Best Practices

Lessons from the Workshop

A Guide to Best Practices in Performing Arts Education

Performing Arts Workshop would like to thank Anne-E Wood,

the Improve Group (www.theimprovegroup.com), Dr. Richard Siegesmund, and Bea Krivetsky for their contributions to this guide.

The Workshop would also like to thank the following funders for making this publication possible:

The United States Department of Education; The San Francisco Department of Children, Youth, and Their Families; The Levi Strauss Foundation; the California Arts Council; The National Endowment for the Arts;

The William and Flora Hewlett Foundation; and the Walter and Elise Haas Fund.

LEVI STRAUSS

Table of Contents

2 Introduction Performing Arts Workshop History 3 What Models for Arts Education are Available?

4 What are the Essential Elements of an Artist Residency Program?

6 What are the Benefits of a Residency Model?

7 Defining Your Role in the Classroom

11 Creating a Postive Learning Environment\

14 Improving Critical Thinking in Youth

16 The Performing Arts Workshop Methodology

19 Structured Improvisational Teaching

22 Teaching “at-risk” Youth

25 Worksheet 1: Residency Observation Protocol

27 Worksheet 2: Teaching Skills Assessment

29 Worksheet 3: Rubric for Assessment of Student Learning in the Arts

Ifyouareaschooladministrator,teacher,artist,parent,orartsorganization,

wehopethisguidewillhelpyoufacilitateanartistresidencyprogram.

Thisguideexplainsartseducationwithintheframeworkofeducational

policyandpracticeinCalifornia,butthemodelcanbeadaptedformany

communities.Inthisguideyouwilllearnabouttheresidencymodel,the

historyofPerformingArtsWorkshop’sresidencymodelandwhat40years

ofexperiencehaveshowntobethebestpracticesforartistsandteachers.

OneoftheoldestnonprofitartseducationorganizationsinSanFrancisco,

PerformingArtsWorkshop(TheWorkshop)wasestablishedin1965

toprovideacreativeoutletforinner-cityteenagers.Withtheschools

andcommunitycentersasherlaboratory,WorkshopfounderGloria

Untidevelopedateachingmethodbasedontheconvictionthatthe

creativeprocessisadynamicvehicleforlearning,problem-solving,and

communication.BasedoriginallyattheTelegraphHillCommunityCenter,

andlater,attheBuchananStreetYMCA,Glorialedagroupofyouth

–chieflygangmembers,highschooldropoutsandyouthonprobation–

increatingavibrantdramaticworkshop.Theseyouthexploredthecreative

processthroughimprovisationaldanceandtheatre,channelingtheirideas

andexperiencesintohighly-chargedsatiresandsocialcommentary.By

1968,enrollmentinthe“TeenWorkshop”reachedover600students

andperformancesdrewanaudienceofnearly10,000inasingleyear.

Havingexperiencedfirst-handthatartcantransformthelivesofyoung

people,GloriaandtheWorkshopstaffbegantesting,developing,and

refiningateachingmethodologyaimedatreaching“at-risk”youth.

In1974theWorkshoplauncheditsflagshipprogram,Artists-

in-Schools(AIS),andbecameoneofthefirstnonprofitarts

organizationsinSanFranciscotoplacetrainedartistsin

publicschools.Thisprogramwasfollowedin1975bythe

ProfessionalDevelopmentprogramwithworkshopsand

on-sitetrainingtoschoolteachers,principalsandartists;

andin2003theArtists-in-Communityprogramwas

createdtooffertailoredartsinstructioninafter-school

programs,homelessshelters.housingfacilities,andschools

forat-riskyouthoutsideoftheschooldistricts.

“(The AIS program) gives

kids the opportunity to be

exposed to things the teacher

might not have the ability

to expose them to.”

Teacher

These sidebar notes

were extracted from

surveys and focus groups

with teachers and artists

as part of The Workshop’s

Artists-in-Schools program

evaluation, conducted by

The Improve Group.

Introduction

Performing Arts Workshop History

© Performing Arts Workshop 2006 2

The three main models

for arts education are the

residency, specialist and

teacher training model.

There are three main models for arts education:

1. Residency Model: Artists integrating art and curricular content.

ThismodelrepresentsthetraditionalWorkshopmodelwhichviewsthe

educationalextensionofanartslessonasasharedresponsibilitybetweenthe

teachingartistandtheclassroomteacher.Theessentialelementsofanartist

residencyprogramaredetailedthroughoutthisguide.RecentlyChicagoArt

PartnershipsinEducation(CAPE)hasbeenaleadingadvocateforthismodel

(Burnaford,AprilandWeiss,2001).

TheCaliforniaVisualandPerformingArtsPerformanceStandards—which

arelegislativelymandatedascorecurriculum—callforteachinginallfour

majorartforms:dance,drama,music,andvisualart.Toachievethisbalanced

education,aresidencymodelneedstobeapartofK-12education.

2. Specialist Model: Art teachers who have formal

teacher certification.

Thereisprovenvalueinfull-timecertifiedartteachersinschools.However,

Californiastrippedelementaryartteachersoutofitsschoolsinthewakeof

Proposition13thirtyyearsago.Proposition13causedashiftinsupportforschools

fromlocalpropertytaxestostategeneralfunds.Otherstateshavemadesimilar

cuts.Furthermore,eveninstatesthathavefunctioningK-12certifiedarts

educationprograms,theseprogramsareusuallyrestrictedtovisualartandmusic.

Thereareveryfewcertifieddramaordanceteachersanywhereinelementary

ormiddleschooleducation;certifieddramaanddanceteachersareevenrarerin

secondaryeducation (NationalCenterforEducationalStatistics,2002).

3. Teacher Training Model: Artists delivering “ART” at schools; teachers are trained to design a classroom lesson around this.

ThismodelwasinventedbytheLincolnArtsCenter,basedontheideasofJohn

Dewey andMaxineGreene,andimplementedbytheLincolnCenterInstitute.

Itisthemodelmostoftenpracticedbyfineartsorganizations,likemuseums,

orchestras,operas,andballets.Thestructureofthismodelcentersonasignificant

workofartthatstudentsobservetwice.Workingartistsinvolvedintheproduction

comeintotheclassroomaftertheinitialviewingtoleadthegroupinexploringthe

themesofthepieceindepth,discussingthequestionsitposes,andformingcreative

responsestoit.Thestudentsthenobservethepieceagainaftergoingthroughthe

processwiththeartists,withtheexpectationthattheywillseeitinanewwayand

withmoreunderstandingthesecondtime.LincolnCenterInstitutefocuseson

aestheticeducation(asdistinctfromartsskillstraining).Centraltothisideaisthat

studentsshouldsee“real”artists,“realperformances”,andbeinspired.

What Models for Arts Education are Available?

3 © Performing Arts Workshop 2006

What are the Essential Elements of an Artist Residency Program?

Artistresidenciespresentanopportunitytolearnartinasettingwheretheartsare

oftenoverlookedtoaccommodateneedsinotherdisciplines,particularlylanguage

artsandmath.

Students have the opportunity to meet working artists

Artists,asoutsidersintheclassroom,havewaysofseeingandthinkingabout

theworldthatareoftennotpartofthetypicalcurriculum.Theirworkisinthe

imaginative,kinesthetic,musical,aesthetic,visualandemotionalterrains.Artists

canbefiercelyintellectual,buttheyarenotinterestedinanswersorsolutionsas

muchastheyareinterestedinaskingquestions.Theyareinvestedingreyareas,in

silencesandellipses,andintheplaceswherestandardlanguagefails.Theartsare

ourwayofcommunicatingtoeachotherwhatisincommunicableinanyother

form.ArtcaninspireideasandevenBEideas.Thereisnotverymuchspacein

thestandardcurriculuminwhichstudentscandevelopanartisticsensibility,or

wherestudentswhoinnatelyhavethatsensibilitycanreallyshine.Thisisaserious

lossbothforthestudentsandforsocietyasawhole.

Learningthisnewwayofseeing,thinkingandexpressingcanbeexcitingfor

students.Itcanhelpstudentswhoarealreadygoodstudentsinschoolsbecome

moreengaged;itcanhelpstudentswhoaredisengagedreconnecttoschool.

Simply“meeting”anartistwillnotmagicallyconveytheseskills.The

artistmustbepreparedtoteach.Thisrequirespreparation

incurriculumandpedagogybytheartistbeforegoing

intotheschool.Teachingartistsmustthinkseriously

abouttheirteachingphilosophy.Heorshemust

ask:whatdoIwantmystudentstowalkaway

with?Howwillmypresenceintheclassroom

benefittheirminds?Whatwillbethelasting

impact?

Ifachildaspirestobeanartist,then

meetinganartistcanprovidearolemodelfor

thechildtofollow.However,itisimportant

todistinguishwhethertheeducationalgoalis

artisticeducation(becominganartist)orarts

education(developingwaysofthinkingthrough

artisticmediathatsupportacademicsuccess).Bothof

thesegoalsaregood,andhavingonedoesn’tprecludethe

other.InthePerformingArtsWorkshopmethod,thelatteris

theessentialgoal.Artproductionisavehicleforcriticalthinkingrather

thananenduntoitself.

Structured experience

Theartistresidencymodelstronglyemphasizesthecreativeprocessandthecreative

product.Artistsstructurelessonstoteachdifferentculturaltraditions.Theprocess

ofcreatingartcrosseslanguageandculturalbarriers.Studentshaveanopportunity

Students in many

elementary schools are not

very likely to encounter

the arts during the school

year. Students participating

in the AIS residencies

were much more likely to

encounter the arts and work

with an artist than their

peers in the same schools.


Distinctive from rest of the week

Eachresidencystartsbybringingstudentsintoanew

space,eitherinaseparateareaoftheschool’scampusor

withintheirregularclassroom.Studentsengagewitheach

other,theirteacherandtheartistinwaystheydonotnormally

interact.Studentsareencouragedtoparticipate,takerisks,and

expandcomfortlevels.Whilemoretraditionalmethodsofworkare

stillusedintheclassroom,theteacherdemonstratesandevenactsout

manyoftheconcepts.

New concepts to integrate into the curriculum

The teaching artist presents, discusses, demonstrates and has the students practice each concept. Some concepts include: continuous flow, patterns, obstacles, character development, pacing, focus and tempo.

Exposure to the arts

Studentsexperiencecreativityinwaysthatarenewtothem.Theylearnaboutthearts

fromdifferentculturalperspectivesandhowtoengagetheirbodiesaswellastheirminds

inimaginativework.

“Being flexible is

important; you have

to be able to respond to

what is going on with

the students that day.”

Artist

tosolveproblemsinstructured,creativeways.Artistshelpstudentsstay

withinestablishedbehavioralstandards,beginningeachlessonwitha

warm-upthatpreparesthestudents’senses,voices,andmindsforanactive

performingartsclass.

Responsive to needs

Participatingstudentsdemandquickadaptationtotheir

varyingmoods,behaviorsandabilities.Artiststry

differentactivities,stylesandtonestomeettheirneeds.

Studentsgetthechancetobeactiveandlearnabout

theirbodiesandthewaysinwhichphysicalactivity

cancomplementlearning.

Evaluators observed that

students used multiple

perspectives to solve

problems that were

presented during the

residency period.


Theresidencymodelallowsstudentstomakeconnectionswithadultswhoare

activelyandprofessionallyengagedintheartisticprocess,whocomeintothe

classroomwithpracticalandtheoreticalexperiencesintheirfields.Classroom

teacherscanoftenbeburdenedwiththeintensedemandsofthestandard

curriculum.Classroomsizesareoftentoolarge.Timeislimited.Resourcesare

unavailable.ThereispressuretohavestudentspassStateandFederalstandardized

tests.Agooddramateacherdoesnotteachplaywritingasthoughitisthe

multiplicationtables.NordoesagooddanceteacherteachBrazilianDanceas

thoughitisareadinglesson.Butwiththerestrictionsplacedonschoolteachers,

itisbecomingmoreandmoredifficultforeventhemostimaginativeandinspired

classroomteacherstoadopttheflexibility,spontaneity,physicalengagement

andvigorousartisticvisionrequiredofagoodteacheroftheartsforuseintheir

academiccurriculum.Thosearetheprimaryskillsandresponsibilitiesofanartist

inresidence:toenliventheclassroomandactively

engagethestudentsinaprocessthat

theythemselvesarepassionateabout.

Thepartnershipandinteraction

betweentheregularclassroomteacher

andtheartistiswhatmakesartist

residencieswork.Manyteachersdo

notfeeladequatelytrainedtoteachart

andresidenciesprovideexpandedarts

educationfortheteacheraswell,whothen

gainsconfidenceinusingartsinregular

curriculum.Theartistcanoffernewways

ofapproachingconceptsintheregular

curriculum,andtheclassroomteachercan

reinforce,remind,andrepeatthosenew

approacheswhileteachingtheregular

syllabusthroughouttheyear.Inthisway,insteadofforcingonesubjectintothe

moldofanother,studentscanmakeconnectionsbetweendisciplines,classescan

echoeachotherandthemescanarisethatdeepenandstrengthenthewhole

learningexperience.

Anotheradvantageoftheartistresidencyistheuniquelearningrelationship

studentscanhavewithanartist.Anartistinresidencehastheadvantageof

comingintotheschoolasaspecialguest.Thearrivalofanadultwhoisnotin

theschooleverydaycangivechildrenafeelingofan“event,”orachangeofpace

fromwhatnormallyoccursatschool.Thischangedoesnottranslateintoabreak

fromwork,ratherabreakfromtheusualapproachtowork.Studentsaremore

likelytomakegooduseofsomethingiftheyfeelitisaprivilegetheyhavebeen

given.Sincetheresidenciesaretime-limited,studentsmayfeelanaddedurgency

totakefulladvantageoftherelationship.

Thenextsectionsofthisguideprovidespecificmethodsforartistsandteachers

toensureapositiveandeffectiveresidencyprogram.Themethodsaredisplayed

insectionsondefiningclassroomroles,creatingapositivelearningenvironment,

improvingcriticalthinkinginyouthandteaching“at-risk”youth.

About 82% of teachers felt

more confident using the

arts after participating in

the AIS program.

What are the Benefits of a Residency Model?


Being a facilitator, not a director

OneofthevaluesofthePerformingArtsWorkshopmethodologyisthatthe

studentsthemselvescreatethework.Theyarenottoolsfortheteachingartistto

usetorealizehisorherpersonalartisticvision.Thejoboftheteachingartististo

inspirethequestionsandprovidethematerialsforstudentstodotheirownwork.

Sotheapproachoftheteachingartistmustbeonethatlistenscarefullytothe

studentsandthathelpsthechildrenarticulatewhattheywanttosay.Articulation

istheartofputtingideasandthoughtsintowords.Thisarticulationwillnot

comenaturallytostudents;theytraditionallyhavetoolittleexperienceinit.

Theteachingartistmustopendiscussionswithtopicsandissuesthatconcernthe

studentsdirectly,sothattheymayexploretheirfeelings,thoughtsandopinions

verbally.Throughthisworkstudentswillbegintoseetheworldthroughasharper

criticallens.Theteachingartistmusthonorthestudents’mindsbyactively

encouragingandvalidatingtheirthoughtsandideas.Bypromptingthestudentsto

articulate,theysaytothestudents,“yourideas,yourfeelings,youropinionsabout

theworldarepartofwhoyouare,andtheyareimportantforallofustohear.”

Thisiswhatitmeansforachildtohavea“voice.”A“voice”istheassertionof

identityandpresencethroughthearticulationoffeelingsandideas.

Risk-taking

InthePerformingArtsWorkshopmethod,boththestudentsandtheteachingartistsareencouragedtotakerisks.Butwhatdoesitmeantotakeariskintheclassroom?InarecentPerformingArtsWorkshopMethodologytraining,weaskedtheteachingartiststobrainstormpossiblerisksintheclassroom.Bytakingariskintheclassroom,theartistisrisking:ridicule,artisticfailure,beingdifferent,emotionalresponse,noresponse,thebafflementofothers,hisorherjoband

everyone’ssenseofcomfort,physicalsafety.Therearerisksthatareworthtaking,andinfactmustbetakenforthestudentstogetanythingoutoftheclass.Forsomestudentscompletingtheveryfirststepsofanactivitymayrequireenormouscourage.Forexample,somestudentsmayfeelthreatenedandshyaboutdoinganeasygroupwarm-upexercisebecausetheydon’tfeelcomfortablebeingphysicalingroups,orinanykindofperformanceenvironment.Theteachingartistmustbeawareofthestakesforthosestudentsanduseencouraginglanguagetocoachhimorherthroughtheactivity.Alwaysstartslowandbuildriskincrementally,evenifyouthink

studentsarereadyfromthebeginningoftheresidency.

Encouragestudentstotakeimaginativerisks.If

astudentdoessomethingunusualorbraveonstage,for

exampletakesanemotionalriskwithastory,triessomething

unexpectedorrespondstosomethinginanon-stereotypical

way,acknowledgetheircourageevenifwhatthey’vechosen

doesn’t“work”orcreatesabigmess.

Defining Your Role in the Classroom For the Artist

“I work with the

students to create

spaces – such as theatre

space and audience

space – at the beginning

of each day. It helps the

students think they are

‘leaving’ their traditional

frame of mind and be open

to new experiences.”

Artist


Students risk ridicule,

artistic failure, being

different, having

a strong emotional

response, having no

response, baffling

others, and their sense of

comfort when they take

risks with the arts.

Artists help students

take these risks.

Don’tbeafraidtobringuptopics

thatmightinspireemotional

reactionsorcontroversy.

Conflict,controversy,

discomfort,friction,

difference,debate,fearand

uneasecanallbeincredibly

energizingforaclassand

arenecessaryforcritical

thinkingandlearninginthe

arts.Theyarethefabricof

thearts.Energyisthekeyto

creatinganythingworthwhile.

Infact,iftheseemotionalreactions

orcontroversiesnevercomeupduring

yourresidency,chancesareyouarenot

creatingaproductiveanduniquelearningenvironment.

However,ifyouoryourstudentsraiseasensitiveissue,orifcontroversial

discussionsarisefromthetextsorclasswork,it’simportanttocallattentiontothe

factthattheissueissensitiveandthatnoteveryoneintheroomorintheworld

believesthesamething.Thisisespeciallytrueifthetopiciscenteredonpolitics,

religion,death,sexuality,raceorclass.

Thisdoesnotmeanyoushouldcensoryourownpersonalopinions,aslong

asyouiteratethattheyareyourpersonalopinionsandthatthestudentsaren’t

goingtobejudgedorevaluatediftheyagreeordisagreewithyou.Astudentwho

isusedtogettinggoodgrades,whoisconsistentlyobedient,mayagreewithout

thinking,andthatkindofpowerdynamicisdangeroustocriticalthinkingand

learninginthearts.Playdevil’sadvocate.Askthestudentstoimagineallthe

possiblearguments.

Forexample,astudentmakesachoiceinanimprovisationtoportrayagay

manandthechoiceshemakesareextremelystereotypicaltothepointofbeing

offensivetosome.It’simportanttocallattentiontoitduringorafterthescene.

Don’tpunishthestudentbycallinghimahomophobeorsendinghimtothe

corner,butasktheclasstoanalyzethechoicestheactorhasmade.Whatmakes

thepersononstagegay?Didyourecognizethatcharacterfromtheworldorfrom

televisionandmovies?Doyouknowanygaypeople?Howdoyouknowtheyare

gay?Doyouthinktheactorwasmakingfunofonegayperson,orallgaypeople?

Isiteverokaytousestereotypesonstage?Adjustthevariables.Saytotheactor,

“Couldyoudothesamecharacter,thesamephysicaltraits,butthistime,he’s

alone,andhe’snotperformingforanyone.He’sinhiskitchenmakingpastaand

hegetsaphonecallfromhisbrotherwhotellshimhismotherhasdied.Justtake

thecallandrespondashonestlyaspossible.Respondthewayyouwouldrespond.

Whatchanges?”

Whethertheexerciseworkstochangestudents’prejudicesornot,itwill

challengetheactortothinkmoredeeplyaboutthatparticularcharacteras

acomplicatedhumanbeing.Thesamewouldbetruefortheportrayalof

anystereotype(oldpeople,youngpeople,peopleofdifferentraces).This

constructivelyhelpsstudentsbecomemoreanalytical,asopposedtocutting

theexerciseoffandsaying“nogaypeople”or“nomakingfunofgaypeople.”

Youdon’tknowwhyastudentchoosestoportrayaparticularcharacter.Inthe


sometimesconformistworldofchildrenandadolescents,actingclassmaybethe

onlychanceforthestudenttobewhomeverheorshechooses.Whatwillhelpthe

studentisifyouremindhimoftheenormousvarietyofchoicessothathepicks

theonesthathetrulywantstoexpressandthatwillmakeanengagingscene,not

theonesmorecommonlyexpressedbyhispeersorthemedia.

Anotherexerciseistodividetheboardintoa“factsheet”anda“stereotype

list”andhavethestudentsdistinguishbetweenthetwo.Factsheetsshould

includedefinitions,statistics,scientificandhistoricalinformation.Ideasabout

stereotypesshouldcomefromthestudentsandwhattheysee

intheirworlds.Thisexercisehelpstheprocess

ofcriticalthinking,sothat

studentsmaydecide

whatistrueanduntrue

forthemselvesbasedon

facts,asopposedtowhat

theyseeinthemedia.

Fortopicsthat

areriskybecauseofthe

emotionstheystir,suchas

deathorfamilydynamics,

allowthestudentstoexpress

themselvesintheirownway

andtime.Allowthemtopass

orstayquietiftheyneedto.If

emotionsaretoohigh,thatis,if

studentsarehurtingeachother’s

feelingsandnotarguingtheir

pointswithobjectivity,switch

gears.Havethemwriteindividual

responsesorturnthediscussion

towardsthebroaderworld:anewsevent

orafictionalstorythey’veread.Bringthediscussionbacktotheartform.Relate

whateverconversationisoccurringtothecraft.

Also,neverriskphysicaldanger.Establishfirmrulesabouttouchingand

horseplayonthefirstdayofclass.Also,donotattempttobethestudents’

therapist;avoidusingtheclasstoworkthroughpersonalpsychologicalissuesthat

studentsmayhave.Ifyouknowthatastudentishandlingaspecificemotional

situationdon’tsingleoutthatchild.Trytokeepthestanceoftheclasssomewhat

objectiveandalwaysmakethedistinctionandconnectionbetweenthespecific

andpersonalandthebroadandsocial.

Critical thinking helps

students analyze

stereotypical choices,

change their frame of

references, and adjust

their own decisions and

performances.


Establishing your role in the classroom

Asateacher,thereareseveralrolesintheclassroomyoumaytake.Youcankeepa

lowprofileintheartsclassandsimplyobserveyourstudentsinteractinadifferent

environment,andhelpoutwithdisciplineissuesastheyoccur.Thebenefitofthis

low-profileapproachisthatstudentsareexposedtootherstylesofteaching.Or

youcanbepresentandparticipateasastudentintheartist’sclass,givingpertinent

inputifthereisawayofrelatingpointsbacktoyourcurriculum.Thebenefit

ofthisapproachisthatyoucanhavethechancetoputyourselfinthestudents’

shoes.Allrolescanbeeffectiveaslongasyouandtheartistdefineyourroles

beforetheresidencybegins.Itisimportantthatyoucommittoobservingyour

studentsintheartsclass.Theremaybechangesinbehaviororengagement(for

betterorforworse)thattheartistwon’tbeabletorecognizewithoutyourinput.

Communicating with artists

Inordertoaffirmhowvaluabletheresidencyistothestudents,itisnecessaryfor

theteacherandteachingartiststohavetimesetasidetodiscusshowtheresidency

isgoing,evenifitisjustafewminuteseveryweek.Thistimeshouldbeused

toaffirmthevalueoftheresidency,addressanyquestionsorproblemswiththe

curriculum,discussstudentswhoneedspecialattentionandansweranyquestions

youortheartistmayhave.Itcanalsobeusedtobrainstormwaystobuildoneach

otherswork;artistscanlearnofthemesbeingaddressedintheclassroomandvice

versa.Becausetheschooldaycanbechaotic,especiallyintransitionperiods,itis

veryimportanttohaveweeklyplanningandreflectiontimescheduledbeforethe

residencybegins.

Trusting the artist/knowing your limits

Thereisalwaysacertainamountofriskinvolvedinallowingastranger

intoyourclassroomtoteachyourstudents.Itusuallyrequires

relinquishingalittlebitofcontrol.Youmightnotagreewith

everythingtheartistdoesorwithhisorherapproach.It

isbettertowaituntiltheendofaclasstodiscussany

problemswitharesidentartist.Neverarguewitha

residentartistinfrontofthestudents;thiscandamage

theartist’sauthorityovertheclassroom.

Itgoeswithoutsayingthatyouarealwaysthe

oneinchargeofyourclassroom.Intheend,

youaretheonewhocallstheshots.Ifyoudon’t

thinktheresidencyisworkingout,youmust

informtheprincipalandtheprincipalwillinform

theartsproviderwhowillthenworkwithyouto

accommodateyourneedsforyourclassroom.

Defining Your Role in the Classroom

For the Teacher

100% of teachers strongly

or somewhat agreed that

they worked well with

the artist during the AIS

residency.

When teacher roles

are not discussed

prior to the residency,

artist and teachers

tend to have different

expectations of each

other and overall

satisfaction with the

residency experience

is lowered.


Technical or logistical problems

Asanartistinresidence,youdon’talwayshavecontroloveryourenvironment.

Despitetheirgreatesteffortstodemandaclassroomconducivetolearningthe

arts,sometimesresidentartistsendupteachinginthecorridorsorinnoisygyms

orclassroomsfacingplaygroundswherekidsarerunningaroundatrecess.How

doyouusethatenvironmenttoyouradvantage,orhowdoyoushiftyourlesson

plansothatyoucanstillteachinthatspace?Theactivityyouendupdoingmay

notlookatallliketheactivityyou’veimaginedinyourhead.Theimportant

thingisthatyoustayflexibleandenergetictowhatisoccurring,ratherthanget

frustratedaboutwhatisnotoccurring.

Sometimeslackofmaterialscanbeveryfrustrating.

I once taught creative writing at a school that did not have pencils. No one had pencils. The students didn’t have any, the teachers didn’t have any, the administration didn’t have any. There was a supply closet somewhere in the building, but no one seemed to have a key. I hadn’t anticipated there would be no way to obtain writing implements at a school, and I had not brought my own. We didn’t do any actual writing that day, but we did have a good discussion on story telling and the students did invent their own stories, only they ended up telling their stories to each other and dramatizing them. It turned out to be a great writing exercise that loosened the students up, had them laughing and listening to each other, and reminded them of why we like to hear and tell stories. The next class, they had to really think about what was memorable about the stories they told and the stories they heard. They did not have the details in front of them; those details had to live and stay with them for a whole week. I brought pencils to the next class and as they began to write their stories, I reminded them about choosing details that would stay with a reader. By not having pencils on the first day, I was forced to teach a couple of lessons that I might never have: the most obvious one about choosing memorable details, and the other about how writing stories is an extension of telling them. We write, read, listen to and tell stories for the same reason: to connect with each other. So the students can begin to see writing as a task as pleasurable and as necessary as telling a friend a good story. It seems like an elemental point, but one that even established writers forget. I’d forgotten it. [Creative writing resident artist]

Creating a Positive Learning Environment

For the \Artist

“…If I had them meet

in the auditorium I feel

that it would probably

be thirty minutes instead

of forty-five [because of

the transition time].

So I would rather just

go to their classroom.”

Artist

Sometimes it is

preferable to have

less space rather

than less time with

the students.


Agoodartistinresidenceneedstobebroadmindedenoughtotrustthatthe

learningobjectiveitselfismoreimportantthantheactivitytheyhaveplanned.

Theremightbeseveralwaysofattackinglearningobjectives;thereisnoneedto

befixatedontheplannedway.Thereisaneedtobeflexibleandtoworkwith

themostimportantandvaluableresourcesintheroom:thestudents’minds.

Youmightfindthattheunplannedlessonisdeeperandmoreimportantthan

theplannedone.Ifyouhaveanimpulsethatamoreessentiallessonissurfacing

asyouareteaching,don’tfightit.Bringituptothestudents.Seeiftheycansee

itthemselves.

Creating and managing chaos

Thereisadistinctdifferencebetweengoodchaosandbadchaos.Inanygoodarts

class,especiallyintheperformingartsandparticularlyintheaterordancewhere

thereisastrongcomponentofimprovisation,therewillbeacertainamount

ofchaos.Agoodclasswillsometimesfeelchaotic.Adynamicimprovisationis

takingplace,therearemanystudentactorsonstage,youarestoppingandstarting,

askingtheaudienceto

respond,thestudents

arelisteningbutalso

responding,there

is(responsive,not

ridiculing)laughter,

thereisenergyin

theair,youandthe

studentsdonotknow

exactlywhatisgoing

tohappennext.

Thereisanelement

ofdangerandrisk

inthechaos:the

studentsareexploringnew

territory,theymightfailortheymightsucceed.It

maybeloudandquiteunlikeothersubjects,buteveryoneisfocusedand

everyoneisthinking,engagedandtryingtheirbest.Althoughyoudonotknow

exactlywhatisgoingtohappen,youarestillincontroloftheclassroom.Thatis

goodchaosandbeingabletoorchestratethatkindofenergycanhaveexcellent

results.Thisisespeciallytrueifaftertheimprovisationyouaskthestudentsto

reflectandrespondinaquieterwaytowhattheyjustexperienced.Changingthe

paceoftheclassiskey.Haveadiscussionorhavethemwriteinjournals.With

thesechangesofpacewithintheperiod,youaremodulatingtheclass,allowing

thestudentstoengagewiththematerialinavarietyofways.

Badchaosoccurswhennooneisengagedintheactivityorwhenthereisno

clearactivity;studentsarebranchingoffintotheirowngroups,theyarebored,

misbehavingorrefusingtoparticipate.Badchaoscanoccurevenifyouhavefully

preparedforthelessonandcanbetheresultofmanyfactors.Butnotpreparing

thelessonplancarefullyfortheclassroomwillalmostalwaysguaranteebadchaos.

Atworstbadchaoscanresultinstudentmutinyorsomeonegettinghurtbecause

youhavelostcontroloftheclassroom.Atbest,badchaoswastesthevaluabletime

setasideforyourlesson.

By the end of the school

year, participating

teachers reported using

performing arts in their

class room 4% more

frequently, while non-

participating teachers

reported using performing

arts in their classroom 2%

less frequently.


Lesson disasters

Donotbeafraidtostopanexercise.Thismayseembasic,butmanyartistsfeel

thatlettinggoofanexercisetheyhaveplannedisasignthattheyhavefailedas

teachersorthatthestudentshavefailed.Sometimescertainexercisesdon’twork

foraparticulargroupofstudentsfornologicalreasonandthereisnowayto

knowthatexcepttotryitandwatchalessondisasterunfold.Alessondisastercan

includeanyofthefollowing:thestudentshavedisengaged;thestudentsarefalling

asleepormisbehaving;thecreativeprocessisnotoccurring;studentresponsesare

dull;theexerciseistooconfusing;theteacherisgivinganegativeresponse;the

studentsdonotunderstandandyouarerepeatingyourself.Aslongasnoonegets

hurt,lessondisastersarenotserious.Theyhappentoeveryteachersometimes

andarenotdamagingtothestudents,teacheroroverallcurriculum.Theycan

beawasteoftime.Donotletyourclassremainwithalessondisasterforthe

entireperiod.Ifyouareunabletosolvetheproblemforthespecificlesson,try

somethingelseormoveon.Ofcourse,itisimportanttohaveaLessonPlanB.

OrevenCorD,incaseforwhateverreasonyouroriginalplanfails.

Staying with an exercise

Ontheotherhand,donotgiveuponanexercisejustbecauseitisgetting

difficult.Teacherswillsometimescutanexerciseoffatthekneesjustwhenthings

aregettingalittleinteresting.Waituntilyouaresuretheexerciseisnotworking

beforeyoustopit.

Arethestudentsstuckonstage?Istheimprovisationgoingaroundincircles?

Throwawrenchintheexercise;makesmalladjustments.Allowtheexercise

tobeuncomfortableforafewmoments.Asmallamountofdiscomfortcanbe

productivetothecreativeprocess.Allowingtimeforthestudenttoworkthrough

theiruncertaintyandarriveattheirownsolutionswillinstillasenseofpride

andaccomplishment.Ifwewereonlymakingcomfortableart,wewouldnotbe

makinginterestingart.

Creating a Positive Learning Environment For the \Teacher Making time for the arts

Becausethecurriculuminpublicschoolsisconstrainedbyrequiredlanguagearts

andmathstandards,verylittletimeisavailableforthearts.Unlesstheteacher

isexceptionallycomfortableteachingthearts,havinganoutsideresidencyis

sometimestheonlyexposurestudentsgettoarts.Infocusgroups,manyteachers

indicatedthattheycontinuedtheactivitiesoutsideoftheresidencyperiodorused

theirownclassroomtimetoreinforcetheimportanceofcreativityandthearts.

Someindicatedthattheywereinvolvedinotherartistresidencyprograms.For

thisreason,itisusefulforteacherstohavea“shoppinglist”ofartsexercisesto

continueoutsidetheresidencyprogram.

“…In one class in

particular, which started

out as my most chaotic

class, it’s pretty chaotic still

but they’re actually the best

class. And it’s been learning

to accept chaos as…helpful

in the creative process. But

at the end of each class,

when we get in the circle

on the rug and we read

what they’ve written, they

are listening to each other

and they laugh in the right

places. And they’re engaged

by each other’s poems.”

Artist

Teachers observed that

students participating

in AIS were respectful of

others’ ideas 25% more

at the end of the school

year while their non-

participating peers

did so 7% less.


Standardized lesson plans

Inthecommotionofaclassroom,teachersneedtobeawareofteachablemoments

—notjustofthequalitiesthatwillproduceapleasingproduct.Alessonplancan

helptheteachingartiststayalerttotheseopportunities.Lessonplansarenota

roadmaptobeslavishlyfollowed;theyprovideaguidetopacingandareminder

formajoreducationalthemesthatareembeddedinthelesson(Siegesmund,

2004).

Standardizedlessonplansgiveastructureinwhichtoframetheexciting

unpredictabilityofaclassroom.Ifanartistcomesintotheclassroomwithno

ideaofwhatisabouttotakeplace,withnopreparation,itisquitelikeadirector

showingupforrehearsalwithoutknowingwhatplaysheisabouttoputon.The

actorsbecomefrustratedbecausetheydonotknowwhattheirrolesare.Oritis

likeadancershowinguptoopeningnightwithouthavinglearnedhismoves.The

resultwillbesomethingextremelychaoticandunpleasantforeveryone.Assuch,

simplyshowinguptoclasswillnotproduceagoodlesson.

Thisdoesnotmeantheartistshouldmemorizealessonanddeliverittothe

class.Instead,heorshemustknowthematerialextremelywell;wellenough

tostrayfromit,wellenoughtoimprovise,wellenoughtoadjust,revise,invert,

redirectandcomehometothethemeswithoutlosingcontroloftheclassroom

andwithoutlosingsightofthelearningobjectivesinthelessonplan.Oneofthe

greatadvantagesofartistscomingintotheclassroomisthepotentialsimilarity

betweentheartist’screativeprocessandtheprocessofteaching.Theteaching

artistmustnothaveacalcifiedstance.Insteadtheartistmustbeopentowhatmay

occur,tothestudents’ideasandtotheresponsestheyareputtingforthinthe

samewaythataplaywrightmustliveinthemomentoftheplay,agooddancer

mustbepreparedforapartner’smistakesorapoetdoesn’tknowatthebeginning

ofapoemwhatthelastlinewillbe.

Havinganobjectiveatthebeginningofalessoniskeytorunninganeffective

anddynamicclassroom.Thequestionneedstobeasked:whatdoIwantmy

studentstolearnfromthis?

Whataretheyactuallygoing

todo?Howisthisactivity

goingtoleadthemtothe

objective?Whatphysical

thingswillIneedinthe

classroominorderforthe

activitytorunsmoothly?

Improving Critical Thinking in Youth

For the Artist

Teaching artists use

several sources to create

their lesson plans. Most

frequently they use

Performing Arts Workshop

training, training from

another arts or education

program, Performing Arts

Workshop publications,

other arts or education

publications.


The big idea

Whyareyouteachingthislesson?Whatdoyouwantthestudentstoknow?

Whyshouldanyonecareaboutthistopic?

Objectives

Whatexplicitbehaviorsshouldyoubeabletoobserveinyourlesson?Know,

LearnandUnderstandareNOTeducationalobjectivesbecausetheyarepassive

responsestothematerial(Bloom,1956).Thechildwillselect,thechildwill

demonstrate,thechildwillsynthesize,areexamplesofeducationalobjectives.

Theseareactiveresponsestothematerial.Ifachildcanselect,demonstrate,and

articulate,youwillhaveproofofhisorherknowing,learningandunderstanding.

Dependingonthedeportmentoftheclass,theobjectiveofalessoncanshift

withinaclassperiod;buteverylessonstillneedstohaveanobjective.

Connections to standards

Howdoesthislessonrelatetoyourrequiredstateandnationalstandards?Ifyou

areteachingabovestandard,thenthisshouldbemadeclear.

Procedures

Whatistheplannedsequenceofevents?Howwilltheclassbepaced?What

materialsareneededtocompletethelesson?Whatrolewilltheclassroomteacher

and/orteacher’saideplay?

Assessment

Howislearningassessed?

Everylearningobjective

shouldbeassessed.You

shouldhavearubricfor

completingthisassessment

(Siegesmund,2004).A

samplerubricisincludedin

theappendixtothisguide.

A standard lesson plan needs to include the following features:

It is important to

build evaluation into

practice – whether

it is testing a single

lesson plan or an entire

curriculum.

Key components of a lesson plan:

• The big idea

• Objectives

• Connections to standards

• Procedures

• Assessments


ExpandingupontheworkofeducationexpertElliotEisner(1994,2002),

pedagogicalresearchhasidentifiedfivecomponentsofTheWorkshop’s

curriculum(Siegesmund1998a,1998b,2001).Thesefivecomponentsare

outlinedbelow.Whenappliedcorrectly,thismethodologyengagesthestudents

incriticalthinking.Wetrainourteachingartiststothinkofthesecomponentsas

theystructuretheirlessons.

Perception

First,theclassexperiencesanexampleoftheartthroughthesenses.Theyobserve,

theylisten,theyread,theynotice,theyfeel,theyallowthepieceofarttoexist

beforethemwithoutjudgingorevaluatingit.Theskillofquietobservationis

extremelyimportantintheartisticprocess.Itisparticularlyimportantiftheform

isnewtothestudents.Insteadofjumpingintoadiscussionwithpreconceived

notionsaboutagenreorstyleofaparticularworkofart(commonexclamations

are:IHATEopera,thispoemistoolong,Idon’tunderstandmodernart,dancing

is“gay”,apoemaboutelephants,ILOVEelephants),boththeinstructorandthe

studentsneedtoexperiencethepieceasareceptiveaudience.Allowthemusicto

breakthesilence.Allowthetensionofsilencetooccurbeforethelightscomeup

onstage.Allowsoundsofthewordsandimagesinapoemtohangintheairwhen

theyarespoken,orintheimaginationiftheyareread.Thefirstgoalofanyartistis

toturnsomeone’sheadandtopersuadehimorhertobequietforamoment

(orafewhours).Itistosay“Whetheryoulikeitornot,Ihavesomething

thatIneedtotellyouandyoumustlistenoritmightpassyouby.”

Invitethestudentsintothatconversationbyallowingtheworkfirstto

existbeforethem.Onlyiftheartworkispresentedtothemwithout

stagnantpreconceptionscanitbeopentonewcriticisms,new

interpretations,newfeelings.

Conception

TheconceptioncomponentofthePerformingArtsWorkshop

methodologyisthetranslationofthesensualperceptionoftheartinto

amentalconcept.Itisthelabelingprocess,givingmeaningtowhatwe

see,hear,orfeel.Onthemicro-levelthetransitionfromperceptionto

conceptioninthestudent’smindcanoccurveryquickly.WehearaBach

inventionandwerecognizeitasclassicalmusic,oratleastas“old”music.

Thenaninstructorcanask,“Whatisthere?”“Whatdoyouhearorsee?”

Alwaysemphasizetheparticular.Askthestudentstolookforspecificdetails.

“Whatdoyounoticeaboutthesoundsinthispoem?Whatdoesitlooklikeon

thepage?Whoarethecharactersinthisplay?Wherearetheystanding?What

doweseeinthefirstmoment?Whatishishanddoing?Whatlevelsdoesthe

danceruse?Whatdotheywant?”areallgoodcoaxingquestionsthatdemand

thestudentstopayattentiontodetails:toopentheireyes.Theskillofsensual

perceptionandmentalconceptionisessentialindevelopingcriticalthinkingskills

andartisticskills.Wecan’tcontributetoaworldwedonotsee.

Expression

Whenwesaythephrase“self-expression”advocatesandpatronsoftheartsand

artseducationoftenbecomewarm.“Youngpeopleexpressingthemselves,how

wonderful.”Whilethismaybetruefromtheaudience’sperspective,anyone

The Performing Arts Workshop Methodology


Teachers in participating

classrooms saw

that students were

comfortable expressing

new ideas 46% more

frequently by the end of

the school year while their

non-participating peers

did so 10% less frequently.

who’severmadeanythingknowshowterrifyingandstressfulandsometimes

lonelytheartisticprocesscanbe.Thereisatremendousamountofemotionalrisk

inmakingart.Theartisttakessomethingfrominsidehimorherself,afeeling,a

sense,anidea,usuallysomethingprivate,abstract,andunformed,sometimesugly,

andplacesitconcretelyintothepublicrealmintheformoflanguage,story,brush

strokes,movement,orsound.Iftheworldacceptsit,embracesit,givesitpraise,

terrific:theartistisastar.Iftheworldhatesit,ridiculesit,isconfusedorboredor

offendedbyit,thentheartistrisksbeingafailure.Inotherwords,thestakesfor

peopleassertingthemselvesasartists,andbythatwemeananyonecreatinginthe

arts,arehigh.

ThestakesforthosewholearnabouttheartisticprocessONLYbyreading

aboutitorlisteningtoitareextremelylow:theyneverhavetoenterthemselves

ortheiridentityintotheconversation.Advocatesandpractitionersofthat

learningmethodviewtheimaginationassomethingdivorcedfromtheselfand

“thearts”onlyassomethingunattainable,onlytobereveredbytherestofsociety.

Theexpressioncomponentofourmethodologyreinforcesthevalueof

individualityandvoiceineducation.Weencourageoriginalcompositionbecause

webelievethisisthebeststructureinwhichastudentcanaccesshisorherown

personalvoiceandengageinadialoguewiththeworldthroughthearts.

Reflection

Whenthestudentshavecreatedsomething,itisnotenoughsimplytoapplaudorto

hangwhatthey’vepaintedontherefrigerator.Itisimportantforthestudentstolook

atwhattheythemselvesandtheirpeershavemadeandtoanalyzeit.Thisdoesnot

necessarilymeantheyneedtogiveformalcritiques,buttheydoneedtorecognize

andarticulatequalitiesofeachothers’work.Asyouwouldwhenthestudentsare

discussinganyworkofart,askthemtoarticulatewhattheynoticeaboutdetails.

Askthemtobeasspecificaspossibleindescribingwhatisbeforethem.

Itisimportanttosetguidelinesforappropriatepeer-feedback.Studentsneed

tofeelthattheyarebeingsupportedandaresupportingeachother,andthatthe

goalintheclassroomisforeveryonetoimprove,nottohurtfeelingsortousethe

opportunitytoinsulttheotherstudentsintheclass.

Thedefinitionoffeedbackis:“Thereturnofaportionoftheoutputofa

processorsystemtotheinput.”(AmericanHeritageDictionaryoftheEnglish

Language).Soingivingfeedbacktoaworkofart,wearetakingwhatcomesout

andreflectingitbackintotheartisticprocess.Thequalityoffeedbackshouldbe

evaluatedbasedonhowusefulitistotheartist,notonhowarticulatelythecritic

canpanthework.

With“at-risk”students,thereflectionsectionisparticularlytrickyand

particularlynecessary.Studentswhoareinhibitedbylowself-esteemandunstable

emotionallivesmightfinditdifficulttohearanythingreflectedabouttheirwork.

Whetherthefeedbackispositiveornegativewhattheyaresimultaneouslycraving

andfearingistheseriousattentionyougivetoanythingtheyproduce.

Allowingwhattheycreatetofloatawaywithoutsharedreflectionisexactly

whattheyareusedtoinlife.Manyoftheirproblemsarerootedinasocietythat

foravarietyofcomplicatedreasonshasallowedtheirlivestogounexamined.In

theprocess,thechildrenhavelearnedtolivetheirliveswithoutreflectionwhich

leadstomakingpoorchoices.Whatisthepointofmakingagoodchoiceifnoone

(includingmyself)islookingatmylife?

Engageinthereflectionprocessbyaskingstudentsquestionsabouttheirwork,

bythrowingvariablesintothescene,byaskingthemwhytheychoseaparticular



classrooms saw that

students were eager to

try new things 30% more

frequently at the end of

the school year while their

peers did not significantly

change in that area.


classrooms saw that

students volunteered to

answer questions during

class 21% more frequently

at the end of the school

year while their peers not

receiving the program did

so 7% less frequently.

1. Students’ experience begins with perception of a problem.

2. Students respond to the problem with their own feelings forming a mental conception.

3. Using the tools of art, the students give form to conception through expression.

4. Through reflection, students use language to analyze the critical thinking they have engaged in. Students make judgments and consider the reasons behind their actions.

5. The outcome of instruction is re-vision of the original problem and the development skills for reentering artistic inquiry.

colorinapainting.Theywillbegintopaycloserattentiontothechoicesthey

make.Thiswillimprovetheiranalyticalskillsandaswellassharpentheirskillsin

theparticularartform.

Anotherwaytousetheconceptofreflectionistohavestudentskeepajournal

andwriteaboutwhattheydoinclasseveryday.Thishelpsthemtothinkquietly

abouttheirwork.Theymaysharethesereflectionswitheachotherornot.

Revision

Theonlywaytomakeuseofwhateverisgainedfromthereflectionpieceisfor

studentstoreworkwhatthey’vedone.It’simportantforstudentstotrywhat

they’vedoneinadifferentwaytoreinforcethevarietyofchoicestheyhaveinart.

“Revision”meanssimply“toseeagain.”Sowhentheyhavereflecteduponthe

originalwork,theymayreconstructitinanewway.Revisionisanintegralpart

totheartisticprocess.Itisthebulkoftheworkofanyartist.Anactorperforms

inaplayforacoupleofhours,butspendsweeksandweeksstudying,reworking,

takingfeedback,sayinghislinesoverandovertryingtoimproveeachtime.Same

goesforawriter.Shewritesthestorywhenshe’sonanartistichigh,butthe

workisrestructuring,rephrasing,findingtheexactending.It’sveryimportant

forstudentstorealizethevalueofpractice,notjustpracticebyrepetition,but

practicebyvaryingthewaytheycreatetheirwork.

Breakdown

BelowisavisualbreakdownofthePerformingArtsWorkshopMethodology.

Itisimportanttounderstandtheoverlapinallfivecomponents,andthatit

wouldbeimpossibletostructureaneffectiveclassinwhichapiecedoesnot

existoreachpieceoccursseparately.Ateacherdoesn’tspendtwentyminuteson

perception;twentyminutesonreflectionetc…Rather,heorsheiscontinually

movingbackandforthandthroughtheseapproaches.


2. Conception

4. Reflection

3. Expression

1. Perception

5. Re-Vision

(Siegesmund, 2000)

Structured Improvisational Teaching Improvisation in the classroom

Itisimportanttocometoclasswithadetailedlessonplaninmindandonpaper,

outliningactivitieswithcorrespondingobjectivesandrelationstothestandards.

Itisalsoimportantforteachersandartistsnotonlytopreparefortheunexpected,

buttowelcomeitaspartofthedynamiclearningprocess.Beingabletoimprovise

isessentialtobeingagoodteacher.

Using student responses

Alwaysmoveforwardfromtheresponseyouget,notfromtheoneyouhave

preparedfororhaveheardbefore.Agoodteacheroftheartsknowshowto

listentowhatisgivenbacktothemanddoesnotapproachlessonsbysearching

aroundtheroomlookingforthe“right”answerjustbecausethatansweriswhat

willhelpdemonstratethepointshewantstogetacross.Encouragestudentsto

describeasbestaspossiblewhattheyseeinfrontofthemandpointoutwhatyou

alsosee.Thisisn’tjustamatterofblindlyvalidatingwhateverthestudentthrows

atyoujustbecauseyoudon’twantthestudenttofeelbad.Itisamatterofsharing

viewpointsandhelpingthestudentstofindthelanguagetodescribewhatthey

observeorfeel.

Repetition and revision

Youhaveto“own”thematerialinordertoteachit.Thatis,knowandloveyour

curriculumandartformwellenoughtobeabletogobackwardsandforwards.

Pickuponapointthatwasmadelasttime.Takenotesattheendofeachperiod

highlightingspecificmemorablemomentsofthelastclass.Gobacktothose

moments.“RememberwhenMichaelheldthatveryterrifyingshape,theone

wherehislegwasupintheairandhishandwasshapedlikeaclawandhedidn’t

losefocusforanentireminute?Michael,willyoucomeupanddothatshape

again?”Don’tbeafraidtoredoexercises.Agoodexercisewilldeepenandchange

everytimeyoupracticeit.Infact,thatisoftenthetestofwhetheranexerciseis

worthdoingatall.

For the Teacher What are the standards?

Locally,thePerformingArtsWorkshopusesTheVisualandPerformingArts

StandardsforCaliforniaPublicSchools.Thisdocumentincorporatesthecontent

standardsfordance,music,theaterandthevisualartsanddefinesthefivestrands

ofanartsprogramasfollows:artisticperception;creativeexpression;historical

andculturalcontext;aestheticvaluing;andconnections,relationships,and

applications.Otherstatesusetheirownstandards.

Why the standards?

Theguidetothenationalstandardsforartseducationstates:“Themost

importantcontributionthatstandards-settingmakesliesintheprocessitself.In

100% of participating teachers

agreed that artists were

sensitive to the needs of their

students and to the needs of

“at-risk” students.


“I have two girls in

particular that are not

academically very high,

they are not low enough to

get any extra support but

they are kind of low-middle

and both of these girls have

made a lot of progress in

all academic areas. And I

am seeing that they are two

of the ones that are getting

the kung-fu steps. They are

able to follow; in fact they

are often chosen to do the

demonstrations. I think that

building self-esteem [is]

a huge part of what

I’ve seen in these two

girls in particular.”

Teacher

settingthemforth,weare

inevitablyforcedtothink

throughwhatwebelieve–

andwhy.Theprocess

refreshesandrenews

ourinterestinand

commitmenttoeducation

ingeneral,andtowhat

webelieveisimportant

inallsubjects…Thearts

standardsaredeliberately

broadstatements,the

bettertoencouragelocalcurricular

objectivesandflexibilityinclassroominstruction,thatis,

todrawonlocalresourcesandtomeetlocalneeds.TheseStandardsalsopresent

areasofcontent,expectationsforstudentexperience,andlevelsofstudent

achievement,butwithoutendorsinganyparticularphilosophyofeducation,

specificteachingmethods,oraestheticpointsofview.Thelatterarematters

forstates,localities,andclassroomteachers.”(ConsortiumofNationalArts

EducationAssociations,1994).

Anyartsclassthathasbeengivenaslightamountofthoughtisgoingto

coveratleastoneortwoofthestandards.Thestandardsexistasaguidesothat

theteacher/artistcanapproachasubjectinavarietyofways.Theycanhelp

teachersdesigncurriculathattacklesubjectsfromdiverseanglesandcreatean

environmentinwhichstudentscanusemultipleintelligences.Also,thestandards

helpremindteachersthatinordertoreallylearnfromthearts,studentsneedto

domorethanjustbeverygoodatsomething.Achildmaybeaprodigyatplaying

thepiano,mayhavethedexteritytozipupanddownthekeyboard,andthat

studentshouldbeencouraged.Butitisadisservicetothechildifthecurriculum

focusesonlyonplaying,notonlisteningtoothers,notoncomposing,noton

developingavocabularyofmusictheoryandhistory.

Whenusedeffectively,thestandardssuggestthatdiverseandcreative

approacheswillenrichthecurriculum.

Responsive learning

Aresponsivelearningexperiencecannotbebasedonadeficitmodelofeducation

wherethechildisseenaslackingaprescribedcontentknowledgeandtheroleof

theteacheristoseethatthiscontentismemorized.Teachersmustbeattentive

tohomeandculturalpracticesofthechildandintegratethisintocurriculum.

Teachersmustalsocreatemultipleanddiversesettingsintheclassroomfor

developingproficiencyinspeakingandunderstandingEnglish.Curriculummust

bedevelopedwithregularconsistentinputfromstudents.Finally,teachingunits

needtobethematicallybasedandintegratediverseformsofcommunication

throughwhichstudentscandemonstratetheirlearning(Garcia,2001).

Responsivelearningexperiencesareimportantfor“at-risk”students,asthis

populationisfailingthroughtraditionalpedagogicalandcurricularmethods.

Ifthesestudentsaretobereconnectedtoeducation,teachersmustworkwith

theminalternativeways.


“You’ve just got to

find that gap between

what they’re interested

in and what you’re trying

to do and then just find

that connection.”

Artist

“…The kids who are timid, were timid anyway but

seeing the kids who maybe…aren’t timid and shy…

do it first, gives them that freedom or makes them

feel comfortable to step out a little more.”

Teacher

“Why” is a good question

Intheperformingarts,theabilitytoaskthequestion“Whatisthepointofthis?”

isasignofanintelligentstudent,onewhothinkscriticallyandwhoquestions

whatisplacedbeforehimorher.Theabilitytoanswerit(notjustbygiving

ananswer,butbyshowingitinthelesson)isasignofanintelligentteacher.

Whileplanningalesson,ateachershouldbeabletoanswerthequestion“why

amIteachingthis?”andtheanswerneedstobeagoodone.Indrama,wespeak

ofcharactersneedingmotivationsinorderfortheactioninthescenetohave

urgency.Themotivationsarewhatmakethecharactershave“highstakes”or

somethingtolose.Teachersmustalsohavegoodmotivationsfortheirclasses

tohave“highstakes”andfortheirclassestohaveurgency.Studentswillnot

understandthevalueofwhattheyarelearningunlesstheteacherteacheswitha

sensethatthestudentshavesomethingtoloseiftheydonotlearnit.

Itiscrucialthattheclassroomteacherfeelthat

everylessonisvitallycritical.Onlythatfeeling

caninfusealreadypre-arrangedlessonswith

life.Becausetheartsfeelmoreopen,

theclassroomteacherandartistin

residencecanoperatewiththisintense

commitment.


“You have to convince

them that you’re going

to be surprising and

interesting to them.”

Artist

Teaching “at-risk” Youth How “at-risk” students are different from other students

“At-risk”isabroadtermlooselydesignatingstudentswhoaresocially

predisposedtofailing,droppingoutorskiddingthroughtheschoolsystem

withoutlearninganyskillsbecauseoflowfamilyincome,unstablefamilylives,

unaddressedlearningdisabilities,emotionalproblemsand/orpooreducational

facilities.Theimplicationoftheword“risk”isthattherolethatschoolplayscan

seriouslyaffectthechoicesthesestudentswillmakeinlifeand

theirgeneralhealthandwellbeing.Ifthestudents

failinschool(oriftheschoolsfailthem)theyare

“at-risk”ofendinguponthestreets,involvedin

drugs,orinjuvenilehall.Thestakesfortheseyoung

peopleareextremelyhigh—theyaren’tjustrisking

beinggroundedbytheirparents;theirlivesareon

theline.Thiscreatesanaddedresponsibilityon

teacherstosetthesestudentsupforsuccess.

Unfortunately,thesestudents,whosemindsare

oftenextremelyadvancedinwaysuntestedand

ignoredbytheeducationsystem,aretheleastlikelyto

succeedintraditionalmodesoflearning.Intraditional

educationalsettings,“at-risk”kidsareoftenbored,

discouragedandfrustrated.Theyseenovaluein

pursuingalessonthatappearstohavenodirectimpact

ontheirlives.Manyofthemcouldeasilydothework,buttheyseenointrinsic

valueindoingit.Whyputtheeffortintosomethingthatseemsmeaningless?

Whywastetimeandenergy?

Otherstudentsarediscouragedorfrustratedbecausethey’renotconvinced

thattheyareabletosucceed.Theymayhavereallearningdisabilitiesthat

preventthemfromlearninginconventionalways.Conversely,theymayhave

tremendoustalentsthatpreventthemfromabsorbinginformationintraditional

ways.Ineithercase,theyhavefailedatschoolinthepastandhavebeenlabeled

bythesystem(andintheprocessmayhavelabeledthemselves)asincapable.

Thesestudentsneedtheantidotetodiscouragement:encouragement.This

doesnotmeantheyneedtobepraisedforbadwork;theyneedtobegiventhe

opportunitytodemonstratewhattheyaregoodat.Thetaskfortheteacheristo

findoutwhattheyaregoodatandtoteachthelessoninawaythatcallsupon

theirstrengths.

Educationisaprocessofre-creatingourselves(Eisner,2002).Educationis

notaboutstudentspleasingteachersandscoringgoodgradestoreapsocietal

praise.Educationisaprocessforself-improvement.Inthissense,some“at-risk”

studentshavethemostprofoundunderstandingofwhateducationoughtto

be.Theyare“at-risk”becausetheyhaveexperiencedtheshortcomingsofthe

educationsystem.Educationisnotaddressingtheirneedswithintheworldthey

inhabit.Because“at-risk”studentsdonotseetherelevancyofeducation,they

resistit.Theyrefusetoplaythegame.

Themostdauntingtaskfortheeducatoristryingtoestablishwhyeducation

shouldmattertothesestudents.Becausethesestudentsdonotaccepteasy

answers,theyforcetheteachertoreexaminehis/herowneducationalgoals.


Evaluations of the

Artist-in-Schools and

Artist-in-Communities

programs showed

that artist residencies

positively impact

the school academic

climate.

“…Everyone’s on equal

footing, whether you

have a reading disability

or a social disability or

whatever, you all have

equal opportunity out there.

I think that’s what’s positive

about the program.”

Teacher

Knowing the student population

Teachersandteachingartistsshouldalwaysknowaboutthepopulationtheyare

abouttoteach.Havinganunderstandingaboutstudents’culture,background

andvalues,especiallywhendifferentfromthemselves,willallowtheteachersand

teachingartiststocreatelessonplansthathaveastrongerimpactonthestudents,

especially“at-risk”students.Teachersandteachingartistsshould:

• designcurriculumwiththestudentsinmind;

• incorporatewhatthestudentsknow(culture,background,values)intothe

curriculum;

• makethestudentsfeelthatwhattheyknowisrepresentedinthecurriculum;

• beunafraidtobroachtopicsthatmightraiseconflictsinadiverseclass

Effective methods for teaching “at-risk” students

PerformingArtsWorkshophasdiscoveredanddevelopedanumberoftechniques

forteachingartiststhatareusefulinteaching“at-risk”students.Thesemethods

areapplicabletoartistsandteachersintheirworkwith“at-risk”youth.Theuse

ofavarietyofartsmediaandlearningtechniquesintheclassroomensuresthat

studentswithdifferentlearningstyleswillallhaveachancetolearnthemain

themesofthesubject.

Theincorporationofconceptsfromavarietyofcultures(andthisincludes

subcultures)notonlyaddsrelevancytocurriculum,butisthebedrockofany

wholeandworthwhilecurriculum.Butitisalsoimportantfortheteacherand

teachingartiststodrawtheconnectionbetweenthecurriculaandthestudents;

thismeanschoosinganchoringtextsandartworksthathavesubstance.Togo

intoaninner-cityschoolandattemptanearnestproductionofOklahoma withoutraisingquestionsaboutitwouldbeabsurdbecausewithoutreflectionthereis

mostlikelynothinginthatplaythatcoulddrawtheintellectualinterestofa

studentgrowinguppoorintheinnercity.

Thisdoesnotmeanthatweexcludepeopleandculturesfromthesyllabusthat

arenotimmediatelyrelevanttoourstudents.Itdoesmeanthatwechoosetexts

thataredeepenough,thataskbroadenoughquestionstohavethepotentialto

connecttothestudents’lives.MostofShakespeare’sworkshavethispotential,

asdotheplaysofmanycontemporaryplaywrights.Butitisuptotheteacherto

presenttheseworksinawaythatcanexcitestudentsandengagetheirminds.This

meansunderstandingthepopulationandunderstandingtheartformwellenough

toaskquestionsandpresentexamplesthatdrawconnectionsfromthestudents’

livestothetextsandvice-versa.

Withallofthissaid,donotshyawayfromexposingstudentstoformsand

stylesofartoutsideofwhatisfamiliartothem.Usetheopportunityoftheart

classtochallengewhattheyalreadyknowandtointroducethemtonewways

oflookingattheworld.

Keepinmindthereadinglevelofthestudentsyouareteaching.Whileitis

importanttoalwayschallengethem,choosingtextsthataretoofarabovereading

levelwillfrustratethemandtakethefocusawayfromtheartisticobjectives.

Whileincreasingliteracyisimportantandtheperformingartscanbeveryhelpful

indevelopingliteracyskills,itisequallyimportanttokeepthefocusoftheclass

onthelargerintellectualandartisticconcepts.Many“at-risk”studentswould

prefertoseeadramaticsceneunfoldphysicallybeforethemthansitinanEnglish


classdecodingthewordsofaplay.“Pickingthesceneup,”movingitontothe

classroomstagewithimprovisation,willmaketheworkcometolifeandwill

helpstudentstovisualizethedramaticconceptsinsidethetext.Itwillalsochange

thepaceoftheclassandkeepthestudents(literally)ontheirtoes,animportant

toolinmanagingthe“at-risk”studentwhocaneasilybeemotionallyand

intellectuallydisengaged.

With“at-risk”students,improvisationandoriginalcompositionensurethat

studentswillusethestructureoftheartformtoraisequestionsabouttheirown

issuesandconcerns,andthereforewillbeinvestedinthequalityofthework.

Classroom management

Itisimportanttohaveclearandconsistentstandardsofbehavior,rewardsfor

goodbehaviorandconsequencesforpoorbehavior.Thesesystemsworkbest

iftheyareconcreteandquantifiable.Whenstudentsfeelthattheyaretreated

unfairlycomparedtotheirpeers,theirconfidenceintheeducationsystemis

undermined.

Inaresidencysettingitisimportantforteachersandartiststobe

inagreementandnotundermineeachotherintheclassroom.

Itisdifficulttocontrolbadchaosandmaintainstandards

ofbehaviorwhenteachersandartistsareondifferent

wavelengths.Teachersandartistsshouldmodelstandards

ofbehavioraswellasexpectthemfromstudents.

Turning Young People On Wehopeyouhavefoundthisguidetobeusefulandinspiring

forstartingand/orexpandinguponanartistresidencyprogram

orforyourownteachingintheclassroom.AtPerformingArts

Workshop,webelieveastrongartseducationcontributesto

developingyoungpeopleintocreativethinkers,activelearners,

andthoughtfulcitizens.Wealsobelieveaproperlyexecuted

residencymodelbreatheslifeintothestandardcurriculum,

allowsforabroaderexchangeofideas,andcangiveyoutha

chancetolearninafresh,newway.Wethankyoufortaking

onthischallengeandforinvestingenergyandtimeinthe

creativelivesofyoungpeople.Wehopethisguidewillhelpyou

continueourtraditionofturningyoungpeopleontocritical

thinkingthroughthearts.

“They need really specific

ground rules about what

is acceptable, what is

not acceptable, and to

know the consequences

of misbehaving or not

cooperating.”

Teacher


Worksheet 1: Residency Observation Protocol 1 Artist name: 2 Teacher name:

3 Type of residency: 4 School:

5 Observation date: 6 Observer:

Thisobservationformisdividedintotwosections.InSection1,yourecordyourobservationsofthepeopleintheclassroom.

InSection2,yourecordyourobservationsoftheresidencyperiodenvironmentasawhole.Giveasdetailedresponsesaspossible.

Feelfreetoskipbackandforthbetweendifferentsectionsduringyourobservation.Youcanalsocompleteyourformafterthe

observation.Itisbesttocompletetheformwithin24hourssothatwhatyouobservedisfreshinyourmind.

Section 1: People in the classroom during the residency

7. Howdidtheteachercontributetoorparticipateinthelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

8. Howdidstudentsparticipateinthelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

9.Howwasenthusiasmexpressedbystudents?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

10.Howdidtheartistbringmultipleperspectivestothelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

11. Howweredifferentchoices/optionspresentedtostudentsandhowdidstudentsmakechoices?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

12. Howdidstudentsusetheartstoexpressideas?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

13. Howweretheartsusedtosolveproblems?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

14. Howdidtheartistpresenttheworkofotherartistsfromothercultures?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

15. Howwereotherdisciplinesorperspectivesintegratedintothelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________


Made these worhsheet page backgrounds

“pale blue” so that when photocopies, the

background will disappear.

16. Howdidtheartistdescribeartisticstructureandqualities?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

17. Howdidstudentsbuildontheworkofeachotherandtheartist?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

18. Howdidindividualstudentscontributetothegroup?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

Section 2: The environment during the residency

19. Howdidtheartistdescribethelessonobjectives?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

21. Howdidtheartistpreparestudentsfortransitionsinthelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

22. Howdidthetempo,actionandflowofthelessonvary?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

23. Howwastheclassspacemanipulatedandused?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

24. Whatritualswereusedinthelesson?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

25. Howdidtheteacherandartistenforceclearbehaviorstandardsandtransformchallengingbehaviors?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

26. Describethecommunicationandrolesofteacher,artistandstudents.

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

27. Howdidtheartist,teacherandstudentsrecognizeandmanipulatecreativemoments?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

28. Howwasstudentreflectionandanalysisofcompositionencouraged?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

29. Howdidtheartistandstudentsmakeconnectionsbetweencomposition,feelingandinterpretations?

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________


Worksheet 2: Teaching Skills Assessment

Date/Time: Residency Art Form:

Class Dynamics

1.1Variesvolumeandenergyofvoice

1.2Modifiesspace&paceofclassactivities

1.3Transformschallengingbehaviorintopositiveaction

Lesson Plan Structure

2.1Clarityoflessonplanobjective

2.2Logicalprogressionofexercisesandactivities

2.3Flexibilityofplanand“culminatingactivity”

Class Management Skills

3.1Clarityandconsistencyofbehavioralrules

3.2Clarityofrolesandinteractionwithclassroomteacher

3.3Controlofclassdynamics

Aesthetic Valuing

4.1Distinctionsdrawnbetweenstereotypic&inventive

4.2Identifiesandexploits“creativemoments”

4.3Definesandidentifiesaestheticsofcomposition

Composition / Analytic Skills

5.1Definesanddemonstrateselementsofcomposition

5.2Usesdialogueto“reflect”oncompositionalwork

5.3Revisesstudentcompositionalwork

Interdisciplinary Links / Social Content

6.1Integratesotherartdisciplines

6.2Relatesartform(s)tosocialissues

6.3Providesculturalandhistoricalcontext


Far aboveexpectations Above Meets

ExpectationsBelow Far below

expectationsN/Å



expectationsN/Å



expectationsN/Å



expectationsN/Å



expectationsN/Å



expectationsN/Å

Notes and Comments

Class Dynamics

Lesson Plan Structure

Class Management Skills

Aesthetic Valuing

Composition / Analytic Skills

Interdisciplinary Links / Social Content


Worksheet 3: Rubric for Assessment of Student Learning in the Arts Student Period of Assessment

Date & Time Art Form

Resistance

1.1Refusestoparticipate

1.2Obsesseswithsingleidea

1.3Reactsaggressively

Perception

2.1Identifiestheproblemtobesolved

2.2Usesperceptualdetailstosolveproblems

2.3Considers/selectsbetweenmultipleobservations

Conception

3.1Associatesspecificperceptualdetailwithfeeling

3.2Brainstormsmultipleassociationsofdetail&feeling

3.3Brainstormsnon-stereotypicalchoices

Expression

4.1Articulatesconceptionsthroughmedium

4.2Capableoffindingaresolution

4.3Examinestheworkofotherartistsandcultures

Reflection

5.1Identifiesstructureandqualitiesofanexpression

5.2Useslanguagetoreflectsystematicallyonprocess

5.3Enjoysusinglanguagetoanalyze&expressideas

Re-vision

6.1Usesreflectionfornewinsight

6.2Usesinsighttoreviseorextendtheworkofothers

6.3Worksconstructivelywithagroup

1 2 3 4 5not in

evidence rarely sometimes frequent consistent


Rubric Explanations:

Resistance

1.1Refusestoparticipate:Doesthestudentresistjoiningaproject?

1.2Obsesseswithsingleidea:Doesthestudentconflatepossibilitiestoonlyonepossibleexpression?

1.3Reactsaggressively:Isthestudent’sprimaryresponsetoaproblemaggressiveandviolent?

Perception

2.1Identifiestheproblemtobesolved:Perceptionbeginswithrecognitionofsomekindofdisturbancewithin

routineexperience.Theproblemmightbeself-generatedoritmaybegiven.Evenifagiven,thestudentneedsto

comprehendtheproblem.

2.2Usesperceptualdetailstosolveproblems:Doesthestudentsapproachtheproblembyidentifyingspecificsensory

elements?

2.3 Considers/selectsbetweenmultipleobservations:Doesthestudentrecognizethattherearemultipleperspectivesfrom

whichtoviewtheproblem(bothliterallyandconceptually)?

Conception

3.1 Associatesspecificperceptualdetailwithfeeling:Doesthestudentrecognizethequalitiesofaparticularsensory

elementandtheirownemotionalreaction?

3.2 Brainstormsmultipleassociationsofdetail&feeling:Canthestudentchangeandcombinesensoryelementsto

generatedifferentemotionalreactions?

3.3 Brainstormsnon-stereotypicalchoices:Canthestudentmovebeyondpopularstereotypicselectionsandexplore

inventiveassociations?

Expression

4.1 Articulatesconceptionsthroughmedium:Doesthestudentapplytheelementsandprinciplesoftheartdisciplineto

giveformtoconceptions?

4.2 Capableoffindingaresolution:Canconceptionsbeexpressedsothattheycommunicateacoherentmeaning?

4.3 Examinestheworkofotherartistsandcultures:Canthestudentconsidermultiplesourcestoexpandpossible

meanings?

Reflection

5.1 Identifiesstructureandqualitiesofanexpression:Canthestudentuselanguagetoidentifythetechnicalandqualitative

dimensionsofthemediums/heisworkingwith?

5.2 Useslanguagetoreflectsystematicallyonprocess:Canthestudentanalyzetheelementsofnonlinguisticthinking:

perception,conception,andexpression?

5.3 Enjoysusinglanguagetoanalyze&expressideas:Doesthestudenttakeaestheticsatisfactioninreflectingoncreative

thinking?


Re-vision

6.1 Usesreflectionfornewinsight:Canthestudentuseanalysistoexpendmeaninginhisorherownwork?

6.2 Usesinsighttoreviseorextendtheworkofothers:Canthestudentanalyzeandbuildontheworkthatisnothisor

herown?

6.3 Worksconstructivelywithagroup:Canthestudentcommunicateanalysisinwaysthatothersbenefit?

Comments:

Evaluator Artist


ReferencesAmericanHeritageDictionary(4thed.)(2000).Boston:HoughtonMifflin.

Bloom,B.S.(1956).TaxonomyofEducationalObjectives;theClassificationofEducationalGoals.

Burnaford,G.E.,Aprill,A.,&Weiss,C.(2001).RenaissanceintheClassroom:ArtsIntegrationandMeaningfulLearning.Mahwah,N.J.L.ErlbaumAssociates.

CaliforniaDepartmentofEducation(2001).VisualandPerformingArtsContentStandardsforCaliforniaPublicSchools,pre-KindergartenThroughGradeTwelve.Sacramento,CA:Author.

ConsortiumofNationalArtsEducationAssociations(1994).NationalStandardsforArtsEducation.Reston,VA:MusicEducatorsNationalConference.

Dewey,J.(1989).ArtasExperience.InE.J.Boydston(Ed.),JohnDewey:TheLaterWorks,1925-1953(pp.1-400).Carbondale,IL:SouthernIllinoisUniversityPress.(Originalworkpublished1934).

Eisner,E.W.(1994).CognitionandCurriculumReconsidered.NewYork:TeachersCollegePress.

Eisner,E.W.(2002).TheArtsandtheCreationofMind.NewHaven:YaleUniversityPress.

Garcia,E.(2001).RethinkingSchoolReformintheContextofCulturalandLinguisticDiversity:CreatingaResponsiveLearningCommunity.Unpublishedmanuscript.RetrievedNovember15,2005fromwww.gse.berkeley.edu/research/rlc/RLC_concpt_paper_11_2001.PDF

Greene,M.(2001).VariationsonaBlueGuitar:TheLincolnCenterInstituteLecturesonAestheticEducation.NewYork:TeachersCollegePress.

NationalCenterforEducationalStatistics(2002,May15).ArtsEducationinPublicElementaryandSecondarySchools:1999-2000.RetrievedNovember4,2005fromhttp://nces.ed.gov/surveys/frss/publications/2002131/3.asp

Siegesmund,R.(1998a).EvaluationoftheFirstYearCollaborationBetweenthePerformingArtsWorkshopandtheMuirAlternativeTeacherEducationProgram.SanFrancisco:PerformingArtsWorkshop.

Siegesmund,R.(1998b).EvaluationoftheFirstYearMarinCountyInitiativeofthePerformingArtsWorkshop.SanFrancisco:PerformingArtsWorkshop.

Siegesmund,R.(2000).ReasonedPerception:ArtEducationattheEndofArt.UnpublishedDoctoralDissertation,StanfordUniversitySchoolofEducation,Stanford,CA.

Siegesmund,R.(2001,April).Schoolin’theStreetPhilosophers:TheArtsasCognitiveandBehavioralInterventionsinJuvenileProbation.PaperpresentedattheAmericanEducationalResearchAssociation,Seattle,WA.

Siegesmund,R.(2004).SomaticKnowledgeandQualitativeReasoning:FromTheorytoPractice.JournalofAestheticEducation38(4),80-96.

Unti,G.(1990).OnStageintheClassroom.(2nded.).SanFrancisco:PerformingArtsWorkshop.


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interior photos: Teresa Kennett & Ai Shimamura

Performing Arts Workshop1661 Tennessee Street, Unit 3-OSan Francisco, CA 94107 Phone 415-673-2634 Fax 415-776-3644Email [email protected] PerformingArtsWorkshop.org

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