Deborah L. Begoray
Francine Morin
| Abstract
In this article we describe a summer institute for classroom teachers and arts specialists on integrating the arts into language arts in order to meet newly mandated viewing and representing strands in school curricula. We then discuss the results of a survey sent to participants one year after the institute. Findings indicate that an intensive professional development experience targeted at specific curricular demands may be one way to encourage sustained change in teaching approaches. Most teachers who responded to the survey had maintained an interest in integrating music, movement, visual arts, and drama into their language arts teaching and were continuing to apply the experiences they gained during the institute. |
Related Postings from the Archives
|
Introduction | Institute | Sustaining Change | Conclusions | References
Traditional expressions of literacy in public school classrooms are focused on the reading and writing of print material. The use of alternative communicative forms including music, movement, visual art, drama, and film (mediated by various technologies) to enhance and expand language learning are only beginning to be seriously addressed in the professional literature (Cecil & Lauritzen, 1994; Cornett, 1999; Flood, Heath, & Lapp, 1997; Gallas, 1994; Leland & Harste, 1994; Piazza, 1999). Although in the past some teachers have used the arts in their teaching of language arts, recent government publications indicate that a new multiple literacies perspective is now emerging in mandated curricula.
New English language arts curriculum documents in the United States and Canada (e.g., Atlantic Provinces Educational Foundation, 1998; Governments of Alberta, British Columbia, Manitoba, Northwest Territories, Saskatchewan and Yukon Territory, 1998; International Reading Association and the National Council of Teachers of English, 1996; Manitoba Education and Training, 1996a, 1996b, 1996c) provide evidence that we are moving toward an expanded concept of language arts including not only reading, writing, listening, and speaking, but also viewing and representing:
Viewing is an active process of attending to and comprehending visual media such as television, advertising images, films, diagrams, symbols, photographs, videos, drama, drawings, sculpture, and paintings. Representing enables students to communicate information and ideas through a variety of media (Governments of Alberta, British Columbia, Manitoba, Northwest Territories, Saskatchewan and Yukon Territory, 1998, p. 3).
Viewing and representing contribute to "an ability to comprehend, use, and control the symbol systems of both print and non-print media, as well as understand the relationship between them" (Cox, 1994, p. 791).
The inclusion of multiple literacies for learning suggests as well an augmented definition of text, which would include all constructions that form "sets of meanings and signifying practices" (Neilsen, 1998, p. 1). In addition to conventional print materials such as novels, magazines, and newspapers, learners would be invited through the six language arts to experience, understand, and create nonprint and multimedia texts such as arts performances, cartoons, films, photographs, websites, and music videos.
Expanded ideas of literacy and text suggest that the use of sign systems (such as visual design) traditionally held to be the purview of the arts be included in the language arts. Such a growth of literacy learning necessitates professional development to encourage the implementation of new approaches.
Professional Development for Curriculum Implementation
Much of the responsibility for implementing new educational approaches that integrate language and the arts rests with practicing teachers. Professional development is considered by many authorities in education to be the most crucial element in the reformation and improvement of curriculum and instruction (Brown, 1995; Leonhard, 1999; McLaren, 1994; Schroyer, 1990). Nevertheless, many new curriculum plans fail to be implemented. This may, in part, be due to the ineffectiveness of the professional development models employed rather than to individual teachers' resistance to change.
Elements of effective professional development include the following (Clark, 1992; Evertson, Hawley, & Zlotnik, 1992; Hawley & Valli, 1997; Theissen, 1992; Tovey, 1998): a positive climate for change; time for long-range programs and sustained change; a connection to goals for curriculum improvement; an intensive sequence of learning experiences, encompassing opportunities to develop theoretical as well as pedagogical understandings and skills; learning opportunities that address common group and individual needs; opportunities to learn and apply understandings in practical and authentic problem-solving situations; opportunities for peer support and collaborative problem-solving; classroom-based trials; and a continuous system of evaluation and feedback, including the extent to which professional development has influenced student achievement.
We therefore wanted to design a professional development experience that had the potential to help classroom teachers and arts specialists grow and change in their beliefs, practices, and knowledge of multiple forms of literacy. In addition, we sought to employ many of the characteristics elements that the literature indicated would result in change. We speculated that professional development that encouraged integration might best be guided by instructors who, first of all, were specialists in music, movement, drama, and the visual arts, and second, were practicing integration with a language arts specialist as a feature of the professional development opportunity. These teams of teacher educators could discuss, demonstrate, and foster valid uses of the arts within a language arts context as they offered instruction. (See the course outline for objectives, required texts and supplies, time lines, a sample assessment rubric, and other course details.)
Our primary emphasis was to offer a rich experience in a summer institute setting, one that would offer the elements of effective professional development noted above. However, as our time with the participants came to an end, with glowing evaluations from them and abundant evidence of new abilities and attitudes they had developed, we also wondered, given the short duration of the course, if teacher change would endure over the year following the institute. In order to begin to explore sustainability, we decided to seek further comment on the institute by sending out a survey. This article briefly outlines the summer institute and then discusses in detail the responses to a questionnaire mailed to participants at the end of the school year following the course. Tentative conclusions and implications follow.
To address the professional development needs of educators attempting to embrace change in teaching for multiple forms of literacy, the faculty of education at the University of Manitoba, Winnipeg, Canada, offered an innovative summer institute called The New Language Arts Curriculum and the Arts: Viewing and Representing. Four teacher educators (including the authors) collaboratively designed the institute. The instructors had expertise in six areas: language arts, music, movement, visual arts, drama, and technology. By the end of the course, participants (preservice and inservice teachers) were expected to understand and experience multiple literacies. The institute also sought to build an open and positive attitude toward the application of arts and technology to the language arts classroom.
The participants undertook two inquiries during the institute--one about the nature of an expanded notion of literacy (as university students themselves) and another concurrently on the topic of "prairie" (as their own students might). We decided that prairie was a particularly appropriate topic given that the Manitoba landscape is dominated by prairie. (The Canadian prairie covers almost one thousand miles and three provinces: Alberta, Saskatchewan, and Manitoba.) To support the participants, we designed a collection of articles and book chapters into a book of common readings. We also provided them with a range of print texts (fiction, nonfiction, poetry, magazines, pamphlets) and nonprint texts (films, community sites, photographs, audio-recordings, musical scores, dances, objects, and artifacts). We chose media resources that could be used at a variety of grade levels.
All the participating preservice and some of the inservice teachers (29 in all) were enrolled in undergraduate education programs. Other inservice teachers (17) were working toward graduate certificates and degrees in education. They were from diverse school contexts: elementary and secondary; rural and urban settings; small and large student populations; and high, medium, and low socioeconomic community profiles. Some teachers were classroom generalists and others were language arts or arts specialists. Course participants had a wide range of experience and teaching assignments.
|
Institute participants began by reviewing the language arts curriculum (Manitoba Education and Training, 1996a, 1996b, 1996c) for specific learning outcomes that could only be met through uniting verbal language with sign systems used more traditionally in the arts. For example, according to the documents, students in grade 10 must "experience texts from a variety of forms and genres [such as essays, broadcast advertisements...]" (Manitoba Education and Training, 1996c, p. 22). A television advertisement might require listening to oral language but also understanding an arrangement of visual and audio features. Participants next considered how the arts could be integrated into the language arts curriculum even where they were not specifically mentioned. Students learning to predict, for instance, could use a film or picture book to practice their skill in addition to, or instead of, predicting during the reading of a novel.
Another goal of the institute was to initiate participants into the inquiry-based approach to teaching advocated in the Common Curriculum Framework for English Language Arts upon which the four western provinces and two territories in Canada base their local language arts curricula. This was accomplished by giving teachers the opportunity to engage in an authentic, integrated inquiry as teacher-learners. The instructors modeled this process and set the prairie topic into motion with the entire cohort group. We asked teachers to brainstorm questions about the prairies and then we grouped them according to a number of subtopics such as history, geography, and modern problems. We then looked at how music, art, and drama could assist inquirers to both discover answers and to represent their understanding. Looking at music from the prairies in the 1800s provides historical insight into pioneers' concerns, and creating a soundscape on a summer prairie morning (larks singing, breezes blowing) represents the emotional impact of the land. As we worked, participants discussed the adoption of similar inquiries in their own classroom settings. (Their use of inquiry in their own classrooms is, however, not a focus of the research reported later in this article.) (Governments of Alberta, British Columbia, Manitoba, Northwest Territories, Saskatchewan and Yukon Territory, 1998)
Participants then began a rotation of two-hour workshops in smaller subgroups of 15 or 16 that would introduce them to viewing and representing through the arts. These blocks of time were devoted to work with each specialist in music, movement, visual art, and drama. The prairie topic was investigated through different sign systems, connecting activities to the language arts outcomes, and clarifying the multidimensional nature of literacy. In the music classroom, participants learned to follow and create music using nontraditional musical notation as in Brian Dennis's Storm. Here the score uses symbols to guide musicians to use no-pitched percussion instruments to create the thunder and rain of a prairie storm as it builds, peaks, and fades away. Participants performed the pictoral score of Storm which naturally unfolds as a prairie storm. The art instructor led sketching classes on sunflowers, and participants learned to look closely at prairie plants they may formerly have taken for granted. They also practiced representing in a variety of media including charcoal and watercolors and used modeling material to create heads for puppets. In drama, participants learned to use role-play to explore what life on the prairie might be like. Puppet plays, for example, had elaborately constructed stages and original music.
 |
 |
|
|
Talent and technology combine to create prairie music |
Characters and costumes bring to life a humorous prairie story |
Other blocks of time during the institute were devoted to seminar discussions on various aspects of electronically mediated literacy. We acknowledged teachers' needs in helping students in their classrooms develop an informed and critical understanding of the mass media and the role of technology, including television, film, radio, music videos, and advertising. For example, we had a guest speaker who led the development of a 30-second television advertisement for the University of Manitoba. Participants viewed the ad and then learned the lengthy process of constructing a persuasive multimedia text aimed at increasing university enrollment. They practiced looking critically at the director's choice of visual images such as locations, people (students, professors, administrators), and university logos, and at the verbal messages from oral and written text.
In addition, we addressed the overwhelming need of participants to become familiar with using computer technology by providing time and instruction in computer labs. Here participants learned to construct websites using both print text and images. Pictures or photos were scanned in or downloaded from digital cameras.
 |
Anonymous participant evaluations completed at the end of this session showed overwhelming support for this summer institute. However, these predominantly positive evaluations were made in the flush of excitement immediately after the final sharing celebration. As instructors, we (Begoray and Morin) wondered how these newly adopted abilities and attitudes would endure once teachers found themselves back in their regular personal and professional lives. Accordingly, we sent out surveys to participants at the end of the following school year. It is the results of those surveys to which we now turn our attention.
Surveys (and self-addressed, stamped return envelopes) were sent to all institute participants 11 months after the course was completed, at the addresses that had been current the preceding summer. Instructors called participants to alert them that the surveys were in the mail. Very few people were spoken to personally, but messages were left at the phone numbers of all participants.
Ten surveys (about 23%), were returned, a number within the 20%-30% range common for mail-in surveys (Nederhof, 1985). However, it is important to note that the conclusions below are based on comments from about one-quarter of the participants; no inferences can be made about the remaining 77%. While readers might speculate that those who responded were those most influenced by the institute, we believe it is nevertheless a strong finding that 23% responded so positively. Respondents ranged from 6 to 24 years of teaching experience.
Each instructor/researcher reviewed the questionnaire data and did a semantic analysis (Cohen & Manion, 1992) independently. We each read all of the answers to every question and recorded repeated themes. We then compared our findings and reread all responses to further clarify the dominant patterns in the answers. Responses to survey questions are discussed below. (A comprehensive research report is also now in press as an ERIC document.)
In what ways, if any, did this Summer Institute experience provide the necessary conditions for you to change your philosophy and practice of integrating viewing and representing through the arts into your teaching?
Two groups of semantically related comments emerged strongly. The first theme, mentioned by seven teachers, identified the course as practical and "hands-on." Respondents spoke enthusiastically about how the course gave them ideas that could be directly used in their classrooms. They reported feeling encouraged by discovering the applicability of the ideas because they had the chance to take on a learner's role during the institute. Participants made such comments as "[I had] time to practice," "[I had] ample time to work," "[I could] try some of the things for myself," and "[I had] opportunities to put theory into practice."
 |
Many other reasons were mentioned about why the summer institute provided some necessary conditions for change. Participants liked the variety in approaches and class locations offered by four different instructors (as well as by the five guest instructors on special topics). They were also encouraged by their own sense of growing "comfort with government documents" (the standards and curriculum materials we had referred to). Not only did teachers refer back to their own journals, but they also mentioned their ongoing use of the book of common readings for "continuing professional development" which could be "reread prior to planning."
What changes, if any, have you made to your English language arts teaching over this past year that involved the arts and arose from the summer institute?
All 10 respondents reported "increased use" of the arts in their classrooms to accomplish mandated outcomes, not only in language arts, but also in other curricular areas. Their notion of language arts changed, as one participant said, from beyond simply "reading and writing, listening and speaking to [include] integrating viewing and representing." In addition, they discussed an evolution in both their philosophy and their teaching strategies. Through their use of words such as "choice," "diversified," and "multiplicity" to describe activities, it was apparent that teachers were now offering their students expanded possibilities for their experiences with texts.
Specific examples included an increase in the integration of, primarily, the visual arts, but also examples in music and drama. In art, students were also asked to illustrate stories, create posters and postcards, and use graphic organizers. Teachers moved from requiring answers to questions to asking students to create critiques by involving them in critically discussing television advertising and their own viewing and listening patterns. Drama additions included moving away from "prepared scripts" and toward role-play as a way to "investigate or explore ideas" such as "conflicts in environmental issues." In music, teachers commented on providing their students with opportunities to compose soundscapes (an organized collection of sounds -- birds, rain, and skipping ropes slapping on cement to accompany a poem about spring, for example) and songs to enhance language arts themes.
Respondents discussed purchases of supplies and equipment, and their increased use of technology such as CD players, digital cameras, and computers.
However, teachers also commented on problems inhibiting integration of viewing and representing into their language arts programs. They struggled to find time to locate materials and prepare new approaches. Recently instituted provincial language arts assessments, which were pencil and paper tests focused on traditional reading and writing skills, proved to be some cause for concern about the best use of time in language arts instruction.
What effects, if any, have your ELA/arts curriculum lessons had on students, other teachers, administrators, and parents?
All 10 respondents commented positively on the effects that integrating the arts had on their students, both in terms of cognitive and affective growth (a total of 15 comments). Teachers reported that students showed "increased awareness" of viewing and representing through the arts. They noted that including other sign systems appealed to students from a wide variety of learning styles and of "differing abilities." They reported that students had greater "facility in reading' diverse texts," gave "more detailed response," increased "production," and even showed "more progress in reading and writing." There was even a comment that using a journal prepared them for the English language arts test.
Respondents also commented on students' emotional responses to viewing and representing. Respondents discussed their students' higher level of "comfort" in language arts. Students found lessons "enjoyable," "fun," and "motivating." Students were also reported to appreciate the increased "variety and choice" in their work. They liked "opportunities for creative expression" and showed "more confidence" in their language arts lessons.
The second greatest number of comments (14, drawn from all respondents) was made concerning the effects of the integrated lessons on other teachers. Participants gave inservice workshops to their colleagues, provided lesson materials, gave planning assistance, and lent out the book of common readings. They also joined other teachers in cooperative planning sessions. These meetings included other language arts instructors and arts specialists in music and art.
Fewer comments (six by each of six teachers) were made about effects on administrators and parents. Respondents reported that principals and superintendents offered moral support that was "encouraging." Administrators were "pleased" and followed implementation "with interest" despite, as one respondent noted, the fact that classes were now "noisier" and "spread out all over the building." Parents, it was reported, were "interested." They liked the "variety" and "wide scope of instruction" in the language arts classroom and enjoyed the arts-based performances that now took place. One teacher offered as evidence of the parents' interest the fact that she had the first instance of 100% attendance at parent-teacher conferences after integrating viewing and representing into her literacy program.
In what ways, if any, have you worked to expand your knowledge of viewing and representing beyond what you gained during the summer institute during the past year?
All respondents reported that they had continued their own education in viewing and representing over the year after the institute. The most common additions to their activities once again occurred in the visual arts. Teachers read the art curriculum document, took art and photography courses, and collected illustrated storybooks and art books to add to their language arts libraries. They expanded their knowledge of technology by learning to use computer presentation software, computer graphics programs, and digital cameras.
 |
In what ways, if any, have your personal life practices involving the arts changed over the past year?
Five of the respondents reported changes in their philosophy and habits. Comments included adopting personal practices involving both visual arts and music. These participants observed that they studied art exhibits and books with a more educated eye; as one respondent said, she had "enhanced [her] appreciation of visual art." Another reported renewed involvement in photography, an interest long dormant in her life. Two others mentioned realizations that, for example, dance movements "are not random" and that there is "beauty in creative dance." Two other respondents discussed their realization that there is a "message in nonlyrical music" and stated that they now appreciated the "stillness of the country." One respondent's comment summarized these changes: "I have come to see myself as a creative person," she wrote, reporting involvement in dance, sewing, interior decorating, and music as her methods for expressing herself.
Do you have any comments that would help us to plan for future summer institutes in language arts and the arts?
Only minimal changes were suggested. Two respondents wanted "smaller classes" and "limited enrollment." Other requests, mentioned by a total of three participants, were for more technology, more field trips, more assessment ideas, more opportunities for discussion, and more suggestions for the use of the arts in other curricular areas. All of these topics and activities were included in the institute but not, according to these respondents, in sufficient quantity.
Conclusions and Implications for Teacher Education
Despite the limitation of small numbers, survey results suggest that a summer institute model, incorporating the characteristics of effective professional development identified by previous researchers, can increase the probability of sustained change. Teacher-learners' practices and understandings of multiple forms of literacy, as well as perceptions of increased student achievement, had endured through the year. In order to encourage curriculum change in regular classrooms over the long term, we would, in the future, extend the summer institute to include classroom work done in the fall by all participants. These classroom-based trials would then be submitted as assignments due later in the fall term. We speculate that professional development programs for inservice teachers and opportunities to continue the dialogue beyond the summer study are also critical to teachers' attempts to embrace new curriculum practices.
The results of the institute suggest that transformation in using multiple forms of literacy may depend on providing teacher-learners with opportunities to learn under the guidance of an instructional team with expertise in various sign systems. The team must be able to establish a safe, supportive learning environment and an intensive sequence of learning experiences organized in ways that enhance teachers' growth and comfort in the arts areas. More instructional strategies might be added to deal with the special challenges of linking the theory and practice of integration. In addition, instructors need to be cognizant of factors in schools that might be hampering teachers' efforts to change and offer strategies to combat those factors.
The effects of teacher learning and change in student achievement in literacy growth need to be tracked with tools that go beyond teacher self-report measures such as these surveys. We might, for example, have conducted telephone interviews in which nonresponse is more rare (Krathwohl, 1993) and which offers a greater range of comments (from beginning teachers and those with less positive experiences). There is also a need to investigate possible differences in transformation among teachers of both sexes, with various arts specialties, or at different career stages. In addition, it would be valuable to explore further the specific instructional strategies that appear most useful for advancing the teacher-change processes involving the integration of the arts and language within a summer institute model.
Finally, as researchers and instructors, we are cautiously optimistic that change such as that suggested by these survey results will be sustained. We continue to see the newly introduced viewing and representing strands as a unique opportunity for placing the arts more centrally in the language arts classroom. Such integration may lead to the formation of stronger partnerships between arts specialists and classroom teachers. Summer institutes such as ours will help participating teachers--and all those they touch in ever-widening spheres of influence--to expand their ability as sophisticated learners in a world that requires all of us to be multiply literate.
Atlantic Provinces Education Foundation (1998). Atlantic Canada English language arts curriculum: Grades 7-9. Nova Scotia, Canada: Department of Education and Culture.
Back
Brown, J.L. (1995). Professional development and observing dimensions of learning. In Observing dimensions of learning in classrooms and schools (pp. 99-112). Alexandria, VA: Association for Supervision and Curriculum and Instruction.
Back
Cecil, N.L., & Lauritzen, P. (1994). Literacy and the arts for the integrated classroom: Alternative ways of knowing. White Plains, NY: Longman.
Back
Clark, C.M. (1992). Teachers as designers in self-directed professional development. In A. Hargreaves & M. G. Fullan (Eds.). Understanding teacher development (pp. 75-84). New York, NY: Routledge.
Back
Cohen, L., & Manion, L. (1992). Research methods in education (4th ed.). New York, NY: Routledge.
Back
Cornett, C.E. (1999). The arts as meaning makers: Integrating literature and the arts throughout the curriculum. Upper Saddle River, NJ: Prentice Hall.
Back
Cox, C. (1994). Media literacy. In A. Purves (Ed.), The encyclopedia of English studies and language arts (Vol. 2) (pp. 791-795). New York: Scholastic.
Back
Evertson, C.M., Hawley, W. D., & Zlotnik, M. (1992). Making a difference in educational quality through teacher education. In J. M. Rich (Ed.), Innovations in education: Reformers and their critics (pp. 207-224). Boston, MA: Allyn Bacon.
Back
Flood, J., Heath, S.B., & Lapp, D. (Eds.). (1997). Handbook of research on teaching literacy through the communicative and visual arts. New York: Simon & Schuster Macmillan.
Back
Gallas, K. (1994). The languages of learning: How children talk, write, dance, draw, and sing their understanding of the world. New York, NY: Teachers College Press.
Back
Governments of Alberta, British Columbia, Manitoba, Northwest Territories, Saskatchewan and Yukon Territory (1998). The common curriculum framework for English language arts kindergarten to grade 12. Winnipeg, MB: Manitoba Education and Training. Available (retrieved November 1, 2002): http://www.wcp.ca/ela/wcpla.pdf
Back
Hawley, W.D., & Valli, L. (1997). The essentials of effective professional development: A new consensus. Manitoba ASCD Newsletter, January, 3-4.
Back
International Reading Association and the National Council of Teachers of English. (1996). Standards for the English language arts. Newark, DE: International Reading Association. Available: http://www.ncte.org/standards
Back
Krathwohl, D.R. (1993). Methods of educational and social science research: An integrated approach. White Plains, NY: Longman.
Back
Leland, C.H., & Harste, J.C. (1994). Multiple ways of knowing: Curriculum in a new key. Language Arts, 71, September, 337-345.
Back
Leonhard, C. (1999). Grand masters series: A challenge for change in music education. Music Educators Journal, 86(3), 40-43.
Back
Manitoba Education and Training (1996a). Manitoba curriculum framework of outcomes and grade 3 standards: Kindergarten to grade 4 English Language Arts. Winnipeg, MB: Manitoba Education and Training.
Back
Manitoba Education and Training (1996b). Manitoba curriculum framework of outcomes and grade 6 standards: Grade 5 to 8 English Language Arts. Winnipeg, MB: Manitoba Education and Training.
Back
Manitoba Education and Training (1996c). Manitoba curriculum framework of outcomes and grade 6 standards: Senior I English Language Arts. Winnipeg, MB: Manitoba Education and Training.
Back
McLaren, P. (1994). Life in schools (2nd ed.). Toronto, ON: Irwin.
Back
Nederhof, A.J. (1985). A comparison of European and North American response patterns in mail surveys. Journal of Market Research Society, 27, 55-63.
Back
Neilsen, L. (1998). Playing for real: Performative texts and adolescent identities. In D. Alvermann, K. Hinchman, S. Phelps, & D. Waff (Eds.), Reconceptualizing the literacies in adolescents' lives (pp. 1-12). Mahwah, NJ: Erlbaum.
Back
Piazza, C.L. (1999). Multiple forms of literacy: Teaching literacy and the arts. Upper Saddle River, NJ: Prentice Hall.
Back
Schroyer, M.G. (1990). Effective staff development for effective organizational development. Journal of Staff Development, 11(1), 2-6.
Back
Thiessen, D. (1992). Classroom-based teacher development. In A. Hargreaves & M.G. Fullan (Eds.), Understanding teacher development (pp. 85-109). New York, NY: Teachers College Press.
Back
Tovey, R. (Ed.) (1998). Harvard educational letter focus series No. 4: Professional development. Cambridge, MA: President and Fellows of Harvard College.
Back
About the Authors
Deborah L. Begoray, Ph.D. is an Associate Professor of Language and Literacy in the Department of Curriculum and Instruction at the University of Victoria, Canada. She teaches secondary language arts methods, literacy for learning across the curriculum and graduate courses in writing and multiple literacies. Dr. Begoray has now begun to research issues in health and aboriginal literacies.
Francine Morin, Ph.D. is an Associate Professor and Acting Head of the Department of Curriculum, Teaching and Learning at the University of Manitoba, Canada. She teaches undergraduate and graduate courses in music, movement, and arts education. Recently, Dr. Morin received the Morna-June Morrow Award for Excellence in Music Education in Manitoba and the University of Manitoba Outreach Award.
Endnote: This research was funded by a Faculty of Education Endowment Grant and a Continuing Education Division Summer Innovation Grant, University of Manitoba, Winnipeg, Manitoba, Canada.
Citation: Begoray, D.L., & Morin, F. (2002, November). Multiple literacies in language arts: Sustainable teacher change through a summer institute. Reading Online, 6(4). Available: http://www.readingonline.org/articles/art_index.asp?HREF=begoray/index.html
Reading Online, www.readingonline.org
Posted November 2002
© 2002 International Reading Association, Inc. ISSN 1096-1232