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Edutopia is a free source of information, inspiration, and practical strategies for learning and teaching in preK-12 education. We are published by the George Lucas Educational Foundation, a nonprofit, nonpartisan organization.

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Capturing Classroom Data in the Arts Classroom

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Capturing Classroom Data in the Arts Classroom

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Miro Board for CAN Summer Institute 2024

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Colonialism and slavery violently disrupted the histories of Black, Indigenous and people of color (BIPOC). White folks appointed themselves tellers of all stories, and their viewpoints have rewritten, erased or entirely excluded other narratives. BIPOC dance artists have, for long, felt this exclusion while being exploited. This exclusion is still the source of trauma for many BIPOC artists in 2020. Recent online posts address it, Black educators teach it and Black dancers experience it. Still, dance organizations continue to use Black culture and contributions to their own benefit, while deleting the Black artists themselves-from pedagogy to performance.

Dance Education Rooted in Oppression

In my own dance education, dance was taught to me through a reduced lens-a narrow lens. I was taught a lie; that ballet was the foundation of all dance forms. Not true... far from it. What was true is that ballet, a Eurocentric dance form, was created from whiteness and has never ceased to be exclusionary.

Recently, I had a phone conversation with two Black male colleagues who are educators and performers. We talked about how similar our graduate school experiences were: the centering of whiteness in the curriculum, the feeling of isolation as you navigated the spaces you came in contact with and the politics of erasure. Michael Medcalf, now an assistant professor of dance at University of Memphis, spoke of the dance history course he took in graduate school as "challenging." He expressed that the class touched on the biographies of Donald McKayle (1930-2018), Alvin Ailey (1931-1989), Pearl Primus (1919-1994), Katherine Dunham (1909-2006), with a sprinkling introduction of Asadata Dafora (1890-1965). However, Medcalf acknowledged that he and his cohort mostly unpacked ballets like Swan Lake and Giselle to study feminist theory through the male gaze and debated the beginnings of American Modern Dance through Duncan, Shawn, Holm and other white artists. Medcalf noted there was no critical discourse on the historical contributions of Bill "Bojangles" Robinson (1878-1949), John W. Bubbles (1902-1986), Charles "Honi" Coles (1911-1992) and Charles "Cholly" Atkins (1913-2003), Fayard Nicholas (1914-2006) and Harold Nicholas (1921-2000), or Janet Collins (1917-2003). He remembered the void in Black representation when his professor and classmates discussed the Judson Church era, wondering, "Where were all the Black folks?"

This experience compelled Medcalf to help reshape the dance curriculum at Alabama State University during his tenure there from 2013-2018. He, along with his colleagues, knew that the fullness of dance history could not be taught in one semester, so they developed a two-semester course that spanned the Baroque period to contemporary hip hop, while remaining mindful of who gets omitted versus admitted. He was intentional about including Talley Beatty, Josephine Baker and Dianne McIntyre. He also taught about Joan Myers Brown, Cleo Parker Robinson, Lula Washington, Ann Williams and Jeraldyne Blunden, whom he emphatically labeled "the fabulous five." He said, "We must be careful when talking about an individual's contribution to dance history," adding, "it suggests that they lie on the periphery instead of embedded within." He then categorically stated, "There is no dance history without Black history."

Exclusion in academic realms can come from unexpected places. Iquail Shaheed, assistant professor of dance at Goucher College, remembered his time in graduate school at SUNY Purchase, where he studied choreography and composition, saying "My dance composition teacher and coach, a Japanese dancer and educator, was paradoxical in her pedagogy. Although she was not white, she encouraged white principles in dance composition practices. This teacher would push me to find my voice in the subject of Blackness. Unfortunately, my explorations had to fit within the confines of whiteness or they were never received as good choreography."

Black Dance Forms Minus the Black Dancer: An Oppressive Act of Exclusion

When Black dancers tell their stories, they spill truths about being tokenized. We are asked to perform our Blackness in ways either passively violent or acutely racist. I have had white choreographers say to me "I know you have rhythm, you're Black!" when offering a correction about musicality. I've also had white dance teachers say "Do what you would do when you dance with your Black friends," as a prompt for a movement- improvisation exercise. As if me being present in my already full Blackness wasn't enough.

It is no secret that in most university dance programs, ballet and modern are academic necessities, and that African diasporic forms are electives, rarely offered or required. Now a professor myself at Kent State University, I look to other Black dance scholars like Dr. Brenda Dixon-Gottschild, Dr. Takiyah Nur Amin, Dr. Raquel Monroe, Dr. Nyama McCarthy-Brown and Dr. Thomas DeFrantz, who have long been theorizing about the Black body, reminding us of ways it has been excluded from academic and performing spaces.

In Digging the Africanist Presence in American Performance, Dixon-Gottschild reminds us that we don't have to look far to see the Africanist legacy in ballet, that it comes bursting through several of George Balanchine's ballets, from Apollo (1928) up through Symphony in Three Movements (1972). She critiques elements in his movement vocabulary for Agon (1957)-naming "the displacement and articulation of the hips, chest, pelvis and shoulders, instead of the vertical alignment of the torso, and attacking the beat, instead of carefully placed extensions"-as Africanist components. Holding a mirror up to Balanchine's The Four Temperaments (1946), and the historically Black Lindy hop, Dixon-Gottschild points out the way "the female is helped into the air by the male dancer who bumps her buttocks with his knee." Dixon-Gottschild affirms that the Lindy version is "faster, more explicit, and more dynamic, but the lift is the same, in principle." And she isn't the only scholar who speaks of such appropriation and erasure. In Writing Dancing in the Age of Postmodernism, the late Sally Banes also notes Balanchine's use of African-American movement vocabulary. Why, then, are there so few Black dancers in New York City Ballet's history?

Misty Copeland's
promotion to become the first Black female principal at American Ballet Theatre was yet another public acknowledgment of a first in the contributions of Blacks to dance-Misty, we see you. But when we are the first or the only one, our presence can be mere window-dressing, a visible gesture at inclusion that only highlights the institution's historic exclusion.

I remember a conversation I once had with Rod Harrelson, the single Black male dancer swing on the national tour of Swing! -a dance-based Broadway hit from 1999 to 2001. He wondered why there weren't more Blacks and people of color to cover ensemble roles. This was ironic because swing is a dance genre that originated in the African-American community in the 1920s and '30s, with music by Black musicians, until white musical artists like Benny Goodman and the Dorsey Brothers disseminated the form to a white mainstream audience.

White America continues to guzzle up Black culture, rejecting those from which the culture came-a conscious act that is usually framed and explained away with language that pacifies. One example is believing that Miley Cyrus is to be thanked for the genesis of twerking because of her feeble attempt at the MTV Video Music Awards in 2013. The truth is, twerking can be traced back to as early as 1820 and continues to be performed in many African countries as a celebratory gesture of honor. It is neither new nor white. And within the African context, definitely not sexualized. The complex effects of appropriating cultures stunt the advancement of policies around inclusion and equity.

Things to Consider as We Work Towards Inclusion

In the wake of recent cultural, social and political actions, dance has begun a long overdue reckoning as artists demand that considerations of equity and inclusion be placed at the center of hiring, promoting, casting and programming practices. The damage of omitting Black narratives and excluding Black dancing bodies is evident as more Black and brown dance artists come
forward to share their experiences. This year, dancers George Sanders, formerly of Ballet Memphis; Nicholas Rose, formerly of National Ballet of Canada; and Felipe Domingos, formerly of Finnish National Ballet, all took to to publicly voice their positions on how their respective companies have been complicit in anti-Blackness. Hearing personal stories in these public outcries makes the extent of the damage more easily understood.

The truth is, omitting and excluding Black bodies from the screen, the stage, the studio, the front of the lecture hall and leadership positions in dance companies impacts how the field advances and how systems of oppression reign. Mis- and underrepresentation perpetuates negative social understandings, biased standards and racist points of view. The Black dancing body is a place where history also lives: This body should be present in all spaces where dance happens, where dance is studied, where dance is supported and promoted-if we are serious about truly changing and broadening what we value moving forward, we must prepare those spaces for them. We must also:

* Acknowledge the Native American, Alaska Native and Native Hawaiian lands on which you may stand and perform. Additionally, acknowledge their native peoples.

* Alter dress codes and hairstyles that negatively impact BIPOC.

* Hire, cast and promote dancers based on talent rather than "look" or "fit."

* Remember that Black dancing bodies were in existence before Louis XIV and Isadora Duncan, when teaching dancing history. And if your pushback is that the curriculum addresses ballet and American modern dance, then ask yourself why.

* Know that to fully include the richness of Black experiences into your organizations and schools, you must address whiteness.

* Embrace, and cite, Black culture.

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Exclusion Is Oppression: From Pedagogy to Performance

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Colonialism and slavery violently disrupted the histories of Black, Indigenous and people of color (BIPOC). White folks appointed themselves tellers of all stories, and their viewpoints have rewritten, erased or entirely excluded other narratives. BIPOC dance artists have, for long, felt this exclusion while being exploited.

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When one thinks of bachata, the first images that come to mind might be of passionate dancers moving sensually to the rhythm of the guitar, heartfelt lyrics, and the unmistakable beat of the bongo drums. For many students at the Los Angeles Bachata & Salsa Dance Academy, this dance is more than just a series of steps; it's a powerful medium of expression. The alluring blend of instruments and sensual movements often captivates observers, transporting them to a world of raw emotion and harmony. The steps and beats convey stories of love, loss, and life's many challenges.

The dance, originating from the Dominican Republic, is celebrated and danced worldwide, enchanting audiences with its rhythm and passionate moves. However, this hasn't always been the case. Behind its graceful twirls and tender embraces lies a dance form that struggled for acceptance. Despite its popularity today, bachata has a troubled history, particularly in its native country, where it was once prohibited and stigmatized.

Origins of Bachata

Bachata originated in the rural regions of the Dominican Republic in the early 20th century. Drawing from various sources, including Cuban bolero and Dominican merengue, bachata was initially known as 'bolero campesino' or 'countryside bolero.' The name 'Bachata' originally referred to an informal gathering or party.

Stigmatization and Prohibition

Bachata's troubled history largely stems from socio-economic and political issues. Here's why it faced such backlash:

Association with the Lower Class: Bachata was associated with the poor and rural communities from its inception. Its themes often revolved around heartbreak, love, and everyday challenges. Because of this association, it was looked down upon by the elite and middle class of the Dominican Republic.

Lyric Content: Many traditional bachata songs had overtly suggestive lyrics. Some sections of society saw these themes as vulgar, leading to further stigmatization of the genre.

Political Climate: During the 31-year dictatorship of Rafael Trujillo, there was a strong emphasis on promoting what was seen as 'high culture.' Forms of music like Merengue were popularized because they resonated more with the image that Trujillo's regime wanted to portray. After Trujillo's assassination in 1961, the stigma against bachata persisted, with subsequent governments not openly supporting or recognizing it.

Media Blackout: Due to its perceived low status, bachata was rarely played on mainstream media channels. For many years, it was mostly confined to brothels and bars, further contributing to its reputation as a 'lowly' or 'vulgar' form of music and dance.

The Resurgence and Global Acceptance

By the late 1980s and early 1990s, things began to change. Artists like Juan Luis Guerra introduced a more polished bachata version with cleaner lyrics and a modern appeal. This, combined with the efforts of many passionate bachata artists, started to break down the barriers against the dance and music forms.

Around the same time, the demand for bachata lessons began to increase. As more people became exposed to this passionate dance, they wanted to learn and master its moves. Dance studios began offering bachata lessons , and the dance spread rapidly. The turn of the century saw a growing international interest in Latin dances. With the boost from bachata lessons, salsa, merengue, and especially bachata found audiences worldwide. With increased globalization, bachata dance festivals, workshops, and competitions sprouted all over the globe, solidifying its position in the world of Latin dance.

Conclusion

The history of bachata is a testament to the resilience of art and culture. Bachata has become one of the most beloved dance forms globally. Its journey, aided partly by the rise in bachata lessons , serves as, from its humble origins and years of being suppressed and stigmatized, a reminder that art, no matter how marginalized, can overcome societal barriers and flourish.

Movers and Shakers students learning the rhythm of Bachata

Experience the Sensual Rhythm of Bachata Firsthand!

Are you intrigued by the rich history and passionate rhythms of bachata? Leap and immerse yourself in the world of bachata with hands-on training. At Los Angeles Bachata & Salsa Dance Academy, we offer tailored group or private bachata lessons for dancers of all levels. Whether you're a beginner looking to understand the basics or a seasoned dancer aiming to polish your moves, our academy is the place for you.

When one thinks of bachata, the first images that come to mind might be of passionate dancers moving sensually to the rhythm of the guitar, heartfelt lyrics, and the unmistakable beat of the bongo drums. For many students at the Los Angeles Bachata & Salsa Dance Academy, this dance is more than just a series of steps; it's a powerful medium of expression. The alluring blend of instruments and sensual movements often captivates observers, transporting them to a world of raw emotion and harmony. The steps and beats convey stories of love, loss, and life's many challenges.

The dance, originating from the Dominican Republic, is celebrated and danced worldwide, enchanting audiences with its rhythm and passionate moves. However, this hasn't always been the case. Behind its graceful twirls and tender embraces lies a dance form that struggled for acceptance. Despite its popularity today, bachata has a troubled history, particularly in its native country, where it was once prohibited and stigmatized.

Origins of Bachata

Bachata originated in the rural regions of the Dominican Republic in the early 20th century. Drawing from various sources, including Cuban bolero and Dominican merengue, bachata was initially known as 'bolero campesino' or 'countryside bolero.' The name 'Bachata' originally referred to an informal gathering or party.

Stigmatization and Prohibition

Bachata's troubled history largely stems from socio-economic and political issues. Here's why it faced such backlash:

Association with the Lower Class: Bachata was associated with the poor and rural communities from its inception. Its themes often revolved around heartbreak, love, and everyday challenges. Because of this association, it was looked down upon by the elite and middle class of the Dominican Republic.

Lyric Content: Many traditional bachata songs had overtly suggestive lyrics. Some sections of society saw these themes as vulgar, leading to further stigmatization of the genre.

Political Climate: During the 31-year dictatorship of Rafael Trujillo, there was a strong emphasis on promoting what was seen as 'high culture.' Forms of music like Merengue were popularized because they resonated more with the image that Trujillo's regime wanted to portray. After Trujillo's assassination in 1961, the stigma against bachata persisted, with subsequent governments not openly supporting or recognizing it.

Media Blackout: Due to its perceived low status, bachata was rarely played on mainstream media channels. For many years, it was mostly confined to brothels and bars, further contributing to its reputation as a 'lowly' or 'vulgar' form of music and dance.

The Resurgence and Global Acceptance

By the late 1980s and early 1990s, things began to change. Artists like Juan Luis Guerra introduced a more polished bachata version with cleaner lyrics and a modern appeal. This, combined with the efforts of many passionate bachata artists, started to break down the barriers against the dance and music forms.

Around the same time, the demand for bachata lessons began to increase. As more people became exposed to this passionate dance, they wanted to learn and master its moves. Dance studios began offering bachata lessons , and the dance spread rapidly. The turn of the century saw a growing international interest in Latin dances. With the boost from bachata lessons, salsa, merengue, and especially bachata found audiences worldwide. With increased globalization, bachata dance festivals, workshops, and competitions sprouted all over the globe, solidifying its position in the world of Latin dance.

Conclusion

The history of bachata is a testament to the resilience of art and culture. Bachata has become one of the most beloved dance forms globally. Its journey, aided partly by the rise in bachata lessons , serves as, from its humble origins and years of being suppressed and stigmatized, a reminder that art, no matter how marginalized, can overcome societal barriers and flourish.

Movers and Shakers students learning the rhythm of Bachata

Experience the Sensual Rhythm of Bachata Firsthand!

Are you intrigued by the rich history and passionate rhythms of bachata? Leap and immerse yourself in the world of bachata with hands-on training. At Los Angeles Bachata & Salsa Dance Academy, we offer tailored group or private bachata lessons for dancers of all levels. Whether you're a beginner looking to understand the basics or a seasoned dancer aiming to polish your moves, our academy is the place for you.

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When one thinks of bachata, the first images that come to mind might be of passionate dancers moving sensually to the rhythm of the guitar, heartfelt lyrics, and the unmistakable beat of the bongo drums. For many students at the Los Angeles Bachata & Salsa Dance Academy, this dance is more than just a series of steps; it's a powerful medium of expression.

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Teacher Leader Resource from chat

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Through the Arch of Self, LLC, I work with pre-service and in-service teachers, as well as other educators and school leaders in a process of digging deep and "peeling back layers" on their life experiences. I have conducted professional development workshops with community colleges, the New York City Department of Education, programs, such as New York City Men Teach, and in colleges/universities across the U.S.

My article, "Archeology of the Self in Racial Literacy Development: An Imperative for Urban Teacher Education" (forthcoming), dives more into detail of this work.

Arch of the Self: Toward Sustaining Racial Literacy in Teacher Education and the Academy

Individuals who develop racial literacy are able to engage in the necessary personal reflection about their racial beliefs and practices, and teach their students to do the same. Racial literacy in schools includes the ability to read, write about, discuss and interrupt situations and events that are motivated and upheld by racial inequity and bias. Sustaining racial literacy across the lifespan is possible by engaging in an "Archaeology of the Self" - an action-oriented process requiring love, humility, reflection, an understanding of history, and a commitment to working against racial injustice.

When I think of the Archeology of the Self in Education, I compare it to an archeologist who uses various techniques "to dig, uncover, identify, process and record archaeological remains" as part of the excavation process. The same is with teachers, like myself, in education, who use tools and resources such as books, professional development, dialogue and reflection to dig into our preconceived notions about the students and the communities we serve as well as our self as the teacher.

The Racial Literacy Development model theorized by Dr. Yolanda Sealey-Ruiz

Visual: Dr. Angel Acosta

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Through the Arch of Self, LLC, I work with pre-service and in-service teachers, as well as other educators and school leaders in a process of digging deep and "peeling back layers" on their life experiences. I have conducted professional development workshops with community colleges, the New York City Department of Education, programs, such as New York City Men Teach, and in colleges/universities across the U.S.

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Relational Power, Personhood, and Organizations

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Abstract. Power is usually conceived as unilateral, as the ability to affect without being affected. Instead, this chapter proposes that we conceive of power as

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You can get free posters for your classroom.

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Smithsonian Natural Museum of American History

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The Bias Inside Us Educator Toolkit The Bias Inside Us Educator Toolkit is a resource to assist in unpacking and demystifying the concept of bias. It includes a set of ten posters that help guide students through discussions about the meaning and real-world impact of implicit bias.

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CAN Quarterly Workshop resources and information.

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We all know the feeling of walking into a room, seeing small clusters of people spread across the space, and not knowing where we belong. It's hard to feel disconnected. As an educator, it's important for you to provide opportunities for your students to get to know one another in an engaging, pressure-free environment. I Like, We Like can help!

Here's how it works:

Objective: Students will make connections, increase social skills, and feel a sense of belonging.

1. Ask everyone to spread out across the room.

2. One person announces something they like.

3. Anyone else who likes that same thing walks over to the person who shared, forming a small huddle.

4. Someone else, who is not in the huddle, announces something they like, repeating the process.

Variations:
Level Down

Offer achoice board to students who need additional support

Play as a group, putting one person at a time in the middle of the circle to share

Play "Four Corners" by providing four options and asking students to walk to the corner that expresses their preference (Download Example Slides)

Level Up

Play until no participant is standing alone and the room is full of huddles

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We all know the feeling of walking into a room, seeing small clusters of people spread across the space, and not knowing where we belong. It's hard to feel disconnected. As an educator, it's important for you to provide opportunities for your students to get to know one another in an engaging, pressure-free environment.

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Choice making improves problem solving, autonomy, confidence, overall independence and an increased quality of life. Simultaneously, it decreases problem behaviors and learned helplessness. Build opportunities for decision making into your lesson plans.

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1. Model a round of "Simon Says." Call out simple commands for your students to follow, modifying any movements for performers with mobility challenges. The above video (from Teaching Theater to Students of Varied Abilities) shows how to level the activity up or down to meet students right where they are.

2. Next, invite one of your performers to play the "Simon."

3. If the performer who is playing "Simon" is nonverbal, download the , and allow the student to point to the movement they want the rest of the class to follow. The student who is nonverbal can hold up a green card to signify when "Simon Says,." just like in this video (see 4:20).

This game provides a simple, engaging way to practice leadership, active listening, and following instructions. The result? Students who take less time to process what you're instructing them to do and a teacher who has more productive class time to focus on what's important!

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1. Model a round of "Simon Says." Call out simple commands for your students to follow, modifying any movements for performers with mobility challenges. The above video (from Teaching Theater to Students of Varied Abilities ) shows how to level the activity up or down to meet students right where they are.

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Council for Exceptional Children PD Fair

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Council for Exceptional Children PD Fair

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Teaching Strategies for Students with Disabilities Courses

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Teaching Strategies for Students with Disabilities Courses

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The trouble is, desk learning can be restrictive, one-size-fits-all, and test-driven. Research tells us those things aren't good for moststudents. And they're especially ineffective for those with disabilities.

Nontraditional and kinesthetic methods, like those in the performing arts, provide more robust educational opportunities for students of

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Teaching Strategies for Students with Disabilities - People Like Us

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The trouble is, desk learning can be restrictive, one-size-fits-all, and test-driven. Research tells us those things aren't good for moststudents. And they're especially ineffective for those with disabilities. Nontraditional and kinesthetic methods, like those in the performing arts, provide more robust educational opportunities for students of

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A lack of understandingconcerning people with developmental differences has led to exaggerated fears and diminished expectations. But providing information and contact creates understanding and empathy -the two ingredients needed to transform negative attitudes into inclusive mindsets.

As a college senior, Kirsti Lewis made a documentary film as a way of sharing the research she'd done around these concepts. And it worked. More than 1,200 people attended the film's premiere-inspiring the launch of People Like Us as a nonprofit organization.

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A lack of understandingconcerning people with developmental differences has led to exaggerated fears and diminished expectations. But providing information and contact creates understanding and empathy -the two ingredients needed to transform negative attitudes into inclusive mindsets. As a college senior, Kirsti Lewis made a documentary film as a way of sharing the research she'd done around these concepts.

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Real Happiness: The Power of Meditation: A 28-Day Program

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Real Happiness: The Power of Meditation: A 28-Day Program [Salzberg, Sharon] on Amazon.com. *FREE* shipping on qualifying offers. Real Happiness: The Power of Meditation: A 28-Day Program

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1. Home

2. Free Resources

3. K12ArtChat the podcast

Laura and Matt Grundler

What do you get when two groups of mission-driven creatives band together? A new podcast from The Creativity Department and Davis Publications! Listen to K12ArtChat the podcast and learn from experts in the field during in-depth conversations filled with education innovations, resources, tips, tools, and inspiration to keep you connected and moving forward!

Check out new episodes every Thursday!

Laura and Matt Grundler strive to help connect the dots for educators by building a professional learning network infused with art.

Meet The Creativity Department

The Creativity Department does more than the K12ArtChat podcast. Check out what else they are working on.

Visit GrundlerArt.com

Listen to past episodes of The Creativity Department podcast before it became the K12ArtChat podcast.

Find Historic Episodes

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Episode 84: Creating a Culture of Belonging through Curricular Choices

Marilyn Stewart

Our curricular choices matter. Not only can they promote a vibrant art program, but they are also an important component in supporting student voice and choice. In this episode, Davis author Marilyn Stewart joins The Creativity Department. Dive into this discussion about using diverse artists and artwork with studio explorations and in-depth investigations to generate a culture of belonging for students in the art room and support artistic behavior. Marilyn shares details from her 50 years of experience writing curriculum and preparing educators for the art room. Discover the important lessons she’s learned and what inspired the core of her teaching philosophy.

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Episode 83: Reflecting on the Teacher and Administration Relationship

Don Masse

It’s no secret that art teachers can feel isolated in their school communities. It’s important to continuously consider what support you need from your district and administrators! In this episode, The Creativity Department is joined by Don Masse, Visual And Performing Arts Resource Teacher for San Diego Unified School District. During the conversation, they dive into the importance of visibility and discuss how art teachers like yourself can advocate for their programs as well as strategies to get administration on board with the great ideas you have. Listen in for inspiration on how to nurture this important relationship!

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Episode 82: The 21/22 Year in Review

Laura and Matt Grundler

As the school year comes to a close across the country, The Creativity Department reflects on this year’s guests and the biggest lessons taken away from them. Listen in for a recap of another whirlwind year and hear highlights that include interviews with the author of Wreck This Journal, Medical Illustrator at Harvard University Dorothy Fatunmbi, the founders of Zentangle, and working artists such as Erik Abel. There have been discussions about equity, diversity, and inclusion with NAEA Leadership and episodes to support mental health and emotional wellbeing. The Grundlers have covered miles of ground this year, enjoy this episode and then check out the others over the summer.

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Episode 81: Do Art & Science Really Work Together?

Dorothy Fatunmbi

Do you have students who are passionate about art and science? Are they interested in pursuing a career that utilizes both? Then this episode is for you (and them)! The Creativity Department is joined by professional illustrator Dorothy Fatunmbi. Dorothy is a medical illustrator in the Office of External Education at Harvard Medical School. Hear her journey from wanting to be a veterinarian, to drawing incredibly detailed illustrations that doctors refer to in preparation for surgery. Listen in as Dorothy shares her inspiring story and provides a plethora of resources for you to dive into and share with aspiring students exploring ways of getting a jump start on a STEAM career.

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Episode 80: Does Being an Artist and a Teacher Make Sense?

Rebecca Potts Aguirre

At some point, every art teacher thinks to themselves, “Am I an artist first or a teacher first?”. We all have a different philosophy on this. Do teaching and artmaking intersect for you? In this episode, The Creativity Department is joined by Rebecca Potts Aguirre—host of the Teaching Artist Podcast! How do you balance being an art educator and a working artist? Does helping students create their art drain creativity or does it inspire you to make your own art? Do you create art alongside your students? Listen in to see how Rebecca and the Grundlers balance the two.

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Episode 79: Empowering Women Artists & Art Educators

Natalie Chanel, Tiffany Lin, and Jen Holsinger-Raybourn

Results from a recent survey of 18 permanent U.S. museum collections showed those collections contain 87% male artists. This clearly illustrates the need for a wider representation of women artists. In this episode, The Creativity Department is joined by art educators Natalie Chanel, Tiffany Lin, and Jen Holsinger-Raybourn! Learn how they shine a light on female artists in their classes, empower women educators around them, and tackle topics like pay transparency and how to advocate for it. Listen in to hear how they ensure people of other cultures are represented throughout the year as well as how they continue to pursue their art outside the classroom.

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Episode 78: Teacher Appreciation & Mental Health

Raine Valentine, Candido Crespo, and Joseph Boatfield

Teaching in the month of May is challenging, so much goes on. This makes Teacher Appreciation Week and acknowledging Mental Health Awareness month that much more meaningful. We’ve been thinking about how immensely important these topics have become over the past two years and wondered what everyone in the field is feeling around them. So, this week is reversed! In this episode, The Creativity Department speaks with Candido Crespo, Joseph Boatfield, and Raine Valentine to develop questions for the next K12ArtChat Twitter Chat about the meaning of self-care, teacher appreciation, and dealing with the difficulties of the past few years.

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Episode 77: Zentangle & Mental Health

Maria Thomas and Rick Roberts

“The Zentangle® Method is an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns. The Zentangle creators believe that life is an art form and that each person is an artist.” In this episode, The Creativity Department is joined by Maria Thomas and Rick Roberts, cofounders of Zentangle®. Listen in as Rick and Maria share how Zentangle began and stories from people who credit it for providing increased focus, creativity, self-confidence, and a stronger sense of well-being. Learn how Zentangle is helping students manage stress and the scholarly study focused on the art form and its effect on mental health. Listen in to hear about all this and more!

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Episode 76: Infusing Visual Literacy in the Art Classroom

Paul Kretchmer and Jennifer Holsinger-Raybourn

The NAEA position statement on Visual Literacy states it is “the ability to interpret, comprehend, appreciate, use, and create visual media in ways that advance thinking, decision-making, communicating, and learning.” Our lives center around visual literacy. These skills are necessary to interpret the world around us—ads, movies, comics, websites, and more. This is why students must have a full understanding of it. In this episode, educators Paul Kretchmer and Jennifer Holsinger-Raybourn join The Creativity Department to talk about Visual Literacy, the skills needed for it, and how we use them to learn, communicate, and navigate our everyday lives.

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Episode 75 - Gamification: It’s for the Art Room too!

Kyle Wood

What is gamification? Google says it’s “the application of game playing elements (point scoring, etc.) to other activities.” The Creativity Department’s guest this week defines it as transforming the classroom into an exciting experience that gets students invested in their learning. Kyle Wood is an art educator and host of the Who ARTed Podcast (@WhoARTedPodcast). Faced with a scheduling change that left him no prep time and an ever-rotating roster of students, Kyle turned to gamification to manage the unexpected challenge. Hear how he uses a gaming structure to immerse students in the academic side of his art program.

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Episode 74: A Humanistic Approach to Art Education

Jason Blair

Jason Blair is an art educator focused on creating a personal and humanistic experience in his classroom. Like all of us, he believes “this discipline is extremely important to our world right now.” Schools focus on preparing students for college and career, but they are also developing active citizens in humanity. In this discussion, The Creativity Department speaks with Jason about the importance of slowing down to make deep connections that students need. Learn about the techniques he implements to build trust, and help students get comfortable with sharing their stories and working together. Hear how you could use these strategies in your art room!

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Episode 73: Decentering Whiteness in Art Education

Alisha Mernick

“Many of us enter teaching using what we ourselves learned in school. If the content was Eurocentric, that’s what is repeated. It takes an intentional examination of our teaching practices to do better.” In this episode, the Creativity Department speaks with Alisha Mernick, Visual Art and Social Justice Educator, about ways to break this mold. Listen in as they discuss broadening how we look at aesthetics and how to engage students in critical analysis of identity, social justice, anti-racism, and civic engagement issues. Learn how Alisha, inaugural recipient of the NAEA Agent of Change national award, implements liberatory, critical arts pedagogy in the art classroom.

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Episode 72: Utilizing Youth Art Month to Your Benefit

Holly Bess Kincaid, Jauan Brooks, Jessica Beach

March is Youth Art Month! It is the prime time to remind stakeholders of skills developed in the art classroom and that artists are an asset in society and in the workforce. What does Youth Art Month mean to you and what makes it useful to your program? In this episode, the Creativity Department dives into the benefits of Youth Art Month with members of the Virginia Art Education Association! They discuss what a useful tool it is to advocate for art programs and how beneficial it is when collaborating with students and other art educators. Listen in to hear how you can use Youth Art Month in your art room and with your students!

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Episode 71: The Art Educator’s “Why”

Fahmi Khan

Your “why” is the purpose or belief that inspires you. Over time it becomes part of who you are and grows. It matures and changes with you. What is your “why” for teaching art? What makes you passionate about what you do? In this episode, The Creativity Department speaks with long-time art educator Fahmi Khan (@FahmiKhan) about art educators’ “why.” Be inspired to think about or find your own “why” during this discussion that touches on transitioning from practicing artist to art educator, becoming an art teacher and the challenges it brings, and the reasons art educators have such strong, passionate, and infectious “whys.” Read the Twitter chat from this episode.

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Episode 70: Body Image in the Media & Art Room

Anti-Racist Art Teachers

Body image is something we all struggle with. It can be reassuring to know you’re not the only one with those feelings, especially as children. It is essential students see images they can relate to in real-world contexts across diverse social-cultural backgrounds and of all body types working together as leaders in their communities. Representation like this is powerful. In this episode, The Creativity Department is joined by the Anti-Racist Art Teachers to discuss affirming positive body image in students. Listen in to learn from their personal experiences and hear ways to empower youth through celebrating differences and making them visible and valued.

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Episode 69: Helping Students Feel Safe, Seen, and Stretched through the Arts

Julie Hasson

Do you have a teacher you remember fondly? How did they impact your school life? Do you think you would be on a different path if they weren’t your teacher? In this engaging episode, The Creativity Department speaks with Julie Hasson about these topics! Julie is a professor at Appalachia State University and author of the book Safe, Seen, and Stretched in the Classroom: The Remarkable Ways Teachers Shape Students’ Lives. She joins Laura and Matt for a conversation about how the principles in her book can be translated to the art room!

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Episode 68: Getting the Most Out of the NAEA Convention & NYC

Tim Needles

The NAEA national convention kicks off this week! If you’ve ever attended a conference like NAEA you understand how overwhelming it can be! To combat this, it’s a good idea to arrive knowing what you want to get out of your time there. Having a plan of action, knowing your needs, and understanding what you want most from participating is just the start. In this episode, The Creativity Department speaks with author, artist, and art educator Tim Needles about how to tackle conference attendance. From methods of implementing new learning to trends, takeaways, and connecting with your tribe, Tim shares expert insight into ways of getting the most out of your experience.

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Episode 67 - Black History: Going Deeper Than the Month of February

Ashley Washington M.ED

Incorporating diversity in curriculum is work that must be done daily to ensure classrooms reflect all cultures and communities of learners. Making the conscious effort of continuing conversations of diversity after an assigned “appreciation month” is important to ensure that students feel honored, reflected, and see themselves in states of power. In this episode, The Creativity Department speaks with Ashley Washington M.ED., an Instructional Coach in Plano, ISD. During the conversation, they delve into the question, “If excellence is only celebrated once every 12 months, how do students know the greatness that lies within them the remainder of the year?” A curriculum filled with diversity is the first key to ensuring the fire within each student ignites.

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Episode 66: Creating Joy During Uncertain Times

Daniel Bryant

As educators working in uncertain times, it can be easy to miss the impact we have on students and get wrapped up in “just” covering the standards. While the standards are important what good are they if we don’t know the student and miss connecting with them? In this episode, The Creativity Department speaks with elementary art educator Daniel Bryant about the importance of joy in the classroom and connecting with students on a personal level. From individual greetings at the door to rap battles about contemporary artists and impromptu performances to end a design lesson, Daniel Bryant ensures each class is an experience for his students. Listen in to hear how he makes his art room a creative, joyful, and unique place to be!

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Episode 65: The Importance of “The Arts” in Your Life

Mekka Don

Creativity comes in all forms, fine art and performing art are both art! In this episode, The Creativity Department is joined by rapper Mekka Don! From the football field of Ohio State College to lawyer at a top firm in New York City and then MTV and CBS, Mekka Don has pushed boundaries and sparked conversations about non-conventional ways to approach entrepreneurship, mentorship, and race relations. Listen in to hear Mekka Don’s inspirational story as he talks about the struggles he faced, his support system, and influences that helped him create his dream!

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Episode 64: Equity, Diversity, and Inclusion Work in the Art Classroom

Ray Yang

While the work we do around the topic of Equity, Diversity, and Inclusion is some of the toughest work we do as educators, it is deeply important and continuous. We must remember that this work isn’t done by any one person, these issues won’t be solved by ourselves. We must build alliances, be curious, and stay open. In this episode, The Creativity Department speaks to an important ally we all share. Ray Yang is the NAEA Director of Equity, Diversity, & Inclusion and Special Initiatives. Ray offers tips to help facilitate conversations about ED&I with students in the art room, including ways to navigate when the conversation gets tough. They discuss why ED&I seems to be “an art education thing” and share valuable insight into what NAEA is doing to support art educators.

Access all NAEA ED&I resources on that section of their website.

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Episode 63 - Remembering We Are All Connected: Creativity through Indigenous Teaching

Raine Valentine

“Self-expression is what life is all about. To grow and learn, we must express ourselves. It helps us process our experiences.” Self-expression inspires others (students) to do the same, which in turn allows them to tap into those questioning places and find out who they are. In this episode, Art educator and artist Raine Valentine joins the Creativity Department. During the conversation, Raine discusses her Chippewa heritage and how it inspires her. Learn how indigenous philosophies have informed her creativity and support her belief in self-expression and how it creates a connection between us.

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Episode 62: What is an NFT anyway? A New Lens for Creativity in the Classroom

Michael Cohen

We are in a time with emerging technology where the digital world is poised to make a seismic shift. If you are looking to provide unique and interesting connections between art and everything that is “more than art” in education investigate NFTs. What is an NFT you ask? At the most basic level, NFTs are digital assets that can be owned and tracked. But how is this relevant to education? In this episode, the Creativity Department speaks with educator, author, and consultant Michael Cohen, The Tech Rabbi. Listen in to learn what NFTs are and how they can be an effective tool in engaging learner curiosity and sustained investigation. The power of NFTs is in creating the Art and using it to mentor students in storytelling, marketing, and developing community.

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Episode 61: Student Curating & Engaging Them in Other Art Fields

James Rees

Involving students in the production process of exhibiting their artwork is a meaningful way to illustrate one of the many career options available to students in the arts. It is also a great way to show what students are learning in your program, provide them with critical thinking opportunities, and make your program more visible. Advocacy outside of the classroom is important and one of the best resources for that could be down the street at your local art gallery or museum. Enjoy this informative conversation with returning guest, James Rees, artist, researcher, and teacher. Hear about student curation, partnering with local museums and galleries, and the benefits this has for students both in school and after graduation—even if they aren’t planning on a career in the arts.

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Episode 60: A Little This or That to Wrap Up 2021

Laura and Matt Grundler

A new year calls for a little reflection, a lot of planning, and of course celebration. To kick off 2022 The Creativity Department looks back on the challenges and successes of the last year and discusses plans for starting the new one on the right foot. Listen in as they share some giggles, thoughts on the coming year, and a little “This or That” from teachers in the field. Happy New Year!

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Episode 59: Art of Business

Erik Abel

From branding and target market to pricing and style, there’s a lot to consider when you sell your work commercially. How do you answer questions around these topics for students if you don’t have solid answers for yourself? In this episode, The Creativity Department speaks with professional artist and designer Erik Abel. Working from Southern Oregon, Abel’s pieces have been featured in galleries across the country and abroad while his commercial work has attracted clients such as REI and Patagonia. Listen in to learn how this successful artist found his way to the world of commercial art and stays true to his own artistic passions as he navigates the business of Art.

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Episode 56: Follow the Money in Art

Kelly Crow

Even Rembrandt and Picasso were obsessed with the price and market reception of their art. The two are ever intertwined. Museum donors and curators follow auctions and note who’s selling! These days young artists are breaking out in the market first, then leveraging that clout to get shows. In this episode, the Creativity Department speaks with Wall Street Journal reporter Kelly Crow about introducing the ins and outs of the business side of art. We shouldn’t feel wary about mentioning money when it comes to teaching art. Money reveals what we value as a culture. We owe it to students to immerse them in all aspects of art—creating, promoting, critiquing, selling, and buying art.

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Episode 55: Partnerships Towards Creating Change

Jeannine Flores

In this episode, The Creativity Department speaks with Jeannine Flores, Vice-Chair of Create CA. The mission of Create CA is to “advocate for high-quality arts education for all students by providing policy expertise and by mobilizing a statewide network of advocates and allied partners.” As they state, “arts education is a crucial part of a federally mandated well-rounded curriculum. It’s essential that all students receive a robust education to become 21st-century employees and problem solvers.” Listen in to this informative conversation about building vibrant and visible local alliances that spark partnerships and spread art advocacy. Learn how Create CA is working to ensure every student receives a complete and creative education.

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Episode 54 - Wreck this Journal: As Educator Self-Care

Keri Smith and Carrie Baughcum

The Creativity Department is joined by Keri Smith, author of Wreck This Journal, and Carrie Baughcum, author of My Pencil Made Me Do It! Both books have been used by teachers and students across the country. While My Pencil Made Me Do It focuses on using sketch noting in the classroom to reset mindsets, enhance thinking, and improve retention, recall, and comprehension, Wreck This Journal delves into using journaling for self-care and engaging fully in the creative process. Hear the authors’ perspectives on turning simple journals into unique personal artworks. Matt and Laura share their experiences with both books and how they use journals as educator self-care.

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Episode 53: Reigniting the Joy of Teaching

Laura and Matt Grundler

Since the beginning of the pandemic, there’s been so much talk about self-care and positivity. It’s easy to get overwhelmed by reminders to stay happy and take care. We all thought this year was going to be easier, but it hasn’t been. So, how do we stay realistic and authentic about our feelings AND acknowledge the joy? It can be done, but it takes focus and intention. To quote one of our K12Art Chat community members, “Don’t try to do it all. Find one thing each day that you can do with joy and success. Find something positive about different situations. What you feed grows.” In this episode, we celebrate joy and ways to recognize it, remember it, and tap into it! Use this link to read the Twitter chat from this episode.

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Episode 52: ED&I - An Informative Conversation with NAEA Leadership - Part 2

Wanda Knight, Ray Yang, James Haywood Rolling Jr., and Mario Rossero

In this episode, The Creativity Department continues its conversation with NAEA Leadership about the important work being done in support of equity, diversity, and inclusion. This meaningful conversation, driven by questions and topics sent in for discussion from art educators in the field, continues to explore how we must “promote diverse voices and viewpoints that inform professional praxis for social change toward imagining and shaping a more equitable future.”

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Episode 51: ED&I - An Informative Conversation with NAEA Leadership - Part 1

Wanda Knight, Ray Yang, James Haywood Rolling Jr., and Mario Rossero

In their ED&I position statement, the National Art Education Association (NAEA) states they are “dedicated to promoting diverse voices and viewpoints that inform professional praxis for social change toward imagining and shaping a more equitable future.” In this episode, The Creativity Department speaks with NAEA Leadership about the important work being done in support of equity, diversity, and inclusion. This meaningful conversation, driven by questions and topics sent in for discussion from art educators in the field, dives into the detail we all must deeply consider when thinking through the work to be done in our lives and classrooms. From thoughtful insight to support and resources, this discussion is packed with strategies you can put into use today.

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Episode 50: Fighting for Dignity in Education

Keisha Casiano

Keisha Casiano states, “A student is not defined by their learning ability. A learning disability represents one area of weakness, but there are many more areas of strengths.” Keisha is an elementary art teacher in the Dallas-Fort Worth area and the guest for this conversation with The Creativity Department. During the discussion, she shares her inspirational story about her learning disabilities. Learn how she uses her experience and understanding to teach her students about mindset and to be proud of who they are. You’ll discover resources and strategies for advocacy and building relationships with your students as she shares how her struggle with reading and writing led her to discover her passion for art.

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Episode 49: Meaningful Practice - Embedded Professional Learning

Dr. Dorothy VanderJagt

“Teaching is a practice that we’re constantly honing as we learn and grow. But one of the things we aren’t doing enough is watching other teachers teach. Observing what colleagues do in their classrooms can be a huge benefit to both your practice and your students’ learning.” When PD is embedded in the day—for example during learning walks or during staff meetings—there will be natural connections made that will ultimately support students. In this episode, The Creativity Department talks with Dr. Dorothy VanderJagt of iFireUp about embedded professional learning. Dive into the importance of developing a culture of trust among colleagues to ensure a safe space exists for meaningful professional learning that is built on this trust and the ability to safely cross-examine and collaborate.

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Episode 48: Balancing Cultural Relevance with Social Engagement through Practice & Pedagogy

Orlando Bolaños

“Knowing the culture of our students, their stories and heritage is an important aspect of connecting and building relationships, but also a way to help students create art with meaning to their lives. Students’ lives and stories are relevant to their learning!” In this episode, Orlando Bolaños speaks with the Creativity department about Social Engagement Practice, how our art rooms are mirroring the diversity of our students, and how Culturally Relevant Pedagogy can be used to achieve teaching goals. Discover how curatorial practices and a student’s own identity can be used to meaningfully support students, develop strong relationships with them, and advocate for their growth as a whole person.

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Episode 47: Diversity, Identity, & Multi-Language Learners

Sandra Munoz and Esmerelda Fernandez

Identity is ever-changing and fluent, it’s what makes us human. It’s made up of elements you can and cannot see. Culture, race, religion, experience, and beliefs are all factors that build a person’s identity. With student populations becoming more and more diverse every day how do we recognize and support the vast array of identities present in our school communities? Dive into this episode for more on this topic! The Creativity Department speaks with Sandra Munoz and Esmerelda Fernandez, bilingual art educators from Plano, Texas. Hear their experiences with ELs, the communities they come from, and how the art room can help acknowledge and honor the diversity of all cultures and help students find their personal identities.

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Episode 45: Supporting & Engaging You at the National Level

Tiffany Beltz and Devon Calvert

Before the start of the much-needed summer break, The Creativity Department spoke with NAEA Elementary Division leaders Tiffany Beltz and Devon Calvert about ways to support Elementary Art Educators. During the conversation, Tiffany and Devon share how being involved with your national and local associations are some of the best ways to grow in your career. Discover the importance of engagement and collaboration with other educators. The community gained through your state and national organizations is essential. Listen in to hear about the benefits of having an entire community of educators ready to share ideas, inspire creativity, and collaborate with across your state and the country.

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Episode 44: Exploring Cultural Continuity: Informal & Formal Art Education Practice

Dr. Heidi C. Powell

Cultural continuity is how people use the arts to maintain personal, community, or national identity over time with global art cultures. In this episode, the Creativity Department speaks with Dr. Heidi C. Powell, recipient of the FAEA Higher Education Art Educator of the Year Award. During the conversation, Dr. Powell delves into her research on cultural continuity and what it means to hold true to traditions and heritage in a contemporary way. During the discussion, Dr. Powell examines her own Native American (Lenni Lenape) and Norwegian heritage and traditions. She explains how we all create national and community identity through art making practice and what art practices help us maintain those connections. Discover how cultural continuity creates embodied learning for students and promotes personal culture with value, breeds efficacy and confidence, and nurtures ways of being that can’t be taught.

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Episode 43: Always, All Ways: Multimodal & Collaborative Learning

Sean Justice and Andrea Kantrowitz

Andrea Kantrowitz, this week’s guest, shared a quote from a fourth-grade student that sums up this episode: “I thought art was only about making pictures, but now I see it’s really about social studies, history and math, and how everything is connected.” From Kantrowitz: “I think the more you enable children to make these connections for themselves, the more it becomes their knowledge, and they are empowered by that understanding of the world.” Think about how you create truly in-depth learning and connections for students. In this week’s episode, the Creativity Department talks to artists-turned teachers Sean Justice and Andrea Kantrowitz about multimodal and collaborative learning. Listen in and learn how always using all ways of learning with students gives them the chance to apply all their understandings to address questions and solve challenges.

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Episode 42: Storyboarding - Planning Your Story

Manuel Herrera

Storyboarding is for more than filmmaking and telling stories. It makes thinking visual! It illustrates your thought process and assists in the organization and development of ideas. Over the years, it has evolved from pencil sketches on paper with hand-drawn boxes, to notecards and sticky notes, to digital solutions online. This week’s K12ArtChat episode focuses on the many uses and benefits of using visual-thinking strategies, sketchnoting, and storyboarding to develop and fully immerse in the creative process. The Creativity Department speaks with Manuel Herrera, Coordinator of Learning Services for the Affton School District in St. Louis, MO. Manuel is an educator, a speaker, and an illustrator who specializes in sketchnoting, visual thinking, and design thinking. Listen in for ideas on how to implement his strategies with your students.

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Episode 40: Drawing Your Way to Understanding

Chris Gadbury

Sketch noting, visual journaling, using drawing for deeper understanding, creating stories to introduce global issues to little kids—learn about all these topics in this episode. The Creativity Department discusses using creativity to process large problems and develop meaning with author and educator Chris Gadbury. From his elementary art room in Hong Kong to the pages of his children’s books and the TEDxYouth@Jingshan stage, Chris Gadbury uses drawing and a specialist approach to understand and problem solve global challenges with students all over the world. Listen in to learn about the work Chris does with students and teachers promoting student agency and creativity while tackling issues facing the world today.

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Episode 39: Making a More Vibrant & Peaceful Community

29 Pieces and The American Love Project

“What happens when people in 50 states combine lessons of love with powerful visuals to create and share art?” Karen Blessen, founder of 29 Pieces and creator of The American Love Project says, “You’re about to find out.” In this episode, The Creativity Department is joined by Karen and Judy Stone-Nunneley, Visual Arts Coordinator for Grand Prairie ISD in Texas. Tune in to learn about The American Love Project, a nationwide public art project designed to illustrate the power of art to transform communities. Art has the power to change the world by inspiring compassion and resilience. Discover how this project works to heal, awaken, educate, and create positive social change. And how you, your school, and your community can participate.

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Episode 38: Beautiful Stuff

Cathy Topal

If you currently teach or have ever taught at the early childhood level, this episode is for you! The Creativity Department speaks with author and educator Cathy Topal about early childhood art education and the Reggio Emilia approach, a constructivist approach to teaching with an emphasis on self-directed, experiential learning in relationship-driven environments. Cathy discovered the Reggio approach early in her career and during this conversation shares the story of how it became her life’s work. Discover her strategies for guiding explorations of art materials, building community, approaching design with young children, and what she defines as an open-ended lesson. Listen in for inspiration that can be used with students across all grades.

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Episode 37: Teaching Gender Inclusivity

Hall Rockefeller

“Let’s play a game. Name five female artists... and one can’t be Georgia O’Keeffe.” This question drives the work of our guest this week, Hall Rockefeller. Hall is an art historian and the founder of Less Than Half, an online platform created to proactively address the lack of information that exists about female artists. During the conversation, The Creativity Department explores themes such as supporting female and non-binary students as artists, how to teach about intersectionality through art, and avoiding stereotypes. Enjoy this episode filled with insight and information about the importance of uplifting under-represented voices. When we honor, appreciate, and learn from the creative spirit of all people we move closer and closer to equality.

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Episode 36: Shape Your Holiday

Kurt Klynen

Summer Break isn’t exactly a “holiday,” but it should be after the 2020/21 school year! The Creativity Department is on vacation this week, so we’re bringing you a summer holiday episode. Filled with simple, doable nuggets of advice to keep you moving forward and learning, this episode is meant to provide inspiration for the second half of 2021. As a Learning Experience Designer, Kurt Klynen believes it’s good to be inspired by people and, in turn, to do the same. In this episode, recorded earlier this year, The Creativity Department talks with Kurt about ways creativity can be used to shape experiences, inspire the work you do, and get us through anything.

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Episode 35: Survival, Reflection, and Moving Forward

Laura and Matt Grundler

During this year of COVID, it was important to know when to disconnect and step away. We needed to make conscious efforts to hide the phones and devices and turn off the computer. Now it is the end of the hardest year ever, and it’s time for us all to take a breath and stop. That’s right, we said it—it’s time to stop. We’ve heard “take care of yourself” and read about the importance of “self-care” so often it’s become the education equivalent of corporate babble speak. So in this episode, Laura and Matt talk just a little about what they did this year to take care of themselves and share suggestions teachers like you offered up during the Twitter chat on June 10th. Most importantly, they encourage you to do everything you can to shut it all off and enjoy some downtime!

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Episode 34: Teaching and Pride

Joseph Boatfield and Kevin Hsieh

During the June 17th Twitter chat, Joseph Boatfield and returning guest Kevin Hsieh facilitated a conversation about LGBTQ+ inclusiveness in the art room. They posed the question, “Do you have LGBTQ+ students in your classroom?” The answer is yes, there have always been LGBTQ+ students. The chat covered inquiries about stereotypes, how to navigate the topic with administration, and how to show support for students. In this episode, The Creativity Department speaks candidly with Kevin and Joseph to get their own perspective on the questions they asked, as educators and members of the LGBTQ+ community. Listen in for powerful insight and discover exceptional resources to help you build relationships with and safe environments for all your students.

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Episode 33: Content Creation & The Arts

Craig Yen

Because students live in a digital world, they must learn how to create content responsibly. Before they share their thoughts with the universe, it is important to teach them how to do it correctly and with purpose. This week, the Creativity Department is joined by Craig Yen. Craig is an elementary classroom teacher who infuses art into everything he does. He understands the importance of creativity, creating, and making sure students have a voice and outlet in his classroom. As everyone has traversed this last year, he made sure his students had even more art to help them navigate the constant changes. Listen to this idea-filled conversation for information, advice, and resources on engaging students in the process of creating content around topics important to them.

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Episode 32: Exploring Queer Identities in the Art Room

Carlos Cruz and Tara Rousseau

Have you heard statements like “it seems the LGBTQ+ student population is growing”? So have we. The thing is these students have always existed! What is growing is bravery, awareness, safety, and the vocabulary with which students can express their lived reality. The art classroom is a special place where students can feel safe, seen, and included. To keep that statement true, it’s important to constantly learn, grow, and be comfortable with being uncomfortable. In this episode, the Creativity Department speaks with Carlos Cruz and Tara Rousseau from the NAEA LGBTQ+ Interest Group. During the conversation, they offer inspiration, ideas, and advice on ways to break through the discomfort, connect with students, and help them thrive. Discover readily available resources that will explain LGBTQ+ issues and help you understand what students need to be successful.

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Episode 31: Contemporary Asian Artists’ Work & Social Justice

Dr. Ryan Shin and Dr. Kevin Hsieh

Recent waves of discrimination and prejudice due to the pandemic have created an even greater need for education and resources in support of Asian culture. But how does an educator who isn’t sure where to begin respectfully and honorably incorporate Asian art, culture, and artifacts into their curriculum? In this week’s conversation, the Creativity Department speaks with Dr. Ryan Shin and Dr. Kevin Hsieh about ways in which this can be achieved. Ryan and Kevin both teach Art Education at the university level and serve on the National Art Education Association (NAEA) Asian Art and Culture Interest Group (AACIG). Because of the tension and turmoil being experienced, in this episode, Ryan and Kevin address Asian culture, the importance of educating students on Social Justice and diversity, and resources to help you create successful lessons to cover these important topics in your classes.

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Episode 30: Creative Writing to Increase Emotional Intelligence

Adam Sáenz

Creativity is directly linked to emotion; it fuels inspiration and the creative process. Creativity and art provide a format to enter emotion, experience emotion, and express it in a way that is not hurtful to anyone. The past year and a half have been tough on everyone, but art and creative expression have eased the anxiety many of us are facing. In this episode, the Creativity Department speaks to veteran psychologist and author Dr. Adam Sáenz. Adam Sáenz specializes in creative writing to expand emotional intelligence. During the conversation, you will hear his thoughts on how creativity can be used to increase emotional intelligence and address mental health.

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Episode 27: Pains & Gains of Remote & Hybrid Learning

Carl Hooker

This year has been a remote learning whirlwind filled with struggle and doubt. But has there been success too? As we begin to slowly transition back to in-person learning, it’s time for a conversation with educator and consultant Carl Hooker. The Creativity Dept. and Carl discuss learnings and dare we say advances achieved this year. From student-driven learning to thoughtful technology integration Carl’s insight is a driving force for change in the classroom. How can we ensure there is opportunity for interspace learning and keep the advantages discovered over this year? Enjoy this episode filled with ideas.

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Episode 26: Public Art and Student Collaboration

Leah Smith and Michael Townsend

The Tape Art movement originated in Providence, Rhode Island, in 1989 in the form of large-scale, collaborative drawings created out of tape in public spaces. In the years since then, Tape Art has opened the world of innovation and collaboration to thousands of students. From brainstorming to critical thinking and problem solving, Collaborative Tape Art has countless benefits! In this episode, the Creativity Department speaks with Leah Smith and Michael Townsend of the original Tape Art Crew. Listen in and learn about the importance of experimentation, thinking big, working together, and taking risks for students of all abilities across all grades.

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Episode 25: The Perceptions of Digital Arts

Kasmira Mohanty

Digital art IS art. Why does it seem like it is considered lesser than traditional art? We don’t have to abandon traditional art-making to include digital techniques in our practice. The two can meld into one space and enrich students’ experience at the same time. But the perceptions of digital art can be hard to overcome and hurdles such as lack of training, fear of technology, perceived value, labeling, and fear of “failing” all make the idea of including digital techniques daunting. In this episode, the Creativity Department speaks with Kasmira Mohanty, Digital Artist and Art Educator, about how to get past the perception of digital art and why it is important.

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Episode 24: Critical Creativity

Dan Ryder

Critical creativity is the idea that the act of creating is inherently critical thinking and requires higher-order thinking. Creativity is going to change the world! Those who understand this know that making meaningful opportunities for it in all areas of learning is imperative. This week’s guest isn’t an art educator. Dan Ryder comes from an English background, is an expert in project-based learning, and infuses creativity into the work he does with students a different way. He connects everything and uses creative expression to deepen understanding. Listen in for a different perspective on the importance of creativity as Laura and Matt dig into how Dan always finds time for building experiences that go deeper and allow for expansion.

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Episode 23: Createquity - A Fair & Just Art Classroom

James Wells

The arts offer equity in a different way than any other class, through creativity and the process of making. Focusing on the fact that an artist is anyone who communicates ideas well unlocks equity and gives students the opportunity to be openly creative. Allowing students to bring their authentic selves to the classroom, dig into their identity and culture, and discover who they are is essential. In this week’s episode, The Creativity Department speaks with James Wells, Innovative Teaching and Learning Manager at Crayola, about the topic of equity and the importance diversity and inclusion have in creating it.

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Episode 22: Adaptive Art - Deconstructing Disability in the Art Room

Bette Naughton

Reaching students with physical or developmental differences can be challenging, but the art room is a space where they can go to feel valued for who they are and express themselves. How can you work through a student’s ability? By focusing on what they can do instead of what they cannot to ensure success in art making. In this episode, the Creativity Department discusses adaptive art with author and educator Bette Naughton. Learn how to focus on the potential of all your students and think with an adaptive mindset. Discover available resources to create a network in your school or district, and develop strategies to remove roadblocks impeding student learning and creativity.

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Episode 21: The Arts Are The Catalyst We Need After The Crisis

James Haywood Rolling Jr.

After a year filled with crisis, it is time to revive ourselves. We know the arts are far more important to students (and the community as a whole) than is acknowledged. However, despite being consistently under-valued, there is no denying the arts are the catalyst we need to start fresh and re-energize. In this episode, the Creativity Departments speaks with NAEA President James Haywood Rolling Jr. about the importance of recognizing the arts as the power needed to create social change, build resilience, rehab our minds and spirits, break down systems that hurt us, and inspire the champions around us.

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Episode 19: Culturally Connecting & Celebrating

Crocodile River Music

Connecting students to a culture through art is a powerful way of valuing the history and heritage of a culture. “It’s important to learn about art traditions in their own right and not in comparison to other traditions. Diversity in art helps students see varied approaches to how people engage in the world and solve problems.” In this episode of K12ArtChat, The Creativity Department speaks with Crocodile River Music about culturally connecting. As visiting artists, Crocodile River creates experiences for students that provide a chance to understand African culture and traditions through art and music. Listen in as they explain what “NOT being a tourist of art” means and how important it is to understand the hard work and history behind making art.

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Episode 18: Engaging Students in a Virtual or Hybrid Classroom

Tricia Fuglestad

Engaging students in a virtual or hybrid classroom takes imagination. It’s hard right now, be as kind to yourselves as you are to your students and consider goals for the year from a different angle. You make a difference in your students’ lives simply by connecting with them and making sure they are seen and heard.

In this episode, The Creativity Department speaks with Tricia Fuglestad. Tricia shares great ideas and tips she uses to keep her students engaged as well as encouragement for everyone out there. Remember, you’re not lowering expectations, you’re creating less stressful and more achievable ways of working together.

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Episode 17: Building Relationships with ALL of Our Students

Anti-Racist Art Teachers

The Anti-Racist Art Teachers work towards removing biases, stereotypes, and false narratives in art education. Having an anti-racist curriculum “isn’t achieved with a checklist,” it requires attention all year long. In this episode, The Creativity Department interviews Abby Birhanu, Francesca Levy, and Paula Liz from the Anti-Racist Art Teachers group of educators. Listen in and discover information that will support how to build an anti-racist classroom environment in a way that is responsible and student centered.

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Episode 16: Building EQ – Emotional Intelligence through Visual Storytelling

Al Thomas

Students (and teachers, administration, parents, all of us) are struggling to process what is happening in the world these days. How can visual storytelling and creativity in general help? In this episode, The Creativity Department interviews Al Thomas, educator, principal, and visual storyteller. Listen in to the discussion about how creativity in the classroom provides opportunities for conversation and can help students process emotions and develop their own EQ. Through visual storytelling students can slow the world down, process emotion, and engage fully in a moment.

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Episode 15: Creating Diversity through Character Development

David Gorden

Art is storytelling. Creating authentic, honest, and real characters takes research, patience, and a whole lot of being careful. This week, The Creativity Department speaks with sequential artist and author David Gorden. In this episode, they discuss the importance of asking “why” questions during the process of character development to avoid stereotypes, and the value of understanding the “rules of art” before you try to bend them.

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Episode 14: Discussing Art with Students

Trevor Bryan

Generally speaking, we all struggle with open-ended discussions. More than ever, we are afraid to be wrong. This week, The Creativity Department speaks with Trevor Bryan (@trevorabryan), author of The Art of Comprehension. Learn new techniques and strategies you can implement to engage students and help them open up, connect to art and the world, and have meaningful discussions in the process.

Read the Twitter Chat discussion.

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Episode 13: AP & IB Art Topics

Connie Jimenez Zammett

Investigation, experimentation, and communication are skills used by all artists and designers. Developing these skills is the focus of AP & IB Art programs. This week, high school art educator Connie Jimenez Zammett (@conniedraws) discusses AP & IB Art with Laura and Matt. While demanding, these programs challenge students to ask questions and inquire deeply about their process, empowering them to be independent thinkers.

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Episode 12: Graphic Novels and Visual Narratives

Michael Hernandez

During this episode, Michael Hernandez (educator, speaker, and author) comments “students are hungry to do something that is relevant, meaningful, and that has purpose.” Listen in to the conversation with Michael as the Creativity Department digs into how graphic novels (a.k.a. sequential art) can help students do just that. Graphic novels have the potential to empower students to tell their stories and help them engage with important questions about life, experience, and art.

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Episode 11: Student Empowerment

Kelly Young and Karen Caswell

The difference between engaged and empowered students boils down to what you do for them versus what they do for themselves. In today’s world of constant distraction, students must be intrinsically motivated to buy into their learning. In this episode, The Creativity Department speaks with Kelly Young (@teachthisorthat) and Karen Caswell (@kcasw1) about shifting mindset beyond engagement and empowering students to be excited about using what they learn in ways that make sense to them—to OWN their learning.

Read the Twitter Chat discussion.

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Episode 10: C4 - Cultivating Creative & Civic Capacities

Jason Blair

Empathic curiosity, radical imagination, design thinking…these skills are essential for developing well-rounded students prepared to live in the world. In this episode, The Creativity Department delves into these ideas with Jason Blair as they discuss his C4 research project with Columbus Museum of Art and Harvard’s Project Zero.

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Episode 9: Reflection, Intention, & Goal Setting

Matt and Laura Grundler

A special Happy New Year episode from Matt and Laura. Listen in as they chat about their goals for 2021, setting goals as a practice, and the importance of incorporating reflection and intention when crafting goals for yourself.

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Episode 8: The Future of Makerspaces

Chris Sweeney

Wondering what exactly a makerspace is? Listen in as the Creativity Department interviews Chris Sweeney, Art/Makerspace Teacher and Artist in Philadelphia. Find out the “what, why, and how” of creating a makerspace as they examine using this concept in any art program.

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Episode 7: Connecting through Mentoring

Matt Neylon

Today it’s more important than ever to develop a strong support network (your ART Family). In this episode, The Creativity Department is joined by Matt Neylon, Director of Visual and Performing Arts at Mount Vernon School, to discuss the importance of having people in your network with different talents, specific strengths, and diverse opinions and points of view.

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Episode 6: Create Art in AR

Jaime Donally

AR - Augmented Reality (not Arkansas) can easily be included in today’s classroom. Matt and Laura speak with Jaime Donally, author and Instructional Technology Consultant, about practical ways of adding AR and VR to the tools you use with your students. Discover apps, programs, and ideas for using this exciting technology easily and for FREE.

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Episode 5: Gratitude

Matt and Laura Grundler

A special Thanksgiving episode from Matt and Laura. Listen in as they chat about ideas for using gratitude with students and teams, share things to be thankful for in 2020, and relay a message of gratitude to all of you listening in each week.

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Episode 4: Leadership and Clarity

Andrew Surloff

Hear an administrative perspective of education in the time of COVID. Laura and Matt speak with Andrew Surloff, Assistant Superintendent of Quaker Valley School District in Allegheny County, Pennsylvania. Listen in to get an admin’s take on the importance of communication, working collaboratively with teachers, and navigating the different classroom models necessary during COVID.

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Episode 3: Creating Safe Zones for ALL Students

Paul Kretchmer

This week, team Grundler is joined by Paul Kretchmer, Visual Arts Instructional Coordinator for Austin ISD, in Austin, TX. Listen in for information and inspiration about how to create safe spaces for all students in the classroom. Discover a host of resources for crafting environments that are safe, inclusive, joyful, and predictable for our students, virtually and in-person.

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Episode 2: Teaching Art in 2020

Frank Juarez

In this episode, Matt and Laura speak with Frank Juarez, head of the art department at Sheboygan North High School in Sheboygan, Wisconsin. Learn about Frank’s experience as art educator, artist, contributing editor of SchoolArts magazine, and founder of four projects focused on contemporary art and art education (The Midwest Artist Studios, 365 Artists 365 Days Project, Artdose Magazine, and FRANK & Company art e-newsletter). His accomplishments also include winning National Art Educator of the Year, founding Sheboygan Visual Artists, opening Frank Juarez Gallery, and Artdose Magazine.

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Episode 1: Introducing K12ArtChat the podcast

Kristi Oliver

The Creativity Department is joined by Kristi Oliver, Professional Development Manager for Davis Publications. Enjoy the conversation about our new partnership, the importance of art education, and the many resources available from Davis Publications.

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In this stirring follow-up to Cultivating Genius, Muhammad builds upon the framework she introduced therein, adding the pursuit of joy to the four previously identified pursuits of identity; skills; intellect; and criticality, or "developing the ability to read texts to understand power, authority, and anti-oppression." It is through these pursuits, she argues, that educators can work toward making teaching and learning truly student-centered. The author begins by providing historical context for her framework, relying on the literary and educational practices of Black ancestors. From there, she offers practical examples and applications of the framework, including suggested texts, questions for reflection, and sample lesson plans. Muhammad emphasizes the importance of school and district stakeholders undertaking this work in community with one another. The book is firmly grounded in the need for genius, justice, and joy in education, but is also an example of what that can look like; woven throughout the text are poems, artwork, coloring pages, and curated playlists that encourage joy, creativity, and deep reflection. While the author does provide some discussion of her previous work, it is recommended that readers begin with Cultivating Genius. VERDICT Practical, inspiring, and joyous all at once. Outstanding and highly recommended!-Lauren Strohecker

"Hallelujah! Gholdy Muhammad has elevated the conversation about the education of Black and Brown children from detailing their deficits and sterilizing their instruction to creating curriculum that generates joy and genius-for all students, teachers, communities, and ourselves. Her own joy is palpable. She reminds us that we cannot 'harvest joy and genius' without attending to justice. This work does it all. Hers is a call to embrace our full humanity-in classrooms and in the world." She disperses literature, poetry, and classic song lyrics throughout this masterpiece that speaks to her passion for educating, nurturing, and tilling and watering the souls of our babies-the 'revolutionary petunias' and the beautiful 'Black orchids' who she loves so deeply." is THE most important book for educators in a climate that has betrayed the essence of teaching and learning. Through poignant insights, inspirational images, brilliant analysis, and practical examples, Gholdy welcomes us all to replenish the well that springs forth learning. This is a must-have book!!!" "culturally and historically responsive" theory and practice. Sheer genius!" is a celebration of life in the classroom through pedagogy, curriculum, and the power of the arts. As only Gholdy can do, she presents a breathtaking merging of history, theory, and practice that creates the conditions for joy to blossom and flourish, not only in our schools, but also in our everyday lives. Her book is an instant classic that will be read for years to come." is a clarion call for justice-centered, intellectually engaging teaching that is guided by love and joy." is a roadmap for celebrating the inherent worth in each student, and an indispensable treasure."Dr. Muhammad pushes educators into the next (and often, forgotten) steps of liberation-the pathways to joy and love. While most educators merely critique various forms of oppression, she teaches us how to use ancestral and community knowledge to complete all aspects of our humanity in schools. Without joy and love, humanity cannot exist, and schools cannot truly be spaces of liberation and justice." is revolutionary and revolution at the same time. If you want to (re)member the spirit and purpose of your work, read this book. It is layered with joy, wisdom, and practical ideas for creating the kind of curriculum that will not only save education, but also save those who teach, learn, and lead. Dr. Muhammad's clear-eyed framework will make you exhale anything that does not see the genius in Black and Brown children, and breathe in love and joy. Asè.". What Gholdy has created is a gift to our field that will inspire us all. You can't read this book without smiling, feeling loved, and unearthing your joy for teaching. Gholdy has done it again! She is the curriculum scholar of our time. She is in a lane by herself, and we all need to get behind her and follow because not only will our classrooms be better for it, but our world will be, too. In the words of Stevie Wonder, she is education's 'Golden Lady.'" what can happen in classrooms. It is a revolutionary call to action, as well as a text for healing and enriching the lives of its readers. From layered playlists to actionable examples, it is a revelation. Written from a place of deeply felt love for the possibilities in classrooms, Gholdy Muhammad's latest book demands that we sink our hands deep into the loam of pedagogy and start planting for a joyful harvest." is a soul-stirring, magnificently written book that every educator, policymaker, community organizer, caregiver, and family member should read. Centering the tremendously diverse and robust genius of young people, Muhammad shepherds readers into reflective spaces of the cognitive, the intellectual, the affective, the emotional, and the aesthetic to influence, transform, and shape. This is a transdisciplinary book about hope, healing, joy, imagination, design, love, and the human spirit that teaches as it inspires."is a beautiful blend of music, art, poetry, and educational excellence for teaching and learning in schools and classrooms. Revisiting the Black past, this book is helpful for teachers and leaders who seek to unearth the beauty, justice, and joy within each of their students."
-Lisa Delpit, Felton G. Clark Distinguished Professor of Education at Southern University, emeritus, and author of Other People's Children: Cultural Conflict in the Classroom " It is a privilege to spend time inside the beautiful mind of Dr. Muhammad. Unearthing Joy is a continuation of her unparalleled, pedagogical phenomenon, Cultivating Genius. -Derrick Barnes, National Book Award Finalist for Victory. Stand !, and Newbery Honor winner for Crown: An Ode to the Fresh Cut
"Unearthing Joy -Christopher Emdin, author of For White Folks Who Teach in the Hood... and the Rest of Y'all Too: Reality Pedagogy and Urban Education " Brilliant. Beautiful. Humanizing. Joyful. These words describe Muhammad's Unearthing Joy, a book that asks us to locate joy at the center of teaching and learning because stories matter, human lives matter, and the literacies of Black students matter. This book is -Valerie Kinloch, Renée and Richard Goldman Endowed Dean of the School of Education at the University of Pittsburgh; President of the National Council of Teachers of English Unearthing Joy -Yolanda Sealey-Ruiz, Professor of English Education, Teachers College, Columbia University; author of Love from the Vortex & Other Poems
and The Peace Chronicles Unearthing Joy -Sonja Cherry-Paul, founder of Red Clay Educators; author of Breathing New Life Into Book Clubs: A Practical Guide for Teachers and adapter of Stamped (For Kids): Racism, Antiracism, and You Unearthing Joy -Andrea Davis Pinkney, New York Times bestselling author of
Because of You, John Lewis Unearthing Joy, -Muhammad Khalifa, Professor of Educational Administration, The Ohio State University; author of
Culturally Responsive School Leadership Unearthing Joy -Cynthia B. Dillard, Dean and Professor, Seattle University College of Education; author of The Spirit of Our Work: Black Women Teachers (Re)member Unearthing Joy -Bettina L. Love, author of

"Everything we need to tap into the greatest sense of our humanity can be found in this book. Drawing upon the brilliance of the ancestors to inform her own genius, Gholdy creates the melody for (re)imagining curriculum, instruction, and ourselves to cultivate educational spaces where all children thrive. We Want to Do More Than Survive: Abolitionist Teaching and the Pursuit of Educational Freedom "Unearthing Joy
is so much more than a book about -Antero Garcia, Associate Professor, Stanford University; author of Civics for the World to Come : Committing to Democracy in Every Classroom Unearthing Joy

"Gholdy Muhammad has delivered an essential gift to all of us who care deeply about the importance of revealing brilliance in every child. She presents a fascinating cultural history, as well as an interactive guidebook that revolutionizes how we embolden children. -H. Richard Milner IV, author of Start Where You Are, But Don't Stay There:
Understanding Diversity, Opportunity Gaps, and Teaching in Today's Classrooms Unearthing Joy -Joyce E. King, Benjamin E. Mays Endowed Chair for Urban Teaching, Learning & Leadership, Georgia State University

"Our children need every single word of

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Unearthing Joy: A Guide to Culturally and Historically Responsive Curriculum and Instruction

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Unearthing Joy: A Guide to Culturally and Historically Responsive Curriculum and Instruction [Muhammad, Gholdy] on Amazon.com. *FREE* shipping on qualifying offers. Unearthing Joy: A Guide to Culturally and Historically Responsive Curriculum and Instruction

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" Street Data calls upon readers to ′flip the dashboard′ from a focus on big data to a focus on the voices at the margins - those learners and their families who have been most affected by deep-rooted systemic inequities. When we listen closely to these voices with curiosity, courage, and humility, we gain a greater understanding of the meaning and root causes of these inequities, as well as how they can be addressed in ways that transform and heal. Policymakers and educators at every level of the system need this book to forge a path to genuine equity." -- Linda Darling-Hammond Published On: 2020-10-12"For far too long, education leaders have implemented reform strategies without engaging and centering those most impacted - the students. Shane Safir provides an energizing, anti-racist, actionable framework that centers the voices of the most marginalized students as the experts and co-conspirators that we need to create an education system worthy of their brilliance. Read this, share it, and be a part of ushering in this ′new normal′ of street-level data to unlock racial justice in our schools." -- Taryn Ishida, Youth Organizer and Executive Director Published On: 2020-11-03" -- Napoleon Wells , Ph.D. Published On: 2020-10-06 -- Sophie Fanelli, President Published On: 2020-11-06issues an urgent, timely provocation to listen to, honor, and be informed by the experiences, wisdom, fears, and aspirations of children and families who have been forced to the margins by our schools and institutions. Rich with stories that affirm our shared humanity and connectedness, Safir and Dugan offer a humanistic approach and practical guidance for embedding love, equity, curiosity, and courage in our efforts to manifest learning spaces where every young person learns, develops, and thrives. -- LaShawn Routé Chatmon, Executive Director Published On: 2020-11-06 -- Jal Mehta, Professor of Education Published On: 2020-11-16" -- Shawn Ginwright Published On: 2020-11-23

With Street Data,

" Shane and Jamila have built a conversation more than a framework, wherein students, their communities, teachers, leaders and systems are interconnected parts of a family unit. As a Professor and Psychologist, I found myself drawn to the work's human and family centered focus. Throughout the work, these are linked to an emphasis on building approaches to the art of teaching grounded in listening, making and holding room for all members of the learning family, and setting goals and evolving approaches that begin with the student as their core. Shane and Jamila are engaging us all in a critically important conversation, where the data we gather and share around learning spaces is shaped and centered on the voices and beings of students. It is family systems centered teaching and learning. It is holistic, and it is necessary. "Shane Safir and Jamila Dugan have given us a vivid and immensely readable account of what public education could and should be. Rather than quick fixes, the book is rich with real-life examples and immediately actionable equity practices that educators and leaders can use to tackle root causes. The authors have also issued an unspoken but clear challenge to all of us who care about children′s learning and development: ′What if policy decisions were anchored in the lived experiences of students, their families, and their educators?′ Their call to action is clear and urgent: we must reverse-engineer and radically reimagine our resources, policies, and practices to support the broad conditions in which students can authentically thrive, and most particularly students who are the most marginalized by the current system. The vision of educational justice laid out in the book will not be more widely practiced if we simply rely on individual teachers and principals to push forward alone into the headwinds. It must be supported at systems and state levels, so that it becomes the rule and not the exception."

" Street Data "In this absolutely path-breaking book, Shane Safir uses the concept of ′street data′ as an entry point to a fundamentally different paradigm for schooling. Foregrounding listening, understanding, and loving over counting, measuring, and classifying, Street Data

illustrates what it would truly mean to develop a humanizing and liberating approach to school transformation. Startlingly fresh in its prose, clear in its convictions, and moving effortlessly between theory and practice, we can only hope Street Data will mark the beginning of a new and different era for American education. A spectacular book!"

"Safir and Dugan call on us to free ourselves from old constructs about data for improvement that are rooted in Whiteness as normative and, instead, model ways to integrate concepts of wholeness, justice, deep culture, personal mastery, and agency into our school transformation efforts. This book is an important contribution to all of us who are working to create a world that works for all of us."

Old systems are crumbling before our eyes as new ones are being built. Street Data offers key insights about how to transform data and explore indigenous knowledge creation for a new world. Shane Safir and Jamila Dugan give us new ways to analyze, diagnosis, and assess everything from student learning to district improvement to policy. This book is a must read for researchers and practitioners searching for a fresh and deeply authentic model for school transformation.

"

" Street Data gives us a vibrant picture of what it means to do school when we authentically center our students. Shane and Jamila provide inspiration and clear examples of how we can humanize our classrooms and create a more just education system. Critically for change agents, we also find practical advice for supporting adults across the system as they begin to shift their approach to a new normal that builds with and for students. There is no doubt that we need a new way forward and Street Data is a trusted map for charting a course for maximum impact."

-- Shanna Peeples Published On: 2020-12-28

Shane Safir has worked at every level of the education system for the past 25 years, with an unwavering commitment to racial justice and deep learning. After teaching in San Francisco and Oakland, California and engaging in community organizing to launch a new public high school, Shane became the founding principal of June Jordan School for Equity (JJSE), an innovative national model identified by scholar and policy leader Linda Darling-Hammond as having "beaten the odds in supporting the success of low-income students of color." For over a decade, Shane has provided equity-centered leadership coaching, systems transformation support, and professional learning for schools, districts, and organizations across the U.S. and Canada. She writes for Edutopia, Ed Week, Educational Leadership magazine and is the author of The Listening Leader: Creating the Conditions for Equitable School Transformation (Jossey-Bass: 2017). Shane is thrilled to co-author this book with Dr. Jamila Dugan, a long-time collaborator who conducted foundational research for The Listening Leader and facilitates equity workshops with Shane, as well as Carrie Wilson, a colleague whose groundbreaking program for teacher-driven inquiry centers street data in the pursuit of equity.

Jamila Dugan is a leadership coach, learning facilitator, and researcher. She began her career as a teacher in Washington D.C., successfully supporting her school to implement an International Baccalaureate program. After being nominated for Teacher of the Year, she later served as a coach for new teachers in Oakland, California. As a school administrator, Jamila championed equity-centered student services, parent empowerment, and co-led the development of the first public Mandarin immersion middle school in the Bay Area. Jamila and Shane began their work together 7 years ago during the development of The Listening Leader for which Jamila acted as the primary researcher. Jamila currently serves as an equity-centered leadership development coach across all sectors including non-profits, public school districts, charter networks, parochial, and private schools. She is an avid supporter of dual language learning, serving on the boards of Independence Charter Spanish Immersion School in Philadelphia and Parents of African American Students Studying Chinese (PAASSC) in the Bay Area. She holds a Bachelor's Degree in Psychology from Fresno State University, a Master's Degree in Early Childhood Education from George Mason University, and a doctorate in Education Leadership for Equity from University of California, Berkeley. Jamila is also a loving wife and the mother of three amazing children who remain her constant inspiration for her work.

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Street Data: A Next-Generation Model for Equity, Pedagogy, and School Transformation

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Street Data: A Next-Generation Model for Equity, Pedagogy, and School Transformation [Safir, Shane, Dugan, Jamila] on Amazon.com. *FREE* shipping on qualifying offers. Street Data: A Next-Generation Model for Equity, Pedagogy, and School Transformation

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Just Schooling: Explorations in the Cultural Politics of Teaching

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Just Schooling is an exercise in the cultural politics of teaching. It invites teachers and interested others to rethink what they know about social justice and to rework how they engage in the practices of teaching (what they say and do), particularly in relation to how these influence the lives...

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Stuck Improving: Racial Equity and School Leadership (Race and Education)

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Stuck Improving: Racial Equity and School Leadership (Race and Education) [Irby, Decoteau] on Amazon.com. *FREE* shipping on qualifying offers. Stuck Improving: Racial Equity and School Leadership (Race and Education)

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culturally responsive school leadership (race and education)

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discrimination in education - united states

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educational equalization - united states

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discrimination in education - united states

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educational equalization - united states

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Culturally Responsive School Leadership (Race and Education)

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Culturally Responsive School Leadership (Race and Education) [Khalifa, Muhammad, Milner IV, H. Richard, Delpit, Lisa] on Amazon.com. *FREE* shipping on qualifying offers. Culturally Responsive School Leadership (Race and Education)

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Episode 134 Resources from Connected Arts Networks (CAN) - Teacher Leadership Part 1

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Episode 134 Resources from Connected Arts Networks (CAN) - Teacher Leadership Part 1

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Tim Needles

Artist, Educator, Performer, and Author
Twitter

Tim Needles is an artist, educator, performer, and author of STEAM Power: Infusing Art into Your STEM Curriculum. He is a TEDx Talk speaker, a technology integration specialist, he also teaches art, and emerging media at Smithtown School District and Five Towns College. Needles's work has been featured on NPR, in The New York Times, Columbus Museum of Art, Norman Rockwell Museum, Alexandria Museum of Art, Katonah Museum of Art, and Cape Cod Museum of Art. He's a recipient of the International Society of Technology in Education's (ISTE) Technology in Action Award and Creativity Award, and the NAEA Eastern Region Art Educator Award and ArtEdTech Outstanding Teaching Award,. He is also a board member of the New York State Association for Computers and Technologies in Education and the New York State Art Teachers Association.

Nathan Rødahl

Director of Orchestras at Port Angeles High School and Music Director of the Bainbridge Island Youth Orchestra in Washington

Nathan Rødahl is a rising star in music education and advocacy. He is an accomplished violinist, conductor, and vocalist who has excelled in classical and alternative traditions. As a member of the National Council for Orchestra Education and Pedagogy of NAfME, Nathan has worked to increase the visibility and relevance of orchestra education in public schools. He is grateful to be a member of the NAfME CAN Teacher Leader cohort to advance practical tools to liberate the music classroom. Nathan is also the creator of High-Strung, the Orchestra Podcast, which he created during shutdowns caused by the COVID-19 pandemic to continue enriching students' lives through the power of music. Nathan is the director of orchestras at Port Angeles High School and music director of the Bainbridge Island Youth Orchestra in Washington.

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Tim Needles Artist, Educator, Performer, and Author Twitter Tim Needles is an artist, educator, performer, and author of STEAM Power: Infusing Art into Your STEM Curriculum. He is a TEDx Talk speaker, a technology integration specialist, he also teaches art, and emerging media at Smithtown School District and Five Towns College.

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CAN Quarterly Workshop resources and information.

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Executive functions enable individuals to optimise performance on a range of tasks. They improve concentration, facilitate planning, help with the prioritisation of information, and promote flexibility in changing strategies, switching between tasks, and adapting to change (Diamond, 2013). Most models of executive functions postulate three related but separable components: inhibition or inhibitory control; shifting, cognitive flexibility or switching; and updating or working memory updating (Diamond, 2013; Gould, 2014; Lehto et al., 2003; Logue et al., 2012; Miyake et al., 2000). Inhibition or inhibitory control requires the control of thoughts or behaviour to override a response which has priority over other possible responses. Cognitive flexibility requires an individual to change perspective or switch between task demands, while updating requires individuals to maintain, add, delete and manipulate items within memory. These executive functions develop through childhood and adolescence and can be improved with practice (Diamond, 2013; Diamond et al., 2007; Miyake et al., 2000). Overall, executive functions include the activities of working memory and involve the control of actions, thoughts, emotions and general abilities including planning, solving problems, and being able to adjust to novel or changing task demands (Diamond, 1990; 2002; Lezak, 2004; Zelazo, 2004). Because of the plasticity of the brain, they continue to develop over the lifespan, although Friedman and colleagues (2008) argue that they are influenced by a highly heritable (99%) common factor and that there are additional genetic influences unique to particular executive functions. Supporting this, they presented data from a multivariate twin study examining why participants varied in each of the three elements of executive functioning and why these abilities were correlated but separable. Other research has shown that the development of executive function is complex, as neural changes are affected by synaptic proliferation, pruning, myelination, neurofilament and neurotransmitter levels. Each of these has its own developmental trajectory until, over time, the neural networks settle into more stable states. Performance on three complex executive functioning tasks has been shown to improve until at least age 15, although the pace of improvement slowed with increasing age and varied across tasks (Best et al., 2011). Understanding executive functions is important, as they impact on the quality of life and performance in school and in the workplace, and have been shown to improve with practice (Diamond, 2013; Diamond et al., 2007). This means that there is the possibility that they can be trained.

Executive functions can be measured in several different ways. Inhibition control can be assessed by a range of tests, including the Stroop test and the stop-signal task. The Stroop test requires participants to read colour words-for example, red, blue or green-presented on a screen, and then to say the colour of the font aloud. In congruent trials, the colour of the font is the same as the word, while in incongruent trials, the colour of the font does not match the word. In neutral trials, a string of asterisks appears. The Stroop effect is the difference in the average of correct responses between incongruent and neutral trials. In the stop-signal task, participants are required to fixate on a cross in the centre of a screen, which is replaced by either a square or a circle. They are instructed to push left as quickly as possible if they see a square, and to push right as quickly as possible if they see a circle. On a quarter of the trials, participants are presented with the shape, then hear a stop signal (a beep from the computer), and are instructed to withhold any response when they hear that signal. On each trial where there is a stop signal, the onset of the stop signal is adjusted until participants can correctly inhibit it for half of the responses. Performance is measured as the stop-signal reaction time-an estimate of how long it takes to inhibit an already initiated response.

Cognitive flexibility, or set-shifting, assesses the ability to shift from one task to another. Participants are shown a set of five cards each with a different figure on it. The figures switch around with each element. For example, in one problem the figures on the cards might be three green stars, one red circle, two yellow blocks, four yellow crosses and two red crosses. The participant sees four of the cards lined up in a row, and one by itself below. He or she is told to match that card to one of the four above, but not told the rule for matching. The participant does not know whether to match by shape, colour or number. Feedback is only given on whether the participant is right or wrong in the match made. Through trial and error, the participant needs to work out the rule. The score is how many correct sorts are made.

Research with Adults

Some research has highlighted differences in performance depending on the nature of the tasks. For instance, Fischer and colleagues (2013) tested 16 healthy adults on performed magnitude and pitch comparisons on numbers sung at variable pitch. The stimuli and response alternatives were identical, but the relevant stimulus attribute, pitch or number differed between tasks. Concomitant tasks required retention of either colour or location. The findings showed that the spatial association for pitch was more powerful than that for magnitude. There appeared to be no automaticity of spatial mappings in either stimulus dimension.

Research with Children

Several studies have explored the relationships between active engagement with music and executive functions in preschool children. For instance, Bugos and DeMarie (2017) studied the effects of a short-term music programme including creative activities, bimanual gross motor training and vocal development on preschool children's inhibition. Thirty-six preschool children were randomly assigned to musical activities or Lego training. Results pre- and post-programme on a matching familiar-figures test-requiring inhibition and visual discrimination-indicated fewer errors post-training by the music group compared to controls. Overall, the findings showed that music interventions involving vocal activity and improvisation on pitched and non-pitched instruments enhanced inhibition on a matching familiar-figures test, but not on the day-night Stroop test, after a six-week-long intervention with 90 minutes of weekly musical training, compared to children who undertook Lego training.

In a similar, longitudinal study in the Netherlands, Jaschke and colleagues (2018) examined cognitive skills in 147 primary-school children aged six to seven, randomly allocated to music, visual art or passive control groups. The music group significantly outperformed the other groups in planning, inhibition and verbal intelligence. Neuropsychological tests assessed verbal intelligence and executive functions. The findings showed that the children in the visual arts group performed better on visuospatial memory tasks as compared to the three other conditions. However, the test scores on inhibition, planning and verbal intelligence increased significantly in the two music groups over time as compared to the other groups.

In a quasi-experimental study where children were able to self-select to take music lessons, Roden and colleagues (2014a) worked with children aged seven to eight years old over an 18-month period. Those who self-selected to take music lessons on an instrument of their own choosing outperformed children who received science lessons on two tasks assessing updating ability: a counting-span test and a complex-span test. Working with older children aged nine to twelve, with different lengths of time spent having music lessons, Degé and colleagues (2011) assessed five different executive functions: set-shifting, selective attention, planning, inhibition and fluency. Significant associations emerged between the months of having music lessons and all the measures of executive function.

Adopting an approach where no musical notation was used, Guo and colleagues (2018) investigated the effect of a six-week instrumental practice programme playing the keyboard harmonica. Forty children aged six to eight years old were randomly assigned to either the experimental group or an untrained control group. Cognitive measurements included verbal ability, processing speed, working memory and inhibitory control. After the six-week training, only the experimental group showed a significant improvement in the digit-span test, especially the digit-span backward test that measures working memory. No significant influences were found on the other cognitive tests.

Focusing on older children aged 10 to 13, with or without musical training, Kausal and colleagues (2020) assessed attention and working memory, while brain activity was measured with functional magnetic resonance imaging. Participants were presented with a pair of bimodal stimuli, auditory and visual, and were asked to pay attention only to the auditory, only to the visual, or to both at the same time. Both groups had higher accuracy on items that they were instructed to attend to, but the musicians had overall better performance on both memory tasks across attention conditions. The musicians showed higher activation than controls in cognitive control regions, such as the frontoparietal control network, during all encoding phases. In addition, facilitated encoding of auditory stimuli in musicians was positively correlated with years of training and higher activity in the left inferior frontal gyrus and the left supramarginal gyrus, structures that support the phonological loop.

Working with adolescents, Gonzalez and colleagues (2020) examined whether there was a relationship between time spent in musical training and executive function. Adolescents between the ages of 14 and 18 completed three tests of executive function: the Tower of Hanoi test to assess working memory, the Wisconsin Card Sort test to assess cognitive flexibility, and the Stroop task to assess inhibition. They also completed a musical experience questionnaire, which included their lifetime musical practice hours. The adolescent musicians were found to have improved inhibitory control relative to non-musicians, while inhibition scores correlated with music practice time. No other elements of executive function were found to be associated with musical training. These findings suggest that the impact of musical training may not be the same for all executive functions and that there may be unique associations between certain types of training and inhibitory control.

In another mixed-age study, Nutley and colleagues (2013) focused on children and young people aged between 6 and 25. In a longitudinal study with testing two years apart, they demonstrated that musical practice had a positive association with working memory capacity, and visuospatial and verbal processing speed and reasoning skills at all time points, after taking into account parental education and participation in other school activities. Those participating in musical activities had larger grey-matter volume in the temporo-occipital and insular cortex-areas which are known to be associated with the reading of musical notation. Changes in working memory were proportional to the number of hours spent in weekly practice, but this did not apply to measures of verbal reasoning. It may be that reading notation is important in the development of at least some executive functions as it requires visuospatial working memory, rapid information processing, visuospatial decoding and a constant updating of musical notation.

Research with Older People

Reviews of the Literature

In their review, Loui and Guetta (2019) point out that music, as an intrinsically creative art form, requires bottom-up and top-down perceptual processing, attention and integration of executive functions. Attention is a subset of executive functioning and underpins goal-directed processes including conflict-monitoring, task-switching, and working memory. Considerable research has addressed the effects of musical training on these executive functions, but Loui and Guetta argue that the findings from this research have been mixed and inconclusive. Similarly, Okada and Slevc (2018b) argue that, as the relationships between musical ability and executive functions have mostly been demonstrated by correlational studies, the relationships could have a range of different explanations. Musical experience could draw on some or all aspects of existing executive functions, while musical training could improve executive functions more broadly, or the observed relationships could merely reflect selection bias, where individuals with pre-existing skills that are useful for music-learning are more likely to pursue and persist in continued music lessons. Alternatively, both explanations might be relevant, as music lessons may exaggerate pre-existing differences. While these issues continue to be debated, there is agreement that musical experience draws on particular cognitive abilities, so that the relationships between musical experience and cognitive abilities should reflect the specific abilities that are critical to musical experience. However, it is difficult to know exactly which, if any, executive functions are reliably related to musical experience.

Overview

Drawing firm conclusions about the impact of musical activity on executive functioning is challenging for a range of reasons. Some studies only investigate one cognitive process. Different assessment tasks are used to measure the same executive function, which makes comparisons difficult. While correlation studies are useful in identifying areas for further research, they tend to use different ways of categorising individuals into groups of musicians and non-musicians, or assessing different levels of musical expertise. Research has been undertaken with infants through to the elderly, sometimes with mixed-age groups, leading to the possibility of a wide range of confounding factors. The evidence also shows that musical interventions can have different effects on the three elements of executive functioning. Different research projects have shown benefits for working memory, inhibition or cognitive flexibility, although it is clear that some elements of executive functioning can be enhanced by musical training. It might be that the beneficial effects of musical experience would be more pronounced in populations with relatively lower executive functions, such as young children, elderly adults or patients with neuropsychological issues.

Overall, the evidence from studies of children, adults and older adults relating to the impact of actively making music on executive functions is inconclusive. For more definite conclusions to be drawn, more attention needs to be given to the type of programme adopted, the nature of its musical content and the quality of its delivery to the participants. Ideally music lessons should incorporate skills that build on one another with gradual increases in complexity. To enhance executive functions, activities might usefully include reading musical notation, sight-reading, playing in an ensemble and practice with complex polyrhythms. They should also start when children are young and continue over many years, ideally throughout the lifespan.

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7. Executive Functioning and Self-Regulation

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Executive functions enable individuals to optimise performance on a range of tasks. They improve concentration, facilitate planning, help with the prioritisation of information, and promote flexibility in changing strategies, switching between tasks, and adapting to change (Diamond, 2013).

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Front Psychol. 2022; 13: 968144.

Abstract

Music training has traditionally been a fundamental component of children's education across several cultures. Moreover, music training has been hypothesized to enhance the development of executive functions and improve executive performance in children. In this systematic review, we analyze the available evidence of the effects of music training on executive function performance, evaluated using validated neuropsychologic batteries and classic tasks. To achieve this objective, we performed a systematic search in three databases (PubMed, Ovid MEDLINE, and Scopus) and selected case-control or intervention studies conducted on children with neurotypical development. We analyzed 29 studies that met the inclusion criteria and observed significant heterogeneity among the music interventions and methods for assessing executive functions. The review of the available literature suggests a beneficial effect of music training in core executive function performance, primarily in inhibitory control, and to a lesser extent, in working memory and cognitive flexibility.

Keywords: executive functions, music training, children, inhibitory control, working memory, cognitive flexibility

Introduction

History has yet to show one human civilization that does not engage in cultural practices that we would categorize as music. We can only compare the fascinating compulsion to engage with music with basic human needs, such as food and shelter. Whether music is a by-product of other human capacities or evolved for specific adaptive purposes remains unclear (Savage et al., 2021). Nevertheless, music is consistently associated with beneficial properties for human health, and several studies propose a possible benefit of music as adjunctive therapy for cardiovascular and neurologic conditions (Talero-Gutiérrez and Saade-Lemus, 2018). Moreover, hypotheses around music and its role in human life include evocating emotional responses, aiding social development, and increasing academic performance or intelligence (Schellenberg and Weiss, 2013; Sachs et al., 2018; Savage et al., 2021).

From the widely known "Mozart Effect" to including "musical intelligence" in the initial theory of multiple intelligences, there are uncountable theories on the effect of music on cognitive abilities (Jenkins, 2001; Schellenberg and Weiss, 2013; Talero-Gutiérrez and Saade-Lemus, 2018). However, scientific evidence that supports these effects of music mainly exists as anecdotal, observational, or in non-randomized and non-controlled interventional studies. Even in the absence of unequivocal evidence on the impact of music on cognitive development, musical education remains a desirable ability in children and curricular education programs worldwide (Carioti et al., 2019). When evaluating these associations, it may be convenient to point at specific cognitive processes influenced by music rather than assessing cognitive development altogether.

Executive functions (EFs) are a group of mental processes oriented toward goal-directed, purposeful behaviors (Zelazo et al., 1997; Anderson, 2002; Diamond, 2013). Activation of EFs is effortful and requires the recruitment of several brain structures to avoid relying on instinct or intuitive behavior (Diamond, 2013; Cristofori et al., 2019). Different models have proposed a framework for the organization and development of EFs. In one model, there are three core EFs: inhibition or inhibitory control (including behavioral inhibition, selective attention, and cognitive inhibition), working memory (WM), and cognitive flexibility (also called set-shifting and mental flexibility) (Miyake et al., 2000; Lehto et al., 2003). In this model, the three core functions interact to build higher-order EFs: reasoning, problem-solving, and planning (Collins and Koechlin, 2012; Diamond, 2013). More recent models have relied heavily on functional neuroimaging evidence from the prefrontal cortex (PFC). These techniques have revealed functional activation of specialized prefrontal regions when performing different higher-order mental processes (Badre and D'Esposito, 2007; Koechlin and Summerfield, 2007).

Working memory is the ability to retain information while actively working on other mental processes; or inhibiting distraction and interference. Some examples of working memory are holding a question or a comment while engaging in a conversation; or keeping a previous sentence in mind while reading a book (Cowan, 2014; Diamond, 2020). Inhibitory control is the ability to exercise voluntary control over our reactions and behaviors. This EF is critical for avoiding social faux pas and controlling the response to external and internal stimuli (Diamond, 2020). Two subdomains of inhibitory control have been identified and can be evaluated using different tests. Response inhibition is the ability to restrain impulsive or prepotent motor behaviors while attentional inhibition refers to interference control (i.e., the ability to adequately process interfering stimuli) (Tiego et al., 2018). For example, the former subdomain can be evaluated using go/no-go tasks while the latter is usually evaluated with Stroop tasks. In older children, inhibitory control can also be assessed by looking at behavioral measurements of impulsiveness and self-control (Alemán et al., 2017). Lastly, cognitive flexibility, set-shifting, or mental flexibility is the ability to switch between different tasks or mindsets. This EF also includes rapidly and flexibly adapting to sudden change. An example of cognitive flexibility on an everyday basis includes taking an alternative route to a destination when the intended path is unavailable (Diamond, 2020).

In his pivotal work, Piaget observed children as young as 8-12 months purposely reaching hiding objects or using one object as a means to have access to another. This display of intentional, goal-directed behavior was considered indirect evidence of executive control and early development of executive functions (Aguiar and Baillargeon, 2002; Diamond, 2020). Further studies revealed that even younger children (3-3.5 months old) can maintain and update basic information about occluded objects (Aguiar and Baillargeon, 2002). These early insights on the development of working memory have demonstrated that object permanence and early executive control appear before the first year of life. Moreover, several studies have identified that early-life stress is associated with impaired cognitive control during adolescence, supporting the early development of executive functions (Mueller et al., 2010).

Significant improvement in cognitive flexibility and inhibitory control characterizes the late preschool and early school years. Children transition from remarkable rigidity to improved performance in tasks that require impulse control and set-shifting (Munakata et al., 2012; Chevalier et al., 2013, 2015; Diamond, 2020). Nevertheless, preschool children exhibit reactive inhibitory control in response to specific situations, yet they do not develop planning and proactive inhibitory control until around 6-8 years (Munakata et al., 2012; Chevalier et al., 2013). These findings support the theory of the hierarchical development of EFs. In this paradigm, core EFs develop first, and higher-order EFs (such as planning) appear at a later age (Davidson et al., 2006; Shing et al., 2010; Garon et al., 2014).

The quest for understanding executive control and EF development in children has led to multiple hypotheses on whether external stimuli participate in this process. Bilingualism, physical activity, and music education are some examples of interventions proposed to be positive for the development of EFs (Cristofori et al., 2019). Rauscher's classic work in 1993 described an 8-9-point increase in the intelligence coefficient (IQ) score of college students exposed to Mozart's K. 499 sonata (Rauscher et al., 1993; Talero-Gutiérrez and Saade-Lemus, 2018). Although the authors clearly stated that the effect was temporal and observed initially in adults, the public reception of these findings eventually led to the marketing of classical music to promote intellectual development in children. We now know that simply listening to music is not associated with better development of cognitive abilities (Jenkins, 2001; Rauscher and Hinton, 2006; Talero-Gutiérrez and Saade-Lemus, 2018). However, whether music education may affect overall intelligence or specific cognitive processes (such as EFs) is still a field of current research.

In this systematic review, we attempt to evaluate the available evidence on music education's effect on children's executive function development. We hypothesize that music education, not exposure, may be associated with improved domains of EFs and might have a beneficial long-term effect on cognitive development.

Methods

Study design

We conducted a systematic review based on the following PICOS question: In children with neurotypical development, is music training compared to other educational or sports intervention, associated with improved executive function performance?

Search strategy

We searched the literature systematically to identify relevant articles for inclusion in this systematic review. We performed the search on May 5th, 2022, using three databases: PubMed, Ovid MEDLINE, and Scopus. There was no filter by publication date, language, or article type. Table 1 summarizes the terms used in each database. Additionally, we performed a manual search in the references for each included paper to retrieve additional relevant studies.

Table 1

Database

Search strategy

Results

Eligibility and study selection

We applied the following inclusion criteria to determine whether articles were eligible for this systematic review: (1) Studies conducted on children from 0 to 18 years with neurotypical development and no hearing or visual impairment. (2) Case-control studies or intervention studies with a control group (quasi-experimental and randomized controlled trials). (3) Music education as described in the "music education" subheading in this section. (4) Executive function assessment in any domain described below. We selected articles that used validated neuropsychological batteries or classic tasks. Studies must also include a reproducible scoring system.

Screening for eligibility was performed by both authors simultaneously using Rayyan software based on title, study design, and abstract (Ouzzani et al., 2016). We resolved any disagreements by discussion among the authors.

Quality assessment

We evaluated each article using the Joanna Briggs Institute (JBI) clinical appraisal tools ( https://jbi.global/critical-appraisal-tools). The JBI tools provide a template for qualitative evaluation based on the study design and a checklist of the relevant items to determine the trustworthiness and relevance of the results. Given that this is a qualitative tool, the decision to exclude an article based on the assessment required discussion and unanimous agreement by both authors.

Music education

We included instrumental and non-instrumental musical interventions. Exposure to music-enriched environments or passive exposure to music (e.g., listening only) was not acceptable for this review. For experimental studies, educational interventions were significant if children received at least 30 min of daily music training for 20 days or an equivalent amount of dedicated training. For case-control studies, we included children with prior music training for a minimum of 3 months.

Evaluation of executive function

We defined executive functions (EF) as a group of higher-order inter-related processes responsible for purposeful, goal-directed behavior (Anderson, 2002; Zelazo et al., 2003; Diamond, 2013; Cristofori et al., 2019). To select eligible articles and create a data frame for data extraction, we created seven EF domains and assigned each of the tasks or neuropsychologic tests used in the included studies to one of those domains. Most of the evaluations used to assess EFs usually comprise more than one cognitive process at a time. As a result, including a task within a domain simply means that this is the chief process hypothesized to be evaluated by said task. Table 2 presents the seven EF domains included in this review.

Table 2

EF domain

Tasks

Cognitive flexibility

Trail making test, Dimensional Change Card Sort (DCCS), Wisconsin Card Sorting Task (WCST), "Peg tapping" task, NEPSY-II subtest: "Animal Sorting"

Working memory

Visuospatial-Matrix span test, Corsi Block test (forward, backward), dot-matrix task, visual pattern span, symbol search, NEPSY-II subtest: "Memory for Designs"

Verbal-Digit span (forward, backward), color span, word span, updating information task, NEPSY-II subtest: "Sentence repetition"

Inhibitory control

Go/No-Go task, Stroop task, Flanker task, Simon task, Stop-signal task, Matching familiar figures test (MFFT), NEPSY-II subtests: "Statue" and "Inhibition"

Planning and organizing

Tower of Hanoi (ToH), Tower of London (ToL), NEPSY-II subtests: "Tower" and "Clocks"

Selective attention

NEPSY-II subtest: "Auditory attention"

Fluency

NEPSY-II subtest: "Design fluency" and "Verbal fluency," Phonologic fluency task

Global EF evaluation

"Spin the Pots," WISC-III and IV batteries, NEPSY-II battery, BRIEF assessment, KBIT battery

Data extraction and analysis

We extracted the following data from the included articles: study design, population (music and non-music groups), mean age (in months), country, music education type (instrumental o non-instrumental), duration of music education (in weeks), executive function domains, tasks and scoring system, control variables, and main findings. We divided the studies for qualitative analysis purposes using the mean age of each article. The studies were classified as performed in preschoolers (<72 months), school-age children (between 72 and 144 months), and adolescents (more than 144 months). Based on the widely diverse and heterogeneous study designs, we decided to present the results as a narrative review, analyzing the impact of music education in each of the executive function domains.

Results

Search results and included studies

We identified a total of 180 records across three databases. No additional studies in the manual search were deemed acceptable for inclusion. The Rayyan software labeled 73 records as possible duplicates. We manually confirmed and excluded these studies from the search. The title and abstract screening featured the 107 remaining articles, 72 of which did not meet inclusion criteria based on the study design, population, or outcome. Lastly, we evaluated full-text eligibility in 35 studies, excluding six of them based on our previously established criteria and JBI appraisal. This systematic review includes 29 records that passed the eligibility process. Figure 1 further specifies the details of the screening process following the PRISMA 2020 Statement (Page et al., 2021).

Demographic characteristics

Among the 29 included studies, 10 were case-control studies, and 19 were experimental designs (eight quasi-experimental studies and 11 randomized controlled trials). Overall, we identified 2,693 children allocated to music education, either as "cases" in case-control studies or as part of the intervention group in experimental designs. We also identified 2,775 children in the "control" group. The mean age of all children in our systematic review was 103.4 months (8.61 years). Fifteen out of 29 studies (51.7%) were located in the United States ( n = 6), Germany ( n = 5), and Canada ( n = 4). Tables 3 , ​,4 4 contain key information of all the studies included in this review.

Table 3

Study

Intervention and summary of findings

Moreno et al. ( 2011)

Significant improvement in Go/No-Go tasks among Canadian children who participated in a high-intensity, 4-week computer-based music education program ( n = 32) compared to a visual arts program ( n = 32).

Bugos and DeMarie ( 2017)

No difference in a day/night Stroop task among 17 preschoolers who participated in a 6-week instrumental and vocal music education program compared to a Lego intervention group ( n = 17).

Bowmer et al. ( 2018)

Phase 1: 14 children allocated to non-instrumental 8-week music education demonstrated increased performance in inhibition tasks "Peg tapping" and "Baby Stroop" compared to the control group. In phase 2 (with two music education groups), results were non-significant.

Frischen et al. ( 2019)

Significant effect of time without group effect in ANOVA analysis comparing the results in NEPSY subtests among a rhythm and pitch training group and a sports intervention group in German preschoolers.

Shen et al. ( 2019)

Significant group effect in ANOVA analysis comparing 31 Chinese children who participated in a 12-week (150 min/wk) non-instrumental music education program vs. a control group ( n = 30).

Degé et al. ( 2022)

Significant improvement in the NEPSY "statue" subtest score (p = 0.02) among 11 German preschoolers who participated in a 14-week music intervention vs. a sports group ( n = 14).

Bolduc et al. ( 2021)

Significant improvement in NEPSY "Inhibition" among 50 Canadian preschoolers assigned to a 19-week non-instrumental music intervention compared to a motor intervention ( n = 52) and control group ( n = 58).

Kosokabe et al. ( 2021)

Japanese preschoolers assigned to a music play or a dramatic play program (30 sessions) displayed significantly improved performance in a Go/No-Go task vs. a control group.

Bayanova et al. ( 2022)

Case-control study evaluating 47 Russian preschoolers that received "extra music classes" with 47 who received regular music education at school. Significantly improved performance in the NEPSY "inhibition" subtest for the "extra music classes" group.

Table 4

First author

Title

Population

Intervention

EF assessment tools

Summary of outcomes

Degé et al. ( 2022) (M)

The influence of music training on motoric inhibition in German preschool children

Mixed music intervention based on singing, rhythm training, and drumming
20 min, three times a week, for 14 weeks.

"Statue" subtest from NEPSY-II

Significant enhancement in inhibition from pre- to post-test in the music training group compared to the sports control group.

Bayanova et al. ( 2022) (M)

Difference in executive functions development level between two groups

"Extra" music classes twice a week for at least 1 month (instrumental and comprehensive music training)

NEPSY-II subtests: "Sentence Repetition," "Memory for Designs," "Inhibition," "Statue," Dimensional Change Card Sort (DCCS)

Extra music classes group demonstrated improved performance in "sentence repetition," "DCCS" and "inhibition." Complete results are summarized in Table 1 of the original paper.

Frischen et al. ( 2021) (I)

Music lessons enhance executive functions in 6- to 7-year-old children

94 School-age children in three groups
1. Music training group
N = 27
2. Visual arts training group
N = 31
3. Control group N = 37

Music/Arts training once per week for 45 min by professional music or visual arts teachers, training was instrument-specific during an 8-month training period with homework. The control group had no intervention.

NEPSY-II subtests: "inhibition," "auditory attention," "animal sorting," "design fluency," "clocks" and the Working Memory Test Battery subtests: "Matrix," "Corsi Block"

ANOVA analysis revealed significant improvement with music intervention in inhibition and visuospatial working memory in the pre- to post-test comparison against the other groups. There was also significant improvement in pre- to post-test scores within the music group on the selective attention EF, however, post-test scores compared to other groups were non-significant.

Bolduc et al. ( 2021) (N)

The impact of music training on inhibition control, phonological processing, and motor skills in kindergarteners: A randomized control trial

160 Preschoolers assigned to three groups
1. Music intervention group
N = 50
2. Motor training group
N = 52
3. Control group N = 58

Motor and music interventions with six themes covered in 19 weeks, twice a week, 40 min each (detailed description in the methods)

NEPSY-II subtest: inhibition-inhibition (INI) task

The music intervention was significantly associated with improved performance in the INI task in three tests of the ANOVA (conditions, time, time * conditions)

Frischen et al. ( 2019) (N)

Comparing the effects of rhythm-based music training and pitch-based music training on executive functions in preschoolers

76 Preschoolers in three groups
1. Pitch training group N = 27
2. Rhythm training group
N = 26
3. Sports training group
N = 23

Non-instrumental pitch training and rhythm training. 20 min of training three times a week for 20 weeks.

NEPSY-II subtest: "Statue." DCCS standard and border versions, Matrix span test, Corsi Block test

Significant time effect for all the evaluated executive functions. A significant effect of group was only observed when comparing inhibitory control between rhythm training and the sports group.

Bowmer et al. ( 2018) (N)

Investigating the impact of a musical intervention on preschool children's executive function

Phase 1
Three groups: (A) Music
N = 14, (B) and (C) No Music
N = 25
Phase 2
Three groups: (A) Music (16-weeks) N = 14, (B) Music (8-weeks) N = 15, (C) Visual arts N = 12

Group A initiated music intervention in phase 1, group B in phase 2. The intervention were non-instrumental lessons. 40 min weekly, 8 weeks each phase, two phases.

Peg Tapping, Truck, ToL, DCCS, Baby Stroop, Spin the pots, BRIEF-P

Phase 1 showed Group A (music) to have significantly improved performance in planning and inhibition skills. Phase 2 found no significant difference in performance between the groups. However, the music intervention was nearly significant for improved performance in the peg tapping task ( p = 0.06).

Jaschke et al. ( 2018) (I)

Longitudinal analysis of music education on executive functions in primary school children

147 School-age children in four groups
1. Music with prior knowledge N = 38
2. Music with no prior knowledge N = 42
3. Visual arts N = 29
4. No arts control N = 37

Musical lessons, instrument-based training receiving 1-2 h lessons weekly as part of the school curriculum. Visual arts: General lessons in painting, sculpting, and art history.

Tower of London (scoring method in the supplementary material-designed by the authors), Klingberg memory task with dot matrix, scoring was designed by the authors. Inhibition: Go/No-Go task

WM: Significant increase in the visual arts group compared to the no arts and both music groups. Planning: significant increase in the two music groups compared to visual arts and control. Inhibition: Significant group × time interaction in the two music groups.

Herrero and Carriedo ( 2018) (C)

Differences in updating processes between musicians and non-musicians from late childhood to adolescence

138 Late school-age children and adolescents in 4 groups
1. 3rd−4th grade, N = 37 with 3 years of music training
2. 3rd−4th grade, N = 37 with no musical training
3. 9th−10th grade, N = 32 with 7 years of music training
4. 9th−10th grade, N = 32 with no music training

Musicians had been exposed to music theory and instrument interpretation and composition in a traditional conservatory (at least 3 years)

WM: Updating information task as described by Beni and Palladino ( 2004). 24 lists each with 12 auditory words in a standardized computer software

Musicians outperformed the control group in all experimental conditions for the proportion of intrusion errors but not in the recall of critical words (inhibitory and maintenance processes and resistance to proactive interference)

Saarikivi et al. ( 2016) (I)

Cognitive flexibility modulates maturation and music-training related changes in neural sound discrimination

90 Late school-age children and adolescents in two groups
1. Prior music training starting around age 7 years
N = 43
2. No prior music training
N = 47

Instrumental music training starting around 7 years. Mean starting age 6.5 yrs and mean 3.07 yrs of training at the time of measurement

NEPSY-II test battery: Inhibition, verbal fluency, and trail-making test subtests (part B). Backward digit span test from WISC-IV

Musically trained participants had shorter completion times than non-trained participants in naming, inhibition, and set-shifting tasks. There were no group differences in performance.

Degé et al. ( 2011) (C)

Music lessons and intelligence: A relation mediated by executive functions

90 School-age children, different degrees of music training
1. No music lessons N = 29
2. 1-4 years of music training N = 45
3. More than 4 years of music training N = 16

Case-control study. Prior music training was assessed using a questionnaire answered by the parents to evaluate the degree of musical training and the number of instruments.

NEPSY-II: Animal sorting, Auditory attention, Clocks, Inhibition, Design fluency

Positive moderate correlation between duration of music lessons and the different executive functions. Specific testing for executive function revealed mediation effects of selective attention and inhibition.

Schellenberg ( 2011) (C)

Examining the association between music lessons and intelligence.

106 School-age children in two groups

Tower of Hanoi, WCST, Stroop test, Phonologic and semantic fluency, Digit Span

The effect of music training on executive function was non-significant.

Sachs et al. ( 2017) (M)

Increased engagement of the cognitive control network associated with music training in children during an fMRI Stroop task.

56 School-age children in three groups
1. Music intervention group N = 18
2. Sports intervention group
N = 18
3. Control group N = 20

Youth Orchestra of Los Angeles: 7 weekly hours of music learning divided into string instruments, choir, and musicianship.

WASI-II, digit span, block design, matrix reasoning, Stroop task, "hearts and flowers," flanker fish task

No significant differences in behavioral performance in any of the tests evaluated.

Nie et al. ( 2022) (N)

Effects of music training on the auditory working memory of chinese-speaking school-aged children: A longitudinal intervention study.

110 School-age children in three groups
1. Music intervention group
N = 34
2. Language education group N = 46
3. Control group N = 30

Music intervention 1 hour daily, 5 days a week for a year using the Kodaly method (non-instrumental)

WISC-IV: Digit span test (forward and backward), block design, and vocabulary.

The musically trained group showed significant superiority compared to the control group in the DS backward performance only.

Hennessy et al. ( 2019) (M)

Effects of music training on inhibitory control and associated neural networks in school-aged children: A longitudinal study.

88 School-age children were randomized into three groups
At the 4-year follow up 60 children remained in study
1. Music intervention group
N = 28
2. Sports intervention group N = 29
3. Control group N = 31

Youth Orchestra of Los Angeles: 7 weekly hours of music learning divided into string instruments, choir, and musicianship.

WASI-II, digit span, block design, matrix reasoning, Stroop task, "hearts and flowers," flanker fish task

No significant differences in the performance on behavioral tasks. However, in a delayed gratification task they did find that the music group tends to choose larger rewards.

Kosokabe et al. ( 2021) (N)

Self-directed dramatic and music play programs enhance executive function in Japanese children.

218 Preschool children assigned to 3 groups
1. Music play program N = 92
2. Dramatic play program
N = 51
3. Control group N = 75

Music play program created based on the principles of Orff-Schulwerk. The main activities of the music play program included six units, and children experienced each unit five times, resulting in 30 lessons in total.

DCCS, "Hand game"-Go/NoGo, Backward digit and word span

Significant improvement in the groups of dramatic play and music play programs in the working memory and inhibitory control tests compared to the control group.

Alemán et al. ( 2017) (I)

The effects of musical training on child development: A randomized trial of El Sistema in Venezuela.

2914 School-age children in two groups (ITT analysis)
1. Early admission (2012) to music program N = 1480
Only 794 participated in the intervention
2. Delayed admission (2013) to music program N = 1434
Only 208 participated in the intervention

El Sistema: In the initial year of participation, school-aged children receive instruction in both an instrument and choral singing. Teacher-led musical instruction occurs several times per week. The instruction takes place in a full ensemble.

Go/No-go, Flanker task, Delay discount, Tower of London, Score forward and backward

There was a significant improvement in self-control in the intervention vs. control groups (assessed by guardian-reported questionnaires) however, there were no significant findings in any of the executive functions evaluated on the sample as a whole. In the sub-group analysis, they did find significant improvement in the go/no-go task among older children (10 to 14 years)

Music education and other interventions

We identified a heterogeneous array of music interventions. These were classified into four groups: instrument-based music training (I), non-instrumental music training (N), mixed music education programs (M), and prior classic or private music lessons (C). Interventions were considered to be instrument-based when more than half of the lessons were instrumental; eight studies satisfied this criterion. In most of these studies, children were able to select the instrument of their preference; however, in other studies the instrument was defined for all the participants (Guo et al., 2018). Non-instrumental programs ( n = 10 studies) mostly included lessons based on rhythm, pitch, or vocal training. Some of these interventions were structured around traditional strategies for music education such as the Kodály method.

Five studies were classified as having mixed music education programs that included instrument-based lessons and non-instrumental training. Moreover, we identified six case-control studies evaluating prior classic or private music training. Classic music training was defined as participating in conservatories or orchestra-based programs. Most music training in this group is hypothesized to be instrumental, however, since music training in these cases was not controlled within an experimental study design, we decided to classify them separately. Control interventions included visual arts, sports, and second-language programs. Table 4 contains detailed information on the interventions in each study and a letter indicating the group to which they were assigned.

Executive function assessment

The assessment tools used to evaluate the EF domains were classic neuropsychologic tasks and validated batteries such as NEPSY-II. Table 2 summarizes the tests used in the assessment of each EF domain. The most frequently assessed EF domains were the three core executive functions: inhibitory control ( n = 23, 79.3%), working memory ( n = 19, 65.5%), and cognitive flexibility ( n = 17, 58.6%). The studies also examined fluency ( n = 7), planning and organization ( n = 6), and selective attention ( n = 5). Lastly, 12 out of the 29 articles (41.3%) included an overall evaluation of executive control.

Executive function domains

Inhibitory control

Twenty-three out of 29 studies investigated the influence of music education on inhibitory control. Preschoolers ( n = 9), school-age children ( n = 12), and adolescents ( n = 2) participated in these studies. Studies with preschool samples used one or more of the following tasks: Stroop, Go/No-Go, and NEPSY "inhibition" or "statue" subtests (Moreno et al., 2011; Bugos and DeMarie, 2017; Bowmer et al., 2018; Frischen et al., 2019; Shen et al., 2019; Bolduc et al., 2021; Kosokabe et al., 2021; Bayanova et al., 2022; Degé et al., 2022). Musical education at this age was primarily non-instrumental and centered on rhythm or pitch training. However, some studies used structured interventions such as the Orff method and music play programs; others included instrument-based education. The intensity of the music education program ranged from 40 min once a week to 2 h daily every weekday. Control variables included in these studies were age, school year, sex, parental education, and prior music training. Six of nine studies on preschoolers identified a significant improvement in inhibitory control. Table 3 summarizes the most relevant findings of these studies.

We identified 12 studies in school-age children, five case-control studies with prior instrumental music learning, three studies with an instrument-based music education program, and four orchestra-based interventions. Six studies observed significantly improved performance in inhibition tasks using the Go/No-Go, Stroop, Simon, and the NEPSY tests (Degé et al., 2011; Schellenberg, 2011; Zuk et al., 2014; Alemán et al., 2017; Holochwost et al., 2017; Joret et al., 2017; Sachs et al., 2017; Guo et al., 2018; Jaschke et al., 2018; Hennessy et al., 2019; Frischen et al., 2021; Chen et al., 2022). Table 4 contains detailed information for each article. In adolescents, the studies by Putniken and Saarkivi failed to identify any improvement in inhibitory control measurements among those with prior music training. Nevertheless, the completion time for the tests was significantly faster in the music-trained groups (Saarikivi et al., 2016; Putkinen et al., 2021).

The largest study in this systematic review evaluated 2,914 school-age children in Venezuela in a year-long, high-intensity, orchestra-based music education program ( n = 1,480) and a control group ( n = 1,434) (Alemán et al., 2017). This study failed to identify a significant difference in executive function testing among the groups. Comparably, the article by Sachs et al. ( 2017) evaluated children who participated in the Youth Orchestra of Los Angeles and those who did not. This study failed to identify significant associations between orchestra-based music training and executive function performance. Nevertheless, a similar study design by Hennessy et al. ( 2019) identified improved accuracy in the flanker task after 3-4 years of music training, as well as improved performance in a delayed gratification task.

Lastly, the evaluation of self-control and impulsiveness using guardian-reported questionnaires in the study by Alemán et al. ( 2017) identified a significant improvement throughout the music education program. Several variables such as the length of the interventions and the tasks used to evaluate executive performance may explain the heterogeneity of these results. For instance, Sachs et al. ( 2017) and Hennessy et al. ( 2019) measured inhibitory control using the Stroop and Flanker fish tasks while Alemán et al. ( 2017) used a Go/No-Go task. Moreover, Alemán et al. ( 2017) also evaluated self-control and impulsiveness through a questionnaire, which are intrinsically linked to the appropriate development of inhibitory control in older children.

Working memory

Neuropsychologic testing divides the evaluation of working memory (WM) into visuospatial and verbal WM. As a result, we extracted data from the studies in two separate subdomains for WM. Overall, we identified 19 studies that evaluated at least one component of WM (15 studies evaluated visuospatial WM and 13 verbal WM). WM was evaluated across all age groups: eight studies included preschoolers, nine school-age children, and two adolescents. The most frequently used instruments to assess visuospatial WM were the Matrix span test, Corsi block test, and Dot-matrix task. The studies mostly used digit and word span (forward and backward) tasks to evaluate the verbal WM. Detailed information for each of the studies included in this domain is available on Table 4 .

Out of the eight studies on preschool children, only three showed significant improvement in a WM subdomain. Bayanova et al. ( 2022) evaluated several EFs using NEPSY-II subtests in a Russian preschool sample by comparing children who received "extra music classes" ( n = 47) to those that did not ( n = 47). The results demonstrated significantly improved performance in the "Sentence repetition," "DCCS," and "Inhibition" subtests, which evaluate verbal WM, cognitive flexibility, and inhibitory control, respectively. Kosokabe et al. ( 2021) also identified a significant association between music training (music play program based on the principles of Orff-Schulwerk) and EFs. In this study, children who participated in the music play and dramatic play programs had significantly better performance in the Go/No-Go task (inhibitory control) and the Backwards digit and word span tests (verbal WM).

Guo et al. ( 2018) allocated 40 Japanese school-age children to either a 6-week harmonica lessons program ( n = 20) or a control intervention ( n = 20). After the music training program ended, the results showed a significant group × time interaction ( p = 0.015) in the digit span backward (DSB) performance, suggesting an improved verbal working memory with harmonica training. Comparably, Nie et al. ( 2022) also identified a significant improvement in the DSB performance ( p < 0.001) after a year-long music intervention using the non-instrumental; Hungarian, Kódaly method. Neither of these RCTs observed improved performance in visuospatial WM or forward digit/word tasks.

The only study to identify improved performance in visuospatial WM was that by Frischen et al. ( 2021) in a German sample ( n = 94, mean age: 78.67 months). In this RCT, 25 children participated in a music arts program once per week for 45 min for 8 months. Neuropsychologic testing included several NEPSY-II and the Working Memory Test Battery subtests: "Matrix" and "Corsi block." ANOVA analysis revealed a significant group effect in inhibitory control and visuospatial working memory subtests. Other studies in preschoolers and school-age children did not identify differences in WM tests between groups exposed to a music education program and those that participated in other interventions (Moreno et al., 2011; Roden et al., 2014; Janus et al., 2016; Bowmer et al., 2018; Herrero and Carriedo, 2018; Jaschke et al., 2018; Frischen et al., 2019).

In the study by Janus et al. ( 2016), children who participated in education programs for French as a second language outperformed those who received music training in all behavioral measurements of executive function. Similarly, Jaschke et al. ( 2018) allocated 147 school-age children from a Netherlands sample to music training, visual arts training, or no arts program. Visuospatial WM significantly improved in the visual arts group compared to other interventions. In Finnish adolescents, two case-control studies failed to identify a significant effect of music training on WM performance using NEPSY tests (Saarikivi et al., 2016; Putkinen et al., 2021).

Cognitive flexibility

Cognitive flexibility is one of the three core EFs, and several authors hypothesize that music training has a positive influence on its development. We identified 17 studies that evaluated cognitive flexibility using the trail-making test, DCCS, WCST, or the NEPSY-II subtest: "Animal Sorting." The studies included preschoolers ( n = 6), school-age children ( n = 9), and adolescents ( n = 1). Detailed information for each of the studies included in this domain is available on Table 4 .

Three studies in preschoolers found statistically significant improvement in cognitive flexibility measured using the DCCS task. Ilari et al. ( 2021) used a quasi-experimental design to allocate 51 preschoolers to a 5-week, in-school music classes and 52 children to a collective non-musical education program. They evaluated several EFs and identified significantly improved performance in the DCCS task in the music education group. After adjusting for age, sex, and baseline cognitive evaluation, post-test results remained significant. Shen et al. ( 2019) replicated similar findings in a Chinese population ( n = 61, mean age: 50.86 months) allocated to either a 12-week non-instrumental music education program ( n = 30) or a control group ( n = 31). ANOVA analysis found a significant group ( p < 0.01) and group × time ( p < 0.05) interactions in the DCCS score for cognitive flexibility. This study also identified improved performance in the dot-matrix task (visuospatial WM), backward digit span (verbal WM), and Stropp task (inhibitory control). Moreover, they also found that the improvement induced by music education persisted 12 weeks after the intervention.

Zuk et al. ( 2014) compared 15 school-age children with at least 2 years of instrument-based music training with 12 children without prior music education. Children in the music training group had significantly improved results in the trail-making test compared to the control group ( p = 0.026). Similarly, in a RCT, Holochwost et al. ( 2017) compared 135 children enrolled in an intensive, instrument-based music course inspired by "El Sistema" with 130 children in a control group. This study found that the music education program was associated with fewer errors in the card-sorting tasks. After adjustment for baseline performance, the music intervention had a greater effect size on the high-performance children.

Despite these positive results, several other studies did not find significant associations between music education and cognitive flexibility tests. The article by Saarikivi et al. ( 2016) measured cognitive flexibility using the trail-making test from NEPSY-II among a case-control population of Finnish adolescents. The results did not identify a significant group effect interaction in ANOVA, yet the completion time for music-trained children was faster. Comparably, 10 studies (three in preschoolers and seven in school-age children) did not identify a significant association between music training and performance in card-sorting tasks or NEPSY subtests (Degé et al., 2011; Schellenberg, 2011; Park et al., 2015; Sachs et al., 2017; Frischen et al., 2019; Kosokabe et al., 2021; Bayanova et al., 2022; Chen et al., 2022). Once again, the largest study in our review did not identify positive results in the cognitive flexibility tasks among 1,480 children who participated in a year-long, instrument-based education program (Alemán et al., 2017).

Fluency

There is an ongoing debate on whether verbal fluency should be considered a language component or an executive function. Some authors have found that the results in EFs assessments do not correlate with those obtained in fluency tests (Whiteside et al., 2016). As a result, we decided to consider fluency a different EF domain that requires separate analysis. Seven articles evaluated verbal or design fluency using either the NEPSY-II subtests or the phonologic fluency task. A total of 572 children ( n = 261 allocated to music education) participated in the studies included in this domain. The mean age was 110.70 months (9.2 years), and in five of the studies, participants were school-age children (Degé et al., 2011; Schellenberg, 2011; Zuk et al., 2014; Janus et al., 2016; Saarikivi et al., 2016; Frischen et al., 2021; Nie et al., 2022).

In a case-control study, Zuk et al. ( 2014) evaluated 27 school-aged children, 15 of which received at least 2 years of instrument-based music training. This study found significantly improved scores in the "Verbal Fluency" subtest of the DKEFS battery ( p = 0.016). However, the remaining studies in this domain did not identify a significant association between music education and fluency test results. Two randomized controlled trials (RCTs) from a German and a Chinese population used subtests from NEPSY and WISC-IV to assess fluency after an instrumental and non-instrumental intervention. Both RCTs failed to identify a significant association between music training and fluency evaluations (Frischen et al., 2021; Nie et al., 2022). Moreover, in a preschool sample, Janus et al. ( 2016) found that learning French as a second language was associated with improved verbal fluency vs. a non-instrumental, computerized; music education program.

Selective attention

Diamond and other authors consider selective attention a subdomain of inhibitory control and not a core executive function per se (Diamond, 2013; Cristofori et al., 2019). However, Grinspun and Veer consider selective attention a separate cognitive process that participates in the development of inhibitory control (Veer et al., 2017; Grinspun et al., 2020). Therefore, we included a domain for selective attention, acknowledging the close relationship that this EF domain has with inhibitory control. Four studies evaluated the effects of music education on selective attention using the "Auditory Attention" subtest of NEPSY-II and the "Peg tapping" task (Degé et al., 2011; Bowmer et al., 2018; Frischen et al., 2021; Putkinen et al., 2021). A total of 303 children ( n = 159 allocated to the music intervention) participated in these studies. Studies included preschoolers ( n = 1), adolescents ( n = 1) and school-age children ( n = 2); mean age was 116 months (9.66 years).

Bowmer et al. ( 2018) identified improved performance in the "Peg tapping" task among 29 preschoolers that participated in a non-instrumental music intervention for 8 weeks ( n = 15) and 16 weeks ( n = 14) compared to 12 children that participated in a visual arts education program. However, despite the positive findings of this study, the results were barely non-significant ( p = 0.06). Similarly, Putkinen et al. ( 2021) did not identify a significant association between prior music education and selective attention performance (NEPSY subtests) in Finnish adolescents.

In contrast, Degé et al. ( 2011) identified a significant association between school-age children with prior music education and selective attention performance in NEPSY subtests. This case-control study included 61 children with parent-reported music education and 29 age-matched controls. The results demonstrated a moderately positive correlation between duration of music lessons, selective attention, and IQ; after adjusting for sex, parental education, and family income. In a RCT, Frischen et al. ( 2021) identified a significant improvement in selective attention pre- to post-test scores after participating in an 8-month music education program for German school-age children. Nevertheless, the study did not identify improvement in post-test scores when comparing the music group to a visual arts group and a control (no intervention) group.

Planning and organization

Six studies evaluated the Planning and Organization (P&O) domain using either the Tower of London (ToL), Tower of Hanoi (ToH), or the NEPSY subtests "Tower" and "Clocks." These studies included 3,508 children ( n = 1,780 allocated to the music education groups). However, 2,914 children participated in one study (Alemán et al., 2017). Studies included school-age children ( n = 5) and preschoolers (n =1); the mean age was 113.48 months (Degé et al., 2011; Schellenberg, 2011; Holochwost et al., 2017; Bowmer et al., 2018; Frischen et al., 2021).

None of the studies in the school-age children ( n = 5) category found a significant association between participating in a music education program or having prior music education and the P&O domain performance (Degé et al., 2011; Schellenberg, 2011; Alemán et al., 2017; Holochwost et al., 2017; Frischen et al., 2021). However, in the previously described study by Bowmer et al. ( 2018), there was a significant improvement between the preschoolers who received non-instrumental music education for 8 weeks ( n = 15) and the control group. This effect was observed only in phase 1 of the study, consisting of one music intervention group and two control groups. In phase 2 (with two music intervention groups), there were no significant associations between music education and P&O test results.

Discussion

The music interventions used in this review are heterogeneous. There is no consensus on the adequate intensity for a music education program to have a maximal impact on cognitive function. Consequently, the interventions in these studies ranged from less than an hour per week to twice-daily hour-long sessions on weekdays. Similarly, the music education programs lasted from 3 weeks to a year, and in case-control studies, some children received music training for several years prior to measuring executive functions.

We also observed heterogeneity among the different strategies to deliver music education. Non-instrumental interventions included programs that emphasize pitch and rhythm training, musical play programs, and structured interventions such as those using the Kódaly method. Instrumental interventions included different musical instruments and varied from private at-home lessons to orchestra-based programs. In particular, various studies referenced and used the "El Sistema" orchestra-based program in Venezuela as guidance to develop their interventions (Alemán et al., 2017; Sachs et al., 2017; Hennessy et al., 2019).

Determining whether one type of music education outperforms other music-based strategies remains unclear. We did not consistently identify an intervention that yielded better outcomes in EF performance compared to others. We did hypothesize that consistent with popular beliefs, instrumental music education and orchestra-based music programs would be associated with increased performance in EFs. Surprisingly, we observed minimal-to-no improvement in at least three large RCTs. The study by Alemán et al. was conducted in the "El Sistema" program in Venezuela, while the studies by Sachs and Hennessy included a sample that participated in the Los Angeles Youth Orchestra, inspired by the Venezuelan music education program (Alemán et al., 2017; Sachs et al., 2017; Hennessy et al., 2019).

We did identify evidence supporting an effect of music training on inhibitory control, particularly among preschool-age children. In the nine studies that evaluated inhibitory control in this population, six identified significantly improved performance after music intervention. Music training requires children to pay appropriate attention to sensory stimuli with different characteristics and to integrate multiple stimuli into a rhythm or a melody (Shen et al., 2019). The ability to identify, follow and recreate a rhythm also requires impulse control and authors hypothesize that it could improve inhibition as an EF (Joret et al., 2017). Furthermore, in the study by Degé et al. ( 2022), the authors identified a larger effect size with an instrumental, active music training program. They hypothesize this effect to be larger due to the nature of the music intervention, suggesting that learning how to play music may have a greater impact on inhibitory control compared to non-instrumental interventions.

Only half of the studies in school-age children identified a significant effect of music training in inhibitory control. Although these studies mostly included instrument-based music programs, one possible explanation is that the tests used to evaluate inhibitory control may be more easily solved by children in this age group compared to preschoolers. Moreover, EFs develop rapidly during the first 3-to-5 years and then continue to evolve during the school years and adolescence to reach an adult-level performance (Best and Miller, 2010). The fact that most articles on preschool-aged children support the effect of music training on inhibitory control probably reflects an age-dependent benefit of music in the development of EFs. In line with this hypothesis, we did not observe improved performance in inhibitory control in the studies performed on adolescents. However, adolescents exposed to music training were able to complete the test faster, with a similar amount of errors (Saarikivi et al., 2016; Putkinen et al., 2021).

Evidence of music education in EFs other than inhibitory control was incongruous. The studies did not consistently identify a significant improvement in EF task performance for the remaining core EF domains (working memory and cognitive flexibility). In the working memory domain, we identified studies that observed improved performance in verbal working memory after music training. However, non-musical interventions such as visual arts training and learning a second language outperformed music in the visuospatial and verbal WM subdomains (Janus et al., 2016; Frischen et al., 2021). The case for cognitive flexibility was similar: although some studies did identify significant improvement in sorting tasks, primarily among preschoolers, the larger studies in school-age children and adolescents found no associations (Zuk et al., 2014; Shen et al., 2019; Ilari et al., 2021).

On the other hand, the relation between music education and non-core EF domains is even weaker. Only one study identified improved performance in planning tasks after music training, and those results became non-significant when replicating the findings with a second music education group (Bowmer et al., 2018). Similarly, whether we consider fluency to be an EF or a cognitive ability related to language development, the results by Janus et al. ( 2016) suggest that the effect of music education on verbal fluency is probably negligible compared to language-based educational interventions. In selective attention, one study did identify a near-significant improvement in preschoolers with music training (Bowmer et al., 2018). We hypothesize that due to the relationship between selective attention and inhibition, music education might have an effect in this EF domain. However, only four studies evaluated selective attention independently.

We also observed that orchestra-based interventional studies were unable to identify an improvement in EF task performance. However, these studies included school-age children without prior music education (Alemán et al., 2017; Sachs et al., 2017; Hennessy et al., 2019). Failure to identify an effect of music training may be explained by the age-dependent effect that was previously hypothesized. In contrast, some case-control studies did identify an association between prior music training and EF performance (Degé et al., 2011; Bayanova et al., 2022; Chen et al., 2022). This raises the question of whether RCTs in school-age children are the ideal study design to evaluate an effect that is probably acquired early in life. Perhaps further RCTs evaluating music training in preschool children with a long follow-up will be able to determine the effect of early music training.

The challenges of clinical research on music education and child development have been addressed by several authors. Of note, the definition of music education can be widely variable and as we observed in this review, there are several variables that are not standardized. Some examples include the amount of training ("dosage-effect") and the time of follow-up. Moreover, the evaluation of music education also brings up philosophical and political questions that, although not within the scope of this article, are worth mentioning. What is the role of music education in a child's life, and which are the reasons to encourage music training, if any? What should be the approach to advocating for music education on a political ground where it can be interpreted as part of a liberal agenda? (Ilari, 2020). Studies evaluating the effects of music education in child development will continue to raise these questions for discussion.

This review has some limitations that should be addressed as well. Only two blinded authors participated in the selection process and we used three databases to retrieve relevant articles. However, we consider that most of the literature on this topic was evaluated in our selection process given that this is a highly specific subject. We also used appropriate tools to critically appraise the studies retrieved in the search and presented all the results with the most relevant information summarized in Table 4 .

Through this study, we can conclude that the available evidence suggests a beneficial effect of early music training in the development of EFs, particularly inhibitory control, and to a lesser extent, working memory and cognitive flexibility. The size of this effect and the role of age are questions that can only be solved through further research. However, studies that evaluated music education among preschoolers were more likely to identify a significant effect in executive performance compared to older children. Active processes of maturation and neurodevelopment may explain why younger children are more susceptible to the effects of music training (Rauscher and Hinton, 2006).

Additionally, active music interventions appear to be more strongly associated with EF development in older children. Interestingly, interventions in preschoolers were mostly non-instrumental and yet several studies found a significant effect of music training in this population. These mixed results reflect the complexity of music training and may encourage hypotheses aiming to compare the effects of different music education techniques in cognitive development. Through this systematic review we also aim to lighten the interest in studying the impact of music education in neurodevelopment and executive performance.

Data availability statement

The original contributions presented in the study are included in the article, further inquiries can be directed to the corresponding author.

Author contributions

DR-G and CT-G conceived and designed the systematic review, performed the critical appraisal and full-text selection of the articles, filtered the articles by title and abstract, and read and edited the initial draft of the manuscript. DR-G performed the search and was responsible for writing the initial draft of the manuscript. All authors read and approved the final version of this manuscript.

Conflict of interest

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Publisher's note

All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article, or claim that may be made by its manufacturer, is not guaranteed or endorsed by the publisher.

Acknowledgments

Universidad del Rosario supported this review. The sponsors had no role in the design, data collection, or analysis.

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Articles from Frontiers in Psychology are provided here courtesy of Frontiers Media SA

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Effects of music training in executive function performance in children: A systematic review

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Music training has traditionally been a fundamental component of children's education across several cultures. Moreover, music training has been hypothesized to enhance the development of executive functions and improve executive performance in children. ...

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Steven J. Holochwost et al, "Music Education, Academic Achievement, and Executive Functions," Psychology of Aesthetics, Creativity, and the Arts," 11, no. 2 (2017): 147-166.

Abstract:

This study examined whether music education was associated with improved performance on measures of academic achievement and executive functions ― a set of cognitive processes humans use to set and pursue goals. The participants were 265 children (enrolled in first through eighth grade) and 58% female, with 86% identifying as African American. The students were selected by lottery to participate in an out-of-school program offering individual and large ensemble training on orchestral instruments. Measures of academic achievement (standardized test scores and grades in English language arts and math) were taken from participants' academic records, and executive functions (EFs) were assessed through students' performance on a computerized battery of common EF tasks. Results indicated that students who participated in the music education program had higher academic achievement and exhibited gains in executive functions and memory. Findings are discussed in light of current educational policy, with a particular emphasis on the implications for future research designed to understand the pathways connecting music education and EFs.

Key Findings:

Elementary school students (first through eighth grade) assigned at random to participate in an intensive (five days per week) out-of-school music program exhibited higher levels of academic achievement than their peers.

Students assigned to the program also exhibited better performance on measures of executive functions.

The largest differences in academic achievement were observed between students in the music program for two to three years and their control-group peers.

Results indicated that, relative to controls, students in the music education program scored higher on standardized tests, earned better grades in English language arts and math, and exhibited superior performance on select tasks of EFs and short-term memory.

Further analyses revealed that although the largest differences in performance were observed between students in the control group and those who had received the music program for two to three years, conditional effects were also observed on three EF tasks for students who had been in the program for one year.

Significance of the Findings:

These findings suggest that music education may cause improvements in students' academic achievement and EFs, and that these improvements may be generalizable to demographically diverse populations of elementary school students. However, the intensive schedule of the program (five days per week, two hours per day), together with the fact that some effects were not observed until students had been in the program for two years, indicate that these improvements may require substantial investments of time and resources to be realized.

Methodology:

Participants were 265 children (enrolled in first through eighth grade) and 58% female, with 86% identifying as African American. The students attended a school in a historically underserved area of a major northeastern city in the United States. Academic achievement was measured using a combination of course grades and standardized test scores; EFs was indexed using computerized versions of nine EF tasks. Data were analyzed using a series of hierarchical linear models that tested the effects of the program on these measures of academic achievement and executive functions.

Limitations of the Research:

The measures of executive functions featured a forward digit span task of short-term memory, rather than a backward span task of working memory.

Analyses did not control for students' socioeconomic status or IQ.

Although the study featured an active control group (an after school homework club), the results cannot exclude the possibility that a program offering instruction in another arts discipline would have conferred similar benefits.

Questions to Guide New Research:

What accounts for the apparent effects of music education on academic achievement and executive functions? Specifically, can these effects be partially explained by:

The potential for music to enhance students' motivation or task persistence?

The possibility that music reorganizes students' neurological and neurophysiological function to better support learning?

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Music Education, Academic Achievement and Executive Functions - ArtsEdSearch

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Steven J. Holochwost et al, "Music Education, Academic Achievement, and Executive Functions," Psychology of Aesthetics, Creativity, and the Arts," 11, no. 2 (2017): 147-166.

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The benefits of arts for kids are many and include problem-solving abilities, creativity, literacy, fine & gross motor skills, connection, and understanding. Updated July 2023
Everyone says art and creativity are important, but are you wondering what the actual benefits of arts for kids ?

Here are some of the many ways that art benefits kids of all ages!

What are the Benefits of Art?
Excerpted from The Artful Parent: Simple Ways to Fill Your Family's Life with Art & Creativity, © 2021 by Jean Van't Hul. Reprinted by arrangement with Roost Books The truth is that art is vital, if somewhat intangible, and that if children engage in hands-on art activities, they learn much better in all disciplines. , an imprint of Shambhala Publications Inc., Boston, MA.

Educators tell us that art encourages fine motor skills, neural development, and problem-solving abilities and that it can be used effectively to teach and understand other key subjects such as reading, writing, math, and science.

Therapists tell us that art is valuable because it allows children to process their world, to deal with sometimes scary emotions in a safe way, and because it gives them critical sensory input.

Artists tell us that art is important for its own sake-as a source of beauty and expression, as well as simply for the process of creating.

Kids tell us that art is fun, an activity they enjoy.

Parents tell us that art is vital to their families because it keeps everyone engaged and happy and helps with the sometimes difficult transitions of the day.

Art is naturally linked to creativity, an attribute that is increasingly being touted as one of the most important factors for the success of individuals, organizations, and cultures.

Why Kids Thrive When They Make Art
The world needs more and better thinkers.
1. Art promotes creativity.

Creativity is the ability to think outside the proverbial box, to string two unrelated ideas together in a new way. Solutions to major problems and breakthroughs of all kinds are linked to creativity.

The ability to be creative is vital to the success of our children and the well-being of our world. Now, more than ever, as we face incredible challenges such as racial discord, wars, global warming, and mass extinctions. Individuals, organizations, and governments seek innovative solutions every day.

According to the International Child Art Foundation, "Research indicates that a child who is exposed to the arts acquires a special ability to think creatively, be original, discover, innovate, and create intellectual property-key attributes for individual success and social prosperity in the twenty-first century."

2. Art encourages neural connections.

Art is an activity that can employ all the senses--sight, sound, touch, smell, and taste--depending on the activity. Children's brain synapses fire away as they experiment and create by squishing paint between their fingers, mixing colors & materials, or drawing from imagination or what they see in front of them.

3. Art builds fine motor skills.

Gripping a paintbrush, drawing dots and lines, mixing colors, cutting with scissors, controlling a glue stick or squeezing a glue bottle, kneading and rolling playdough, tearing paper- all of these tasks require increasing amounts of dexterity and coordination, yet they are so fun and rewarding that children want to do them over and over. As kids engage in art activities over time, their fine motor skills improve.
Open-ended, process-oriented art is nothing but an endless opportunity for making choices, coming to conclusions, second-guessing decisions, and evaluating results.
4. Scribbling is a precursor to writing.

Babies and toddlers begin by scribbling randomly, back and forth. But the more they scribble, the more they are able to control the crayon and its movements across the paper.

As children learn to control their scribbling, they make a wider variety of shapes, eventually making all the shapes necessary to write the letters of the alphabet-any alphabet.

5. Art develops problem-solving abilities.
When we encourage our children to explore art, we encourage them to master themselves, their bodies, and a variety of tools and techniques. We give them many ways to express themselves.
Children become more comfortable with uncertainty and remain flexible thinkers, which is key for creativity and confidence. And the more experience they have with a variety of materials and techniques, the more likely they are to try new combinations and ideas.

6. Art helps kids understand themselves and their world.

Children absorb incredible amounts of new information, and they need to process what they have learned in a safe, reflective way. Art allows them to explore feelings and deal with both daily and significant events.

Art materials provide a safe outlet for emotions. Feelings and ideas can be reduced to a manageable size and manipulated as desired. Movement, image, color, line, and imagination all help children express themselves in a multidimensional way. This is a way that words may not be able to do, or that may be more comfortable for them than words.

As parents and teachers, we can offer an environment where it is safe to experiment and create. An environment where questions are encouraged and children have free access to the materials they need and enjoy. We do this not to produce career artists but to raise children who are confident and comfortable with their creativity in whatever form in takes.

7. Art helps kids connect.

Art is an equalizer, helping create a common ground for children who don't know each other and who may or may not be interested in the same things. It can help people of all ages, races, abilities, and even languages engage in a shared (and generally mutually loved) activity.

The path to an art-filled life involves an open mind, a few simple tools, a bit of preparation, and an exploratory approach. It's a path anyone can take at a pace that suits you and your family.

From The Artful Parent: Simple Ways to Fill Your Family's Life with Art & Creativity, © 2019 by Jean Van't Hul. Reprinted by arrangement with Roost Books, an imprint of Shambhala Publications Inc., Boston, MA.

The Artful Parent is available for purchase on Amazon, RoostBooks.com, and your favorite local bookstore.
Want even more creative ideas? Pin It for Later

Want help fostering your children's creativity?

Check out our master class for parents: Artful Parent 101 course! It will guide you through setting up an art space, choosing the best art supplies, incorporating art into your everyday life, using art invitations, and the best ways to encourage creativity.

More about Kids Art & Creativity

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7 Amazing Benefits of Arts for Kids That You Might Not Know

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The benefits of arts for kids include problem-solving, creativity, literacy, fine & gross motor skills, connection, and understanding.

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In May 2018, the Arts Education Partnership published Music Matters. This was the first in a four-part series of special reports that used ArtsEdSearch to illustrate the many benefits of arts education. The Arts Counts series went on to publish Visual Arts Matters, Theatre Counts and Dance Counts in the following years.

Aside from the well documented support the arts give to academic achievement in other subject areas, themes emerged about the many other ways the arts improve students' lives in and out of the classroom.

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The Arts Count - Arts Education Partnership

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In May 2018, the Arts Education Partnership published Music Matters. This was the first in a four-part series of special reports that used ArtsEdSearch to illustrate the many benefits of arts education. The Arts Counts series went on to publish Visual Arts Matters, Theatre Counts and Dance Counts in the following years.

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Advancing Social and Emotional Learning - CASEL

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CASEL is helping make evidence-based social and emotional learning an integral part of education, preschool through high school.

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Arts Education & Social Emotional Learning Framework A Synergistic Pairing Arts Education & Social Emotional Learning Framework is designed to illuminate the intersection between arts...

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The 1980s also brought with it the new Reagan presidential administration and a new secretary of education to manage the now cabinet-level U.S. Department of Education. For arts education, the National Endowment for the Arts would become the federal champion of its worth in the face of the arts' absence in a "return to education excellence" agenda.

In 1981, President Ronald Reagan came to Washington, D.C., with a perspective that less government - particularly at the federal level - was best. Among the targets for elimination were the Arts Endowment and USED, which had become a cabinet agency just two years before. Reagan's secretary of education, Terrel H. Bell, discovered that elimination of the agency wasn't possible without congressional action. Bell advised the president to appoint a commission to study the quality of America's K-12 education; the commission was in place by August of that first year.

In 1983, the National Commission on Excellence in Education released " A Nation at Risk: The Imperative for Educational Reform." Headlines announced that American schools were amid a "rising tide of mediocrity." According to the report, American students' achievement in the "basics" were in decline compared to other countries; the report warned, "If an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might well have viewed it as an act of war." The remedy? More focus on five "new basics" - English, mathematics, science, social studies and computer science - lest we fall further behind other countries. While the report did not specifically target the arts for diminishment or elimination, they were not part of the recommendations.

While USED remained in place, some grant programs were eliminated, including a small but innovative arts grant program to support local districts in bolstering their course offerings across the arts disciplines. At the Arts Endowment, Chairman Frank Hodsoll determined that the small agency (annual budget of $146.6 million in 1981 and $162.5 million in 2020, or .003% of the federal budget) offered the country a much-needed service by supporting artists and arts organizations. Its education program primarily invested in artists-in-education programs through support to all of the state arts agencies and, beginning in 1980, a "Special Projects" category that supported projects to "demonstrate and further the knowledge of the value of the arts and artists in the education process." (16)

By 1985, Chairman Hodsoll had convinced the Reagan administration to keep both the Arts Endowment and National Endowment for the Humanities in place, and Congress, in reauthorizing the agencies, demanded reports from both on the condition of arts education and humanities education nationally. The arts report would be the second such report in history; the 46 th Congress required the report, "Art and Industry, Instruction in Drawing Applied to Industrial and Fine Arts," to be completed in 1984. (17)

The Arts Endowment Chairman Hodsoll assembled a blue-ribbon committee of educators, artists and civic and corporate leaders to interpret the results of a national survey of school districts on the conditions of the arts, with research overseen by Dr. Brent Wilson, professor of art education at Pennsylvania State University. The committee garnered input from an extensive list of artists, educators and other K-12 stakeholders.

The Arts Endowment published the resulting report, " Toward Civilization: A Report on Arts Education," in 1988. The report examined the roles that leaders in the governance, education, arts and business sectors could play in making the arts once again "basic" to education for all students, as well as strategically addressing the role of the Arts Endowment.

The preface of "Toward Civilization" reflected on "A Nation at Risk," observing that since that report's release a number of books and reports focused on a "glaring lack of cultural knowledge and awareness on the part of most high school graduates," noting agreement among the studies that "while time must be set aside for students to master modern skills, such as computer sciences, achievement of computer literacy must not substitute for literacy in the culture that all Americans share." (18)

The central finding in "Toward Civilization" was that arts education was in triple jeopardy. First, the arts were considered a "frill," not in the same realm of importance as math, reading and science. Second, there was little common agreement across districts or states about what all students should learn and be able to do in the arts. Finally, the focus of arts instruction - where present - was often on production and performance, and the report called for a more complete approach, advocating for students to achieve arts literacy by their high school graduation.

Research to inform the report evidenced apparent commitments to the arts in states and school districts, as well as sufficient resources to provide instruction in some arts disciplines for some students at some grade levels. However, the nationwide survey data revealed that "in few if any school districts ... are these stated commitments and resources translated into the kind of actual teaching and learning in the arts that would give all students sequential opportunities to understand and contribute to their civilization, to participate in and develop a sense of the creative and problem-solving process, to communicate and understand communication in visual and aural as well as words, and to make wise choices among the products of the arts."

Basic arts education, the report contended, required all students to experience a balanced curriculum, characterized by four "Cs":

The national "return to excellence in education" effort took an historic leap forward at the end of the 1980s. As beliefs that declines in America's economy were directly linked to our inability to compete internationally intensified during the decade, calls increased for better education to prepare the American labor force.

President George H.W. Bush came to office in 1989 with a goal of being the "education president." He quickly found allies in governors whose growing concerns for K-12 education reform to meet changing labor force demands aligned with his. In September 1989, President Bush, working closely with the National Governors Association, convened the 50 governors for an Education Summit with Governors in Charlottesville, Virginia, where they discussed the pressing need for educational improvements to increase America's international competitiveness.

The meeting produced a draft set of six national education goals. In their joint communiqué at the summit's conclusion, the federal and state executives agreed that "a better educated citizenry is the key to the continued growth and prosperity of the United States. Education has historically been, and should remain, a state responsibility and a local function, ... And as a Nation we must have an educated workforce, second to none, in order to succeed in an increasingly competitive world economy." To meet the international competitive challenge in educational achievement, the governors and President called for "clear, national performance goals." (22)

President Bush announced six national education goals in the 1990 State of the Union address. Goal 3 focused on academic content: "American students will leave grades four, eight, and twelve having demonstrated competency in challenging subject matter including English, mathematics, science, history, and geography," but not the arts. And, the goal continued, "Every school in America will ensure that all students learn to use their minds well, so they may be prepared for responsible citizenship, further learning, and productive employment in our modern economy." Arts education advocates wondered: How could students learn to use their minds well without the arts?

The goals announcement was followed that summer by the creation of a National Education Goals Panel, an independent executive branch agency, whose mission included reporting on the national and state progress toward the goals over a 10-year period. Colorado Governor Roy Roemer chaired the panel and presided at eight regional forums in the spring of 1991. More than 3,000 people attended the forums, and at every forum, arts education advocates spoke to the need for the arts in goal 3. The consistent message from advocates was that "[y]ou can't have a genuine goal for challenging subject matter without the arts." That testimony led Governor Roemer to announce at one forum that those ready to testify about the arts need not bother; the panel had gotten the message.

At a forum in Annapolis, Maryland, the Arts Endowment Chairman John Frohnmayer testified, asserting that for students to use their minds well and be prepared for life, they needed self-esteem and the confidence to express themselves - qualities the arts instill. He debunked the notion that learning in the arts is not assessable, pointing to portfolio and performance assessments as standard arts education practices, as well as a planned NAEP assessment in the arts. In fact, the Arts Endowment was largely responsible for the planned NAEP assessment, having provided $1 million to the National Assessment Governing Board (NAGB), supplemented by $250,000 from the Getty Center for Education in the Arts. NAGB was willing to schedule an arts assessment in the mid-1990s but lacked needed funds to implement the initial phase, a consensus process to create needed assessment frameworks. Once the frameworks were in place, NAGB and USED's Center for Education Statistics would fund the remaining phases.

In his testimony, Frohnmayer cautioned against narrowness in subject assessments. He observed, " It is the broad ability to reach all of the fields of knowledge that is the DNA of real genius"; he concluded that the world that students are dealing with is a "seamless web of the Arts and Sciences." The consternation over the arts' absence in the national goals prompted the music education community to coalesce its forces across several sectors of educators represented by the Music Educators National Conference (MENC) - now the National Association for Music Education (NAfME), - the National Association of Music Merchants (NAMM) and other public and private music support organizations to convene the National Commission on Music Education. " Growing Up Complete: The Imperative for Music Education," released by this coalition March 1991, outlined a case for the role of music and the other arts in the national goals.

Also in 1991, President Bush and U.S. Secretary of Education Lamar Alexander launched a national strategy, America 2000, to achieve the national education goals. Among the 10 operational concepts this strategy advanced were "New World Standards" for what young Americans needed to know in English, mathematics, science, geography and history; a voluntary nationwide examination based on these five "core" subjects; and rewards for schools that made notable progress toward the six goals.

Less than a year later, viewers of the 1992 Grammy Awards ceremony heard about the arts not being included in the national education goals when Michael Greene, the president of the National Academy of Recording Arts and Sciences, criticized the lack of arts education in the America 2000 strategy. "The very idea that you can educate young people in a meaningful way without music and art is simply absurd," Greene told the ceremony's more than 1.5 billion viewers. In the week following the Grammy Awards, local arts education advocates in Secretary Alexander's Tennessee hometown scheduled a concert to protest the arts' absence in the national education goals and the local funding cuts in school music education programs.

The Arts Endowment and USED collaborated to form the America 2000 Arts Partnership to implement several recommendations in "Toward Civilization" and further partnership efforts between the two agencies. In the Partnership's May 1992 brochure, Secretary Alexander wrote, "If I were helping to rethink the curriculum of a school in my hometown, I would want instruction in the arts to be available to every student." The brochure outlined efforts including a national center for arts education, the coming NAEP assessment and developing world-class standards in the arts.

Secretary Alexander also turned to the leaders of The Kennedy Center - James Wolfensohn - and the Getty Trust - Harold Williams - to initiate the America 2000 Arts Partnership Working Group, which convened subcommittees to consider issues including arts and education reform, advocacy, partnerships, standards and assessment. David O'Fallon, the Arts Endowment's Arts in Education Program director since 1989, became the working group's coordinator and reported to Wolfensohn.

Additionally in 1992, the Consortium of National Arts Education Associations, taking note of the America 2000 emphasis on world-class standards, successfully approached the USED, Arts Endowment and NEH for a grant to determine what the nation's school children should know and be able to do in the arts. The consortium, managed by MENC and a steering committee, undertook a consensus-building process and review of state-level arts education frameworks and standards from other countries. This preliminary work would inform the first set of voluntary national arts standards in 1994.

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Reflecting Back & Projecting Forward: 25 Years of the Arts Education Partnership - Arts Education Partnership

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The 1980s also brought with it the new Reagan presidential administration and a new secretary of education to manage the now cabinet-level U.S. Department of Education. For arts education, the National Endowment for the Arts would become the federal champion of its worth in the face of the arts' absence in a "return to education excellence" agenda.

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Six (not so) Simple Rules for School Board Success

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Six (not so) Simple Rules for School Board Success

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Six (Not So) Simple Rules for School Board Success

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These six rules for school board success may seem simple, but they are not so easy to execute when put into practice. Ultimately, however, the rules can help boards build a healthy and enduring mindset that will lead to long-lasting benefits for students.

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Let's Talk: Facilitating Critical Conversations with Students

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Let's Talk: Facilitating Critical Conversations with Students

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Be a Creative Changemaker A Kid's Art Activity Book

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Be a Creative Changemaker A Kid's Art Activity Book

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Be a Creative Changemaker A Kids’ Art Activity Book

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Be a Creative Changemaker: A Kids’ Art Activity Book introduces kids to 25 amazing artists through their biographies and hands-on activities inspired by their work.