- Name:
- Sarah Haskell
- Subject:
- Lesley University / New England Consortium of Artist
- Date:
- August 21-22, 2006
Lesley University / New England
Consortium of Artist
Educator Professionals
Teaching Artists: Cultivating the
Educator Within
August 21-22,
2006
http://www.massculturalcouncil.org/
educationnews/lesley_institute.html
Blog from artist Sarah Haskell, York, ME
It is Monday morning August 21, 2006. I am waiting for the
opening session of the Lesley University and NECAP (New England Consortium of
Artist Educator Professionals) Institute for Teaching Artists. Back in January
2006, I joined a small group of teaching artists (TAs)and arts administrators
to plan this two day institute that will bring together teaching artists from
the six New England states. The brainchild of David Marshall (MCC/MA Cultural
Council), this project grew from an initial conversation to a formal partnership
between Lesley University and NECAP.
Let me introduce myself. I am a teaching artist from Maine,
a founding member of NECAP and one of the planners of this institute. I am
delighted to bring you into the workshops, the presentations, the small group
discussions and the lunch time dialogues that will transpire over the next two
days. As I scan the room looking at the 75 or so attendees, I am pleased to see
that we are not all grey haired. There is young blood here, and that is
heartwarming!
The conference opened with words from Mary Kelly, exec.
Director of MCC, Martha McKenna, Provost Lesley Univ., and Lisa Donovan,
Dir. of Creative Arts ED. Lesley University. All three agreed that this new
initiative is sorely needed and delivered inspiring words to kick off the
institute. I particularly appreciated the reminder that “making art is the
foundation to our teaching”.
My impressions of the morning sessions.
The Field: What is a Profession Teaching Artist?
Sherry Brown, RI State Arts Council on the
Arts, highlighted the background and mission of NECAP (New England Consortium of
Artist Educator Professionals). This NE regional organization began 6 yrs ago on
a back porch in NH. NECAP recognizes and promotes the professional field of the
teaching artist; and encourages professional development for these educators.
Collaborating with the NE State Arts Agencies, other organizations, and
individuals NECAP works to advance: the field of the artist-educator, a
regional network, and access to quality professional development and community
of artist-educators.
A professional field requires
the following:
·
Practitioners
·
Publications (The Teaching Artist Journal, Eric Booth)
·
Professional development and training (such as this 2 day
institute)
·
Leadership - recognized leaders in the profession
·
Theory- dialogue and debate
How do we define the skills
needed to be a TA? NECAP has developed a TA Skills Set document that highlights
three basic areas of expertise: artistic skills, educations skills, and business
skills. This document has been valuable in creating NECAP’s professional
development out reach programs.
“Creating Dynamic School-Artist Partnerships”
Presented by John Bay
John is an energetic presenter
who engaged us all from the start. Here are some gems that I gathered from his
seminar:
- Good art making is the balance between freedom and
discipline.
- “Art happens when the work goes from the personal to
the universal”
- Be aware of the undercurrent of things going on in any
residency, the unspoken foundation for the work. Knowledge of this
foundation will guide many decisions
- Partnerships: include :
- One time gig/workshop
- workshop series
- artist residency (ten sessions is minimum)
- full school year
- multi year partnership
John states that he now has limits to his work; he will
engage only in year long partnerships. A commitment and trust is developed with
this arrangement, with the possibility that a multi year partnership will
develop.
- Human minds remember beginnings and endings. Frame the
residency with a good opening and a powerful closing.
- At the initial meeting be clear that a residency
cannot have both a breadth (reach every kid) or a depth experience. As TAs
we must know where to draw the line, in regards to size of groups, and
number of groups per day. Let your partner know how each change will affect
the common goal.
- Be clear about what you as a TA want to do. This will
help you define your limits.
- The final product needs to be appropriate to age
group, to the subject at hand. Not really important what the product is,
from an opening, a rehearsal, readings, or production.
- Initial meeting: Know what you want and what you are
willing to do. Make sure that all key players are at the meeting. Who is
already involved with your medium, knows the value, and there is no need to
“sell the work”. Start where the interest is, the buzz from this small group
will grow beyond this initial group.
- Limit yourself to what you can do well.
- Be generous at the beginning, be a bit flexible. It
will pay off in the long run. Don’t over extend your self…but how can you go
a bit more than the usual.
- Trust your inner voice, your intuition. If the initial
meeting brings up things, speak up. This will begin the project with a
foundation of truth and honest communication. Be brave and open. Model
courage, the courage to speak up, the courage to stand your ground with what
you know works, your limits. The seed of all art is in courage. This means
you care enough, but know how to channel this energy.
- Menu of Possibilities (Services) have a variety
of ways to deliver this menu. Written, spoken, on a board, photos. Point out
any time that you use MI. multiple intelligences.
- A good teacher will be one step ahead of the students
in knowing the “temperature” of the group….improvisation is essential. Don’t
really assume that you really know where they are; ask them, this can be
interesting info, not to put them on the spot, but to grow the work. This
will change the dynamic in the room…check in with the group. Stop the class,
take a break, and challenge the class to solve the problem together. Keep
trying ideas. Growing, ask for help. Do not take disruptive behavior
personally.
- Meeting with teachers, be very clear with your needs,
and that they need to participate from the beginning. Ask teacher to be in
charge of discipline. Check in back and forth, create a dialogue with the
teacher.
- Listen to teachers, value their time, thoughts,
deconstruct why the teachers are angry or resistant.
- Assessment and evaluation need to be considered from
the beginning. Start with asking the question: How will we know if we are
doing a good job? This will create the rubric for the project. Know the
difference between assessment (what happened?) and evaluation (what do we
think about what happened?). How do we know if the work is good?
- Assessment/evaluation: Can start with the students.
Present the goals to student. Are these reachable? How will we know if we
have reached these goals? From the very beginning examine how we will
measure our progress.
- 3 steps to a group critique
1.
What just happened? Just facts. No opinions.
2. What did you like, what struck you in
particular?
Useful information for the artist.
Specific information.
3. What would you suggest if
the artist is going to work on this project further? Channel the discussion to
be non-judgmental.
These steps are about viewing art making.
Building future audiences, because most students will be the audience in the
long run. Exhaust each question before moving on. Be honest, be kind.
- Standards: You need to have a basic knowledge of the
standards for the state, or school that you are approaching. Keep it simple,
just focus on a few. Look for connections; create a simple list to present
at the initial meeting.
- Goals and outcomes: KEEP IT SIMPLE.One or two goals
are fine. You can throw in goals as you progress thru the residency. Involve
teachers in the planning on how to achieve the goals.
At the end of John’s
presentation, I had a huge AH-HA! This work is not about ME. I realized that
this work is about creating a dialogue with my students, the teachers, and the
community; to grow together through the arts. I come into a school to help the
community grow thru the arts, I am the expert in my art form, and must stand my
ground as to what I know will work. I have experience, yet will value their
input in the journey. That in a nutshell is what I came to know from this
seminar.
Afternoon Sessions:
“What’s the Point?’
This seminar was presented by three facilitators: Amy
Goldbas (CT Commission on Culture and Tourism) Planning, Sandi Levy (faculty
Lesley University), and Lisa Donovan (Dir. of Creative Arts ED. Lesley
University).
The highlights of the session
are:
- In a round table format we circulated short statements
that created a collaborative TA mission statement. Perhaps this document can
be posted later.
- How do we make learning visible? This question began a
lively discussion of the action/reflection cycle. There were arguments to
keep the creative experience pure into itself and that discussion of the
process takes away from the experience. Others felt that it is valuable to
examine the process, that this promotes growth.
Working Outside of School Environments:
Presented by Kit Jenkins of RAW (Raw Art Works)
Lynn, MA
www.rawart.org
Stories and visual images from a very successful
after-school community art program
RAW ART WORKS: RAW began in 1988 with a long range
commitment to the community. This program for inner city teenagers focuses on
“No mistakes, just Art”,
How to transform blech into beauty, and treasures from
trash. Kids builds self esteem, build community and get exposure to a variety of
art techniques and good materials. Character building is a big part of the
program, creating respect for each other, adults the routine and the community.
Four goals at RAW that guide all works with all ages:
1. Use the arts to address identity
2. Belonging: how do we create a sense of belonging, and a
safe place?
3. Success: how do we create opportunities for success?
4. Reach out to the greater community: expose the arts,
give voice in the community
Day Two Tuesday August 22, 2006
Panel: “Working in the Real World stories of from a
different point of view”
Panelists: Kit Jenkins (Raw Art Works), Savannah Peterson
(RAW student), Lourdes Santiago (principal, Charles H. Sumner School), Robert
Shreefter (Lesley University instructor/visual artist), Berta Berriz (Charles
Sumner School 5th grade teacher)
Lessons Learned stories:
Berta (classroom teacher): a visiting artist brings
a perspective form the outside world, fresh perspective with respect for the
students. Opened up a door that is hard to open alone as a teacher. The artist
and the teacher had a different point of view for the project, teacher is
crucial. Time/schedule is ultimate. Show up! Be on time!
Robert (TA): Relationship with the school is very
important. A long term relationship is rich with small detail and growth. TAs
are changing the way education is seen, upending the curriculum, giving students
the opportunity to wrestle with intellectual issues. Artists provide the
students with the opportunity to sit talk, explore, and diverge from the normal
classroom manner. What we learn from students and bring back to teachers and
principals is the nugget of the work. Valuable conversation with teachers…what
we see is often very different.
Lourdes (Principal): Relationships are the most
important. Teachers that challenge are good; pushing the boundaries.
Communication is crucial. Using arts to supplement learning within a multi
language schools. Schools are under tremendous pressure with state standards and
testing. Build relationships with any school, find what the vision is, what is
motivating the decision that the school is making. What is the curriculum? What
are the beliefs? What is the school climate, culture? What do you want the
teachers to gain from this experience? Teachers can be very resistant. Bring
them in, don’t let them sit, invite them in to share the work, help the kids.
Give principals a chance, invite them into the dialogue. Befriend the secretary,
custodian, and teacher’s aides. Don’t give up on the principals!
Kit (community arts administrator): Go straight to
the mission of the organization and weave the art work into that. Balance is
very important; the artist brings a structure and has flexibility. Establish
your own way as an artist, with a sense of boundaries with a respect for the
students. Model that there are no mistakes, let go of structure, lesson changes,
and work thru the challenges, laughter is important. Listen in the beginning, to
the tone of the room, be right in the moment. What can you leave with the
teacher? Staff can take what you offer and use it in the future to grow the
programs. Be a role model. Deal with the unexpected, find delight in the
frustration.
Savannah (film making student from RAW):
Demonstrated the success of the RAW program by her self esteem and motivation to
grow through her art work.
Moderator (Lisa Donovan) Impressions: Across the board all
panelists have a deep caring for their students. Building long term
relationships with schools and staff is crucial to sustaining the life of the
TA. Know who you are working with. Try to understand the point of view of the
site. Making meaning relevant for students. Why are we doing this? Be patient
with a process and having an opportunity to express, bringing the inside out.
“Making Yourself and Your Work Visible”
Presented by Greg Liakos of MCC
The internet has exploded the traditional media world.
Rapid change, fragmented environment, presents many new opportunities.
Traditional print media: Build a relationship with journalists, writers,
editors. Know what they want. Read what they write. By the time you call a
writer to review a show, cover a residency; you have a greater understanding of
the writer and what they want to cover. Present yourself just for small things,
so when big events come up that you have a relationship. Be very choosey when
you contact a journalist; be sure that it is a good story, worth their time. Be
credible. Don’t waste the journalist’s time. Be judicious with their time, which
is tight. Newspapers, traditional media tends to reach populations that are
civically minded. So this is still a viable media for TAs to use to reach their
audiences. Better for a 3rd party to call and be your advocate,
someone with credibility in the community.
Creativity: central to working with the media be fun
interesting take a different approach with your story. Story does not just have
to be about your program, how to link to to a broader subject. Have a jpg ready
(300dpi) to send for publicity. Almost all work is done electronically, don’t
use an attachment, and use a straight text format. Only photos as an attachment.
Or “Photos available on request” and send a brief story.
Bypass traditional media and be your own best promoter.
More of the public is getting news info outside of the traditional. Know your
audience, how to reach them. An email news letter is a great way to connect with
your audience. Email with opportunities, exhibitions, in plain text. For
individual TAs this is a low cost, low maintenance way to get your voice out
there.
Basic principles: Do some market research. Who do you want
to reach?
Identify how to reach them. Constantly gather email
addresses. Public and private email addresses. Email address collection and
management is critical. Keep your E-newsletter very simple. Keep your stories
short. Have a sentence that links back to your website. Keep message as close to
one page as you can. Links can provide deeper info. Keep it regular. Keep it
fresh. Audience can expect to hear from you. You will build credibility.
Blog: not as effective as a marketing tool, require people
to be more engaged. But good as a link for a longer piece.
Website: built in source to get to your newsletter. You can
draw people back to your site. Testimonials are very important. Gather quotes to
build credibility.
Afternoon Workshops:
Arts and Literacy: Expanding the Notion of Literacy
Presented by Robert Shreefter
What are the implications of connecting literacy with your
art form?
This artist put together his art skills with literacy
skills in book making.
Everyone comes to school with skills. Uncover the joy and
gifts of each individual. Make project accessible to all audiences. Reaching
disenfranchised populations with heartwarming work.
Art projects should provide opportunities for surprises and
not knowing the outcome.
Leave room for debate and decision making for the kids
among themselves. Link your art work not only with literacy but with another
subject area, i.e., math.
Come to the classroom with a plan but allow the finished
work to be completely different. The plan becomes a place for freedom, growth
and experimentation. Up-end the curriculum! The artist shared numerous student
created art-books and we created two small samples.
I found it valuable to see how another teaching artist
links their medium with text and books. The samples were inspiring, especially
the ones that were created by disenfranchised populations (homeless,
incarcerated, mentally ill).
Arts Integration: Teaching Students with Special Needs
Presented by Louise Pascal and Susan Fisher
In a round table discussion we explored common experiences
and lessons learned from working with differently abled populations. I found
this profoundly helpful since we had a young woman in our workshop that has
Cerebral Palsy.
Reflecting Back/Looking Ahead:
This was a final wrap-up session where participants could
give feedback to the planners. I was very impressed by the number of people who
stay around to give their thoughts. The energy and dialogue was amazingly lively
after two very long and intense days of seminars. Topics that were discussed:
·
How to bring younger artists into the field
·
How to establish mentoring programs?
·
What are the pros/cons to a certificate program?
·
How to structure future TA Institutes?
·
How to see more examples of best practices w/in the TA field?
Everyone agreed that the two days were inspiring and
heartwarming.
Final Thoughts and Reflections on this forts Annual
Teaching Artist Institute ~
I am home now, two days after the institute has wrapped up.
Writing this blog has helped me focus my thoughts and feelings. Yet I feel that
I weeded out many wonderful stories to keep this document readable. A few
lingering impressions:
·
The variety of ages, backgrounds, art-forms at times offered
conflicting opinions on what is best for the TA profession. By nature the TA
profession is a challenge to organize.
·
Hot button topics
o
Rosters style: electronic vs. paper
o
Reflection on the creative process: does this “kill” the pure art
experience?
o
How to create financial sustainability and community while we are
all competing for the same jobs.
o
How to keep communication open within an independent minded group
in a diverse region?
|
Sarah Haskell
