professional development for educators
When Quynn Johnson steps into the Pre-K and Kindergarten classrooms at Margaret Brent Elementary School in Baltimore City, she is met with hugs and big, bright smiles. The students love that they’ve been learning to tap with the artist and they’ve been waiting patiently for her to return. “What do I do?” the artist asks. “You make music with your feet and you keep a steady beat!” the students respond.
Quynn is a multi-award-winning performing artist, choreographer, author, and the co-director of SOLE Defined, a percussive dance company. Though she has performed tap dance for national and international audiences, on this morning, she is captivating our state’s youngest learners—not on a stage, but in a classroom—through rhythm, imagination, and dance. Already a professional teaching artist on the Young Audiences roster, Quynn is now training to also become a Maryland Wolf Trap Artist.
As the Maryland regional affiliate of Wolf Trap, Young Audiences is proud to be expanding access to the arts for Maryland’s youngest students during the critical early learning years.
High-quality early childhood education is absolutely essential to giving children the best possible start in school and in life. Decades of practice and research prove that integrating the arts into classroom experiences contributes to greater academic achievement and social/emotional development for our youngest students. The creative collaboration between teachers and artists in the Wolf Trap residency builds foundations and fuels momentum in arts-integrated early learning classrooms.
The children sing along with the artist to the tune of Frère Jacques, “I am ready, You are, too, Eyes on the teacher, We’re going to learn.” Everyone knows the song and everyone is excited to sing it—first in English, then in Spanish.
Ojos en la profe
Vamos a aprender
Quynn made up the song while teaching in the Summer Arts & Learning Academy last summer, but now sings it with students in lower elementary grades at every school she visits. Mrs. Jager, the Kindergarten teacher, likes it, too. She uses “I am ready” as a transition song all the time—and her students will remind her if she forgets!
The artist is not only here to teach the young students how to tap, she is here to build the teachers’ skills and knowledge and demonstrate how to integrate the art form into their lessons throughout the year. This embedded professional development is something that distinguishes the Wolf Trap Early Learning Residency from other artist residencies.
As Quynn leads the students in an exercise stomping out beats, another skill is being fortified. They are identifying patterns and practicing word sounds like “Apple, apple, ah, ah, ah,” and “Bat, bat, buh, buh, buh.” The classroom teachers and the artist work together to tailor the residency to each particular classroom—deciding how refined the dance movements should be for each age group and which literacy skills to focus on.
“The process is pretty new and different to me but I like it,” said Quynn. The artist pays particular attention to teach the elements of her art form that educators will feel comfortable utilizing in the future—and not just off the cuff, but with some artistic integrity. “I think the embedded PD portion is a great way to keep the teachers involved and shows them how it doesn’t have to be its own lesson but can be incorporated within what they’re already doing. I never want them to feel like it’s unreachable.”
By the end of Quynn’s residency in the Pre-K and Kindergarten classrooms, the students know how to keep a steady beat on their feet, and they remember a beat pattern and two basic tap steps. And the teachers can connect the art form to literacy—leading students to sound out words and sounds with their feet. “They both felt great and comfortable with everything we did in class and I could hear them using it after our time was over.” They were ready.
Eighty-five percent of brain development occurs during the first five years of a child’s life. Participation in the arts encourages positive growth in a child’s emotional, physical, intellectual, creative, and social development. As the Maryland affiliate of the Wolf Trap Institute for Early Learning Through the Arts, Young Audiences expands access to the arts for Maryland’s youngest students during the critical early learning years. Bring a Maryland Wolf Trap 16-Session Residency into your school.
smARTbeats returns to WTMD Saturday, October 14, during the weekly children’s music program Young At Heart. On this month’s smARTbeats segment, Young At Heart host Lisa Mathews sits down for a chat with beatboxer and YA teaching artist Max Bent. Performing for adults and the Pre-K set alike, the artist treats his audiences to a mix of original songs, fun covers, and interactive rhythmic games sure to get you up and moving.
Max started beatboxing at the age of eight, imitating with his mouth what he heard on the radio. Since then, Max’s love for the beat has taken him on many exciting journeys and a never-ending search for sounds that surprise him. His experience as a teacher has helped him transition into his work as a teaching artist.
During the segment, you’ll hear how the artist, who is also half of the family-friendly beatboxing duo Baby Beats, challenges students and teachers alike to learn by making music. A former science teacher, Max is able to combine his artistic talent with his educational background to make strong connections to specific units and standards in the curriculum with irresistible enthusiasm and energy.
He works not only with kids, but with educators, leading professional development classes to show teachers how music, and, more specifically, beatboxing can be used as a tool to teach fractions and challenging them to think outside the box in their own lesson planning.
Give it a try and see:
Young At Heart airs weekly from 7 to 8 am on Saturdays, featuring music that appeals to parents and children alike. Previous shows have featured music by Wilco, David Bowie, Andrew & Polly, Weezer, and others.
Hear YA teaching artist and beatboxer Max Bent online now!
Over the summer, Baltimore City Public School principals convened for the third time to attend a professional development course unlike any other. The first session was held in May at the Baltimore Museum of Industry where they explored the many ways arts and creativity intertwine with local industry of both the past and the future. The second, at Creative Alliance, where the group attended a workshop and lunch with Artesanas Mexicanas, a group of talented Mexican women, now residents of Southeast Baltimore, who share their rich cultures and folkloric traditions through art.
On this third session, principals gathered on a stage where so many critically acclaimed actors and singers have stood before. Looking out into the house of the Hippodrome Theatre, one could only imagine the thrill a performer might feel standing before a crowd of fans.
But how does an actor get to the stage? And what needs to happen for a show to go on? What can Baltimore City Public Schools do to prepare students for careers in theatre? These are some of the questions local principals explored in Creative Collaborations for School Improvement, a leadership course designed for principals to experience first-hand the many facets of Baltimore arts and cultural organizations, as well as how innovative partnerships with area cultural resources can help schools prepare their students for careers in fields related to the industry.
Throughout the course, principals have the opportunity to build strong relationships with not only engaged cultural organizations, but with expert teaching artists, like YA roster artists Matt Barinholtz of FutureMakers and internationally acclaimed slam poet Gayle Danley, as well as guest speakers including arts integration advocates.
“I do think that in my 31 years in City Schools that the Creative Collaborations for School Improvement course is among the most beneficial professional developments in which I have participated,” said Sinclair Lane Elementary School principal Roxanne Thorn-Lumpkins.
The principals were briefed on the history of the renowned theatre, then were led on a tech tour of the space by assistant electrician Danyela Marks. High above the stage is home to the control center of all of a production’s moving parts: the fly system. Thick, strong ropes, levers, weights and counterweights are all strung taut, connected precisely and purposefully, reminiscent of the inside of a piano. Any movement on the set during a production: a wall sliding, scenes changing, or an actor flying, is made from here. To work on this side of the curtain, they discover, a person needs a solid foundation in math and physics.
The group descended from the tech booth to the dressing rooms, located one level beneath the stage. Here, among the bright lights and mirrors, they learned about the Hippodrome Foundation (HFI), its mission & educational outreach programs, and how their schools can take advantage of them. They spoke with Olive Waxter, Director of the Hippodrome Foundation and Ron Legler, President of the France-Merrick Performing Arts Center about their institutions’ commitment to providing opportunity in the community.
Former long-time Baltimore Sun critic and current WYPR theatre critic Judy Wynn Rousuck met principals for a fun written exercise. Part of Judy’s work with HFI centers on enhancing written communication skills with young people. On this day, she challenged the educators to write a short descriptive piece using just one of their fives senses to illustrate their subject. It is easy to imagine the excitement young people must feel in Judy’s classes when they see their words come alive and work together to paint a vivid picture.
Of course, no visit to the theatre is complete without getting a taste of the performers’ experience. So here, on the Hippodrome Stage, principals stepped into students’ shoes to work with co-director of the Hippodrome Foundation’s summer theatre camp, Becky Mossing, education director Barb Wirsing, and Markia Smith, a former camper, now a counselor to learn a number from the musical 70, Girls, 70. At the piano, they worked on vocals. The group then moved on to blocking (the movements and positions actors are assigned on stage), and after some practice, revealed their grand performance of “Coffee (In a Cardboard Cup).” And they did a pretty great job.
The next Creative Collaborations for School Improvement course will be held at Center Stage on October 7, 2017. Principals and assistant principals who would like to register for the course should contact Valeriya Nakshun for more information.
Written by Barbara Krebs, a Young Audiences volunteer and Sunburst Society member.
Colorful sticky notes adorned the walls of the classroom. Like before-and-after photos of an amazing remodel, the notes told the story of how a group of Head Start teachers in Southern Maryland unveiled their hidden talents to reach their young students through the arts. The ‘before’ stickies began, “I used to think…” Teachers filled in the rest of the sentence with thoughts such as, “dance, music and theatre weren’t that effective,” or “movement and story time could not go together,” and “it was hard to integrate the arts into the classroom.”
Then, as Young Audiences teaching artists demonstrated techniques that blend learning and the arts, the Head Start classroom teachers began making their own artistic/educational connections – connections that would help them return to their classrooms and engage kids in ways they had been hesitant to trust before. They soon realized that when kids are singing, dancing, and moving, it’s easy for them to forget that they’re actually learning!
The Professional Development course was held on February 17th and sponsored through the PNC Grow Up Great® initiative. Created to help children from birth through age five develop a passion for learning that lasts a lifetime, the program generously funded training that provided Head Start teachers with a variety of resources to increase learning, engagement and confidence by incorporating art into the curriculum.
Three YA teaching artists, musician Lisa Mathews, actor Khaleshia Thorpe-Price, and dancer Anna Menendez, taught the group. They learned, for example, how to use dance tools to create patterns, how to use their bodies and musical instruments to express themselves, and how the use of props and different character voices can more fully engage students in story time. At the end of the class, each teacher was tasked with writing and presenting a lesson seed in each art form for when the class reassembled in May.
“It was very evident from their participation on the first day and their reflections on the second day that teachers were excited about these arts strategies and implemented them immediately,” explained Kristina Berdan, YA’s Education Director. “Having strong backgrounds in social and emotional learning, they were able to quickly experience and understand the impact that the arts can have on this kind of growth in young people. Most of them tap into the arts regularly through chants and songs, yet these professional development opportunities allowed them to learn deeper, more meaningful strategies in and through the arts. The ‘ah-ha’s and feelings of excitement were palpable!”
For some, wariness about the role arts could play in the classroom had been replaced with a newfound willingness to incorporate them into their lesson plans. Through the introduction of dramatic play and puppetry, for example, students had a greater understanding of the stories they read in class than they did before the professional development course. One Head Start teacher, Jessica Wiley, summed up her experience in YA’s Professional Development class this way, “The ideas and suggestions were practical, applicable, and personalized. I love how Young Audiences was able to address our questions, challenges and concerns very well.”
The teachers ended the day completing sentences on sticky notes that began, “Now I think…” Their statements showed how their opinions about using the arts as a tool for learning had evolved from hesitancy to a feeling of openness and anticipation, writing, “you can use music in all areas of teaching,” and “dance can be a calming technique,” or “movement in story time is helpful to keep children engaged.”
For Maryland’s youngest students, the new strategies will be especially impactful. “Head Start supports our nation’s most vulnerable children by offering a comprehensive, high quality early-learning experience that prepares them for kindergarten and strengthens family participation in their children’s learning,” said Yasmina S. Vinci, executive director, National Head Start Association.
Like any successful renovation, the before-and-after sticky notes showed what can be created when you effectively blend harmonious elements – education and the arts – to capture a child’s natural desire to learn.
By Christa Huber, Arts Integration Coach, Patterson Park Public Charter School
I have been with Patterson Park Public Charter School for six years in various teaching positions in Title I, third grade, the English for Speakers of Other Languages (ESOL) program, and am now the school’s arts integration coach. This year has been a learning process, but also such a positive experience working in partnership with Young Audiences and Arts Every Day.
It was a personal goal for me to transition Patterson Park Public Charter School into becoming an arts-integrated school. I wanted to maximize our artist-in-residence programs with outside artists as much as I possibly could this school year. We believe in the strength of the impression that residencies make upon students and teachers. All of the work that comes out of a residency versus a day-long field trip makes such a difference. Residency programs allow students more time to engage with and learn from the artists. This exposure to artists is also important for the teachers because it provides a longer period of professional development so that they can learn skills and strategies that they can carry out in the future.
We had a fantastic variety of Young Audiences artists out to our school this year. These artists included: spoken word poet Femi the Drifish, ceramic visual artist Amanda Pellerin, Baltimore Improv Group, Flamenco dancer Anna Menendez, and more. These programs were made possible through Access for All grant funding from Young Audiences and funding from Arts Every Day.
We spread the residency experiences across different grade levels of the school. It was very helpful having the Young Audiences artist and program information online because it allowed me to search for artists that matched and linked to the content areas that our teachers were looking for.
There were a variety of stand-out experiences from our residencies, but here are a few:
- Femi the Drifish worked with our middle school students in Language Arts. A great thing about that residency was the response we received from students who typically are not comfortable with performing in front of people. By their culminating performance, those students in particular were the ones to stand up and share their poetry with strength.
- The third grade worked with Amanda Pellerin to create an Ancient Egyptian mosaic. This piece of work related to their study of the ancient civilization. Mr. O’Connell, our third grade science and social studies teacher, was blown away by how Amanda challenged the students to do their best work in a really positive way. We’re very excited to have that piece of artwork as a permanent fixture in our school.
- Anna Menendez brought some of the Spanish culture into our school. Some of our middle school students had just returned from a trip to Spain during spring break, so this residency was another way to connect with what they learned and saw on their travels. It also provided a relatable experience for the students who didn’t have the chance to travel to Spain.
I have personally seen the impact that residencies have had upon teachers compared to other arts-related experiences. I believe that having artists at Patterson Park helped our teachers develop a great deal. Artists exposed teachers to new art forms that they may not have had any experience with, such as spoken word poetry or improvisation, and gave our teachers opportunities to learn how to tie these art forms to the curriculum.
One of our charter school philosophies is that children learn best through hands-on activities with interdisciplinary and semantic learning models. Arts integration is at the core of our values and it naturally makes sense for Patterson Park.
In a recent blog post for the Washington Post, Alvin Crawford, CEO of Knowledge Delivery Systems, addresses fundamental issues with the current professional development offerings for educators. He cites a 2009 report which found that “when asked about their experience in professional development, ‘most teachers reported that it was totally useless.’” The substantial financial investment the U.S. makes in teacher development ($2.5 billion in 2012 according to U.S. Secretary of Education Arne Duncan) is not meeting the needs of many teachers, or in turn, students.
The Teaching Artist Institute (TAI), did not set out to be a teacher professional development program, but as the program starts its eighth year this fall, it is clear that it is succeeding where many traditional professional development workshops are not. TAI also has gained attention for how it provides teachers with creative and natural tools for implementing Maryland’s Common Core College and Career-Ready Standards through the arts.
TAI is a statewide program made possible through the partnership of the Arts Education in Maryland Schools Alliance, the Maryland State Arts Council, and Young Audiences/Arts for Learning. It was founded to train teaching artists to create curriculum-aligned arts programs for classrooms. Since its start in 2007, the program has graduated more than 110 artists and has repositioned the role of artists in education in Maryland. Teaching artists were once perceived as performers—able to entertain, and perhaps share another culture with students—but they were a distraction from the school day, a break from the classroom. Through TAI, artists have demonstrated the value they bring to the classroom as educators.
TAI-trained artists are critical partners to teachers of any subject, using their art form to creatively address the ever-changing curriculum and standards to which teachers are held accountable. TAI fosters partnerships between teaching artists and teachers, requiring artists to collaboratively plan and teach with an assigned teacher. Through this collaboration, teachers experience the gifts a teaching artist brings to the classroom and learn how the arts can be used to engage children in learning. While TAI was not created for teachers, teachers report it improves their own practice of arts integration and reinvigorates their passion for teaching.
In his post, Mr. Crawford shares what teacher professional development needs to entail to be effective for teachers and to positively impact student achievement:
Teacher development studies…have shown over and over again that simply exposing a teacher to a new concept or skill has little to no classroom impact because most professional development opportunities for educators are still lecture style – telling, showing, and explaining how something can be done.
And when the “learning” is finished, we push teachers back into the choppy waters of their classrooms without so much as a life preserver; they’re given very little or ineffective ongoing support from their district.
To be transformative, strategic professional development needs to be 50 hours or more plus less formal and ongoing interaction and peer engagement to refine skills and model successes. It must also be tailored by subject, grade level and type of student.
By developing an effective training program for artists, TAI has also grown to offer a professional development opportunity for teachers which fits Mr. Crawford’s definition of “transformative.” The 70-hour TAI Seminar begins with a three-day workshop, which includes sessions led by master teaching artists and opportunities for participants to develop and share their knowledge in small groups. Pairs of artists and teachers then work independently during the course of several months to co-create an arts residency program which integrates the artist’s expertise with the curriculum and to test and refine their new program by piloting it with students in the teacher’s classroom.
While TAI was not designed to address the teaching practice of educators, it continues to build a community of impassioned artists and teachers who want to work together to transform teaching and learning through the arts.
Learn more about the TAI program and see photos from the 2014-2015 TAI Seminar. Listen and read recent reporting by WYPR, Maryland’s public radio station, on how TAI teacher and artist participants are creatively addressing Common Core through the arts: Meshing Common Core and Arts Standards and Arts and Common Core—a Natural Fit.
By Grace Galarpe, Baltimore City Public School teacher
When I got involved in the Young Audiences and Baltimore City Public Schools 22nd Century Pioneers Arts-Based Summer Camp, I wasn’t sure if I was in the right place at first. Even though I’ve seen arts integration in the news, this summer was my first time really working with it. It was my first time working with Young Audiences, too, so when they told me that this program was all about arts integration, I was curious to learn more.
As a high school teacher, I’ve had the opportunity to collaborate with other core subject teachers before, but a collaboration with an artist? This was my first time and the idea interested me. In the past, I’ve used the arts in my classroom in the sense that we would sometimes draw or dance or sing. If I did incorporate the arts, it was separate. These activities would be after instruction or after school. The program this summer, where arts integration happened within the instruction, used a completely different method.
I was paired with Valerie Branch, a dancer. Before Valerie and I started teaching, we did lesson planning. Looking back, we consider this the biggest factor in our success because the planning helped us gain a greater understanding of how we would integrate the arts into our lessons.
I was very fortunate because both of us took the program very seriously. We would do thorough planning and would really talk about what was going to happen the next day and the next. Everything that Valerie and I accomplished this summer was possible because we had time to plan together. I wasn’t just going into a classroom where I would do everything by myself; it was a partnership.
Our lessons weren’t always perfect, but since the teacher and the artist planned together, we could always reflect and revise–not just one of us, but both of us. We helped and respected each other, and as the summer went by, we became very comfortable with one another. When Valerie and I would sit down together, she made me feel confident about where the arts would come in and how we would make it possible. She made me feel more comfortable with her art form, too, and because of this, I could easily explain the elements of dance to students.
This summer, I realized that a dance activity can be incorporated with a science activity using the same concepts and vocabulary. That was amazing to me. At first, I wondered, “How will my students benefit from this collaboration and integration of the arts?” I now feel that arts integration gives students the chance to learn at a different level because we are able to touch multiple intelligences. I believe that our students achieved a deeper understanding of the science concepts and vocabulary that we taught them due to the integration of the arts into our teaching. They were able to apply what they had learned, not only through science but through dance, too.
Sometimes during the science instruction, students would ask: “Why do we need to learn this?” I would respond that they needed to know the terms and concepts so that we could apply them to our next dance choreography, and then they would get excited. When Valerie would talk about the elements of dance at the same time as the science, the students would be able to perform a dance choreography based on something related to science, such as pollution. That was a really wonderful outcome.
I can now see that if arts integration is a regular part of a classroom, it helps increase academic achievement and positive intervention regarding behavioral problems. I could tell that the arts were a huge help in attendance in our classroom, too, and I was so happy that the students looked forward to our class every day.
The arts also helped create responsibility. For example, Valerie and I decided that we needed to do something that would make the students understand that they had an obligation in the classroom. As a part of our teaching, we did an activity we called “Human Mirror,” which incorporates dance movements that develop a sense of responsibility. It requires listening, following directions correctly, being observant, and an understanding of what it means to be a leader and a follower. This was a great success for our class. I could sense that the students also gained respect for both of us. They called both me and Valerie artists, which surprised me. I was like, “Oh wow, I’m an artist!”
If ever given the chance, I would tell teachers who haven’t used arts integration not to be afraid of co-teaching with an artist. If there were an opportunity for me to be involved in another arts integration program, I would gladly do it. I’ve realized that in programs like this, the artist and teacher can become more than just teachers. I believe that they can do more than just share concepts or explain the academic side of things: they can inspire students’ lives.
By Dr. Sherrie Norwitz, Instrumental String Music Teacher, Thomas Jefferson Elementary Middle
Art and aesthetics are crucial to the foundation of society. Arts education provides children the opportunity to be exposed to–and develop their own–appreciation of beauty in their world. Art is a way to transmit the values of the society. Through the arts, children learn about their community, helping to provide them with a context for their lives within their communities, and become active participants in helping to create their communities. Arts experiences open doors to children, allowing them to say, “I am touched by this. I am a part of this beauty. I created this. I shared my creation. This has meaning to me.”
Sequential education in the arts is a crucial component in a child’s education. Learning about and through the arts gives students ownership of skills and knowledge to become active participants in society through creative expression and communication.
It is important to me for students to experience the integration of the arts across the curriculum and the varying natural connections that are inherent between the arts and their core curriculum subjects. This arts integration approach supports the learning of core curriculum subjects, reaches a wide-range of learners, provides authentic real world experiences that directly involve students in the act of creating, provides opportunities for collaboration, and supports the development of 21st Century Skills through the Common Core and Career Ready Standards.
Through our partnerships with Arts Every Day and Young Audiences, our school community is finding its way in creating a comprehensive arts integration program. With the support of our principal, Ms. Henry, we feel that we have a very strong foundation for our program’s growth and development.
This year we began by extending the arts-integrated approach to learning beyond the artist-in-residence program which we had previously brought to our students. Working with Young Audiences, we created a Resident Teaching Artist position for the year to allow for the continued presence of a teaching artist within our school. Our Resident Teaching Artist, Young Audiences artist Kwame Opare, performed with his ensemble, DishiBem G.R.O.W. during school-wide assemblies, and provided workshops to fifth- through eighth-grade students. Kwame also provided our teachers professional development in arts integration to help answer their questions, provide guidance, calm apprehensions, and worked with teachers during collaborative teaching days to bring arts integration directly to the students in their classrooms.
Partnering with Young Audiences to provide such a variety of programs throughout the year ensured that we incorporated arts integration best practices and included all of our grade levels–preschool to grade 8–in these art experiences. Being an International Baccalaureate School (IB) also helped support our way forward in the interdisciplinary learning of arts integration.
Arts integration and arts-enhanced learning is happening in many ways in different classes. Among our activities, students have drawn Grecian vases as part of their Ancient Civilizations unit, they have dramatized stories through dance, applied music notation to learning fractions, used music to help understand number columns, made connections between literature and music while dancing “The Nutcracker,” and created a paper Freedom Quilt.
We have developed a rhythm of arts integration at Thomas Jefferson. We are working to create an environment where everywhere you look, the arts are happening, where the arts are for everyone at the school and where connections with the arts can be made throughout a student’s day. Having a sense of continuity of arts experiences helps create a feeling of expectation of such experiences for both students and teachers. There is a developing sense school-wide that the arts and arts integration “is what we do.” We look to have the arts not as “special” but as a continuing presence in our daily school life, where learning can take place through the arts. There is something for everyone–for students in all grades covering a variety of subjects, and for teachers to feel supported with our teaching artists and our partnerships with Arts Every Day and Young Audiences.
Artistic energy invigorates the school environment, developing our professional skills as teachers and invigorating learning for students.
Teaching Artist Institute 2013, a set on Flickr.
The 2013 Teaching Artist Institute (TAI) Seminar kicked off with a three-day retreat at Southwest Baltimore Charter School last week. The 2013 TAI class boasts being the largest in the program’s seven-year history. More than 50 teachers, artists, and staff from other Young Audiences affiliates around the country learned how to integrate the arts and STEAM (Science, Technology, Engineering, Arts, and Mathematics) into the curriculum through an arts residency. During the course of the next several months, each artist will work with a classroom teacher partner to co-create an arts residency and field-test the program with students. The TAI program provides valuable professional development training to artists and teachers and aims to foster a community among artists, empowering them to use their talents to inspire students in the classroom.