Arts Across the Curriculum Project - Final Evaluation Report - Executive Summary

2. The Arts Across the Curriculum Project

Arts Across the Curriculum is a three-year pilot project sponsored by the former Scottish Executive’s Future Learning and Teaching (FLaT) programme, the Scottish Arts Council, and seven local authorities in which the initiative is being piloted. In order to be eligible to participate in AAC, local authorities had to have a Creative Links Officer in post. The seven Creative Links Officers were responsible for the management of the AAC project in their local authority. The six key aims of the project are:

1. to increase pupils’ achievement, particularly in understanding, in identified subject areas across the curriculum
2. to increase pupils’ motivation to learn
3. to support and develop the skills of teachers to work collaboratively and creatively
4. to encourage links between different areas of learning and erode subject barriers
5. to improve the ethos of the school
6. to explore the efficacy of the expressive arts as a delivery mechanism across the curriculum.
7.  

The ideas expressed in the project’s aims are drawn mainly from the Lakeside Education and Arts Partnership (LEAP) approach and their Arts Impacting Achievement (AIA) project. These follow the Chicago Arts Partnerships in Education (CAPE) approach, commonly known as the ‘ Chicago model’.

At the heart of Arts Across the Curriculum is the ‘integrated curricular lesson’ (ICL) that arts

professionals and teachers plan and deliver together. Creative Links Officers were responsible for choosing the schools, artists and structure of these ICLs. Their purpose is to enhance pupils’ understanding of curriculum content through arts activity and for pupils to gain greater insight into the arts. Artist and teacher integrate their specialist knowledge in designing lessons to achieve this end.

3. The Evaluation

The aims of the evaluation, as agreed with the FLaT team, are to:

1.      describe the extent to which the six key aims of the Arts Across the Curriculum project have been met

2.      identify strengths and any gaps in the training and support available to teachers and artists involved in the Arts Across the Curriculum project in the participating schools

3.      assess the overall impact of the Arts Across the Curriculum project on teachers, artists and pupils in the participating schools (including any gender differences in relation to outcomes)

4.      explore how the expressive arts can be used as a vehicle for carrying current school curriculum knowledge and for achieving broader educational targets

5.      establish conditions that support effective implementation and embedding of the Arts Across the Curriculum project.

Outline of research design

From April to August 2005, a picture of the initiative was constructed from interviews, observation of the main AAC training event and planning meetings, and from AAC documents provided from various sources including schools, local authority managers and the Scottish Arts Council.

During the period September 2005 to June 2006, data were gathered using a variety of instruments which included pupil, teacher and artist surveys, structured observation of ICLs and interviews with a ample of artists, pupils, teachers and parents.

Between September 2006 and June 2007, these measures were repeated in order to identify any changes in impact that might have arisen when stakeholders had accumulated experience of implementing ICLs.

In addition to these measures, a number of artists provided rich data through the compilation of video diaries (see Coutts & Dougall, 2005) and there was an in-depth study in three schools which involved semi-participant observation and extended exploration of teachers’ and artists’ understandings of the project aims and how they might be implemented effectively. The in-depth study included one focus group with the headteachers from the three schools and a further focus group with the artists and teachers. In June 2007, individual interviews took place with key members of the SAC and Creative Links Officers. Finally, the views of project monitors, who had been appointed by the FLaT team as ‘critical friends’, were sought in August 2007.

4. Key Findings

4.1 Artist and teacher interpretations of ICLs and related issues

There was a high degree of diversity among authorities and schools in the ways in which ICLs were developed and delivered; for example, the frequency and length of art input, the length of time a group of pupils participated in AAC, the curricular area addressed and the art discipline involved. However, the classroom observation data showed that interaction promoting the key aims of AAC appeared in the vast majority of observed lessons; the observers noted in particular that arts activities were used to enhance the curriculum content. The evidence shows that the artists and teachers were adapting the Chicago/LEAP model in sensible, productive ways to fit curricula in Scottish schools. Throughout the project, the arts activities were being used to help pupils learn other knowledge, and this evidence differentiates AAC activities from other initiatives that have introduced arts activities into

schools. However, the various strands of data suggest that more attention needs to be given to

enabling pupils to develop creative thinking as well as content outcomes.

Suitability of art form for different academic content

There was evidence, especially by the second year of the project, that teachers and artists believed that many ideas that are difficult for pupils could be effectively illustrated through the available art forms. In commenting that an art form ‘involves looking at something from a different perspective’, one artist summarised a view expressed by others: that it is reasonable to believe that any art form offers a way of promoting insight into ideas in most academic subjects. However, this does not mean that representation was straightforward, and both teachers and artists reported that this was challenging to achieve. Careful planning and pedagogical understandings are key to effective ICLs.

Planning for integration

Taken together, the data suggest that teachers and artists collaborated very well together. Success depended on setting realistic goals for a series of ICLs, careful analysis of the concepts learners were to grasp and weighing up a range of possible pedagogical strategies. A key factor was the artists’ ability to help pupils to represent challenging curricular concepts through artistic activities. Success was also associated with being able to balance the various constraints in the context and reach solutions acceptable to both artist and teacher.

Evidence of teachers and artists developing ideas jointly was more marked in the second than in the first year of the project, possibly because it takes time to develop understanding of the sophisticated notion of integrating two disciplines to enhance learning in both. The planning sheets provided were not particularly helpful: ‘they are a formality, not a tool’.

Integration in action

In almost all lessons, high levels of productive interaction were observed between young people and their artists and teachers. The highest proportion of invitations to talk initiated by artists in both years fell into the category connected with deepening pupils’ understanding of curricular content. In both years, artists initiated more than twice as many invitations to talk as teachers over the typical observation slot, a finding which can be explained in part by three inter-related factors (i.e. the artists often led the recap of curricular content; they orchestrated the lessons around the arts activities and they used many short questions to focus pupil attention). The artists demonstrated high levels of skill in using questioning techniques.

Covering curriculum content

The vast majority of teachers reported that it took longer to cover the curriculum content, but for most this situation was manageable. The extra time invested led to deeper understanding of the topic and was often recovered subsequently through not having to re-explain concepts at a later stage.

Less successful ICLs

Where lessons were less successful, explanations from artists and teachers proposed three interrelated factors: delivering the ICLs to classes with a high proportion of pupils with unusually challenging behaviour; inadequate support from school management; selecting academic goals and/or artistic content that were too difficult for the pupils.

4.2 Impact on pupils

Views of pupils, teachers, artists and parents were sought in relation to the project’s effect on pupils’ learning and engagement with learning. The many different strands of evidence point in the same direction: the ICLs engaged the pupils; they were effective in enhancing understanding of academic and artistic content; and pupils, including those with social, emotional and behavioural needs, derived a range of benefits from these lessons.

Pupil views on impact on pupils

There was evidence that the pupils clearly understood that the main focus was the curriculum topic but also that there was opportunity to learn about different art forms and art skills. It is clear from surveys that the majority of young people believed that having an artist working alongside the teacher had the following benefits:

• enhanced interest, enjoyment and engagement with learning: for example, the majority thought that the lessons were more interesting, time seemed to pass more quickly and they looked forward to the lessons with the artists; the majority thought it would be a good idea to have artists in more lessons
• it was easier to learn the topic because of the way it was explained and they thought they could remember the ideas better
• the lessons helped them work with other pupils, including people they did not usually work with
• the things they did during the ICLs made them feel more confident.

Pupils’ explanations indicated that: they liked having the freedom to make their own decisions about planning and executing tasks; the lessons enabled them to remain ‘on task’, because ICLs were active and involved less reading, writing and copying; the way the artist explained things and the things they did in these lessons enabled them to remember the concepts they were learning more easily. However, not all lessons with the artist were successful, and in a small number of lessons, they did not see the connections between the art activity and the subject they were learning.

Pupils indicated that they learned about different art forms and some would have been interested in learning more, but opportunities for further development were perceived as limited, both within school and in the wider community.

Teacher, artist and parent views on impact on pupils

Teachers reported increased engagement of the young people during ICLs and said that the interest in the curriculum topic/subject often continued when the artist was not present. They reported children ‘loving it’ and ‘being excited’.

Teachers were also positive about the extent to which the approaches used in ICLs encouraged

pupils:

• to work collaboratively

• to work creatively (i.e. to contribute and try out new ideas and take risks), and

• to develop confidence and self-esteem.

In relation to improved achievement and understanding, teachers offered evidence of benefits in the following categories:

• pupils’ grades in the subject used for the ICLs

• pupils’ grades in class tests for the topic used for a series of ICLs

• pupils’ completion of homework connected with a series of ICLs

• pupils’ understanding of concepts taught in ICLs – assessed verbally when new, related

concepts were being introduced.

Artists reported high levels of interest and enthusiasm amongst pupils, although during interviews some indicated that amongst secondary pupils in particular there were some classes, or a few in each class, who were not ‘on board’.

While some of the parents interviewed had only limited awareness of the AAC project, the majority indicated that their children had enjoyed the experience and had spoken enthusiastically and positively about the lessons with the artists. Most believed that the interest generated by the artists would help the children concentrate more and help them learn.

Developing creative approaches and creative thinking skills

Overall, the majority of the pupils thought that ICLs encouraged them to:

• try things they had not done before

• share their ideas with other people

• put new ideas into practice, and

• be more imaginative.

In open questions and focus groups they thought one of the purposes was to help them use their imaginations. However, there was no evidence of any difference in the development of creative thinking skills, between a small sample of AAC pupils and a comparator group of non-AAC pupils, as measured by a set of standardised creative thinking skills tasks. One possible explanation, supported by the data gathered during ICL observations, is that there was insufficient time in ICLs for pupils to practise a range of creative thinking skills. Typically, in ICLs pupils responded to questions and represented ideas in an art form, but there was little time for them to talk about forms of thinking that underlie artistic endeavour (see e.g. Tishman & Palmer, 2006). The standardised tasks reflect the view that creative thinking includes the ability to generate lines of enquiry and to engage in various forms of thinking embedded in particular art forms. Most research suggests that any form of thinking

has to be practised quite intensively before a measurable impact occurs, and the nature of the

thinking needs to be made explicit.

4.3 Impact on teachers and artists

Evidence from all sources indicates that the majority of teachers and artists were very positive about their involvement in the Arts Across the Curriculum project and most agreed that they would like to continue working in this way.

Initial training and ongoing support

At the outset of the programme a 3-day training event was held, drawing together teachers and artists from the 7 authorities involved in the project and a team from Lakeside Education Arts Partnership, Chicago. This event was generally well received by both teachers and artists, although many of the artists reported that they already had experience of working in an educational context and believed that their talents could have been utilised more in the training event. According to both teachers and artists, an important aspect was the wealth of talented Scottish artists gathered together for the training event and who were participating in the project.

‘New’ artists and teachers became involved in AAC throughout the life of the project. Induction for such participants varied from authority to authority. Teachers and artists in some authorities reported meetings with CLOs and there were some locally organised induction and planning days. Others reported little support, with teachers depending on experienced artists, and vice versa, to help them with the preparation and delivery of ICLs. More structured induction and clear information about AAC and the ICLs would have benefited all new participants to the project.

From the artists’ perspective it was reported that, for the most part, schools had been welcoming and management supportive. This support was less evident in secondary schools, but artists indicated that the relationship with the teachers had been sufficient, although they believed that teachers could have benefited from greater support from management. Artists were extremely positive regarding support from local authority managers, with an apparent increase in appreciation over the course of the project.

Teacher development

One aim of the AAC project is to support and develop the skills of teachers to work ‘collaboratively and creatively’. Teachers reported working collaboratively with other adults and with their colleagues prior to involvement in AAC, but some indicated that working with the artist had made them more confident in working with others.

In relation to working creatively:

• almost all the teachers thought that they had developed new approaches to teaching
• most indicated they had tried out the new ideas in other lessons and
• most thought that working with an artist had developed their confidence to try out new
• approaches and to be less ‘controlling’ in their classroom practice.

Artist development

While about one-third of the artists indicated that being involved in AAC had not led to further professional or personal development as they were already well experienced in working with schools, the remainder reported that they had:

• developed new awareness and understanding of issues related to schools and young people

• acquired new skills in working with young people, and

• been stimulated to develop new approaches in their art (a few artists).

4.4 Impact on schools

AAC had two aims specifically related to whole school issues: to encourage links between different areas of learning and erode subject barriers and to improve the ethos of the school.

• Teachers saw the most obvious erosion of subject barriers occurring between art disciplines

used in the ICLs and other areas of the curriculum, although some primary teachers

suggested that this was not new practice.

• While by the end of the project some secondary teachers were seeing the potential for cross-

curricular collaboration (e.g. English and Art, Social Studies and Drama, Maths and Music

departments), there were few formal opportunities within schools (e.g. development days that

focused on the AAC experience) designed to cascade the approach throughout the school.

• There was no general consensus reached as to whether or not AAC had impacted on the

ethos of schools.

4.5 Sustainability

About half the teachers believed that they could continue to implement the delivery of the curriculum through arts media as the experience had given them the ideas and the skills; the remainder believed this was not possible as the expertise and skills of the artists were essential for successful delivery. Sustainability was dependent on schools’ commitment to giving time, resources and wider recognition within the school to an arts-infused approach and ongoing CPD/mentoring from artists.

4.6 Efficacy of arts for delivering the curriculum and conditions that support effective

delivery

All of the above evidence suggests that the expressive arts can be effective vehicles for carrying school curriculum knowledge and for achieving broader educational targets. The ICLs can be understood as translating constructivist accounts of learning into practice in a way that is consistent with principles expressed in the Curriculum for Excellence. Many ICLs served the functions of illustrating abstract concepts by representing them in another, arts-related, way and providing a vehicle for problem-based and other participative forms of learning implied by the Curriculum for Excellence. There is no clear evidence that arts promote understanding of curriculum knowledge more effectively than other approaches derived from sound pedagogical research.

Factors contributing to effective delivery of ICLs that emerged from the data and that appear in related

research literature include:

•  strong leadership and support of the school management team
•  the quality of joint artist/teacher planning
• effective communication
• appropriate time slots for lessons with provision for continuity and progression
• suitable locations and resources
• promotion of good artist-teacher relationships and collaboration in both planning and delivery
•  projects that are not one-off but have multiple phases.

Features of effective planning include:

• choosing realistic academic and artistic goals
• analysing key concepts connected with lesson goals
• considering strategies for developing pupils’ understanding

       using the art form to inject interest into ‘difficult’ or ‘dull’ content

• • artists’ ability to design a vehicle suitable for promoting the academic goals with manageable
• artistic activities accommodating such constraints as time, teacher/pupil resources and space.

5. Points for Consideration

It is recommended that attention should be given to the following points in future attempts to build on the successes reported above in using art forms as a vehicle for enhancing curriculum learning.

• Teacher/artist opportunities to explore pedagogy

Representing curricular content in art forms requires more sophisticated pedagogical understanding, particularly of constructivist approaches; the AAC project training needs to address this through a joint approach with senior academic staff in universities who have evidenced their expertise in this area through, for example, publications in peer reviewed journals. Part of the pedagogical understanding relates to the idea that it is through learning to think more effectively that knowledge bases are grasped in ways that enable them to be used as flexibly as seems to be envisaged in the descriptors of the four capacities that capture the aims of the Curriculum for Excellence. Viewed in this light, there is little conflict between developing thinking through reflection in the way described in Project Zero (e.g. see Tishman & Palmer, 2006), while also achieving academic learning outcomes.

More constructivist teaching needs to be supported by more open-ended assessment tasks, including more use of what is known as authentic assessment tasks (e.g. see Knight & Yorke, 2003). For example, pupils might be assessed through presenting their work to school and community audiences.

• Providing time to develop understanding of art forms

More time might be allocated to opportunities for pupils to explore and analyse art forms, such as films, plays and visual art, in the ways described in Project Zero’s Artful Thinking (Tishman & Palmer, 2006), if aims relating to creative and other forms of thinking are to be achieved.

• A whole school approach

ICLs are likely to work optimally where there is a whole school approach which is actively supported by senior management, and which makes it possible for teachers and artists to identify both ICL and non-ICL lessons where young people can practise ‘artful thinking’, research knowledge, and engage with related films, plays, novels, poems, documentaries and visual art. Without a whole school approach, practice in forms of thinking embedded in art forms is restricted to isolated classes and may be insufficient to develop competent thinking. Time for developing creative and other forms of thinking might be found through a whole school approach that re-examines curriculum knowledge to distinguish between fundamental ideas in areas of study and other information that pupils could

access themselves through individual work.

A whole school approach would also enable young people to gain experience across the school of working in the constructivist ways that are implied by the Curriculum for Excellence.

• Erosion of subject barriers

A contribution to the erosion of subject barriers can be made through the use of a systematic

approach in which school working groups identify forms of thinking in arts activities and draw up plans to enable pupils to practise such thinking across the curriculum.

Eroding of subject barriers can be promoted through the well researched, very influential approach known as problem based learning (e.g. see Boud & Felleti, 1997), in which the expressive arts could be used as the vehicle. Plainly, this endeavour would need to be supported by the senior management team.

References

Boud D and Felleti G (1997) The challenge of problem-based learning, second edition. London: Kogan Page

Coutts G and Dougall P (2005) Drawing in Perspective: Scottish Art and Design Teachers Discuss Drawing, International Journal of Art & Design Education 24 (2) 138–148

Knight P T and Yorke M (2003) Assessment, Learning and Employability. Maidenhead: Society for Research in Higher Education/Open University Press

Tishman S and Palmer P (2006) Artful Thinking: stronger thinking and learning through the power of art, Final Report by Harvard College to Traverse City Area Public Schools. Cambridge: Harvard

Attached below is the full report:-

Arts Across the Curriculum Project - Final Evaluation Report (293 KB)

PDF File - Arts Across the Curriculum - Appendices (1 MB)

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