Visual Arts Integrated Curriculum in a United States Elementary School: A
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Visual Arts Integrated Curriculum in a United States Elementary School: A Desired Pedagogical Strategy for Implementing the Integrated Curriculum in the Jamaican Primary Schools Dissertation Presented in Partial Fulfillment of the Requirements for the Doctor of Philosophy in the Graduate School of The Ohio State University By Verona Barnes M.A.T Graduate Program in Art Education The Ohio State University 2010 Dissertation Committee: Vesta A Daniel, Advisor Patricia L Stuhr Robert Hite Copyright by Verona Barnes 2010 Abstract The purpose of this study is to identify how Visual Arts can play a pivotal role in the implementation of an integrated curriculum in elementary education. In order to increase my knowledge base I reviewed a body of theoretical and philosophical writings that revealed how the arts, especially Visual Arts, have been valued in the field of education. Next I use case study methodology to investigate how an exemplary Visual Arts educator/teacher has been putting theories to practice by providing state-of-the-art teaching and learning in, with, through and about Visual Arts, as well as how she has been using Visual Arts as anchor for and an engine to drive an integrated curriculum in an elementary school setting. I explain how the data was collected using a triangulation research design process. These included on site observations, reflective journaling, interviews, and artifacts and document analysis. I reported and analyzed the data to ascertain the knowledge, skills dispositions and commitments the Visual Arts teacher displayed that reflected theoretical and philosophical knowledge of best practices related to art education, general education and teacher education. After stating my findings, I make recommendations for how teachers in Jamaica can implement an integrated curriculum that is anchored and driven by the arts, especially Visual Arts. ii Dedication To the memory of my four parents My mother Enid “Mamma” Rose: Sunrise 1935 – Sunset 1994 My father Gilbert “Pappa” Barnes: Sunrise 1924 – Sunset 1994 My aunt and her husband who in my formative years were my foster parents Cynthia “Aunt Cynth” Hamilton: Sunrise 1925 – Sunset 2000 Edward “Mass Eddy” Hamilton: Sunrise 1916 – 94 years, still running the dash As I write this document, he is home in Jamaica nurturing and guarding the vegetable garden with organically grown callaloos (green leafy vegetables) and Scotch Bonnet peppers he planted in April in preparation and anticipation of my return home & My dear friend Beverlyn Cameron – Sunset 2009 She literally dragged me out of my house to the Art School in 1987 & I hope this will be an inspiration to “The Two Men of Verona” – Junior and Dwynell My grandchildren My sisters and brothers My nieces and nephews & Future descendants of Mamma and Pappa 1st born to both – a survivor of a pair of twin had situated me My responsibility and obligation were to chart the course I feel honored to have been chosen “Tenky Massa tu de” CREATOR Mission accomplished May the Barnes-Rose “roots” and “vines” flourish/thrive and flower continuously Bloom where ever you are planted iii Acknowledgement I would like to thank Dr. Vesta Daniel for not only being my advisor and guide, but also for giving me some of the social and spiritual support I needed during my four years academic sojourn at the Ohio State University. For sharing you family with me, on those occasions when families met for special celebrations, you provide the anchor that was needed for my stability, a home away from home. Our journey did not begin here at the Ohio State University, in the United State. The seed was planted on the Jamaican soil in October 2003, when you (re)presented the Department of Art Education at the OSU, as the guess speaker at the launch of the Caribbean Association of Art Educators and Artists. The roots for the relationship we share grew stronger each time you visited Jamaica, as an academic ambassador for the Art Education Department at OSU. You were the driving force behind my decision to pursue the Doctor of Philosophy Degree at OSU. The experiences within and beyond the academic sphere have nurtured and created the bond that was necessary to cement the relationship. I would like to thank all the other members of my committee, Dr. Patricia Stuhr, Dr. Ballangee-Morris, Dr. Robert Hite for all the support and academic and professional advice you had given me over the years and Dr. James Sanders III, who did not hesitate, when asked to fill the slot a few days before my final examination, when one of my committee members was not be available due to medical. iv To all the professors in the departments of Art Education and Education, Policy and Leadership, for providing the academic challenges and scaffolding that enabled me to move from my zone of proximal development (ZPD) and achieve my full potential. On reflection, quantitatively and qualitatively, my engagement in the reading and writing processes over the past four years, have surpassed the accumulation of the first half a century of academic my life. I have grown; the courses you offered have allowed me to build on my scholarly, interpersonal and emphatic geniuses. They have provided me with the practical and theoretical frameworks necessary to grow professionally and have prepared me to return to my country, Jamaica, to make a worthwhile contribute to the development of the education system in general and teacher education to be specific. Special thanks to Dr. Buda, the co-creator for my research; I owe you a world of gratitude for your imput and output that generated the data necessary for me to write the fourth and fifth chapters of my dissertation. You did not only facilitate and accommodate me in your school and the artroom as a novice researcher; you took time out of your very busy schedule, each time I visited the school, to provide the vehicular transport needed from and to the points where my bus ride terminated and/or commenced. I am not sure how many other persons would have so generously and graciously provided this necessary assistance, especially to an outsider who could be viewed as a stranger and/or an intruder. Although I was an outsider, I did not feel like a stranger while on the campus of your school. The professionalism and camaraderie displayed by members of the learning community created an atmosphere within the building; that made me feel v welcomed each time I visited. Thanks also to the other educators at your school who engaged in the interview sections of the data collection process. I am forever grateful and will continuously speak about and share my experience regarding your ability to provide and facilitate state-of-the-art learning opportunities for elementary school students to develop and enhance their innate abilities to be creative as you engaged them in artmaking processes and procedures that enabled them to be imaginative and innovative. I will tell of the pedagogical strategies you employed as you engaged in integrated curriculum that brought Visual Arts to take center stage at your school is living testimony that, for a successful implementation of an integrated curriculum an anchor is needed and Visual Arts can be the anchor (Daniel, 2003) and that, Visual Arts is the engine that can drive an integrated curriculum (The Ohio State University TETAC mentors, 2002). Thanks very much to the staff in the Department of Art Education who have been providing the technical and administrative support I needed from the moment I submitted my application to be a member of the “community of learners.” Kristen Thomas, I cannot forget our initial experience during the processing of my application, the many telephone calls between us to and from Jamaica. You also provided the leg-work that was needed to transport the required documents to/from the different offices/buildings. It must have been an exhausting experience; your effort enabled me. Thanks to Holly Longfellow, from my first day on campus you have been providing me with the support that I need to navigate my way around the campus. You provided most of the social vi experiences that was necessary for me to live and breath in the cold and dreary state of Ohio, you provided most of the multi-cultural experiences that I will be able to reminisce about, when I share my experiences with others. Thanks for providing the editorial, technical support I needed during the final leg of my academic journey. You saw me through some crucial moments when I thought I could not make it. Emily, the efficiency and courteous disposition you displayed as you went about your daily duties as one of the receptionists in the department did not go un-noticed. On occasions when modern technology got the better of me and I was at a lost, not knowing what to do, you offered you expertise and assisted me with solving the varying problems. Your assistance was highly appreciated. To my colleagues and friends whom I encountered and/or made connection with during the four years of my student life, most of who were limited to the boundaries of the Art Education Department and might not have extend beyond the peRIMeters of the classrooms and the scope of a course; you have all added to the tapestry I created at OSU. I brought with me from Jamaica a warped loom, my experiences and encounters with you provided the weft yarns that enabled the design to surface as I wove continuously from day to day. In this tapestry we will find strong yarns and weak yarns; long yarns and short yarns; brilliant yarns and dull yarns; silky yarns and coarse yarns, soft yarns and tough yarns; smooth yarns and rough yarns and there are those yarns that are in between.