ARTS (CSA) - Cleveland.com
Transcription
ARTS (CSA) - Cleveland.com
CREATING THE MODEL CLEVELAND SCHOOL OF THE ARTS (CSA): A SYSTEMIC REDESIGN PLAN TO CREATE AN ARTS SCHOOL OF ACADEMIC AND ARTISTIC EXCELLENCE MAY 2014 Contributors: Mitchell Korn, Dr. Robert Horowitz, Yolande Spears, Dr. Dan Serig, Susan Stauter, and Dr. Rekha Rajan. Table of contents Forward and Executive Summary 1 Inventory and Findings 5 Recommendations 15 Implementation Plan 23 Budget 44 Appendix 46 A. CSA History Brief B. Technology Outfitting C. Ballet Class Observation D. Creative Writing Class Observation E. English Class Observation F. Playwriting/Theater Class Observation G. Theater Performance Observation H. CSA Observation Report I. Summary of Main Points from Interviews J. Music and Visual Arts Standards for Curriculum Development K. An Analysis of the Scope and Sequence document, State Standards for Fine Arts and the Department of Arts Education Strategic Plan L. Design Team Members M. Best Practices of Schools of the Arts N. An Overview of Arts-Integrated Education O. Project-Based Learning P. Performing Arts Trends, Implications and Careers Q. Emerging Trends in the Visual Arts, Media, and Design Fields and Careers R. Trends in College Preparation, Admissions and College-Going Culture at Four-Year Colleges and Universities S. Schools of the Arts T. AAC&U VALUE Rubrics U. Data Collection Instruments V. Interview list W. Arts School Network Conference X. Bios Forward and Executive Summary This study was contracted by Friends of Cleveland School of the Arts (FCSA). This was a stakeholder-driven research process with an articulated goal: to redesign CSA into a model and nationally noteworthy school of the arts that embodies the ideals of The Cleveland Plan for Transforming Schools. More specifically, this design process had the following goals in mind: 1. Providing a pre-professional arts experience for students interested in arts-related careers, and an educational home for students who are artistically-minded and who might engage in the arts as a lifetime interest; 2. Raising student academic and artistic performance measures to that of superior arts schools around the country and to college ready standards; and 3. Taking full advantage of the school’s prime real estate in the rich and vibrant cultural center of University Circle in both the design process and the ongoing pedagogy and operations of the school. “Creating The Model Cleveland School of the Arts (CSA): A Systemic Redesign Plan to Create an Arts School of Academic and Artistic Excellence” is a result of a yearlong stakeholder research process (April 2013 to April 2014). The methodology included school visits; design team meetings; a review of best practices focused on model schools of the arts, particularly those implementing artsintegrated education; an examination of district documents, including both forwardlooking strategic plans and others detailing arts education facilities and budgets over the past five years; interviews and focus groups with CSA and Cleveland Metropolitan School District (CMSD) administrators, arts and cultural organizations, parents, students and CSA teachers (see Appendix V for details); and surveys with CSA teachers (19), CSA students (11), CSA parents (22) and staff members of arts and cultural organizations that have partnerships with CSA (19). This was a process of listening, observing, creating primary data, studying recent and relevant secondary research, sharing ideas and soliciting feedback from numerous community members. A special group — entitled the Design Team and consisting of CSA faculty, arts organization leaders, educators, philanthropy and other CSA stakeholders — convened numerous times to provide our process with a wealth of guidance and ideas. For the time and valued experience of the Design Team, we are especially grateful. 1 This process was one of abundant research that has undeniable findings, common sense recommendations to redesign the current CSA, and capacitybuilding and accountabilities to sustain the recommendations: • CSA has numerous students whose dedication, talent, and love of the arts is awesome and breathtaking to behold. But most of them come to CSA unprepared in the basic fundamentals of their arts discipline to truly benefit from a superior arts education. • The audition process and pathways to CSA are skewed and lacking in transparency and fairness. Sometimes, highly motivated arts students are denied entry because of lower test scores and others are admitted who have no interest in the arts. Furthermore, 93 percent of all CSA students come from one school, “The Lower Campus,” proving CSA fails to function as a genuine school of choice for all CMSD students. • The faculty has a good number of teachers and counselors of excellence who are provided with little to no support from CSA and CMSD leadership. There are no “differentiation of skills” classes (except in Dance), and beginners and more advanced students sit side-by-side, slowing each other’s growth and progress. The faculty, likewise, feels abandoned and largely denied support and resources from CMSD, challenging their everyday efforts to provide their students with the superior arts and academic education they so fully deserve. • CSA students, faculty and parents complain about a lack of policy consistency and an absence of understanding of what an arts education requires. • Arts and higher education organizations have repeatedly attempted to work with CSA on comprehensive and sustainable programming, but are often denied the appropriate support and access. • CSA, except this past year, has shown little interest in how it compares to other national schools of the arts, and it remains one of the only arts schools in America that does not belong to the Arts Schools Network, a national organization of schools of the arts. This is demonstrative of the isolation of the school culture. • Despite the challenges of system support and leadership, CSA faculty, artistic leadership and students create and perform with commitment and motivation. The faculty works largely without the abundant resources that surround it within the arts and higher-education communities. Teachers, often through their own sheer will, create ad hoc opportunities with arts providers that are meaningful to their students. As CSA moves into a new building, this redesign plan recommends the following: 2 • CSA becomes a grades 9-12 high school consistent with The Cleveland Plan for Transforming Schools, furthering a choice system and array of high schools of excellence. • The new CSA will have an independent governing body, based on the High School of Medicine and Science, that incorporates FCSA board members into the governance structure. This will bring the historic commitment of the Cleveland community to the new CSA board, further the FCSA’s fundraising mission, and add expert knowledge from the arts, higher-education and business communities. • The leadership structure will change to reflect model school of the arts practices that support both academic and arts excellence. A head of school (with arts and school management experience), supported by both an academic and art dean, will create a superior leadership design. • A transparent, authentic and expert-driven audition and admissions process will replace the current approach and reach into every school and campus in CMSD. • Faculty will be selected from current faculty as well as from a pool of the best instructors, i.e., those with a deep knowledge of current arts practices and instruction and a commitment to team-building and the creation of a superior curriculum in partnership with the rich cultural and arts education resources and institutions that make Cleveland one of the great arts centers of the world. • Professional development (PD) will become a mainstay for faculty and partners. PD will maintain and grow professional standards, learning and instructional approaches, and technologies consistent with arts trends, careers and outcomes. • Curriculum outcomes will be consistent with and exceed Ohio and Common Core standards and be developed collaboratively with arts faculty and arts partners. The learning outcomes will stress experiential, pre-professional, higher education and/or career competencies. They will maintain the rigor and excellence that CSA students, parents, faculty, and the arts and highereducation communities expect and will support. Curriculum also will include integrated and project-based models that help the arts and academics support each other’s disciplines and concepts. • A Partnership System, created for both CMSD-wide efforts and CSA, will bring standards, accountabilities, organization and structure to the abundance of Cleveland art resources. 3 • University Circle will become part of the CSA campus, where students can explore, experience and build skill sets that build genuine pathways to careers and higher education. This plan also supports the FCSA efforts to build the Visual and Performing Arts Center (VPAC) as a valid and needed extension of its curriculum. A flexibly constructed VPAC will add immeasurably to the students’ authentic experiences. This will be strongly complemented by student and faculty work with arts and higher education organization venues, facilities, staff, experts, performances and exhibitions. The move into CSA’s new building in the fall of 2015 offers the opportunity to move forward with the systemic and systematic recommendations in this report. Support from CMSD leadership and high expectations for CSA faculty and leaders are critical. The following “Creating The Model Cleveland School of the Arts (CSA): A Systemic Redesign Plan to Create an Arts School of Academic and Artistic Excellence” includes research findings concerning the current CSA, recommendations, an implementation plan, timelines, budget estimates, and an appendix of numerous pieces of background reporting. Here, this reporting includes important recommendations about technologies, best practices in integrated and projectbased curriculum, comparative studies of schools of the arts, and more. There is some redundancy between this plan and our simultaneous “The Right of Every Cleveland Student to a Comprehensive and Authentic Arts Education: A Systemic Plan of Equitable Arts Education for the Cleveland Metropolitan School District.” This is necessary and also a reminder that this is one ecosystem of arts education. Both plans need each other in order for CMSD to have a complete system of arts education equity for all, with a model school of the arts for those with particular interest, motivation and talents. Acknowledgments: The contributors to this report want to thank the numerous respondents and interviewees during the yearlong process for their exceptional thinking, commitment, expressions and ideas. We appreciate the intelligent and passionate guidance of numerous stakeholders, particularly philanthropic, school, arts organization and arts education leaders. We also would like to express our gratitude to Katia Schwarz and Lori Joffe for successfully implementing the herculean task of creating meeting schedules and for bringing order to this complex process. We especially express our gratitude to members of FCSA, including Christine Bluso Kane and the FCSA board. And particular thanks goes to CSA students and teachers who so strongly expressed their needs and commitment. We also are grateful to The Gund Foundation’s Deena Epstein and Ann Mullin; The Cleveland Foundation’s Paul Putman and Helen Williams; CMSD CEO Eric Gordon and the district’s senior staff; and the resilient and faithful arts and arts education community of Cleveland. 4 Cleveland School of the Arts (CSA), Summary of Findings April 10, 2014 My only advice is to just remember to keep the students first in your planning, and design CSA to be a place where the students have the opportunity to learn the most they possibly can. I would imagine in large redesigns like this that there are competing interests that spring up from time to time. Just consciously keep the students’ needs in the front of your minds and you can't go wrong. — CSA parent I’m learning about myself, and not being judged, because everyone here is passionate about their art. — CSA student This summary of findings was obtained from surveys of 19 CSA teachers, 11 CSA students, 22 CSA parents and 19 staff members of arts and cultural organization staff that have partnerships with CSA; interviews and focus groups with CSA and Cleveland Metropolitan School District (CMSD) administrators, arts and cultural organizations, parents, students and CSA teachers; and observations of CSA classrooms. Leadership CSA needs stronger and more consistent internal leadership and more evident district leadership and support in order to become an exemplary school of the arts. There is a perception among CSA teachers that the district does not adequately support the school: There is no positive support. The “support” that exists is in the form of directives that do not take into account the character of the school and its particular needs. They are burdensome, inappropriate, and do more harm than good. — CSA teacher CMSD appears to be unaware of the potential of CSA if enough resources and staffing were provided. We are not a traditional school and cannot be staffed as if we are. We are not given the resources to be in a position to attract students and families with our academic programs, as we do with our arts opportunities. Families are drawn to us for the arts training, but leave our school because of the lack of academic resources, opportunities and course offerings. — CSA teacher 5 What support? The district keeps taking away teachers so that our jobs are increasingly more difficult, especially with class sizes. — CSA teacher Governance There is a clear need for better coordination among arts organizations, CSA and CMSD in order to provide more effective partnerships: We need a better connection between the district and CSA. Sometimes it seems as though they are operating independent of one another or not communicating with each other. — Arts organization staff [There should be a] centralized office that works with outside parties to help coordinate and communicate with the schools, teachers and classrooms. — Arts organization staff Faculty* There are many excellent and committed teachers at CSA who care deeply about the school and its students. However, there are some significant gaps in the availability and quality of arts and academic offerings: The greatest strength in the curriculum is the staff. Teachers bring knowledge of their subjects and from that they craft learning experiences for students. This is true in all subject areas but especially true in the arts. — CSA teacher There are not an adequate number of arts teachers at CSA to provide the kind of instruction expected by an effective high school of the arts. There also are gaps in some key academic areas. * For a deeper look, please see the appendices, which include classroom observations, a historic overview of the school, summaries of interviews with past and present CSA officials, and more. Admissions and Auditions A disproportionate share of CSA students come from CSA Lower School. There is a need to broaden the application process while also making CSA more enticing to Cleveland families by building stronger 6 relationships with CMSD K-8 schools, strengthening CSA academic offerings, improving the college preparation and application process, and ensuring a transparent and consistent audition and admissions process. There is a lack of transparency and consistent standards in the audition and admissions process: A healthy, scrutinized audition process with representation from all of our Cleveland neighborhoods will provide the great example of the diversity that exists in our city. — Arts organization staff CMSD K-8 schools are not developing sufficient skills in the arts to position themselves for admission to an exemplary high school of the arts: [We need to] get students at the elementary and middle school levels in a better position to prepare and be ready for a school of the arts. — Arts organization staff CMSD students are not developing the necessary skills in the arts in K-8 schools. Resources and programs are unevenly implemented, underfinanced in the arts and disconnected from the CSA admission process: If the district would like the schools to ready young people for a performing arts school, then we need to put some resources in the schools, K-8 or K-5, to get those students ready, to prepare them, to feed their love [for the arts], instead of not feeding them at all. — CMSD principal Overall, schools do not have adequate arts staffing, funding and systemic support. With some exceptions, students are not developing the foundational skills needed to succeed at CSA or continue to study the arts at other schools: It’s a hard pill to swallow when you’re being considered as a PASS (Premier Arts Specialty System) school, as an arts program school, and you don’t have the human resources in your building that are aligned to introduce the students to arts. — Principal Students in CMSD K-8 schools need more instruction from arts specialist teachers and arts partners, so that they have the requisite skills needed to attend a redesigned CSA: CMSD could connect arts and cultural organizations with elementary schools to have students exposed to a broad range of arts before they get to high school, so that they would be more prepared for CSA. — Arts organization staff 7 CSA Lower School does not provide a good foundation in various art forms and can’t maintain a successful relationship as a CSA feeder school. However, the admission process must be broadened beyond CSA Lower School to truly represent opportunities for all CMSD students. Some current CSA students felt well-prepared to attend a school of the arts: I was brought up on classical music. Trumpet. Piano. — CSA student But many other students did not feel adequately prepared: I had no music in elementary. Learning how to read now. — CSA Student I think when I came here I was not prepared at all. ... At my old school there was no art education. — CSA student I didn’t feel prepared, but I was confident. — CSA student Curriculum Keep tying curricula to passion. It leads to the excellent engagement between students, teachers, administrators, staff and families. — CSA parent We observed CSA classes, spoke with students and asked them to respond to surveys. The students are wonderful. They want to work hard. They appreciate their school and the opportunity they have: Every CSA student who has come to work with us has been passionate and disciplined. They are inspired to become artists. — Arts organization staff But students need much more time in their art disciplines if CSA is to become a national exemplar of a high school of the arts. There is also a need and desire for pre-professional and professional training, private lessons and arts business skills. CSA is resource poor. That is impacting the curriculum, limiting 8 students’ opportunities to explore and excel, and limiting teachers’ options for the kinds of learning that should be available in a leading school of the arts: CSA should have a rigorous and creative environment where students receive the highest level of training in the arts and in academic subjects so as to be college-ready … and a curriculum that takes full advantage of Cleveland's arts organizations in a coordinated, focused way. — Arts organization staff Arts classes at CSA are seen as stronger than academic classes: The arts courses definitely have the greatest strength. There are more resources for the arts curriculum. — CSA teacher In the years I’ve been at CSA, the arts staff has been relatively stable while the academic staff has changed over. The arts staff functions as a team that works very well together. We have institutional knowledge of CSA, CMSD, local arts organizational partners and colleges, and have a deep understanding of our students, their families and community. — CSA teacher My vision is to provide our students with an outstanding academic education as well as their arts education. At this time, our academic program lags far behind the arts curriculum. Our students must be prepared to enter top undergraduate institutions, whether in the conservatory or an academic program. — CSA teacher CSA teachers, administrators, parents, students and partners would like to strengthen the CSA academic curriculum and increase high-quality offerings in the arts: We should offer students an excellent arts and academic experience. We should fully utilize the facilities and artists of Cleveland’s finest arts institutions. Likewise, we should utilize the academic community [to create] partnerships with local businesses, hospitals and universities. Presently we have some partnerships, but not enough. The curriculum should be highly demanding [and] designed to create a learning community that engenders deep, critical thinking; creativity; responsibility and accountability; mutual respect and support; a profound work ethic; and artistic excellence. — CSA teacher CSA parents consider the current CSA to be deficient in math, science, and foreign languages. Unless these subjects and other academic areas are strengthened, CSA students will not be sufficiently 9 competitive as college applicants, and CSA will be limited in its ability to attract top Cleveland students and their families: There needs to be a strong math and science emphasis and teachers need to be well trained and consistent. There also needs to be a stronger emphasis on foreign languages. My daughter should not have to rely on [Cuyahoga Community College (Tri-C)] to complete her language requirements for colleges. — CSA parent I would recommend a complete overhaul in the areas of math, science and foreign language. — CSA parent CSA students also viewed the academic offerings as weaker than the arts instruction: Thought it would be different. Thought if I slipped academically I would be kicked out. I don't think there are any academic standards. — CSA student There are a lot of students on academic probation but nothing happens to them. — CSA student We raise our standards and we get better students. The extra load won’t hold us down. It will raise us up. — CSA student There should be more foreign languages. Like Spanish, Latin, French. And different levels of a language. — CSA student Parents told us that they want more instructional coordination, higher quality teaching and better supervision in academic areas: [There should be] more individualized instruction focused on addressing each student’s educational strengths, weaknesses and needs; peer-to-peer mentoring that pairs outstanding teachers with less capable ones; [and] frequent opportunities for peer-to-peer mentoring and group collaboration among students. Allow teachers to only teach subjects [in] which they themselves have attained a high level of mastery. Immediately address poor teaching in whatever ways are necessary and effective to ensure that every student receives an outstanding education. — CSA parent 10 CSA needs to increase the number of Advance Placement courses and other rigorous academic offerings: I feel confident that the academic teachers recognize that there are lacking areas, and the one that comes up repeatedly from the arts faculty as well as the academic faculty is the lack of Advanced Placement courses. — CSA staff I would really like to see our students have access to AP English classes, have access to some more advanced math courses. I would like to see our students have integrated lessons where everybody is teaching something around the same topics at the same time. — CSA staff There is little integration between academic subjects and artistic disciplines. CSA has a unique opportunity to develop true interdisciplinary and integrated instruction with the help of partnerships with arts and cultural organizations: Maybe not everybody, but there’s talk of project-based learning that happens school-wide, where everyone in the school building is working towards the same goal, regardless of what the academic subject is, and regardless of what their arts discipline is. — CSA staff The length of the school day and scheduling restrictions present obstacles to providing sufficient arts and academic offerings: Scheduling is not conducive to sequential instruction in the arts. There are not enough hours in the current school day to give the students everything that they need in order to be successful in the arts. — CSA staff CSA students are ready for the challenges of a world-class art school. That’s not to say they have developed all of the requisite skills they need to succeed, but that they demonstrate a willingness to work hard, to ask questions, and to genuinely care about their education. However, the uneven quality of pedagogy at CSA restricts — even negates — the positive energy and urgent sense of purpose displayed by the students. CSA students need more time working within their art from, more arts course offerings, and more substantial connections to the exceptional arts and cultural resources that are in such close physical proximity, but so far away in influence. Students need to learn skills in a variety of media with relevant subject matter that challenges them to contextualize their work within the past and present. They need to see artists at work. They also need to be exposed to a wide variety of works — in-person whenever 11 possible — and to engage in critical discussions about the works. They need to listen to professionals discuss works, and they need to read criticism. Students need to feel they are part-owners of the cultural institutions and agents in making culture in Cleveland. Being a part-owner carries responsibilities, as well, and from what we have observed, the students are quite ready and willing for this level of participation. When asked, students could be quite critical about the need for more arts opportunities: Music theory should be a necessary class for both instrumental and vocal. ... And music history. — CSA student We need full-time private teachers for private lessons. — CSA student This is not an arts school. Does it feel like it? — CSA student According to survey data, parents have more confidence in the arts programming than in the academic programming at CSA. It is striking that less than 5 percent of parents “strongly agree” that their children are getting a strong and effective academic education: ARTS AND ACADEMIC SKILLS SA A N D SD 63.6% 22.7% 4.5% 4.5% 4.5% Arts education at CSA is strong and effective. 50% 36.4% 4.5% 4.5% 4.5% My child developed strong academic skills at CSA. 4.8% 57.1% 9.5% 19% 9.5% 50% 13.6% 18.2% 13.6% My child developed strong skills in his/her art form at CSA. Academic education is strong and effective at CSA. SA = strongly agree A = agree N = not sure 4.5% D = disagree SD = strongly disagree Career and Higher Education Preparedness College, university, conservatory and career preparation is seen as weak and ineffective. Parents and students want more course offerings, a stronger curriculum and more support for college applications: I am of the opinion that both the arts and the academic offerings are very weak, and that many of our students have no idea how much they're missing until they graduate and attempt to be successful at university, whether it’s an attempt to get in, or get scholarships, or any of the remedial work that needs to be done to get them up to speed academically or artistically. I just don’t think that the students even know. — CSA staff One of the things we are missing academically is a lack of electives and honors classes. My daughter is going to Tri-C to help make her a stronger candidate. — CSA parent 12 Parents and students also want more opportunities for partnerships, internships, mentorships or other authentic work experiences to prepare for careers in the arts, arts-related industries, or other fields where they could draw upon the personal skills developed through intensive arts study: We want to make sure students have options and entrepreneurship and we don't have them here. Other schools have career components but we don't have them here. How do you get a job? How do you find your way? — CSA parent Survey results clearly indicate that few parents “strongly agree” that their children are receiving adequate preparation for college application and study: COLLEGE PREPARATION CSA has helped my child effectively prepare for college applications. CSA has helped my child develop skills necessary for success in college. SA = strongly agree A = agree N = not sure SA A N D SD 9.5% 23.8% 38.1% 14.3% 14.3% 5% 30% 30% 15% 20% D = disagree SD = strongly disagree Resources and Facilities The resources and facilities are inadequate for a successful and exemplary high school of the arts. Very few parents “strongly agree” that resources, materials and facilities were adequate for their children’s education: SA A N D SD CSA resources and materials were adequate for my child’s education. RESOURCES AND FACILITIES 9.5% 47.6% 4.8% 23.8% 14.3% CSA facilities were adequate for my child’s education. 4.5% 36.4% 13.6% 31.8% 13.6% SA = strongly agree A = agree N = not sure D = disagree SD = strongly disagree Partnerships There is a need and opportunity for much stronger partnerships with Cleveland’s arts and cultural organizations. There is also a strong desire by arts organizations to initiate partnerships or strengthen their current collaborations with CSA: The one program we did was extremely well supported and received by students and faculty. They want more — give us the opportunity! — Arts organization staff 13 Arts organizations want to learn how to best serve a redesigned CSA: Frankly, our greatest challenge is of our own making: inertia. We are looking to re-evaluate all aspects of our support so that we really are aligned with the arts and education mission of the school and the needs of the students. — Arts organization staff Currently, there are no clear guidelines for creating and sustaining collaborations and partnerships with CSA: We have not found the right path to communicate the potential relevance of our programs to CSA. — Arts organization staff Cleveland’s arts and cultural community believes that they have the ability, and the responsibility, to be partners in the development of a national model for a highly successful high school of the arts: We must focus the arts and academically related institutions in the community to using CSA as an example of what can be done when the community gets behind a single school and transforms it into the fully dynamic educational instruction that it has the potential to be. — Arts organization staff [We can have] a nationally-recognized school that matches the level and quality of the arts organizations in Cleveland. We have some of the world's best orchestras, museums and artsrelated universities. Why shouldn't our arts school match that? — Arts organization staff 14 15 OVERVIEW The development of the new Cleveland School of the Arts (CSA) follows recommendations from Cleveland’s Plan for Transforming Schools (Cleveland Plan) and the Cleveland Metropolitan School District’s (CMSD) “portfolio school” strategy. The Cleveland Plan seeks “to ensure every child in Cleveland attends a high-quality school and every neighborhood has a multitude of schools from which families can choose.” The new CSA responds to the Plan’s call to grow the number of high-performing district and charter schools and seeks to take advantage of the transfer of more authority and resources to schools. Within the portfolio system and in concert with Cleveland’s Plan, an arts high school will be attractive to parents and students because it’s a proven means of preparing students for higher education and careers inside and outside the arts. Furthermore, at the core of Cleveland’s Plan is a “fierce sense of urgency” as “global competition demands that students in Cleveland build the knowledge, skills and attributes that position them to be successful and competitive in the 21st century global economy.” Arts education’s proven benefits of critical thinking and problem solving; oral communication and teamwork; literacy and language development; creating comfort and familiarity with global diversity; and leadership and entrepreneurial development are the very skills sought in the global marketplace. This plan for the new CSA and the CMSD Arts Education Blueprint are in synergy. In order to have a great arts high school, Cleveland has to have arts for all across the district. The blueprint gives every child the opportunity and ability to apply to CSA and all the benefits that a top-notch school of the arts will provide. As such — while we are calling for the redesigned CSA to be a high school versus the current 6-12 configuration — that can only happen when CMSD becomes a committed arts education district as outlined in our companion report for the district as a whole, to ensure that more students obtain the skill set needed to be admitted. Note: Please see Appendix A for a brief historical overview of CSA. 1. MISSION AND OBJECTIVES CSA’s mission and objectives should reflect a desire for unparalleled excellence in both arts and academics. A primary objective should be to create authentic pathways to careers and/or higher education. The school must ensure equitable access opportunities for all Cleveland students by using a transparent, rubric-based admission and audition process. The school’s culture should be one of compassion, support, high expectations, remediation and acceleration. 2. LEADERSHIP A pyramid-like structure, featuring a head of school, executive director or president with an academic dean and an arts dean, is recommended. The head of school, executive director or president should have a strong artistic background, ideally both professional experience and a post-graduate degree; should have school leadership experience; should be charismatic and comfortable in a “face of the school” role; and be a successful fundraiser and public speaker. The head of school position needs to be filled first and foremost. Only then should the arts and academic deans be phased in. CSA Redesign Executive Summary May 2014 ◆ Page 16 The quality of a school of the arts is inexorably linked to the quality of its faculty. The arts faculty should be selected by the head of school and consist of licensed teachers supervising a staff of professional artists and arts partners. The academic faculty also should be selected by the head of school, and most often are certified teachers. Nearly all schools of the arts report that the pyramid-like organizational and leadership structure creates balance between the arts and academics, and high levels of accountability. The resulting organizational structure appears as follows: Note: An effective dean of the arts cannot also be responsible for other district initiatives, such as the All-City Arts program. For an extensive overview and analysis of All-City Arts, please see our companion report on CMSD arts education as a whole. 3. GOVERNANCE The new CSA should be guided by an independent governing authority — replicating the John Hay School of Science and Medicine model — with representation from stakeholders drawn from business, arts-related businesses, arts organizations, higher education, government, philanthropy, students, parents and faculty. The notable history, determination and ongoing support of Friends of the Cleveland School of the Arts (FCSA) are keys to the CSA’s CSA Redesign Executive Summary May 2014 ◆ Page 17 sustainability. This new governance model calls for an integrated “friends” committee within the new governing authority, with FCSA representation transferring to the new board of directors. The FCSA board should be the backbone of the new CSA board. The committee should continue and expand FCSA’s investment, fundraising and focus on students’ needs for technology, private lessons, pre-professional experiences, summer arts camps scholarships, mentorships, scholarships for higher education and more. 4. FACULTY CSA should identify specific faculty who have ensured a mutual respect and acceptance of all students for a continued role in the new CSA to ease the plan’s transition while being mindful of the importance of change, the plan’s desired outcomes, and their ability to adapt and grow. Fully staffed faculties of academic teachers who exhibit interest and have experience with the arts, and licensed arts educators with strong professional credentials, should be at the core of the new CSA. Faculty qualifications should also include knowledge and passion for student engagement and up-to-date experience in professional standards and trends. CSA licensed staff members are augmented with a substantial number of teaching-artist faculty members with up-to-date professional and production knowledge with demonstrated pedagogic/teaching/learning skills. 5. PROFESSIONAL DEVELOPMENT (PD) Effective and ongoing PD is a critical success factor for arts-integrated education initiatives, and should be implemented at the CSA. Successful PD is marked by enjoyable, hands-on experiential training during which teachers become students and see for themselves how what they’re learning works, and how they can implement it with their students the very next day. PD should focus on creating familiarity and comfort with the arts; direct participation with art forms and their materials; and artistic expression where participants actively create art in various forms, styles and periods. Ongoing PD strategies engage teachers in aesthetic studies; and, most importantly, reveal the relationship between arts processes, content and materials and classroom instructional priorities. Artist training provides PD for artists working in schools and communities. Artists learn how to present their art forms within the context of childhood developmental needs and multiple learning styles. Artists learn skills in repertoire selection, classroom management and participatory and presentational approaches. Artists also learn about the relationship between their art form and its elements and the most important instructional needs of students and teachers. 6. ADMISSIONS AND AUDITIONS CSA’s student body should reflect the rich diversity of Cleveland students in terms of geography, race, ethnicity, sex, income, special education and English Language Learners. Admissions to CSA must be based on a transparent admissions process that largely aligns with CMSD’s high school enrollment processes and timing, including seventh and eighth grade shadowing opportunities, parent/student open houses, participation in the high school fair, an initial interest form, a pre-screening online application, and a rubric-based, arts-specific CSA Redesign Executive Summary May 2014 ◆ Page 18 audition process. Designated CSA teachers and teaching artists should provide preparation for auditions and admittance procedures in advance of yearly auditions through extended-day arts academies. CSA should hold at least two audition sets, per arts major, per year. This permits students to re-audition and reapply. Students’ demonstrated motivation, dedication and potential should be strong considerations in admissions. There should be a dedication in the admissions process to find “diamonds in the rough” and a risk-management consensus to give motivated students with dedication an authentic chance to find themselves at the new CSA. 7. CURRICULUM AND STUDIES CSA curriculum and course of study should be balanced across arts and academics, and all coursework (arts and academic) should be based in pre-professional and professional standards and meet college and career readiness goals. Academics should stress engagement, interpretative and comparative studies, project-based learning and arts concepts integration as a bridge to excelling in sciences, math, history and all other academic areas. Integrated curriculum, formalized as part of seminars and academic and arts subjects, should be built upon repertoire/art works and their authentic interpretative, historical, social, economic, literary and technological intersections. 8. ASSESSMENT AND ACCOUNTABILITY/ENCOURAGING, SUPPORTING AND SUSTAINING CHANGE Accountabilities and assessment must be structured for every component and reviewed at regular intervals, with yearly reporting and adaptions. CSA should be a transparent lab where parents and stakeholders can see the effectiveness of arts education. CSA will lead by example for the inclusion of arts education throughout the school system. The goal is to have parents pressing principals and other district officials for the inclusion of arts education for their children. An advocacy campaign linked to the CSA redesign and CMSD Arts Education Plan that uses student works and accomplishments; independent assessment results; multimedia; web; and corporate partners will all help maintain momentum and interest. The new CSA governing board should consider the creation of additional endowment funds for growth and operating costs in the case of economic hard times. Effective communication between partners and CSA governance will create a school of excellence. Leadership, compassion, stakeholder transparency and the willingness to continue to adapt and change will make for a new CSA that Cleveland and its youth so justly deserve. 9. SCHOOL DAY/SCHEDULING/SUMMER School day schedule recommendations are: 9 a.m. to 5 p.m. or, preferably, 10 a.m. to 6 p.m. This schedule should be accomplished to the extent possible using the new flexibility in staffing schedules as well as creative partnerships with arts organizations. CSA should use a “bell schedule” that starts and ends each day with arts majors. Academics should encompass the later morning to middle afternoon hours. Bell schedules provide dedicated and deep learning time for students’ study of an art form, and encourage full-day attendance. This schedule affords AP courses, electives, study halls, college-credited courses off-site and a standard of four hours of study per day with students’ individual art forms. CSA Redesign Executive Summary May 2014 ◆ Page 19 Summer should be viewed as part of the school year. Otherwise, economic challenges preclude numerous students from continuing their study, which is a critical part of career and higher-education readiness. Paid apprenticeships and internships with arts and business organizations connected to their arts discipline and scheduled with project-based work and private/group lessons can comprise summer curricula. Internships/apprenticeships may also be effective on weekends. Summer camps that send scholarship students to other locales maintain and improve student skill sets, interpersonal abilities, repertoires and technological skills, and expand the students’ interest in higher education and/or careers. These are important to raise CSA’s and its students’ profile. 10. SCHOOL CULTURE Compassion, empathy and cultural diversity must be central to CSA’s school culture. The welcoming and loving student-centered CSA culture is something to preserve and protect during the transition from the old to new CSA. Watchful care will be required to ensure active discussion among governance, stakeholders and partners to support changes to personnel, systems, faculty, leadership and students. Communications by administration with parents, students, partners and stakeholders is an essential feature of school culture and should be strongly supported and instituted using technologies, productions, community meetings and media. CSA’s school community should be one in which no student can fail, where everyone shares a deep commitment to one another’s success, where faculty motivates and inspires students, and where student voice is embraced in shaping the design and direction of the school. 11. THE FACILITY AND UNIVERSITY CIRCLE AS THE CAMPUS The new School of the Arts facility and surrounding property should be an extension of its curriculum, with the building used in the evenings, on weekends and over the summer for and by CSA students and the surrounding community for community service and performances. Students should perform/show original works and important repertoire on the stages and galleries of University Circle (UC) and the greater community. The design for the new CSA shared in December 2013 (because of state funding requirements) lacks appropriate pre-professional/professional resources for authentic arts training. As such, the school should work with neighborhood partners. The proximity of UC institutions and facilities will become essential to the new CSA’s success. The proposed Visual and Performing Arts Center (VPAC), a project of the Friends of Cleveland School of the Arts (FCSA), is an important response to lack of authentic performing and visual arts facilities in the CSA architectural design. Because of the limitations of state funding, the new CSA will lack important facilities for rigorous student training in the pre-professional arts. The facility of a school of the arts is an important extension of its curriculum. While students will benefit from working in the professional facilities of partner UC and city-wide institutions, it also is important to seriously look at travel times, weather factors, liabilities and student productivity as part of the facility question. The new CSA will require, during the capitalization and building of the VPAC, the generosity and cooperation of nearby institutions where students can mount, rehearse, produce and learn. And these same facilities can remain as sustainable opportunities for students to develop pre-professional skills once the VPAC is constructed. CSA Redesign Executive Summary May 2014 ◆ Page 20 The design and involvement of the new Visual and Performing Arts Center (VPAC), currently in planning by FCSA, will benefit greatly by the close consultation and involvement of arts facility expertise at UC. The current design requires significant initial capital expenses. The sustainability of the building, its purpose and its mission is at the center of CSA’s future success and we without hesitation support its construction and ongoing lasting support. We believe the concept and practicality of the building are fully sustainable. Technologies and Resources: There are inadequate plans to provide students with individual as well as classroom resources (instruments, art supplies) and technologies consistent with pre-professional and professional standards. Tablets for students and classroom hardware and software (desktop computers, soundboards, video and image editing software, light boards, video cameras, audio recording equipment/software, and more) should be a part of the everyday practice of a student of the arts. The CMSD will need to allocate appropriate startup expenses to ensure the successful launch and continuation of the new school. Please see Appendix B for more detailed technological recommendations. 12. PARTNERSHIPS The purpose of varying partnerships is to help CSA build arts education capacity and infrastructure; and enhance arts and academic opportunities and experiences for students. Partnerships for CSA will closely reflect the much larger CMSD Arts Education Blueprint partner strategies. The partnerships will be small and discrete reflecting a school population of approximately 775. CSA partnerships will need significant and compensated planning, mutually articulated services and responsibilities, facilitation in their formulation and design, and careful evaluation for alteration and adaptability. We recommend a number of different kinds of partnerships: 1. Separate and coordinated arts-specific partnerships for vocal music, instrumental music, visual arts, dance, theatre, literary arts, multi-arts production and technology, media arts, world music and jazz, and business and entrepreneurship of arts to create “pipelines” to skill sets, artistic development and higher education/career opportunities. 2. Multidisciplinary partnerships that comparatively use their repertoire/collections/artistic practices as a means of study. Ethnographic approaches, interpretation, history, criticism, thinking and creating are all possible components. 3. Career academy partnerships where institutions with high-level artistic practice, curatorial expertise and established pathways to higher education and careers establish after-school services of skill-level differentiated lessons, projects, performances/shows and mentorships. 4. Professional development partnerships built around higher education institutions and arts partners’ education expertise provide professional development to CSA teachers, teaching artists, school leadership and arts partners. 5. CSA project-based arts partnerships built upon neighborhood/community needs, creation of productions, serving community constituents, and other worthy servicelearning goals. 6. Special needs partnerships bring together arts, social, medical and community resources to assist special needs learners in and through the arts. CSA Redesign Executive Summary May 2014 ◆ Page 21 7. Medical community partnerships with the Cleveland Clinic and University Hospitals, which have significant arts resource programs and devotion to the community. The hospitals are very unique in that they have art collections, shows, performances and even arts staff. There are no other school arts programs that have such partnerships with the medical community, so this presents a unique opportunity to learn from their expertise in the arts, commitment to arts in healing and to involve their resources in an effort to turn STEM (science, technology, engineering and mathematics) into STEAM (adding arts). CSA partnerships require a transitional training/development facilitation to develop current resources from largely transactional programs to ongoing, engagement-based and transformational relationships. All partnerships should be dedicated to providing authentic “pipelines” to arts industry pre-professional and professional experiences and opportunities. Arts providers will participate in PD concerning arts pedagogy; varying learning styles and the developmental needs of CSA students; best practices in inquiry; and interpretation-based interaction of CSA students with arts and arts processes. CSA Redesign Executive Summary May 2014 ◆ Page 22 23 OVERVIEW The development of the new Cleveland School of the Arts (CSA) follows recommendations from Cleveland’s Plan for Transforming Schools (Cleveland Plan) and the Cleveland Metropolitan School District’s (CMSD) “portfolio school” strategy. The Cleveland Plan seeks “to ensure every child in Cleveland attends a high-quality school and every neighborhood has a multitude of schools from which families can choose.” The new CSA responds to the Plan’s call to grow the number of high-performing district and charter schools and seeks to take advantage of the transfer of more authority and resources to schools. Within the portfolio system and in concert with Cleveland’s Plan, an arts high school will be attractive to parents and students because it’s a proven means of preparing students for higher education and careers inside and outside the arts. Furthermore, at the core of Cleveland’s Plan is a “fierce sense of urgency” as “global competition demands that students in Cleveland build the knowledge, skills and attributes that position them to be successful and competitive in the 21st century global economy.” Arts education’s proven benefits of critical thinking and problem solving; oral communication and teamwork; literacy and language development; creating comfort and familiarity with global diversity; and leadership and entrepreneurial development are the very skills sought in the global marketplace. This plan for the new CSA and the CMSD Arts Education Blueprint are in synergy. In order to have a great arts high school, Cleveland has to have arts for all across the district. The blueprint gives every child the opportunity and ability to apply to CSA and all the benefits that a top-notch school of the arts will provide. As such — while we are calling for the redesigned CSA to be a high school versus the current 6-12 configuration — that can only happen when CMSD becomes a committed arts education district as outlined in our companion report for the district as a whole, to ensure that more students obtain the skill set needed to be admitted. Note: Please see Appendix A for a brief historical overview of CSA. 1. MISSION AND OBJECTIVES • Unparalleled excellence in both arts and academics: - Arts education is primarily applied learning that is sequential, comprehensive and taught by trained and pedagogically-prepared and experienced teachers. It significantly furthers the development of cognitive, sensory, literacy and thinking skills. Pre-professional and professional standards serve as a baseline for applied arts studies. - Arts education is secondarily based in aesthetics, motivation-centered project experiences and Ohio and Common Core standards. It integrates arts content and processes with reading, math, science, social studies, computer science, etc. with the goal of significantly furthering cognitive, sensory, literacy and thinking skills development. - Combination of classical, contemporary, and global repertoire/styles/collections with a strong emphasis on fundamentals, history, interpretation, criticism and production. CSA Redesign Implementation Plan May 2014 ◆ Page 24 - • • • Academics are based on a rigorous, standards-based curriculum that holds all students to high expectations. All graduates are ready to be successful in college and career. Authentic pathways to career and/or higher education through “real world” curriculum; opportunities and partnerships with Cleveland’s arts institutions and leaders; skill development; and production in pre-professional and professional methods, trends, practices and facilities. Assurances of equity through transparent and rubric-based admission and audition processes as well as preparation of students in applied arts through CMSD’s commitment to baseline arts and music instruction in all K-8 schools; access to enhanced arts experiences at K-8 schools that meet certain criteria in excellence in arts; and extended-day arts academies (all formative elements of the CMSD Arts Education Plan). Culture of compassion, support, high expectations, remediation and acceleration. 2. LEADERSHIP • • • • • • • Head of school with proven arts, administrative and fundraising experience and vision. Builder of relationships, “face of the school” and authoritative voice and advocate for arts and excellence. Dean of arts and dean of academics with passion for content and dedication to mission and students. Abilities to lead content-specific faculty. Dean of students who enforces arts and academic performance and personal conduct standards transparently and consistently. Arts department and academic subject leaders who report to respective deans. These arts and academic leaders supervise teaching artists, partnership interaction with classrooms and curriculum and support subject area instructors. College and career counselors are essential to creating pathways to career and/or higher education, in curriculum planning, and in the implementation of this plan. Adequate administrative and office assistants. Facilitator of CSA redesign (Years One and Two), an effective change agent trusted by stakeholders and highly experienced in partnership and plan implementation. This individual works for all parties and is a builder of best practices, accountabilities and relationships that can stand the test of change in leadership, partners and personnel. Options not recommended: A traditional principal and assistant principal structure. This model fails to provide appropriate visibility of school and balance between arts and academics and their requisite and respective high standards. 3. GOVERNANCE • Independent governing authority, replicating the John Hay School of Science and Medicine model, with representation from stakeholders drawn from business, artsrelated businesses, arts organizations, higher education, government, philanthropy, students, parents and faculty. - CMSD CEO representation will ensure leadership awareness and support of the CSA transition and implementation. - The board holds all parties accountable to the implementation of the CSA redesign plan, builds financial and government relationships, and helps guide and CSA Redesign Implementation Plan May 2014 ◆ Page 25 • • maintain standards of arts education and professional/pre-professional excellence. - Governance representatives should consider that the more influential the individuals, the more authoritative the board will become. - The actual appointment of specific individuals can come through a nomination process among each stakeholder sector. The notable history, determination and ongoing support of Friends of the Cleveland School of the Arts (FCSA) are keys to the CSA’s sustainability. This new governance model calls for an integrated “friends” committee within the new governing authority, with some FCSA representation transferring to the new board of directors. The committee should continue and expand FCSA’s investment, fundraising and focus on students’ needs for technology, private lessons, pre-professional experiences, summer arts camps scholarships, mentorships, scholarships for higher education and more. Active student and parent councils have representation on governing board and provide important advice on program, school and school culture issues. Options not recommended: Traditional district oversight is inconsistent with the Cleveland Plan and portfolio strategy. Multiple, redundant governing/friends roles also are discouraged. 4. HIGH SCHOOL DESIGN • • • • A prominent expected outcome of this CSA redesign process is the creation of a high-performing school of the arts employing best practices. CSA should ultimately become the Cleveland High School for the Arts, consistent with the Cleveland Plan and the present and future array of high-performing, portfolio high schools. While this change should be made as soon as possible, it must be preceded by a broader CMSD initiative to become a committed arts education district (as outlined in our companion report for the district) so that more students will have the skill set needed to win admittance. - More than 90 percent of the high-performing urban schools of the arts are high schools, grades nine to 12, and provide numerous means of preparation and access to all its community’s students and families. Currently, there are only three grades six to 12 arts schools: Denver, Oakland (a charter), and CSA. - The Cleveland Plan inherently eliminates K-8 “feeder” schools, and instead creates city-wide choices for parent and students. The refocusing of CSA as a grades nine to 12 high school will allow for higher standards, more concentrated and differentiated instruction, and a more appropriate and effective faculty and administration. The CMSD Arts Education Plan will provide city-wide equity for K-8 arts education and, for the first time in many years, allow students from across the district equal and transparent access to the new CSA for any student who is motivated to develop the skill sets and prepare for a best practices secondary school of the arts. The CMSD’s commitment to baseline arts and music instruction in all K-8 schools; access to enhanced arts experiences at K-8 schools that meet certain criteria in excellence in arts; and extended-day arts academies (all formative elements of the CMSD Arts Education Plan) will form the infrastructure of pathways and preparation to interested and promising K-8 students. CSA Redesign Implementation Plan May 2014 ◆ Page 26 Options not recommended: Continuing the singular pipeline from the Dike campus elementary school (aka, CSA Lower Campus, where 94 percent of CSA students originate). This sometimes results in largely unprepared and sometimes unmotivated students in their given art forms progressing to CSA more or less automatically, and also effectively locks out eighth grade students from other Cleveland K-8 schools. This high school design, instead, opens the school to all of CMSD’s students. 5. FACULTY • • • • • All staff members are interviewed to determine if they have the skills, knowledge, attributes and values to fulfill the school mission of excellence in arts and academics, with an explicit understanding of and commitment to the requirements, expectations, supports, demands and rewards of the job as a pre-condition of employment. Identify specific faculty who have ensured a mutual respect and acceptance of all students for a continued role in the new CSA to ease the plan’s transition while being mindful of the importance of change, the plan’s desired outcomes, and their ability to adapt and grow. Fully staffed faculties of academic teachers who exhibit interest and have experience with the arts, and licensed arts educators with strong professional credentials, are at the core of the new CSA. Faculty qualifications should also include knowledge and passion for student engagement and up-to-date experience in professional standards and trends. CSA licensed staff members are augmented with a substantial number of teachingartist faculty members with up-to-date professional and production knowledge with demonstrated pedagogic/teaching/learning skills. This furthers the depth of instruction and availability of private and small group lessons during the extended day. Models: Best practices high schools of the arts have dozens, in some cases over 100, professional and qualified teaching artists as part of their faculty. Appropriate compensation for teaching artists is essential to sustainability and quality of instruction. Options not recommended: A faculty that is based entirely in licensed educators with some interaction with outside professionals does not meet the standards of model schools, either in the arts, sciences, or technologies. 6. PROFESSIONAL DEVELOPMENT • • As pedagogy and technology are advancing with great speed, CSA faculty, its partners and teaching artists maintain professional-level standards as demands change. Professional development (PD) is the foundation for supporting and sustaining these changes. As such, mandatory PD for CSA arts and academic faculty on subject area trends, professional standards and teaching models are integrated into the school day and year. PD is a key component of the relationship between CSA and its partners. This PD partnership should include the artistic core and expertise of arts organizations, and balance arts institutions’ artistic, interpretive, curatorial, repertoire and pedagogic resources with those of higher education. Planning time and collaboration for classroom/arts faculty and arts/higher education partners are essential keys to success. CSA Redesign Implementation Plan May 2014 ◆ Page 27 • • Arts integration, project-based learning and service-based learning PD are essential for CSA teachers/artists/participants: - Arts integration PD for participating CSA teachers should become part of official PD offerings. - The implementation of PD and partnership service “models” are essential and scalable. This allows for budgetary, administrative and organizational flexibility. - Credentials, as outcomes of PD, create a level of accountability and motivation currently lacking in school and external organization relationships. PD should be credentialed and award credits consistent with higher education and CMSD/Ohio standards. 7. ADMISSIONS AND AUDITIONS • • • • • • Admissions to CSA must be based on a transparent admissions process that largely aligns with CMSD’s high school enrollment processes and timing, including seventh and eighth grade shadowing opportunities, parent/student open houses, participation in the high school fair, an initial interest form, a pre-screening online application, and a rubric-based, arts-specific audition process. Designated teachers and teaching artists provide preparation for auditions and admittance in advance of yearly auditions through extended-day arts academies. CSA will hold at least two audition sets, per arts major, per year. This permits students to re-audition and reapply. Auditions include submission/performance of specific works or styles, interview, essay and parent interview. Audition/application standards should be raised each year of the five-year plan, though attention must be paid to fully enrolling the school with Cleveland students. Audition panels must be arts-specific, drawing from faculty and arts professionals. Students’ demonstrated motivation, dedication and potential are strong considerations in admissions. There is a dedication in the admissions process to find “diamonds in the rough” and a risk-management consensus to give motivated students with dedication an authentic chance to find themselves at the new CSA. Students’ attendance records and baseline grade point averages are established. Students must maintain minimum performance standards in arts, academics and personal conduct or otherwise face transferring to other, more appropriate schools/settings. - New audition and reapplication processes should allow for readmission. - Systems are transparent and enforced by administration and student council. The student body should reflect the diversity of Cleveland students in terms of geography, race, ethnicity, sex, income, special needs and English language learners. Options not recommended: In initial years of plan, high GPA standards should not preclude those with motivation and potential. While numerous schools of the arts demand a minimum of high academic performance, this plan is designed to create a school with an open environment for dedicated students. Over the five-year plan, academic standards will rise and so should academic expectations. CSA Redesign Implementation Plan May 2014 ◆ Page 28 8. CURRICULUM AND STUDIES • • CSA curriculum and course of study are balanced across arts and academics. All coursework (arts and academic) is based in pre-professional and professional standards and meets college and career readiness goals. Academics stress engagement, interpretative and comparative studies, project-based learning and arts concepts integration as a bridge to excelling in sciences, math, history and all other academic areas. Integrated curriculum is built upon repertoire/art works and their authentic interpretative, historical, social, economic, literary and technological intersections. Developing an Integrated and Project-Based Curriculum (Also, see Appendix O for Best Practices in Arts Integration and Project-Based Curriculum) The best process for creating an effective and engaging integrated and project-based curriculum is, again, a collaborative one between the arts and academic teachers. Integration and project-based outcomes can originate from both academic and arts subject areas. History, literacy and science can be taught through the arts, and vice versa. The following process is a proven means of using the student’s entire experience to learn: • Representative arts and academic teachers meet and identify, through a process of prioritization, over several sessions, those concepts in their subject areas that are formative, difficult to teach, and/or difficult for students to learn. • These prioritized concepts are then sequenced in importance and detailed in related topics and experiences. • In a facilitated discussion, teachers identify elements of their own curriculum that effectively teach the same idea or concept from another subject area. For instance, the subject may be patterns in math or science. Musical, dance, media, art and song patterns, a basic element or these art forms, are discussed, detailed and listed. • The artistic patterns that best exemplify patterns in math or science are then developed into experiential lessons and long-term projects that fulfill the desired learning outcome(s). • Interested teachers volunteer to “test” integrated and project-based approaches in their classrooms. • Careful assessment of these lessons and projects is implemented, including preand post-lesson attitudinal questions to students about their learning of the concept; teacher experiences; and actual outcomes as demonstrated in final projects, tests, essays and other cumulative and concluding evaluations. • Successful integration and project-based strategies are shared among teachers for inclusion in all classes. • School leadership oversees their broad implementation and encourages continued development of similar strategies. • Over the five-year plan, all classes should have integrated and project-based experiences. • Student learning and motivation should increase and further faculty collaboration and collegiality will be demonstrated. CSA Redesign Implementation Plan May 2014 ◆ Page 29 • CSA students engage in career and/or higher-education preparedness including mentorships, professional guidance and job shadowing, all of which are furthered by CSA students working within the professional environments of CSA partners. A practical internship program is created as part of a summer institute that enables students to experiment in various professional paths. Career and Higher Education Preparedness in Action Course work, experience, internships and summer institutes directed at valuable and employable skills are detailed in various trend reports (see Appendix R). In partnership with arts and higher education experts, these experiences, as well as mutually selected repertoire, technologies and arts skill techniques will be prioritized as “pathway skills” for student success. The process, as described in other sections, is one of collaboration: • Arts and higher education partners and same area arts faculty review trends and employable skills. • A listing of priorities is developed through this collaborative discussion. • Arts/higher education partners and faculty determine within the prioritized outcomes the means (e.g., productions, work processes, lessons, mentorships and specially designed experiences) that will provide students with prioritized experiences and skill sets. Note: All-City Arts (see CMSD report) does offer CSA students pre-professional, career and higher education pathway opportunities in production, direction, rehearsal and technical areas. Whether or not All-City proceeds, we strongly recommend that CSA students be given these kinds of opportunities that benefit both their résumé and real-world experience. • AP courses, seminars in humanities and other subjects, and college-credited courses are introduced and upgraded every year over the five-year plan. - Seminar-structured classes and electives prepare students for careers and/or higher education and encourage student participation with subject matter, interpersonal skill set development, inquiry, and independent thinking. - • Cleveland’s higher education institutions can provide these classes and credits, in addition to expanded foreign languages (Spanish, Italian, German, etc.). Earnest development of these pipelines by CSA leadership will exponentially expand these opportunities. - Arts and higher education institutions/partners consult with CSA staff to best reflect current and ongoing career needs, skills and trends. Arts subject areas to include: 1) vocal music, 2) instrumental music, 3) visual arts, 4) dance, 5) theatre, 6) literary arts, 7) multi-arts production and technology, 8) media arts: design-film-video-photography-web, 9) world music and jazz and 10) business and entrepreneurship of arts. These course areas and depth should be phased in over time. Specific curriculum outcomes for each arts discipline will be incorporated in following drafts. CSA Redesign Implementation Plan May 2014 ◆ Page 30 • • • • • • • In addition, arts fundamentals, art history, introduction to business of arts, and introduction to technologies in arts and production tools are important components of arts studies and aid students’ arts skill progress and competitiveness. Classical, contemporary, and global repertoire/art styles are offered. Authentic repertoire is taught by experienced instructors, whether licensed teachers, professionals or working artists. Arts/repertoire/study/creation/performance/production/interpretation/inquiry/critic ism approaches are included in all arts studies. Students are especially prepared for auditions, interviews, writing essays, public speaking, resume writing and other professional measurement standards. Double majors and cross-disciplinary work is encouraged. For example, combine vocal music/dance with instruction in the business side of the arts or videography. The provision of a double-major opportunity is time-consuming and complicated and should be pursued by and offered to only those students who have the ability to maintain discipline in more than one arts area. Private lessons: This supplemental area of instruction is the norm for best practices in schools of the arts for the development and furthering of arts and career skills. This is a matter of both equity and necessity. The board’s “friends” committee and arts partnerships will be primary providers of these opportunities. Remedial, special needs instruction and tutoring assistance are offered through partnerships with higher education, social organizations, and the medical and arts community. The presence and availability of a tutorial system that helps creative and promising students to overcome academic challenges is essential to CSA’s success. The instructional approach includes recognition of learning styles, special needs and differentiated learning modalities. Options not recommended: The traditional conservatory approach and pedagogy is often teacher-centered and limited in both array of arts studies and practicality of career and/or higher-education preparedness. CSA Redesign Implementation Plan May 2014 ◆ Page 31 Curriculum Development Implementation Process • The creation of an inflexible or adopted curriculum is not suitable under the current CSA circumstances. The present conditions, created by years of systemic arts education neglect, have been well established by the research of this project. Also, the significant and ready resources of repertoire and collections within walking distance of the new school beg that curriculum is developed around those resources (both artistic works and artists). As a result, it is especially important that the course of studies in all the art forms be student-centered. • The principle operating mission for curriculum development at the new CSA is based upon student need, their current artistic development, available resources and creating authentic, pre-professional and higher education pathways for their futures. • Students, the greatest asset at the current CSA, have been cheated out of a preparatory arts education. As noted in the findings, many students come unprepared to CSA in the fundamental elements and theoretical cornerstones of their art forms. • The development of the course of studies in all of the identified arts areas should be directed by the following sequence: 1.) Student Development Assessment: Rubrics that authentically assess student ability and potential are developed by CSA arts faculty in consultation with arts partners whose instructional expertise in individual art forms will enhance and inform the process. The rubrics are grounded in the cornerstone theory, elements, goals and progress evaluation basic to arts instruction. • Students are then individually assessed in their fundamental understanding, application and performance of their art form by CSA arts faculty and arts partners. Based upon this assessment, a determination of differentiated skill levels and the potential of individual students are charted, and the creation of appropriate learning and instructional levels is proposed. • After the determination of the spectrum of fundamentals, abilities and potential, differentiated classes, where required, must be created to properly serve students of all levels. 2.) Curriculum Outcome Development: The current arts curriculum does not provide the time and resources for faculty to create a well-rounded arts instruction that includes in each art form its history, theoretical underpinnings, aesthetics and exploration of and experimentation with masterworks and their creation. The expanded day, this curriculum process and the readiness of arts partners will benefit this approach geometrically. •The basic tenets of theory, in each art form, become a CSA requirement to be fulfilled during the freshman and sophomore years. Those students who already possess a working knowledge of theory will be provided with further private lessons or alternative course work. • Within each art form, the art’s history, aesthetics and global masterworks are key elements of a new CSA education. The presence of these resources within the great cultural treasures and arts institutions of Cleveland offer ready engagement for students with primary experiences, interpretation and relevance not available to most young students in the arts. But they are uniquely available and accessible in Cleveland. • CSA arts faculty and arts partners explore this abundance of resources and CSA Redesign Implementation Plan May 2014 ◆ Page 32 find those works, repertoire, collections, artists and archives that will bring CSA students to be within the center of their art study’s historical, creative and artistic development. These resources become central parts of the curricular focus, and student’s artistic vernacular and experience becomes filled with art from the ancients to current expression. Their knowledge and direct interpretation of these resources become articulated outcomes of their course of studies. • CSA arts faculty and arts partners also create a map of sequential outcomes in artistic production. Because the elements in the arts remain relatively constant, it is the mastery and rigor of these elements that are the constructs of any studio education, whatever the art form. These elements and reaching their accelerated development are the framework of a superior CSA arts curriculum. Steady advancement in these elements becomes the architecture of assessment and critique, advice and individualized instruction and support. • While arts elements remain largely constant, technologies do not. An authentic arts education today must be built within the advancing hardware and software of each art form. String players are better because they have a working knowledge of laptop-based sound recording and the proper positioning of microphones. Choreographers’ advanced video editing skills are the standard of “notating,” teaching and performing dance. Photographers, graphic designers and media artists work on large Macs with superior Epson large-form printers. Basic technologies for the new CSA are recommended as part of this reporting (see Appendix B). Partnerships with technology-rich higher education institutions will help immeasurably. Technology-based outcomes, hence, are requisite of the new CSA curriculum. Consulting with arts businesses, Tri-C, CIM, Case and Cleveland State, among others, and finding the means to share resources, is another strategy that should be employed in specifying technology experiences, outcomes and working knowledge for CSA students. 3.) Arts Business Skills Outcomes: The success of working artists and many other professions is one of skill development, but is it also one of business acumen. Imaging, branding, capitalization, contracts, copyright, intellectual property, marketing and individualization are core to artist and business success. • Arts faculty work with arts professionals and partners to identify business and real-world outcomes. Direct experience of working with professionals in professional facilities is elemental to student growth. Special guests, internships, mentorships and paid working experiences add authentic learning to the skill set. • Adaptability, the dialectics of failure and success, and the zig-zag of the career paths are often learned by experiencing it directly. But here, the presence of artists and arts partners telling their stories adds immeasurably to the student experience and the breadth of learning outcomes. •Finally, self-assessment and awareness of technique and personal progress are among the most difficult skill sets to learn. Portfolios and authentic assessment, described in the following section, help the young artist find the best means of personal and professional advance. Tied with stated and articulated outcomes established by this curriculum process, they create a transparent relationship of student to expectations. CSA Redesign Implementation Plan May 2014 ◆ Page 33 9. ASSESSMENT AND ACCOUNTABILITY • • • • • • Portfolio-based assessment — a cumulative, multimedia, demonstration of student work — is a highly effective process. They also facilitate students’ self-assessment of their arts and academic performance. Portfolio rubrics are created, made transparent, and teachers/faculty are involved in shaping and improving students’ critiques and development. Portfolio methods and other means of authentic assessment are developed and improved over the five-year plan. End of year recitals/showings/performances for all students. Rubrics are created that are developmentally, skills- and differentiation-based, with student selfevaluation and faculty inclusion as important factors. The assessment of student progress will align with standards of high academic achievement and college-bound culture through the application of AAC&U rubrics and by working closely with arts and higher education partners on higher education and career outcomes specific to their art forms. The CSA plan will establish specific leadership, governance, course work/curricular, faculty, admissions, partnership and school culture objectives, which CMSD and CSA board and staff leadership will use to evaluate school progress. CSA joins Arts Schools Network (ASN) to better appraise its status and growth and to advance its overall professional development. American Association of Colleges and Universities (AAC&U) VALUE Rubrics are woven into all courses through class work, assignments and outcomes. The VALUE Rubrics include written communication, civic engagement, creative thinking, critical thinking, ethical reasoning, global learning, information literacy, inquiry and analysis, integrative learning, intercultural knowledge, lifelong learning, oral communication, problem-solving, quantitative literacy, reading, and teamwork. (See Appendix T for a graphic illustration of the AAC&U VALUE Rubrics.) Options not recommended: Typical forms of standardized student assessment (e.g., multiple choice, grading on curves, and papers without use of other media) are counterproductive in an arts-centered school. Writing is an essential skill, but can be accompanied by visual, musical and interpersonal literacies. Certainly, high standards are expected, but the means by which their outcomes are assessed should reflect arts making and pedagogy, as well as the career/higher-education AAC&U VALUE Rubrics. 10. SCHOOL DAY/SCHEDULING/SUMMER • • • School day schedule recommendations are: 9 a.m. to 5 p.m. or, preferably, 10 a.m. to 6 p.m. This schedule should be accomplished to the extent possible using the new flexibility in staffing schedules as well as creative partnerships with arts organizations. CSA begins using a “bell schedule” that starts and ends each day with arts majors. Academics encompass the later morning to middle afternoon hours. Bell schedules provide dedicated and deep learning time for students’ study of an art form, and encourage full-day attendance. This schedule affords AP courses, electives, study halls, college-credited courses off-site and a standard of four hours of study per day with students’ individual art forms. Bell schedule models from other schools of the arts will be provided as examples. Summer should be viewed as part of the school year. Otherwise, economic challenges preclude numerous students from continuing their study, which is a critical part of career and higher-education readiness. Paid apprenticeships and internships with CSA Redesign Implementation Plan May 2014 ◆ Page 34 • • arts and business organizations connected to their arts discipline and scheduled with project-based work and private/group lessons can comprise summer curricula. Internships/apprenticeships may also be effective on weekends. Summer camps that send scholarship students to other locales maintain and improve student skill sets, interpersonal abilities, repertoires and technological skills, and expand the students’ interest in higher education and/or careers. These are important to raise CSA’s and its students’ profile. Models: Nearly every successful school of the arts has an extended-day, bell structures, summertime continued learning, AP classes, college-credited courses and ample private instruction. Options not recommended: Current historic/agrarian-era school-day scheduling does not provide adequate time for the appropriate study of the arts and academics. The extendedday and a dedication to four hours of arts study also expand academic offerings and the possibility of pathways to career and higher education. 11. SCHOOL CULTURE • • • Compassion, empathy and cultural diversity are central to CSA’s school culture. The welcoming and loving student-centered CSA culture is something to preserve and protect during the transition from the old to new CSA. Watchful care will be required to ensure active discussion among governance, stakeholders and partners to support changes to personnel, systems, faculty, leadership and students. Communications by administration with parents, students, partners and stakeholders is an essential feature of school culture and should be strongly supported and instituted using technologies, productions, community meetings and media. - Parent, student, arts and higher education partner representation on governance groups, and a genuine commitment to talking and listening between faculty, administration, CMSD leadership, parents, students and partners will grow the student culture to be all encompassing. CSA’s school community should be one in which no student can fail, where everyone shares a deep commitment to one another’s success, where faculty motivates and inspires students, and where student voice is embraced in shaping the design and direction of the school. 12. THE FACILITY AND UNIVERSITY CIRCLE AS THE CAMPUS • • The new School of the Arts facility and surrounding property should be an extension of its curriculum, with the building used in the evenings, on weekends and over the summer for and by CSA students and the surrounding community for community service and performances. Students should perform/show original works and important repertoire on the stages and galleries of University Circle (UC) and the greater community. The current design for the new CSA (because of state funding requirements) lacks appropriate pre-professional/professional resources for authentic arts training. As such, the school should work with neighborhood partners. The proximity of UC institutions and facilities becomes essential to the new CSA’s success. Evaluations of unused UC spaces including the old Playhouse Square, as well as UC facilities, will be CSA Redesign Implementation Plan May 2014 ◆ Page 35 • • • seminal, as will the designation of CMSD or RTA shuttle buses to move students between CSA and UC facilities. Time, safety and liability concerns must be addressed. The design and involvement of the new Visual and Performing Arts Center (VPAC), currently in planning by FCSA, will benefit greatly by the close consultation and involvement of arts facility expertise at UC. The current design requires significant initial capital expenses. The sustainability of the building, its purpose and its mission is at the center of CSA’s future success and we without hesitation support its construction and ongoing lasting support. We believe the concept and practicality of the building are fully sustainable. Technologies and Resources: There are inadequate plans to provide students with individual as well as classroom resources (instruments, art supplies) and technologies consistent with pre-professional and professional standards. Tablets for students and classroom hardware and software (desktop computers, soundboards, video and image editing software, light boards, video cameras, audio recording equipment/software, and more) should be a part of the everyday practice of a student of the arts. The CMSD will need to allocate appropriate start-up expenses to ensure the successful launch and continuation of the new school. Please see Appendix B for more detailed technological recommendations. Models: Most best practices schools of the arts have partnership facilities (D.C. Duke Ellington and Kennedy Center) where transportation and mutual benefits are the basis of effective and sustaining working relationships. 13. PARTNERSHIPS • The varying partnerships’ (options discussed below) essential purpose is to help CSA build arts education capacity and infrastructure; and enhance arts and academic opportunities and experiences for students. Partnerships for CSA will closely reflect the much larger CMSD Arts Education Blueprint partner strategies. The partnerships below will be small and discrete reflecting a school population of approximately 775. CSA partnerships will need significant and compensated planning, mutually articulated services and responsibilities, facilitation in their formulation and design, and careful evaluation for alteration and adaptability. We recommend a number of different kinds of partnerships: 1. Separate and coordinated arts-specific partnerships for vocal music, instrumental music, visual arts, dance, theatre, literary arts, multi-arts production and technology, media arts, world music and jazz, and business and entrepreneurship of arts to create “pipelines” to skill sets, artistic development and higher education/career opportunities. 2. Multidisciplinary partnerships that use their repertoire/collections/artistic practices as a means of study. Ethnographic approaches, interpretation, history, criticism, thinking and creating are all possible components. - For instance, an archive, interpretation and art-making partnership combining the significant resources of The Rock and Roll Hall of Fame and Museum and the Cleveland Museum of Art. 3. Career academy partnerships where institutions with high-level artistic practice, curatorial expertise and established pathways to higher education and careers establish after-school services of skill-level differentiated lessons, projects, performances/shows and mentorships. - A music academy of The Cleveland Orchestra, Cleveland Music Settlement, Cleveland Institute of Music, El Sistema models and others would supply world- CSA Redesign Implementation Plan May 2014 ◆ Page 36 • • • class music instruction. The same is true for theatre (Playhouse Square and theatre companies), dance, museum, literary arts, media arts, arts technologies and more. Each has remarkable potential to shape the careers and higher education preparedness of CSA students. 4. Professional development partnerships built around higher education institutions and arts partners’ education expertise provide professional development to CSA teachers, teaching artists, school leadership and arts partners. - The arts pedagogy leaders of city and regional higher education institutions with arts expertise, curriculum integration practices, project- and servicebased learning and more bring their best instructors, most passionate artists and education leaders to inspire and give teachers and artists practical and visionary skills they can apply the very next day. 5. CSA project-based arts partnerships built upon neighborhood/community needs, creation of productions, serving community constituents, and other worthy servicelearning goals. - Active neighborhoods, competitively selected and looking for renewal, would welcome professional artists and arts students in the creation of a block-long mural that unifies a street with an artistic idea and narrative. 6. Special needs partnerships bring together arts, social, medical and community resources to assist special needs learners in and through the arts. - CSA needs specifically designed resources and instruction to assist typical and special needs instructors in using the arts to bring forth the talents, motivation and career/higher-education preparedness of students with learning and other disabilities. 7. Medical community partnerships with the Cleveland Clinic and University Hospitals, which have significant arts resource programs and devotion to the community. The hospitals are very unique in that they have art collections, shows, performances and even arts staff. There are no other school arts programs that have such partnerships with the medical community, so this presents a unique opportunity to learn from their expertise in the arts, commitment to arts in healing and to involve their resources in an effort to turn STEM (science, technology, engineering and mathematics) into STEAM (adding arts). CSA partnerships require a transitional training/development facilitation to develop current resources from largely transactional programs to ongoing, engagement-based and transformational relationships. - CSA could avail itself of the proposed CMSD arts education “free-market” approach to build partnerships where like values, mutual benefits, and professional respect and collegiality are baselines to partnership formation. CSA partnerships will develop a letter of mutual understanding between partners and CSA that outlines contract terms (including compensation), responsibilities, expectations, setting, scheduling, and communications that are key in planning, PD, artistic projects and other partnership activities, as well as to provide actual, realtime accountability and means for resolving problems or conflicts. Arts providers will be accountable to mutually agreed upon outcomes and goals, using multiple forms of authentic assessment and evaluation. CSA will be held equally accountable to the same outcomes. Partnership-provided goods and services will/can include facilities; private instruction; CSA faculty; production services; summer and weekend apprenticeships and internships; mentorships; college-credited courses; applied arts instruction teaching artists; integrated and project-based hands-on learning that use the repertoire, CSA Redesign Implementation Plan May 2014 ◆ Page 37 • • • collections and artistic processes as means of inquiry and interpretation; neighborhood project-based curriculum; “University Circle and city as campus;” and more. All partnerships will be dedicated to providing authentic “pipelines” to arts industry pre-professional and professional experiences and opportunities. Arts providers will participate in PD concerning arts pedagogy; varying learning styles and the developmental needs of CSA students; best practices in inquiry; and interpretation-based interaction of CSA students with arts and arts processes. Models: Ruth Azawa (San Francisco), Duke Ellington (Washington, D.C), and the Baltimore, Houston and Oakland schools of the arts all demonstrate deep and abiding relationships with arts and community partners that are strongly reflective of the above recommendations. SUGGESTED PARTNERSHIP IMPLEMENTATION STRATEGY • Designated CMSD leadership, Arts Education Advisory Council and Cleveland Arts Education Consortium (CAEC) hold a series of meetings to set partnership policies. We strongly recommend that the Boston Public Schools Arts Guide to Effective Partnerships be used as a model. • Once policies have been developed, a partnership subcommittee begins recruitment of potential partners driven by the developed policy and the “free market” culture of the Arts Education Marketplace. • Two arts partnership “application” formats are drafted and created. • An arts partnership application form is created by the subcommittee (with the assistance of CAEC and guidance from the Arts Education Advisory Council). The application enumerates: the prioritization and kinds of partnerships an arts education provider is most interested in; specific arts partners and schools they may be interested in working with; the listing of relevant resources they may be able to provide; the staffing and expertise that will be most relevant to potential partnership success; the kinds of time and allocation of resources that are possible; and the interests the organization has in providing administrative and fiscal leadership to partnerships they may participate in. • A school’s application format is drafted and created that details: a school’s current arts programs, faculty and resources; desired art forms; desired arts partners; areas of academic and arts needs; a listing of potential partnership categories and preferred interests/choices; a scale in which school leadership express their level of interest in participation; and a clear introduction of how the partnerships will be designed to serve the school’s most important needs and will be planned collaboratively with school leadership and faculty. • Suitable time is planned in order to distribute and receive completed applications. This application data is then used by the Coordinator of the Arts Education Marketplace and subcommittee to most effectively plan and convene the first Arts Education Marketplace meeting. Preliminary “matchmaking” of arts partners and schools is “triangulated” and applied at first Marketplace Meeting. • Planning the first Arts Education Marketplace: This is planned around modeling authentic collaborations between schools and arts partners that is focused upon articulated and individualized school and student needs and desired outcomes. Some existing programs already in place in Cleveland as well as proven models from San Francisco, Boston, Chicago and Washington, D.C., are used as active and handson foundations for partnership methodologies, problem-solving and partnership components. The actual kinds of conversations and problem-solving that have resulted in success are planned for modeling as a central focus of the meeting and CSA Redesign Implementation Plan May 2014 ◆ Page 38 guided to create questions and discussions. Adequate time is then planned to provide for facilitating conversations between potential partners and schools. Also, thorny discussion issues of scheduling, compensation, expectations and articulated outcomes are planned. Potential partnerships are then planned to be gathered as a concluding part of the day with assigned facilitators recruited with strategic consideration from CAEC and others. • An Arts Partnership Fair is convened where interested arts, higher education, and afterschool program providers, with school representatives (School Arts Coordinators and school leadership) are attendees. The Fair introduces the modeling, matchmaking and facilitated conversation as described in the above bullet. • Once partnerships have some preliminary development, the Coordinator of the Arts Education Marketplace and CAEC meet with individual potential partnerships (arts, higher education, after-school and school partners) to advance their discussions. Next step architectures are explored including: selection of potential fiscal and administrative agents for each partnership (compensated partners who are responsible for planning, scheduling, coordinating, managing and distributing funds, etc.); specific educational outcomes and the means of assessing them; organizational, personnel and material resources to meet those outcomes; deadlines for implementing initial student experiences; and the implementation of initial experiences. • Interested philanthropies create a fund to support partnership activities. Granting criteria is developed transparently and potential partners have opportunities to explore how they can best shape their educational goals, resources, budgets and timelines. • Based upon available funds, partnerships apply using simple proposals that include partners, letters of partnership commitment, roles and responsibilities, program activities and expected outcomes, budgets and timelines. • Partners make commitments to work together. Letters of mutual understanding of partner responsibilities are developed and agreed upon. • Initial partnerships’ program experiences are carefully assessed, discussed and adapted based upon collaborative discussions. Partnership activities are expanded exponentially based upon proven success and adaptability to challenges. ALL-CITY ARTS RECOMMENDATIONS As noted in our review of All-City Arts (see CMSD report), it cannot serve as a substitute for an equitable, comprehensive and sequential arts education. However, it has had many positive benefits for the children and youth involved. Linked to the systemic approach articulated in this plan and a dynamic partnership of expert creative and production resources from arts and higher education collaborators, All-City Arts would grow in both quality and equitable opportunity. We believe it should continue, based upon the faithful, talented and hard-working construct that has been created over the years. We recommend that the planning of All-City Arts commences as a partnership program as outlined above, furthering its current leadership, staffing and experience. It must be planned as a culminating event of skills and learning development participating children are studying in arts classes during school time, at after-school academies and through the above articulated partnership initiatives. We strongly suggest that the yearly repertoire be selected with such strategic thinking in mind. The piece or pieces should have projectbased and integrated curriculum value so they help advance outcomes in literacy, numeracy, social studies and sciences. All-City can become an enhanced STEAM event that shows off the dynamic impact arts has as a standalone area of rigor and study, as well as its benefits to building learning capacity in multiple curricular areas. CSA Redesign Implementation Plan May 2014 ◆ Page 39 14. FUNDING • • • Federal, state and local funds are designated in accordance with the CMSD’s per-pupil funding formula based on student characteristics and model requirements to adequately fund operating expenses of the school. Local and regional funders, with a noteworthy, world-class, multigenerational commitment to providing arts education to all children, should be encouraged to provide sustained funding for projects and capacity-building initiatives with proven outcomes and efficiencies. FCSA, with a significant commitment to the brick-and-mortar VPAC project, will need to transition to the new governance structure and find ways also to remain steadfast in their historic commitment to CSA student resources, lessons, scholarships and more. 15. ENCOURAGING, SUPPORTING AND SUSTAINING CHANGE • • • • • • Accountabilities and assessment are structured for every component and reviewed at regular intervals, with yearly reporting and adaptions. CSA should be a transparent lab where parents and stakeholders can see the effectiveness of arts education. CSA will lead by example for the inclusion of arts education throughout the school system. The goal is to have parents pressing principals and other district officials for the inclusion of arts education for their children. Plan implementation facilitator/facilitation independent of stakeholders will help create strong architectures in initial years. Independent assessment will have parallel purpose and success. An advocacy campaign linked to the CSA redesign and CMSD Arts Education Plan that uses student works and accomplishments; independent assessment results; multimedia; web; and corporate partners will all help maintain momentum and interest. The new CSA governing board should consider the creation of additional endowment funds for growth and operating costs in the case of economic hard times. Effective communication between partners and CSA governance will create a school of excellence. Leadership, compassion, stakeholder transparency and the willingness to continue to adapt and change will make for a new CSA that Cleveland and its youth so justly deserve. 16. TIMELINE (YEARS ONE TO FIVE) YEAR ONE — The Planning Year (June 2014 - June 2015): • Confirm and communicate decision to transition CSA to a high-school model. • Initiate search and hire CSA head of school. - Use new CMSD principal hiring practices adapted to these special circumstances. - Pay nominal fee required to post opening with Arts Schools Network (ASN) and other arts professional listings. - Current leadership personnel should be encouraged to apply for positions. • Recruit governance board. Create bylaws and accountabilities. • New head of school, with select stakeholders, develops new comprehensive mission statement based upon this plan and its findings, and the expertise of the new CSA leader with input from CMSD leadership and stakeholders. CSA Redesign Implementation Plan May 2014 ◆ Page 40 - • • • • • • • • • • • Mission statement should be a two-part narrative with a short statement containing essential values and principles. - These overarching ideas can/should include career and/or higher-education preparedness, excellence in arts and academics, pathways and pipelines to “real world” skills and thinking, service to community, and more. Dean of arts and dean of academics are recruited and selected by head of school. - Discipline and motivation systems are developed and communicated school- and community-wide. - Transparent and adaptable means of helping students meet requirements are established. New CSA faculty job descriptions and application processes are planned for implementation in Year One. There are clearly individuals in the current CSA that bring and encourage the culture of welcoming differences and support. These individuals should be identified and given special consideration for the new CSA to help continue this highly positive environment. New audition and application processes are planned and calendared to begin (in part) during this upcoming school year for full implementation in winter 2014 and spring 2015. Governance board and head of school plan and recruit/appoint CSA student and parent councils. - Current parent and student organizations should serve as basis for “councils.” UC facility exploration/utilization is initiated. - Trial sites are experimented with, and partnerships for facility resource “sharing” are established. - Shuttle bus program and liability solutions are explored and piloted. Arts curriculum outcomes are fully planned and private lessons, skills-differentiated classes and arts major areas are planned and piloted. - Arts curriculum is informed by arts professionals/CSA partnerships to best align with specific pre-professional standards and trends. Cross-discipline and doublemajor guidelines are discussed and established. - Arts integration and project- and service-based curricula are outlined and initial areas for modeling are selected. - Portfolio and authentic assessment methods are discussed, planned and piloted. - PD sessions that allow current faculty to increase their skill sets for immediate impact and help examine individual faculty commitment to plan are initiated and assessed. - Overall school assessment is coordinated with CMSD portfolio schools leadership. CSA partnership facilitation is initiated. Specific partnership deemed to be the most essential to curricular goals and outcomes are prioritized for planning and facilitation. CSA partnerships are small and specifically geared to CSA emerging curriculum and pre-professional standards/trends. Fundraising planning is initiated in coordination with the new governing board and discrete areas of the plan are prioritized including PD, partnerships, private lessons/skills differentiation and after-school/summer internships/career academy. The question remains whether the planning of a new curriculum and extended-day with partners and faculty is best accomplished as a “transitional process” or is done with a new faculty and partners. This may be best suited for Year Two, when all new personnel are in place. CSA Redesign Implementation Plan May 2014 ◆ Page 41 • FCSA continues planning the VPAC and shifting its roles as the new CSA begins planning its transformation. YEAR TWO — Piloting Year (June 2015 - June 2016): • Head of school and leadership staff are fully installed and begin the piloting and assessment of planned curriculum, partnerships, PD, and the UC for campus/facility sharing. • After a year of observations and PD for current CSA faculty, head of school and school leadership determine subject area teachers/ individuals for retention and change. New CSA faculty job descriptions and application process, where appropriate and considered as priorities, are planned for implementation in Year Two. • Leadership team and governance board assess plan progress and make necessary adaptions for continued success. - Faculty, leadership and partnerships — the human resources — are evaluated on goals. - PD, assessment, and overall school performance are reviewed for adaption or change. • Curriculum outcomes and methods development, planned in Year One with faculty and partners, is implemented in sequence. - Differentiation of arts and academic skills and promoting this essential curricular facet does not break down to grade or age distinction, but to those students with motivation and developing talent. Options here include making the grade-bygrade implementation process flexible, while simultaneously building classes and services for higher performing students. For example: college-credit courses are significantly expanded through partnerships and discussions with higher education leadership and admissions departments. • Teaching artist faculty is similarly retained and significantly increased through partnerships and identification of individual artists. - The balance between pedagogy expertise and artistic and professional/realworld experience should be a guiding compass at the new CSA for both the arts and academic faculty. • Audition and application process fully installed. • Governance and advisory councils fully operational. • Partnerships begin operations in their specific subject and project areas. They pilot work, instruction and projects with small groups and expand numbers each of the remaining three years of plan. • Assessment vehicles, such as portfolios and other authentic methods, are installed as part of coursework. - Student work in process (in various mediums) is kept and self-reviewed/assessed by students and faculty. - The prioritization of partnership services should likely be based upon specific opportunities for students to receive private lessons, mentorships, scholarships and college-credited courses. • Assessment vehicles, such as portfolios and other authentic methods, are installed as part of coursework. - Student work in process (in various mediums) is kept and self-reviewed/assessed by students and faculty. YEAR THREE: CSA Redesign Implementation Plan May 2014 ◆ Page 42 • • • • Leadership team and governance board assess plan progress and make necessary adaptions for continued success. - Faculty, leadership and partnerships — the human resources — are evaluated on meeting goals. - PD, assessment, and overall school performance are reviewed for adaption or change. Curriculum expansion to more grades/skill levels is implemented. - Partnership resources and personnel grow in step with curricular expansion. - Facilities, teaching artists, assessments and accountability grow in same timing. Audition and admittance requirements rise incrementally as the CMSD Arts Education Plan begins to create more highly prepared students and the academic standards of the new CSA rise. Add dean of students to provide consistency in student academic and personal accountability. YEARS FOUR and FIVE: • Leadership team and governance board assess plan progress and make necessary adaptions for continued success. - Faculty, leadership and partnerships — the human resources — are evaluated on meeting goals. - PD, assessment, and overall school performance are reviewed for adaption or change. • Curriculum expansion to all grades/skill levels is completed. - Partnership resources and personnel grow in step with curricular expansion. - Facilities, teaching artists, assessments and accountability grow in same timing. • Audition and admittance requirements rise incrementally as the CMSD Arts Education Blueprint begins to create more highly prepared students and the academic standards of the new CSA rise. CSA Redesign Implementation Plan May 2014 ◆ Page 43 CSA REDESIGN BUDGET PARAMETERS* Year One 14-15 Year Two 15-16 Year Three 16-17 Year Four 17-18 Year Five 18-19 Staffing /Resources1 for CSA REDESIGN Head of School Dean of Arts Dean of Academics Dean of Students Increased Arts Faculty Technologies (See Technology/Appendices) Transportation to Arts Facilities/Venues Non-CMSD Costs Raised Independently2 Governance and Advisory Council Development/Training/Recruitment Documentation and Assessment Program Facilitator PD for Artists, Partners ARTS RESOURCES3 Music Instruments, Music Music Instrument and Music Maintenance/Insurance Arts Supplies Dance, Theatre and Media Supplies Perishable Arts Supplies4 Partnership Model Development Fees for Artists, Arts Organizations, Partners and Internship Salaries for Students5 Design/Implementation PD Partnership Design/Implementation Discipline Specific Design/Implementation Academy Design/ Implementation Integrated/Project-Based Design/Implementation Special Needs Design/Implementation Integrated and All-City Design/Implementation Medical Community Partnerships Planning Honorariums for Teachers Hospitality Public Relations/Media Launching Total for CMSD Total for Independently Raised Fund Total Combined CMSD and Raised 44 Budget Key * This is a template with footnotes for consideration. A specific, monetized budget will have to be developed by the district in consultation with the principal parties. 1 Salary costs for these CMSD CSA positions are yet to be established. Technology costs are based upon our technology design recommendations. Transportation costs can be budgeted internally using re-allocation of CMSD transportation resources. 2 In the past 30 years, where philanthropy has supported direct school supply costs as well as partnership, assessment and resource expenses, it has been hoped that school systems would pick up these expenses as they proved their value. However, this has proven to not be true. School systems have consistently reneged on such arrangements because of leadership changes, lack of commitment, economic challenges and other reasons. 3 Admittedly, school supplies are normative costs in school budgets. Combining the significant capital expenditures of hiring and maintaining a system-wide arts faculty and staffing for partnerships, these budget items have been placed in the “raised money” category to better balance responsibilities. 4 Perishable art supplies refer to the normative requirements of students working in various arts mediums. The work of young artists in schools of the arts requires pre-professional and professional materials and resources. 5 These partnership estimates are based on numerous partnership models and the flexibility that will be required to mount and implement them. Also, the total number of funds for partnerships should be viewed as adaptable, as some partnerships will grow and be more expansive than others. 45 APPENDICES Editor’s note: What follows is a collection of various documents created or used over the course of developing the preceding plan. These supplements are intended as a reference for readers who desire to dig deeper into the research that informed our final product. They are not intended to be considered a continuation of the plan itself or its recommendations. They are presented “as is” and, while they were edited along the way, no attempt was made to make them uniform in presentation or format, either with each other or the preceding formal document itself. 46 Cleveland School of the Arts (CSA) Looking back, and preparing for the future History and introduction CSA, which describes itself as “a specialty school of choice in the Cleveland Metropolitan School District (CMSD) that incorporates all aspects of the arts into its teaching approach,” was established in 1981 and enrolls over 700 students in grades six to 12. The public school is split between two buildings (the “upper” and “lower” campuses) in Cleveland’s St. Clair neighborhood, but aspires for a new facility in Cleveland’s University Circle. In addition to CMSD, the school is supported by Friends of the CSA, a nonprofit booster organization. CSA provides students with an academic curriculum aimed at college preparation, as well as a pre-professional arts curriculum of their choice in the disciplines of creative writing, dance, digital design and multimedia, instrumental and vocal music, theater or visual arts. CSA successes include its 201 receipt of a $1.25 million grant from the Talented Students in the Arts Initiative. In 2005, the Friends organization successfully completed a matching campaigned that created a $1.5 million endowment to support CSA programs. Appendix A, Page 1 As CSA eyes the opening of its new University Circle facility, school officials have articulated the following goals: Leverage University Circle resources/assets and take advantage of easy access to the city’s major cultural institutions to develop the strong artistic linkages necessary for success. Become a national leader among public schools that offer specialized training in the arts Achieve an award-winning teaching and learning design model Utilize state-of-the art technology Become one of the top five specialty public arts and design schools in the U.S. But before looking forward, it is instructive to look back, so that CSA can build on its institutional strengths and learn from its past mistakes. The following observations were obtained from interview with CSA administrators, past and present; former students; and third-party experts. Former students Interviews with several former students reveal several characteristics that CSA should ensure it preserves as it embarks on the most important overhaul of its history. At the top of this list is the “sense of family” that former students unanimously cited as one of the most positive aspects of their CSA education. Michael Robinson (1984, theater) said his teachers were phenomenal and that CSA faculty and students considered themselves to be one great, big family. Some teachers were even affectionately referred to as “aunt” or “uncle so-and-so, rather than Appendix A, Page 2 “Mr.” or “Mrs.” Paul Sadler Jr. (1984, dance) said small class sizes contributed to the intimate feel of the school. And Rhonda Harrell (1991, theater and vocal music) said she has maintained the same friends for almost 30 years. Conya Doss (1988, vocal music) said the teachers even “were obviously spending their own money,” to make up for CSA’s own lack of resources. Doss and other former CSA students recently repaid such kindnesses when they sponsored all of their teachers so that they could attend a reunion. Former students’ generosity and fondness for CSA underscores the need for CSA to view its alumni as resources and take advantage of their interest in and willingness to serve the school. Multiple former students expressed a willingness to mentor current CSA students, for example, and Harrell said she recruits students from the school. These sorts of networking and career opportunities would be a good place to start identifying opportunities for former CSA students to give back, but CSA should not stop there in an effort to ensure students have an opportunity to learn outside the four walls of the school building. Former students uniformly cited off-site experiences (and visits from outside artists and professional organization’s) as a highlight of their CSA tenure. Dr. Noreena Aberkaier’s name was mentioned by several students who valued the former artistic director’s commitment to finding networking and performance opportunities throughout the city for students. Robinson said faculty connections created opportunities for students to be cast in community plays, and Fred Graves (1987, vocal music) said the “best part of CSA was having the opportunity to travel, the opportunity to go out into the city and sing in some places that I knew I would not have otherwise had the chance” to. Doss said every artist that visits town should make a stop at CSA for students to meet and network with them. Appendix A, Page 3 Many former students expressed frustration with CSA’s lack of attention to their academic, as well as artistic well-being. Colleen Scott (1985, orchestra) said she did not feel prepared for college academically. Worse, it sounds like Scott even was ignored when she articulated her desire to take more college-prep courses. For example, she was taken out of a trigonometry class she wanted to be in and placed in a music theory class. Sadler claims his desire to apply to Juilliard was stymied by a guidance counselor who was unfamiliar with the school and pushed him toward others. “When we got to college, in some areas, we were not prepared,” Doss said. In English, we did not have the foundation that we needed. Math and Sciences were a plus, but English was not conducive. I wish they had enough support staff to support students struggling academically — often some of the most talented ones.” Administrators Academic deficiency was one of several problems former principal Dr. Barbara Walton tackled while leading CSA. With every stakeholder involved, the school’s mission statement was rewritten to focus not only on providing a rigorous curriculum for students, but also on getting students into college and ensuring they stayed there. The goal was that all students would enter and graduate from a four-year college or college of the performing arts. Walton addressed discipline problems by instituting a zero-tolerance policy; being firm, fair and consistent; and explaining to students that they were in the school by invitation and needed to respect the rules. Walton also endeavored to break up cliques and feuds that saw not only students, but also teachers, insulating themselves within their Appendix A, Page 4 disciplines. Faculty members were placed into groups to work together in an effort to break up the cliques. Faculty and staff also met before, during and after school and on weekends to participate in school reform. Walton said some of the greatest support (supplies, books, artistic resources, teacher grants, student scholarships, etc.) that CSA received was from the Friends organization. Walton said she hopes the new CSA will be more “district-driven.” This contrasts with the views of the current principal, Andrew Koonce, who believes CSA needs more autonomy from the district. This likely has more to do with the different circumstances under which the two principals led the school than the wisdom of either approach. While Walton felt neglected by the district, Koonce has been “force-fed” a number of undesirable mandates from the district due to budget and staffing challenges. Even in the immediate aftermath of the $1.5 million endowment being established, Koonce said CSA was criticized as not really being an arts school since its staffing and course offerings did not stack up well against other model schools of the arts such as Duke Ellington School of the Arts and New World School of Arts. This situation did not improve when district cuts resulted in CSA losing not only funding, but also have of its arts staff and 25 percent of its academic faculty. From 2005-2010, Koonce said he was not able to hire his own teachers and was stuck with “necessary transfers.” “I had a group of people who were burned out transfers who were there because it was close to home — not necessarily for the arts, not interested in helping out with auditions or staying late for performances,” Koonce said. “The small group that was invested became burned out and they left.” Appendix A, Page 5 Koonce said things have improved with the current CMSD administration, but stressed that CSA needs “to have control of our staffing and recognition from the district that we need different types of staffing.” He also said the school’s $4 million budget is about $500,000 to small to meet needs. From the interview with Koonce, it seems the struggles mentioned by students when it comes to CSA’s preparation of students for life after high school continue. Koonce said that even though 100 percent of students graduate and qualify for college, only 80 percent go and only 30 percent go on to graduate. Only about 15 percent of former students are pursuing careers in the arts, he said. “Students come back and said that they were not prepared for the amount of writing in college, needed more preparation for the ACT and SAT, and more support for college preparation and admissions,” Koonce said. Third-party experts Interviews with third-party experts identified some recommendations for how the new CSA should be structured. Kristy Callaway, executive director of the Arts School Network (ASN), said the best governance model includes a CEO/principal, separate deans for academics and the arts, and a public relations professional. “The most successful schools have a strong, charismatic leader who is not involved in day-to-day operations,” Callaway said. “You need chairs of departments under and academic and separate arts leader.” Appendix A, Page 6 She also recommended a late-starting extended school day, e.g. 10 a.m. to 6 p.m., with academics in the morning, arts in the afternoon and specialized ensembles later in the afternoon. Communicating and partnering with Cleveland’s public transportation providers would be key to allowing this type of schedule to succeed. Of course, Callaway also recommended that CSA join ASN, which provides many benefits for a small annual fee, such as access to a job-posting board, publicity, site visits and conferences. Paul Hill and Shannon Murtaugh of the Center for Reinventing Public Education did not mince words when they said it is “appalling” that CSA lacks connection and exposure to Cleveland’s “amazing cultural resources.” They also said it is important that a school like CSA have autonomy, specifically the ability to choose its own leaders. Finally, Hill and Murtaugh recommend the creation of a “democratic means of auditioning” that avoids perceptions of exclusivity by providing any student with interest and commitment with opportunities, such as remedial lessons, to improve and meet CSA standards. — MitchellKornArts Appendix A, Page 7 Technology Outfitting: Recommended Options for Cleveland School of the Arts (CSA) Staff, Students and Classrooms 1. Teachers It is recommended that each faculty member be assigned both a notebook computer for in-class needs and a tablet computer both for mobile use and for instructing students on how to integrate tablets into their daily work. Recommended notebooks: • The Apple MacBook Air ($1,049) offers the highest level of dependability, performance and portability of any product currently on the market. • The Asus Zenbook UX302LG ($1,149) is an excellent Windows alternative. Recommended tablets: • The Apple iPad Air or iPad Mini with Retina Screen ($499/$399) are best. • The Microsoft Surface 2 Pro ($799) is an excellent alternative to the iPad. 2. Students It is recommended that each student be assigned a tablet computer. Tablet computers promote efficient workflows and allow users to complete tasks, assignments and projects in any location with great ease. Most importantly, these tasks can be completed with higher levels of enjoyment and satisfaction. Working with a networked tablet computer provides access to necessary resources at all times. Empowering students to use mobile devices and integrate them into their studies will increase their successes in the classroom. It is recommended that students choose between the following options: • iPad Air (10-inch screen; $499) • iPad Mini with Retina Screen (7-inch screen; $399) If possible, the iPad Air is recommended as the best overall model for learning, content consumption, project/assignment management and device longevity. A much more affordable and slightly underpowered option would be the original iPad Mini ($299). Tablet protection is STRONGLY RECOMMENDED. A case is essential for longevity of devices. When CSA assigns devices to faculty or students, it also should require that the devices be kept in heavy-duty cases. The Griffin Survivor is the best and most protective case on the market: • Griffin Survivor for iPad Air ($79) • Griffin Survivor for iPad Mini ($69) Appendix B, Page 1 3. Classroom It is recommended that each standard classroom be equipped with a 22-inch Apple iMac ($1249). Video and film production classrooms should have models with upgraded processors and video processors ($1,399). Computers should be positioned in classrooms for optimal collaboration. The iMac combines both a high-powered computer and an extremely high-quality display in one device. Other recommended options: LCD television ($500-$700) for viewing for in-class viewing of videos, lesson content displays and presentations. Size of 45 to 55 inches is optimal. The screen should be placed in easy view of all students. An Apple TV ($99) can be connected to classroom televisions to allow for the playing of video content from both classroom computers and student tablets. Apple TV wirelessly connects the LCD television to all devices in a room. This makes it possible for students to show their assignments and presentations on the LCD television from anywhere in the classroom using their tablets. 4. Cloud Storage and Backup Dropbox or other cloud-based document storage accounts are STRONGLY RECOMMENDED for students. • Provides simple, easy-to-use sharing of files and assignments • Provides access to data through mobile device apps and/or PC web browsers • Provides a backup system for files in the event of device loss or destruction Utilizing iCloud storage or a custom on-site backup system is another option. However, Dropbox provides the most robust set of services, highest level of security, and seamlessly integrates with all computing platforms. 5. Networking It is recommended that wireless access points be installed in each classroom . • Recommend wireless routers should be N-rated, at a minimum, for connectivity. • Wireless AC-rated routers are preferable and advised. • iPv6 technology is required in router specifications. It allows for a dramatically increased number of IP addresses on a wireless network when compared to existing networking hardware and also will insure longevity from a technical standpoint. Appendix B, Page 2 6. Recommended Software Music creation, recording and production: Pro Tools 11 ($699) Logic Pro X ($199) Ableton Live ($499) Design and theater: Adobe Creative Suite 6 ($1,499) Film and video production hardware: DSLR Camera for digital film recording ($800-$1,500 each) DSLR Camera Lens Budget ($500-$1,000) Film and video production software: Final Cut Pro X ($299) Adobe Premier ($799) 7. Distance Learning Video conferencing is an evolving medium. Top-notch, state-of-the-art video conferencing capabilities are limited to corporations and foundations with enormous budgets. But video conferencing is necessary if offering CSA instruction to those who cannot travel to campus is part of the school’s mission. Network bandwidth is the chief concern. All of the most expensive equipment available cannot make up for an internet service provider’s poor download and upload speeds. An optimal and recommended setup would be to dedicate a room for video conferencing, but the systems appearing below could be set up on a rolling cart and moved into any classroom with a large HD LCD screen for viewing. Option No. 1 — high-end system Hardware components: Polycom HDX 7000 720p ($9,754.99) Polycom HDX 7000 1080p ($12,686.99) Both systems Include: Polycom EagleEyeTM III camera Polycom HDX Microphone Array Polycom People+Content Polycom People+Content IP 1 Connectivity Cables and Remote Control Option No. 2 — upper mid-range system Hardware components: 2 Polycom HDX 4002 - $5,300 (includes all hardware and screen) Option No. 3 — lower mid-range system Appendix B, Page 3 Hardware components: 3 VidyoRoom HD 50 ($1,995) Logitech Pro 9000 Webcam ($130) Logitech P710e Conferencing Speakerphone ($175) Option No. 4 — FaceTime or Skype Hardware components: Virtually any computing device including smartphones, tablets, notebooks and desktops, as well as an Apple TV connected in-classroom television. Software components: Device-appropriate Skype or FaceTime applications Note: With Option No. 4, video and audio quality would suffer considerably in comparison to dedicated conferencing equipment. However, the ubiquity of the devices, ease of setup and use, and free software make this system incredibly viable for all situations. Option Nos. 1, 2 and 3 would include additional costs for software licensing. These costs will depend on how many units are deployed at CSA. Those prices vary and are not listed. Citations: 1. Polycom, INC. "Polycom HDX 7000 Series Data Sheet" Polycom.com. February 26, 2014. http://www.polycom.com/content/dam/polycom/common/documents/data-sheets/hdx-7000-dsenus.pdf 2. Video Conferencing Supply, LLC. “Polycom HDX 4000” March 5, 2014 http://www.videoconferencingsupply.com/Polycom-HDX-4000-s/307.htm 3. Fontel, Inc. “VidyoRoom HD 50 Appliance” March 1, 2014 http://www.fontel.com/detail.asp?ID=3530 Appendix B, Page 4 CSA CLASS OBSERVATIONS DATE: Nov. 19, 2013 CLASS: Creative Expression and Ballet TEACHER: Mr. Green, Ms. Kay and Antonio Brown (CSA Alum & guest instructor for modern and ballet) GRADES: 10-12 NUMBER OF STUDENTS: Nine in first workshop for fitness; Nine in second session for ballet only 1. Note the overall sequence of instruction. Creative expression in the first workshop for male and female students who are interested in taking dance as well as staying fit (conducted by Mr. Green) and ballet in the second workshop for nine ballerinas (conducted by Ms. Kay). 2. Are there evident instructional goals? Yes: creative expression using what they are studying in class and connecting it to dance, informal movement and fitness. 3. Do students demonstrate achievement of arts skills? Yes, for those students who were in the ballet class. Six of the nine students in ballet had great posture, strong technique, heels down, etc. Non-major students were very engaged and were also decent dancers in the fitness class. 4. Do students have the opportunity to express themselves independently within the art form? Not really. The class was fairly structured and based on them improving their technique. 5. Do all students have a chance to participate? Yes, and they all did in the ballet and fitness classes. 6. What is the level and quality of interaction between teacher and students? Peer-to-peer among students? Excellent! The fitness class was more informal and involved some team-building components which provided a certain amount of camaraderie among the students. Mr. Green was fantastic at coaching and mentoring these students. It is apparent that he truly does care about his students and wants them to succeed in life regardless of their majors. Ms. Kay, a former principal dancer with the Cleveland Ballet conducted the ballet class and was outstanding. I Appendix C, Page 1 could see improvement in the students’ technique by the time she finished the class. She was patient, professional and still a great dancer. 7. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? Yes, there is a standard curriculum for each semester that was posted on the wall. Mr. Green also tries to connect his classes to some of the literature that is being read as well as historical events. The ballet class is also connected to the French language classes. 8. Are the facilities and resources adequate for successful instruction? Yes, I was surprised based on other areas of the school that I had seen. There was a full dance studio with decent floors, ballet bars, full wall mirrors, dressing rooms, lockers, etc. 9. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? I’m sure there is always room for improvement, but not to my knowledge. 10. Are there ways that external partnership programs could enhance the class? Yes, by collaborating with other professional dance companies or individual artists who could conduct master classes or lecture demonstrations as a part of the curriculum. An example would be the Learning Lab at Booker T. Washington School for the Performing and Visual Arts in Dallas. 11. How might the class be similar or different in the redesigned and relocated CSA? Mr. Green helped design the new space for dance. He visited Alvin Ailey, NYC Ballet, Julliard and other independent dance studios to become more informed about studio size, lighting, etc. 12. What are your overall thoughts on how the class observation informs our CSA plan? This observation informs the plan regarding some of the better teachers and arts-integrated instruction. This was by far one of the best classes I observed. Appendix C, Page 2 CSA CLASS OBSERVATIONS DATE: Nov. 18, 2013 CLASS: Creative Writing TEACHER: Daniel Grey-Kontar GRADE: 11 NUMBER OF STUDENTS: Eight 1. Are there evident instructional goals? Yes, to take a student’s written piece and interpret it using oral expression and movement. 2. Do students demonstrate achievement of arts skills? Yes, as writers who explore ways to add meaning to or interpret their work as performance artists. 3. Do students have the opportunity to express themselves independently within the art form? Yes. Students are coached by their teacher and have open and creative dialogue with their peers on the use of lighting and sound design to describe emotion or set the mood for their various pieces. 4. Do all students have a chance to participate? Yes. The teacher had written instructions on the blackboard with students’ names indicating their roles and responsibilities. The class was engaged, organized, attentive, and had the opportunity to perform and be critiqued on the small platform stage in the classroom. They volunteered to be a part of the production crew and to work on the choreography together. 5. What is the level and quality of interaction between teacher and students? Peer-to-peer among students? They were engaged, responsible and respectful with and to one another. It was apparent that they wanted each person to improve and to succeed. 6. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? To my knowledge, it is an English elective that 11th grade drama students and others may take. 7. Are the facilities and resources adequate for successful instruction? Appendix D, Page 1 The facilities are not. The teacher made the best of the space and encouraged his students to stay focused, get into character, share their ideas, and collaborate. A writing lab that can also be used as a small studio space would be helpful. The students and teacher could be as creative as possible and not have to contend with all the noise in the common hallway. 8. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? Yes. Although I did not receive or review a piece of curriculum, the teacher was using what appeared to be a textbook or book that was focused on creative writing and the basic principles of strong writing. He referred to it during the class and made connections to the students’ individual writings and methods of interpretation. 9. Are there ways that external partnership programs could enhance the class? Sure. Invite published writers to discuss their journeys and lead a lecture/demonstration on topics such as the use of strong verbs, how to include the senses in one’s writing, authentic research and the business of publishing. 10. How might the class be similar or different in the redesigned and relocated CSA? As stated above, have new physical space for writing labs with studios and master classes for writers. 11. What are your overall thoughts on how the class observation informs our CSA plan? The class observation is important to get a chance to see what is actually happening in the classroom. If CSA wants to be taken seriously, it also will need to be in a position to graduate strong serious writers that can get into college and grow. Appendix D, Page 2 CSA CLASS OBSERVATIONS DATE: Nov. 18, 2013 CLASS: English /Honors TEACHER: Mr. Alexander Hickson GRADE: 10 NUMBER OF STUDENTS: 12 1. Note the overall sequence of instruction. When I came into the class, it already had started, but the instruction from Mr. Hicks was for the students to break into groups and read specific passages from the play “A Raisin in the Sun.” 2. Are there evident instructional goals? Yes: the reading of assigned passages and oral interpretation. 3. Do students demonstrate achievement of arts skills? Not really in terms of oral interpretation. On a scale of 1-5, 5 being the highest, I would rate their reading and oral interpretation a 3. But this also is due to the teacher not being clear enough about his expectations. 4. Do students have the opportunity to express themselves independently within the art form? Not really because this was an English class, and they were just reading to one another. 5. Do all students have a chance to participate? Yes, as a group they were given the opportunity to read out loud for the class 6. What is the level and quality of interaction between teacher and students? Peer-to-peer among students? This was fine. The students rehearsed with one another in the classroom and the hallway, and the teacher would listen to each group and make suggestions about how they might improve. 7. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? I did not have any information about the curriculum. 8. Are the facilities and resources adequate for successful instruction? Appendix E, Page 1 No they were not. There were two groups of students in the classroom trying to read aloud and three groups of students in the hallway reading to one another. It was distracting to say the least. The students were standing in the hall trying to read as others were passing by. The students in the classroom were distracted by the other group also trying to read. The teacher would sit at his desk, then go into the hallway to listen to the students that were there, then come back to the students in the classroom to offer a few suggestions, then go back to his desk. 9. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? For this to be an honors English class, it felt as if the instruction was more about keeping the students busy for the class period rather than teaching or the students having a rich, quality experience with such great literature. 10. Are there ways that external partnership programs could enhance the class? Absolutely! After the students have read the literature, having Karamu House, Cleveland Public Theater or others come in to work with students on oral interpretation would be valuable and an enriching experience for the students and teachers. 11. How might the class be similar or different in the redesigned and relocated CSA? See answer to No. 10 above. I also recommend having a partnership with a university to extend the experience even further. 12. What are your overall thoughts on how the class observation informs our CSA plan? The quality of instruction in this class was average and disjointed. It seemed that the teacher was more involved in being the actor showing his interpretation rather than instructing the students about how oral interpretation is different than reading and why understanding what motivates a character is key to how one will interpret them. The theater department should be reevaluated as a part of the plan in order for students to be competitive with other students from other arts schools. Appendix E, Page 2 CSA CLASS OBSERVATIONS DATE: Nov. 18, 2013 CLASS: Playwriting/Theater TEACHER: Dr. Miller GRADES: 11 and 12 NUMBER OF STUDENTS: Eight playwrights and approximately 15-20 other students 1. Note the overall sequence of instruction. There was no apparent sequence of instruction during my observation. This combined class of playwrights, actors, dancers, and vocalists seemed unorganized and somewhat chaotic. For at least the first 10 minutes of my observation, some students were on stage, others were milling around waiting for class to start, and still others were having sideline conversations. Dr. Miller then instructed the students who were working on their plays and who needed feedback to meet him in the back of the auditorium. It took another five to 10 minutes for him to break the other students into their respective groups. Some went behind stage to work on their songs, and others started rehearsing lines from a play, while the remaining students sat in their seats talking and observing what was happening on stage. Dr. Miller returned to the back of the auditorium with the eight students needing feedback on their plays, and I was asked to join them. 2. Are there evident instructional goals? No, not that I could tell. The class was primarily a conversation about the emails Dr. Miller had sent to students about their writing. 3. Do students demonstrate achievement of arts skills? It was very hard to tell. Again, this was a noisy, chaotic environment with a lot of distractions — from people walking in and out of doors, students on stage, students in the aisles and seats, students standing and sitting on a table in the back — with everyone competing to be heard. 4. Do students have the opportunity to express themselves independently within the art form? Somewhat, but primarily from the standpoint that they could shape their stories and try to develop their characters as playwrights. 5. Do all students have a chance to participate? Appendix F, Page 1 Somewhat. I was sitting with the students who were working on their writing and only three really participated or got the chance to participate. Dr. Miller left the group once to go and attend to something else happening at the front of the auditorium. This disruption broke the momentum so when he returned a couple of students had wandered off. 6. What is the level and quality of interaction between teacher and students? Peer-to-peer among students? Dr. Miller seemed to thoroughly enjoy his interaction with the students and exhibited positive behavior in the sense that he wants them to succeed. And the students worked collaboratively within the various groups. 7. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? No, not to my knowledge. It wasn’t evident from the way the class was introduced or discussions within the smaller group that the activities were connected to an overall curriculum. It may have been, but I didn’t hear or observe that it was. 8. Are the facilities and resources adequate for successful instruction? No, not based on what I was observing with two to three groups in one auditorium. 9. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? Yes. It would have been helpful to have handout materials for the class with clear expectations for the students as well as more administrative support to handle the organization of this activity in the auditorium. I already have addressed the facility challenges. 10. Are there ways that external partnership programs could enhance the class? Yes. A theater group could provide a lecturer on a subject such as playwriting, theater performance or character development. 11. How might the class be similar or different in the redesigned and relocated CSA? It could and should be very different in order to give the students every opportunity for quality instruction. The class should have strong, skilled and professional teachers with an industrystandard background in playwriting and theater and who also have the necessary skills for strong instruction and project-based learning. 12. What are your overall thoughts on how the class observation informs our CSA plan? Appendix F, Page 2 The instruction was inconsistent, seemed almost too casual and lacked organization. These components would allow a teacher to give the students the benefit of all the class time allotted in lieu of wasting 15-20 minutes settling everyone down and moving them around this large open space for erratic or seemingly unplanned rehearsal and instruction time. Appendix F, Page 3 CSA OBSERVATION: Theater Performance DATE: Nov. 19, 2013 THEATER PERFORMANCE: “A Raisin in the Sun” TEACHER: Dr. Miller GRADES: 10-12 NUMBER OF STUDENTS: approximately 20-25 AUDIENCE MEMBERS FROM OTHER SCHOOLS: approximately 150-175 I believe this was a dress rehearsal for a show that was going to be open to the public and other schools on Nov. 22 and 23. I had seen small segments of the play being rehearsed on Monday, Nov 18. Overall, this was a fairly decent show considering the content and the timeframe. The students who played Walter and Mama were quite good considering their ages. The other students were average in terms of character development. The lighting and sound needed more work because they did not add much to the story with regard to setting a mood, evoking emotion or telling the story in general. I don’t know how much time was allotted to get this show rehearsed and up but it could have used at least another week or two. On a scale of 1-5, with 5 being the highest, I would rank this show a 3. 1. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? I am not sure if is, but I did observe an honors English class reading “A Raisin in the Sun” at the performance, so I am assuming that it may be required reading that the theater students, vocal students and others perform. 2. Are the facilities and resources adequate for successful instruction? I would say they are not based on my observation of the two classes run simultaneously by Dr. Miller in the auditorium, as stated in my other observation report. 3. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? Absolutely. Better rehearsal space or even a black box theater would be helpful with at least the minimum lighting and sound expertise. 4. Are there ways that external partnership programs could enhance the class? Appendix G, Page 1 Yes. As stated in my class observation report, have professional theater companies visit the schools and offer master classes to improve the students’ skill set beyond their standard instruction. 5. How might the class be similar or different in the redesigned and relocated CSA? N/A — This was an observation of a performance. 6. What are your overall thoughts on how the class observation informs our CSA plan? It informs our plan to suggest that students will need to be exposed to other professionals in theater or technical design in order to develop and grow. It might be helpful to allow students to audition and be cast in local theater companies’ productions as a component of project-based learning, or to receive at least one credit in order to gain more experience at a higher level. Appendix G, Page 2 CSA Observation Report: November 21-22, 2013 Submitted by Dan Serig November 21st Mr. Carver — Visual Arts — ninth-10th grade — 9-9:50 a.m. Mr. Carver uses this extended block primarily for students to work on various projects from the assignment list, which is the curriculum. He begins the class session by reminding students to get their work ready for the Scholastic Arts competition. There are 24 students in the class evenly distributed between boys and girls. I notice the room is double the size of a typical classroom with the addition of two storage closets. The Scholastic deadline appears to be driving the assignments. My experience with Scholastic Arts competition is that the “winning” entries tend to be technically superior because that is what judges can agree on, while the conceptual rigor and innovation is often not addressed because it is more difficult to assess. I question the reliance on this competition as the major motivation for student works. Most students are engaged in their projects either alone or in small working groups. One student works on a pencil drawing of a Lamborghini. This, along with the subject matter of other student drawings, leads me to conclude that students are welcomed to appropriate and use imagery that interests them for some projects. Most students are doing drawings of some kind. Mr. Carver explains that the first project of the semester was to draw their shoes from observation. Many are now working on the “Surrealist Drawing” assignment. Most work appears to be between 9”x12” and 24”x36”, with most in the smaller size. The students do these drawings at one of 12 long folding tables with two to three students per table. The drawing skills of the students are very high. Mr. Carver often works with small groups on particular drawing skills. The assignments and work I observe lead me to infer that most projects are with drawing media, particularly pencil, and in a representational style, even if exploring Surrealist notions. As Mr. Carver turns on some old-school R&B music, I notice a couple of students working on two of the five easels at one end of the room. I engage one in conversation, and she describes how difficult painting is, especially in acrylics. She wishes she could do more painting with various media. Appendix H, Page 1 I talk with a couple of students about the curriculum. Students get a list of assignments at the beginning of the year and they work independently to complete all of them by the end of the year. Students are, in large measure, in charge of managing their time. Mr. Carver provides demonstrations on skills and techniques. A list of artists is provided for each assignment to give students access to exemplars. Some of the assignments receive a historical context through a lecture by Mr. Carver. These two students also comment on the proliferation of drawing media as the means for executing the majority of projects. Mr. Carver provides the materials for the students, as needed. Materials do not appear to be readily accessible by the students without Mr. Carver’s mediation. The emphasis on drawing and drawing from observation is well-founded in terms of art and design schools asking for such work in application portfolios. However, these students, for the most part, appear ready to explore more media, more concepts, and more challenging problems. Some assignments offer a choice of media while others dictate the choice. I am impressed with the support and help students offer each other. The interactions are friendly, sometimes in a competitive way: “My drawing is better than yours [with a smile].” The support is often in the form of suggestions for the work or in getting materials from Mr. Carver. This appears to follow Mr. Carver’s lead. He often frames his instruction and refocusing comments in the form of challenges. Emphasis of instruction is on creating representational form on a flat surface. According to students, middle school instruction focused heavily on building drawing skills. This appears to be an extension of that. The students with whom I discuss curriculum reveal more insights: They would like to explore photography or graphic design, but those areas are not options for their track in the “fine arts.” Their present work is typical in terms of using source imagery from Internet searches. Many students also work from printed photos taken by the teacher or a friend. Some look at imagery on their smartphone screens. One is sitting at one of the two computers in the classroom using Google to find an image to use in his drawing. Mr. Carver reminds the students to change the image somehow — adapt it for their use. Some students use tracing paper to do initial drawings of complicated imagery. While none of these processes, in and of themselves, are questionable in moderation, the overreliance on two-dimensional, secondary sources does not adequately prepare students for colleges of art and design. As I make note of this, two other female students show me their prints. They worked from photographs that are not their own, but the photos were in black and white and the students added color using water printing pencils. They are thrilled to be doing art here. Appendix H, Page 2 Mr. Carver — Visual Arts — 11th-12th grade — 10-10:50 a.m. Mr. Carver and I have a chance to talk, and he explains that students must work through the assignment sheet in order because it builds skills sequentially. The next group of 11th and 12th grade students arrives. Shortly after, half of them leave to go to a college presentation. The class is down to 12 students. While these students get to work, Mr. Carver gives me a copy of the art exam he gives every year. He changes it a bit each time, but it basically remains the same so that by students’ senior year, they know it well. I skim the exam, and it appears to cover basic content vocabulary such as the elements and principles of design, color schemes, and historical genres. Mr. Carver relates a story of how he felt out of place when he went to art school because he did not know this information and it seemed like all of the other students did. So, he does not want CSA students to be in the same position. Da’ise shows me her portfolio. Her drawing skills are excellent, as well. She also includes colored pencil and oil pastels. All work is based on representational drawing with more abstract elements added. She explains the choices she made in terms of media, but, more importantly, in terms of concept and how the imagery is communicating the concept through composition, color, media, symbols, and editing. She applied to several art schools. She also explains how Mr. Carver does critiques. Students gather around a large table and bring their work in progress. He points to one, and the student has to present his or her work, then Mr. Carver offers feedback, then the other students do. Da’ise wishes for more constructive criticism to help her get better. She also mentions that she wishes she could have had more experiences with painting media. She mentions only working with watercolors (the hardest painting medium to control, by the way). Another student is working on an acrylic painting, trying to determine how she will proceed. She says she’s confused about how to achieve the color and texture she is attempting. This brings up another point about material usage. Students are using materials in a safe manner and there is no evidence of toxic materials. However, the room is not ventilated to work with oil-based inks or pastels. There is no spray booth in the room, either. Some students work on their “civil rights” assignment. As with the other class, most imagery is being appropriated from the Internet with little manipulation other than “colorizing” them for printing. There is a lack of experimentation with scale and materials. Students mainly stay within their comfort zone of representational drawing of flat, printed imagery from photos or the Internet. This mastery should not be taken away, but some divergence should be introduced. Appendix H, Page 3 Mr. Carver also notes that seeing the students over multiple years is great for developing their skills, but he also notes that some students get “burned out” and switch to something else. The “dedicated” ones stay. Postscript: Some things I am questioning and concerned with after observing Mr. Carver’s classes: Lack of materials Lack of student access to materials Lack of access and exposure to contemporary artists and artworks Lack of articulated learning goals and objectives associated with assignments. The enacted curriculum seems narrowly focused on representational drawing. Could the drawing skills be preserved through a rigorous sketchbook or journaling process that feeds a more varied curriculum? The curriculum is narrowly focused on representational drawing. This focus does well in Scholastic art competition and is still used as a “yardstick” by which many art schools evaluate application portfolios. However, this narrow focus does not represent contemporary art practices. The assignment list, with its few references to named artists, continues to narrow the focus. This is further exacerbated by the lack of materials and limited access to the few that are available. Critiques are repetitive, teacher-driven, and focused primarily on drawing skills. There is no 3D/sculpture strand. The exam (given every year in similar format) sets the bar extremely low. This may be an attempt to make up for little or no previous arts experiences for the students. Mr. Carver has the best of intentions for doing this: He does not want them embarrassed in college by not knowing “the basics,” as he was when he went. This raises the conundrum: Is the new CSA curriculum based on a standard of excellence representing the best high school of the arts, which entails moving students from a deficient place to an advanced place in a relatively short time? Or is it about mastering “the basics?” I assume it's the former, which means much more time doing art — several hours a day, in school and out of school. This has to be an intense, full-on push. Miss Yan — Chinese I — high school students — 12:15-12:37 p.m. I enter a Chinese I (Mandarin) class for a brief observation. The teacher stands at the board and reviews vocabulary both orally and by pointing to characters. The unit is on color names. The 14 students attend with varying levels of focus. Some shout out Appendix H, Page 4 the answers. The student next to me is texting. The teacher then goes around the room to make sure students have paper out to take notes. As I look around the room, I notice that the desks and chairs are in three columns facing the whiteboard. The bookshelves are empty. Four aging computers line the back wall. A bulletin board does have a few images of traditional Chinese painting and poetry. Hanging from the ceiling are paper lanterns cut from a template and colored in with colored pencils. Students are now writing the character that the teacher projects on the board as she traces it. She moves around the room to check the students’ work. Postscript: The curricular expectations for students seem low. The environment is not stimulating for cultural explorations. Matt Higgins — Physics teacher I speak with Matt for 20 minutes regarding his curriculum and his teaching at CSA for the second year. Students are not present. He describes engaging students through labs, but he works with limited equipment. This does not hold him back, however. He does things like egg drops, pull carts with weights, measuring school stairs and then computing the amount of work (energy) needed to go up the stairs. He shares his concern, however, that the mandated curriculum is out of order in terms of building sequential understanding of concepts. He also complains that he is required to collect large amounts of data on students in relation to the curriculum outcomes, which takes time away from his main job of preparing to teach and motivating the students. He loves teaching at an art school, though. He describes the students as goal-oriented and motivated. This is juxtaposed against the reality that three of his four classroom computers don’t work. Mr. Higgins would like more time to socialize with other faculty, learn from them, and share with them. At present, he rarely has time to leave his classroom. Postscript: Mr. Higgins leads what appears to be a student-centered class with project-based learning in which students discover concepts through hands-on projects. This appears to be a good fit for CSA. If he had the opportunity to socialize with other faculty, as he desires, he could help influence the other academic areas/teachers. Appendix H, Page 5 Mr. Brown — guest dancer for ballet rehearsal in Mr. Greene's class — middle school students — 1-2 p.m. Mr. Brown is an alumnus who also is working as a professional dancer with the Bill T. Jones and Arnie Zane Dance Company in Dallas. The regular teacher for the class is Mr. Terrance Greene. Mr. Brown leads the 19, mostly female, middle school students through a series of warm-ups followed by a routine they have been learning. He focuses the instruction on timing, vocabulary for the moves and the pace. Mr. Greene sits at the front of the dance studio, nodding and making gestures to specific students. The students appear serious about their work. Mr. Greene asks, “Is it burning yet?” The students have a changing room off one corner of the dance studio. Balance bars are on two sides of the room in front of full-length mirrors. The room is particularly warm. The whole school seems warm. I feel for the student dancers. The instruction is fast-paced and calls for students to draw on their memory, mindbody communication, and response. Students exhibit a wide variety of skill levels. Some are quite tentative, which is not surprising given this developmental phase. Mr. Greene tells me that, for some students, this is their first dance class while others have been taking classes for years. As Mr. Brown takes the students through another series of moves, I am struck by the structure of the instruction: 1. Watch me; 2. Watch me, follow me; 3. Again, watch me, follow me; 4. You do it, I watch. Then he gives the group general feedback. Then he shows them what he means. The students follow. The feedback focuses on body control. Even if they are tired or off balance, the students are reminded to “live up tall.” At this point, Mr. Greene welcomes three older students who come in to mentor the younger ones. He's proud that the dancers are typically the honors students at CSA. Postscript: The class is rigorous. It reminds me of other evaluations of dance programs (Utah, National Dance Institute) and the amount of mind/body learning happening in dance. There is a strong sense of etiquette, respect, and order. I wonder if the dance program is as narrowly focused as the visual art program. Having alumni return to help educate sends a strong message to the younger students. The exchanges between Mr. Brown and Mr. Greene reinforce the professionalism and seemingly high standards. This observation raises the issue, again, of differentiation within a rigidly controlled curriculum. Additional time in focused, purposeful practice must be put in place for students to achieve excellence. Appendix H, Page 6 November 21st Mr. “K” — AP American History — 8:50-9:20 a.m. Mr. K typically has nine students in this class, but five of them are preparing for the Friday arts show. The four students engage in a dialog about the movie “The Green Berets” starring John Wayne. They are juxtaposing this propagandistic movie to the text “Bloods” written about the African-American experience in Vietnam. Students respond to open-ended questions from Mr. K. They infer, draw initial conclusions, and reference the movie to support their views. Students will be writing a paper regarding the text and movie, and answering the question: What does it mean to be a man? This will then connect to the next unit on feminism. Postscript: Students should be having the same kind of discussions in their art classes. Perhaps Mr. K should lead a professional development workshop on the Socratic method for the art teachers. Back to Mr. Carver’s visual arts class — same group as yesterday with some seniors spending time at work in the room — 9:25-10 a.m. I walk in on a critique led by Mr. Carver. Most of the students are standing around a table looking at a particular student’s work. The feedback and comments from the teacher and students all link back to technical drawing ability, particularly shading and form. It’s all about drawing. The old-school R&B is playing. As with yesterday, a student is doing a pencil drawing based on an image on his smartphone. At this point I look out the window and see Mr. Higgins physics students standing outside as they drop objects out the second story window to test one of Newton’s laws of motion. Two students are at the computer doing Google image searches for sources. Postscript: The new CSA visual arts curriculum needs to be sufficiently different. However, I want to acknowledge Mr. Carver's focused intensity on making sure students develop a recognized skill: drawing from observation. In many ways, he delivers what many art faculty want from high-school graduates: skilled draftspeople who are then, supposedly, ready to start thinking conceptually. This, however, is shortsighted and does not represent a dynamic, 21st century visual arts curriculum or thinking. Appendix H, Page 7 The new CSA visual arts curriculum must include work in various media, various scales, and with students learning to contextualize their work (much the same as in Mr. K's AP history course discussion). Students must have multiple opportunities to exhibit their work in professional-type spaces. They must also have access to contemporary artists and artistic practices. The bar must be set much higher and the resources available to get students with limited previous art experience through a rigorous program in limited time. Resources include the time and expertise to get them there. Observation of the Friday arts assembly — 10 a.m. Today is theatre arts day. Students are doing excerpts from this weekend’s performances of “Fine Mirrors: Pieces form Five Classic Plays Laced Together with Song.” Students are demonstrating high-quality performances, but there is a lack of professional equipment and support. In addition, the audience of students was not prepared for the excerpt from Hamlet. This leads me to question students’ access to and awareness of knowledge and understanding across art forms. What is the level of discourse and critique of each other’s work and high-quality professional works? Postscript: Developing student abilities to perceive closely, reflect deeply, and critique works of art is an area that I see great opportunity with the Cleveland arts and cultural community. Students need to be in close contact with quality art and artists to develop these abilities. These experiences should be woven throughout the arts disciplines. Mr. Porter — American History — ninth grade — 12-12:37 p.m. Mr. Porter is finishing a PowerPoint presentation lecture. The 23 students are preparing for a test based on content in their textbooks. After the presentation, students work at their desks, which are placed in rows facing the front of the room. The assignment is to answer questions at the end of a chapter in the textbook. Students try to talk to each other but end up doing one-to-one questions with the teacher as they struggle with some of the questions such as, “Does Hawaii still have a monarchy?” The test next week will be about how different places in the world were impacted by U.S. involvement. Test questions will concern the what, how, and why of the impacts — 21 questions in all. It appears the course has not changed much since I was in American History in ninth grade. Evident from the interactions of the teacher with individual students is that the students have difficulty analyzing informational text for causes and effects of events. Appendix H, Page 8 There are no computers in the room. Chalkboards are on two walls. Graded worksheets are on the back wall: completed charts on the effects of industrialization. I am surprised that students must turn in textbooks at the end of class due to limited resources. They must also turn in the questions they’ve completed. I wonder if you couldn’t teach history through the arts. Mrs. Calamita — Photography and multimedia teacher — 12:45-2 p.m. I speak with Mrs. Calamita at length about the photography and multimedia programs as well as cross-disciplinary efforts. She also discusses getting ready for Scholastic and selecting photographs. We look at several images on a board. The work is amazing. The technical proficiency and composition is top-notch for the high-school level. The photos are digital prints with Photoshop work. Mrs. Calamita mentions one of the students with work on the wall will be going to Skidmore on a full scholarship. The work is assignment-based but includes such projects as ‘Feminist Discourse.’ She also does cross-disciplinary experiments like working with a creative writing teacher to pair students for projects. Mrs. Calamita understands that it is quite unique to get to spend four years with students in high school focusing on photography. During each year she brings in a visiting artist. One is working with the photo students now. Another graphic designer will be working with them later in the semester. The multimedia class for middle school students seems more like a general visual arts class. The photo/multimedia room is outfitted with big screen Macs for Photoshop work, but the middle school students use them, too. I notice three students going to them. The middle-school curriculum seems more project-based with less of a connection among the projects, whereas the photography curriculum seems more purposefully sequential, but this is a very cursory read. I also notice two large-scale printers (Epson 52” and Epson ~38”). There’s a side/storage room that has few materials but a table with chairs that some students move to. Students on the computers, now numbering seven, are using them like the high-school students in Mr. Carver’s class: for Google image searches to work on the new assignment. Postscript: Mrs. Calamita blends technique with concept in her curriculum. Students go out and have experiences, such as field trips in the neighborhood or by public transport, from which they draw inspiration to create work. Her experimentation with crossdisciplinary projects should be encouraged and made more possible within new structures/systems. There should be a system in the new CSA by which teachers are encouraged and supported to work across or among disciplines either as electives or part of the sequence of courses. Appendix H, Page 9 Final Thoughts The visual arts curriculum needs to be redesigned using the best of what Mr. Carver has created with major revisions. This most likely includes many new courses. Perhaps he has a drawing strand of courses, but they must not be the only strand. Teachers must also be expected to engage in ongoing professional development that engages them in the practices of artists and in pedagogical approaches that help students build their conceptual capacities along with their technical skills. Academic teachers must engage in professional development in the arts, as well. Academic teachers should observe “best practices” in arts instruction and be supported to incorporate project-based learning, critique, and portfolios. In addition, authentic connections should be made among disciplines. For instance, history courses should use the arts as content and motivators to learn the non-art material. Most importantly from my observations, students need much more time in their arts disciplines. In relationship to this, CSA is resource poor, and it is impacting the curriculum, limiting the students' opportunities to explore and excel, and limiting teachers' options for the kinds of learning that can happen. In closing, the students are amazing. They want to work hard. They appreciate their school and the opportunity they have. They deserve a nationally recognized arts high school. Appendix H, Page 10 Main Points from Interviews November 2013 Dr. Rekha S. Rajan The following is a summary of the main points from interviews conducted with the principal and pastprincipal of Cleveland School of the Arts (CSA), and six alumni who graduated from CSA nearly 20 years ago. The ideas and recommendations shared by those interviewed were almost identical. The main points are organized by ideas for strengthening CSA admissions, faculty, student experience, curriculum and school culture. CSA Admissions Construct a team for auditions that includes academic and artistic faculty Interview students to gauge both artistic and academic interest in attending CSA Faculty Add opportunities for project-based learning and in-service training for faculty Faculty members need to collaborate with one another and trust administration Identify connections to professional opportunities Need to work together across disciplines to strengthen both academics and arts Need to prepare students for college – both through academic work and real-world mentoring and marketing Teach students to respect and appreciate all different forms of art Students Meet goals of preparing for college and ensuring graduation from college Work with guidance counselors to address needs and interests Maintain grades as requirement to participate in productions and other artistic experiences Forge family-like friendships with students and faculty Curriculum Need more focus on academics; strong focus on arts already in place Attend workshops and performances in professional settings Have the opportunity to participate in professional performances and productions Offer college preparatory courses for students Allow students to shadow professionals in their field Need enough opportunities for private study for each student (i.e., enough teachers to give private lessons to music students) Create more opportunities to travel to perform, to attend performances and festivals, and to observe other students and professionals Add courses and seminars that focus on the business aspects of artistic industries Appendix I, Page 1 School Culture Need support from district and recognition of CSA as an important school both for arts and academics Principals need control of staffing and funds for hiring an appropriate number of employees to be a premiere arts school Need to have appropriate performance and exhibition space for each artistic discipline (e.g., a stage for performing, a recording studio for singers and an exhibition hall for artists) Procure the latest technology, equipment and instruments for students Cast the school as a safe-place that fosters creativity and a sense of family for students Find ways to involve and engage alumni who want to “give back” to the school Continue to maintain a sense of community Appendix I, Page 2 Visual Arts and Music Standards for Curriculum Development The purpose of this report is to create a baseline of standards for music and the visual arts within the Cleveland Metropolitan School District (CMSD) and its Cleveland School of the Arts (CSA). These standards result from identifying consistencies in national, state and higher education music curriculum outcomes, as well as identification of professional skill sets. CMSD and CSA music and visual arts curricula must use national and career/professional standards that provide students the preparation and rigor necessary to win admittance to and succeed in the highest quality conservatories and programs at colleges and universities. To accomplish this, students should participate in a “realworld curriculum” inside Cleveland area institutions where professional-level practice, rehearsal, performance and production become essential to the student vocabulary and experience. This includes the opportunity to study with studio teachers, as well as the opportunity to gain college credits and learning where possible. These efforts must be part of a directed and differentiated course of instruction where the learner’s expected outcomes are systematic, transparent and carefully assessed. These standards also result from an analysis and synthesis of the following documents: - - Cleveland’s Plan for Transforming Schools: Reinventing public education in our city and serving as a model of innovation for the state of Ohio (2012) A Premier Future: Unifying Students, Teachers and the Community for Success In and Through the Arts – CMSD Department of Arts Education 2008-2013 Strategic Plan CMSD Scope and Sequence for the Visual Arts (2012) CMSD Scope and Sequence for Music (2012) The Ohio Department of Education’s visual arts standards (2012) The Ohio Department of Education’s music standards (2012) Partnership for Assessment of Readiness for College and Careers (PARCC) frameworks: o PARCC Model Content Frameworks for ELA/Literacy for Grade 9, Version 2.0—August 2012 National Association for Music Education’s “National Standards for Music Education” “Principles of Possibility: Considerations for a 21st Century Art & Culture Curriculum” by Olivia Gude “Studio Thinking 2: The Real Benefits of Visual Arts Education” by Lois Hetland, Ellen Winner, Shirley Veenema, and Kimberly M. Sheridan Context CMSD must draw upon the high-quality resources available for designing and implementing music and visual arts and design curricula in a district and nationally renowned school of the arts. Fortunately, as stated in the CMSD Department of Arts Education 2008-2013 Strategic Plan: Appendix J, Page 1 The Cleveland Metropolitan School District is very fortunate to have many nationally known, arts and cultural organizations that actively support CMSD arts education in the schools and at their locations. These organizations design and deliver arts instruction and programs that support student academic success, arts skill development and link to State of Ohio curriculum standards and literacy instruction. (p. 7) Ohio also has a contemporary set of rigorous music and visual arts standards that should be employed as part of the CMSD/CSA programming and curriculum design. These visual arts and music standards align well with and can be further adapted for the focus on college and career readiness described in Cleveland’s Plan for Transforming Schools: Through its commitment to the Higher Education Compact of Greater Cleveland, the district and its charter partners will invest in college readiness, access and persistence for all its students, with the goal of improving Cleveland college enrollment and graduation rates. This will include increasing the number of high school students enrolled in post-secondary coursework and partnering with local employers to train and connect students with open positions that will provide immediate and longterm employment opportunities. (p. 10) CMSD/CSA music and visual arts and design programming must use curriculum standards to develop the skills and understandings students need to succeed in colleges of the arts at the highest level. To accomplish this, CMSD/CSA visual arts and design students should take part in internships in the creative industries and cultural institutions of greater Cleveland and participate in college-level courses when appropriate. Both internships and college-level courses must be part of a systematic, purposeful curriculum that is acutely aware of the high standards and pathways to meeting them, as well as ongoing, critical feedback, and assessment that tracks student progress and achievement. Related Initiatives Integral to college and career readiness is the achievement of the Common Core State Standards in English and math. Ohio is one of 20 states helping to develop the PARCC assessments to determine student readiness to take entry-level, college courses in those areas. In particular, the Ohio visual arts standards emphasize many of the Common Core standards in English Language Arts/Literacy. For example, one of the strands in ELA is the Speaking and Listening Standards. In ninth and 10th grade the standards are characterized as follows: Students speak (both in formal presentations and in informal discussions) with growing maturity to convey ideas and information both clearly and persuasively. Students are simultaneously developing listening skills that allow them to participate effectively and contribute to groups. (p.9) While in the Ohio visual arts standards, two “Progress Points” for high school students that directly relate to the Common Core description above are the following: Students will apply reasoning skills to communicate key ideas expressed in their artworks and the works of others and use appropriate criteria and language to critique the works. [And] Appendix J, Page 2 students will demonstrate respect for, and effectively work with, socially and culturally diverse teams or content to increase innovation and quality. Many other instances exist of overlap among the Common Core ELA standards and the Ohio visual arts standards. Using the Ohio visual arts standards would mean additional emphasis and attention to the Common Core standards, which are the basis for the PARCC assessments. Visual Arts Standards The CMSD standards for the visual arts recapitulate verbatim the Ohio visual arts standards. The only difference being that the CMSD visual arts standards divide the state standards into quarters. They also provide two additional categories for each quarter: Activities, Resources and Field Experiences and Children’s Literature. Breaking the state standards into quarters seems counter to the school autonomy and performance-based assessment characteristics highlighted in Cleveland’s Plan for Transforming Schools. Visual arts and design teachers and departments should be allowed to develop their own strategies for meeting the standards based on their specific contexts. The quarterly expectations are too narrowly prescribed. Likewise, the Children’s Literature section, while valuable in its resourcefulness, seems limiting. The listing of literature to consider connecting with the standards could easily exist as an appendix, as could the Activities, Resources and Field Experiences, which are mostly redundant over several quarters. Another important difference in the CMSD and Ohio visual arts standards is the page layout of the information. This may seem less significant than the content, but there is a crucial visual preference. People raised in Western cultures read a page of text starting in the upper left-hand corner. On the CMSD visual arts standards pages, this is where the heading and first quarter standards begin. The Ohio state standards page locates the “Enduring Understandings” in this corner. These understandings are the overarching, ongoing focal points for the entire visual arts programming. These ‘mission statements’ ground all of the subsequent standards on the page. The CMSD pages have these understandings in the lower right-hand corner. Layout matters. It is part of the visual designing of information. The Enduring Understandings set the stage for a dynamic, contextualized, relevant, and rigorous education in the visual arts: Personal Choice and Vision: Students construct and solve problems of personal relevance and interest when expressing themselves through visual art. Critical and Creative Thinking: Students combine and apply artistic and reasoning skills to imagine, create, realize and refine artworks in conventional and innovative ways. Authentic Application and Collaboration: Students work individually and in groups to focus ideas and create artworks that address genuine local and global community needs. Literacy: As consumers, critics and creators, students evaluate and understand artworks and other texts produced in the media forms of the day. These are further characterized within each grade grouping (K-2, 3-5, 6-8, and high school) into Progress Points. These developmentally appropriate markers identify aims, from historical and cultural contexts Appendix J, Page 3 to skills and tools; career awareness and readiness to communication and collaboration; and more. They are a model framework from which to build a high-quality visual arts curriculum at CSA. Given these considerations and differences between the CMSD and Ohio visual arts standards, CMSD/CSA should adopt the Ohio visual arts standards as their model for curriculum development. In doing so, they include all recapitulated standards in the CMSD version but with additional flexibility and emphasis on the Enduring Understandings. The Ohio visual arts standards also compliment and help achieve the Common Core ELA standards and provide additional opportunities for students to prepare for the PARCC assessments presently in development. Frameworks for Curriculum Development Implicated in the Ohio visual arts standards are Olivia Gude’s “Principles of Possibility: Considerations for a 21st Century Art & Culture Curriculum” (2007).1 This seminal text in art education describes an alternative to the modernist, formalist conception of visual arts education being anchored to elements of art and principles of design. She argues that art educators focusing on contemporary art practices, critical theory, and student empowerment do view the elements and principles as necessary or sufficient for a high-quality art curriculum. Gude argues: Contemplating the main topics of a curriculum ought to stimulate students' and teachers' anticipation and participation. Modernist elements and principles, a menu of media, or lists of domains, modes, and rationales are neither sufficient nor necessary to inspire a quality art curriculum through which students come to see the arts as a significant contribution to their lives. (p. 6) Instead, Gude continues, visual arts curricula should be based upon new “Principles of Possibility”: Playing Forming self Investigating community themes Encountering difference Attentive living Empowered experiencing Empowered making Deconstructing culture Reconstructing social spaces Not knowing These are not meant to be themes or units of instruction. Rather, they are a framework from which art educators can create experiences and curricula that engage students and teachers in meaningful art 1 Gude derived the Principle of Possibility from her “understanding of the research and practice of colleagues in the fields of art, media studies, art education, and community arts as well as from best practices of the Spiral Workshop, the University of Illinois at Chicago's Saturday youth artist program for 13-19-year-olds and the Contemporary Community Curriculum Initiative, UIC's programs with in-service art teachers. (p. 7) Appendix J, Page 4 making. The CSA visual arts instructors should include Gude’s framework in their development of the curriculum and programs. Another curriculum framework focuses on the habits employed by successful art educators who are also practicing artists. “Studio Thinking 2: The Real Benefits of Visual Arts Education” by Lois Hetland, Ellen Winner, Shirley Veenema, and Kimberly M. Sheridan offers categories of practice from which engaging, rigorous, relevant, and thorough visual arts education may be framed.2 The studio habits observed in high-quality, high school arts education were: Develop Craft: Learning to use tools, materials, artistic conventions; and learning to care for tools, materials, and space. Engage & Persist: Learning to embrace problems of relevance within the art world and/or of personal importance, to develop focus conducive to working and persevering at tasks. Envision: Learning to picture mentally what cannot be directly observed and imagine possible next steps in making a piece. Express: Learning to create works that convey an idea, a feeling, or a personal meaning. Observe: Learning to attend to visual contexts more closely than ordinary “looking” requires, and thereby to see things that otherwise might not be seen. Reflect: Learning to think and talk with others about an aspect of one’s work or working process, and, learning to judge one’s own work and working process and the work of others. Stretch & Explore: Learning to reach beyond one’s capacities, to explore playfully without a preconceived plan, and to embrace the opportunity to learn from mistakes. Understand Arts Community: Learning to interact as an artist with other artists, i.e., in classrooms, in local arts organizations, and across the art field and within the broader society. These “Studio Habits of Mind,” as with the Principles of Possibility, are reflected in the Ohio visual arts standards. Taken as a union of standards and frameworks, these three, key texts hold potential for a visual arts curriculum at CSA that is on the leading edge of high school programming in the nation. Music Standards The CMSD standards for music are restatements, like the visual arts, of Ohio and National standards. The framework of these standards is based upon the following National Standards for Music outcomes: 1. Singing, alone and with others, a varied repertoire of music. 2 Lois Hetland is professor and chair of art education at Massachusetts College of Art and Design and senior research affiliate at Project Zero, Harvard Graduate School of Education. Ellen Winner is professor and chair of psychology at Boston College and a senior research associate at Project Zero. Shirley Veenema is an instructor in visual arts at Phillips Academy in Andover, Mass. Kimberly M. Sheridan is an assistant professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University. Appendix J, Page 5 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture. The revised CMSD Music Scope and Sequence (2013-14) restate Ohio categorical outcomes in “Progress Points,” “Enduring Understandings,” “Social Emotional Learning,” and “Academic Connections (Multiple Areas).” “Enduring Understandings” are the actual central focus of Ohio and CMSD music curriculum learning. These frameworks for assessing student progress are helpful in measuring student music success through the differing lenses of learning style and special needs. These additions are thoughtful in that they reflect the challenges that music teachers face. However, dividing the state music standards into quarters, like the visual arts standards, is contrary to the nature of Cleveland’s Plan for Transforming Schools and reduces school autonomy to best reflect their student needs and the appropriate assessment of their learning. Music teachers should be supported to develop the timing and articulation of these expectations based upon their student’s actual skill sets, learning abilities and special needs, and in partnership with music and higher education professional organizations. Like the visual arts standards, the CMSD music standards graphic presentation fails to help the reader identify the central “Enduring Understandings” section. The Enduring Understandings in music are identical to the visual arts standards and help ground music with other curricular areas and the creative and expressive outcomes of music studies: Personal Choice and Vision: Students construct and solve problems of personal relevance and interest when expressing themselves through visual art. Critical and Creative Thinking: Students combine and apply artistic and reasoning skills to imagine, create, realize and refine artworks in conventional and innovative ways. Authentic Application and Collaboration: Students work individually and in groups to focus ideas and create artworks that address genuine local and global community needs. Literacy: As consumers, critics and creators, students evaluate and understand artworks and other texts produced in the media forms of the day. Appendix J, Page 6 These, like the visual arts, are further articulated through grade and developmentally targeted groupings (K-2, 3-5, 6-8, and high school) into Progress Points. These groupings provide the kind of flexibility central to Cleveland’s Plan for Transforming Schools. Like the visual arts, the music standards should be based upon the Enduring Understandings of The Ohio Music Standards. Additional Context for Music Curriculum Music pedagogy has several hundreds of years of development and refinement. Over the last 100 years, the contribution of music educators and composers has more closely paralleled the actual ways children learn. Methods derived from the work of Carl Orff and Zoltán Kodály emphasized inspiration, storytelling, play, movement and increased time for children to participate in making music. Emile Jaques-Dalcroze’s work and the Dalcroze Eurhythmics approach, is based upon expressiveness, movement (to “internalize” rhythm) and musical improvisation. Shinichi Suzuki and his Suzuki Method stress parental co-learning and encouragement, as well as “constant repetition,” listening, and learning together with other children. Cleveland and its treasure trove of music educators, performers and institutions have the resources and willingness to assist CSA and CMSD with these methods as well as the highly regarded studio and pedagogic practices of Cleveland’s musicians. Music curriculum is a “living and breathing” practice shaped from these many years of experience, methods and pedagogic advancement. The progress of music education has followed the advances in child development and the neurosciences. The partnership of Cleveland music and medical resources with the ongoing music curriculum development of CSA (and the preparation and inspiration of all CMSD students) to assist students in reaching “The Enduring Understandings” is a significant success factor. Appendix J, Page 7 References A Premier Future: Unifying Students, Teachers and the Community for Success In and Through the Arts – CMSD Department of Arts Education 2008-2013 Strategic Plan. Cleveland’s Plan for Transforming Schools: Reinventing public education in our city and serving as a model of innovation for the state of Ohio (2012). CMSD Scope and Sequence for the Visual Arts (2012). CMSD Scope and Sequence for Music (2012). Gude, O. (January, 2007). Principles of Possibility: Considerations for a 21st Century Art & Culture Curriculum. Art Education: the Journal of the National Art Education Association. 60(1), 6-17. Hetland, L., Winner, L., Veenema, S., and Sheridan, K. M. (2013). Studio Thinking 2: The Real Benefits of Visual Arts Education. NY: Teachers College Press. Ohio Visual Arts Standards (2012). Partnership for Assessment of Readiness for College and Careers (PARCC) frameworks: PARCC Model Content Frameworks for ELA/Literacy for Grade 9, Version 2.0—August 2012 (http://www.parcconline.org/sites/parcc/files/PARCCMCFforELALiteracyGRADE9_FINALAug2012.pdf) Dalcroze Society of America (http://www.dalcrozeusa.org/about-us/history) American Orff-Schulwerk Association (http://aosa.org/about/what-is-orff-schulwerk/) Suzuki Association of the Americas (https://suzukiassociation.org/teachers/twinkler/suzuki/) Appendix J, Page 8 An Analysis of the Scope and Sequence document, State Standards for Fine Arts and the Department of Arts Education Strategic Plan Dr. Rekha S. Rajan June, 2013 Introduction This is an analysis of the relationship between the Scope and Sequence (S&S) document developed by the Cleveland Metropolitan School District (CMSD) and standards for fine arts instruction developed by the Cleveland School of the Arts (CSA) and the Ohio Department of Education. The analysis identified areas of strength and areas for growth within the S&S document. The subjects of music (grades K-5), drama (grades K-12) and dance (grades K-12) were the focus of the analysis. Comparison to and analysis of the Department of Arts Education (DAE) Strategic Plan Many of the statements in the S&S document mirrored what was listed in the Ohio standards for fine arts. However, a focus on providing students with experiences that both prepared and motivated them for pre-professional arts programs was notably absent from the S&S document. Such language is included in the DAE strategic plan. For example, Strategic Goal #2 states, “Cleveland School of the Arts, with the support from Friends of Cleveland School of the Arts, has focused on educating students in the arts combining both a college preparatory academic program and a pre-professional arts program.” Due to the general statements listed in the S&S document, there was little to no attention given to assessments or how students would be evaluated on their progress. It seems that this would be an important component to assist teachers and guide professional development within and outside of the classroom. Appendix K, Page 1 The DAE’s Strategic Goal #3 states, “This initiative will provide research-based student outcomes to support additional funding for arts programming, equipment, materials and teacher professional development. In addition to measuring student achievement, it will be digitally documented and showcased in the community.” Digital documentation, while mentioned within the third strategic goal, is not a central component of students’ arts experiences. Interactions and engagement with the latest technology in all artistic disciplines is a necessary component of high-quality experiences in the arts within each grade level, in the community, and for college preparatory programs. Under “Roles and Responsibilities,” the DAE strategic plan states, “DAE staff provides ongoing resources, materials and teacher professional development to support arts instruction in the classrooms of over 100 CMSD schools and programs district wide.” The DAE does not specifically list the amount of time spent on each of the individual art forms during a day or week (i.e. per student, per classroom). This specificity will help to ensure that students are actually receiving the arts experiences that are the focus and goal of the strategic plan. Summary and Recommendations Overall, the S&S document strongly aligned with the Ohio standards for fine arts (i.e., music, drama, and dance). This was specifically accomplished through the inclusion of near verbatim statements taken directly from the standards. Students should be allowed to move through the natural stages of understanding material, reviewing their new knowledge, and applying and analyzing the material they have learned. The goals for drama and dance are clear and straightforward, but often simply restate what is listed in the standards for these art forms. Appendix K, Page 2 The section on music, however, moves beyond the standards by including discussion of activities, field experiences, areas for social-emotional learning and academic connections. This allows teachers to see music as more than just an artistic area of learning, and find ways to connect with other teachers, specialists and community members. Overall, the S&S document for music showed an understanding of how children should meet goals within each quarter and within each grade level. This allowed for growth in multiple areas. The document also encourages field experiences that relate to the standards and are appropriate for each grade level. Additional strengths are the sections that have progress points for teachers to follow growth and learning, and enduring understandings that explore personal choice, creative thinking, and collaboration. The most significant components of this revised document are the inclusion of areas for social-emotional learning and academic connections. This allows for teachers to think beyond music as an isolated subject area, and find ways to connect with other teachers in the school (i.e. social studies, language arts), or other specialists in the school and community. While there were strengths and areas for growth within each arts subject and each grade level, many key components were absent throughout the document that are central to providing students with high-quality arts experiences. The following are suggestions for improving the S&S document: 1. Note that attending live performances is critical for young children’s understanding of an artist’s role in society and the knowledge that one can pursue a career in the arts. 2. Note that, from a young age, it is critical children have the opportunity to experience being an audience member. This invaluable setting teaches children of all ages both the value of live performance and the etiquette required for attending different types of performances. 3. Many of the activities or components noted that students should gather an understanding of connections between the arts and between the arts and other subject areas. However, Appendix K, Page 3 there were few examples included in the general statements, making the actual components very challenging to translate into an actual classroom. 4. Rather than repeating and re-stating all of the standards listed for each grade level, the S&S document could include general criteria and provide specific examples for teachers to implement in their classroom. 5. There could be more opportunities for students to take ownership of their arts experiences from a young age; many of the opportunities for improvising, creating, and collaborating in music, drama, and dance began only after fifth grade. 6. Using and creating works of art with the latest technology relevant to each artistic discipline is a critical component for successful and meaningful engagement in the arts. There were few examples or statements that encouraged these types of experiences. 7. Students should have the opportunity to build immensely on the components they learn about in the beginning of the school year. There continues to be an absence of building on previously learned skills and prior knowledge, since much of the language used is identical to what is listed in the standards. 8. There should be more opportunities for students to experience and understand the arts beyond their classroom and to explore world instruments, the orchestra, and the human voice. Continuing to have students identify basic music forms and basic musical vocabulary is not challenging or age-appropriate. 9. Terminology used in the S&S document should show this opportunity for growth. After the first and second quarter, students should move from “identifying and describing” to “analyzing, creating, representing, comparing and explaining” their artistic experiences. This would also strengthen the actual “sequence” of learning. 10. By high school, the focus should be on career preparation, understanding art’s role in society today, and having students continue to analyze bodies of work and defend their opinions. Additionally, continuing to build on individual portfolios and sharing this work with their peers (not just revising one’s own work without feedback), is a vital component of self-evaluation and reflection. This level of critical analysis is central to having students prepared for college-level theatre and providing them opportunities for being advocates in their community. In summary, and amongst all three subject areas, the document created for music was the most coherent and well-aligned with the standards. Not only did the document for music show growth amongst the standards within each grade level, but the additional sections that built on Appendix K, Page 4 social-emotional learning, academic connections, field experiences, and progress points, provide teachers with a variety of ways to use music meaningfully in their classrooms. The components for dance were also well-organized and showed a logical trajectory toward mastering skills in dance as a performer and observer. Contributing to this was, perhaps, the fact that the Ohio standards for high school were grouped into beginning, intermediate, and advanced benchmarks, whereas the high school standards for drama and music specified expectations for each level of high school. There also were specific examples of what the components should look like within a classroom, rather than general statements. Appendix K, Page 5 AAA Design Team Eva Barrett Christine Bluso Margaret Carlson Tess Clarke Joanne Cohen Todd Davidson Nicole Drake Caroline Goeser Christine Haff Paluck Daniel Hahn Roy James Lynn Johnston Joan Katz Napoli Kevin Kerwin Ann Klotz Andrew Koonce Doris Korda Scott Miller Danielle Morris Ann Mullin Grafton Nunes Lauren Onkey Michelle Pierre-Farid Santina Protopapa Paul Putman Catherine Scallen Tony Sias Felton Thomas Karen Thompson Audra Woods Appendix L, Page 1 Best Practices of Schools of the Arts Introduction These recommendations for best practices for a school of the arts are based on comparative research of numerous schools of the arts nationwide and third-party expert sources. Leadership and Organizational structures Most schools of the arts use a pyramid-like structure with a head of school, executive director or president with an academic dean and an arts dean. Some schools also have a dean of students. The head of school, executive director or president should have a strong artistic background, ideally both professional experience and a postgraduate degree; should have school leadership experience; should be charismatic and comfortable in a “face of the school” role; and be a successful fundraiser and public speaker. The quality of a school of the arts is inexorably linked to the quality of its faculty. The arts faculty should be selected by the head of school and consist of licensed teachers supervising a staff of professional artists and arts partners. Many schools have 60-120 Appendix M, Page 1 artists working in their school. The academic faculty also should be selected by the head of school, and most often are certified teachers. Nearly all schools of the arts report that the pyramid-like organizational and leadership structure creates balance between the arts and academics, and high levels of accountability. The resulting organizational structure appears as follows: Curriculum A school of the arts curriculum should be pre-professional, follow a clear scope and sequence and set high expectations for students to progress to higher education. It also should prepare students to succeed in higher education. Many schools of the arts offer Advanced Placement (AP), International Baccalaureate (IB) and other college-level Appendix M, Page 2 courses. While none have an “official” arts-integrated curriculum, several partner with community and arts partners to provide long-term, project-based curricula. Most schools of the arts have deep curricular partnerships with arts institutions that allow students to learn through and about their collections and repertoire both in and out of school. Scheduling models and school-day hours Most schools of the arts feature extended school days (e.g., 9 a.m. to 5p.m. or 10 a.m. to 6 p.m.) with bell schedules that cluster arts in the morning and late afternoon. Some schools schedule arts classes in such a way to allow the hiring of full-time professional arts faculty. For example on a combined middle and high school of arts the campus, arts teachers may spend the morning at one school, and the afternoon at the other. Auditions and admissions Most schools of the arts base admissions on either proven arts talent and academic achievement, or talent, potential and motivation with minimal emphasis on academic achievement. Most schools’ audition processes include online pre-applications; two rounds of auditions to allow for re-auditions; strict and transparent rubrics for each arts discipline; a panel of certified arts faculty members and, in most cases, professional artists in each specific discipline; an essay; and interviews with students and their parents or guardians. Structure and role of foundations and “friends” organizations Appendix M, Page 3 Most schools of the arts have foundations rather than “friends” organizations. The foundations are primarily focused upon promoting school visibility and raising money for student scholarships, private instruction, tutors, summer festivals/camps, instruments, additional arts-specific resources, and further support of students’ travel, competitions and more. The typical school of the arts foundation holds fundraisers, auctions, salon concerts and other varied means of bringing both money and awareness to the school. Several of the leading schools of the arts share the school’s executive director to provide for integrated leadership. Student remedial support Many schools of the arts told us they have few academic or arts remedial challenges. When pressed, they said they do provide tutors and extra help for needy students. Most described a process by which students are placed on a plan for improvement and dismissed if there isn’t adequate improvement. The same schools required re-auditions for re-admittance. Governance and advisory models Most schools of the arts have an “independent” governance board within the framework of the district or state. This model is similar to those in “portfolio” school districts. Many have significant advisory boards, often separate from the governance board, with important arts partners who help raise visibility, build program and funding relationships, and heighten pre-professional standards. Appendix M, Page 4 Partnerships Numerous schools of the arts have major and multi-purpose resource partnerships with significant arts organizations, e.g. Duke Ellington School of the Arts’ relationship with the Kennedy Center. Many schools of the arts create mutual letters of understanding to create fruitful and accountable relationships. Arts partners and schools of the arts sometimes co-fundraise for mutual projects and efforts. Student preparation Some schools of the arts offer academies, camps and instruction to help prepare prospective students for their auditions and the schools themselves. Most schools of the arts adhere to exacting and transparent expectations and rubrics for the audition and admittance process. Many schools of the arts develop relationships with esteemed higher education institutions to help “raise the bar.” Higher education has a constant presence in most schools of the arts. Many schools of the arts develop their curriculum, scopes and sequences, and standards by working backward from what is expected at the highereducation level. Facility Most schools of the arts consider their facilities an extension of their curriculum. They also use, to varying degrees, the facilities of local arts institutions, but few have students travel farther than walking distance due to time constraints and the liabilities Appendix M, Page 5 associated with vehicular transportation. Even with the ability to practically rent space, very few schools of the arts feel they have everything they want, facility-wise. — MitchellKornArts Appendix M, Page 6 An Overview of Arts-Integrated Education Introduction In this era of high-stakes testing, the arts too often are placed in an adversarial relationship with those subjects that lend themselves to standardized testing. Educators and administrators are increasingly held accountable for test scores. As a result, the lack of instructional time and concomitant priority on tested subjects are forcing the arts out of the school day. Yet, many educators know that the influence and presence of arts will benefit most students. Arts-integrated education holds the promise of eradicating this unnecessary conflict by using the fine and performing arts to teach general subject areas. Arts education models Arts integration differs from other common models of arts education. Experienced organizational development consultant Vicki Rosenberg, formerly of the Council of Michigan Foundations and the J. Paul Getty Trust, has articulated the most common arts education models used within classroom settings. The four models, according to Rosenberg, are: Appendix N, Page 1 the “creative, self-expressive model,” whereby students “express themselves through the arts” and “develop the skills needed to make or perform works of art.” the “comprehensive model,” which “is intended to help students understand and appreciate the arts from four perspectives: aesthetics, criticism, history, and production and performance.” the “community resources model,” which “exposes students to visual and performing artists at work in their communities, to expand their understanding and appreciation of the arts and develop future audiences for the arts.” and the “arts across the curriculum model,” which “is an interdisciplinary or integrated curriculum model” that “responds to many needs, including deepening learning within time constraints, addressing the different ways students learn, and making learning more relevant to students by making real-world connections.” The final model is preferred and is now more commonly referred to as “arts integration” or “arts-integrated education.” As defined by the John F. Kennedy Center, arts integration is “an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject and meets evolving objectives in both.” Aligning arts learning with state standards, and testing concepts through an arts-integrated curriculum not only helps to preserve the arts in contemporary classroom instruction, but also fosters a greater understanding and appreciation of the fine and performing arts. Augmenting this instruction with materials, artists, experiences and technologies provides teachers with a critical need: imaginative learning tools that inspire and motivate students. Appendix N, Page 2 Collaborative partnerships Partnerships help augment arts-integrated education, and collaboration is the most important requirement for successful implementation. It is important to recognize the difference between a mere partnership and true collaboration, and to strive for the latter. For example, partner artists should not merely come into the classroom on one-off occasions to provide an arts-integrated lesson while the regular classroom teacher checks out. Rather, artists should work directly with teachers to identify the most important curriculum needs and challenges. Based on that listening process, artists can develop materials, lessons, experiences and pieces of art for interpretation/study that are rooted in the very specific needs articulated by teachers. This co-consultant process of professional development (PD) will produce modeled lessons that teachers can quickly implement in their classes. This practical, nontheoretical approach has produced notable, sustained model arts-integrated education programs across the country. It’s collaborative, needs-based and tested, and materials easily can be adapted as curriculum standards evolve. Teaching artists Teaching artists have a strong and growing place within the field of arts education, particularly arts integration. The role of the teaching artist is an inherently collaborative one, where the teaching artist is charged with taking his or her own expertise in an arts subject and working with arts organizations, schools, administrators and teachers to develop a meaningful artistic experience for students. The term “teaching Appendix N, Page 3 artist,” though, lacks a precise definition, and there are various schools of thought on what a teaching artist’s competencies and roles in the classroom should be. Artist and author Eric Booth defines a teaching artist as “a practicing professional artist with the complementary skills and sensibilities of an educator, who engages people in learning experiences in, through, and about the arts.” Teaching artist expert Karen Erickson has written that teaching artists not only need to be proficient artists and teachers, but also “be able to operate with business acumen” so that they are organized, prepared, good communicators and effective self-marketers and fundraisers. This is especially true since teaching artists most frequently are contract employees. Teaching artists were explored in great depth through a report authored by Nick Rabkin (2011) at the University of Chicago. The authors examined the roles of teaching artists at 11 cities across the nation and found that teaching artists were primarily focused and experienced in the visual arts, with a small majority focusing in music. The report concluded that in schools, teaching artists are primarily required to: Teach how to work in an art form Develop original curriculum Integrate arts instruction with other subjects Engage hard-to-reach students Make content meaningful to students Run a well-managed experience Help students create original work –find own voice Four models for the role of the teaching artist within a school an organizational setting were developed by Dr. Rob Horowitz in a publication for the Arts Education Appendix N, Page 4 Partnership (2002). Those models include a residency model, an elaborated residency model, a capacity building model, and a co-teaching model. A fifth model, the concepts across the curriculum model, was developed through collaboration with the University of Minnesota. Each model is presented here with its descriptions: Residency Model The “residency model” involves the school or teacher bringing in one or more Teaching Artists for a period of time to engage students in the Teaching Artist’s program. The purpose is usually to give students a wider range of arts experiences than the school staff can provide. The experience does not directly support the curricular goals of other non-arts disciplines. Elaborated Residency Model An “elaborated residency” is fundamentally an arts experience, but this residency is intentionally tied to developing non-arts skills identified by the teachers. The Teaching Artist is the primary teacher and it is his/her program, but the teacher is available to assist with carrying out the experience. Capacity Building Model The “capacity building” model prepares teachers to use an art form in his/her own teaching. The Teaching Artist’s role is to instruct teachers, while the teacher participates with the intention of learning the process and products of the art form. Teachers may work alone, directly with the Teaching Artists, or with colleagues to identify ways to infuse the art form’s skills and concepts with non-arts disciplines. Co-Teaching Model Appendix N, Page 5 The “co-teaching” model involves teacher-Teaching Artist pairs integrating concepts from the arts and non-arts disciplines that reinforce each other. At different points, students’ experiences may focus more on the art form or on the non-arts subject, while at other times the arts and non-arts instruction appear seamless. The teacher and Teaching Artist create lessons that guide the Teaching Artist during sessions that focus on the arts, and clarify what the teacher will do when the Teaching Artist is not present. Concepts Across the Curriculum Model The “concepts across the curriculum” model involves three or more people who select a unit of study in which their disciplines have common concepts. Though teachers and Teaching Artists plan together, each discipline instructs students separately using the common concepts. The projects that fit this model involved arts and non-arts teachers employed in the school selecting an art form that would further reinforce the concepts in the unit of study. Outstanding models, common characteristics Dr. Rekha S. Rajan selected eight exemplary models of arts-integrated education and, through detailed analysis and comparison of these and other programs, identified the common characteristics of arts integration models of excellence. Rajan’s eight best models — selected because of the sustainability of their programs; the depth of their partnerships and collaborations; the variety of resources offered to students; and the availability of PD for classroom teachers — are: A+ Schools Program (North Carolina Arts Council) Montgomery County Public Schools (Maryland) Appendix N, Page 6 Whole Schools Initiative (Mississippi Arts Commission) Value Plus Schools (Tennessee Arts Commission) Arts for Academic Achievement (Minneapolis Public Schools) Musical Explorers (Carnegie Hall) Learning Through Music (Cleveland Orchestra) Adventures in Music (San Francisco Symphony) Rajan organizes the common characteristics of these and other admirable arts integration models in four categories: organization (specific components of the program’s structure including its mission, funding, research and committee members); schools (activities K-12 students are engaged in to create rich, artistic experiences); professional development (the variety of resources, opportunities and support given to classroom teachers during the partnerships and after they conclude); and community (network development, partnership building and sustainability of presence): Organization Diverse steering committees that include members from various educational and arts-based institutions Strong research and evaluation agenda Support from national or government funders Vision and mission for sustaining arts-integrated experiences Strong website presence with mission statement, resources, sample lessons, links and descriptions of classroom and PD activities Schools Arts-integrated lessons and curriculum Appendix N, Page 7 Specially designed curriculum In- and after-school settings High-quality arts experiences Inclusion of fine and performing arts K-12 residencies and resources Collaboration with teaching artists Highlighting, displaying and presenting student work Cross-disciplinary learning Teaching 21st century skills Professional development Ongoing support for classroom teachers (during and beyond the time of program implementation) Variety of PD opportunities for teachers Support in- and after-school settings Workshops and conferences presented by experienced educators and artists Summer institutes and intensives Numerous contacts and resources for classroom teachers Materials specially designed for classroom teachers Community Strong presence and continued impact within the community (i.e., more than five years) Appendix N, Page 8 Partnerships with arts organizations, community centers, schools and universities Building and sustaining a network (working within one or many school districts) Familial involvement and engagement Real-world experiences (e.g., live performances, museum visits and interactions with professional artists) Arts integration in action One hypothetical example of arts-integrated education is literacy learning through music and the arts. Pre-literacy skills are vital to K-3 childhood development and ultimately academic and life success. But most children do not learn through rote instruction. They do learn through direct participation designed to illustrate concepts. Here, music and arts are used to create engaged understanding of literacy concepts that are fundamental to learning. Children love music. Lasting skills can be built by teaching listening, steady beat, call-and-response, visual learning and singing rhymes and storybased songs. Common Core concepts such as story beginning, middle and end; author’s point of view; inference; summarizing and retelling; comprehension; retention; and transference of content are learned in lasting ways. Most importantly, reading, storytelling and listening become anticipated and enjoyed by all students. Appendix N, Page 9 Professional development (PD) Effective and ongoing PD is a critical success factor for arts-integrated education initiatives. Educators often are inundated with impractical training sessions. Successful PD is marked by enjoyable, hands-on experiential training during which teachers become students and see for themselves how what they’re learning works, and how they can implement it with their students the very next day. PD should focus on creating familiarity and comfort with the arts; direct participation with art forms and their materials; and artistic expression where participants actively create art in various forms, styles and periods. Ongoing PD strategies engage teachers in aesthetic studies; and, most importantly, reveal the relationship between arts processes, content and materials and classroom instructional priorities. Artist training provides PD for artists working in schools and communities. Artists learn how to present their art forms within the context of childhood developmental needs and multiple learning styles. Artists learn skills in repertoire selection, classroom management and participatory and presentational approaches. Artists also learn about the relationship between their art form and its elements and the most important instructional needs of students and teachers. In her analysis of arts integration models, Rajan also identified the common characteristics of excellent professional development programs focused on teaching and implementing strategies of arts integration. The professional development models included state- and citywide programs, those found within arts partnerships, and models present in university settings. The common characteristics of professional development models of excellence included both in- and after-school support, ongoing training, Appendix N, Page 10 multiple resources, and a variety of professional development opportunities. The list is organized in two categories: teaching strategies and collaboration. Amongst various models examined, Rajan found the professional development offered by the Kennedy Center’s Changing Education through the Arts program to be the strongest and most diverse. Teaching strategies Multiple resources and strategies for teachers to integrate the arts Resources for integrating fine and performing arts at various grade levels Detailed materials for use in the classroom Examples of exemplary student work Availability of both hard copy and electronic materials and links Hands-on activities and materials in workshops Opportunities to develop and implement action research and inquiry projects Collaboration Variety of professional development opportunities (i.e. course, workshops, summer institutes) Opportunities to share and disseminate understandings of arts integration Individual, small group, and community gatherings to discuss teaching strategies On-going support and guidance (i.e. beyond an academic year) In-school and after school training Professional development for administrators and school coordinators Appendix N, Page 11 Assistance in securing funding for individual schools or classroom projects Webinars, recorded workshops or lectures, or interactive media on the website — MitchellKornArts Appendix N, Page 12 PROJECT-BASED LEARNING SUMMARY REPORT Project Based Learning (PBL), is a product/methodology of the Buck Institute for Education (BIE). BIE describes itself on its website accordingly: The Buck Institute for Education (BIE) was founded in 1987 as a not-forprofit 501(c)3 organization that receives partial funding from the Leonard and Beryl Buck Trust, the same trust that supports the Marin Community Foundation, the Marin Institute and the Buck Institute for Age Research. In its first ten years, BIE provided a variety of services to local schools and districts and also received funding from outside sources for program evaluation and other research. In the late 1990s, some school districts began to focus on educational reform efforts to improve their curriculum and instruction that was based on credible research that could make their course work more relevant and meaningful for students, primarily at the high school level. In 2002 at the annual meeting of the American Educational Research Association, held in New Orleans, the topic of authentic learning activities was presented and discussed. A few distinctive “characteristics of authentic learning activities” are: Real world relevance: activities that mirror real world tasks done by professionals Complex, sustained tasks: activities that require a longer time frame to complete using more in-depth intellectual study Collaborative: students must work with others as team members Authentic products: finished products are of a higher quality and are seen as valuable and personalized extensions of the student’s learning experience The PBL approach is built upon several of the authentic learning activities above and is based on youth development research that is in alignment with 21st century Appendix O, Page 1 skills students must have in order to be successful in the current workforce and the world in general. So, in effect, PBL is designed to teach students 21st century skills using academic content and in-depth inquiry that leads to a completed and relevant project. These same skills are referred to as “competencies” in the workforce. Some of the most necessary competencies are: Leadership Teamwork (group participation for students) Management of resources/research and inquiry Mastery of oral and written communication Organization and time management Organization and industry knowledge And like the characteristics of authentic learning as well as these workforce competencies, PBL focuses on academic content and 21st century skills as its core and is complemented by six distinctive components as its methodology to ensure learning. As described by BIE, “in Project Based Learning (PBL), students go through an extended process of inquiry in response to a complex question, problem, or challenge. While allowing for some degree of student "voice and choice," rigorous projects are carefully planned, managed, and assessed to help students learn key academic content, practice 21st Century Skills and create high-quality, authentic products & presentations.” Appendix O, Page 2 The following information was taken verbatim from the BIE website: Rigorous, meaningful and effective Project Based Learning: is intended to teach significant content. Goals for student learning are explicitly derived from content standards and key concepts at the heart of academic disciplines. requires critical thinking, problem solving, collaboration, and various forms of communication. To answer a Driving Question and create high-quality work, students need to do much more than remember information. They need to use higher-order thinking skills and learn to work as a team. They must listen to others and make their own ideas clear when speaking, be able to read a variety of material, write or otherwise express themselves in various modes, and make effective presentations. These skills, competencies and habits of mind are often known as “21st century skills,” because they are prerequisite for success in the 21st century workplace. requires inquiry as part of the process of learning and creating something new. Students ask questions, search for answers, and arrive at conclusions, leading them to construct something new: an idea, an interpretation, or a product. is organized around an open-ended Driving Question. This focuses students’ work and deepens their learning by framing important issues, debates, challenges or problems. A good driving question captures the heart of the project in clear, compelling language, which gives students a sense of purpose and challenge. The question should be provocative, open-ended, complex, and linked to the core of what you want students to learn. It could be abstract (When is war justified?); concrete (Is our water safe to drink?); or focused on solving a problem (How can we improve this website so that more young people will use it?). creates a need to know essential content and skills. Project Based Learning reverses the order in which information and concepts are traditionally presented. A typical unit with a “project” add-on begins by Appendix O, Page 3 presenting students with knowledge and concepts and then, once gained, giving students the opportunity to apply them. Project Based Learning begins with the vision of an end product or presentation. This creates a context and reason to learn and understand the information and concepts. allows some degree of student voice and choice. Students learn to work independently and take responsibility when they are asked to make choices. The opportunity to make choices, and to express their learning in their own voice, also helps to increase students’ educational engagement. includes processes for revision and reflection. Students learn to give and receive feedback in order to improve the quality of the products they create, and are asked to think about what and how they are learning. involves a public audience. Students present their work to other people, beyond their classmates and teacher – in person or online. This “ups the stakes,” increasing students’ motivation to do high-quality work, and adds to the authenticity of the project. And, as reported by Edutopia in 2008 (http://www.edutopia.org/project-learningintroduction): Because project-based learning is filled with active and engaged learning, it inspires students to obtain a deeper knowledge of the subjects they're studying. Research also indicates that students are more likely to retain the knowledge gained through this approach far more readily than through traditional textbook-centered learning. In addition, students develop confidence and self-direction as they move through both team-based and independent work. In the process of completing their projects, students also hone their organizational and research skills, develop better communication with their peers and adults, and often work within their community while seeing the positive effect of their work. Appendix O, Page 4 Because students are evaluated on the basis of their projects, rather than on the comparatively narrow rubrics defined by exams, essays, and written reports, assessment of project-based work is often more meaningful to them. They quickly see how academic work can connect to real-life issues -- and may even be inspired to pursue a career or engage in activism that relates to the project they developed. Many educators think if we are serious about reaching 21st century educational goals, PBL must be at the center of 21st century instruction. They contend this methodology contains and frames the curriculum, which differs from the short “project” or activity added onto traditional instruction. Information and graphics included in this report were acquired from the following sources: Center for Arts in Education Conference, Boston, MA, June 28, 2013, PBL 101a, b, c Workshop, presented by John Larmer, Buck Institute for Education “Project Based Learning” by Buck Institute for Education, www.bie.org/about/the_bie_story is licensed under CC BY-NC 3.0 “Project Based Learning” by Buck Institute for Education, www.bie.org/about/what_is_pbl is licensed under CC BY-NC 3.0 “Why Teach with Project-Based Learning?: Providing Students With a Well-Rounded Classroom Experience” by the staff of Edutopia, http://www.edutopia.org/project-learning-introduction Appendix O, Page 5 Performing Arts Trends, Implications, and Careers Dr. Rekha S. Rajan July 2013 Introduction The current role of the performing arts in society is often contradictory in nature. In one aspect, the performing arts are thriving in our communities; students are auditioning for new shows; there are an abundance of premieres of contemporary and new operas, musicals, plays, and dances; and the media have a strong following in reality-based singing and dancing competitions. Contrastingly, many performing arts companies are closing their doors and struggling to find funding or build revenue. Additionally, the role of the performing arts in our schools is being reduced to one-off after-school or curricular activities as music, drama, and dance programs are often the first to be eliminated when budget cuts and staff changes are considered. In 2001, Kevin McCarthy and his colleagues addressed these trends and their implications in “The Performing Arts in a New Era.” The study is the first to provide a comprehensive overview of the performing arts with a focus on past and emerging trends. “It synthesizes available data on theater, opera, dance and music in both their live and recorded forms. The research focuses on signs of change in arts audiences, artists, arts organizations, and financing over the past 20 years” (RAND, 2001). The authors describe how the entire structure of the performing arts is moving toward a global and fundamental change. Public involvement, the role of the performing artists and the trends in performing arts organizations all hold implications for the future of the performing arts. This report draws upon highlights within this analysis coupled with data from the RAND (2001) Corporation’s research brief on the performing arts and the National Assembly of State Arts Agencies (NASAA) web seminar (2009), to present emerging trends and issues of the past two decades. Performing Arts in Society The performing arts has always held a strong, and important place in our society. While “the number of Americans attending live performances and purchasing recorded performances has been growing consistently over the years … the most dramatic growth has been in the market for the non-live arts, both recorded and broadcast performances” (RAND, 2001). Much of this may be attributed to more recent trends in the merging of technology and music and film, where songs and performances can be downloaded and streamed to nearly any household device. There is evidence that there is lesser demand for live performances (NASAA, 2009, p. 4), however, some of the top performing artists in the world bring in upwards of $80 million annually from their tours, concerts, and live performances (Billboard, 2013). “The uncertain status of arts education in public schools may also be a factor in reducing demand for the live arts” performances, but a contradiction of need versus purpose still exists (RAND, 2001). Appendix P, Page 1 The Role of Performing Artists The RAND Corp. released a research brief that examined trends amongst performing artists. The brief found that there are three broad trends which characterize the population of performing artists (2001). In the last thirty years,” self-proclaimed” professional artists included nearly 1.6 million individuals, about 350,000 of whom are performing artists. The authors further conclude that in the last decade, that number likely would have doubled (RAND, 2001). “Second, performing artists continue to dedicate themselves to their art even though their pay and job security have scarcely improved” (RAND, 2001). The majority of performing artists work longer weeks with lesser pay than other professionals. Interestingly, the trends in individuals pursuing degrees in performing arts careers has slowly increased, particularly in areas of performing arts education, film and arts management. Third, the dominance of reality-based television shows and programs has created a perception among the general public that anyone can be a performing artist. These programs have created a resurgence of interest in the performing arts and pursuing careers in the performing arts — importantly, without the need for coursework or programs in higher education. This has created a strong juxtaposition of the role of the performing arts in society with individuals identifying themselves as performing artists. Performing Arts Organizations While larger non-profit performing arts organizations have seen an increase in revenue and attendance, revenues for smaller performing arts groups and companies have decreased over the last two decades, see Figure 1 (RAND, 2001). FIGURE 1 Increase in funding for performing arts organizations The data presented in the RAND (2001) research brief further postulates “that opera is the only discipline in the nonprofit sector in which companies on average experienced real revenue growth” in the last two decades. As a result, “there has been a strong growth in the number of Appendix P, Page 2 nonprofit performing arts groups combined with declining budgets.” This suggests a new and important trend that focuses on the organizational dynamics of a performing arts organization: how it functions, the individuals in administrative roles and the performing artists themselves. Trends and Implications Through an analysis of trends and patterns over the past two decades, a shift in the performing arts system is becoming more of a juxtaposition between big and small arts organizations. While larger organizations will focus mostly on mass advertising and marketing, nonprofit performing arts organizations will focus more on live performances (e.g., Broadway) and recording artists. There will continue to be a distinction in society between “popular” or “art of the people” (e.g., community arts), versus “high art” (e.g., opera, classical concerts). This distinction will continue to have the greatest impact on performing arts organizations, orchestras, ballet companies and theaters that are not based in a major metropolitan city, see Figure 2 (RAND, 2001). Similar to the role of the performing arts in public schools, these programs will either thrive or be forced into closing their venues due to a lack of resources or funding. A relationship between these funding sources and student participation needs to be further examined, particularly when research reveals that more eighth- to 10th-grade students are engaging in the performing arts than were doing so over the past decade (ChildTrends, 2012). FIGURE 2 Government Arts Funding Moving to State and Local Levels In 2009, the National Assembly of State Arts Agencies hosted a web seminar entitled, “Arts Participation in America: Trends and Perspectives.” Interestingly, the strongest trend for the performing arts was found in the recording and film industry where the advancement in Appendix P, Page 3 technologies allows downloading and streaming of music, movies and television programs and has brought the performing arts global attention and accessibility (NASAA, 2009, p. 7). Specifically, nearly 62 million Americans viewed or downloaded a performing arts experience from the Internet at least once a week. This new “venue” coupled with a growing interest in “reality-based” performing arts productions are trends that provide a foundation for the performing arts to thrive in communities. Internet-based companies such as YouTube also allow for any individual to become a performing artist through self-documentation and recorded performance, and there is recognition for performing artists with the “most-views” or “most popular” performances (Billboard, 2013). The impact of these trends on the future of the performing arts highlights several key areas of impact. First, more “talented” performing artists many find it challenging to build artistic careers when there is a strong push and community support for “local talent.” Additionally, younger artists, and those pursuing degrees in the performing arts, may find fewer opportunities to gain authentic experiences in their field — particularly since the Internet is so lenient in allowing and supporting the idea that anyone can become a professional performing artist. Summary of Trends in the Performing Arts Strengths: The performing arts are thriving in local communities. Larger organizations (i.e., opera and classical music concerts) are seeing a growth in revenue and attendance. Public involvement in the performing arts has seen a resurgence of interest in the past two decades. The number of individuals pursuing degrees in the performing arts has increased, particularly in areas of film, music or dance education and arts management. Increase in participation among eighth- to 10th-graders in the last three years. The advancement of technologies through the Internet has allowed individuals to “become” performing artists. Challenges: Decrease in school-based performing arts experiences for students Performing arts in schools often relegated to after-school programs Performing arts organizations located outside of major metropolitan cities are struggling with maintaining funding and resources. Availability of funding Challenges for individuals graduating with degrees in the performing arts to gather authentic experiences in their field Appendix P, Page 4 Current Careers and Employment Opportunities in the Performing Arts The National Employment Bulletin for Performing Arts lists and updates various positions and fields of employment in the performing arts. While more performance-based opportunities are found through local audition listings or larger national agencies, this bulletin provides a comprehensive list of positions in technical and performance fields. The list is organized by general descriptions of part-time and career opportunities in the fields of acting, arts therapy, dance, music, musical theater and opera, as well as in technical and production positions. Access to the list requires individual subscription or information is available through many university libraries: http://www.tcg.org/artsearch/index.cfm. ACTING: Film-camp counselor Drama teacher Theatre and speech instructor Theatre faculty Improvisation instructor Professional actor (film, stage, TV) ARTS THERAPY: Music therapist Licensed creative arts therapist Dance/kinesthetic therapist Drama therapist Dance and sports physical therapist DANCE: Dancer Dance instructor Choreographer Assistant choreographer Jazz dance Instructor Modern dance instructor Ballet dance instructor Dance faculty Professional dancers (e.g., ballet, modern, jazz) MUSICAL THEATER AND OPERA: Specialist for camps and curriculum development Professional performer (e.g., local theaters, national tours, Broadway) Singer who can act Actor who can sing Dancer for chorus Musical theater vocal coach Musical theatre faculty Opera director Appendix P, Page 5 Stage coach Librettist Performer in local and professional productions MUSIC: Singer Disc jockey Conducting fellow Conductor Music teacher Musician (orchestra) Musician (band) Choir teacher Music education faculty Music faculty Choral accompanist Composer Professional singer (e.g., opera, operetta, choir) TECHNICAL AND PRODUCTION POSITIONS: Production associate Assistant technical director Producer Manager Videographer Lighting designer Costume designer Costume supervisor Props and scenic technician Stage manager Box office assistant Broadcast television engineer Supervisor of casting Appendix P, Page 6 References Billboard. (2013). Best-Selling Artists. Data retrieved from: http://www.billboard.com/biz on July 6, 2013. Child Trends. (2012). Participation in school music or other performing arts. Data retrieved from: http://www.childtrends.org/?indicators=participation-in-school-music-or-otherperforming-arts on July 6, 2013. McCarthy, K., Brooks, A., Lowell, J. & Zakaras, L. (2001). The Performing Arts in a New Era. ISBN: 0-8330-3041-8 RAND Corporation Research Brief Series (2001). Data retrieved from: http://www.rand.org/pubs/research_briefs/RB2504/index1.html on July 6, 2013. Theatre Communications Group: Arts Search (2013). National Employment Bulletin for the Performing Arts. Data retrieved from: http://www.tcg.org/artsearch/index.cfm on July 6, 2013. Appendix P, Page 7 Emerging Trends in the Visual Arts, Media, and Design Fields and Careers Dan Serig, July 2013 Executive Summary Careers in the visual arts, media, and design fields through 2020 are projected to experience average growth. A few areas may experience rapid growth — namely, art therapists, interactive media specialists, interior designers and curators. Areas projected to have slower than average growth include fine and craft artists. Emerging trends in the visual arts include practices that directly address issues of sustainability and social practices in which communities are engaged through local and networked (i.e., online) contexts. Community-based art practices often include the combined issues of sustainability and social engagement with significant input from community members. An emerging trend in design and media fields is a focus on interactivity. Interactive media is implicated in a wide-range of areas from robotics to apps and from software design to education and exhibition design. Critical to these emerging areas are theories of communication as well as new methods of fabrication (i.e., 3-D printing). This report highlights job outlook projections from The Occupational Information Network (O*NET).1 Then, emerging trends are described, followed by examples of innovative programming at select colleges of art and design. The report concludes with a listing of majors compiled by the Association of Independent Colleges of Art and Design (AICAD). Career Outlooks Future employment estimates from the Department of Labor indicate that most visual arts and design fields will enjoy healthy job growth in this decade (20102020). Most established careers are projected to hold steady with average growth (10-19 percent). Below average growth is anticipated for fine artists and craft artists (3-9 percent).2 However, since aspects of design are becoming increasingly central to everyday life and information and communication is becoming heavily visual, well-qualified artists and designers should expect generally good employment prospects.3 In particular, careers in interactive media, interior design, and art Appendix Q, Page 1 therapy should see rapid growth. Also of note, curators are projected to have faster than average growth at 20-28 percent.4 Emerging Trends Social and sustainable art practices Often, permanent objects are not the result or outcome of social and sustainable art practices. Museums like The Museum of Contemporary Art, Los Angeles (MOCA) are commissioning artists who do work that will not result in an object for a permanent collection. These artists' social, public, and/or community-based work is often artist-directed, but also receives significant input from the community or may be formed through physical and/or digital social interaction. Projects may be led by an individual, but are often collaborative and multidisciplinary or cross-disciplinary. Newly institutionalized, these practices engage communities on issues such as cultural diversity and sustainability and act as catalysts for social transformation. Methods within these practices include "art making as varied as urban interventions, guerrilla architecture, public art, project-based community practice, interactive media, and street performance."5 Interactive media The new field of interactive media is expanding rapidly alongside new technologies. Projects and careers in this field engage multiple disciplines, and often include software engineers, programmers, artists, designers and content specialists. The areas of focus span from robotics to sound design and gaming to fabrication. While described as a single field, interactive media could be argued to include many fields such as aspects of film/video, 3-D printing, materials research and art/design. Critical to interactive media are theoretical influences from areas such as communication, education and cognition. 6 Within interactive media, exhibition design is a growing segment, also recently institutionalized. This area of design used to be focused within museums and galleries. However, specialization has allowed it to expand to many other venues, particularly conferences and entertainment venues. College programs in exhibition design "ensure proper education in spatial sociology, color theory, and education theory, as well as drawing, building, computer skills, documentation and building techniques." 7 Curators Creating environments with art objects along with accompanying texts, interactivity and spaces can provide meaningful contexts for research, reflection and education. Curators conceptualize and develop these environments — blending artists, their work, space and people. Their success offers opportunities for comprehension and appreciation. Programs in curatorial studies engage students in understanding the history of art, criticism and the lives of artists and objects. Students are also Appendix Q, Page 2 developed as researchers since curators often publish in conjunction with exhibitions.8 Innovative Programming Graduate programs at institutions of higher education, in the best cases, foster innovation. Innovations that uncover or create complex problems with beneficial applications may lead to new programs and institutes or even new disciplines and fields. In this section, three innovative programs are highlighted that relate to emerging academic and professional practices. Intersections Digital Studios [IDS] at Emily Carr University of Art and Design The IDS is composed of three studios: Wearables and Interactive Products, Prototyping + Media + Programming and Motion Capture and Visualization. Administrators dealing with aspects of research are also located in the IDS. New technologies are available to faculty and students with an emphasis on relationships among digital and material practices. This emphasis promotes interdepartmental collaborations that allow Emily Carr University to educate artists and designers as researchers. Aesthetics and ethics inform the work wherein the learning quickly moves beyond technical skill acquisition to "an understanding of the underlying structures that fuel the dynamism between technology and creativity."9 Motion Graphics concentration in the MFA at CalArts The mechanisms and devices through which we get our entertainment and information are merging and increasingly ubiquitous. “Motion graphics” is the term for the medium through which we receive much of this. Incorporating typography, illustration and other graphic elements in time-based sequences, motion graphics is an example of a new program at CalArts that emerged from the innovative practices of students, faculty and the field. The description of the motion graphics concentration exemplifies the hybridization and overlap naturally emerging through advances in technology and our interactions with it: The Motion Graphics MFA exists as a separate track within the Graphic Design program, drawing on elective classes from both the Graphic Design and Film and Animation programs. Motion Graphics students produce finished motion pieces, including film and broadcast titles, television and web-based ads, trailers, music videos, video signage, graphics for mobile devices, and time-based museum and exhibition displays. Students closely study and experiment with every level of the process of creating motion works: ideation, conceptualization, storytelling, storyboarding, keyframing, editing, animation, imagemaking, typography, production, and camerawork. They participate in weekly critiques, whose consideration are concept, Appendix Q, Page 3 context, communication and craft, and work with visiting artists to carry out collaborative projects.10 Also of note in the description: While an innovative part of an emerging field, the new concentration still includes the practices of envisioning, experimenting, skill mastery, content acquisition, collaboration and critique. Dynamic Media Institute (dmi) at Massachusetts College of Art and Design (MassArt) The DMI offers an MFA in what could be labeled interactive media, which was previously described. DMI at MassArt draws students from a wide-variety of backgrounds and disciplines from artists to engineers, programmers to educators. Students work in design and research producing objects and texts developing thesis projects in collaboration with peers, faculty, and other professionals. Thesis projects span from smart objects and exhibition designs to data visualizations and interactive learning environments. As stated on the DMI website, "Our students leave the program, empowered by their new work, skill, and experience, to become leading educators, practitioners, and entrepreneurs."11 Majors at AICAD Member Institutions Areas of study and majors on the Association of Independent Colleges of Art and Design website:12 Administration & Management - Arts Administration - Business/Management - Design Management Art Education & Engagement - Art Education - Arts Therapy - Community Arts Art History, Theory, Criticism, Curatorial Studies - Art History/Theory/Criticism - Curatorial/Museum Studies - Exhibition Design - History of Decorative Arts Crafts - Book Arts/Paper - Ceramics - Craft - Fibers/Textiles Appendix Q, Page 4 - Furniture/Wood - Glass - Metals/Jewelry/Enameling Film, Photography, Video - Film - Photography - Video Fine Arts - Art/Fine Arts/Studio Art - Drawing - New Genres/Performance - Painting - Printmaking - Public/Social Practice - Sculpture General Education - English/Writing - Social Sciences Multi-Disciplinary - Individualized Major - Interdisciplinary New/Digital Media - Animation - Computer Art/Digital Arts - Digital Media - Entertainment Arts - Game Art/Game Design - Interactive Media - Media Art and Design - Sonic/Sound Art - Time-Based Media Performing Arts - Dance - Music - Theatre Three-Dimensional Design - Architecture - City and Regional Planning - Environmental Design Appendix Q, Page 5 - Fashion Design - General 3-D Design - Historic Preservation - Industrial Design - Interior Design - Landscape Architecture - Lighting Design - Toy Design - Transportation Design Two-Dimensional Design - Advertising Design - Comic Art - General 2-D Design - Graphic Design - Illustration - Medical Illustration - Visual Communications The O*NET program is the United States' primary source of occupational information. The O*NET database contains information on hundreds of standardized and occupation-specific descriptors. The free database is continually updated by surveying a broad range of workers from each occupation. The Occupational Information Network (O*NET) is funded by the US Department of Labor/Employment and Training Administration (USDOL/ETA) through a grant to the North Carolina Department of Commerce. 1 2 http://www.onetonline.org/find/career?c=3&g=Go accessed at 6/20/13 10:21 AM 3 http://www.aicad.org/work-and-earnings/ accessed at 6/20/13 9:38 AM http://www.bls.gov/ooh/arts-and-design/home.htm accessed at 6/20/13 9:42 AM; http://www.bls.gov/ooh/media-and-communication/home.htm accessed at 6/20/13 9:46 AM; and http://www.onetonline.org/find/bright?b=0&g=Go accessed at 6/20/13 10:02 AM 4 http://www.aicad.org/careers-majors/fine-arts/public-social-practice/ accessed on 6/20/13 3:28 PM 5 http://www.aicad.org/careers-majors/digital-media/interactive-media/ accessed on 6/20/13 3:30 PM 6 http://www.aicad.org/careers-majors/art-history-theory-criticism-curatorial-studies/exhibitiondesign/ accessed on 6/20/13 3:35 PM 7 http://www.aicad.org/careers-majors/art-history-theory-criticism-curatorial-studies/curatorialmuseum-studies/ accessed on 6/20/13 3:32 PM 8 9 http://www.ecuad.ca/research/ids accessed on 6/20/13 3:42 PM http://art.calarts.edu/graphic-design/specialization-motion-graphics accessed on 6/20/13 3:57 PM 10 Appendix Q, Page 6 11 http://www.dynamicmediainstitute.org/what-we-do accessed on 6/20/13 4:01 PM 12 http://www.aicad.org/careers-majors/ accessed on 6/20/13 10:54 AM Appendix Q, Page 7 Trends in College Preparation, Admissions and College-Going Culture at Four-Year Colleges and Universities Dr. Rekha S. Rajan July 2013 Introduction This report summarizes various current and emerging trends in college preparation and collegegoing culture. Information from this report was gathered from Forbes, GreatSchools, the National Center for Public Policy and Higher Education, the Washington Post, and a study that involved an analysis of the 2008 NACE Career Services Benchmark Survey. College Preparation and High School Curriculum Much of the focus of education today is on trying to align Common Core State Standards with the high school curriculum. However, the overarching belief is that there needs to be a connection between higher education expectations and high school reform (Onink, 2009). Considerations include the rigor of a high school curriculum for a student entering college, college preparatory or college-level courses taken in high school, and test-taking success. Each impacts how students should prepare for college and the ways in which high schools support student learning. Advanced Placement Courses Perhaps the most debated topic in college admissions and preparation today is the relevance and need for advanced placement (AP) courses in the high school curriculum. Many experts in the field have weighed in on the pros and cons of students taking AP courses, including having access to courses in high school, the impact of a high score, and the ways in which colleges offer (or most times do not recognize) the AP classes toward college credit. On a Washington Post blog, several administrators and admissions officers have shared their respective schools’ criteria for screening students in the admissions process (Strauss, 2010). While they stated that there is not a specific number of AP classes expected on a student’s transcript, they expect a student’s coursework to be demonstrative of a rigorous high school curriculum, one that exemplifies their interest in a particular subject area or career path. Stanford University is a leader in research on student experiences with AP courses and tests, and much of this research has been led by Denise Pope, a co-founder of the nonprofit organization Challenge Success (Donald, 2013). In a detailed analysis of the College Board’s Advanced Placement Program, Challenge Success released a report that examined the four major beliefs about the relationship between AP classes and student success (Challenge Success, 2013). The Appendix R, Page 1 data from this report presents an ambiguous picture of a need for AP classes, examining the idea of whether students are taking AP classes because they want to, or because they have to. One of the main conclusions of the report states that “the research suggests that while AP students, especially those who pass the exams, experience more success in college than do those who did not take AP courses in high school, this success may not be attributable to the AP program alone” (Challenge Success, 2013, p. 4). Overall, the information here creates a strong incentive for students to take AP courses and successfully pass AP tests in high schools. This places more pressure on high schools to provide such opportunities for their students in the curriculum — and to support them in successfully taking and passing these tests — in order to make students competitive for college. Emerging Trends in College Entrance and Admissions Emerging trends place a strong value on curriculum that engages students both in real-time and virtual settings. Major factors impacting college entrance include the economy, technology and service-delivery methods (Dey & Real, 2010). The Great Schools (2008) website analyzed data from the National Center for Public Policy and Higher Education, and summarized how these trends include the cost of higher education, students’ use of early decisions, shifts in how colleges view SAT and ACT scores and how high school GPAs are calculated: The cost of higher education “Families are now devoting a larger percentage of their incomes — and taking out more student loans — to finance a college education” (Great Schools, 2008). While tuition at private colleges increases has increased more slowly, the actual, individual dollar increases are much larger (and therefore make more of an impact) than the increases at public colleges and universities. High school GPAs are often recalculated by colleges “About 50% of colleges recalculate high school GPAs to account for grade inflation and to standardize grades across high schools” (Great Schools, 2008). Extra points are given for honors or advanced placement classes, placing a greater importance of having students take these courses. A large number of colleges and universities do not require the SAT and ACT There are approximately 730 colleges that have dropped or de-emphasized the ACT or SAT tests, including 30 competitive liberal arts colleges (Great Schools, 2008). The colleges that have dropped the test(s) as a requirement did so because they believe it is not an accurate prediction of student success. But many of the larger, more “popular” colleges, Ivy Leagues, and large-state universities, still require the tests. Students are increasingly accepting “early decision” offers Appendix R, Page 2 Early Decision is defined by NACAC as “the application process in which students make a commitment to a first-choice institution where, if admitted, they definitely will enroll.” Although there are supporters and opponents of the early-decision process, “Harvard and Princeton dropped their Early Decision and Early Action programs in the fall of 2007” — actions which many predicted would influence the direction of this trend in the future (Great Schools, 2008). “In October of 2006, NACAC members agreed to a new policy that bars member colleges from accepting students earlier than September 15th and creating application deadlines earlier than October 15th. This action is an attempt to block college frenzy from creeping into summer vacation, a time when high school counselors are unavailable for advice” (Great Schools, 2008) (emphasis added). The gender gap grows wider in undergraduate admissions “A 2006 American Council of Education report found that in 2003-2004, 45% of students under the age of 24 were men and 55% were women. This marks a widening of the gap since 1995-1996, when males represented 48% of the same age group” (Great Schools, 2008). The data shows that women are earning more bachelor’s degrees than men, but offers no specific reasons for why this increase is taking place. Many colleges track a student's interest in attending and will use it as a factor in the admission decision. “Colleges measure interest by keeping records of communications with the admissions office, contacts with faculty members or tours taken of the campus by prospective students” (Great Schools, 2008). Ultimately, if a student shows interest in attending a school, by calling, visiting, or supporting the school through social media, the student has a greater chance of acceptance. College-Going Culture and Recruitment In their report on the emerging trends in university career services, Dey and Real (2010) recognize the shifting methods utilized by high school counselors and college career centers in recruiting students. They state that “the recent integration of technology in college recruitment has seen the creation of virtual career centers through interactive web sites that provide web resources and information, self-help tools such as virtual mock-interviewing and online resume builders, and in-person and online counseling and advising” (Dey and Real, 2010). This means that it is important that college counselors utilize social media and social networking sites to access and recruit students. Students planning and preparing to enter college need to have an understanding of how to connect with faculty at a university, and should be equipped with the technology that will allow them to do so. On-campus recruitment has evolved into what the authors call an “experiential education model” (Dey and Real, 2010). Here we see the importance of students engaging in internships, visiting colleges, and interacting with faculty and staff both in-person and virtually. As a result, there are Appendix R, Page 3 more information seminars, career fairs, and on-campus recruitment events to engage and retain students and their families. While students are typically encouraged to visit college campuses with their families, and this is often a routine part of the admission process, the information presented throughout this report show the importance of the entrance exams, AP coursework, high school curriculum, and a student’s access to emerging technologies all weigh equally on an individual’s chance at college admission. Summary In the past decade, college-going culture and admissions increasingly have emphasized communication, recruitment, and acceptance through virtual and online sources. Students need to have a strong grasp on emerging and advanced technologies not only to prepare them for college, but also to assimilate them into the college-/university-going culture. Since the traditional model of acceptance based on test scores is moving to a more open-ended, holistic approach, students need to present themselves as well-rounded: being strong in both academic and other subject areas and having access to, and a strong understanding of, social media and emerging technologies. Clearly, admissions requirements are rigorous and detailed. They ask students to demonstrate their excellence in high school with evidence of AP and honors-level courses. Finally, the cost of visiting and attending colleges and universities has dramatically increased in the past decade, and providing students with access to a multitude of resources will be the most challenging barrier for high schools when reforming and aligning curriculum with these emerging trends. References Challenge Success (2013). The AP Program: Living Up to its Promise? Graduate Schools of Education, Stanford University: Palo Alto, CA. Dey, F. & Real, M. (2010). Emerging trends in university career services: Adaptations of Casella’s career centers paradigm. Data retrieved from: http://www.naceweb.org/j092010/trends-career-services-casella.aspx on July 10, 2013. Donald, B. (2013). Are AP courses worth the effort? An interview with Stanford education expert Denise Pope. Data retrieved from: http://news.stanford.edu/news/2013/april/advanced-placement-courses-032213.html on July 10, 2013. Great Schools. (2008). Easing College Admissions. Data retrieved from: http://www.greatschools.org/college-prep/applying/338-easing-college-admissionsanxiety.gs?page= on July 10, 2013. Appendix R, Page 4 Onink, T. (2009). Billions in Merit Aid Up For Grabs. Data retrieved from: http://www.forbes.com/2009/03/10/college-admissions-wait-list-sats-personal-financeretirement-merit-aid.html on July 10, 2013. Strauss, V. (2010). AP: College Admissions Directors Weigh In. Data retrieved from: http://voices.washingtonpost.com/answer-sheet/college-admissions/ap-collegeadmissions-director.html on July 10, 2013. Appendix R, Page 5 Schools of the Arts Editor’s note: This report provides a broad overview of the policies, procedures and characteristics of several Schools of the Arts throughout the United States. It is an informal repository of the most enlightening information uncovered through interviews and research. For the sake of fidelity, audition requirements, bell schedules and other operational policies and procedures are taken directly from the schools and/or their websites and reproduced here with little or no changes. Appendix S, Page1 Table of Contents Denver School of the Arts…………………………………………………...3 Duke Ellington School of the Arts………………………...……………….13 New World School of the Arts……………………………………………..24 Ruth Asawa San Francisco School of the Arts…………………………….34 Walnut Hill School of the Arts……………………………………………..43 Charts………………………………………………………………………48 Profile of Boston Arts Academy…………………………………………...52 Highlighted observations from other Schools of the Arts………………….57 Attachment: Boston Arts Academy audition requirements…………Attached Appendix S, Page2 School Name and Location Name: Location: Denver School of the Arts 7111 Montview Blvd. Denver, CO. 80220 http://dsa.dpsk12.org/ Website: Mission: Denver School of the Arts is a public magnet art school offering rigorous daily involvement in a specialized art form. We offer middle and high school students: Leadership: The opportunity to explore the work ethic and discipline required of an arts career in a supportive, nurturing environment Rigorous academic preparation for advanced study Relationships with local, regional and national artists and arts communities Lifelong learning and advocacy in the arts Majors in Band, Creative Writing, Dance, Guitar, Orchestra, Piano, Stagecraft and Design, Theater Video Cinema Arts, Visual Arts and Vocal Music William Kohut (Principal) Employment History o Principal south High School o Director of Student Activities South high School o Partner (College Board) o Adjunct Instructor of Music Education (Metropolitan State College of Denver) o Music Director of the Denver Community Concert Band and Assistant Conductor of the Colorado Youth Pops Orchestra o Activities Association State Music Committee Board Memberships and Affiliations o Active Member of the Board of Directors (Colorado Music Educators Association) o Board Member (Arts Schools Network) Education o Bachelor of Music Education Degree – Lamont School of Music at the University of Denver o MA degree in School Administration – University of Phoenix Student Population: Grades: 1043 6-12 Demographics: White: 62% Hispanic: 17% Black: 9% 2(+) Races: 7% Asian: 5% Student Eligible for free or reduced-price lunch program: 13% Student-Teacher ratio: 19 Appendix S, Page3 Bell Schedule 2012-2013 Stripe Day - Wednesday 6th and 7th Pd1 arts Pd2 arts Pd3 academic Pd4 academic Lunch Pd5 academic Pd6 academic 8th-12th 7:35-8:18 8:23-9:06 9:11-10:18 10:23-11:30 11:30-12:15 12:15-1:22 1:27-2:35 (43) (43) (67) (67) (45) (67) (68) Pd1 academic Pd2 academic Pd3 academic/arts Pd4 academic/arts Pd5academic Pd6 academic Lunch Pd7 academic/arts Pd8 academic/arts 7:35-8:18 8:23-9:06 9:11-9:54 9:59-10:42 10:47-11:30 11:35-12:18 12:18-1:04 1:04-1:47 1:52-2:35 Black Days – Monday & Thursday 6th and 7th 8th-12th Pd1 arts Pd2 arts Pd3 academic Pd4 academic Lunch Pd5 academic Pd6 academic 7:35-8:18 8:23-9:06 9:11-10:18 10:23-11:30 11:30-12:15 12:15-1:22 1:27-2:35 (43) (43) (67) (67) (45) (67) (68) Pd1 Pd3 Pd5 Lunch Pd7 7:35-9:05 9:10-10:40 10:45-12:15 12:15-1:00 1:05-2:35 (90) (90) (90) (45) (90) White Days – Tuesday & Friday 6th and 7th Pd1 arts Pd2 arts Pd3 academic Pd4 academic Lunch Pd5 academic Pd6 academic 7:35-8:18 8:23-9:06 9:11-10:18 10:23-11:30 11:30-12:15 12:15-1:22 1:27-2:35 (43) (43) (67) (67) (45) (67) (68) 7:35-9:05 9:10-10:40 10:45-12:15 12:15-1:00 1:05-2:35 (90) (90) (90) (45) (90) 8th-12th Pd2 Pd4 Pd6 Lunch Pd8 Appendix S, Page4 Audition Process 4 Steps 1.) Online Audition Application 2.) Pre-Audition Meetings Parents Must be Present (Applicant does not have to attend but is highly recommended) Meeting goes over the details of each major and the audition process and requirements for the department At the end of the meetings child will be given an audition time slot District School of Choice Form - Required of both in-district and out-of district students 3.) 4.) The Audition (11 Different Majors) a. Piano a. b. c. d. b. c. Piano program is not a beginner’s program. All auditioning students are expected to have gained considerable experience as performers before they audition at DSA. Students auditioning at the Middle School level are able to perform Clementi Sonatinas or the Two-Part Inventions of J.S. Bach. Students auditioning at the High School Level are able to perform Beethoven, Haydn, and Mozart Sonatas or Mendelssohn Songs Without Words Two Major Components of the audition i. The auditioning student will perform from memory two contrasting selections. These selections should reflect the student’s technical and musical abilities (90%) ii. Students will perform the major and three forms of the minor scales in a key of their choice. If the student chooses C Major, then C Major, A Natural Minor A Harmonic Minor, and A Melodic Minor should be performed. A Student auditioning as a 6th Grader should perform two octaves of these scales, and students who audition for Grades 7-12 should perform four octaves of these scales (10%) Theater a. Letters of Recommendation i. Three letters of recommendation from teachers, coaches or another adult (not related to you) who knows that your creativity, responsibility, talent, and what you are like as a student. b. Resume c. Monologues i. Choose TWO contrasting, one-minute monologues from published plays. One monologue should be a contemporary selection and one a classical selection. Classical plays are defined as written before 1910. A classical piece is not mandatory for middle school students. ii. Tips 1. Look for pieces that speak to you personally, that excite and interest you 2. Read the entire play that the monologue comes from to understand it’s larger context iii. Optional – if you also sing, you may prepare 16 bars of a song and sing it immediately following the performance of your monologues. Sing it a cappella and choose a Broadway show tune Visual Arts a. Complete required DSA online application b. Attend the required pre-audition meeting c. Complete the drawing audition at DSA (1 hour still life Drawing and Creativity exercise) Appendix S, Page5 d. e. f. g. h. i. Drawings are scored and highest scores receive a call back appointment for the following week. You will interview and share your portfolio at this time Initial Audition Format: Still life drawing and Creativity Exercise, One-hour audition session, you will draw in groups of 20-22 students i. Bring your resume with your full contact information to the audition ii. All art materials will be provided, do not bring your portfolio iii. Arrive 10 minutes early to check in. Late students do not get extra drawing time iv. 40-minute drawing from prepared still life v. 20-minute creativity exercise vi. Audition drawings will be scored for call back interviews and those numbers will be posted on the VA web page and the school office Typed resume includes i. Name, age address, phone numbers, parent e-mail, schools attended, extracurricular activities, classes and workshops attended awards, exhibitions and special interests/talents. Call backs: approximately 40% of all applicants (highest scores) will be “called back” with an assigned interview appointment time i. Interviews are conducted without parents by a panel of 3-5 teachers, artists and students for 10-15 minutes Portfolio i. You may show photographs for large pieces of #D work ii. Bring 8-10 examples of your best work created in the last 2 years. Any media is acceptable iii. Show evidence of your thoughts, ideas, creativity, invention, and some examples of observational skill. Observation is from life, not photographs iv. Applicants to the high school program must show evidence of skill and experience equal to our currents students at that grade level. Include a variety of media if applying to high school v. You will take your portfolio home at the end of the interview vi. Quality of work is more important than diversity vii. A sketchbook or journal can be counted as one of your portfolio pieces but do not make a sketchbook specifically for this interview viii. All artwork in the portfolio must be original and not derivative of existing comics, characters, or photographs Visual Arts Department Audition Scoring Rubric (50 points) Resume – 2 points Neatly typed, Clear primary contact information for call back Name, education, special activities/interests or awards present 2 Letters of Recommendation – 3 points Received on time Required information addressed, appropriate person selected for letter Creativity Assignment – 15 points Original work not derivative Imagination, creativity, self-expression, humor Personal voice/style Variety of art elements and design used: form, shape, line, texture, value, size variation Still Life Drawing – 15 points Name, date and next year’s grade on back, lower right At least 3 objects included as observed from still life Use of the entire page, thought given to whole design of page Ability to record shapes and sizes accurately Variety of texture, line quality, shading Ability to focus on drawing for full session Appendix S, Page6 d. Strong individual style or technique Portfolio – 10 points 8-10 pieces including some observational work Original work, no copies of photographs or comic characters Skill in drawing or handling of selected media Personal voice, evidence of individuality, creativity Work goes beyond simple class assignments High School Applicants: evidence of advanced skills and knowledge equal to DSA VA grade level. Strong evidence of personal voice, passion and interests Interview – Points Student communicates interest and passion for art Student communicates desire and interest to be at DSA Student is able to speak clearly about works presented in their portfolio Positive attitude, student communicates work ethic and determination Video Cinema Arts a. Video/Story Project i. Applicants create a 2 minute video project, which can be documentary or fiction form. Project must tell some kind of a story. Preference is to view your project on youtube.com ii. If you do not have video equipment you must prepare a PowerPoint presentation or photo display board, featuring at least 12 original photos. Photo presentation must tell some kind of story as well as show evidence of your composition skills. iii. As a companion to the video or photo piece all applicants must write a “treatment” – a written explanation of the story of their video project. Treatment will be featured in the student’s portfolio to be presented at the time of their audition. Additionally applicants may want to include storyboards, shot lists, or any other planning documents in their portfolio b. The Portfolio i. First Section - Student’s resume ii. Second Section - Minimum of two Letters of Recommendation for the applicant. Letters should be written by teachers, mentors, friends of the family, or any other non-family member that has insight about the student’s strengths and areas of development. Ask recommender to include how they see you as a fit for Video Cinema Program iii. Third Section - Written story or “treatment that you developed for audition video or photo project iv. Fourth Section – include photos, drawings, short stories or other writing, cartoons, designs, or any other relevant work that will help to see how you think about telling stories and expressing them visually v. Fifth – awards or documentation regarding other activities you would like to share. c. Audition i. Written exam and writing assignment. Exam will cover basic film and video concepts including giving basic definition of terms like: composition, editing, screenplay, character, story structure, etc. Students should also understand several kinds of camera shots and angles (ex. Close-up, medium shot, worms-eye view, etc.) Students will also be asked to write a short story that shows their ability to think about a story in a creative manner. (30-45 minutes) ii. Meeting with the VCA audition panel. This panel is generally comprised of one or both VCA teachers, as well as a community member or VCA grad with knowledge of the program. You will present your video or photo project and be asked to explain your project and its story. Panel will then Appendix S, Page7 d. e. f. e. ask to see applicants portfolio and ask them a number of questions regarding their interests and experience related to film and video production iii. Applicants are ranked according to the outcomes of their interviews, written assignments, portfolios, and video or photo projects. Essay i. Create a one-page creative response relating to the prompt: “I want to attend the Denver School of the Arts because…” It could be an essay or a combination of text and drawing. Be creative as you want and make sure to include why you have selected Stagecraft & Design as your major. We prefer that it be created with minimal guidance from your parents. You may also include why you think that Stagecraft & Design Department at DSA has to offer you and what you have a passion to learn Photograph Resume – Must contain i. Personal Data (Name, address, current phone, email age ii. Educational Objective – goals and ambitions iii. Education (or Training) Academic and Artistic – Schools you have attended, artistic education (includes any drama, art, craft, music, etc. also includes visiting artists you have seen and master classes/workshops. iv. Production Experience (chronological, with show title, role, where/when, and director) v. Community Service (any volunteer work you have done) vi. Awards and Honors (arts, academic, sports, civic, church, other… vii. Special Talents (any skills you would like to share) viii. References (two to three adults we could contact to ask about you. Vocal Music a. Singing Audition i. Group Vocalization ii. Sing major scale as a group and as individuals iii. Sing America, the Beautiful as group and individuals iv. Solo Performance 1. Bring sheet music (with piano music or chords) – no guitarists, karaoke CDs, or private accompanists are allowed. An accompanist will be provided 2. Introduce your first & last name clearly 3. Introduce your song title and composer 4. Sing approximately 1 minute of song; pick the best portion of your song that shows range, vocal flexibility, and expressive qualities 5. You may be stopped 6. Read rhythmic exercises as a group and then as individuals 7. Read melodic exercises as a group and then as individuals 8. Learn a new song and demonstrate your abilities v. Things to Bring 1. Two recommendations 2. 8 x 12 headshot (current) 3. Vocal Repertoire List (incoming grades 10-12 only) include songs formally studied in voice lessons (list song title, composer, and year studied) vi. Complete at Audition 1. Questionnaire (applicant may bring a resume or notes for reference to use in completing the questionnaire) a. Personality-based questions b. Statements of goals or interests c. Musical experience (choirs, musicals, lessons, etc0 d. Organizations or clubs in which you are affiliated Appendix S, Page8 e. f. g. f. g. Music instructors (names and number of years) Other activities or unique attributes Music theory test may contain the following i. Defining or identifying musical terms and symbols ii. Note names in both treble and bass clefs iii. Key signatures Guitar a. Guitar Website give student’s classical and jazz preparation in the form of different website links containing free music, chord progressions, scales, etc. b. During the Audition i. Students will perform one piece of their choice ii. Students will play a variety of jazz chords and related scales (on preparation website) iii. Students will sight read one piece of music iv. Students will complete a brief music reading test v. Students will submit a short paragraph explaining why they would like to major in guitar at DSA vi. Students Must be able to read music in order to be considered for the guitar program Band a. Audition Graded on a 5 point scale through the different areas of evaluation i. Scale is: 1. 5 = Outstanding 4 = Excellent 3 = Good (Average for Age) 2 = Below Average 1 = Poor b. Must be on time and bring the following i. Essay – (One page Max) Looking for the desire to attend the school and a passion for music. We evaluate writing skills, appropriate terminology of training and enthusiasm ii. Resume – Looking for evidence of music training, lesson and teacher history, performance history, and awards in music or other evidence of scholastic achievement. Include evidence of musical projects or musical endeavors. Evidence of any artistic training helps iii. Portfolio – Look for evidence and proof of listed resume items. Look for evidence of any other art form the student may be interested in. Try to get a good idea of the student’s personality and sense of academic and artistic drive through the portfolio iv. Interview- Evaluate the student’s ability to respond to questions, the students desire to be in the program and their general enthusiasm for music study. Look for attentiveness, alertness and positive behaviors well as the ability to articulate feelings v. Theory – basic and is intended only to see if there has been any theory training in lessons or elsewhere vi. Beat – students may be asked to clap to a piece of music to see the basic ability to distinguish and follow pulse consistently vii. Scales – evaluation based on tone, note accuracy, facility and range. Required: 2 major scales, 2 minor and 1 chromatic viii. Prepared Piece: Evaluated in the following areas 1. Note/Rhythmic accuracy 2. Intonation 3. Articulation 4. Interpretation 5. Beauty of tone Appendix S, Page9 6. 7. Musical Spirit The prepared piece must be classical in style. Indicated knowledge of musical style and work with a teacher ix. Sight reading – Sight-reading piece is evaluated on these specific areas: note/rhythmic accuracy, intonation, articulation, interpretation, beauty of tone and musical spirit x. Percussionists – must perform the audition on snare and mallet instrument. Percussionists are responsible for the scale requirements outlined above. Be prepared to play at least the 4 basic snare rudiments (paradiddle flam, single and double stroke rolls) in slow-fast-slow style xi. Parent/faculty discussion – will include an opportunity for parents of audition students to sit down with a DSA academic instructor to 1.) ask question about the academic rigors of DSA 2.) discuss the education culture that is unique to DSA and 3.) Discuss successful study strategies that students at DSA have employed h. Orchestra a. Playing i. Three Scales 1. Middles School students play 2 octaves with 0-3 sharps or flats 2. High school students play 3 octaves with 4-7 shards or flats (or according to ability) as follows: One Major Scale, One Melodic Minor Scale and one Chromatic Scale ii. Two Solos - Prepared pieces of your choice in contrasting styles lasting approximately 2 minutes each. Orchestral excerpts, etudes, chamber music and pop music are not appropriate pieces to bring to the audition. Classical music such as unaccompanied suites and partitas, sonatas, concertos and most selections from the Suzuki books are acceptable. An example of appropriate music selection for this audition would be: an allegro movement with a sharp and/or major key signature from a baroque suite and an andante movement with a flat and/or minor key signature from a romantic sonata. Bring copies of your music with you, even if you have your solos memorized. You do not need to bring an accompanist with you to the audition. iii. One Sight Reading - : you will be asked to play an excerpt lasting approximately 8 measures, according to your ability - you will be given approximately one minute to review the excerpt before you play it. b. Portfolio i. Essay - Discuss the importance of music in your life, why you would like to attend Denver School of the Arts and why you feel you would be an asset to the orchestra program and the school. ii. Resume - Provide current contact information (address, home phone, your cell, parent cell, your email, parent email), details about your private study and private teacher, how long you have played your instrument and orchestras or chamber music ensembles you have played with. Include any honors or awards you may have received, your current grade point average, extra-curricular and leadership activities, employment and anything else you would like the audition team to know about you. iii. Programs - Provide copies of recent concert programs, recitals, chamber music performances, etc. iv. Repertoire - Provide a list of all solos, chamber music and orchestra music you have performed. c. Interview i. Portfolio - discuss the four parts of your portfolio - highlight important details for the audition committee ii. Practice - Describe your general practice routine at home, include: where you practice, the set-up of the practice area, tools used during practice, Appendix S, Page10 i. j. Staff List amount of time practiced daily and per week, warm-up regime, tuning procedure, scales learned, etudes studied and details of how you go about learning a new piece of music. iii. Music Theory - You will also be asked a few music theory questions pertaining to the solos you selected to perform for the playing portion of your audition. iv. Final Comments - You will be given an opportunity to add anything else about your experience, education, ability etc. that you feel is important for the audition committee to know. Dance – It seems that actual instruction on the actual audition in for the dance program is only disclosed to the pre-audition meeting. Creative Writing – The creative writing portion of the school’s website does not display their individual audition requirements. Instead they list the different levels of curriculum a. First Year Curriculum – regardless of grade level new students complete a curriculum that surveys myriad components of creative writing including an overview of most major forms/genres b. Contracts (2nd Year) – students spend one year focusing solely on personal contracts which allow for completely individualized assignments and personal artistic/literary development. Students at this level will complete four 9 week contracts c. First Umbrella – Writer’s Bible (3rd or 4th year) – four 9 week contracts + umbrella project (writing responses to/development of The Writer’s Bible) d. Second Umbrella – Novel-writing (3rd, 4th, or 5th year) – Level will engage in a series of short workshops and assignments which aid in the writing of a novel. Each of the contracts will focus on writing the novel e. Third Umbrella – Internships (4th,5th, or 6th year) – Two-semester-long contracts (with a checkpoint at the quarter in-between), completion of internship (before senior year) & select responses to portions of The Writer’s Bible) f. Senior Seminar (all senior complete parts of this; however chapbooks are produced only by those who’ve been in the program starting freshman year or before) – Development/publication of senior chapbooks (first semester), development/execution of senior projects (second semester), as well as out of class journal (year-long) g. In addition to level requirements, students will complete additional poem and story assignments, which are introduced by CW teachers. Guest artists, etc. Other assignments include: author appreciation assignments, responses to teacher, guest artist and peer FE’s explications, critiques & multi-genre projects. Four administrators – Principal, Asst. Principal, Asst. Principal, Dean of Students Faculty (40) o Science – 5.5 o Math – 5 o Social Studies – 4.5 o Spanish – 2 o Language Arts – 4 o Humanities – 4 o Theatre – 1.5 o Vocal Music – 2 o Stagecraft – 2 o Guitar – 1 o Orchestra -1 o Band – 1 o Visual Arts – 2 o French - 1 o Piano – 1 o Creative Writing – 2 o Dance – 2.5 Appendix S, Page11 History o Audio Production – 1 Opening date – August 1991 o First class size was 200 o Original classes were held at Cole Middle School o Original students were in grades 6-9 o Had only four arts teachers o Academic instruction was provided by Cole and Manual High School faculty 1997 Moved to Byers Junior High Building o Hired its own academic faculty 1998 granted its own diplomas to the class Class size grew to 670 students o Led to multi-million dollar financing for a permanent home for the school Building formerly housing the University of Denver’s Lamont School of Music was purchased by DPS o Extensively renovated by Semple Brown Design and Klipp Architects to include ample classroom space 550 set multi-purpose theatre 320 seat recital hall 120 seat dance theatre Black box theatre Film-video sound stage Music rehearsal rooms Fall 2003 class size – 900 students, faculty of 40 Today class size 1000 students majoring in 11 arts programs Nearly 100% placements of its graduates in university and conservatory programs of great repute Academic Departments There was no list of what academic courses are actually offered at the school although AP and Honors classes are mentioned/offered Special Note: There is a great deal of parental concern about the lack of communication between academic departments and art departments. There is little to be found about Language Arts Math Science Social Studies Resource Teachers World Languages Shadowing Program Only open for current 8th-11th graders Offers students the opportunity to spend a morning going to class with currents DSA students to get a feel of what the school is about Get to shadow a students from your desired major Student guest has the opportunity to shadow through 8 class periods Appendix S, Page12 School Name and Location: Name: Location: Website: Duke Ellington School of the Arts 3500 R. Street, NW Washington, DR 20007 http://www.ellingtonschool.org/ Important Note: School will be undergoing a major renovation in 2014-2016 Leadership (Bio of Principal, qualifications, artistic/administrative background) Head of School: Rory Pullens Head of School/Chief Executive Officer Prior to appointment he spend over a decade as an arts administrator in Denver Colorado where be designed the first elementary arts school in Denver Public School and two charter school programs and Los Angeles California where his prior credits spanned nearly two decades as a writer/director/producer in the entertainment industry Currently sits on the John F. Kennedy Center for the Performing Arts Advisory Board and the Ellington Fund Board, and is 1st Vice-President of the national Arts School Network Board Director of Artistic Affairs: Tia Powell Harris BS in Speech and Drama Education and an MA in Communication Arts and Theater from the University of Maryland Past Jobs o Manager of Community Partnerships at the John F. Kennedy Center for the Performing arts o Served as Associate Director of Education Programs at the Smithsonian National Portrait Gallery o Ellington DOAA (artistic affairs) designs and facilitates arts-based professional development for American teachers at the Smithsonian and has taught as an adjunct faculty member in the graduate Arts Management program at The American University Director of Student Affairs: Jon Payne Began carrier as Associate Pastor of Saint Augustine Roman Catholic Church – developed community’s internationally known liturgical tradition focusing on music, art, dance, and spoken word 1996 became project Director in the Kellogg Foundation’s African-American Male Collaborative, which let him to the HEROSE project at the Duke Ellington School of the Arts where he built support systems and developed programs to mentor Africa American male students. In 2000 he was names Dean of Students Is committed to issues of justice and enculturation in communities of faith and to building systems that nurture success for students in District of Columbia Public Schools Director of Academic Affairs: Nina M. Smith, PhD Education: o Attended Columbia in Columbia, Missouri – trained under classical vocalist Elaine Grey o Transferred to University of Missouri-Columbia to study education o Obtained her first M.A in Education Administration from Washington University in ST. Louis Appendix S, Page13 o Second M.A. in Administration of Education was from George Mason while undertaking a PhD in Sociology at American University Career: o Pursued singing career traveling abroad to England and Paris o Taught music in St. Louis area elementary schools o Initially moved to the East Coast with a job at the Baltimore Symphony to advise their new “music across the curriculum” program o Joined the Alexandria Public Schools working with untrained youth who went on to stage performances under her guidance o As DOA (academics) it is her goal to instill a love for learning ad academic achievement in talented young student at Ellington Student Population 531 Student Geography: Most students come from within district. Students may attend from outside the district pending audition(s) and must pay enrollment fees (inner district students are exempt from this) Large Female population – 68% female Enrollment Demographics (2012-2013) o Black 76% o Hispanic/Latino 9% o White 10% o Asian 2% o Pacific/Hawaiian 0% o Native/Alaskan 0% o Multiple Races 2% English Language Learners Free and Reduced-Price Lunch Special Education 1% 36% 3% Total Faculty & Staff: 130 Just Teaching Faculty: 90-100 Full Time: Most are full time, but some teach a minimum of 3 days per week. Accredited arts/music/theatre/dance faculty: There are no “accredited” faculty in the school, rather a difference between Arts faculty and academic faculty in the hiring process. Hiring System: There are two branches of employees o Academic Educators: hired by the District of Columbia Public Schools Certified Union Hired using normal school process Regular hours are 8:00-3:30 Salary is based on DSPS – the districts mandated laws that set compensation rate, raises etc. must go through the Union o Specialized Art Educators Not unionized Hired outside of the union (Through their Non-Profit Group Duke Ellington School of the Arts Project) Allows artists to be hired and fired much easier Do not need certification Most are at the top of their field, and have real life applications of the subjects being taught Regular Hours are 9:30-5:00 Appendix S, Page14 Compensation is negotiated by the artists at the beginning of their employment – not bound by district/state regulations Schedule: School Hours: 8:30am – 4:55pm (Extended day in comparison to normal public school hours) - Every student has ten classes Mondays students go to every class (broken into even and odd numbers) Tuesdays/Thursdays students only attend evening classes Wednesdays Off classes 8:30-1:30 are strictly for academic classes 2:00-4:55 – Arts Block (only art classes) School Mission Statement: To Nurture and inspire passion for arts and learning in talented students who might not otherwise have an opportunity to develop their artistic skills. We ensure that our students are prepared for post-secondary education and/or careers in the arts by offering an intensive arts-based program. We prepare our students to become productive citizens in our global society through our strong focus on community service. How the mission is different than most SOTA Schools: School was never intended to be a Julliard. Although students must audition to get into the school (1500 applicants for ~ 170 spots) they are looking for students with artistic interest, not always the most talented, more looking for true interest. School is meant to be a pre-professional training ground for students Nina Smith (Director of Educational Affairs) stressed the importance of the attitude of the students at the school, not the raw talent, and that they are one of the few public schools around, maintaining funding from the Governments and having educational faculty be unionized. (Not a charter school, still operates as a DC public School) Role of Arts Institutions: Community Partnerships: John F. Kennedy Center for the Performing Arts (Official Partner) The Ellington Fund Feld Entertainment Georgetown University (Official Partner) George Washington University (Official Partner) Magic Johnson Foundation Dickstein Shapiro Monarch Construction Davis Construction School Collaboration: District of Columbia Public Schools Provides 70-80% of the operating budget for Duke Ellington Academic curriculum follows DCPS standards of learning and many staff members are veterans of DC Public School System Upon graduation Ellington students receive a standard DCPS diploma and an arts certificate George Washington University (GWU) Provides collaboration with different departments Sponsors Ellington events Appendix S, Page15 Provides counsel on governance and assisting in upcoming renovations Promotion of Ellington’s Jazz program on GWU radio In past 5 years Trachtenberg scholarship (offers graduating senior a full tuition scholarship to GWY) has been won 4 times by an Ellington Student The current DESAP board president is General Counsel for the George Washington University Ellington Fund (the Fund) Is a 501(c)(3) organization established in 1979 to serve as the charitable arm of the DESA Administers and supports several programs and activities at DESA that are not funded by the DC Public School System (DCPS) Works closely with the head of school, responsible for prioritizing the many addition resources needed for the school, ad acquiring funding from individual donors organizations and corporations to provide the finances necessary to bridge the funding gap to support its diverse arts programs The Kennedy Center John F. Kennedy Center for the Performing Arts provides much needed resources in performance space, opportunities for performance, production assistance and annually funding a series of master classes, professional developmental lectures and other educational opportunities to enhance teaching and curriculum offered at Duke Ellington Students regularly attend and are often sought to perform at the Kennedy Center with multiple appearances at Millennium Stage, the Performance Series of Legends and various other shows Faculty have also produced shows at the Kennedy Center and attend various clinics and workshops Many renowned artist that perform at the Kennedy Center often share their talent by working with Ellington students in clinics/master classes/workshops (funded by the Education department at the Kennedy Center) Kennedy Center representative serve on the DESAP board The Kennedy Center Vice President of Education is currently the treasurer of that board Career and Higher Education Preparedness: Master Classes: School brings in artists who are not faculty but currently working within their given field (or retired professionals/legends) to work with the kids for 1-4 hours. The master classes are run in a way similar to college master classes where the professional mentors in whatever they feel is most helpful to that particular group of kids. Regular College Fairs: Students are able to attend several college fairs held at the school and are encouraged to apply for top schools in the country. Stats: 99% graduation rate 96-97% college acceptance o Washington D.C. average is only 60% Academic Enrichment 11 AP Courses o English Language and Composition o English Literature and Composition o Calculus (1 & 2?) o Biology o Chemistry Appendix S, Page16 o Government o U.S. History o Art History o World History o French Honors Classes o English 1, 2, 3, 4 o Algebra 1 o Pre-calculus o Calculus o Spanish 2 o Italian 2 o French 2 National Honor Society Debate Team Foreign Affairs Round Table Model UN Constitutional Law HI-SCIP Cathedral Scholars International hosting committee Audition and Admittance Process 4 Step process: Online Application, Auditions (if you pass you move to 3), Academic Assessment Test, Family Interview 1.) Online Application a. Must finish an online application found on their website b. Must submit the following materials i. A paragraph explaining why you want to study your specific artistic discipline at Ellington. If you are auditioning for two arts areas, be sure to write two paragraphs ii. A copy of your final report card from the previous year and you most recent report card from this year iii. Attendance records from last year and this year if not reflected on your report card iv. A copy of your most recent standardized scores (ex. DC-CAS, VA SOL, MD MSA) v. Two letters of recommendation 1. One letter from an arts teacher (substitute another adult if no arts teacher) 2. One letter from an academic teacher vi. Two small photos of yourself 2.) Audition (8 Subcategories) a. Dance: i. Looking for 1. Physically and verbally express their passion for the art of dance 2. Show a strong desire to work diligently on technique 3. Display a willingness to accept discipline and/or positive correction 4. Exhibit flexibility, a natural sense of movement, musicality, and an innate ability to follow directions ii. Those Auditioning Must 1. Girls – Wear leotards and footless tights, and no dance shoes Appendix S, Page17 Boys – Wear footless tights, sleeveless white t-shirt, and no dance shoes 3. Have hair pulled back away from dace in a tight bun, secured with a thin hairnet 4. Remove all jewelry 5. Remove all fingernail and toenail polish iii. Audition Process 1. 2 days, both of which you will participate in a dance class involving both ballet and modern techniques. 2. No solo dances are performed during the audition 3. After 2 days will identify the group of students who move on to the mandatory callback audition 4. The call back audition has the same format as the initial audition Literary Media & Communications: i. Looking for 1. Students who are intelligent, respectful, and humble 2. Prospective student should be confident about their voice and have an awareness of the necessity of effective communication 3. Must read constantly and have an awareness of current events 4. Must engage with technology and have an awareness of technology and New Media as a viable means of communication ii. Must Submit 1. A portfolio with at least three strong writing samples a. A personal essay of at least 350 words that states your personal goals as an artist b. Two other forms of narrative (poem, short story, fiction, nonfiction, play etc.) 2. A printed or electronic sampling of any New Media communications they have completed or are working on, such as (but not limited to): a. A blog b. A podcast c. A website d. Any film, documentary, short footage they have worked on e. Digital or traditional photography 3. At least two letters of recommendation in addition to the recommendations required as part of the application process a. One letter from an English teacher b. One letter from someone who has read/viewed and critiqued your work (in any of the above genre or forms) 4. IEP and/or 504 information if applicable 5. Most recent report card iii. Audition Process 1. Will consist of a conversation with faculty about the work you have submitted as well as about the reading assignment. Audition interview will also include a writing component Technical Design and Production i. Looking for: 1. Student with a passion for all aspects of the theater. Successful students are mature, pay attention to detail and have the ability to stay focused. Students must follow directions, work in a team and accept constructive criticism. ii. What to Bring/Prepare 1. A Statement of Purpose that expresses your interest and goals. Help us understand why you’d like to pursue Technical Design & Production 2. A Resume detailing any artistic involvement, volunteer efforts, and other extra-curricular activities 2. b. c. Appendix S, Page18 3. A letter of recommendation from a mentor, employer, director, that tells us why you would make a good candidate for Ellington as a member of a stage-management team. iii. The Audition Process 1. Audition interview in which they bring their portfolio with them and have sent in other required material in advance a. Portfolio highlights stage-related interest and skills i. Drawings or painting from art classes ii. Three-dimensional work, models, sculpture, collages iii. Sketch books iv. Visual examples showing your training, graphic abilities and artistic vision v. Items from a production you have worked on including 1. Photographs from the production 2. Production books (prompt book) 3. Production drafting, scene, costume or lighting examples, renderings and sketches, sound/video recording samples. Other examples are welcome 4. Sketchbooks, preliminary sketches (your process) 5. Rehearsal/Performance Reports, Cue Sheets, Blocking notations 2. Participation in a 2-day shadow workshop. Auditioning students will work with current TDP students as they produce a show with the first day in tech rehearsal and the second day in performance. The Shadow workshop gives the student a chance to see what is truly involved in Technical Design and Production, and gives us a chance to see how well the student works with others, stays focused and accepts direction. d. Visual Arts i. Looking for 1. Students with potential who demonstrate their passion for the visual arts. Successful students show strong observational skills and hand-eye coordination ii. What to bring/prepare 1. A portfolio of at least 5 or more works of art - on white drawing paper, 8 ½ x 11 inch paper or larger with at least one each in the following categories a. A self-portrait b. A drawing of a bicycle c. A drawing of an open closet in their home (use color: pencils, markers or watercolors) d. A drawing of a landmark in the city e. Free choice of anything of your own creation iii. Audition Process 1. Will be required to produce a drawing from a still-life during the audition, write a short essay about the form and content of work of art presented in their portfolio, and discuss their portfolio during their interview with a Visual Arts faculty member e. Instrumental Music i. Looking For 1. Potential and passion for your instrument, your musicality, and your willingness to work hard to move to the next level Appendix S, Page19 f. g. ii. Must Bring/Prepare 1. A musical selection for the audition and bring sheet music for the selection 2. Bring their own musical instrument (except for string bass, piano and percussion. 3. Sticks and/or mallets if needed iii. Audition Process 1. Perform a prepared musical selection 2. Perform a sampling of major scales 3. Be tested on musical response and sight-reading 4. Participate in a personal interview In addition to the procedures percussion students must present at least of the following A variety of snare drum rudiments from the PAS list of International Drum Rudiments (http://www.pas.org/resources/rudiments/rudiments/html) Any technical/musical skills on mallet percussion or timpani Drumset styles such as jazz, Latin, Funk, rock and/or soloing Museum Studies i. Looking For 1. Students who exhibit intellectual curiosity – who are particularly interested I history, social studies, visual arts and technology 2. Students should have a desire to learn more about art and culture and how to effectively use computers to develop visual presentations through photography and graphic design ii. Must Bring/Prepare 1. Three personal objects that tell something about the student, to present them as a display, and discuss the reasons for the selections 2. Five finished visual art pieces (like a collage, 3-D sculpture, a drawing or painting), or a science or social studies project/report completed during the past school year, to discuss during the interview iii. Audition Process 1. Interview with and perform for Museum Studies faculty 2. Write a 250-word or more essay relevant to Museum Studies 3. May exhibit interest in the arts, science, or history by performing either a musical piece or drama presentation, or presenting a project done in one of these areas 4. Will participate in exercise that examine their curiosity and creativity Theater i. Looking For 1. Students with a passion for being on stage and who want to study all aspects of the theatre 2. Successful candidates listen and adapt, and are able to accept criticism and incorporate suggestions in their work 3. Students who are focused and on-task, and are imaginative and able to make emotional connection with their character and then express themselves physically as well as vocally ii. Must Bring/Prepare 1. Prepare and memorize TWO 1 ½ - 2 minute contrasting monologues from two published plays. 2. Be prepared to tell us why you want to attend Duke Ellington and what you hope to accomplish while you are here 3. Come to the audition on time, dressed in loose fitting clothes and tennis shoes and be prepared for movement or warm-up exercises iii. Audition Process Appendix S, Page20 1. 2. 3. h. Will participate in group warm-up exercise and then will have an individual audition time (where they present their monologues) May be asked to do a cold reading or improvisation Students with a successful preliminary audition will be asked to callbacks (will require two visits to Ellington) Vocal Music i. Looking For 1. Vocal potential – potential to develop to a point where you could sing professionally 2. Performance and musical potential – personality to be a performer, or succeed in some other area of musical study (composition, recording technology, teaching, music therapy, musicology, ethnomusicology, etc.) 3. Passion about music – truly excited by music/singing? 4. Possibility for academic success – can you do well enough to be academically invited to stay at Ellington (maintain a “C” average in academics) 5. Cooperative attitude – can you work well with others in and outside of class ii. Must Bring/Prepare 1. Memorize one piece from this list a. Lift Every Voice and Sing b. The Star-Spangled Banner (O, Say Can You See) c. Caro mio ben (Italian) d. America (My Country, ‘Tis of Thee) e. Climb Every Mountain Student who are studying with a private voice teacher may sing an art song in English, Italian, or German iii. Audition Process 1. Will take a Music Theory assessment test and then participate in individual auditions 2. Sing for at least one member of the vocal faculty who will also ask for vocal exercises 3. Will assess range of your voice, quality of your musical ear, and whether your natural gifts are strong enough to succeed in our program iv. How to succeed 1. Decide exactly what song you will present and PREPARE it 2. Say your name and answer questions clearly and completely 3. Be ready to talk about yourself, past musical experiences, goals for the future. Give these ideas some thought – is Duke Ellington REALLY where you want to be? Why? Is singing your hobby or passion? 4. Dress appropriately – look professional Facility: Building has been around since 1898, but in 1974 Western University gradually left, allowing Duke Ellington to take ownership of the grounds. Since then they have adjusted to property to fit their needs (more renovations to take place 2014-2016) What once was the Gym has been turned into a dance studio(s), Classrooms were renovated to create recording studios, etc. Contains: Art Room Appendix S, Page21 Auditorium Computer lab Gym Media Center Music Room Outdoor recreation space Science lab Technology: PC’s and MACs Computer la strictly for computer arts students – all MACS with typical computer arts programming No “special technology” Some classrooms contain Smart Boards 1 PC per room Music Software – Finale/Sibelius (not specific) Do not have a contract with a technology manufacturer Student Council and Governance Role Student Government Association: Dual Mission. First is to capture and represent the interests and preferences of the school’s study body and incorporate them with appropriate into key decisions and school policy. Second is to build school spirit, a sense of community, and plan fun events for all to enjoy Other Student Organizations The Cappies (Critics and Awards Program): An international program for recognizing, celebrating, and providing learning experiences for high school theater and journalism students and teenage playwrights. Attend plays and musicals at other high schools in their area and write reviews. Critic-written reviews that are later published by area newspapers, with student bylines. International Hosting and Lunch Club: Welcoming committee for our international exchange and new students, exploration of the international world through food National Honor Society: Students exemplify excellence in leadership, scholarship, and service Recycling Club: Making Ellington a “greener” and “cleaner” environment for our school community The Roundtable Seminar: Students meet with a core group of lawyers from the law firm of Dickstein and Shapiro to discuss and debate major legal issues facing our city and nation (open to junior and seniors only) World Affairs Council: Students meet to discuss and debate major global issues and events. Through the partnership with the World Affairs Council of DC, the students invite special guests to speak at Ellington students on topics related to global issues Yearbook: Design and create the Ellington yearbook as a body of student work Family or Parents Governance Role Appendix S, Page22 Shade: School Home Association of Duke Ellington o Mission to work as a unified body for the benefit, promotion and support of the school by serving as a liaison and representative of the school community at a large o Two parent representatives and two alternates from each of the eight arts majors make up the executive committee of SHADE o Is a membership organization requiring a small membership fee to be paid at the beginning of the school year “Friends of the School” or NPO Function is to support the school. The Ellington Fund (see above) through comprehensive fundraising efforts, including individual gifts, direct mail appeals, corporate, government and foundation grants, and special events such as the annual Performance Series of Legends. Has raised millions of dollars to augment the school’s budget. Is a 501(c)(3) organization Has a development office made for fundraising – only brings in 1-2 million dollars a year in revenue Appendix S, Page23 School Name and Location Name: Location: Website: New World School of Arts (Magnet School) 25 NE 2nd Street Miami FL, 33123 http://nwsa.mdc.edu Leadership (Bio of Principal, qualifications, artistic/administrative background) Principal: Evonne S. Alvarez First year as principal Previous Job Experience/Awards o Has almost a decade of administrative experience o Has served as Principal, Assistant Principal, and Faculty in various middle and high schools in the Miami-Dade County public school system including South Miami Middle Community School and for Campbell Drive Middle School o Assistant Principal of Curriculum at Citrus Grove Middle School, South Dade Senior high school, and Coral Gables Senior High School o Numerous Awards ad recognitions through her involvement with the South Florida community o 2012 Named Principal of the Year for the South Miami Feeder Pattern o Recognized with the Rae to the Top School Site Administrator in 2011 Education o B.A in Behavior and Social Sciences from the University of Maryland College Park o M.S. in Educational Leadership from NOVA Southeastern University 305-237-3605 ealvarez@dadeschools.net Student Population: 472 Grades Served: 9-12 Student Geography: Demographics are as shown below o SOTA Student Ethnicity, 2012-2013 Hispanic 57% White 21% African American 19% Asian: 1% Multi-Cultural: 2% Students eligible for free or reduced-price lunch program: o 36% Graduation Rate: 99% Appendix S, Page24 2013 Senior Class Size: 109 Test Scores (ACT/SAT/Advanced Placement) SAT Exams (Mean Scores) Verbal: 538 Math: 518 Writing: 541 ACT Exams (Average Scores) English: 24.0 Math: 22.2 Reading: 23.9 Science Reasoning 21.8 Composite 23.1 Advanced Placement Exams 69% of scores 3 and above Graduation Requirements: Grades 9-12 SUBJECT English Mathematics Science American History World History American Government Personal Fitness Fine Arts Electives Economics TOTAL YEARS 4.0 4.0 3.0 1.0 1.0 0.5 1.0 1.0 8.0 1.0 24.0 CREDITS 4.0 4.0 3.0 1.0 1.0 0.5 1.0 1.0 8.0 1.0 24.0 * Bonus points are given when: - Advanced Placement/Dual Enrollment 2 additional points for a grade of A or B 1 additional point for a grade of C - Honors 1 additional point for A, B, or C Honors and Advanced Placement Courses Offered: Honors Courses: o o o o o o o o English (9, 10, 11, 12) Geometry Algebra 2 Analysis of Functions Calculus Pre-Calculus World History American History o o o o o o o o o American Government Economics Biology Anatomy/Physiology Marine Science Physical Science Chemistry Spanish 3 French 3 Appendix S, Page25 o Creative Writing 3 o Selected Arts Courses Advanced Placement Courses: o o o o o o o English Language Art history English Literature Calculus AB Calculus BC Statistics American History US Government & Politics o o o o o o o o o o Microeconomics Biology Chemistry Environmental Science Spanish Language Studio Art 2-D Design Studio Art Drawing Music Theory Human Geography Psychology Teacher Education Levels: Bachelor’s Degree: Master’s Degree: Doctorate Degree: 50% 47% 3% Schedule/School Day 7:30am – 3:40pm School Hours: o o 5 academic and 3 arts periods daily Seniors have 4 academic and 4 arts periods daily Audition and Admittance Process 6 Step process: Online Application, Auditions or Portfolio Review, NWSA Recommendation for Admission, Completion of current grade-level at your school, Florida Residency Statement (if appropriate), Official School transcripts for private school or out of county applicants. 4 Audition Categories: o Dance o Two Audition Components Applicants will participate in a class that includes a ballet barre, adagio and petit allegro; modern center, traveling and elevation; and a short jazz combination Purpose: is to demonstrate the applicant’s technical ability in a variety of dance styles and his/her ability to take direction Applicants will be asked to perform a short solo dance, not to exceed two minutes, in either ballet (point work is not permitted), modern, or jazz dance style. The solo may be from the classic or contemporary repertoire or be an original work composed by the student or a teacher. Purpose: is to demonstrate the applicant’s performing skill. Each candidate is required to bring a compact disc or cassette recording of musical accompaniment o Must Wear Appropriate dance attire for the audition. DO NOT wear leg warmers, sweaters, or jewelry. MEN: wear black tights or jazz pants, white t-shirt and ballet shoes WOMEN: wear black leotard, black or pink tights (that can be rolled up for modern dance) and ballet shoes. For modern dance selection, applicants must be barefoot. For jazz section, applicants may wear jazz shoes. o Acceptance Criteria Appendix S, Page26 o Talent and potential as a performer. The faculty is most interested in those students who show strong performing abilities, an openness to assimilate corrections, and a willingness to learn in the various styles Level and quality of training: although the purpose of the New World School of the Arts is to train dancers, we are not equipped to deal with the inexperienced student Musicality Music o General Music Audition (required of all music applicants) Recommendation by the middle or high school music teacher or private music instructor Audition (instrumental or vocal) held by the members of the NWSA music faculty Sight Reading Special Note: If a student’s performance audition is acceptable, successful completion of a music fundamentals course at New World during the summer month is required in order to qualify for Fall entrance o Instrumental Music Audition In addition to chromatic scales specified, students may be asked to play 12 two octave scales in the range of the instrument Special Note for Jazz Instrumental Auditions: Jazz applicants (with the exception of jazz guitar) must first complete their classical audition and then return for the jazz portion. FLUTE OR PICCOLO Chromatic Scale: 3 octaves from C 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. OBOE Chromatic Scale: 2 octaves from D 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. BB CLARINET Chromatic Scale: 3 octaves from E 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. BASSOON Chromatic Scale: 3 octaves from Bb 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. ALTO / SAXOPHONE Chromatic Scale: 2 octaves from C 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. TENOR SAXOPHONE Chromatic Scale: 2 octaves from F 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. ALTOR / TENOR / SAXOPHONE – JAZZ PORTION (OPTIONAL) Play the melody and improvise based on the following: 1. Maiden Voyage and Shuffle Time from Jamey Aebersold Play-A-Long Volume 54 2. Ornithology from Jamey Aebersold Play-A-Long Volume 93 Sight-reading in the "jazz/swing" genre TRUMPET Chromatic Scale: 2 octaves from G 1. (12) two octave scales in the range of the instrument. 2. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. TRUMPET – JAZZ PORTION (OPTIONAL): Play the melody and improvise based on the following: 1. Maiden Voyage and Shuffle Time from Jamey Aebersold Play-A-Long Volume 54 2. Ornithology from Jamey Aebersold Play-A-Long Volume 93 Sight-reading in the "jazz/swing" genre Appendix S, Page27 FRENCH HORN Chromatic Scale: 2 octaves from F 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. TROMBONE / BARITONE Chromatic Scale: 2 octaves from F 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. TROMBONE/BARITONE JAZZ PORTION (OPTIONAL): Play the melody and improvise based on the following: 1. Maiden Voyage and Shuffle Time from Jamey Aebersold Play-A-Long Volume 54 2. Ornithology from Jamey Aebersold Play-A-Long Volume 93 Sight-reading in the "jazz/swing" genre TUBA Chromatic Scale: 2 octaves from F 1. (12) two octave scales in the range of the instrument. 2. Two contrasting repertoire pieces that demonstrate lyrical playing and technical proficiency. PERCUSSION Mallets 1. Chromatic Scale: 2 octaves from any pitch 2. Major Scales and Arpeggios: 2 octaves (at least two will be selected) 3. Prepared Solo and/or Etude* 4. Sight Reading Snare Drum 1. PAS International Drum Rudiments performed openclose-open (slow- fast-slow) a. Required: #2, #6, #7, #9, #10, #15, #16, #20, #31 (at least two will be selected) 2. Concert “buzz” or MultipleBounce Roll (Rudiment # 4) to be performed pp – ff – pp 3. Prepared Solo or Etude* 4. Sight Reading Timpani: A timpani solo or etude is optional for incoming Freshman, however, the student will be asked to find major diatonic intervals on the timpani from a given pitch. See below for requirements for incoming Sophomores or Juniors. *Students should select pieces that represent the extent of their ability on each instrument. Incoming Freshman should prepare a two mallet solo for marimba or xylophone. Incoming Sophomores or Juniors should prepare a four mallet marimba solo, as well as a timpani solo. The student is expected to bring his or her own keyboard mallets, timpani mallets, and snare drum sticks, as they will not be provided at the audition. Also, three copies of each prepared piece will be required at the audition. PERCUSSION DRUM SET – JAZZ AUDITION (OPTIONAL): 1. The Art of Bop Drumming by John Riley pp.18-19, 22-23, 26-27; pg. 64, and choice of two of the following pg. 65, 66, 67, or 68 2. Three Selections from The Ultimate Drumset Reading Anthology; pp. 12- 13, 20-21, and 22 STRING APPLICANTS WILL BE ASKED TO PLAY ALL OR PART OF THE FOLLOWING (all string auditions are to be unaccompanied): VIOLIN 1. Major and minor scales and arpeggios two or three octaves. 2. One etude from Kreutzer or two movements of a Bach unaccompanied Partita. 3. First movement of a concerto from the standard repertoire or standard solo repertoire piece. 4. The two pieces should be in contrasting style. VIOLA 1. Major and minor scales two octaves. 2. One etude from Kayser 36 Studies, opus 20 or Kreutzer Studies. 3. One movement of a concerto or solo repertoire piece (Telemann Concerto in G Major is acceptable). 4. The two pieces should be in contrasting style. CELLO 1. Major scales two or three octaves. 2. One etude of your choice. 3. Two contrasting solo selections of your choice. BASS 1. Major scales two octaves 2. Two contrasting etudes of your choice JAZZ BASS* (OPTIONAL): Play the melody and improvise based on the following: 1. Maiden Voyage from Jamey Aebersold Play-A-Long Volume 54 2. Three Selections from Essential Styles for the Drummer and Bassist; pp. 3233, 53, and 60 Appendix S, Page28 o o HARP 1. Two solos of contrasting style 2. One etude of your choice such as Bochsa or Larivere 3. One orchestral excerpt such as the cadenza from The Nutcracker JAZZ GUITAR* * Note: There is no classical guitar program. Play the melody and improvise based on the following: 1. Maiden Voyage and Shuffle Time from Jamey Aebersold Play-A-Long Volume 54, 2. Ornithology from Jamey Aebersold Play-A-Long Volume 93 Sight-reading in the "jazz/swing" genre JAZZ PIANO – KEYBOARD In addition to the jazz requirements below, all jazz piano applicants must prepare the standard "classical" audition material listed under Piano Audition or the "classical" audition material for another instrument. Play the melody and improvise based on the following: 1. Maiden Voyage and Shuffle Time from Jamey Aebersold Play-A-Long Volume 54, 2. Ornithology from Jamey Aebersold Play-A-Long Volume 93 Piano Audition New World School of the Arts Music Division regrets that budget restraints prevent our considering of classical piano applicants. No classical piano applicants will be auditioned or accepted. Only jazz piano applicants will be scheduled for classical piano auditions this year. Will be asked to play the following: Scale, 4 Octaves hands together: All 12 keys both major and harmonic minor at tempo of ¼ note equals M&@ Arpeggios: All major and minor keys, 4 octaves Sight Reading: Clementi sonatina or equivalent Two Memorized Solos: One from the Baroque or Classical era, one from the Romantic or Modern era Special Note: These pieces MUST be performed from memory. Choose contrasting pieces that demonstrate technical ability, bravura, and lyrical and expressive playing. It is recommended that students audition with pieces of an appropriate level of difficulty. Theater o Acting Audition Requirements and Process A prolonged practical session under the guidance of NSA teachers and students Includes physical exercises, theatre games and improvisations No preparation for this is needed. Please wear loose comfortable clothing A memorized monologue from a published literary or theater work, one and a half to two minutes in length, by a character which must be from the applicant’s age range Judges will be looking for: o Naturalness o Honesty o Evidence of a true understanding of both the character and full context of the monologue o Good vocal projection o Clear diction o Body control Appendix S, Page29 Accents and dialects (not the candidates own) are to be avoided at all costs Applicant must have a clearly defined focus Improvisation exercises may be requested – an emphasis on imagination, creativity, flexibility, and concentration An in-depth confidential interview Applicant is expected to be relaxed, honest, and able to demonstrate a reasonable command of language. Applicant is advised to be articulate about career goals in the theater o Musical Theater Audition Requirements and Process A select number of students will be admitted into the Musical Theater track, which is comprised of the basic core courses required of all theater majors as well as training in voice, dance, and fundamental music theater repertoire. Applicant wishing to be considered for this track will be expected to Complete steps above as described in the Acting section Perform a song from a musical, demonstrate dance skills in a short dance class, and complete a basic music theory test Applicants should bring an accompaniment tape or CD containing only the instrumental score (karaoke-style or piano only) and wear loose, comfortable clothing and dance or other adequate shoes. Call backs will take place after the final audition session. o Visual Arts o Audition consists of two sections: Portfolio and Performance Portfolio Section Submission of Two-Dimensional Artwork: Applicants must submit no fewer than ten examples of their best artwork using different art media. All work must be flat: no rolled or framed drawing etc. Submission of Three-Dimensional Artwork: Applicants may submit up to twenty digital prints or slides of three-dimensional artwork (no more than two views per piece). Full name and media must be presented on each slide Submission of a Sketchbook: Applicants should submit a sketchbook reflecting the range of their artistic explorations Performance Section A performance test will be administered. Applicants will be expected to demonstrate imagination, creativity, and drawing skills o (They provide a 9-minute presentation to help familiarize applicants and parents on the visual art audition (two workshops provided) Overview of Art Curriculum o Dance Overview o 9th Grade Will receive a curriculum designed to provide them with a solid technical base and nurture creativity and understanding of dance as an art form in relation to other arts. Required to take classes in Ballet Modern Jazz Schedule also includes classes in body alignment, improvisation and humanities o 10th Grade Curriculum expands to include classes in specialized forms such as Spanish dance Music for dancers Appendix S, Page30 Composition and improvisation Classes serve to expand the students’ understanding of the cultural and historical expression of dance, teach the basic principles of choreography and provide a practical knowledge of its most closely related art through basic music theory o 11th Grade Curriculum begins to place emphasis on the refinement of skill, performance, musicality and personal expression through the addition of pointe work, repertory classes in ballet and modern dance and the continuation of music theory o 12th Grade Curriculum is directed toward preparing young dancers for college work and professional training. Classes in dance composition and repertory classes emphasize performance skills and provide students time for individual coaching o Additional Curriculum Provides instruction in Pilates technique for specific strengthening and conditioning as well as a massage and neuromuscular therapist in residence providing therapy sessions focusing on injury prevention Music Overview o Seeks to educate and train the student as a complete musician through professional preparation in performance, theoretical and historical studies o Performance preparation in both vocal and instrumental areas are cultivated by individual instruction and ensemble membership o All students except freshman vocalists receive 13 private lessons per term Freshman vocalists study in voice class one hour per week o 5 principal performing ensembles are Symphony Orchestra Concert choir Wind ensemble Camerata Jazz Ensemble Each of these groups rehearses minimum of four hours per week and performs on average twice per semester o Academic music curriculum Study of music history and theory Students take a variety of classes including o Foundations of music o Survey of music history in the western world o Jazz and pop music in America o Jazz improvisation o Chamber music o General musicianship o Private lesson program Each student has the privilege of studying on a one-on-one basis with the New World artist faculty Rigorous daily practice and preparation is expected of each student (progress is closely monitored) Each student is required to perform a solo jury at the end of each semester before the entire faculty of their area. Theater Overview o Offers a structured, pre-professional training program for students who seek a career in the theater through intensive practice in acting, music theater, play writing, design and technical theater o Emphasis is place on individual growth, discovery of personal strengths, process oriented work, and the ensemble approach to theater o o Appendix S, Page31 o o A high level of commitment is expected from students that are trained in a concentrated, 3-hour back each day by a staff of active theater professionals o Course in: Musical theater Design Directing techniques Playwriting Dance and scene studies Visual Arts Overview o Individual growth and development are pursued through the study of drawing, design, painting, photography, computer graphics, sculpture, ceramics, and mixedmedia techniques. o The study of art appreciation and art history provide an understanding of the contributions of the artist to the development of world culture and the role of the professional artist in contemporary life o Students are required to maintain a sketchbook throughout their high school studies for review and evaluation o Program is augmented by visiting artists who offer alternate aesthetic viewpoints and particular skills training above and beyond that offered by regular instructors Donors/Endowments o Key 88 o A three-year multimillion dollar fundraising initiative o Donors give gifts that multiply through individual, foundation and state matches Ex. Minimum gift of $5,000 required to participate will after matching funds, deposit $11,000 into the endowment account o Helps to support that students receive the best education experience possible Scholarships/Endowments Abbey Chase-Palgon Scholarship Fund Doris Duke Charitable Foundation Grant Adele Mann Scholarship Fund Doris J. Rich Endowed Scholarship in Visual Arts Allan Moss Memorial Visual Arts Dorothy Brenner Flute Award Alma Jennings Foundation Endowed Scholarship Dunspaugh-Dalton Foundation, Inc. Endowed Fund Annette Foosaner Memorial Endowed Theater Scholarship Scholarship Eduardo Yanez/First Union National Bank Endowment Scholarship Bank of America Scholarship Fund Elite Fine Arts Scholarship Fund Bee Gees Endowed Scholarship Faye A. Phillips Endowment Betty Ann/ Karl and Carmen Bishopric Endowed Fernandez Family Scholarship Scholarship Fund Fernando Boan Memorial Endowment Betty Rowen Education Scholarship Fund Florida Theatrical Association Blue Cross Blue Shield of Florida Student Ford Salute to Education Scholarship Development Scholarship Francis and Irene Wyroba Scholarship Burger King Corporation Frances Wolfson NWSA Scholarship Caquelin/Capewell Endowment Fredric Snitzer Scholarship Endowment Chastain Endowment NWSA George Abbott Scholarship Endowment Citibank Music Scholarship Goodman Scholarship Cowles Scholarship Fund Helen C. Margolin Arts Fund Donald Kahn Theater Scholarship Horatio Alger Foundation Scholarship Donald Khan Music Scholarship HSBC in the Community Appendix S, Page32 Irma Schwartz Papi Memorial Fund Patricia Olalde Endowment Israel Cachao Lopez Peacock Foundation, Inc Endowed Scholarship James Sinquefield Scholarship Endowment Jay W. Jensen, John W. and Thelma S. Jensen Rafael and Kimberly De Acha Scholarship Fund Endowed Scholarship Fund Richard Kirkham and Robert Houseman Fund John B. Ross Memorial Julio Iglesias Endowed Music Scholarship Richard & Rhoda Klein Endowment Scholarship Knight Foundation Endowed Scholarships Richard H. Simons Charitable Trust Fund Kramer Memorial Endowment Scholarship Robert Brenner Memorial Theater Scholarship Lauderdale Lakes Moose Lodge Scholarship Robert McCabe Scholarship Leone Hinson Pelton Memorial Endowment Ronni Bogaev Memorial Scholarship Endowment Scholarship Ruth Nelson Kraft Scholarship Laurie Horn Scholarship Fund Ryder System Endowment Scholarship Levi Strauss Endowed Scholarship Ryder System/Margaret Pelton Endowment Lewis Dorfman Scholarship Shirley Brooks Brent Endowed Memorial Lisa Sheryl Barth Memorial Scholarship Scholarship Endowment Scholarship Endowment Southern Bell/Douglas Fairbanks Jr. Endowment Lydia and Burton Harrison Scholarship Fund South Florida Critics Circle Marcia Simon Kaplan Scholarship Surdna Foundation Marion Fyfe Memorial Scholarship-Theatre NWSA Theater Arts League Scholarship Maurice Rich Scholarship Fund Thursday Musicale Scholarship Miami Herald/Knight-Ridder, Inc Scholarship Tom Apple Endowment Morris Family Foundation Scholarship Tommy Tune Scholarship Account Mrs. Morgan P. Gilbert Endowed Scholarship Virginia McDougal Memorial Fund National Endowment for the Arts William & Tina Rosenberg Foundation NWSA Dance Library Presser Foundation NWSA Foundation Board Campaign NWSA Miami Salon Group Endowed Scholarship NWSA Music Arturo Di Phillipe Fund NWSA Thomas D. Moore Scholarship Scholarship William H. Martin Memorial Endowment Scholarship Fund William Morris Agency Appendix S, Page33 School Name and Locations Name: Location: Website: Ruth Asawa San Francisco School of the Arts 555 Portola Drive, San Francisco, California 94131 http://www.sfsota.org/sota.cfm Leadership (Bio of Principal, qualifications, artistic/administrative background) Principal: Brian Köhn First year as new principal: Position Starting July 1 st 2013 Previous Job Experience Principal of Canyon Crest Academy Member of the San Dieguito Union High School District Address: 5951 Village Center Look Road San Diego, CA 92130 Canyon Crest Academy Has “Envision” Core which encompasses all of the Visual and Performing Arts Offered at CCA Website: http://www.cca-envision.org/index.html Utilizes working artists as instructors Designed to serve the student who takes only 1 class entire high school career to those who wish to study at the most intensive level possible. Day Classes Cinema – studies in video/filmmaking, CCA TV and broadcasting Dance – introductory, ballet, jazz/modern, choreography Digital/Fine Art – drawing and design, sculpture, painting, digital manipulation, photography, web technologies, AP Studio Art and AP Art History Instrumental Music – Band, orchestra, jazz, composition and recording arts Theater – Performing arts, acting and technical theater Vocal Music – choir, rock band Envision Conservatory Extended day program that is available on an audition/interview basis only Each term students participate in 90 hours of intensive discipline-specific work and 15 hours of inter-disciplinary exploration o Includes guest artists in areas of study Guest Artists Cinema - Destin Cretton, Thomas O’Hara Dance – Annie Boyer, Erica Buechner, Ericka Moore, Anthony Diaz Appendix S, Page34 Digital/Fine Arts – Jackie Lo, Elizabeth Washburn, Amber George, Jeff Kahn, Kimball Taylor, Amanda Dehlgren, Lisa Paysen Music – Mike Atesalp, Nate Jarrell, Seth Malmstrom (Strings/Conservatory), Scott Sayre (Symphonic Band), Pak Djoko Walujo, Renee Woodring (Voice) Theater – Aimee Greenberg, Mary Reich, Cynthia Strokes, Bernard Baldan, Lynne Jennings, Lisa Berger, Tim McKnight, V. Nadja Lancelot Former Principal: Sgarlato Carmelo Principal for two schools Ruth Asawa San Francisco School of the Arts Academy of arts and Sciences Education B.A. in Biology & M.A. in Educational Administration from San Francisco State University Teaching Positions Washington High 1984 (Science) Transferred to following school: Phillip Burton Academic high School (Chemistry and Biology was Science Department Head) – 9 years District Office Position(s) Science resource & mentor teacher Advanced to curriculum supervisor for k-12 science, math, technology programs Principal (2005) James Lick Middle School – Received the San Francisco Principal of the Year Honor SOTA ~ (2008 - July 1st 2013) Focus on strengthening academic and arts curriculum Advocate for the arts Committed to building strong partnerships with greater Bay Area Arts Community to better talent and increase parental involvement Student Population ~ 600+ Student Geography: Students come from all over the San Francisco and Bay Areas (district) Demographics are as shown below o SOTA Student Ethnicity, 2009–2010 Latino 15% White 42% African American 7% Chinese 17% Other Non-White 12% Filipino 3% Native American 1% Japanese 2% Korean 1% Total Faculty: 133 Artists in Residence per year: 60+ Academic Faculty: Math: 5 Appendix S, Page35 Science: Language: English: Social Sciences: 6 6 7 1 Accreditation: - June 2010 granted full six-year term of accreditation from the Western Association of Schools and Colleges (WASC) Schedule: 8:00am – 4:10pm 8:00am-1:10pm 1:10pm – 4:10pm School Hours: Academic Hours: Art Core Hours: 8:00am-9:20am 9:20am-9:35am 9:35am-10:55am 11:00am-12:20pm 12:20pm-1:10pm 1:10pm-4:10pm This school uses a Block schedule which results in core academic classes meeting for an 80 minutes a day. Each student takes five Core academic subjects a semester which rotate daily. Each class meets 3 times a week for 240 minutes. Each student partakes in their Art Discipline every afternoon from 1:10pm – 4:10 pm resulting in 15hours of art instruction per week. Monday 1 Break 2 3 Lunch Art Discipline Daily Bell Schedule (2013) Tuesday Wednesday 2 1 Break Break 4 3 5 4 Lunch Lunch Art Discipline Art Discipline Thursday 2 Break 3 5 Lunch Art Discipline Friday 1 Break 4 5 Lunch Art Discipline Audition and Admittance Process Must have completed the following application packets: - SOTA Application - SOTA Recommendation Form - Student Essay – About the student, their interests arts background and why they wish to attend SOTA - Report Card (most recent) - Portfolio – Required only for Creative Writing, Media and Visual Arts - Portfolio requirements are specific and vary by department - Portfolios are reviewed by the department head and artist-in-residence from the department that you apply - Students submitting portfolios will receive a letter informing them that they have either passed or not passed the review. - If the portfolio passes the review they will receive a mailed invitation to audition including a date and time - If the portfolio does not pass the review you will not receive an audition appointment based on that portfolio Audition(s): Appendix S, Page36 - Has two auditions for students. - First Round applications are processed November 1 st 2013 to December 6th, 2013 - First Round Audition is Saturday, January 11, 2014 - Second round application due by February 14th 2013. - Second Round Audition is Saturday March 8 th - Each discipline has different audition requirements 1. Creative Writing - Portfolio must include: Three (3) complete short stories Ten (10) poems One five-to-ten-page one-act play One expository essay (an essay you have already written for English class is fine) One current school photo of yourself (no candid or group shots, and only include one photo) One personal essay in which you should describe your reading background, writing practices, and your familiarity with the CW Department. All writing samples must be formatted in 12-pt. Times New Roman font. Submit work in a three-ring binder with the student’s name, grade level, telephone number, and email address clearly printed on the front. Choose your best work and do not submit more than the maximum number of pieces, as they will not be read. Portfolio work will be reviewed by the Creative Writing Director with the assistance of a writer-in-residence familiar with the program, and an invitation to audition will be sent based on this review. We recommend that you do not submit solely genre writing (sci-fi, fantasy, romance, etc.), and that you do submit a sample that demonstrates the variety and range of your work, including writing that demonstrates a unique voice. Portfolios that do not pass the initial review will be available for pickup in the school’s office; please note that portfolios not picked up within one month of notification will be disposed of. ii. Audition: After the portfolios are reviewed, students will receive notice that they have been invited to attend the audition if they are being considered for the CW program On Audition Day students will be asked to complete two onsite creative writing assignments, and to participate with the current CW students in an informal activity Students will be asked to discuss themselves and their work in a personal interview with the Creative Writing Director and a writer-inresidence. 2. Dance iii. Audition Requirements The audition is conduct much like a class with warm-up, center and movement sequences across the floor, in a group situation to perform as directed. In addition each applicant must have a 1 ½ minute solo piece of dance choreography that he/she will perform. Music must be o CD. 3. Instrumental Music (Band, Orchestra, Percussion and Classical Guitar) iv. Audition Requirements Appendix S, Page37 A solo piece that indicates the student’s present level of skill and musicianship. The piece does not have to be memorized but must be well rehearsed. Two copies of the written music must be brought to the audition for the audition committee. Sight-read a piece selected by the audition committee Take an assessment of music notation and rhythm reading Demonstrate the ability to play chromatic scales in the practical range of the instrument Perform major scales up to three sharps and three flats within the normal range of the instrument o Strings/Guitar: two octaves o Winds: two octaves if possible o Percussionists: Play the rudiments – long roll, 5 stroke roll, 9 stroke roll, flam, flam tap, ruff and paradiddle and demonstrate the ability to play a melody on the bells, if possible 4. Media o o Portfolio Requirements Completed film or video project (3-5 min., DVD, Quicktime, VHS, SVHS, 16mm or Super 8) Story board (one short project) – illustrations of a story that demonstrate visual artistry and a knowledge of dramatic structure. Audio recordings (3-5 min.) Short stories or scripts (3-5 pages) – writers are encouraged to apply to this discipline Slides or originals of photographs, paintings or drawings or other visual art (5-10 pieces) Evidence of collaborative work on a project or event Additional work samples that demonstrate some unique aspect of your work may be submitted in addition to one or more of the pieces listed above Audition Day Students who have passed the portfolio review will be assigned a 20 minute audition/interview in which they will discuss their interest in media arts production, portfolio submission(s) and past artistic experience and technical training in related fields. They will also complete a writing assignment giving them a change to demonstrate the power o their ideas, commitment to the creative process and desire to be part of SOTA’s thriving artistic community 5. Piano o Audition Requirements Play two pieces from contrasting periods (example: Baroque, Classical, Romantic, Modern, etc.) Both pieces should be well rehearsed and memorized. Play scales and arpeggios as directed in major and minor keys up to 5 sharps or flats. These should be played hands together with correct fingering, four octaves up and down in parallel motion. Sight-read a piece, selected by the audition committee, at the level of a Bach minuet. Must Bring: A resume of your musical experience. List music classes, ensembles, private study, personal performances, chamber music ensemble experiences and competitions. Two readable copies of the music you will perform. 6. Theatre Arts o Audition Requirements (2 Days) Appendix S, Page38 Day 1 Day 2 Monologue Presentation: Students will present a memorized, contemporary monologue no longer than two minutes in length for the department head and artists-inresidence Cold Reading: Students are expected to deliver a short “cod reading: from a monologue selected by the audition committee. This portion of the audition will demonstrate a student’s ability to sight read a dramatic selection and requires no home preparation. Short Interview: Student will have a short informal interview with the audition committee Acting Workshop: Students must participate in a 3-hour group class intended to demonstrate their work habits, mental focus, physical endurance, willingness to try and the ability to work as a team Writing Assignment: Students will be asked to write a one or two page personal reflection/observations essay about their audition experience 7. Theatre Technology o Recommendations Students have at least one year of previous experience in the following areas: Visual arts (Painting, drawing, sculpture) Mechanical Drawing or Drafting Stage Crew (Set construction, painting, stage management) Performer (actor, dancer or singer) o Audition Requirements Students must bring samples of your work including sketches, drawings, and samples of carpentry, sewing crafts or other pieces of artwork and be prepared to discuss them. Work should demonstrate the student’s interest, experience and skill in some aspect of theatre design and technology Students will interview with the “Tech” Director and artists-inresidence and are given an oral or written diagnostic assessment to determine their knowledge of theatre technology and the ability to think creatively, finding design solutions for a set of challenges. 8. Visual Arts o Portfolios: Must submit a completed portfolio with the application by the required deadline. Student portfolios are reviewed by the Visual Arts Director with the assistance of SOTA’s artist-in-residence and an invitation to audition will be sent based on this review. o Portfolios Must Contain: Minimum of 10 pieces but my not exceed the maximum number of 15 pieces Required pieces include the three (or more) drawings or painting of each of the following samples of artwork: Portrait or self-portrait from life (NOT from a photo) – any medium – 1 self-portrait, 1 profile, 1 front view Still-Life (3 or more objects arranged in each drawing) – any medium Appendix S, Page39 Landscape – Could include interior or exterior, showing special relationships (from life – NOT from a photo) – any medium One item in each category must be in black and white, one in color and the other(s) are te artists choice. Any medium can be used, but your portfolio must contain as much variety as possible: pen and ink, pencil, colored pencil, watercolor, charcoal or acrylics. If a student has a sketchbook, please submit it with the portfolio. Any work from photos will not be considered 9. Vocal: Classical and Musical Theatre o Classical Vocal Audition Requirements: Students auditioning for Classical Vocal must bring the following on audition day A resume of your musical experience. List music classes, ensembles, private study and personal performances Two readable copies of the must you will perform for your audition with the words, vocal melody and piano accompaniment clearly visible in all copies. A lead sheet or a text of the words alone is NOT adequate A recent headshot or photo o Classical Vocal audition if auditioning for 9th grade Prepare a song of your choice with piano accompaniment and bring a copy of your music for the pianist. Classical art song repertoire is preferred but any style that shows your voice at its best is welcome (no pop songs) A piano accompanist will be provided for you or you may bring your own accompanist. You will not be permitted t use a recorded accompaniment, to accompany yourself or to sing your audition piece unaccompanied or “a cappella” Student will be asked to demonstrate basic pitch matching and sight-singing to diagnose musical literacy, and there will be a short interview with faculty and current students o Classical Vocal audition if auditioning for 10th, 11th, or 12th grade Auditioning for 10th grade: following directions above for 9 th grade and also prepare an art song in Italian such as “Caro mio ben” By Giordani Auditioning for 11th grade: follow directions above for 9th grade and also prepare an art song in Italian, such as “Caro mio ben” by Giordani AND a German Lied (sung in German) such as “Wiegenlied” by Brahms Auditioning for 12th grade: follow directions for 9th grade and also prepare an art song in Italian, such as “Caro mio ben” by Griodani And a German Lied (sung in German) such as Wiegenlied” by Brahms AND a French art song (Sung in French) such as “les Berceux” by Faure *All audition material must be memorized o Musical Theatre audition o Presentation of two contrasting 32-bar excerpts from Musical Theatre repertoire (please bring a of your music for the pianist) o Prepare a 1-minute monologue (any style) o A brief, choreographed combination dance routine that will be taught o the day of the audition (bring jazz shoes and wear unrestrictive clothing for moving) 10. World Music o 3 hour audition that all students must participate in Appendix S, Page40 o o o o The first hour will consist of an overview of the program and a group class on Taiko drums Last two hours will be individual auditions that will last 5-7 minutes each. Applicants should dress in comfortable clothing and bring water. Please come prepared to play four short rhythm selections shown in the video below. http://www.youtube.com/watch?v=TeKwqtZEu6s&feature=player _embedded Applicants will be provided drum sticks and drums for the audition. Also view the following videos for examples of specific drumming techniques and presentation: Horse beat back beat Straight back beat Swing back beat Matsuri back beat http://www.youtube.com/watch?v=pLm7TSxofoE&featur e=player_embedded Clave http://www.youtube.com/watch?feature=player_embedde d&v=fbH22buleBM 3-4-8 http://www.youtube.com/watch?v=bYNaXbXx0LY&feat ure=player_embedded Short composition project tor creative project Compose a percussive piece that is a minimum of 30 seconds long and a maximum of 1 minute You are encouraged to think outside the box and showcase your creativity in this short composition project. Using the skills shown in the taiko back beats and drawing upon your own musical experience, the piece must include the following o Voice (any kind of call out, not melodic singing) o Choreography (arms in the arranement sticking and or body movement o Form: beginning, middle, end You will be asked to perform your composition in your individual audition. You may use any instruments in the dojo (taiko drums, congas, Brazilian percussion) or bring your own. You may use most household objects 11. Special Education - Special Education students are admitted to SOTA via two routes: o SDC students are welcome to audition via the regular audition process. The Audition information is available at http://www.sfsota.org/sotaApply.cfm. SOTA is committed to diversity and equality in our student body, and we will accept any San Francisco special education student that competitively, successfully auditions into SOTA. Some audition accommodation may be available on a case by case basis o They choose SOTA in the district Lottery process often we have about 25 students requesting SOTA as their first choice for about 5 spots. Some students get in, some do not, students admitted this way Appendix S, Page41 participate in the SDC art program and are welcome to audition for a SOTA art discipline, at any regularly scheduled time Facility: - Moved to McAteer campus in 2002 (Converted/Renovated) Campus was originally designed for 1200 students SOTA was designed to be a small high school that accepts online 150 students per year 600 student’s total. Shares the campus with the Academy of Arts and Sciences (another small high school with ~ 350 Students. In addition to Offices & Classrooms campus houses: - Library, rehearsal, studio, media, sound stage, art, gallery space, wood-shop, college guidance and counseling center, health wellness center, a small black box theater, and a 400 seat, newly renovated theater named the Dan Kryston Memorial Theater, and a School Farm. Building Construction Year: 1973? Student Council and Governance Role o Each year the SOTA student body elect Student Body officers and class representatives o Student Body Officer positions o Head President, Vice President, Secretary, Activities Director, Public Relations o Each class 10th-12th each have President, Vice President, Treasurer, Secretary Family or Parents Governance Role - PTSA at the Ruth Asawa SF School of the Arts - PTSA is a national child advocacy organization, offer opportunities for involvement on the local, state and national level - Vehicle for parent involvement - Support the school in the following: - Beautification, school events, teacher/staff needs, merchandise sales, Escrip and other passive fundraising, and reaching out to the SF community, businesses, and people FoSOTA – Friends of School of the Arts (a 501(c)3 nonprofit) Non-Profit organization founded in 2000 Organized to provide ongoing support and funding for SOTA, focused on community-at-large In 2008 FoSOTA’s role expanded when the San Francisco Unified School District (SFUSD) asked them to assume the responsibility of accounting for funds raised through performances and parent donations. FoSOTA also manages the Parents’ Annual Fund and manages the contracts of artists-in-residence Address: Friends of School of the Arts 263 West Portal Avenue, Box 844 San Francisco, CA 94127 Appendix S, Page42 School Name and Location Name: Location: Website: Walnut Hill School for the Arts 12 Highland Street Natick, MA 01760 http://walnuthillarts.org/ Leadership (Bio of Principal, qualifications, artistic/administrative background) Head of School: Antonio Viva Job History o Associate Head of School at Worcester Academy (Worcester, MA) Served as Worcester Academy’s Chief Information Officer (20022005) o Senior research and development associate at Education Development Center Inc. Worked on a project funded by the U.S. Department of Education Research was focused on teaching, learning, leadership and technology integration Worked closely with faculty, students, and district level administrators around the U.S. o Has served on the NAIS 21st Century Teaching and Learning Task Force o Was a founding partner of edSocialMedia.com Education o Undergraduate degree in English/Creative Writing o Graduate Degree in Education Union College in Schenectady NY Selected as a NAIS/E. E Ford Foundation Fellow for Aspiring Heads of Schools Student Population: ~298 Student Geography: Students of Color: 20% Student Teacher Ratio: 7:1 % Faculty w/Advanced Degree: 90% Total Classroom Teachers: 49 Yearly Tuition Notes: Yearly Tuition Cost: $50,360 Boarding Tuition 2012/2013: $48,425 Day Tuition 2012/2013: $38,040 % on Financial Aid: 50% Acceptance Rate: 40% Advanced Courses Accelerated Chemistry Advanced English French 6 Spanish 6 Appendix S, Page43 Advanced Calculus Biology 2 Physics 2 Graduation Requirements Minimum of 16 academic credits to graduate with a minimum of 4 academic credits to be completed each year at the school Academic requirements: o 4 credits of English o 3 credits of Mathematics o 2 credits of history, one of which must be U.S. History o 2 credits of a laboratory science o 2 credits of consecutive courses of the same modern world language o 3 additional academic credits in any of the departments Every academic course confers one credit Music History and Music Theory are considered academic courses and confer one credit each Each semester the students are required to participate in a Health and Wellness Seminar Applications How to Apply General Application (Must be completed by all Applicants) o Application o Application Fee ($65 domestic) or ($100 international) o Official School Transcripts o One Arts Teacher Letter of Recommendation (in the art area of which you are applying) o Two Academic Teacher Letters of Recommendation (two different teachers in major academic subjects) Recommend that one of these references be completed by an English/History teacher and the other by a Math/Science teacher o Audition or Portfolio Review Individual Audition Requirements for specific arts discipline o Writing Sample All applicants must submit one. Should be a recent paper written for an English or History class, preferably with teacher comments. If possible, the prompt for the assignment should be the cover page o Secondary School Admission Test (SSAT) required for domestic home schooled or virtual academy applicants only Audition/Portfolio Requirements o Creative Writing Portfolio should contain 4-6 total pieces and include at least two of the following genres: 1. Poetry (up to four poems) 2. Fiction (short stories or brief excerpts from novels) 3. Playwriting or screenwriting (no more than 10 pages) 4. Creative Nonfiction (personal essay or reflective essay – not an academic essay) We suggest a specific amount and variety of pieces so that we can reflect upon your range as a writer o Dance Auditions 1. All students applying must complete an audition 2. Offer various ways in which a dancer can audition and allow families to choose the option that works best for them based on location and time of year Appendix S, Page44 3. 4. 5. 6. o Music All auditions take place in the form of an hour and thirty minute ballet class including barre and center work Pointe work will not be evaluated at the audition however all dancers must have a minimum of one year of pointe experience prior to auditioning Students will be evaluated based on technical ability and strength Digital Submissions o Live auditions are preferred but students may submit a recorded audition o Digital recording must include the following: Introduction (first and last name, Age, Program you are auditioning for) Barre (1-5 brief combinations) Center Tendus Adagio Pirouettes Audition and Repertoire Guidelines 1. On-Campus Auditions o Auditions are heard by the acting Director of Music or other appropriate faculty o Theory or ear-training tests are not given at the time of the audition o Accompanists will be provided for vocal auditions only: instrumentalists are not expected to audition with a pianist 2. Auditions Submitted online or via CD/DVD o Repertoire suggestions submitted are the same as for on-campus auditions (listed below) Audition Requirements 1. Materials should demonstrate the applicant’s musical and technical ability and be representative of his/her present stage of development and potential for growth 2. Repertoire suggestions listed below are guidelines in preparing an audition and should not restrict choice of pieces 3. Because applicants represent a wide variety of ages and backgrounds it is understood that fulfilling these suggestions is not always possible. o Brass: Two works from the standard repertoire (including etudes, solos, and orchestral excerpts) showing contrast in style and technique) o Composition: Two or three original compositions in neat manuscripts form with application. At least one of these should be written by hand. A recording demonstrating level of proficiency on your major instrument is also required o Guitar: One work, each from two of three categories: Baroque or Renaissance; Twentieth Century o Harp: Two representative works showing contrasting styles and techniques o Percussion: Should display proficiency and level of ability in each of three areas: mallets, snare drum, and timpani Appendix S, Page45 o o o Piano: Three or four pieces, by memory, from the following repertory suggestions: One movement from Bach prelude and fugue or partita, One movements from a Classical sonata (ex. By Mozart, Schubert, Beethoven); a substantial Romantic piece (ex. Brahms Rhapsody or Chopin Ballade); work from the twentieth century o Strings: Three or Four pieces from the following Repertory Suggestions: One Movement from a Bach suite or partita: One movement from a Classical sonata (ex. By Mozart, Schubert, Beethoven); One movement from a substantial nineteenth or twentieth century work; the first movement of a concerto from the standard repertoire o Voice: Two or three contrasting classical pieces including one in English (which must be the original language of the pieces) and one in another language preferably Italian. These pieces should be performed from memory and should not be from the musical theater repertoire o Woodwinds: Two contrasting movements from the standard sonata, concerto, or concert music repertoire. It is encourage that you include representative works of the twentieth century Theater Audition Guidelines Must prepare two monologues, not exceeding a total length of four minutes or one monologue and one song, again not exceeding a total length of four minutes. The two monologues should demonstrate contrasting styles; for example one comic and one serious, or one classical (written before 1900) and one contemporary. The song must be chosen from the American musical theater repertoire and may be accompanied by a CD or sung a cappella Monologue and Song Guidelines 1. Selections must be memorized 2. Choose your monologue(s) from plays Do not use poems or material from a one-person show. 3. If you use a selection from a monologue book, make certain that you read the entire play and understand the given circumstances of the monologue 4. If you are singing, we are only interested in your interpretation of the piece, familiarity with the production that the song is from is not necessary 5. 5 Try to choose a monologue in which you speak directly to one other person Visual Art Portfolio Requirements Is an edited collection of your artwork Should showcase your work as the product of your unique creative vision and outlook Should reflect your process (the nitty gritty ways you make artwork) and your progress We request 10-12 pieces of two-dimensional and/or three-dimensional artwork. Try to select a range of artwork made within the last one or two years as well as artwork made recently (within six months of the application) Artwork can include a range of media and techniques including drawings (pencil, charcoal, pen and ink) – paintings (watercolor, Appendix S, Page46 acrylic, oil) – collage-sculpture-ceramics-photography-digital mediafilm and video. Portfolio selections can be finished or in-process/unfinished/unresolved School Partners Walnut Hill SOTA is an active participant in a larger community of arts, education and community organizations o Collaborate with these organization in a variety of ways, whether by providing performance or community service opportunities for students, or by lending our expertise or resources in support of a partner organization’s mission The American Ballet Competition (Phoenix, AZ & Mequon, WI Arts Learning (Natick, MA) Cambridge School of Visual & Performing Arts (United Kingdom) Central Academy of Fine Arts (CAFA) (Beijing) The Center for the Arts in Natick (Natick, MA) Chinese Performing Arts Academy (Natick, MA) New Art Center (Newton, MA) New England Conservatory (NEC) at Walnut Hill (Natick and Boston, MA) Project Zero Support/Funders Annual Fund – Donation provides flexible, budget-relieving dollars to Walnut hill Scholarships – 20% of yearly expenses go toward financial Aid – Throughout the year donors will receive information and letters from a current Walnut Hill student who benefitted from their generosity Planned Giving – See Webpage for more information due to the complicated nature of these form of donation - http://walnuthillarts.plannedgiving.org/ Gala – Fundraising festival? Appendix S, Page47 CHARTS SOTA POPULATIONS School: Denver Duke Ellington New World Ruth Asawa San Francisco Walnut Hill School: Denver Duke Ellington New World Ruth Asawa San Francisco Walnut Hill Student Population: 1043 531 472 600 298 Artists In Residence/Year Faculty Population: 40 18 133 49 60 Appendix S, Page48 Advanced Academic Courses Offered Schools: Duke Denver Ellington New World Ruth Asawa Walnut Hill Classes: AP Art History AP Biology AP Calculas AB AP Calculas BC AP Chemistry AP English Language AP English Literature AP Enviromental Science AP French AP Government AP Human Geography AP Microeconomics AP Music Theory AP Psychology AP Spanish Language AP Statistics AP U.S History AP World History Honors Anatomy/Physiology Honors Biology Honors Calculus Honors English Honors French Honors Geometry Honors Italian Honors Marine Science Honors Physical Science Honors Pre-Calc Honors Spanish Honors Chemistry X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X x X X Appendix S, Page49 School Hours School Denver Duke Ellington New World Ruth Asawa Day Hours 7:352:35 8:304:55 7:303:40 8:004:10 7 8.45 8.1 8.1 Walnut Hill Average: 7.9125 Arts Programs Offered Schools Programs Creative Writing Dance Instrumental Music Band Orchestra Media Piano Theatre Arts Theatre Technology Visual Arts Vocal Music: Classical Vocal Music: Musical Theatre World Music Museum Studies Duke Denver Ellington X X X X X X X X X X X X X X X X X X X X X? New World X X X X X X X X Ruth Asawa X X X X X X X X X X X X X Walnut Hill X X X X X X X X X X X Appendix S, Page50 Video Cinema Arts X Class Schedules Denver: Three Different Rotating Schedules "Stripe Day" Wednesday PD1 Academic PD2 Academic PD3 Academic/Arts PD4 Academic/Arts 7:35-8:15 8:23-9:06 PD5 Academic PD6 Academic Lunch PD7 Academic/Arts PD8 Academic/Arts "Black Days" Monday & Thursday Minutes Minutes 43 PD1 7:35-9:05 90 43 PD3 9:10-10:40 90 9:11-9:54 43 PD5 10:45-12:15 90 9:59-10:42 10:4711:30 11:3512:18 12:18-1:04 43 Lunch 12:15-1:00 45 43 PD7 1:05-2:35 90 1:04-1:47 43 1:52-2:35 43 PD2 PD4 PD6 Lunch PD 8 43 43 "White Days" Tuesday & Friday Minutes 7:35-9:05 9:10-10:40 10:45-12:15 12:15-1:00 1:05-2:35 Ruth Asawa: Block Schedule 8:00-9:20 9:20-9:35 9:35-10:55 11:00-12:20 12:20-1:10 1:10-4:10 Monday 1 Break 2 3 Lunch Art Discipline Tuesday 2 Break 4 5 Lunch Art Discipline Wednesday 1 Break 3 4 Lunch Art Discipline Thursday 2 Break 3 5 Lunch Art Discipline Friday 1 Break 4 5 Lunch Art Discipline Appendix S, Page51 90 90 90 45 90 Boston Arts Academy (BAA) 174 Ipswich St. Boston, MA 02215 1-617-635-6470 Leadership: On her website (lindanathan.com), Headmaster Linda Nathan describes herself accordingly: “Linda Nathan is the founding headmaster of Boston Arts Academy, Boston’s first public high school for the visual and performing arts. Under Dr. Nathan’s leadership, Boston Arts Academy has won state, national and international awards and recognitions, and consistently sends over 94% of its graduates on to college. “Currently, Dr. Nathan is the Executive Director of BAA’s Center for Arts in Education. The Center fosters transformative education by empowering students, schools and communities through artistic and academic innovation, and is an internationally recognized provider of professional development as well as innovative and tailored outreach and advocacy programs. “Dr. Nathan is a nationally and internationally recognized leader in education reform, and has lectured and written on topics ranging from the importance of arts education to developing schools centered on equity to developing strong structures that support teachers and leaders. Her book, The Hardest Questions Aren’t on the Test: Lessons from an Innovative Urban School, was published in 2009, and her articles have appeared in numerous publications. She is also a lecturer at the Harvard Graduate School of Education, where she teaches a course titled ‘Building Democratic Schools.’” Linda Nathan has been referred to as the Grandmother of Piloting Charter Schools. She has helped other educators build and launch their respective pilot programs in Milwaukee, Hartford, and San Diego to name a few. Student Population: Four-hundred twenty students attend BAA of which 45 percent are Latino, 35 percent are African American, 13 percent are Caucasian, and 7 percent are of Asian descent. Sixty-eight percent of the entire population qualifies for free or reduced lunch programs. Appendix S, Page52 Student Geography: All of the students come from Boston Public Schools from the various neighborhoods it serves. Total Faculty: There are a total of 55 faculty members, 35 full-time and 15 part-time. All faculty members are accredited teachers in visual arts, music, theater and dance. Some of the part-time faculty members are “adjuncts” or “artists in residence,” depending on the school’s needs. Most of them teach for two to three hours a week. Their contracts are generally based on the same hourly rate as other staff members, but there are occasions when a master teaching artist will receive a flat fee honorarium that can vary. BAA has the autonomy to hire teachers with the expertise it needs in order to serve its population. However, in the past, when there have been district layoffs, BAA has taken staff from other schools based on seniority rather than expertise. But this has been a rare occurrence. Schedule: BAA operates on a semester schedule (September to January and January to June). The school day runs from 8 a.m. to 4 p.m., or until 6 p.m. for additional classes or rehearsals. Students have classes in math, English, the humanities and, of course, the arts. The schedule is primarily the same for the Lower House (grades nine and 10) and the Upper House (grades 11 and 12), with the exception of an additional arts block for the Upper House. BAA offers a very strong college preparatory curriculum, which is why over 90 percent of their students graduate and attend colleges, universities or conservatories. The schedule: 8-9:15 a.m. Academics 9:30-10:15 a.m. Tutorial Assistance [if needed, otherwise Academics continues] 10:15-11:45 a.m. Arts Block 11:45 a.m.-12:15 p.m. Lunch 12:15-1 p.m. Literacy Block Appendix S, Page53 1-4 p.m. Academic for Lower House 2-4 p.m. Arts/Fitness for Upper House 4:15-6 p.m. Rehearsal BAA also offers summer school opportunities for students: According to www.bostonartsacademy.org: Summer Reading Program — July 1 - Aug. 2 — Mon. - Fri., 8 a.m. - 1 p.m. Arabic Summer Academy — July 1 - July 27 — Mon. - Sat., 8 a.m. - 3:30 p.m. Summer Dance Program — July 1 - July 18 — Mon. - Fri., 10:30 a.m. - 3 p.m. Summer Water Studio — July 8 - Aug. 2 — Mon. - Fri., 10:30 a.m. - 2:30 p.m. Four Strings Academy — Aug. 5 - Aug. 16 — Mon. - Fri., 9 a.m. - 4 p.m. Role of Arts Institutions and Higher Ed: BAA has a very strong collaborative relationship with an organization known as the Professional Arts Consortium. This Consortium includes Berklee College of Music, Boston Architectural College, The Boston Conservatory, Emerson College, Massachusetts College of Art and Design, and the School of the Museum of Fine Arts. Other partners include the Boston Symphony Orchestra, Museum of Fine Arts, and over 50 small- to medium-size arts and cultural organizations in the Boston area. Visit http://bostonartsacademy.org/about/partnerships for a full list of partners. Career and Higher-Education Preparedness: As stated earlier, the coursework is rigorous and does include AP courses. For students who are having difficulty in the academic area, BAA sets aside a tutoring block to address those student’s needs. BAA views their students as artists, scholars, and productive citizens and works toward preparing them in these respective areas. All of the faculty members participate in an advisory system in addition to having a career counselor. Students visit colleges with faculty members and they are assigned internships with arts organizations based on their various interests. Seniors must also complete community service learning as a part of their senior project using their specific art forms out in the broader Boston community. Appendix S, Page54 During the summer, BAA offers a three-day voluntary College Intensive program for rising juniors and seniors. The program is held at Emerson College Aug. 21-23 from 10:30 a.m. to 2:30 p.m. Audition and Admittance Process: Over 500 students audition each year for 100 available seats. The school takes into account that Boston’s urban population does not come to the auditions with the same training (if any at all) that it’s more affluent students do. So, with that in mind, they look for the “light behind the eyes” — the passion and desire the students have. Recommendations and academic records are requested only after the audition process. BAA hosts several recruitment fairs at Title 1 schools throughout the school year and spends most of its time marketing to urban schools. For audition requirements by discipline, please see BAA’s audition requirements document, included as an attachment to this report. Facility: The school building was constructed in 1908. It was an older industrial/office building that was converted into a school. There are plans to renovate the building within the next couple of years. The technology isn’t too bad considering the age of the facility. BAA continues to upgrade the technology as much as it can to accommodate student and faculty needs with wireless capability and smart boards. Student Council and Governance Role: There is a very active Student Council. It is from this governance body that students are elected to sit on the Board of Directors. They are not just representative members; they are full board members with voting power. They also participate in the BAA headmaster’s evaluation. Family or Parents Governance Role: There is a Family Council with similar responsibilities as the Student Council, in that there are four parents who sit on the Board of Directors with voting power. The Family Council is responsible for “family education” to offer parents understanding, strategies, and workshops on how they can support their child, the artist. Appendix S, Page55 Is there a “Friends of the School” or similar nonprofit organization that raises money for the school independent of school district? Yes, there is a separate 501(c)(3) set up to raise funds for the school. It is the Center for Arts Education. The Board also oversees this organization. It raises an additional $2.5 million a year for BAA. Information for this report was acquired from the sources listed below: Telephone Interview with Linda Nathan on July 11, 2013 http://lindanathan.com./blog www.bostonartsacademy.org www.bostonartsacademy/admissions/auditions-requirements Appendix S, Page56 Highlighted observations from other Schools of the Arts Leslie Shepherd of Baltimore School of the Arts highly recommends that a School of the Arts (SOTA) have a single board of directors, rather than two or more with different missions: “The board of important business, political and foundation leaders have helped us survive and thrive. … A mistake has happened with SOTAs that have two separate boards, one for school and the other for fundraising. We integrated the two and staff was very involved in helping advise the board. The political muscle was very vital to those moments to get us to maintain and grow.” According to Oakland School of the Arts Executive Director Donn Harris, the school has 625 students and 600,000 square feet of space. The school also rents space from arts organizations to augment needs. The middle and high school combined have 30 full-time academic teachers, 20 full-time arts teachers and 3035 part-time arts teachers. Arts and academics classes at the middle and high school are staggered to allow for the hiring of full-time teachers who can work both in the morning and afternoon. Demand is high at the Orange County School of the Arts, where Principal Ralph Opacic says 3,000 kids apply for 350 spots. The school boasts a 100 percent graduation rate with 92 percent of students continuing on to higher education. Opacic said the schools college readiness success can be attributed to a datadriven and responsive preparation program: “Students start this process as early as ninth or 10th grade and it greatly motivates kids. … They do a lot of college nights where schools come and talk about what they are looking for in students and they are getting our students direct recommendations. They have a financial aid night. Every ninth grader does a four-year plan, so they can be competitive.” Chicago High School of the Arts makes use of an extended school day, Principal Terri Milsap said. A block scheduled is employed from 8 a.m. to 5 p.m. (with, generally, academics in the morning, arts in the afternoon and a study hall in between), but private lessons, ensembles and rehearsals stretch students’ day to as late as 9 p.m. Houston School for the Performing and Visual Arts Principal Dr. R. Scott Allen is working with architects to design a new facility in the city’s downtown arts district. The new, $82 million school, expected to open in 2017, will stand five stories, take up an entire city block and feature expansive performance and studio facilities. Appendix S, Page57 AUDITION REQUIREMENTS The following document provides information about audition requirements for the different BAA arts majors. Requirements are listed by major in alphabetical order, beginning with Dance, Music Instrumental, Music Vocal, Theatre, and Visual Arts. DANCE Required: Appropriate dance wear and hair pulled away from face and secured. Leotards, tights, socks or ballet shoes preferred. If females do not have leotards and tights, you may wear shorts and a leotard or shorts and a fitted t-shirt. T-shirts and sweat pants or basketball shorts are acceptable for boys. No one can audition in street clothes! No jeans! Audition Class Participation: 1. Warm up exercises based on ballet and modern technique 2. Ballet, Modern or Jazz center and across the floor combinations 3. Improvisation 2 Minute (Maximum) Prepared Solo: 1. The solo should show the applicant’s technical and performance ability. 2. It does not have to be choreographed by the applicant, and it can be a dance combination or variation learned in class. 3. Ballet, Modern or Jazz preferred, but Tap, Ethnic dance forms and Hip Hop are acceptable 4. Music can be on CD or ipod. If using an ipod, please have music cued up and ready for the audition. Your CD should have only the song you are going to use for your routine. The students will be judged on the following: a) Physical potential b) Coordination c) Rhythmic accuracy and musicality d) Focus e) Observation and recall f) Coachability g) Attitude and Perseverance h) Expressiveness i) Movement Quality j) Risk Taking k) Technical Proficiency Appendix S, Page 58 MUSIC INSTRUMENTAL Solo performance: The student must perform one selection on their instrument. This piece may be of any style and should contain elements that display the range of developed skills of the student. This piece will be judged on musicianship and fundamental levels of technique displayed by the student. Students will not be permitted to play along with recordings. During the audition students will be asked to do the following: a. Sight-reading: Students will play four measures of music. b. Rhythm Reading: Students will play and identify short rhythms. c. Interview: A panel of Boston Arts Academy teachers will interview the students at the end of the audition. Students will be judged on the following: a. Enthusiasm for serious music study b. Preparation for the audition c. Tone quality d. Technical facility e. Rhythm Students should arrive ready to play. Students must bring all instruments and materials required for their audition. This includes sticks, reeds, guitar cables, etc. The following equipment will be provided: Piano Amplifiers Drum set Percussion Instruments Appendix S, Page 59 MUSIC VOCAL Initial Audition: a. Solo Performance: Candidates must perform from one of the following selections: “Amazing Grace,” “America, the Beautiful” or “America - My Country, ‘tis of Thee”. Students may prepare an optional second piece. Gospel, musical theater, Spirituals and folk songs are acceptable. Both pieces must be performed with instrumental accompaniment or a cappella. Students will not be permitted to sing along with recorded voices. b. Voice Test: At the end of the solo performance, one of the panelists will lead the candidate through short exercises to test pitch memory, range and tone quality. Callback Audition: In small groups, students will do the following: a. Voice Class: A teacher will lead the full group through a short choral piece. Then, students will perform the piece in small groups for a panel of judges. b. Interview: A panel of teachers and upper house students will interview the candidates as they wait to enter the small group session. Students will be judged according to: 1. Preparation for the audition 2. Tone quality 3. Pitch memory 4. Ability/willingness to do the full class and small group activities 5. Interaction with others 6. Enthusiasm for serious music study A piano accompanist will be available. Pre-recorded instrumental tapes/cd's are allowed. No tapes/cd's with vocal tracks. Pop or R&B selections are permitted, but not recommended. Appendix S, Page 60 THEATRE Attire: Candidates should wear loose clothing, and be prepared both to sit on the floor and to take part in some physical work. Gum, hats and jewelry are not appropriate. Audition Piece: Candidates should bring a SHORT MONOLOGUE of 1 to 2 minutes maximum to perform. This monologue must be memorized well. Solo: You should choose a piece that is dramatic in content and show a sense of character. Movement and body language should be included, but only if it fits with the content of the piece. Please do not play more than one character. You should decide to whom you are talking. You may select a monologue from a special book, or a play, or from the attached sheet. Workshop: Candidates will be asked to take part in a short workshop with a small group of other students. This will focus on some warm-up exercises and games, some group work and some improvisation (acting without scripts). Students will be judged on the following: b. Enthusiasm for the art form c. Respect for the work and attitude (response to criticism & taking direction) d. Creativity and ability to work spontaneously in improvisation e. Vocal projection and stage presence f. Ensemble: ability to work as part of a group SUGGESTED AUDITION MONOLOGUES FOR THEATRE You may also choose your own piece, but it should be of a similar length and content. #1 I was at a wedding once. All these roses all around. I never seen so many roses. Bees buzzin. Lotsa other flowers, too. They came out. Everybody was throwin rice. And then the bride came out. The groom was nothing. He looked good. But it was the bride. Here comes the bride. Here comes the bride. I was sittin on a stone bench, waitin for ‘em to come out. When I saw the bride, I stood up…. this big white dress. A veil. Flowers in her hand with ribbons blowin around. Little ribbons. And all around her. All these roses. And the bees buzzin. And nice girls. And everybody dressed in good clothes. Then everybody started throwin rice. You wanna hear something crazy? I wanted to be the bride. Everybody bein nice. Special, you know? Yeah. I wanted to be the bride. Appendix S, Page 61 #2 It sucks to be poor, and it sucks to feel that you somehow deserve to be poor. You start believing that you’re poor because you are stupid and ugly. Then you start believing you are stupid and ugly because you are Indian. And because you’re Indian, you start believing you are destined to be poor. It’s an ugly circle and there’s nothing you can do about it. So poor and small and weak, I picked up Oscar (my dog). He licked my face because he loved and trusted me. And I carried him out to the lawn, and I laid him down beneath our green apple tree. “I love you, Oscar”, I said. He looked at me and I swear to you he understood. He knew what Dad was gong to do but he wasn’t scared. He was relieved. But not me. I ran away from there as fast as I could. I wanted to run faster than the speed of sound, but nobody, no matter how much pain they’re in can run that fast. So I heard the boom of my father’s rifle when he shot my best friend. A bullet only cost about two cents, and anybody can afford that. #3 Today's my birthday, you know. I know you don't care. All you care about that bottle. It's my life too mom. I can't bring my friends here. Cause, here you come with your liquor breath and loud talking. Talking about the good old days, you never had. I remember the old days and I know they weren't so great. Trust me. I never know what you are going to say or do. We walk on egg shells around you and it sucks big time. Ever since Karla died. It been the same thing everyday. I, I clean the house, take care of my brother and watch over you. Shouldn't it be the other way round. My teachers at school call you but you never answer. They are worried about me. The straight A student has become the straight D student. I'm looking at you because there no one else I can blame. Oh here you go crying again. Why are you crying? It's my birthday. I should be crying mom. I should be crying.' Mom, I'm going out. I would ask you for some money. Never mind… #4 Let me tell you something about Janis Ian. We were best friends in middle school. I know right, it’s sooo embarrassing. I don’t even… whatever. So then in eighth grade I started going out with my first boyfriend Kyle, who was totally gorgeous but then he moved to Indiana. And Janis was like, weirdly jealous of him. Like if I would blow her off to hang out with Kyle, she’d be like Why didn’t you call me back?! And I’d be like,Uh, why are you so obsessed with me? So then for my birthday party, which was an all girls pool party, I was like, Janyce I can’t invite you because I think you’re a lesbian. I mean, I couldn’t have a lesbian at my party! There were going to be girls there in their bathing suits! I mean right, she was a lesbian! So then her mom called my mom and started yelling at her and it was so retarded and then she dropped out of school because no one would talk to her and she came back in the fall for high school and her hair was all cut off and she was totally weird and now I guess she’s on crack. Oh my God! I love your skirt, where did you get it? Appendix S, Page 62 #5 So, OK, like right now, for example, the Haitians need to come to America. But some people are all, “What about the strain on our resources?” But it’s like, when I had this garden party for my father’s birthday right? I said R.S.V.P. because it was a sit-down dinner. But people came that like, did not R.S.V.P. so I was like, totally bugging. I had to haul ass to the kitchen, redistribute the food, squish in extra place settings, but by the end of the day it was like, the more the merrier! And so, if the government could just get to the kitchen, rearrange some things, we could certainly party with the Haitians. And in conclusion, may I please remind you that it does not say R.S.V.P. on the Statue of Liberty? Clueless #6 I hate the way you talk to me, and the way you cut your hair. I hate the way you drive my car. I hate it when you stare, I hate your big dumb combat boots and the way you read my mind. I hate you so much it makes me sick, it even makes me rhyme. I hate the way you’re always right. I hate it when you lie. I hate it when you make me laugh, even worse when you make me cry. I hate it that you’re not around. And the fact that you didn’t call. But mostly I hate the way I don’t hate you, not even close, not even a little bit, not even at all. #7 I know exactly who you are. You’re Kenny Fisher. We used to play Miami Vice in my basement. You used to sleepover at my house. You had to leave the hall light on every night. You’re Kenny Fisher who used to buy me a card every Valentine’s Day and a bag of those little hearts with the words on them. And you’re Kenny Fisher who suddenly got too cool to hang out with me when we hit junior high. Cause, I was in all the smart classes, and cause my parent’s didn’t make a lot of money. And cause you desperately needed to sit at the trendy table in the cafeteria. Appendix S, Page 63 VISUAL ARTS Portfolio Requirements: You should have 10-12 pieces Include work you do well; show your strengths Also include techniques and ideas that are new to you Create artwork with different art materials. For example; Pencil Ink Colored pencil Clay Paper, collage Photography (Photographs must be shot and printed/developed by student) Paint Charcoal/pastel Etc! Try to have a variety of subjects in your portfolio Sketchbooks are encouraged, but not required. Finished works in a sketchbook can be considered as part of the portfolio application. Take your time with each of your pieces Students with digital artwork or a website portfolio may include them, computer and internet access is available Students with an abundance of cartooning in their portfolios must include ONLY original work, and not copies of existing comic images. Comics may be done in a particular style, (ie: Anime, Manga) , but images already created by other animators must not be copied for presentation in the BAA portfolio. Make sure your work is neatly presented (Expensive portfolios not necessary!) It is not necessary to bring your own art supplies; they will be provided for you. Audition Requirements: Listen very carefully to all of the instructions and ask questions if you are unclear Consider your strengths and try new things When in the audition, be sure to: Manage your time Look at a variety of the objects in the audition Use different materials and try to make it work Use the whole page Problem solve and be creative and fearless Bring a watch; it is helpful for you to keep track of your time Appendix S, Page 64 Portfolios and Auditions will be judged on the following: Ability to follow directions Time Management Invention Attitude Composition/Design Effective use of a variety of materials Rendering and Observation Craftsmanship Presentation Appendix S, Page 65 As referenced within the plan, below is a graphic illustration of the Association of American Colleges and Universities (AAC&U) VALUE Rubrics: Visit http://www.aacu.org/VALUE/rubrics for more information. Appendix T, Page 1 Cleveland School of the Arts Data Collection Instruments Teacher Survey – Cleveland School of the Arts Please respond as fully as possible to the following questions. Your responses will significantly aid our research on the Cleveland School of the Arts. All responses will be confidential. If you wish, you may omit answers to the first three questions, in order to protect your privacy. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Subject Years of Teaching Experience Years at Cleveland School of the Arts Describe the greatest curriculum strengths in the current CSA. Describe the curriculum areas of need in the current CSA. Describe your curriculum vision for the redesigned CSA. Describe the greatest strengths in facilities and resources in the current CSA. Describe the areas of need in facilities and resources in the current CSA. Describe your vision for facilities and resources in the redesigned CSA. Describe the most valuable partnerships and collaborations between the current CSA and Cleveland’s arts and cultural communities. Describe current challenges to effective partnerships and collaborations between the current CSA and Cleveland’s arts and cultural communities. Describe your vision for partnerships and collaborations between the redesigned CSA and Cleveland’s arts and cultural communities. How would you characterize the support CSA receives from CMSD? How would you characterize the support arts education receives from CMSD? What is most valuable to you about teaching at CSA? What is most challenging to you about teaching at CSA? Is there anything you would like to add about your vision and hopes for the redesigned CSA? Student Survey – Cleveland School of the Arts Please respond as fully as possible to the following questions. Your responses will significantly aid our research on the Cleveland School of the Arts. All responses will be confidential. 1. Current year Freshman Sophomore Junior Senior 2. Primary arts subject 3. Do you plan on going to an arts college or conservatory? 4. Do you plan on pursuing a career in the arts? If so, what are you most interested in doing? 5. What classes have been most valuable at CSA? 6. What kinds of classes would you like in a redesigned CSA? Appendix U, Page 1 7. What kinds of facilities and resources would you like in a redesigned CSA? 8. What has been most rewarding about attending CSA? 9. What has been most challenging about attending CSA? Parent Survey – Cleveland School of the Arts Please respond as fully as possible to the following questions. Your responses will significantly aid our research on the Cleveland School of the Arts. You may fill out one survey for each child that attends, or has attended, the Cleveland School of the Arts (CSA). Leave questions blank if they don’t apply. All responses will be confidential. 1. If your child is currently enrolled at CSA, indicate current grade. Sixth Grade Seventh Grade Eighth Grade Ninth Grade Tenth Grade Eleventh Grade Twelfth Grade 2. If your child graduated from CSA, indicate the year of graduation. 3. Your child’s primary arts subject [Items 4-12 use 5-point Likert scale, “strongly disagree” to “strongly agree”] 4. My child developed strong skills in his/her art form at CSA. 5. Arts education at CSA is strong and effective. 6. My child developed strong academic skills at CSA. 7. Academic education is strong and effective at CSA. 8. CSA has helped my child effectively prepare for college applications. 9. CSA has helped my child develop skills necessary for success in college. 10. My child benefited from partnerships with Cleveland’s cultural resources through attending CSA. 11. CSA resources and materials were adequate for my child’s education. 12. CSA facilities were adequate for my child’s education. 13. Does your child plan on going to an arts college or conservatory? Or attending one, if already graduated? Yes No 14. 15. 16. 17. Does your child plan on pursuing a career in the arts? If so, in what area? Which CSA classes were most valuable for your child? Describe the greatest curriculum strengths at CSA. Describe the curriculum areas of need at CSA. Appendix U, Page 2 18. What are your curriculum recommendations for a redesigned CSA? 19. Describe the greatest strengths in facilities and resources in the current CSA. CSA Arts Organization Survey Please answer the following questions about your organization’s educational programs. Leave blank any questions that aren’t applicable to your organization. 1. 2. 3. 4. 5. 6. 7. 8. 9. Name (optional) Organization Job Title or Role Does your organization have a collaboration or partnership with Cleveland School of the Arts? Yes No Describe the collaboration, including approximate number of students served, grades, location of instruction (such as the school or your site), and instructional content. (text box) Does your organization have a collaboration or partnership with the Cleveland Municipal School District (CMSD)? Yes No Describe the collaboration (text box) Approximately how many CMSD students do you serve each year? Student Programming [Yes, No] Our programs for CMSD students include teaching skills in music Our programs for CMSD students include teaching skills in dance Our programs for CMSD students include teaching skills in theater or drama Our programs for CMSD students include teaching skills in visual arts Our programs for CMSD students include teaching skills in media arts Our programs for CMSD students include teaching aesthetic education Our programs for CMSD students include arts integrated instruction Our programs for CMSD students include teaching academic subjects through the arts Other areas of arts instruction [text box] Professional Development [Yes, No] Our organization provides professional development for classroom or subject teachers Our organization provides professional development for arts specialist teachers Our organization provides professional development for teaching artists Describe the content of professional development, including typical number of hours/days, instructional content, and location [text box] Instruction [Yes, No] Our CMSD instruction takes place in school classrooms Our CMSD instruction takes place in other school locations (such as auditoriums, gyms, or performance spaces) Appendix U, Page 3 10. 11. 12. 13. 14. Our CMSD instruction takes place at our site Other locations: [text box] Full-time education staff Part-time education staff Freelance or contracted education staff Describe physical spaces available for education at your organization Describe your educational transportation capacity and/or needs [Items 15-19 use 5-point Likert scale, “strongly disagree” to “strongly agree”] 15. Education is central to our organization’s mission 16. Our organization would like a stronger relationship with a redesigned Cleveland School of the Arts 17. Cleveland’s arts and cultural community is strongly committed to supporting arts education in Cleveland schools 18. Cleveland’s political leaders is strongly committed to supporting arts education in Cleveland schools 19. Cleveland’s philanthropic community is strongly committed to supporting arts education in Cleveland schools 20. What has been most successful about your collaboration with the Cleveland School of the Arts? 21. What has been most challenging about your collaboration with the Cleveland School of the Arts? 22. How could your collaboration with the Cleveland School of the Arts be improved? CSA Observation Guidelines These comments are intended as a guideline and not as a standardized observation protocol. Everyone should use their best professional judgment when documenting observed classes, keeping project goals in mind. We are not observing to evaluate the teachers. We are observing to acquire information for developing our CSA plan. With that in mind, here are some general guidelines. All questions may not apply to the class observed, and other questions may come to mind. You can amend as needed. If you have additional thoughts you can circulate them to the group. 1. 2. 3. 4. 5. 6. 7. Note the date, class, grade, teacher and approximate number of students. Note the overall sequence of instruction. Are there evident instructional goals? Do students demonstrate achievement of arts skills? Do students have the opportunity to express themselves independently within the art form? Do all students have a chance to participate? What is the level and quality of interaction between teacher and students? Peer-to-peer among students? 8. To the best of your knowledge, is the instruction connected to an overall sequential curriculum in prior grades and higher grades? 9. Are the facilities and resources adequate for successful instruction? Appendix U, Page 4 10. Are there evident areas of need in curriculum, resources and materials, facilities or administrative support? 11. Are there ways that external partnership programs could enhance the class? 12. How might the class be similar or different in the redesigned and relocated CSA? 13. What are your overall thoughts on how the class observation informs our CSA plan? Appendix U, Page 5 MitchellKornArts Interviews Date Time 4/25/13 3-5:00p 4/26/13 9:00a 4/26/13 10:15-10:50a 4/26/13 12-1:30p 4/26/13 1:30-2:00p 5/15/13 2-3:30p 5/31/13 2:00p 5/31/13 3:30p 6/10/13 6/11/13 6/11/13 6/11/13 6/11/13 6/12/13 6/12/13 6/12/13 3:00p 9:30a 12p 3p 3p 10a 11a 2p 6/12/13 4:30p 6/13/13 9a 6/13/13 10:30 Name Title CSA Internal Team - Katia Schwarz, Christine Bluso, Andrew Koonce and Tony Sias Christine Bluso, Katia Schwarz, Andrew Koonce and Tony Sias Tour of CSA and classroom visits Meeting with CMSD, CSA, FCA and Gund, Cleveland and Abington Foundations CSA Internal Team - Katia Schwarz, Christine Bluso, Andrew Koonce and Tony Sias Andrew Koonce and Faculty of CSA Susan Stauter Artistic Director Antigone Trimis Arts Education Master Plan Implementation Manager Christine Bluso Executive Director Katia Schwarz Project Manager Judith Ryder - Lunch Deena Epstein Ann Mullin Cristen Slesh Paul Putman Diana Robbins Director of Community Education Andrew Koonce Principal Tony Sias Artistic Director, CSA/Director of Arts Education, CMSD Lynn Johnson Director of Admissions and Org San Francisco Unified School District San Francisco Unified School District Friends of Cleveland School of the Arts (CSA) Grants-Plus Cleveland Arts Consortium The George Gund Foundation The George Gund Foundation Foundation Management Services The Cleveland Foundation University Circle, Inc. CSA CSA / CMSD Cleveland Institute of Music (CIM) Appendix V, Page 1 6/13/13 12:30p Caroline Goeser 6/13/13 2:30p 6/13/13 4p Greg Howe Cyrus Taylor 6/13/13 4p Ron Wilson 6/13/13 4p Karen Potter 6/13/13 4p Tim Shuckerow 6/14/13 9a 6/14/13 10:30a 6/14/13 1p Richard Dickinson Nathan Motta Karen Shaheen-Thompson 6/14/13 2:30p Jill Rembrandt 6/20/13 11a 6/24/13 4p 6/25/13 11a Leslie Shepard - phone conference Jill Woda Christine Haff-Paluck 6/25/13 2p 6/25/13 4p Rich Fried David Shimotakahara Mark Otloski Marsha Dobrzynski David Schiopota Chris Eppley Pamela Young Kevin Richards 6/26/13 10a 6/26/13 11a 6/26/13 2p Enrollment Director of Education and Interpretation CIM Distance Learning Dean of the School of Arts and Sciences Director of Graduate Programming in Acting Associate Prof. of Dance, Pedagogy & Choreography Director of Art Education and Art Studio Education Director Artistic Director Interim Executive Director Director of Education & Public Programs Principal (retired) Director, Performance/Community Programs President Executive Artistic Director Education Outreach Coordinator Executive Director Assc. Dir. of Education Education Associate Executive Director Executive Director Cleveland Museum of Art (CMA)* Cleveland Institute of Music (CIM) Case Western Reserve University (CWRU) Case Western Reserve University (CWRU) Case Western Reserve University (CWRU) Case Western Reserve University (CWRU) Verb Ballet Dobama Theatre NewBridge, Cleveland Center for Arts and Technology Maltz Museum of Jewish Heritage Baltimore School of the Arts Cleveland Institute of Music Cleveland Chamber Music GroundWorks DanceTheater Young Audiences Dance Cleveland Nighttown Restaurant Appendix V, Page 2 6/26/13 3:30p Chris Ludwa 6/26/13 4:30p 6/27/13 11a 6/27/13 1:30-3:30p Nancy Pistone Deborah McHamm Focus Group Susan Van Vorst, Director of Conservatory, Baldwin Wallace College Kay Schames, Director of Community Music Enrichment Program (CMEP) at Cleveland State University Martha Loughridge, Development Director, SPACES Gallery Paula Grooms, Executive Director, Ingenuity Cleveland 6/27/13 4:15-5:45p Focus Group Caroline Goesser & CMA Staff Dale Hilton Hajnal Eppley Seema Rao 6/28/13 10a Treva Offutt 6/28/13 6/4/13 7/11/13 7/12/13 Dr. Michelle Pierre-Farid Terrence Spivey Linda Nathan Donn Harris - phone conference Ruth Azawa - phone conference 1:30p 11a 2:30-3:45p 4p Executive Director, Performing Arts and Music Programs President and CEO Director of Education and Interpretation Director of Teaching and Learning Assistant Director of School and Teacher Engagement Director of Intergenerational Learning Admissions Associates/Primary Division Middle School Performing Arts Chief Academic Officer Artistic Director Founder Executive Director Former Principal Tri-C Performing Arts Academy Ohio State Department of Ed. A Cultural Exchange CMA CMA CMA CMA Laurel School CMSD Karamu House Boston Arts Academy Oakland School of the Arts, Oakland CA Oakland School of the Arts Appendix V, Page 3 7/15/13 2:30-4:30p 5p 7/16/13 8a 7/16/13 9a 7/16/13 10a 7/16/13 1:30p Focus Group Marcie Bergman, Cleveland Arts Prize Kim Parry, Apollo’s Fire Christine Lobas, Studio Think Nancy Schramm, Chagrin Valley Little Theatre Charles Eversole, Singing Angels Mary Helen Hammer, American Institute of Architects Cleveland Rachel Bernstein, Heights Arts Renee Whiteside, Consortium of African American Organizations Pamela Fine, Heights Youth Theatre Celeste Cosentino Martin Cosentino Christine Slesh Susan Althans Tom Schorgl Raymond Kent 7/16/13 3p Carl Topilow Shirley Morgenstern Jason Hanley, Ph.D. 7/17/13 8:30a 7/17/13 10:15a 7/17/13 11:15a Stephanie Heriger Charlie Lawrence Gary Hanson Joan Katz Napoli Artistic Director Managing Director President Senior Associate Executive Director Architect - Director of Innovative Technology Design Co-Founder Co-Founder Director of Education and Interpretation Education Programs Manager President & CEO Executive Director Director of Education and Ensemble Theatre Foundation Management Svcs. The Community Partnership for Arts and Culture Westlakd reed Leskosky Cleveland POPS Orchestra Rock & Roll Hall of Fame & Musem The Cleveland Music School Settlement The Cleveland Orchestra* The Cleveland Orchestra* Appendix V, Page 4 Community Programs 7/17/13 2p 7/17/13 3:30p Jenny Brown Dick Bogomolny Isabel Trautwein Liz Maugans Mary Glauser 7/18/13 9a Jill Rembrandt 7/18/13 7/18/13 7/18/13 7/19/13 7/22/13 7/23/13 Felton Thomas Christine Bulso Debbie McHamm President Joe Weagraff - phone conference Dr. Margaret Carlson Lynn Johnson 12:30p 2p 3p 9a 3p 9a 7/23/13 10:30a Deena Epstein Ann Mullin 7/24/13 7a 7/24/13 9a Helen Williams Paul Putman Tom Sych Carol Tizzano 7/24/13 11a 7/24/13 2p 4:00p 4:00p 7/25/13 Lunch meeting Cleveland Orchestra Senior Staff John Mullaney Monyka Price - phone conference Lisa Stofan Augie Napoli Founder Director of Communications & Community Outreach Director of Education and Public Programs Director Director Director of Admissions and Enrollment Management Senior Program Officer for Arts Senior Program Officer for Education Program Director for Education Program Officer Board President Media Literacy and Art Educator & Independent Producer Chief of Education Consultant Deputy Director and Chief Advancement Officer Zygote Press Cleveland Jazz Orchestra Maltz Museum of Jewish Heritage Cleveland Public Library Contemporary Youth Orchestra Verb Ballets Cleveland Institute of Music The Gund Foundation The Gund Foundation The Cleveland Foundation The Cleveland Foundation Friends of CSA PicturePerfect Productions Nord Foundation City of Cleveland Grants Plus Cleveland Musem of Art* Appendix V, Page 5 7/25/13 9a 7/25/13 10:30a Eric Gordon CANCELLED Rebooked for 9/16 at 1pm Shirrell R. Greene Mark Schirmer Shannon Thorsen CEO Deputy to the CEO Architect Senior Associate Business Development Senior Associate Architect Manager II Capital Projects TCF 7/26/13 3p Jodi Van der Wiel Hollie Dellisanti Paul Putman - brief stop-in meeting to pick up materials Karen Gahl-Mills Executive Director Paul Hill and Shannon Murtaugh - phone conference Ralph Opacic - phone conference President & CEO 7/29/13 7/29/13 7/29/13 7/30/13 12 Noon 1p 3p 1:30p Kristy Callaway - phone conference Roy Fluhrer - phone conference Terri Milsap - phone confeence Sharyn Mahoney 10a 11:30p 1p 2p 4p 5p 10:30a Judy Ryder - phone conference Erikc Mann - phone conference Dava A. Cansler - phone conference Amy Craft - phone conference Marsha ? - phone conference Nancy Pistone - phone conference Christine Fowler-Mack - phone conference Gita Gulati-Partim - phone conference 7/25/13 11:30am 7/25/13 2:00p 7/26/13 11a 8/2/13 8/2/13 8/2/13 8/2/13 8/5/13 8/5/13 8/6/13 8/7/13 10a Executive Director Principal Principal Head of School Executive Director Founder/Executive Director Executive Director State Arts Consultant CMSD Moody Nolan Moody Nolan Moody Nolan CMSD Cuyahoga Arts & Culture Center for Reinventing Education, University of WA Orange County (CA) School of the Arts and Orange County School of the Arts Foundation Arts Schools Network Greenville, SC Schools of the Arts Chicago High School for the Arts Nashville Ballet Arts Education Consortium, CSU Cleveland Classical Guitar Society Foluke Cultural Arts Center. Inc. Art House, Inc. Young Audiences Office of Curriculum & Assessment Center for Reinventining Public Education (Arts in Porfolio Schools) Appendix V, Page 6 8/7/13 2p Dr. L. Scott Allen Principal 9/15/13 9/16/13 9/17/13 10a Amy Craft Karen Gahl-Mills David Quolke High School of the Performing and Visual Arts, Houston, TX Art House, Inc. President Teachers Local 279 CAO President & CEO Chair, Center for Music Therapy Chair, Center for Early Childhood Chair, Center for Music Therapy Associate Dean Vice President, Community Engagement & Education CMSD The Music Settlement The Music Settlement The Music Settlement The Music Settlement Creative Arts, CCC Playhouse Square 9/30/13 12-1:30p 10/13/13 9-10a 10-11a 11a-12p 12-1p 2-3p 10/15/13 9-10:30a 11a-12p 2:15-3:15p 3:30-5:00p 10/28/13 Morning 10/28/13 3:30p 10/29/13 Morning 10/29/13 2-3p Lunch with FCSA Executive Committee Dianna Richardson Scott Miller Daiel Gray-Kontar Dr. Woods Dr. Michelle Pierre Farid Charlie Lawrence Ronna Kaplan Thea Wilson Megan Constantine Dean Amy Parks Daniel Hahn Cleveland Arts Consortium Speaking Engagement Cleveland Orchestra Deena Epstein, Ann Mullin, Helen Williams, Paul Putman, Cristen Slesh, Bill Hiller, Daniel Hahn, Marsha Dobryzinski, Ed Gallagher, Joan Katz Napoli, Michelle Pierre-Farid, Tony Sias and Karen Thompson Cleveland Orchestra Meeting with Case Western Reserve Faculty: David Ake, Chair, Department of Appendix V, Page 7 11/11/13 11/17/13 11/18/13 11/18/13 11/18/13 11/19/13 11/19/13 11/19/13 11/20/13 9:30-11:00 a 7:30-9:30 p 9:40-11:10a 11:45a-1:00p 6-7:00p 8-9:30a 9:40-11:10a 11:40a-1:00p 9-11:00 a 12/3/13 2-3:00p 12/9/13 8:30-9:30a 10-11a 11-11:45a 1p 3-4p 6p 12/10/13 8:30-9:30a 10:30-11:30a 2:30-4p 12/11/13 8:30-9:30a Music; Sandra Noble and Tim Shuckuron, Art Studio Program; Stephen Haynesworth, Arthur Evenchik, Emerging Scholars Program; Denise Davis, Director, Teacher Licensure Program and C Meeting with Funders Lauren Oakley Rock & Roll Hall of Fame 11th Grade Student Focus Group 9th Grade Student Focus Group Parents Focus Group with Anthony Brown 10th Grade Student Focus Group 12th Grade Student Focus Group Arts Faculty Focus Group Nashville Ballet Dance Pedagogy Discussion Leo Serrano Ex. Dir. of Institutional Advancemet Jeffrey Stresn Direct of Design and Architecture Birch Browning, Ph.D. Associate Professor of Musid Ed. John Mullaney Ex. Dir. The Nord Family Foundation Daniel Hahn VP Community Engagement & Ed. Irwin M. Lowenstein, RA, LEED AP BD+C President Lillian Kuri Program Director for Architecture Eric Gordon CEO Doris Korda Associate Head of School Ann Klotz Head of School Academic Faculty Focus Group Alisha Evans Principal CMSD Cleveland Museum of Art Cleveland State University Playhouse Square Re-think Advisors, Inc. Urban Design and Sustainable Development CMSD Hawken School Laurel School CSA Lower Campus Appendix V, Page 8 10:30a-12p 2-3p 12/12/13 9:30-10:30a 12:00-1:30p 3-5p 12/15/13 9-11:00 a 1/15/14 1/21/14 1/27/14 2/24/14 3:30p 4-5:00p 9-11:00a 8:30-9:30a 10-11a 3-5p 3/11/14 8-10a Amy Parks, Chris Ludwa, Emanuela Friscioni Megan Constantine Director of the Dept. of Music Lillian Kuri, Steve Standley and Tom Huck Paul Putman Deena Epstein Ann Mullin Helen Williams Design Team Meeting Susan Stauter - phone conference Eric Gordon - phone conference Meeting with Gund Foundation Funders Ann Mullin/Dr. Farid Christine Bluso Kane Marci Elegant AAA Design Team Eric Gordon and Staff Creative Arts Academy, Tri C The Music Settlement University Hospitals Management Services Center The Cleveland Foundation The Gund Foundation The Gund Foundation The Cleveland Foundation BBB San Francisco Unified School District Ruth Azaw School of the Arts Exec. Dir. ICAN Schools Music Director FCSA CEO CMSD Key: * Denotes multiple visits to institution/meetings with multiple executives/team leadership Appendix V, Page 9 Yolande Spears Interviews Date 6/3/13 6/3/13 6/3/13 6/3/13 6/4/13 6/4/13 6/4/13 7/11/13 7/15/13 7/15/13 7/15/13 Time 9:30a 11:30a 4p 4p 9a 9a 11a 2:30-3:45p 10a Name Lee Lazar Christine Seibert Kevin Moore Joe Martin Lisa Ortenzi Kelly Schaffer-Florian Terrence Spivey Linda Nathan Rev. Dr. Todd C. Davidson 12p Rose K. Kimosh 2:30-4:30p Marcie Bergman, Cleveland Arts Prize Kim Parry, Apollo’s Fire Christine Lobas, Studio Think Nancy Schramm, Chagrin Valley Little Theatre Charles Eversole, Singing Angels Mary Helen Hammer, American Institute of Architects Cleveland Rachel Bernstein, Heights Arts Renee Whiteside, Consortium of African Title Org Executive Director Director of Education Managing Director Director of Production Associate Director of Education Education Associate Artistic Director Founder Senior Pastor The Rainey Institute Cleveland Public Theatre (CPT) Cleveland Playhouse Cleveland Playhouse Great Lakes Theatre Company Great Lakes Theatre Company Karamu House Boston Arts Academy Antioch Baptist Church Program Assistant Shore Cultural Centre Appendix V, Page 10 7/16/13 9/11/13 9/23/13 11/18/13 11/19/13 11/19/13 American Organizations Pamela Fine, Heights Youth Theatre 8:30a Barbara Bachtell Executive Director 10a Ed Gallagher Director of Education & Creative Arts Therapies 11a Mary Verdi-Fletcher President/Founding Artistic Director 1:30p Bill Morgan Artistic Director 11:30-12:30p Tony Sias Broadway School of Music and the Arts Beck Center for the Arts Dancing Wheels Company & School Sign Stage NYC Arts Scool Network Conference 9a-12P Observations of multiple arts/academics classes 9a-11a Observation of Mr. Green's Dance class 12:15p-2p Observations of multiple arts/academics classes Appendix V, Page 11 Dan Serig Interviews Date 6/3/13 6/3/13 6/3/13 6/4/13 6/4/13 6/4/13 6/27/13 6/27/13 6/27/13 6/27/13 Time 1p 3p 4:30p 1p 3p 4p 9a 10a 1:30-3:30p 4:15-5:30p 6/28/13 6/28/13 11/21/13 10a 12:30P 9a-11a 11/21/13 12:15-2p 11/22/13 9-11a 11/22/13 12:15-2p Name Ann Albano Paul Voinovich Ivan Schwarz Nicole Ledinek John Ewing Grafton Nunes Jill Paulson Santina Protopapa Focus Group Focus Group - Caroline Goesser & CMA Staff Dale Hilton Hajnal Eppley Seema Rao Meri Ruble Matt Bott Observation of Mr. Carver's Visual Arts Class Observations of multiple arts/academics classes Observations of multiple arts/academics classes Observations of multiple Title Executive Director and Chief Curator President President Curator of Education Director of Cinématique of CIA President Director of Grant Programs Executive Director Org The Sculpture Center VOCON Greater Cleveland Film Commission Museum of Contemporary Art, MOCA Cleveland Institute of Art Cleveland Institute of Art Cuyahoga Arts and Culture Progressive Arts Alliance Director of Education and Interpretation CMA Director of Teaching and Learning Assistant Director of School and Teacher Engagement Director of Intergenerational Learning Education Director Director CMA CMA CMA ArtHouse, Inc. Boys and Girls Club Appendix V, Page 12 arts/academics classes Appendix V, Page 13 Dr. Robert Horowitz Interviews Date Time 10/20/2013 9:30-10:30a 11a-12p 1:30-2:30p 3:30-4:30p 10/30/2013 11a-12p 1-2p 3:30p 11/13/2016 3-4p 11/14/2013 3-4p 11/15/2013 3:15p 12/10/2013 8:15-9a 12/10/2013 9:10-9:55a 12/10/2013 9:55-10:48a 12/10/2013 10:48-11:44a Name Cristin Slesh Dean Amy Parks Dr. Michelle Pierre Farid Desiree M. Powell Tony sias Deena Epstein Ann Mullin, Paul Putman, Helen Williams Karen H. Thompson Title Foundation Management Services Associate Dean CAO Educator, Flexible Content Expert Director of Arts Ed. CMSD CMSD CMSD Deputy Chief Curriculum & Instruction CMSD Leo Serrano - Phone conference Lynn M. Johnson-Phone conference Kimberly Brown Educator: Institutional Advancement CMSD Director of Admissions and Enrollment Management All-City managing Director Cleveland Institute of Music Juliane Fouse-Shepard and Principal Christine Campion PASS Facilitator Beginning Woodwinds Instrumental music teacher Chris Cummings 1st Grade Integrated Arts Gloria Doering 8th Grade Integated Arts Creative Writing - Christine Champion Organization Cleveland School of the Arts Program Manager, CMSD 216.702.6803 Newton D. Baker PASS School Newton D. Baker PASS School Newton D. Baker PASS School Newton D. Baker PASS School Newton D. Baker PASS School Appendix V, Page 14 12/10/2013 11:44a12:28p 12/10/2013 12/10/2013 12/11/2013 12/11/2013 12/11/2013 12/11/2013 12:28-1:16p 3p 9:30a 10:20a 11:15a 12:50a 12/11/2013 12/12/2013 12/12/2013 12/12/2013 4p 9:10a-10:25a 9:30a 12-1:30p 12/12/2013 3-5p 7th Grade Visual ArtsSherri Pittard Lunch and talk to children Focus Groups for Principals Observe Visual Arts Class Observe Music Class Interview Charles Byrd Principal Lunch with Visual Arts Teacher Diane Goll and Music Teacher Rebecca Jerric Focus Groups for Teachers Observe 3 and 4th majors Assistant Principal Paul Putman Deena Epstein Ann Mullin Helen Williams Design Team Meeting Newton D. Baker PASS School Newton D. Baker PASS School John Adams High School Riverside Elementary School PASS Riverside Elementary School PASS Riverside Elementary School PASS Riverside Elementary School PASS Lincoln West High School Cleveland School of the Arts Lower Campus James A. Garfield Elementary School The Cleveland Foundation The Gund Foundation The Gund Foundation The Cleveland Foundation Barbara Byrd Bennett (BBB) Appendix V, Page 15 Arts School Network Conference Oct. 22-25, 2013, New York Editor’s note: As part of the process for creating a plan for a redesign of Cleveland School of the arts (CSA), a MitchellKornArts team member was assigned to attend and summarize this conference. What follows is her report. Session: Starting & Sustaining an Arts School During this session there were three presenters/schools. Unfortunately, there were no handouts and the use of technology was challenging because there was no sound, oftentimes the PowerPoint presentations were not successfully loaded and/or video was not available. Presenter: Ms. Lam, head of school, Conservatory Lab Charter School, Brighton, Mass. This charter school was created by two professors from New England Conservatory who wanted to have a dynamic impact on urban education with a focus on music. The first phase of the school was from 1999-2008. Although it exposed students to music on a regular basis, it was not an academically successful school. In 2008 Ms. Lamb became the new head of school and moved it into what is now called the second phase. Changes included adding contracted artists as part-time teachers, introducing interdisciplinary learning, creating new governance with a parent advisory committee, selecting a teachers who understood or embraced Project Based Learning (PBL), and creating community partnerships. The school has approximately 300 students who are selected through a lottery. Most of them do not come to the school with any prior instrumental instruction, or a very limited knowledge of music. The population of the students comes from some of the most difficult neighborhoods in Boston, and 70 percent of the student body qualifies for free or reduced meals. Appendix W, Page 1 Arts Schools Network Conference (cont.) Phase Two Programs (2009-2016): Learning Through Music Expeditions: an interdisciplinary model of using arts integration with other academic areas of study that it is not forced or artificial. If music doesn’t work with a specific area of study, they don’t use it. Their model includes asking questions, listening, creating, reflecting and performing. An example is a unit that was focused on learning about snakes. Students created, wrote, illustrated, and published books about several types of snakes which are sold to raise funds. A viral video called “Snakes are Born This Way,” based on a Lady Gaga song, was created by the students. It has been featured on local media as well as national outlets. Listening Project: Each classroom studies 30 songs a year from specific genres (e.g., blues/R&B, classical, country and jazz) and learns about the culture, instruments, vocals, songwriting, etc. El Sistema: an extended-day program for all students, which begins with general music classes then progresses to instrumental instruction, for two-and-a-half to three hours a day with certified teachers and resident artists. Another component of the El Sistema program allows students to progress into various orchestras. The paper orchestra is for Pre-K and kindergarten, the Abreu orchestra is for first grade, the Bernstein orchestra is for grades two and three, and the Dudamel is for the higher grades. Project Based Learning: using the arts integration approach, the principals of PBL, and offering students as many public performances as possible. Students participate in 15 or ore performances a year. As a result of using this multilayered approach to instruction and administrative changes, the Conservatory Lab Charter School has been ranked as level 1, the highest performance category in Massachusetts. Structural Changes: One of the important changes made by the school was to lengthen the school day. It runs from 8:15 a.m. to 5:15 p.m. with three hours of music each day from 2:15 to 5:15 p.m. The school year is 180 days. Certified teachers work eight hours a day and must work collaboratively with the 14 resident artists who have been blended into the classroom instruction. 2 Arts Schools Network Conference (cont.) Professional development (PD) for teachers and artists is combined and the academic and music curriculum are equally valued. All teachers must attend 10 days of PD a year. The school will often host one or two conferences a year in the format of teachers presenting workshops for visitors. The school has one certified art teacher and one certified music teacher who work collaboratively with classroom teachers and the resident artists. Salaries are aligned with district schools and staff generally will receive a 1 percent raise a year based on the approved budget. The Parent Advisory Council is a very strong organization, and they are responsible for creating and hosting one fundraiser a year. Current Challenges: The building layout and lack of space for growth; currently uses cafeteria as rehearsal and performance space Raising money to acquire a new building Keeping everyone interested and motivated over long periods of time Classroom management for visiting musicians and musicians in residence New Programming Added: Summer Music Camp: students self-select and attend for four weeks. Camp concludes with a performance on the Esplanade in Boston 3 Arts Schools Network Conference (cont.) Presenter: Dr. Santini, principal, North Fort Myers Academy for the Arts, Fort Myers, Fla. Ten years ago, this school was called Sun Coast Elementary, for grades K-5, and there was a separate middle school for grades 6-8. During this time, the elementary school’s state school accountability grade was an “F” and the middle school’s was a “C.” It also was nicknamed “Scum Coast” because of its population and location. It was a generational poverty school and most of the community lived in trailer park homes with many parents who hadn’t finished high school. Most of these families had little to no cultural experiences. Dr. Santini became the principal of both the elementary and middle schools and both have been “A” schools for the past six years. Dr. Santini slowly moved the school, staff, parents, and community toward success by creating an environment that nourishes the performing and visual arts. Changing the name from Sun Coast to North Fort Meyers Academy for the Arts (NFMAA) added another dimension of pride and focus for the poor community. The school is a K-8 magnet school and is a part of a choice system. Arts school staffing: Besides the classroom teachers, NFMAA has 10-13 art teachers on staff. The district has allocated funding for four to five art teachers and the remaining teachers are considered contractors. The current art staff members include: Three in music (strings, band, general) Two in visual art Two in dance One in set design One in choral One in digital design One in animation Two in drama (one each for elementary and middle schools) 4 Arts Schools Network Conference (cont.) All teachers receive 10, paid PD days a year, which occur after school. The school governance structure is headed by the principal, who has an assistant principal in charge of arts education in elementary and middle schools. The elementary and middle schools have a lead teacher for each of the various arts disciplines (dance, drama, music, visual arts, etc.) and share other support services (set design, digital design, animation, etc.). An example of the organization structure is: Principal Assistant Principal, grades K-2 Assistant Principal, grades 3-5 Arts Chair (all grades) Assistant Principal, grades 6-8 Academic Chair (all grades) Art Teachers Grades K-8 School population and budget: There are approximately 1,000 students that attend NFMAA. The estimated annual budget is based on $8,900 per student. Fifty percent of the students come from households below the poverty line and 70 percent are eligible for free or subsidized lunch. Currently, over 60 percent of the school budget is spent on instruction and the remaining 20 percent is for all other support services and overhead costs. Dr. Santini created a foundation which currently has about $60,000 of discretionary money. This additional funding comes from grants as well as the ticket sales from the school’s performances. School program offerings/components: 5 Arts Schools Network Conference (cont.) Band and steel drums Chorus Computer arts Dance Drama Instrumental arts Keyboard Video arts Visual arts Full-scale set design program (parents also participate) Annual Broadway musical production Two music concerts Annual “Nutcracker” ballet performance Arts school schedule: Grades K-3 generally will have four arts specials/classes during the week (dance/PE, drama, strings, and visual arts) in rotation. Students in grades 4-8 have the option of taking an arts intensive (dance, drama, visual arts, etc.), which is a combined class of two 45-minute periods. There also is an after-school enrichment program that runs from 2:15-6:00 p.m. (arts and crafts, music instruction, drama, and dance). Community partners: Barbara Mann Performing Arts Hall at Edison State College donates their theater for the school’s large annual performances, a $10,000 value The Florida Alliance for Arts is a state funding organization that has provided annual support for school performances The Broadway Palm Dinner Theater also has provided pro bono technical assistance for school productions 6 Arts Schools Network Conference (cont.) NFMAA awards: Arts School Network Exemplary Arts School PBS Model School Federal AIM Grant Participation School Florida Arts Achievement Model School 7 Arts Schools Network Conference (cont.) Presenter: Dr. Rudes, principal, Booker T. Washington High School for the Performing and Visual Arts (aka BTW High School), Dallas Other staff members involved in the presentation: Karon Cogdil, theater coordinator Aurelia Weiss, dance department chair Larry Schnitzer, wind ensemble director Cassie Edmonson, visual arts co-coordinator, photography BTW High school has come a long way from its early roots as one of two schools created in Dallas for the black population at the beginning of the Dallas public school system in early 1900s. It became a magnet school to avoid forced bussing during Dallas’ era of reluctant desegregation. It since has become a high school of distinction and artistic merit. The U.S. Department of Education named BTW High School one of the most academically successful arts schools in the country. U.S. News and World Report’s Best High Schools rankings (2013) gave the school a “Gold” award and ranked it No. 110 out of 21,000 schools reviewed. By state, BTW ranked No. 18 out of 1,552 public high schools in Texas. And out of the 35 high schools in the Independent Dallas School District, BTW is one of 11 to receive a “Best Ranking” award. The rankings were based on math and reading proficiency, college readiness and student-to-teacher ratio. Math and reading were graded on a 4.0 scale. Here’s how BTW scored: Math: 3.3 Reading: 3.4 Math/reading proficiency: 97 percent College readiness: 73 percent Student-to-teacher ratio: 14-to-1 8 Arts Schools Network Conference (cont.) Based on the information from the panel, this is the management team structure: Principal Associate Principal Academic Staff Associate Principal Support Staff Arts Staff The staffing experience for the school is: 47.8 percent: 20 years’ teaching experience 29.1 percent: 11-19 years’ experience 7.7 percent: six-10 years’ experience 13.7 percent: one-five years’ experience 1.7 percent: less than one year’s experience All arts faculty members are encouraged and expected to practice their art in the community as musicians, dancers, visual artists and theater professionals. Many of them still participate in community theater, show their work in galleries, or perform in dance companies, orchestras and jazz clubs. The academic and arts teachers attend professional development workshops together during the school year and this promotes a healthy, collaborative, and mentoring relationship between staff. 9 Arts Schools Network Conference (cont.) BTW High School currently has 922 students. Approximately 20 percent of the student population comes from other school districts. The ethnic composition of the student population is 32 percent white, 32 percent black, 32 percent Hispanic and 4 percent Asian. The panel stressed that the audition process is now based on: Student’s art: 75 percent Student’s academic record: 25 percent Letters of recommendation are no longer accepted. Generally, the school is interested in the most talented students, as well as those with passion and potential. Over 900 students applied/auditioned for the 2013 fall school year and only 225 freshmen were admitted. Students are on a block schedule attending four classes a day for 90 minutes each. Students’ arts majors include music, dance, theater and visual arts. BTW does not offer any courses or a major in musical theater. Their focus is strictly on theater. However, students are encouraged to and do attend summer intensives to get musical theater experience and BTW students are accepted into the best schools in the country for musical theater if they choose to pursue this. Students have the opportunity to attend the Learning Labs at BTW. The Learning Labs are a combination of master classes and exposure to professionals in the business who come to the school to do a lecture demonstration. Some examples of the guests or organizations that have participated in the Learning Labs are Kevin Bacon, Glenn Close, Dallas Symphony Orchestra, Complexions Contemporary Ballet and others. BTW has a very effective and strong Advisory Board. The panel stated that it is “the strongest advisory board in the country.” This Board led the $60 million building campaign for BTW’s new facility in the downtown arts district. This Board 10 Arts Schools Network Conference (cont.) was responsible for two $10 million lead gifts that kicked off the campaign and then set out to raise the remaining balance for the school. This Board has three distinctive initiatives that it supports. They are: The Learning Lab (master classes and lectures by outside professionals) The MET HD: Live in Concert (long-distance learning opera) Professional development for teachers and a “parent university.” This Board also provides $300,000 a year in scholarships for students, money for students enrichment programs, travel expenses to college auditions/interviews, as well as financial support for students’ college and university application fees. Information for this report was acquired as a result of my taped audio recording of the sessions, my hand written notes from each workshop and statistical rankings of the best high schools available at www.usnews.com/education/besthigh-school/national-rankings/spp+100. — Yolande Spears 11 MITCHELL KORN is one of our nation's most important leaders in arts and arts education strategic planning, advocacy and interdisciplinary education. He is the founder and president of MitchellKornArts, the Vanderbilt University, Blair School of Music Adjunct Professor for Music and Community, a Bard College Senior Fellow for arts policy and planning, and a former Harvard University Graduate School of Education and Yale School of Music lecturer. Korn currently advises, as mentor, the artistic and executive director of the Nashville Ballet on artistic, communication, advocacy, education and fundraising issues. He continues in his 17th consecutive year as advisor to the Cleveland Orchestra Learning Through Music Program — which he created — training musicians and teachers and advising staff. The Wall Street Journal has called him a “one man arts education industry.” Symphony magazine called him a “music education guru.” He is the former vice president for education and community engagement at the Nashville Symphony and Schermerhorn Symphony Center. Korn is credited with creating, designing and implementing the nation’s most important and sustainable arts education initiatives including San Francisco Symphony’s Adventures in Music (celebrating its 25th anniversary), New York’s Annenberg Initiative (16th year), Chicago Arts Partnerships in Education (18th year), The Cleveland Orchestra’s Learning Through Music (17th year), The Milwaukee Symphony’s Arts in Community Education (19th year), and many more. Korn’s extensive philanthropic work includes projects for the Appendix X, Page 1 Heinz Endowment, MacArthur Foundation, Annenberg Foundation, GE Fund, and Dayton Hudson Foundation. He also has developed the arts education and organizational strategic plans for dozens of arts, cultural and educational organizations including the San Francisco Ballet, Hart School of Music, Carnegie Hall, North Carolina Blumenthal Performing Arts Center, The Bushnell Center for the Performing Arts, The Baltimore Symphony, Orange County Performing Arts Center, San Francisco Jazz, and more. Korn is the recipient of numerous awards and tributes including Parents magazine’s “As They Grow” award, honoring his efforts in “making the world a safer, healthier, and happier place for children.” Dr. Robert Horowitz is associate director of the Center for Arts Education Research at Teachers College, Columbia University and consultant to arts organizations, schools, school districts, and foundations. As part of a group of researchers supported by The GE Fund and The John D. and Catherine T. MacArthur Foundation, Dr. Horowitz investigated the impact of arts learning on several cognitive and social dimensions, such as creativity, personal expression, and school climate. The collective research, Champions of Change: The Impact of the Arts on Learning, was published by the President’s Committee on the Arts and Humanities and the Arts Education Partnership. He is a recipient of the NAEA 2001 Manuel Barkan Memorial Award for the article based on this work, “Learning In and Through the Arts: The Question of Transfer” in Studies in Art Education. Dr. Horowitz contributed to Critical Links: Learning in the Arts and Student Academic and Social Development, a compendium of 62 studies of arts learning and its connections to broader human development. As a consultant for Jazz at Lincoln Center, he authored the instructional content of Jazz in the Schools, a National Appendix X, Page 2 Endowment for the Arts curriculum that “explores jazz as an indigenous American art form and a means to understand American history.” Dr. Horowitz has helped develop numerous educational partnerships throughout the country. He has conducted over 100 program evaluations for organizations such as the Kennedy Center, National Endowment for the Arts, Jazz at Lincoln Center, Carnegie Hall, Young Audiences of Northeast Ohio, and the Arts Education Partnership, and has served as researcher for numerous federal, state and private grants. He has written, lectured and conducted workshops on program evaluation, musical creativity, jazz improvisation, curriculum development, student assessment, partnership development and arts education policy issues. After performing and recording widely as a guitarist, Rob Horowitz taught for five years at an alternative high school for at-risk students in New York City. Subsequently, he taught guitar at Teachers College, Columbia University, where he received his doctorate in 1994. Current projects include evaluation of arts partnerships, teacher professional development, program design, and research on the impact of arts learning on cognitive and social development. Dr. Dan Serig is an associate professor of art education at Massachusetts College of Art and Design. Research interests include curriculum design, metaphor, material culture, and artistic research. Since 2002, Serig has conducted dozens of arts program evaluations throughout the nation. Clients have included the National Endowment for the Arts (Education Leaders Institute), COCA St. Louis, the Woodruff Arts Center and Young Audiences of Northeast Ohio. In collaboration with Rob Horowitz, Dan Serig has conducted professional development and assessment workshops, designed curriculum, Appendix X, Page 3 and consulted on strategic planning with arts and cultural organizations. Published works are in several art and design education journals. He served as the Research Review section editor of Teaching Artist Journal for three years and is a current editorial board member of the new journal, Visual Inquiry: Teaching and Learning in Art. Serig presents nationally and internationally. Serig received his doctorate from Teachers College, Columbia University in 2005. He also has taught visual arts to children and adults in public and private schools in the U.S. and China. At MassArt he created a Master of Arts in Teaching program and redesigned the Masters of Science in Art Education program. Each summer Serig takes a group of teaching artists to Ecuador to experience the cultural diversity and biodiversity through a hybrid studio and pedagogical course. He is now involved in developing art education degree programs in Ecuador. Dr. Rekha S. Rajan is a visiting assistant professor in education at Columbia College Chicago, where she develops and teaches courses related to arts integration and education. She holds a doctorate in music education from Teachers College, Columbia University, where she also received an EdM in music education. She also holds an MA in early childhood professions from Roosevelt University. Dr. Rajan is a senior research associate with the Center for Arts Education Research at Teachers College, Columbia University, where she is part of ArtsResearch, a team of consultants led by Dr. Robert Horowitz, who evaluate arts-based partnerships around the United States. Through these partnerships, she has interviewed and observed hundreds of public school teachers regarding the strengths and challenges they face with integrating the arts, and has co-authored over 30 assessment Appendix X, Page 4 reports. Dr. Rajan is the author of Integrating the Performing Arts in Grades K-5 (SAGE/Corwin Press), a comprehensive analysis of over 60 lessons that demonstrate how to connect music, theater, dance, and musical theater with math, science, social studies and language arts in the elementary curriculum. Her research interests focus on the impact of the performing arts in the lives of young children and on teachers’ use of the performing arts in the classroom. She has published articles in General Music Today, Focus on Pre-K and Focus on Elementary, publications of the Association of Childhood Education International, and is also the author of the forthcoming book, Children’s Experiences in Musical Theater (Rowman & Littlefield Education, 2014). She is the principal investigator on two grant proposals that include the development of a music curriculum. They are titled Basic BEAT: Exploring the impact of brain-based activities on teacher and student learning through the implementation of a music education curriculum and Soul Sisters: Exploring Audience Response and Community Involvement through Musical Theater Performance. Dr. Rajan also recently applied for a FulbrightNehru Teaching/Research Scholarship Award with a project entitled: Defining and Designing Teacher Education in India. The aim of the project is to examine the coursework of teacher preparation programs in India, through the impact of a projectbased, arts-enriched curriculum. Dr. Rajan has held faculty positions at National-Louis University, where she coordinated the graduate programs in early childhood teacher education and led curriculum development in all of the teacher education programs, and Roosevelt University, where she taught courses in elementary education and supervised student teachers. She has been Appendix X, Page 5 working with teachers and teacher candidates for more than 10 years, and sits on various Illinois state councils and advisory committees for early childhood assessment. Dr. Rajan is also the president and founder of the Greater Chicago Area Chapter of the Early Childhood Music and Movement Association, which was recently awarded a chapter grant for recognition and support of annual workshops. Prior to teaching in higher education, Dr. Rajan taught music, theater, and dance in studio and classroom settings. Rekha has performed professionally in numerous operas, operettas, and musicals including lead roles in “The Magic Flute” (Papagena), “Pirates of Penzance” (Mabel), and the Chicago premiere of “CARNIVAL!” (Lili), for which she was nominated for a Chicago Stage Talk Equity Theatre Award for Best Lead Actress in a Musical. She also has performed as a guest vocalist performing “The Marv’lous Work” from Haydn's The Creation, and “Rejoice Greatly” from Handel's The Messiah, and has appeared as a concert soloist at Carnegie Hall and the John F. Kennedy Center for the Performing Arts. Yolande Spears is vice president of education and community relations at The Bushnell Center for the Performing Arts, Connecticut’s premiere venue for Broadway, theatre, music, dance, children’s theatre and special events. Alongside her administrative leadership, which includes 20 years in corporate human organization and strategy, Yolande regularly speaks and teaches at organizations throughout the United States, Canada, and in China, advocating the importance of arts education. For over 20 years, she has led the PARTNERS program, an award-winning arts education initiative serving hundreds of schools, teachers and communities. Spears provides expertise in arts organizational programming Appendix X, Page 6 for schools, partnership development, program implementation and replication. Her latest publication, “The Gift,” chronicles her childhood in urban St. Louis and the role the arts played in her life’s path. Susan Stauter is an arts educator and advocate. Stauter is currently the artistic director for the San Francisco Unified School District. She served on the Steering Committee and was instrumental in the creation and ongoing work of SFUSD's internationally acclaimed Arts Education Master Plan, promising equity and access in arts education to all students in every SFUSD school during the curricular day. An awardwinning credentialed teacher in theatre and English, she taught and directed at Esperanza High School in Placentia, Calif., and was founding chairwoman of the Department of Theatre at the Los Angeles County High School of the Arts. Stauter went on to serve as conservatory director for the Tony Award-winning American Conservatory Theater of San Francisco, where she oversaw all education programs including the M.F.A. in acting. She has worked as a writer/director for Disneyland and was one of the readers for the audio version of Richard Florida's best-selling Rise of the Creative Class. She currently works as a master trainer with the Leonard Bernstein Artful Learning program, presenting workshops and creating new arts-based curriculum with teachers and principals in schools across the nation. Continuing her work as a teacher, workshop leader, keynote speaker and writer on all areas of arts education, Stauter has consulted with and presented for numerous organizations, including the Grammy Foundation, the Milwaukee Idea, the Ten Chimneys Foundation, the U.C. Berkeley Principal's Institute, the Great River Shakespeare Festival, the St. Louis Symphony, the New World Symphony and the Vienna Concerthaus. She has presented keynotes for the Small Schools of New Zealand, (where she was named Appendix X, Page 7 visiting scholar in creativity), The National League of Symphony Orchestras Education, Youth and Outreach Managers, the Theatre Educators of America and the International Thespian Organization. She has worked in colleges and universities across the nation, most recently with U.C. Berkeley's Bravo Project, which she was instrumental in creating and implementing for the Principal's Leadership Institute. In 2009 Stauter was public reader for the K-12 Drama Standards for the State of Colorado, and in April of 2011 she presented a TEDxSF talk on the importance of the arts in education before returning for the sixth consecutive year to speak on the importance of the arts and culture to communities at the Eugene O’Neill Tao House in Danville, Calif., as part of Leadership San Ramon Valley. She sits on numerous boards and committees, including the Engineers Alliance for the Arts and the San Francisco Symphony Education Committee, and is the recipient of numerous awards for her ongoing work as a passionate leader in arts education, including the International Network of Arts Schools Founder's Award, the LEAP Imagination in Learning Award, the San Francisco Ballet's Choose to Move Award, the Ruth Asawa Arts Advocacy Award and the San Francisco PTA Continuing Service Award. Pre-College Pedagogy Team: A group of leading professors and instructors from Blair School of Music, Vanderbilt University Pre-Collegiate Division, Nashville Ballet and Nashville Ballet School assisted in the analysis of CMSD arts curriculum and the development of curriculum innovations and guidelines. Melanie Gober Grand, MitchellKornArts program coordinator, assists the program team in all aspects of initiative scheduling and communications. Grand has over 30 years of experience as a paralegal, has managed several nonAppendix X, Page 8 profit professional organizations, and is currently the executive director of the Lawyers’ Association for Women. She provides a variety of services in a virtual capacity to law firms and small businesses, including the development and implementation of office organizational systems and procedures. Appendix X, Page 9