Art Advocacy for All

Christine McCormick Murphy

Art Education: University of Florida

Dr. Tracey Hunter-Doniger

February 25th, 2021

1
 Abstract

This paper is about the post-modern advocacy of art education for students with different

abilities. Overnight, Art education has become highly inclusive for students with varying needs,

yet is not widely approached in academics for all students. Topics covered will address how

different abled students were initially treated and then their legal integration into the public

school system and the positive outcome art education can provide. This paper will serve as a

narrative in providing understanding to the relevance that art education serves to varying abilities

and the overall mainstream community.

2
Introduction

It is said that if one does not learn from their mistakes, history is bound to repeat itself.

Education has been a revolving door since first advocated upon from philosophers such as

Socrates and Plato. The advocacy of knowledge and the pursuit of gaining understanding in

order to create a better society and culture. Yet not all education is delegated the same. Children

born with unforeseen differences have not been given the same opportunities as everyone else

and until just the mid nineteen hundreds, have had no voice or ability to advocate what does or

does not work for them in terms of education. In similarity, art education has had a relatable

situation; only select individuals had the right to learn about the arts and practice it. Additionally,

it has not been until the late nineteen hundreds that art has become inclusive and all individuals,

regardless of ability, have had the opportunity to learn and benefit from the study of fine arts

(Stankiewicz, 2001). Movements such as Art Therapy and practitioners such as Gardner and

Lowenfeld, have advocated both the educational and therapeutic gains of art with differently

abled children. Additionally, now that differently abled students have access to art education,

there has been a positive shift to defend how effective the use of art education can be for these

students under mainstream education.

Before modern day educational standards, when a child was born with any differentiation

from that of what was deemed a normal child, there was alienation. Children with special needs

such as autism, down syndrome and cerebral palsy, a few which are better known to society

currently, were treated drastically unacceptable and in some countries even put to death for their

conditions. “Millions of children were denied adequate schooling before legislation to ensure

equal educational opportunities for special education children” (Star Staff, 2018, para. 4). Until

this became a priority and universal standard, differently abled individuals have had a terrible

3
and in some cases a non-existent education. It was not until 1975, (What is the IDEA?, 2019)

that the Individuals with Disabilities Act, previously known as the Education of All Handicapped

Children Act, was federally funded to support special education and programs for children with

disabilities. The purpose of IDEA was to provide free public education in the United States for

children who were differently abled but supported through resources, teachers and educational

agencies (United States, n.d.). The implementation and success was measured through

assessments to document the effectiveness and if the needs of the child were met in order to

adequately live independently and become economically self-sufficient (n.d.). The prospect of

how art education would greatly benefit students with varying abilities was not recognized until

the law changed through a new legislation titled Every Student Succeeds Act of 2015, when the

Arts were determined to be a standard of a well-rounded education (ESSA, n.d.). Different

influencers of art and education provided well established studies that showed evidence that if art

was incorporated into the education of an individual with needs, that there would be a positive

outcome both internally and through all of mainstream education.

Positive Practitioners and Movements

Howard Gardner, a developmental psychologist, believed that art education could

flourish under the right circumstances. He believed that anyone was able to master the arts and if

in a supportive environment that they could thrive (Gardner, 1999). With children of varying

abilities, Gardner expressed that art has a communication factor that does not require verbal

language and that activities through art would not only heighten skills but “also allow one to be

in closer touch with the thoughts and emotions of those around one, and indeed, with one's own

mental life” (1999). He advocated that while all children regardless of abilities develop at

4
different stages, that educators need to keep in mind what can occur naturally over the course of

a child’s development, is not necessarily what could happen (Gardner, 1988).

Viktor Lowenfeld, another psychologist and educator of the arts, also contributed greatly

to the evolution of the arts and students with varying needs. Similar to Gardner, Lowenfeld’s

claims were based around the idea that a child needed influence and guidance to help develop

their self-expression (Saunders, 1961). Lowenfeld spent much of his career devoted to and

teaching blind children, which guided him into a passion for using art as a form of creative

therapy (Effland, as cited by Lloyd, 2017). Without Lowenfeld’s contributions through studies

and books by prior theorists and educators, there is a very good chance that the arts would not

have accelerated to the position and standard they are held to today.

The movement of art therapy is contributed to the foundations on the studies of

psychoanalysis by Sigmund Freud (Tobin, 2015). His work on understanding the subconscious

mind and the workings of the brain pioneered the research of Margaret Naumburg and Edith

Kramer who take art and therapy to the next level. Naumburg used art in her practice to

encourage her patience to depict their ideas and thoughts through imagery in order to

comprehend the subconscious of the individual (2015). She believed that the use of art

contributed to increased verbalization based on those images as the individual was engaged with

their drawings and wanted to explain them. Kramer used Freud’s theories to help patience unlock

their subconscious conflicts, and used drawing and art related activities to help resolve these

inner dramas to ultimately live better lives (2015). More therapists continued to build on the

practices of these pioneers, yet without the findings and studies made by these practitioners,

there is potential that art would not be idealized with the same therapeutic properties and

principles as it does today, especially in terms of individuals with varying needs.

5
The Law

It is intriguing to recognize that art education can influence the differently abled

community. The paradigm however, is that educators and lawmakers have yet to distribute that

education equitably. For example, varying abilities has a wide umbrella of individuals under

mainstream education. There are students who have physical, mental, social and emotional

disabilities. Additionally there are individuals who also are gifted, talented and exceptional. Plus

we now have identified that it is possible to have students fall under the domain of more than one

category and yet educators are not properly equipped or schools are not funded to adequately

meet the needs of these individuals. After the year two thousand, drastic cuts were made to the

education budget and schools nationwide were forced to offer less opportunities for students in

the fine and performing arts due to a lack of funding (McDonald, 2016). After IDEA, lawmakers

created and passed the No Child Left Behind Act which put emphasis on grades, testing, and

core subjects. The arts were not deemed priority and funding that would be used to help purchase

materials and supplies for these classes for students to succeed in were cut (2016). Since the

inception of IDEA, lawmakers have revamped the law several times. The most current law that

houses protection for the arts and all students is called the Every Student Succeeds Act. Although

this legislation reflects that the arts are needed in order for a student to receive a ‘well-rounded’

education, it broadly does not imply who is considered for that education.

Connecting the Dots

The million dollar question comes down to, why are the arts so important in mainstream

education to students with varying abilities? The arts are not a one size fits all subject and all

students regardless of ability cannot all be taught the same. Through research, educators have

shown whiteness that the arts help not only children, but adults as well with cognitive, physical,

6
gifted, social, emotional, behavior, and mental health issues. The first main positive outcome of

teaching individuals with varying needs art education is that the arts help build skills within these

individuals. The “integration of the visual arts into the special education curriculum can serve to

train and reinforce deficient perceptual, motor and academic skills” (Dalke, 1984, p. 6). All skills

that educators have to work with students towards in order to build a hierarchy of education.

Coincidentally under Bloom’s Taxonomy, which is the framework used by K-12 and college

educators to develop a common language and method of assessment to understand specific

learning outcomes (University of Central Florida, n.d.), the act of creating which is at the peak of

learning is used in art education. In art education, students are constantly building, decoding, and

or working hands-on to create artwork. Thus building their ability to view, differentiate, and

refine their individual motor skills.

In special education, the education of art also helps engage in the learning of self-

regulation.. Self-regulation is “the ability to manage your emotions and behavior . . . towards a

goal, despite the unpredictability” (Self-Regulation, 2020). Art requires cyclical self-regulation.

This occurs in three cycles according to Zimmerman, students have to think about an idea to

create something, actually create the work [of art] or perform the desired task, and then reflect

upon what they have learned or created (1994). This is the valued approach of all art educators

towards students regardless of age or ability. However, students with varying abilities tend to

struggle in their reflection and evaluation of their artwork and generally are more self-critical

about providing their opinions, views or even showcasing their works of art. “Art experiences

can provide positive reinforcement for the handicapped child’s ego, resulting in a better self-

image” (Dalke, 1984, p.7). Art has a nurturing way of motivating students to continue working

which only deepens their self-efficacy and desire to continue learning about the subjects and

7
different styles of art that are being taught. Promoting self-regulation and self-efficacy also help

minimize behavioral issues. When teachers encourage behavior specific praise, students of all

abilities are likely to continue that desirable behavior as teachers provide direct instruction for

that desired trait. (Ennis, Royer, Lane, Menzies, Oakes & Schellman, 2018, p. 137)

The education of art also strongly influences the building of an individual's fine motor

skills and cognitive development. In the art process students are encouraged from their teacher to

problem solve, engage in critical thinking and also motivate students to perform past their own

perceived inabilities. In a study performed by the Gail Method of Remediation, students were

observed with recreating a task expressing visuals they had learned and observed to recognize

what visual stimuli they had received and how they chose to express their work of art (Gair,

1975). It was observed that the students were able to recall the learned methods which indicated

to the study that they were able to operate at a cognitive level and additionally, their physical

abilities were not impeded because they were highly motivated and were not fearful as they were

in control of their own aesthetic creative decisions (1975).

The education of arts also has taken new shape in combining science, technology,

engineering, art and math into what is known as STEAM. Teaching students with varying

abilities also includes students who are gifted and talented and by utilizing such educational

concepts such as STEAM, enhance their understanding and enrichment through acceleration,

leadership and even character development (Davis, Rimm & Siegle, 2011). Teachers are able

provide alternative methods of teaching to help advance the knowledge and concepts of the

gifted and talented population “through abstract concepts, direct study of higher order thinking

processes, interdisciplinary themes, and student research with products for real audiences”

(Davis, Rimm & Siegle, 2011, p.194). STEAM also contributes to the educational gains of

8
individuals with varying needs as the activities incorporated into STEAM involve life skills such

as calculating tips, using smart devices and also experimenting with everyday household

products like shampoo and candles (Hwang & Taylor, 2016). These types of experiences plus

incorporating the arts, aim to improve the overall quality of life and foster growth for students to

be introduced into both mainstream education and society.

Past to present

In contrast from when the arts were first introduced to individuals with varying needs,

modern approaches to modes of teaching have drastically changed. Not only are teachers held to

a rigorous professional standard, but individuals in present day mainstream education have

complex situations and needs. Teaching requires flexibility and quick adaptation in order to build

learning gains regardless of the need or ability. But modern day teaching of individuals with

varying needs creates awareness and educates not only the student but also the teacher.

First and foremost, when art teachers create lessons or activities for the students with

varying abilities, it creates awareness of the individual's abilities. Again, not every child is the

same; however, if an educator is unfamiliar with the disability then they further research and

extend their knowledge to provide more opportunities to help that child gain mastery through a

positive and encouraging environment.

Support is also encouraged through the education of artists with disabilities when

teaching. “Disability is rarely acknowledged as a cultural category in art education” (Derby,

2011, p. 99). Students are more likely to remember, and engage in the creation of or

aesthetically reflect on artists and artwork that are culturally recognizable, or if the students

themselves can relate to the artist. A tremendous amount of well-known artists such as Frida

Kahlo, Chuck Close and Vincent Van Gogh all experienced a physical, social emotional and or

9
mental disability. Students who can assimilate with their own or another culture and gain

empathy by learning about these artists and their individual circumstances, should engage

students of all abilities to desire to create without fear and take control of their own aesthetic

decisions. A lot of these disabilities were not recognized in their time and educators and

professionals today are continuously learning how the visual arts are beneficial to individuals

with disabilities and varying needs.

The year of two thousand twenty has also redirected educators' attention towards social,

emotional and the mental health of all people, regardless of ability or if they are mainstream

education. Just like the support referenced through Lowenfeld and Gardner, through positive

encouragement and the appropriate environment, the creation of art can help individuals gain

confidence and build social-emotional skills. Art creates a safe space where students “have

opportunities to learn new skills and make new choices, that continued repetition and practice,

may turn into ingrained habits of mind and integrated parts of their identity” (Farrington, Maurer,

McBride, Nagaoka, Puller, Shewfelt, Weiss & Wright, 2019 p.36)

Connecting Past to Present

As a current educator in the year two thousand twenty, it is still evident that there is a

lack of inclusivity with teaching the arts to students of varying abilities and needs. Not just in

terms of legalities but funding, programs, and also a lack of appreciation for the arts as a content

area. Every new administration in the United States, amends, repeals or passes new legislation

that helps or hinders the educational system and in this author's opinion the teachers and schools

are left to scramble all the pieces together.

Also with the current trends on exploring social and emotional health in society, the arts

have shown to provide positive mental health attributes. The creation of art can contribute to a

10
lack of stress, boosting one's' confidence, helps with problem solving skills, improves the quality

of life for those suffering from an illness, and overall can create a sense of peace and calm within

a person (How arts benefit., 2019)

Student’s today also doubt their own inclusivity. Teachers will do anything and

everything they can to promote their content area, even go out of their way to purchase supplies

and materials to encourage their academic environment with their own personal finances, and yet

students with varying needs be it high functioning, low or gifted, have these internal insecurities

that make them fearful in allowing themselves to fully capture the positive effects of art

education. All students regardless of ability or disability could benefit from receiving varying

approaches in being taught art education. The needs of individuals are not being met because

there is a lack of multipurpose approaches. If educators had more professional development in

the area of how to incorporate differentiating approaches to teaching students with varying needs

then then all students would receive the best educational care to meet their needs.

11
References

All Star Staff. (2018, March 6). A short history of special education: All education

schools. Retrieved February 22, 2021, from

https://www.alleducationschools.com/blog/history-of-special-education/

Dalke, C. (1984). There Are No Cows Here: Art and Special Education Together at Last. Art

Education, 37(6), 6-9. doi:10.2307/3192771

Davis, G.A.; Rimm, S.B.; Siegle, D. (2011) Education of the Gifted and Talented-6th

Ed.;Needham Heights, MA: Allyn & Bacon

Derby, J. (2011). Disability Studies and Art Education. Studies in Art Education, 52(2),

94-111. Retrieved February 24, 2021, from http://www.jstor.org/stable/41407936

Efland, A. (1990). A history of art education: Intellectual and social currents in teaching the

visual arts. New York: Teachers College Press.

12
Ennis, R. P., Royer, D. J., Lane, K. L., Menzies, H. M., Oakes, W. P., & Schellman, L. E.

(2018). Behavior-specific praise: An effective, efficient, low-intensity strategy to

support student success. Beyond Behavior, 27(3), 134–139.

https://doi-org.ezproxy.net.ucf.edu/10.1177/1074295618798587

ESSA (every STUDENT Succeeds act). (n.d.). Retrieved February 23, 2021, from

https://www.arteducators.org/advocacy-policy/essa-every-student-succeeds-act

Farrington, C. A., Maurer, J., McBride, M. R. A., Nagaoka, J., Puller, J. S., Shewfelt, S.,

Weiss, E.M., & Wright, L. (2019). Arts education and social-emotional learning

outcomes among K–12 students: Developing a theory of action. Chicago, IL: Ingenuity

and the University of Chicago Consortium on School Research.

Gair, S. (1975). An Art-Based Remediation Program for Children with Learning Disabilities.

Studies in Art Education, 17(1), 55-67. doi:10.2307/1319905

Gardner, H. (1988). Toward More Effective Arts Education. Journal of Aesthetic

Education, 22(1), 157-167. doi:10.2307/3332972

13
Gardner, H. (1999, November/December). The Happy Meeting of Multiple Intelligences and

the Arts. Retrieved February 23, 2021, from

https://www.hepg.org/hel-home/issues/15_6/helarticle/the-happy-meeting-of-multiple-i

ntelligences-and-th.

How arts benefits us all, as humans. (2019, August 7). Retrieved February 25, 2021, from

https://continuingstudies.uvic.ca/arts/news/how-arts-benefits-us-all-as-humans

How can we help kids with self-regulation? (2020, March 11). Retrieved February 25, 2021,

from https://childmind.org/article/can-help-kids-self-regulation/

Hwang, J., & Taylor, J. C. (2016). Stemming on STEM: A STEM Education Framework for

Students with Disabilities. Journal of Science Education, 19(1), 39-49. Retrieved

February 24, 2021, from https://files.eric.ed.gov/fulltext/EJ1169381.pdf.

Lloyd, Kimberly (2017) "Benefits of Art Education: A Review of the Literature," Scholarship

and Engagement in Education: Vol. 1 : Iss. 1 , Article 6. Available at:

https://scholar.dominican.edu/seed/vol1/iss1/6

14
McDonald, J. (2016, March). Funding for schools' art programs ending? Retrieved

February 24, 2021, from

https://www.kmsd.edu/site/default.aspx?PageType=3&DomainID=312&ModuleI

nstanceID=1237&ViewID=6446EE88-D30C-497E-9316-3F8874B3E108&Rend

erLoc=0&FlexDataID=3316&PageID=383

Saunders, R. (1961). The Contributions of Viktor Lowenfeld to Art Education Part II:

Creative and Mental Growth. Studies in Art Education, 2(2), 7-13.

doi:10.2307/1319643

Stankiewicz, M. A. (2001). Anyone can learn to draw. In M. A. Stankiewicz, Roots of art

education practice. Davis Publications.

Tobin, Michelle. (2015). A Brief History of Art Therapy: From Freud to Naumburg and

Kramer. 10.13140/RG.2.1.4211.6003/1.

United States, U.S. Department of Education. (n.d.). About IDEA. IDEA Individuals With

Disabilities Education Act. Retrieved February 23, 2021, from

https://sites.ed.gov/idea/about-idea/#IDEA-History

15
University of Central Florida (Ed.). (n.d.). Blooms Taxonomy. Retrieved February 24, 2021,

from https://fctl.ucf.edu/teaching-resources/course-design/blooms-taxonomy/

What is the individuals with Disabilities Education Act? (2019, April 30). Retrieved February

22, 2021, from

https://www.washington.edu/doit/what-individuals-disabilities-education-act

Zimmerman, B. J. (1994). Dimensions of academic self-regulation: A conceptual framework

for education. In D. H. Schunk & B, J, Zimmerman (Eds), Self-regulation of learning

and performance: Issues and educational applications (pp. 3-24). Hillsdale, NJ:

Lawrence Erlbaum.

16