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Art Integration and Identity: Empowering Bi/Multilingual High School Learners

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Title: Art Integration and Identity: Empowering Bi/Multilingual High School Learners
Language: English
Authors: Aghasafari, Sahar (ORCID 0000-0002-2125-9463), Bivins, Kelli (ORCID 0000-0001-7512-5033), Muhammad, E. Anthony (ORCID 0000-0002-2909-3621), Nordgren, Brendan (ORCID 0000-0003-2087-3979)
Source: Art Education. 2022 75(5):32-37.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 6
Publication Date: 2022
Document Type: Journal Articles
Reports - Research
Education Level: High Schools
Secondary Education
Descriptors: High School Students, Bilingual Students, Multilingualism, Art Activities, Art Education, Interdisciplinary Approach, Art Expression, Student Empowerment, English Language Learners, Visual Arts, Self Concept, Critical Theory, Educational Technology, Photography
DOI: 10.1080/00043125.2022.2076543
ISSN: 0004-3125
2325-5161
Abstract: Art integration has been used to explore "the relevance and approaches to arts education connected to [the larger] curriculum and instruction with learners of all ages, including teacher learners" (Cahnmann-Taylor & Sanders-Bustle, 2019, p. 2). Art integration utilizes commonalities among the many components of other disciplines. Moreover, art integration addresses the importance of creative production and promotes hands-on learning through artmaking as a powerful way for students to express themselves as learners and recognize themselves as engaged in meaningful learning (Berriz et al., 2019). This study aimed to explore how art integration, in combination with critical pedagogy, could be utilized to explore identity, and empower high school learners for whom English is not their first language. Using a case study methodology (Creswell, 2012, 2013; Yin, 2014) and working within a critical pedagogy framework, the authors designed a participatory visual arts study using classroom discussions of identity, instruction in Photoshop, and the participants' creation of collages as data-generation methods. The learning target for the identity unit was "I can list, and illustrate through Photoshop, aspects of my identity." Art integration was used to empower bi/multilingual students to not only construct their own definition and self-conception of "identity," but also present their identities visually.
Abstractor: ERIC
Entry Date: 2023
Accession Number: EJ1360967
Database: ERIC
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  Value: <anid>AN0158808504;are01sep.22;2022Sep02.02:31;v2.2.500</anid> <title id="AN0158808504-1">Art Integration and Identity: Empowering Bi/Multilingual High School Learners </title> <sbt id="AN0158808504-2">Introduction</sbt> <p></p> <hd id="AN0158808504-3">Art Integration</hd> <p>The National Art Education Association ([<reflink idref="bib23" id="ref1">23</reflink>]) stated that art education in the United States includes, but is not limited to, fine arts, such as drawing, painting, photography, and sculpture; media arts, such as animation and digital technologies; design, such as communication, product, environmental, and architectural design; and conceptual, performance, and participatory art. Art education includes artmaking, learning, community, interpreting meaning, self-expression, critiquing, and exhibiting or presenting works of art. This definition derives from Costantino's ([<reflink idref="bib7" id="ref2">7</reflink>]) interdisciplinary curriculum model of signature pedagogies in art education and the National Coalition for Core Art Standards ([<reflink idref="bib25" id="ref3">25</reflink>]), which depicts art education as interdisciplinary, with potential for all curriculum areas.</p> <p>Art educators have long promoted interdisciplinary art education and art integration (Stokrocki, [<reflink idref="bib29" id="ref4">29</reflink>]). Silverstein and Layne ([<reflink idref="bib28" id="ref5">28</reflink>]) defined art integration as "an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form to another subject area and meets evolving objectives in both" (para. 3). Art integration has been used to explore "the relevance and approaches to arts education connected to [the larger] curriculum and instruction with learners of all ages, including teacher learners" (Cahnmann-Taylor & Sanders-Bustle, [<reflink idref="bib5" id="ref6">5</reflink>], p. 2). Art integration utilizes commonalities among the many components of other disciplines.</p> <p>Moreover, art integration addresses the importance of creative production and promotes hands-on learning through artmaking as a powerful way for students to express themselves as learners and recognize themselves as engaged in meaningful learning (Berriz et al., [<reflink idref="bib3" id="ref7">3</reflink>]). Berriz et al. ([<reflink idref="bib3" id="ref8">3</reflink>]) described various ways of "lifting potential [and] expanding possibilities" (p. 99) for bi/multilingual students by using art to increase educational achievement. Also, they discussed integrating art—from photography to collage, picture book illustrations, visual texts, and storytelling—into the curriculum to develop students' knowledge and help students achieve an in-depth understanding of meaning-making practices (Aghasafari, [<reflink idref="bib1" id="ref9">1</reflink>]).</p> <hd id="AN0158808504-4">Bi/Multilingual Learners</hd> <p>Educators and teachers have documented the positive outcome of arts integration into other disciplines, particularly for speakers of other languages (Berriz et al., [<reflink idref="bib3" id="ref10">3</reflink>]; Kant et al., [<reflink idref="bib17" id="ref11">17</reflink>]). According to the National Center for Education Statistics ([<reflink idref="bib24" id="ref12">24</reflink>]), 9.6% of students in the United States are classified as bi/multilingual English learners. Although relatively uncommon in the United States, bi/multilingualism is the norm worldwide. Between 60 and 70% of the world's population speaks at least two languages (Martínez, [<reflink idref="bib21" id="ref13">21</reflink>]). In other words, speaking two or more languages is the typical human condition. Immigrants and U.S.-born Latinx children who attend schools in the United States must add English to their vocabulary to achieve academic success (Martínez, [<reflink idref="bib21" id="ref14">21</reflink>]).</p> <p>Improving visual literacy through art-based learning can empower all students, not just bi/multilingual students, by creating a vehicle for understanding and communication. In particular, art can become a valuable tool for "personal and community identity development" (Chapell & Cahnmann-Taylor, [<reflink idref="bib6" id="ref15">6</reflink>], p. 250). Additionally, art integration offers options to traditional forms of schooling that rely exclusively on restrictive print- and language-based notions of literacy. Berriz et al. ([<reflink idref="bib3" id="ref16">3</reflink>]) asserted that "the arts are more than an added benefit in any educational context; they are foundational literacies that engage participants in the process of observing, connecting, finding solutions, making meaning, and communicating/expressing" (p. 12). In essence, the "aesthetic languages" of the arts disciplines become meaning-making tools to help achieve empirical goals that can help educators better understand students' learning experiences in the classroom (Aghasafari et al., [<reflink idref="bib2" id="ref17">2</reflink>], p. 68).</p> <hd id="AN0158808504-5">Theoretical Framework: Critical Pedagogy Theory</hd> <p>Critical pedagogy theory (CPT) is an approach to teaching that encourages students to critique social structures and challenge assumptions. Critical pedagogy theorists seek to use education to empower those who do not govern their destinies by focusing on the day's social, economic, political, and cultural issues (Gutek, [<reflink idref="bib16" id="ref18">16</reflink>]). Critical pedagogy provides students with methods for evaluating and constructing their world (Delpit, [<reflink idref="bib11" id="ref19">11</reflink>]; Freire, [<reflink idref="bib12" id="ref20">12</reflink>], [<reflink idref="bib13" id="ref21">13</reflink>]; Gadotti, [<reflink idref="bib15" id="ref22">15</reflink>]). Hence, critical pedagogy includes suggestions for change. Individuals can implement these suggestions in various ways, using critical thinking to analyze and improve themselves and their world (Monchinski, [<reflink idref="bib22" id="ref23">22</reflink>]).</p> <p>The CPT of Paulo Freire informs the current study. Freire's desired goal is for the learner to be actively involved in their education rather than passive (Freire & Faundez, [<reflink idref="bib14" id="ref24">14</reflink>]). As creatures of thought and action, humans learn about the world and change it with their actions (Freire, [<reflink idref="bib12" id="ref25">12</reflink>]). Viewed in this way, education is not neutral but is a means either to control humans or free them (Lankshear, [<reflink idref="bib18" id="ref26">18</reflink>]). Freire invented a pedagogy called "training the oppressed," a type of education formed with, not for, the oppressed as part of a continuous effort to rebuild their humanity (Freire, [<reflink idref="bib13" id="ref27">13</reflink>]).</p> <p>According to Freire, a critical teacher asks questions that stimulate students to ask their own questions. Students learn to draw on their experience and understanding to answer questions, rather than simply waiting to be told the answer (Freire, [<reflink idref="bib13" id="ref28">13</reflink>]). In this type of pedagogy, students experience education as what they do, not what is done to them. Teachers and students play both roles: Sometimes the teacher learns from students, and every student educates both teachers and other students. Even the physical space of the classroom should be organized to promote this sensibility, putting students in small circles or groups to enhance their self-concept as teachers, to practice listening to the group, to engage in practical as well as collaborative activities, and to encourage people to trust each other (Shor & Freire, [<reflink idref="bib27" id="ref29">27</reflink>]). This approach to educating students represents the foundation of this study.</p> <hd id="AN0158808504-6">Research Design</hd> <p>Using a case study methodology (Creswell, [<reflink idref="bib8" id="ref30">8</reflink>], [<reflink idref="bib9" id="ref31">9</reflink>]; Yin, [<reflink idref="bib30" id="ref32">30</reflink>]) and working within a critical pedagogy framework, we designed a participatory visual arts study using classroom discussions of identity, instruction in Photoshop, and the participants' creation of collages as data-generation methods. The choice of collage as the visual arts research product was based on it being seen as a "safe and structured resource in the difficult self-expressive process" (Linesch, [<reflink idref="bib20" id="ref33">20</reflink>], p. 47) and because of the wide use and favorability of collage in research on participants with language differences (Leavy, [<reflink idref="bib19" id="ref34">19</reflink>]). Most importantly, the use of a visual arts method (and particularly collage) in our critical pedagogy framework was due to its "resistive and transformative [capabilities]," its ability to empower our participants to provoke, invoke, and express knowledge in a new way (Leavy, [<reflink idref="bib19" id="ref35">19</reflink>], p. 208).</p> <hd id="AN0158808504-7">Participants</hd> <p>The bounded system (case) for our study was a course titled Communication Skills at a midsize public high school located in the southeastern United States. The class comprised 20 language learners born in eight different countries, ranging in age from 14 to 18. As most of the students had recently arrived in the country and had very limited writing/speaking skills, the purpose of the class was to strengthen students' academic English. We report findings from four representative students.</p> <hd id="AN0158808504-8">Procedures</hd> <p>Art was infused into the coursework at the beginning of the 2019–2020 school year. Students worked on computers in the media center biweekly to learn the basics of Photoshop. The academic unit under analysis in this study was on identity. The learning target for the identity unit was "I can list, and illustrate through Photoshop, aspects of my identity." We began the unit's work as a whole group by reviewing a variety of poems, articles, and autobiographies about bicultural children living in the United States. Next, students read passages aloud to practice their oral and pronunciation skills. This was followed by a silent reading of the passages designed to improve their understanding of culture (defined as a way of living that is passed down through generations—including food, religion, language, family and gender roles, beliefs, etc.) and identity (the qualities, characteristics, or beliefs that make a person.)</p> <p>Next, the students generated and wrote general elements of identity on a large piece of paper that we displayed on the wall (Figure 1). We gave each student a blank notecard to record their personal answers to the following questions: Where are you from? What are your hobbies? Who is your family? Who are your friends? What are your dreams, goals, and ambitions? What are your beliefs? What do you enjoy? What is your identity?</p> <p>PHOTO (COLOR): Figure 1. Student identity elements.</p> <p>Once students had an idea of the elements that constitute their identities, we took a photo of each student. Then, each student uploaded their photo to Photoshop and created an outline of their head and upper body on the screen. The students then scoured the internet for representative images. After students selected images to represent their identities, they created their collages by placing images within their outlines, using cut-and-paste and layers in Photoshop. We asked students to search for images based on our class discussions when conducting their internet searches. Classroom discussions around identity included considerations of family, hobbies, friends, dreams, goals, enjoyment, beliefs, and ambitions. Students ultimately decided to include a mixture of personal photos from their phones and images from the internet to represent themselves in their Photoshop collages.</p> <hd id="AN0158808504-9">Data Analysis</hd> <p>In fall 2019, we began to collect data while implementing 10 sessions of art integration activities. Our analysis of the students' collages was informed by supplemental data that included student-generated note cards and lists, transcripts of audio/video recordings, and the researchers' field notes. However, the students' collages provided the primary point of reference for analysis and interpretation.</p> <p>We deployed a version of hypothesis coding (Saldana, 2016) when analyzing the students' collages. A predetermined list of codes is used to analyze data in hypothesis coding. The codes themselves are generated from theories, predictions, or other means that anticipate "what will be found in the data before they have been collected or analyzed" (Saldana, 2016, p. 294). The items students identified as making up "identity" during discussions (Figure 1) comprised our codes list. These codes included agriculture, culture, flags, food, location, religion, and soccer. Analysis of each student's collage would then proceed with an eye toward how their collage included the "hypothesized" elements of identity—our codes listed above. By focusing on the constructed definition of identity and how students expressed their identities in collages, hypothesis coding was ideal for this type of focused and narrowly defined project. Additionally, we adopted hypothesis coding because it seeks to "confirm or disconfirm" the constructed definition of identity through an analysis of student-generated collages (Saldaña, [<reflink idref="bib26" id="ref36">26</reflink>], p. 180).</p> <hd id="AN0158808504-10">Findings</hd> <p>Figure 2 depicts the artwork created by Alex[<reflink idref="bib1" id="ref37">1</reflink>] with Photoshop. Alex collected all of the elements that represent his identity from the internet, and he placed images within his self-portrait based on his priorities. Students were taught to use their priorities to place their images over important body parts, such as the brain, eyes, and heart. One of the most prominent features of Alex's collage is the conspicuous Mexican flag at the top of the collage, covering most of his head. According to Alex, "My motherland is the first priority that presents my identity by showing the flag of my country and I placed it in my head" (personal communication, November 11, 2019). This coincides with the "flag" code in the definition of identity (Figure 1). Other items in Alex's collage included maize, a soccer ball, and a picture of the Virgin Mary, which represent the "agriculture," "soccer," and "religion" codes, respectively.</p> <p>PHOTO (COLOR): Figure 2. Alex's self-portrait. Photoshop.</p> <p>Mateo (Figure 3) also created his artwork with Photoshop by collecting his images from the internet and placing them within his self-portrait. According to Mateo, "I love traveling, and one day, I want to travel around the world without border issues" (personal communication, November 12, 2019). Accordingly, prominent images in Mateo's collage were a jet airliner and a hot-air balloon. Similar to Alex, Mateo's collage also contained images related to "food" (pizza, watermelon, tamales) and "culture" (Mexican flag and an ancient pyramid). Mateo's artwork was incomplete because he had to leave the United States to visit his family in his home country for an extended period of time. This interruption is not uncommon among this population of students, many of whom remain transient.</p> <p>PHOTO (COLOR): Figure 3. Mateo's self-portrait. Photoshop.</p> <p>Sara (Figure 4) placed an image of money at the top of her head and a large image stating her birthplace over her heart. According to Sara, "I am always proud of my country to present as the best example of my identity. And gaining a job and receiving money was one of the most important reasons to leave my country" (personal communication, November 14, 2019). We categorized Sara's city of origin under the "location" code. The majority of Sara's images were classified as food-related elements of identity.</p> <p>PHOTO (COLOR): Figure 4. Sara's self-portrait. Photoshop.</p> <p>Santiago used an image of a backpack similar to one he had when he was a child in his country of origin (Figure 5). In the region of his head, he used an image of a night full of stars. According to Santiago, "These stars show that my dreams and the night present my unstable situation as an immigrant student" (personal communication, November 15, 2019). Two other prominent features stood out about Santiago's collage. First, he included the fewest number of images (five) in his collage of all those analyzed in this study. Second, none of Santiago's pictures coincided with any of the codes generated in the class discussion of identity (Figure 1). The low number of images could indicate Santiago's decision to summarize his core idea of himself in a very simplistic and minimalistic identity. The lack of any of the predetermined codes being represented in Santiago's collage could be seen as him exhibiting agency and self-determination by choosing not to include any of the predetermined codes as part of his identity. Yet another feature of Santiago's collage was the fact that his was the only collage under analysis that had no image of money included as a feature of identity. When we asked Santiago why he did not have an image of money, he said that "if I have a stable situation as an immigrant student, I can get money with hard working, but it is impossible to achieve any dreams with an unstable situation."</p> <p>PHOTO (COLOR): Figure 5. Santiago's self-portrait. Photoshop.</p> <hd id="AN0158808504-11">Discussion</hd> <p>This study aimed to explore how art integration, in combination with critical pedagogy, could be utilized to explore identity, and empower high school learners for whom English is not their first language.</p> <p>We used a case study method and critical pedagogy theory to implement our study. This involved teachers viewing students as co-constructors of knowledge. This was exhibited in our study when teachers and students collaborated to define concepts and guide the instruction within class discussions. In our study, students and teachers worked together to create knowledge around identity and, in doing so, dispelled the traditional approach of seeing a teacher as an authoritarian figure who "deposits" knowledge (Freire, [<reflink idref="bib13" id="ref38">13</reflink>], p. 72).</p> <p>The learning target for the identity unit was "I can list, and illustrate through Photoshop, aspects of my identity." In our communication skills course, we began the unit's work as a whole group by reviewing poems, articles, and autobiographies about bicultural children living in the United States and definitions of identity and culture. The students themselves defined the elements of identity through collaborative classroom activities (Figure 1). Then, students were trained in Photoshop to create self-portraits of their identities based on the collaborative definitions they produced.</p> <p>In this study, art integration was used to empower bi/multilingual students to not only construct their own definition and self-conception of "identity," but also present their identities visually. Learning to use Photoshop gave our bi/multilingual students new skills. True to the nature of visual arts methods generally, and collage in particular, it empowered them to creatively express their own unique identities (Davenport & Gunn, [<reflink idref="bib10" id="ref39">10</reflink>]). Another way empowerment was exemplified was by the students themselves defining "identity." Their collective act (the class discussions) of determining the characteristics that make up an identity, followed by them creating their own expressions of identity (the collage), were examples of how art integration and instruction can be combined to create a learning experience that allowed students to invoke their own voices, identities, self-worth, and opinions (Brown & Bousalis, [<reflink idref="bib4" id="ref40">4</reflink>]). By encouraging students to challenge their critical- and creative-thinking skills within the learning identity, art integration played an essential role in envisioning new possibilities by furthering bi/multilingual students' interest and engagement, empowering them to express themselves as co-constructors of knowledge and engaging the students in meaningful learning (Berriz et al., [<reflink idref="bib3" id="ref41">3</reflink>]).</p> <p>Students for whom English is a new language can often feel marginalized in U.S. schools because of cultural differences and the difficulty of language acquisition. Making a collage with Photoshop to present their identities helps our students increase their empowerment and confidence, which often unlocks more profound potential in reluctant learners who are shy or have a language barrier. Our students could explain their identities to their friends and others by visually showing their self-portraits, including considerations of family, hobbies, friends, dreams, goals, enjoyment, beliefs, and ambitions, which helped them feel more powerful and confident in representing themselves in their Photoshop collages. Integrating art activity into a high school communication skills course also provided resources for future teachers who want to position bi/multilingual youth as significant active partners in the curriculum design.</p> <p>The appearance of money in almost every collage was another intriguing finding. Initially, money was not identified as an item in the list of pregenerated codes. Despite this fact, money not only appeared in all of the collages except one, but money also appeared in prominent locations in those collages (head or brain, and heart). This indicates a shared affinity for money that surfaced in the identities of the students. The fact that references to money appeared spontaneously and repeatedly in the constructed identity collages of the students was a meaningful finding.</p> <p>The impact of this study was not just felt by the students. After students selected images to represent their identities, they emailed them to us. We realized that many of the personal photos that they used were taken before the students entered the United States. Students who crossed a border on foot, or under other challenging circumstances, did not have the luxury of bringing printed family photographs with them. These images only existed on their phones. Once printed, the researchers and students realized that this was the first time they held tangible proof of their lives before crossing the borders.</p> <hd id="AN0158808504-12">Conclusion</hd> <p>The practice of critical pedagogy challenges educators to relinquish the position of authority, allowing students to discuss important, personal, and open-ended topics, and to generate new knowledge, demonstrated in this case through art integration. The classroom becomes a place where the group members, with the teacher's help, seek to answer questions through discussion and dialogue. Students learn to draw on their experience and understanding to answer questions, rather than simply waiting to be told. In this approach, critical pedagogy supports close attention to guide the instruction bi/multilingual learners need to make meaning in a communication skills course. Furthermore, it encourages interaction that helps teachers assess whether, and how well, their students have acquired new knowledge and demonstrated proficiency in social analysis, critical thinking, and visual communication.</p> <ref id="AN0158808504-13"> <title> References </title> <blist> <bibl id="bib1" idref="ref9" type="bt">1</bibl> <bibtext> Aghasafari, S. (2019). [Review of the book Art as a Way of Talking for Emergent Bilingual Youth: A Foundation for Literacy in preK–12 Schools, by B. R. Berriz, A. C. Wager, & V. M. Poey, Eds.]. Visual Inquiry, 8 (1), 91 – 93. https://doi.org/10.1386/vi.8.1.91_5</bibtext> </blist> <blist> <bibl id="bib2" idref="ref17" type="bt">2</bibl> <bibtext> Aghasafari, S., Bivins, K., & Nordgren, B. (2021). Arts integration and culturally sustaining pedagogy: Supporting bi/multilingual high school learners in biology. 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Case study research: Design and methods (5th ed.). SAGE.</bibtext> </blist> </ref> <ref id="AN0158808504-14"> <title> Footnotes </title> <blist> <bibtext> All students' names are pseudonyms.</bibtext> </blist> </ref> <aug> <p>By Sahar Aghasafari; Kelli Bivins; E. Anthony Muhammad and Brendan Nordgren</p> <p>Reported by Author; Author; Author; Author</p> <p></p> <p>Sahar Aghasafari, Assistant Professor, Art & Graphic Design, University of South Carolina in Lancaster.</p> <p>Kelli Bivins, Fulbright Teacher for Global Classrooms Scholar, Cedar Shoals High School in Athens, Georgia.</p> <p>E. Anthony Muhammad, Assistant Professor, Educational Research, Georgia Southern University in Buford.</p> <p>Brendan Nordgren, ESOL Teacher, Cedar Shoals High School in Athens, Georgia.</p> </aug> <nolink nlid="nl1" bibid="bib23" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib25" firstref="ref3"></nolink> <nolink nlid="nl3" bibid="bib29" firstref="ref4"></nolink> <nolink nlid="nl4" bibid="bib28" firstref="ref5"></nolink> <nolink nlid="nl5" bibid="bib17" firstref="ref11"></nolink> <nolink nlid="nl6" bibid="bib24" firstref="ref12"></nolink> <nolink nlid="nl7" bibid="bib21" firstref="ref13"></nolink> <nolink nlid="nl8" bibid="bib16" firstref="ref18"></nolink> <nolink nlid="nl9" bibid="bib11" firstref="ref19"></nolink> <nolink nlid="nl10" bibid="bib12" firstref="ref20"></nolink> <nolink nlid="nl11" bibid="bib13" firstref="ref21"></nolink> <nolink nlid="nl12" bibid="bib15" firstref="ref22"></nolink> <nolink nlid="nl13" bibid="bib22" firstref="ref23"></nolink> <nolink nlid="nl14" bibid="bib14" firstref="ref24"></nolink> <nolink nlid="nl15" bibid="bib18" firstref="ref26"></nolink> <nolink nlid="nl16" bibid="bib27" firstref="ref29"></nolink> <nolink nlid="nl17" bibid="bib30" firstref="ref32"></nolink> <nolink nlid="nl18" bibid="bib20" firstref="ref33"></nolink> <nolink nlid="nl19" bibid="bib19" firstref="ref34"></nolink> <nolink nlid="nl20" bibid="bib26" firstref="ref36"></nolink> <nolink nlid="nl21" bibid="bib10" firstref="ref39"></nolink>
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  Data: Art Integration and Identity: Empowering Bi/Multilingual High School Learners
– Name: Language
  Label: Language
  Group: Lang
  Data: English
– Name: Author
  Label: Authors
  Group: Au
  Data: <searchLink fieldCode="AR" term="%22Aghasafari%2C+Sahar%22">Aghasafari, Sahar</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0002-2125-9463">0000-0002-2125-9463</externalLink>)<br /><searchLink fieldCode="AR" term="%22Bivins%2C+Kelli%22">Bivins, Kelli</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0001-7512-5033">0000-0001-7512-5033</externalLink>)<br /><searchLink fieldCode="AR" term="%22Muhammad%2C+E%2E+Anthony%22">Muhammad, E. Anthony</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0002-2909-3621">0000-0002-2909-3621</externalLink>)<br /><searchLink fieldCode="AR" term="%22Nordgren%2C+Brendan%22">Nordgren, Brendan</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0003-2087-3979">0000-0003-2087-3979</externalLink>)
– Name: TitleSource
  Label: Source
  Group: Src
  Data: <searchLink fieldCode="SO" term="%22Art+Education%22"><i>Art Education</i></searchLink>. 2022 75(5):32-37.
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  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
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  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 6
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2022
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Research
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22High+Schools%22">High Schools</searchLink><br /><searchLink fieldCode="EL" term="%22Secondary+Education%22">Secondary Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22High+School+Students%22">High School Students</searchLink><br /><searchLink fieldCode="DE" term="%22Bilingual+Students%22">Bilingual Students</searchLink><br /><searchLink fieldCode="DE" term="%22Multilingualism%22">Multilingualism</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Activities%22">Art Activities</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Interdisciplinary+Approach%22">Interdisciplinary Approach</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Expression%22">Art Expression</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Empowerment%22">Student Empowerment</searchLink><br /><searchLink fieldCode="DE" term="%22English+Language+Learners%22">English Language Learners</searchLink><br /><searchLink fieldCode="DE" term="%22Visual+Arts%22">Visual Arts</searchLink><br /><searchLink fieldCode="DE" term="%22Self+Concept%22">Self Concept</searchLink><br /><searchLink fieldCode="DE" term="%22Critical+Theory%22">Critical Theory</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Technology%22">Educational Technology</searchLink><br /><searchLink fieldCode="DE" term="%22Photography%22">Photography</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/00043125.2022.2076543
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 0004-3125<br />2325-5161
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Art integration has been used to explore "the relevance and approaches to arts education connected to [the larger] curriculum and instruction with learners of all ages, including teacher learners" (Cahnmann-Taylor & Sanders-Bustle, 2019, p. 2). Art integration utilizes commonalities among the many components of other disciplines. Moreover, art integration addresses the importance of creative production and promotes hands-on learning through artmaking as a powerful way for students to express themselves as learners and recognize themselves as engaged in meaningful learning (Berriz et al., 2019). This study aimed to explore how art integration, in combination with critical pedagogy, could be utilized to explore identity, and empower high school learners for whom English is not their first language. Using a case study methodology (Creswell, 2012, 2013; Yin, 2014) and working within a critical pedagogy framework, the authors designed a participatory visual arts study using classroom discussions of identity, instruction in Photoshop, and the participants' creation of collages as data-generation methods. The learning target for the identity unit was "I can list, and illustrate through Photoshop, aspects of my identity." Art integration was used to empower bi/multilingual students to not only construct their own definition and self-conception of "identity," but also present their identities visually.
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  Label: Abstractor
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  Data: ERIC
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2023
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1360967
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        Value: 10.1080/00043125.2022.2076543
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      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 6
        StartPage: 32
    Subjects:
      – SubjectFull: High School Students
        Type: general
      – SubjectFull: Bilingual Students
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