Value of Fine Arts in a "No Child Left Behind" World

By Steffen Parker

The controversial 2001 federal legislation, No Child Left Behind (NCLB), is aimed at improving the performance and accountability of America's public education system. It also gives parents more options when choosing the schools their children will attend. While it focuses much of America's educational energy and resources on just three subjects - science, reading and mathematics - it also brings out two other areas of concern: the assessment of basic student skills and teacher quality. While most agree that there is room for improvement in our educational system, the controversy comes in whether or not standardized student testing and standardized teacher evaluations/qualifications will help inspire school districts to take the steps to make the locally specific changes that are needed. Giving each state the authority to individually develop those basic skill assessments has softened the effect of this unfunded mandate to some degree, but still leaves the identified core academic subjects not identified within its policies "out in the cold" when it comes to sharing in the limited resources school budgets have to offer.

So where does that leave the fine arts - subjects not considered core academic in most schools; subjects where student assessment is much more subjective than the objective curriculum taught in math, science and reading classes; subjects where extensive or continued enrollment is not required to graduate? Does the implementation of NCLB's assessment and evaluation requirements further push fine arts courses to the sideline or completely out of the educational possibilities for most students? Or is this yet another opportunity for the fine arts teacher to provide his or her colleagues, school and students with additional resources so that all can be successful in not only meeting NLCB's goals, but in reaching them without resorting to "teaching to the test"?

Just like any other school policy or requirement, the effect of NCLB on an individual school system and its various programs is determined more by the professionals involved than by the specifics in print. The fine arts educator needs to look at this legislation as a chance rather than a condemnation.
That chance has four different dimensions - dimensions that involve the four groups affected most by NCLB. Those four groups are those that have the most to gain by successfully negotiating through the NCLB process: the administration, the teachers, the students and the parents. And for each, the fine arts educator has something to offer within his or her own curriculum - something that will support their efforts. The key is not only providing that support, but making sure that all involved are aware of its value in the school's progress towards NCLB completion. Once again, the fine arts educator needs to "sell" the program as an important part of the overall educational picture for the community and its youth.

Within any fine arts curriculum are a plethora of reinforcements to complete the NCLB requirements. Those reinforcements come in fine arts classes where students are engaged, active and often personally motivated. And they are provided within the structure of a non-threatening classroom where the assessment is the last consideration, not the first. Because of these factors, fine arts curricula allow students to assimilate the information provided in a more internal manner, connecting it to how they felt, what they saw, how it sounded, how it looked - all ways that provide for easier recall when facing NCLB's standardized testing. The key is making those connections.

The first and most important connection that needs to be made is between teachers - finding parallel points between the curriculum paths that the reading, math, science and fine arts teachers have planned for the students in any particular year. There does not need to be hundreds, but when the fire arts educator is able to relate the historical, cultural, racial, physical or social aspect of a project in his or her class to an assignment, exercise or project in another class, both courses and the students benefit. Those connections provide students with stronger foundations for using and recalling information and concepts, and reinforce the value of the overall learning. Those connections are easy to make if both teachers are aware of the other's basic curricula and the scope of their linear learning paths. Yes, a bit of additional work, but the benefit to the students, the school and the community is certainly a fair trade.

The historical connections can also be extended to the physical science and the parallels in math that fine arts courses offer students. But it is the reinforcement of those concepts through the actual class activities that are most valuable to the students and their NCLB success. Playing music, creating artwork, learning dance movements - all provide opportunities for students to not only develop physical skills, but to put scientific and mathematical ideas to use in individual and group situations.

A simple mention of how those fine arts concepts relate back to the math taught yesterday or the science project next week allow students to better conceptualize abstract concepts. Allowing students to then share their fine arts experiences in their science or math classes gives more students the opportunity to visualize what their classmates do in their other classes and extends the comprehension of those concepts. Students teaching students is a very powerful connection and one that can often help disconnected students learn better, participate more and make steadier progress.

Connecting to the parents and administrators is an extension of those teacher-teacher, student-student connections. Highlighting those connections in any and all communications becomes easier when those connections happen every day in every class. Eventually, the teachers won't need to be the primary communicators as the students will share their connections with all who will listen and appreciate. Once established, the students begin to generate their own connections through their exploration of potential relationships among all of their subjects. Being willing to allow that to happen and supporting the sharing that follows is the only teacher requirement.

Every class requires communication, and the comprehension, creation and review of printed material all play a major factor in any teaching scenario. And while the NCLB reading assessment evaluates the proper use of the English written word, that comprehension is not singularly the providence of any individual subject area. Every class in a student's day should reinforce the proper use of the vernacular, and fine arts can not only support the efforts of other subjects, but expose the student to next concepts and words.

Fine arts can also provide a more physical environment to develop verbalizations and extend the language concept to other languages (music is especially valuable in this way). When words have meaning in every part of a student's day; when language is valued and proper grammar, spelling and good penmanship are expected, students develop the skills to meet those needs. When those expectations are daily occurrences, assessments become less stressful and opportunities to shine and show others what can be accomplished.

While the value the fine arts educators offers to those involved in this process is similar for each of the four groups, its use and, therefore, its description, needs to be adjusted to match the audience. The presentation of these values to the students themselves is subtle, incorporated in their teaching and not noted as a part separate from the learning going on. A discussion of these values to parents takes on a very different form, but highlights the concepts that the students understand, but don't have to acknowledge. Colleagues and administrators understand and appreciate those concepts, but need to be aware of the steps that follow and how they assist them in providing successes for the students within their care. Much like athletics or employment, inclusion, communication, sharing of ideas, working together and clear goals allow all to contribute, all to be valued, all to feel successful.

Steffen Parker, a ninth-generation Vermonter, has been an instrumental music educator for 29 years, with degrees in performance, education and conducting. Parker organizes several music events in his state and region, and is in his 14th year as the Vermont All State Music Festival Director. He started a computer company, Music Festival Software Solutions, to help other states move their data processing online and provides that type of service to several groups, including the Vermont Principals' Association and the Vermont Superintendents' Association.