Author: Kimberly Aragon

Respecting Pronouns in the Classroom

Kids understand themselves better, and at a much younger age, than adults assume. This includes their gender identity. Gender identity refers to one’s inner sense of being male, female, both, or neither.

As educators, we can take small steps to make sure all students feel welcome and affirmed in our schools regardless of their gender identity. Being thoughtful about how we use pronouns is a meaningful way to support children whose gender might be different from what appears on their birth certificate.

Asking students of all ages what name and pronouns they would like you to use is a great first step. Educators in PreK–12 schools may think their students are too young for a conversation about pronouns, especially if they don’t think there are any transgender or gender nonconforming students in their classrooms. But by asking students their pronouns starting at a young age, educators can make room for students who may be exploring their gender identity and show everyone that gender identity should not be assumed.

Many students don’t feel comfortable, or safe, expressing their true gender identity. By clearly telling everyone in the room that you respect people of all gender identities, you are telling all your students, “It’s OK to be you.”

Erin Cross, the Director of Penn’s Lesbian Gay Bisexual Transgender Center and a Penn GSE lecturer, and Amy Hillier, a professor at Penn’s School of Social Policy and Practice, offer some ideas to get you thinking:

Be inclusive and personal: Avoiding gendered language is one of the easiest ways to avoid misgendering students. Instead of saying “boys and girls” or “ladies and gentlemen,” try “folks” or “everyone.” Instead of “guys,” try “y’all.” Don’t address a student as “Mr.” or “Ms.” Just say their name.

“They/them/their” works: Growing up, many of us were taught that if you were identifying a single person by a pronoun, you had to use “he” or “she.” “They” was only for groups of people. Those rules have changed, and “they” or “them” is now a nonbinary way to address anyone. The New York Times agrees. So does Merriam-Webster, which reports that “they” has been used as a singular pronoun since at least the 1300s.

Be prepared to make a mistake—and to apologize: Despite our best efforts, we sometimes misgender people. As a culture we are in the habit of assuming pronouns based on appearance. This habit can be hard to break. When you misgender someone, correct yourself, apologize, and move on. You don’t need to justify yourself or overly apologize. It’s OK. But it’s important to challenge yourself to get it right the next time.

If you hear other students or faculty using the wrong pronouns for a student, check in with the student to see if and how they would like you to address it. They might not want to be the object of someone else’s political education. But if it becomes an ongoing problem, don’t ignore it.

Be a model for your students: In a college classroom or professional setting, we might go around and ask everyone their pronouns. But asking younger students to identify their gender might cause transgender students to feel like they are being singled out.

Before you ask students to share, explain that you want to make sure you are referring to everyone by their correct name and pronoun, which you can’t assume based on appearance. Model this approach by sharing your name and pronoun. Be sure to reinforce that it is okay if folks choose not to share.

Use a form to give students more privacy: Another approach is to ask every student to fill out a form that will help you get to know them better. Questions like “What is my name?” “What do I like to be called?” and “What are my pronouns?” can fit beside questions like “Do I have a nut allergy?”

Keep talking: Stress that this conversation will continue throughout the school year, and that pronouns can change.

Start off the year by making all students feel welcomeMany transgender students will use the summer break as a time to transition their gender identity, so the beginning of the school year is a natural time for a teacher to ask students how they would like to be referred to. This simple question can create a welcoming space for all students.

Seek more resources: When it comes to issues like gender, no one has all the answers. Thankfully, GLSEN has created resources for how educators can support LGBTQ students. Their webinar on supporting transgender and gender nonconforming students is a great place to start.


Erin Cross is the Director of Penn’s Lesbian Gay Bisexual Transgender Center and a Penn GSE lecturer. Amy Hillier is a professor at Penn’s School of Social Policy and Practice.

Published by: Erin Cross, Director of Penn’s Lesbian Gay Bisexual Transgender Center and a Penn GSE lecturer. Amy Hillier is a professor at Penn’s School of Social Policy and Practice. 2019


How the Creative Placemaking Tide Lifts All Community Boats

On a Sunday afternoon in June, with the temperature well above 80 degrees, the Perry Avenue Commons on Chicago’s South Side bustles with a remarkable amount of activity. By the end of a warm weekend, you’d expect things to be winding down. But six or so volunteers and mentors tend vegetable plots of kale and leafy greens at one end of a four-block-by-four-property, part of a commercial farm and community garden managed by the nonprofit Sweet Water Foundation. A group who met at the commons for the women’s retreat earlier in the day wraps things up. Meanwhile, a half-dozen locals share recipes in the kitchen of the Think-Do House, a structure Sweet Water began to transform five years ago into a meeting place for workshops. Once upon a time in the early 20th century, the building was a reform home for delinquent boys.

A couple attending church service nearby peeks in the community garden to marvel at the goings-on. These newcomers are drawn toward the commons with a curiosityborne not only from seeing people milling about the grounds, but because of the 50-foot barn that leaps out of the sightline. The structure is a surprise on two accounts. First, because it appears in a part of town where overgrown abandoned lots are typically punctuated only by the sporadic tree, or a handful of boarded-up houses. Second, as history buffs will note, this happens to be the first barn raised within city limits since the infamous legend of Mrs. O’Leary’s cow and the devastating fire that burned through much of Chicago in 1871.

Sweet Water Co-Founder and Executive Director Emmanuel Pratt calls all the activity that abounds here part of his regenerative development strategy. “We’re investing in human infrastructure,” he says. “We are creating a place that feels like home for a population that has been displaced, and food is one of the starting points to trigger memories that are at the root of people’s identity.”

Sweet Water Co-Founder and Executive Director Emmanuel Pratt. (Photo courtesy Sweet Water Foundation)

Pratt stresses the fact that the commons were built not so much as a showpiece but as a catalyst to spark a variety of teaching and nurturing activities. The farm and gardens, by Sweet Water’s estimates, feed more than 200 residents weekly. The headcount of leaders and students fluctuates during the course of the year. A core team of 12 works year-round to coordinate — and balance — mentoring, planting, building, teaching and event-planning. From there, the organization can take in eight to 15 work-study students from Chicago-area colleges and high schools, along with a bumper crop of mentors and volunteers that show up in the summer. The organization also works with another 30 to 40 teens as part of a training program in conjunction with the Chicago Housing Authority.

Sweet Water is something of an anomaly in the world of creative placemaking, where art is the catalyst that drives community development. Practitioners typically use murals, spoken-word performances, music, dance and other art forms to draw people together, articulate issues, rally support and ultimately give neighborhoods and communities both the agency and capacity to change. Target issues range from housing to health, economics, education and more. The work makes a statement both within the community and to the world beyond the confines of that community.

Such programs frequently spark a jolt of life that, over time, makes previously downtrodden neighborhoods alluring to outsiders. It may begin as a boon — an economic upswing for existing restaurants, shops and other businesses. But ultimately, the groundswell attracts outsiders who can move in, bid up real estate and price longtime residents and businesses out.

The question of just how to execute creative placemaking without inviting gentrification sits at the forefront of creative placemaking circles. Jamie Hand, a researcher for ArtPlace America, says the friction between placemaking’s benefits and the onrush of gentrifying forces has happened frequently enough to spark vigorous discussion and dialogue on the efforts to walk a tightrope between uplift and displacement of the community.

One camp argues that for creative placemaking to be successful, efforts must generate an economic benefit for participating artists. “Linking arts to employment is at the leading edge of creative placemaking,” says Patrick Horvath of the Denver Foundation, a funding organization. “What we see is the potential for art in the community to act as an economic anchor. When we work to redevelop places, we invest in design to enhance the experience, but it can also create jobs for people in the neighborhood.”

Ultimately, placemaking must begin and be sustained with grassroots involvement. As Juliet Kahne, director of events and education for the Project for Public Spaces, writes in her essay Does Placemaking Cause Gentrification? It’s Complicated:

“Placemaking is a tool that connects community members to physical changes within their neighborhood, as well as to each other; it can help tackle the divisive, top-down, neighborhood change that is often associated with gentrification. It’s the importance of creating places that benefit everyone — places that connect existing residents, instead of dividing, alienating, or displacing them, and places that enhance the existing character of a neighborhood, instead of erasing it. Rather than watching passively as non-local or private developers consume neighborhood public spaces, we can use placemaking to enable citizens to create their own public spaces, to highlight the unique strengths of their neighborhoods, and to address its specific challenges. While gentrification can divide communities and build upon exclusivity, Placemaking is about inclusion and shared community ownership.”

In the case of Sweet Water, the key lies in reconnecting neighborhood residents to the land, and in building relationships that extend within Washington Park and outward to the world. In this feature, Next City digs into how Sweet Water has activated and engaged the surrounding community. And how other groups, in suburban Boston and Denver, leverage entrepreneurship and education as the means to strengthen target groups in the face of change.


Sweet Water has launched an extensive effort to teach the fundamentals behind a wide variety of its projects, including sustainable science, agriculture, design and carpentry. Besides the farm, garden, barn and meeting center, Sweet Water has built a customized greenhouse that serves as a carpentry workshop and makerspace. There’s also a pod made out of what was previously a shipping container for concentrated grape juice that has been repurposed as a grow-space classroom.

In many ways, Sweet Water started down a path that roughly parallels Pratt’s career in architecture, design and agriculture. Pratt, who has a bachelor’s in architecture from Cornell and a graduate degree in urban design from Columbia, has already led Sweet Water through a period of organic growth into several quite different, but interrelated projects. The organization launched about the same time Pratt created and ran an aquaponics department for Chicago State University. He secured funding to install demos of small sustainable aquaponics environments at schools in Chicago and in Milwaukee — connected installations that displayed the balance of fish and plant life and their ability to cycle the necessities of life (carbon dioxide, oxygen, water and nutrients). The U.S. Department of Agriculture took interest in the aquaponics project as well as urban farming prompted Pratt to think both within and beyond the classroom at the same time. He approached the city of Chicago about starting a farm and in time, those talks opened the way to Perry Avenue, an abandoned house and the four plots of land that Sweet Water took over.


At the Perry Avenue Commons, volunteers pick leafy greens, with Sweet Water’s barn in the background. (Photo courtesy Sweet Water Foundation)

While the group’s bedrock is a two-acre farm, under Pratt’s direction, Sweet Water took a turn from its education and farming roots into art and design installations as a way to better publicize the broad range of its work and vision. The carpentry and design enterprise manufactures furniture out of discarded wood pallets and glass that local contracting firms or the Chicago Transit Authority would normally pay to be sent to landfill. Sweet Water donates the tables, chairs and benches to open spaces in the area, and includes their creations in museum installations to promote the group’s work. They even build made-to-order pieces on commission.

In 2017, Pratt unveiled an exhibit at Chicago’s Smart Museum entitled “Radical [Reconstructions],” made up of several pieces. One was the representation of a house made of salvaged wood, which apprentices at Sweet Water charred using a traditional Japanese technique. An exhibit of Sweet Water furniture designs also appeared at the same time in the museum’s sculpture garden. Sweet Water has also installed its designs at Columbia College and the School of the Art Institute of Chicago. Pratt, meanwhile, has served as a visiting professor at the University of Michigan’s architecture school.

Sweet Water still has a hand in education, both in training young people in basic agriculture to work on the farm and in woodworking. “We started things out with our community garden, and then realized that we needed to build more infrastructure,” Pratt recalls.

Even as Sweet Water makes inroads in the Washington Park and Englewood neighborhoods that constitute its home base, Pratt senses the threat of gentrification. While not immediate, it remains a distinct possibility, and one that’s likely to arrive sooner rather than later given what has occurred on Chicago’s South Side over time. The area abounds with anchor institutions that, while a bit beyond walking distance from Perry Avenue, could still spark a land rush. Less than 15 minutes away by car are The University of Chicago and its medical center, as well as the Obama Presidential Center, slated to open in 2020. And Pratt’s Perry Avenue farm is less than five blocks from the Dan Ryan Expressway, making it essentially a 15-minute commute to the Loop.

The mortgage crisis of a decade ago was particularly hard on South Side neighborhoods, driving home prices down and African-Americans out. The city’s black population dropped more than 20 percent, from nearly 1.1 million in 2000 to 840,000 in 2016. And Sweet Water’s immediate neighborhood is mired in a struggle that is decades in the making. A 2010 University of Illinois at Chicago study summarizes what Washington Park still faces, compared to more affluent Hyde Park, the neighborhood surrounding the University of Chicago. Washington Park’s population has steadily shrunk over the past half-century, from 46,024 in 1970 to less than 12,000 in 2016. Neighborhood residents are 94 percent African American. The yearly median income for families is below $25,000 a year, compared to $51,430 in Hyde Park. In Washington Park, 43.5 percent of families live below the poverty line, compared with 11.4 percent of families in Hyde Park. Under 20 percent of adults in Washington Park have a college education.

Pratt characterizes his work as an effort to recreate the immediate community’s many interwoven relationships and sufficiences from the grassroots. He characterizes the connections forged from Sweet Water’s disparate projects — the farm, the apprenticeships, the installations and even big celebrations the organization holds such as its day-long Juneteenth festival — as mycelia, the almost invisible filaments that join together forest fungi and mushrooms into extensive colonies that represent the world’s largest organisms. Here, the vast unseen network is comprised of relationships. Pratt posits the example of a high schooler who signs on as an apprentice, someone whose world experience before Sweet Water probably extends no further than a 10-block radius around home. By working with mentors, conducting tours and presentations, leading workshops, coming in contact with graduate students from Harvard, or leaders from the Urban Farming Institute, the same South Side teen now easily gains direct contact and relationships with more than 1,000 people.


Just outside Boston in Somerville, Massachusetts, the local arts council has landed on a crafty way to hitch creative placemaking to the ever-expanding foodie boom. In this venture, immigrant chefs gain a stake in the game.

The program, called Nibble, grew out of walking tours of Union Square, a downtown area where 10 or so international markets had sprung up selling food from India, Brazil, Central America and other points around the globe. Nibble Program Director Rachel Strutt says the culinary walking tours seemed like a natural outgrowth of gallery walks or other ways to generate interest in local arts, while bringing together groups in greater Boston to commingle over a universal interest: good food.

Strutt says the walking tours were so popular that the arts council brainstormed additional ways to capitalize on the momentum. Nibble started with a blog to chronicle the stories of chefs, share recipes and spread the word about the ways local markets connected with groups around the world. It culled favorite recipes of local international chefs in a 130-page book that’s filled with stories, art and interviews about global cuisine and culture. Nibble also organized cooking classes marketed to yuppies and hipsters; at between $35 and $50 a ticket, it was a bargain compared to nearby adult-learning locations.

Nibble Culinary Entrepreneur Estela Calzada cooks Mexican and pre-Hispanic dishes for the organization’s festivals and pop-up events, and teaches cooking classes. Her specialty is mole. (Photo by Rachel Strutt)

As these promotions stirred up interest, Strutt says several cooking instructors asked about establishing more permanent culinary careers and even opening restaurants. It was clear, she says, that entrepreneur workshops were a natural next step. “We had all these great cuisines and chefs who had something to share, so it made sense,” she says. The curriculum focuses on the facets of starting and running a successful restaurant. One session covers promotion and marketing, while others focus on pricing and developing the type of replicable yet delicious recipes that are a cornerstone of a busy establishment.

“This type of workforce development aims to reduce the barriers that exist in taking a food business from dream to reality,” says Strutt. “Our program is a hybrid that marries workforce and entrepreneurial development with cultural programs. Our graduates are doing things like catering, teaching cooking classes or even helping us set up festivals.”

Nibble has an even bigger project on deck: A 420-square-foot kitchen vending space under construction in downtown Somerville. Nibble Kitchen will feature seven graduates of the program’s entrepreneur classes, each scheduled to run the restaurant in one-day shifts during the week. Strutt envisions a menu that will change cuisines daily, from Ethiopian to Mexican to Indian to Venezuelan fare, and beyond.

ArtPlace finds that culinary projects tap into a number of cultural trends. Food, after all, is a storehouse of memories, events and lore, a glue that binds people together. The foodie craze has swept into the American landscape with farmers markets, local production, agricultural tourism, community gardens and food festivals across the states. Food trucks are parked from coast to coast, and millennials regularly flood Instagram with snapshots of their meals. A Kresge Foundation announcement for Fresh, Local and Equitable funding generated a rousing 500 applications from across the U.S.

Nibble fits quite well within Somerville. Just northwest of Boston proper, the city is a community of just over 81,000 people and home to Tufts University. It is densely populated — 32,000 households packed into 4.2 square miles. Somerville has long welcomed immigrants. Starting around 2000 new waves of immigrants from Haiti, Brazil and Nepal arrived, and the city is now home to thriving Caribbean and Latinx communities. Presently, almost 25 percent of the city’s population was born outside the U.S. As an active sanctuary city, Somerville has established an office of immigration affairs and started a legal defense fund with neighboring Cambridge earlier this year to help with immigration, DACA and even deportation issues.

Somerville takes pride in its civic gourmandise and its culinary lore. The city is home to Fluff, the sticky marshmallow confection still stocked on grocery store shelves from coast to coast, and the focal point of the “What the Fluff?” food festival each September, which takes place in Union Square not far from Nibble’s future restaurant. Residents celebrate that and any number of other delicacies in as many as five outdoor food festivals during warm-weather months, including the Ignite Global Street Food and Fire Festival and YUM: A Taste of Immigrant City, a food festival that marked its 10th anniversary in April of this year.

Perhaps Nibble’s biggest contribution is to help immigrant chefs put down economically viable roots in a city that’s rapidly changing. Somerville’s location just outside Boston and next to bustling Cambridge has made it an attractive bedroom community. The city is in the midst of a housing squeeze that has caused average rents to surpass $2,300 a month as of 2015.

Nibble food entrepreneurs from left to right: Meqdes Mesfin, Carolina Garcia and Sandra Suarez. (Photo by Judy Yao)

Carolina Garcia wasn’t in the food industry before coming to Boston in 2015 from Caracas, Venezuela. She previously ran an engraving company, but through Nibble hit upon the idea of selling arepas, a cornmeal pancake wrapped around pulled pork, black beans or plantain, a handheld favorite back home thicker than but not unlike a tortilla. While other Venezuelans modify arepa dough with cheese or milk, she always favored a simple version using cornmeal, water and salt — a recipe that turned out to be a hit at fundraisers for her son’s school.

In the summer of 2016, she teamed up to run a Somerville food festival booth with longtime friend Carolina Salinas, who had moved to Boston a few years earlier. The two Carolinas found their cuisine was a hit with American palettes as well; they sold more than 200 arepas that day. “When we saw the lines, we wanted to cry for joy, but couldn’t stop because the two of us had to work fast to keep up,” Garcia says.

Together, the duo enrolled in Nibble’s entrepreneur’s program, and after that in the “Food Biz 101” program, run by Boston’s Commonwealth Kitchen. They won second place in a pitch contest held at the end of the course, and as their prize received pro bono consultations on licensing and business structure. Eleven months ago, Las Carolinas, as they call their venture, secured a license and since then have been negotiating with a local craft brewer to set up operations in the pub’s kitchen. In the meantime, Las Carolinas will vend arepas a few days a week in the Nibble Kitchen, once it opens.


Another program centered on helping artists establish paying careers is Denver’s Youth on Record (YOR), a nonprofit that offers free music and studio production courses to high school students as an incentive to finish school and get a diploma. The program was started just over 10 years ago by members of a local hip-hop group, The Flobots, which gained brief national success with the release of a hit song “Handlebars” in 2008. The organization focused its efforts on how to address a staggering 38 percent drop-out rate at Denver’s public high schools — a crisis that disproportionately affected the city’s Latino and African-American teens. Youth on Record garnered support from state and local agencies, including the Colorado Department of Education, A+ Colorado and Chalk Beat.

“An important part of truly creative placemaking is figuring how to keep artists in place, which in turn keeps vital cultures alive. We think we’ve found a balanced structure which allows artists to give back, and which keeps them [in the community].”

Youth on Record’s backdrop is a Denver that grapples with the companion ills of gentrification and a crisis of affordable housing, both of which have unfolded in several parts of the city over the last few decades. The Denver Foundation’s Horvath calls out one example in the Santa Fe district, formerly the center of the city’s Chicano community. Fifty years ago the city launched an urban renewal project which pushed out original residents to break ground on a community college campus. The gentrification of the area started picking up momentum nearly 20 years ago, when a district of art galleries publicized art walks on Fridays. And in Denver’s Five Points, long a majority African-American neighborhood, the recently dubbed RiNo, or River North Art District, has seen a more recent transformation as upscale restaurants, high-end housing and craft breweries have pushed rents and real estate prices skyward.

The underlying idea behind YOR is to offer classes in music production, performance, basic musicianship, piano and guitar as a means to lure back into classrooms students who had left high school or who were leaning toward quitting. Once enrolled, they could work toward earning diplomas or GEDs. The program not only teaches professional-level skills, but gives students access to a $2.2-million state-of-the-art media studio, which stays open six days a week.

Executive Director Jami Duffy estimates that 10,000 students have come through Youth on Record since its launch. The program is linked to nine schools in Denver and offers a series of programs at local public libraries as well. “We’re a social justice organization that seeks to inspire young people to organize in their home communities and take on civic engagement issues ranging from voting and planting gardens to healthcare,” says Duffy. “We’re about so much more than building music — I’d say our success rests on several pillars such as academics, mentorship and community activation.”

At the fourth annual Youth on Record block party, in 2018, Program Coordinator and Teaching Artist Devin Urioste plays drums, while YOR student Esperonza P. plays keyboards. (Photo by Stephanie Mathena Photography) 

The Youth on Record curriculum is divided into two parts. Half of the classes are held in nine public schools and treatment centers, which reach about 1,000 students annually, Duffy estimates. Youth on Record instructors work with students from 14 to 21 years of age and enrollees are typically students who are struggling to complete the necessary credits to graduate from high school. The course offerings are as varied as audio production, how to produce backing tracks or beats or basic music engineering skills, all of which go toward satisfying mandatory elective credits.

There are a fair number of classes that help students charge their creative muses as well including music fundamentals. Offerings such as creative writing for the composition of lyrics, storytelling through music and slam poetry help fulfill English electives. Students find the classes not only beguiling but cathartic as well. “Allowing a young person to share their viewpoints is a creative outlet the students [we reach] look forward to every day,” Duffy explains. “Allowing a young person to tell their own story gives them a sense of agency in both their own lives and in their community.”

A second curriculum of classes takes place after school at the world-class 5,000 square-foot recording studio Youth on Record has set up in the Denver Housing Authority’s recently opened Mariposa housing development. Duffy describes those as smaller workshops that accommodate maybe 10 students at a time. Classes concentrate on honing skills both in the studio and on an outdoor performing stage in the development.

Youth on Record has also opened special classes. The Deep Dive program is a nine-month fellowship awarded to 14 handpicked students who have graduated high school or completed a GED. Those students receive a stipend and work toward a capstone recording or performance project while taking classes that cover the business of music, artistic principles and even personal wellness.

Early on, Youth on Record’s faculty noticed that young women in the program felt intimidated by the boys’-club atmosphere that pervaded this program’s classes as well as the music industry at large. In response, directors devised a special track of courses open to female students, called Fempowered.

Duffy ties Youth on Record’s success to the program’s ability to help students realize their dreams to become artists, even as they witness firsthand how artists work and pay their bills. “One thing I think sets us apart is that we’re employing professional artists and musicians,” she says. “One hundred percent of our staff are local musicians, grant writers, operations managers and teachers who live in the community.”

A number of other Youth on Record faculty, in fact, came up through the program itself. Jesus Rodriguez, the organization’s program coordinator and an accomplished recording engineer, interned with YOR before coming on as full-time staff in 2016. Fempowered’s lead teacher, Mona Magno, who also goes by the stage name Monalicious, is an alumnus who also runs a local organization called FreeMusicForFreePeople (FM4FP), which hosts showcases and fundraisers. “I’ve been performing since I was 13, and Youth on Record helped me establish my professional presence even more,” she recalls. “I released an album with one-on-one support from Molina Speaks, who helped me put together my vision and approach.”

It was a watershed moment, says Magno. “My work here provides a full-time salary, and I feel devoted to my work,” she adds. “I’ve become more aware of social justice issues and I am bringing more of that type of content to the classroom. Magno says the faculty hold readings as part of professional development efforts that have featured the likes of “Pedagogy of the Oppressed,” “Borderlands” and “A People’s History of the United States.” For Magno, “It’s opened my lens to my and my students’ realities. It helps me serve them more, and offer more resources relevant to their experience.”

At an August 2018 event, reknowned cellist Yo-Yo Ma plays with members of the local El Sistema Colorado orchestra. (Photo by Ellen Jaskot)

Another instructor, Devin Urioste, is an artist who goes by the handle “Mace.” He began taking classes at Youth on Record in 2012, all while he was developing a personal visual-arts style inspired by the skateboarding circles he was frequenting. Youth on Record helped him finish high school. After graduation, he signed on as an intern to help run open labs and work as a co-teacher. He’s now working full-time, even while composing commissioned murals and preparing acrylic and collage works in mixed media for an exhibition at Rochelle Johnson Studio on July 6.

Duffy sees leveraging that lived experience as a critical aspect of YOR’s work, given how rapidly the cost of living in Denver proper has jumped as a result of development and climbing real estate prices. “An important part of truly creative placemaking is figuring how to keep artists in place, which in turn keeps vital cultures alive,” she says, adding, “We think we’ve found a balanced structure which allows artists to give back, and which keeps them [in the community].”


Questions about gentrification in many ways set some of the challenges urban creative placemaking faces in stark relief. Advocates debate how much utility or economic outcomes should serve as a yardstick of placemaking success, and mull over what lessons from a specific program can be applied in other communities. “We’ve known that the arts have a role and we have spent time helping policymakers grasp their significance in community development,” says Jamie Hand. “In the last 10 years, we’ve begun to get feedback from people on the front lines about what we need to address, particularly in relation to complex issues of race and equity.”

But Hand cautions that there may not be one quick fix. “How we think about replicability in this line of work — especially when it is so place-based and contextual — makes it risky to copy-and-paste a certain kind of project,” she notes. “It will take many more years to evolve the field in how to scale or replicate.”


Story by: James A. Anderson

Published on: June 10th, 2019

#TeachingArtistThursday Nomination Form

In celebration of these incredible artists, innovators, and change-makers, we are launching a new form to shine a light on Teaching Artists working in schools, communities, and beyond. This form gives YOU the chance to acknowledge the dedication and hard work of one or more teaching artists in conjunction with our #TeachingArtistThursday series.

Please answer the below questions, and you might just see a familiar face pop up on our social media channels. The first 20 Teaching Artists to be nominated will get a small gift from the Roundtable.

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

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.

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: