The purpose of this thesis is to provide insight on how arts integration in English language arts education increases engagement and achievement in students and teachers alike. Throughout my analysis of literature, local field research in two Central Florida public elementary schools, and my creation of a five-day arts-integrated writing unit, I found that arts integration, especially when utilizing Leonard Bernstein’s Artful Learning Method was observed to show a positive impact on students. Arts integration allowed for a child’s natural curiosity and instinct to create to take over, which created authentic learning experiences for the students. The research also demonstrated that arts integration enabled teachers to utilize their creativity, which in turn positively changed their perspectives on their career and teaching experience. Observations and the research literature examined in this thesis showed that arts integration can be a valuable outlet for both students and teachers, yet not always utilized due to high stakes testing, budgetary concerns, and time constraints in the elementary classroom.

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The suspension of disbelief is integral to the performing arts. We ask our actors to see couches made of three chairs, designers to create cities in empty spaces, and most of all; we ask audiences to believe the stories and relationships that are figurative and often abstract. This level of critical and creative engagement is assumed to develop in spaces of higher education. However, with an ever-changing world and increasing conversions and integrations of Artificial Intelligence (AI) in spaces of higher education, it has become even more apparent that students need to develop their creative and critical thinking skills earlier on in their development. By recontextualizing learning through imaginative immersive game systems, such as Dungeons & Dragons and similar tabletop role-playing games (TTRPGs), I have found that students experience categories of significant learning synergistically through experiential gameplay. This immersive storytelling relies entirely on the player-performers to spend their disbelief and immerse themselves in their imagination, termed theatre of the mind. The gamification of role-play acts as a means of challenging students to activate their development of collaborative improv, storytelling/playwriting, and dramaturgy skills. Through research and play testing, I have developed a gamified drama-focused role-play educational tool utilizing many of the core gameplay mechanics in the world's most popular TTRPGs. In this thesis, I present the game structure and reflect upon my experiences implementing this work. Additionally, I explore the cross sections between game design and immersive theatre practice and consider how this intersection is utilized in gamified performance and pedagogy. Finally, I consider how a theatre-of-the-mind-based pedagogy can be utilized in subjects outside of the theatre classroom.

This arts-based, qualitative investigation focused on high school English teachers of students with learning dis/abilities (Baglieri & Knopf, 2004) who used visual arts integration (Eisner, 2002) to find out how teachers experience using visual arts in English and what their experiences mean (Zoss & White, 2011) in order to understand why certain experiences stood out for the teachers as being important. I framed the study theoretically with complexity theories of teaching and learning (Davis, Sumara, & Luce-Kapler, 2008), while combining aspects of sociocultural theory (Smagorinsky, 2001; Vygotsky, 1978; Wertsch, 1991), cognitive pluralism (John-Steiner, 1997) and Dewey’s notion of experience (1934/1980). The teacher participants were three high school English teachers employed at an independent school for students with learning dis/abilities. A/r/tography (Irwin & Springgay, 2008; Springgay, Irwin, & Kind, 2005, 2008) influenced my methodology in that I created visual art to theorize the data and my experiences conducting the study. I collected data during spring and summer 2011. Data sources included participant observation and field notes (Dewalt & Dewalt, 2002), photography (Coover, 2004; Harper 2000, 2002), teachers’ visual texts (La Jevic & Springgay, 2008), artifacts (Prior, 2003), and interviews (Smagorinsky, 2008; Smagorinsky & Coppock, 1994). I used qualitative methods of coding analysis (Charmaz, 2006; Ezzy, 2002; Saldaña, 2009) and visual analysis (Riessman, 2008; Rose, 2001), as well as arts-based methods for educational research (Cahnmann-Taylor & Siegesmund, 2008). This study fills a gap in empirical research in both English education and special education by examining English teachers integrating art in classes for students with dis/abilities. Furthermore, understanding how teachers experience visual arts integration can inform methods courses for teaching secondary English educators.

This study examines what and how classroom teachers and a music specialist learn on their own, with each other, and with their students when they engage in collaborative, multimodal teaching and learning experiences. Through excerpts from interviews, planning sessions, focus groups, and the retelling of classroom experiences, this action research-inspired narrative inquiry documents and explores the experiences of four elementary school teachers as they worked together over a 12-week period. Through a restructured music schedule—designed to facilitate sustainable integrated, multiple literacy experiences—the teachers collaborated with the children and with one another to co-construct authentic learning experiences which drew upon and expanded students' interests and inquiries, and which positioned music in new ways as another classroom language. The unfolding stories examined in this inquiry resonate with the ideas and the spirit of the atelier in Reggio Emilia schools, and they point to the importance of meaningful, collaborative relationships in teacher learning and reflection. The study has implications for the ways in which musical experiences may be structured, made more complex, and revalued in elementary schools.

This study examines what and how classroom teachers and a music specialist learn on their own, with each other, and with their students when they engage in collaborative, multimodal teaching and learning experiences. Through excerpts from interviews, planning sessions, focus groups, and the retelling of classroom experiences, this action research-inspired narrative inquiry documents and explores the experiences of four elementary school teachers as they worked together over a 12-week period. Through a restructured music schedule—designed to facilitate sustainable integrated, multiple literacy experiences—the teachers collaborated with the children and with one another to co-construct authentic learning experiences which drew upon and expanded students' interests and inquiries, and which positioned music in new ways as another classroom language. The unfolding stories examined in this inquiry resonate with the ideas and the spirit of the atelier in Reggio Emilia schools, and they point to the importance of meaningful, collaborative relationships in teacher learning and reflection. The study has implications for the ways in which musical experiences may be structured, made more complex, and revalued in elementary schools.

There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's experiential theory served as the conceptual framework. A purposeful sample of 10 art educators who attended a district-sponsored professional development workshop participated in this study. After the workshop, data about educators' perceptions of the inservice were collected through a beta test and a focus group with 2 participants, 1 open-ended questionnaire with 8 participants, and a workshop observation with 20 participants. Data were analyzed using comparative analysis to identify patterns in the data. Member checking and triangulation were used to verify the data and control bias. Five themes emerged from the data: adult-centered hands-on learning, professional development experiences, grants, collaboration and networking, and best practices. This study contributes to social change by showing the importance of on-going adult-centered, research-based, hands-on professional development for educators addressing visual art standards, practice, instructional strategies, policy changes, and the facilitation of student-centered activities.

The purpose of this study was to explore what I, a general education classroom teacher, know about using arts integration to build English Learners (ELs) reading comprehension. As the primary researcher, I am a fifth-grade, general education teacher in an intermountain West, Title 1, urban school where the typical classroom contains over 50% EL students. The studys two other participants were Martha, the director of the universitys arts partnership, and Camilla, a fellow faculty member who integrates arts into her curriculum. This qualitative Self-Study of Teaching and Teacher Education Practice research methodology was utilized to uncover my knowledge of teaching practices and pedagogy while simultaneously focusing on student learning (LaBoskey, 2004; Loughran, 2007; Pinnegar & Hamilton, 2009). I used Miles and Huberman (1994) to examine three arts-integrated curriculum units, first and second annotations, and critical friend commentaries in order to uncover the practical and theoretical influences resident in my teaching (Fenstermacher, 1984; Miles & Huberman, 1994; Pinnegar & Hamilton, 2009). The findings revealed five main themes: arts integration, reading comprehension, intentional planning, teacher knowledge, and class culture. Arts integration increased ELs abilities to build requisite schema, acquire essential vocabulary, and attend to oral reading fluency to increase text comprehension. Furthermore, by understanding these themes and their subcategories, I uncovered my tacit knowledge (Polyani, 1967) as it related to my decision-making process for using arts integration. Likewise, the self-study methodology allowed me to articulate my personal practical knowledge of ELs needs and why I employed art-integrative practices to introduce and reinforce content area understandings.

The purpose of this quantitative study was to determine the perceptions of Northeast Tennessee Educators regarding arts integration. Specifically this study was an examination of the perceptions of district and K-8 school level administrators, K-8 general classroom teachers of math, science, social studies, or literacy, and K-8 arts specialists of dance, drama, music, or visual arts. Nine school districts in Northeast Tennessee agreed to participate in the study. Data were collected through an online survey system, SurveyMonkey.com. Data from 179 participants were used in the study. Seventeen items from the survey were measured on a 5-point Likert scale. Those items included: perceived need, claims of implementation, responsibility of implementation, comfort level for implementation, and the perceived possession of adequate resources and reported professional development for arts integration practices. The results concluded K-8 arts specialists' perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation were significantly higher than K-8 general education teachers. Additionally, individuals with previous arts experience in high school or college had a significantly higher perceived comfort level for arts integration implementation that individuals with no previous arts experience in high school or college. However, there were no significant differences in perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation between district and school level administrators and K-8 general education teachers, and between district and school level administrators and K-8 arts specialists. Subsequently, there were no significant differences among district and school level administrators, K-8 general education teachers, and K-8 arts specialists in regards to perceived responsibility for arts integration implementation, perceived possession of adequate resources for arts integration, and reported offerings of professional development for arts integration.

Increased metacognition, social-emotional growth, and career viability are all researched benefits of including the arts as part of core content instruction, with even greater impact for struggling students, English Language Learners, and students with special needs. Some turnaround schools that are federally funded School Improvement Grant (SIG) schools are beginning to implement an arts-rich method of school reform by teaching core content both through and in the arts. This approach is most often presented as a choice in the high-stakes testing environment of turnaround schools. Since teachers have the most direct impact on students, yet a relatively low amount of authorship in the way school reform is approached, their voice and experience is highlighted in this phenomenological study. The participants are from three public turnaround schools in the South. The researcher used traditional research methods layered with an arts-based research approach mirroring the techniques used in an arts-rich classroom. The researcher found that participants experienced their work as a vocational calling, used methods of engaged pedagogy, and experienced a number of roadblocks to their work. They swiftly moved through these roadblocks to create pathways leveraging the arts to change their curriculum and classroom contexts, applied the arts as an access point for content areas, and then experienced the use of an art-rich classroom as a contagious practice. Potential implications for this study include a scalable model for turnaround schools, investment in engaged pedagogical practice for turnaround schools, and increased agility for teachers to become curriculum bricoleurs.