The New York City Arts in Education Roundtable is pleased to announce that its Board of Directors has appointed Kyla Searle as Managing Director. Searle is a writer, producer, curator, and educator. She has worked in arts education for more than 10 years in Oakland, Los Angeles, Chicago and, for the last six years, in New York City.
Arts Partnership Programs
The Department of Education Office of Special Projects has announced the 2016-17 cycle for arts partnership grants. The following are details and deadlines for the three initiatives.
Arts for English Language Learners & Students with Disabilities
Proposal deadline: Tuesday, October 11, 2016
The Arts for ELLs and SWD program supports new or expanded partnerships that create arts education opportunities for diverse groups of student participants, with a focus on English Language Learners (ELLs) and Students with Disabilities (SWD). Schools may request between $3,000 and $15,000 to support Blueprints-aligned, arts residencies designed to increase student achievement in and through the arts among diverse groups of learners, while developing, implementing, and documenting best practices in arts education. For application information, please click on the program guidelines below.
Proposal deadline: Tuesday, October 25, 2016
Arts Continuum fosters new partnerships that bridge arts learning between the elementary and middle school grades. Through this program, middle schools and their feeder elementary schools work together, in partnership with arts and cultural organizations to sustain and advance arts learning for students as they transition from elementary to middle school. Each pair of schools shares a grant of up $24,000 to support the development of innovative residency and curriculum plans to achieve these goals, along with the school-based arts residencies that will help bring schools’ curriculum plans to life. For application information, please click on the program guidelines below.
Arts + Family Engagement
Proposal deadline: Monday, November 7, 2016
The Arts and Family Engagement program leverages schools’ existing arts partnerships to create more family connections to the arts programs offered at their schools. Through this initiative, schools and their current arts partners receive grants of up to $5,000 for interactive family workshops or events that showcase students’ school-based arts experiences, draw connections between student art and other academic learning, and offer innovative art-making or learning experiences. By creating new opportunities to engage around the arts, this program helps students, family members, and the school community experience the power of arts education in the school setting. For application information, please click on the program guidelines below.
Click here for guidelines and grantee lists from previous rounds.
Note that applications come from the schools and not the arts organization partners.
LMCC, Manhattan’s Arts Council, has introduced a new program to support teaching artists and small arts orgs for projects in community settings. Grantees also receive $200 for PD – which could be used for Face to Face registration or RT membership!
After a year-long planning process LMCC has refocused its arts education funding to support projects and activities that take place in community-based settings such as afterschool programs, senior centers, and community centers through Creative Learning.
Creative Learning is a grant program designed to support and develop the capacity of Manhattan’s teaching artists and small arts organizations to provide in-depth, communitybased arts education and enrichment projects and programming to participants of all ages including youth, adults, and seniors.
The program aims to support effective and innovative approaches to artist-led, age- and skills-appropriate instruction outside of the school setting, as well as education-based approaches to participatory arts projects. Emphasis is placed on quality and depth of the creative process through which participants learn through and about the arts. Creative Learning strongly supports the payment of artist fees.
The program is comprised of two funds: City funds, provided by the New York City Department of Cultural Affairs’ Greater New York Arts Development Fund, and State funds, provided by the New York State Council on the Arts’ (NYSCA) Decentralization program. Funding is intended for artists and organizations that are not able to apply directly to the City and/or State for arts funding. Creative Learning often provides the first grant that an applicant receives, which can help leverage additional support.
The program is accompanied by technical assistance to applicants, and networking and promotional opportunities for funded projects.
Past Creative Curricula applicants, some important factors to consider when deciding whether to apply to Creative Learning:
- Creative Learning supports arts education and enrichment projects for all ages
- Activities supported by Creative Learning must be promoted to and remain open for public registration
- In-school, K-12 arts education activities are no longer supported
- This year, all Creative Learning applicants are required to attend an information session in the summer of 2016 before applying.
APPLICATION DEADLINE: SEPTEMBER 13 AT 5:00 PM
The NEA and NEH has announced that they are sponsors of a study on the integration of education in the sciences, engineering, and medicine with the arts and humanities.
WASHINGTON, D.C. — The National Endowment for the Humanities (NEH) and National Endowment for the Arts (NEA) has announced that they are sponsors of a National Academies of Sciences, Engineering, and Medicine study on the integration of education in the sciences, engineering, and medicine with the arts and humanities.
An ad hoc committee overseen by the Academy’s Board on Higher Education and Workforce (BHEW) in collaboration with units in the Policy and Global Affairs Division, the National Academy of Engineering, Health and Medicine Division, and Division of Behavioral and Social Sciences and Education will produce a consensus report that examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the humanities, arts, and STEM lead to improved educational and career outcomes for undergraduate and graduate students.
The committee will convene for its first meeting July 27-28, in Washington, D.C. Check out the meeting’s public agenda to find out more information about this meeting. To RSVP, please contact Ashley Bear.
The committee will produce a report that will summarize the results of this examination and provide recommendations for all stakeholders to support appropriate endeavors to strengthen higher education initiatives in this area.
The committee is chaired by Smithsonian Secretary David J. Skorton. You can find the full list of committee members here.
Over the past 50 years, the NEH and NEA has awarded many grants that utilize technology to preserve and present the humanities and the arts as well as promote the history of technology, medicine and engineering.
“We can’t grasp the experiential impact of technology without humanities-based questions and perspectives,” said NEH Chairman William D. Adams. “A holistic education provides students with a wide range of skills that better prepare them to enter the professional world.”
“The arts uncover possibilities that can help us solve complex problems in many different fields, from science and transportation to healthcare and education,” said NEA Chairman Jane Chu. “For this reason, seamlessly integrating the arts throughout our educational system is vital to preparing the next generation of innovators, industry leaders, and productive citizens.”
The Andrew W. Mellon Foundation is also sponsor of the study.
Reposted from the NEA website.
Chancellor Carmen Farina emphasizes the importance of the arts in school instruction.
Recently, Chancellor Carmen Farina delivered a moving speech at the Samuel H. Kress Lecture at The Frick Collection about the importance of the arts in school instruction. The audience included museum educators, teachers, professors, and teaching artists from the City’s premiere museums and arts and cultural organizations. The Chancellor spoke about the essential role of the arts in public education and the importance of partnerships like yours in providing a high-quality arts education to all of our 1.1 million students.
Chancellor Farina emphasized that the arts are an essential part of all students’ holistic education and discussed the five ways in which the arts play an essential role in public education:
1. Art for its own sake.
2. Art as an appreciation and execution of technical skill.
3. Art as a way of understanding historical context.
4. Art as a tool for democracy and responsible citizenship.
5. Arts as a career choice.
Click here to read full speech.
Addressing diversity in orchestras. New York Times article
By Phillip Lutz
After years of work and study culminating in an assistant conductorship at the Metropolitan Opera Orchestra, Kazem Abdullah decamped to Aachen, Germany, where he became the city’s general music director. Four years on, he has programmed and conducted a wide range of symphonic music and opera from the core Western repertory.
But Mr. Abdullah, 36, who was born in Indianapolis and grew up in Washington and Dayton, Ohio, said he would like to return to the United States next year after his contract in Germany is up. The only problem, he said, is that he is most likely to find his opportunities limited in part because of his outsider status as an AfricanAmerican, and a Muslim, in the world of classical music.
“There is greater openness in Germany,” he said over Thai food in Manhattan recently. “I had hoped that by working abroad and doing so well, that would translate into more opportunities from where I’m from.” “A lot of people say ‘diversity is great,’ and those are all nice taking points,” he added. “But as far as making sure the opportunities are given to everyone — that still falls quite short.
That is why he jumped at the chance when the Westchester Philharmonic contacted him more than a year ago about conducting Brahms’s Piano
Concerto No. 1 and Mozart’s “Jupiter” Symphony. The concert would provide the opportunity to conduct a firstrate regional orchestra in the core repertory, which he said some orchestras were patronizingly reluctant to offer minority guest conductors.
“It’s just a straight program,” he said. “That’s why I said yes. I love to do that.”
The concert, which will take place on June 19, will feature Alone Goldstein as soloist. Mr. Goldstein, a native of Israel, said that despite having played about 40 concertos in the past 27 years, he had not met Mr. Abdullah, and had performed under only one other AfricanAmerican conductor, Isaiah Jackson, with the Youngstown Symphony Orchestra of Ohio.
The lack of diversity in American orchestras is an issue of long standing, but it has gained fresh currency. The League of American Orchestras held a major conference on the subject this month in Baltimore, reporting that only 1.8 percent of members of American orchestras are AfricanAmerican and 2.5 percent Latino.
Read the full article here.
Excerpted from an article in the New York Times, June 17, 2016
THE ART OF TEACHING WRITING
By Lissa Piercy
The summer before my junior year of high school, I was diagnosed with ADHD. My executive function struggles made certain classroom experiences particularly challenging. While I loved learning and was quick to have an answer for the teacher’s questions, I was constantly being told that I was “too talkative,” had too many “side conversations,” or didn’t leave enough room for other students to speak up. Discussions, especially in English class, were exhausting and frustrating because I was constantly trying to force myself to stay engaged without over-participating. The classes I enjoyed most were taught by teachers who used creative lesson planning. In English class during my senior year, teacher Matt Fitz Simmons taught using multiple discussion techniques. In history class, Chris Lorrain split us into groups and led interactive activities. In these classes, my learning differences didn’t stick out, which made it easier to learn.
College proved even more difficult than high school, but eventually I received my AA from Landmark College, a school for students who learn differently; and my BA in social work from Wheelock College, where I did had an internship working with youth with disabilities. I also discovered spoken-word poetry, completed teaching artist training with the Massachusetts Literary Education and Performance Collective (MassLEAP), and began teaching workshops with young people.
It wasn’t until I started teaching this past fall that I connected my experience as a student with ADHD with my lesson planning practices as a teaching artist. I was performing at a high school assembly. My repertoire of “youth-friendly” poetry was limited at the time, so I decided to perform a poem I had written for a fundraising event at Landmark College. The poem explores my ADHD, my roommate Amanda’s dyslexia, and our experiences at Landmark. Here’s an excerpt:
The neurons in my brain needed to be taught of executive function
needed to be told that I’d been living without them
still need to be reminded
At Landmark, Amanda’s Dyslexia became best friends with my ADHD… It took us 20 minutes to come up with a study plan, three hours to execute that, and lots of red bulls to survive finals, but we got there
Maybe only because we met one another
Where else could the first words out of my mouth be, “Hey, what’s your LD?”
I later learned that mine didn’t really fit into the category, but I still fit in
Into classrooms where science professors tossed toys to my distractible hands, where we climbed rock walls during class, learned seven different ways to memorize for tests
where note cards were smart cards and time management was part of the curriculum…
Excerpted from an article of Teachers & Writers Magazine
Read the full story here
NYSCA creates online community for dialogue in different categories to enhance information and idea sharing
The New York State Council on the Arts has announced the creation of an online forum for the arts community in New York State.
The NYSCA Network is “a marketplace for ideas created for organizations, institutions, artists, applicants, and the public that the agency serves.” Created as a collaborative forum to share knowledge, build professional relationships, and spark innovation, NYSCA is urging the field to participate to make this a vibrant and effective network.
Arts in education and social justice in the arts are two of the 16 forums listed. The arts in education forum asks the community to “share with us your most successful arts education initiatives and any questions, issues or hopes you would like to discuss.” Join the conversation by clicking the All Forums link at the top of the page.
The New York State Council on the Arts is dedicated to preserving and expanding the rich and diverse cultural resources that are and will become the heritage of New York’s citizens.
Creating an Advocacy Plan that Works
By Caryn Cooper
See full version here
Over the past few months of 2016, I have noticed a few common themes in the field. One being able to effectively advocate for and in the arts. We are in an interesting time in the arts and education with this being a historic election year, the passing of the Every Student Succeeds Act (ESSA), and a shift in the awareness and appreciation of the arts in education, now is the time to really advocate!
This week I was able to attend the New York City Arts in Education Roundtable event called Face to Face. Through a series of panels, workshops, reports, presentations and networking, this annual conference provides participants with the opportunity to think deeply and learn more about arts education while discussing current challenges, opportunities, and answering key questions to help move the field forward.
One of the sessions I attended was entitled Creating an Advocacy Plan that Works for You. Co-facilitated by Jennifer Katona- Director of the Graduate Educational Theatre at City College and Jeff Poulin- Arts Education Program Coordinator for Americans for the Arts, they led an excellent workshop on understanding arts advocacy and how to create a powerful arts advocacy plan.
But what exactly does that mean, to advocate? Poulin defines advocacy as “building strategic relationships to effect change.” He talked about the Spheres of Influence that illustrates the power structure of putting students at the center of education and illuminates the possible relationships between stakeholders. I like this diagram because it shows where your role is, how your influence can directly influence others, and who makes decisions who directly influences you.
If you are interested in reading and learning more about the different roles one can fall in the Spheres of Influence please refer to The Arts Education Field Guide. This document, created by the Americans for the Arts, does a great job breaking down and defining the different players of the game on the federal, state, and local levels while providing information on the following:
A brief overview of the stakeholder and their role.
How they show support for arts education.
A list of barriers and challenges they may face.
Metrics of how they measure success.
Ways they partner to collaborate with others to show their support.
Where they receive funding and if they fund arts education.
The National Associations that they may be affiliated with.
The session then moved onto an action plan one can follow to create an advocacy plan that works for you. This plan asks you to think about the answers to the following:
What is your role as the advocate? (Are you the educator, the teaching artist, cultural partner, etc?)
Who are you advocating for? (Are you advocating for the students, the parents, the school, the community?)
Who are you advocating to? (Are you talking to the principal, school board, local elected officials, a funder?)
What is your hard ask? (What is your plan 3, 5, or even 10 years from now?)
What is your soft ask? (What are the immediate steps the person/group you are advocating to can do now?)
What is the research that supports your ask? (What are the studies, research, and reports out there that can strengthen your ask?)
What is a story to support your ask? (Do you have a touching story to share to show the impact of your ask? Remember data changes minds, but stories change the heart!)
Of course there is no one cookie cutter way to do this, and your role will constantly change based on the situation, but I personally found this information helpful in really understanding arts advocacy in terms of my role in the community and how we can work together to meet common goals, needs, and wants. I hope this information is valuable and helps you went advocating for arts education.
Washington Post article 2/22/16
By Moriah Balingit
Mariah Balingit’s article in the Washington Post shines a examines outcomes of arts integration. In this piece, the writer examines how teachers are using theatre, dance, and visual arts as a teaching tool for math and other subjects.
According to the article, a study by the American Institutes for Research found that students in classes headed by teachers trained by The Wolf Trap Institute through a program that pairs art teachers with early-childhood educators performed better on math assessments than did their peers being taught by teachers who were not in the program.
Researchers found that pre-kindergarten and kindergarten students in classes taught by Wolf Trap-trained teachers gained about 1.3 months of math learning in the first year over their peers. By the second year, they were 1.7 months ahead.
Researcher Mengli Song said the students in the program did not necessarily learn additional math content but they did demonstrate a better grasp of the material. And the effect was comparable to other early-childhood interventions.
Researchers followed students in 18 schools. In 10 of the schools, Wolf Trap Institute art teachers helped classroom teachers generate math lessons. In the other eight, teachers taught students as they normally would. Researchers administered math assessments to about eight students per class.
Teachers who were trained by the master artists and participated in professional development with Wolf Trap continued to use what they learned in their classrooms, even when they were no longer working with teaching artists, the study found. It demonstrated that a year or two of training could have a lasting impact.
Read the full article here.
Excerpted from an article in The Washington Post, February 22, 2016