Teaching and Teacher Education 148 (2024) 104703

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Teaching and Teacher Education

journal homepage: www.elsevier.com/locate/tate

Research paper

Arts education in early childhood teacher training: An

international analysis
Mar Oliver-Barcelo a, * , Maria Ferrer-Ribot a , Gloria Jové b
a
University of the Balearic Islands, Spain
b
University of Lleida, Spain

A R T I C L E I N F O A B S T R A C T

Keywords: This qualitative study explores key strengths and areas for improvement in arts education within early childhood
Teacher training teacher training programs. For this purpose, twenty-five interviews were conducted with experts from ten Ibero-
Teacher education curriculum American countries. The results indicate a low level of satisfaction with current training and highlight five
Early childhood education
priority elements that should be considered for inclusion in early childhood pre-service teacher education. These
Arts education
include increasing their link with the cultural world, incorporating a clear focus on artistic training, including
more artistic disciplines, enhancing cross-disciplinarity, and re-evaluating the role of the arts. Incorporating
these suggestions into contemporary early childhood education teacher training is essential.

1. Introduction encompassing visual arts, music, drama, dance, and other artistic dis­
ciplines. Recognizing the inherent complexity of the subject, this article
Currently, the mastery of culture and the arts is considered essential will provide a succinct overview of the research context, exploring how
for children’s development, as advocated by experts worldwide (Bam­ these diverse forms of artistic expression are integrated into ECE teacher
ford, 2009; European-Commission. Working Group on Early Childhood training programs. Following this, we will detail the qualitative data
Education and Care, 2014; European Union, 2016; Organización de analysis methodology, outlining the phases and steps followed in our
Estados Iberoamericanos (OEI), 2010, 2016; Sarlé, Ivaldi, & Hernández, study and its limitations. The findings are then presented, leading to a
2014; UNESCO, 2006, 2010, 2016). Therefore, it is necessary to promote thorough discussion, drawing actionable insights and implications, and
educational programs that develop these areas of knowledge. To this suggesting potential avenues for future research. This article will
end, it is essential to have teachers trained to develop quality arts edu­ contribute to enhance the field of art education in the initial training of
cation in early childhood education schools. ECE teachers.
For this reason, our study aims to gain a comprehensive under­
standing of the artistic training, and associated challenges, of Early 2. Literature review
Childhood Education (ECE) teachers in an Ibero-American context.
The primary research questions are: 2.1. Arts education in pre-service teacher education

1. What are the areas that need improvement in the artistic training of High-quality arts education in ECE provides children not only with
ECE teachers? practical skills but also fosters their creativity, aesthetic sensibility,
2. What are the challenges of art education in ECE teacher training critical thinking, and social and cultural competencies (Acaso & Megías,
programs in ibero-american universities? 2017; Aguirre, 2005; Camnitzer, 2017; Efland, 2002; Efland, Freedman,
& Stuhr, 2003; Eisner, 2003; Jorquera, 2010; Jové, 2013;
This necessitates an exploration of the current state of arts education Oliver-Barceló, Ferrer-Ribot, & Morey-López, 2022; Richards & Terreni,
in ECE teacher training programs and the potential proposals for 2022; Smith, Pohio, & Hoeberigs, 2018; UNESCO, 2013). To make this a
improvement. reality, it is essential to have high-quality arts education in pre-service
In this study, artistic education is understood in a holistic manner, teacher training programs (Collins, 2016; Duncum, 1999;

* Corresponding author. Carretera de Valldemossa, km. 7.5, Palma, 07122, Illes Balears, Spain.
E-mail address: [email protected] (M. Oliver-Barcelo).

https://doi.org/10.1016/j.tate.2024.104703
Received 22 December 2022; Received in revised form 24 April 2024; Accepted 1 July 2024
Available online 8 July 2024
0742-051X/© 2024 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-
nc/4.0/).
M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

Smith-Shank, 2014) so that graduates have the self-efficacy to teach arts Third, the analyses of arts education in ECE teacher training pro­
education effectively in schools (Denee, Lindsay, & Probine, 2023; grams in specific countries point to the need to devote more time to
Lindsay, 2021; Lummis, Morris, & Paolino, 2014). providing quality training and for students to reflect on past experiences
Research on artistic training within pre-service teacher education with arts education (Garvis & Riek, 2010; Olmo-Soto, Maz-Machado, &
programs is notably limited, particularly in those programs designed for Madrid, 2020). They also stress the importance of enhancing training
ECE, which focus on children aged 0–6 years. This review chapter will and incorporating contemporary art (Díaz-Alcaide, 2007; Oliveira,
examine studies across various educational stages, including primary 2017). Several studies emphasize the need to enhance the quality of
education, to illustrate the broader context. It will highlight a substantial artistic education and increase respect for this discipline (Hunter-­
gap in research specifically within the early childhood segment of Doniger & Fox, 2020; Orbeta-Green & Oyanedel-Frugone, 2018).
teacher education programs, underscoring the urgent need for further It should be noted that there are articles whose main topic is not
investigation and development in this crucial area of educator teacher training, but after observing teaching practices, the conclusions
preparation. point to the need to improve art education in the initial training of ECE
Despite the overall scarcity, a few studies have provided valuable teachers, without specifying the challenges (Bautista, Moreno-Núñez,
insights into the state of arts education within teacher training pro­ Bull, Amsah, & Koh, 2018; Leung, 2018).
grams: Errázuriz-Larraín and Fermandois-Schmutzer (2020) and Orbe­ However, as indicated above, this is an under researched area, and
ta-Green and Oyanedel-Frugone (2018) conducted interviews and many of the studies point to the need for further investigation on this
analyzed elementary education programs within Chile, Hunter-Doniger topic (Bautista et al., 2018; Bonetto et al., 2021; Denee et al., 2023;
and Fox (2020) administered a questionnaire to university professors in Garvis & Tekin, 2016; Leung, 2018).
the United States; Lummis et al. (2014) examined practices at an
Australian university, and Russell-Bowie (2010a; 2010b) focused on 3. Context of the research
music education. The conclusions drawn from these studies highlight the
urgent need to enhance artistic training within teacher education pro­ The research is conducted within the Ibero-American context, with a
grams. They particularly emphasize the lack of pre-service teacher specific focus on ten countries: Argentina, Brazil, Bolivia, Chile,
training in art education, the deficiency in arts-integration, the absence of Colombia, Spain, Guatemala, Mexico, Nicaragua, and the Dominican
a consensus on what is meant by quality arts education and the re­ Republic. Deliberately selected, this diverse set of countries ensures
percussions these deficiencies have on teachers, who often lack the heterogeneity by encompassing a wide range of general and educational
necessary artistic training to implementing art education in schools characteristics. Each of these nations possesses unique cultural, histor­
(Errázuriz-Larraín & Fermandois-Schmutzer, 2020; Hunter-Doniger & ical, and socioeconomic backgrounds, which significantly influence
Fox, 2020; Lummis et al., 2014; Orbeta-Green & Oyanedel-Frugone, their respective educational systems.
2018). It is also noteworthy that students and graduates report a sig­ In relation to teacher training, we observe that each country has
nificant disparity in self-efficacy across art disciplines (Denee et al., different conditions. Spain is part of the so-called European Higher Ed­
2023; Lindsay, 2021; Lummis et al., 2014; Russell-Bowie, 2010a). ucation Area, and a university degree is required to work as a teacher in
These investigations collectively contribute to a deeper under­ the second cycle of ECE (3–6 years) and Primary Education (European
standing of how artistic disciplines are integrated into teacher education Education and Culture Executive Agency -European Education and
and underscore the importance of ongoing research and development in Culture Executive Agency (Eurydice), 2019). According to UNESCO
this critical area of teacher preparation. (2020), in Latin America, many teachers lack adequate initial training:
an average of 21% of teachers do not have a degree, and this issue is
2.2. Challenges of arts education in ECE pre-service teacher training more pronounced in rural schools and schools with predominantly
programs indigenous students, which tend to have teachers with lower levels of
education. One of the main challenges identified in teacher training is to
In the past decade, studies conducted in various contexts have equip educators to provide inclusive education that caters to diversity,
identified the following challenges. First, several studies highlight the despite it being an aspect showing a positive trend (UNESCO, 2020;
importance of importance of teachers’ conceptions of the arts and agree UNESCO, 2021). However, each country has different characteristics,
on a lack of confidence in regard to implementing artistic education. history and idiosyncrasies, which is why it is essential to seek out experts
Addressing this aspect in pre-service teacher training is emphasized by from each country.
various authors (Alter, Hays, & O’Hara, 2009; Andrews, 2016; Bonetto, An interesting aspect to consider is that the ECE curricula of all these
Pichot, Pavani, & Adam-Troïan, 2021; Cutcher & Boyd, 2018; Denee countries challenge teachers by proposing a transversal approach to arts
et al., 2023; Garvis & Pendergast, 2010; Garvis & Tekin, 2016; Lummis education that incorporates cultural, communicative, expressive,
et al., 2014). ethical, and social competencies (Organización de Estados Iberoamer­
Second, studies emphasize the need to enhance arts integration and icanos (OEI), 2016; Sarlé et al., 2014). This curricular approach requires
promote artistic practices that facilitate cross-disciplinary arts learning teachers to design transversal artistic activities that foster the develop­
(Gilabert & Bernabé, 2020; Hartle, Pinciotti, & Gorton, 2015; Jové, ment of these competencies among students, ensuring that the learning
2017; Morrison, 2012). Arts integration is a transformative teaching and experiences are not merely mechanical and repetitive, but integrated
learning approach that encourages students to think and teach across and meaningful. Furthermore, the curriculums present an additional
curriculum boundaries (Reck & Wald, 2018; Öztürk & Erden, 2011). The challenge: they demand the inclusion of a broad range of artistic disci­
arts should be integrated with research, philosophy, reflection, and plines such as plastic and visual arts, music, theater, dance, cinema,
cross-curricular knowledge (Craw, 2015; Krug & Cohen-evron, 2000; photography, architecture, and cultural traditions, enriching the
Shockley & Krakaur, 2021). In this context, research mainly focuses on educational landscape and broadening student exposure (Ministério da
analyzing the impact of innovative teaching practices within arts inte­ Educaçao, 2010; Gobierno de Reconciliación y Unidad Nacional de
gration. Upshaw (2018) combines dance and movement with literacy, Nicaragua, 2017; Ministerio de Educación de Chile, 2018). Regardless of
Folch, Córdoba, and Ribalta (2020) present an interdisciplinary pro­ the diverse conditions across the ten countries examined, the curricu­
posal through performance, and Shockley and Krakaur (2021) demon­ lum’s expectation for educators to deliver high-quality artistic education
strate a shift in perspective through a problem-solving and art-making remains consistently elevated.
experience. In all these experiences, the need for students to have
experienced this direction is emphasized to be able to face the challenges
of current curricula.

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M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

4. Methodology in early childhood teacher training. Profile B offers an external

perspective, bridging both the university and school contexts and
This research employs a qualitative methodology, well-suited for contributing to curriculum development that defines the competencies
exploring the nuanced perspectives and complex behaviors inherent in required for both future and active teachers. Lastly, Profile C provides a
the subject matter at hand. Our approach is deeply rooted in a tradition critical outlook, drawing from personal experiences as a former student
of interpretive and naturalistic inquiry, prioritizing depth over breadth. in university education and extensive insight into the current profes­
By using a qualitative paradigm, we aim to delve into the lived profes­ sional training needs. This approach was deliberately chosen to mini­
sional experiences and perceptions situated in each context with its own mize potential biases, such as self-positivity bias that might have
idiosyncrasies that quantitative methods might miss. The adoption of emerged had we only consulted university professors.
this methodology allows for a more comprehensive understanding of the An acceptable sample size consisted of representatives from each
phenomena under study, providing rich, detailed insights that are country who matched each of the three profiles. The profiles of each
essential for the development of meaningful conclusions and practical interviewee in Table 1 reveal how the same interviewee could fit more
applications in the field (Denzin & Lincoln, 2012; Flick, 2013; Mohajan, than one profile, such as a curriculum author who is also a university
2018). professor.

4.1. Expert interviews 4.3. Interview procedures, ethical principles and limitations

The interview has been selected as the tool for this research process Each participant was contacted via telephone or email; in some sit­
because it typically gathers more data than other instruments and also uations, it was difficult to reach all the profiles required for the research,
encourages respondents to express their opinions more freely compared necessitating patient efforts to seek and foster partnerships. Semi-
to surveys, questionnaires or standardized questions (Best, 1982; structured interviews were conducted using a script designed to guide
DiCicco-Bloom & Crabtree, 2006; Flick, 2013). the data collection in addressing the research questions, while main­
In this study, the interviews conducted fall under what Flick (2004) taining sufficient flexibility to allow for an open-ended approach. This
refers to as “expert interviews,” where the focus is not on the in­ flexibility enabled the interviewer to adapt to the flow of the conver­
terviewee’s biography but on their expertise in the discipline. In such sation and explore topics introduced by the interviewees (DiCicco-­
interviews, sampling is based on relevance rather than representative­ Bloom & Crabtree, 2006; Eppich, Gormley, & Teunissen, 2019).
ness. This approach ensures that the data collected are deeply informed Initially, the script was developed by three researchers and subsequently
by specialized knowledge, enhancing the research’s depth and appli­ validated by two experts who provided positive feedback and several
cability to the field. This allows us to approach a complex phenomenon, suggestions for improving the wording (Table 2).
benefiting from the extensive knowledge of experts in the discipline. The interviews were divided into two parts. This article focuses on
This also permits us to collect in detail the reflections, explanations and the second part, which analyzes arts education in initial teacher edu­
arguments of the interviewees (Burke, 2020; Flick, 2004). cation across ten countries.
Within the domain of interviews, the semi-structured interview Strict ethical guidelines governed the data collection, management,
format was chosen for its possibilities to generate a space for dialogue and storage processes. Before data collection began, each participant
that provides depth and detailed data, and to offer a way to discover the provided informed consent, acknowledging and signing the prepared
complexity of the processes and their causality (Edwards & Holland, consent forms approved by the ethical committee of the originating
2020; McGrath, Palmgren, & Liljedahl, 2019). university. These forms detailed the research objectives, procedures,
data confidentiality, anonymity, and storage standards, as well as the
4.2. Sample selection participants’ right to withdraw from the study at any time without any
consequences. The voluntary participants were informed of the purpose
Interviews were conducted with 25 experts from ten different of the study and their anonymity was guaranteed. The interviews were
countries to gain their perspective on arts education in teacher training conducted via telephone, videoconferences, or in person, all of which
in their country. The selection of participants is a fundamental step for were recorded and transcribed. To preserve anonymity, quotes from the
the trustworthiness of the study (Graneheim, Lindgren, & Lundman, interviews are identified using a code that includes the country of origin
2017). As is typical of qualitative research, the experts were selected and the profile of the interviewee (e.g., Argentina Profile A).
according to criteria of relevance and significance for the research In presenting a study encompassing such a diverse range of countries,
objective. Therefore, purposive sampling was used according to the we are aware of the potential for cultural bias, and we recognize the
subjects’ knowledge of the topic of study (Flick, 2004). The in­ different perspectives and social and educational traditions unique to
terviewees, all with extensive and recognized professional experience, each country. To address this concern, we have taken measures to
fit one or more of the following profiles: mitigate bias by consulting experts from each respective country. We are

A University professors with expertise in ECE and Art Education, or in Table 1

ECE and Curriculum. Profiles of interviewees from each of the countries.
B Authors and coauthors of the Arts Education section of ECE curric­ Interviewed Interviewed Interviewed Total
ulum documents in their country or Ministry of Education staff
Argentina A B–C B–C 3
involved in curriculum implementation. Bolivia A-Ba C 2
C ECE generalist teachers with more than 10 years of experience and Brazil A-B A-C A-B 3
knowledge of the current curriculum. Chile A-Ba A-Ba C 3
Colombia A-Ba C 2
Esp. - Spain A A-Ba C 3
The maximum variation design was applied to purposive sampling to
Guatemala A-C B 2
select participants from diverse backgrounds, thereby enriching the México A-B C 2
study with a variety of viewpoints, contexts, and situations (Ridgely Nicaragua A-B C 2
et al., 2020). It involved consulting with representatives about three Dominican Republic A-Ba A-Ba A-C 3
distinct areas closely associated with teacher education, each offering a Total 25

different perspective. The Profile A is one of the key actors in the a

= author/coauthor of the curriculum.
research theme, responsible for the design and delivery of arts education Source: Own elaboration

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M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

Table 2 Table 3
Semistructured interview script. Categories and subcategories used in the coding and analysis process.
Topics Guiding questions Categories Subcategories

Classification variables Can you tell me about your work I Situation of artistic training in the ECE - Adequacy of the training to face
experience related to the topic? teacher studies. the challenges posed by the ECE
What is your connection with the current This refers to the current status of artistic curricula
ECE and Arts Education curriculum? training within the ECE programs of - Approach to Art Education
Current situation. Importance of arts Do you think that teachers are adequately study, analyzing both its weaknesses and - Art disciplines included in Art
education for society and for trained to develop the arts education strengths. Education
teachers. curriculum in your country? - Connection with the artistic-
What other elements do you think need to cultural field
be improved in order to develop arts - Art Education and Transversality
education in ECE? II Characteristics of the social-educational - The social and educational value of
Remarkable elements Three things that stand out positively context that facilitate/difficult artistic the arts
about arts education in your country and 3 education in ECE teacher studies. -Institutional support for ECE
things that need to be improved. This pertains to the specific attributes or -Institutional support for arts
features of the social-educational education in ECE
Source: Own elaboration environment that either support or
hinder the implementation of artistic
also conscious that a qualitative methodology article based on in­ education within ECE teacher training.
III Improvement proposals for art education -Quality and quantity of arts
terviews may be susceptible to selection or sample bias. To mitigate
in ECE teacher studies. education in ECE teacher training.
these potential biases in the results, we conducted interviews with ex­ This refers to the recommendations, -Connection with local art and
perts from three distinct domains. These domains include university suggestions, or ideas put forth by the culture.
professors, external professionals or curriculum authors, and active experts regarding artistic education in -Approach to Arts Education
teachers reflecting on their training as former students. The research ECE teacher training. -Arts Disciplines included in ECE
teacher training
team believes that these three profiles encompass a diverse range of -The role of the arts in teacher
perspectives, effectively addressing potential biases in the study. education and in society.

Source: Own elaboration

4.4. Data analysis
education curriculum in their country. They indicated that there are
To effectively conduct the analysis phase, we adhered to the struc­
several aspects that could be improved (Fig. 1). The various elements
tured guidelines and recommendations of the content analysis method,
will be discussed in more detail below with the support of the comments
which is highly recommended for analyzing qualitative data (Krippen­
made by the interviewees.
dorff, 2019; Mayring, 2000). This method involves a thorough exami­
nation of the content, focusing specifically on identifying and
5.1.1. Insufficient training to meet the challenges posed by the curriculum
categorizing themes, concepts, or codes that emerge from the data. By
First, it should be noted that the artistic training of early childhood
exploring the rich nuances within the text, researchers aim to gain a
teachers is considered insufficient to meet the challenges of the curric­
deeper understanding of the subject matter, uncovering underlying
ulum at this level. When asked whether the artistic curricular objectives
meanings and highlighting the complexities of the studied phenomena
were currently being worked on in the classroom, most of the in­
(Assarroudi, Nabavi, Armat, Ebadi, & Vaismoradi, 2018; Graneheim
terviewees considered that they were not and pointed to initial training
et al., 2017).
as the main cause. The opinions from four different countries serve as an
Data analysis was performed using NVivo 1.6 software, which
example below:
facilitated the organization of information and the development of cat­
egories in qualitative studies. Category development followed a “We, formed in the teacher training institute, are trained in these
deductive-inductive procedure, combining pre-established categories fields (arts education), but very poorly" (Argentina_Profile B + C).
with those emerging during the analysis. This process involved creating
“Specific training, such as artistic education, ends up being very
a categorization matrix and conducting several validation tests to ensure
superficial and brief" (Brazil_Profile A).
its accuracy and comprehensiveness. The validated categories are pre­
sented in Table 3. The matrix’s validity was confirmed, and the final “Graduate training is very poor in the artistic area" (Chile_Profile A
coding was conducted by multiple researchers concurrently to minimize + B).
potential biases from individual viewpoints that might influence the
“It is necessary to modify the teacher training studies and adapt them
interpretation of the expert interviews (Bowen, 2009; Graneheim et al.,
to the curricula of the schools, I feel that they lack training in this
2017).
area to develop the arts education curriculum" (Mexico_ Profile A +
The results are offered through these categories, incorporating tex­
C).
tual phrases from the interviewees and diagrams to synthesize the
information.
5.1.2. Lack of connection with the artistic and cultural sphere
5. Results Second, the interviewees point to the need for student teachers to
guarantee access to culture. In the curricula of the countries consulted,
The results of the interviews are presented below, grouped into the cultural development is one of the main aims of arts education. It is
three categories detailed in the previous section. They point out the therefore essential for future teachers to know the culture around them
situation of arts education in ECE initial training, the identification of to be able to establish connections with it in the classroom.
aspects to be improved upon, and suggestions for improvement. The experts interviewed note that this aspect still needs to be
addressed. They state that many teachers do not establish links with the
5.1. Art education situation in ECE teacher training artistic and cultural world, either personally or in teacher training:
“I am going to tell you something very tough, the cultural level of the
All participating experts were unanimous in stating that arts edu­ educators is not very high, many of the educators I know are not very
cation in the initial studies of ECE is insufficient to develop the arts

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M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

Fig. 1. Elements to improve in initial teacher training in relation to arts education.

Source: Own elaboration

interested in culture. It is very difficult to bring things you do not them to implement curricular changes or concrete curricular approaches
know into the classroom" (Chile_ Profile C). to arts education in the future. As the specialists state,
The representatives from Mexico and Brazil also expressed the same “At university we do very diverse things, which look very good, but
opinion on the lack of contact between teachers and the arts: then those people go to school and they do not know what to do, and
they only find the exercise that is prescribed for everyone the same or
“In schools, arts education depends on the group teacher. Many times
absolute freedom" (Spain_ Profile A).
this teacher has not had any contact with the arts, and in that sense
will have a great deficiency" (Mexico_ Profile A + C). “There is a big difference in approach between the curriculum and
what is done in the classroom. In Mexico, we have great deficiencies
“It is essential that in teacher training there is a conversation with
in terms of teacher training in the field of the arts" (Mexico_ Profile A
museums, cultural spaces, nearby cinemas … more and more" (Bra­
+ C).
zil_Profile A + C).
“There is a lack of focus in the training of educators. They could all
On some occasions, the interviewees indicate how prejudices toward
tell you that they work in art, but it is very different to pass them a
artistic and cultural productions hinder this contact, considered in some
sheet of paper with a dog drawn on it and ask them to fill it in with
cases as something elitist, only oriented toward the upper class, and on
colors, or to pass them a large piece of cardboard, paintbrushes and
other occasions seen as something even "undignified" because of its as­
pieces of newspaper. It is very different." (Chile_Profile C).
sociation with marginalized environments:
Therefore, it is essential that pre-service ECE teacher training pro­
“Here, in our area, culture is seen as something only for those with
grams explicitly define what they understand by arts education and
money. We have the symphony [orchestra], but going to see it costs a
clarify the approach they intend to give to this area.
lot. There is an elitism of the arts, which is only for the rich. There is
no deep-rooted culture of theatre … " (Mexico_ Profile A + B).
5.1.4. Lack of artistic disciplines
“Music used to be taboo because it led to alcohol. Every child who Fourth, there is a need to incorporate more arts disciplines in edu­
played the guitar was considered a future alcoholic. However, that cation studies. While the curricula of the different countries present
has changed, people are starting to become aware of what art and ambitious objectives, as noted in the introduction, the experts inter­
music are" (Bolivia_ Profile C). viewed stated that teachers did not have sufficient training to implement
several of the disciplines mentioned in the curricula.
According to the experts interviewed, in practically all countries,
5.1.3. Lack of a clear approach to arts education
theatre and dance require more focus in content delivery:
Third, several experts mention that arts education in teacher training
often lacks a clear definition. Depending on the objectives of arts edu­ “The corporal and dramatic arts are left to drift, to the personal in­
cation teachers must implement arts education in one way or another. If terest of each teacher" (Argentina_ profile B + C).
they do not work on the basis of a concrete approach, it is difficult for

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M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

“Although the curriculum includes other artistic disciplines, they 5.2. Characteristics of the social-educational context that facilitate/
have only been trained in visual arts and music. Theatre, for hinder arts education in the initial studies of ECE teachers
example, is very much relegated" (Chile_ profile A + B).
In addition to the changes in initial training, the experts interviewed
In areas where the curriculum includes disciplines such as architec­
pointed out various contextual factors that make it difficult to imple­
ture, photography, film or integrated productions, the experts affirm the
ment quality arts education (Fig. 2).
need to offer more training so that these can be implemented in the
classroom:
5.2.1. Revaluing the role of the arts
“Until 2001, the curriculum did not incorporate Art Education or In general, it is noted that the arts are considered to have less rele­
"Cultural Traditions" or "integrated assemblies," so this change is a vance compared to other disciplines, such as language or mathematics.
great step forward but it is still necessary to work on the training of This aspect is important to address first in teacher training and then in
teachers to develop it in the classroom" (Guatemala_profile B). society in general. With reference to teacher education, the interviewees
point out that graduates still consider the arts to have an inferior status:
“I think it is necessary to expand the arts, art is given as graphics and
music, but maybe we could go further, with architecture, photog­ “Many teachers have had no training in this respect and see the arts
raphy or cinema … " (Mexico_ profile C) as unnecessary" (Colombia_Profile AC).
“It is still necessary that teachers give priority to art, that they see it
5.1.5. Training to develop the arts in a cross-disciplinary way in the same hierarchy, the same level as mathematics, that it is not
Most of the curricula highlight the importance of working on all below it" (Mexico_ Profile C).
areas in a cross-cutting manner. Thus, it was asked whether the arts were
“I think it is the responsibility of the initial teacher training to give
addressed in a cross-disciplinary way and experts from different coun­
much more importance to arts education, also integrating move­
tries considered it necessary to train future teachers better to connect
ment, music, everything more interrelated in our curriculum"
different disciplines:
(Spain_Profile ABC).
“There are particular experiences with this holistic look, but most are
Despite this, it is important that the social-educational context also
academicist, with watertight subjects that do not have a dialog. The
values the role of the arts, since without this, it is difficult to work with
curriculum tries to generate these interdisciplinary encounters, but it
them in educational centers:
is left to the teachers at the cost of their time, without structures to
support these encounters” (Chile_ Profile A + B). “Standardized tests (for entry at age 3 or 6) push teachers to work on
areas such as language, mathematics … to the detriment of others. In
“Our curriculum is not developed in a cross-disciplinary way, it is
spite of the fact that many educators are aware of the importance and
segmented, I think we were not ready for an integrated curriculum,
tools of the arts" (Chile_Profile A + B).
our teachers are not prepared for that" (Dominican Republic, Profile
A + C).
5.2.2. Institutional support for the arts
Cross-disciplinary integration is an element that Spanish experts
Several interviewees also point to the importance of increasing
particularly highlighted as needing improvement in this country:
institutional support for the arts and consider it necessary that a mini­
“In ECE there has to be integration, it is basic, it cannot be considered mum training requirement is established as well as ongoing training and
otherwise, but we have to start working on it from initial training" the realization of projects centered on connecting cultural agents and
(Spain_ Profile A + B). educational centers.
“It is necessary for cross-disciplinary approaches to be emphasized “We need to strengthen, for example, continuing training in this area,
from initial teacher training. Art has to be integrated into educa­ we have many courses launched from the provincial platform, lan­
tional centers in a significant way, with content and connected to guage, mathematics, natural, social … and only one artistic course,
what is being done" (Spain_ Profile A + B + C). they are political lines" (Argentina_ Profile B + C).
“We have a ministry that brings resources and support to schools and
5.1.6. Positive aspects to be highlighted kindergartens to participate in projects. It has invested in training
Finally, it is also worth highlighting the positive comments about the teachers and educators; we are in the process of reformulation. We
creative arts training of the ECE teachers, with several mentions noting a have managed to ensure that at least teachers have training in visual
better predisposition toward arts education compared to other levels, and musical language for now, we could not enter with more, but it
such as primary or secondary: already opens the door" (Chile_ Profile A + B).
“Music, choreography, corporal expression, is a great strength of In contrast, teachers point out that, despite not having the necessary
kindergarten teachers, which teachers at other educational levels do economic resources in the centers, this is not a major reason why arts
not have" (Mexico_ A + C Profile). education is not developed, as it is possible to find other low-cost re­
sources and generate connections with the cultural context of the center,
“I think that in early childhood, more than at other stages, we work
as is the case in Mexico:
on the sensitive dimension, art, culture … we look for local lan­
guages, and we try to connect with the history of Brazil" (Brazil_ A + “If you sit and wait for government resources to arrive, if they do not
C Profile). arrive, you’re not going to do it in your life. However, it all depends
on the intention you have; the attitude is very important" (Mex­
“ECE Teacher training has been improving over the years, and the
ico_Profile C).
gap between the curriculum and classroom implementation has been
narrowing" (Chile_Profile A + B).
5.2.3. Institutional support for ECE
The need for increased government support for 0–6 years has also
been identified in a number of countries. There are still areas where the
importance and benefit for children is not appreciated and the training

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M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

Fig. 2. Aspects commented on regarding initial training and/or the social/educational context.
Source: Own elaboration

requirements for teachers are insufficient. Bolivia.

“Most of the people here in the interior do not believe in preprimary
education. In addition, the Ministry of Education allows it, even 5.3. Proposals and suggestions for improving arts education for teachers
though it says preprimary is essential, many people do not take their and arts education in schools
children until the age of 7" (Guatemala_Profile A + C).
From the analysis of data emerging from interviews carried out with
“Very few resources are dedicated to ECE. In rural areas, there are no
experts, various proposals for improvement emerged, which can be
teachers, and in most cases, they are ’popular educators,’ because
grouped into five categories. The voices of the interviewees for each of
they are people who have not even finished the 6th grade of primary
the proposals are presented below.
school and they do not even have a salary; they only have a grant
First, the specialists are clear that the quantity and quality of artistic
from the state. Many people are not sufficiently prepared" (Nicar­
training in ECE initial teacher training should be increased, and more
agua_Profile A).
disciplines should be included:
“Teacher training in the area of arts education needs to be
5.2.4. Differences between a system with generalist and specialist teachers strengthened" (Argentina_Profile B + C).
A theme that repeatedly emerged in the interviews is the difference
between assigning responsibility for arts education to specialists or to “There is a need for more training for teachers so that they can un­
the tutor-generalist teacher. Based on the statements of the interviewees, derstand and apply what the curriculum proposes in relation to arts
in 7 of the 10 countries analyzed, arts education is the responsibility of education" (Dominican Rep._Profile A + B).
the class teacher in the case of public schools (Brazil, Chile, Colombia,
They also believe that opportunities for connection with culture and
Dominican Republic, Guatemala, Mexico, Nicaragua and Guatemala). In the arts should be created during ECE teacher training:
two of the countries (Argentina and Spain), there is a music specialist,
and the rest of the arts disciplines are taught by the class teacher. In “Efforts would have to be aimed at improving teacher training,
Bolivia, the final year of preprimary education begins with specialists, improving access to culture. The country has a lot of potential, many
one for music and one for arts and crafts. During the earlier years of visual artists, theatre groups … and even if schools have few re­
education, the generalist teacher is responsible for the latter. According sources, they should take advantage of the country’s culture"
to interviewees from different countries, private schools do not follow (Nicaragua_ Profile A).
the same rules and often incorporate more than one arts specialist.
Another suggestion made is the incorporation of a clear approach at
The interviewees also point out that while the specialist arts or music
universities to help ECE trainee teachers fully appreciate the importance
teacher is better trained, arts education is isolated, not conceived in a
of developing arts education in children.
cross-cutting and integrated way with other areas. Some interviewees
point out that when tutors have specialists, they leave all arts education “There is a need for a lot of training in arts education and a concrete
in their hands, and it is reduced to short time slots, as is the case in proposal, what is the best in terms of arts education" (Dominican
Republic_AB).

7
M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

The interviewees suggest strengthening training so that teachers can converge on several critical aspects that require attention. The findings
generate cross-cutting and integrated educational proposals. reveal a significant need to enhance both the quality and quantity of arts
education provided to ECE teachers in initial training. This enhancement
“It is necessary to have an integrated approach. In ECE, the idea is
involves not only extending instructional hours but also deepening the
that they can work on anything from different languages, from the
content to encompass a wider range of artistic disciplines. A major
body, to visuality … with an integrated approach, but this contrasts
challenge identified is the insufficient cross-disciplinarity of the arts,
with the current training, which does not train them to do so" (Chi­
compounded by limited opportunities for prospective teachers to engage
le_Profile A + B).
with local art and cultural scenes. Moreover, there is a clear need for a
Finally, the revaluation of the role of the arts, both in education well-defined approach to how arts education is conceptualized and
studies and in society, is highlighted. implemented in these programs.
Based on these insights, the study proposes several strategies for
“Here in Guatemala, unfortunately, arts education is not valued"
improvement, succinctly summarized in Fig. 3.
(Guatemala_Profile A + C).
Firstly, there is a crucial need to prioritize the expansion of arts ed­
ucation in both scope and depth within teacher training curricula.
6. Discussion Ensuring that prospective ECE teachers fully grasp the benefits of artistic
education and possess effective tools and strategies will enable them to
In general, the results of this study share various points of com­ increase their perception of self-efficacy and unleash the potential of the
monality with previous research. Some of the main challenges identified arts in their future classrooms. Secondly, it is essential to develop
by experts for arts education in early childhood teacher training include structured opportunities for pre-service teachers to connect with local
enhancing its quality, allocating more time, and increasing its impor­ art scenes and cultural institutions, thereby enriching their educational
tance. Such improvements ensure that future teachers are better experience and fostering an appreciation of the arts. Such experiences
equipped to meet the demands of their curricula, as detailed in Section will train future ECE educators to adopt culturally responsive teaching
5.1.1. This finding aligns with the work of Errázuriz-Larraín and practices. Additionally, defining and incorporating clear, consistent
Fermandois-Schmutzer (2020), who state that current arts education methodologies for teaching arts in ECE will ensure that these approaches
hampers the implementation of the curriculum. Similarly, Russell-Bowie are seamlessly integrated throughout the training programs. Expanding
(2010a, 2010b) argues that arts education needs more time and higher education across various artistic disciplines will provide a well-rounded
priority. artistic education that can adapt to diverse educational settings. Finally,
Another aspect to highlight is that despite the university’s role as a it is imperative to reassess the role of the arts within teacher education
model for cross-disciplinary practices with a comprehensive and holistic programs and, by extension, its impact on societal values concerning
approach, as suggested by Jové (2017) and Gilabert and Bernabé (2020), education.
and the existence of teaching practices in this direction (Folch et al., These conclusions not only address the identified gaps but also pave
2020; Shockley & Krakaur, 2021; Upshaw, 2018), experts interviewed the way for potential innovations and revisions in ECE pre-service
agree in Section 5.1.5 that such practices are not commonly imple­ teacher education curricula. By implementing these recommendations,
mented in ECE teacher training institutions, and this remains a signifi­ programs can make well-informed decisions that will substantially
cant unresolved issue. enhance the educational experiences of future teachers and, conse­
Furthermore, the expert opinions in Section 5.2 echo findings from quently, the children they guide and care for.
studies in other countries which emphasize the need to enhance the
value of arts within the social and educational spheres (Hunter-Doniger 8. Lines for the future
& Fox, 2020; Leung, 2018; Oliveira, 2017; Orbeta-Green &
Oyanedel-Frugone, 2018; Smith et al., 2018). It is remarkable how these From the data analyzed, the proposal emerges that we should gain a
unanimous conclusions emerge from diverse educational contexts and deeper understanding of the cultural level of ECE teacher students in the
situations. faculties of education to be able to adjust to their needs. To this end, the
As detailed in section 5.1.2, the interviewed experts agree that cur­ research team plans to carry out surveys of students on their relationship
rent ECE teacher training does not adequately facilitate connections with museums, concerts and other heritage and cultural spaces. It is also
with the artistic and cultural fields. According to the experts, this often considered appropriate to determine what their expectations of these
leads to ECE teachers who lack access to artistic resources. Although spaces are and how they think they can link them to education. Another
previous analyses of artistic training in pre-service teacher education proposal is to carry out cross-disciplinary teaching innovation projects
have not highlighted this aspect, the literature on cultural education linked to arts integration and evaluate their impact on future teachers.
emphasizes that connections with artistic community resources play a By strengthening artistic education within teacher training, we can
fundamental role in helping teachers develop societal and community cultivate a generation of educators who embrace culture, diversity,
values in students (Jové & Betrián, 2012; Lemon & Garvis, 2014; SUTER, critical thinking, creativity, nurture diverse talents and inspire students
2014; Urpí & Costa, 2013). to become lifelong learners. In closing, we consider it a privilege to have
Overall, the findings of this study are consistent with those from the voices of numerous experts in this field, and we extend our heartfelt
previous research on areas requiring improvement in arts education for thanks to all those who contibuted their valuable insights and expertise.
ECE teacher training, even though they are situated within vastly From here, we believe it is essential to continue building on the results
different contexts across five continents. obtained.

7. Conclusions CRediT authorship contribution statement

This study set out to explore critical aspects of arts education in ECE Mar Oliver-Barcelo: Conceptualization, Formal analysis, Investi­
teacher training programs, particularly within Ibero-American univer­ gation, Methodology, Writing – original draft, Writing – review &
sities. Driven by two main research questions, it sought firstly to identify editing. Maria Ferrer-Ribot: Conceptualization, Methodology, Super­
areas in need of improvement in the artistic training of ECE teachers, vision, Writing – review & editing. Gloria Jové: Conceptualization,
and secondly to understand the challenges of art education within these Supervision, Writing – original draft.
programs.
The recommendations offered by experts across all countries

8
M. Oliver-Barcelo et al. Teaching and Teacher Education 148 (2024) 104703

Fig. 3. Main suggestions for improvement that emerged from expert interviews.
Source: Own elaboration

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