Teaching Artists Blog
 

Georgia Popoff is the first Teaching Artist to blog a major national arts conference, Americans For The Arts CREATING COMMON GROUND.

georgiapopoff@teachingartists.com

 
 
Name:
Georgia Popoff
Subject:
More Download from Americans for the Arts
Date:
13 Jun 2006
Time:
08:20:20 AM -0400

Blog

It has been a busy 10 days since I returned from Milwaukee, with end of the school year concerns to address, culminating events, planning for next year, cleaning off the home and office desks. So now back to the reporting. The tone was set from the first plenary of the need to advocate for arts education and arts-in-education in our schools. After John Abodeely's general welcome to the group, Julie Richard (Executive Director, West Valley Arts Council, Litchfield Pk., AZ) gave opening remarks after introducing the members of the Arts Education Council to acknowledge the planning that went into providing this convening. Julie cited sustainability of the arts in our education system as one of the primary focuses for our discussions and she stated that we should set the bar high for what arts education should look like. Her priority list included: 1) qualified arts specialists of all the disciplines in all schools; 2) core subject teachers who are amenable to incorporating the arts fully into their teaching; 3) Teaching Artists actively and regularly engaged in the classroom; 4) Partnerships with community-based arts and cultural organizations in all aspects of the school experience (before, during, and after school); 5) Consistent, successful advocacy; 6) Students exhibiting excitement, confidence, risk-taking, and enthusiasm about being learners and how the arts create the environment to achieve this; 7) These goals being achieved in BOTH urban and rural schools (to not forget that there is a driving need and particular challenge to arts education in rural schools that must be addressed; and finally, 8) All the arts all the time for all children in our nation. Julie then stated that there needs to be ongoing and strident support from policy makers from all sectors of the arts and our communities and we must be empowered enough to seek that end. Her final comment was that all of us in the room had a job to do: to use the days together to learn and to teach, and to speak up. She advised everyone to ask questions and share experience, that this was a lengthy conversation among peers in order for all of us to grow. What a refreshing approach to convening. Julie then introduced Bob Lynch (CEO, Americans for the Arts), who welcomed everyone with a great comment, "Thank you for the wokr and 'killing yourself' for the benefit of America." Bob asked everyone to note that the three pre-conferences convening simultaneously as a coalition to generally advance the arts and arts education (the other two were on Public Art and Arts Funding and Serving Changing Communities). He asked the question, "How do we foster better decision making and strengthen influence." This was a common theme throughout the sessions. Bob also called attention to the "Ask for More Art" campaign. You can get more information at the Americans for the Arts web site to be an advocate in your area. A few more details about Amercians for the Arts were focused on membership and the strength that the membership provides as an advocacy and lobbying tool. The current mailing list has 70,000 members listed. There are levels of support that even the independent TA can afford. I contend that we are so used to believing that we have no power in our system that we give up before trying. I see this in elections on not just the national level but even in local elections. We must move beyond our complacency based on frustration and be vocal advocates for ourselves and our field, for our children and our future. That said, I will stop now and head out into the world for a day's worth of putting my money where my mouth is. Next entry will be on the model presented from Pinellas County, FL, who I think about today as the Gulf coast of the state braces for the first tropical storm of the season.

Name:
Georgia Popoff
Subject:
The Best & the Limitations
Date:
06 Jun 2006
Time:
10:16:09 AM -0400

Blog

I have a period off from my TA schedule so I wanted to continue my thoughts about the process for TAs that really solidified on Friday's presentation by Cynthia Weiss (Columbia College Chicago Center for Community Arts Partnerships) and the subsequent lunch discussion she facilitated. Again, the differences between an independent TA and those affiliated with organizations that interface with schools is huge. The arts- or community-based organization may develop an ongoing relationship with a school or district that paves the way for the TA to make the entry easier. There may be more trust in the TA based on that relationship. There will likely be some form of orientation or training prior to entering the school. And there is someone to support the TA if there are difficulties. There are many AIE organizations that have comprehensive training for TAs who are working with them. Michele Kotler's Community Word Project is a very extensive model to examine for this kind of support and I am sure the Center for Community Arts Partnerships is another, among many. But professional development is critical for success and difficult to attain for the independent TA, especially financially. The consideration that rose in many discussions at the pre-conference was that of certification for TAs and how that would look. This conversation has been ongoing within the NYS AIE community and there are many concerns, as well as the obvious benefits. Who would certify, what would the criteria be, what about the TA who has been at it forever and how are they ranked, who provides the training to certify, who tracks the certification process and retains the data, who pays for it all? All important questions and not readily answered. It is agreed that there is a benefit to having some sort of certification that would help break down the barriers with schools. But it also brings with it a logistical challenge, some may even say nightmare. Another discussion point was the length of time that a TA is in the classroom. Often at conferences and seminars, I have seen presentations for best practices of remarkable programs that are meeting all the elements of effective and creative arts integration and education. But those programs are sustained, long-term projects where the TA is a part of the school community alongside the faculty and the relationship is strong. This is how it should be and, in some cases, how it is. But more often than not, TAs are in a school for less than 10 days, more often 3 - 5, and in some cases, just one contact session. This is where the proving ground is forged for a TA. Like the conference model of learning in 60 - 90 minute sessions, this short-term model certainly is better than none at all but how do we do all that is required for quality arts in ed. in that case?! We can barely get a creative, artistic process communicated in that time, we need to rely on teachers even more for outcomes. Assessment is virtually impossible and results (or the expectation for qulaity results) must be less of a benchmark. It is really the third day with a class that is the breakthrough day...where the students make their decision whether they trust the TA, the process, and their own ability to engage with interest. So if you as a teaching artist are just breaking through to that level and you are done when that day is over, there is a huge letdown for everyone and there is an air of lack of completion that is frustrating. Sometimes we may never see the final outcome of the project because we had to leave it in the teachers' hands. Schools will think nothing of redirecting a TA at a moment's notice, no matter how much planning, or decide that they want to have a different teacher "have the experience," while the TA is midstream with a teacher and particular group of students. The survivors long term in this field have a bank account of activities and themes to accommodate all changes and potential roadblocks. But it is draining at best. Nick Rabkin mentioned the difficulty of sustainability in the field and the burn-out factor for TAs as a serious concern. He is so on point with that. The travel, the meeting all these new personalities all the time and adapting to their needs, the differences in classroom, school, and district cultures, the time it takes to put together a quality lesson plan and the need to abandon it and improvise because the teacher did not accomplish what the TA expected in her/his absence from the previous contact session, the stress associated with getting paid, all of these contribute to burn-out and less than effective AIE experiences. Certainly the depth of inquiry is impacted. So we, as a profession(and we are now being viewed with favor as professionals) with legitimate career paths, have a lot to contend with in developing our skills, marketing our work, fulfilling the requirements, and keeping on top of our own art forms to be able to transmit the essence of our crafts. It is no easy task and the sweat equity is astounding. The financial commitment is also considerable. Hopefully, as ATA grows and as we work with Eric Booth to develop this reporting process from the many conferences nationally, we will strengthen our field and the individuals who are committed to their careers as TAs. Your feedback is a valuable part of this evolution. If you have ideas, please let us know. Now to ready for the next group of middle school poets...have a great day yourselves.

Name:
Georgia Popoff
Subject:
More Big Thougths
Date:
05 Jun 2006
Time:
10:54:37 AM -0400

Blog

In the discussions over the course of the pre-conference, another conclusion that I was very aware of is the difference between the independent teaching artist and the TA who is affiliated with cultural organizations and established arts-in-ed. entities. The road is long and hard for the TAs who are out on their own, creating their own teaching methodologies, marketing and building relationships for work, negotiating and managing their own contracts, doing the teaching, the planning, the booking, the reflection, the reporting, and chasing down the cash. There is almost always a problem somewhere along the journey and the independent TA has to solve the problem without support. The cost of doing business is higher for the indie and the expense of professional development is a strain for all but the most seasoned and professional, who is more likely to be working more and at a higher rate. The indie is also making the case for their payment themselves and may be in the position of being paid less because of it. It is much more difficult for an artist to say, "I do great work and you will be pleased," than for a program coordinator of a particular arts-in-ed org, a museum ed. director, or a booking agent to say it and then ask for the $50 per hour, the $500 or more a day, the paid planning time, etc. And the likelihood is that the indie will have more difficulty valuing the work and demanding a reasonable fee, especially in a new district or someone who is still fairly new to the work. There are very few people who are represented by agents and I only know of one independent agency that books artists in schools, the Betsy DuBois Agency in the Cleveland area. The professional development piece is really important and there was much discussion around that as well that I will address in a separate blog since the blog world does not recognize and retain hard returns to create paragraphs. But from the standpoint of investing in conferences, I have always been fed well and energized in conference involvement but the costs are a challenge for the average TA to meet from their own pockets. Most conferences are really geared towards fees being paid by organizational expense accounts, etc. It is not that the registration fee, travel costs, hotel, meals, etc., are over the top or "price gouging." It takes a lot to run a successful conference and the funding is always tight as well as dependent upon significant additional corporate sponsorship. But if the 3 days away mean that the TA is out of the classroom, or not finalizing the end-of-project reporting, or attending planning meetings for projects, AND spending hundreds to perhaps more than $1000 for the experience, it is a hardship for almost all of us to participate. A system needs to be put in place to keep the TA voice in the mix because we bring something not only of value but of a different slant on the concerns that is essential for the AIE field to continue to strengthen and produce quality results.

Name:
Georgia Popoff
Subject:
Sunday Morning Reflection
Date:
04 Jun 2006
Time:
11:21:56 AM -0400

Blog

I traveled nearly 9 hours yesterday and only have 24 hours at home before I hit the highway for 3 hours today. Tomorrow morning I have to be in a classroom to teach for 2 days to complete a middle school residency. While on planes and in airports, and as I started the laundry this morning, I have had time to reflect on the general overview of the role of Teaching Artists and how that theme entered into the conversations at the Americans for the Arts pre-conference. There was and always is a great deal of conversation about the need for schools to connect readily with community and the focus is often on deepening relationship and involvement with parents and business. This is a crucial element of the school/community connection, but it occurred to me that in the involvement of teaching artists in schools, the TAs become a very vital factor in community connection. TAs become the conduit for that increased exchange in many ways. TAs will bring the awareness of school efforts by the special programming they provide, which reflects out to parents, creating excitement in children and teachers that is communicated, as well as creating culminating events that bring family and community into the schools. TAs create and strengthen relationships between cultural organizations of all sorts and schools, and train students to have a different lens in observing the displays and collections, perhaps helping to create ongoing audiences for these organizations, museums, etc. TAs model ways of living that reflect many alternatives. TAs provide hands-on professional development for teachers at a time when budgets (both fiscal and time-based) are stretched but the needs and requirements are still looming. TAs then tell their friends, family, colleagues, vendors, etc., of the work they are doing and generate interest from their side as they too are growing every time they walk into a school and walk back out. At first, I was thinking of a bridge for the metaphor but now the conduit seems a better choice. Relationships are built that may last years and years with a particular school or district and, in that, the TA becomes part of the school community, along with the teachers, support staff, administration, parents, etc. TAs often help create and sustain the relationship with funders as well. Most TAs I know are always thinking of ways to fund their own work in order to deepen it so we are also a source of financial benefit to the schools with which we work. It is so much more than the concept of a teaching artist walking into a classroom with a "bag of tricks" to entertain kids and somehow "coerce" them into learning a piece of the curriculum. And the work is best when it is a sustained relationship over years, with a sequential learning process, a change of theme every year or two to keep folks sharp and enthused, and the teachers work hand in hand with the TA, learning from the TA, and offering the TA skills and awarenesses that benefit future teaching. It is an educational organism, rather than organization I envision, as I let everything seep in today. I am interested in your thoughts on this as well. Feel free to send your views to the ATA listserve or to me directly and I will share them with the invisible many on the other side of the computer screen.

Name:
Georgia Popoff
Subject:
Correction
Date:
03 Jun 2006
Time:
12:30:18 AM -0400

Blog

Gee...I just reread what I wrote this morning while rushing to be on time for the plenary and I find mangled sentences that are confusing. The most important thing is that the Sphinx Organization has not funded hundreds of thousands of awards but, rather, hundreds of thousands of DOLLARS of awards. Big difference! Sorry if you had trouble following me or my syntax problems while working on the fly rattled your senses. I get the daily DUH Award!! Oh well...you know what I meant now. Good night and look for more tomorrow evening when I return to Central NY.

Name:
Georgia Popoff
Subject:
Correction
Date:
03 Jun 2006
Time:
12:24:18 AM -0400

Blog

Gee...I just reread what I wrote this morning while rushing to be on time for the plenary and I find mangled sentences that are confusing. The most important thing is that the Sphinx Organization has not funded hundreds of thousands of awards but, rather, hundreds of thousands of DOLLARS of awards. Big difference! Sorry if you had trouble following me. DUH!! Oh well...you know what I meant now. Good night and look for more tomorrow evening when I return to Central NY.

Name:
Georgia Popoff
Subject:
Friday Evening
Date:
03 Jun 2006
Time:
12:19:22 AM -0400

Blog

The pre-conference is over and the full conference is readying to fill the next 3 days. So there is a transition in place and many of us are preparing to head back to our works full of ideas, conversation, discussion, concepts, etc. The attention to the voice of teaching artists has been a conscious effort for this gathering and there were key folks in the planning stages to insure that teaching artists needed to be welcomed and included to fulfill the scope of arts education and arts integration. It has been wonderful to be the reporting entity for this effort and I will be downloading the 30 pages of notes I have taken over the upcoming week or two so please continue to visit the blog to see what I have collected. But I just got back from dinner and need to pack to get a 6 a.m. shuttle to the airport so I will add more tomorrow, offering my notes and comments from each of the sessions and discussions of the past couple of days sequentially. I hope that the information will be of value and that you will find ways to be aware of the effort that Americans for the Arts and all of its advisors, and John Abodeely as Manager for Arts Education have exhibited on our behalf.

Name:
Georgia Popoff
Subject:
Friday Morning
Date:
02 Jun 2006
Time:
09:43:49 AM -0400

Blog

It is a lovely morning again and shortly I will be heading into the morning plenary. I will continue to take notes and I will be sending out my reflections in bits and pieces. It is easier to break each session down into its own entry. Yesterday's plenary was with Aaron Dworkin of the Sphinx organization, which encourages classical music students of color with education programs, scholarships, and competitions. Aaron was inspiring but also very prepared with data to support the fact that the underrepresentation of African American, Hispanic, and Asian Americans in classical music on all levels of participations. The statistics were no surprise to anyone who has been paying attention but still appalling. Aaron, as an African American violinist, looked to address the situation while still a student himself and the Sphinx Organization was started. They have funded hundreds of thousands of awards, scholarships, school programs to encourage classical music study for students of color, summer institutes, and more. It is very exciting to see such proactivity. The other point is to support musicians of color, advocate for greater representation in orchestras nationally, and then to foster audience within the populations of color because there is equitable representation. But this is just a microcosm of the issue everywhere around us in all walks of life. We need to advocate for cultural representation and equity in all ways, but particularly within our field. My one question whenever I see these discussions and the statistics is the noted absense of a wedge in the pie charts for Native Americans. In discussions of segregation, underrepresentation, separateness, and in most data, the categories seem to be White, Black/African American, Hispanic, Asian, and OTHER. The First Nations peoples are often thrown into the nebulous wedge of Other, so they are so underrepresentation that most polls and analyses do not even give them a category of their own. This is an oversight that is confounding to me. This is their country first. But I am already getting political and I haven't had breakfast yet. More later.

Name:
Georgia Popoff
Subject:
More Quotes from Day 1
Date:
02 Jun 2006
Time:
12:30:38 AM -0400

Blog

Firstly, I stand corrected on the location of the reception; it was held at the Milwaukee Institute of Art and Design and was a lovely event, especially after being indoors all day. There was access to an outdoor patio overlooking the water that was wonderful to experience. It also allowed for more casual conversation and networking. Now more significant quotes from the day: Again, Elizabeth Burmaster stated, "We understand the connectoin of the arts and economic development;now to enforce the connection between the arts and academic achievement. Where else in curriculum do we teach the art of subtlety, to take risks? The arts are not a luxury; they are essential." She also quoted Willie Nelson in his charge that "the truth should be our weapon of mass protection;" and then she added,"The arts are the truth so they are our weapon of mass protection." // Ted Hamm from the Sheboygan School District: "A lot of elementary schools infuse arts into education but in high school, kids get lost...their identities are at risk amid 800 other students...using the arts is a method of developing creativity and innovation." // These are just some of the pearls that I noted today. The table conversations at meals, at the end of the day reflection, on the bus, and at MIAD were poignant, inspired, sometimes even indignant about the state of arts education and arts integration. One discussion I was honored to be a part of got on a thread about teaching artists and the need to provide essential professional development and how certification may be a protection for all parties in the world of AIE. That is a discussion that has been coming up over and over in NYS and has potential benefits, as well as a lot of challenges in development and implementation. This may be a good topic for the listserve to revisit. Perhaps we should really talk more about what TAs need to get started, what training best suits the needs, how do we develop initial training and continued PD for TAs? The concerns are many. All in all, there has been mention of teaching artists in nearly every session but we are the minority voice in this arena. But I am pleased to report that the voice is valued when the teaching artists do speak and there is a desire to foster the connection between Americans for the Arts and the TAs out there. And a lot of the AIE and cultural directors/administrators in attendance are TAs from what I have learned throughout the day. It was a good day and I have more to offer in the morning but it is late and I will try a little bit of sleep. More Friday of what I experienced today, with recaps of the breakouts and keynotes from my 12+ pages of notes, and I will be taking more notes tomorrow. It is likely that I will be blogging throughout the week to capture everything I am recording. I hope it is of value to you. Sleep tight and see you all tomorrow.

Name:
Georgia Popoff
Subject:
Afternoon Session Quotes
Date:
01 Jun 2006
Time:
06:28:31 PM -0400

Blog

It has been quite a day of conversation. I need to get to the reception at the Milwaukee Museum of Art but wanted to get some key quotes from discussions and panels today out to the field before I hop the bus. // Aaron Dworkin (morning keynote; Sphinx Organization) on diversity and equitable cultural representation in orchestras, music programs, etc.): "Where are we at now, how much distance do we have to go, and how do we define success in diversity?" Aaron's key complaint regarding the arts in our schools is that there is rarely a community outcry when the arts are cut back. He cited that this is not the same when the sports programs are cut. There is a responsibility on our part to convey the importance of the arts in our lives, and to insure that they reflect diversity that is representative of our population and our communities, to infuse the value and sense of ownership in all people to encourage participation on all levels. // Ray Smenner (Pinellas County Arts Council): "We must listen to each other, know when and where to speak, and when to be silent. That is really important, to know when to be silent." // Jeanne Reynolds (Supervisor, Pre-K Performing Arts, Pinellas County School Board) advocates for "All children at all levels for all schools for all the arts...What happens to arts programs is they tend to erode...if you have a consistent coalition [of stakeholders to advocate], they keep an eye out...Advocacy has to be in everything you do...If we want sequential K-12 arts and into a lifetime, we need to show it to them {in culminating events...such as have an elementary orchestra or choir perform the same piece as the middle school group and the high school to model the learning/growth in individual students over their academic life]...when we work, we have a passion for all kids...I want for every kid in America to feel excited about the arts and together we can make that happen." // Frances Haithcock (Charlotte-Mecklenberg NC Superintendent)stated she did not have a background in the arts but advised AIE folks to spend time building relationship, speak the language of education, and present viable ways to "save their lives" [in this world of testing and accountability through test scores]. Also, work with politicians and know that superintendents can do the interface with their School Boards, and have a large hand in directing curriculum design and decisions. // Elizabeth Burmaster (WI State Superintendent): "What's wrong with the state of education today is that we don't have enough arts educators as decision makers....[arts education is] Intelligence of the heart...that combines knowing and feeling as a single function...it is up to us to push that." // Well they are closingthe computer stations...more later after the evening events when I return to the hotel.

Name:
Georgia Popoff
Subject:
First meal break
Date:
01 Jun 2006
Time:
01:48:08 PM -0400

Blog

Well, what a morning already. So many committed people who are working to advocate and affect change, who are working to sustain the arts in the lives of students in all ways, and to create an environment for life long arts experience and appreciation. It is a boost of energy for those of us who are reaching end of the school year burnout and so good to be among those who know how critically important this work is. I am going to give details later but the first plenary and workshop that I attended already have me seeing wonderful similarities from the work I do within my many roles in the AIE community, and some terrific ideas for implementation and furthering the works. Milwaukee is a lovely city so far too. Off to sustenance and more lively conversation. In the meantime, two web sites to check out from the morning sessions: www.sphinxmusic.org and www.pinellasarts.org

Name:
Georgia Popoff
Subject:
Pre-Conference About to Start
Date:
01 Jun 2006
Time:
09:19:18 AM -0400

Blog

Good morning all. Just a quick note to test technology and give a quick hello. I arrived in Milwaukee late last night after a 3.5 hour delay in Newark, half of it on the tarmac. Ah, the convenience of air travel! Still astounds me that giant vehicles propel themselves rapidly forward with the expectation that the air will pick them up in the process...and that it works! Anyway, finally made it and met John Abodeely, Manager of Arts Education for Americans for the Arts, for a conversation before he gets too busy in presenting a convfening. More on that conversation later but for now, I will be attending the morning sessions and the workshop that most addresses the needs of teaching artists. I look forward to being your eyes and ears in this experience and will attend as much as possible without sacrificing continuity. Have a great day and I am sure you are all busy with the end of the school year needs! Good luck to you all!