Arts Integration in Education is an insightful, even inspiring investigation into the enormous possibilities for change that are offered by the application of arts integration in education. Presenting research from a range of settings, from preschool to university, and featuring contributions from scholars and theorists, educational psychologists, teachers, and teaching artists, the book offers a comprehensive exploration and varying perspectives on theory, impact, and practices for arts-based training and arts-integrated instruction across the curriculum. ​

1. ARTS INTEGRATION:
Revolution in Pedagogy: Energize and Engage
Association for Theatre in Higher Education Summer 2018
Co-Presented By:
Yvonne Pelletier Lewis, Dr. Gail Humphries Mardirosian, Dr. Anne Fletcher, Dr. Karen Berman, Kathi R. Levin (in absentia), and Hannah Vonder Haar

2. Arts Integration in Education includes contributions from
diverse constituents—theorists, psychologists, education
professors, teaching artists, classroom instructors—who
offer their practiced and practical perspectives on how arts-
based training and arts-integrated pedagogy can effect
changes in the educational system, with the teacher and
teaching artist as the central characters in the theater of
change.
The book emphasizes the need for associated changes in
pedagogy, i.e., innovative methodologies namely arts
integration—that render teachers responsive to the variety
of cultures and technological savvy that is extant in today’s
classrooms.
Intellect, Ltd. (2016) Bristol, UK/Chicago, USA
“With the arts we have,
a better child, better town, better nation, better world.”
- Robert Lynch,
President and CEO for Americans for the Arts
Introduction

3. Meet the Speakers

4. Yvonne Pelletier Lewis
Yvonne Pelletier Lewis is an education consultant to
Imagination Stage, Inc., in Bethesda, MD, and a
consultant to the National Institute on Drug Abuse for
the evaluation of research proposals. She is an author,
co-author, and presenter, most recently at the Annual
Conference on Education in Athens, Greece (2018).
She is an educator, having earned her B.A. and
Teaching Credential at the University of California at
Los Angeles and her M.S. at Oregon State University.
Ms. Lewis has helped develop education materials for
implementation of a teaching and learning model,
Imagination Quest (IQ), e.g., information brochures,
lesson plans, evaluation instruments.

5. Gail Humphries Mardirosian, Ph.D.
Gail Humphries Mardirosian, Ph.D., is the Dean of the Stephens
College School of Creative and Performing Arts in Columbia,
MO. She is Professor Emeritus at American University in
Washington, D.C., where she served as Chair of the Department
of Performing Arts and Professor of Theatre. She is a fellow in
the College of Fellows of the American Theatre, a recipient of the
Likhachev/Yeltsin Cultural Fellowship in St. Petersburg, Russia,
and a former Fulbright Senior Scholar with an appointment at the
Academy of Performing Arts in Prague, Czech Republic. Her
directing credits include over 170 productions in both national
and international venues. Publications involve a focus on
international theater including chapters in The Power of
Witnessing: Reflections, Reverberations and
Traces of the Holocaust (Routledge, 2012) and The Courage to
Fight Violence Against Women (Routledge, 2018).

6. Anne Fletcher
Anne Fletcher is Professor of Theater at Southern Illinois
University where she supervises THEA 101, a CORE
Curriculum course, based in MI and Constructivist
Education. Dr. Fletcher is a winner of the SIUC College of
Liberal Arts and University Distinguished Teacher Awards
(2013), the CORE Curriculum Instructor of the Year Award
2009-2010, the Winthrop University Phi Kappa Phi
Chapter’s 1999 Teaching Award, and was recently
honored for innovative teaching strategies by Region III
KC-ACTF.

7. Dr. Karen Berman
Dr. Karen Berman is the chair of the Theatre and
Dance Department of Georgia College, and is a past
president of the Association for Theatre in Higher
Education and the Immediate Past Dean of the
College of Fellows of the American Theatre. She has
directed over 100 plays, including off-Broadway and
is founding Artistic Director of Washington Women in
Theatre. She has spent over 20 years utilizing the
theory of Augusto Boal's Theatre for Social Change
in K-12 schools in Washington, D.C. and Central
Georgia.

8. Kathi R. Levin
Kathi R. Levin, a national leader in arts education for over
20 years, is an ongoing consultant with the National Art
Education Association, managing a portfolio which
supports the association's policy, advocacy, research,
national standards and leadership development efforts.
She is the Program/Development Officer for NAEA's grant-
making National Art Education Foundation and consults
with organizations in arts education, strategic planning,
management and governance. Ms. Levin was Director of
the Kennedy Center Alliance for Arts Education Network
for over a decade where she conceived of and wrote A
Community Audit for Arts Education, the foundation of the
Center's Any Given Child Initiative; and managed outreach
and leadership development initiatives, including over 25
national partnerships.

9. Hannah Vonder Haar
Hannah Vonder Haar is an art integration specialist and classroom
teacher at The Children's School at Stephens College. At CSSC, she
teaches drama, art, music, and dance to students at the
elementary and preschool level. In conjunction with this role, she
works as an adjunct instructor in the Education Program. She
works with pre-service teachers in a course called Integrating the
Arts into the Classroom. She has B.S. in Elementary Education and
a M.Ed. in Curriculum and Instruction and has spent time as a
private piano instructor and performed as a backup singer in local
bands. In addition, she has performed at The Lyceum Theater in
Arrow Rock, Missouri, and directed plays at a variety of summer
camps. She also does freelance work and has a small business
called Vondering Haart Jewelry where she creates original works of
art using metal, precious stones, and wire.

10. Significance
The session consists of research and experiential activities as presented in the book “Arts Integration in
Education: Teachers and Teaching Artists as Agents of Change – Theory, Impact, Practice.” (Intellect Books, Ltd.
2016).This compilation of twenty-five action research studies focuses on three areas: theory, impact, practice.
Theory:
Foundations of Arts Integration and Teacher Training;
Impact:
Training Teachers and Teaching Artists in Arts Integration;
Practice:
Arts Integration in the Classroom, the School, the community.
Contributing authors of the book will be featured in this session, along with a recent practitioner.

11. Objectives
One:
To learn about new action research studies which provide tested strategies for
understanding and implementing effective arts integration programs.
Two:
To learn about specific arts integration models that combine the arts and core
content learning and afford teacher training in theatre, math, science, and
technology in teaching and learning.
Three:
To learn about and discuss questions regarding how the arts are part of systemic
change, the role of teachers and teaching artists as agents of change, and what
we are doing as a field which is counterproductive to sustainability of arts
education in schools.

12. Pertinence of Session
As indicated in the 2018 ATHE Conference Theme, we live in a changing world filled with
revolution, protest and change. These words have found their way into every aspect of our
lives, including the lives of today’s teachers, and concomitantly into the lives of today’s
students who must courageously address the new world in which they live with critical
thinking and problem solving. In response to the revolution, some teachers attest to the
evolving role from “sage on the stage” to a “guide on the side.” Arts integration is offered in
this session as pedagogy that can facilitate teachers to energize and engage each
unique learner in the classroom.
We believe that the question is not IF the arts should be involved in
the preparation of but rather HOW we are going to involve the arts in
facilitating student learning for the 21st century and ensure the
sustainability of arts integration in education. We hope that this
presentation provides insights for educators, administrators,
and arts education advocates

13. “When all is said and done, what
matters most for students’ learning
are the commitments and capacities
of their teachers.”
- Linda Darling-Hammond, 1996

14. CHAPTER 2Creativity, Collaboration, And Integration:
The Ideas Of Howard Gardner For
Education In The Arts
Dr. Anne Fletcher

15. 4- Minute Challenge:
MI in Visual Art and Theater
We can do this!
My theatre history class often has only five minutes to quickly do an immersion
exercise before we discuss—keeps them focused!
The chapter Winthrop University art professor, Seymour Simmons, and I wrote for Arts
Integration in Education: Teachers and Teaching Artists as Agents of Change outlines several
similar interdisciplinary classes at Winthrop and Southern Illinois University, reflecting almost
twenty-five years of our classroom experiments, together and separate. We begin with a review
of Gardner’s key ideas followed by a description of classroom examples predicated in MI in the
arts and pre-K12 arts teacher preparation.
As many of you know, at its core, Gardner’s theory was based on an alternative definition of the
word “intelligence.” Subverting the dominant paradigm, under which Intelligence was implicitly
defined as the numerical score on an IQ test, Gardner explicitly defined it as the capacity to
“solve problems or create products that are of value in a culture” (1985, p. x). Being sure
that we purposefully guided students to solve a problem or create a product and fully employing
both of our arts, or domains as Gardner calls them, remained in the forefront of our minds.

16. 8 major intelligences (plus Existential and
Environmental) that Gardner considered.
INTELLIGENCE √ How is intelligence incorporated?
Verbal-linguistic
Logical-mathematical
Spatial-visual
Bodily-kinesthetic
Musical
Interpersonal
intelligence
Intrapersonal
Naturalist
Existential
Environmental
Solve a problem or
create a product
8 Major Intelligences

17. Experiential Activity:
Living Painting

18. Armstrong, T 2009, Multiple intelligences in the classroom, 3rd and, Association for Supervision and Curriculum Development, Alexandria, VA.
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Fletcher, A 2014, Theatre Insight (THEA 101) Course Packet, Southern Illinois University, Carbondale, IL.
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Oxford University Press, New York, NY.
Simmons, S 2014, 'On being a follower: Howard Gardner and the teaching of drawing', in Mind Work and Life: A Festschrift on the Occasion of Howard Gardner's 70th Birthday, Vol. 2, Winner,
E and Kornhaber M eds. Cambridge: Offices of Howard Gardner.
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26.
Whitesitt, L & Franklin, E 2011, lhe ARTS book: Designing quality arts integration withAlignment, Rigor, Teamwork and Sustainability, Real Visions, Berkeley Springs, WV. Winner, E (ed.) 1991,
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19. CHAPTER 5The Imagination Quest (IQ) Way Of
Teaching And Learning
Dr. Gail Humphries Mardirosian

20. IMAGINATION QUEST
Imagination Quest - Signs (Body, Voice, Mind, Imagination) - Rights of Passage
Imagination Quest (IQ) is about many ways of being smart
and putting the arts into a position of centrality in education, with arts
integration offered as a pedagogy to:
Enhance
student
achievement
Increase
teacher
effectiveness
Inspire
parental/
caregiver
involvement

21. The Imagination Quest Way Of
Teaching And Learning
• Leveling the playing field so all children have the possibility to succeed
• Both academically and socially
• Advances intelligences that exceed the verbal-linguistic and logical
mathematical, applying
• Howard Gardner’s Theory of Multiple Intelligences
• Current cognitive learning theories and brain research
• Values the importance of affect in the process of learning

22. Imagination Quest
Students
In-Class
Residencies with
Teaching Artists
Teachers
Workshops for
Professional
Development
Parents/Caregivers
Graduate Courses
American
University
Imagination Stage
Nine different states in both urban and rural
environments (east and west coasts)

23. TEACHER TRAINING
Imagination Quest’s 4 R’s approach:
• Read
• React
• Respond
• Reflect

24. Funding by Webber Family Foundation and Freddie Mac Foundation
Literacy Learning Through
Arts-Based Teaching
• Writing poetry inspired by works by
children from Nazi transit camp, Terezin
• 100 Dresses: Chapter book
• Juicy words and enactment

25. Funding by Lockheed-Martin Educational Division
Science Learning Through
Arts-Based Teaching:
Visual Arts, Music, Movement & Readers
Theatre
• There are No Frontiers in the Sky: 8
Lessons comprising a fundamental
instructional unit on the Space Age.

26. Funding by University of New Hampshire: Teaching for Excellence
Math Learning Through Arts-based Teaching:
Music And Movement
• Turn table tessellations
• Fun with fractions

27. Funding by Sun Trust Bank Foundation and the Hattie Strong Foundation
History Learning Through
Arts-Based Teaching:
Theatre & Movement
• The legacy of Anne Frank: Role play
and enactment
• The Berlin Wall: Tableaux
• “I am torn between joy and sorrow.”

28. The Berlin Wall, Tragedy & Triumph
Experiential Activity: Your 5 Minute Challenge
• Think
• Share
• Plan
• Create
Tableaux Process:
Tableaux… Frozen Picture Moment, capturing
the visual and emotional content

29. Evaluation Mechanisms:
Residencies, Tutorials, Workshops, And Graduate Courses
K What I Know about arts integration
W What I Want to learn about arts integration
I What I Intend to do with what I learned about arts Integration
L What I Learned during professional development training
T How I will Teach what I’ve learned in my classroom
K, W, I are administered pre-implementation;
L, T are administered at the conclusion of the implementations.
And so, the QUEST goes on!

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31. CHAPTER 14
Transformative Education Process:
Difficult Dialogues and Global Citizenry
Dr. Karen Berman

32. The Mystery of Mucha

33. Learning Outcomes and Assessment
• To Employ Engaged Experiential Learning
• To Start Undergraduate Research, Writing, Critical Thinking,
Reflection Early in the Student’s Career
• To Promote Diversity
• To Implement Social Change
• To Create a Mutually Beneficial Relationship with a Partner in the
U.S. or Abroad
• To Develop Leadership Skills
• To Assess with AAC&U Rubrics

34. Study Abroad Theatre
• Hradec Kralove, Czech Republic
• Eastern European Regions
• International Theatre Festival
• Retracing the Footsteps of Historic Figures

35. Rural Teens and the Antebellum
Capital of Georgia
Issues for Community Partners
• Interactions with college students
• Role models
• Encourage their students to go to
college
• Focus on health issues of teens
• HIV/AIDS
• Obesity
• Bullying
• Sex Ed
• Drug abuse
• Peer pressure

36. Augusto Boal’s Theory
Experiential Activity

37. Bennett, J, 13 September 2011, 'The rise of Macon youth violence', Georgia Public Broadcasting, Atlanta, GA.
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38. Kathi R. Levin
CHAPTER 25Arts Education: Systematic Change
And Sustainability

39. Leadership Perspectives On The Role Of
The Arts In Systemic Change And Sustainability
The author, with over 20 years working in the field of arts education at the national level, drew on the
experiences and perceptions of 32 colleagues and leaders in the field of arts education to complement,
support, and affirm the issues, reflections and recommendations presented throughout this chapter.
1. How can the arts become a part of systemic change in our nation’s schools?
2. How can teachers (including certified/licensed arts educators, classroom teachers, and
teaching artists) be agents of change and further an agenda for the sustainability of
arts education?
3. Are there strategies that we have adopted as a field, or things we do, that are
counterproductive to including the arts in systemic change
4. What do you think is the key to sustainability for keeping high quality arts education
in the schools?

40. Question 1:
How can the arts become a part of systemic change in our
nation’s schools?
The following themes reflect the diversity and range of comments and recommendations
regarding the inclusion of the arts in systemic change:
• The importance of ongoing, collaborative advocacy networks, particularly at the local school
district level;
• The need to promote broad understanding and awareness of the value of what has been
learned from community-based models of high quality arts education in schools;
• The importance of having some clear policy changes and outcomes in mind that keep the
focus on the “big picture” and students at the center of our efforts;
• The importance of understanding of the current forces for education reform – even as they
continue to change;
• Clarity about what we want to see in terms of what high quality arts education looks like;
improvement in the gathering and use of data; and identification of ways to ensure
accountability by all parties.

41. QUESTION 2:
How can teachers (including certified/licensed arts educators,
classroom teachers, and teaching artists) be agents of change and
further an agenda for the sustainability of arts education?
Common themes about the ways in which arts educators can best become agents of change,
organized around the following conceptual ideas:
• First and foremost, the best way for any educator to have impact is to be the best educator;
• To be an effective agent of change requires a clear knowledge of the educational system by
all parties;
• The importance of partnerships in both planning and execution among those involved in any
given situation: the arts educator, the teaching artist, and the classroom teacher;
• Creating an environment of support that values the arts and arts learning;
• Helping students be advocates;
• Being a part of a large community of advocates;
• Shared professional development experiences.

42. Question 3:
Are there strategies that we have adopted as a field, or
things we do, that are counterproductive to including the arts
in systemic change?
• Vocabulary;
• Advocacy by individual arts disciplines/working in siloes/talking to ourselves;
• Leadership Development;
• Scarcity Mentality/Woe is Me;
• Connecting to larger education goals without separating the art from education;
• Accepting the expectation that the arts are first to be cut;
• How we talk about what we do – the need to broaden the message about the role of arts educators
in schools.
The common themes about strategies that have been counterproductive and ideas offered for
improvement have been organized around the following topics:

43. Question 4:
What do you think is the key to sustainability for keeping high
quality arts education in the schools?
Additional common themes that emerged from the conversations
about sustainability:
• The arts and the 21st Century workforce; the arts and STEM initiatives;
• The Importance of continuity of supportive district leadership;
• Accountability/Holding “feet to the fire”/Consequences;
• The role of cultural organizations in sustaining arts education.

44. CONCLUSION
It is hoped that the responses to the interview questions in this chapter will…
1. Provide insights into possible and significant strategies for addressing how the
arts can be part of systemic change and be sustained in a comprehensive
education;
2. That the cumulative perspectives presented will provide impetus for furthering a
collective agenda; and
3. That these thoughts and ideas will offer a starting point from which to leverage
our collective power to address the challenges, explore the issues, and create a
new agenda.
These questions are essential for envisioning and realizing greater
opportunities for ensuring high quality arts education for all students.
• As a field, we must be knowledgeable about, and adaptable and flexible
to, working within the ever-changing environment of Pre-K-12 education
and school reform.
• We must begin to address and discuss these pivotal questions
collectively if the field is to garner further support for embracing high
quality arts education in our schools.

45. Americans for the Arts, The Arts Education Field Guide. Available from:
<www.americansforthearts.org>. [10 August 2015].
Arts Education Partnership. Available from: <www.aep-arts.org>. [10 August 2015]
Chapman, SB 2013, Make your brain smarter: Increase your brain’s creativity, energy,
and focus, Free Press, New York, NY.
Dana Foundation 2007, Transforming arts teaching: The role of higher education’.
Available from:
<http://www.dana.org/Publications/PublicationDetails.aspx?id=44421>. [10
August 2015].
Jackson, Y 2011, The pedagogy of confidence: Inspiring high intellectual performance in
urban schools, Teachers College Press, New York, NY
Jensen, E 2008, Brain-based learning – The new paradigm of teaching, Corwin Press,
Thousand Oaks, Ca.
Kennedy Center, ‘Any Given Child/A Community Audit for Arts Education’. Available from:
<www.kennedy-center.org>. [10 August 2015]
National Coalition for Core Arts Standards. Available from:
<http:www.nationalartsstandards.org>. [10 August 2015].
National Endowment of the Arts. Available from: <www.arts.gov>. [10 August 2015]

46. Stephens College
School of Creative and Performing Arts
Stephens College, located in Columbia, MO is a vibrant college city approximately 120 miles
from both Kansas City and St. Louis. It is the 2nd oldest women's college in the country. Today,
Stephens remains committed to women's education at the undergraduate level and is also
committed to expanding programs at the graduate level, including our new MFA low
residency television and film screen writing program in Hollywood. Building on a tradition of
strength in the creative arts and programming in areas of high demand in the health sciences,
Stephens and its programs are changing to better serve the students, community, region and
nation.
The newly formed School of Creative and Performing Arts includes programs of study in
performing arts, English/creative writing, digital film making and education.
www.stephens.edu
Communicate. Collaborate. Create.

47. The Children’s School at Stephens College takes a holistic approach to education, emphasizing
exploration and study of the arts and sciences. We believe in a constructivist curriculum that
supports an ever-changing and developing child.
The Children's School
Energize and Engage:
An Arts Integration in Education Summit
Was held on November 4th, 2017 and sponsored by:

48. Integrating The Arts Into The Classroom Syllabus:
Course Objectives:
• Understand the importance of art-based learning and how it engages children in learning,
and provides another means for expressing understanding and knowledge.
• Plan, teach and evaluate a variety of arts integration experiences with children.
• Demonstrate an ability to integrate different subject areas into a single lesson and/or unit.
• Cultivate skills in creativity, imagination, observation, and inquiry.
• Lesson Reflection
• Think Like an Artist
• Arts Integration Presentation Final
• Studio Habits of Mind Presentations
• Observations/Discussion
• Lesson Integration / Learning Experiences
Assignments:
Author Skyping:
• Students make meaningful connections to content by skyping with various authors from the
anchor book: Arts Integration in Education
Reaching Undergraduates With Arts Integration

49. Agents of Change Video

50. Summit Outcomes

51. • The outcome data clearly indicate that the
majority of participants report enhanced
knowledge of arts-integration
instructional practices as a result of
attending the Summit and reading related
materials.
• The 96 participants reported increased
confidence about being able to implement
arts-integration strategies across a variety
of content areas.
• Additionally, the data show that project
experiences had a positive impact on
participants’ beliefs about the value of
arts integration and their ability to be
conversant about how to put into practice
what they learned.
• The data evaluation will inform and inspire
future planning as we move forward with
professional development initiatives for
teacher training in arts integration at both
the pre-service and in-service level.
• Stephens College continues to focus on the
depth and breadth of arts integration to
enhance teacher effectiveness, improve
student achievement, and expand
parental involvement in
teaching/learning.
www.artsintegrationedu.org
Summit Outcomes

52. Roots and Wings 2019
• Our new initiative entitled “Roots and Wings” will
aggregate and apply the results of our findings to
expand the application of arts integration both locally
and regionally.
• We intend to identify schools and principals who are
interested in implementing arts integration and are
developing a model for teacher training that we
intend to serve as an exemplar for schools
throughout the state.
• There are implications for the project, once
implemented, to become a national model that
interfaces public education with colleges/universities
through professional-development training.

53. QUESTIONS
HOT TOPICS
&