What is arts integration?
by Vincent Bates
Arts integration, on a fundamental level, refers to instruction that meets objectives or curriculum standards in the arts (music, dance, visual art, and drama) while at the same time addressing objectives or curriculum standards in other subject areas (such as math, science, language arts, social studies, health, PE, technology, media). The Kennedy Center offers this definition: "Arts integration is an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject area and meets evolving objectives in both." This is a reasonable perspective on arts integration and much can be gained through its application. What I will strive for in this short essay is a way of thinking about arts integration that reinforces traditional definitions, while also embracing a more comprehensive spectrum of integration possibilities within and between the arts, the National Core Arts Standards, and other elementary standards and objectives.
The Arts in Everyday Life
In real life, arts experiences are often already integrated. We listen to and sing along with music while driving, working, or exercising. Even when there are no recordings playing, we might have songs in our heads. The movies we watch are creative combinations of visual images, music, acting, movement, special effects, and dialogue. Especially for those of us living in urban areas, our physical environments have been carefully designed, from cereal boxes to automobiles to the internet, using elements and principles of art. Taking a hike in the mountains, we might also notice the how colors, sounds, textures, and other qualities combine in interesting ways. Finally, we usually apply a range of vocal inflections and physical gestures to express ourselves. All of these examples involve the arts in combination with other forms of experience. In fact, its difficult to identify where one domain leaves off and another begins.
In school, however, domains of human knowledge and action are carefully divided from each other conceptually (separate standards) as well as spatially (separate rooms or learning spaces). The arts, integrated in real life, are separated from other subjects such as language arts, math, science, and social studies. If we fail to embrace this fact that real outside-of-school life is already integrated, we run the risk of missing dynamic possibilities. For example, people everywhere and in all historical eras have expressed themselves through visual art, dance, music, and drama, yet social studies are often taught without exploring the arts in any depth. Furthermore, lyrics are a core component in the music most of us listen to daily, yet specialized school music classes don't typically include lyric analysis or song-writing. So, I propose that arts integration is a process of bringing domains back together that should never have been separated in the first place, and it involves both bringing the arts to other subjects and bringing other subjects to the arts. In addition, by reintroducing a more holistic approach, arts integration serves to balance the modern tendency to dissect and compartmentalize human life — a process wherein living entities are treated as objects.
In real life, arts experiences are often already integrated. We listen to and sing along with music while driving, working, or exercising. Even when there are no recordings playing, we might have songs in our heads. The movies we watch are creative combinations of visual images, music, acting, movement, special effects, and dialogue. Especially for those of us living in urban areas, our physical environments have been carefully designed, from cereal boxes to automobiles to the internet, using elements and principles of art. Taking a hike in the mountains, we might also notice the how colors, sounds, textures, and other qualities combine in interesting ways. Finally, we usually apply a range of vocal inflections and physical gestures to express ourselves. All of these examples involve the arts in combination with other forms of experience. In fact, its difficult to identify where one domain leaves off and another begins.
In school, however, domains of human knowledge and action are carefully divided from each other conceptually (separate standards) as well as spatially (separate rooms or learning spaces). The arts, integrated in real life, are separated from other subjects such as language arts, math, science, and social studies. If we fail to embrace this fact that real outside-of-school life is already integrated, we run the risk of missing dynamic possibilities. For example, people everywhere and in all historical eras have expressed themselves through visual art, dance, music, and drama, yet social studies are often taught without exploring the arts in any depth. Furthermore, lyrics are a core component in the music most of us listen to daily, yet specialized school music classes don't typically include lyric analysis or song-writing. So, I propose that arts integration is a process of bringing domains back together that should never have been separated in the first place, and it involves both bringing the arts to other subjects and bringing other subjects to the arts. In addition, by reintroducing a more holistic approach, arts integration serves to balance the modern tendency to dissect and compartmentalize human life — a process wherein living entities are treated as objects.
Common Concerns
Some concerns do arise relative to the prospect of arts integration. First, sometimes teachers may feel that there simply isn't enough time in the day to integrate the arts. This concern stems from the previously mentioned tendency to view subjects as separate. A holistic approach does not always take more time. For example, it is common nowadays for elementary teachers to devote a couple of hours each day to language arts instruction. To draw text from the arts (song lyrics, informational text about art and artists, drama scripts) will take no more time than choosing other forms of text. Or, to give another example, teachers and students could explore the science of sound or scientific processes and principles within particular art materials and practices. Plus, basic time-on-task should always be accompanied by considerations about the quality of the time devoted to a given task. Arts integrated learning experiences often lead to more memorable and much deeper levels of learning.
Second, sometimes teachers feel that they don't have the requisite content knowledge or skill to integrate the arts. This, too, comes from modern inclinations to rely on expertise and, in the case of the arts, "talent." Some level of knowledge and skill is needed, but not as much as one might assume. Teaching in and through the arts requires skill levels comparable to those required to teach other school subjects in the elementary school. Plus, as we consider the many ways in which we all participate in the arts as a natural part of life, we begin to recognize that we are actually more "artistically-inclined" that we thought. In fact, expressing oneself through the arts is an important birthright that should not be suppressed by notions of expertise or talent. Of course, in schools with arts specialists, much can be gained through collaboration between specialists and classroom teachers.
Finally, sometimes professional artists, musicians, actors, or dancers feel that arts integration somehow devalues the arts — that the arts are being treated as merely instrumental to other purposes. Using a song to teach about the three states of matter, for example, might be seen as a less-than-optimal or unsophisticated use of music. However, considering the reality and roles of the arts in everyday life, it is plain to see that the arts are valuable to us primarily because they serve other purposes. We listen to music to shape our moods. We use principles of design to make commercial products more appealing. We watch movies for entertainment, enjoyment, and as a diversion from the cares of the world. This does not cheapen or devalue the arts. Rather, the arts are valuable particularly because they are useful. In this sense, we actually honor the power of the arts when we use them to teach.
Some concerns do arise relative to the prospect of arts integration. First, sometimes teachers may feel that there simply isn't enough time in the day to integrate the arts. This concern stems from the previously mentioned tendency to view subjects as separate. A holistic approach does not always take more time. For example, it is common nowadays for elementary teachers to devote a couple of hours each day to language arts instruction. To draw text from the arts (song lyrics, informational text about art and artists, drama scripts) will take no more time than choosing other forms of text. Or, to give another example, teachers and students could explore the science of sound or scientific processes and principles within particular art materials and practices. Plus, basic time-on-task should always be accompanied by considerations about the quality of the time devoted to a given task. Arts integrated learning experiences often lead to more memorable and much deeper levels of learning.
Second, sometimes teachers feel that they don't have the requisite content knowledge or skill to integrate the arts. This, too, comes from modern inclinations to rely on expertise and, in the case of the arts, "talent." Some level of knowledge and skill is needed, but not as much as one might assume. Teaching in and through the arts requires skill levels comparable to those required to teach other school subjects in the elementary school. Plus, as we consider the many ways in which we all participate in the arts as a natural part of life, we begin to recognize that we are actually more "artistically-inclined" that we thought. In fact, expressing oneself through the arts is an important birthright that should not be suppressed by notions of expertise or talent. Of course, in schools with arts specialists, much can be gained through collaboration between specialists and classroom teachers.
Finally, sometimes professional artists, musicians, actors, or dancers feel that arts integration somehow devalues the arts — that the arts are being treated as merely instrumental to other purposes. Using a song to teach about the three states of matter, for example, might be seen as a less-than-optimal or unsophisticated use of music. However, considering the reality and roles of the arts in everyday life, it is plain to see that the arts are valuable to us primarily because they serve other purposes. We listen to music to shape our moods. We use principles of design to make commercial products more appealing. We watch movies for entertainment, enjoyment, and as a diversion from the cares of the world. This does not cheapen or devalue the arts. Rather, the arts are valuable particularly because they are useful. In this sense, we actually honor the power of the arts when we use them to teach.
A metaphor
I grew up on a farm. In the winter months, my family made a living by selling fireword. Early in the morning we would drive up into the mountains and cut the dry pine, cedar, and mahogany trees. Dad wielded the chainsaw to cut the wood into 18 inch lengths and we all would load the pieces into the truck and trailer. When we got the load home, we had to split most pieces using a splitting maul (imagine an extra wide ax blade). Swung with enough force, the splitting maul will strike the top of a piece of wood and go right on through it. When it came to splitting wood, my Dad was a true artist. I used to enjoy watching how the two halves would magically fly apart as Dad adeptly swung the maul.
I grew up on a farm. In the winter months, my family made a living by selling fireword. Early in the morning we would drive up into the mountains and cut the dry pine, cedar, and mahogany trees. Dad wielded the chainsaw to cut the wood into 18 inch lengths and we all would load the pieces into the truck and trailer. When we got the load home, we had to split most pieces using a splitting maul (imagine an extra wide ax blade). Swung with enough force, the splitting maul will strike the top of a piece of wood and go right on through it. When it came to splitting wood, my Dad was a true artist. I used to enjoy watching how the two halves would magically fly apart as Dad adeptly swung the maul.
My own efforts, on the other hand, weren't quite as magical. I would sight a spot at the top of the wood and swing with all my might, often bringing the maul down on that spot, but seldom breaking through without repeated attempts—wrenching the maul free from the wood and bringing it down again and again until the wood was split, then moving on to the next piece. This was hard work! And I always figured it was just a matter of strength or size. However, I eventually learned it was about much more.
One year we went to the carnival. They had one of those games where you hit this object on a lever that then propels a small object up some sort of tube. The harder you hit, the further the object goes until, if you hit hard enough, it rings a bell at top. We watched some big muscular guys go up and take a turn, swinging the hammer as hard as they could, but not ringing the bell. Then my Dad gave it a try. Now, he doesn't look like a body builder by any means; he's just a regular guy. But, he's split a lot of wood. He walked up, grabbed the hammer, reached out to measure the distance, raised the hammer, and with one mighty swing brought it down. We all looked to the bell and it rang! ... on the first try. I couldn't have been prouder of my Dad. It also gave me an opportunity to learn something. "Dad, how come you could ring the bell when all of those bigger guys couldn't." At that point Dad shared the secret: "I don't aim at the top of what I'm hitting. I aim that the ground underneath."
Aim for the Ground
It may seem strange in a culture that admonishes us to "aim for the stars" to suggest that we aim for the ground. In fact, it will possibly require some divergent or creative thinking to apply this analogy effectively. What I am referring to are those foundational skills and dispositions that people generally agree are the most valuable: a love for learning, problem-solving, social skills, communication, critical thinking, creativity, kindness and empathy, deep understanding, engaged learning. For many of us, these aims are the ground upon which we based our desires to become teachers in the first place. When we aim at the obvious, immediate, or most pressing goals, on the other hand, like test scores or content mastery, we tend to not be as effective overall as when we aim for the ground underneath. Starting with specific curriculum standards or end-of-level tests, I am suggesting, is akin to aiming at the top of the log and the results are not as enduring as when we aim for the more important goals. Furthermore, when we aim at the ground, we can still achieve intermediate goals such as higher test scores, and we will likely be even more effective.
It may seem strange in a culture that admonishes us to "aim for the stars" to suggest that we aim for the ground. In fact, it will possibly require some divergent or creative thinking to apply this analogy effectively. What I am referring to are those foundational skills and dispositions that people generally agree are the most valuable: a love for learning, problem-solving, social skills, communication, critical thinking, creativity, kindness and empathy, deep understanding, engaged learning. For many of us, these aims are the ground upon which we based our desires to become teachers in the first place. When we aim at the obvious, immediate, or most pressing goals, on the other hand, like test scores or content mastery, we tend to not be as effective overall as when we aim for the ground underneath. Starting with specific curriculum standards or end-of-level tests, I am suggesting, is akin to aiming at the top of the log and the results are not as enduring as when we aim for the more important goals. Furthermore, when we aim at the ground, we can still achieve intermediate goals such as higher test scores, and we will likely be even more effective.
Optimal Learning Experiences
A brain/body learns best through authentic, active, deep, meaningful or, in other words, optimal experiences. For an example of optimal experience, consider an effective science lab. The teacher might begin with a brief demonstration that completely wows the students and stimulates their thinking. This is followed by some open-ended questions to further stimulate and guide their reasoning. Then the teacher gives clear instructions for dividing into groups and completing an experiment, accompanied by ample reflection and discussion. It can become a rather noisy environment when you have a large class. Then the teacher might clarify anything that hasn't been fully understood and summarize the main points, afterwhich the students could record their findings in their science journals (including some figures or diagrams). Students usually find these types of experiences interesting and engaging. In fact, this experience contains within it the three core elements of Brain-Based Learning: relaxed alertness, orchestrated immersion in complex experience, and active processing of experience (Caine, Caine, McClintic, and Klimek, 2016, Twelve Brain/Mind Learning Principles in Action. Third edition. Corwin). Relaxed alertness is a psychological state of positively focused attention. In the science lab examples, the students are naturally interested in solving meaningful problems. They do not have to be forced to participate, because they find the experience intrinsically motivating. Their immersion is carefully orchestrated; they are actively engaged in a learning experience carefully planned and set up beforehand by the instructor. The teacher simply walks around the room to monitor progress and offer assistance—primarily as a facilitator or guide. Finally, students are given opportunities for active processing through instructional procedures such as open-ended questions, class and small group discussions, and journaling. This type of optimal experience is where the deepest and most enduring learning takes place. Although some direct instruction may be needed, it is possible to address most core standards and objectives through these types of optimal learning experiences.
A brain/body learns best through authentic, active, deep, meaningful or, in other words, optimal experiences. For an example of optimal experience, consider an effective science lab. The teacher might begin with a brief demonstration that completely wows the students and stimulates their thinking. This is followed by some open-ended questions to further stimulate and guide their reasoning. Then the teacher gives clear instructions for dividing into groups and completing an experiment, accompanied by ample reflection and discussion. It can become a rather noisy environment when you have a large class. Then the teacher might clarify anything that hasn't been fully understood and summarize the main points, afterwhich the students could record their findings in their science journals (including some figures or diagrams). Students usually find these types of experiences interesting and engaging. In fact, this experience contains within it the three core elements of Brain-Based Learning: relaxed alertness, orchestrated immersion in complex experience, and active processing of experience (Caine, Caine, McClintic, and Klimek, 2016, Twelve Brain/Mind Learning Principles in Action. Third edition. Corwin). Relaxed alertness is a psychological state of positively focused attention. In the science lab examples, the students are naturally interested in solving meaningful problems. They do not have to be forced to participate, because they find the experience intrinsically motivating. Their immersion is carefully orchestrated; they are actively engaged in a learning experience carefully planned and set up beforehand by the instructor. The teacher simply walks around the room to monitor progress and offer assistance—primarily as a facilitator or guide. Finally, students are given opportunities for active processing through instructional procedures such as open-ended questions, class and small group discussions, and journaling. This type of optimal experience is where the deepest and most enduring learning takes place. Although some direct instruction may be needed, it is possible to address most core standards and objectives through these types of optimal learning experiences.
CORE Learning Experiences
The arts provide many opportunities for active engagement, intrinsic motivation, and reflection. The approach I am suggesting involves choosing authentic, multi-faceted, meaningful arts experiences in which to actively involve students. Just as in the science lab example, these experiences, due to their complexity, will naturally afford multiple integrations. Notice that the science lab was accompanied by extensive reflection through discussion and journaling or, in other words, speaking and writing—key language arts skills. It also addressed what have been popularly identified as 21st Century Skills: collaboration, critical thinking, communication, and creativity. Authentic arts experiences will similarly address multiple curriculum topics, as well as important personal skills and dispositions. I call these CORE Arts Experiences—optimal experiences in the arts that are naturally integrated with other subjects or can readily be adapted to address any of a variety of standards and objectives.
Consider, for example, a childrens' singing game such as Head and Shoulders Baby. Children find this game intrinsically motivating as they sing and interact through a series of interesting challenges and opportunities for creativity. It is an ideal way to develop the singing and rhythm skills central to the music curriculum. Through the lyrics, it also has clear connections with language arts. These connections can be extended as students reflect on, discuss, and extend this singing game. Discussions could include exploration of the social context behind this and other singing games, even singing games from around the world, thereby connecting with the social studies curriculum.
CORE arts experiences don't have to take a lot of time and, in fact, can be included briefly within other experiences. For example, it is common in early grades to listen to the teacher read a story book. These books are often accompanied by beautiful illustrations. By taking some time to ask questions about the illustrations (e.g. What colors do you see in this picutre? What shapes are there? What process do you think the artist used to make this picture (drawing, watercolors, etc.)?), the teacher actively engages students (especially if using Think-Pair-Share) in a CORE arts experience I call Artful Conversations. Throughout this website, I have identified CORE arts experiences in each of the four arts. Follow this link to learn more about The Elements of CORE Learning Experiences.
The arts provide many opportunities for active engagement, intrinsic motivation, and reflection. The approach I am suggesting involves choosing authentic, multi-faceted, meaningful arts experiences in which to actively involve students. Just as in the science lab example, these experiences, due to their complexity, will naturally afford multiple integrations. Notice that the science lab was accompanied by extensive reflection through discussion and journaling or, in other words, speaking and writing—key language arts skills. It also addressed what have been popularly identified as 21st Century Skills: collaboration, critical thinking, communication, and creativity. Authentic arts experiences will similarly address multiple curriculum topics, as well as important personal skills and dispositions. I call these CORE Arts Experiences—optimal experiences in the arts that are naturally integrated with other subjects or can readily be adapted to address any of a variety of standards and objectives.
Consider, for example, a childrens' singing game such as Head and Shoulders Baby. Children find this game intrinsically motivating as they sing and interact through a series of interesting challenges and opportunities for creativity. It is an ideal way to develop the singing and rhythm skills central to the music curriculum. Through the lyrics, it also has clear connections with language arts. These connections can be extended as students reflect on, discuss, and extend this singing game. Discussions could include exploration of the social context behind this and other singing games, even singing games from around the world, thereby connecting with the social studies curriculum.
CORE arts experiences don't have to take a lot of time and, in fact, can be included briefly within other experiences. For example, it is common in early grades to listen to the teacher read a story book. These books are often accompanied by beautiful illustrations. By taking some time to ask questions about the illustrations (e.g. What colors do you see in this picutre? What shapes are there? What process do you think the artist used to make this picture (drawing, watercolors, etc.)?), the teacher actively engages students (especially if using Think-Pair-Share) in a CORE arts experience I call Artful Conversations. Throughout this website, I have identified CORE arts experiences in each of the four arts. Follow this link to learn more about The Elements of CORE Learning Experiences.
To learn more about arts integration, the Kennedy Center programs provide some wonderful perspectives. You can learn a lot about the arts and integration from this articles on this page.