Category: Uncategorized

Moving Forward with the Roundtable

Your Voice. Your Impact.

On the heels of a tremendously successful Town Hall and the closing of the Roundtable Survey on May 15, we want to say THANK YOU. Thank you for your candor, your willingness to dream big, and for your dedication to arts education in NYC.

Based on the feedback we received from these different channels, the Roundtable’s Strategic Planning Committee met in mid-May to analyze and discuss next steps that our organization can take to better meet the needs of our community. While our process is far from over, we wish to share with you some preliminary findings and action steps we plan to take moving forward.

Questions? Want to get more involved on a Roundtable Working Committee? Please email Managing Director, Kimberly Olsen.


We agree — Teaching Artistry is sexy! To celebrate these fine creators and innovators, we have put together a teaching artist nomination page. Nominate a Teaching Artist to be spotlighted on our social media outlets. The first 20 Teaching Artists to be nominated will also get a small gift from the Roundtable.



Roundtable Annual Meeting
Join the Roundtable for our last event before school is out for the summer. Save the date for June 19, 2019 at New York Live Arts! Details soon to follow.

Commitment to Pay Equity
The Roundtable is committed to pay equity and pay transparency for teaching artists and arts administrators. Moving forward we will encourage organizations to include compensation rates on Jobs Board posts. You can also click to read an employment survey to better understand the landscape of compensation for TAs in New York City.



Member Directory
Did you know there are 191 Member Organizations and 117 Individual Members of the Roundtable? Connect with them all using our new Member Directory feature launching in July 2019.




Meeting Space
Starting in July 2019, the Roundtable is now able to provide a meeting space for members at our home based at New York Live Arts. Space is limited and available on a first come, first-served basis. More details to follow.

Submit a Proposal for Face to Face 2020
Have a great idea for a session? The Request for Proposal form will open in mid-July for #F2F2020. Click here for more information. 


Networking and Mentorship
The Roundtable is committed to eliminating barriers and revealing pathways to cultural equity and inclusion in arts education, through our programming and our membership. We are also committed to eliminating barriers to advancement for professionals from underrepresented communities. We look forward to finding ways to provide better networking and mentorship opportunities, paying specific attention to creating opportunities for POC and WOC to connect and share.



Administrators Pay Equity Survey
What does the landscape of arts administrator pay look like in New York City? Based on our Teaching Artist Compensation Report, we’ve tasked our Advocacy Committee to take a look at what fair pay looks like for administrators in the field.

Roundtable Office Hours
You’ll have the chance to sign up for brief mentorship sessions with experts in the fields of arts education, fundraising, technology, and more.

The Business of Teaching Artistry: Fall Event
As a response to the recent town hall, Teaching Artist Affairs Committee is thrilled to be hosting a fall event titled Teaching Artist as Entrepreneur, diving into topics such as DOE Vendor Licensing, Individual Artist Grants, and more.


Teaching Artist Appreciation Week!

Published on: May 24th, 2019


This week was Teaching Artist Appreciation Week! Thank you to all Teaching Artists and their hard work.


We featured stories from our #TeachingArtist Affairs Committee about a special Teaching Artist in their life. In case you missed any check them out below:


Carol Daniel

Nominated by: Justin Daniel

“My mom, Carol Daniel, was a puppeteer and arts educator, which meant that my childhood was surrounded by foam rubber, enormous plastic eyes, and the smell of a hot glue gun.  This instilled in me a whimsy, joy, and creative energy that has driven my personal and professional life and has brought me to stages around the world and into education spaces for young and old.  What I didn’t realize at the time is that my mom described herself professionally as a teaching artist; a term that I wasn’t even familiar with until I was receiving my Masters in Educational Theatre from NYU.  Her influence was vast, and while she has passed on, her legacy lives on through the Piccadilly Puppets Company, which is celebrating its 50th year of serving schools and families in Atlanta, GA!” // Justin Daniel, Teaching Artist


Renee Watson

Nominated by: Katie Rainey

“My first Mentor Teaching Artist was Renée Watson. She taught me how to really see students and she’s someone that challenges the lines between student & teacher in really unique and thoughtful ways. Renée showed me that it was okay to be emotional and vulnerable with our students, how to create transformative art from real-life challenges my students face. She’s an incredible artist and educator, and I think about her everytime I face something difficult in the classroom – thinking, “what would Renée do?” Renée Watson is a New York Times bestselling author, educator, and activist. Her young adult novel, Piecing Me Together (Bloomsbury, 2017) received a Coretta Scott King Award and Newbery Honor. Her children’s picture books and novels for teens have received several awards and international recognition. In the summer of 2016 Renée launched I, Too, Arts Collective, a nonprofit committed to nurturing underrepresented voices in the creative arts. She launched the #LangstonsLegacy Campaign to raise funds to lease the Harlem brownstone where Langston Hughes lived and created during the last twenty years of his life. Her hope is to preserve the legacy of Langston Hughes and build on it by providing programming for emerging writers.” // Katie Rainey, Teaching Artist


Heidi Stallings

Nominated by: Erika Atkins 

“One of my favorite aspects of The New Victory’s Teaching Artist training process is that they assign each first year teaching artist a mentor. Although I had already been working on staff for a year when I joined the Teaching Artist Ensemble, I had the honor of being paired up as a mentee with the one and only Heidi Stallings in 2013.  Heidi Stallings has been teaching and coaching voice, acting, and musical theatre technique since 1992 and has worked as a teaching artist for over a decade with an organization such as The New Victory Theatre, Disney Theatricals, and The Roundabout Theatre Company in New York City. Her performance credits are extensive – including Grizabella in Cats on Broadway and in the First National Tour, Mrs. Primm in Lyle, Lyle Crocodile, and Amanda in Abel’s Island. Heidi is a strong believer in letting your artistry guide you as a teaching artist. While I have been a performer much longer than I’ve been an administrator, it’s easy to let the task manager side of myself take over in the classroom. However, Heidi constantly reminds me that I am also an artist and a performer in my own right and it is crucial for me to let that inform my teaching and for my students to see that part of me in the classroom. I am ever so grateful for her guidance and our friendship and the influence it has had on me as a teaching artist, administrator, and artist.” // Erika Atkins, Teaching Artist


Debbie Devine

Nominated by: Heleya de Barros 

“I met Debbie Devine, Artistic Director of 24th Street Theatre, in 2005 when I was an assistant in their after-school theatre program, After-Cool. Debbie has a personality that brightens any room–an infectious energy, a smile that couldn’t possibly be any bigger and vocal energy for days. When she exclaims, “FANTASTIC!” to a young person onstage you can see them grow a few inches taller with pride and confidence. What I learned from Debbie was balance. Her energy is incredible (and nearly impossible to match, trust me, I’ve tried), but she artfully counters that high energy (see picture) with a calm that allows a door to performance to open for all personalities. This balance is also a masterful way to model the high energy matched with focus that is required in performance. When Debbie calming calls, “restore” you see the whole room take a breath, find neutral, and bring their focus back to their community in the room. I still use “restore” in my own theatre classes today. And so many other tricks and tips I gleaned from Debbie and the whole team at 24th Street.” // Heleya de Barros, Teaching Artist


Karla Robinson

Nominated by: Jay Howard 

“When I was figuring out life and what it meant to be a teaching artist, you were there. I met Karla in 2014 after,  I left youth development after 2 years working for New York State Children & Family Services looking for ways to bring voice and creativity in the classroom through lyrics. I had a chance to continue working with incarcerated youth doing poetry workshops but that wasn’t enough. Karla, You challenged me to think critically about my philosophy, be relentless in my engagement of youth, and to “create” the creativity. Our one on ones after tough workshops provided me with an eye of positivity. A way of looking at bright spots through our impact, and connection on the ground. Most importantly, I was taught to keep things in my back pocket: Lesson plans, quotes, activities yes. But also my own inspirations. Self care was vital for Karla and remains one of her truths. Her first request for her teaching artist as director was to please identify 3 pieces of art that can support YOU as a facilitator and youth development professional. After your insight and my crossover into in school residency field, you recommended me for TAP where I fell in love with curriculum development and all its possibilities.It was in the Bronx and under your guidance where I found my calling. I was able to find meaning on the streets of teaching artistry at the intersection of reality and creativity.” // Jay Howard, Teaching Artist


Sara Morgulis

Nominated by: Meghan Grover 

“Sara Morgulis hired me as an education apprentice at NYC Childrens Theater (NYCCT) in August, 2016. I knew I wanted to pursue a career in theater education…. but where would I begin? I had never even been in a New York public school before!… At NYCCT Sara supported me with tools on how to be a teaching artist, from creating curriculum that supported the young people’s ideas, to collaborating with classroom teachers, to implementing programming in schools. She gave me opportunities to make connections outside of the classroom as well, such as with the interactive anti-bullying plays, Fair & Square and Alice’s Story, the new play, Please Bring Balloons (which she directed), and the multisensory play, Five. Sara also embraced my constant questions and excitement about this work (even when she was busy!!) — engaging in myriad discussions about theater and its role in young people’s lives, activism, and social change. She opened my eyes to various ideas, projects, and organizations and inspired me to go to grad school with the MA Applied Theatre Program at CUNY. I feel so lucky to have Sara as a mentor throughout this busy, challenging, beautiful theater education journey. She continues to answer my million questions about this field, applications, grad school (etc.) while also building her career as a brilliant Director of Education, applied theatre practitioner, playwright, activist, director, teaching artist (need I go on?!!?!!). Most importantly — she is a friend, and I love hanging out with her! Thank you Sara!!!”  //Meghan Grover, Teaching Artist


Mark Meyers

Nominated by: Kimberly Olsen

“There are people that come into your life who completely transform your view of the yourself and the world around you. For me, that person was my summer camp theater director and middle school band teacher (the many hats of arts educators!), Mr. Mark Meyers. With a booming voice, kind heart, and a Chaplin-esque quality of movement, Mr. Meyers was the first teacher who put me in a leadership role. As a child I was a part of “CREW” or the Children’s Repertory of East Williston, a gaggle of middle school-aged performers headlining at synagogues and senior centers across Long Island. In my mind, I made it. This was the big time. And to top it off, I was tasked to keep the show moving as the Master of Ceremonies (in addition to singing “Willkommen” from Cabaret, naturally). Never had I been given so much responsibility or felt such pride in what I was doing. All because Mr. Meyers saw something in me at that crucial time that I didn’t see in myself. Those lessons learned on stage laid the groundwork for my ability to command a room with confidence, flexibility, and energy. I later realized Mr. Meyers was also the person in charge of arts partnerships at my school. It is because of him that I met my first ever teaching artist. Little did I know, that would become the path for me! Now as a working teaching artist, I can only aspire to have a fraction of the impact Mr. Meyers had on me. I say with great appreciation that I am the educator and Managing Director am I today because of his impact.” // Kimberly Olsen 


Let’s Make Sure The Teaching Artist Isn’t An Endangered Species

Throughout my career as a teaching artist, I’ve had the privilege of working with the most dedicated and inspiring teachers, administrators and staff, whose commitment is unmatched. When arts budgets are cut and resources reallocated, they fight to keep arts education in our schools, libraries, shelters and prisons. They are committed to the value the arts bring to our communities.

My 10-year tenure conducting hand drum workshops at the juvenile detention center at the Middlesex County Division of Youth Services began in 2001 and continues to serve as a reminder to myself that art education works. And I’ve come to realize the value of teaching artists lies in our ability to transform alternative spaces into safe, inclusive and creative learning environments.

Photo: Laura Foord

I wasn’t surprised to learn years later that funding for the music program at the detention center had been reallocated to other departments. I’m grateful to the administration and staff who, for a decade, believed in arts programing, made space for it and believed in our kids. But it wouldn’t be long before I joined Arts to Grow, a nonprofit organization providing after-school arts programming to under-served communities. Now I was back at work, serving in Cypress Hills (Brooklyn), Lincoln Square (Manhattan) and Paterson (New Jersey). Despite the tireless dedication of its staff, Arts to Grow was also forced to close its doors. Its absence remains a palpable loss.

When arts programs close, the impact is felt not only by the teaching artists but by the people they serve: incarcerated, disabled and under-served families, friends and neighbors. Those of us in the field are familiar with the sacrifices we make both personally and professionally on behalf of our communities. The need for arts education is real and the stakes couldn’t be any higher.

In 2015, I was a selected as a member of a cohort participating in the Experiential Education/Jewish Cultural Arts program at the George Washington University. I had the opportunity to work with  Smithsonian Folkways Recordings, the Washington, D.C. Jewish Music Festival and the Contemporary Jewish Museum, earning an M.A. in education and human development in the process. The experience helped me mature and opened me up to a more holistic view of the cultural arts and education field.

It’s hard to maintain a stable and sustainable career in arts education. I’ve decided to be an advocate for teaching artists in order to improve the field. In an effort to make a case for the need of experiential arts education and elevate the resources made available to our teaching artists, I’ll be on a panel this summer at a conference organized by CNY Arts. I’ll be there alongside Dale Davis of the Association of Teaching Artists, and I’ll be a representative of the Jubilation Foundation, where I was a fellow in 2013. The foundation nurtures individuals and organizations with an exceptional talent for “helping young people feel fully alive through rhythm,” as per its mission statement. The support I received as a Jubilation fellow in 2013 continues to serve as a vital resource in my life and in my career as an arts educator.

I’m grateful for the opportunity to participate in arts education. Art sharing leads to thriving communities. I encourage other teaching artists to contact me; let’s network and make the world a more artistic place together, and let’s fight for the right of teaching artists to enjoy adequate resources so we can share our gifts as best as we can.

Drummer David Freeman has been a member of Local 802 since 2007. To submit a guest commentary or letter to the editor for possible publication, e-mail Allegro.


Pushlished: May, 2018 by David Freeman

Taking Part in a Creative Activity Can Boost Mental and Emotional Well-being – Report

Engaging in creative activities for even the briefest time can boost well-being and help people cope with the stresses of modern life, a new study has suggested.

Commissioned by BBC Arts, it represents the first time that researchers have explored how creative activities, such as acting in a play, singing in a choir, or playing an instrument or painting, can help manage emotions and mood.

It found three main ways in which people use creativity as coping mechanisms to control emotions.

These include using culture to distract the mind in order to avoid stress, to give the mind contemplative space to reassess problems and make plans and to offer a means of development by building self-esteem and confidence.

The findings showed that people get emotional benefits from just one session of creativity, and that ongoing interaction can develop the effects.

The BBC Arts Great British Creativity Test is the largest piece of research of its kind – the findings were drawn from a study of almost 50,000 people – and was carried out in partnership with University College London.

The research claims that trying new creative activities is especially beneficial, while cultural participation also offers a particular boost in the face of hardship or stress.

UCL senior research fellow Daisy Fancourt, who led on the work, said: “This study is the first to show the cognitive strategies the brain uses to regulate our emotions when we’re taking part in creative activities. While previous studies have shown the strong link between creative activities and emotions, we’ve not been sure about how this has been happening.”

The research is being published to coincide with the BBC’s Get Creative Festival, a UK-wide celebration of creative participation, which begins later this week.

Lamia Dabboussy, editor of BBC Arts, added that she hoped the research’s results would “give audiences the inspiration and confidence to take up a new creative hobby”.

The study is being published as interest in the connections between arts and health continue to grow, with practices including arts on prescription being explored across the UK.


Published by: Georgia Snow, May 8th, 2019

Social Justice Workshops from Seachange Collective

Incorporating Gender & Sexuality Into Social Justice Work **NEW WORKSHOP**

June 7 , 2019, 9am-5pm, hosted at Synergos, Midtown Manhattan, NYC

Join our gender & sexuality workshop to go beyond the basics of inclusion, to incorporate a more complex understanding of sex, gender, and sexuality in non-profit programs, community organizing, and everyday life. We’ll explore what the buzzwords really mean, and how these aspects of our identity intersect with different forms of oppression. You’ll gain theory and practical tools to incorporate a holistic gender justice lens to program design, implementation, and beyond.

Register by May 17 for 15% off!

>>> Click here to learn more: Seachange Collective Gender & Sexuality Workshop <<<


Grounded Program Design: Incorporating Anti-Oppression Approaches to Social Justice

June 10, 2019, 9am-5pm, hosted at Civic Hall, Chelsea, NYC

How can we effectively “do good” in our non-profit programs, school activities, community organizing, and lives? How can we ensure that our good intentions aren’t reinforcing inequality and injustice? This interactive,1-day workshop will introduce you to the 6 steps of Grounded Program design and give you tools to build programs based in community needs and justice – rather than assumed knowledge and charity.

Register by May 17 for 15% off!

>>> Click here to learn more: Seachange Collective Grounded Program Design Workshop <<<

You’re Invited to Mark Morris Dance Group’s Curriculum Slam!

Calling All Dance Educators!

Mark Morris Dance Group is announcing our first Curriculum Slam, taking place on June 13, 2019 from 4:30pm to 6:30pm at the Mark Morris Dance Center (3 Lafayette Ave, Brooklyn, NY, 11217). We are excited to invite you to attend and, if you wish, apply to present at this gathering for Dance Educators throughout New York City. Find important details below:

What is a Curriculum Slam?

The Mark Morris Dance Group Curriculum Slam is an opportunity for Dance Educators working with students of any age group to share an activity they find particularly successful in their classroom. Borrowing its name from Poetry Slams, presenters are meant to demonstrate activities concisely, with the main learning objectives and logistics of the activity comprising most of the presenter’s designated time. With a goal of providing a collegial, fun opportunity to learn from our peers, we welcome anyone to apply. Please note, there is NO FEE to participate, either as an attendee or presenter. A broad agenda will be as follows:

  • 4:15-4:30pm – Doors open
  • 4:30-4:35pm – Welcome people into the room
  • 4:35-4:45pm – Reminder of objectives and format
  • 4:45-6:15pm – 7 presenters each presenting one activity
  • 6:15-6:30pm – Wrap-Up/Reflection

I don’t want to apply to present, but I want to attend; where can I RSVP?

RSVP to let us know you’re attending the event by CLICKING THIS LINK. 

What are the steps for applying?

All Dance Educators interested in applying can CLICK THIS LINK to fill out the application form by May 22, 2019 at 6:00pm.

How many and What type of activities will be selected to be presented at the Curriculum Slam?

The MMDG Education team will select (lottery style) 7 presenters to demonstrate their activity as part of the Slam. Each presenter will have 7 minutes to talk about/demonstrate their activity and an additional 5 minutes to answer questions from the audience about it. Applicants will be notified whether they have been selected to present by May 29, 2019. Things Educators can think about prior to selecting the activity they choose to submit on their application are:

  • What age group is your activity for?
  • Where does it fall in your lesson plan? In your curriculum map?
  • What is the main learning objective for your students?
  • Why is this dance skill/concept important for your students to master?
  • How does this skill/concept transcend genre so that it is relevant to all dance styles/forms?
  • How does this activity address musicality?
  • Where/how does this activity make space for a multitude of learning styles and abilities?
  • How will you teach this activity to a room full of Dance Educators so that it includes both depth and an interactive component?

All questions can be addressed to Alex Cook at We look forward to receiving your applications and RSVPs! See you on June 13th.

Rethinking Classroom Management

by Meghan Grover

Published on April 2, 2019

I am sixteen years old. I smile at my teacher, Mr. Roma, as he tells us all about his favorite philosophers. I laugh at his jokes and write down his every word. Later tonight, I will write an essay that repeats his version of his apparent “heroes,” and I will receive my A. I do not challenge him because when other students challenge Mr. Roma, he rolls his eyes. The teachers call these students, “problem students,” and I am not one of those. After I leave class, I go to drama rehearsal. The director laughs and calls me a “funny ingénue.” He even has me model what “truthfulness” is to the cast of Annie. As I drive home, I stress about all of my commitments, but I remind myself that I must keep pleasing these folks in power because it will lead me to success.

It was not until I went to grad school that I learned I was trying to be perfect in what Paulo Freire described as the “banking system,” where teachers are the holders of knowledge and they fill the students with this knowledge. The students’ voices do not contribute to the learning process, just as I had experienced in some of my schooling and theatre practices. Freire also wrote about how the banking system perpetuates the “culture of silence” where critical awareness is not possible (this comes from his book Pedagogy of the Oppressed). Because I was try to please my teachers in order to advance, I did not generate my own awareness, ideas, and dialogue.

I felt frustrated.  After I graduated from college with a BFA in acting, Theatre, which I loved so much for its encouragement of expression and collaboration, was doing the opposite! It made me feel competitive and isolated from others, and it often made me conform to the director’s ideas and the playwright’s words. I felt like I was perpetuating the very values that I had resented growing up, and I wanted to break this pattern and work in spaces where all people can express themselves.

Then I found teaching artistry. As a teaching artist, I felt thrill to facilitate curriculum, devise theatre, and develop strategies in which the young people’s ideas are integral to the work. The NYC community of passionate educators inspired me and challenged me to develop my practice.

Yet, my greatest struggle is with one of arts educations most used phrases… “Classroom Management.” When I first started teaching, I did not have rules. Rules seemed contradictory to the practice of encouraging young people to express themselves, and I was trying to be free and awesome! This lack of rules led to challenges with people talking over one another. Also, in any physical activity, there was risk of injury because I did not gently remind people to take care of themselves and each other.

Saying “If you can hear my voice clap once” until I was red in the face, I felt like I had no control. In these challenging moments, I became my previous teachers.  In a way, I became Mr. Roma! In one of my first teaching jobs, I made the rule “Positivity” in an effort to get the students to all participate with “enthusiasm” and listen. As I reflect on this, I see that I was asking the young people to act in a way that I deemed worthy, perpetuating that banking system.

The moment that really changed my perception was when Jay, a young person in middle school, continually hit other students. “Keep your hand to yourself” I repeated. When he hit someone for the fourth time, I got so angry I asked my supervisor to come in and “help me.” Jay was removed from the classroom. I will never forget when Jay came to me crying afterwards, “They called my parents. Did you know they were going to do that? I was having a bad day and you didn’t even see what the other kids were doing to me.”

In that moment, I realized that I needed to completely change how I “manage” a classroom. In fact, I do not need to “manage” at all!  I need to “Support”.

Tools I’ve learned through “Classroom Support” along the way:

    • Beginning a session:
      • Creating a community agreement with the young people
        • At the beginning of each class, going over their expectations and ask if they want to change or add anything.
          • For Pre-K, this can be done with frozen images and gestures instead of words.
      • Creating and reviewing a “call and response” that the young people have made together. I find the most success when the call and response incorporates a physical response or an elongated sound cue that promotes unison vocalization (like a shhhhh or mmmmmm)
        • In a class I facilitate, a young person created a call & response where I say, “Quiet on set” and the young people say “shhhh.”
      • Checking in with the energy of the room before diving into the activities
        • Starting sessions in a circle helps us “get in the room together.”
        • Also, checking in with the question, “how is everyone?” gives people an opportunity for people to express themselves before we start. To avoid putting someone on the spot, it can be helpful to have everyone create a frozen image of how they are feeling.
    • Supporting behaviors, learning styles, and abilities:
      • If a young person needs additional support, finding time to check in with them away from the class avoids putting the spotlight on them and gives them the chance to say how they are feeling (which I should have done with Jay)
    • Ensuring that there is ALWAYS a support teacher in the classroom
      • There have been moments where I have been alone, and this is not allowed. As Teaching Artists, we must have a teacher in the room at all times.  When this happens, I need to say something to my administration and make a change.
      • Creating multi-sensory session plans that use a variety of movement, props, songs, and/or a combination of small group and large group work supports a variety of learning styles and abilities
      • Encouraging participation, but never forcing it
        • This can be hard when people then influence each other to sit out, but I find that it ultimately supports people to come in when they’re ready. If several young people sit out, I encourage them to observe class and sit apart. Often, they join the class.
      • The book How to Talk So Kids Can Learn really supported me when speaking with a young person who is struggling
      • In working with early childhood, Helen Wheelock, the director of the Early Learning Program at the Creative Arts Team, uses sounds & gestures and the phrase, “let’s all say that,” which has really supported me to engage young people
        • When giving directions, for example, Helen will have the whole class repeat the directions with a sound & gesture
        • Helen will say “let’s all say that” with interactive storytelling, using phrases from the book and phrases that young people suggest! This is engages everyone to participate.
    • For moments of “Chaos”
      • As Helen White (my professor at the CUNY MA Applied Theatre Program) often says, I need to remember that this work is chaotic! Chaos usually signifies engagement (even if it looks a little “loud” and “rowdy” to people outside)! Allowing for and embracing the chaos is important. This is a balancing act that I am still finding…
      • When it is hard to get young people’s attention, I find that singing and using character voices in moments of chaos has been SUPER helpful (and hilarious)
      • Side-coaching: reminding people to take care of themselves and each other
    • Routines & Language
      • Starting and ending class with a song, game, or ritual
      • Using language like “I’m going to invite you-” or “I’m going to challenge you-” can support people to try new activities and it avoids that “forcing” feeling (Helen White also taught me this)
    • Supporting Reflection
      • Using a talking device for any discussion that acts as a “mic” for the person speaking.
      • There is a specific method that the company Yo Re Mi uses that is amazing. They use the ball pictured below that gets passed around the circle. When a person gets the ball, they share their idea and expand the ball so that everyone breathes in, and then they close the ball and  everyone exhales. This is MAGIC for people of all ages….

All this being said, I am still making discoveries! I was just teaching with an early childhood group, and I asked a young person what character she wanted to be. She stared at the ground, and I thought maybe she did not hear my question. After about 30 seconds, other students began to talk over her. I felt nervous and repeated my question. She raised her head and said, “I’m thinking. Please don’t rush me.” I apologized and thanked her for telling me. What an amazing reminder! She showed me that I had reverted back to my old schooling when teachers demanded answers at a fast pace, where that “culture of silence” existed because young people did not always have the support or the time to express how they felt. It is so important to create spaces that embrace discovery instead of demanding answers.

This is an ongoing, beautiful process of learning. So, now I turn to you.

What are YOUR tools and strategies as Teaching artists that you have developed to SUPPORT your classrooms?  Answer on the TA Facebook group.

Meghan Grover is a Brooklyn-based, Ohio-born actor, director, and teaching artist with a passion for devising. She is currently getting her MA in Applied Theatre at CUNY. She is really excited to be a member of the New York City Arts in Education Roundtable’s Teaching Artist Affairs Committee.

Shape the Next 25 Years of Arts Education in NYC (and enter to win a free Face to Face Registration!)

Basking in the glow of our 25th Anniversary, the Roundtable is now embarking on a strategic planning process to discover how we can best support YOU!

We’d like to ask you to take a moment and fill out the following survey (and share with your full staff and contacts!). This survey is a pivotal moment for the Roundtable to harness the expertise of our arts in education community by enabling members and non-members to weigh in on the organization.

Complete this survey by March 31 and enter to win a FREE Face to Face registration!


Create your own user feedback survey

40 Under 40; Jennifer Dibella

The Center for Arts Education: Teaching Artist Salon

Differentiated Teaching and Learning: Incorporating Multiple Modalities

Date/Time: Wednesday, March 20th – 6:00 – 8:00 PM

Location: CAE Center Space (previously known as the CAE Conference Room)

Differentiating instruction to meet the strengths, needs, and interests of all students is one of the key responsibilities of any educator. Utilizing a Universal Design for Learning framework, this workshop will explore how incorporating multiple modes of expression can provide students varied opportunities to develop and articulate understanding. This hands-on workshop will offer the opportunity to participate in a co-facilitated mini-lesson, discuss tips and best practices identified by CAE Teaching Artists, and participate in a practical exploration of differentiation.

The public event is designed for teaching artists. All interested educators are encouraged to attend.

RSVP Here: