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COIL: Creating Access to
Global Learning for All
10th Anniversary COIL Conference
CUNY Graduate Center
New York, NY
April 25, 2016
Panelists
• Lenora Helm Hammonds, Assistant Professor of Music, North
Carolina Central University
• Jan McCauley, Adjunct Professor of History, Philosophy, and
Social Science, SUNY Broome Community College
• Megan Gibbons, Assistant Professor of Spanish, Glenville
State College (WV)
• Heather H. Ward, Senior Program Specialist, Center for
Internationalization and Global Engagement, American Council
on Education
Overview
• Unequal access to global learning
• The HBCU perspective: North Carolina Central
University
• The community college perspective: SUNY Broome
• The rural Appalachian perspective: Glenville State
College
• Expanding access through COIL: student outcomes
• Q&A
Access to Global Learning
• Low participation in education abroad
• Study abroad demographics
• Increasing value of global experience
• Internationalization at home
• Quality, cost, scalability
Global Learning Outcomes
64
53 50
36
45
80
71 69
46
55
0
10
20
30
40
50
60
70
80
90
Doctoral Masters Baccalaureate Associate Total
Percent of institutions that have developed int'l/global learning outcomes
2006 2011
Source: ACE, Mapping Internationalization 2012
ACE/SUNY COIL Internationalization
through Technology Awards
Leaders in Internationalization
through Technology
Advancing Internationalization
through Collaborative Online
International Learning
Great Lakes College Association Fayetteville State University
Mount Holyoke College Glenville State College
SUNY Cortland Xavier University
• To recognize significant achievement
• To encourage innovation
• To learn about the process and share results
COIL PROGRAMS
AT
NORTH CAROLINA CENTRAL UNIVERSITY
DURHAM, NC
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & ScienceNCCU, 2016
COIL @ NCCU
FALL 2012 COHORT LAUNCH
BEGAN SPRING 2011 PLANNING, IMPLEMENTATION &
DESIGN
WITH 12 FACULTY, INSTRUCTIONAL TECHNOLOGISTS AND
SENIOR ADMINISTRATORS @ 3 UNIVERSITIES
UNIVERSITY OF SOUTH AFRICA (UNISA),
PRETORIA, SOUTH AFRICA
ROYAL ACADEMY OF MUSIC,
AARHUS, DENMARK
NORTH CAROLINA CENTRAL UNIVERSITY,
DURHAM, NC VIDEO OF FIRST COLLABORATIVE MEETING IN COPENHAGEN, DENMARK
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & Science
NCCU QUICK FACTS
CHANCELLOR: DR. DEBRA SAUNDERS-WHITENORTH CAROLINA CENTRAL UNIVERSITY WAS FOUNDED IN 1909 AS THE NATIONAL RELIGIOUS TRAINING SCHOOL AND
CHAUTAUQUA BY DR. JAMES EDWARD SHEPARD. IT BECAME THE FIRST PUBLIC LIBERAL ARTS INSTITUTION FOR
AFRICAN AMERICANS IN THE NATION. THE UNIVERSITY IS NOW A MASTER’S COMPREHENSIVE INSTITUTION THAT
OFFERS BACHELORS AND MASTER’S DEGREES, A JURIS DOCTOR, AND A PH.D. IN INTEGRATED BIOSCIENCES TO A
DIVERSE STUDENT POPULATION.
STUDENT ENROLLMENT:
NUMBER OF STUDENTS: 8,155
UNDERGRADUATES: 6,369
GRADUATE / PROFESSIONAL: 1,786STUDENT PROFILE: 78% AFRICAN-AMERICAN, 12% WHITE, 1.8% HISPANIC; 1.2%
ASIAN
INTERNATIONAL STUDENTS: 0.007 %
NUMBER OF DEGREES OFFERED: 78 (146 WITH CONCENTRATION)
BACHELOR'S: 37, MASTER'S/FIRST PROFESSIONAL: 39, CERTIFICATES: 1, DOCTORAL:
1
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & Science
NCCU QUICK FACTS
STUDY ABROAD STUDENT PARTICIPATION
2014-2015 2013-2014 2012-2013
STUDY ABROAD (FOR ACADEMIC CREDIT) 28 27 34
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & Science
NCCU DISTINCTIONS AND STRATEGIC MISSIONS ALIGNED WITH COIL
NCCU WAS THE FIRST UNC SYSTEM CAMPUS TO REQUIRE COMMUNITY SERVICE FOR GRADUATION, AND WE
HAVE GAINED NATIONAL RECOGNITION FROM THE CARNEGIE FOUNDATION AS A COMMUNITY-ENGAGED
UNIVERSITY.
NCCU STRATEGIC PLAN NCCU 2020 IDENTIFIES GOALS TO INCREASE THE UNIVERSITY INTELLECTUAL CLIMATE,
ENHANCE ACADEMIC PROGRAMS TO BUILD CAPACITY FOR STUDENT GLOBAL ENGAGEMENT, AND DEVELOP
GLOBAL CITIZENSHIP SKILLS THROUGH COURSES WITH INTERNATIONAL THEMES COLLABORATING WITH
INTERNATIONAL PARTNERS.
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & Science
Core Elements
Each course had 4 main streams:
Online Coursework
Weekly online face-to-face class session
Performances
Events
Characteristics of COIL @ NCCU
Why Jazz? Jazz as a metaphor
“Jazz bands actually are organizations designed for innovation,
and design elements from jazz can be applied to other
organizations seeking to innovate. In order for jazz bands to be
successful, they require a commitment to a mind-set, a culture,
practices and structures and a leadership framework that is
strikingly similar to what it takes to foster innovation in
organizations.”
Yes to the Mess: Surprising Leadership Lessons From Jazz
by Frank J. Barrett
Jazz band leaders must:
Approach leadership tasks as experiments
Boost information processing in the midst of action
Prepare for serendipity by deliberately breaking routine
Expand the vocabulary of “Yes” to overcome the glamour of “No”
Take advantage of the clunkers
Ensure that everyone has a chance to solo from time to time
Celebrate “comping” to create a culture of noble “followship”
Create minimal structures that maximize autonomy
Encourage serious play. Too much control inhibits flow
Jam
Cultivate provocative competence. Create expansive promises as occasions for stretching out
into unfamiliar territory
Who are your singers? Your instrumentalists?
Fall 2012 Launched
3 courses using the COIL model
Course 1:
Jazz! Born in America
Created Internationally
Student Assignment Example
Who I Am
Video bio ice breaker
assignment
University of South Africa,
Pretoria studentStart video at @2:10
Tinashe Donaldson Jera
The course had four main
streams:
Online Coursework
Weekly online face-to-face class
session
Performances
3 courses using the COIL model
Course #2:
Global Guitar
(Guitar Playing and Guitar Styles
within a Global Network)
Genres included blues, some rock
styles, reggae, rhythm and blues,
kwela, marabi, folk and jazz guitar
as players interpret it in South
Africa, Scandinavia and the U.S.
Video of Danish Jazz
Guitar student:
Lasse Sandkamm Kvintet Peaceful
Minds
3 courses using the COIL model
Course #3:
Composing, Arranging &
Songwriting in a Global
Network
Sushi Purse by Cecile
Sadolin
Billie vs. Screwdriver
Virtual Study Abroad Experiences .
. . .
Students
from 3
universities
representin
g 12
countries in
3 courses
As many as
70 students
in one
course
. . . . become actual Study Abroad Experiences
Study Abroad experience @ UNISA’s
International Jazz School
NCCU at UNISA
Faculty-led student
study abroad
UNISA International
Jazz School
(invitation to partner
universities in initial
launch academic year)
International Jazz School at UNISA
Rehearsals, performancesCombos, lectures, sessions
Pictures from Soshanguve
township, Pretoria, SA
Example of live class
Measuring Student Global Learning
Instrument - Intercultural Effectiveness Scale
Beginning Fall 2016, as a result of the experience of COIL on our campus, the instrument used for all COIL courses and the new Global Citizens Certificate at North Carolina Central University will be the Intercultural Effectiveness Scale (IES). The IES measures focus on nine competencies in three categories of intercultural effectiveness: a) Continuous Learning (Exploration and Self-Awareness); Interpersonal Engagement (Global Mindset and Relationship interest); and, Hardiness (Positive Regard and Resilience) (Mendenhall, Stevens, Bird, Oddou, and Osland, 2008).
It is a 60-question pre and post test that takes approximately 15 minutes to complete, can be taken online, and is available for administration in several languages. It was developed specifically to evaluate the competencies critical to interacting effectively with people who are from different cultures. The IES categories align with the cognition, intrapersonal and interpersonal maturity domains of the King and Baxter Magolda (2005) Intercultural Maturity Model. Although the small number of students in the course will make it impossible to derive meaningful statistics, the descriptive information from the pre- and post-tests can be integrated with data from fieldnotes and key informant interviews to provide a fuller and more detailed account of how students move from ethnocentrism to ethnorelativity during the semester.
Measuring Student Global Learning
Soft assessment of Course Outcomes
Goals were met when the course design strategically catered to common goals of international partners:
required intense collaboration to focus course activities on student experience
engagement highest with student-led activities, peer-to-peer and project based learning
Hard assessment of Student Global Learning gleaned:
Activities need to contain components to build cultural awareness, intrapersonal and interpersonal cultural competency skills through discussion of process and direct application.
Global citizenship and sensitivities toward culture of peers in each geographic cohort was a persistent theme in student-led discussions, and sharing in peer-to-peer conversations.
98% of NCCU COIL students reported being having new perspectives or changed perspectives for a need to become culturally aware and incorporate this awareness into writing, composing and choosing collaborative creative partners.
Student compositions and projects reflected a shift in personal choice of themes, lyric content and group dynamics. For example, students composed after the end of the course with international partners, formed private FB groups to work on projects not related to the COIL course.
All NCCU COIL students reported understanding a need to “finally get a passport”.
INSTITUTIONAL & PROFESSIONAL OUTCOMES
Lenora Helm Hammonds, Assistant Professor,
Department of Music, College of Arts & Science
• Sustained curriculum enhancements to NCCU’s academic programs, infused with
globally engaged learning
• Faculty-led Study Abroad programs with COIL students to COIL partner institutions
• New Global Citizens Certificate program planned for 2016-17 at NCCU with
onboarding course using COIL model.
• Memorandum of Understanding with COIL International Partners
• Faculty professional development
• Student research and scholarship
• Global Community Engagement (Aruba Residency with community schools)
• Research Publications
• Hammonds’ Dissertation – A Study of Intercultural Competence: Jazz in a
Globally Networked Classroom
• Two Fulbright residencies planned with international COIL partners 2016-17
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The collaborative online learning environment in MUSL 1300 OL, allowed students to cultivate and discover new ways of experiencing creativity and music composition, fostered through interactions with students and faculty from other parts of the globe. The course is centered around scheduled Live Classroom teleconference meetings [OMIT:using Skype] and a specifically designed webpage on a learning management system, Lore.com, The webage was created specifically for international students to interact and engage. The course was taught at North Carolina Central University by [Omit Mrs].Professor Lenora Helm Hammonds and co-taught by professors at the Royal Academy of Music in Aarhus, Denmark and the University of South Africa in Pretoria, South Africa. During the sessions the participants discussed musical composition, lyrics, and development of skills to enhance the creative process [omit:to be more productive]. All [omit the] students [omit taking the course] were divided into smaller groups to co-compose [omit collaboratively create musical compositions] throughout the semester. Collaborations were facilitated via www. lore. com and other social networking sites, enabling students and faculty to share musical works, discuss ideas for lyrics, give feedback, and discover new angles in the art of songwriting.
This poster presentation will illustrate the course using demographics of the students and teachers involved, and a sample of class assignments. [Omit From there], The presentation will also discuss of the challenges encountered when working in a collaborative online learning environment, and how the universal language of music allowed students to overcome those challenges. Some gender issues surfaced, and students were able to conquer bias and cultural perspectives to create musical works of art. Lastly, the presentation will discuss how working together with students of different cultural backgrounds enriched the creative process of musical composition.
ABSTRACT
UNITED STATES:
Teachers:
-Lenora Helm Hammonds (Vocalist)
-Keld Hosbond
-Baron Tymas (Guitarist)
Students:
-Courtney Bailey (Vocalist)
-Billie Feather (Guitarist)
-Nikeya Goodson (Poet)
-Dante Harrell (Vocalist)
-Raney Hayes (Vocalist)
-Dimetrius Johnson (Armed Forces)
-Charles Lumpkins (Ethnomusicology)
-Curtis Mcphatter (Drums)
-Deena Murrell (Saxaphone)
-Maurice Myers (Vocalist)
-Devin Simmons (Non-Music Major)
-Jacob Classen – (Piano/Jazz Studies and Music Education)
DENMARK:
Teacher:
-Turid Christensen
Students:
-Valeria Clarinetta (Flute)
-Harm Esterhuizen
-Live Foyn Friis (Vocalist)
-Kamilla Haugaard (Piano/Keyboard)
-Bodil Frimodt Roennow (Vocalist)
-Cecilie Sadolin (Vocalist)
-Joanne Smolders (Vocalist)
-Peter Soderlund (Flute)
-Hafsteinn Thorolfsson (Composition)
-Marcello Valerio (Piano/Keyboard)
-Timo van Ruiswijk ((Percussionist)
SOUTH AFRICA:
Teachers:
-Mageshen Naidoo
-Sean Adams
Students:
-Tebogo Peter Blos (Multi-Instrumentalist)
-Tshepiso Ledwaba (Multi-Instumentalist)
-Motlalepule Paulos Maltji (Multi-Instrumentalist)
-Aubrey Ndala (Recorder, Flute, Vocalist)
-Tshepo Ndlovu (Multi-Instrumentalist)
-Sinky Sewela (Flute)
DEMOGRAPHICS
WORLDMAP
SAMPLESOFCLASSASSIGNMENTS
CHALLENGESOFWORKINGINACOLLABORATIVEONLINELEARNINGCLASSROOM
Geographic Challenges
Unlike a traditional college classroom where your classmates are in the same geographic space, a collaborative online setting brings together students that are hundreds of miles apart. As a result, all interaction has to occur in a classroom set up for a T3 internet connection. Unlike working in a face-to-face classroom, [omit Where as a student could normally call up] students wanting to meet after class to work on musical compositions had to be schedule a common time when both students would be near a computer and have access to the internet. Royal Academy of Music in Aarhus, Denmark and The University of South Africa in Pretoria, South Africa are both 6 hours ahead of Eastern Standard Time, so scheduling was often challenging [omitmeeting up outside of our 10:30 AM class at North Carolina Central University presented a challenge]. Most communication had to occur in class or in email exchanges, causing some delay. Using the educational class hosting website www.lore.com and social media outlet www.facebook.com as our main mediums for communication, a lot of interaction was able to happen in “real time”. NCCU teleconference coordinator, Wanda McIver, helped facilitate the connection between international partner campuses and kept the class running smoothly. While instructors were giving lectures, the students could share ideas and comments back and forth even though we were hundreds of miles away, via live chat. Our professors had experience in teaching in a collaborative online setting, and helped lead the class in discussions and overcoming challenges. Using the internet, online social media, and our talented professors, the class was able to overcome geographic challenges quite easily and foster a successful collaborative creative learning environment.
Group Project Challenges
Students in the class were placed into “Songwriting Teams” by our professors, with at least one student from each nation being represented. The students did not know each other outside of the class and we being placed into groups as complete strangers and asked to collaborate. Each group had to select a medium by which to communicate (email, LORE, or Facebook) and share creative ideas to create a composition. Some students were more familiar with some interfaces than others, so we had to compromise on which one was was easiest to use. My group chose Facebook as our medium and it worked well since all the students in my group accessed Facebook daily. Each group was very diverse musically and each member played dif ferent instruments. In our songwriting team, we discovered each group member had different musical and lyrical strengths and utilized those to our advantages to create our compositions.
Cultural Challenges
Even though we all lived in different countries, we used English as our main mode of communication. In the class, I witnessed my American classmates being more outspoken than the Danish and South African students. The Danish students took the lead in the online presence by constantly posting to the LORE timeline, so even though the were not as verbally outspoken in class, they contributed by uploading content and commenting on posts. South Africa shined by constantly contributing very unique musical compositions with exceptional attention to rhythmic aspects. We were able to overcome the language barrier by focusing on musical compositions and making those our main forms of collaboration, since music is not bound by language. Music is bound by melody, harmony, and rhythm, which are universal and intuitive in human culture.
HOWDIFFERENTCULTURALBACKGROUNDSENRICHEDTHECREATIVEPROCESSOFMUSICALCOMPOSITION
During the songwriting course, I was highly impressed with the variety of submissions from the students. No one had the same take on any of the projects, which allowed students to gain a cross-cultural insight into songwriting. When asked to describe a “Food Court” experience and then create a song about it, each country had it’s own idea as to what a “Food Court” was. In America and Denmark, we referenced mall food courts and grocery stores, where as the South African students referenced an open air food shopping area. Both cultures had to explain and describe their take on the “Food Court” experience, which allowed all countries to obtain different points of view on an idea they conceived as a universal image. From there, we were able to be exposed to different lyrics and ideas to assist in our lyric songwriting skills.
Another assignment that really brought out the cultural differences in the students was our ringtone assignment. Students received an assignment to compose a 30 second ring-tone for a cell phone or alarm. The American students’ ringtones were focused mostly on melody and organic sound effects, the students from Denmark took a more electronic music route with keyboards and synthesizer sounds for their ringtones, and the students from South Africa utilized elements of their historical rhythmic history and even ideas from the native wild life. We inspired one other by hearing each student’s musical take on the assignment came to life. As the class continued, it was clear that everyone was adding new elements to their songwriting and musical compositions due to hearing everyone’s contributions. Due to availability of instruments and musical training in each country, we all had different perspectives on the assignments. In America, we had several highly trained musicians from the NCCU Jazz Studies Department - a guitarist, pianist, vocalist, a saxophonist– proficient in composing on their instruments. In Denmark, some [DON’T UNDERSTAND WHAT YOU ARE SAYING HERE;musicians were more diversity between trained musicians and musicians that played as a hobby or personal enjoyment. Students in the class? ] In South Africa, most of the students composed and performed for fun or were more focused on the poetry element of songwriting. By combining all of our strengths and utilizing them in our songwriting teams, we were able to combine all of our cultural experiences to create our final songwriting project. It was fun, musically enriching, and every member of the songwriting team learned a great deal from each other.
REFERENCESANDACKNOWLEDGEMENTS
Special thanks to: Lenora Helm Hammonds for her wonderful guidance and Wanda McIver,
NCCU’s teleconference coordinator for helping make the class such a success. [Billie: consider adding the instructors from Denmark and South Africa, Dr. Tim Mulrooney]
ByBillieFeather,2ndDegreeJazzStudiesStudent;LenoraHelmHammonds,FacultyAdvisor
DepartmentofMusic,CollegeofArts&Sciences,NCCU
DoesCollabora veOnlineLearningEnhanceMusicalComposi on?
(Read Lessons 1 & 2- Writing Descriptively: DESTINATION WRITING. After
reading both Lessons 1 & 2, please complete the following Exercises 1 & 2)
Exercise 1: Destination Writing - Shopping Mall Food Court
Practice using your senses to describe the destination "shopping mall food
court." Answer the questions below in as much detail as possible.
• On what are you standing or sitting?
• What do you smell?
• What do you taste?
• What around you is moving?
• What do you hear?
• What clothes, jewelry, and hairdo are you wearing?
• What are you feeling?
• add any other descriptions (up to 4 additional) you choose
Be prepared to discuss your description in class.
Composing, Arranging & Songwriting in a Global NetworkNORTH CAROLINA CENTRAL UNIVERSITY
Department of MusicCOURSE # MUSL 1300 OL
Instructor: Lenora Helm Hammonds
w/guest Instructor: Baron Tymas
Office Phone:(919) 530 - 6653
Office location: Room 204, Edwards Music Building
E-mail: [email protected]
Office Hours: M-F 9 -10 am & 4 - 5 pm
in collaboration with
Instructors: Turid Nørlund Christensen Royal Academy of Music, Aarhus, Denmark
Instructors: Sean Adams, Mageshen Naidoo
WEEK 3 - Assignment 4 - Destination Writing
Due Thursday September 12th, 10:15 EST/15:00 GMT
via our Lore course webpagehttp://lore.com/COMPOSING,-ARRANGING-&-SONGWRITING-IN-A-GLOBAL-NETWORK.1/
Courtesy of Andrea Stolpe, Commercial Songwriting Techniques www.Andrea Stolpe.com
Turid Nørlund Christensen, Associate Professor, The Royal Academy of Music Aarhus, Denmark, [email protected]
Composition exercises using randomness as a tool:
Random notes:
- Each student picks a number from 1 to 12. Or use the random interger generator: http://www.random.org/integers/ Each number is representing a note, ex. 1=c, 2=c#, 3=d, 4=d# etc...
- The notes are written down in the sequence, the students say the number, ex: 10-3-9-2-5-4-5-9-2
becomes a-d-g#-c#-e-d#-e-g#-c#.... This sequence of random notes is now our frame/raw material/stimuli for the composition! You can use these notes in various directions from here:
- Direction no. 1: Melody: Try to explore the notes in little sequences and look for little
melodies/phrases, remember you can change the octave, let some notes be short or long, add
pauses etc.
- Figure out (or decide) the time signature/meter of the melody (4/4, 3/4, 7/8, changing meters etc.) - When you have the melody, try to add bass notes to it
- Prototype it
- Improve the composition by adding, changing or removing notes… - When you have bass notes and melody, add additional notes for harmony (keep it simple)
- Prototype it
- Improve the composition by adding, changing or removing notes…
- If the melody is singable, consider writing lyrics for it as well…
- Direction no. 2: Harmony: Group the notes into pairs of three, ex. a-d-g#, c#-e-d#, e-g#-c#....
Each group of notes can be three different triads depending on which tone you put in the bass. Write them down.
- Choose one triad from each group and put them together in a sequence.
- Choose a meter and decide for how long each chord shall last… - Prototype it
- Improve the harmonies by adding, changing or removing notes…
- Write a melody to the chords
- Prototype it - Improve the harmonies by adding, changing or removing notes…
- If the melody is singable, consider writing lyrics for it as well…
- Direction no. 3: Bass line: Write the notes down as a line of bass notes
- Add a major or minor third to each note (remember to listen to the chord before as well), ex. A-D-
G#m-C#m-E-D#-E-G#m-C#m… - Add a major, minor or dim. Seven to each chord (bass note and third). Ex: A∆7-D∆7-G#m7-
C#m7-E7-D#7-E7-G#m7-C#m7……
- Play the sequence of chords
- Decide the time signature/meter of the composition - Decide for how long each chord should last
- Prototype it
- Improve the composition by adding, changing or removing notes… - Write a melody to the chord progression
- If the melody is singable, consider writing lyrics for it as well
- Direction no. 4: Scale: Organize the random notes into a scale, Ex. a-c#-d-d#-e-g#-a. - Write a melody only using the notes from the scale
- From here follow from step 2 in Direction no. 1: Melody.
ARTICLESSUBMITTEDONCLASSASSIGNMENTS
!Billie’s Food Court Exercise Submission!
!-I am sitting on a retro modern food court chair that looks like it came from a fantastic
industrial designer. Matches the table in front of in an admirable manner. It’s a milky
yellow, made of sturdy plastic, and feels slightly rough to the touch. It feels cool against
my bare arms. Reminds me of something I would find in IKEA. The legs are some sort
of high grade metal tubing covered in a shinny white finish with small rubber stoppers
on the bottom. It has a faint smell of industrial cleaner and 15 year old girl perfume.
Maybe something from Bath and Body Works? Very obvious, bold and unashamed.
Rather child-like.!
It sits on fancy marble tile that is well laid out. Clearly someone took pride in the their
job as food court interior designer/tile layer. It’s very smooth with no cracks, so anyone
with high heeled shoes can walk anywhere in the food court without fear of falling and
embarrassing themselves in front of the large crowd of people. !
-I smell all sorts of random foods, most notably the coffee shop (it must be because I
am currently craving a cup of coffee). A young woman walks by, and I can smell a
mixture of expense hair product and teenage perfume. Next up is a well-dress business
man, who has a sophisticated and mature cologne. Musky, sandalwoodish, hints of
myrrh... it’s almost like a fine wine. I nod in approval. Well done, sir. There’s a pretzel
place, and I can catch glimmers of cinnamon and sugar.!
-I can almost taste the coffee I am craving! I’m not one for food court foods.!
-Everyone is moving around me. People are shuffling, looking at watches. Families
pass as the moms try to calm the kids down, or discuss what toys they should put on
christmas lists. Young women are in small groups, giggling. A few young men strut by,
clearly working on their aura. The cleaning lady is tidying up a table about three chairs
way. The clock is ticking, a few feet away. It feels like everything is moving except me!!
-I hear an overall hum of people walking, the muzak playing softly over speakers, the
clock lightly ticking, a cell phone going off (wait... was that mine?), the shuffle of
shopping backs, the click of a stroller, a mother calling to her children, people ordering
food, and a group of young ladies gigging.!
-I am wearing an old pair of American Eagle flare jeans, my red cowboy boots that were
my Christmas present from my mother, a cowboy shirt that I found at Goodwill and took
in on my sewing machine, a white lacy undershirt, a brown belt, my Saint Francis
necklace that someone special gave to me, an onyx ring on my right hand that has a
1920’s kind of look to it. My hair cut is my standard fare... straightened in the front and
spiky in the back. I just bought some new product/styling wax I am pretty happy with. !
-I am feeling a little lonely. All these people running everywhere, and I’m here by
myself. I miss my best friend who just got married and another super close friend who
just took a job in Charlotte, NC and moved away. I’m a little tired - my band had a gig
last night, and I had to still get up at 6:00 AM for class. Slightly cold in the AC. I’m
enjoying the fact that my only job at the moment is to just sit here and exist. I’ve been
running around a lot lately.!
-The sun in streaming in through the windows, and you can see the little dust particles
dancing in the lights.!
-The music is barely audible, and it makes me wonder why it’s there. !
!Verse 1:!
!G!
These walls!
G !
Stand the same!
Em!
Watching everything inside them!
Em!
change!
Dm!
Your snap button shirts!
F!
On the floor!
Am!
In the same haphazard mess!
(F#m) (I changed it to C)!
as t he night before!
!!Verse 2:!
!G!
But your aviator shades!
G!
Couldn’t wait !
Em!
And along with your feet decided to !
Em!
Escape!
Dm!
too bad!
F!
you forgot !
Am!
your plaid shirts!
C!
and pieces of heart.!
!Chorus:!
!Dm F!
I’ll scrub the bathroom, vacuum the !
!Am!
floors!
!Dm F!
Hoping you’ll walk back through our!
!Am!
creaking doors.!
!C!
Kid myself it’s only!
!Em!
temporary!
!F !
Till then I’ll leave your favorite shirts!
!F#m9 (21202x)!
sedentary !
!!Verse 3:!
!G!
Close my eyes!
G!
Dim the light!
Em!
the tangled sheets whisper of you !
Em!
all night!
Dm!
Wherever you went, !
F!
I hope you’re safe!
Am!
And if you turn back,!
C!
don’t hesitate!
Billie’sRandomChordSubmission
Chapter: (Hammonds, Christensen, Oritsejafor, Tymas,
Hosbond and Naidoo) Jazz, Constructionism, and
Music Composition, In Globally Networked Teaching in
the Humanities Theories and Practices
Edited by Alexandra Schultheis Moore, Sunka Simon
Routledge – 2015 – 224 pages
Series: Routledge Research in Higher Education
ISBN: 978-1-13-880152-3
May 19th 2015
Faculty Publications
Faculty Publications
Chapter: (Hammonds, Lenora Z. Helm, &
Oritsejafor, Emmanuel). Navigating the
Performance Arts in a Globally Networked
Classroom, In Global Innovation of Teaching
and Learning in Higher Education:
Transgressing Boundaries (Professional
Learning and Development in Schools and
Higher Education) January 14, 2015
by Prudence C. Layne (Editor), Peter Lake
(Editor)
ISBN-13: 978-3319104812
ISBN-10: 3319104810
Edition: 2015th
Aruba Vocal
Jazz
Ensemble in
their weekly
session
Vocal Jazz Online session for Aruba Vocal Jazz Ensemble
Professional Development for COIL Lead-Fellow used COIL model to develop annual residency with Aruban universities and local community music programs. Students are given access to jazz instruction formerly unavailable in their community or state programs via the COIL model.
International
Guest Artist, and
Vocal Jazz Online
founder Lenora
Helm in F2F
session with
community music
ensemble, Aruba
Vocal Jazz
Ensemble
preparing for
concert
10th Annual
International Jazz
Day concert in
Oranjested,
Aruba
International
Guest Artist, and
Lenora Helm and
North Carolina
Central University
Jazz Studies
Guest Students
County DemographicsBroome County, New York
• Population: 200,600• Median age: 40 years
(NYS: 38)• Median income:
$46,400 (US: $43,500)• Poverty rate: 17.2% (US:
14.8%)• Ethnicity:
• 87.3% Caucasian
• 5.7% African American
• 3.9% Latino
SUNY Broome Community College• Total Enrollment: 7,251
• 76% in Degree/Certificate Programs
• Full Time: 59%
• Part Time: 41%
• Traditional (≤21 y.o.): 49%
• Non-Traditional (≥22 y.o.): 32%
• High School/Fast Forward: 19%
• Pell Grant Recipients: 48%
Study Abroad Opportunities• SUNY Broome Sponsored Programs
• Italy (5 Fall/Spring programs; 2 Summer programs)
• Ecuador (2 Fall/Spring programs)
• Faculty Led Study Abroad• Haiti (Winter term)
• Costa Rica (Spring Break)
• London (early Summer)
• SUNY System Programs• > 600 programs
• College Consortium for International Studies• > 80 programs
Study Abroad Participation• Full Term Programs
• 2013: 2
• 2014: 2
• 2015: 5
• 2016: 1
• Faculty Led Programs• 2013: 22
• 2014: 33
• 2015: 20
• 2016: 33
COIL Courses – Year One• Fall 2015
• Introduction to Archaeology: 17• Introduction to Anthropology: 21• Public Policy: 22• ESL Speaking & Listening: 20• Total: 80
• Spring 2016• World History I: 26• Introduction to Anthropology: 20• Effective Speaking: 20• Total: 66
• 2015/2016 Total: 146
COIL Growth
• Goal: 1 to 2 additional courses per year
• Challenges• Attrition/COIL “fails”
• Full-time Faculty Involvement
Outcomes Measurement
• Development of standard survey tool
• Anecdotal evidence
Going “Virtual”ly AbroadThe COIL Method at
Glenville State College
Glenville, WV in Gilmer County
Glenville State College
GSC Numbers of Note:
First Generation = 70%
Low-to-Moderate Income: 65%
International Student = Yes,
singular since there is only
one.
IN-STATE = 85%
Other States = 29
Student enrollment: 1100 Population: 1537
Academic
Term
Institutional
Partner(s)
Number
of Courses
Linked
Number of
GSC student
participants
Spring
2015
University of
Oviedo (Spain)
2 20
Fall 2015 University of
Oviedo
Benémerita
Universidad
Autónoma de
Puebla (Mexico)
2 20
Spring
2016
University of
Oviedo
Universidad
Popular Autónoma
en Puebla (Mexico)
Anáhuac University
(Mexico)
4 72
Academic
Term
Students who
Traveled
Abroad
Summer 2012 0
Summer 2013 1
Summer 2014 1
Summer 2015 3
Summer 2016 9 (expected)
Total EA in last 4 years = 14
Total COIL in last 1.5 years = 112
COILed Courses at GSC:
English Critical Reading & Writing II: The American MosaicSpanish Conversation & CultureU.S. History Since 1877Web DesignIntroduction to Hispanic Texts (in English)Psychology Lifespan Development
Student Outcomes:
Institutional Outcomes:• Memorandum of Understanding with the
University of Oviedo• Memorandum of Understanding WVHEPC and
Public Education Secretariat of the State of Puebla, Mexico
• COIL Fellows Program designed and managed byGSC/WVHEPC
• Two presentations at this year´s COIL Conference• Fulbright Research Award focused on COIL in
Appalachia and Asturias, Spain (Spring 2017)• GSC COIL Fellow invited to speak to students and
faculty about COIL and GSC at BenémeritaUniversidad Autónoma de Puebla two weeks ago
Questions
ACE Center for Internationalization &
Global Engagement (CIGE)
Internationalization of
U.S. institutions
• Mapping Internationalization on U.S. Campuses
• Internationalization Collaborative
• Internationalization Laboratory
• Web resources:• Model for Comprehensive Internationalization
• Internationalization in Action
• Internationalization Toolkit
Global Engagement
• International Briefs for Higher Education Leaders
• Transatlantic Dialogue
• Voice on international higher education issues
• International delegation visits
Thank you!
• Megan Gibbons [email protected]
• Lenora Helm Hammonds [email protected]
• Jan McCauley [email protected]
• Heather H. Ward [email protected]
