Direct Observation of Connections in Arts Programming

• In Event: How School-Based Arts Programming Supports Social Emotional Learning for Elementary School Students

Abstract

Objectives and Purposes:
We investigate connection as a feature of social-emotional learning (SEL) through the arts by looking at direct observations of arts programing residencies. When compared to other forms of data collection like interviews, observational data can be more accurate (Stuckly, 2014). While quantitative methods allow for the collection of large amounts of data, qualitative methods bring richer details and experiences that could otherwise be lost (Barczak, 2015; Pryce, 2021). Qualitative data tells us about kids holding hands and empowering each other in real time.

Perspective and Theoretical Framework:
This inquiry is part of a larger NEA Research Lab whose aim is to understand what SEL outcomes are made possible through participation in artist-in-residence programs during the school day. Research has shown that arts programming can foster SEL (Qiao, 2021), but we need more evidence on how that happens. In this paper, we focus on the variety of connections among students reported from observations. Direct observation methods are important because they identify patterns and behaviors in real time (Woolverton, 2021). We analyze behaviors of connection that indicate the presence of social emotional learning.

Methods, Techniques, or Modes of Inquiry:
This paper relies on the direct observations of researchers witnessing transformative activities within arts programming. Observers described the activities they saw in class on an observation form and used prompts about collaboration and leadership to elicit further detail. We chose one residency from each program and looked at common themes and behaviors across students. We then created a code book of similar trends to analyze the rest of the observation forms.

Data Sources:
1-2 researchers from our lab observed each arts program session. We conducted observations for 17 sessions total. We observed three types of programs: a dance and drum workshop emphasizing discipline and leadership, a dance group that seeks to empower underserved youth, and a theater program that teaches creative writing and performance. Researchers paid special attention to all types of connection including physical, visual, group focus, and vocal as they sat in on each class and took notes.

Results:
We observed students connecting in all three programs, especially between the midpoint and end of programming. For example, we witnessed students high fiving after a rehearsal, a form of connection communicating mutual encouragement. We also observed a student who elicited group focus and showed leadership by playing a rhythm on the djembe. The instructor generally used the djembe drum to lead the class, but on this occasion, a student got the attention of their classmates before the instructor had even arrived. The increase in connections among students was observed together with an increase in leadership, collaboration, and inclusiveness.

Significance of the Study:
Through an analysis of connections, we see clear evidence of students displaying increased engagement, collaboration, and leadership over time. Identifying these changes is a direct result of the connections observed by researchers. This is important because it shows us examples of connection between students and instructors.

Authors

• Cassidy L. Martin, University of Wisconsin - Madison
  Presenting Author

• Garazi Lopez de Aguileta, University of Wisconsin - Madison
  Non-Presenting Author

• Aarushi Mutreja, University of Wisconsin - Madison
  Non-Presenting Author