informs the Arts

10 Seeing a Different Picture: Assessment and the Arts

11 A Lithograph in the Closet and an Accordion in the Garage: Connecting with the Arts and Artists in
Your Community

12 Beyond Walls: Mural Making and Critical Voices: Collaborative Art Projects

Index

7
Contents

About the Author

Preface
Acknowledgements

1 Art as Text, Arts Integration, and Arts Education

Setting the Stage (Literally!)
The Power of the Teachers
Art as Text—Arts Integration—Arts Education
Digging a Little Deeper
Arts as Text
Arts Integration
Arts Education
References

2 Art Integration: A Methodology for Learning

Arts and Knowledge
Arts and Learning
Arts as Language
Arts and Culture
Arts and Culture and Identity
Arts and Inclusive Education: Special Needs, Exceptional, and Gifted Education
Arts and Technology Briefly: Historical Perspective
Opening New Venues for Artists and Students
Technology and Literacy
Multimedia
Equity and Technology
Students as Tech Directors
Technology in the Workplace
What the Arts Bring to Education
Methodology for Learning
Learning with the Arts
Learning through the Arts
Learning about the Arts
Summary
Questions to Ponder
Explorations to Try
References

3 What Does It Mean to Be a Learner?

Education and the Arts—Top Ten List
Intellectual Development, Mind-Set, and Grit
The Role of “Translation through Representation” in Learning
Standards and Arts Education
What Does It Mean to Be a Learner?
Summary

8
 Questions to Ponder
Explorations to Try
References

4 Piaget, Imitation, and the Blues: Reflections on Imagination and Creativity

Creativity
Piaget, Imitation, and the Blues
Imagination
Creativity and the Classroom
Creativity and Technique
Creator and Participant
Summary
Questions to Ponder
Explorations to Try
References

5 Communication, Expression, and Experience: Literacy and the Arts

Research
Literacy with the Arts
Writing through the Arts
Picto-Spelling and “Caligrams” Learning through the Arts
Story Comprehension Learning through the Arts
Drama
Movement (Kinesthetic)
Music (Auditory)
Poetry and Language Acquisition through the Arts
Movement Poetry
Playing with Words
Journals: Working with Ideas over a Period of Time
Copied Poems
Key Elements of Writing Poetry
Summary
Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

6 The Voices of Humanity: History, Social Studies, Geography, and the Arts
Learning with the Arts
Poetry
Visual Arts
Photography and Media Arts
Music
Drama
Pablo Tac
Learning through the Arts
Response-ABILITY: Empathy in Action Project
Presidential Puppetry
Mural Making and History
Quilts and History
Geography and Papier-Mâché
Summary

9
 Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

7 The Wonder of Discovery: Science and the Arts

Learning with the Arts
Painting
Music
Poetry
Learning through the Arts
Cell Lab and Art
Dew Collecting
Singing
Dance
Learning about Animals and Their Environments through Origami and Storytelling
Ecology: Drawing from Nature
The Nature of Poetry: Working with Ideas
Summary
Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

8 Puzzles of the Mind and Soul: Mathematics and the Arts

Learning with the Arts
Visual Arts
Dance
Literature
Music
Learning through the Arts
Distance Estimation
Permutations
Fractions
Shapes, Symmetry, Angles, and Geometry
Single-Digit Addition and Subtraction
Points and Coordinates, Parallel Lines
Drama and Story Problems
Summary
Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

9 Setting the Stage for a Turn of Events: Subject Matter Informs the Arts
Arts Setting the Stage for Learning
Subject Matter Informing Art
Art as Subject Matter
Learning about the Arts with the Arts
Visual Literacy: Reading Like an Illustrator
Learning about the Arts through the Arts
Summary

10
 Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

10 Seeing a Different Picture: Assessment and the Arts

Myths and Assessing the Arts
Myth # 1: Success in the Arts Is Subjective
Myth # 2: It Is All about the End Product
Myth # 3: Teachers Can Just Tack on Assessment to Their Arts Instruction
Myth #4: Assessment Is Contradictory to the Artistic Process
The Need for Assessment
Evidence of Learning
Valuing the Arts as a Teaching and Assessment Tool
Content and Concept Assessment
Incidental Assessment
Setting Assessment Parameters
Strategies to Collect Evidence
Portfolio/Rubric Assessment
Engaging Your Students in Assessment
Performance-Based Assessment
Listening to and Observing Children
Standardized Testing and the Arts
Summary
Questions to Ponder
Explorations to Try
References
Assessment Worksheets

11 A Lithograph in the Closet and an Accordion in the Garage: Connecting with the Arts and Artists in
Your Community
Utilizing Community Resources
Partnerships in Arts Education and Title I
The DREAM Project
Developing Reading Education with Arts Methods
Identity: Finding Out Who Kids Really Are
The Arts Ain’t Fluff
Community Partnerships Using the Arts
Reflections on the Partnerships
Summary
Questions to Ponder
Explorations to Try
References
Sample Lesson Plans

12 Beyond Walls: Mural Making and Critical Voices: Collaborative Art Projects
The Mural Project
Chronology of Class Work
Epilogue
Epilogue to the Fifth Edition
Questions to Ponder
A Final Word

11
 Explorations to Try
References

Index

12
About the Author

Merryl Goldberg is a Professor of Visual and Performing Arts at California State University San Marcos
(CSUSM), where she teaches in the School of Arts. She is founder and director of Center ARTES, an
organization dedicated to restoring arts to education through working with arts partners, parents, and teachers.
She has written numerous books, articles, chapters, editorials, and blogs. She is the recipient of many grants,
including U.S. Department of Education Arts in Education Model and Dissemination Grants, a joint Spencer
and John D. and Catherine T. MacArthur grant, Fulbright-Hays Foundation grants, and California Arts Council
grants relating to her research and work with the arts in schools. Prior to entering academia, she recorded
numerous CDs and was on the road for 13 years playing the saxophone with the Klezmer Conservatory Band.
Now that you have read the official bio, here is a little more of my personal story.
I am fortunate in that the arts have been an integral aspect of my own life since childhood. My father was a
painter and graphic artist. In his later years he dedicated himself to acting in Community Theater and even
became the director of the theater program at my childhood high school, Somerset High School, in
Massachusetts. He began CATS, a children’s theater. What an inspiration he was to me, my family, as well as
to the hundreds of students whose lives he touched! His father, my grandfather, was a musician who played
viola with many big bands including Duke Ellington and Paul Whiteman. Pop was also in the Boston Pops, and
I have wonderful memories of watching him play on the Esplanade in Boston. My mother makes amazing
cards, crafts jewelry, has worked with stained glass, and is one of the most amazing knitters I know!
I bring additional experience to this discussion as well. Since 1980, I have traveled throughout the world as a
professional musician with the Klezmer Conservatory Band playing the saxophone and performing and
recording ethnic music in a variety of settings including the Adelaide World Music Festival in Australia, jazz
and folk clubs, weddings, and radio shows such as Prairie Home Companion with Garrison Keillor. At a certain
point in my performing career, I decided to give up the stage and applause as a full-time profession and turn
my energies to education.
Though I continue to perform, my greatest moments are now spent in working with teachers, artists, and
students and creating the open spaces for engagement, and “dissolving margins,” (as novelist Elena Ferrante
writes in her book, My Brilliant Friend) with and through the arts. For me, not much compares to being able to
spend time with individuals as they practice being imaginative and creative, or while they are taking risks and
engaging in a sense of wonder. And, when all is said and done, there is absolutely no limit nor shortage to the
potential and possibilities within all of us.

13
Preface

Arts Integration is about children and teachers in some of their most imaginative and creative moments. It is
about teachers being dream-makers and opening spaces in creating a learning community committed to
educational equity. It is about access to knowledge and it is about the journeys of individuals as they seek
adventures in learning. This book focuses on the multiple roles of the arts as languages of learning and
methods for teaching in the multicultural and multilingual classroom.
Educators using this book need not have any arts background or familiarity with specific art techniques. The
book will introduce you to the possibilities the arts hold for you and your students. Its motivating philosophy is
that the arts are fundamental to education because they are fundamental to human knowledge and culture,
expression, and communication. Artistic methods and activities encourage creative and critical thinking skills
while at the same time empowering students to imagine possibilities, seek solutions, and be active discoverers
of knowledge.
Many things have changed since I first wrote this book nearly 2 decades ago, but one thing has stayed
constant: the power of the arts to change people and to change education. In the time since the first edition, I
have gone from being an assistant professor to a full professor, I’ve gone from a land-line (remember those?!)
to an iPhone, and have written everything from grants to chapters, articles, and blogs. I’ve experienced
teaching and learning from multiple vantage points including that of a parent. My daughter, to whom this
book has always been dedicated was merely a twinkle in my eye when the book was first written and as of this
edition, she’ll be finishing up high school. Nearly 12 years of being a parent helper in classrooms K–12 have
provided me with even more urgency to do my part in ensuring that all children have the opportunities to
succeed.
Changes in the Fifth Edition. This edition builds on the previous editions and includes new material,
updated resources, and an ever-growing body of research in the field of arts integration and arts education.
This edition also includes a Companion Website (www.routledge.com/cw/goldberg) that will be frequently
updated. Most notably, this edition includes a brand new opening chapter, Chapter 1, focusing on
differentiating and understanding the opportunities in arts as text, arts integration, and arts education.
Technology, which has dramatically evolved over the time this book has been published has been re-integrated
throughout the book, and updated. Chapters 2, 3, and 4 have been updated and now include attention to
mindset and grit, as well as to standards in education, specifically the National Core Arts Standards, Common
Core, and Next Generation Science Standards. Attention is also drawn to the role of arts in Title I settings. The
subject matter chapters on Language Arts, Math, Science, and Social Studies all have been updated with new
research and examples have been broadened to include more upper grades including high school. The chapter
on assessment has been revised to include examples of peer and student self-assessment.
An underlying premise of this book is that the artistic process is a process of learning, and that all children
can, and want to, learn. “All children, no matter what their background, have the capacity to learn; it is the
teacher’s intellectual challenge to come to understand what must be done to tap that potential,” Mike Rose
wrote in his wonderful book Possible Lives.
Words of encouragement as you consider integrating arts activities into your practice: Be willing to take
risks. It can be a bit intimidating to try new activities, especially if you haven’t had much experience with the
arts. But, I have rarely been in a perfect teaching situation, and I have long gotten over the idea that everything
I might do will work or that the art pieces I create will always be magnificent. Fortunately for you, your
students will probably jump on the bandwagon immediately. Few children shy away from the opportunity to
perform, listen to music, draw a picture, or create a sculpture. Once you get going, the unleashing of your own
and your children’s creativity will not only surprise you but will also expand the expressive opportunities and
intellectual musings in your classroom. Often, the greatest successes result from the greatest risks. Be an arts
adventurer and invite your students along.

14
15
Acknowledgements

I am indebted to so many people for their ongoing support. I am delighted to be working with Routledge, and
my wonderful new editor, Naomi Silverman, and her team including Brianna Pennella. I am also happy to
acknowledge Kate Fornadel and her team at Apex CoVantage. Their collective encouragement has meant a lot!
And, speaking of encouragement, this edition really builds upon so many teachers who have made a difference
in my life, many of whom are mentioned throughout the book. Though two of my most incredible mentors
have passed on, I still feel their reach nearly every day. Carol Chomsky, my Harvard Graduate School of
Education advisor, mentor, indeed surrogate mom, taught me how to care deeply about students by how much
she cared about me, my work, writing, thinking, and ability to share it effectively. Jim Hoffman, my mentor at
New England Conservatory of Music taught me how to engage students through incredibly hands-on activities
such as the creative compositions in music theory class. We learned about 20th century theory by writing
compositions in the style of 20th century composers, and our fellow students performed the pieces. I couldn’t
wait for that class! He was about as project-based as a teacher as one could imagine.
Kudos galore to the Title I team in California of Joe Landon of California Alliance for Arts Education along
with Laura Smyth. Caroline King and Linda Gohlke are among the leaders I have the privilege of working
alongside on the San Diego Unified School District “Learning through the Arts” team using the arts to reach
the goals of Title I for thousands upon thousands of students. Thanks to Maureen Lorimar, Paul Ammond, and
Eric Engdahl, all wonderful professors of arts education and integration for their suggestions and reflections
leading into this edition. Thanks also to Shani Leader and teachers at High Tech High San Marcos for their
additions of high school curriculum and methods to engage students in assessment of learning.
Sara Pennypacker, friend and author of Clementine and numerous other marvelous children’s books
including Pax, along with our cohorts Sid Storey, Milton Gurin, and Lorraine Scheppler are behind the scenes
buddies who know how and when to keep me in line (well, at least they try). Thanks to Elise Resnick, the
better half of our book-club duo, to whom I am grateful for her wonderful reading suggestions now in this
edition including My Brilliant Friend, a novel by Elena Ferrante, The Tale of Murasaki, Liza Dalby, and the
poetry of Apollinaire. And, speaking of Apollinaire, my thanks to my neighbors Halle Thompson and Mathieu
de Champsavin for a delightful evening of drinking red wine while translating the poetry from French to
English! Thanks to Martha Barnette for the Ann Patchett and Gary Provost quotes, for being a micro-brewery
muse, and for being the cause celebre inspiration of the “raucous table” who in their own right (Sondra, Lindsy,
Elise, Regina, Ranjeeta!) provided a fair share of amusement during the finishing up of this edition.
Finally, a shout-out and thanks to those who put up with me on a daily basis, my mom and daughter are
stand-outs in that category (!)…as are my network of friends and supporters at California State University San
Marcos. To Chad Huggins, Albert Rascon, and Margie Kidd, you have a special place in heaven reserved for
you for the amount of time and energy you have spent bringing me into technology literacy, especially since I
had the brilliant idea of switching over to a Mac while writing this edition. Thanks always for your kindness
and patience! Last, but certainly not least, my students! I absolutely love you. You provide me with constant
inspiration to continue to ensure that all kids have the opportunity to engage with and through the arts. You’re
going to be wonderful teachers.

16
 Chapter 1

Art as Text, Arts Integration, and Arts Education

Art is a process. I thought I was a way cool teacher because I teach art every Friday; and what that meant for me was one lesson and having a
product at the end of the day. It got hung up around the classroom if there was room, and if not it got sent home. And what I would do
differently now is to encourage the kids to develop their idea, to come back and revise and edit their idea much like I do with the writing
process. I would never ask the students to produce a product at the end of the day and that’s what I’ve been doing with art.
Fourth-grade DREAM teacher, San Marcos, CA

Someone once said that there are probably seven natural good singing days in a year—and those are the days you aren’t booked. What we
must learn is how to sing through all the other days.
Renée Fleming, opera singer

Setting the Stage (Literally!)

If there is one thing you should know about me as you delve into this book, it’s that I love my students, and I
love the arts. I’ve been teaching (and learning!) for decades, and from kindergarten through in-service teachers,
I am one privileged individual to be engaged in this wonderful career of education. As an arts person, I have
the added bonus of being around people who are continually engaged in creative activities. Who wouldn’t love
that?! I also have a deep love of the arts and have the most wonderful memories of being engaged with the arts
since childhood. I had teachers who recognized my ability in music early on and created opportunities for me
to perform. I distinctly remember performing on the stage at Chace St. Elementary school in Somerset,
Massachusetts, which was part of a multipurpose room that also served as the school’s cafeteria. That stage, I
now realize in hindsight, provided me with a taste (no pun intended) of what was possible. The stage was just
a few feet off the ground, a bit higher than the lunch area. I performed in front of an audience of ravenous
elementary kids devouring their school lunch of the usual meatloaf or Salisbury steak with unidentifiable
vegetables. Really, the eating was just an interlude toward running out to recess.

The Power of the Teachers

I can’t say enough about the power of a teacher in a child’s life. My fourth-grade music teacher, Mr. St.
Lawrence, placed me along with my best friend up on the stage with our guitars during lunch, where we
literally sang our hearts silly on such original tunes I had composed, including “Flower Power Is in Today” and
“Peace Now.” Yes, you might have guessed, it was the late 1960s. Mr. St. Lawrence by his actions put that
kernel of “I believe in you” in my brain, making a world of difference in my outlook on myself. A couple of
years later in middle school I had another music teacher, Ms. Desrousseau, who also took an interest in me and
took me to a jazz concert—wow, my teacher took me somewhere! Talk about feeling special, encouraged, and
motivated. I am so thankful to have had teachers early on who took an interest in me and made a difference in
my life. I am grateful that finding mentors continued throughout my education even into graduate school,
individuals who encouraged and challenged me, not only making a difference in my education but also
shaping how I try to be in my role as a teacher with my students. My graduate school mentor and advisor,
Carol Chomsky, created a bridge for me between the world of playing music and the world of becoming an
educator. And she gave me the wonderful gift of compassion. As a mentor and advisor Carol was simply
remarkable and generous. She had a way of critiquing in such a manner that I always felt like my work was
getting better, and this was (in hindsight) no easy task. I came into the doctoral program at Harvard without
knowing the difference between apostrophes for plurals and possessives. Grammar really didn’t matter much

17
as an itinerant professional performer. Nonetheless, what could have been a terribly embarrassing situation, or
a case in which another advisor would promptly send her delinquent student to a writing lab, Carol instead
exchanged music lessons for grammar lessons. She found a way to put us on equal footing. Every time she
critiqued my writing I couldn’t wait to make it better. If I could bottle up that feeling and present it to each of
my own students I would!
At the time I went through K–12 education the arts were a given. And, thank goodness, as the arts provided
me with solace, inspiration, companionship, and camaraderie. That same year I was up on the stage, during
fourth grade, we had recently moved. Starting at a new school in a new town and making new friends were
daunting. The arts, however, gave me an outlet and a place to retreat. Later I would come to realize that the
arts provided me with much more than an outlet and retreat. Though I didn’t know it at the time, the arts set a
foundation for skills such as discipline and practice. The arts also contributed to a sense of agency, grit,
imagination, problem solving, discipline, empathy, and an ability to communicate effectively. At the time, I did
grasp how the arts and most specifically music gave me confidence, and a sense that I was capable—capable of
achieving and contributing.
When I work with my own students I begin with the understanding that they, too, are enormously capable.
However, in my setting, the majority of students have had little opportunity with the arts. That may or may
not be your situation as well, depending on your educational context. In the beginning of the semester I show
my college students pictures of musical instruments and have them name them. My goal in this exercise is to
understand the students’ starting points. Typically, most students have a hard time identifying and naming the
instruments. Many cannot identify what I would consider well-known instruments, such as trumpets and
trombones. When we identify the instruments, they jot down the names under the instruments’ pictures. To
my great surprise, students had to invent spellings for many of the instruments. Here are a few invented
spellings for the instruments cello, cymbals, xylophone, violin, harp, saxophone, trombone, flute, guitar, oboe,
timpani, and bassoon:
chellow, chelo, cielo, symbols, zilphon, xailaphone, villien, violen, arp, saxiphone, trumbone, fluit, kitour, clairanet, obo, tymphony, timponee,
bazoon.

Soon after the instrument exercise, I ask the same students to make a collage that depicts the arts in their
lives. Inevitably, as soon as I give the assignment, hands go up in the room. “What is a collage?” they ask. The
majority of students had never experienced making or viewing a collage. Once they got the idea, however, they
created colorful and imaginative collages, using magazine pictures, photos, and images they took from the
Internet (Figure 1.1). The arts in their lives as portrayed in their delightful collages tended to focus on a few
themes that surprised me: fashion, tattoos, and cars. I’ll admit my students are quite fashionable; they clearly
pay attention to how they present themselves when they arrive to class. And, without a shadow of a doubt, I
now understand that their depth of knowledge with regard to tattoos and cars is significant.
At this point you might be wondering about my students. It might come as a surprise to you that these
students, so capable, bright, energetic, and full of potential, are nearing completion of their college degrees.
These students are all in a teacher prep program and will become teachers within one or two years. I take it
quite personally, as any one of these students could have been my daughter’s teacher! In fact, several of my
former students have landed in teaching jobs in her school(s). Though my students and I live in Southern
California, the lack of arts education is not confined to our neck of the woods. Students across the nation have
received fewer arts in their education over the last two decades than any time previous. And, though the
amount of arts education has remained somewhat flat according to the National Center for Education Statistics
of the Institute of Education Sciences (2012), the gap in access to the arts among the poor has widened
significantly.
I am heartened that my students can see art in their everyday lives and make the connection that there are
elements of art in fashion, tattoos, cars, and other areas they brought up, such as bartending, makeup, and
flower arranging. What strikes me, though, is that it is quite possible my students never had the experience of
someone putting a paintbrush or a musical instrument in their hands, or the experience of acting or being in a
dance ensemble. Their invented spellings of instruments likely indicate that they have never seen music
textbooks or concert programs. Their exposure to the arts as exemplified through their identification of fashion
and cars could be argued to be a result of consumer marketing as opposed to an education that included art
forms. When I see my capable students, I wonder what opportunities and talent have been lost.

18
 California State University San Marcos (CSUSM), where I have taught since 1993, is a federally designated
Hispanic-Serving Institution (HIS) as well as an Asian American Native American Pacific Islander–Serving
Institution (AANAPISI). We are largely a commuter school, and the majority of our students have graduated
from local school districts with partnership agreements with the university, by which students gain automatic
acceptance to the university. Seventy-five percent of the local public schools in our service area are Title I
schools, and 67% of our students at the university receive financial aid. The majority of students who attend
the university are the first in their family to attend college.
Though we cannot possibly make up for the lack of access to the arts, we can make a significant contribution
to these future teachers’ abilities to reach their future students. Recognizing that a full curriculum includes the
arts, these future teachers can learn to open the doors that introduce children to the arts and arts-based
pedagogy. In so doing, they might very well be a catalyst of change within their local communities as they
enter the career of teaching.
In the same Title I schools that my students come from, our university in partnership with the San Diego
County Office of Education has initiated several research programs aimed at changing the status quo. SUAVE
(Socios Unidos para Artes Via Educación—United Community for Arts in Education) and Developing Reading
Education with Arts Methods (DREAM) are two examples that are discussed in later chapters. Both are arts
integration programs that received funding from the Department of Education Office of Innovation and
Improvement as model educational programs. A similar program, “Learning through the Arts,” is now in full
force throughout San Diego Unified School District funded with Title I dollars. Each of these programs trains
K–12 school teachers (and I literally mean our teachers are in training) to utilize the arts to teach subject
matter.
The good news is that more and more school districts like San Diego Unified are not only recognizing the
power of the arts to foster student achievement and engagement, improve school climate, and build parental
involvement, but also are initiating programs aimed at ensuring that all students and teachers have access to
the arts as a subject in and of itself.

Art as Text—Arts Integration—Arts Education

In the next part of this chapter, I will outline and describe the three broad ways in which I view the arts as
fundamental to teaching and learning. The role of the arts in the classroom is extensive and holds much
potential for students and teachers. There are three primary ways, which I will outline: the arts as text, arts
integration, and arts education. Linked together, and all three align with state and national Visual and
Performing Arts (VAPA) content and with the goals and career-readiness standards of Common Core and Next
Generation Science Standards.
Art as Text: The arts have a unique role in humanity as a document of events, emotions, history, culture,
and ideas. The arts as text place the focus on the arts as source material, or knowledge. The arts provide us
with tangible reflections, documentation, and responses to the world, events, emotions, and experiences. When
we examine artworks closely we are, in a very concrete sense, reading them. In many statewide VAPA
standards, the arts as text may be described as artistic perception. In Common Core, the use of texts for
understanding specifically calls out and advocates the inclusion of art works on equal grounding with reading
word-based texts.
Arts Integration is a tool for teaching and learning. Arts integration focuses on a process of learning by
engaging arts-based strategies to integrate learning in the arts with other subjects. In many statewide VAPA
standards, arts integration is described in terms of connections, applications, and relationships across
disciplines. Arts integration can and does encompass all the other strands of the VAPA standards. What is
unique to arts integration is the attention on the process of learning in the arts to engage discipline learning
outside of the arts, such as literacy, math, science, or social studies. In this category the phrases “learning
through the arts,” and “learning with the arts” are commonplace. The Kennedy Center’s definition for arts
integration, which many educators find helpful, is “Arts integration is an approach to teaching in which
students construct and demonstrate understanding through an art form. Students engage in a creative process,
which connects an art form and another subject and meets evolving objectives in both” (ArtsEdge, 2014).
Arts Education commonly refers to learning in the disciplines of the arts: visual arts, music, dance, theater,

19
and media arts, as subjects in and unto themselves. According to state and federal guidelines—each and every
child is required to have an education in and about the arts. This category is the very core of most VAPA
standards, and is described fully in the National Core Arts Standards, which align nicely with both Common
Core and the Next Generation Science Standards.

Digging a Little Deeper

In teaching and learning, one thing is always for certain: students are at the core of everything we do. I
remember first really thinking about the importance of framing teaching and learning as a relationship while
studying with Eleanor Duckworth at the Harvard Graduate School of Education (I would eventually become
one of her teaching assistants). Eleanor had us read David Hawkin’s The Informed Vision (1974), in which he
framed teaching and learning as a three-way relationship between “I, thou, it.” “I” is the teacher, “thou” the
student, and the “it” is the content. While that framing of teaching and learning as a three-way relationship has
worked for me for many years, I’ve come to realize that there is one big missing piece in the scenario. Process
is fundamental to how we negotiate relationships. And both the teacher with whom I began this chapter and
Renée Fleming nailed it with their descriptions of the power of the arts as a process—the process that serves as
a bridge connecting content, student, and teacher.
One of the things that make art so compelling in the realm of pedagogy is that it is both a process through
which students grapple with content and a repository of content representing humanity’s experiences. The
process of art includes learning specific skills known as technique, such as the technique of contour drawing in
visual art, playing a musical instrument in tune as a musician, or projecting your voice as an actor. At the same
time that technique underlies the artistic process, the making of art would not occur if there were not also an
engagement of the imagination and creativity. A wonderful musician not only plays technically well but also
interprets a piece of music in order to present it. The balance of technique with creativity provides the
foundation for making art, as well as reflecting on it as an audience or viewer.

Arts as Text
To illustrate the power of the arts as text, I ask two simple questions as students listen to a piece of music,
watch a dance, engage with a theater piece, look at a piece of artwork, or view a video. The two questions are:
What do you notice, and what do you wonder? These two questions are priceless in where they will take you
and your students. I encourage you to try it right away!
Here’s how it works. Since I am a professional musician, I like to perform live. And I can’t say enough for
providing students the opportunity to see live music, or any of the performing arts for that matter. I get in
front of the class or auditorium and introduce myself. However, I do not give away the name of the instrument
I’m about to play nor the kind of music I’m about to perform. I do not mention anything about the person
accompanying me. My go-to piece of music to play in this circumstance is from the genre of “klezmer” music,
which is eastern European Yiddish music. The piece I play, called “Broiges Tanz,” literally means “angry
dance” and has a simple two-chord repetitive accompaniment of Dm and A7. The simplicity usually guarantees
I can find someone to play the accompaniment on the guitar, piano, or even in one case, a charango, a small
ten-stringed lute-like instrument from South America! I’ll get back to the case of the charango in a bit.
Before I play (and of course you can also do this with a recording or video), I ask students to keep two lists:
one of what they notice—that is, about the music itself, its form, what it sounds like, what it reminds them of
(if anything), and so forth. I also suggest they notice things about the way I play or interactions between
myself and the other musician. I also ask them to make a second list of what they wonder: what they wonder
about the music, about the musicians, about how we play, and so forth. Remember, I give them no background
on myself, the instruments, or the piece at this point.
Then I play. I take out my soprano saxophone, count off the beats, and play the piece. I do not have any
sheet music in front of me. I have the piece memorized having learned it by ear. You can listen to a recording
of the piece on the companion website for this book. The piece has a strong rhythm, with what in Yiddish is
called “krechts,” a sliding, groaning quality, similar to the opening clarinet line on Gershwin’s “Rhapsody in
Blue.” The tune is in two parts that repeat over and over, though I never play them exactly the same. If you can

20
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