ARTS INTEGRATION HAPPENS

HOW IS ARTS INTEGRATION HAPPENING AT POWDER SPRINGS ELEMENTARY:

WHAT IS GOING ON IN ARTS INTEGRATED CLASSROOMS?
By

ASHLEY L. THOMPSON

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE

UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS

UNIVERSITY OF FLORIDA
December 2015

ARTS INTEGRATION HAPPENS

2014 Ashley Thompson

ARTS INTEGRATION HAPPENS

3
Acknowledgements

I would like to thank my husband, Sloan, for listening as I read aloud countless reading reviews
and for all his patience with my craziness as I got through my Master of Arts in Art Education. I
would also like to thank all of my professors for being understanding as I struggled through my
coursework throughout my pregnancy and first year of my sons life. I would also like to thank
my Principal and Assistant Principal for allowing me to conduct my study at our school, observe
classrooms practicing arts integration, and for the support they showed me through my capstone
and entire Masters. Without these people and countless others I would not be where I am today,
thank you.

ARTS INTEGRATION HAPPENS

ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF

THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF MASTER OF ARTS

HOW IS ARTS INTEGRATION HAPPENING AT POWDER SPRINGS ELEMENTARY:

WHAT IS GOING ON IN ARTS INTEGRATED CLASSROOMS?
By
Ashley Thompson
December 2015
Chair: Craig Roland
Committee Member: Jodi Kushins
Major: Art Education
Abstract
For my capstone project, I studied newly minted arts integration teachers from the school I teach
at, Powder Springs Elementary, and observed how they are enacting this method of education in
their classrooms. Teachers in the study are in their second year of the schools arts integration
program that has as its goal a fully arts integrated school in three years. This arts integration
program trains teachers through one professional development series across one year and meets
four times in that timeframe. Upon request and acquiescence, these teachers allowed me to
observe as they implemented an arts integrated lesson in their classrooms. Following the
observations, documented in my field journal, I interviewed the participating teachers and their
students. Then I gathered reflective information about the arts integrated lesson from teachers
through questionnaires. The final product of my capstone project is an Executive Summary. The
summary contains advice for the supplementation of the current professional development arts
integration program and my thoughts on the best avenue for implementing this program.

ARTS INTEGRATION HAPPENS

Keywords: arts integration, one-shot professional development, professional
development

6
Table of Contents
Title Page...................................................................................................1
UF Copyright page.....................................................................................2
Acknowledgements....................................................................................3
UF Formatted Abstract ..............................................................................4
Table of Contents.......................................................................................6
Introduction................................................................................................8
Statement of the Problem.................................................................9
Purpose of the Study........................................................................9
Assumptions of the Study...............................................................11
Study Limitations............................................................................11
Definition of Terms..........................................................................12
Literature Review.....................................................................................13
Methodology............................................................................................20
Subject Selection, Site, and Description.........................................21
Data Collection Procedures.............................................................21
Data Analysis..................................................................................23
Findings ...................................................................................................23
Seamless Versus Stitched Integration.................................................24
Visible Language of the Standards......................................................26
Je Ne Sais Quoi....................................................................................27
Summary across all Findings ..............................................................28
Discussion and Conclusion .....................................................................29

7
Discussion and Interpretation of Findings ............................................29
Implications and Recommendations.....................................................32
Conclusion............................................................................................33
References...............................................................................................34
Appendix A...............................................................................................37
Appendix B..............................................................................................38
.....................................................................................................................
Appendix C...............................................................................................39
Appendix D..............................................................................................40
.....................................................................................................................
Appendix E...............................................................................................41
Appendix F..............................................................................................42
.....................................................................................................................
Appendix G...............................................................................................43
Appendix H...............................................................................................44
Appendix I................................................................................................45
Author Biography.....................................................................................46

And So It Begins
I have an idea for this simple phrase put to me by several teachers whom I work with in
my school wishing to take their curriculum further by utilizing arts integration is a phrase that
opened the door to wonder and student engagement. One morning I sat down and read an email
from a colleague requesting my assistance with an idea she had for creating an arts-integrated
lesson to make teaching precipitation more memorable and hands on for her students. Instantly I
was hooked and began brainstorming, experimenting, and searching for ways to help this teacher
achieve her lesson objective. It was perhaps two weeks after I responded to her email with my
ideas and demonstrated the techniques with her one-on-one that I saw the fruits of our labor.
There, hanging in the hallways, were the students artwork showing the different types of
precipitation; rain, snow, sleet/hail, and fog. She relayed to me how the lesson had gone and I
just happened to walk in as they finished up fog. The students ran up to me with huge smiles on
their faces and said to me Mrs. Thompson, Mrs. Thompson! We just learned stippling and how
to make fog with our paintbrushes! That moment solidified my belief that arts integration
creates memorable experiences and engagement for all students in the classroom. Reflecting on
the phrase that started it all I am humbled that such a simple phrase demonstrates a teachers
willingness and openness to trying new techniques and methods to enhance student
understanding and engagement. Seeing this simple request all the way through fruition is
something I had the opportunity to observe several times through my capstone project. A
teachers willingness is the first step, the next step for me was to understand what arts integration
means when linked with classroom curriculum. Finally, when it does happen, how exactly is it
happening and what devices and support do the school or county offer to eliminate the sputtering
candle of one-time professional development into an eternal flame of enduring understanding.

9
These were the questions that guided my capstone project.
Statement of the Problem
For my capstone project I studied how arts integration is happening within arts integrated
classrooms at the school I teach at, Powder Springs Elementary. I wanted to study this purely out
of curiosity. Arts integration is a new form of curriculum integration at my school and, being an
art teacher, I was curious what it looked like in the general classrooms. Studying how arts
integration is happening at my school, Powder Springs Elementary, will shed a little light on
what it looks like, best practices, similarities and differences, pros and cons, successes and
missteps, professional development, and the overall feel of an arts integration classroom. I hope
that this case study will benefit any teachers, administrators, and arts specialists who decide to
implement this form of curriculum integration. As the goal of most school districts is to increase
student achievement, all will be interested in the addition of another tool in the toolbox of
teaching strategies (Harwell, 2003). Through this study I want to bring my school into focus
because what we are doing is a first in Cobb County Georgia.
Goals of the Study
My primary goal for studying arts integration and how it happens at my school is to
understand the process to product more fully in order to understand my role as the art teacher at
an arts integrated school. Additionally, I wish to gain the knowledge of the workings of arts
integration in order to share my research with other administrators, teachers, art teachers, and
organizations wishing to further understand what we are implementing. I feel that I achieved this
goal through observing arts-integrated classrooms, speaking with students after an arts-integrated
lesson, and learning more about these teachers through questionnaires. Furthermore, I was able
to see a different side of my students, build stronger bonds with the teachers I worked with, and
understand how these classrooms work together through arts integration.

10
Research Questions
The central question of my study is: How is arts integration happening at my school?
This question directed all my research and helped to shape my understanding of arts integrated
classrooms.
My main research question lead to three sub-questions:
1. What happens when classroom curriculum is integrated with art?
2. What strategies provide lasting support to an arts integrated approach?
3. What changes, if any, does a school show due to an arts integrated approach?
In order to understand how arts integration is happening at my school, I sought answers to
my main research question and three sub questions through my study. These questions guided my
research, my interviews, questionnaires, and journal reflections.
Rationale and Significance of the Study
This study is needed to better understand how arts integration happens in the elementary
classroom. With more knowledge comes more understanding of the process, thus, allowing us to
note any further needs for implementation to increase the likelihood of lasting success, and the
utilization and sustainability of such an approach to education. When I entered the first cohort of
the inaugural group of arts integration teachers at my school I was enthusiastic. I noted that in the
beginning, the teachers along side me were interested, engaged, and excited. As the months wore
on, it was apparent that emotions were running high and teachers were becoming overwhelmed.
These teachers took on the ambitious task of cross-curriculum integration with a field that nearly
all had no familiarity with, and I loved them for it. Because of what I observed, I decided to
conduct this study. I want to know how arts integration is being translated in the classrooms at
my school and what can be done to further and forever support these classroom teachers. Upon

11
completion of this paper, I have included a summary of what I found, information of integration
tactics used at my school, and what they look like.
Assumptions
Before beginning this research, I took certain assumptions into consideration. I assumed
that each teacher I studied wanted to be a part of arts integration program and is not merely
implementing it because our school is on a three-year tract to be a fully arts integrated school. I
also assumed that teachers will not understand what arts integration means right away and will
need some guidance and coaching on the difference between integration and enhancement. I also
assumed that my presence, as the art teacher, during the observations would make the teachers
and students nervous and somewhat distracted. I further assumed, because teachers know I am
conducting this study, they will be more likely to tell me what they think I want to hear. True
unobtrusive research is difficult, thus this assumption is important to take into account when
compiling my findings.
Limitations
It is of interest to see precisely what impact an arts-integrated curriculum has on students
learning and academic success. Arts integration has the potential to influence not only student
achievement but also the teacher and the classroom. However interesting it would be to dive
deep into understanding the interworking of arts integration and enduring professional
development, time constraints do not allow me to perform an in-depth study. Enduring
professional development studies would require years to fully study the effects and moths to
compile the data into a concrete finding. Therefore, these items will not be included in my
research. The limitations of this study are many, however, I am working within the resources at
my disposal. Some limitations that would further inform this research if allowed are a longer

12
time span and comparison of non-integrated classrooms with arts-integrated classrooms. The
biggest limitation is the time span of this study. To have a better idea of how arts integration is
taking place in classrooms I would need several years. Finally, having a full-time job is a
limitation. Working full time does not allow me free range of observation times and limits me to
observing on certain days and times that are pre-arranged. This study would benefit from
unannounced and random observations.
Definition of Terms
Certain terms will occur throughout my research and they are as follows.
Arts integration: Arts integration is an approach to teaching in which students construct
and demonstrate understanding through one or more art forms. Students engage in a creative
process that connects an art form and another subject area and meets evolving objectives in both
subjects (Silverstein & Layne, n.d.).
One-shot professional development: One-shot professional development is professional
development not spread over time to accomplish the goals and objectives of the program
(Cooper, n.d., p. 3). It is a one-time occurrence.

13
Professional development: Ideally, professional development focuses on teachers as
central to student learning, yet includes all members of the school community. It focuses on
individual, collegial, and organizational improvement. It respects and nurtures the intellectual
and leadership capacity of teachers, principals, and others in the school community. It reflects the
best available research and practice in teacher, learning, and leadership. It enables teachers to
develop further expertise in subject content, teaching strategies, uses of technologies and other
essential elements of teaching to high standards; promotes continuous inquiry and improvement
embedded in the daily life of schools. Those who will participate in and facilitate that
development plan it collaboratively. It requires substantial time and resources. It is driven by a
coherent long-term plan. It is evaluated ultimately on the basis of its effects on teacher
instruction and student learning, and uses this assessment to guide subsequent professional
development efforts (IASA, 1996).
Literature Review
I view the classroom as a symbiotic organism where relationships, trust, and emotions of
the group are shared. Additionally, learning and understanding outcomes are directly impacted by
these characteristics. As an elementary art teacher I have long wondered how I might foster
classroom learning in my art room at my school. For this reason I chose to focus on arts
integration for my capstone project. By studying arts integration and professional development, I
understood how the integration process occurs in classrooms, how professional development
turns into practice, and what impact arts integration has on teachers and students. Understanding
these components will better inform on how successful an arts integration program is and what
needs to occur to enable it to become more successful. Through studying major scholars such as
Adler (2006), Alexander (1986), May (2013), Stewart and Walker (2005), and Burnaford,

14
Brown, Doherty, and McLaughlin (2007) a further understanding of arts integration will inform
this literature review and my study. The key, I believe, to the enduring success of an arts
integrated program is impactful and sustaining professional development and the resources to
support teachers.

15
In the Beginning
Arts integration, in my opinion, strengthens the bonds between student learning and
understanding. Because of this, I wonder: how is arts integration happening at my school, what is
going on in these integrated classrooms, what strategies need implementing to ensure lasting
success of such a program and what changes can an arts integration program have on a school?
To answer these questions a thorough understanding of arts integration and professional
development must be clearly defined as well as the interconnectedness of these two areas.
Several key scholars inform currently thinking on these topics. Alexander (1986) points to the
value of the teacher in students education. Adler (2006) goes on to describe the ways in which
leadership is cross-fertilized with the arts. Lastly Burnaford et al. (2007) discuss learning
opportunities offered by arts integration. Among all the authors, what stands out are connections
between student achievement and teachers, professional development, and leadership
development and arts integration. For example, Adler (2006) points to the current trend of
companies having limitless abilities to develop new ideas through technology but the lack of
employees with the creative powers to envision the next big thing to keep the company on top (p.
488). Creativity is a skill developed and fostered within the arts, amongst other places, and
missing from the classroom. Arts integration offers this link between creativity and
understanding but there is a lack of lasting professional development in the field of arts
integration to support teachers wishing to take on this venture.
What is Arts Integration?
Arts integration has been around since the 1920s and is an approach to curricular
movements in the schools that placed students central to learning (Burnaford, Brown, Doherty, &
McLaughlin, 2007). Stewart and Walker (2005) proposed that . . . real life issues, problems,

16
and skills become the units of study in order to make learning more meaningful (p. 26).
Furthermore, arts integration offers learning opportunities such as:
. . . engag[ing] students in rigorous, in-depth study; address[ing] reading, writing, and
other fundamental skills within all subject areas; enhance[ing] critical thinking, decisionmaking, and creativity; requir[ing] students to reflect on their learning experience;
enable[ing] students to apply content and skills to their daily lives; cultivat[ing] multiple
intelligences and students individual learning styles. (Burnaford et al., 2007, p. 7)
These learning opportunities through arts integration offers different learning modalities for all
students.
The Kennedy Center defines arts integration as 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 (Silverstein & Layne, n.d.). Arts integration allows for a more meaningful
engagement in learning that reaches all students no matter their learning style (May, 2013).
Education is as complex as students lives, therefore, additional options of how to educate all
students is a benefit to the teacher (Vitulli, Santoli, & Fresne, 2013). Students learn through
teachers and giving teachers more ways to reach students means more opportunities for learning.
So why should we integrate the arts with other school subjects? Stewart and Walker
(2005) believe The arts are a major repository of human values, beliefs, aspiration occupations,
and achievements and the combination with classroom learning makes arts integration mesh
well in the classroom (p. 108). Student understanding is strongly tied to student engagement,
which does not occur without teacher engagement. Teacher engagement occurs when the teacher
embraces multiple delivery strategies and sees a return through student understanding

17
(Alexander, 1986). Because understanding is the desired outcome of learning, art, along with
other special programs like music and PE, is the perfect mode to bring this about. With renewed
vigor and interest, the teacher will also become more engaged in his or her classroom, with
students, and in curriculum development. Because arts integration offers students multiple
faucets to approach their learning, there are multiple modalities for students to demonstrate
success, no matter how they learn.
How to Reach All Learners
The classroom is a place students spend an influentially large portion of their lives.
Because of this, the classroom has a significant affect on what type of persons that will become.
A teacher who incorporates arts integration will see multiple effects not only on their students
and their futures, but also influences on the teacher. Teacher engagement, I believe, is dwindling
due to the requirement of student achievement on standardized tests. These tests require teachers
to teach and reteach key information only for the purpose of higher scores on the exams. So how
do we create a more engaged teacher? What arts integration offers is the opportunity of solving
how to reach multiple learners and in turn actively engaging the educator in new methods of
teaching. Teaching and learning is a complex endeavor with educators requiring a familiarity
with both the content area and best practices in terms of the transmission of that knowledge
(Vitulli et al., 2013). Capitalizing on all available modalities, such as arts integration, gives
teachers their best shot at reaching all students. Arts integration makes things special and
changes an otherwise ordinary lesson into prolonged memories (Rolling, 2013). At their most
fundamental level, the arts have to do with the way they shape human experience, the kind of
experience that moves us. . . (Eisner, 2002, p. 16). Arts integration draws out from the depths of
the soul meaning and significance and attaches these to knowledge in order to permanently make

18
connections to student experiences and understanding. . . . the arts help us avoid the stupor of
the familiar by learning how to see the familiar in unfamiliar ways. They transform the ordinary
into the extra-ordinary. They re-educate vision (Eisner, 2002, p. 16). The arts help make the
ordinary stand out allowing students to reimagine what is taught and through engagement
demonstrate understanding through creation.
Change Originates from the Teacher
Another possible affect arts integration infuses the teacher with is confidence. Eison
(1990) believes, Few things will enhance a teachers self-confidence more than visible signs of
students satisfaction and growth (p. 21). Because understanding is the desired outcome of
learning, art is the perfect mode to bring this about. Alexander (1986) makes the point,
Knowledge is not, then, merely the representation of such meaning in numerical and discursive
language. Rather, human knowing involves all of the ways through which we translate our
sensory perceptions into communicable forms of expression (p. 50). Teaching for the test does
not always measure student understanding. However, an arts-integrated curriculum offers
multiple processes through the arts for multiple modalities of learning thus enhancing
understanding. Kelner (2010), a teacher of 30 years, believed she had seen every type of student,
every disability, every behavioral issue, and every educational setting. However, after 30 years of
teaching, Kelner (2010) reflects But each year I encounter a new challenge that sends me back
to reflecting on and revising my work (p. 230). After teaching a lesson, revising, teaching, and
revising again, Kelner (2010) relates:
I felt like the ground had shifted beneath me. In her outburst, this silent child had
demonstrated synthesis of the text. Drama had motivated her to risk and to speak. Her

19
two words in her little fish voice demonstrated that she had comprehended everything.
Her teacher raised her arms in a silent cheer. (p. 231)
Arts integration offers not only the means to reach multiple learners, but the satisfaction and
enjoyment for teachers of seeing the impossible made possible.
Professional Development
The key to promoting any sort of change or lasting program within a school is good
professional development. Professional development . . .provides the catalyst for professional
growth, staying current in best practices, and overall improvement in the quality of your
program, additionally it . . .sparks curiosity, motivation, and new ways of thinking (Moore,
2000, p. 14). One-time professional development is professional development not spread over
time to accomplish the goals and objectives of the program (Cooper, n.d., p. 3). This form of
development is not successful in sustaining a program (Cooper, n.d., p. 3). However, lasting
professional development requires substantial time and resources, it is driven by a coherent longterm plan (IASA, 1996). This form of professional development is most effective when it is
an ongoing process (Moore, 2000, p. 14).
Arts integration is a tricky and tough endeavor to take on. Teachers need all the support
they can get and benefit most from enduring professional development. Stewart and Walker
(2005) point out that . . . if one does not possess the requisite understandings of art itself, the
ability to link art to other areas will definitely be impeded (p. 106). This means that teachers
need ongoing support to assist them with every twist and turn arts integration takes so they may
stay on the path and not fizzle out.

20
School Culture
To take on this tricky endeavor of connecting and teaching two or more academic
subjects, teachers need to exhibit the characteristics of leaders through the demand of such a
challenging task. Thus, leadership development needs to be cross-fertilized with the arts (Adler,
2006). A good leader recognizes that the culture of a company, or school, needs to allow for
artistically driven processes of creativity and innovation in order to create the next big thing
(Adler, 2006). Gray (2009) wonders how teacher leaders can strengthen school culture and
engage in a broader constituency in the work of improving the school while Adler (2006) points
out that Hope is what people bring to a situation: hope is what leaders bring to their
organizations and to the world (p. 29; p. 486). Hope and courage are products of arts integrated
curriculum because this type of curriculum demands leadership development as one of its
products. In addition, a leader is someone who inspires others. Through collaborations, the
common goal of student success and achievement will be at the heart of the arts-integrated
curriculum. This sharing of strategies for success advocates for the advancement of an arts
integrated curriculum through the teacher leaders and consequently keeps this form of integration
alive and thriving. Additionally, a heart and soul curriculum requires a structure to protect,
support, and nurture, as such, an arts integrated program mandates enduring professional
development that lends its support to create a functioning inter-supporting school structure.
Not Just Magical Thinking
So what? Why is all this relevant, and to whom or what is it relevant? Very little is
written about how an arts integrated program happens. Alexander (1986) notes that the
determining factor of the students learning outcome is not the quantity of the information
delivered but the quality of the deliverance. Teachers can either offer experiences and

21
opportunities for students to cultivate and grow through their accomplishments or stamp out
creative exploration. I surmise that an arts integrated curriculum, through its unique ability to
stimulate eagerness, engagement, awe, and wonder in even the most difficult students,
fundamentally alters teacher, student, and classroom. On both of these levels, students who
engage in the arts to learn in the classroom are showing not only their desire to learn but are
being offered multiple strategies for demonstrating this growth and places the student central to
their learning. An arts integrated curriculum offers much and in my study I sought to uncover
exactly how it happens and what is going on in these classrooms to better inform anyone seeking
to take this brave leap into arts integration.
Methodology
In order to understand how arts integration is happening at my school, I conducted a case
study, which allowed me to collect and interpret qualitative data using constant comparative
analysis. The data is in the form of interviews, questionnaires, surveys, and observations. I
studied general classroom teachers at an elementary school I teach at in Northern Georgia for
approximately five weeks.
I received approval from the University of Florida Institutional Review Board to conduct
my research in the fall of 2015. Due to the participation of humans in my study, I required parent
approval because of the age of the students and student approval upon them being selected for
interview. Furthermore, I required administrative permission to conduct the study on site and
voluntary teacher permission to join the study (See IBR approval form in Appendix I).
Subjects
The focus of this research a volunteer group of classroom teachers integrating the arts in
the 2015-16 academic school year at my school. I studied how arts integration is happening at

22
my school and within arts-integrated classrooms. There are six teachers1 in my study ranging
from kindergarten to fifth grade level with between three and 30 years teaching experience. A
third year teacher I observed, Melissa, has taught second and third grade. Another teacher I
observed, Mary, has 11 years experience and has taught second, third, and fourth grade. A third
teacher I observed, Rachel, has 14 years experience teacher fifth grade and recalls teaching
fourth grade once a very long time ago. Another teacher I observed, Miranda, has 30 years
experience and has taught kindergarten, first, second, and EIP in fifth grade. Another teacher I
observed, Heather, has 11 years experience and has taught pre-k, kindergarten, first, second, and
fifth. The last teacher I observed, Claudia, did not complete a questionnaire and I do not have
demographic information on. Heather has 17 students in her class and teaches first grade.
Miranda has 23 students in her class and teaches Kindergarten. Rachel has 22 students in her
class and teaches fifth grade. Claudia has 25 students in her class and teaches fifth grade. Mary
has 22 students in her class and teaches fourth grade. Finally, Melissa has 21 students in her class
and teaches third grade.
Research Site
My capstone research was conducted at a K-5 elementary school in the Cobb County
school district in Georgia. Inside the school, I conducted observations in classrooms of teachers
entering into their second year of arts integration in the Fall 2015-16 school year. Teachers were
in grade levels Kindergarten, First, Third, Fourth, and Fifth. The research began on August 18,
2015 and concluded on September 28, 2015.
Data Collection Procedures and Instrumentation

1 1. To protect the confidentiality of the teachers in the study, pseudo-names are

used.

23
To fully understand how arts integration is happening at my school and what it is going
on in the classrooms, I employed a qualitative research method of case study analysis. My choice
to use qualitative research was due in part to the holistic nature of my research question. Through
qualitative research, one can draw on different perspectives, methodologies and techniques to
generate breadth of knowledge and depth of understanding (Fossey, Harvey, McDermot, &
Davidson, 2002, p. 717). Because my research question seeks to understand how arts integration
is happening and teachers are whom I will be studying, qualitative research, and its holistic
approach, is truly the best option. I will conduct additional research within the case study
through surveys, student interviews, and teacher questionnaire (see Appendix A, B, C, and D).
Cleary, Horsfall, and Hayter (2014) state, The most common method of gaining information in
qualitative studies is by interview (p. 711). In addition to conducting interviews for my
research, I kept a journal of my observations in Microsoft Word. Cleary et al (2014) believe that
journals are useful tools in collecting hunches, intuitions, and emotional responses from the
interview or observation and allow for thoughtful self-reflections for the researcher (p. 712).
The research I conducted was on six teachers who entered their second year of arts
integration at my school. The study was conducted in the fall of 2015-16 school year for
approximately five weeks. I conducted 12 observations; each was approximately 30-45 minutes
long and occurred in that particular teachers classroom. At the start and finish of the study I
asked teachers to complete an Introductory and Exit Questionnaire (see Appendix A & D). Then,
I observed teachers teach an arts integrated lesson. Afterward I followed up with a survey (see
Appendix B) asking them to reflect on their lessons. After the lesson concluded, I called on one
or two students to interview (see Appendix C). In addition to teacher observations and
interviews, I conducted an interview (see Appendix E) with the principal to gather information

24
on how she believes arts integration is happening at the school. Because my study requires
human subjects an IRB was completed prior to the conduction of the research. From the data I
looked for reoccurring themes to guide the answering of my research questions.
Data Analysis Procedures
To fully understand how arts integration is happening at my school and what it is going to
do to classrooms, qualitative research method of case study will be employed. My choice to use
qualitative research was due in part to the holistic nature of my research question. Through
qualitative research, one can draw on different perspectives, methodologies and techniques to
generate breadth of knowledge and depth of understanding (Fossey, Harvey, McDermot, &
Davidson, 2002, p. 717). After my study concluded, I had a large pile of data. In order to compile
my findings logically, the first step I took was to re read all my observations in one sitting and
highlight commonalities I found across multiple observations. Once these similarities were
found, next, I read through all the student interviews to see if any comments supported these
findings. Lastly, I read all the questionnaire responses and linked any commonalities found to
support my findings.
Findings
My main goal was to understand how arts integration was happening in the classrooms at
my school and what happens when traditional classroom curriculum and instruction is integrated
with the arts. I further wanted to understand how well one time professional development
transitioned into application and whether or not it was successful for teachers and provided
lasting support. Lastly, I was curious if the school showed any changes due to curriculum
integration with the arts. I have arranged my findings according to answering my research
questions. What I found out was in reference to how arts integration happens is that there were

25
two basic approaches to integration. These two approaches I coined Seamless and Stitched. A
seamless approach to integration is more fluid and organic whereas a stitched approach has
noticeable jumps between the classroom standard and the art standard, a certain amount of back
and forth occurs. Both approaches work, I just merely noted the different characteristics between
the two. Something else I found where teachers had the Georgia Performance Standards and
language of these standards posted in their classrooms, their students were able to enter into a
richer dialogue about their learning and understanding. The last finding I made was a certain je
ne sais quoi about each teachers unique personality and demeanor when approaching arts
integration and what this looked like in each lesson. Teachers who successfully integrate the arts
in their classrooms have certain dispositions and qualities that make them easier to work in this
area, additionally, because of this, the mood and setting of the classroom is palpable. These are
my most interesting findings across my study and below I will further elaborate on them.
Seamless versus Stitched Integration
Seamless is defined as Smooth and continuous, with no apparent gaps or spaces between
one part and the next (Oxford Dictionaries, n.d.). A Seamless integration approach I define as a
method of integrating the arts within the classroom through a fluid, smooth, and continuous
approach with imperceptible jumps between classroom standards instruction and arts standards
instruction. There are several examples of this form of integration that occurred within my
observations. One such example happened in Marys classroom with the integration of Drama,
Science, and Reading resulting in students creating scripts, character motivations, dialogue,
explaining events they read about, and using these to bring the water cycle to life. As students
worked in their groups many things were happening. Each group was self-directed, each student
was acting out his or her speaking part in turn, and Mary was ping-ponging between groups

26
using the language of all the integration standards without hesitancy and in a seamless manner
clearly understood by every student.
Seamless integration approaches also contained certain attributes that I observed during
my study. One was where student learning was less teacher-directed and more student-directed.
The teacher holds a facilitators role in the students learning. Teachers who utilize a more group
approach to this form of integration take on the role as a facilitator and only steer when students
are getting off task and need refocusing. I viewed this role in action when observing Rachel. The
class participated in a character panel. Students from the class were selected to be the five
characters from The magicians nephew and the rest of the class asked them questions they
developed from reading the book and about the characters. Rachel served as the transition
initiator and only stepped in when students were getting off point. Another example of seamless
integration occurred during my observation of Claudia observation. The students had designed a
wacky new school uniform, had written a description of their creation, created the uniform, and
presented it to their class on the red carpet in their classroom using the microphone. The rest of
the class was watching the presentation and had to write their opinions of the uniform and record
details to support their opinions. The teacher Claudia acted as a guide and constantly reminded
and reinforced the expectations after each group presented.
Stitched is defined as Make, mend, or join something with stitches (a loop of thread)
(Oxford Dictionaries, n.d.). I define a stitched integration approach as a method of integrating
the arts within the classroom by joining together the classroom standards and arts standards
perceptibly through various arts modalities. One example of this occurred during my
observations of Heather and Mirandas teaching. For example, during all of Heathers
observations, she would thoroughly teach the classroom standard being covered that day, food

27
and nutrition, then bring the lesson to almost a close. Next she would transition to introducing
the artist the class would be looking at. For this observation the students learned about Henri
Matisse and his cutouts. Heather showed a YouTube video of Matisse cutting out the shapes of a
paper collage, then called the class to order and gave them directions for their project. Students
were divided into groups and each group was in charge of cutting out the food item that belonged
to their assigned area of the nutrition plate, meat, grains, fruit, vegetable, or dairy. Then students
would take their items they cut out of construction paper and bring them to the teacher to glue to
the class nutrition plate. This same approach of talking about the classroom standard, talking
about the art, then assigning a task took place in Mirandas observation as well. Students sat on
the rug as the teacher talked about emotions and how our faces can show emotions and we can
understand how someone is feeling by looking at their faces. Then the teacher showed students
various artists self-portraits and had students talk about emotions. Finally the students created
their own self-portraits showing emotion. This back and forth between the classroom standard
and art standard is a characteristic of stitched integration.
Another characteristic I noted of stitched integration were the students all worked
individually and I did not see any group activities. Certainly in Heathers classroom the students
were assigned to a group responsible for cutting a certain item for a certain part of the nutrition
plate, however, each student worked individually on his or her assigned task. I also noticed this
in Mirandas classroom when she introduced student to self-portraits and emotions. All the
students were in one group discussing then they were sent off to create individually.
Visible language of the standards
Another finding I made was that students were more on task and able to correctly and
articulately communicate their understanding of the lesson when the teacher had the standards

28
and language of both art and classroom standards posted. I observed an example of this in Rachel
and Melissas classroom. For each, all students were seated, focused, working quietly, and when
the teacher made his/her rounds questioning students on their choices, students were able to
communicate their choices, support their choices with reasons, and show their choices through
their artwork. The integration of visual arts and opinion writing was the topic for one such lesson
and when the teacher gathered students on the rug to review, the teacher seamlessly discussed the
visual art standard of emphasis and how it related to opinion writing.
When interviewing students, I found that in the classrooms that had the standards and
language of the standards posted, the students were able to more descriptively answer my
questions. Some questions I asked students were to tell me what they learned and what they
learned about art. Of the 13 students I interviewed across all my observations, all students, eight,
who were interviewed were able to answer my questions if the standard was posted in their
classroom. This is not to say they looked at the board and read it off to me. These students were
able to answer in their own words what they learned, what they learned about art, and what they
learned about for their classroom standard.
Je ne sais quoi
My last finding I have labeled as je ne sais quoi because all these teachers in my study
have certain qualities about them that make their approach to curriculum integration through the
arts easier. According to the questionnaires, these teachers are inspired by each other, blogs,
through collaboration, Google, Pinterest, their own talents, and their passion to reinvigorate their
classrooms and their own teaching. Of the six teachers, five responded to the question Do you
have any background in the arts 40% said yes, 60% said somewhat, and 0% said no while all
teachers polled said they integrated art before joining the arts integration team. These teachers

29
are also very reflective of their practices. Four of the five teachers interviewed felt compelled to
improve by challenging themselves to try to integrate arts they are not as familiar with,
something they labeled as their weakness. One teacher even stated: Strengths include a
willingness to try something Im not necessarily comfortable with.
Summary Across Findings
An art-integrated classroom depends on the teacher, communication of learning expectations
presented visually, and finding the best approach to integration that matches your teaching style,
needs of your students, and the flow of your classroom. Arts? integration is happening in the
classrooms at my school. This form of curriculum integration is present in each classroom I
visited and its affects on the students, teachers, and classroom dcor and mood are visible. Some
teachers I observed did not even need to give me a specific date and time to visit. I was invited to
swing by whenever I could because arts integration of some form was always taking place in
their rooms. Different methods of integration occurred in all these classrooms either in the form
of stitched or seamless. When these forms of curriculum integration occurred, the level of
engagement, happiness, and involvement of nearly every student in the classroom is visible and
palpable. When classroom curriculum is integrated with the arts and the language of both the art
and classroom standards are present, students are able to not only achieve the teachers learning
objectives but are able to converse more fluently about the learning that occurred and their
understanding of the concepts. However, an integration approach is not the only factor in an arts
integrated classroom. A teachers je ne sais quoi heavily impacts their approach to integration
and the ease at which they accomplish it. Because of this quality teachers have, the lasting
support to an arts integrated approach is the teachers and their drive to be more than what they
are for the benefit of their students. Certainly, training and professional development are helpful,

30
but without teachers pushing and challenging themselves and their curricular approach, arts
integration will fizzle.
Discussion and Conclusion
The goals of this study were to more fully understand how arts integration is happening
in classrooms at my school. According to Burnaford (2007), placing students central to their
learning is an approach offered through arts integration (p. 1). Additionally, Stewart and Walker
(2005) feel that the arts are where human values, beliefs, and achievements originate (p. 108).
When curricular integration occurs through the arts students construct and demonstrate
understanding through an art form and creates more meaning full engagement (May, 2013;
Silverstein & Layne, n.d.). Through a qualitative study at my school, I conducted research to
answer the question of how arts integration is happening in classrooms. I conducted
observations, surveys, questionnaires, and interviews to fully understand how to achieve my
goal. I found that arts integration is happening and it is happening through two main integration
approaches; stitched and seamless. I also found that classrooms where the language of the
standard is posted, students were able to enter into a richer dialogue with me about what they
learned. The last finding was all teachers in the study contained a certain quality about them that
made arts integration an easier fit for them. The remainder of this paper will reveal what my
findings mean, possible implications and significance my research will have, and suggestions for
anyone interested in an arts integrated approach to curriculum.
Discussion and Interpretation of Findings
I think that arts integration is not only happening in my school, but it has been happening
more often and with greater enthusiasm than I originally thought. I had believed that teachers
would be more hesitant and unsure of themselves and engage me while observing for my input.

31
However, this never happened and all the teachers I observed approached integration with rigor,
enthusiasm, enjoyment, and a certain amount of strength that only comes from someone certain
of what they are doing. When I entered Marys classroom, for example, I could not believe the
level of student involvement. The students were in different groups working on bringing the
water cycle to life. I watched as Mary ping-ponged around from group to group and asked them
questions. When she engaged with these groups, she seamlessly engaged with students in
conversation about their learning using all the posted standards; science, writing, drama, and
script writing. There was zero hesitation when she threaded these words together and every
single student in the group knew exactly what she meant because they eagerly responded to her
every question and prompt. I left this observation blown away, feeling rejuvenated, and
reinvigorated. I also had this feeling when watching Rachels students engage in a character
panel for the book The magicians nephew. Five students were selected to represent the main
characters from the book while the remainder of the class posed these characters questions
developed throughout their reading. The class was not only respectful to each student who posed
the character panel a question but also supportive and helpful of students who were having
difficulty being clear. For example, one student asked a question that was worded unclearly, he
repeated it three times without being understood, finally, another student spoke up and clarified
what he meant. This was fantastic to witness for two reasons. One, the student who posed the
question can be sensitive and easily frustrated; I was worried this would happen when he was not
being understood but it did not. Secondly, I was worried the other students in the class would
laugh and tease him because he was not making sense, especially since it was a fifth grade class,
but this did not happen either. It was fantastic to witness the support, kindness, and respect these
students showed another student in their class during their arts integrated lesson. I would

32
speculate that these students love of their teacher and arts integration is bonding them in a new
way. Perhaps arts integration also creates a sense of community in a classroom, especially with a
seamless integration approach focused on more group activities.
I had assumed that enduring professional development would be heralded, as the number
one resource teachers would request to support their program. I was wrong. Most of the teachers
surveyed felt they would benefit most from more time to collaborate with other art specialists,
more financial support, and workshops demonstrating different techniques. However, most felt
moderately that one-shot professional development would be successful for them and all felt they
would be more successful with ongoing professional development. What I saw happening in
these classrooms demonstrated that these teachers are successful with one-shot professional
development. I believe that what truly makes this program lasting, however, are the teachers and
that certain indefinable quality. These teachers took on a new form of curricular integration and
embraced it wholly. The results I have seen are amazing. Two third grade classes I was teaching
color mixing to told me they knew all about tertiary colors already. Then later that day, one
student approached me and told me that in the classroom they learned their tertiary colors
because they were learning math arrays and learned that you would take two numbers add them
together and then would write a T and would have to mix those two colors (I suppose they
applied colors to numbers) and would get the tertiary color. I was amazed that not only the
student knew the art standard and the language to communicate it in a way that demonstrated
learning and understanding, but also knew the classroom standard. In addition to all this, he was
excited and eager to share what he had learned. This was amazing to me. These teachers have the
willingness and characteristics that make arts integration easier for them. One teacher even feels
that arts integration has made teacher fun again for her.

33
Significance, Implications, and Recommendations
Arts integration is working fiercely at our school. The principal collected data last year
and shared that teachers who were in arts integration classroom has better attendance overall than
classrooms that were not. This finding is consistent with other arts-integration studies such as
Turnaround Arts schools who found their program improved their attendance rates significantly
(Stoelinga, Silk, Reddy, & Rahman, 2015). Additionally, The Center for Arts Education in New
Your City found their programs reported higher attendance as well (Baker, Bevan, & Admon,
2001). Every classroom I visited, students were working, focused, and smiling. No matter the
integration approach the teachers took and whether or not the standard was posted, students were
engaged and enthusiastic. Arts integration is happening in classrooms and the possible
implications are more schools becoming aware and wanting to see and become what we are. My
findings also imply that various integration approaches work depending upon the teachers
approach and population of students. I have also uncovered that arts integration generates more
student success when the language of the standards is posted and visible. These findings are
valuable to any schools wishing to enter into an arts integrated curriculum program.
Through my findings, I recommend that primary teachers take on a more stitched
integration approach because of the students level of cognitive development and ability to focus
for only short periods of time. Because stitched integration approach allows for jumps to and
from standards, students will be able to focus better on the information for short amount of times.
I would also recommend that upper grade levels, third through fifth, take advantage of a more
seamless approach and offer more opportunities for group collaboration for learning. Lastly, I
would recommend for all integration teachers to have the language of the standards easily
understood and visible for all students in the classroom and to use the language seamlessly when

34
entering into dialogue with students. One cannot learn or obtain that je ne sais quoi, however, I
recommend taking advantage of teachers who have strengths in areas of others weaknesses and
working together to become more successful.
Going further, it would be interesting to experiment with stitched and seamless in upper
and lower grade levels to ensure these are the best approaches for these students. I would be
curious to see exactly how a seamless approach could be handled in a primary grade level
setting. Furthermore, it would be interesting to learn more about cognitive development levels
and see how cognition influences students ability to make the most of arts integration. The sum
of all this would result in creating a tailored integration approach based on grade level and
cognition.
Conclusion
This study has given me the chance to see how arts integration happens in rooms outside
of my own classroom. I had the opportunity to see my colleagues and students in action and
enjoyed every moment of it. Witnessing for myself students having stellar classroom moments
when just last year they were quiet as a mouse truly moved me. I see now that students in an arts
integrated classroom are lucky; not only do they enjoy multiple learning modalities through the
arts, but also have teachers as colleagues who sincerely care about their achievement. Seeing
these teachers in action challenges me to reach out and work collaborative with them.

35
References
Adler, N. J. (2006). The arts & leadership: Now that we can do anything, what will we do?
Academy of Management Learning & Education, 5(4), 486-499.
Alexander, H. A. (1986). Elliot Eisners artistic model of education. Religious Education, 81(1),
45-58. Retrieved from http://search.proquest.com/docview/1296940386?aceantid=10920
Baker, T., Bevan, B., & Admon, N. (2001). Final evaluation on the center for arts educations
New York City partnership for arts and education program. Retrieved from
http://www.cedfa.org/strengthening-programs/program-support/all-fine-arts/
Burnaford, G., Brown, S., Doherty, J., & McLaughlin, H. J. (2007). Arts integration frameworks,
research & practice. Washington, DC: Arts Education Partnership.
Cleary, M., Horsfall, J., & Hayter, M. (2014). Qualitative research: quality results?. Journal of
Advanced Nursing, 70(4), 711-713. Doi: 10.1111/jan.12172
Cooper, J. D. (n.d.). Professional development: An effective research-based model. Haughton
Mifflin Harcourt. Retrieved from
http://www.washingtonstem.org/STEM/media/Media/Resources/ProfessionalDeveloPment-An-Effective-Research-Based-Model-COOPER.pdf
Cousin, G. (2005). Case study research. Journal of Geography in Higher Education, 29(3), 421427. Doi: 10.1080/03098260500290967
Eisner, E. (2002). What the arts do for the young: Moving forward. School Arts, 102(1), 16-17.
Eison, J. (1990). Confidence in the classroom: Ten maxims for new teachers. College Teaching,
38(1), 21.
Fossey, E., Harvey, C., McDermot, F., & Davidson, L. (2002). Understanding and evaluating
qualitative research. Australian & New Zealand Journal of Psychiatry, 36(6), 717-732.

36
Gray, C., & Bishop, Q. (2009). Leadership development: Schools and districts seeking high
performance need strong leaders. Journal of Staff Development, 30(1), 28-32.
Harwell, S. H. (2003). Teacher professional development: Its not an event, its a process. Waco,
Texas: CORD.
IASA. (1996). High-quality professional development supports education reform. Improving
Americas Schools: Newsletter on Issues in School Reform. Retrieved from
www.ed.gov/pubs/IASA/newsletters/profdev/hqprodev.html
Kelner, L. B. (2010). Miracle moments: Tales of arts integration. Teacher Artist Journal, 8(4),
229-232.
May, B. N. (2013). Arts integration: Whats the problem? General Music Today, 26(2), 5-8. doi:
10.1177/1048371312464374
Moore, K. B. (2000). Successful & effective professional development. Early Childhood Today,
15(3), 14.
Seamless. (n.d. ). In Oxford Dictionaries online. Retrieved from
http://www.oxforddictionaries.com/us/definition/american_english/seamless
Silverstein, L., & Layne, S. (n.d.). What is arts integration? Retrieved from
http://artsedge.kennedy-center.org/educators/how-to/arts-integration-beta/what-is-artsintegration-beta.aspx#background
Stewart, M. G., & Walker, S. R. (2005). Rethinking curriculum in art. Worcester, Massachusetts:
Davis Publications, Inc.
Stitched. (n.d. ). In Oxford Dictionaries online. Retrieved from
http://www.oxforddictionaries.com/us/definition/american_english/stitch?
q=stitched#stitch__11

37
Stoelinga, S. R., Silk, Y., Reddy, P., & Rahman, N. (2015). Turnaround arts initiative. Retrieved
from http://turnaroundarts.pcah.gov/impact/
Vitulli, P., Santoli, S. P., & Fresne, J. (2013). Arts in education: Professional development
integrating the arts and collaborating with schools and community. International Journal
of Pedagogies and Learning, 8(1), 45-52.

38
Appendix A: Teacher intro questionnaire
1. Before you entered the arts integration team, did you ever integrate art into your lessons?
Give an example.
2. Do you have any background in the arts?
3. How long have you been teaching and what grade levels have you taught?
4. On a scale of 1-10 (10 being extremely comfortable, 5 being moderately comfortable, 1
being not comfortable at all) How comfortable with arts integration are you?
5. What strengths and weaknesses, if any, do you feel you have when it comes to arts
integration?
6. What professional development do you feel you would benefit most from in the future?
7. On a scale of 1-10 (10 being very successful), how successful do you think you would be
with one-time professional development in arts integration?
8. On a scale of 1-10 (10 being very successful), how successful do you think you would be
with ongoing professional development in arts integration?
9. Five years from now, do you see yourself as a leader in the schools arts integration
program?
10. Do you feel supported by your local school district and administration with regards to the
arts integration program?

39
Appendix B: Follow up interview
1. Do you feel the addition of arts integration in this lesson made it more successful? Why?
2. If you taught this content before without arts integration, how would you compare/contrast
the two lessons?
3. If you could teach this lesson over, what would you change and why?
4. Any successes that stuck out that you normally do not se?
5. Did you meet any of your expectations or goals? Why/how?
6. Where did you find your resources?

40
Appendix C: Student Interview
1. Describe the lesson you just had briefly.
2. On a scale of 1-10 (1 being not at all, 5 being average, and 10 being amazing) how much
did you enjoy this lesson?

3. What was your favorite/least favorite part?

4. What did you learn about art [insert art EQ or standard]?
5. What did you learn about [insert lesson EQ or standard]?

41

1.
2.
3.
4.

Appendix D: Teacher exit questionnaire

Do you feel that arts integration is giving you leadership experience?
Would you like to network with other arts integration teachers?
Do you think you would benefit and utilize an arts integration coach?
What would you like an observer to say about you as an arts integration

teacher?
5. Have you noted any changes to the school since the arts integration
program began?
6. How, if at all, has arts integration changed your perspective on teaching?

42
Appendix E: Principal Interview
1. What, if any, changes have you noticed of teachers in the integration
program?
2. What, if any, changes have you noticed of teachers NOT in the integration
3.
4.
5.
6.

program?
What, if any, changes have you noticed to the school and non-teacher staff?
What, if any, changes have you noticed to students?
What makes a good art-integrated lesson?
On a scale 1-10 (1 being not at all, 5 being moderately, and 10 being
absolutely) how happy are you with the arts integration program at your

school and why (1-2 comments)?

7. Have you noticed any changes to student data yet?
8. What is your vision or hopes of this integration program?
9. What further resources for arts integration teachers are you hoping to add?
10. If you could be granted unlimited resources from the county, what would you
ask for to support Powder Springs

43
Appendix F: Parent consent form
Dear Parent/Guardian,
I am a graduate student in the field of Art Education at the University of Florida, conducting research on
how art integration is happening in the classroom under the supervision of Dr. Craig Roland. The purpose of this
study is to understand what is going on in the classroom during art integrated lessons and what resources are
successful or need enacting to ensure lasting success of such a program. The results of the study may help other
schools interested in arts integration be more successful with their programs as well as bring attention to such
programs in the district at the county level. These results may not directly help your child today, but may benefit
future students and teachers. With your permission, I would like to ask your child to volunteer for this research.
I will be observing your students classroom during an art integrated lesson. When the lesson is complete, I
will ask students five questions regarding the lesson. The questions will ask the student to describe the lesson
shortly, if they enjoyed/did not enjoy it, and what they learned from the lesson. Your student's involvement in
answering the questions will take approximately five minutes. I will observe the class once and ask random students
the five questions. Your child may not even be asked to participate. With your permission, I will record your childs
responses and their identity will be kept confidential to the extent provided by the law. I will replace their names
with code names or numbers. Participation or non- participation in this study will not affect the childrens grades or
placement in any programs.
You and your child have the right to withdraw consent for your childs participation at any time without
consequence. There are no known risks or immediate benefits to the participants. No compensation is offered for
participation. Results of this study will be available in December upon request. If you have any questions about this
research protocol, please contact me at 678.983.9398 or my faculty supervisor, Dr. Craig Roland at
cropland@arts.ufl.edu. Questions or concerns about your childs rights as research participant may be directed to the
IRB02 office, University of Florida, Box 112250, Gainesville, FL 32611, (352) 392-0433.

Ashley Landstedt
I have read the procedure described above. I voluntarily give my consent for my child, ______________________,
to participate in Ashley Thompsons study of how arts integration is happening in the classroom. I have received a
copy of this description.
___________________________
Parent/Guardian
____________________________
2nd Parent/Witness

____________
Date
___________
Date

44
Appendix G: Teacher consent form
Informed Consent Form
Protocol Title: How is arts integration happening in school: What is going on in classrooms?
Please read this consent document carefully before you decide to participate in this study.
Dear Participant:
I am conducting a case study that explores how arts integration is happening at our school,
Powder Springs Elementary. The goals of this study are to inform on what is going on in classrooms
during an art integrated lesson, what strategies are successful or need implementing to ensure lasting
success of an arts integrated program, and if an arts integration program has any affect on school culture.
If you agree to participate, you will be asked to participate in an observation, two interviews, and
two questionnaires. If you agree, you will be asked a series of questions regarding you teaching
background, experience with arts integration, views on professional development and
administrative/school district support, and opinions/insights on the current arts integration program. The
interview may be recorded and documented by the researcher for educational purposes only. There will be
two interviews and two questionnaires; pre-observation and post-observation interviews will range from
5-15 minutes and questionnaires will take between 10-15 minutes to complete.
No potential risks for participating in the study are expected. Benefits include greater
understanding and documentation of how the arts integration program at Powder Springs is happening
and what is going on in classrooms during art-integrated lessons. There is no monetary compensation
provided to volunteers in this study.
As a volunteer, you will have the right of anonymity. If you choose to remain anonymous, I will
use a pseudonym to refer to you in my reports. Your actual name and image will not be used within
research unless you have given your explicit permission. Participation in this research study is wholly
voluntary. Refusal to partake in this study will not result in any penalty. Withdrawal from this study is
permitted at any time and will not result in penalty or negative consequences.
Whom to contact if you have questions about the study:
Ashley Thompson, MA Art Education student, University of Florida, 678.983.9398, alandste@ufl.edu
Dr. Craig Roland, Professor of Art Education, School of Art and Art History, University of Florida
352.392.9165
Whom to contact about your rights as a research participant in the study:
IRB02 Office, Box 112250, University of Florida, Gainesville, FL 32611-2250; phone 352.392.0433.
Agreement:
I have read the procedure described above. I voluntarily agree to participate in the procedure and
I have received a copy of this description.
Participant: ___________________________________________ Date: _________________
Principal Investigator: ___________________________________ Date: _________________

Appendix H: Student assent form

45
Hi, my name is Ashley Thompson and I am your art teacher. Id like to ask you some questions about an
art integrated lesson you will have this school year. Your [teacher / mom] said it was OK. Would you like to
participate and answer some questions after the lesson when it is given?

Yes

No

___________________________________________
StudentSignature

___________________
Date

46
Appendix I: UFIRB

UFI RB 02 Social & Behavioral Research

Protocol Submission Form
THIS FORM MUST BE TYPED. DO NOT STAPLE. Send this form and the supporting documents to IRB02, PO Box 112250,
Gainesville, FL 32611. Should you have questions about completing this form, call 352-392-0433.

Title of Protocol:
Principal Investigator:

How is arts integration happing in school: What is going on in classrooms?

Landstedt
(Last Name)

Degree / Title:

Master of Arts

Ashley

UFID #:

(First Name)
Mailing Address: (If on

Email:

campus provide PO Box

address):

Department:

The College of the Arts

Co-Investigator(s):
Coordinator:
Research Asst.:

Telephone #:

UFID#:
(Last Name)

(First Name)
Mailing Address: (If on

Degree/Title

campus provide PO Box

address):

Department:

Supervisor (If PI is
student):

Department:

Dates of Proposed
Research:

Email:

Telephone #:

Roland

Craig
(Last Name)

Degree / Title:

alandste@ufl.edu

Professor of Art Education

School of Art and Art
History

UFID#
(First Name)

Mailing Address: (If on

campus provide PO Box
address):

Email :
Telephone #:

August 10, 2015 September 25, 2015

Source of Funding (A copy of the grant proposal must be submitted with

this protocol if funding is involved): NOTE: If your study has current or N/A
pending funding, AND your research involves comparison of different
kinds of treatment or interventions for behavior, cognition or mental
health, you must submit the Clinical Trial Assessment Form.

Revised January 2015

47

Author Biography
Ashley Landstedt began her career in art education nearly three years ago at Powder
Springs Elementary. She immediately became a trusted addition to the strong team of teachers at
the school and the go to person for any question, concern, and desire to reach certain students by
addressing the IEPs in the classroom AND art room. Additionally, she quickly rose up in the
county. Her supervisor is readily and actively aware of her program and the successes it has
produced. Ashley is frequently featured on the county arts blog with her genuine, engaging, and
modern lessons. Her supervisor also approaches Ashley to be a member of county developments
within the art program such as curriculum design, grading rubric changes, and hosting
professional development. In addition, Ashley constantly strives to work collaboratively with
teachers ensuring that any content connections she makes in the art room are in line with
classroom and county standards of achievement. She also goes beyond her contractual duties by
staying after school and hosting workshop for teachers wishing to get a leg up on arts integration
techniques.
Ashley attended Kennesaw State University where she gained her undergraduate degree
in arts education in 2010. At Kennesaw State, she was a member of a Philanthropic Fraternity,
Phi Mu, and National Academic Honors Society, Delta Epsilon Iota. In 2014, she decided to
further her academic endeavors to include entry into the masters program at the University of
Florida where she hopes to receive her Masters in Art Education in the fall of 2015. Furthermore,
upon completion of this program, she intends to move up through the county and become a toptier art educator.