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An Itinerant Teachers Guide to Creating Meaningful Art Curriculum

By

ANNETTE SALDANA

UNIVERSITY OF MISSOURI
2015

Abstract

This proposal explores how art educators might create more meaningful curriculum
frameworks when working as art on a cart or travelling art teachers. Many art educators today
go from room to room to teach in others classrooms, some conduct activities in rooms that are
ever-shifting/temporal spaces, and then there are those who actually drive to multiple school
buildings to visit various rooms throughout the day. The topic to be investigated has been
constructed in order to further examine the challenges and advantages of producing art on a
cart curriculums, connective lesson plan development for diverse age ranges, and classroom
activities that promote advocacy for these types of teaching placements. Literature research
(though lacking in regards to the topic) will be completed in order to obtain more information
based on itinerant teaching positions in art education. Phenomenological inquiry in the form of
questionnaires or surveys will be utilized to gain more information about the perceptions and
perspectives of art educators who teach (or have taught) from a cart. Qualitative data will be
collected through surveys, but will also be gathered from observational studies, recordings, and
photographs obtained from participants who conduct art instruction in itinerant settings. Autoethnographic examination based on my own personal reflections may also be analyzed and
incorporated into the investigation.

Table of Contents

Title Page .................................................................................................................................... 1

Abstract ..................................................................................................................................... 2
Table of Contents ....................................................................................................................... 3
Introduction ............................................................................................................................... 4
Keywords ................................................................................................................................... 4
Classroom Environment Concerns .............................................................................................. 6
Best Practices ............................................................................................................................. 8
Meaningful Curriculum ............................................................................................................. 9
Advocacy ................................................................................................................................. 11
Conclusion ................................................................................................................................ 12
References ............................................................................................................................... 14

Introduction
This literature review yields a context for my explorations of research in connection to
itinerant teaching. The outline of my study revolves around the inquiries and questions I have
developed, while investigating this topic. I am uncovering the disadvantages and benefits of art
on a cart teaching practices. My paper will provide insight in which traveling art educators
might discover ways to create more meaningful lessons, better organize lessons/activities that
cover a range of multiple age groups, and fortify public relations. My goal is to develop research
that will aid art on a cart teachers who aim to strengthen their art curriculum and programs. As
a teacher who was recently asked to take on the position or role of an itinerant teacher, I also
intend to use an auto-ethnographic approach in hopes that reflection on my personal experiences
will help reinforce my own practice.
The following research questions have inspired my study:
How are curriculum frameworks affected when art on a cart/travelling art educators do not
have designated studio classroom spaces?
What are the best practices for travelling and art on a cart art educators as they develop
curriculum lesson plans for multiple grade levels?
How might itinerant art teachers use theme-based frameworks to create meaningful K-12
curriculum?
How might travelling and art on a cart educators advocate for the Arts through the use of their
constructed curriculum frameworks?
Key Words
Throughout this literature review, the term itinerant teacher will refer to educators who
are often travelling from one classroom to the next. Many art educators today go from room to

room to teach in others classrooms, some conduct activities in rooms that are evershifting/temporal spaces, and then there are those who actually drive to multiple school buildings
to visit various rooms throughout the day. These teachers who travel back and forth are called
itinerant. They are also sometimes referred to as floating or art on a cart educators as well.
Cappetta (1993) elaborates on this topic stating, In many schools throughout the country; art
and music specialists have had their programs relegated to a cart due to a resurgence in student
population and lack of building space. (para. 2).
Educational climate is a key term that is utilized time and again within research
pertaining to factors that transform and inform the quality and character of school life. Within
this research, climate is investigated as students, teachers, and other stakeholders perceptions
based on itinerant teaching may be examined. Adelman and Taylor (2005) mention that,
Classroom climate sometimes is referred to as the learning environment, as well as by terms
such as atmosphere, ambience, ecology, and milieu. The impact of classroom climate on students
and staff can be beneficial for or a barrier to learning. (para. 1).
Another instructional based concept that will often reappear within this study is
enduring idea lesson plan development. Enduring ideas are powerful thematic issues that are
central to curriculum design. Marilyn Stewart and Sydney Walker (2005) define them as
umbrella-like ideas that guide students into understanding what it means to be human, to live
alongside others and in the natural world. (p. 25). Ernest Boyer frameworks, TETAC diagrams,
backward design methods, and cross curricular connections, can all be utilized to formulate these
theme based, conceptually driven topics and may be especially useful to itinerant teachers who
work with diverse age ranges throughout the day.

Classroom Environment Concerns

Teachers without a designated art classroom or space, face many challenges in
structuring a curriculum that facilitates art making. For instance, if the art teacher wants to teach
a lesson on printmaking it may be ideal to have a printing press, drying rack, and sink. The
disadvantages for most itinerant teachers are realized as most do not have access to the materials,
equipment, and furnishings that allow for specialized and desired instruction to take place. The
National Art Education Association has been a long time supporter and advocate for art
education studios with spatial designs that are conducive to learning. NAEA (1973) states, The
effectiveness of the art program is directly related to the quality of the environment within which
the program operates For optimum art learning in the classroom, the school administration
should provide adequate and flexible facilities, quality equipment and materials, sufficient time,
and properly trained and experienced teachers and supervisors. (p. 23).
Vital, too, is research that uncovers information about the climate of the educational
environment and how it correlates to the effects of learning. Students often familiarize
themselves with routines, standards, guidelines, and surroundings within their specialized
classrooms. When itinerant teachers utilize other classrooms it may create confusion for both
students and corresponding teachers in that space. For instance, Lung (2013) brings up the point
that the art on a cart educator must carve a unique art community and culture within a
learning space that has already been defined by the permanent classroom teacher. (p. 22).
Additionally, its important to question the stigma that might be apparent in itinerant art
classes. If certain core academic subject teachers are provided rooms and encore teachers are not,
it could lead to perceptions that work produced during art instruction is not as important. Many
itinerant teachers are finding that their instructional time with students is now limited in

comparison to other classes, too. Since the No Child Left Behind Act, numerous schools have
decreased the amount of time students spend in classes such as art and music in order to focus
more on ELA and Math (Figure 1). The Center on Education Policy (2007) documented results
of a NCLB study that stated that To accommodate this increased time in ELA and math, 44% of
districts reported cutting time from one or more other subjects or activities (social studies,
science, art and music, physical education, lunch and/or recess) at the elementary level. (p. 1).

Figure 1: Center on Education Policy Table

Though an art on a cart teacher may share space with someone else the union that occurs
between two teachers can sometimes lead to strained relationships. Disagreements may occur
regarding how or where artistic information, posters, books, etc. are displayed within the room.
When it comes time to store or exhibit student art work, there could be issues in how this is
executed. There may be times when teachers do not see eye to eye on whether or not a project or
lesson is appropriate. And while some permanent classroom teachers may not mind messy
activities to take place, others may have certain restrictions. Cappetta (1993) advises that the art

on a cart teacher become aware of individual tolerances when planning particular activities that
are messy and require long-term storage. (para. 30).
Best Practices
Organization is not an easy task for most itinerant teachers due to constant traveling,
working with multiple age groups, and teaching several hundred students within the year. Things
that might ordinarily seem like simple tasks can be daunting. Take for instance, keeping student
artwork or notes on daily activities stored in an orderly fashion. Many art on a cart veterans
have begun delve into this problematic situation and some even provide advice on educational
blogs, and magazines. In Mains article Surviving the Art Cart she explains the challenges of
curriculum development in regards to organization, scheduling, space, and teacher-student ratios.
She suggests that carts be utilized in a fashion that aids the itinerant teachers with this dilemma.
Main (2006) said this about her own cart: The bottom level held three large stackable clear
plastic tubs large enough to hold 12 x 18" (30.5 x 46 cm) paper, class preparations, and student
artwork, each divided with a clearly marked folder. These tubs easily rotated between classes as
the day progressed, keeping the lessons organized. (para. 7).
Another complaint commonly discussed by itinerant teachers is time management. Art on
a cart teachers often work in overcrowded or heavily populated schools which adds an extra
obstacle in getting from one place to the next. With shorter class periods, this could mean
sacrificing instructional time due to high traffic and everyday travel situations. Jacquith (2009)
suggests that early on discussions with administration are paramount in helping with this issue as
they can assist you by scheduling 5 minutes travel time between classes and arranging the same
grades back to back. (para. 3).

Art on a cart teachers often find that it is helpful to work with similar mediums
throughout the day as planning and organization can be complicated. The issue is that certain
schools or classrooms may have limited access to needed equipment or fixtures such as printing
presses, kilns, sinks, and more. This can make working with the same materials in every visited
classroom seem impossible. Perhaps one solution is to use like-materials with all grade levels,
but make adaptations when needed items are not available, travel friendly, or affordable.
OHanley (2011) provides insight about this issue on her web blog and states Ive been lucky
with a kiln to share with the junior high at my home base school, but I do not have the capability
to take ceramic clay from one school to the other. Instead, I order air-dry clay for ceramic-like
projects, such as coil pottery and slab. The students are still learning the process, and you dont
have to carry items in your car to the kiln. (para. 15).
Meaningful Curriculum
Itinerant teachers often discuss the dilemmas that go hand in hand with developing a
meaningful curriculum. For most, lack of time, teaching diverse age ranges throughout the day,
and the confusion of staying on track when instructing large amounts of students, perpetuates
this struggle. The common end result is that art on a cart teachers may find their lesson plans
lack substance, seem cookie cutter in style, and lack in connectivity from one group to the
next. Perhaps, one way to remedy this situation is to consider how enduring ideas and theme
based concepts might help itinerant teachers as they design lesson unit plans. For instance,
Stephens (2009) says that Fundamental to quality art teaching is planning for lessons that: 1.
seek to find meaning in works of art; 2. span consequential themes; and 3. address long-term,
overarching ideas that will inform student learning now, as well as when they are adults. (para.
3). This idea is one that is directly linked to Ernest Boyers framework in which human

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commonalities become the focus of learning in the classroom (Figure 2). Also inspired by Boyer,
TETAC (Transforming Education through the Arts Challenge) was formed and developed
supplemental resources and diagrams that aid educators as they align concepts with enduring
ideas and essential questions. Marilyn Stewart and Sydney Walkers book Rethinking
Curriculum in Art (2005) further illuminates the importance of content within unit studies.
Utilizing enduring ideas such as identity, conflict, freedom, life cycles, and more, Stewart and
Walker explain how certain themes have the potential for educational import because they link
academic subject matter with life-focused issues. (p. 25). By identifying outcomes and topics
before planned instruction (i.e. Backward Design), teachers could create lessons that have
purpose by taking into consideration what they want students to take with them long after they
have departed from the classroom.

Figure 2: Boyers Human Commonalities

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Advocacy
Teachers, administrators, students, and other stakeholders can often become powerful art
advocates. Good public relations can provide endless benefits for itinerant teachers. Considering
how much contact with others art on a cart teachers may have within various classrooms,
communities, and schools, the facilitation of good communication can help promote the
programs itinerant teachers work within.
One way to build relationships with permanent classroom teachers in the school may be
to team up and create cross-curricular lessons. Collaboration with corresponding classroom
teachers can help to build camaraderie and also strengthen the ties between subject matter.
OHanley (2011) mentions, Cross-curricular lessons: When you can fit it into your curriculum,
its a wonderful partnership when you combine lessons with another teacher. In doing so, you
are re-enforcing the objectives of the lesson, and students have fun in the process. (para. 2).
It may also be beneficial to make connections with the community in order to gain
support. Art exhibits in public spaces can often make it apparent to local citizens how many
students and schools you work with within the county. It can also demonstrate to others what
kinds of projects are being produced by students. Itinerant teachers might consider, too, the
advantages of creating a mural within the community that has the potential to build collaboration
with stakeholders, beautify the city, and possibly even send a social message of importance.
Opening lines of communication with students in and outside the classroom could easily
help to promote a visual arts program. For instance, students may see itinerant teachers
throughout the day within the hallways and still have little knowledge about what goes on in art
classes. Finding ways to develop conversations with students about artists, art history, and
techniques may be a great jumping off point for informative discussions. Bicketts article in

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SchoolArts titled Art Cart Tales provides inspiring ideas to art teachers who regularly wheel
around a cart full of supplies. She discusses ways in which to turn the cart into a traveling art
gallery, student artwork exhibition, and encourage student growth in the process (Figure 3). Her
museum on wheels was dubbed Art a la Carte and became highly popular in her school as
students vied for the privilege of pushing the cart to the next classrooma coveted tradition
that lasted four years. (Bickett, 2015, para. 4).

Figure 3: Bicketts Art a la Carte

Conclusion
Itinerant teaching comes with many challenges. Oftentimes, the classroom environment
(or lack of a designated art classroom space) can have a direct effect on the quality of student
learning. Many itinerant teachers face obstacles and struggles when trying to develop meaningful
K-12 lesson plans. Designing a curriculum can be difficult due to teaching multiple grade levels,
hectic traveling situations, heavy student populations, and limited instructional time.
It is common to hear itinerant art teachers discuss the freedoms of working independently
within an autonomous art program. However, as a teacher that is constantly on the go many are

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left to feel like they are not part of a group or community and often experience feelings of
isolation. Public relations can suffer if communication and collaboration is not fortified within
schools.
Through the development of research, it may be possible to help art on a cart teachers
turn many of these negative situations into positive ones. However, much more information is
needed in order to address the myriad of issues that itinerant teachers face on a regular basis.

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REFERENCES
Adelman, H. S. & Taylor, L. (2005). Classroom climate. In S. W. Lee, P. A. Lowe, & E
Robinson (Eds.), Encyclopedia of School Psychology. Thousand Oaks, CA: Sage.Art: 21.
Bickett, M. (2015, March). Art cart tales. SchoolArts, 16.
Cappetta, A. (1993). Teaching from an art cart. NAEA Advisory [Web document]. Retrieved
from http://www.getty.edu/education/teacherartexchange/archive/Aug97/0150.html
Jaquith, D. (2009, March 3). Art on a cart [Web log]. Retrieved from
http://naea.typepad.com/naea/2009/03/art-on-a-cart.html
Keel, J. (1964). How special is the art specialist. Art Education, 17(7). 7-8+14.
http://www.jstor.org/stable/pdf/3190611.pdf
Lung, H. (2013). Art on a cart: A national mixed methods investigation of elementary art
teacher experiences and perceptions. (PhD thesis: University of Missouri-St. Louis).
Retrieved from https://apps.umsl.edu/webapps/weboffice/ETD/query.cfm?id=r9081
Main, M. (2006). Surviving the art cart. SchoolArts, 106(1), 28.
McMurrer, J. (2007). Choices, changes, and challenges: Curriculum and instruction in
the NCLB era. Washington, DC: Center on Education Policy.
National Art Education Association. (1973). The essentials of a quality school art
program: A position statement. Retrieved from
http://www.jstor.org/stable/pdf/3191853.pdf
O'Hanley, H. (2011, September 29). Tales from a traveling art teacher: Knowing that you are just
as important as everybody else [Web log]. Retrieved from
http://naea.typepad.com/naea/2011/09/index.html

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O'Hanley, H. (2011, September 8). Tales from a traveling art teacher: Adapting your curriculum
and instruction [Web log]. Retrieved from
http://naea.typepad.com/naea/2011/09/index.html
Papanicolaou, L. (2001). Art on a cart [Web log]. Retrieved from
http://www.getty.edu/education/teacherartexchange/archive/Jun01/1018.html
Stephens, P. (2009, May/June). Planning with Meaning [Web]. SchoolArts. Retrieved from
http://www.davisart.com/Promotions/SchoolArts/PDF/STSG_9_08.pdf
Warwick, S. (N.D). Davis Publications. Themes in art education. Adapted from Educating in a
Multicultural World, a speech by Ernest Boyer; as found in the Summer 1992
Newsletter for The American forum for Global Education and the Alliance for Education
in Global and International Studies. Retrieved from:
http://www.davisart.com/Promotions/PDF/Themes-in-Art-Education.pdf
Wong, H. & Wong, R. (2007). Effective teaching: The floating teacher. Retrieved from
http://www.teachers.net/wong/NOV07/