Professional Documents
Culture Documents
Achievement
The Role of
Performing Arts Centers
in Education
Board of Directors
William Safire, Chairman
Edward F. Rover, President
Edward Bleier
Wallace L. Cook
Charles A. Dana, III
Ann McLaughlin Korologos
LaSalle D. Lefall, Jr., M.D.
Hildegarde E. Mahoney
Donald B. Marron
L. Guy Palmer, II
Herbert J. Siegel
Clark M. Whittemore, Jr.
Jane Nevins
Editor in Chief
Please note:
Acts of Achievement is available in its entirety in PDF format
on the Dana Web site: www.dana.org
Acts of
Achievement
The Role of
Performing Arts Centers
in Education
EDITORS:
Danas focus is on training for in-school arts specialists and professional artists who
teach in the schools. We back up these arts education grants by disseminating information
to arts educators, artists in residence, and schools through our symposia, periodicals,
and books.
Dana has concentrated on local innovations in public education that can be replicated
nationally. In1992 the Foundation established the Dana Center for Educational Innovation
at the University of Texas at Austin to strengthen mathematics and science education.
The Center continues to develop and identify promising educational innovations for
local evaluation emulation across the country.
Our science and health grants support research in neuroscience and immunology. Dana
supports brain research through direct grants and by its outreach to the public, which
includes books and periodicals from the Dana Press; the international Brain Awareness
Week campaign; the Dana Alliance for Brain Initiatives, a nonprofit organization of more
than 200 neuroscientists, including ten Nobel laureates, committed to advancing public
awareness of the progress of brain research; and the Dana Web site, www.dana.org.
Table of Contents
1 Introduction Florida:
Janet Eilber, Principal Arts Consultant, 64 Broward Center for the Performing Arts
The Dana Foundation 65 PACT Inc. (Ruth Eckerd Hall)
67 Tampa Bay Performing Arts Center
3 Executive Summary 68 Van Wezel Performing Arts Hall
Jane L. Polin, Philanthropic Advisor
Georgia:
70 Spivey Hall
10 Artist Residencies
Lynne Silverstein, Arts Education Consultant Iowa:
71 Hancher Auditorium
23 Interview Excerpts
Illinois:
William Safire, Dana chairman, and
73 Urban Gateways: Center for Arts Education
Warren Simmons, executive director of the
Annenberg Institute for School Reform Indiana:
74 Clowes Memorial Hall of Butler University
Case Studies of Performing Arts Centers
Kansas:
(organized by state)
76 The Lied Center of Kansas
28 Arizona: Scottsdale Center for the Arts
Kentucky:
31 California: Cal Performances
77 Glema Mahr Center for the Arts
33 Connecticut: The Bushnell Center
79 RiverPark Center
36 Hawaii: Maui Arts & Cultural Center
38 Kentucky: The Kentucky Center Louisiana:
41 Massachusetts: Jacobs Pillow Dance Festival 81 Jefferson Performing Arts Society
43 Vermont: Flynn Center for the Performing Arts Massachusetts:
46 Washington, DC: The John F. Kennedy Center 82 FleetBoston Celebrity Series
for the Performing Arts 84 The Wang Center for the Performing Arts
A
Were looking for guidelines that include perform-
work with the legendary Martha Graham, ing arts centers.
I remember how, despite her own remark-
able skill, creativity, and independence, she used to Please send us a copy of any and alleven old ones.
celebrate growth through collaboration. I am a The need for facilitating educator/artist/presenter
thief! Martha would announce, barely suppressing collaboration was brought home again. Danas
her delight in provocation. But I only steal from grants and outreach, though relatively new on the
the best. scene, seemed to be filling this gap in arts education
Collaboration with complementary partners (build- funding. But there was a long way to go.
ing on the best) is, of course, no theft at all, but a Danas support of education dates from the
win-win enterprise for all participants. Collabor- Foundations beginnings in 1950. Its interest in arts
ation nurtures those who present the artists work, education began in 2000, with an initiative to
as well as the audiences whose hearts and minds the improve the quality of arts in the schools by train-
artist and presenter intend to touch, whether in ing teaching artists and in-school arts specialists.
performance centers, in the community, or where it
is particularly effective in schools. We have reinforced this mission in several ways.
In 2001, the Foundation held a symposium in
In the rapidly evolving field of arts education, time Washington, DC to explore the options, resources,
and resources are limited. Guidelines and success and best practices available to planners of K-12
stories that enable an educator, artist and presenter schools with an arts focus. The information from
to find ways to exchange ideas and build upon the that stimulating symposium was turned into a free
work of others are hard to come by. Artists and publication, Planning an Arts-Centered School: A
educators responsible for these programs in the Handbook. The demand for the book required a
classroom often lack the opportunity to document second printing of 10,000 copies within three
their experiences, especially for a wider audience. months. Dana also produced or participated in
In fact, part of the impetus for this book came from workshops and panels; established an arts educa-
an innocent e-mail the Dana Foundation sent to tion section on the Foundations Web site; created
friends in arts education: Does anyone have artist The Arts and the Brain for the syndicated radio
residency guidelines? We sought data about direct series, Gray Matters; and began publishing a new
interaction among artist, students, and their teach- quarterly, Arts Education in the News.
ers in a school setting. Our guidelines need updat- The enthusiastic response to these coordinated
ing, we pointed out. Does anyone have a good, efforts spurred the planning of a second national
practical formula? conference, Acts of Achievement, (held April 9-10,
Responses flooded back, showing that we were 2003, at the Dana Center in Washington, DC, and
not alone:
ACTS OF ACHIEVEMENT 1 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
the John F. Kennedy Center for the Performing This book provides several ways to make use of the
Arts) and this companion publication. resources created in conjunction with the 2003
symposium, Acts of Achievement: The Role of
We set a series of specific goals for the 2003 Performing Arts Presenters in Education.
symposium:
The Executive Summary provides an overview;
First, we aimed to address issues which most
even the most seasoned arts education professionals
concern our Dana grantees. Arts providers, presen-
at the conference remarked on the freshness of the
ters, and other arts organizations typically ask:
information exchanged about practical experiences.
How do we involve school leadership in arts The goal of achieving critical mass with a comple-
education? mentary group of participants was not only
reached, but was exceeded. It became a central
How do we develop a symbiotic relationship feature of the event. The summary, written by
between teaching artist and classroom teacher? Polin, reviews this interchange of ideas and is
How do we involve parents and secure grass- enriched by the authors expert observations and
roots community support? recommendations.
The Case Studies and Profiles of arts presenter
What elements make artist residencies in schools
institutions are designed as a practical guide for
successful?
others who are initiating, assessing, refining, or
Our second goal was to build on pioneering work revamping arts education programs of their own.
in this area of arts education. Creating Capacity: A The profiles, which examine the work of presenters
Framework for Providing Professional Development across the nation, offer a variety of curricula and
Opportunities for Teaching Artists, a publication approaches to learning organized to encourage local
prepared by The National Conversation on Artist adaptation and national advancement. The detailed
Professional Development and Training, provided case studies do the same in greater depth.
an excellent foundation. Creative resources such as
Lynne B. Silversteins essay, Artist Residencies:
the Kennedy Centers A Community Audit for Arts
Evolving Educational Experiences, is a step-by-step
Education: Better Schools, Better Skills, Better
guide for educators and artists planning to work
Communities were invaluable.
together for studentsand each othersbenefit.
Finally, we determined that the participants at the Using research, interviews, and insights derived
symposium should represent a critical mass of from the Acts of Achievement forum, this article
diverse members of the arts education and presen- provides ten elements of success for artist residen-
tation communities who could advance this field by cies and an appendix of checklists for each type of
their interaction. participant. The purpose of this essay is to demystify
and illuminate the artist residency process.
These goals shaped the symposium, aided by the
guidance of philanthropic advisor Jane L. Polin, and The participants in the Acts of Achievement
the active involvement of Sandra Gibson (president forumschool administrators, teachers, experi-
and CEO of the Association of Performing Arts enced teaching artists, and arts presentersare the
Presenters), and Derek E. Gordon (senior vice central authors of this book. We hope the reader
president at the Kennedy Center). The wide- will continue this growth through collaboration
ranging effort, under the administrative leadership by taking advantage of the many ideas in its pages.
of Barbara Rich (a Dana vice president with a
doctorate in education) produced a dynamic And for those looking for artist residency guide-
exchange in which many participants explored linesas we at Dana werehere they are. Feel
uncharted areas and generated new ideas. free to make good use of them, refine and adapt
them, and share them with colleagues and partners.
In the Martha Graham tradition, youll be building
on the best.
ACTS OF ACHIEVEMENT 2 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Acts of Achievement:
The Role of Performing Arts Centers in Education
Executive Summary
I
achievement. As partners they are collaborating to
performance of Revelations, the signature work perform acts of achievement for Bobby and many
of the Alvin Ailey American Dance Theater, other students across the nation.
with his middle school class at a local performing
arts center. He is amazed, having never seen any-
thing like this before. How do those guys jump so Audience Development Comes of Age
high in the Sinner Man scene? And why are they At the turn of the 20th century, many music halls,
running? The lighting on stage keeps changing opera houses, and theaters were built across
how do they do that? The gospel music is both America as places of entertainment. For example,
happy and sad; and the sounds remind him of the the Colonial Theatre in Pittsfield, Mass., built in
hip-hop that his older brother often plays. Religion 1903, was typical of a time when almost every
certainly seems to be central in the lives of these community had a showplace like this, a place where
people, and the women appear to be in charge of you could walk in from the street and be transport-
everything. Finally, why does everyone in the audi- ed to a world far removed from the mundane ritu-
ence start clapping rhythmically during the last als of everyday life. (2001: National Geographic
scene, even before the piece is over? Society, Saving Americas Treasures.) These show-
Although the individuals portrayed in Revelations places were deemed magical venues with names
are from a different time and place, they have so like Grand or Tivoli or Majestic. In the mid-20th
much to say to Bobby. These characters are believ- century, the Colonial and similar sites were often
able human beings, not just figures in a video game. reconfigured for the primary entertainment of the
But where do their portrayers come from? And how day: moving pictures.
did they learn to do what they do? Soon he and his As the century drew to a close, another building
classmates actually interview the dancers, who boom throughout the country created large num-
answer some of his questions. Back at school, bers of performing arts centers to serve as homes
Bobby even gets to dance with them, and learns of for local performing arts companies and havens for
the cultural and social conditions of the Deep touring enterprises. Once again, these places
South that inspired Alvin Ailey to choreograph this became vehicles for civic identity. But the evolving
American classic. Afterward, Bobby writes about expectation was that the centers would serve not as
this extraordinary experience for his social studies roadhouses but rather as community centers.
class. While still transporting audiences to faraway places,
The local performing arts center has become a true they would also develop programs that addressed
partner of Bobbys school. They prepared the teach- local needs, especially those involving the economy
ers for this specific performance, but the centers and education. The new performing arts centers
education department staff also provides guidance would now play a critical role in developing a
capable, caring citizenry.
ACTS OF ACHIEVEMENT 3 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Audience development had admittedly been a For the best K-12 education programs established
major preoccupation of these centers leaders, who by performing arts centers, narrowly defined
long recognized that contributionsa vital element audience development was not the focus but rather
were directly related to income earned from the a byproduct. Leaders in the field were now focusing
purchase of tickets and related products. These on student learning.
centers came up with marketing strategies to fill
their halls with arts lovers young and old, but
Acts of AchievementThe National Forum
young ticket buyers were especially desirable;
viewed as institutional annuities, they were people On April 9-10, 2003, leaders from the arts, educa-
who could provide steady income to the perform- tion, performing arts centers, and related profes-
ing arts center over their lifetimes. sional communities participated in Acts of
Achievement, a national invitational forum on
Meanwhile, a crisis in K-12 public education was
performing arts centers in K-12 education.
declared. Ever since the U.S. Department of
Performing arts centers nationwide were also invit-
Educations release a generation ago of A Nation
ed to submit profiles describing their respective
At Risk, educators had been struggling to reinvent
programs. The Dana Foundation sponsored the
schools and raise student achievement. In many
forum, in partnership with the John F. Kennedy
places, performing arts centers joined other school
Center for the Performing Artsa critical national
reformers to improve K-12 public education.
force and resource for increasing student success
Their innovative activities had the added benefit of through arts learningand the Association of
expanding young audiences. The recent report The Performing Arts Presenters.
Capacity of Performing Arts Presenting Organizations
Welcoming Remarks
(2002: The Urban Institute) found that 76.9 percent
of these organizations were using programs and The 145 participants from 25 states who convened
performances for K-12 as an audience-develop- at the Kennedy Center were welcomed by Michael
ment strategy. For organizations with small budg- Kaiser, president; Derek Gordon, senior vice presi-
ets, 69 percent were using this strategy, while 93 dent; and Alma Powell, vice chair of the board.
percent of large organizations were engaged in K-12
outreach. In describing the current and future education pro-
grams of the Kennedy Center, Kaiser noted that at
These activities consisted of more than just selling the heart we think of ourselves as an educational
or subsidizing tickets. As noted in Toward Cultural institution. The Center is heavily involved in
Interdependence: The Fourth Phase of the Performing enriching the lives of children and allowing chil-
Arts in America (2002: Association of Performing dren to express themselves through the arts, he
Arts Presenters), audience development soon said. We believe the audiences will be developed if
grew to have a more complex meaning. Its four we do that work. But our primary focus is on
major aspects were: enhancing the lives of young children.
Establishing new forms of partnership Powell added: I salute you who are here today
Making up for the loss of arts education at every to exchange ideas about the arts for children,
level because it is certainly a very vital part of our
childrens development. Quite simply, the arts
Improving the quality and quantity of teaching are what civilize us.
artists
Involving new audiences by developing new, non-
traditional venues
ACTS OF ACHIEVEMENT 4 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Interview have the two be mutually reinforcing. Based on his
own experience with the Rhode Island Governors
William Safire, chairman of the Dana Foundation,
Task Force on Literacy in the Arts, Simmons cited
provided a brief overview of Danas half century of
the need to map arts resources and school needs;
work in education, neuroscience, and, most recent-
to identify funding and coordination mechanisms;
ly, arts education. To further set the stage for the
and to develop governing structures to ensure
day, The New York Times columnist said:
high-quality practice.
I like the idea of getting the most for your buck in
Safire and Simmons then extended their lively
education. But in the movement to measure, in the
conversation to include the forum audience.
movement to make sure that you can put your
The following issues, among others, were raised:
finger on whats happening to students in school,
we all too often go for the easy-to-measureread- Arts standards
ing comprehension, science, math. This has
Preparation of teaching artists
impressed a lot of budgetary types, but at the same
time it denigrates the power of arts in education The need to gather evidence to improve arts educa-
because you cant quite measure it. tion
Safire then conducted an interview with Warren How the arts can reduce school violence and
Simmons, executive director of Brown Universitys address student fears during crises
Annenberg Institute for School Reform. Their
Career opportunities in the arts behind the
dialogue included:
scenes
The state of urban school reform
Methods for assessing student learning
The importance of participation in the performing
The imperative to build community and financial
arts for all students
support for proven solutions, with public
Standards-based reform and student assessment accountability
The relationship of education to the economy and Curriculum frameworks that can support learning
to other purposes (democratic citizenship, cultural in and through the arts
well-being, individual fulfillment, family and com-
Excerpts both from the interview and the follow-up
munity development), according to Simmons
exchange can be found on page 23.
Direct and indirect effects of the arts on learning
Three Panels
Opportunities to interconnect multiple school
reforms now underway Following the interview, three research questions
each addressed by a panel of expertsframed the
Support systems that include the arts. rest of the days presentations and discussions:
Simmons encouraged the leaders of performing What do you consider to be the critical factors for
arts centers, and other stakeholders, to become success in artist residencies?
part of a larger system that provides continuous
support for [the] arts and other forms of develop- What can performing arts centers do to better
ment as part of school-based and community- prepare teaching artists?
based activities. He also described the building of How can performing arts centers provide more and
such systems as the most exciting opportunity to better professional-development opportunities for
join top-down reform with bottom-up reform and K-12 leadersincluding teachers, principals, super-
intendents, school board members, and others?
ACTS OF ACHIEVEMENT 5 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Panel One: The Role of Artist Residencies Panel Two: The Preparation of Teaching Artists
Ken Fischer, University of Michigan (moderator) Frank Hodsoll, Center for Arts & Culture
Nnenna Freelon, jazz singer and educator (moderator)
James Catterall, UCLA Center for Imagination Ella Baff, Jacobs Pillow Dance Festival
Rob Smith, superintendent of Arlington, VA schools Daniel Bernard Roumain, composer, violinist,
and educator
Because artist residencies are a basic education Libby Lai-Bun Chiu, Urban Gateways
offering of virtually all performing arts centers,
moderator Fischer, University of Michigan, and his During this session, moderator Hodsoll, Center for
panelists examined critical factors for success and Arts and Culture, encouraged his panelists to
explored the evolution of the artist residency from a describe how their own particular work addresses
diversion to a fully integrated learning experience teaching artists advancement.
for students, artists, and teachers. Composer, violinist, and educator Roumain told
As the leader of a high-achieving school system, the forum participants about his own rules and
Superintendent Smith spoke about the importance tools for artist residencies, which involve eight fac-
for children of engaging in life through the arts, as tors: program design, flexibility within the pro-
they do through literature, as they do through gram, a structure that creates a system, the power
mathematics, as they do through scientific experi- of conversation, the connections that provide vali-
mentation, as they do through studies of history dations, relevancy and respect for the participants,
and social science, or as they do through athletics. I goals that generate gains, and the entertainment
believe its part of a well-balanced curriculum, value of the residency. He also observed that fun is
which is a phrase thats not heard a lot these days. fundamental.
The jazz performer and educator Freelon described Baff, Jacobs Pillow Dance Festival, described vari-
lessons learned from her experiences as a teaching ous elements of the Pillows programs that nurture
artist over the past 15 years, and she emphasized teaching artists in dance. These include: the basic
that strong communication is an essential ingredi- desires of the artist; a personalized approach to his
ent before, during, and after the artist residency. or her needs; the development of skills through
You have to allow [students] the opportunity to preparation and practice; the issues of problem-
experience your art and to experience themselves in solving and translation; the replication of individ-
the doing and making of the art as well. Thats how ual efforts to a larger scale; the management of
you really transform lives, which is what I really see broad and multiple concepts; the ability to impro-
myself doing. vise; and the willingness of the curious to create,
regardless of domain.
Researcher Catterall spoke about artist-teacher
partnerships in the context of integrated instruc- As one of the leaders of the National Conversation
tion, and he made several observations about effec- on Artists Professional Development & Training,
tive practice. Catterall described the dynamic Chiu, Urban Gateways, referred to the publication
between the artists and teachers involved (its Creating Capacity: A Framework for Providing
about relationship development [and the] develop- Professional Development Opportunities for Teaching
ment of skills and curriculum in practice), and Artists (2001), which articulates six basic elements
mutual adaptation (a term coined by Stanford of teaching-artist training: philosophy of arts edu-
University scholar Milbrey McLaughlin) for the cation, theories and models of arts education,
partnering institutions. He also noted the current teaching methods and the content of instruction,
gap between arts standards and the testing agenda, collaboration with educators, effective assessment,
and he urged the forum participants to consider
sustainability as a key asset in developing longer-
term partnerships through their artist residencies.
ACTS OF ACHIEVEMENT 6 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
and knowledge of school culture. She also defined a University, described how they can form a spiral of
continuum for the role of the teaching artistpre- success for students, particularly minority and
senting artist, interacting artist, collaborating artist, poor students, and especially those with language
and master instructional artistand described how deficiencies. He said that teachers should know
the healthy child concept and the encounter, what it feels like to be involved in the creative
engage, and reflect methodology help guide Urban process. They should know the joy of making art.
Gateways training programs for teaching artists. Colchado cautioned that you can have a learning
objective and assess that particular objective
Panel Three: Professional Development
without critiquing the entire work of art. He also
of K-12 Teachers
encouraged greater political activism, and endorsed
Uri Treisman, Dana Foundation, Director of the a more influential role for higher education
Dana Center, University of Texas at Austin through curriculum change in pre-service teacher
(moderator) training.
Gail Burnaford, Northwestern University
Jose Colchado, Northern Arizona University Seidel, Harvard Project Zero, noted that under-
standing what students need to know and be able
Steve Seidel, Harvard Project Zero
to do should inform what teachers should know
Within the context of the No Child Left Behind and be able to doand that this basic premise
should not be taken for granted. To stimulate the
The emerging artist residency leap into learning for teachers, Seidel cited the
value of bringing teachers together with artists as
model is an informed partner- fellow explorers of new territories. He decried the
shipa collaborative effort disposable nature of student work when both
teachers and students have much to learn from cre-
of the teaching artist and ating a body of work, as in the portfolio assessment
classroom teacher... model. Seidel also spoke about the need to trans-
form schools from institutions into communi-
federal legislation, moderator Treisman, Dana ties, and pointed out that arts learning can con-
Center, University of Texas, at Austin, asked tribute to this process. A commitment to arts learn-
panelists to comment on the issue of competency ing shows the communitys desire to open the
what do teachers need to know and be able to do in doors and invite people in, both to see your work
the arts?and on how performing arts centers, and to help you do what you do better.
higher-education institutions, and other organiza-
tions can support learning in and through the arts Acts of AchievementThe Book
for these teachers.
Artist Residencies: Evolving
Burnaford, Northwestern University, spoke about
Educational Experiences
the need to understand the work one classroom at
a time. She drew attention to the role of arts In preparing for the Acts of Achievement forum
specialists within schools and raised the issues of and book, we listened to teaching artists, classroom
teacher certification, the expectations for content teachers, and others who work at the local level
knowledge and instructional experience, and the and heard a distinct request for help in doing artist
impact of decisions by state policymakers on cur- residencies. The old modelbasically a
rent and future practice. She urged others to docu- client/customer relationship between teaching artist
ment their work, share proven practices, and pro- and teacherwas changing, but practitioners were
mote collaborative learning among teachers as well unsure how to modify their programs accordingly.
as students. As a result, arts education consultant Lynne
Silverstein was invited to research and write an
Telling the story of his own journey to achievement
through the arts, Colchado, Northern Arizona
ACTS OF ACHIEVEMENT 7 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
essay that would offer practical guidance for the key The K-12 education programs of 66 of these
players in artist residencies: the classroom teacher, performing arts centers are profiled here, and eight
the teaching artist, the arts organization coordina- more are presented in case history detail. The
tor, and the school coordinator. eight are presented in-depth not only for their
acknowledged quality, but also for the range of
The emerging artist residency model is an informed institution and program types they represent:
partnershipa collaborative effort of the teaching
The Bushnell Center for the Performing Arts
(Hartford, CT) is an 84-year old institution in a
...education, both for the mid-sized city.
young and the young at heart,
Cal Performances (Berkeley, CA) is based at a
is one of the best ways to give major research university.
to the community. Flynn Center for the Performing Arts (Burlington,
VT) is serving a largely rural population
artist and classroom teacher, often mediated by the
Jacobs Pillow Dance Festival (Lee, MA) is a nation-
program and school coordinators. Together, they
al professional center focused on a single perform-
try to focus on learning in and through the arts for
ing arts discipline.
young people, whether in a single classroom ses-
sion, a day, a week, or over a much longer period. The John F. Kennedy Center for the Performing
Arts (Washington, DC) is a center addressing both
Silversteins excellent essay, Artist Residencies:
local and national arts education needs.
Evolving Educational Experiences, addresses three
core topics: the instructional purposes of artist resi- The Kentucky Center (Louisville, KY) is operating
dencies; the factors that are critical for artist resi- on both a local and statewide basis.
dencies success; and residency checklists for artists,
Maui Arts & Cultural Center (Kahului, HI) is a new
teachers, arts organization coordinators, and school
center located in a rural setting.
coordinators. This book presents that essay in its
entirety. Scottsdale Center for the Arts (Scottsdale, AZ) is a
16-year old center in a fast-growing metropolitan
A Sampling of Programs: 74 Profiles
area.
The Acts of Achievement initiative was the first
nationwide attempt to document the size and scope Celebrating the Contributions,
of these fast-growing K-12 education programs at and Aiming for More
performing arts centers. Dana issued an open call
and received 138 qualifying profile submissions The explosive growth of performing arts organiza-
from centers located in 37 states. Seventy-four of tionsdance ensembles, symphony orchestras,
them, some serving fewer than 20 schools and oth- theater companies, and othersthroughout
ers serving hundreds of schools, were selected for the 1960s was often made possible with support
inclusion in this book, based on ratings established from the Ford Foundation, the single largest arts
by our advisory committee. funder of the time. The visionary Mac Lowry,
who led Fords arts philanthropy work, saw that
Note the relative youth of many of these. Exactly involvement with the performing arts was a vital
half or 37 were instituted after 1990. Only 20 experience for all Americans and that access to
pre-date 1983, and the remaining 17 were created quality performances should not be an accident
between 1983 and 1990. The rapid development of geography.
of such programs in recent years is clearly the
result of community expectations and political
commitment, backed by new or increased financial
support.
ACTS OF ACHIEVEMENT 8 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
An important mentor to this author, Lowry stressed Center for the Performing Arts, as well as to disci-
the importance of nurturing a partnership between pline-based service organizations. Contact informa-
the local performing arts organization and its com- tion for many of these groups is contained in this
munity. During one of our final conversations books resource listing.
before his death in 1993, Lowry said: Any organiza-
Engage the entire community in the development of
tion that takes the name of a city into [its] name
an arts education program. The strongest programs,
has a responsibility to give to, not just take from,
many of them described in these pages, thrive from
that community. And he believed in particular
the active participation of individuals with diverse
that education, both for the young and the young
backgrounds and experiences.
at heart, is one of the best ways to give to the com-
munity. Launch internships and residencies for teachers and
other educators within performing arts centers.
Performing arts centers, those of long-standing
Residencies, after all, do not need to be limited to
as well as those of recent vintage, are indeed recog-
teaching artists alone. Performing arts centers and
nizing that K-12 education is an enterprise to
their education programs would undoubtedly bene-
which they can contribute in their communities.
fit from the on-site involvement of local teachers,
That investment will yield long-term benefits, for
principals, and others in structured learning experi-
these institutions and their communities alike,
ences.
beyond the short-term gain of filling seats with
young people. Document the learning. As performing arts centers
begin to exchange information on their K-12
To raise the quality and quantity of their K-12 edu- education practices, the ability of teaching artists,
cation programs, performing arts center leaders and teachers, and program coordinators to access a
their partners might consider the following actions significant knowledge base will depend on their
as potential next steps: colleagues elsewhere having communicated their
Utilize A Community Audit for Arts Education: own successes (and disappointments).
Better Schools, Better Skills, Better Communities Build sustained support for these programs through
(2001: Kennedy Center Alliance for Arts Education targeted advocacy efforts. Just as students demon-
Network). This research-based audit tool enables strate their knowledge through performance, per-
groups or even individuals to examine the state of forming arts center leaders and their partners need
arts education in their communities and set meas- to make visible the results of their education pro-
urable objectives for improving available programs. grams to decision makers and opinion makers
Establish relationships with university-based schools school-board and center-board members, elected
of education and schools of the arts, the primary officials, the media, and others.
sources of teachers and teaching artists. The pre-
Through the national forum and this publication,
service and in-service programs of these institu-
Acts of Achievement: The Role of Performing Art
tions can be powerful partners in developing a
Centers in Education celebrates the considerable
cadre of capable professionals for programs both in
contributions of performing arts institutions to
and out of schools. Local colleges and universities
K-12 education in recent years. We are grateful to
can also be a technical resource for evaluation and
them for pursuing or supporting this important
research efforts.
work, and we applaud their own acts of achieve-
Learn from the experiences of others in the field. ment that bring the performing arts into the lives
This publication provides a new tool for that learn- of young people.
ing. Also look to national resources such as the Arts
Education Partnership and the John F. Kennedy
ACTS OF ACHIEVEMENT 9 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Artist Residencies:
Evolving Educational Experiences
A
year, 34 percent of public secondary schools hosted
ues across the nation, we see students chore- at least one short-term residency and 18 percent
ographing and performing compositions hosted longer residencies.ii
guided by professional dancers, teachers learning
methods to help students examine American histo- Such residencies must necessarily be of high quality
ry through theater, aspiring opera singers taking and relevant to schools curricula. As accountability
master classes, future stage managers helping to looms large, administrators and teachers are scruti-
build sets, and the voices of middle school choruses nizing how student time is spent and how activities
rising because of their work with professional jazz align with content standards; they are increasingly
vocalists. Such activities are all becoming increas- concerned with resultswhat students will know
ingly familiar as artists come together with students and be able to do. Arts organizations have respond-
and teachers for the purpose of learning in, ed by developing residencies that rely more and
through, and about the arts. more on collaborative relationships with school-
system administrators, teachers, and arts specialists
The programs that make these activities possible are in order to best reflect the systems priorities and
referred to as artist residenciesdirect interac- ensure success.
tions between artist and students, with their teach-
ers in a school setting. They are developed by arts
organizations in partnership with school adminis- Winning Hearts and Minds
trators and teachers, and they supplement and Residencies have three distinct instructional purposes.
extend schools arts programs. Whether residencies (In practice, however, these same residencies may
consist of one visit or a series of visits across a serve more than one purpose.)
week, a month, or several months, there are basic
principles that apply to them all. To spark students interest in the arts.
This is usually accomplished through performance
Arts organizations have residencies planned by artists in consultation with
arts organizations, which work with teachers and
responded by developing in-school or school system arts specialists to align
residencies that rely more and the performance residencies with applicable stan-
more on collaborative relation- dards and students learning needs.
ACTS OF ACHIEVEMENT 10 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
materials that give students information about the cies have an indirect benefit for teachers, their
artists, the art forms, and the performances they primary focus is on students. The teaching artist
will see. provides instruction using specialized arts tech-
niques generally outside the expertise of classroom
As defined in Creating Capacity,iii the artists who teachers. By contrast, residencies focused on teach-
lead these residencies tend to be both presenting ers professional development (see below), teaching
artists who perform for student audiences, and artists use and share techniques that can be repli-
interacting artists who, through their perform- cated and adapted by teachers.
ances or lecture-demonstrations, make connections
to the curriculum and engage students in pre- or In-classroom instructional residencies focusing on
post-performance discussions or activities. particular art forms are intended to help students
learn the creative process; acquire technical abilities;
Characteristics of performance residencies include: apply the arts process to other areas of study; and
A focus on a topic or theme related to specific goals develop a variety of learning skills (such as practice,
exploration and experimentation, reworking and
A structure with a well-defined introduction, body, revising ideas, getting feedback, and working col-
and conclusion laboratively as well as independently). The residen-
Strategies for engaging students curiosity and cies may be designed for students who have limited
interest experience with the art form or for those who have
achieved a certain level of expertise. The latter take
Guidance to students on what to look and listen for the form of master classes or clinics, and are usually
in the performance planned in collaboration with arts specialists.
Clear, jargon-free language that does not assume In-classroom instructional residencies focusing on
specialized arts knowledge integrating arts with other parts of the curriculum
Instruction to help students learn their roles and meet objectives in both the art form and the subject
responsibilities as audience members area. In addition to art skills, they help develop
students learning skills (e.g., listening and concen-
Opportunities for students to interact with tration), social skills (cooperation and collabora-
performers tion, for example), and emotional skills (such as
Supplemental resource materials (e.g., print, Web empathy). The teaching artists who lead these resi-
site, compact discs) that prepare students and help dencies are collaborating artists or master
teachers extend the learning in the classroom instructional artists.iv In addition to having the
skills to perform and engage students in discus-
Through technology, performance residencies sions, they work in partnership with school
extend their reach to wider audiences of students administrators and teachers to plan and lead
and teachers. Some performance residencies are appropriate instruction and assessment.
broadcast, real time by satellite, to outlying sites
throughout a state, region, or the nation. Provision A schools first experience with a teaching artist pro-
for live question-and-answer sessions gives these vides an opportunity to become acquainted, begin to
hook-ups an interactive component. In addition, develop a trusting relationship, and understand the
online bulletin boards provide forums for discus- potential that residency work holds for engaging
sions among students, teachers, and performing students in powerful learning. When successful, these
artists. initial residencies can lead to invitations for artists
to return for future residencies in which they collab-
To develop students knowledge and skills in the orate more fully with teachers. In addition, arts
arts and/or help them learn other subject areas organizations are using technology to expand the
through the arts. reach of in-classroom instructional residencies.
These in-classroom instructional residencies are These cyberspace instructional residencies are link-
planned with or adapted to student needs identified ing teaching artists with students and teachers in
by participating teachers. Although these residen- distant locations.
ACTS OF ACHIEVEMENT 11 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Characteristics of in-classroom residencies include: Efforts to influence teacher attitudes and refine
practice require time for building relationships
Carefully developed plans to increase students
between teacher and teaching artist, and time for
knowledge, skills, and appreciation of the arts
practice, reflection, and transfer. As a result, pro-
Authentic connections between the arts and other grams focusing on professional development may
areas of study include a series of opportunities within a year and
across years. Professional development efforts are
Strategies that inspire and motivate students also supported by a variety of other activities: study
Hands-on opportunities that develop students abili- groups in which teachers discuss related articles,
ties to use the arts process confidently and creatively
Teaching artists who lead
Use of appropriate art-form vocabulary
residencies are increasingly
Sound educational practices, such as accommoda-
tions for a variety of learning styles and intelli- being asked to...raise teachers
gences, as well as questioning techniques that awareness and enhance their
require higher-order thinking knowledge and skills.
Learning activities that are age appropriate and
interesting to students, clearly related to instruc- videotapes, or books; networking sessions during
tional goals and objectives, and appropriately which teachers share what they are learning; online
sequenced to build students knowledge and skill data banks through which teachers share their suc-
incrementally cessful lessons/units with others within or outside
To build teachers capacity to teach in, through, the school; and action research in the classroom.
and about the arts. Teachers participation in professional development
Teaching artists who lead residencies are increasing- is encouraged by the availability of in-service or
ly being asked to include, or focus exclusively on, university credit and public recognition of their
professional developmentto raise teachers aware- efforts.
ness and enhance their knowledge and skills. Teaching artists who lead professional development
Through professional development, teachers are residencies are called master instructional artists. vi
able to continue using the arts on their own long They have similar skills as presenting, interact-
after the residency is over. ing, and collaborating artists but in addition have
Teaching artists plan professional development pro- the ability to plan curriculum and teach teachers.
grams in collaboration with arts organization pro- Characteristics of professional development residen-
gram staff, school district professional development cies include:
specialists, school arts specialists, or university fac-
ulty. These residencies may include: workshops that Enhancement of teachers knowledge and apprecia-
provide an introduction to the teaching artists tion of the arts
upcoming interactions with students; courses that Demonstration of connections between an art form
provide information and strategies for teaching in and other parts of the curriculum
and through the arts, taking local, state, and nation-
al standards into account; teachers application of A clear focus and careful planning
what theyve learned in workshops and courses to Instructional examples targeted to the appropriate
their classroom lesson/unit planning; and classroom grade levels and aligned with state/local standards
laboratory opportunities in which teachers devel-
op their arts teaching expertise with the teaching Examples of model classroom practice and reflec-
artist acting as mentor.v In some residencies, master tion on that practice
teachers participate as reciprocal mentors for teach-
Active teacher involvement
ing artists.
ACTS OF ACHIEVEMENT 12 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Opportunities to raise teachers levels of confidence the residencys purpose and that their understand-
and comfort about including the arts in their teach- ings are consistent; teachers have plenty of time to
ing plan with residency artists; the teachers are the
learners and the artists are the sole teachers.
Resource materials to guide classroom practice
2. Focus on Student Learning Needs.
Accommodations for the needs of teachers as adult
Although the teaching artist is fundamental to the
learners vii
residency experience, residencies are student-cen-
tered, not artist-centered. Regardless of the residen-
The Elements of Success cys purpose, school objectives for student learning
are the priority. Teaching artists and arts organiza-
Ten factors are key to successful artist residencies: viii tions residency plans, responsive to those needs, are
1. Begin with a Reality Check. drafted with results in mind: what will students
Teachers, artists, and arts organization coordinators know, be able to do, and appreciate as a result of
all bring assumptions and misconceptions to the participating in the residency? And during that resi-
table. Some beliefs have developed from negative dency, the focus remains on the studentswhat
encounters, while others have little foundation in information they need to learn or skills to develop;
personal experience but are simply accepted as true. how well they are learning; and their degree of mas-
Residencies are most successful when planners take tery, level of confidence, and engagement with the
their partners assumptions and misconceptions work. Even in professional development residencies,
about residencies into account; an understanding of the focus is still on student learningwhat do
the various perspectives allows planners to antici- teachers need to know, be able to do, and appreciate
pate problems and develop strategies for addressing to help their students learn?
them.
Although the teaching artist
The following assumptions and misconceptions,
is fundamental to the residency
not uncommon among teachers, should be
addressed: talent is mysteriously bestowed on experience, residencies are
some individuals rather than the result of learning, student-centered, not artist-
practice, commitment, and hard work; in a
teacher/artist collaboration, the artist alone is the
centered.
creative expert; residencies are fun but do not
provide real learning; artists get students overex- 3. Have Clear Purposes and Set Achievable Goals.
cited and ruin carefully established classroom prac- Successful residency programs are clear about their
tices. purposesto spark students interest, build stu-
dents knowledge and skills, or develop teacher
Artists and arts organization coordinators also capacityand the partners jointly set realistic goals
come to residencies with assumptions and miscon- both short- and long-term. Meeting short-term
ceptions, which participants must deal with if they goals provides a sense of accomplishment and
hope to be successful in their collaboration. Artists progress, and gives impetus to future work.
may assume that: participating teachers already see Meanwhile, keeping an eye on progress toward
the value of residency for their students; teachers long-term goals supports thoughtful planning, self-
do not participate in the classroom because they do assessment, and reflection; it also acknowledges and
not care about the residency; their residency is the respects the amount of time required for programs
teachers or school administrators foremost con- to grow and mature. Having clear intent and setting
cern; school schedules and routines are require- achievable goals imbues the arts organization and
ments for teachers but not for artists. Arts organi- its school partners with a common vision, helps to
zation coordinators may assume that: residency guide program decisions, and serves as a basis for
artists and teachers already understand and support evaluation.
ACTS OF ACHIEVEMENT 13 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
4. Assure Effective Leadership and Support. Effective coordination and communication result
Successful residency programs are guided by leaders in the residency artist feeling welcome at the school
in arts organizations, schools, and school systems from Day One. Instead of facing blank stares upon
who are personally committed to the residency arrival at a school, the teaching artist finds admin-
work, can articulate the programs benefits to a istrators, teachers, school secretaries, parents, and
variety of constituencies, and can ensure an appro- school custodians who know the purpose of the
priate level of financial support. Effective leaders work, want to see the program succeed, and are
play various roles: visionary, strategist, facilitator, willing to help ensure that the residency runs
organizer, and taskmaster. smoothly. Effective coordination and communica-
tion allows students, artists, and teachers to be
As visionaries, leaders understand the programs focused so that learning is maximized.
potential and what the partners can ultimately
achieve. They motivate key people to give time and 6. Emphasize Teacher Participation and Teacher-
resources to support the work that will become an Artist Collaboration.
integral part of each organizations plans. As strate- Successful residencies rely on the active involve-
gists, leaders develop both long- and short-term ment of teachers in planning, implementation, and
plans; aim at targets of opportunity as they arise; evaluation. Teachers willingness to participate is
clearly identify the pluses and minuses of various increased when they:
plans; anticipate obstacles and proceed accordingly;
Have a role in determining the residency focus and
and devise ways to institutionalize the residency
selecting the artist
programs in the school, school district, and arts
organization. Understand the benefits of the residency for stu-
dent learning
As facilitators, leaders take into account all points
of view and balance multiple needs; ensure joint Are invited, rather than assigned, to participate
action on key decisions so that every partner has a
Help plan the residency focus with the teaching
stake in carrying out the work; know how to seek
artist
input from, and provide support to, all involved;
and enjoy the trust and respect of all partners. As Understand and agree to their roles and responsi-
organizers, leaders have a grasp of the day-to-day bilities
workings of residencies and arrange for systems
that allow them to run effectively while keeping Are asked to provide continual feedback to the
everyones efforts coordinated. As taskmasters, lead- teaching artist about the residencys progress
ers are persistent in holding individuals accountable Play a role in documenting the residency
for turning plans into realities.
Enable the teaching artist to plan ways to assess
5. Implement Careful Coordination and Effective student learning
Communication.
Although maintaining coordination and communi- Assist in evaluating the residency
cation is a nuts-and-bolts job, it has powerful and Teacher participation is positively influenced by the
far-reaching consequences that can enhance or availability of well-conceived, appropriate resource
undermine a residencys success. The arts organiza- materials that help teachers prepare students for
tion and school coordinators must work together to residency experiences, lead lessons between artists
maintain regular contact, solve unanticipated prob- visits, and guide pre- and post-residency activities.
lems, and provide overall support to the artist and Similarly, residencies benefit from involving school
participating teachers. Whether school coordinators arts specialists (when available) in the project; their
are teachers, administrators, or parents, they are the expertise and leadership are valuable additions. ix
artists ambassadors to the school. As such, their
ability to set a positive tone and work collegially
with all involved is critical.
ACTS OF ACHIEVEMENT 14 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Teacher-artist collaborations have powerful effects Planning for systematic feedback and collection and
on attitudes as well as on instruction. When review of data is critical. Regular assessments help
teachers and artists work together with mutual residency programs determine to what extent the
respect, they develop relationships in which they content and skills that artists thought they were
are valued colleagues who benefit from each others teaching were indeed learned. Results help shape
advice and support. On a more personal level, instruction. Securing these assessments can be as
teachers and artists report that collaboration simple as embedding questions to students within
decreases feelings of isolation; they each appreciate lessons, making informal observations, or conduct-
company on the journey. ing interviews with students or parents.
ACTS OF ACHIEVEMENT 15 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Similarly, the impact of professional development dents and teachers numerous opportunities to
residencies is enhanced when artists work with a reflect on and improve their work. Teaching artists
critical mass of teachersa subset of the faculty care deeply about young people and their instruc-
from one school. This allows teachers to support tors, are enthusiastic about working with them, and
each other by working collaboratively in their seek ways to empower them. Teaching artists have
school thereafter to make a large enough improve- respect for teachers as professional colleagues who
ment in practice that it attracts the attention can play an important role in bringing the arts to
and support of teaching colleagues and school students. They work collaboratively and collegially
administrators. with teachers, invite feedback, and make appropri-
ate adjustments to residency plans based on that
In addition to having fertile ground in which to feedback. The teaching artist works with the part-
plant the residency, linking individual visits into nering teacher to plan for and assess student
series, and working with core groups of students or progress, and uses assessment results to further
teachers, impact is obviously influenced by pro- improve the teaching plan.
gram qualityboth in artistry and teaching. In that
spirit, there is growing recognition of the need to
provide professional development for teaching Making the Arts Central to Learning
artists themselves. In sum, artist residencies are designed to meet one
10. Work with Artists Who Have Expertise both in or more purposes: to spark students interest in the
Their Art Form and Teaching. arts through performance series, to develop stu-
In addition to manifesting artistic excellence, resi- dents knowledge and skills in and through the arts
dency artists must be well versed in teaching and be by means of in-classroom instruction, and to devel-
able to establish positive relationships with students op teachers capacity to include the arts in their
and teachers. teaching with the aid of professional-development
efforts.
Successful teaching artists are clear about the pur-
pose, goals, and objectives of the residency and are As residency purposes vary, so too, do the skills
well-prepared. They are familiar with related cur- that artists need to lead them. Arts organizations
riculum and content standards and are able to that offer residency programs thus recognize the
design residency sessions and assessments, under- critical need for the continuing professional devel-
stand students developmental stages, use question- opment of teaching artists.xi Many arts organiza-
ing strategies that engage students in higher levels tions are working on their own or in collaboration
of thinking, motivate and actively involve students, with school systems, arts service organizations, or
and effectively manage student behavior (whether universities to develop initiatives for strengthening
as audience members or in the classroom). The the knowledge and skills of experienced teaching
artists participate in professional development pro- artists as well as of artists who are new to residency
grams that assist them in furthering their under- work.
standing of education, and they keep up with cur- Residency programs that have clear purposes, and
rent research in various theories and models of arts that rely on the expertise of skilled teaching artists
education.x who work in partnership with teachers, can con-
Teaching artists possess positive attitudes. They tribute greatly to making the arts central to learn-
encourage the expression of ideas, are open to dif- ing. As education reform efforts open doors, arts
ferent points of view, have a sense of humor, and organizations must be ready and clear about what
are optimistic, flexible, and patient. They have high artist residencies can accomplish and certain about
expectations and throughout the residency give stu- the skills of those they entrust to implement their
programs.
ACTS OF ACHIEVEMENT 16 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Appendix to Artist Residencies
Artist Residency Checklists
ere are four checklists,xii one each for arts
H
3. Meet with the principal, school coordinator,
organization coordinators, artists, teachers, and other key individuals (e.g., parents, arts
and school coordinators. The checklists are specialists) to:
written for in-classroom instructional residencies Do a reality check; ensure understanding and agree-
and should thus be adapted to meet the needs of ment about the residency purposes and procedures.
performance residencies or professional develop-
ment residencies. Discuss/clarify coordinators responsibilities.
Ask the principal to make arrangements for inter-
Checklist for Arts Organization ested teachers to self-select for residency participa-
Coordinators tion. (As the residency progresses and news of its
success spreads, other teachers will ask to be includ-
1. Select Residency Artists ed the next time).
Establish criteria. Observe artists doing what they Agree to use the best methods for communication
will be hired to do. Invite other teaching artists in among principal, arts organization coordinator,
your program to help assess their work. school coordinator, artist, and teachers.
2. Secure commitments Discuss the value of the artist working with core
groups of students and how it impacts scheduling.
Begin early. School budgets and plans are often set
during the winter/spring of the previous school year. Confirm planning time for teacher and artist.
Consider possibilities for leveraging time through
Identify school partners and plan residency pro-
schedule adjustments or other methods.
grams that meet their needs. Some schools may
apply to participate; applicants should describe Provide time during the residency for teacher and
school needs and how a particular residency will artist to engage in ongoing dialogue to evaluate how
help them address those needs. well the residency is meeting their objectives and to
plan adjustments.
Sign letters of agreement with school administra-
tors that outline respective school and arts organi- Plan for a school-wide orientation to clarify resi-
zation responsibilities, and indicate the residency dency objectives and activities.
artist, the residency program, the date and time.
Arrange for principal to attend residency activities.
Assume change in school staffing. Before the new
school year, check to see if the same teachers and 4. Do a Reality Check with Artists
administrators with whom you signed letters of Ensure that artists understand the residency pur-
agreement, are at the school. If there is a new princi- poses and plans.
pal or new teachers, provide information and garner
support. If necessary, sign a new letter of agreement. 5. Attend to Residency Content
Prepare a list of responsibilities for the school resi- Share your expectations with artists about residency
dency coordinator; discuss with principal the quali- design.
fications for the school coordinator; ask principal to
Review and provide feedback on residency plans.
designate the coordinator.
Assist in further development, as needed.
ACTS OF ACHIEVEMENT 17 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Observe residencies in progress. Determine to what 10. Provide Professional Development
extent the instruction correlates with initial and Opportunities for Teaching Artists
revised plans.
Plan and implement orientations for residency
6. Arrange for Effective Communication artists.
Prepare a summary of residency information. Assess artists needs and create appropriate profes-
Include such things as residency title, artist name, sional development opportunities that draw on the
residency dates, and contact information for partic- expertise of master instructional artists within your
ipating teachers, arts organization coordinator, and program, the school district, or universities.
school coordinator. 11. Plan and Implement Program Assessment
Agree to the best methods and timing for commu- and Evaluation
nication. With school partner, plan appropriate evaluation
Contact school coordinator regularly about residen- measures that collect information from a variety of
cy needs and progress. perspectives.
Encourage participating teachers, school coordina-
7. Attend to Logistics
tor, and artist to self-assess their work in the resi-
Discuss logistical needs with artist and communi- dency program.
cate them to school coordinator.
Review and analyze self-assessments and other eval-
Check back with school coordinator to determine if uation results with school partner.
there are any problems in securing needed
Hold a post-residency evaluation discussion with
resources/materials/equipment.
the artist. Invite the artist to talk about his or her
Review schedules prepared by school coordinator. self-assessment and together review evaluation
results. Discuss ways to improve the residency.
Arrange for timely payments to artists.
Communicate evaluation results.
8. Be Visible and Helpful
ACTS OF ACHIEVEMENT 18 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
the related content area. If the residency focuses on Get contact information from arts organization
integrating the arts with another subject, clarify that coordinator for all key people.
the arts are disciplines with content and skills that
are learned along with other curriculum content. 5. Invite Feedback on an Ongoing Basis
Develop realistic plans. Regularly assess with teachers how the residency is
progressing. Invite teacher observations about both
Identify ways to work with teachers in assessing class and individual-student progress; adjust plans
student learning on a steady basis. as needed.
Find out if there are students with special needs. Regularly invite questions from teachers.
Determine if any accommodations are needed.
6. Document the Residency
Discuss your expectations for teacher participation.
Will the teacher be expected to: participate with the Make plans with teachers, school coordinator, and
students, provide feedback about student progress, arts organization coordinator for ways to document
document the residency, help assess student learn- the residency. Select together the most appropriate
ing, help with classroom management/discipline, plans and agree to responsibilities.
and lead agreed-upon activities between artist visits?
7. Respect Established School Procedures
Find out about established classroom rules and,
Learn about the school procedures (e.g., bell
if appropriate, discuss needed adjustments.
schedules, lunch times, security sign-in at the
Develop resource materials for teachers or students school, parking) and respect them.
that will help them prepare for the residency as well
Follow school schedules.
as lead or participate in learning activities between
and after residency sessions. 8. Participate in Residency Evaluation
3. Get to Know the School; During the residency, keep notes about what
Attend to Logistics activities worked well and how they could be
Get an orientation to the school facility and check strengthened.
the residency locations. Prepare a self-assessment of your residency.
Meet key people. Introduce yourself to the school Discuss it with the arts organization coordinator.
residency coordinator, the school support staff who Complete residency evaluations.
are important sources of information to others in
the school, and also the school custodian, who can
help you with access to rooms, equipment, and Checklist for Teachers
materials.
1. Do a Reality Check: Clarify Expectations
Confirm schedules and requirements with school
Compare your understanding of the residency with
coordinator. Check back regularly with school
that of the artist.
coordinator and teachers for schedule changes.
2. Assist in Residency Planning
Recognize that teachers are extremely busy.
Whenever possible, arrange for logistical details Get acquainted with the artist. Start by introducing
on your own. yourself.
4. Communication and Coordination Assist in planning residency goals and objectives
that meet student learning needs; identify possible
Make plans with school coordinator for the most
curriculum connections.
effective ways to provide residency information to
teachers, school administration, office personnel, Suggest ways to assess student learning throughout
and support staff. the residency.
ACTS OF ACHIEVEMENT 19 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Share information about students with special 6. Provide Feedback to the Artist about
needs. Discuss appropriate adaptations. Student Progress
Describe classroom rules and expectations. Find Share your observations about how the residency is
out if the residency work will require adjustments progressing (i.e., what students understand, where
to rules. they need further explanation).
Clarify your role during the residency. What type 7. Make the Residency Visible
of participation is expected: Participating with
students? Helping students make connections to Plan ways to make the residency visible to other
other areas of study? Leading activities before/ teachers as well as to parents and the community.
during/after the residency? Documenting the Think about which residency stories are signifi-
residency? Helping assess student learning? cant to tell and to whom to tell them.
Assisting with classroom management? Select ways to document the stories (e.g., photo-
Discuss schedule and logistics. graphs, videotaped interviews with students,
descriptions of lessons and interactions, journals in
3. Attend to Communication and which students record experiences at each session).
Coordination
Determine the most appropriate ways to tell the
Confirm with school coordinator that other teach- stories (e.g., a bulletin board message center
ers, school administration, office personnel, and about the residency, letters to parents describing
support staff are informed about the residency. what their children are learning, invitations to
Get contact information for all key people. attend special residency events, a post-residency
showcase of student work accompanied by descrip-
Check back regularly with school coordinator and tions of the learning that resulted in the work,
artist about schedule changes. articles for school or school-district newsletters).
Arrange to meet regularly with the artist to discuss 8. Get Something for Yourself
residency progress.
Document what you are learning throughout the
4. Make the Most of the Time that Students residency. Take notes about each lesson, the skills
Have with the Artist taught, the processes used, the vocabulary. Reflect
Prepare students for the residency. Provide infor- on how you might use this knowledge in your
mation about the artist; explain the purpose of the classroom in the future.
residency, and what students will learn.
9. Participate in Residency Evaluation
Maximize teaching time with artist by preparing
During the residency, keep notes about what
students and having the room set up before artist
activities worked well, what didnt, and how they
arrives.
all could be strengthened.
If the residency is not conducted in the classroom,
Do a self-assessment of your role in the residency;
bring your class to the location prior to the start
review it with the arts organization coordinator.
time so that the work proceeds on schedule.
Complete residency evaluations.
Clean up and re-set furniture after the artist leaves.
ACTS OF ACHIEVEMENT 20 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
2. Plan with Principal and Arts Organization 5. Be the Artists Ambassador to the School
Coordinator
Get to know the artist. Introduce him or her to
Review your responsibilities related to residency school staff and members of the community
coordination. through a variety of means (e.g., meet-the-artist
reception, orientation session at staff meeting).
Help plan the residency schedule.
Maintain a positive tone.
Agree to best methods for communication between
you and the arts organization coordinator with Keep tabs on how things are going. Anticipate
the artist. problems and find creative solutions to address par-
ticipants needs.
Assist principal in making arrangements for
interested teachers to participate as a result of 6. Help to Make the Residency Visible
self-selection rather than assignment.
Develop plans with the artist, teachers, and arts
Aid principal in making arrangements for artist- organization coordinator to make the residency vis-
teacher planning time before the residency. ible to other teachers, parents, and the community.
Consider possibilities for leveraging time through Help select residency stories that are significant
schedule adjustments or other methods. and decide to whom to tell them.
Facilitate arrangements for ongoing artist-teacher Create ways to document the stories (e.g., photo-
feedback and planning during the residency. graphs, videotaped interviews with students,
3. Draft Schedules and Arrange descriptions of lessons and interactions, journals in
for Logistics which students record experiences at each session).
Speak to arts organization coordinator and artist Determine with others the most appropriate ways to
about scheduling, space, and materials needs. Draft tell the stories (e.g., a bulletin board message cen-
schedule. Make arrangements for appropriate space ter about the residency, letters to parents describing
and materials. what their children are learning, invitations to
attend special residency events, a post-residency
Orient artist to the school facility and residency showcase of student work accompanied by descrip-
locations. tions of the learning that resulted in the work, arti-
Provide information to artist about school cles for school or school-district newsletters).
schedules and protocols. 7. Participate in Residency Assessment and
Check with artist about needs throughout the Evaluation
residency.
Keep notes about what went well during the
4. Communication: Keep Everyone Informed residency, what didnt, and what aspects would
Before and Throughout benefit from changes.
Make plans for a school-wide orientation to inform Do a self-assessment of your work as coordinator.
everyone about residency objectives and activities. Review it with the arts-organization coordinator
and your principal.
Keep everyone at the school continually informed
about the residencys progress. Complete residency evaluations.
Update participating teachers about schedule
changes.
ACTS OF ACHIEVEMENT 21 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Artist Residencies Notes
ACTS OF ACHIEVEMENT 22 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Interview Excerpts:
Simmons and Safire
Excerpts from an interview by William Safire, you hold schools accountable for achievement that
chairman of the Dana Foundation, with Warren spurs on the economy, I think you tend to focus on
Simmons, executive director of the Annenberg subjects that are directly related in our minds to
Institute for School Reform, Brown University. economic well-being, which leads you to mathe-
The interview was the keynote at the sympo- matics and reading.
sium, Acts of Achievement, April 10, 2003. There are other purposes that people are attending
to, and have always attended to, in education.
Education should be an effort that strengthens our
William Safire: How do you see the study of, democracy; that should equip citizens with the
or the participation in, the performing arts in a skills they need to participate effectively and make
school? How does it help a student do better in informed choices. Education should contribute to
school? Or does it? cultural well-being; it should allow us all to feel we
can not only participate in our mainstream culture
Warren Simmons: I think theres lots of evidence
and home cultures, but also help construct that
that the arts have a very positive impact on learn-
culture itself.
ing, but it is not evidence that you can glean from
cheap, large-scale standardized tests. As long as we If we broaden the lens or use multiple lenses,
continue to use large-scale assessments and stan- well make it clearer to people that the arts are a
dardized tests as the primary, if not the sole, basis fundamental discipline for what it means to be a
for determining when learning is occurring, were competent, effective person; and we need to
going to have difficulty showing the impact and emphasize that the arts have both direct and
effectiveness of the arts. I think standards-based indirect effects on learning.
reform, as a movement, began by saying that
large-scale assessments should only be one of the
Safire: How about when you were a student?
indicators, and that there was a need for multiple
indicators and forms of evidence to demonstrate Simmons: By doing work in the arts and progress-
learning. The opportunity now, at the local level ing, it helped me understand that through disci-
at least, is to talk about the indicators and evidence pline, through practice, and through adequate
that you would put alongside of standardized tests support, I could do well in the arts. And that gave
to make the convincing argument that the arts me the confidence and understanding that through
produce learning. discipline, practice, and hard work, I could do well
in mathematics and literacy as well.
Safire: If standardized tests are only a small part of In cognitive science we would call what my arts
the answer, whats the big part? education did was to give me a stronger set of
meta-cognitive skills. The arts helped me under-
Simmons: What A Nation At Risk did was to paint
stand how to monitor, how to be evaluated, how to
the challenge of urban school reformand school
develop my own learning. And by doing so, I was
reform at largeas one that was a threat to the
able to transfer my meta-cognitive skills and aware-
nations economy. While certainly economic well-
ness to my mathematics, to my English language,
being is one important purpose for education, there
or to my social studies.
are others that are equally as important. When you
surface the economic purpose as singular, and when
ACTS OF ACHIEVEMENT 23 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Also, the arts helped me understand that achieve- The performing arts community has to figure out
ment was effort-based, not just ability-based. That how to think about itself and organize itself as part
is, I thought that you had to be naturally good at of a larger system that provides continuous sup-
mathematics. And I wasnt naturally good at mathe- ports for the arts and other forms of development
matics, in part, because I didnt do my homework. as part of school-based activities and community-
But I didnt do my homework because I thought based activities. Its the most exciting opportunity
you had to be naturally good at it. What arts educa- to join top-down reform with bottoms-up reform,
tion emphasizes is you come with some talent, but and have the two be mutually reinforcing.
in order to realize that talent, you have to practice. What I have in mind is what the Rhode Island
Once I understood that in the arts, it was easier for Governors Task Force on Literacy in the Arts did
me to understand that though I was initially strug- on behalf of the state and local communities. First,
gling with mathematics, practice had a good deal to you map the arts resources that are available in the
do with heightening my achievement. communitytheir quality, their quantity, their
natureand you map the needs of the schools.
Safire: Thats the old story of the Texan who was Then you develop funding and coordination mech-
walking down 57th Street in New York City and anisms so that schools, no matter where theyre
says to a little man, Excuse me, can you tell me located and what communities they serve, have
how I get to Carnegie Hall? And he replies, access to support from arts specialists to integrate
Practice, practice. the arts in the schools; and students have access to
arts opportunities out of school in a systematic
Weve got people here who are on the frontlines of
way, not in the episodic way that work occurs now.
getting audiences into performance halls. What can
Thats going to require cities and funders to rethink
they do that will help arts education?
funding streams and how they can be combined,
Simmons: Urban schools are beset by multiple and rethink governing structures so that people in
reform initiatives right now, and Ill give them some school systems and community-based organiza-
labels. There continues to be the current version of tions can align strategic planning. And also rethink
standards-based reform, with an emphasis on all of this based on a vision of what it should look
increased assessment. We have to get all children to like on the ground, not based on a vision of a poli-
high standards. Next, the Gates Foundation is cy maker or researcher, who can come up with a
encouraging many communities to invest in taking vision very quickly, but it wouldnt be customized
large schools and dividing them up into small and suitable in local communities.
learning communities, or creating autonomous
How do you organize communities to get policy-
small schools with inter-disciplinary curriculum.
makers to devote time and attention to this work?
A third strand of work is growing out of the recog-
How do you build evidence that would allow you to
nition that school reform will never be taken to all
improve practice? When I brought together a group
schools if we approach it school by school and
of funders, they realized that one of the mistakes
classroom by classroom. In addition to transform-
weve made in education reform is that weve
ing schools, we also have to transform the systems
invested a lot in evaluation studies. What evalua-
that govern schools.
tion studies do is give a grant to somebody who
The question is not just what kinds of schools do watches what you do for about three years and
we need, but what kinds of school systems. We have never says anything. At the end, they show you all
to think about and help communities build a local the mistakes youve made, which is not a good use
education support system. Not just redesigning the of resources. So what reformers and philanthropists
district as it currently exists with a central office, now understand is that, in addition to doing evalu-
but thinking about all the resources that are avail- ation studies, they need to do documentation stud-
able in the community, and how you create an ies, where researchers work along with practition-
infrastructure that coordinates those resources so ers, and share lessons along the way, so that you
that young people have pathways of continuous can modify practice.
learning, both in and out of school.
ACTS OF ACHIEVEMENT 24 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
MAX TAYLOR PHOTOGRAPHY
Warren Simmons, executive director of the Annenberg Institute for School Reform, and William Safire,
chairman of the Dana Foundation, in discussion during the keynote at the Acts of Achievement symposium,
April 2003.
Safire: I would think that the rise in violence in of me. Academic divisions that cause alienation or
schools cannot be cured by the introduction of lack of efficacy underscore and support violence.
more performance art in schools. I think it would Anything that schools can do to create cultural
be far more deeply influenced by public disapproval well-being and connectedness, especially through
of violence on television, not censorship of it, but the arts, has a positive impact on reducing violence.
just a wrinkling up of a lot of parents noses at kids
watching or playing those violent games on video
Safire: The arts can have an impact on the mood
equipment. But you have a different view?
of schools. Right after September 11th, dancers
Simmons: A complementary view. There are from the Martha Graham Center performed
multiple sources and reasons for a rise in violence Lamentations in New York City schools. The
in schools, and one of them has to do with the Dana Foundation and other foundations chipped
sense of cultural alienation that you have when you into The New York Times Foundation, which went
dont experience efficacy. So, if you are in an envi- out to arts groups, who then sent artists into
ronment where you experience nothing but failure schools to let kids see and participate in dramatic
early on, one response is to withdraw and one performances that helped them confront the crisis.
response is to depersonalize your relationship with
Simmons: What I did not get in my arts education
not only the adults in that community, but also
was an understanding of how I could continue in
with other youth in that community. I think that it
the arts as a profession, even though I wasnt going
is far more difficult to engage in violence when you
to be a performing artist playing the viola. I think
feel effective and when you feel connected. And I
the extent to which we can help children under-
think what the arts do is that they create heteroge-
stand the arts and all of its performance aspects
neous learning communities.
business, political, legalwould allow students to,
When I was in my academic courses, I was usually first of all, make more connections between the arts
the only African-American in the room. When I and other areas of the curriculum. But we would
was in the arts and music and recreational activi- also allow them to see ways in which they can
ties, the community was far more diverse. As a continue to work in the arts, though perhaps not
result, I felt safer and people felt more accepting as a performing artist.
ACTS OF ACHIEVEMENT 25 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Safire: Weve got a question here on funding system to adequately resource those organizations,
this work. because they cant do it with just their grant dollars.
That notion of creating a portfolio of schools that
Simmons: I think what the larger foundations have
works in partnership with community organiza-
done is recognize that their investments have to be
tions is forcing them to rethink the larger system.
made over a longer period of time, and so they have
stretched from three-year grants to five-year grants
and beyond. What they have also recognized is that Safire: What about the use of dramatic and
external funding is no substitute for adequate poetic and musical techniques in teaching other
resources for education. A number of them (foun- academic courses?
dations) are turning their attention to the issue of
Simmons: One of the challenges we face is this
school finance equity. As we approach the 50th
issue of how you create a K-12 developmental
anniversary of Brown vs. Board of Education, I
progression that is not what I would call a curricu-
know foundations that are interested in organizing
lum, but rather a curriculum framework that
national and local conversations about the local
specifies what kinds of learning activities support
vision for schools and education, which occur not
learning through the arts versus learning in the arts.
just in schools, but also in the community. How can
Ive experienced being in the divisive, dichotomized,
that vision be resourced, and what is the local, state,
polarized battle about whether it should be at all
and federal contribution to that effort? Funders had
times learning in the arts versus learning through
this model that if they just invested in exemplars
the arts. I think that it is both, and in other disci-
and demonstrations, then the existence proofs
pline areas, its always been both.
would lead to adequate funding. This has not been
the case, which means that we have to mobilize and Were moving away from the notion of tracking,
organize ourselves to be advocates for adequate but we also have to understand how in the arts you
funding. The existence proof, in and of itself, does- need to have a curriculum framework that helps
nt guarantee the support. Most urban systems and community and school people arrange the learning
schools are inundated with solutions. So, one issue activities. At all levels, we need to provide some
is how do you build a consensus about prioritiza- activities that are relative to the core curriculum of
tion, given limited resources? learning through the arts, while also allowing for
the existence of learning in the arts.
Safire: You touched on something earlier of what I dont understand why this is easier for us to think
presenters and people who are interested in the arts about in sports than in almost any other discipline.
can do for education. And that is to rally communi- If you think about the sports infrastructure, you
ty support for greater public support of the schools. have opportunities for students in elementary,
middle and high schoolboth in school and out
Simmons: I would say its a rallying of community
of schoolfor people who are very talented to get
support for a new vision of learning, and the need
very intensive recreational support and develop-
to not only transform schools, but also examine all
ment. At the same time, we give opportunities to
community resources. I think thats what New York
those who have the interest, but not necessarily the
City is on the verge of doing. If you look at their
talent, to continue to engage in sports at any level
small schools effort, they are attempting to design
of interest and ability for the rest of their lives,
small schools that are operated in partnership with
on into adulthood. Those kinds of infrastructures
community-based organizations. Now they realize
exist. Somehow, thats easier for us to figure out
in order to pull that off, they will have to have a sys-
how to do with recreation. We get into battles when
tem for identifying community organizations that
we think about the same kind of infrastructures in
have the wherewithal to operate either individual
mathematics, science, and certainly in the arts.
schools or networks of schools. They have to have a
ACTS OF ACHIEVEMENT 26 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
CASE STUDIES
Following are in-depth examinations
of eight Performing Art Centers
and their role in education.
ACTS OF ACHIEVEMENT 27 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Scottsdale Center for the Arts Center approached the tribe as an apolitical entity
offering an intercultural project to bring Native
Scottsdale, AZ www.scottsdalearts.org
American and Scottsdale students together through
Circus Arts. Out of that humble beginning, a com-
School districts served per year: 15
munity dialogue between city and tribal officials
Elementary schools served per year: 38 has been established.
High schools served per year: 18
Over time the Circus Arts project has grown. Today
K-12 students served per year: 31,000
teaching artists work with every student at Salt
River Community schools in residencies of three to
eight weeks, during which students develop original
The mission of the Scottsdale Center
writing and photography, compose and record
CASE STUDY
summer programs. Last year 130 neighborhood Cultural Connections Through the Arts
youngsters, ages 6-18, participated on multiple
The startling recognition that fear of each other is
occasions in 11 workshops (each of them three to
common to white Scottsdale and inner city Phoenix
six weeks in length) in mask making, theater, art,
students alike motivated the Center to develop its
dance, and creative writing. Parents remark how
signature program, Cultural Connections Through
these workshops build a sense of self-worth and
the Arts. The year 2003 marks the 13th season of
cultural pride in youth who, away from the country
this program in which the arts promote racial toler-
of their birth, frequently feel disenfranchised.
ance, multicultural understanding, and friendship
Within this same Hispanic neighborhood, new among high school students of diverse back-
summer programs are being offered to students grounds. Since its inception, more than 2,400 stu-
transitioning from middle to high school. Camps dents have participated. Recognizing the benefits
Coronado and Guadalupe complement morning for students and the community-at-large, a similar
summer school classes with afternoon workshops in program was started in 2001 for middle school
theater, creative writing, and photography. Beyond youngsters in six Scottsdale Boys and Girls Clubs.
instruction in the subject at hand, these workshops The program brings Hispanic, Indian, and
are also designed to improve students life skills in Scottsdale Anglo clubs together to celebrate diversi-
such areas as interpersonal communication, deci- ty and explore cross-cultural similarities through
sion making, goal setting, problem solving, and photography, creative writing, and theater arts.
conflict resolution. In addition, working collabora- More than 150 young people participated during
tively on a unified theme (e.g., community pride) the 2002-2003 school year. A comparable activity
with mutually established goals has also benefited will begin shortly with area YMCA programs.
teaching artists, who expect to continue working
in this format.
ACTS OF ACHIEVEMENT 29 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Artist Residencies Senegal, Mark Morris, The Belle of Amherst, and
Alvin Ailey. Students in the Scottsdale Unified
Each performance season, the Scottsdale Center
School District attend courtesy of the parent-run
identifies at least one national or international
Arts-in-Education Council, which raises funds
artist or company to lead a one-week residency.
to support annual attendance by every student in
Program partners (e.g., schools, school districts, or
grades one through eight. And as part of the
community or social service agencies) are fully
Scottsdale Centers continuing emphasis on making
involved in the planning process, and the result is
the arts accessible to all members of society, select-
that artists are placed in schools, communities, or
ed Center performances are sign language interpret-
after school programs where they are best suited
ed for patrons with hearing impairments and
and will provide the most benefit to participating
audio-described for patrons with low vision or
youth. For example, the Cleo Parker Robinson
blindness.
Dance Ensemble recently undertook such a residen-
cy in the Gila River Indian Community. There the
Arts Advocacy
Dance Ensemble worked with middle school stu-
dents on basic dance vocabulary, development of The Scottsdale Arts Breakfast serves youth in the
self-confidence and poise, and appreciation of community, but in an indirect manner, by focusing
diversity. Students then attended the Ensembles on the importance and impact of arts-in-education
matinee performance at the Center, followed by a programs. The Arts Breakfast, served on stage at the
workshop in a professional environment on stage. Scottsdale Center for the Arts, is a biannual event
Additionally, the Ensemble met with middle school that is co-sponsored by the Center, the Scottsdale
faculty members for discussions about the chal- Museum of Contemporary Art, and the Arizona
lenges of teaching on a rural reservation and ways Alliance for Arts Education. Its primary focus is
to integrate the arts into the curriculum. to encourage community leaders, educators, and
administrators to support arts education in their
Children with Disabilities; communities and to provide them with appropriate
Children in Early Childhood Programs tools. The Arts Breakfast features a speech by the
Mayor as well as student performances and
Diversity at the Scottsdale Center for the Arts is not
demonstrations.
limited to ethnicity and economics. The annual
Celebration of the Arts for Children with
Summer Arts Camps
Disabilities, which includes student participation in
a variety of arts workshops during a half-day out- Although school-based arts programming dimin-
door event, serves more than 500 children with spe- ishes during the summer months, activities at the
cial needs and their teachers. In addition, the Center do not. An annual summer camp for 7 to 13
Scottsdale Center hosts the Arizona Wolf Trap pro- year olds, consisting of activities in drama, art,
gram (a regional presentation of the Wolf Trap music, creative writing, character development,
Institute for Early Learning Through the Arts) to tennis, and swimming, has been enthusiastically
bring the arts into the lives of children in Head embraced for nearly ten years. This program offers
Start programs. nine weekly sessions each summer, with a total
enrollment of approximately 650 youngsters. The
Performances for Student Audiences final two week session culminates in an original
student theatrical performance. The camps success
School performances offer nationally known artists
has led to a newly formed partnership, with the
to K-12 audiences. During the 2002-03 season,
Paradise Valley School District, which aims to
25,000 students attended productions at the
replicate it.
Scottsdale Center that included Momix, Ballet
ACTS OF ACHIEVEMENT 30 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Cal Performances Through outstanding productions of modern and
classical dance, theater, and all forms of musical
Berkeley, CA www.calperfs.berkeley.edu
expression by the same internationally acclaimed
School districts served per year: 35 artists who appear during Cal Performances main
season, SchoolTime introduces young people to
Elementary schools served per year: 117
cultures and performing arts from all over the
High schools served per year: 8 world. Grade-appropriate study guides, sent to all
K-12 students served per year: 16,000 schools in advance of the artists visit, include pre-
and post-performance exercises; background on the
artists, art forms, and cultures; and learning activi-
Located on the campus of the ties designed to incorporate requirements of the
CASE STUDY
ACTS OF ACHIEVEMENT 31 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Attendance at a SchoolTime Performance. Each In 2002, Cal Performances established the first West
Cal Performances in the Classroom unit culminates Coast site of the Alvin Ailey American Dance
with attendance at a professional production on the Theaters summer education program. This
Zellerbach Hall stage. Following the performance, Berkeley/Oakland AileyCamp at Cal Performances
students may visit with the artists or demonstrate is a six-week program in dance instruction also
the skills they have learned in school. designed to develop self-esteem, self-discipline, cre-
ative expression, and critical thinking skills in
Comprehensive workshop guides. Examples of work- youths aged 11-14. AileyCamp is not a professional
books related to SchoolTime performances that dance training program. It targets students with
have been developed for teachers use in the class- academic, social, and domestic problems that often
room include: increase a childs risk of dropping out of school. An
African-American history through modern important aspect of the programs success is its
dance. This guide, in preparation for seeing the provision of positive adult and peer role models for
Alvin Ailey American Dance Theater, examined these often underserved youths.
slavery and emancipation through the music and In general, AileyCamp welcomes students, whether
lyrics of spirituals, the writings of Ernest Gaines, at risk or not, with an interest in the arts and
The Autobiography of Miss Jane Pittman, and potential to improve their academic performance.
Alvin Aileys Revelations. Following recruitment presentations in schools,
A history of the Silk Road and its signficance to individual applicants are interviewed by AileyCamp
Western culture. In preparation for seeing Yo-Yo staffers and volunteer community leaders, many of
Ma and the Silk Road Ensemble with storyteller whom are members of Cal Performances Board of
Ben Haggarty, this unit explored the transmission Trustees. All campers receive full tuition scholar-
of cultural ideas, economics, and religion along ships, meals, camp uniforms, dance clothing, and,
the Silk Road. in many cases, transportation. The AileyCamp
curriculum includes daily technique classes in
Understanding the Irish cultures various winter ballet, Horton-based modern dance, jazz, and West
solstice traditions. In preparation for seeing a sea-
sonal program by Irelands musical group Altan,
this guide shed light on Irish history and culture
through music, dance, and mumming in pagan
and Christian Celtic celebrations.
ACTS OF ACHIEVEMENT 32 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
African music and dance. Classes in Performance The Bushnell Center for the
Skills and Creative Communications (writing, poet-
ry, photography, and studio art) deepen the stu-
Performing Arts
dents awareness of their potential for self-expres- Hartford, CT www.bushnell.org
sion; and Personal Development classes provide
School districts served per year: 14
counseling in nutrition, conflict resolution, drug-
abuse prevention, decision making, and goal setting. Elementary schools served per year: 33
The camp is supplemented with weekly field trips High schools served per year: 4
to educational, cultural, and recreational venues. K-12 students served per year: 5,000
The 75 middle school students from Berkeley and
Oakland who participate in AileyCamp conclude The Bushnell Center has had a com-
CASE STUDY
their summer training in a grand performance on mitment to education since its incep-
the The Zellerbach Hall stage. At the end of camp, tion in 1919. The current vision state-
students leave with valuable life skills and a sense ment conveys this commitment:
of accomplishment before they enter the challeng-
To present, create, inspire, and share
ing high school years. It is hoped that by providing
the best in the performing arts and,
a positive experience in a university setting
in partnership with others, deploy
(AileyCamp is held in Zellerbach Hall and adjacent
the arts as major catalysts to advance
buildings on the UC Berkeley campus), youths
education, to promote economic
will consider pursuing higher education as a
development, and to build a sense
personal goal.
of community in Central Connecticut.
Short-term In-School Residencies The Bushnells history reveals a long
list of educational programming:
Cal Performances works with teachers and schools
public lectures, seminars, community
who seek help augmenting lesson plans, want to
forums, and debates featuring such
develop curriculum, or make special requests for
visionaries as Eleanor Roosevelt,
in-school residencies. For after school programs in
Winston Churchill, Helen Keller,
dance, music, or theater programs, visiting artists
and Martin Luther King, Jr. Over
may provide successive master classes during a
the years, diverse activities such as
weeks visit. For schools that provide arts instruc-
spelling bees, cooking classes, and
tion as part of the required curriculum, artists work
state political conventions have
with students during the school day.
offered education at the Bushnell
with multiple dimensions.
Life-long Learning.
One of its educational traditions aimed directly
Throughout the year, lectures and colloquia are
at youngsters is the Bushnell Childrens Theatre.
offered to the public, including K-12 students.
Founded in 1973, BCT provides live theatrical
Sightlines events, which are pre- and post-perform-
experiences for students in kindergarten through
ance discussions, provide a view of history, biogra-
high school. BCT brings more than 13,000 students
phy, and artistic practice from the the perspective
annually to the William H. Mortensen Hall,
of internationally acclaimed artists and scholars.
offering performances based on historical fiction,
Visiting artists regularly offer master classes, open
the classics, and popular childrens literature.
rehearsals, and campus residencies to students.
Conferences, demonstrations, and symposia are
A Ten-Year Overview of PARTNERS
co-sponsored by the Consortium for the Arts at the
university, and all UC Berkeley students can receive The strongest and most visible manifestation of the
half-price tickets to performances. Bushnells commitment to education is its school-
ACTS OF ACHIEVEMENT 33 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
THOMAS GIROIR
The annual Language Arts Festival is a culminating activity for children in The PARTNERS program.
based arts education program, PARTNERS In 1999, the John G. Martin Foundation of
(Partners in Arts and Education Revitalizing Farmington, CT, supported the Bushnells efforts
Schools), which was inaugurated in 1993 as a pilot to demonstrate, document, and disseminate the
program for eight elementary schools in three PARTNERS Approach and expand the program
school districts, beginning with the first grade. A into the Torrington school district. In 2000, the
grade level was added each year until PARTNERS PARTNERS program began a collaboration with the
services were reaching all elementary grades (1-6) Capital Region Education Council to implement an
in the pilot schools. arts-focused, interdistrict sister school program in
which students from urban and suburban schools
In 1996, through the support of General Electric work together in arts-learning activities.
and the GE Fund, the Bushnell expanded
PARTNERS into another school system in The 2002-2003 school year marked the tenth year
Plainville, CT. This program featured a K-12 of the PARTNERS program, which now serves
district-wide approach that was implemented in nearly 5,000 students in grades K-12, in 37 schools
multiple grades in multiple schools during the from 14 districts in the Greater Hartford region.
same year. The program also incorporated GE-
employee volunteers as regular visitors in each A Program and a Process
classroom for one-on-one read aloud sessions.
PARTNERS offers a series of classroom-based, arts-
During the 1997-98 school year, PARTNERS infused unit outlines, integrated into the school
expanded into middle schools with a variety of curriculum and linked to state and national stan-
interdisciplinary programs (English, social studies, dards. The goals are to improve literacy, enhance
and the arts). Fifth and sixth grade students began self-confidence, encourage creativity, and foster
to work with teaching artists in short-term poetry understanding and appreciation of diverse cultures.
or playwriting residencies (one to four visits). Each unit outline combines social studies and lan-
Teams of seventh and eighth grade English and guage arts with a variety of arts disciplines to reach
social studies teachers began teaching interdiscipli- specific learning goals; and each unit uses literature
nary units that integrated arts resources. as the focal point, draws on a variety of arts
ACTS OF ACHIEVEMENT 34 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
resources (artists, performances, the community), The Promenade Gallery, located in the Bushnells
and concludes with family involvement activities. main-stage lobby, annually presents the works of
The program is supported by professional develop- professional Connecticut artists, as well as historical
ment for teachers and artists, and by evaluation. and interpretive exhibits. Area high school students
view the exhibits and participate in talks with the
For example, the outline for an interdisciplinary
artists. Moreover, PARTNERS student artwork is
study, The Civil War Seen Through Many Eyes,
recognized in dedicated exhibits, held periodically
lists required literature for student reading, the
throughout the school year at the Bushnell, as well
units big idea, concepts, themes, related stan-
as at other public sites.
dards, student learning outcomes, a range of artist-
led activities, and related performances and As a process, PARTNERS offers an inclusive, collab-
exhibits. orative planning and implementation model that
can mobilize the arts, the schools, and funders to
Participating teachers first meet for multiple plan-
plan, design, build, and sustain cost-effective, quali-
ning sessions to develop unit outlines and participate
ty arts education programs. The application of the
in a full day professional development workshop in
process is unique to each school community. As the
which they examine the arts resources available, meet
process moves forward, the community begins to
the teaching artists, and engage in the same learning
recognize the ways the arts can foster multicultural
activities their students will experience.
understanding, promote greater family involvement
In the classroom, teachers lead the social studies or in the schools, and enrich and enhance the curricu-
language arts instruction and use activity guides lum. This happens only when the focus and exten-
developed specially for student readings. An artistic sive commitment of many individuals and organi-
partner (either a teaching artist working directly in zations in the community are woven together with
the classroom or a presenting artist conducting a adequate financial support to:
grade-level assembly) then uses the literature, along
Identify, encourage, and sustain passionate,
with his or her particular art discipline, to present a
visionary leadership
hands-on activity or performance at the school or
at the Bushnell. Artist visits range from one to five Involve stakeholders in significant ways
classroom periods. Later, on a designated date,
students participate in full day workshops with Design comprehensive, cost-effective programs
teaching artists and then extend the connections that meet local needs
between the arts and their studies through teacher- Ensure stability and continuity of administration
led writing activities. At a culminating event for and management
families, students showcase the work they created
and explain its links to their studies. After the unit Refine and revamp programs to meet changing
is completed, teachers meet to review and evaluate needs
the program and make plans for the following year.
PARTNERS has been recognized as a National
PARTNERS programs are also held after school, Endowment for the Arts Program Model, and has
on weekends and during school vacation weeks at received two two-year grants in 1999 and
library sites, and in the summer either at school 2002 from the Fund for the Improvement of
sites or in conjunction with local park and recre- Education, administered by the U. S. Department of
ation organizations. One example is String Break, a Education. Most recently, the Bushnell received the
series of classical music performances in the com- Connecticut Quality Improvement Awards 2002
munity that culminates with a full day open-house Gold Innovation Prize for its unique approach to
event at the Bushnell for young people and their learningarts organizations, educators, and busi-
families. The weekend event features free perform- nesses joined together to enhance schools, give stu-
ances and participatory activities in both the visual dents high quality learning experiences, and build
and performing arts presented by various arts bridges between schools and the larger community.
organizations.
ACTS OF ACHIEVEMENT 35 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Maui Arts & Cultural Center three hour-long participatory sessions in drama,
creative movement, and visual arts at MACC.
Kahului, HI www.mauiarts.org
The same students participate annually, allowing
School districts served per year: One (only one in their knowledge and skills to grow. Over the years,
the state) these initial programs have grown in number and
Elementary schools served per year: 35 popularity.
Intermediate schools served per year: 6
Professional Development Opportunities for
High schools served per year: 9
Classroom Teachers
K-12 students served per year: 25,000
In 1995, MACC joined with the Hawaii
Department of Education (DOE) as participants in
Since opening in 1994, the Maui Arts the John F. Kennedy Centers Partners in Education
CASE STUDY
& Cultural Center (MACC) has program. This partnership has led to an expanded
become an active participant in focus on professional development programs in the
school renewal throughout Hawaii. arts for teachers.
This state-of-the-art, comprehensive
arts facility grew out of community Workshops and Institutes. A series of professional
initiative and the need for profession- development workshops are offered annually for
al arts venues. One of MACCs core classroom teachers. Twelve workshops for Maui
values of is that arts are essential to teachers were offered during the 2002-2003 school
the complete education of children. year, and six schools requested arts-integration
Key components of the Centers suc- workshops for all their teachers during staff devel-
cess are the development of viable opment days. With only a few such days available
partnerships, support of strong and each year, the requests are evidence of growing
stable leadership, and a deep commit- administrator and teacher interest in arts educa-
ment to arts education by the MACC tion. MACC has also offered week-long summer
staff and Board of Directors. These institutes for teachers since 1998. Some professional
beliefs and practices encourage development workshops prepare teachers to lead
MACC to act as a catalyst for learning arts activities that relate to performances at MACC.
in, through, and about the arts for For instance, a workshop series on Chinese culture
every school on Maui. taught teachers how to lead Chinese ribbon danc-
ing with students prior to attending a performance
Performances, Participatory of Classical and Folk Dances from China.
Arts Workshops for Students,
Artist/Teacher Mentoring Program. In 1999, MACC
and Art Exhibitions
launched the Art of Standards initiative, which
Planning for its education programs began two pairs elementary school teachers with teaching
years before the MACC even opened. Teachers were artists for ten-hour in-school mentoring programs.
on-site in hard hats making arrangements for the Each program begins with attendance at a summer
first student art exhibit, Celebrating the Artist In institute in which teachers and artist-mentors learn
Us, which featured artwork from throughout Maui about the mentoring process, write fine arts curric-
County and offered teacher workshops on the cre- ula, and develop assessments. During the school
ation, selection, and presentation of visual art. This year, teachers and their mentors develop a unit
exhibit has now become an annual event. plan, teach lessons, and assess student progress. The
program serves approximately 20 teachers annually,
A series of performances designed specifically for and teacher evaluations indicate that it has a signif-
students began when MACC opened in 1994. In icant impact on their abilities to implement the arts
1995-96, CanDo! Days were initiated. Today, ele- techniques they learn in professional development
mentary school students and their teachers attend workshops.
ACTS OF ACHIEVEMENT 36 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
SUSANA BROWNE
In-Depth Collaborations with Entire Schools. program in 1995 are now presenting workshops
Teachers professional development in the arts is a for their peers and serving as mentors.
key component of the ArtsPartner program, an in-
depth collaboration between MACC and selected The Preparation of Teaching Artists
schools. ArtsPartner schools sign a letter of agree-
ment with MACC in which both organizations Because of Mauis isolation and limited funding,
commit to developing the schools arts programs. MACC has been training local teaching artists to
Each school identifies its needs and sets goals, and present professional development workshops for
MACC offers related professional development for teachers, to write arts curricula, to assess student
teachers. Schools also host MACC artist residencies learning, and to mentor teachers in the classroom.
tailored to the schools needs. In 1998, through a This investment in Maui artists has paid offa
Goals 2000 grant, four ArtsPartner schools began cadre of advanced teaching artists now exists there
an 18 month project focusing on the teaching of whose members can both teach the arts and inte-
reading comprehension through drama. Two of grate the arts with the curriculum.
those schools went on to win state Arts Excellence Teaching artists have attended the Kennedy Centers
Awards in 2000 and were designated in 2003 as two-day seminar Artists as Educators, offered at
honor roll schools for their high achievement in MACC, which demonstrates ways for them to find
reading and math scores. In 2003, seven schools connections between their art-form expertise and
participated in the program. the curriculum; it also provides instruction in plan-
Continuing Education Credit and Teacher ning professional development workshops for
Recognition. Continuing Education credits are avail- teachers. Follow-on advanced workshops for teach-
able for participation in professional development ing artists have been offered as well. Teaching artists
workshops. In addition, teachers who complete 32 learn alongside teachers at summer institutes, in the
hours of workshops during a two-year period are Art of Standards project, and in the ArtsPartner
recognized with Certificates of Study at an awards program. Beginning in the 2002-2003 school year,
dinner. Each year, 18 to 35 teachers are honored at teaching artists began participating in two work-
this high profile event. MACCs professional devel- shops each year that focus on the Interstate New
opment programs have also built teachers capacities Teacher Assessment and Support Consortium
to be arts education leaders. Teachers who began the Report of 2002.
ACTS OF ACHIEVEMENT 37 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Role of the Performing-Artist Residencies The Kentucky Center
In Fall 1999, when MACC began presenting its own Louisville, KY www.kentuckycenter.org
season of performances, a decision was made to
select artists based not only on their artistic merit, School districts served per year: 150
but also on what they could offer to schools. An
Elementary schools served per year: Varies
artists experience working with young people is
each year
now a major booking consideration, and most
High schools served per year: Varies each year
artists performing in the school series interact
with students or lead workshops for teachers. K-12 students served per year: 70,000
Approximately half of the artists in MACCs
presenting season do residencies in schools and
The Kentucky Center (formerly the
social-service agencies. For example, artists have
CASE STUDY
Kentucky Center for the Arts) is a per-
led two days of dance classes for at-risk youth
forming arts institution whose
and a jazz clinic for high school band students.
statewide service is guided by its
Partnerships with local arts organizations have vision statement:
been important in all its endeavors. For example,
We believe that the human capacity
since 2001 MACC has partnered with the Maui
for art is universal, and that we have
Dance Council to provide eight-week dance
been called upon both to present art
residencies for middle school students.
and to build bridges of understanding
and access to it.
Statewide Impact
Education is the principal means by
In 2000, the Hawaii Arts Education Partnership was
which the Kentucky Center endeavors
formed in order to write and implement a strategic
to realize that vision.
plan for arts education in the state. The plan, ARTS
FIRST: Hawaiis Arts Education Strategic Plan 2001,
School Partnerships
recommends the Maui Arts & Cultural Centers
professional development program for teachers and The Kentucky Center partners with
teaching artists as a model to be implemented 13 schools and two other performing
throughout Hawaii. arts centers in an in-depth, long-term
partnership program, called Creative
Evaluation Connections, which aims to achieve
school reform through the use of arts
With partial funding from the Kennedy Center, the
and cultural resources. Supported by the GE Fund,
MACC/DOE team has embarked on an evaluation
this program helps each school create its own
of its professional development program and that
unique arts education plan.
programs effects on students. Phase I (July 2001 -
May 2002) found that the artist-teacher mentoring In-school artist residencies are provided through
program is increasing teachers knowledge of the Arts Education Showcases, one-day events in seven
arts and enhancing their abilities to include the arts sites across the state. These showcases are designed
in their teaching. In the Phase II evaluation, which to familiarize Kentucky educators with performing
begins in Fall 2003, a sampling of nine students in artists, visual artists, creative writers, arts organiza-
each grade level in an elementary school will be tions, and cultural institutions that make programs
followed longitudinally. Teachers will design instru- and other resources available to schools. More than
ments and collect and analyze data on the effects 100 artists/companies participate in showcase
of arts-integrated curricula on these students events, marketing their programs annually to more
story/reading comprehension skills and attitudes than 900 teachers and others who book field trips,
toward reading. in-school performances, and residencies for their
schools. Each attending school/organization receives
ACTS OF ACHIEVEMENT 38 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
a resource directory that features a full page Artist Initiated Grants give local artists and
description of each artist or arts organization. ArtsReach centers the opportunity to partner
Artists pay a small fee (currently $25) to be with each other to do specific projects.
included in the showcase and directory.
ArtsReach was a 2002 semi-finalist for the Coming
Hands-on, arts-based professional development Up Taller Awards (presented by the Presidents
opportunities for K-12 teacherstwo-week semi- Committee on the Arts and Humanities, in part-
nars, called Kentucky Institutes for Arts in Edu- nership with the National Endowment for the Arts,
cation; one-week seminars, called Arts Academies; the Institute of Museum and Library Services, and
and a series of three-hour participatory workshops the National Endowment for the Humanities). As a
are designed to help teachers incorporate the arts result of the programs proven success locally, the
into their teaching across the curriculum. Kentucky Arts Council has enlisted the Kentucky
Center to expand ArtsReach statewide. Pilot sites
The Kentucky Center provides professional devel- are now operating in the traditionally underserved
opment sessions for teaching artists that are communities of Paducah, Hopkinsville, and
designed to help them connect their work more Ashland.
closely to state and national standards.
Programs for Talented High School Youth
Arts in Community Centers
The Kentucky Governors School for the Arts
Since 1991, the Kentucky Centers ArtsReach (GSA) is best known for its intensive residential
program has been enabling Louisville-area commu- program targeted to the needs of talented high
nity centers to provide quality arts programs to school students who are dancers, actors, instrumen-
their constituents, who include youth, adults with tal or vocal musicians, creative writers, aspiring
disabilities, families, and seniors. ArtsReach offers architects, or visual artists. Specifically, GSA is an
arts training and resources in the following ways: arts community of masters and students who join
ArtsReach Institute. This annual eight-week training together for three weeks in the summer to explore
session, for staff members from up to 25 communi- the discipline and freedom of the creative process.
ty centers, provides opportunities for staff to receive The newest initiative included an international
arts resources for their community centers while exchange program that brought five students
gaining knowledge of the arts for themselves. from Northern Ireland to the GSA in the summer
of 2003.
ArtsReach Network. Once participants have
completed the ArtsReach Institute, they are invited By graduating from GSA, alumni earn the opportu-
to join the ArtsReach Network. During monthly nity to participate and audition at College and
meetings, community center staff members have Career Day, which takes place in Louisville every
the opportunity to interact with one another, share fall. Representatives from nearly 70 institutions of
resources and information that enhance their higher learning from around the nation gather at
individual programs, and attend supplementary Louisvilles Youth Performing Arts School to share
professional development workshops. information about their schools with GSA students
and their parents and to conduct auditions and
ArtsReach Studio. Through this program, youth interviews. Many GSA students have received
receive quality year-round instruction in dance and scholarships as a direct result of these opportuni-
violin. They are also given opportunities to experi- ties. Through the Toyota Alumni Performance
ence the arts through performances (both as audi- Fund, GSA is often able to support students artistic
ence and performer), take master classes from endeavors beyond the summer residential program.
nationally/internationally renowned touring artists,
and be involved in special projects. ArtsReach has A related, earlier stage program is Artshops, a series
transformed the landscape of local community cen- of free arts workshops that provide high school
ters from primarily sports-based models to centers students with the opportunity to spend a day at a
that are rich in arts-based programming as well. college or fine arts center in a hands-on arts enrich-
ACTS OF ACHIEVEMENT 39 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
TIM THORNBERRY
A class photo from Governor's School for the Arts, with a dancer in the foreground
The Kentucky Center is a leading convener of In addition to the various programs presented by
groups that might not otherwise be meeting and the Kentucky Center, the facilities are also home
collaborating regularly for networking opportuni- to five resident groups (Kentucky Opera, Louisville
ties. The Center founded the Kentucky Presenters Orchestra, Louisville Ballet, PNC Broadway in
Network, an organization of performing-arts cen- Louisville, and Stage One), each with its own edu-
ters, and it holds a monthly meeting of community cation program. In order to make education per-
centers in the ArtsReach Network program. Most formances more affordable, the Kentucky Center
recently, the Kentucky Center formed the Arts Express provides up to half the cost of bus trans-
Access Forum, which meets monthly to discuss portation to the Center for student matinees.
using the arts to better serve people with disabili- More than 10,000 students benefit from this
ties, and to provide a means through which mem- program annually.
ber groups can collaborate in new ways.
ACTS OF ACHIEVEMENT 40 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Jacobs Pillow Dance Festival perform weekly for Pillow audiences, see three to
Lee, MA www.jacobspillow.org
four dance companies per week, hear artists discuss
their work, and complete assigned readings and
research in the Pillows extensive dance archives.
School districts served per year: 11
The Schools five annual two- to three-week pro-
Elementary schools served per year: 20-25 grams include ballet, cultural traditions, contempo-
High schools served per year: 2-4 rary, jazz, and choreography.
K-12 students served per year: 1,000
Within the Schools choreography program, artists
are offered three types of training for conducting
Since the Pillows 1933 inception, school and community residencies:
CASE STUDY
ACTS OF ACHIEVEMENT 41 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
EVAN GUNTER
Jacob's Pillow Artist-Educator Kimberli Boyd leads a 3rd grade science class at Silvio O. Conte Community School.
es, campus tours, discussions with visiting commu- Example: Algebra students are guided by their
nity groups about artists and works on stage, and high school teacher and Pillow artist-teacher in
other activities designed for K-12 students and creating movement phrases about a key idea in
teachers. Off-season, interns are integrally involved factoringthe process of FOIL (first, outer, inner,
in Festival planning and the year-round community last). Students work in quartets, each group
programs. Intern alumni work at organizations demonstrating the four-part idea. For the artist-
such as the Alvin Ailey American Dance Foundation, teacher, breaking down complex material into
American Dance Festival, Ballet Hispanico, Ronald parts emerges as a theme that can be explored
K. Brown/Evidence, Mark Morris Dance Center, through movement. Students are taught a com-
Leapimagination in learning. Six Intern alumni plex movement phrase as part of the class warm-
currently serve on the Jacobs Pillow staff. up, and because factoring occurs both backward
and forward, they are asked to reverse the phrase
The Community Dance Program benefits some
on their own. Excerpts of the original and
3,500 participants each year. More than a dozen
reversed phrase are then incorporated into each
community partnerships and alliances engage area
quartets complex dance equations.
schools, after-school programs, elderhostels, special
needs participants, and individuals both new to or Example: The Fall semester 2001 included collabo-
experienced in dance. Within area schools: ration between an English as Second Language
class and a Health class. Students examined the
Setting Curriculum in Motion inspires student-
events of September 11 and considered how they
developed choreography using K-12 academic
related to valued American freedoms and how
topics as source material. The approach has
those freedoms attract others to this country.
evolved from long-term, committed relationships
Students considered misconception, judgment,
with area schools and demonstrates dances
and variations in interpretation, and used move-
important place in the national dialogue about
ment to contrast and compare the September 11
education reform.
event with events from their countries of origin.
ACTS OF ACHIEVEMENT 42 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Next, students compared these events with the Flynn Center
time period and urgency for freedom that led to
the writing of the Bill of Rights. Students written
for the Performing Arts
reflections were formed into a text score for the Burlington, VT www.flynncenter.org
dances final showing.
School districts served per year: 27
Professional Development for Classroom Teachers
Elementary schools served per year: 118
is offered year-round, in the form of seminars
and workshops, as an integral part of school High schools served per year: 26
residencies. During Summer Dance Institutes K-12 students served per year: 45,000 (2001-02)
for Educators, established in 1996, participating
teachers spend a week at the Pillow being The Flynn Center for the Performing
students. They take dance classes, attend lectures,
CASE STUDY
Arts is located in Burlington, VT, a
see performances, participate in feedback sessions city of 40,000 in a county of 120,000,
with artists, and engage in dialogue about class- and draws its patrons from within a
room applications. The goal is to broaden and 100 mile radius. In this bucolic set-
deepen teacher understanding of dance and its ting, the Flynns patrons represent the
ability to further student learningin particular, wide range of Vermont experience:
the academic success of kinesthetic learners. urban to rural, industrial to agrarian,
The Audience Engagement/Free Events Program progressive to traditional, and high to
is central to the Pillows Festival experience. Every low levels of education.
season some 200 free, informal, and informative The educational mission of the Flynn
events provide background about up-and-coming Center is to provide programsin
and established artists, new and classic works, and the schools, in the community, and at
collaborations, many with interdisciplinary or the Centerthat engage children,
multicultural emphasis. For example: teens, and adults in the artistic
The outdoor stage for artists to share works in process, cultivate appreciation of the
progress is a popular place for families to intro- performing arts, and make the per-
duce children to dance. forming arts an integral part of
school and community life. The core
The Pillows annual Community Day, which strength of these programs comes
creates a family-friendly, celebratory atmosphere from their integration with the
for people of all ages, offers performances and Flynns nationally recognized present-
participatory dance activities in a full range of ing series, which includes a main-stage season of
dance styles and expressions, and highlights the more than 40 music, dance, theater, and multidisci-
Pillows K-12 artists and their work. plinary works in the 1,450 seat theater; 25 contem-
porary and experimental genres in FlynnSpace, the
The Pillow Archives, accessible to the public
150 seat black box theater; and more than 35 per-
through a multimedia reading room, houses thou-
formances for students on either the main-stage or
sands of videos, films, and photos collected over
in FlynnSpace.
the past century, and inspires a series of annual
exhibitions. Drawing on these resources, Pillow The success of these educational programs comes
education staff members plan A Day at the not only from their integration with the Flynns
Pillow, visits for K-12 students and teachers to wide range of performances; additional factors
learn about the Pillow, its history, and its artists. include partnerships with schools and other cultur-
al organizations that extend the Flynns resources
and reach, and the organizations responsiveness to
community needs. The programs also offer many
different ways for people of all ages to participate at
ACTS OF ACHIEVEMENT 43 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
varying skill and commitment levels. The programs total of 313 classroom workshops. Paid for by the
leaders, informed by their own education and arts schools or grants, these workshops have grown in
backgrounds, seek to meet participants where they number as a result of the enthusiastic response by
are and challenge them to go farther. teachers and students.
Student Matinee Series, Study Guides, Teaching Professional Development for Teachers
Artists in the Classroom
For teachers interested in learning more about the
Begun in 1987, the Student Matinee Series offers arts, the Flynn offers after school workshops in
quality performances to complement the school specific art forms (e.g., West African Dancing,
curriculum and demonstrate the dynamic relation- Storytelling) and in integrating arts into the
ship between the performing arts and history, liter- classroom (Bringing Books to Life, Dancing
ature, and world cultures (e.g., Lindberghs Ocean Numbers). Workshops are held at the Flynn, at
Flight, A Midsummer Nights Dream, and the Peking schools, and at conferences. Attendance at these
Opera). The series also includes performances that workshops is highest, regardless of location, when
introduce art forms outside the curriculum, such as they are co-sponsored by a school district or anoth-
Paul Taylor Dance Company, Imago Theatres er organization. In 2001-02, 287 teachers participat-
FROGZ, and jazz vocalist Nnenna Freelon. The ed in these professional development offerings.
Flynn Lead Teacher Network, a volunteer group This work with teachers began in 1992, when the
that represents more than 100 schools and serves as Flynn joined the Kennedy Centers Partners in
a liaison between the Flynn and the regions teach- Education program.
ers, contributes greatly to the series success. The
Network regularly provides information about College Courses
events and gathers feedback from colleagues about
Flynn programs and potential offerings. To offer teachers opportunities for in-depth study,
the Flynn partners with the graduate education
To encourage teachers to use the matinee perform- program of St. Michaels College, in nearby
ances as springboards for classroom activities, the Colchester, VT, to co-sponsor several three credit
Flynn offers free study guides that provide essential courses per year (e.g., Arts: The Creative Process,
background materials and relevant learning activi- Drama as a Teaching Tool, Aesthetic Education,
ties linked to Vermont standards. In addition, Flynn Bringing History, Literature, and Arts to Life).
holds workshops in the classroom before and after Open to pre-service and practicing teachers, these
attendance at matinees to help students prepare for, courses use performances at the Flynn Center as
reflect on, and extend the performance experience. texts and, when possible, include interaction with
Typically led by local teaching artists versed in the the performers. Additionally, Flynn education staff
art formand, when possible, by the performers members supervise teachers independent studies in
themselvesthese workshops are highly interactive. the arts and education (e.g., Teaching Science
In workshops centered on a theatrical production, through Drama, Evaluating Arts Activities).
for example, students might be given a portion of
the script to interpret. For a dance performance, Year-Round Classes for Children, Teens,
they might create movement phrases that express and Adults
the performance theme. On occasion, these work-
shops provide the basis for longer-term residencies, In 1987, to provide the community-at-large with
in which the teaching artists lead a series of work- opportunities to participate in the performing arts
shops in the classroom to interweave drama and under the guidance of skilled teaching artists, the
creative movement with content areas. In 2001, the Flynn began offering a few classes for children. In
Flynn education department began a three-year 2000, after adding state-of-the-art studios to its
project working with the entire staff of a local ele- facility, FlynnArts, a comprehensive program of
mentary school to use the arts to improve students year-round classes in theater, dance, and music, was
reading comprehension. Flynn teaching artists led a born. The program focuses on topics that relate to
the Flynns main-stage and FlynnSpace presenta-
ACTS OF ACHIEVEMENT 44 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
tions. For example, since the Flynn is part of the linked to main-stage and FlynnSpace events. More
Doris Duke Charitable Foundations JazzNet and advanced students participate in end-of-semester
committed to presenting jazz artists, FlynnArts performances in FlynnSpace.
offers the classes Jazz Combo and Singing Solo
Jazz. Similarly, classes in modern dance relate to The summer term offers one and two week camps
the Flynns participation in the National Dance that are open to children and teens of all abilities, as
Project. Further, FlynnArts is currently developing well as programs for more advanced teen students
an overall curriculum in which performance skills in theater and jazz. In addition, programs of vari-
will build upon each other. ous durations are offered for adults. Summer camps
are usually theme-based (e.g., Tales of the Earth),
Opportunities for students to tour the Flynn the- and many are offered in collaboration with other
aters, observe rehearsals, and attend Flynn perform- local nonprofit cultural organizations (a camp
ances and pre- or post-show discussions with visit- focusing on creating site-specific dances at
ing performers are available as well. Shelburne Farms, Wild and Wacky History at the
Shelburne Museum, Radio Plays with Vermont
FlynnArts classes feature entry points at many lev- Public Radio). These partnerships were born in
elsfor the curious, the aspiring, and the profi- 1995, when capital improvements required the
cientin order to instill a deeper understanding Flynn to relocate its summer camps; they continue
and appreciation of the performing arts while to flourish, however, because of the mutual and
developing increasingly solid artistic skills. For respectful sharing of resources that developed.
example, FlynnArts students may participate in a
FlynnArts offers assistantships and
internships through various local
colleges and high schools that enable
young teaching artists to work under
the tutelage of seasoned profession-
als; this program has been helpful in
providing the Flynn with new teach-
ing artists.
Community Residencies
ACTS OF ACHIEVEMENT 45 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The John F. Kennedy Center (classical and jazz), opera, storytelling, and pup-
petry. Cuesheet performance guides, consistent with
for the Performing Arts guidelines developed from Kennedy Centers three-
Washington, DC www.kennedy-center.org year study of such materials, help students and
Locally teachers familiarize themselves with the
performances they will attend.
School districts served per year: 27
Elementary schools served per year: 475 Additional programs of the Imagination
High schools served per year: 105
Celebration type include the Kennedy Centers
Open House, the Prelude and Holiday Festivals,
K-12 students served per year: 855,000
and the Martin Luther King Jr. Celebration.
Nationally
Under the auspices of the Education Department,
The Kennedy Center provides programs and each year the National Symphony Orchestra travels
resources to school districts and individual to a different state for an extended residency, which
schools in all 50 states. includes performances and extensive educational
programs in schools and communities.
As Americas national center for the To support the development of new works for
CASE STUDY
performing arts, the John F. Kennedy young people, every other year New Visions, New
Center is deeply committed to arts Voices brings playwrights, directors, and composers
education. For more than 30 years, its together in a working forum to revise promising
Education Department has provided scripts and produce staged readings for young peo-
quality arts experiences for students, ple and their families. In this week-long residency,
teachers, families, and the public both the Kennedy Center provides artistic resources,
in the Washington, DC, metropolitan including a full cast, stage managers, and specialists
area and throughout the nation. The in theatrical presentation for up to eight new plays
Kennedy Centers educational pro- or musicals.
grams, which directly serve more than Through Performance Plus, the adult public attends
seven million people each year, are demonstrations, discussions, multi-session courses,
focused on three major areas: produc- panels, participatory workshops, and open
tion and presentation of performing rehearsals that offer insights into the cultural and
arts for young people and their fami- historical context of the works presented on stage.
lies; school-based education programs
and resources for students, teachers, In an effort to bring its productions to as many
administrators, and artists; and career people as possible, a free performance is presented
development in the arts for young daily at 6 p.m. (EST) on the Centers Millennium
people and professionals. Stage and is broadcast live over the Internet. These
performances are archived on the Centers Web site
Production and Presentation (www.kennedy-center.org).
ACTS OF ACHIEVEMENT 46 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
CAROL PRATT
A new DC Arts Education Initiative, led by the Changing Education Through the Arts is a
Kennedy Center, is helping to develop a compre- multi-year partnership with 13 schools in the
hensive K-12 arts education program for the metropolitan Washington, DC, area that develops,
District of Columbias public and charter schools. implements, and evaluates the building of teacher
capacity to integrate the arts across the curricu-
A partnership with George Washington University lum. The program includes arts coaches (teaching
and the Duke Ellington High School for the Arts artists who mentor teachers in their classrooms),
provides a series of arts experiences that extend courses focusing on arts integration, and teacher-
school-based arts instruction. Students from these led study groups.
partnership institutions, as well as from other
schools throughout the Washington, DC, metropol- The D.C./Northern Virginia Partnership Program
itan area, participate in a weekend program extends school-based arts education programs
featuring the Dance Theatre of Harlemthat with artist residencies in 15 schools.
introduces students to ballet through lecture/
demonstrations, workshops, performances, and Teachers who study 30 or more hours at the Center
training experiences. are awarded Certificates of Study; artists who
teach in the program participate in professional
Since 1975, the Kennedy Center has been a class- development training of their own. The experiences
room for teachers. Each year, more than 1,600 gained in this local program are shared nationally
teachers participate in professional-development through the Partners in Education program
programs to learn how to integrate the arts with (described next).
other curricula. For example:
ACTS OF ACHIEVEMENT 47 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Partners in Education program brings together Through the Kennedy Centers national arts
senior representatives from cultural institutions and and information network, ARTSEDGE
neighboring school systems to initiate or develop (www.artsedge.kennedy-center.org), teachers and
arts education partnerships with a special emphasis students throughout the nation have access to a
on the professional development of teachers. In variety of quality educational materials about the
2003, 94 teams in 44 states, Washington, DC, and performing arts. The Web site includes a databank
Mexico participated in the program. In addition of related lesson plans and links to additional
to providing leadership for Partnership teams, the resources, and specific minisites feature topics of
program offers a national tour of workshops for special interest (e.g., the Harlem Renaissance,
teachers, parents, and community members; semi- Ireland, the African Diaspora, the Americas).
nars to assist artists in learning how to plan profes- ArtsEdge also participates in the MarcoPolo project
sional development workshops for teachers; semi- (www.marcopolo.worldcom.com)a partnership
nars to help arts organizations develop a philosophy with corresponding programs of the American
and practice for creating performance guides; and Association for the Advancement of Science, the
a speakers bureau. The program also offers grants Council of the Great City Schools, the National
to Partnership teams for supporting collaborative Geographic Society, the National Endowment for
projects with other arts and education institutions the Humanities, the National Council on Economic
throughout their states, and for undertaking Education, and the National Council of Teachers of
research projects that determine project Mathematicsto provide quality, standards-based
effectiveness. content through the Internet.
ACTS OF ACHIEVEMENT 48 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
PROFILES
Following are profiles of the work
of 66 Performing Arts Centers
and their role in education
ACTS OF ACHIEVEMENT 49 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
UApresents Arizona. Six of these matinee performances,
featuring world-class artists from a variety of
Tucson, AZ http://uapresents.arizona.edu
ethnicities and arts disciplines, are presented
throughout the year.
School districts served per year: 18
In preparation for each School Matinee, local teach-
Elementary schools served per year: 50
ing artists present Teacher Inservices, which provide
High schools served per year: 10 in-depth teacher training in the particular culture
K-12 students served per year: 13,800 and art form being showcased. Moreover, each in-
service focuses on themes or lessons connected to
the specific Matinee that each teachers students will
Programs offered:
attend. Every teacher bringing students to a Matinee
Performances for K-12 audiences is encouraged to attend this free inservice, and
Short-term in-school residencies (one week or less) approximately 150 teachers participate. They also
After school or weekend programs for K-12 students receive teacher study guides, created by the artists,
that provide curricular information and supportive
Professional development opportunities for teachers
classroom applications.
Professional development opportunities for
teaching artists A select number of schools that attend the Matinees
Summer institute for K-12 teachers receive an artists residency for their students.
Partnerships with whole schools Typically, about 300 students per matinee partici-
pate in workshops. In these informative sessions,
Partnerships with whole school districts
local artists work with the students in an entertain-
Training for school leaders (principals, ing and interactive way to further connect the
superintendents, others)
Matinee and performing arts experience to the
Adult education opportunities classroom. The local teaching artists used for the in-
Performances/exhibits by school-based teachers services and workshops are themselves trained in
Performances/exhibits by teaching artists these processes, and they receive continuing evalua-
tion from UApresents. The study guides they create,
as well as the inservices and on-site workshops are
In this time of budgetary contraints in
PROFILE
ACTS OF ACHIEVEMENT 50 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Walton Arts Center The following are the components of WACs core
educational opportunities:
Fayetteville, AR www.waltonartscenter.org
Classroom Series Performances. WAC believes in the
School districts served per year: 19 special connection that happens in live perform-
ances, which speak directly to young peoples hearts
Elementary Schools served per year: 116
and minds. Each year WAC presents nearly 40 per-
High Schools served per year: 28 formances by local, regional, national, and interna-
K-12 students served per year: 37,000 tional artists to more than 25,000 students.
Examples include the Brenda Angiel Aerial Dance
Company, Omaha Theater Company for Young
Programs offered:
People, and DynamO Theatre of Montreal.
Performances for K-12 audiences
Visual Arts Tours. Interactive tours designed
Short-term in-school residencies (one week or less) around exhibitions expand students knowledge
Long-term in-school residencies (multiple weeks) and experience. With more than 35 gallery exhibi-
After school or weekend programs for K-12 students tions each year, students have opportunities to
share thoughts in a supportive and respectful
Professional development opportunities for teachers
exchange, acquire artistic vocabulary, and learn
Professional development opportunities for appropriate gallery behavior. More than 250 stu-
teaching artists
dents participated in docent-led interactive tours
Summer institute for K-12 teachers last year.
Summer institute for teaching artists
School Residency. WAC residencies offer opportuni-
Partnerships with whole schools
ties for students to interact with artists through
Web-based learning opportunities classes, workshops, and informal conversations.
Programs with parents and/or other adult caregivers For example, several local schools hosted a WAC
Adult education opportunities artist-in-residence for six weeks. As a result, WAC
mentored seven artists in maintaining valuable
Performances/exhibits by students
educational exchanges with 2,900 young people.
Performances/exhibits by teaching artists
JASON Project. WAC is the only arts-based
Technical/planning assistance
provider of the JASON Foundation, and for seven
Evaluation methods
years it has been the venue for the Foundations
internationally acclaimed educational program that
demonstrates the integration of the arts, science,
PROFILE
ACTS OF ACHIEVEMENT 51 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
months and up. WACs Young Actors
Training Program, for example,
engages community partner Arts Live
Theatre to offer instruction and per-
formance experiences in theater arts
for students ages 5-18. The program
has reached hundreds of young peo-
ple, and the curriculum has been
expanded to meet or exceed national
standards for academy-level actor
training programs.
Community-based Residencies.
Residencies offer a unique opportu-
nity to target underserved groups
through master classes, workshops,
and discussions. One such residency
was developed with the Donald Byrd
Group Dance Company, which did
a one week community residency
based on input from dancers, the
University of Arkansas, Alpha Kappa
Alpha sorority, and public school
teachers. Programs to serve the
regions growing Latino community
are currently being explored.
ACTS OF ACHIEVEMENT 52 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Center Theatre Group/Performing These materials are available on the Theatres
Web site (www.taperahmanson.com).
for Los Angeles Youth (P.L.A.Y.)
Los Angeles, CA www.taperahmanson.com Building long-term relationships with students
and their families by providing discounted tickets
to regular productions at the Mark Taper Forum
School districts served per year: 7 and Ahmanson Theatre, together with pre-play
Elementary schools served per year: 66 and post-play activities designed for children
High schools served per year: 185
and adults.
K-12 students served per year: 50,000 Providing professional development opportunities
for teachers, including weekend workshops and
symposia on theaters potential role in education.
Programs offered:
In 2001, P.L.A.Y. was awarded an Exemplary Arts
Performances for K-12 audiences Education grant from the State of California to
Short-term in-school residencies (multiple weeks) further enhance this proven program.
Professional development opportunities for teachers
Training theater artists in the special skills needed
Partnerships with whole schools for successful youth-theater productions. In devel-
Partnerships with whole school districts oping plays for young people, theater artists need to
Web-based learning opportunities learn new techniques, including particular styles of
playwriting, acting, directing, and set design.
Programs with parents and/or other adult caregivers
P.L.A.Y. has already developed a series of workshops
Performances/exhibits by students on these techniques, with the goal of becoming a
national resource for theater artists.
PROFILE
P.L.A.Y. (Performing for Los Angeles The core strength of P.L.A.Y. is its multi-pronged
Youth) has two major goals: to deepen approach, which offers numerous opportunities
students understanding and apprecia- for young people and their families to make
tion of the art of theatre; and to use the theater-going a regular part of their lives. This
power of theater to increase students has been demonstrated, for example, by the
literacy and collaborative skills, encour- programs history of creating plays and classroom
age them to think creatively, and materials that address significant social and histori-
enhance their understanding of history, cal themes in a way that is entertaining and relevant
social studies, and the sciences. to young people.
The core elements of P.L.A.Y. include: From its beginnings in 1971 as the Improvisational
Theater Project, P.L.A.Y. was one of the first youth-
Commissioning and producing theater programs in the nation founded as an inte-
original plays written specifically for gral part of a professional theater. It remains one of
young people. P.L.A.Y. is one of only a the most innovative and productive. In more than 32
small number of theater companies in years of operation, the program has reached more
the United States that actively develops original than one million young people in schools and com-
youth-theater productions. munity centers throughout the Los Angeles area.
Integrating its productions into the school curricu- Initially, P.L.A.Y. focused its efforts on a single origi-
lum through teacher guides and student work- nal production, which toured elementary schools
books, P.L.A.Y. works with a team of educators to throughout Southern California. But in the last sev-
develop study guides for its touring productions eral years, under the direction of producing director
and for every play presented in the regular seasons Corey Madden and producer Dolores Chavez,
of the Mark Taper Forum and Ahmanson Theatre. P.L.A.Y. has grown significantly, reshaping its pro-
grams, renewing its mission, and investigating new
ACTS OF ACHIEVEMENT 53 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
CRAIG SCHWARTZ
Charles Bodin & David Brouwer in Legend of Alex (P.L.A.Y. Spring tour 2003).
directions. In 2000, a second touring production young peoples awareness of the local and global
specifically directed toward older youthmiddle youth community, to teach them a formal dialogue
school and high school studentswas added. This process that promotes respectful interaction, and
production, Black Butterfly, Jaguar Girl, Piata to use theater to engage them in creative and intel-
Woman and Other Superhero Girls, Like Me, was lectual communication about the power of art to
subsequently selected to be performed at the shape our society.
Kennedy Center and the Smithsonian Institution.
P.L.A.Y. has formulated a long-range plan with the
In 2001, P.L.A.Y. inaugurated the Family goal of making the program a national model for
Performances program, which features discounted arts education. The plan includes strategic partner-
subscriptions to four regular season productions at ships with local educational institutions, pilot resi-
the Mark Taper Forum and Ahmanson Theatre, dency programs at selected schools, the encourage-
with workshops led by educators and artists. It also ment of student-created work, a writer-in-residence
held the first annual P.L.A.Y. Intensive for more program in selected schools, and a summer pro-
than 50 artists working in youth theater, and an gram that brings together several Los Angeles-based
Education Workshop for educators. arts organizations to offer students a summer
course in theater.
In the fall of 2002, P.L.A.Y. embarked on the Speak
To Me project, a pilot program to expand the reach In 2004, P.L.A.Y. will acquire a permanent home
and increase the depth of the its impact in city when the Center Theatre Group creates the new
schools. Speak To Me is a school-based theater Kirk Douglas Theatre in Culver City as a center
program designed for high school and middle for youth-theater and new play development.
school students. The program seeks to deepen
ACTS OF ACHIEVEMENT 54 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Montalvo expect students to step outside the box and
explore their creative side.
Saratoga, CA www.villamontalvo.org
Montalvo inhabits the former estate of Senator
School districts served per year: 36 James Phelan, who enjoyed and supported virtually
all the major creative disciplines during his lifetime.
Elementary schools served per year: 305
After he died in 1930, his will bequeathed the estate
High schools served per year: 73 and grounds at Montalvo to the people of
K-12 students served per year: 12,000 California for their deepened appreciation of art,
literature, music, and architecture. To that end,
Montalvo has structured strong programs in arts
Programs offered:
education for K-12 students and their teachers.
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Programs for students include the Performing Arts
Series, which presents some of the best performers
Long-term in-school residencies (multiple weeks)
from around the world in intimate productions in
After school or weekend programs for K-12 students the Carriage House Theater. More than 12,000
Professional development opportunities for teachers students participate in this program annually, with
Partnerships with whole schools each class receiving study guides in advance of its
visit. The Master Class Series takes further advan-
Partnerships with whole school districts
tage of these great talents brief stays at Montalvo
Training for school leaders (principals, by bringing them to the schools for direct interac-
superintendents, others)
tion with students. For example, this past year
Programs with parents and/or other adult caregivers saw Wynton Marsalis inspiring a local jazz band
Adult education opportunities through careful critique of their work. Noted
Performances/exhibits by students author Rebecca Walker conducted a memoir-
writing workshop for middle school students,
Evaluation methods
and students recently assisted visiting artist
Patrick Dougherty in the construction of his
outdoor sculpture on Montalvos grounds.
PROFILE
ACTS OF ACHIEVEMENT 55 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
MONTALVO
In 2003, Montalvo instituted a new Teacher Services Teaching materials that support the various arts
Initiative, which is expected to greatly elevate the programs at Montalvo will be a regular offering to
level of its education programs in schools. The first educators. The spring 2003 teacher guide, for
step was to organize a Teacher Advisory Board, example, was in support of the exhibit Dwellings.
whose members include K-12 educators, both from Montalvo has also established a newsletter for
public and private schools, in the South Bay area. teachers, each edition of which will contain lesson-
Board members will provide professional guidance plan inserts, timely articles, and registration infor-
and expertise in the production, presentation, and mation for the Performing Arts Series.
evaluation of programs and materials.
The Artist Residency Program is currently in hiatus,
Montalvo is also initiating professional develop- waiting for the completion of construction of 10
ment opportunities for educators. Montalvos first new residential villas, each designed by a unique
teacher conference, titled The Arts in Your artist/architect team. When the program reopens in
Classroom, served as an introduction to and train- the spring of 2004, students will have even greater
ing for Californias newly adopted Visual and opportunity to interact with artists. Meanwhile,
Performing Arts Content Standards. This program, Montalvo is working to develop ways in which the
which took place March 7, 2003, at Montalvo, was residency program can train interested artists in
offered in collaboration with Santa Clara County teaching methods. Montalvo believes it is this type
Office of Education and Cultural Initiatives. of collaboration between presenting organization
and artist that will produce the highest quality
experience for students.
ACTS OF ACHIEVEMENT 56 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Music Center Education Division Programming encompasses all types of music,
dance, theater (including storytelling, puppetry, and
(MCED)
creative writing), and the visual arts; and it reflects
Los Angeles, CA www.musiccenter.org not only the full range of styles and traditions, but
also the cultural and ethnic diversity of Southern
School districts served per year: 100 California. The Division has also developed special
Elementary schools served per year: 500+
services to address the needs of underserved popu-
lations, including youth-at-risk, physically/mentally/
High schools served per year: 60+
emotionally challenged young people, and
K-12 students served per year: 700,000+ preschoolers.
The Music Center, the performing arts beyond the narrow vision of sporadic arts activities
center of Los Angeles County, gives its to a sequential, standards-based approach. In this
Education Division a twofold mission: spirit, the Education Division has worked in part-
to support the Music Centers commit- nership with school districts, including Los Angeles
ment to building audiences by engaging Unified (the nations second largest), for more than
people in the arts at the Center, in 20 years, and has collaborated as well with other
schools, and throughout the communi- agencies and institutions to create educational-
ty; and to advance the quality and scope reform initiatives. The Division also works with
of arts education as an integral part of McGraw-Hill to produce materials for an arts text-
the core curriculum in Southern book series published for national distribution.
California schools.
The following are some of the MCEDs accomplish-
The MCED offers some 20 programs, ments during the 2001-2002 school year. The
including services for students, schools, Division:
teachers, and families as well as the pub-
lication of arts-curriculum resource materials, Partnered with 92 school districts and 97 individual
developed in partnership with the school commu- private schools to provide arts education
nity to address specific learning objectives. programs for students, teachers, and parents
ACTS OF ACHIEVEMENT 57 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Presented eight performances by the American
Ballet Theatre Studio Company for a total audience
of 6,500 fifth graders, who were brought to the
Music Center for the 32nd Annual Dorothy B.
Chandler Blue Ribbon Childrens Festival
ACTS OF ACHIEVEMENT 58 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
San Francisco Performances insight and contribute to students academic and
artistic learning. The programs include:
San Francisco, CA www.performances.org
The Story of the String Quartet. This three-part sem-
inar brings the Alexander String Quartet and two
School districts served per year: 4
younger ensembles into high school classrooms for
Elementary schools served per year: 3 musical dialogues that introduce motivated English
High schools served per year: 9 and History students to chamber music. Through
performance and discussion, the quartets demon-
K-12 students served per year: 3,000
strate how the evolution of the string quartet
reflects Western sociopolitical ideas and events from
Programs offered: the 18th to 21st centuries. Study guides, sample
CDs, and outlines for classroom activities are an
Performances for K-12 audiences
integral part of this program.
Performances for K-12 audiences
Music Mentors. Graduate students and young
Short-term in-school residencies (one week or less)
professional string, jazz, and guitar players provide
After school or weekend programs for K-12 students weekly coaching to music students at two public
Professional development opportunities for teachers high schools. Through the Mentors program, high
Partnerships with whole schools school students improve technique, posture, con-
Partnerships with whole school districts
centration, and level of performance. Mentors learn
and apply techniques for successful outreach to
Web-based learning opportunities
students of all backgrounds.
Programs with parents and/or other adult caregivers
Dance Mentors. In collaboration with Taylor 2 of
Adult education opportunities
the Paul Taylor Dance Company, graduate students
Mentoring for students with community volunteers in dance teach middle school students basic mod-
Performances/exhibits by students ern dance technique and choreography. Taylor 2
Evaluation methods artists performs for students and families, and students in
turn, perform for peers and the school community.
PROFILE
San Francisco Performances arts Jazz Intervention. This four-year program uses jazz,
education programs seek to increase the most democratic of musical forms, to instill
awareness and participation in the arts. leadership skills, effective decision making,
Working with artists, schools, and com- communication, and teamwork. Working with an
munity organizations, SFP brings ensemble of local musicians, artist-in-residence
internationally acclaimed artists to new Stefon Harris demonstrates how a jazz group must
settings and audiences of all ages work as a cohesive unit toward the goal of creating
throughout the Bay Area. In partnership a performance.
with a growing roster of artists-in-
residenceincluding the Alexander Performance Poetry. Vocal artist-in-residence
String Quartet, jazz percussionist Stefon Christopheren Nomura addresses issues of music
Harris, classical guitarist Antigoni Goni, education and literacy with high school students.
and baritone Christopheren Nomura Working with poet-teachers from California Poets
SFPs school and community programs in the Schools, Nomura provides many points of
advance its mission of providing mean- entry into the study of poetry and song through
ingful connections between artists and audiences. reading, discussion, demonstration, writing,
and performing.
In the Schools
Guitar Trek. Artist-in-residence Antigoni Gonis in-
SFPs in-school programs are anchored by multi- school performances and history-based curriculum
year partnerships with artists-in-residence, who add trace the evolution of the guitar from ancient times
ACTS OF ACHIEVEMENT 59 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
CHRIS MALIWAT
Improvisation session at Eastside College Preparatory School (in East Palo Alto) with the Stefon Harris Quartet
to the present. Advanced placement world history cally address SFPs in-school chamber music, jazz,
students work with Ms. Goni to learn how to use and dance programs.
cultural artifacts such as music and art in research
by mining the guitars rich, mobile history. Family Programs. Now in its eighth season, SFPs
Family Matinee series gives families the chance to
In the Community
listen and learn about music and dance in an infor-
mal setting. Lively one-hour performances are
SFPs artists-in-residence also participate in suitable for children of all ages, and tickets are
adult/community education projects. The long-run- priced affordably both for children and adults.
ning, free Concerts with Conversation at the San
Francisco Community Music Center, for Adult Education. SFP presents a series of lectures
example, bring established and emerging artists with noted musicologist/composer Robert Green-
to an underserved, appreciative audience. Other berg. In addition, Greenberg joins the Alexander
programs include: String Quartet for a Saturday morning series
that explores specific chamber works through
Delancey Street Foundation. Nationally known for performance and discussion.
its innovative rehabilitation residency program for
ex-convicts and former substance abusers, the Online. SFPs Web site, www.performances.org,
Foundation partners with SFP in bringing great makes curriculum materials developed for residen-
artists to their facilities for workshops and perform- cy programs in the schools more widely available.
ances. Similarly, SFPs programs with Oaklands Downloadable curriculum guides assist teachers
Allen Temple Baptist Church bring artists on-site to and students not only in music and dance, but also
participate in Sunday services, youth music work- in literature and history classes. The Education page
shops, and the congregations annual concert series. of the Web site is regularly updated with informa-
tion regarding current activities. Although many in-
Professional Development Workshops for Teachers. school events are private performances or sessions
SFP offers a series of workshops and lectures, linked with particular classes, public events (such as
to major performances, that sparks new ideas about Concerts with Conversation) are noted, with event
the performing arts. Teachers in all subject areas are information for interested audiences.
invited, though the workshops and lectures specifi-
ACTS OF ACHIEVEMENT 60 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Yerba Buena Center for the Arts YBCA, the classroom, and after school; and suggests
literary and Internet-based resources. Each partici-
San Francisco, CA www.YerbaBuenaArts.org
pant receives a Teachers Guide on these topics,
which is also placed on the Web site, to help serve
School districts served per year: 1 others needs and interests.
Elementary schools served per year: 245
Artful Adventures are free exhibition tours for
High schools served per year: 42 school and nonprofit community groups conducted
K-12 students served per year: 4,015 by community volunteersGallery Representa-
tiveswho receive extensive training in exhibition
content and touring techniques.
Programs offered:
Performances for K-12 audiences Hands-on Activity Workshops are led by artists-in-
residence, as well as by exhibiting and community
Short-term in-school residencies (one week or less)
artists.
Long-term in-school residencies (multiple weeks)
After school or weekend programs for K-12 students Discovering Performance provides Pre-K-12th grade
students with access to actors, dancers, and musi-
Professional development opportunities for teachers
cians, who explain the artistic process to their
Professional development opportunities for young audiences as they perform.
teaching artists
Partnerships with whole schools Youth Program
Partnerships with whole school districts Young Artists at Work is a nationally recognized
Web-based learning opportunities yearlong art- and job-training youth program, in
which 15 ethnically and socioeconomically diverse
Adult education opportunities
high school students are paid to learn about visual,
Mentoring for students with community volunteers performing, and media arts at the Center, and then
Performances/exhibits by students produce their own original artworks. The program
Performances/exhibits by teaching artists includes three protracted sessions that dovetail with
the San Francisco Unified School Districts academ-
Technical/planning assistance
ic calendar, in order to accommodate the young
Evaluation methods
artists testing dates and other curricular and
extracurricular needs. Each session is taught by a
PROFILE
By providing a broad audience with noted professional artist-trainer who works with
access to exhibitions, films/videos, per- the Education & Community Programs staff to
forming arts, and special community ensure that lessons align with the California State
projects, the Education & Community Frameworks in Visual and Performing Arts. In this
Programs seek to make the Yerba way, students out-of-school art and job training
Buena Center for the Arts (YBCA) a enriches their in-school curricula.
living classroom and resource. To
Public Programs include tours, lectures, discus-
ensure that Pre-K-12th grade students,
sions, and events designed for college and adult
youth, and adult audiences are served
audiences.
alike, the programs are organized into
four areas: School Programs, Youth First Thursday Tours for the general public feature
Programs, Public Programs, and YBCA curators, artists, academics, and community
Special Community Projects. scholars who lead focused exhibition tours.
School Programs In Conversation programs feature artists, curators,
Art Tools for Teachers is a professional development and other professionals whose work colludes or
program that explores the themes and connections collides with, and illuminates, that of artists
in the visual arts; provides ideas for activities at presenting or exhibiting at YBCA.
ACTS OF ACHIEVEMENT 61 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Panels and Symposia Westport Country Playhouse
Preparing for Open Studios: The Artist as Westport, CT www.westportplayhouse.org
Entrepreneur provides information about how
to have a successful business. Panelists cover School districts served per year: 18
such topics as how to register for Open Studios,
Elementary schools served per year: 26
photograph and prepare slides of your work, and
how to publicize your Open Studio. High schools served per year: 14
K-12 students served per year: 5,000
Everything You Ever Wanted to Know about
the Art World but Were Afraid to Ask, Part 1
provides practical information for young and Programs offered:
emerging artists about how to establish oneself Performances for K-12 audiences
in the private sector art world.
After school or weekend programs for K-12 students
Everything You Ever Wanted to Know about Professional development opportunities for teachers
the Art World but Were Afraid to Ask, Part 2 Partnerships with whole school districts
explores the topic as it relates to nonprofit arts
Performances/exhibits by students
organizations, such as museums and art centers.
Evaluation methods
D.E.A.F. Media Salons, offered in collaboration
with D.E.A.F. Media, Inc., to adults who are deaf
or hard-of-hearing, are conversations led by
artists-in-residence.
PROFILE The Westport Country Playhouse
provides a wide range of educational
programs: internships and apprentice-
Special Community Projects are designed to be ships for college and high school stu-
responsive to collaborative opportunities and dents; educational theater programs
special events, and to continue valuable relation- during the academic year, a special
ships with health and social service organizations. childrens theater series during the
summer; and most recently, the inno-
Thursday Night Live! series are presented as part vative Something of Our Own project
of the multidisciplinary CenterFests. that encourages children to create their
Inside the Institution: The Visible Arts Center, a own works.
collaboration between YBCA and the San Francisco The productions selected and their
Art Institute, is a class aimed at giving students an accompanying educational activities
historical understanding of the motivating factors are designed to support the objectives
and origins of Bay Area interdisciplinary art. They of the Language Arts Curriculum Framework set
also learn about the complexities of curating across forth by the Connecticut State Department of
disciplines, including social, political, and aesthetic Education. Programming is also responsive to the
considerations. While the course focuses on the needs articulated by teachers and administrators at
particular strengths of YBCA, students are given a elementary, middle, and high school levels in a
more general context for understanding how cura- survey conducted by the Playhouse in the spring of
torial practices are born and how they relate to an 2002. For example, teacher materials and corre-
institutions mission and role in the community. spondence from the Playhouse apprise educators of
Milestones Graduation Ceremony is an annual event how its programming can be incorporated into
honoring graduates of the nonprofit alcohol and classes in order to help students meet both content
drug treatment program for parolees. and performance standards for language arts.
For school-age children, excellent educational the-
Other programs are produced as well, based on the
ater is provided both during the academic year and
needs and interests of community partners.
the summer. The past school years repertoire
included Romeo and Juliet, The Christmas that
ACTS OF ACHIEVEMENT 62 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Almost Wasnt (presented by the Childs Play
Touring Theater), Ball in the House (a six-piece a
cappella group from Boston, Mass.), and concluded
with Something of Our Own, which provides
meaningful and collaborative opportunities for
educators and students alike.
Westport Country Playhouse joins with Chicago-
based Childs Play, the premier U.S. theater compa-
ny dedicated exclusively to performing works writ-
ten by children, to offer the Something of Our Own
program. Educators can take advantage of work-
shops on creative and dramatic writing instruction
techniques, as well as on methods to encourage
children to write. For their part, students are
empowered through self-exploration and self-
expression, while having the opportunity to submit
work (such as a short story, song, poem, or play)
to be considered for inclusion in an original Childs
Play Touring Theater production commissioned
by the Playhouse. "The Love Bug's Hug by Bugs and Balloons"
The childrens summer series has been introducing The Playhouses notable educational offerings for
youngsters to the wonder of live theater for the past young adults are the apprentice and intern pro-
forty years. Traditionally, the series has included grams. The apprentice program is designed to pro-
childrens musical plays, puppets, magicians, and vide local high school students, as well as college
childrens music. One programming goal is to com- and graduate students, with an expansive exposure
bine the best-loved performance groups of previous to theaterfor which they can receive academic
seasons with new and innovative companies. This creditthrough practical work with professional
variety of work introduces children to the theaters actors, designers, and technicians. Apprentices must
wondrous ability to entertain and inform. make an eight-week commitment to the Playhouse,
Traditional fairy tales and foreign fables, flights of and are expected to be dedicated, hardworking
fancy and imagination, classic folk songs and music young adults with a passion to learn about the many
from other lands, all lead young audience members facets of a professional theater. They rotate through
on a musical, multicultural journey. various work assignments while studying the plays
of the season with the Apprentice Coordinator and
Because great socioeconomic disparity exists in taking workshops with guest artists.
Fairfield County, which has wealthy suburbs, as well
as cities in great need, the Playhouses varied pro- The intern program looks for serious-minded,
gramming is designed to appeal to the diverse audi- highly motivated individualscollege students,
ences of its surrounding communities. In that spirit, graduate students, or recent graduateswho have
it has forged a relationship with the Bridgeport already acquired some theatrical training and expe-
Public School system and works with the systems rience and are ready for the next step toward a
performing arts supervisor to involve educators in career in professional theater. Internships, offered in
projects and encourage them to bring students to various production, administrative, and artistic
the Playhouse. Student matinees provide school areas, provide hands-on experience crucial to a pro-
groups with unique and entertaining field trips; and fessional rsum. Interns must be willing to commit
study guides titled Inside Insights are distributed in themselves for a period of at least 12 weeks, during
advance of the performance to detail themes for which they engage in the creative process and test
discussion, pose study questions, and provide visual the limits of their own ingenuity. In turn, they are
images, interesting facts, and activities. treated as members of the professional staff.
ACTS OF ACHIEVEMENT 63 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Broward Center faculty of Broward Public Schools. For example, a
teachers study guide that accompanies each SEAS
for the Performing Arts performance includes all relevant curriculum ties
Fort Lauderdale, FL to Floridas Sunshine State Standards, thereby
www.browardcenter.org enabling classroom teachers to use live performanc-
es to teach reading, language arts, social studies,
School districts served per year: one
and even math and science.
Elementary schools served per year: 136 As a member of the John F. Kennedy Centers
High schools served per year: 27
Partners in Education program, the Broward Center
hosts a range of Professional Development
K-12 students served per year: 104,000 Workshops for Educators each year, completely free
of charge both to public and arts education teach-
Programs offered:
ers. And although the Broward Center is not a
visual arts facility, it has also welcomed the visual
Performances for K-12 audiences arts teachers who hold their annual summer
Short-term in-school residencies (one week or less) institute and other events there.
Professional development opportunities for teachers The Broward Center has also entered into compre-
Professional development opportunities for hensive partnerships with three performing arts
teaching artists magnet schools: Dillard High School, Parkway
Summer institute for K-12 teachers
Middle School, and Bethune Elementary School.
The partnership with Bethune has resulted in two
Partnerships with whole schools Arts Innovation Awards from the International
Partnerships with whole school districts Network of Visual and Performing Arts Schools,
among other accolades. Perhaps the most excep-
Training for school leaders (principals,
superintendents, others) tional aspect of the partnerships with each of these
schools is the way they work together. The Broward
Programs with parents and/or other adult caregivers
Center plays a totally different role in each of these
Adult education opportunities partnerships, yet always in response to the needs of
Performances/exhibits by students the faculty and students.
Performances/exhibits by teaching artists In fact, a distinguishing feature of all of the educa-
tional programs is the Broward Centers desire to
work with the schools, on the schools terms, to
PROFILE
ACTS OF ACHIEVEMENT 64 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
PACT Inc. (Ruth Eckerd Hall) These goals have often been realized. The Halls
Clearwater, FL www.rutheckerdhall.org
education program, the largest of its type in the
Southeastern United States, directly involves more
than 160,000 young people and adults a year,
School districts served per year: 50+ including at-risk youth and residents of low
Elementary schools served per year: 100+ income neighborhoods. The first arts education
High schools served per year: 30+ program in Florida to be honored as a Kennedy
Center Arts Partner in Education, it has served
K-12 students served per year: 140,000
more than 1.5 million to date. In addition, a
recently completed 17,000 sq. ft. educational insti-
Programs offered: tute will increase program impact by 50 percent or
Performances for K-12 audiences more and enable classes drawing upon technology,
Short-term in-school residencies (one week or less)
such as digital learning and digital arts, to be
taught. This enhancement will build on the year-
Long-term in-school residencies (multiple weeks)
round performing arts classes presently offered.
After school or weekend programs for K-12 students
Professional development opportunities for teachers Learning opportunities provided for children and
Professional development opportunities for youth, in addition to the classes referenced above,
teaching artists include specialized programs such as the following:
Summer institute for K-12 teachers
Summer institute for teaching artists
Series of performances for school and family audi-
ences, which include works by the Halls own
Partnerships with whole schools
producing arm and performances by the Eckerd
Partnerships with whole school districts
Theater Companya professional childrens
Partnerships with public broadcasting theater group. All productions focus on themes
Partnerships with cable media such as friendship, loyalty, courage, and integrity.
Web-based learning opportunities Teachers are provided with related curriculum
Programs with parents and/or other adult caregivers materials for their classes.
Adult education opportunities
The Florida Playwrights Process offers playwriting
Mentoring for students with community volunteers workshops in elementary and middle schools and a
Performances/exhibits by students regional competition for students original works,
Performances/exhibits by teaching artists winners of which are workshopped and produced
Technical/planning assistance professionally at Ruth Eckerd Hall.
Evaluation methods
The Ruth Eckerd Hall Scholarship program provides
four $2,000 scholarships each year for area juniors
The goals of the Education Program at
PROFILE
ACTS OF ACHIEVEMENT 65 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
JODI BROOKE GARDNER
Music Intensive students enjoy a very special guest visit by pianist Chick Corea.
school administrators, and teaching artists to help The program supports in-school residencies by
overcome a general lack of teacher comfort in securing renowned national artists for programs,
utilizing the arts to enhance curriculum. An and then supplementing the experiences with
important element of this program is the ongoing teaching artists who provide long-term follow-up.
assessment and evaluation conducted by outside Ruth Eckerd Hall trains these teaching artists by
consultants, which include on-site visits, participant providing them with instruction on state and
interviews, assessment instruments, and measure- national educational standards, school and
ment development. The resulting Program Assess- classroom culture, measurement techniques,
ment Model, together with program design, materi- and curriculum links. The Halls education depart-
als and lesson plans, and assessment instruments, ment also serves as a clearinghouse for facilitating
will be shared nationally in publication form in other local organizations provision of arts to local
2004-2005. At present, the pilot program reaches school systems.
into three partner schools and 25 classrooms (grades
3, 4, and 5), directly affecting some 800 students. The Hall supports K-12 classroom teachers through
the development of arts-integrated teaching materi-
The core strength of the education program is a als based on state and national standards, and the
committed, knowledgeable, and caring staff that has offering of extensive professional development work-
earned the respect of the entire community and shops. Teachers are paid stipends, not only to attend,
professionals in the national arts and arts education but also to secure substitute teachers to cover their
fields. This commitment extends throughout the classroom duties. Subsidies are available to cover
organization, up to the Board level, thereby transportation costs for school programs as well.
enabling the education staff to explore, develop,
and implement the newest in programs and tech- Ruth Eckerd Halls education program has always
nologies as well as the best of existing methodolo- and continuesto lead the way in utilizing the arts
gies and curricula. This serves children and youth to secure students personal and academic achieve-
not just in Florida, but the whole country. ment. It has served as a model for most education
programs presently in place in performing arts
centers throughout Florida.
ACTS OF ACHIEVEMENT 66 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Tampa Bay Outreach to smaller community theaters through
the Arts in the Community programming
Performing Arts Center
Tampa, FL www.tbpac.org Kid Time and Wee Folk performances
ACTS OF ACHIEVEMENT 67 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
great effect. This program also serves as a wonderful Van Wezel Performing Arts Hall
vehicle for residencies both in school and at the
Sarasota, FL www.vanwezel.org
Center.
The Center is committed to providing K-12 teach- School districts served per year: 4
ers with additional training by extending the out-
Elementary schools served per year: 75
reach artists efforts to teacher workshops, which
help teachers make higher-impact connections with High schools served per year: 57
their students in science, literature, language arts, K-12 students served per year: 30,000
history, and math classes. Also, 10 of the approxi-
mately 50 On School Time performances per year
Programs offered:
are designated as Page to Stage. Designed to
improve literacy skills in school-age children, Performances for K-12 audiences
this interactive program demonstrates the link Short-term in-school residencies (one week or less)
between a work of literature and a corresponding Long-term in-school residencies (multiple weeks)
theatrical performance. Using a specially designed
Professional development opportunities for teachers
study guide, students first read a designated book
and then complete related educational activities, Professional development opportunities for teaching
artists
including writing an essay. The Summer Teacher
Forum supports teachers and also helps teachers Partnerships with whole schools
support the Center: it is designed to give local edu- Partnerships with whole school districts
cators a way to provide input on Center educational Partnerships with cable media
programming. During the summer months, groups
Training for school leaders (principals,
of teachers participate in focus groups, give feed- superintendents, others)
back on existing programs, and discuss new Programs with parents and/or other adult caregivers
curriculum needs.
Adult education opportunities
Several Tampa Bay area public and private schools Mentoring for students with community volunteers
are designated as partner schools. The Center pro-
Performances/exhibits by students
vides them with master classes taught by touring
artists, helps to design their curricula, and holds Technical/planning assistance
practice auditions for their students. These schools Evaluation methods
are involved, in turn, in educational projects, and
they are frequently offered discounted tickets or free
PROFILE
ACTS OF ACHIEVEMENT 68 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Acting Company, and the Moiseyev Dance The Kennedy Center has also selected the Van
Companyto K-12 students and their teachers. Wezel/Sarasota County School District partnership
Many of these performances include a question- for two other projects involving national evaluation
and-answer session afterward; and the performing and research. The first two-year effort involved the
artists often go into the schools to provide master assessment of the professional development pro-
classes for dance/drama/music students or lead grams and the effectiveness of teaching science
workshops in the classrooms. through movement. The second project investigates
the value of arts integration for improving literacy
More than 30,000 students are brought to the Hall skills and instructing teachers to collect, analyze,
performances from four surrounding counties. and interpret research data to better advocate for
Ticket prices are an affordable six dollars, and the arts. The Hall also works intensively with indi-
teacher and student study materials are provided in vidual schools on specifically designed yearlong
advance. These programs and education materials projects that support achievement goals such as
are carefully selected to reinforce the local curricu- math and interdisciplinary learning.
lum and the Florida State curriculum. The Hall has
even committed to printing study guides for every The Halls Education Department plans long-term
student, when appropriate, if schools printing artist residencies each season to engage a larger
budgets have been cut; and it provides bus-fare fraction of the community, bring new audiences to
reimbursement in cases where the students would the Hall, and further explore a particular art form.
be charged. The youngest audiences are welcomed Past residencies have included The Tibetan Monks,
to the Saturday Morning For Kids series with per- Urban Tap, Urban Bush Women, and WOFA!, as
formances such as The Little Engine That Could, well as local drumming circles, senior citizen
Alice In Wonderland, and Franklin. centers, gospel choirs, and martial arts/dance
studios. Evening audiences participate in pre- and
The Van Wezel is partnered with the Sarasota post-performance discussions with the artists, and
County School District in the Partners in Education have spent an hour with Paul Stokey (of Peter, Paul
program of the John F. Kennedy Center for the and Mary), Bobby McFerrin, YoYo Ma, Awadagin
Performing Arts. This program offers professional Pratt, and Pilobolus, among others.
development workshops that help teachers to teach
in, through, and about the arts. Nationally The Halls innovative programs include unexpected
renowned educators are brought to Sarasota to lead collaborations. Van Wezel is partners with the
these dynamic three-hour workshops, for which the Ringling School of Art and Design to provide live
school district gives in-service credit. The educators performing arts experiences to its visual arts college
continue their work the next day by coaching and students,working with 300 freshmen who attend six
modeling in the classroom with participating teach- selected evening programs at the Hall. Afterward
ers, who report that their mastery of the techniques the artists come to the campus for an exchange of
increases through these classroom/workshop exten- art-making. For example, Parsons Dance Company
sions. Evaluations on in-classroom activities follow- choreographed and video-recorded dance sculp-
ing the workshops are collected for use in assess- tures with the students, and Aquila Theatre
ment. Participating teachers are later invited to a Company worked with welding students in the
Teacher Recognition Evening with dinner, an artist studio to create mythological characters through
talk, and a performance; and they receive discounts drama and metal. Another collaboration involves
on selected performances designed to improve their Sarasotas New College, whose ethnomusicology
own arts literacy. classes use the main-stage performances as their
syllabus each semester.
ACTS OF ACHIEVEMENT 69 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Spivey Hall at workfor example, 2002 Choral Workshop
conductors were Janet Galvan and Eph Ehly.
Clayton College &
State University The Childrens Concert Series, for students Pre-K
Morrow, GA www.spiveyhall.org through 12, provides performances by some of
todays renowned musicians. The series covers a
variety of musical genres and is designed to com-
School districts served per year: 18 plement the public-school curriculum. With 60
Elementary schools served per year: 74 concerts to choose from, teachers are certain to find
High schools served per year: 92 programs to meet their own curricular needs.
K-12 students served per year: 18,937 In March 2001, Spivey Hall created a new educa-
tional program to help train orchestra students.
Programs offered: The Spivey Hall Chamber Orchestra Workshop,
structured much like the Choral Workshop, pro-
Performances for K-12 audiences
vides selected metro-Atlanta high school students
Short-term in-school residencies (one week or less) with instruction of the highest quality. Dr. William
After school or weekend programs for K-12 students LaRue Jones conducted the first performance.
Professional development opportunities for teachers Subsequent workshops were conducted in March
2002 featuring Louis Bergonzi and in November
Adult education opportunities
2002 with Kathleen DeBerry Brungard.
Performances/exhibits by students
Performances/exhibits by school-based teachers
The Spivey Hall Childrens Choir Program consists
of 150 gifted singers between the ages of 10 and 18
Performances/exhibits by teaching artists
who perform in three choirs: the Spivey Hall Tour
Technical/planning assistance Choir, Spivey Hall Childrens Choir, and the Spivey
Evaluation methods Hall Young Artists. Formed in the Fall 2002, Young
Artists is a training choir for children ages 10-13.
The program offers its members professional-level
PROFILE
ACTS OF ACHIEVEMENT 70 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
For example, concentrated summer courses are Hancher Auditorium
provided to keep Atlanta area educators up to date,
and encourage collaboration with colleagues in the
The University of Iowa
region. Summer 2002 courses included Teaching Iowa City, IA
Methods for General Music Educators, Choral www.uiowa.edu/hancher
Techniques, Introduction to Finale, and Web
page Design. School districts served per year: 36
In April 2002 Spivey Jam! was introduceda Elementary schools served per year: 50
program in which middle school bands perform High schools served per year: 28
for professional jazz musicians/analysts, who offer
K-12 students served per year: 12,500
expert advice and mentoring. This is not a competi-
tion, but rather a celebration of young talent and
music in the schools. The 2002 event culminated Programs offered:
with a private dinner with international jazz- Performances for K-12 audiences
singing star, Grammy nominee and Atlanta
Short-term in-school residencies (one week or less)
resident Freddy Cole.
Long-term in-school residencies (multiple weeks)
Professional development opportunities for teachers
Partnerships with whole schools
Partnerships with whole school districts
Partnerships with public broadcasting
Programs with parents and/or other adult caregivers
Adult education opportunities
Performances/exhibits by students
Evaluation methods
PROFILE
ACTS OF ACHIEVEMENT 71 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
MICHAEL KREISER
In 1996, Hancher began to broadcast educational past year, they were able to see the Jazz at Lincoln
programs on the Iowa Communications Network Center Orchestra, Academy of Ancient Music, and
(ICN), a fiber-optic system that permits Compania Nacional de Danza. Master classes last
interactive communication in real time. For exam- season for university students were given by opera
ple, four times a year hosting free ICN workshops singer Frederica Von Stade and members of the
with visiting artists, students in classrooms Philadelphia Orchestra and Houston Ballet. Visiting
throughout Iowa can watch the artists on the artists in university classrooms present lectures and
Hancher stage and ask them questions. Since 2000, discussions, and they are often highlighted in
schools in more than 50 (mostly rural) communi- university media and radio shows.
ties have participated in this process. Artists have
included jazz pianist Marcus Roberts, the Ying Each season, Hancher sponsors residencies that
Quartet, and the cast of Blast!, among others. bring artists into the K-12 classroom. A three-year
project, called Arts Across the Curriculum, involved
Hancher Auditorium also emphasizes educational 12 elementary and middle schools in eastern Iowa
programming for families and adults, with several and 6 visiting artists . This multi-layered project
free family concerts a year. In 2001, Hancher which included teacher workshops, creation of new
finished a three-year partners project that specifi- units of study, in-school workshops by visiting
cally targeted the 25 to 45 year-old segment of the artists, Hancher performances, ICN workshops, and
potential audience; free concerts were held in the free evening family events in every community
workplace, libraries, museums, and other locations was designed to encourage the integration of the
in the general community. performing arts into all areas of school curricula.
Educators learned how to incorporate music,
As a university presenter, it is also important that dance, and theater into subjects such as math,
educational programming be brought to the imme- social studies, and reading.
diate community. Every year, university students
attend open rehearsals in the auditorium; in the
ACTS OF ACHIEVEMENT 72 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Urban Gateways: effects on their performance in other subject areas
and a long-term impact on their lives.
Center for Arts Education
Chicago, IL www.urbangatetways.org These objectives are persued through in-school and
out-of-school performances, classroom residencies,
specially designed programs, and professional
School districts served per year: 89
development for educators and artists. Using Urban
Elementary schools served per year: 393 Gateways methodology of Encounter, Engage, and
High schools served per year: 35 Reflect, teachers and students first encounter the
K-12 students served per year: 320,000 professional work of an artist, then engage in the
making of art, and lastly reflect upon the process.
Programs offered: Core programs include:
Performances for K-12 audiences
Artist-in-Residence. Urban Gateways professional
Short-term in-school residencies (one week or less) artists work with teachers to design and achieve
Long-term in-school residencies (multiple weeks) arts instruction that incorporates and complements
After school or weekend programs for K-12 students science, math, history, and literature. The artists
visit classrooms weekly for up to four months,
Professional development opportunities for teachers
helping children to use art and their imagination
Professional development opportunities for to expand their learning possibilities. More than
teaching artists
95,000 students, teachers, and parents in more than
Summer institute for K-12 teachers
60 schools participate in this program each year.
Partnerships with whole schools
Touring Performances. Educators may choose from a
Training for school leaders (principals,
superintendents, others) list of 50 programs in dance, music, and theater that
will then travel to their schools. Urban Gateways
Programs with parents and/or other adult caregivers
also provides educational materials that teachers use
Performances/exhibits by students
to prepare students for the performance they will
Evaluation methods see and to help them discuss the programs after the
touring artists have departed. Immediately following
PROFILE
Urban Gateways holds that the arts con- performances, companion workshops bring greater
stitute basic learning experiences for all understanding of the art form to the audiences.
people, and that, when taught effective- More than 800 performances are scheduled each
ly, they can provide valuable skills appli- year, reaching 230,000 students.
cable to other subjects. The arts are a
Student Matinee Program. Students attend perform-
means to discovering and developing
ances of national and international touring compa-
new and creative ways of thinking,
nies in some of Chicagos historic theatrical sites.
learning, and expressing oneself. When
Here, too, Urban Gateways provides educational
children study an art form in-depth to
materials that teachers use to prepare students for
discover its historical and cultural
the performance they will see and to help them
significance, they strengthen their abili-
discuss the programs after they return to school.
ties to comprehend, conceptualize, and
Fourteen to nineteen titles are presented annually,
problem-solve. Through the sustained
reaching 25,000 students.
efforts of adults, parents and teachers
alike, these skills can be reinforced and
further developed in children, producing positive
ACTS OF ACHIEVEMENT 73 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Customized Programs. Urban Gateways designs Clowes Memorial Hall
customized programs to meet specific themes
of Butler University
or special needs for a variety of educational,
community, and professional settings. For example, Indianapolis, IN www.cloweshall.org
it collaborates with the Elgin Symphony Orchestra
and Hamilton Wings (an Elgin, Ill.-based not-for- School districts served per year: 100+
profit organization) on SCORE! In that program, Elementary schools served per year: 75+
which stands for Students Creating Opera to
High schools served per year: 25+
Reinforce Education! Urban Gateways assists in
the conception, development, and production of K-12 students served per year: 60,000+
an original opera.
Programs offered:
Professional Development Programs. Urban
Gateways emphasizes child-centered education Performances for K-12 audiences
using the arts as a generative force through which Short-term in-school residencies (one week or less)
a holistically healthy child may be developed. Professional development opportunities for teachers
To adequately equip teachers, the professional Partnerships with whole schools
development programs for teachersthe Summer
Partnerships with whole school districts
Institutealso trains teachers in aesthetic educa-
tion and its integration into the curriculum. Adult education opportunities
Twenty to twenty-five teachers participate each Evaluation methods
summer. Educator-artists themselves must be simi-
larly prepared. Urban Gateways artists are required
PROFILE
The goal of the Clowes Memorial Hall
to participate in training seminars conducted by education program is to educate, enrich,
staff and master artists prior to beginning their and entertain students and adults of all
work in schools each year. Topics include creative ages through a broad range of arts offer-
teaching techniques, relating art forms to societal ingsperformances, teacher workshops,
and historical contexts, engaging students in the interactive distance-learning sessions,
learning process, and general classroom manage- clinics with artist-educators, in-school
ment. Each artist is taught how to present a residencies, open rehearsals, and facility
performance or workshop within the classroom. toursthat will meet the needs and
Special attention is paid to ensuring that each interests of virtually all learners. The
contact with students and teachers reflects diverse growth over the last 12 years of the Pre-
classical and cultural forms, is age appropriate, K-12 program in particular has led to an
and has a high educational and artistic value. emphasis on integrated programming
New and emerging artists receive adddtional that helps students and educators from
training through working with master artists, across the state to value, connect with,
serving as mentors. and engage in the arts. All Pre-K-12 events and
programs are designed to enhance the Indiana
Academic Standards in language, science, history,
social studies, character education, and the fine arts.
They also help teachers address issue-based curricu-
la on topics such as human rights, self-confidence,
cooperation, and careers.
ACTS OF ACHIEVEMENT 74 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The School Matinee Series serves as the foundation Hall has embraced teacher training as an integral
on which other Clowes educational activities are part of its mission. Through teacher workshops
built. Diverse programs and presentations in instru- that model arts-integrated teaching methods, the
mental and choral music, opera, theater, and ballet Partners in Education program helps the Hall
not only connect with the school curriculum, but reach teachers and their students with innovative
also provide students and educators with new learning techniques and materials. Workshop lead-
appreciation of the arts and the role of the artist. ers are trained artist-educators who work with
To prepare students for a matinee program, the teachers to develop their understanding of an art
Clowes Education Department publishes student form, connect the content of a production to the
study guides, called Clowes Sheets, that are sent to school curriculum, and demonstrate arts-in-educa-
every student three weeks prior to attending a per- tion teaching strategies that can be implemented
formance. The Clowes Sheet can include a synopsis immediately in the classroom. Teachers have the
of the story, pertinent vocabulary, discussion of the option of earning Indiana license-renewal credit or
art form, historical or geographic information, or Butler University academic credit for participating
interesting facts about the production. In addition, in these workshops.
students are challenged to interpret lines from the
play, solve problems relating to the story, or evaluate Clowes works with partnering schools to develop
the adaptation of a book into a stage production. artist residencies that meet specific curricular needs
and goals. Artists, principals, teachers, and Clowes
As a charter member of the John F. Kennedy education staff participate in the planning and
Centers Partners in Education program, Clowes implementation of the residencies, which often
CLOWES MEMORIAL HALL OF BUTLER UNIVERSITY
ACTS OF ACHIEVEMENT 75 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
include both teacher workshops and student The Lied Center of Kansas
sessions that model effective arts-integration
strategies.
University of Kansas
Lawrence, KS www.lied.ku.edu
Another aspect of the education program involves
the use of distance-learning technology. Made pos-
School Districts served per year: 1
sible by the magic of fiber optics, distance learn-
ing utilizes two-way teleconferencing to connect Elementary schools served per year: 18
students in the classroom or adults in retirement High schools served per year: 3
homes and learning centers with educators at K-12 students served per year: 9,000
Clowes Memorial Hall; this technology is particu-
larly valuable for groups with accessibility needs or
those located in remote areas. Distance-learning Programs offered:
sessions are designed by the Clowes Education Performances for K-12 audiences
Department to complement various aspects of the Short-term in-school residencies (one week or less)
education program, and they can include: behind-
Professional development opportunities for teachers
the-scenes looks at performances, informal conver-
sations with artists, opportunities to observe master Partnerships with whole school districts
classes, explorations of the playwriting process, or Training for school leaders (principals,
in-depth looks at careers in the arts. superintendents, others)
Programs with parents and/or other adult caregivers
Clinics with artists are open both to student and
Adult education opportunities
adult learners and are held in informal settings
where patrons can hear guest artists talk about their Performances/exhibits by school-based teachers
art form and personal performance history. Evaluation methods
Question-and-answer sessions usually follow. In
addition, master classes are offered at Butlers
PROFILE
The Lied Center of Kansas offers a com-
Jordan College of Fine Art. Students can participate prehensive set of educational programs
in these classes led by leaders in the fields of dance, that serve not only K-12 learners but
music, and theater, where they can perform and also adults in the community.
be critiqued.
The K-12 Adventures in Imagination
Events and activities of the Clowes education pro- (AiI) program includes school perform-
gram are rigorously evaluated on a continual basis. ances and workshops that support class-
Response forms and surveys, requesting both quali- room curriculum; they are accompanied
tative and quantitative data, are collected from all by student study guides and teacher les-
participants and staff. Surveys solicit responses to son plans. Formed as a Business/
the overall quality of the presentation, access, seat- Education Partnership among the Lied
ing, student study guides, and specific issues relative Center, U.S. Bank, and the Lawrence
to each presentation. Results of evaluations are tab- Public Schools, AiI creates opportunities
ulated and compiled for each educational event, through the arts that enhance reading,
and reports are presented to to Clowess Advisory writing, critical thinking, and creative expression
Council and staff. The Education Department also for students and teachers.
compiles an annual report summarizing the years
programming with statistics and evaluation results, The Lied Center and the Lawrence Public Schools
which is then used as the basis of a year-end report are founding members of the Partners in Education
given to the Advisory Council for its assistance in program of the John F. Kennedy Center for the
evaluating operational procedures and planning Performing Arts. Curriculum-based arts-integration
future programs.
ACTS OF ACHIEVEMENT 76 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
workshops for teachers are the foundation of the Glema Mahr Center for the Arts
Partners in Education Program.
Madisonville, KY http://www.glemacenter.org
The Lied Center also pursues its mission through
Pre-Performance Lectures and Post-Performance School districts served per year: 17
Discussions, Artists Talk-Backs, and extended
Elementary schools served per year: 102
residencies in the community of Lawrence and
throughout Kansas. Residencies include High schools served per year: 26
opportunities to engage artists in master classes, K-12 students served per year: 16,498
workshops, lectures, demonstrations, and
imaginative activities that are as varied as the
Programs offered:
artists themselves.
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Professional development opportunities for teachers
Partnerships with whole schools
Web-based learning opportunities
Programs with parents and/or other adult caregivers
Adult education opportunities
Performances/exhibits by students
Performances/exhibits by teaching artists
Technical/planning assistance
Evaluation methods
ACTS OF ACHIEVEMENT 77 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Binney & Smith, makers of Crayola Products exhibit in the Anne P. Baker Gallery of the
In 1994, the Glema Mahr Center for the Arts Madisonville Community Colleges Fine
became one of only seven arts centers in the nation Arts Center.
to be selected for the Crayola Dream-Makers pro-
gram, a cross-curriculum approach to the visual The GE Fund
arts implemented by classroom teachers. The Enriching the lives of young elementary school chil-
Center has continued to expand the Dream-Makers dren by engaging them with the arts is what the GE
program each year, and has now successfully com- Creative Connections program is about. Originating
pleted a seventh year in this collaborative project. as a three-year partnership among the Glema Center,
This past season, six Hopkins County elementary the Kentucky Center for the Arts, the GE Fund, and
schools participated in the program. Crayola two elementary schools, GE extended this successful
Workshops were conducted for students, parents, program last season for another three years and
and administrators. Of the more than 2,500 stu- invited two more schools to participate. Each school
dents who created artwork, 234 were chosen to develops an individual program addressing its needs,
with equal emphasis given to student, teacher, and
community learning. With the
help of Creative Connections, all
participating schools have been
able to host several week-long
residencies.
Numerous contributors to
the STAR PASS Program
This program, developed to
encourage low-income families
and individuals to attend the
cultural and educational events
offered by the Glema Mahr
Center for the Arts, is an example
of how a community partnership
can be very effective through a
dignified process. In 2001-2002,
its successful fourth season, more
than 400 STAR PASSES were
redeemed, with broad communi-
ty support. Contributors includ-
ed the Mayors Fund of the City
of Madisonville, Mrs. Glema
Mahr, the Madisonville BPW
(Kentucky Federation of Business
and Professional Women), and
the Madisonville Rotary Club.
ACTS OF ACHIEVEMENT 78 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Central High School and Madisonville North RiverPark Center
Hopkins High School as part of the seasons offer-
Owensboro, KY
ings at the Anne P. Baker Gallery. The exhibit was
juried and awards were given to the winning entries
in several categories. School districts served per year: 33-KY and IN
Elementary schools served per year: 114
The third annual Summer Arts Academy (2002),
an intensive 10-day drama day camp, was met with High schools served per year: 46 middle and high
enthusiasm by students, parents, and community K-12 students served per year: 50,000
members; and for the first time, a one-week
Academy was offered for elementary school stu-
Programs offered:
dents. A total of 130 students participated in the
two academies. From June 3-7, the younger stu- Performances for K-12 audiences
dents learned to sing, dance, and design scenery Short-term in-school residencies (one week or less)
for the performance of Stinky Cheese Man. Middle After school or weekend programs for K-12 students
and high school students then attended the tradi-
Professional development opportunities for teachers
tional Academy from June 10 - 21. Working with
professional actor/director F. Reed Brown, they Professional development opportunities for
teaching artists
learned about the various aspects of producing
and performing in a play. The culmination of the Partnerships with whole schools
two weeks was a wonderful performance of Once Partnerships with whole school districts
Upon a Mattress. Partnerships with public broadcasting
The Glema Mahr Center for the Arts housed several Mentoring for students with community volunteers
community events again this past year, but for the Performances/exhibits by students
first time it presented a community musical, The Technical/planning assistance
Music Man. Local talent was used onstage and off
Evaluation methods
to mount this American classic; several of the cast
members were former participants in the Summer
PROFILE
Arts Academy. Sponsored by the J. B. and Kiel RiverPark Center offers the following
Moore Community Program Endowment, three learning opportunities for children and
youth:
performances were presented.
Arts Teach Kids. School-day
The Center has become the home for area dance-
performance series (K-12) that is
school recitals, Hopkins County Schools band and
related to core content and academic-
choral concerts and plays, and KMEA (Kentucky
performance standards (approximately
Music Educators Association) Band and Choral 70 shows per year).
Festivals. Every December, the local police band
Street Heat performs twice on the stage before Arts in the A.M. A three-hour program,
hundreds of middle school students, providing normally held in the morning, that
them with an anti-drug message. utilizes professional artists to involve
students in activities related to the core
All of these events bring students into the Center, content in arts and humanities on which
educate them, and excite them about the arts. they are tested later in the school year.
Between 4,000 and 5,000 children participate in this
program, and it is growing by approximately 1,000
children per year.
Missoula Childrens Theatre. This company gives
workshops for children and produces shows in
which local children can star.
ACTS OF ACHIEVEMENT 79 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Kentucky Shakespeare Festival. Brings its program helps to prepare teaching artists by sharing
educational outreach workshops to the Center. information with them (for example, on core
content), connecting them with school arts coordi-
Creative Connections. General Electric enables nators and seasoned teaching artists, and forward-
schools to work in partnership with arts centers ing feedback from teachers and staff.
to improve student learning in arts education
program funded by Gen the arts. RiverPark Center also supports K-12 classroom
teachers through:
Summer Arts Camp. A weeklong camp for children
(K-12) in which they are actively involved in the Partnerships with their schools
arts. One hundred ten young people participated
in the camp in 2002. Receptions for teachers
Partnerships. Many other learning opportunities Reduced rates to performances, when possible
are offered through the partnerships with local High-quality professional development,
school systems. The Center sponsors the Daviess assisted by the partnership with the Kennedy
County Public School Class of 2013 and plans Center Partners in Education Program
activities every year for this class.
Reading to students on I Love to Read Day
Grants. RiverPark Center has provided local
children with a variety of opportunities through Study guides for all performances
financial support.
Arts in the Afternoonan after school workshop
Performances. Students at many schools are given for an entire faculty, led by a professional artist,
the opportunity to perform on the RiverPark that focuses on one area of the arts
Center stage.
Arts Education Showcase. Artists come to the Center,
Back-Stage Tours. Normally led by the technical give mini-performances, and talk with teachers who
director. may want to bring them to their schools
The basic strengths of the education programs are Technical assistance for teachers in schools who
the partnerships with the schools, the connection of present their performances at RiverPark.
the RiverPark Centers education programs to core
The RiverPark Center has more school-day per-
content of curriculum, outstanding programming,
formances than most other centers its size. Yet, it
close communication with teachers and arts coordi-
also supports an after school theater program for
nators, and continual evaluation.
at-risk children in the schools with Neblett Center,
In-school residencies are supported in large part an inner city community center, and other arts
through the Creative Connections program. The partnerships funded by Kentucky Arts Council.
RIVERPARK CENTER
ACTS OF ACHIEVEMENT 80 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Jefferson Performing Arts Society prices. This program allows schools to integrate the
classic works that JPAS presents into their curricu-
Metairie, LA www.jpas.org
lum, and it gives students the opportunity to expe-
rience performances in a real theater environment.
School districts served per year: 6
Cultural Crossroads, a residency-based program,
Elementary schools served per year: 21
integrates arts and cultural activities with core cur-
High schools served per year: 7 riculum at alternative schools in the Greater New
K-12 students served per year: 10,800 Orleans region. The goal of this outreach is to
improve student achievement through in-school
arts activities for students who have not succeeded
Programs offered:
in the traditional education environment.
Performances for K-12 audiences Throughout the school year, the program focuses
Short-term in-school residencies (one week or less) on math, language arts, Louisiana and world histo-
Long-term in-school residencies (multiple weeks) ry, and social skills (including conflict management
and self-esteem).
After school or weekend programs for K-12 students
Professional development opportunities for Stage Without A Theater brings artists and
teaching artists productions into local schools during the
Partnerships with whole schools school day.
Partnerships with whole school districts The Childrens Chorus and Youth Chorale have pro-
Partnerships with public broadcasting vided high quality choral training to the children
Partnerships with cable media of the greater New Orleans area for 19 years. The
choirs are comprised of more than 95 children, ages
Adult education opportunities
4-18. While participating in weekly chorus
Performances/exhibits by students rehearsals they study music, poetry, and movement.
Performances/exhibits by teaching artists Chorus members perform in a variety of settings
throughout the community and on the concert
stage. In 2003, JPAS began offering a Summer Show
PROFILE
ACTS OF ACHIEVEMENT 81 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
FleetBoston Celebrity Series In the 2002-2003 season, Project Discovery was
comprised of the following:
Boston, MA www.celebrityseries.org
Programs for Students (K-12)
School districts served per year: 20 Artists-in-Residence. In-school residencies at Boston
Elementary Schools served per year: See profile public and charter schools, featuring visiting
High Schools served per year: See profile Celebrity Series artists in dance and music, are
K-12 students served per year: 20,000
intended to supplement the dance and music cur-
ricula of these schools. The goal of the dance resi-
dencies is to introduce students to dance and cho-
Programs offered: reography as creative art forms, while the music
Performances for K-12 audiences residencies aim is for participants to acquire a bet-
Short-term in-school residencies (one week or less)
ter understanding of composition, performance,
and instrumentation. Students interact with visiting
Long-term in-school residencies (multiple weeks)
artists through master classes, lecture-demonstra-
After school or weekend programs for K-12 students tions, open rehearsals, and advanced workshops.
Partnerships with whole schools These in-school residencies have included artists
Partnerships with whole school districts such as Yo Yo Ma, Marvin Hamlisch, Wynton
Marsalis, Bobby McFerrin, and dancers from the
Partnerships with public broadcasting
Paul Taylor Dance Company and American
Adult education opportunities Ballet Theatre.
Performances/exhibits by students
Community Arts Link. Project Discoverys discount
Evaluation methods
ticket program involves more than 300 schools,
community groups, and social service organizations
PROFILE
ACTS OF ACHIEVEMENT 82 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
BRIAN SNYDER
Arts Academy, ACT 2 offers dance, introductory creative, and interactive events, this community-
music, theater, and visual art classes to AileyCamp dance initiative provides the rare opportunity to
alumni. The program also engages guest speakers experience the artistry and energyoutside of
from the community to promote the personal staged performancesof some of the worlds most
and civic growth of the students, and it offers innovative dance companies. In its inaugural season
workshops in volunteerism, academic support, last year, Dance Across the City invited adults to
and goal-setting. participate in master classes, panel discussions, and
conversations with some of todays leaders in mod-
Programs for Families ern dance, including Bill T. Jones, Mark Morris,
and Jonathan Wolken of Pilobolus.
Family Musik. Celebrating its eighth season in
2002-2003, Family Musik was created to spark What Makes It Great? is both a formal concert and
family-wide interest in music through a series of an educational workshop. Composer/conductor/
fun-filled interactive concerts and workshops that commentator Robert Kapilow introduces new
incorporate music, words, and movement. Past audiences to classical music composition and dance
Family Musik concerts have included The Polar and gives already knowledgeable audiences new
Express, Elijahs Angel, Many Moons, Carnival ways to understand them. Mr. Kapilow and guest
of the Animals, A Soldiers Tale, Everybody Dance artists deconstruct well-known works into manage-
Now!, April Fools! and MozartBridge. able sections, explain the works structure, highlight
important motifs, and encourage the audience to
Programs for Community think like the composer or choreographer. When
the workshop component is followed by a formal
Dance Across the City is a collaboration between performance of the entire piece by the guest artists,
FleetBoston Celebrity Series and the Wang Center the audience experiences it with a new depth of
for the Performing Arts that aspires to showcase understanding and familiarity.
dance in the Boston community as a vital and
enriching experience. Through a series of free,
ACTS OF ACHIEVEMENT 83 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Wang Center for the Arts Can Teach (ACT) is a partnershipamong
Suskind Young at Arts, LynnArts, Inc., and the Lynn
Performing Arts
[Mass.] Public Schoolsthat gives Lynn middle
Boston, MA www.wangcenter.org
school teachers the opportunity of working with
local professional artists to learn elements of an art
School districts served per year: 43 towns
form and to develop, implement, and assess arts-
(not districts)
integrated projects in their classrooms throughout
Elementary schools served per year: 56,
the school year. Art forms include the literary,
varies each year
visual, and performing arts. ACT begins in the
High schools served per year: 88, varies each year
spring, with the selection of artists and teachers,
K-12 students served per year: 770 who then work together for 28 hours during a
(plus 100 educators)
Summer Institute. They plan a 10-day residency
project for the fall, followed by an independent
Programs offered: project (facilitated by the teacher) in the spring.
Performances for K-12 audiences Exhibits take place at each school and at LynnArts
during the month of March, and the evaluation
After school or weekend programs for K-12 students
component finishes the year in April. Residency
Professional development opportunities for teachers
work is a large part of the learning process in this
Professional development opportunities for program, but the teacher is more actively involved
teaching artists
in the planning and implementation process than in
Partnerships with whole school districts most traditional residencies.
Performances/exhibits by students
Every other year a seminar is offered, developed by
the John F. Kennedy Center for the Performing Arts,
PROFILE
ACTS OF ACHIEVEMENT 84 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Arts for Teachers program offers free profes- Clarice Smith Performing
sional development workshops for K-12 educators.
Arts Center University
Prominent local and national presenters lead this
series of interactive workshops, which explore dif-
of Maryland
ferent ways for teachers to integrate the arts into College Park, MD
their curriculum while meeting Massachusetts www.claricesmithcenter.umd.edu
Department of Education standards. Participants
who complete all sessions in a workshop series School districts served per year: 4
are eligible for a minimum of 10 professional
Elementary schools served per year: 24
development points.
High schools served per year: 21
The Wang Center for the Performing Arts and the K-12 students served per year: 6,000
Boston Public Schools, both members of the
Kennedy Centers Partners in Education program,
have partnered in collaborative efforts to make the Programs offered:
arts integral to education. The Kennedy Centers Performances/exhibits by students
annual Partners in Education meeting, helps the Partnerships with whole schools
Wang Center keep on top of national education Summer institute for K-12 teachers
trends and issues, and throughout the year provides
Professional development opportunities for teachers
excellent workshop presenters from around
the country. Long-term in-school residencies (multiple weeks)
Short-term in-school residencies (one week or less)
Through a partnership with the Boston Public
Performances for K-12 audiences
Schools, an Arts Symposium is offered each
Adult education opportunities
season that is focused on the specific needs of BPS
teachers. The Arts Can Teach program in Lynn, MA,
PROFILE
enables teachers to work with local professional As a new organization, the Clarice
artists for integrating arts projects into their Smith Center is just beginning to shape
curriculum. learning programs both for adults and
youth. The primary goals of the
On a more executive level, Teacher Liaisons is Centers programs generally are to:
Suskind Young at Arts connection to the Boston
areas school community. Established in 1995, this Offer programming that is reflective
group of 30 K-12 educators serves as an advisory of the diverse communities within and
panel, as volunteers for Suskind Young at Arts around the university
(for which they help recruit participants), and as
Establish a context for performances
liaisons between the Wang Center and their
in order to engage the audience more
partner schools.
deeply
Suskind Young at Arts is committed to growth
Contribute to the repertoire of new
and expansionnot just through numbers, but
work
through creative thinking about innovative
practices in arts language. Provide resources for artists from the Centers
communities and around the world to pursue their
art forms.
ACTS OF ACHIEVEMENT 85 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
activities are offered; in others, one-time lectures, Emery Community Arts Center &
panel discussions, or artist talk-back opportunities
Foothills Arts
enhance a performance experience. Either way, pro-
Farmington, ME www.emeryartscenter.org
grams presented by the Center are usually framed
by occasions intended to inform, engage, and ulti-
mately build new audiences (of all ages) for a wider School districts served per year: 5
range of performing arts. Elementary schools served per year: 7
A primary emphasis at this time is the engagement High schools served per year: 4
of adults from the diverse communities within and K-12 students served per year: 1,012
around the University.
But the Center does work in the K-12 environment Programs offered:
as well, with an aim of increasing students Short-term in-school residencies (one week or less)
interest, understanding, and participation in the After school or weekend programs for K-12 students
performing arts. The Centers initiatives involve the Professional development opportunities for teachers
building of partnerships with community organiza-
Professional development opportunities for
tions, youth groups, and local schools. In 2002- teaching artists
2003, Northwestern High School and Hyattsville
Partnerships with whole schools
Middle School, located near the University, were
Partnerships with whole school districts
the Centers primary school partners. Interactions
included: Programs with parents and/or other adult caregivers
Adult education opportunities
Local artists in residence throughout the year, both
Evaluation methods
for music composition and playwrighting projects
For the past three years, the Center has also Nurture the creative voices of youth,
sponsored teacher training institutes during the of all backgrounds and levels of experi-
summer. While teacher training is not a primary ence, by providing after school and
focus at this stage of development, the Center summer enrichment programs in which they
expects to host institutes of this nature again experiment in partnership with Maine teaching
during the summer of 2003. artists.
ACTS OF ACHIEVEMENT 86 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
tion. For each of the past three years, 12 teachers discussions and writing assignments on the topics
have participated, working with actor-playwright raised. In the four years of this program, 35 high
Jeri Pitcher. For the units, whose objectives match school students have participated, and they have
the Maine Learning Results, teachers have chosen presented to a total of 400 middle school students,
subjects such as language arts, math, health, whose teachers praised the quality and impact of
German, history, and the districts bullying-and- the performances and discussions. These teachers
teasing prevention initiative. students have reported that the program makes
them think in new ways about topics like suicide,
Participating teachers report that they have changed disrespectful behavior, and alcohol abuse. The
many of their teaching strategies and that they see Theater for Peace actors, for their part, say that they
children more fully engaged in learning and, conse- have made new friends and increased their own
quently, better understanding content. The program self-confidence.
accommodates children with diverse intellectual
and social-emotional needs, from those who need Foothills Arts Day Camp (sliding fee scale subsi-
new challenges to those in special education pro- dized by local businesses and individuals, and
grams. Another bonus of Found Story Theater is Emery Center endowment) exhilarates and inspires
that teachers and students are both energized about 4th through 12th graders to explore, make new
learning. One teacher sums it up: Were so lucky friends, and be themselves through theater, poetry,
to have this [program]. The kids come to school music, art, and movement. Students improvise,
excited. They come to the door asking, What are choreograph, and create with teaching artists who
we doing today? renew their own creative spirits as they work with
their youthful counterparts. Highly acclaimed since
The Gear-Up Arts Residency is a five-day integrated its founding in 1991, this campwith an interdisci-
arts residency in a rural paper-mill-town school in plinary curriculum unified by a themewas the
which arts programs have traditionally taken a back vision of community members who wanted to pro-
seat. Music, creative movement, theater, and poetry vide enrichment for rural adolescents.
teaching artists come into all six of the schools
5th- and 6th-grade classrooms. Students interact In order to encourage risk-taking and experimenta-
with the artists on a first-name basis, discovering tion, the camps curriculum focuses on process
how accessible these art forms really are. Similarly, rather than product. Youth of all abilities and
the expectation is to encourage classroom teachers socioeconomic backgrounds from 35 Maine towns
to start using these arts in their own teaching, just attend, with more than half of the total 150-camper
as is done so successfully with the Found Story enrollment qualifying for and receiving scholar-
Program. ships based solely on financial need. When asked
on evaluation forms, What did you like best
Theater for Peace brings together actor-playwright about camp? the most common replies over the
Jeri Pitcher and 12 high school students of diverse camps 12 years have been much like these from
backgrounds. They meet after school for 10 weeks, the 2002 campers: I was able to express myself any
to explore teen-relevant social issues through way I wanted in a safe place. It makes you stretch
intense and lively discussions and theater improvi- yourself. I loved the way it let me be myself and
sations. Products of this program include an origi- be creative.
nal theater piece and discussion questions that the
teen actors share with 7th and 8th graders in indi-
vidual classrooms in three rural school districts.
Classroom teachers conduct additional follow-up
ACTS OF ACHIEVEMENT 87 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
L/A Arts Artist-in-Residence. Every school year, L/A Arts
Lewiston, ME www.laarts.org sponsors a long-term artist residency in each K-8
school. Artists work with the classroom teacher in
planning thematic connections and interdiscipli-
School districts served per year: 3 nary approaches to teaching subject matter and
Elementary schools served per year: 17 social issues. Media such as dance, theater, singing,
High schools served per year: 2 painting, poetry, and puppetry help engage students
of all learning abilities and styles. Residencies often
K-12 students served per year: 9,300
include presentations by the visiting artist and a
culminating student performance This program
Programs offered: typically reaches more than 5,000 students and
Performances for K-12 audiences 350 teachers.
Short-term in-school residencies (one week or less) Visual Literacy is a way of understanding what an
Long-term in-school residencies (multiple weeks) artist is trying to communicate in a piece of art.
After school or weekend programs for K-12 students As children begin learning language skills, they are
taught not only how to read and write, but also
Professional development opportunities for teachers
about the reading and writing process; the process
Professional development opportunities for of looking at, analyzing, and reacting to artwork
teaching artists
can be learned in a similar way. In fact, for some
Summer institute for K-12 teachers students who struggle with reading and writing, the
Summer institute for teaching artists arts can provide a new way of encouraging literacy.
Partnerships with whole schools The Visual Literacy project is a collaborative effort
among L/A Arts, Bates College Museum of Art (in
Partnerships with whole school districts
Lewiston), and local elementary schools. Art that
Training for school leaders (principals, visually represents or enhances curricular themes
superintendents, others)
is selected from the museums collection; students
Programs with parents and/or other adult caregivers then visit the museum and work with a museum
Mentoring for students with community volunteers educator on reading the art and articulating what
Performances/exhibits by students they see. Of equal value, educators are introduced
Performances/exhibits by teaching artists
to a new and accessible resource within their
community.
Technical/planning assistance
Evaluation methods Newspapers in Education (NIE) developed out of a
partnership between L/A Arts and the local newspa-
per. The Breakfast Serials program commissions
PROFILE
ACTS OF ACHIEVEMENT 88 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
cabaret setting or on a more
formal concert-hall stage.
Through this program
students have the opportunity
to become familiar with a
variety of performing arts
and develop the habit of
attending live performances.
Professional Development.
As partners in the Performing
Arts Centers and Schools
program of the John F.
Kennedy Center for the
Performing Arts, L/A Arts
sponsors professional develop-
ment workshops for all
Lewiston, Auburn, and
Mechanic Falls public school
educators and administrators.
The program helps train those
educators interested in
exploring different ways to
interpret, understand, and
teach their areas of specializa-
tion through an arts perspec-
tive. These workshops intend
not only to encourage partici-
pants to continue the integra-
CHERI DONAHUE, L/A ARTS
program at the middle school that culminates in an Special Performances. In addition to the annual
evening performance and reception for dancers and educational programming, L/A Arts also offers spe-
their families and friends. This program not only cial programs throughout the year. The fall of 2002
teaches students how to dance, but also increases brought the Looking Glass Theatre out of
self-awareness and provides a safe environment for Providence, RI. Committed to promoting reading,
personal expression. the series, Theres Nothing to Read!, presented
excerpts from childrens novels spanning a host of
ArtsPass is an L/A Arts initiative that provides every different topics and authors styles. Using minimal
high school student at the local high schools with a props and sets, and letting the power of language
voucher entitling him or her to a free ticket to each speak for itself, the Looking Glass Theatre present-
L/A Arts live performance. An event may consist of ed twelve shows in elementary and middle schools
dance, music, theater, or comedy; it may be in a throughout the community.
ACTS OF ACHIEVEMENT 89 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
University Musical Society conjunction with these performances. Emphasis is
on teacher/school customer service, the elimination
Ann Arbor, MI www.ums.org
of barriers to participation, and transformative
experiences for students.
School districts served per year: 35
Teacher Workshops. UMS presents five to eight
Elementary schools served per year: 55
teacher workshops each season for two different
High schools served per year: 20 series: Kennedy Center teacher workshops, and
K-12 students served per year: 16,500 performing arts teacher workshops. The former
focus on incorporating arts education into class-
room instruction, while the latter give teachers
Programs offered:
solid information and experience in teaching about
Performances for K-12 audiences specific artists and art forms.
Short-term in-school residencies (one week
or less) First Acts Series. Seen as an extension of the Youth
Performance Series, this is a sequence of events
Long-term in-school residencies (multiple weeks)
drawn from public performances that offer special
Professional development opportunities student access and rates; it is primarily geared
for teachers
toward high school students.
Professional development opportunities for
teaching artists UMS also provides in-classroom visits by artists,
Partnerships with whole school districts special projects for teachers and schools, pre- and
Programs with parents and/or other adult caregivers post-event activities for students who attend
performances, and general consultation for arts
Adult education opportunities
education in the schools.
Performances/exhibits by students
Performances/exhibits by teaching artists
UMS engages a Teacher Advisory Committee
that counsels UMS on all aspects of its youth-
Technical/planning assistance
education program. USM is also considered an
Evaluation methods official partner with the Ann Arbor Public Schools,
and has a special relationship with many other
PROFILE
Youth Performance
Series. Features
daytime and evening
CLAIRE MOLLOY, UNIVERSITY MUSICAL SOCIETY
performances of
diverse world-class
artists. Fifteen
thousand to twenty-
five thousand K-12
tickets are offered each season.
UMS develops all curriculum,
CDs, and videos to be used in
Dinosaur Detectives, a Kennedy Center Workshop for Teachers led by
Michele Valeri, held in partnership with the University of Michigan
Exhibit Museum of Natural History.
ACTS OF ACHIEVEMENT 90 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Ordway Center for the Flint Hills International Childrens Festival. This
annual spring event offers world-class performers
Performing Arts from around the globe who perform for young and
St. Paul, MN family audiences. The festival includes puppetry,
http://www.ordway.org theater, music, dance, and performance art; it is
presented during the week for school groups and
School districts served per year: 27
on the weekend for families. Several schools are
involved in workshops and in-school residencies
Elementary schools served per year: 99
that lead up to art installations of childrens work at
High schools served per year: 25 the festival. On the two weekend days, a large World
K-12 students served per year: 69,750 Party is staged in Rice Park that features perform-
ances of local artists, as well as a myriad of free
activities and events for families.
Programs offered:
Performances for K-12 audiences Living Study Guides: Arts Workshops for Teachers.
Hands-on workshops explore the art forms present-
Short-term in-school residencies (one week or less)
ed on stage and connect performances to curricu-
Long-term in-school residencies (multiple weeks) lum. Continuing education unit (CEU) credit is
Professional development opportunities for available.
teaching artists
Summer institute for K-12 teachers Putting It Together: Responding Collaboratively and
Creatively to a Musical Theater Production is a 20-
Partnerships with public broadcasting
hour course for teachers and students to explore
Adult education opportunities the world of musical theater.
ACTS OF ACHIEVEMENT 91 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
Children in Ordway Center's Main Hall
Theater seasons. Led by artists, community leaders, committee members, who are involved in the
and educators, these pre-performance discussions/ planning and development of the educational and
workshops are free and open to all ticket holders. outreach programs.
Teachers may be eligible for CEU and in-service
credits for their attendance at Insights. Leadership. Ordway Center was integral to the
writing of St. Pauls Capital City Education
Discussion and Dessert are play discussion groups Initiative. Also, Ordway Center and St. Paul Public
that offer the audiences an opportunity, in an infor- Schools are team members of the nationally
mal gathering, to talk about performances they have recognized Partners in Education program of the
seen on Ordway Center stages. John F. Kennedy Center for the Performing Arts.
Workshops for Artists provide area artistic commu- 2002 Arts Advocacy Leadership Award: Arts
nities with developmental opportunities, such as Organization Excellence in Educational
open forums, chances for dialogue, and networking. Programming. The Ordway Center for the
Performing Arts was selected to receive this award
The Honors Concert & Art Exhibit, presented by from the Minnesota Alliance for Arts in Education
Ordway Center and St. Paul Public Schools, cele- for its strong vision and commitment to education
brates the talents of 400 of the most gifted visual consistent with its mission to entertain and edu-
arts, orchestra, chorus, and band students from high cate diverse audiences, according to the Alliances
schools in the St. Paul Public School District. Debra Hunt. The programming of the 2001 Koch
Education Advisory Committee and Cultural International Childrens Festival (now called the
Advisory Committees. In order to meet the needs of Flint Hills International Childrens Festival) was
the entire communitypersons of all cultures, specifically cited.
backgrounds, ages, and experiencesEducation at
Ordway Center works closely with its advisory
ACTS OF ACHIEVEMENT 92 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
St. Johns University/
Programs offered:
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Long-term in-school residencies (multiple weeks)
Artworks program with artist-in-residence,
After school or weekend programs for K-12 students DuJun, teaching Chinese paper cutting,
Professional development opportunities for teachers October, 2000, Saint Johns University.
Professional development opportunities for Brings artists of all ethnic and religious back-
teaching artists grounds into a homogenous community to
Partnerships with whole school districts promote cultural diversity
Web-based learning opportunities
Creates future audiences for the arts through an
Training for school leaders (principals, extensive Partners in Education program modeled by
superintendents, others) the John F. Kennedy Center for the Performing Arts.
Adult education opportunities
The education program includes:
Mentoring for students with community volunteers
Evaluation methods The only professional educational outreach
program in the Central Minnesota region
PROFILE
Saint Johns University and the College A nationally recognized formal partnership with
of Saint Benedict seek the finest artists District 742 of St. Cloud, as part of the Kennedy
to perform on the stage, present exhibi- Centers Performing Arts Center and Schools
tions in the galleries, and teach in- Program, offering workshops to educators on arts
residence on campus and in the integration in the curriculum led by nationally
communities it serves. recognized master artist/educators
Fine arts programming: In-school residencies with professional touring
Provides opportunities for growth in artists, providing hands-on classroom experiences
the arts by making the artists available in dance, music, visual arts, and theater at no
through lectures and demonstrations, charge to local schools
master classes, and pre- and post-
performance discussions Exploratory and interactive experiences for adult
audience members, in support of lifelong learning
Offers presentations in all four artistic in and through the arts
disciplines during the season (visual,
theater, music, and dance) Year-round after school arts programs in partner-
ship with the Boys & Girls Clubs of Central
Enables point of entry experiences for the novice Minnesota
audience member
Relationships with local social service agencies
Challenges audiences through innovative to facilitate outreach to new audiences of all ages
programming through education programs.
ACTS OF ACHIEVEMENT 93 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
COCA Among the core strengths are:
(Center of Contemporary Arts) Education programs that relate across arts disci-
St. Louis, MO www.cocastl.org plines
ACTS OF ACHIEVEMENT 94 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
COCAs grant-funded Urban Arts Program provides DANCE St. Louis
a range of in-school and after school arts education
Saint Louis, MO
each year for approximately 9,000 children in low-
www.dancestlouis.org
income areas, helping to make the arts a basic part
of their learning experience. It includes:
School districts served per year: 25
After School Arts Classes at city schools that provide
Elementary schools served per year: 100
art experiences not only to teach students about a
particular art form, but also provide discipline, High schools served per year: 85
stability, and self-esteem through participation in K-12 students served per year: 6,000
the arts
come to COCA with extensive teaching experience Dance St. Louiss commitment to facili-
and, in most cases, advanced degrees in their arts tating strong programs has produced
disciplines. multiyear relationships with community
arts councils, a prison arts program,
Biannual faculty meetings, visits with guest artists, corporate education programs, and
and a faculty policy manual offer additional especially the regional school districts.
support and preparation information. Artist/ Since 1977, some 50 to 100 in-school
instructors receive periodic observations and activities per year have introduced a
feedback from education staff and lead teachers total of more than 250,000 students to
in their disciplines. In the summer of 2002, for all styles of dance; the Dance St. Louis
example, COCA began a program of biweekly Education Impact Program instructs
in-service workshops with an art therapist/ students in dance as an art form, a
trainer for its summer camp instructors at all physical sport, and even a career while
locations. offering them a rare opportunity to
work with professional dancers in
intensive in-school workshops.
ACTS OF ACHIEVEMENT 95 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
GIGI WEAVER
Parkway North High School dancers performing ShemoVes, the original work they created with Pilobolus
dancers, Adam Battelstein and Becky Jung, during Dance St. Louis' spring 2002 Pilobolus Too Institute.
on-site observations to ensure program quality, Dance St. Louis supports K-12 teachers in this
developing study guides, and conducting follow-up enterprise by providing study guides that include
surveys. The strength of these activities lies in the background on dancers, dance history, classroom
quality of the artists and a goal to balance the activities, dance bibliographies, Internet links, and
number of students served with a lasting education- news articles so that teachers can prepare their
al impact. The roster of artists who have particpated students for the visiting artists.
includes dancers from the Miami City Ballet, Paul
Taylor Dance Company with Taylor 2, Alvin Ailey Dance St. Louis looks for projects that can make
American Dance Theatre, Ballet Folklorico de an impact over a long period on a variety of
Mexico, Dayton Contemporary Dance Company, audiencesfrom dance students to youths from
David Dorfman Dance, David Parsons Company, a juvenile detention center. Two examples of
Pilobolus, and the Pilobolus Too Institute. innovative programming are the following:
ACTS OF ACHIEVEMENT 96 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
With major help from Southeast Missouri State Juanita K. Hammons
University, Dance St. Louis undertook the major
project of bringing the internationally renowned
Hall for the Performing Arts
Miami City Ballet to Cape Girardeau and Sikeston, Southwest Missouri
Missouri, during April 2002. It took four years of State University
planning and a significant grant from the Wallace- Springfield, MO www.hammonshall.com
Readers Digest Funds to get the Ballet to Cape
Girardeau, but when they finally arrived they took
School districts served per year: 50+
the river town by storm. Dance St. Louis crew
moved a 10-ton sprung floor into Blanchard Elementary schools served per year: 60+
Elementary in Cape Girardeau for a lecture demon- High schools served per year: 40+
stration at which 160 fifth graders heard Edward K-12 students served per year: 7,000+
Villella narrate an in-school lecture demonstration
with members from his renowned company. The
following day, the Ballet moved its lecture/demon- Programs offered:
stration to Sikeston, Missouri, and performed for Performances for K-12 audiences
800 middle and high school students. Short-term in-school residencies (one week or less)
The Pilobolus Too residency, founded in 1998 with Professional development opportunities for teachers
support from the Missouri Arts Council, has been Partnerships with whole schools
Dance St. Louiss largest Education Impact Program Partnerships with whole school districts
to date. In the 2001-2002 season, Dance St. Louis
Adult education opportunities
recruited Pilobolus Toooften called the little lux-
ury edition of the acclaimed Pilobolus dance com- Performances/exhibits by students
panyfor nine weeks of residency activities culmi- Evaluation methods
nating in a performance of an original work titled
ShemoVes, which was created and performed by
PROFILE
The Center for Arts in the Schools
Parkway North High School students in collabora- began as a partnership among
tion with Pilobolus Too dancers. Lorilee Hammons Hall, the Southwest Missouri
Richardson, dance educator in the Parkway School State Universitys College of Arts and
District, had this to say about the program in gener- Letters, and the Springfield Public
al and the performance in particular: ShemoVes Schools. Other partners have since
reflected the discipline, the skill with improvisation, joined, both as individual schools and
and the ability to work collaboratively, which many entire districts. This past years partner
of the Parkway dancers learned through work with schools included 44 elementary schools,
Dance St. Louis. Lessons learned from [Pilobolus 17 secondary schools, a K-12 lab school,
Too artists] have also been integrated into the and a variety of alternative education
Parkway curriculum, and shared with other dance programs. A much broader area is
educators through the National Dance Education served, with student and teacher partici-
Organization and the Missouri Dance Education pants also coming from public, private,
Organization. This was an authentic experience for and home schools from across the 24-
the kids: creating, learning, and performing a dance county region served by SMSU.
in just three weeks, something they could [only]
experience working in a dance company. The Center presents an annual series of matinee
performances for K-12 students. These live, profes-
sional performances incorporate other educational
aspects, such as study guides, supplemental materi-
als for teachers, Q&A sessions, and workshops or
clinics. The Center has helped more than 60,000
ACTS OF ACHIEVEMENT 97 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
K-12 students experience the thrill of seeing a live Alberta Bair Theater
performance, many for the very first time.
Billings, MT www.albertabairtheater.org
An annual series of professional development
workshops for teachers allows educators from all School districts served per year: 72
disciplinesespecially non-arts teachersto gain
Elementary schools served per year: 140
the skills and confidence they need to use the arts
as an effective teaching tool in the classroom. By High schools served per year: 20
training and encouraging teachers to use the arts K-12 students served per year: 27,000
in their teaching, the Center believes the impact
will be far greater and longer lasting than merely
Programs offered:
exposing a student to a one-time arts experience.
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Long-term in-school residencies (multiple weeks)
After school or weekend programs for K-12 students
Professional development opportunities for teachers
Professional development opportunities for
teaching artists
Partnerships with whole schools
Partnerships with whole school districts
The Center also provides in-school mini- Partnerships with public broadcasting
residencies, bringing professional performing Partnerships with cable media
artists directly to students in their classrooms. Web-based learning opportunities
The education program works closely with a variety
Training for school leaders (principals,
of artists who perform during the Halls season to superintendents, others)
present master classes, clinics, open rehearsals, and
Programs with parents and/or other adult caregivers
panel discussions for students of all ages.
Adult education opportunities
The Halls Introduction to the Performance series Mentoring for students with community volunteers
coordinates with university professors and local arts
Performances/exhibits by students
professionals, as well as touring artists and artistic/
management staffs, to arrange pre-performance Technical/planning assistance
lectures that provide patrons with additional Evaluation methods
insights into the seasons performances.
PROFILE
The education program is based on the John F. The Alberta Bair Theater provides
Kennedy Centers Partners in Education model, opportunities for learning about the
pairing arts organizations with local school performing arts through the following
districts. Through its affiliation with the Kennedy core programs:
Center, there is access to a wealth of educational School performances
materials, touring productions, classroom and
Internet resources, a nationwide network of arts Professional development workshops
education specialists, and the finest teacher work- for educators
shops available. This partnership is able to bring
Outreach
these assets to teachers and students, and adults,
throughout the predominantly rural region of Access to the Arts
southwest Missouri, where they would not other-
wise have access to such programs.
ACTS OF ACHIEVEMENT 98 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
School performances
ACTS OF ACHIEVEMENT 99 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The primary outreach program is called the Stories Myrna Loy Center
Project. Now in its fifth year, at-risk teens are select-
Helena, MT www.myrnaloycenter.com
ed by the school faculty and staff for classes in and
about the arts and field trips to local theaters,
museums, and businesses during and after school. School districts served per year: 8
In cooperation with Billings School District #2, Elementary schools served per year: 27
local and nationally known artists work with the High schools served per year: 3
students in the middle and high schools in theater,
K-12 students served per year: 3,600
creative writing, visual art, music, video, collage,
and photojournalism. Each series of classes culmi-
nates with a performance or exhibition of the stu- Programs offered:
dents work both at the school and at the local art Performances for K-12 audiences
museum.
Short-term in-school residencies (one week or less)
The goals of the Stories Project include giving the Long-term in-school residencies (multiple weeks)
students skills, self-awareness, and self-esteem to
After school or weekend programs for K-12 students
help them stay in school and find positive pathways
of development. The project uses the arts as a way Professional development opportunities for teachers
to help young people channel their energy toward Professional development opportunities for teaching
artists
creativity, healing, and expression. The 268 students
who have participated in the 20 different workshops Partnerships with whole school districts
in the first four years of the project report that they Web-based learning opportunities
also feel more connected with the arts and cultural Programs with parents and/or other adult caregivers
institutions in the community through their
Adult education opportunities
involvement in the classes and field trips.
Performances/exhibits by students
ToursFree offers tours of the theater for groups Performances/exhibits by teaching artists
of 15 or more students (age 7 and older). The
Technical/planning assistance
average tour is 60 minutes in length and includes
the history of the theater and a view of backstage. Evaluation methods
Students from local and rural classrooms, theater
PROFILE
classes, summer camps, and civic groups get a Bringing artists into the schools has
behind-the-scenes look at the theater. been one of the major programs of the
Myrna Loy Center for more than 10
Access to the Arts years. The MLC has a long and vital
relationship with the Helena School
This program offers complimentary tickets to District through the John F. Kennedy
evening performances at the Alberta Bair Theater Centers Partners in Education program.
to hundreds of children and their families in the In past years, artists have gone several
community, distributed through 39 local social times a year to schools in East Helena,
service agencies. Montana City, Lincoln, and Boulder;
and students from Augusta, Wolf Creek,
Whitehall, and White Sulphur Springs
have attended performances and work-
shops in Helena. This past year the
MLC has renewed relationships with
Helena-area preschools such as Rocky Mountain
Development, Rocky Mountain East, St. Petes
Place, and Head Start for hands-on art activities,
performances, and residency programs. Carroll
College education, music, and performance majors Recently, using the Surdna Foundations residency-
participate in the workshop opportunities and evaluation tool, the following strengths of the
classroom visits. Myrna Loy Center program were identified:
During the past two years, the Myrna Loy Center Its continuing commitment to providing rural
has provided residency opportunities to schools Montana communities, schools, teachers, and
involving such artists as the Ying Quartet, the Fry youth with the opportunity to work with profes-
Street Quartet, Obo Addy, the Scott Wells Dance sional artists both from the region and elsewhere
Company, Il Teatro Calimari, Todd Green, Melissa in the nation
Kwasney, Jack Gladstone, Rob Quist, and Katherine
The commitment of the MLC to providing
Kramers Rhythms of Helena.
artistic experiences to youth that they would not
Over the next five years, the Center will be manag- normally be able to access in Montana, including
ing and organizing a host of dance, music, story- innovative and challenging arts and approaches
telling, performance art, video, and visual-arts to arts education
events and activities related to the Lewis and
The commitment of a qualified staff to keep
Clark Bicentennial; the MLC will in fact be the
arts residency opportunities a central part of the
official umbrella arts organization of the
organizations work
Bicentennial, an activity that will also bring many
more artists and arts organizations to its doorstep. The ability of the MLC to maintain funding over
Under this project, an expanded series of arts 12 years that has continued to bring artists and
residency activities in Helena and surrounding programs back to rural communities and schools,
schools will be created, enabling Montanas rural giving youth a continuous arts experience and
students to work with national-level poets, musi- education
cians, dancers, Native American storytellers and
performers, and video artists. The willingness of strong national artists to work
with the MLC in providing unique opportunities
to rural Montana communities and schools.
Students from Lincoln, NE, area Community Centers work with puppeteer Trish Place to research, rewrite,
and produce a shadow puppet performance of Persian Cinderella at the Indian Center.
VIP (Ventures in Partnership) Program. The Lied Curriculum Development. This is a new educational
Center is a VIP partner with the Lincoln Public project whose objective is to create a curriculum
Schools to enhance education and build a stronger that relates a Lied Center performance to middle or
community. At this past years VIP Kickoff, the high school objectives. This past year, six teachers
Centers 2001/2002 Riverdance Immersion from Lincoln and Omaha high schools attended
Project received a VIP Pioneer Award for blazing four workshops as part of the Noise/Funk
a new trail in partnerships. For the Centers Curriculum Development Project. (Noise/Funk
2002/2003 season, the STOMP Immersion Project refers to the national touring company of the
involved curriculum planning among sponsors, Broadway show Bring in Da Noise, Bring in Da
teachers, and Lied staff; STOMP competitions at Funk.) Participants gained information about the
two middle schools; a workshop with STOMPers; Noise/Funk performance and production, for
pre- and post-performance discussions with artists; example, the relevance of da beat to African-
the STOMP performance itself; and a dinner American history. They had opportunities to write
reception for the local community and artist VIPs. supplementary curriculum-development materials
According to Playbill, the Broadway show STOMP that will be shared with teaching colleagues at
is a high-energy, percussive symphony, coupled their schools.
with dance, played entirely on nontraditional
instruments such as garbage can lids, buckets,
brooms, and sticks.
The Capitol Center for the Arts operates with a School Series performance. The project
a number of programs that enhance arts includes training by a commissioned historian on
appreciation for learners of all ages from the oral-history process to extend the Districts
throughout northern New England: writing curriculum. The interaction between these
two age groups is an inspiring and effective way to
In its School Series, the CCA offers an
build community through linking generations and
expansive array of school-time curricu-
cultures; collecting oral histories and making art-
lum-based performances, symposia, and
works intensifies the exchange of personal history
outreach activities that have involved
and culture, reduces age-related stereotypes, and
every school district in the state. Many
empowers both young and old alike.
of these presentations offer theatrical
interpretations of award-winning The Capitol Center, in partnership with the
childrens literature and historic events, Integrated Arts M.Ed. program at Plymouth State
while others introduce students to College, also offers graduate-level credit to teachers
internationally recognized dancers and for workshop participation and follow-up curricu-
musicians. The series also offers a lum-development projects in its graduate course,
variety of workshops for students and teachers Integrated Arts at the Capitol Center.
held both at the Center and in the classroom,
which deepen the theatergoing experience and The Center has experienced tremendous success
introduce new teaching techniques. with its pre-show outreach program, Behind-the-
Scenes. Inaugurated in the 2000-2001 season,
Achieving Literacy Through the Arts is a partnership Behind-the-Scenes offers patrons dialogues that
between the Capitol Center and the Concord feature directors, performers, and expert scholars.
School District to promote reading skills and These discussions deepen the audiences apprecia-
provide early intervention for at-risk learners. The tion of the historical, cultural, and structural
program recognizes the opportunities afforded by a contexts of the performance, and provide an inside
diverse learning environment that utilizes a variety perspective on the performing arts.
Partnerships with whole school districts SchoolTime Professional Development Workshops for
Training for school leaders (principals, Educators: Arts Basic to the Curriculum (ABC)
superintendents, others) Conference
Programs with parents and/or other adult caregivers School District Partnerships enable schools to
Performances/exhibits by students incorporate art and cultural performances, arts
Performances/exhibits by teaching artists education, and curriculum-based activities into
Evaluation methods
daily classroom experiences. NJPAC has established
partnerships with five school districts throughout
New Jersey, which involve the participation of more
PROFILE
Arts education is a central part of than 48 schools and approximately 120 residency
New Jersey Performing Arts Centers programs in dance, theater, and Early Learning
(NJPAC) mission. Even before the Through the Arts. Additionally, more than 24,000
Center opened its doors in 1997, the students within partnership districts will attend
department had been reaching thou- SchoolTime performances during the 2002-2003
sands of young people through its in- academic year.
school and community-based programs
and performances. Six years later, Arts Training Programs:
NJPAC boasts one of the largest and
most highly regarded programs of its Summer Youth Performance workshops
kind in the nation. The departments Summer Musical Theater productions
arts education programs serve the
entire state of New Jersey, with more NJPAC/ WBGO Jazz for Teens
than 200,000 children, families, and
NJPAC/ NJSO Youth Orchestra Festival
educators participating each season. In
the spirit of continually exploring new and innova- NJPAC/ NCSA Jeffrey Carollo Music Scholarship
tive ways to use its resources to serve the communi-
ty, the department has formed partnerships with Star-Ledger Scholarship for the Performing Arts
school districts, educational institutions, social
service agencies, and arts organizations statewide.
of 30,000 square feet, including some 24,000 square Since its construction in 1869 as
feet of recently renovated space. It contains a the Collingwood Opera House, the
100 seat theater, two dance studios, a recital hall, Bardavon has existed not only as a
seven classrooms, nine music practice rooms, superb performing arts venue, but also
and office space for NJPACs staff. as a cultural and educational mentor
and advocate for the communitys
youth. Today, out of an overall audience
of 120,000, the Bardavon serves some
25,000-30,000 children and teens
annually with two special school-day
performance series and a broad-based
arts-in-education residency program.
social needs.
The Young Playwrights Festival introduces up to Night of the Big Bands brings two high school jazz
50 students to every part of the theatrical creative ensembles to the Bardavon stage after six weeks of
process by teaming them with professionals in master classes with professional musicians. At an
writing, directing, lighting, and costumes. earlier phase, three big bands perform together,
creating the big-band sound. A residency then
An intensive 20-week Writer-in-Residency program begins with students attending a concert that
with Emmy nominated writer Casey Kurtti culmi- features Tony Corbiscellos Big Band, which
nates in a performance. highlights the style of the Swing Era. Following
Children from the Bedford Stuyvesant Restoration Corporation perform with the
BAM/Restoration DanceAfrica ensemble.
Imitation, featured the Orchestra of St. Lukes and forces with a professional orchestra to present a
performers aged 11 to 13 performing J.S. Bachs major choral work. This year the New York City
Concerto for Two Violins and Bachs Concerto for Area High School Choral Festival featured J.S.
Two Pianos in C minor. The concert also included Bachs Magnificat. The New York State High School
Juan Bautista Plazas Fuga Criolla. Choral Festival culminated in a performance of
Poulencs Gloria.
Global Encounters is Carnegie Halls world-music
program for high school social studies and music Musical Explorers, a new music education program
classes. It allows teachers to integrate music from that teaches children in grades 2-3 about the
different areas of the world into their curricula. instruments of the orchestra through musical activ-
This year, Global Encounters: South African ities, listening games, and singing, is scheduled for
Sounds highlighted the music and cultures of Fall 2003. Teachers first attend a workshop at
South Africa, featuring legendary trumpeter, band- Carnegie Hall, where they receive materials for
leader, composer, singer, and lyricist Hugh classroom use and instructions on how to prepare
Masekela and friends in a culminating concert. students for two concerts that their children will
Before bringing students to the concert, teachers attend at Carnegie Hall in the fall and in the spring.
attend a workshop at Carnegie Hall, where they Each concert features the family of instruments
receive a Teachers Guide and supporting materials (strings, woodwind, brass, or percussion) studied
for classroom use. A guest instructor also visits in that unit.
each school.
In addition to its onsite presentations, Carnegie
Carnegie Hall High School Choral Festivals encour- Hall offers an online Listening Adventure at
age excellence in performing at the pre-college www.listeningadventures.org. Here students can
level. For each festival, four choirs of high school- explore Dvoraks New World Symphony through
age singers are chosen through a taped audition to visual animation, composing activities, theme-
perform in a concert at Carnegie Hall. Throughout recognition games, and other interactive features.
the year, the conductor of the Choral Festival A teacher tutorial and online lesson plans to
rehearses each choir four times; it performs on its accompany the Listening Adventure are planned
own there, and then all choirs at the Festival join for Fall 2003.
Programs offered:
superintendents, others)
Programs with parents and/or other adult caregivers
Adult education opportunities
Mentoring for students with community volunteers
Performances/exhibits by students
Performances/exhibits by school-based teachers
Summer institute for K-12 teachers This past year saw several enhancements to the
Partnerships with whole schools School Membership program that were designed to
deepen the relationship with member teachers and
Programs with parents and/or other adult caregivers
students, and to make more concrete and individu-
Technical/planning assistance alized curricular connections to the Theaters
programming. For example, the Summer Teacher
PROFILE
The New Victory Theater, a New 42nd Institute, held in July 2002, featured a residency with
Street project, is New York Citys first The Abbey, Irelands national theater, whose exem-
and only theater for kids and families. plary outreach programs serve as international mod-
The first historic theater to reopen on els for excellence in arts education. In three full-day
42nd Street (December 11, 1995), the sessions, The Abbeys education director led work-
New Victory has become one of the shops on how to use theater as a resource in the
citys most respected cultural institu- classroom. In September 2002, the Back-to-School
tions, credited with having pioneered a Institute presented an overview of the season and
new, sophisticated vision of childrens program procedures, and teachers had the opportu-
entertainment (Time Out New York). nity to meet the Theaters front-of-house staff.
Underscoring the New Victorys com- In addition to the Summer and Back-to-School
mitment to presenting an innovative Institutes, teachers attended free Mini-Institutes,
and diverse range of performing arts led by New Victory education staff and guest teach-
experiences (in theater, dance, music, ing artists, that were held a few weeks prior to each
circus, puppetry, and more) to the next generation of the seasons presentations; these two-hour work-
of theatergoers, the New Victory School shops focused on creating lesson plans to link the
Membership Program enables schoolchildren and production with the particular needs of each
educators to see the same acclaimed productions teacher and his or her classroom.
presented to the public on evenings and weekends.
In addition, the Theater provides comprehensive Finally, to further enrich the students experience,
resources designed to augment the theater experi- the Theater offers the option of on-site classroom
ence, such as Talk Back sessions with the artists. The visits both before and after attending a perform-
students detailed and imaginative questions posed ance. Also, an upgraded New Victory Theater Web
to the artists in these sessions, which follow each site now features articles and video clips about each
performance, beautifully illustrate the connection show, along with background on the companies
occurring between the work of the classroom and and related activities, and online ticket ordering
their experiences at the New Victory. for schools.
Programs offered:
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Long-term in-school residencies (multiple weeks)
After school or weekend programs for K-12 students
EDUARDO PATINO
For 22 years, Symphony Space has dents an opportunity to examine works of art in a
offered the Curriculum Arts Project cultural context. At the same time, the experience
(CAP)workshops and activities across enables them to interpret and appreciate artworks,
the arts, including music, dance, drama, helps them develop insights into the creative
and the visual arts, that mirror the process, and ultimately leads to a broader under-
diversity of programming at Symphony standing of the potential of the arts to communi-
Spaceto New York City public-school cate on multiple levels.
teachers and students. CAP brings pro-
Culminating Concerts at Symphony Space provide
fessional artists to the students at partic-
students with an opportunity to experience a pro-
ipating schools, many of which have few
fessional performance of the dance, drama, or
or no arts specialists; provides artist-
music of the culture they have been studying.
guided tours of major New York City
museums; and presents special concerts Staff Development Workshops for Teachers. Annual
for students at Symphony Space. all-day staff development sessions, held early in the
semester, provide teachers with the tools to expand
The project is instrumental in helping schools meet
upon lessons taught by participating artists. These
New York State and New York City learning stan-
training workshops also supply teachers with a CAP
dards in several key areas, particularly social studies.
study guide, audiocassettes with musical selections,
By imparting curriculum-related information
and slides of works of art. Using these and other
through stimulating projects that use a variety of
In 2001-02, CAP served approximately 4,770 School districts served per year: 43
students. In 2002-03, enrollment increased by 23 Elementary schools served per year: 45
percent to some 5,880 students from 29 schools High schools served per year: 17
in Brooklyn, Manhattan, the Bronx, and Queens. K-12 students served per year: 13,500
Innovations this past year included the pilot imple-
mentation of a new CAP in Native-American
studies, an expanded CAP Web presence as part of Programs offered:
the newly redesigned institutional Web site; and the Performances for K-12 audiences
start of a two year analysis of the project by an Short-term in-school residencies (one week or less)
independent education evaluator. Long-term in-school residencies (multiple weeks)
Professional development opportunities for teachers
Professional development opportunities for
teaching artists
Summer institute for K-12 teachers
Summer institute for teaching artists
Partnerships with whole schools
Partnerships with whole school districts
Partnerships with public broadcasting
Training for school leaders (principals,
superintendents, others)
Performances/exhibits by students
Evaluation methods
Performing Arts Center The Education Institutes signature programs are its
Charlotte, NC www.blumenthalcenter.org K-5 arts-integrated curriculum partnerships, which
operate in two county school systems on a year-
round basis. Artists and teachers work together to
School districts served per year: 13
create arts-integrated units of study that motivate
Elementary schools served per year: 1,100 students to learn through active participation. Last
High schools served per year: 200 year, the Institute directly served 525 teachers and
K-12 students served per year: 125,000 students at the two systems with 1,068 contact
hours. Once the model process and curriculum are
fully established in the pilot schools, they will serve
Programs offered: as lab schools to help the Institute replicate the
Performances for K-12 audiences programs in others.
After school or weekend programs for K-12 students
Educational Quality through Arts for Lifelong
Professional development opportunities for teachers Learning (EQUALL). University Park Creative Arts
Professional development opportunities for School (Mecklenburg Countys arts magnet school)
teaching artists is the site of a partnership that is now in its fifth
Summer institute for K-12 teachers year. Grades K-3 are currently included, and plans
are in place for expansion into grades 4 and 5.
Summer institute for teaching artists
The Institute has partnered with the Charlotte
Partnerships with whole schools
Symphony, Opera Carolina, the Light Factory
Partnerships with whole school districts (Charlottes contemporary visual arts center),
Partnerships with cable media and individual teaching artists to help classroom
Web-based learning opportunities teachers make a positive impact on student
learning in and through the arts.
Adult education opportunities
Performances/exhibits by students Gaston Arts Integration Nurtures Success (GAINS).
The Institute partners with Gaston County Schools,
Performances/exhibits by teaching artists
specifically the Ida Rankin Elementary School, the
Technical/planning assistance
United Arts Council of Gaston County, and the
Evaluation methods Gaston County Public Library to create this model
arts-integrated curriculum program in a traditional
PROFILE
In 1999, following an extensive assess- school. GAINS is in its fourth year of operation
ment of local arts education needs, the with grades K-3, and will shortly expand into
North Carolina Blumenthal Performing grades 4 and 5. The Kennedy Center selected the
Arts Center launched the Education GAINS partnership to become an affiliate of its
Institute to provide educational pro- national Partners in Education Program.
grams and servicesincluding the best
Northwest School of the Arts (NWSA). In its eighth
in local, state, and national performing
successful year, the Theater Arts Education
and visual artiststo thousands of
Partnership between the Institute and this
students, teachers, artists, adults, and
Mecklenburg County arts magnet school gives
families. In the past year alone, the
middle and high school students the opportunity to
Institute reached 125,000 students and
work alongside the Centers professional staff on
pre-school children.
their annual musical-theater production. Students
play an integral role in every part of the process
from set design and construction, lighting and
sound, and ticket sales to marketing and public
relations, budgeting, and event management. The
Performance-Based Programs
K-12 students served per year: 100,000 Artists on Tour sends 23 local and regional artists
into the schools to conduct assemblies and work-
Programs offered: shops, do short-term residencies, and support
Performances for K-12 audiences teachers academic instruction through integration
Short-term in-school residencies (one week or less) of their art into the curriculum. CAA also conducts
Education 101 workshops so that the artists may
Professional development opportunities for teachers
be better informed on schools, classroom manage-
Professional development opportunities for ment, and a host of other topics relevant to placing
teaching artists
artists in a classroom setting.
Partnerships with schools
Performances/exhibits by students CAAs Overture Awards program offers 400-plus
local high school students, representing 85 schools,
Performances/exhibits by teaching artists
the opportunity to compete for $39,000 in scholar-
Evaluation methods ships and to be recognized for their excellence in
any of six artistic disciplines. In addition, the pro-
PROFILE
The Cincinnati Arts Association (CAA) gram periodically provides workshops, career plan-
employs a multidisciplinary, multicul- ning guidance, and master classes to these students
tural approach to arts education throughout the year.
through its three distinct programs
to schools in a
22-county region
of Southwest
Ohio, Northern
Kentucky, and
Southeast
Indiana. These
programs are
as follows:
SchoolTime
presents a variety of
performances to student
audiences while offering
high-quality study-guide
materials to support the
classroom teacher and
prepare the student for
each performance. CAA
RICH SOFRANKO
All in all, the Franciscan Centers education Professional development opportunities for teachers
department has so far brought 18 seasons of Professional development opportunities for
teaching artists
theater performances and a growing number
of related arts education activities to more than Summer institute for K-12 teachers
360,000 students, educators, and parents in 11 Summer institute for teaching artists
Ohio and Michigan counties. The core strengths Partnerships with whole schools
of the Centers educational programs are:
Partnerships with public broadcasting
The trust that exists between the Center and its Programs with parents and/or other adult caregivers
audiences, resulting in continued strong support Adult education opportunities
of the program Performances/exhibits by students
The Centers dedication to building new partner- Performances/exhibits by teaching artists
ships with other community organizations
PROFILE
Professional Development
Programs include:
Graduate-level courses, in
partnership with Cleveland State
University, taught by national
Giselle Master Class - American Ballet Theater teaching artists. The past years courses included
Literacy through Storytelling and Movement
Newsletters for childrens shows that complement and Teaching to Multiple Intelligences through
the theater experience for students; and study the Arts.
guides that assist educators in developing curricu-
lum connections with performances. An annual field-trip expo called Fair on the Square,
during which more than 900 teachers meet with
Grades 9-12 local organizations to book cultural and other field-
trip opportunities for the coming school year.
The eXtreme Theatre Festival, an annual event dur-
ing which 100 high school students participate in Teacher Tuesday workshops, which enable teachers
workshops on topics ranging from auditioning to to come to the Center monthly to work with pro-
dance techniques. Students also see and critique fessional teaching artists and learn hands-on meth-
performances during the weekend-long festival. ods of integrating the arts into classroom lessons.
Opportunities for high school students to serve An arts-in-education advocacy Web site (www.
as ushers for childrens theater and Broadway per- playhousesquare. com/culturalconnections) that
formances as part of the Students Take a Role at offers resources to Ohio teachers and gives them
the Square (STARS) volunteer team. insight into legislative developments affecting
arts education.
Each year the Festival draws approximately 20,000 During 2001-2002, a 10-week residency was imple-
young people and families, with deeply discounted mented featuring South African drummer and
tickets provided to schools and organizations in dis- educator Mogauwane Mahloele with two fourth-
advantaged communities. In addition, partnerships grade classes of Drew Elementary School. The resi-
began last year with the Philadelphia Cultural Fund dency culminated in the students creating, produc-
to provide free tickets to 500 children involved in ing, and performing an adaptation of a Zulu tale for
the Citys Department of Recreation programs. The Home-School Night in April 2002. They plan to
Center worked last year with WHYYs Caring repeat this multi-week residency model in 2004
Community Coalition, Penns Center for Bioethics, with two semester-long residencies tied to a new
and Peters Place (a center for grieving children and gospel-music series.
families) to present a symposium to teachers and
The Student Discovery Series provides school groups
parents on working with children coping with loss;
with discounted tickets to matinee performances of
the symposium was driven by two plays that
regular presentations (such as Dance Celebration,
addressed death and grieving. Brian Joyce, the
World Music, and Jazz), as well as to theater and
director of the Festival, is internationally recognized
music programs created specifically for young peo-
for his work as a presenter for young people.
ple. In 2002, attendance in the series increased
Artists in schools. The Center has been working with nearly 40 percent, thanks in large part to a new
the Universitys Center for Community partnership with the Philadelphia Inquirers
Partnerships (CCP) for the past three years to build Newspaper in Education program, which produced
relationships with the communitys schools, largely 40,000 tabloid educational inserts for the 16-per-
in the disadvantaged neighborhoods of West formance season. More than 21,000 school chil-
Philadelphia. Outreach activities have ranged from dren, many from low-income backgrounds, have
artists conducting one-day workshops and master benefited from this series over the past two years.
classes in schools to multi-week artist residencies.
David Parker was sent to Drew Elementary School
to conduct a workshop on tolerance and the Lula
Washington Dance Theatre to the Lea School to
help students create an original piece that was then
performed by students before the Dance Theatres
own performance at the Center.
Evaluation methods
PROFILE
Education plays
a vital role at the
Kimmel Center,
as evidenced by
the creation of
the 4,000 square-
foot Merck Arts
Education Center
(MAEC) that has
three areas provid-
ing opportunities
for young and old to
experience the arts:
The Multipurpose
Performance/Learning Space,
where music, dance, and
KELLY AND MASSA
Under the direction of Marc D. Johnson, the Kimmel Center Youth Jazz Ensemble
performs at the Martin Luther King Jr. Celebration at Commonwealth Plaza,
inside the Kimmel Center.
Innovations during the 2002-2003 school year K-12 students served per year: 15,000
included the following:
Programs offered:
In November, the Kimmel Center created the first
regional jazz ensemble composed exclusively of Performances for K-12 audiences
middle school students. Selected from public, Short-term in-school residencies (one week or less)
private, and parochial schools, 33 young musicians Long-term in-school residencies (multiple weeks)
attended six Saturday-morning rehearsals and After-school or weekend programs for K-12 students
debuted at the first anniversary of the Kimmel
Professional development opportunities for teachers
Center on December 15, 2002. The ensemble
performed also at the Martin Luther King Jr. Professional development opportunities for
teaching artists
Tribute before an audience of invited middle school
Partnerships with whole school districts
students, Kimmel Center staff members, and the
general public. Programs with parents and/or other adult caregivers
Adult education opportunities
In February, the MAEC launched a Distance
Performances/exhibits by students
Learning Pilot Program with three schools selected
from the School District of Philadelphia. By Evaluation methods
lending them start-up equipment and offering
PROFILE
expertise, the education department not only Education programs of the Arts
provided technical assistance, but also helped to Center of Coastal Carolina include
expand its cultural relationship with middle and the following:
high school students, teachers, and administrators.
Educational Field Trips provide
The education department plans to widen its performances and offer activities to
community outreach by instituting a summer arts more than 4,000 students each year in
camp. Each week a different art form will be offered a variety of visual and performing arts
to students (ages 14-17) who wish to pursue a week disciplines and genres.
of vigorous study in vocal/choral music, dance, The live Matinee Performances and
chamber music, or jazz. Gallery Walks for young audiences
offer exciting educational opportunities
that enhance the goals of community
educators and provide real-life reflective
and interactive arts experiences for
the students.
professional artists into the schools to work directly The Community Education Series includes work-
in the classrooms and on stage presentations for shops, lectures, and demonstrations that offer inte-
all grade levels, the program serves up to 10,000 grated learning experiences with theater programs
students and teachers. It has four components: as well as visual arts exhibitions. They are planned
for participants of all ages and scheduled to run
ArtsReach/InClass offers the services of concurrently with events during the season in an
contracted artists (who are prominently included effort to maximize the relevance and impact of the
on the South Carolina Arts Commissions learning experiences. Each year, more than 300
Approved Artist Roster) in a residency format. individuals are enrolled in one or more of the 40
The Arts Centers Education Department works workshops and lectures of this series.
with a designated coordinator at each site to
determine the selection of artists based on the Professional Development for Educators.
schools curricular needs.
The Arts Center and the Beaufort County School
ArtsReach/OnTour features a select menu of District offer graduate level re-certification cours-
presenting artists in educational, cultural, and es that utilize the programming and facilities of
entertaining performances for grade level or the Center as seminar topics.
school-wide audiences. The purpose of these
In 1999, the Arts Center became a Crayola
assembly presentations is to expose students to
Dream-Makers program site. Since then, more
live performances that embrace educationally
than 100 educators have attended Crayola Dream-
relevant themes, thereby providing pathways to
Makers workshops at the Center, subsequently
knowledge through the performing arts.
integrating the programs projects into classroom
ArtsReach/AfterSchool offers students well curricula.
organized and productive experiences beyond the
To ensure opportunities for the whole community,
scope of the normal school day. Activities include
the Education Department also offers performance
performance opportunities at the Arts Center as
opportunities and a diverse range of arts and crafts
well as at schools and institutional sites.
activities at free outdoor festivals, including the
ArtsReach/InService is based on the principle Holiday Tree-Lighting Festival, GullahFest, Youth
that the professional development of teachers and ArtsFest, and Family Fiesta Latina.
community educators is a necessary component
of any effort to increase the artistic literacy of
young people. Workshops for educators zre
offered in a variety of discipline areas.
ACTS OF ACHIEVEMENT 132 T H E RO L E O F P E R F O R M I N G A R T S C E N T E R S I N E D U C AT I O N
The Peace Center The materials provide background information
about the company and artists, as well as suggested
for the Performing Arts lessons that make relevant connections to South
Greenville, SC www.peacecenter.org Carolina curriculum standards.
The Peace Outreach Program (POP!), spends a week as the model and coach for a team
created by the Peace Center for the of teachers.
Performing Arts in 1991, touches the
lives of more than 70,000 students, Training Teaching Artists. The Kennedy Centers
teachers, and community members Artists as Educators seminar was offered in 1998
each year in a nine-county area of and 2000. Participants learned how to develop
upstate South Carolina, western North high quality relationships with teachers and make
Carolina, and northeastern Georgia. the most meaningful use of their instructional time
Major programs include: in the classroom, particularly in the area of arts
integration.
School Matinee Performances. POP!
presents a season of performances that Teacher Workshops are held throughout the year to
are curriculum-based and age-appropri- provide teachers with practical methods and strate-
ate, bringing to life the everyday subjects gies for incorporating the arts into their classrooms.
of the classroom. For many students, The majority of the workshops are offered through
these presentations are their only opportunity to the John F. Kennedy Centers Partners in Education
see a live professional performance. Study guides program. Feedback from participants indicates that
are sent to every teacher attending; together with the quality is perceived as outstanding. Approx-
pre- and post-performance activities, they help to imately 350 teachers take part each year and receive
enhance the students experience in the theater. professional credit from their schools/school
John F. Kennedy Elementary School students perform their Chinese lion dance as part of their
Nightingale study unit, January 2003.
For TPAC Education's Wolf Trap Early Learning Through the Arts program, teaching artists Barry McAlister
and Marcus Hummon use puppets and music to help Head Start children learn about cooperation.
essential for filling the void left by the Through these classes, the next recipient of the
scarcity of art and music teachers in the Bayard H. Friedman Award for the Outstanding
public school systems. It provides high- Student in the Performing Arts is identified. Four
quality arts education and engenders very talented young students have received this
enthusiasm, motivation for learning, award, which is presented annually and accompa-
and creative potential. Performing Arts nied by a $1,000 scholarship. The Bayard H.
commitment is based on two beliefs Friedman Chair for Teaching Excellence in the
that the arts are critical to education, Performing Arts, with a $5,000 honorarium, is
and that it is sowing the seeds to culti- awarded annually to a Fort Worth ISD teacher.
vate the artists and audiences of tomor-
An important element of the Childrens Education
row. Long before the Nancy Lee and
Program is the Summer Teachers Institute, which
Perry R. Bass Performance Hall opened
Performing Arts Fort Worth began offering two
in 1998, Performing Arts Fort Worth
years ago to provide support and professional
confidence for teachers untrained in music, The core education programs at the
enabling them to introduce performing arts Society for the Performing Arts form a
programs in the classrooms with some depth continuum of arts education services,
and authority before the students come to a including Student Matinees, $2.00
performance at Bass Hall. Student Series Tickets, Student Preludes,
a Student Visual Art Contest, and a
Master Class Series.
Arts study has long been one of societys their specifications. All WorldClass student mati-
greatest allies in harnessing the energy nees, and many in-school residencies, are comple-
of youth in a positive way. Numerous mented by Student Arts Information Lessons
recent reports have concluded that the (SAILs) education guides created for educators.
arts provide a unique stimulation to the These guides contain background information on
mind, and offer opportunities for indi- artists, lesson plans, Web links, Virginia Standards
vidual and group achievement. Public of Learning connections, and creative teaching aids
schools have continued to decrease arts to help integrate the arts across the curriculum. All
education budgets, making it too expen- SAILs are sent to participating schools and can be
sive for students in low income schools downloaded directly from the education page on
to do such things as buy or rent instru- the Web site.
ments, purchase music, obtain private
lessons, or attend concerts. In many WorldClass has set up partnerships with public and
instances the arts are becoming unavail- private schools and school districts to plan pro-
able to many students. This challenging gramming that meets specific needs, and to be an
situation has helped to inspire the Virginia Arts arts resource for the large and disparate communi-
Festivals education and outreach program, which ty. Virginia Arts Festival strives to make the arts
has two components: accessible to all students, regardless of finances, and
seeks underwriting to offset artist fees.
Programs offered:
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Long-term in-school residencies (multiple weeks)
Professional development opportunities for teachers
Professional development opportunities for
teaching artists
Summer institute for K-12 teachers
Summer institute for teaching artists
JAY SANCHEZ
Performances/exhibits by school-based
African drumming and Caribbean steel-pan playing teachers
in an after school environment; all equipment, Performances/exhibits by teaching artists
uniforms, and instruction are provided free.
Technical/planning assistance
Students follow rigorous rehearsal and performance
regimens, and they are required to meet strict Evaluation methods
standards of attendance and academic achievement
at their home schools in order to maintain their As part of its mission to present
standing in the ensemble. Now in its seventh year, innovative performing arts for the
the Rhythm Project continues to grow. It has enrichment and enjoyment of diverse
created a college scholarship fund from perform- audiences, the Wolf Trap Foundation
ance income, recorded a CD and video, and tours for the Performing Arts proudly offers
and performs regularly around the state. a wide variety of education programs,
both locally and nationally, for people
of all ages.
Programs offered:
Performances for K-12 audiences
Short-term in-school residencies (one week or less)
Partnerships with whole schools
Partnerships with whole school districts
Literacy and Performance Outreach Through Poetry. Adult education opportunities
This past year the Broadway Center partnered with
Performances/exhibits by students
poets from the South Sound Poetry Slam to intro-
duce spoken-word and poetry skills into South Performances/exhibits by teaching artists
Sound classrooms. They performed in their charac-
PROFILE
terically animated style, and sessions were often The University of Washington (UW)
supplemented by day-long workshops to teach the World Series comprehensive education
students how to develop and publicly perform program allows it to provide many dif-
their own works. ferent types of learning opportunities to
K-12 students. Each season, the UW
Extended Residencies of Nationally Touring Artists.
World Series offers three or four day-
The Broadway Center schedules residencies in
time performances at Meany Hall for
schools with visiting artists whenever possible.
This past year it hosted Ruby Nelda Perez of Dona the Performing Arts to local schools and
Rositas Day of the Dead. Ms. Perez did Latino the- community centers. These free interac-
ater residencies at schools throughout the South tive presentations expose underserved
Sound, which included her own mini-performances students to the highest quality perform-
and collaborative performances with youth. ing arts, while providing them the
opportunity to visit one of the nations
Partnering with the Tacoma School of the Arts leading public universities. For many
(TSOTA). The Broadway Center is a major cultural of these students, it is their first encounter with
partner with this first arts high school in Tacoma. either experience.
The Center provides performance space, staff
support, and links visits from touring artists Through a strong partnership with the Ladies
to school curriculum in order to enhance the Musical Club, an advocate for music education
performing arts education of TSOTA students. since 1891, the UW World Series brings renowned
musicians into local schools for workshops and
lectures. These classroom experiences allow children
to interact with dedicated performers in a non-
threatening and familiar setting, thus maximizing
the potential for learning. Schools selected to
The Clay Centers arts education of exhibitions; and lectures, workshops, and
programs include: experiments. The Clay Center is in discussions
with West Virginia Public Broadcasting to see how
Partners in Education Teacher-Training
they might work together to produce content and
Program. The Clay Center and Kanawha
deliver programs.
County Schools have partnered (under
the Kennedy Centers
Partners in Education pro-
gram) to train teachers, with
the help of arts specialists, to
integrate the arts with all
areas of the K-12 curricu-
lum. Teachers learn how to
use the arts to teach other
core subjects, as well as inno-
vative techniques and strategies to teach
their own subject areas; and new ways to
address the WV Education Content
MICHAEL KELLER
Dana is grateful to the Acts of Achievement Advisory Committee for its conscientious review of
the individual profiles submitted by performing arts centers nationwide during the winter of 2003.
The committee examined each profile for the quality of its content, the breadth and depth of the
described K-12 program offerings, and the clear identification of the institution as a performing arts
center. Based on the Committees recommendations, 8 institutions were selected for featured case
studies in this publication, and 66 additional performing arts centers were chosen for profiles.
The Advisory Committee provided insights that informed the development of the Lynne Silverstein
essay on artist residencies, and the recommendations included in Jane Polins executive summary and
observations statement.
We thank the Advisory Committee for its valuable contributions to Acts of Achievement.
Artistic Talent Development for Urban Youth: The Promise Critical Links: Learning in the Arts and Student Academic
and the Challenge by Barry Oreck, Susan Baum and and Social Development, published by the Arts Education
Heather McCartney, published by The National Partnership (2002); see www.aep-arts.org
Research Center on the Gifted and Talented (2000);
see www.gifted.uconn.edu/ncrgt Gaining the Arts Advantage: Lessons From School
Districts That Value Arts Education, published by the
The Arts and School Reform: Lessons and Possibilities from Arts Education Partnership and The Presidents
The Annenberg Challenge Arts Projects, published by the Committee on the Arts and the Humanities (1999);
Annenberg Institute for School Reform at Brown see www.aep-arts.org
University (2003); see www.annenberginstitute.org
Handbook of Research on Improving Student Achievement,
Arts Education in the News, a free publication of the Dana second edition, edited by Gordon Cawelti, published by
Foundation focusing on the intersect of the fields of arts Educational Research Service (1999); see www.ers.org
and education, highlighting best practice initiatives around
the country; see www.dana.org/books/press/artsnews How the Arts Can Enhance After-School Programs,
published by the U.S. Department of Education and
Arts Education in Public Elementary and Secondary the National Endowment for the Arts (2000);
Schools: 1999-2000, published by the National Center see www.ed.gov and www.arts.gov
for Education Statistics (2002); see www.nces.ed.gov
Measuring What Matters: Using Assessment and
Arts Survive: A Study of Sustainability in Arts Education Accountability to Improve Student Learning, published
Partnerships, by Steve Seidel, Meredith Eppel, and by the Committee for Economic Development (2001);
Maria Martiniello, published by Project Zero at the see www.ced.org
Harvard Graduate School of Education (2001);
see www.pz.harvard.edu National Arts Education Public Awareness Campaign
Survey, research monograph published by Americans
The Capacity of Performing Arts Presenting Organizations for the Arts (2001); see www.americansforthearts.org
by Mark A. Hager and Thomas H. Pollak, published by
the Center on Nonprofits and Philanthropy, The Urban Planning an Arts-Centered School: A Handbook, edited
Institute (2002); see www.urbaninstitute.org by Carol Fineberg, published by The Dana Press (2002);
see www.dana.org
Champions of Change: The Impact of the Arts on
Learning, edited by Edward B. Fiske, published by the Promising Practices: The Arts and School Improvement,
Arts Education Partnership and The Presidents published by The Center for Arts Education and
Committee on the Arts and the Humanities (1999); The United Federation of Teachers (2000);
see www.aep-arts.org see www.cae-nyc.org
A Community Audit for Arts Education: Better Schools, Teaching Artist Journal, a quarterly publication, edited
Better Skills, Better Communities, published by the by Eric Booth and published by Lawrence Erlbaum
Kennedy Center Alliance for Arts Education Network, Associates; see www.erlbaum.com
The John F. Kennedy Center for the Performing Arts
(2001); see www.kennedy-center.org/education/kcaaen Toward Cultural Interdependence: The Fourth Phase of the
Performing Arts in America, paper issued by the
Creating Capacity: A Framework for Providing Professional Association of Performing Arts Presenters (2002);
Development Opportunities for Teaching Artists, prepared see www.artspresenters.org
by The National Conversation on Artist Professional
Development & Training and published by The Young Achievers: A National Summit on Learning, Excerpts
Kennedy Center for the Performing Arts (2001); and Commentary, published by Young Audiences (2002);
see www.kennedy-center.org/partners see www.youngaudiences.org
Dana Foundation:
Special thanks:
Janet Eilber,
Principal Arts Consultant,
The Dana Foundation
Jane Nevins,
Editor in Chief
The Dana Press
David Balog
Tamina Davar
Rebecca Luib
Barbara Peterson
Rachel Postman
Isaac Sashitzky
3
4
3 Flynn Center:
Students in the Jazz Combo
Workshop performance in FlynnSpace
Photo by Jack Rowell