Arts Intranet

Last fall, the Stuart Foundation invested in San Diego, and I’ve had the privilege of heading up our project which is a collective impact model we hope will be the arts education equivalent to “Got Milk?” It is called ART=OPPORTUNITY. And we want you to take advantage of it. Our campaign has many facets, including mentoring from the business community for VAPA coordinators, summits and anchor events, a teen/youth council, bilingual parent education, and arts integration boot camps. Our goal in the ART=OPPORTUNTIY campaign is to change public opinion from arts as fluff to arts as essential. And, the reason to change public opinion is to directly effect educational policy and budgeting decisions.

Mayors are on the front line of government. If there is a pothole, constituents don’t call the White House or the Governor’s Mansion; they call City Hall. In other words, the buck stops with mayors to provide services to the residents of their cities. So, what do mayors prioritize and/or worry about? Americans for the Arts’ partner, the National League of Cities, just published their 2017 State of the Cities report which analyzed mayors’ State of the Cities Addresses and catalogued the top issues. I was pleased, but not surprised, to see that “Arts & Culture” was one of the five Economic Development sub-topics.

Successfully working with children and teens living with cancer and other chronic, serious health issues takes a multi faceted, creative approach. This special population requires flexibility—learning photography in a rigorous out-of-hospital photography program like Pablove Shutterbugs (that has sometimes been compared to a high school level fundamentals course) may seem inconsequential for families who tirelessly care for their children in some of the most challenging life circumstances anyone could ever face. However, research has shown that the arts have the ability to unify and empower, and with cancer patients, the arts can be a critical piece to improving quality of life.

An amazing collaboration in the state of Maine occurred when the Maine Arts Commission enlisted Noel Paul Stookey (the famed singer-songwriter) of Peter, Paul, and Mary to champion the statewide arts education census. The year-long effort achieved a stunning 95% response rate—making it the highest voluntary response rate on record nationally for a survey of this type. Responding principals noted that an important outcome of the census would be to advocate for assessment polices for arts education in order to gather Maine-centric, rather than national, data points that demonstrate the impact of arts education on student performance.

As artists and arts educators, we are keenly aware of what it feels like to be under siege. Our arts programs are interwoven into the fabric of our communities, and even in the face of challenges continue to thrive. We can’t imagine our communities without our arts programs, and thus we have become masters at articulating their profound reach. It’s ingrained in our role as arts educators to fight for the importance, continued relevance, and impact of what we do. And what makes me particularly proud is seeing the inherent drive that emerges in my students when they’re tasked with defending the powerful influence of the arts in their lives.

All children deserve access to quality arts programming, which means that we must not only support in-school arts education programs across the board, but also prioritize schools in low-income neighborhoods and community-based organizations that specialize in mentoring these students outside of school. Serving every student also means providing culturally relevant and economically accessible opportunities in the arts for the overlooked and under-resourced youth between the ages of 14 and 18, especially if we are to create effective pipelines of leadership in the arts.

Instead of entering a community as a teacher and bringing a prescribed text or curriculum, I would enter as a learner. I needed to value the community and learn from them. I needed to connect with my students—to see their stories and experiences as equal to my own. To see my students for more than their perceived needs. I needed a new approach to arts education. So, I scanned the literature, and I found an approach that works with, and values, oppressed groups. It’s called an asset-based arts education, and it works in solidarity with the community. It is mutually beneficial and builds social capital.

Allow me to set the scene: while attending the 2016 Americans for the Arts Annual Convention in Boston, I received a text from a friend in my hometown stating that in a late-night meeting the day prior, the local Board of Education unexpectedly introduced and approved an unreasonably high new fee for all students wishing to participate in extracurricular drama programs. Today, after eight months of coordinating an aggressive advocacy campaign that succeeded in eliminating that same fee with the near-unanimous support of the same board members who introduced it, I aim to identify and share the 10 crucial steps and considerations that made this victory for the arts in Harford County, Maryland possible.

How do we speak to people who have never taken part in art education? If someone has not experienced the arts personally or effectively, words may not be able to explain their value. In order to speak constructively with opponents, we must provide an environment that cultivates the sharing of ideas. It just so happens that art exhibitions are the perfect venue for advocacy discussions. Art communicates in unique and non-literal ways, which facilitates an openness that allows people to form their own conclusions. Exhibitions provide opportunities to talk about curricular impacts through the work on display. Audiences can connect artwork with student educational experiences in direct and empathetic ways. And most importantly, exhibitions easily unite advocacy for art programs with advocacy for the most powerful evidence we have: the students themselves.

As a senior in high school, I will be attending my third National Arts Advocacy Day this year. For many students, the words “arts advocacy” make us feel small. Upon hearing that phrase three years ago, it sounded like something I was not old enough to know about. How can my voice matter in changing things so far above my power as a teenager? In school, we are taught to get the best education possible to become someone who can affect change, but often we aren’t told that, as kids, our opinions matter. When policy makers shape decisions about arts education, they are making decisions about us, the students. Yet for some reason, it is the students who feel as though they are out of place in a Senator’s office.

Preparing students who are “college and career” ready is a common goal for success for high school students across the nation’s school districts; “post-secondary readiness” is included as an indicator for school quality or student success in the Every Student Succeeds Act legislation. Our state education departments and local school districts all have working definitions and metrics for this readiness. So, how prepared are we, the arts education community, to engage in this discussion? Are we building solid college and career pathways in the arts with our higher education partners, institutions and employers? Are we engaging and supporting our families and students in understanding that the arts provide viable college and career opportunities?

When the Arts Education Advisory Council met in Washington, one week before Inauguration Day, there was a feeling of uncertainty in the air. In our meetings we speculated on how this new presidency might impact the world of arts and education. The threat to eliminate funding for the National Endowment for the Arts hadn’t been voiced yet. The furor over Betsy DeVos as Education Secretary was just beginning. There was a sense of urgency in our conversation this year. What should we be doing in our communities to help be pro-active? At the end of our three days together, we were committed to advocacy work as never before.

As a young theater artist, I could always be counted on to step up and make a passionate plea when arts funding was on the line. I shared stories about myself and my colleagues with my legislators about how the arts are fundamental to our humanity. I wrote about how the arts ennoble and inspire us, fostering goodness and beauty. While I have never abandoned these arts-for-arts-sake messages in my advocacy, I have learned that they are rarely stand-alone winners. Today, I augment these fundamental benefits of the arts with pragmatic ones—stories and research that connect the arts to what keeps our community leaders awake at night: jobs, economy, education, healthcare, and community development. The change in my approach has made me a more effective advocate.

We are truly in a new era in California Dance Education. With the passage of SB916, the Theatre & Dance Act of 2016, also known as TADA!, we as a community of educators and advocates have so much to celebrate. As I wrote here on ARTSblog last September, Dance Credentials had not been obtainable in the state of California since 1970—and now they’ve been reinstated again. Yet this hard-earned victory leaves our profession with a new set of questions. Here are answers to our most frequently received questions in the first month after the passage of the standalone credentials in dance and in theatre.

I was fortunate enough to be awarded Urban Gateways’ 2017 PROPS Award for my proposal “Claire’s Curious City Challenge.” Influenced by a phrase our organization often uses, “The City as a Classroom,” I am using the funds to embark on a yearlong mission to explore the exciting and diverse programming that makes Chicago a vibrant city. I see this challenge as an opportunity to learn more about the interesting work happening in the city, for both my own interest as an active member of the Chicago arts community and for the potential it has to inform future programming and partnerships at Urban Gateways.

I’ve been an artist since my earliest childhood memories, falling in love with crayons, paint, paper, pastels, pencils—anything I could get my hands on. I would create with reckless abandon. Slowly, as I got older, I began to learn how to become a better artist. I learned how to control the medium, hone the skills and techniques needed to make my art look like it was supposed to, how to follow the rules. Although important, I fell into the trap of focusing too much on the technique and final product rather than the process of creativity. I was not exploring the potential for creative discovery by breaking the rules! Here are my top 5 reasons how coloring outside the lines has helped me in business today.

Business needs a creative workforce to compete in the global economy. But our schools are locked into 20th century priorities. We are testing mastery of content when the Internet delivers content in 0.7 seconds. If the only public measure of a school’s progress is standardized testing, then schools have every incentive to “teach to the test.” With limited resources, teaching the arts is dropped, diminished, or dismissed.

Testing establishes the educational priorities. So, how do you measure creativity? How do you test for the A in STEAM? In Massachusetts, we began discussing the concept of a Creative Challenge Index.

While the economy seems to be on the upswing, with jobs increasing and unemployment down, one group is still falling behind: children. The rate of children living in poverty has gradually increased since 2008; currently, 20% of children are living in poverty. That’s one in five American children. This means that the citizens most at risk to deficient health, emotional, and cognitive development, and the poorest citizens of our country, are also the youngest.

We all know those hard working teachers who get up extra early and are in their classrooms long before students have arrived, preparing for the day’s lessons. These are the same teachers who spend their own money on extra supplies for their students. They stay after school advising various clubs to provide students more experiences in the arts. They go the extra mile to take their students on field trips to hear the local orchestra, or attend the art museum in their community. These are the amazing educators who love and care about the welfare of their students. How do we honor these individuals? I suggest an Awards Alternative.

President-Elect Trump has said, “…supporting and advocating for appreciation of the arts is important to an informed and aware society. As President, I would take on that role.” Americans for the Arts hopes for a White House and administration that supports the nonprofit arts community, the local and state arts support infrastructures, as well as independent artists and creative entrepreneurs. We will work hard to advance pro-arts policies and strengthen our efforts to transform communities through the arts. It is more important than ever that we use the arts to help the economy, our communities, families and children, and our nation to seek hope, opportunity, and ultimately to come together.

If you haven’t heard about the movement to place art within STEM curriculum, or STEAM, you’ve been missing one of the steamiest topics to hit the arts in decades. Essentially a catchy acronym for arts integration targeted at math and science, STEAM has ignited the imaginations of scientists, artists, and educators nationwide. Those on the outside of art and education may wonder: what does a STEAM program look like? Why do it? This blog offers a quick look into one such program steaming forward in the center of the Midwest.

This year, our Sweet Home Chicago also recorded its most violent and deadliest summer on record—with no end in sight. For too many of Chicago’s children, the wealth of opportunities this city provides is seemingly too distant to access due to the many barriers that remain in place.

I’m entering my third year on the council, and it’s been a valuable experience to grow in my field. It’s provided me the opportunity to meet and work with people from across the nation who focus on the same goals and face similar challenges. We have meaningful conversations about where we are and where we need to go—individually, as a group, and as a nation.

We know arts education levels the playing field and gives those without hope, hope; those without opportunity, opportunity. As arts educators, we must continue to promulgate the same messages over and over—to each generation, to each politician, to each school principal, to each parent. 

Not only can such programs nurture the creativity of kids without art education in school, but afterschool art enrichment is a powerful compliment to classroom learning, allowing the seeds planted in art class to grow and flourish over time. Put another way, informal art education is the practicum for the young artist-in-training! 

Not in my wildest dreams could I have imagined arts education would have resulted in a professional career enabling me to work with with renowned artists including Kennedy Center Honorees Arthur Mitchell and Yo-Yo Ma to plan and deliver arts education programs.

If I can pinpoint one thing #BecauseOfArtsEd—it’s that the arts is a connector, it’s the social tissue that binds us together, it makes us human. When I think about my life and my education, I can’t separate the arts from it.

"American Dance Corner" consisted of two lectures about American dance history with a focus on cultural diversity. The lectures were followed by choreography activities where the students expressed themselves in English and developed dance moves. The movement created was then assembled into a dance throughout series of four technique and choreography workshops in the rehearsal room at The School of Arts.

I’m attracted to the idea of thinking inside the box. A 2013 piece in the Wall Street Journal, Think Inside the Box, posits, “People are at their most innovative when they work within the constraints of what they already know.”

In the early eighties Benny was a sixth grade student in a New York State Literary Center program on Ancient Greece that integrated ancient Greek literature in English translation, as the inspiration for student writing, with the school’s Social Studies curriculum on Ancient Greece. As part of my two-month residency with sixth grades in two schools, I invited poet, Greek translator, and Harvard professor, Robert Fitzgerald to work with me for two days.