Whole Child - Abstract and Annotated TOC (Web Excerpt) 20140706

Running head: EXPRESSIVE ARTS FOR THE WHOLE CHILD LEFT BEHIND

Expressive Arts for the Whole Child Left Behind

The Benefits and Effects of Teaching to the Whole Child

By:

Lanie Bergin

WHOLE CHILD LEFT BEHIND

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This research publication is an outgrowth from my academic and personal research on

Movement and Expressive Arts Education. My academic studies were supported by Lesley

University Graduate School of Arts & Social Sciences, The European Graduate School and

Tamalpa Institute. In this publication my research work continues in support of my Whole Child

Left Behind organization.

WCLB is a social advocacy organization whose purpose is to explore how personal mythology

relates to and influences education, society, culture, and child development. WCLB project now

has a documentary in production. For information about the WCLB documentary please email,

[email protected]. Additional information about my work and services can be

found at www.berginlearningarts.com


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Abstract

Propelled by the No Child Left Behind Act of 2001, the current United States education system

places great emphasis on academic development. Non-academic programs, including arts and

physical education, are being reduced or even eliminated from the curricula to accommodate

more didactic teaching methods. This thesis evaluates the benefits of expressive arts as a part of

early-childhood development. The research identifies the significance of expressive arts as an

educational curriculum which can be taught in the time after school, to the benefit of the

emotional, physical and cognitive development of the child. The research includes observational

studies conducted in my classroom, video recordings of expressive arts practices, drawings, and

interviews. The purpose of this study is to consolidate my resources and improve my ability to

communicate the benefits of expressive arts education for children. My study also examines

how the teacher’s life-experiences relate to the development of children and how teachers can

learn and grow along with them.


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Dedication

To the teachers who work with children everywhere. May you see new ways to be with the

children; guiding them, helping them and enjoying them. And to the children who have worked

with me. May you be strong and continue to dream with your feet, hands, bellies and hearts.


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Table of Contents

Page

Introduction:

How Do I Know What I Know___________________________________________________12

Personal Mythology Shapes My Calling _____________________________________23

Project Overview and Purpose _____________________________________________25

Chapter One:

What is Expressive Arts ________________________________________________________29

Video Documentation: Introduction to Expressive Arts –From Shapes to Motion

Video Module #1

Artifact: Narrative Slide Show

Purpose: To introduce expressive arts through a demonstration of the basic concepts in

my expressive arts curriculum

Run Time: 6:34

Video Documentation: Interactive Exercise with the Reader


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Video Module #2

Artifact: Experiential Guided Exercise

Purpose: To walk the reader through an experiential practice of expressive arts

Run time: 12:30

Chapter Two:

How to Work with Expressive Arts ____________________________________________40

(A.) Mythology in Process _____________________________________________41

Video Documentation: Introduction to My Mythology in Process

Video Module #3

Artifact: Portfolio of Heuristic research renderings

Purpose: To introduce an overview of my mythology in process

Run Time: 9:17

Video Documentation: Integrating Movement and Mythology –Bridging the Gap

Video Module #4

Artifact: Applied Heuristic research

Purpose: To introduce you to the connectivity of the integrated development of a theme,

using movement, drawing, narrative, and sound.


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Run Time: 21:50

(B.) Myth Gone Missing ________________________________________________53 Video Documentation: Myth Gone Missing

Video Module #5

Artifact: Case Study with client

Purpose: To illustrate how an adult confronts childhood wounds and to reflect on the

importance of an expressive arts curriculum during the primary years of development.

Run Time: 12:17

(C.) Square Peg in a Round Hole ________________________________________________60

Video Documentation: In Collaboration with Children –Words into Movement

Video Module #6.1

Artifact: Data from the field

Purpose: To show how movement, safety and expressive are regulated and grounded

through the use of a literary source.

Run Time: 3:45

Video Documentation: In Collaboration with Kids –Making it better 1, 2, 3


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Video Module # 6.2


Purpose: To show how emotions are intrinsic to the development of expression

Run Time: 1:13

Video Documentation: In Collaboration with Kids –Sounds

Video Module # 6.3


Purpose: To show how sound and voice are intrinsic to the integration of a child’s unique

language into the emotional and social fabric that create their personal mythology.

Run Time: 1:33

Video Documentation: In Collaboration with Kids –Silly Socks

Video Module # 6.4


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Purpose: To show the important tenets of safety and boundaries during expressive

Run Time: 8:31

Video Documentation: The Myth Maker’s Portfolio

Video Module #7

Artifact: Overview of Applied Heuristic Research

Purpose: To show examples of children’s work coming out of a 9-week program

Run Time: 3:11

Video Documentation: Day One

Video Module #8

Artifact: Class Log/Interview and Observations

Purpose: To demonstrate a theme-based study

Run Time: 20:33

Video Documentation: Art Story


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Video Module #9

Artifact: Curriculum Implementation Interview

Purpose: To reveal the outcomes of how the children shape the curricula

Run Time: 20:20

(D.) Redefining the Teacher’s Role _______________________________________________77

Video Documentation: Redefining the Teacher’s Role

Video Module #10

Artifact: Applied Heuristic Research

Purpose: To demonstrate how the teacher analyzes her work for professional and personal

development

Run Time: 52:07 (View only the first 15:00 minutes)

Chapter Three:

Conclusion __________________________________________________________________93

References _________________________________________________________________100

Appendix:

Syllabus & Scores ___________________________________________________________107


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How Do I Know What I Know

I am eager to know more about myself every day—To know more about why it scares me,

when my partner rejects me with the simple response of “No”, and why, depending on the

context of the “No”, my body—my first responder—reacts with a tight closed-fisted feeling in

my upper chest. My breath becomes short and shallow, my jaw makes a slight twitch and my

eyes hang out in space, wide-eyed, as if a camera flash went off. This is just one example of the

numerous feelings and body responses that I am aware of during the midst of my everyday so-

called normal existence.

I tell you this, because it is important to understand the source of a new idea. It takes

time for new ideas to develop, to be researched, tested and accepted through popular demand.

What I want to reveal in my personal life and working with children is significant and should not

be dismissed lightly, just because it is inconsistent with what others have taught us over the

years. I would like to begin this discussion with thought-provoking ideas from Hillman’s (1996)

The Souls Code; In Search of Character and Calling:

There is more in a human life than our theories of it allow. Sooner or later something

seems to call us onto a particular path. You may remember this ‘something’ as a signal

moment in childhood when an urge out of nowhere, a fascination, a peculiar turn of

events struck like an annunciation: This is what I must do. This is what I’ve got to have.

This is who I am. (p. 3)


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My thesis is about that call. “If not this vivid or sure, the call may have been more like

gentle pushing in the stream in which you drifted unknowingly to a particular spot on the bank.

Looking back, you sense that fate had a hand in it” (p. 3). My thesis is about this sense of fate,

These kinds of annunciations and recollections determine biography as strongly as

memories of abusive horror, but these more enigmatic moments tend to be shelved.

Despite early injury and all the slings and arrows of outrageous fortune, we bear from the

start the image of a definite individual character with some enduring traits. (Hillman

1996, p. 4)

My thesis is about the power of character. With this potential for possibility, I now will

summarize my new idea. Hopefully my summary will encourage you to support your own

children, or give hope to another parent who may be struggling with their new ideas about what

and how their children are being taught. Hopefully you will have an open mind and open heart,

while you read about my ideas, as they could help you better understand yourself and the child

within and the children around you.


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