8: Integrating Art Across the Curriculum
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- 274098
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Some educators think of curriculum as a set of academic goals chosen by adults and planned without considering what children are curious about or what they are wondering about. When curriculum is viewed primarily as content to be simply transmitted, with little attention to learners' interests or experiences, it reflects a longstanding tradition within formal schooling. John Dewey (1938) argued that traditional education emphasizes externally imposed subject matter and adult-defined goals, often separating curriculum from children's interests and lived experiences. He contrasted this with education that begins with learners' experiences while still being guided by knowledgeable teachers.
Notable exceptions to systems in which children are subjected to a rigid, teacher-directed curriculum include schools that embrace an emergent, child-responsive curriculum, particularly those inspired by the Reggio Emilia approach, in which teachers intentionally build learning experiences from children's ideas, questions, and investigations.
At this point in your reading, you have likely come to appreciate the many developmental benefits of integrating art throughout the curriculum. You have seen how the whole child is supported when classrooms provide rich opportunities for creative, flexible, fluent, and elaborative thinking through artistic expression.
Review of Developmental Values of Artistic Processing
Social
Children develop a deeper understanding of themselves and others as they create, collaborate, share ideas, negotiate, and appreciate the artistic expressions of their peers.
Emotional
Art provides a healthy outlet for expressing and regulating emotions. Creative expression, along with the sensory qualities of materials such as clay, dough, paint, sand, or water, can promote relaxation, reduce stress, and foster a sense of emotional well-being.
Physical
Working with a variety of artistic tools and materials strengthens fine motor skills, hand-eye coordination, finger dexterity, and perceptual-motor development while encouraging increasing control and precision.
Cognitive
Exploring art media invites children to investigate, experiment, and solve meaningful problems. They naturally observe, compare, classify, predict, test ideas, and revise their thinking as they discover how materials behave. With thoughtful teacher questioning, these experiences become opportunities for deeper reasoning, language development, and conceptual understanding.
Elliot Eisner (2002) understood these values and criticized curricula that privilege predetermined content and standardized outcomes over students' interests, imagination, and meaning making, arguing that education should cultivate flexible thinking rather than merely transmit information
I invite you to think about the curriculum more broadly, as everything that happens in the program. This includes all the experiences children have throughout the day, from morning hellos to outdoor play to focused moments of flow while exploring something new. Teachers still must plan, but those plans should be flexible and rooted in an understanding of what children are curious about and developmentally ready to explore. This way of working is often called emergent curriculum.
Emergent Curriculum
Elizabeth Jones and John Nimmo (1994), the foremost voices on emergent curriculum, remind us that curriculum is not something teachers simply deliver. Rather, it is something they thoughtfully construct alongside children through careful observation, intentional planning, and responsive teaching. In Emergent Curriculum, Jones emphasizes that children's questions, interests, and investigations provide the foundation for meaningful learning experiences. The teacher's role is not to abandon planning but to plan with purpose while remaining open to the unexpected directions children's curiosity may take.
In classrooms where children’s interests help shape what happens next, and teachers thoughtfully guide learning in response, we tend to see more engagement, joy, and deeper learning than might be achieved through a rigid or predetermined plan.
Go into the connection b/t emergent curriculum and art as a language for inquiry.
Ladybug Learning
One morning, while working at a school with a group of 4½-year-olds, Mai enthusiastically ran up to me and exclaimed, “Look! I have ladybugs on my shoes!” Indeed, she did! Her white canvas shoes had cute little beetles embroidered on them. My co-teacher, Mark, and I valued emergent curriculum, and I briefly deferred to him to model curiosity. I said, “I wonder if we have any pictures of ladybugs in the classroom…” to which he replied, “I’m not sure, but I do have a book about ladybugs. I’ll bring it to circle time today.”
This small moment sparked several days of joyful exploration and discovery. In an emergent curriculum approach, learning isn’t confined to a single week or predefined theme. A topic might last a few days or extend across several weeks, depending on the children’s interest and engagement. The goal is to explore deeply and meaningfully across multiple areas of the curriculum before moving on.
Mark and I used our planning time to search the school library and prop bins for materials that could support this budding interest. Then, together with the children, we created a topic web to brainstorm ways to build on Mai’s excitement about ladybugs. The topic web below is what we came up with:
In a topic web, teachers record children's responses to things like:
- What do the children already know?
- What would they like to find out?
- Who do they think they can talk to?
- What places could they visit to learn more?
CURRICULAR AREAS INFLUENCING AND INTERACTING WITH ART
In the ladybug example, we see how different parts of the curriculum interact with and influence art. When children work with open-ended materials and ideas inspired by real moments, like Mai’s ladybug shoes, the experience becomes layered and meaningful across many curricular areas.
Visual Art
Example Prompt (Teacher): “Hmmm, I wonder if we could use this red and black paint to do something that reminds us of ladybugs?”
Children might respond by painting dots, wings, or creating a design. Be careful not to limit their choices—while red and black may be relevant, children should have access to a variety of materials with different colors, textures, weights, and forms. The focus is on modeling curiosity and divergent thinking. Provide the materials, ask thoughtful questions, and then step back to observe what emerges.
Mathematics
Children naturally quantify and categorize as they engage in art.
Example:
“How many black dots should go on this ladybug wing?”
“What shape is a ladybug’s body?”
Children might begin to sort, count, compare sizes, or make patterns using dots, wings, or materials. These are foundational math concepts like one-to-one correspondence, patterning, and spatial awareness—all embedded in playful, meaningful work.
Life Science
Children learn scientific principles as they develop scientific thinking. The opportunities to hypothesize, predict, observe, question, discuss, and explain are endless.\
Example:
As children create ladybugs, they might ask:
“Why do ladybugs have spots?”
“What happens if we mix red and white paint—can we make pink ladybugs?”
You might bring in real ladybugs or books, prompting questions like: “What do they eat?” or “Where do they live?” These moments allow children to make hypotheses and test ideas through observation and exploration.
Language Arts
Art provides children with a way to show what they know before they have the words to express it fully. Since young children often lack the words to describe their ideas and thoughts, art allows them to represent what they know nonverbally or visually. With encouragement, they may also choose to talk about their creations. Children interpret their artwork just as adults read words from a book. Sometimes, children enjoy having their titles or storylines printed on their pictures.
Example: A child draws a ladybug on a leaf and tells a story: “This one is flying to find its family.” You might scribe their words underneath their artwork or invite them to dictate a story. Children can “read” their pictures and each other’s, engaging in narrative building, sequencing, and vocabulary expansion.
Social Studies
Art helps children explore their identity, relationships, and the world around them. Creating self-portraits and human figure drawings enhances their awareness of themselves, their body parts, and others. Children take on and identify with the role of artist. Art introduces history and culture because artists and their various styles have existed since prehistoric times. Different cultural groups have their own unique art forms.
Example: When a child shares, “Lama’s grandma gets them from the flower store,” it opens up space for discussion about families, gardens, stores, roles, and community.
You might also explore how ladybugs are understood or symbolized in different cultures, or examine how different artists represent insects or nature in their work.
Through role play or art-making, children take on the role of “artist” and develop a sense of belonging and cultural awareness.
Technology
Technology can enhance creativity when used thoughtfully and with a focus on the human touch.
Example: Children might use a digital magnifier to look closely at a real ladybug’s body, then use a drawing app or digital pen to recreate what they saw.
Teachers might project a photo of a ladybug for close study or use a tablet to photograph children’s work and document the process.
In each case, the emphasis is on technology as a tool for reflection and representation—not a replacement for hands-on experiences.
It is no surprise that many educators are deeply concerned about the use of technology not only among young children but in society as a whole. Many concerned individuals, from parents to politicians, have attempted to shed light on the dangerous outcomes of the overuse (even abuse) of social media, internet addiction, and violent gaming. They cite: the inorganic development of ADHD, emotional issues resulting from unrealistic beauty standards, the drastic need to replicate an impossible aesthetic, desensitization to human suffering, and nature deficits, among other concerns. (Citations coming)
One thing we must do as educators is avoid the "sky is falling" mentality is to make change in our own way. Some things other teachers have done to contribute to a less electronic media-dependent childhood are:

"Nature photographer" by Nicki Dugan Pogue is licensed under CC BY 2.0


