In Champions of Change: The Impact of the Arts on Learning, a broad theme emerged from the research findings: the arts are not distinguished only because they promote learning in specific arts disciplines or because they support learning in other disciplines. Instead, the individual studies seem to suggest a more vibrant, less either-or model for arts in learning and the learning process. The arts act more as a rotary, or traffic circle, with many entrances and exits, than as a linear one-way street. It is this rotary of learning, in which learning in one domain supports and stimulates interest and learning in another
domain which results in heightened achievement (Fiske, 1999, p.10).

We will define “integrating the arts into the curriculum” as students attending an arts class with an arts specialist, the classroom teacher extending study through the use of the arts, and the exploration of an arts project with an outside arts consultant (artist-in-residence).

There is a body of research available that presents compelling arguments for the “why” of integrating arts into the curriculum. Engaging in the arts – visual arts, dance, theater, music or another discipline – nurtures the development of multiple cognitive, social and personal skills and abilities.

The arts enhance the process of learning. The systems they nourish, which include our integrated sensory, attentional, cognitive, emotional and motor capacities, are, in fact, the driving forces behind all other learning (Jensen, 2001, p. 2).

The arts have the power to express meaning in ways that no other medium can match, and students need access to the power of individual expression that the arts give. Some students may not find academic success without it. All students deserve exposure to the arts as a fundamental part of our culture (Tilney, 2001). The arts reach the unreachable, serve the underserved, inspire the uninspired, enlighten the enlightened and allow us to learn where we are. The arts are mankind’s gift to mankind.

• The arts reach students not ordinarily reached (Fiske, 1999).

So-called “hard-to-reach” students used to drop out. As our graduation rates have risen from about 25% in 1920 to close to 70% today (NCES, 1998 ), students who used to drop out of school because of financial needs, behavior and attention disorders, poor memory, pregnancy, weak social skills, household violence, or a host of other problems, are now in schools. As our educational agendas have become more inclusive, we are committed to helping these students stay in school and to succeed. There is evidence the arts are the best vehicle available to do that job (Jensen, 2001, p. 9).

One student in a low-income, minority school walked into his art teacher’s class, looked at his teacher’s art and asked him, “How’d you make that?” The teacher allowed him to study arts (though it took special permission). Over the next two years, the student’s motivation and grades went up and up. He later enrolled at the University of Pittsburgh. Successful in his career, [he] is an architect and now a trustee of the University of Pittsburgh (cited in Jensen, 2001, p. 63).

• The arts reach students in ways not ordinarily used (Fiske, 1999).

Students considered classroom failures, the ones who often “act out” because the conventional classroom practices don’t engage them, can become high-achievers in arts learning settings because the arts tap into different styles of learning. Success in the arts became a gateway to learning and eventual success in other learning areas (Fiske, 1999).

At a middle school where in which a significant number of students qualify for free or reduced-price lunch, a wide variety of students compose the art class. The majority of students have some diagnosed learning disability or psychological problem…

The current lesson requires students to draw their backpacks…As the drawings near completion, she asks the students to continue to work but also to listen to excerpts from The Things They Carried, by Tim O’Brien…The teacher leads a discussion as the students continue to draw…What is a tangible object? What is an intangible object? What are the tangible and intangible things that you carry? The students pull out lined binder paper and begin to write.

One boy in the class, failing academically and regarded by the other teachers in the school as having a severe behavior problem, is a model student in the art classroom. He shows up on time. He works diligently and contributes to group work. He
completes assignments. In his essay, he writes, “One thing which I don’t have many of is pencils. I have long, short, broke, and dull pencils. I’m not proud to say but the most common thing to find in my bag is detention slips. Most important is my future. If I can use some of those things in my backpack right I will make a
good future for me.” Two weeks after he completes this assignment, the school decides to remove him from art in order to intensively drill him in preparation for standardized testing (cited in Siegesmund, 2005, p. 21).

• Arts provide challenges for students at all levels, from delayed to gifted. It’s a class where all students can find their own level (Fiske, 1999).

“Artistic prowess has little to do with traditional intelligence, guided by naming, sorting, logic and memory” (Jensen, 2001, p. 64). The arts encompass many learning styles and intelligences, so the case can be made for their use in the special education and gifted education classrooms. Many teachers wonder how to meet the needs of culturally and cognitively diverse classrooms. The arts may be answer.

Gail Hennessey, a teacher of sixth-grade social studies at Harpersville Central Schools, in New York, believes that immersing her students in the culture of the period they are studying means the arts must, by definition, play a significant role. During her study of medieval times, for example, Hennessey plays Gregorian chants, while students pretend to be monks at work in a scriptorium. Students search the Internet for sources of illuminated manuscripts, then work to develop their own unique illuminated letters. Students view the architecture of the period by looking at cathedrals such as Notre Dame in Paris.
When covering early prehistoric cultures, Hennessey has her students view cave art paintings and then draw their own. During the study of ancient Egypt and areas of the Middle East, students listen to music as they design sarcophogi and artifacts from King Tut’s tomb. They sample foods from the region, as well as listen to stories which originated in that area, such as “1001 Arabian Nights.”
“I strongly feel that students develop a better understanding of other cultures of the world that we are studying by incorporating the arts, music, and literature,” Hennessey says (cited in Tilney, 2001, p. 4-5)

• Students of lower socioeconomic status gain as much or more from arts instruction than those of higher socioeconomic status. This suggests the gifted programs need to expand their target audiences (Fiske, 1999)

One of the critical research findings highlighted in Champions of Change: The Impact of the Arts on Learning is that the learning in and through the arts can help “level the playing field” for youngsters from disadvantaged backgrounds (Jensen, 2001, p. 3). Arts-involved students outscore their non-arts-involved peers by up to 30 points on the Verbal Mean and Math Mean potions of the Scholastic Achievement Test (The College Board, 2005). While this can be explained by more affluent students in arts-rich, well-funded schools performing well, students of lower-socioeconomic levels with high level exposure to arts education (4 or more hours of lessons, classes, rehearsals, etc., weekly) also outperformed the low level arts-involved students.
The longer the high level involvement in the arts continued, the greater the difference in the percentage of students scoring above the median. By Grade 12, the difference was 46%.
Furthermore, the test scores of students from families of low socio-economic status (SES), separated out, showed a similar result – i.e. this is not a phenomenon reserved for the already attuned middle class. The high arts/low SES kids in Grade 8 had a comparative advantage of 26.5% over the low arts kids, climbing to 32% by Grade 12. (Catterall, Chapleau & Iwanaga, Fiske, 1999)
These findings underscore the importance of funding arts education in all schools. In American schools, students receive about two hours of arts instructional time per week at the elementary level and the arts are generally not a required subject of study at the secondary level (Eisner, 1992). In Japan, students spend 33% of their time studying the arts, a great deal more than American students, and Japanese students’ achievement in math
and science are higher than those of American students’ achievements in those subjects (Greer, 1997, p. 90).

The arts are not a path solely for the “gifted” or “hard to reach” student. They engage the gifted, the delayed, the average, the struggling and the socio-economically disadvantaged students and help them “tie into” academic and creative learning and cognitive development.

Through the arts students can learn how to discover not only the possibilities the world offers but also their own possibilities (Eisner, 1992).

The arts are not only for the “gifted”. The arts are a gift.

Author: Jo Frannye Reichert

References

Catterall, J.S., Chapleau, R., & Iwanaga, J. (1999). Involvement in the arts and human
development: General involvement and intensive involvement in music and theater arts. In E. Fiske (Ed.), Champions of Change: The Impact of the Arts on Learning. Washington, DC: The Arts Education Partnership and the President’s Committee on the Arts and the Humanities.
Retrieved from http://www.artsedge.kennedy-center.org/champions/

Eisner, E. (April,1992). “The Misunderstood Role of the Arts in Human Development.”
Phi Delta Kappan, pp. 591-595.

Fiske, E. (Ed.). (1999). Champions of Change: The Impact of the Arts on Learning.
[Online report]. Washington, DC: The Arts Education Partnership and the President’s Committee on the Arts and the Humanities. Retrieved from http://www.artsedge.kennedy-center.org/champions/

Greer, W. D. (1997). Art as a Basic: The Reformation in Art Education. Bloomington,
IN: Phi Delta Kappan Educational Foundation.

Jensen, E. (2001). Arts with the Brain in Mind. Alexandria, VA: Association for
Supervision and Curriculum Development.

National Center for Education Statistics (NCES). (1998). Mini-Digest of Education
Statistics (pp.34-35). Washington, DC: NCES, US Department of Education.

Siegesmund, R. (September, 2005). “Teaching Qualitative Reasoning: Portraits of
Practice.” Phi Delta Kappan, pp. 18-23.

Smutny, J.F. (September 2002). “Integrating the Arts into the Curriculum for Gifted
Students.” Arlington, VA: The Council for Exceptional Children. [Online article] Retrieved from http://www.gifted.uconn.edu/siegle/TAG/Digests/e631.html

The College Board. (2005). Profile of College-Bound Seniors National Report for 2005.

Tilney, V. (January, 2001). “The arts MATTER – integrating arts into curriculum.”
Instructor Magazine. [
Retrieved from http://www.findarticles.com/p/articles/mi

America’s rapidly changing economy necessitates an education system that produces young adults with the skills needed to be successful in higher education and the skills to compete for the jobs of the twenty-first century. Student performance is not just an education issue; it’s an economic issue, a civic issue, a social issue, and a national security issue. Recognizing the need for change, President George W. Bush signed the No Child Left Behind Act (NCLBA) on January 8, 2002, changing education as it was known (U.S. Department of Education, 2002/2006).
The goal of the NCLBA is to drive the academic achievement of today’s students higher than it has been before by two key elements: holding schools accountable for the improvement of academic success and closing the “achievement gap” (U.S. Department of Education, 2002).
Accountability is increased by requiring schools to produce, “annual state and school district report cards that inform parents and communities about state and school progress” (U.S. Department of Education, 2002). Schools that do.not succeed in making progress must make available supplemental services either during the school day or after school, take corrective actions, and, ” .. .if still not making adequate yearly progress after five years, make dramatic changes to the way the school is run” (U.S. Department of Education, 2002). Improvements are recorded and tracked through state and national standardized testing.
Simultaneously, schools are challenged to close the “achievement gap,” by helping “all students, including those who are disadvantaged, achieve academic proficiency” (U.S. Department of Education, 2002). This puts a high level of demand on the schools to ensure their students are getting the education necessary so improvement can be shown.
The daunting task of implementing the NCLBA was left to the educators. Still, many educators were distressed because this was an overwhelming and seemingly impossible task. Some attempted to justify the impossibility of this task based on the following reasons: lack of teachers’ abilities and experience, lack parental involvement, and the socioeconomic status of the school and the families attending the school (being on the low end of the achievement gap). Teachers and administrators thought that a reasonable action to take would be to reduce the amount of time spent on subjects that are not assessed directly on the achievement tests. In 2003, the Council for Basic Education (CBE) conducted a study and stated that, “Twenty-five percent of principals reported decreases in the time their schools devote to the arts and thirty-three percent expect decreases in the next two years as a result of the NCLBA” (American Arts Alliance, 2005). Their expectations were that more time spent on reading, writing and math, would result in higher scores in these subjects. However, evidence from testing reflected otherwise.
The Scholastic Assessment Test (SAT): Reasoning Test is a standardized test that most American juniors-and. seniors- take when considering further education through a university or college. It gauges the critical thinking skills one needs for academic success in college (College Board, n.d.). According to the College Entrance Examination Board (2005), SAT takers with coursework in music appreciation scored sixty points higher on the verbal portion of the test and thirty-nine points higher on the math portion of the test, compared to student with no coursework or experience in the arts. In addition, students who participated more than four years in any arts coursework had a success of forty-nine points higher on the verbal section of the test compared to students with as little as one half year coursework. In the math section, students involved four or more years compared to those with half of a year of study had a thirty-eight point difference. The idea behind reducing the time spent on arts activities seemed logical, but research proves it to be a step in the wrong direction.
What does this mean? When administrators take time away from artistic expression, whether it is through visual, musical, theatrical or other art forms, it is taking away opportunity for the very success for which they are striving.
The arts can help teachers teach in many ways. Teachers have determined that students who receive high levels of training in arts are more cooperative and more open to articulate what they have learned, compared to students with a low amount of arts education. “High-arts” students are able to express their ideas more coherently, use their imaginations and take learning risks. High-arts students also have a better relationship with their educators and, “Educators in arts-rich schools demonstrated more interest in their work and were more likely to become involved in professional development experiences. They were also more likely to be innovative in their teaching” (Burton, Horowitz, Abeles, 1999, p. 38-41). Students involved in arts help the teacher teach, and that allows the teacher to actually accomplish more throughout the school day.
When addressing parental involvement, the best way to get parents involved in their child’s education is through art. Statistics show parents of students involved in art activities are more active in their child’s school. From the report of the National Center for Education Statistics, the following has been determined about parental involvement in public secondary school art programs:
Seventy-six percent indicate moderate to great extent of parental attendance at school arts events. Fifty-four percent indicate moderate to great extent of parental sponsorship of Booster Clubs. Fifty-two percent indicate moderate to great extent of parental sponsorship of fundraising activities for the arts. Twenty-eight percent indicate moderate to great extent of parental sponsorship of art exhibitions or visiting performers. Thirty- two percent indicate moderate to great extent of parental volunteering in arts programs. (1994)
Schools that do not have an arts program for parents to be involved in are missing out on an opportunity to have increased parental activity in their school.
Economic factors of each school could weigh heavily on the overall ability of the school to provide the best education, and in turn the best test scores. Most believe that lower socioeconomic schools are at a strict disadvantage when it comes to providing the best for their students. A study by the Arts Education Partnership (AEP) on schools with large numbers of students living in poverty says that schools can be transformed from frustration and failure, for both the teachers and the students, to joyful, successful places of peaceful education when the arts are integrated into not only their curriculum, but their school culture (American Arts Allegiance, 2005). A more joyful atmosphere is sure to boost the morale of children who do not have much to look forward to, both during school and at home, making them more successful in general.
NCLBA is concerned about “closing the achievement gap” and arts can help. In the AEP publication, Champions of Change: The Impact of the Arts on Learning (1999), a group of studies compiled on the effect of arts in education, determined, “Learning in and through the arts can help ‘level the playing field’ for youngsters from disadvantaged circumstances.” In fact, those from lower socioeconomic backgrounds reaped the largest reward from art education (Burton, Horowitz, Abeles, 1999). Another study done by the AEP through their publication, Critical Links (2002), uses sixty-two research studies on academics, that when compiled together, show that arts education does in fact help to close the achievement gap, improves academic skills essential for reading and language development, and advances students’ motivation to learn. Los Angeles Theater of Hearts arranged a theater curriculum for at-risk students that strengthened art skills to raise self worth, and promoted positive life dreams and goals through storytelling. They reached out to two hundred and eighty-nine young students at seven different locations. One school reported an increase of grades by ten percent, an increase of eighty percent in attendance, and a one hundred percent increase in teamwork. Another school documented an eighty percent improvement of grades, while yet another disclosed that team building skills improved ninety percent with at-risk youth” (California Arts Council, n.d.).
Many schools administering to youth labeled “at-risk” claim to have a problem with attendance, directly affecting grades and test scores. In Pittsburgh, an independent study compiled drop-out rates and graduation rates from around the city’s schools. The highest graduation rate was at a high school for the creative and performing arts. There, they graduate eighty-five percent with a fifteen percent drop out rate, much higher than the city’s average of sixty-four percent of high. school seniors that graduate after five years of high school (Engberg, Gill, 2006).
Although lacking in funds and support like many well-off schools, research proves over and over again how imperative it is that lower socioeconomic schools find the means necessary to implement arts throughout the curriculum. It does not take additional funds to act out a story instead of just reading it, choreograph a dance to practice counting, or write a script to a play recounting an historical event; and even with minimal assistance of donations and grants, schools can acquire the simplest art supplies or musical instruments. Tambourines, maracas, rhythm sticks, etc. are not expensive but can make a dramatic impact on learning. Researchers found that, ‘’the arts provided a reason, and sometimes the only reason, for being engaged with school or other organizations” (California Arts Council, n.d.).
The importance of standardized testing will not go away, so educators need to do all they can to not allow the pressures and expectations to take the joy out of teaching. Students also need to feel successful whether or not they perform well on the standardized tests. That is yet another benefit of art. Students involved in arts programs are four times more likely to attract school wide attention for their academic success, three times more likely to be elected to a class office, three times more likely to earn. a school attendance award, and four times more likely to write an award winning essay or poem (Heath, Seop, and Roach, 1998). Despite how successful they are on standardized tests, they are successful every day as a result of their participation in the arts.
Though too little time has passed since the commencement of the NCLBA to determine its actual level of success, one thing is urgently clear: implementing the arts in any and all possible ways helps children learn. That is the ultimate goal of any school system. Teachers can teach better, parents are more involved, and at-risk students become managers of risk rather than seeing themselves as “at-risk.” Governor Mike Huckabee of Arkansas, chair of the Education Commission of the States says, “In the true spirit of No Child Left Behind, leaving the arts out is beyond neglect and is virtual abuse of a child. It is certainly inexcusable” (American Arts Alliance, 2005).
Author: Jennifer R. Hebert
References
American Arts Alliance (200S). Arts Education Through the U.S. Department of Education. Helping Children Succeed in School, WorA; and Life. Retrieved July 21, 2006, from http://www.americanartsalliance.orgiamericanartsalliance/arts_edu_issue_brieC OS .html.
Asche, Scott (2005). Annual Progress Report: Hope Academy Cathedra Campus [online version]. Retrieved July 21,2006.
Burton, Judith, Horowitz, Robert, and Abeles, Hal (1999). Learning in and Through the Arts: Curriculum Implications. Champions of Change: The Impact of the Arts on Learning [online version]. Retrieved July 26,2006.
California Arts Council (n.d.). Making the Case II: Catalysts for Better Education [online version]. Improving Attendance. Retrieved July 26, 2006.
California Arts Council (n.d.). Making the Case II: Catalysts for Better Education [online version]. Reclaiming At-Risk Youth. Retrieved July 21, 2006.
Coldwater Middle School (200S). Student Projects. r/’ Grade Ellis Island Project. Retrieved July 21, 2006 from http://cw.noacsc.orglcwjhlstuproj.htm.
College Board (n.d.). SAT Reasoning Test. Retrieved July 23, 2006 from www.collegeboard.comlstudent/testingisatiaboutiSATI.html).
College Entrance Examination Board (2005), Scores of Students in the Arts. Retrieved July 2S, 2006 from http://www.menc.orglinformation/advocate/sat.html.
Deasy, Richard J. (Editor) (2002). Critical Links [online version]. Retrieved July 21, 2006.
Engberg, John, and Gill, Brian (2006). Estimating Graduation and Dropout Rates with Longitudinal Data: A Case Study in the Pittsburgh Public Schools [online version]. Retrieved July 21,2006.
Heath, Shirly Brice, Seop, Elisabeth, and Roach, Adelma (1998). Americans for the Arts. Living the Arts through Language and Learning: A report on Community-based Youth Organization. Retrieved July 21, 2006 from http://www.massculturalcouncil.orglissues/youthdevelopment.html.
National Center for Education Statistics (1994). Fast Facts from Arts Education in Public Elementary and Secondary Schools. Retrieved July 25, 2006 from http://www.menc.orglinformation/advocate/ncesrept.html.
Ohio Department of Education (200S). Proficiency Tests. Interactive Local Report Card. Retrieved July 21,2005 from
http://ilrc.ode.state.oh.uslPublicDW/asplMain.aspx?evt=200 1 &src=Main.aspx.shared.tb.200 1 &folderID= lEA4 712B4730S06D 1 049E69C3FF3EE09&fb=O.B430SCB 14FCSS84B4C7DD0880E7EI60E.Reports.8. 0.7-8.768.769.774.770.773.5S 268453447.*-1.1.*0.
U.S. Department of Education (2006). Increasing America’s Competitiveness [online version]. Retrieved July 26, 2006.
U.S. Department of Education (2002). No Child Left Behind Act. Stronger Accountability [online version]. Retrieved July 26, 2006.

WJE: What encouraged and inspired your interest in the arts?

Lawson: My father was an artist by hobby. He drew, in his spare time, and he sang in the church choir. My parents played classical music in the house. They were supportive of my interest in the arts. They bought me a piano, a flute, and provided dance lessons. School also made opportunities available: art and music classes through 8th grade, arts organizations in high school, marching and concert bands, and Stagecrafters Drama Club. The underlying message in all of my childhood from multiple sources was that the arts are important.

WJE: How do you personally value the arts?

Lawson: The arts are what make us human. They communicate in ways deeper than words. Every day I notice, appreciate and am richer for artistic experiences.

WJE: What does “arts integration” mean to you?

Lawson: I like Claudia Cornett’s definition. She wrote Creating Meaning Through Literature and the Arts, the text used in the course. Cornett described arts integration as “Teaching with, about, in and through the arts.”

WJE: In your opinion, what is the value of arts courses and programs?

Lawson: ESSENTIAL.

WJE: What is the best way to integrate the arts into the curriculum?

Lawson: By teaching lessons that have student objectives for an arts area and another content area. .

Classroom teachers can work with the art and music specialists, and support each other in the classroom. Not for every single day or class, but they can use the same topic, era, etc., and try to tie it all together for children, just as it all comes together in the real world.

Some good resources include the Clark Community Cultural Consortium, which facilitates standards-based cultural opportunities for students, and The Arts Alive partnership, which presents teacher workshops and other professional development throughout the year, on the topic of arts integration. Also, Artsedge.com, from the Kennedy Center, provides submitted lesson plans for arts integration. That’s the best on-line site I know.

WJE: How would you recommend teachers and others supporting the arts advocate for arts integration in school?

Lawson: It depends on what will convince the audience. But first, provide data. Spread the word about research supporting arts integration. For example, arts-based programs around the country are demonstrating they can engage disadvantaged youth in schools, as evidence by increased attendance and graduation rates, and the closing of achievement gaps. Talk about research that concludes school reform through the arts can result in better student motivation, increased problem solving and higher-order thinking skills, better multicultural understanding, and more.

Next, tell the story: share examples of effective arts integration programs. Ask people to remember the arts in their schooling and childhood. Have the current students tell their stories.

WJE: In teaching Educ 275/276, how optimistic are you that future teachers you are teaching will be allowed or have the chance or opportunity to use what you teach them? What kind of situations would arise to make it possible?

Lawson: Yes, I am optimistic. If I did not believe they could and would, the course would be useless, and I would not be interested in teaching it. Teachers who use arts integration can meet academic content standards very effectively, and will be the only teachers to meet them all.

Teachers can refer to p. 14 of the fifth Standard of the Ohio Fine Arts Academic Content Standards. It outlines making connections to other academic disciplines. NCLB defines the Arts as core content areas, also. Money can be spent for the arts, though it’s overlooked now because the arts aren’t tested. Schools are often too busy looking at the test instead of what we want kids to know when they go out the door.

As for what would make it possible for teachers to use what I am teaching them, it would be easier with the support of administrators and parents. Parents advocating for the arts would also be helpful.

The first day of summer school, I found out that 60% of my students were repeating Algebra II. They had failed at their respective high schools, for a variety of reasons. John took me aside the first day and told me that “my Mom made me come to Summer School. I have always failed my math classes.” John was typical of the students in this class. Many of them lacked confidence in their ability to be successful in a math classroom. I decided to employ a smart board every day in my math instruction, to help ease the students’ fears about math, and to help with student engagement.
The smart board allowed me to put together power point lesson plans in about fifteen minutes for a four hour class, and this included turning on the computer and setting up the projector. My lesson plans were interactive, including the use of Smartview software from Texas Instruments that allowed me to project a real image of a TI-84 calculator onto the smart board. I also used the picture function included in the smart board software to move pictures from our book to compact disc. This enabled me to provide review problems, notes, graphs, example problems, and class work sets within my presentations. The largest benefit of using the smart board when planning lessons was the ability to move from presentation to graphing calculator to hand-written explanations and back again without losing any continuity in the lesson.
If a student had a question within the presentation, I would merely take a picture of that portion, move to another screen, and work out the explanation with the student by hand, before seamlessly moving back to the presentation. Since the presentation was prepared before class, my students would more often than not progress in the instruction with just a little encouragement from me. The ease of the smart board allowed me the freedom to help students at their seats as other students moved the presentation forward. I employed this scaffolding as a technique to give students at the board the confidence to stand in front of their peers and present explanations. I would constantly tell them, “I won’t leave you alone at the smart board.”
To ease my grading load during the term, I decided not to give homework. I had used this technique before, with mixed results. When I did give homework assignments in the past, many of my students would say, “I’ll do it at home,” only to arrive the next day without it. To defuse this problem, and because my use of the smart board gave me extra time, I decided to eliminate homework and check the students’ work at the end of every class period. I called these checks “right now” assessments. I would go to each student’s desk at the end of the period. The student had to complete all of the notes, examples, and class work correctly during the period. Failure to do so resulted in no credit for the student. I would no longer give partial credit for incomplete work. After the first few weeks, the students developed a culture of completion. It became a routine to complete the entire assignment by the end of class.
Each trip to a desk provided me with a precious teaching moment. One of the nice results of grading this way was that I got at least one of these moments with each of my students every day. My students, in the surveys I conducted twice during the summer quarter, commented that they never felt like their questions went unanswered. One student said it this way: “I always feel like I can ask questions, because if it’s stupid, Mr. Sullivan will come to my desk.” This also reduced the anxiety that so often accompanies math instruction. In my classroom, a student cannot feel as though he or she is on an island, because I arrive at each student’s personal desk at least once every class period, and on most days it is multiple times.
These techniques I used were in no way reinventing the wheel. On the contrary, I had used all of these techniques at different points in my career, with mixed results. The smart board enabled me to use all of them at once, to maximize student engagement. The colorful nature and interactivity of the smart board kept the students’ interest. The smart board allowed the students to become active participants in their own instruction. The “right now” assessments forced all of the students to maintain concentration for the entire time we were together, because failure to do so would result in no credit for the whole day. Many of my brighter students commented that, for the first time in their schooling experience, they did not feel held back by the questions of other students. In the words of one of my Somalian students, “Mr. Sullivan teaches very fast, but I feel like it’s OK because I always can ask questions.”
One of my old football coaches, Alan Jones, said, “It’s always more fun when you win.” Many of the students from the Ohio State University who visited my classroom said it was unimpressive, but every student was engaged and asking questions. In the surveys I got from the students, I concluded that one of the biggest reasons 86% of my students enjoyed Algebra II was the daily reinforcement of their success. Thirty out of thirty-three, or 91% of my students, received an 80% or above in the course. No student failed, for the first time in my career since I moved into an urban district. I judged the retention of knowledge by the fact that 88% of my students passed the district final. Of the four who failed the final, two of the students had over a 100% in the course, but turned the exam in after only 20 minutes.
In closing, over the past five years I have reinvented the way I teach math. I presently plan and grade less than I ever have in my entire career, but I receive unbelievable results in my math instruction. Part of my success comes from the time I now have to involve parents, read instructional journals for more ideas, and work individually with students to bring their knowledge up to grade level. These days, I do not waste countless hours grading papers to find out what my students are learning. Thanks to new technology, I see it every day, when I visit their desks.

References

Shernoff, D.J., Csikszentmihalyi, M., Schneider, b., & Shernoff, E.S. (in press).
Student engagement in high school classrooms from the perspective of flow theory.
School Psychology Quarterly.

Kevin Sullivan

The Search Institute’s work suggests that young people must experience a majority of these assets if they are to thrive, yet their research indicates that less than half of the students polled in a 1996-97 school year study of 213 U.S. towns and cities experience twenty-five of the forty assets (Search Institute 1996). The Institute provides only general commentary on the importance of these assets: “adult support, positive intergenerational relationships, safe places, clear and consistent boundaries, participation in constructive activities, commitment to learning, consistent attention to values and practice serving others”. No emphasis is placed on categorizing one asset as more valuable than another and no account of cumulative impacts of select assets is discussed.
The central goal of this study is to determine the legitimacy and impact of developmental assets and to examine ways in which a science classroom may facilitate such development. The study focuses on three interrelated questions: can practitioners adopt an asset driven approach to instruction; does prior academic experience impact the development of assets in young people; and are there practical classroom tools that may be used to intensify asset building?
In order to confirm the presence or absence of assets in the classroom, it was necessary to develop a means of gauging student opinion. The tools available for asset research have been surveys and the method of asking kids directly. This poses a problem due to the inability to control student interpretation of the questions in written form, plus personal contact may have skewed results due to the individual conducting the interview. With this in mind a survey was conducted that focused on the aforementioned questions without the bulk of information that would come from trying to visit all forty assets. With no particular tool available, a survey was designed to assess assets in the curricular context of a science classroom.
The construction of a survey posed many challenges. The survey had to be designed to give either specific yes or no answers or strict response choices. Open-ended responses were not included because of the wide variety of responses (including those less than genuine) that could be anticipated. It was essential that the survey be brief enough that it would be completed yet exhibit the depth necessary to target asset presence or absence.
The survey was distributed to 152 high school seniors anonymously
with a return ratio of 69%. This particular group was chosen because of their status as seniors in the educational system and because of the potential to assume greater maturity and a stronger degree of school and life experience. Surveys returned were completed by 50.5% males, 49.5% females, 48% students currently enrolled in a science class, 81% indicating enrollment in Springfield City Schools since at least 7th grade and 92% indicating enrollment in North High School since their freshman year. Initial hopes were that the survey be taken by a majority of the currently enrolled seniors to compare data taken by the Springfield City Schools and the Search Institute years earlier. However, the return rate on surveys was compromised largely by the lack of attendance of seniors in homeroom where the surveys were distributed and by homeroom teachers neglecting to return surveys for tabulation. In addition, it was found near the conclusion of the research that the senior class was not the class subjected to the earlier seventh grade survey; rather it was the junior class. With this in mind, the desire to repeat the survey with the next graduating class and to compare results presents a future challenge. Perhaps the comparison of student attitudes before and after the school district was presented with asset information will provide valuable discussion material.
Focus groups were conducted to extract further information from students in a relaxed format that would allow them peer discussions plus contribute to the reliability of data through personal testimonials. Questions were once again designed to identify specific potential links between assets and curriculum. Questions # 3,4,5,8,9 and 11 were examined for parallels between school and assets of caring school climate, achievement motivation, school engagement and personal power. For example, question three asks students to describe their best experience in science. This coupled with the survey question about what would make science more interesting would enable the teacher to draw parallels between students talking about experiments that were the most memorable and students reporting experiments would enhance the science classroom. For this practitioner, a somewhat simple assumption would be to build experiments into the course design. Three focus groups consisting of 6-8 students each, all currently enrolled in a high school science course were planned with each group representing a different academic genre. One group consisted of all advanced placement students and a second group consisted of all college preparatory students. A third group of general science students was solicited but never met because of a lack of student interest. Groups were 62% females and 38% males enrolled in advanced placement and college preparatory science courses. Sessions were conducted during the school day in a classroom setting. The focus groups were each facilitated by the researcher. Questions were presented verbally allowing students to elaborate as the facilitator recorded comments. Students were given open-ended response time and the opportunity to discuss issues amongst themselves. Supplemental data and observations originated through informal contact with students and other practitioners.
Findings
Survey findings indicated a nearly perfect split in the sample in regards to science class past history with 51% of all students commenting that at some point science had been their least favorite class. This rate was higher amongst males with 55% reporting that science had been their least favorite subject, while only 48% of the females reported the same. Reasons for disliking science included: poor teacher quality, course lacked challenge, teacher failed to help or to answer questions, the student was unprepared for higher level course(s), and a personal lack of interest in science. Of those students reporting science having been a favorite class only 43% were males while 52% were females. An additional 5% did not respond to the question.
Science classes are highest amongst underclassmen. Of those surveyed, 94% enrolled in a science class a freshman and 96% as sophomores. Only 80% were enrolled in a science class as juniors and a mere 48% as seniors. With that decline, 63% were enrolled in AP/CP level courses as juniors, whereas only 17% were enrolled in general level science courses. Females accounted for 48% of AP/CP junior enrollment, while males accounted for 52%. General level courses consisted of 67% females and only 33% males. The steepest decline in enrollment in the sciences occurred during the senior year as alluded to above, with only 36% of students enrolled in AP/CP courses and 5.7% of students enrolled in general level courses. Of the students enrolled in AP/CP courses as seniors, 50% of each gender constituted the enrollment while 67% of general course enrollment consisted of females and only 33% of males.
When questioned about the types of things that would make science more interesting, an overwhelming 92% of students reported the ability to perform experiments. Over half of the students also highlighted two other concepts: teacher enthusiasm and real life applications for the content being learned. Barely 13% commented that lecture and notes made science interesting, and hardly 3% cited reading science texts. Another low scoring technique was video viewing, with only 15% appreciating the ability of videos to make science interesting to them. Only 22% of all students surveyed view science as an opportunity to be creative.
Motivational levels of students also tended to vary. Only 21% of students reported a deeper sense of motivation in science, while 27% reported being less motivated and 41% claimed about the same level of personal motivation to do well in science as in other classes. Of the 21% reporting a deeper sense of motivation in science, only 36% were males while 64% were females. The 27% of students less motivated to do well in science was claimed by 54% males and 46% females. More males than females maintained the same motivational level in science as in other subjects (Figure 2).
The opinions of motivational levels of friends varied between males and females. Overall, 59% of the students surveyed felt their friends were motivated to do well in school, while 26% expressed the opinion their close friends were not motivated to do well in school. A 20% difference emerged between male and female perceptions of comrade motivation, with 69% of females regarding their close friends as motivated and only 49% of males expressing the same opinions. When asked to comment on lack of motivation, 13% of females reported low motivation levels amongst friends while 38% of males cited friends having limited motivation for academic achievement.
Students had varying opinions on the level of care that they sensed from teachers as well. While 48% of all students expressed the belief their teachers did care, 21% were adamant that teachers didn’t care. More males than females expressed this belief with 25% of males sensing a lack of caring teachers and only 17% percent of the females feeling the same. This question received a number of borderline responses with 21% of all students clarifying that “some” teachers care while 10% failed to respond to the question.
Of the sample, 71% of all students expressed a sense of personal control over what happens to them at school. Male and female students shared a 71% expression of this control, while only 18% students blatantly admitted to having no sense of personal control or accountability. More males than females expressed this lack of control by a margin of 6%. Just over 7% of the students failed to respond to this question, with females leading the way at a 10% non-response rate and males at a 6% non-response rate. Not nearly as many students shared the same notion of control in reference to the overall student body population. The combined opinion of 58% of the males and females was that other students feel responsible or in control of what happens to them in school yet 31% still reported a sense that classmates felt irresponsible or out of control.
Focus groups provided students currently taking a science course the opportunity to answer open-ended questions. Student responses seemed to dance around familiar themes regardless of the current course of enrollment. When asked about science courses in general, students tended to enjoy the opportunity to explore and to conduct experiments. Several expressed the desire to do more independent projects enabling them to study things that match personal interests. Most students remarked that there was at least one family member that showed an interest in science (several cited multiple family members) or at least the encouragement to do well in the sciences. Many showed personal interest outside of school in the form of watching science television programs to dabbling in areas like astronomy, flight, and biology. One female student said, “Science is a parallel to real life; it leads you to a deeper understanding of the world.” Several were able to recall their best experience in science, from challenging classes to educational trips, but had a difficult time recalling a truly engaging science experience, with many having to think back as far as elementary school. Most of their positive experiences revolved either around constructing something of their own or at least having the ability to investigate something hands on. In spite of the interest each expressed in science, most admitted the inability to connect science to other educational disciplines, including math and English.
More personal responses regarding science and teachers revealed that students know which teachers genuinely care and which teachers, as one student stated, “…see us as a paycheck…” Students also expressed their desire to have teachers act like human beings. Most expressed that it is easier to learn from teachers who converse and share with students than from teachers who elevate themselves in a manner that does not allow for student-teacher interaction. Other things that tended to bother students were lack of structure and organization in courses, as well as being misled by teachers as to what a course actually entailed. Some said boredom bothered them most because they took a class on the premise that it would be challenging and filled with activity. In addition, almost all students in focus groups found students who refused to work harder in science to be irritating, as failing to see the big picture of life beyond school and as lazy. Science class enrollment, according to students in focus groups, is directly impeded by apathy and is not a student academic potential issue.
Data bearing relevance to aforementioned questions includes figures tabulating gender and overall perceptions of caring school climate, figures delineating motivational trends of students and their peers and values outlining student perception of personal power. Focus groups provide a qualitative means of determining the factors students weigh as most important when retaining classroom interest. In addition, the combination of surveys and focus groups will illustrate any trends and rationale for the perception of high school science.

Discussion and Implications
The primary purpose of this study was to determine the significance of developmental assets in the classroom. This required the investigation of three integral questions: can instructors adopt an asset driven approach to instruction; does prior academic experience impact the development of assets in young people; and do practical methods or classroom tools exist that may be used to intensify asset building? This study occurs as two shifts that are occurring in educational philosophy: one being a stronger focus on teacher and instruction as keys to student achievement, and the other being asset rather than deficit role in defining thriving children. The findings of this study come at the intersection of each of these points of view. This study suggests that an instructor’s enthusiasm and knowledge coupled with the ability to create an asset-laden environment provides students an academic cocktail for success.
What are the implications of viewing a classroom through “asset lenses” (Scales and Taccogna 2001)? For educators, the implications are many. However, here the focus will be narrowed to the implications for instruction within the classroom.
An interpretation of this collection of data points to three very distinct issues: 1) There is a large proportion of students who express a dislike for science; 2) Students seem to be aware of what makes a successful classroom as well as the obstacles to their learning or academic motivation; 3) Several of these comments are within the realm of the practitioner to remedy. Questions that arise from this data include whether educators empower students to learn by caring, valuing, utilizing and encouraging service and creativity, and if this approach leads to motivation, engagement, follow-through and personal power.
Indeed instructors can adopt an asset driven approach to instruction. The key to an asset filled environment begins with a teacher empowering students to make decisions and taking the time to recognize a student’s individual significance. Students crave empowerment; therefore, the teacher who allows students a voice in the classroom understands that relationships can facilitate learning, whereas academic learning lends little to building relationships. The academic experience a child encounters also greatly impacts the degree of academic success. For this reason it becomes imperative that all teachers focus on the importance of fostering relationships with students and amongst students to keep students engaged in school. Engagement is not a physical activity in the classroom, but a state of mind that comes about when students feel safe taking risks, feel complete when working with others and feel compelled to desire academic challenge. A student that feels his or her accomplishments bear little relevance to the teacher’s aims will not strive to perform, but will instead lurk in the shadows of mediocrity. Methods and tools for asset building require no paper or pencil. The all-purpose tool for asset acquisition exists in the actions of the genuinely enthusiastic teacher.
The consideration of enthusiasm as an educational asset is one of the more unexpected but perhaps significant outcomes of this study. Significantly, the students in this study revealed a keen sensitivity to the demonstration of teacher care. This was coupled with references to a science curriculum built upon decision-making and experimentation. It is not a stretch to imagine that product and process intertwine in this connection. Engagement comes from engaging activities, but it also comes from a teacher who is engaged in both the authenticity of scientific pursuit and the sustained invitation of students to be participants.

Lisa Cunningham, Springfield North High School

Our team has collaborated with a variety of consultants from the field in the drafting of their lessons. Each team member is asked to develop four lessons over a two-year contract period with the ODE. The four sets of lessons are each field tested by other art teachers throughout Ohio in grades K-12. The feedback from these tests are considered in the final revisions of the lessons.
The following “Light Passages” lesson, an interdisciplinary lesson, targets second grade and presents a classroom-ready lesson, developed to meet the new Visual Art Standards for Ohio.
Lesson Summary:
In this lesson, students identify stained glass as an art form which has history and purpose, and affects people and interior spaces. Through their art making, crafted in paper, students apply the affective qualities of color and light to express personal interpretations of stained glass designs. Students combine their mathematics knowledge of symmetry and pattern and their study in science of light with their artistic decision-making processes. They experience and discuss the expressive qualities of colorful illuminated designs by observing examples of stained glass, making artworks and integrating concepts from math and science.

Estimated Duration: Three to five sessions (approximately one hour each)

Commentary:
Stained glass is an early example of people’s desire to combine beauty and aesthetics with the practical form of architecture. Throughout history, advances in science and technology have given artists new ways to express their ideas and visions. During the 1100s, artisans used these advances to capture their ideas and visions in the expressive and functional art form of stained glass windows. Craftspeople used light and color effects to transform internal spaces, which in turn, affected the people within those spaces. The expressive qualities of light through colored glass—transparency, translucency and opaque properties—contributed to the magnificence of the cathedrals of the time. The same principles and artistic drive that created those brilliant windows carries through time to others’ design creations. The works of architect Frank Lloyd Wright and artist Louis Comfort Tiffany are well- known examples of glassworks in America. Still, the nature and elements of light and color continue to guide contemporary artists, like Dale Chihuly, who stretch and explore the boundaries of art glass. Sharing this background information on stained glass throughout the lesson will help students appreciate the art of stained glass and understand what they learn and do at school has
real-world applications.

A wonderful time to introduce the art of stained glass is during the time students are studying light in a science class; how it travels and the terms to describe how it travels. Light travels through transparent glass or paper, scatters when encountering translucent surfaces and is blocked by opaque surfaces. Students will connect the effects of light on different colored papers to their choices in art making. Connections to symmetry and extended patterns in their design creations will reinforce concepts from mathematics. This study is rich with opportunities for developing the descriptive aspects of language. Students can experience expressive language opportunities related to color and design by using descriptive words, similes and metaphors.

The enduring idea in this lesson is that stained glass is an art form with rich, expressive qualities that influence and affect people and places.

Students will explore and discover the expressive qualities of stained glass through these topics and guiding questions:
• How is stained glass made? How did it look long ago? How has it changed? Where do we find stained glass?
• How does light affect stained glass? What ways can stained glass change a space? How can this affect our emotions or moods?
• What guides artists’ choices of transparent, translucent and opaque materials in using the properties of light and color? How do color choices affect an artwork?
• How do symmetry and pattern affect designs?
•
Pre-Assessment:
• Display examples of authentic piece(s) of stained glass and pictures of stained glass from posters or books in the classroom. Have the authentic piece or a sample paper, one created ahead of time, against a dark background. Ask students:
• What they see in the examples displayed;
• What the art is called.
• Bring the stained glass to a window or hold it up to a light. Tell students that it is stained glass or like stained glass. Ask students:
• What makes the stained glass look different? The light.
• Where have you seen stained glass before? Home, church, or public buildings, etc.
• Do you think this is an old art (made long ago) or a newer art (made today)?
• Do any of the examples show symmetry? What is symmetry? Where is the line of symmetry?
• Are there any repeated shapes or patterns in any of the examples? Where?
• Distribute a variety of three-inch squares of paper to each table or desk. Each student should get one transparent paper (colored cellophane), one translucent paper (colored tissue paper) and one opaque paper (colored construction paper or colored copy paper). Consider giving each group a flashlight or other concentrated light source to make their observations.
• Invite the students to explore the papers on their own for several minutes and then share their observations with partners (a think-pair-share technique). They should discuss how light affects the papers.

Scoring Guidelines:
• Having the students explore the papers and share the qualities of light on different papers with partners demonstrates how well students observe and what they understand. Circulate and listen to student responses. This provides an opportunity to talk one-to-one with quieter students.
• The pre-assessment discussion and exploration time provide opportunities to gather information on what students know about stained glass, light properties and symmetry through teacher observation.
• Make notes to monitor each student’s participation.
Post-Assessment:
At the completion of all sessions, the artwork and final assessment are combined in the student evaluation.
• Guide students as they participate in a whole-group discussion to develop criteria for the finished artwork. Have them use Attachment A, Student Project Criteria Checklist during artmaking.
• Read the final assessment questions aloud to students. The final assessment instrument combines student reflection and data gathering through a variety of questions. Refer to Attachment C, Post-Assessment.
• Have students look at their own artwork for the reflection portion of the assessment.
• Have two examples of stained glass not studied before by students posted for one of the assessment tasks.
• Have the word and phrase list developed by the students available or posted during the assessment. Refer to Attachment E, Qualitative Language.

Scoring Guidelines:
Refer to Attachment B, Rubric for Project Criteria.
Refer to Attachment D, Post-Assessment Scoring Guide.

Instructional Procedures:
Day One
1. As instruction begins following the pre-assessment session, refer to the Commentary section for introductory information on stained glass.
2. Using the pre-assessment papers, discuss how the papers differ. List the student observations on the board.
3. Bring out a large-sized paper prepared with these terms and definitions:
Transparent - light goes through it; you can see through it clearly;
Translucent - light goes through it; you cannot see through it clearly;
Opaque - light does not go through it; you cannot see through it.
Students work with partners to decide which paper sample is placed by each definition. After coming together as a whole group, students will agree on which sample is placed by each definition on the large-sized paper with terms and definitions. Students take this group-created poster back to (or it stays in) the classroom at the end of this class. It is important to remind students during this session that although stained glass is made of colored pieces of glass held together with metal strips, the papers have the same properties of light interaction as the stained glass does.
4. Go back to the visual references displayed in the room. Students work in small groups, with partners or individually to observe a single resource sample and answer these questions:
• What colors did the artist or craftsperson use?
• What effect do these illuminated colors have on you? Describe, with a word or phrase, the emotion, mood or feeling you experience.
• Are there examples of transparent, translucent or opaque glass in the examples in front of you? Answers will vary according to the resources they are viewing.
• Do any designs have symmetry? Which ones? Where is the line of symmetry?
• What do we call those that do not have symmetry? Asymmetrical.
• What happens to the shapes in symmetrical designs? The shapes or designs are repeated or show balance.

Instructional Tips:
Phrase these questions to fit students’ comprehension and expression levels. Write these questions on slips of paper and have individuals, partners or small groups come up with observations and ideas. Then, have them report to the whole group. The teacher should add information about stained glass to the discussion. Have a brief discussion about the availability of materials, the tradition that stained glass was commissioned and that designs and colors were dictated to the craftsperson. Discuss ways stained glass and color affected the interior spaces of structures.

A teacher participating in the field test of this lesson felt these questions also worked well in a whole-group discussion format.

Encourage descriptive language as students are responding to the effects that color and light have on emotions, moods or feelings. Start a list of the words and phrases that students used in the discussion. This list will be added to and be kept up in the room throughout this study.
A discussion on development of expressive language within this lesson is found in Attachment E, Qualitative Language.

Production:
5. Provide students with squares of paper. Ask them if the paper is transparent, translucent or opaque. Use a simple thumbs up check for each. Ask them to put up their hands if they have ever cut out snowflakes from folded paper.
6. Demonstrate the folding technique and then repeat with students following the steps of folding. Fold a corner to a corner, carefully matching edges, and ask students what shape they have made (triangle). Fold in half once, then in half again before cutting.

Instructional Tip:
Construction paper or colored copy paper, in 8 1/2-, 9-, or 12-inch squares can be used. Copy paper is thinner and easier to fold and cut. However, the stiffness of construction paper helps when the colored papers are glued to the shape openings. Review and reinforce the concept of symmetry and using the lines of symmetry to create a design. This is an ideal math application in the artmaking process of this lesson.

7. Demonstrate the cutting technique. It is important that students hold the folded corner to avoid cutting the square into pieces. Tell them they will make two cut shapes into each of the folded sides. Turn or flip the paper over to be able to cut into it with the dominant hand. Demonstrate a geometric cut and an organic or free-form cut on the folded sides.
8. Open the paper and show the results. Have students choose which shapes they would like to cut for their designs. Point out the line of symmetry and the resulting shapes. Tell students to be aware of this effect, as it will help them decide how to cut their shapes. Ask students:
• What is this fold line called? The line of symmetry.
• How many lines of symmetry have you made on your piece? One fold equals one, two folds make two.
9. Place the open square on the board on a light background and draw attention to the shapes, then number matching shapes; one, two, horizontally and three, four, vertically. Ask students:
• Do you see a pattern here?
• How would it look if we continued or extended the number patterns? Write the continuation of numbers as students give them. If the shapes are simple, draw them and number them.
10. Have students get paper and scissors.
11. Repeat the fold-and-cut demonstration for those that want to follow the teacher while cutting, but confident cutters may go ahead. Students with fine-motor or cutting challenges may cut one shape on each side of the paper square. Those with greater skills may cut more than two on each side.

Instructional Tips:
• Students will look at their work, unfolding and refolding, to determine and plan what cuts they will make on their next pieces.
• The demonstration assumes students are familiar with the terms organic and free-form shapes. If these are new concepts, more time may be required to teach, or rephrase the terms to fit your students’ needs.

12. After completing one cut-paper design, each student will choose another paper square and make another design based on refined and revised ideas.
13. Circulate to assist those who want help with cutting. Students who have finished their pieces can partner with those who want or need extra help. Save the work for the next class. Put names on the items and place them in class or individual folders. Students will make decisions about the colors in their pieces and complete the production of cut-paper stained glass designs in the next class.

Instructional Tip:
• Use white crayons or pencils to label dark-colored squares.
• At the end of class ask students if they can remember which mathematics word describes the folding and cutting results. Symmetry and, possibly, pattern.
• Tell students that their bodies have symmetry, and ask them where those lines of symmetry are on their bodies.
• Ask if any student can make a symmetrical shape using his or her body.
• Change to shapes that are asymmetrical and ask students if these shapes feel different. Add their observations to the word and phrase list.

Day Two
Today, the lesson builds on and extends the art form of stained glass, the properties of light and attributes of a symmetrical design.
14. Student partners view a stained glass example and share what they like best or find most beautiful about the stained glass example.
15. Place squares of transparent, translucent and opaque papers on the desks or tables. Have students view the squares. Ask them to pick up a transparent paper, then a translucent paper and, lastly, an opaque paper. They should show each paper and identify it to their partners.
16. Display the overheads, posters and postcards of stained glass samples. Draw students’ attention to the colors each artist chose. Ask students how the color choices affect the artwork. Do the colors create a certain mood or feeling?
17. Show two completed paper pieces that have opposite color insets.

Instructional Tip:
Make these completed samples ahead or use previous student work. For example, one piece could be all shades of blue and purple and the other could be red and orange. Each piece should have some translucent and some transparent papers.

18. Notice that the paper pieces show transparent, translucent and opaque elements, just as works in glass would. Put these on top of the overhead projector. They may need to be lifted off the surface for the best effect. Or, put some large pieces of colored cellophane and tissue papers on the overhead projector to give the whole wall the color effect as the light passes through as it does in stained glass. Encourage students to tell about feelings or moods they experience when looking at each piece or as the colors fill the space.
19. Write student responses on the developing word and phrase list. Redirect some answers to expressions of moods or feelings and add some words to start or finish this task. Refer to Attachment E, Qualitative Language.
20. Go back to the poster or book examples. Explain how the craftsmen and artists wanted to affect the interior spaces by adding these stained glass windows. In cathedrals, the windows were supposed to emotionally move those inside to places of beauty and a sense of being in a spiritual or special place. Ask students:
• Have you been in a place with stained glass windows? If so, how did it affect your mood or what did you feel?
• Are there other special places that affect you? Where? How? In what ways?
21. Students look again at the resources. Ask them:
• Can you describe details in the work(s) that create mood or feeling?
• What do you think was the purpose or intent of the artist for this artwork?
22. Allow time for student observations.

Instructional Tip:
One teacher participating in the field test showed a video on structures with walls of stained glass. The film’s narration was above the comprehension level for second-graders, so the teacher turned the sound off, played a CD of dulcimer music and provided the narration.

23. Distribute students’ previous work. Have them make their own decisions about stained glass artwork including the designs, the colors and the effects they want to create with their pieces. Ask students what their pieces need so they can use their papers to show the same things that they enjoy in stained glass. Discuss and make a list of criteria with the students for their pieces. Guide this discussion and write down the students’ criteria in a simple checklist.
The criteria should be shaped to include:
• Use of transparent, translucent and opaque papers;
• Symmetry and shape patterns using geometric or organic designs or a combination;
• Choice and use of color to express moods or feelings;
• Skillful and careful use of the materials and tools.

Other criteria may be added based on group or teacher ideas. Post this checklist for students to refer to during production. Refer to Attachment A, Criteria Checklist, and Attachment B, Project Assessment Rubric.

PRODUCTION:
24. Students get supplies including all the types of paper, scissors and glue. They can use either of the squares cut in the last session or create new ones. Students revise their cutting plans if they have new or different ideas or goals for their works. Encourage them to try out a variety of paper colors in their designs before gluing so they are able to make choices, revisions and changes.
25. Demonstrate how to place the glue around the edge of the cut openings on the paper cut-out piece rather than on the paper that is being added. Show students how to cut the colored paper larger than the opening and how excess paper can be trimmed.
Circulate among students to offer guidance as they get supplies, choose colors and start to glue. Anyone needing special assistance with glue application can use a craft stick or cotton swab. Those that work quickly may be able to complete several works. To extend design options, students can use hole punches. Demonstrate the use of the hole punch and suggest limits on the holes made as students can make too many holes.
26. Tell students the goal is one completed work by the end of class. They check their work against the listed project criteria.
27. Students write the moods they expressed in their works. They may refer to the word and phrase list kept posted or available. Be sure that they write their names on the backs of their works.
At the end of class, work that needs to dry should be put on a drying rack or shelf.

Instructional Tip:
A teacher who participated in the field test used waxed paper for students to work on while making their art. The waxed paper with the artwork was placed on a large envelope labeled with the student’s name and then placed on the drying rack. When dry, the work was slipped into the envelope.
• At the end of class, ask students to express the moods and feelings in their paper designs by making facial expressions, then using their whole bodies.

Day Three
28. Display three stained glass references. Select works that show different time periods. For example, an early church window such as the North Rose Window in Notre Dame, a Frank Lloyd Wright designed window and a Dale Chihuly piece. Compare and contrast these glass artworks.
29. List responses. Use the three-column list or Venn diagram format. Develop questions or prompts from this list:
• What materials are used?
• Where do you think this artwork is found? In what sort of structure?
• What do you think the artist wanted you to think or feel?
• When the artist made this piece, do you think it affected people or their environment in a new way? How?
• Which looks like it is older? Newer? Look at the subject, glass qualities and construction of the piece.
• Do the artworks contribute to the lives of others or to your life? How?
• What ways do the artworks affect people or the spaces they are in?
• How does light interact with these art pieces?
• How are math and art connected in these glass works?

Instructional Tip:
These are possible prompts. Select from them or guide this discussion with other prompts. The teacher may need to remind students of the technology used to make colored glass today as they try to guess which pieces are older and where or how stained glass is placed in a structure. This does not need to be a long discussion, as students need time for the final assessment. The questions could be displayed on a poster and students asked to think of an answer for one of the questions. Give about three to five minutes thinking time, then go down the list asking for volunteers to share answers or call on students. Single questions could be written on slips of paper and given to partners to answer and shared with the whole group.

30. As the whole group finishes this process, students place the artworks in temporal order. Students will put #1 by the oldest one (created a long time ago) and # 3 by the most modern.

At the end of class, ask students to reflect on their own artworks and the learning they have achieved during this lesson.

Instructional Tip:
Another option is to have students write the numbers on self-adhesive notes and bring them up to place by their choices or the teacher could collect and place them.

The preceding discussion has probably explored the reasons behind the student choices for temporal placement. Any teacher-led connections could finalize this part of the lesson. In addition, some students could be called on to justify or share their reasoning.

31. Take down the three artworks used in the discussion and display two that they have not seen before. This is an exercise on the final assessment. Put#1 by the piece that is older and #2 by the most modern piece. Tell students you will read the questions for them on the assessment.
32. Students receive their artworks and the final assessment sheets. This assessment is both a reflective and a data-gathering instrument on student learning. Refer to Attachment C, Post-Assessment, and Attachment D, Post-Assessment Scoring Guide.

Differentiated Instructional Support:
Instruction is differentiated according to learner needs, to help all learners either meet the intent of the specified indicator(s) or, if the indicator is already met, to advance beyond the specified indicator(s).
• Invite students to explore the papers on their own for several minutes, then share their observations with partners. Start a think-pair-share technique.
• Students work with partners to decide which paper sample is placed by each definition. After coming together as a whole group, they agree on which sample is placed by each definition on the large-sized paper with terms and definitions.
• Write lesson questions on slips of paper and have individuals, partners or small groups come up with observations and ideas, then have them report to the whole group.
• Open the paper, show the results and let students choose which shapes they would like to cut for their designs during the snowflake activity.
• Students are encouraged to describe the feelings or moods they experience when looking at each piece or as the colors fill the space. Model this so they understand how to express themselves in this way.
• Additionally, differentiated assistance could include adaptive tools, precut shapes, predrawn lines as cutting guides or templates for tracing.
• Individual lesson extensions could include research into student-selected areas of interest related to stained glass or art glass. Research could include technology resources pursued at school or home and reported back to the whole group. The student-selected option could include an artwork developed by the student and inspired by the class work.

Extensions:
• The classroom teacher not only can use the stained glass works to reinforce the science study of light, but also can lead into the light and shadow properties which are part of this same science unit. Shadow puppets or silhouette art could be studied.
• The art teacher can continue the study of the affective qualities of color through the study of Fauvism, Impressionism, Post Impressionism or other similar art periods. This could take the form of a single-artist study.
• The art teacher could continue a lesson in radial symmetry design, using examples from other cultures that display this element, such as quilts or shields.
• The art teacher could continue the study of extensions of pattern, again using examples from other cultures’ textiles such as cloth or weavings.
• An extension into architecture could include the design and purpose of structures in the lives of people and cultures.

Vocabulary:
• asymmetrical
• opaque
• pattern
• stained glass
• symmetry
• translucent
• transparent

Additional vocabulary could be included. This lesson has strong language development connections possible through the expressive qualities of descriptive words, analogy and metaphor. Refer to Attachment E, Qualitative Language.

Technology Connections:
Mathematics software could provide practice in symmetry or pattern extensions.

Library Connections:
Most of the references for this lesson can be found at the public library, especially in the oversized art books section.

Research Connections:
Dobbs, Stephen Mark. Learning in and Through Art: A Guide to Discipline-Based Art Education. Los Angeles, CA: The Getty Education Institute, 1998.

Ohio Arts Council, Ohio Department of Education and the Ohio Alliance for Arts Education. Vrabel, Debra et al. The Power of Arts Assessment in Teaching and Learning: A Process Guide for Teachers in Ohio Schools. Columbus, OH, 2001.

The National Arts Education Consortium. Transforming Education Through the Arts. Final Project Report. Columbus, OH: The Ohio State University, 2001.

Wiggins, Grant, and Jay McTighe. Understanding by Design. Alexandria, VA: Association for Supervision and Curriculum Development, 1998.

Home Connections:
Students can take small squares of the transparent, translucent and opaque papers home to share with family members. They can discuss the differences in the papers and how light interacts with them. Students can discuss how colors affect our feelings or moods.

Students can take home six- to nine-inch paper squares to demonstrate to family members how to create symmetry in designs by folding and cutting. One teacher who participated in the field test stated her students went home and shared symmetry design-making with their families and proudly returned to school with samples made from newspaper and whatever papers were available.

Materials and Resources:
The inclusion of a specific resources and references to particular artists or works of art in any lesson developed by the Ohio Department of Education should not be interpreted as an endorsement of that particular resource, artist or artwork or any of its contents, by the Ohio Department of Education. The Ohio Department of Education does not endorse any particular resource, artist or artwork. The Web addresses listed are for a given site’s main page; therefore, it may be necessary to search within the site to find the specific information required for a given lesson. Please note that information published on the Internet changes over time; therefore, the links provided may no longer contain the information related to a given lesson. Teachers are advised to preview all sites before using them with students.
Note: Some Web sites contain material that is protected by copyright. Teachers should ensure that any use of material from the Web does not infringe upon the content owner’s copyright.

For the teacher: authentic pieces of stained glass, any size or subject, that show pieces of colored glass held together with metal strips, including some examples that have a symmetrical designs; stained glass examples from postcard packets at museum shops or greeting card stores; calendars with stained examples; posters, slides and transparencies purchased through art material retail catalogs.

For the student: a variety of colored tissue paper, a variety of colored cellophane paper, squares of nine-inch, 12-inch, or eight- and one-half-inch colored construction paper or colored copy paper, scissors, white school glue, hole punches (optional)

Additional resources for the teacher:
These sites provide research-based, best practices and practical and creative ways to implement other standards-based lessons.

ArtsEdge - The National Arts and Education Network, a program of the Kennedy Center for the Performing Arts, www.artsedge.kennedy-center.org

ArtsEdNet - The Getty Education Institute for the Arts, www.getty.edu/artsednet

National Art Education Association (NAEA) www.naea-reston.org

Attachments:
Attachment A, Student Project Criteria Checklist
Attachment B, Rubric for Project Criteria
Attachment C, Post-Assessment
Attachment D, Post-Assessment Scoring Guide
Attachment E, Qualitative Language

Attachment A
Student Project Criteria Checklist

This is a sample of what the teacher and students develop during the project criteria-setting discussion. The teacher writes the group’s list on the board or a poster-size paper in this format for students to refer to during art production.

STAINED GLASS STUDENT CRITERIA CHECKLIST

I did it!
EXPRESSES A MOOD
Uses color expressively.
Identifies the mood on the artwork.
PATTERN
Shows symmetrical pattern horizontally and vertically.

SYMMETRY
Shows two lines of symmetry.

USE OF PAPER
Includes transparent and translucent papers.

CUT SHAPE DESIGN
Makes clean cuts.
Shows geometric or organic shapes.
Shows four to eight cut outs.

CRAFTSMANSHIP
Shows care in assembling and completing the design.
Makes clean cut outs.
Uses glue carefully.

Attachment B
Rubric for Project Criteria

GRADE TWO STUDENT NAME______________________________

Excels Accomplished Emerging No Evidence
Expresses a Mood

Pattern

Symmetry

Use of papers
Cut-paper designs

Craftsmanship

Expresses a Mood: For excels, the mood intent word(s) and color are very well matched (i.e., yellow and orange for an excited or energetic mood). For accomplished, the student identifies the mood in the work. For emerging, a mood word is not used.

Pattern: For excels, the repeated shape patterns are clear and complex in design.
For accomplished, the cuts repeat shapes clearly. For emerging, not all shapes repeat.

Symmetry: For excels, additional lines or folds are successfully completed. For accomplished, two lines of symmetry show. For emerging, one line of symmetry is evident.

Use of Papers: For excels, both types of papers are used to reinforce and enhance the symmetrical design. For accomplished, both transparent and translucent papers are used in the opaque framework. For emerging, only one of the paper types is used.

Cut-Paper Design: For excels, more than eight controlled, distinctive cuts made. For accomplished, the student shows geometric or organic cut shapes in each of the folded sides which result in eight cut-outs total per square. For emerging, fewer cuts are evident.

Craftsmanship: For excels, designs are complex, cleanly cut and carefully glued. For accomplished, cuts are cleanly made and matched, and the papers are carefully glued. For emerging, cuts or glued papers are less carefully applied.

Attachment C
Post-Assessment

NAME______________________________________Class_______________________
(Teacher will read questions aloud for the students.)

Look at your artwork.
1. What do you like best about the art you designed? _____________________________

______________________________________________________________________

If you created another one, what would you change? ____________________________

______________________________________________________________________

2. If you could design a stained glass piece for our school:

Where would you place it in the school? Think about our school. It has a library, gym, classrooms, hallways, cafeteria, art, music rooms and computer rooms. _______________________________________________________________________

What mood or feeling would you want your art to express in that space? _____________

_______________________________________________________________________

What colors, shapes or designs would you choose to show your ideas? ________________________________________________________________________

________________________________________________________________________

3. Look at the two examples of stained glass. Place the number of the one you think was
made long ago on the line ______________.

What makes this one seem older (made long ago)? _______________________________

Attachment C, Post Assessment (Continued)

4. Create a three-number pattern on line A and extend it into a shape pattern on line B.

A. ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___

B. ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___

5. MATCHING: Draw a line from the word to the definition

Transparent Colored glass pieces held together with metal strips.

Translucent Light does not go through it and you cannot see through it.

Opaque Designs or shapes divided by a line are the same on opposite sides of the line.

Stained glass Light goes through it and you can see through it clearly.

Symmetry Light goes through it but you cannot see through it clearly.

6. Draw a symmetrical shape and show two lines of symmetry on the shape.

7. Write some passages made of words about what happens when light passes through stained glass. Think about light travel, color moods, symmetry designs and extending patterns.

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Attachment D
Post-Assessment Scoring Guide

STUDENT NAME __________________________________Class_______________

1. Student understands how to revise work to personal satisfaction.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient____

2. Student establishes and communicates a purpose for creating art and selected art elements to express emotions and moods, and produce a variety of visual effects.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient_____

3. Places art work in temporal order with appropriate justification.
Response: Clearly expressed, supported ____ Appropriate ____ Insufficient_____

4. Student creates simple number patterns and extends similar patterns with shapes.
Response: Achieved number and shape ____Achieved one pattern___ Insufficient ____

5. Student matches vocabulary words to definitions.
Response: Matched all _____ Matched four_____ Fewer than four correct_______

6. Student draws a symmetric shape and identifies line(s) of symmetry.
Response: Correctly drew and divided____ Achieved one task ____ Insufficient _____

7. Question seven in the Post-Assessment is designed to give the student an opportunity to express and synthesize learning from the lesson on a personal level. Encourage students to use vivid, descriptive language in their passages which could take many forms from sentences to poetry. The word and phrase list developed throughout the lesson would be available or posted during the assessment. Student responses offer the teacher information applicable to further lesson planning and differentiated instruction for students.

Attachment E
Qualitative Language

The students are truly inspired and affected by the illuminated colors in this study and love to share their thoughts and feelings with others. Encouraging them to think about and describe feelings, memories and personal preferences when responding to light, colors, symmetry or patterns, helps students participate in this lesson using expressive language. To increase and strengthen the use of expressive language, the teacher should model “feeling talk” and verbally support students as they incorporate or attempt to increase their use of qualitative terms. The teacher should keep a list or “bank” of words and phrases given by students. This list can be posted throughout the lesson and, if the teacher chooses, become a resource for students during the final assessment.

Artist and retired art educator, Jerry Tollifson, suggested the expansion of the expressive, “poetic talk” or “qualitative language” in this lesson. “Use more adjectives and verbs to modify nouns (jerky lines, glowing colors, prickly texture, curvy shapes, jagged shapes, or glowing light). Use metaphors and analogies (these colors are like a gentle wind on your face, or this shape hurts like a jab in the arm, or it’s like taking a bath in light). These are two ways the instruction in this lesson could help students more intensely feel the expressive qualities of color and shape. They could help inform your assessments,” Tollifson said.

A possible extension: when the teacher is placing colored papers on the overhead projector in a darkened room (Step 18), students are asked to respond to the color by thinking of feelings they experience or memories and thoughts that come to mind. This brainstorming session is guided by the teacher with suggestions or questions that ask students to qualify responses. “When you say it makes you feel happy, can you tell more about what that happiness feels like or reminds you of?” The teacher writes responses to add to the word and phrase bank developed throughout the lesson. Then, in a whole-group session, students and teacher work together to create a poem or “light passages” using words and phrases drawn from the word bank. Pursuing this extension would add another session to the lesson. One simple poetry method to help students get started is to give them a phrase such as “Colors make me feel…” to finish, which then becomes the first and last line of the poem. The group then selects from the word list for each color line. Here is an example of a poem or “light passages” from a second-grade group:

Colors make me feel wonderful,
Red is for scary movies, mom’s shoes, or me as happy as a swimmer,
Green is like Kentucky, my mom’s uniform, or it sometimes makes me feel glum,
Purple is a favorite color for my sister, my mom, my dad, Grandma May, and me,
Orange reminds me of a rainbow, or it’s hot outside, IT’S my favorite color!
Colors make me feel wonderful.

Barbara Walker, Springfield, Ohio City Schools

1. All the Colors of the Earth. Sheila Hamanaka. Morrow Junior Books. (New
York, 1994)

Describes the many literal and figurative “colors” of humanity, in text that is brief but sprinkled with vivid adjectives. Illustrations are page-filling, and focus on individual figures.

2. Brave Irene. William Steig. Farrar, Straus, Giroux (New York, 1986).

Through a howling snowstorm, little Irene hauls the ball gown her sick mother has made to The Duchess, at her palace. Irene nearly dies, but perseveres and is rewarded. The story illustrates the strength that love and will can provide.

3. Leo the Late Bloomer. Robert Kraus; illustrations by Joe Aruego. Windmill Paperbacks (New York, 1971).

Leo, a slow-to-develop lion (?), eventually lives up to his potential, and everyone’s expectations. Hope for the late-to-develop, though “blooming” is played on verbally and in illustration to the point that some kids might miss its relevant meaning.

4. Martin’s Big Words: The Life of Dr. Martin Luther King, Jr. Doreen Rappaport; illustrated by Bryan Collier. Hyperian Books for Children (New York, 2001).

Lovely, textured illustrations, and the text introduces key terms—the “big words”—such as peace, love, and freedom. The text skims Dr. King’s life, and simply records his murder.

5. Mrs. Chicken and the Hungry Crocodile. Won-Ldy Paye and Margaret H. Lippert; Illustrations by Julie Paschkis. Henry Holt and Company (New York, 2003).

A Liberian traditional tale of a trickster hen who fools a brightly patterned croc into thinking of her as a sister. Stylized and colorful illustrations and a simple style of text that just begs to be play-acted.

6. My Rotten Redheaded Older Brother. Patricia Polacco. Simon & Schuster Books for Young Readers (New York 1994).

An interesting narrative of brotherly obnoxiousness, but also of brotherly care. The illustrations don’t prettify the characters in this reminiscence of childhood, but help to create unique and memorable characters.
7. Santa’s Kwanzaa. Garen Eileen Thomas. Illustrations by Guy Francis. Hyperion Books for children (New York 2004)

A Christmas-Kwanzaa poem that casts Santa as coming home to celebrate Kwanzaa after making his Christmas rounds. Instructive about celebrating Kwanzaa.

8. The Story of Frog Belly Rat Bone. Timothy Basil Ering. Candlewick Press (Cambridge, MA, 2003).

Turning “Cementland” into a blooming garden takes patience and car, but pays off. Bizarre, atmospheric art with a cheerfully fantastic ecological morality tale.

9. The Ugly Duckling. Hans Christian Anderson, Adapted and illustrated by Jerry Pinkney. Morrow Junior Books (New York, 1999).

A clear and straightforward re-telling, with illustrations that fill the page with wildlife.

10. Virgie Goes to School With Us Boys. Elizabeth Fitzgerald Howard. Illustrations by E.B. Lewis. Simon & Schuster Books for Young Readers (New York 2000).

Six kids from a post-Civil War freed family walk the long way to a Quaker boarding school, the youngest sister for the first time. They equate learning with freedom. Based on a true story. Vivid, realistic illustrations, lyrical vernacular text.

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