Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-p2v8j Total loading time: 0.001 Render date: 2024-05-14T15:39:53.745Z Has data issue: false hasContentIssue false

28 - Arts Education and the Learning Sciences

from Part V - Learning Disciplinary Knowledge

Published online by Cambridge University Press:  14 March 2022

R. Keith Sawyer
Affiliation:
University of North Carolina, Chapel Hill
Get access

Summary

Learning in the arts is distinct from most other subjects for three reasons. First, the arts are centrally a representational domain and learning in the arts involves becoming aware of how representational choices communicate meaning to different audiences. Second, form and meaning are integrated; artistic representations are saturated with meaning, and subtle variations are consequential to that meaning. Third, work in the arts involves examining identify and culture, because artistic cognition is intertwined with both. This chapter argues that these three distinct features of arts learning have implications for our understanding of learning more generally. The chapter reviews four types of research: (1) how the arts have been studied in educational settings; (2) how learning occurs in different arts including music and visual arts; (3) the key features of arts learning: the role of the audience, critique, authentic assessment, and role taking; (4) how an arts-based perspective can contribute to our understanding of learning in all subjects.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Amabile, T. M. (1982). The social psychology of creativity: A consensual assessment technique. Journal of Personality and Social Psychology, 43(5), 9971013.CrossRefGoogle Scholar
Baer, J., Kaufman, J. C., & Gentile, C. A. (2004). Extension of the consensual assessment technique to nonparallel creative products. Creativity Research Journal, 16(1), 113117.CrossRefGoogle Scholar
Ball, A., & Heath, S. B. (1993). Dances of identity: Finding an ethnic self in the arts. In Heath, S. B. & McLaughlin, M. (Eds.), Identity and inner city youth: Beyond ethnicity and gender (pp. 6993). New York, NY: Teachers College Press.Google Scholar
Bing-Canar, J., & Zerkel, M. (1998). Reading the media and myself: Experiences in critical media literacy with young Arab-American women, Signs, 23(3), 735743.Google Scholar
Black, R. (2008). Adolescents and online fan fiction. New York, NY: Peter Lang.Google Scholar
Bowen, D. H., & Kisida, B. (2019). Investigating causal effects of arts education experiences: Experimental evidence from Houston’s Arts Access Initiative. Houston Education Research Consortium, 7(3).Google Scholar
Buechley, L., Eisenberg, M., Catchen, J., & Crockett, A. (2008). The LilyPad Arduino: Using computational textiles to investigate engagement, aesthetics, and diversity in computer science education. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI), Florence, Italy, April 2008 (pp. 423432).CrossRefGoogle Scholar
Calabrese Barton, A., & Tan, E. (2010). “We be burnin!” Agency, identity, and science learning. Journal of the Learning Sciences, 19(2), 187229.Google Scholar
Chávez, V., & Soep, E. (2005). Youth radio and the pedagogy of collegiality. Harvard Educational Review, 75(4), 409434.CrossRefGoogle Scholar
Cross, N. (2011). Design thinking: Understanding how designers think and work. Oxford, England: Berg Publishers.Google Scholar
Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York, NY: Harper & Row.Google Scholar
Dando, M., & Halverson, E. R. (2017). Spoken word poetry and out-of-school learning. In Peppler, K. (Ed.), The SAGE encyclopedia of out-of-school learning (pp. 739742). Thousand Oaks, CA: SAGE Publications.Google Scholar
Davis, J. H., & Evans, M. J. (1987). Theatre, children, and youth. New Orleans, LA: Anchorage Press.Google Scholar
Deasy, R. J. (Ed.). (2002). Critical links: Learning in the arts and student academic and social development. Washington, DC: Council of Chief State School Officers.Google Scholar
diSessa, A. (2004). Metarepresentational competence: Native competence and targets for instruction. Cognition & Instruction, 22(3), 293331.Google Scholar
DuPont, S. (1992). The effectiveness of creative drama as an instructional strategy to enhance reading comprehension skills of fifth-grade remedial readers. Reading Research and Instruction, 31(3), 4152.CrossRefGoogle Scholar
Dyson, A. H. (1997). Writing superheroes. New York, NY: Teachers College Press.Google Scholar
Eisner, E. (2002). The arts and the creation of mind. New Haven, CT: Yale University Press.Google Scholar
Enyedy, N. (2005). Inventing mapping: Creating cultural forms to solve collective problems. Cognition and Instruction, 23(4), 427466.Google Scholar
Farrington, C. A., Maurer, J., Aska McBride, M. R., et al. (2019). Arts education and social-emotional learning outcomes among K-12 students: Developing a theory of action. Chicago, IL: University of Chicago Consortium on School Research. Retrieved from https://consortium.uchicago.edu/sites/default/files/2019-05/Arts%20Education%20and%20Social-Emotional-June2019-Consortium%20and%20Ingenuity.pdfGoogle Scholar
Fleetwood, N. (2005). Authenticating practices: Producing realness, performing youth. In Maira, S. and Soep, E. (Eds.), Youthscapes: The popular, the national, the global (pp. 155172). Philadelphia, PA: University of Pennsylvania Press.Google Scholar
Gadsden, V. (2008). The arts and education: Knowledge generation, pedagogy, and the discourse of learning. Review of Research in Education, 32(1), 2961.CrossRefGoogle Scholar
Gardner, H. (1993). Creating minds: An anatomy of creativity seen through the lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. New York, NY: Basic Books.Google Scholar
Gardner, H., & Winner, E. (1982). First intimations of artistry. In Strauss, S. (Ed.), U-shaped behavioral growth (pp. 147168). New York, NY: Academic Press.Google Scholar
Getzels, J. W., & Csikszentmihalyi, M. (1976). The creative vision: A longitudinal study of problem finding in art. New York, NY: Wiley.Google Scholar
Goodman, N. (1976). Languages of art: An approach to a theory of symbols. Indianapolis, IN: Hackett.CrossRefGoogle Scholar
Grafton, S., & Cross, M. (2008). Dance and the brain. In Asbury, C. & Rich, B. (Eds.), Learning, the arts, and the brain: The Dana Consortium Arts and Cognition report (pp. 6170). New York, NY: Dana Foundation.Google Scholar
Greene, J. P., Erickson, H. H., Watson, A. R., & Beck, M. I. (2018). The play’s the thing: Experimentally examining the social and cognitive effects of school field trips to live theater performances. Educational Researcher, 47(4), 246254. doi:10.3102/0013189X18761034Google Scholar
Halverson, E. R. (2005). InsideOut: Facilitating gay youth identity development through a performance-based youth organization. Identity: An International Journal of Theory & Research, 5(1), 6790.Google Scholar
Halverson, E. R. (2010a). Detypification as identity development: The dramaturgical process and LGBTQ youth. Journal of Adolescent Research, 25(5), 635668.Google Scholar
Halverson, E. R. (2010b). Film as identity exploration: A multimodal analysis of youth-produced films. Teachers College Record, 112(9), 23522378.Google Scholar
Halverson, E. R. (2013). Digital art-making as a representational process. Journal of the Learning Sciences, 23(1), 121162.CrossRefGoogle Scholar
Halverson, E. R., & Gibbons, D. (2010). “Key moments” as pedagogical windows into the digital video production process. Journal of Computing in Teacher Education, 26(2), 6974.Google Scholar
Halverson, E. R., Lowenhaupt, R., Gibbons, D., & Bass, M. (2009). Conceptualizing identity in youth media arts organizations: A comparative case study. E-Learning, 6(1), 2342.Google Scholar
Halverson, E. R., & Peppler, K. (2018). The Maker Movement and learning. In Fischer, F., Hmelo-Silver, C., Goldman, S., & Reimann, P. (Eds.), The international handbook of the learning sciences (pp. 285294). New York, NY: Routledge.Google Scholar
Halverson, E. R., Saplan, K., Stoiber, A., & Rabkin, N. (2020). The role of critique in student-artists metacognitive practices. In Knutson, K., Crowley, K., & Okada, T. (Eds.), Multidisciplinary approaches to art learning and creativity: Fostering exploration in formal and informal settings (pp. 167188). New York, NY: Routledge.Google Scholar
Hanna, J. L. (2008). A nonverbal language for imagining and learning: Dance education in a K-12 curriculum. Educational Researcher, 37(8), 491506.CrossRefGoogle Scholar
Heath, S. B. (2004). Risks, rules, and roles: Youth perspectives on the work of learning for community development. In Perret-Clermont, A., Pontecorvo, C., Resnick, L., Zittoun, T., & Burge, B. (Eds.), Joining society: Social interaction and learning in adolescence and youth (pp. 4170). New York, NY: Cambridge University Press.Google Scholar
Heathcote, D., & Johnson, L. (1991). Collected writings on education and drama (O’Neill, C., Ed.). Evanston, IL: Northwestern University Press.Google Scholar
Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2013). Studio thinking: The real benefits of visual arts education. New York, NY: Teachers College Press.Google Scholar
Hill, M. L., & Petchauer, E. (2013). Schooling hip-hop: Expanding hip-hop education across the curriculum. New York, NY: Teachers College Press.Google Scholar
Hull, G. A., & Nelson, M. E. (2005). Locating the semiotic power of multimodality. Written Communication, 22(2), 224261.Google Scholar
Ito, M., Baumer, S., Bittanti, M., et al. (Eds.). (2010). Hanging out, messing around, and geeking out: Kids living and learning with new media. Cambridge, MA: MIT Press.Google Scholar
Jenkins, H., Purushotma, R., Clinton, K., Weigler, M., & Robison, A. (2007). Confronting the challenges of participatory culture: Media education for the 21st century. Building the field of digital media and learning. Chicago, IL: MacArthur Foundation.Google Scholar
Kafai, Y. B. (2006). Constructionism. In Sawyer, R. K. (Ed.), The Cambridge handbook of the learning sciences (pp. 3546). New York, NY: Cambridge University Press.Google Scholar
Karmiloff-Smith, A. (1992). Beyond modularity: A developmental perspective on cognitive science. Cambridge, MA: MIT Press.Google Scholar
Keinänen, M., Sheridan, K., & Gardner, H. (2006). Opening up creativity: The lenses of axis and focus. In Kaufman, J. C. & Baer, J. (Eds.), Creativity and reason in cognitive development (pp. 202218). Cambridge, England: Cambridge University Press.Google Scholar
Ladson-Billings, G. (2014). Culturally relevant pedagogy 2.0: a.k.a. the Remix. Harvard Educational Review, 84(1), 7484.CrossRefGoogle Scholar
Lashley, Y., & Halverson, E. R. (2021). Towards a collaborative approach to measuring social emotional learning in the arts. Arts Education Policy Review, 122(3), 182192. doi:10.1080/10632913.2020.1787909Google Scholar
Lowenfeld, V. (1957). Creative and mental growth (3rd ed.). New York, NY: MacMillan.Google Scholar
Magnifico, A. M. (2012). The game of Neopian writing. In Hayes, E. R. & Duncan, S. C. (Eds.), Learning in videogame affinity spaces (pp. 212234). New York, NY: Peter Lang.Google Scholar
Marino, K. (2018). The benefits of art education for English language learners’ acquisition of the English language (Order No. 10752850). [Doctoral dissertation. St. John’s University, New York, NY]. Available from ProQuest Dissertations & Theses Global. (1978496358).Google Scholar
Mayer, V. (2000). Capturing cultural identity/creating community. International Journal of Cultural Studies, 3(1), 5778.Google Scholar
McLaughlin, M. W., Irby, M. A., & Langman, J. (1994). Urban sanctuaries: Neighborhood organizations in the lives and futures of inner-city youth. San Francisco, CA: Jossey-Bass.Google Scholar
McPherson, G. E., Davidson, J. W., & Faulkner, R. (2012). Music in our lives: Rethinking musical ability, development, and identity. Oxford, England: Oxford University Press.Google Scholar
Miller, K. (2009). Schizophonic performance: Guitar Hero, Rock Band, and virtual virtuosity. Journal of the Society for American Music, 3(4), 395429.CrossRefGoogle Scholar
New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review, 66(1).Google Scholar
Papert, S., & Harel, I. (1991). Situating constructionism. In Harel, I. & Papert, S. (Eds.), Constructionism (pp. 111). Norwood, NJ: Ablex Publishing Corp.Google Scholar
Penhune, V. B. (2011). Sensitive periods in human development: Evidence from musical training. Cortex, 47(9), 11261137.Google Scholar
Peppler, K. A. (2010). Media arts: Arts education for a digital age. Teachers College Record, 112(8), 21182153.Google Scholar
Peppler, K. A., Powell, C. W., Thomson, N., & Catterall, J. (2014). Positive impacts of arts integration on student academic achievement in English language arts. The Educational Forum, 78(4), 364377.Google Scholar
Peppler, K., Warschauer, M., & Diazgranados, A. (2010). Game critics: Exploring the role of critique in game-design literacies. E-Learning and Digital Media, 7(1), 3548.Google Scholar
Podlozny, A. (2000). Strengthening verbal skills through the use of classroom drama: A clear link. Journal of Aesthetic Education, 34(3–4), 239276.Google Scholar
Puntambekar, S., & Kolodner, J. L. (2005). Toward implementing distributed scaffolding: Helping students learn science from design. Journal of Research in Science Teaching, 42(2), 185217.Google Scholar
Roque, R., Rusk, N., & Resnick, M. (2016). Supporting diverse and creative collaboration in the scratch online community. In Cress, U., Moskaliuk, J., & Jeong, H. (Eds.), Mass collaboration and education (pp. 241256). Cham, Switzerland: Springer International Publishing. doi:10.1007/978-3-319-13536-6_12Google Scholar
Salen, K., & Zimmerman, E. (Eds.). (2004). Rules of play: Game design fundamentals. Cambridge, MA: MIT Press.Google Scholar
Sawyer, R. K. (2012). Explaining creativity. New York, NY: Oxford University Press.Google Scholar
Sawyer, R. K. (2018). Teaching and learning how to create in schools of art and design. Journal of the Learning Sciences, 27(1), 137181. doi:10.1080/10508406.2017.1381963Google Scholar
Sawyer, R. K., & DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Journal of Aesthetics, Creativity, and the Arts, 3(2), 8192.Google Scholar
Schlaug, G., Norton, A., Overy, K., & Winner, E. (2005). Effects of music training on the child’s brain and cognitive development. Annals of the New York Academy of Sciences, 1060, 219230.Google Scholar
Sefton-Green, J., & Sinker, R. (Eds.). (2000). Evaluating creativity: Making and learning by young people. London, England: Routledge.Google Scholar
Sheridan, K. M. (2011). Envision and observe: Using the studio thinking framework for learning and teaching in digital arts. Mind, Brain, and Education, 5(1), 1926.Google Scholar
Sheridan, K. M. (2020). Constructionism in art studios. In Holbert, N., Berland, M., & Kafai, Y. (Eds.), Designing constructionist futures: The art, theory, and practice of learning designs (pp. 323330). Cambridge, MA: MIT Press.Google Scholar
Sheridan, K. M., Clark, K., & Williams, A. (2013). Designing games, designing roles: A study of youth agency in an urban informal education program. Urban Education, 48(5), 734758.Google Scholar
Sheridan, K. M., & Gardner, H. (2012). Artistic development: Three essential spheres. In Shimamura, A. & Palmer, S. (Eds.), Aesthetic science: Connecting minds, brains, and experience (pp. 276296). Oxford, England: Oxford University Press.Google Scholar
Sheridan, K., Halverson, E. R., Litts, B., Brahms, L., Jacobs-Priebe, L., & Owens, T. (2014). Learning in the making: A comparative case study of three makerspaces. Harvard Educational Review, 84(4), 505531.Google Scholar
Spina, S. U. (2006). Worlds together … words apart: An assessment of the effectiveness of arts-based curriculum for second language learners. Journal of Latinos in Education, 5(2), 99122.Google Scholar
Stalinski, S. M., & Schellenberg, E. G. (2012). Music cognition: A developmental perspective. Topics in Cognitive Science, 4(4), 485497.Google Scholar
Sternberg, R. (Ed.). (1999). Handbook of creativity. Cambridge, England: Cambridge University Press.Google Scholar
Wiley, L., & Feiner, D. (2001). Making a scene: Representational authority and a community-centered process of script development. In Haedicke, S. C. & Nellahus, T. (Eds.), Performing democracy: International perspectives on urban community-based performance (pp. 121142). Ann Arbor, MI: University of Michigan Press.Google Scholar
Winner, E. (1982). Invented worlds: The psychology of the arts. Cambridge, MA: Harvard University Press.Google Scholar
Winner, E. (2019). How art works: A psychological exploration. New York, NY: Oxford University Press.Google Scholar
Winner, E., & Hetland, L. (2000). The arts in education: Evaluating the evidence for a causal link. Journal of Aesthetic Education, 34(3/4), 310.Google Scholar
Winsler, A., Gara, T., Alegrado, A., Castro, S., & Tavassolie, T. (2019). Selection into, and academic benefits from, arts-related courses in middle school for low-income, ethnically diverse youth. Psychology of Aesthetics, Creativity, and the Arts, 14(4), 415432. doi:10.1037/aca0000222Google Scholar
Wong, C. P., & Alim, S. (2017). Hip-hop. In Peppler, K. (Ed.), The SAGE encyclopedia of out-of-school learning (pp. 341343). Thousand Oaks, CA: SAGE Publications.Google Scholar
Worthman, C. (2002). “Just playing the part”: Engaging adolescents in drama and literacy. New York, NY: Teachers College Press.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×