Have a Great Year!
Were so fortunate to have Jim Martz on board as the Coordinating
Teacher for Arts Education. Hes done a great job of coordinating
the NC Symphony concerts, piano tuning, addressing technical
concerns in auditoriums, and entering your renewal credit in
eschools.
Feel free to contact us with questions concerns solutions or to
share good news!We will be collecting teacher data digitally this
year your attendance is recorded via the google survey and thats
how well update the email groups.
*The Arts Education Survival Kit has moved! Go to the Internet
wcpss.netAt the bottom of the screen under Staff Links go to My
Workplace*On the left side of the page click on Arts to go to the
Survival Kit*Please review topics and be familiar with documents.
Survival Kit contains much valuable information. The Survival Kit
can be your go-to source for info If you find anything that appears
to be in error or you have more questions please contact Jim so he
can clarify or update.
*A reminder about E-schoolsSRNs are posted on your agenda please
register!Lets see whos here*I have asked principals to consider the
October & the March early release as days for content specific
staff development. It will still be up to individual teachers to
get permission from their principals. Administration listened
carefully to the teacher survey of concerns regarding planning time
we were asked to report what meetings/professional learning
opportunities we made as mandatory. We know you are under a
tremendous amount of pressure and were trying to ease your
commitments I hope the early release days will be valuable and that
youll be able to advocate with your principals to participate.
*The staff development in this district is exceptional thanks to
the leadership of the staff development chairs and your input!
These resources are available K-8.NetTrekker & Brainpop are
internet resources that you and your students can access. While
they are not primary instructional tools they can serve as an
additional system of support.
*You may have heard about the National Core Arts Standards that
have just been released. Fortunately they are very similar to our
Essential Standards. Here are some highlightsBoth NCES & the
Nat.Standards are based on Enduring UnderstandingsBoth are
segmented in K-8 and Proficiency Levels @ High SchoolNCES = 4
levels (beginning, intermediate, proficient, advanced)Nat. Stds. =
3 levels (proficient, accomplished, advanced)
*Before we get into the meat of todays training I wanted to
share something to which I think we can all relate*All kidding
aside I know these have been challenging times but as my
singer/songwriter friend Annie Robinette writes We Bloom in the Sun
but we Grow in the Rain
Today there may be more questions than answers and there may
come a point where Ill have to refer back to the house rules so we
can continue moving on but Ill work to get your answers when I
attend training on August 19th and well conduct a webinar as soon
as we can after that to clarify any questions that may linger.
*Speaking of growth -
How do you measure growth? Compare 2 points in time Rather than
holding you accountable to the school scores on academic growth
Analysis of Student Work process allows you to provide your own
evidence.
These pictures show two different points in time.The picture on
the left is a point in time towards the beginning of the flowers
growth, but it does not show the seed that the flower sprouted from
nor the root system.The picture on the right is a later point in
time, though its not clear from the picture how much time has
passed. The flower has gotten taller and bloomed, but the picture
does not let us see how much taller the flower is or the length of
time it has been in bloom.
The ASW process is the Standard 6 measure for educators in
Advanced Placement, Arts Education, Healthful Living, International
Baccalaureate, World Languages and other specified content areas.
The ASW process will be the way that these teachers will link the
measurement of student growth to teacher effectiveness for Standard
6 of the NC Educator Evaluation System (NCEES) beginning with the
2014-2015 school year.
Here is an overview of the proposed ASW process, along with
adaptations for the Spring 2014 Pilot.Click
Teachers will begin the ASW process by describing their teaching
context using the ASW Submission Form. Then, they will select 5
classes or sections from their course load that are a
representative sample of their teaching context. For each class
selected, teachers will choose 1 objective, for a total of 5
objectives, from their content areas Essential Standards or from
the AP or IB objectives.
After teachers complete the ASW Submission Form and select 5
objectives, they may begin collecting student work samples around
each objective which will eventually comprise the Timelapse
Artifacts of their Evidence Collection. A single Timelapse Artifact
or TA is comprised of two student work samples or evidences that
show student learning at two different points in time. The two
evidences that encompass a Timelapse Artifact should demonstrate
growth from the same student or group in relationship to the
identified objective. Details in narrative format about the
evidences in each Timelapse Artifact will be added to the ASW
Submission Form.
The five Timelapse Artifacts are the Evidence Collection. Every
year, teachers will upload their Evidence Collection to the online
platform, which is being designed for the ASW process.
Then, reviewers will conduct a blind review of the Timelapse
Artifacts in an Evidence Collection and provide each TA with a
category rating. A blind review means that the submitting teachers
name and location or district/school will not be known. The
contents of the Timelapse Artifacts, their narrative information,
and the teaching context and course load will be considered by the
reviewer.
Finally, the Evidence Collection will receive an overall
category rating for Standard 6 for that school year. Teachers using
the ASW process will be able to view the category rating for
Standard 6 the following fall when all teachers see their Standard
6 rating.
Lets talk through the ASW process steps in more detail.
The teacher completes the submission form for teaching context
to provide a representative sample of their classes, and also meets
with his or her supervisor, usually the principal, to discuss the
ASW Submission Form. During full implementation starting in
2014-2015, this step will be completed via the online platform.
Teachers will be asked to submit their teaching assignment which
separately lists:Assigned Class(es), Course(s), and Programs;The
frequency and duration of instructional time with students [for
example 45 min. daily for 18 weeks or 1 semester]Whether or not the
class will be used for compiling Timelapse Artifacts, which will be
done by placing a check in the box for the class;The objective
chosenfor the TA; The TA option that has been chosen; and The total
number of students.
Beginning in 2014 2015, the online platform will select the
classes in which the teacher must collect artifacts.
Using the Strands and Standards guidance charts for each content
area, 5 objectives will be chosen. Arts EducationInclude 1
Timelapse Artifact for each of the strands in your Arts Education
discipline plus 1-2 additional Timelapse Artifacts representing any
of the strands for your discipline.
DANCEMUSICTHEATRE ARTSVISUAL ARTSCreation and Performance
(CP)Musical Literacy (ML)Communication(C)Visual Literacy(V)Dance
Movement Skills (DM)Musical Response (MR)Analysis (A)Contextual
Relevancy (CX)Responding (R)Contextual Relevancy
(CR)Aesthetics(AE)Critical Response (CR)Connecting (C)Culture
(CU)
There are two options for each Timelapse Artifact. Option 1
involves a teacher collecting and keeping 2 work samples:for each
class member, for the objective, at 2 separate points in time.
Option 2 involves a teacher collecting and keeping 2 work
samples that represent the entire class:for the objective, at 2
separate points in time.
When it is time to upload Option 1 Timelapse Artifacts, teachers
will receive a random sample of students for whom they must upload
Timelapse Artifacts to the online platform.
The online platform will randomly identify or select 3 students
for each objective chosen by the teacher. The TA will be compiled
using the Student Work Samples from these selected students.
When Option 2 has been chosen, teachers submit a single whole
class Timelapse Artifact instead of individual samples. If the
composition of the class changes, there is no need to worry about
reshuffling because you can go ahead and submit the two work
samples for the whole class.
All 5 Timelapse Artifacts will be uploaded to the online
platform to form the Evidence Collection.
Teachers will receive a predetermined amount of space per
Evidence Collection. Teachers will also receive progress updates
during the submission process and a final notification from the
online platform when all components of each Timelapse Artifact have
been successfully submitted and are ready for review.
The Evidence Collection will be reviewed by a content area
specialist. The platform sends the Evidence Collection to two
reviewers who have been matched to the teacher because of their
similar content area expertise. The teacher does not know who the
reviewers are and the reviewers do not know who the teacher is.
Reviewers will be chosen for each content area through an
application process, with additional applications submitted on an
ongoing basis to ensure that an adequate number of trained
reviewers are available each year.
Reviewers will be trained each year on the content agnostic
components of the ASW process and then in content-specific groups
to ensure their preparedness to objectively rate Timelapse
Artifacts.
The online platform will be secure and utilize a unique
identifier for each teacher so that a blind review can be
conducted, allowing for a reviewer to see the ASW Submission Form
and Evidence Collection without viewing the teachers name, district
or school.
Reviewers will access the online platform to evaluate the
Evidence Collections submitted by teachers in their content
area.
The Reviewers will assign individual ratings of Does Not Meet,
Meets, or Exceeds Expected Growth to each Timelapse Artifact and an
overall rating to the Evidence Collection.
Following the blind reviews, the online platform will compare
the ratings from both Reviewers for the Evidence Collection. If the
two ratings match, the review process is complete. If the two
ratings do not match, a third blind review will be automatically
triggered by the online platform.
Please take a moment to reflect on the overall ASW Process,
which is shown on the slide.
In 2014-2015, the North Carolina Department of Public
Instruction will roll out the ASW Process statewide as the Standard
6 measure for teachers in Advanced Placement, Arts Education,
Healthful Living, International Baccalaureate, World Languages, and
other designated content areas. Teachers in these areas will
receive their first year of individual Standard 6 data in the
2014-2015 academic year, which will be combined with data from
2015-2016 and 2016-2017. Then the 3-year rolling average of
individual growth data from Standard 6 ratings can be used with
ratings from NCEES Standards 1 5 to determine an overall
effectiveness status.
Note: The appeals process for Standard 6 will be handled
locally, as is done with Standards 1 -5. Guidance will be provided
by Educator Effectiveness for how this can be done for all Standard
6 Measures of Student Learning.
*So whats the hardest part of this process?Probably selecting
the clarifying objectivesYou certainly already assess all of the
strands but being specfic??
Were going to practice today and maintain this as our focus for
PLT work throughout the year.*The methods of measurement vary
widely. When a teacher is choosing an objective, its important to
keep in mind what measurement methods exist or can be easily
developed.
The work samples submitted for Timelapse Artifacts are the
student work that teachers already collect and evaluate for
formative and summative assessment. The classroom activities,
assignments, and projects that students do are the work samples
that will show their growth.
Pause for a moment to reflect on the work samples you have from
your students right now.
They could be a stack of papers waiting to be graded, a series
of group projects with rubrics, or a collection of class work that
youre going to give descriptive feedback on and hand back to
students the next time you see them.
Any of these work samples, and many more, could be what you
submit for a Timelapse Artifact. The big question is what methods
can you use to measure growth and how can you keep the work sample.
For the collection of class work, you may take photos of the work
with your comments on them, scan the documents, or perhaps capture
all of your students engaged in the classroom using video. For the
project, a copy of the rubrics and the student projects could be
saved electronically as files to be uploaded to the online
platform.
And Most Importantly the assessment & the objective have to
be aligned!
Teachers will chose the type of work sample to be submitted.
There are two options for each Timelapse Artifact.
Option 1, Student Work Samples, involves a teacher collecting
and keeping 2 work samples:for each class member, for the
objective, at 2 separate points in time.
Option 2, Whole Class Work Samples, involves a teacher
collecting and keeping 2 work samples that represent the entire
class:for the objective, at 2 separate points in time.
Whichever option you choose is recorded on the ASW Submission
Form.
In order to ensure that an Evidence Collection is representative
of the North Carolina Essential Standards, Strands and Standards
Guidance Charts have been designed for the content areas in the
pilot. If you would like to download any of the Guidance Charts,
they are posted on the ASW Wiki
(https://ncasw.ncdpi.wikispaces.net/) on the Important Forms and
Documents page
Here is the Arts Education Guidance Chart.
In the full implementation next year, teachers who provide
instruction in Dance should choose one clarifying objective
representing each of the 4 strands of Dance Education plus one
additional objective representing any of the Dance Education
strands. These objectives should be used to compile 5 Timelapse
Artifacts.
One clarifying objective should be chosen from:Creation and
Performance (CP)
One clarifying objective should be chosen from:Dance Movement
Skills (DM)
One clarifying objective should be chosen from:Responding
(R)
One clarifying objective should be chosen from:Connecting
(C)
One additional clarifying objective should be chosen from any of
the strands representing Dance:Creation and Performance (CP), Dance
Movement Skills (DM), Responding (R), Connecting (C)
In the full implementation next year, teachers who provide
instruction in Music should choose one clarifying objective
representing each of the 3 strands of Music Education plus 2
additional objectives representing any of the Music Education
strands. These objectives should be used to compile 5 Timelapse
Artifacts.
One clarifying objective should be chosen from:Musical Literacy
(ML)
One clarifying objective should be chosen from:Musical Response
(MR)
One clarifying objective should be chosen from:Contextual
Relevancy (CR)Two additional clarifying objectives should be chosen
from any of the strands representing Dance:Musical Literacy (ML),
Musical Response (MR), Contextual Relevancy (CR)
For the purpose of the 2014 Pilot, only three clarifying
objectives will be selected because there are just three Timelapse
Artifacts.
CLICK
In the full implementation next year, teachers who provide
instruction in Theatre Arts should choose one clarifying objective
representing each of the 4 strands of Theatre Arts Education plus
one additional objective representing any of the Theatre Arts
strands. These objectives should be used to compile 5 Timelapse
Artifacts.
One clarifying objective should be chosen from:Communication
(C)One clarifying objective should be chosen from:Analysis (A)
One clarifying objective should be chosen from:Aesthetics
(AE)
One clarifying objective should be chosen from:Culture (CU)
One additional clarifying objective should be chosen from any of
the strands representing Theatre Arts:Communication(C), Analysis
(A), Aesthetics (AE), Culture (CU)For the purpose of the 2014
Pilot, only three clarifying objectives will be selected because
there are just three Timelapse Artifacts.
CLICK
In the full implementation next year, teachers who provide
instruction in Visual Arts should choose one clarifying objective
representing each of the 3 strands of Visual Arts Education plus
two additional objectives representing any of the Visual Arts
strands. These objectives should be used to compile 5 Timelapse
Artifacts.
One clarifying objective should be chosen from:Visual Literacy
(V)
One clarifying objective should be chosen from:Contextual
Relevancy (CX)
One clarifying objective should be chosen from:Critical Response
(CR)Two additional clarifying objectives should be chosen from any
of the strands representing Theatre Arts:Visual Literacy (V),
Contextual Relevancy (CX), Critical Response (CR)
For the purpose of the 2014 Pilot, only three clarifying
objectives will be selected because there are just three Timelapse
Artifacts.
CLICKIn order to better understand this slide, it may prove
useful to print a copy of the Arts Education Guidance Chart or
refer back to the previous slide. This example is for Visual Arts.
In order to compile the correct Timelapse Artifacts for this
submission the following objectives were chosen:
1 Timelapse Artifact for each of the strands in your Arts
Education discipline. The teacher chose 6th grade Visual Literacy
Objective 2.2 Use observation skills of the immediate environment
to create original imagery.
1 Timelapse Artifact for each of the strands in your Arts
Education discipline. The teacher chose 7th grade Contextual
Relevancy Objective 2.3 Implement collaborative planning and art
skills to solve problems.
1 Timelapse Artifact for each of the strands in your Arts
Education discipline. The teacher chose 7th grade Critical Response
Objective 1.2 Implement formative and summative evaluations of
personal art
2 additional Timelapse Artifacts representing any of the strands
for your discipline. The teacher chose 8th grade Visual Literacy
Objective 2.3 Create original art that conveys one or more ideas or
feelings and..
The 6th grade Contextual Relevancy Objective 2.3 Understand how
collaborative planning is used to create art
The next several slides provide examples of Harvesting Student
Work featuring different Methods of Measurement. These examples are
just suggestions of how student work could be captured. Teachers
are not limited to the Methods of Measurement shown here.
Additionally, these artifacts are not intended to illustrate
category ratings: does not meet, meets or exceeds expected
growth.
This Music Education artifact was created using audio. If you
would like to listen to the audio clip, please click the link shown
on the slide.
The Clarifying Objective was Musical Literacy Goal 1, Objective
3: Interpret expressive elements, including dynamics, timbre,
blending, accents, attacks, releases, phrasing, and interpretation,
while singing and/or playing a varied repertoire of music with
technical accuracy. Submitted from an 8th Grade Band class working
on a performance piece, point #1 was the second time the percussion
and winds had rehearsed their parts together. Some of the reasons
the teacher chose this piece for her 8th grade band was for the
driving tempo in the eighth note patterns, the use of dynamics, the
amount of percussion used, as well as how the unique timbres are
needed to balance within the percussion section and within the
entire band. In the first piece of evidence, the students were
struggling with maintaining the fast tempo and precisely
articulating the eighth notes patterns. This is heard frequently in
the clarinet section. Dynamics and other nuances were not performed
very well, especially in the percussion section, and they often
overpowered the band. The percussionist was assigned a cymbal part
and struggled with the counting in the opening measures and with
interpreting the conductors gestures to find his place. As a
result, most of his part was missing.
Click
You can listen to the second piece of evidence, recorded 10 days
later, by clicking the link shown on the slide.
In the second piece of evidence, the group's overall technical
accuracy was vastly improved, as was their balance and blend. The
clarinet articulations, near the beginning of the song, were
clearer, and their individual interpretation was more matched. The
percussion section had a clearer understanding of their parts and
how their timbre fit with the winds. Though they were not perfect,
the percussion also performed with more "sensitivity" to the winds
and did not dominate. The interdependence of parts when performing
this piece illustrates growth across both individual parts and the
group as a whole.
Click
This first Visual Arts artifact was created by taking a
photograph of the student work. The Clarifying Objective was at the
Beginning level of proficiency, Visual Literacy Goal 1, Objective
2: Apply the Elements of Art and Principles of Design to create
art. This student work is from a Beginning Visual Arts course with
35 students.
Notice the various preparatory processes such as line drawings,
value studies, contour drawings, and color studies. Each of these
are examples of apply in that they are procedures, activities,
tasks or practices.
Click
Here is an example of a second Visual Arts artifact collected 3
weeks later.
This is a finished artwork, but can still be viewed in terms of
the clarifying objective which calls for an apply. In this case the
reviewer would look for how the student applied the Elements of Art
and/or the Principles of design in order to complete the final
product. To do that they would compare the work from the first
slide and look for application of line, gesture and/or color.
Click
This Arts Education Theatre Arts artifact was created by
scanning the student work sample. The Clarifying Objective was from
a Beginning Theatre Arts course and was focused on Communication
Goal 1, Objective 3: Understand how to read and write scripts that
communicate conflict, plot, and character. This student work sample
is a Point #1 and shows the brainstorming exercise that students
did in class to begin working on their scripts.
Click
The Point #2 student work sample shows the nearly complete
script after several drafts, feedback opportunities, and
revisions.
Click
Identify strands/objectives that are currently taught, Verify
the objectives needed for an ASW submission, and Describe work
samples to collect from your classroom.
More detailed instructions are included at the beginning of each
worksheet.
Direct link: http://ncasw.ncdpi.wikispaces.net/Module4]
Here are some successful artists from the Wake County Public
School SystemEvan Rogister, a 34-year-old opera and concert
conductor based in New York, is a fast-rising star within classical
music. Rogister returned to Raleigh in January to conduct the NC
Symphony. When asked - My grandmother was a voice and music
teacher. She started teaching me when I was only 6 or 7. My family
went to lots of concerts, and it felt normal to develop an interest
in classical music. My mother says that even when I was 3 or 4, I
would ask to have a record put on and then go stand on the hearth
and conduct along. I definitely remember seeing a video of a
conductor when I was really little and thinking that was something
fun to do. You started out as a musician, right? Yes, I started out
as a trombonist and was pretty serious about it all through high
school. I ended up going to Indiana University as a trombone major,
and they had a really wonderful facility for opera.
Evan Rogister is a conductor. Rogister, a 1998 graduate, was
Enloes Student Body President. While attending Julliard for a
masters degree in music, Rogister traveled to Paris where he
attended conducting courses at the National Conservatory.*These are
just a few some you may recognize as your former students So park
that in your minds for a moment and feel good knowing that you and
those before you have contributed to a thriving group of artists
& arts supporters.*Im going to demonstrate on myselfArtist
Professional Lighting Designer AADE, Community Theatre, National
Opportunities for Dance, Music & TheatreVeteran Arts Educator
Mentors, Teachers in the District, CommitmentArts Advocate
Passionate in the belief that everyone needs to experience the arts
associated with lots of community arts organizations I went to a
private high school so thats another reason Im such an advocate for
public educationRisk Taker lifelong learner willing to try just
about anything
But how did I get here my mom is a musician my father a dentist
(and some of you may know that I started out as a chemistry major
in college to follow in his footsteps there are lots of folks who
are glad I didnt try to practice dentistry He sang Barbershop &
my mom directed sweet adelines I had a quartet
*Take a moment to jot down the essence of your story start with
how you are then add what influenced you support systems.
Share with your neighbor*Now go back to those graduates who are
successful artists & arts supporters and think about their
story I saw Willie Hinton on Sunday at the Indian Classical Dance
Concert & he told me that Mary Scott Arnold Betty Kovach &
Patty Marks are the reason he is a successful dancer/choreographer
today. Willies mom was a secretary in central office so he didnt
have a lot of financial resources but he had access to the arts
program and he had teachers who encouraged him.
As you think about your own classroom reflect on who is there if
you teach in an elementary school it is likely that everyone takes
your class but what do you do to support each student so he/she has
positive experiences experiences that will lead them to continue to
study and/or support the arts in the future. At the secondary level
who is missing from your classroom and why? Is it economics?Is
there a gender-bias (males in dance female tuba players )?Does
remediation keep students from participating in your electives?
*Take a look at the content of your class do you tend to teach
the art of a predominant culture?Your students can make significant
contributions from their various cultures
These are not easy questions and there are no easy answers but I
can tell you that when I said that it could be challenging because
of socio-economic status I was encouraged to have a dialogue about
what could be done to remedy that weve got some things in place
like donations partnerships We can do more and it starts with your
own reflective thinking and then honest conversations with your
colleagues
*If an equity audit is completed in the arts how would we
do?
Cultural Proficiency is a priority in this district and we dont
want to be left behind so lets keep the dialogue going send me an
email talk with your colleagues your principal do some soul
searching for yourself *100% of the responsibility for the
production will be Arts Education as will 100% of the profitsI hope
youll consider participating!*In no particular order here are some
of the funding possibilities.*I was intrigued by the power of
images in communicating a message when I visited the recent
Estampas de la Raza exhibit at the NC Museum of Art.Im creating an
online course for Literacy in the Arts Classrooms that will
encourage you to integrate the concepts of literacy in an authentic
way.
The Romo collection represent highly significant and overarching
themes: defining identity and self-identity; struggling for
socioeconomic & political justice; celebrating shared
tradition, culture, and memory; recognizing icons both sacred &
secular; and other distinct voices.
Ester Hernandezs Sun Raid is based on the images of the Sun Maid
raisin box and transforms the Maid into a field working Calavera
(day of the Dead skeleton image) with an Immigration & Customes
enforcement bracelet (ICE). The slogans on the box are changed to
say By-Product of NAFTA, Un-naturally harvested, Guaranteed
Deportation that reflects the plight of the poorly paid immigrants
who pick crops under harsh conditions in constant fear of
deportation.
*Key Ideas & Details Wade in the Water instructions/code
signature event??? Analyze how and why individuals, events, or
ideas develop and interact over the course of a text multiple
verses personal stories Craft & Structure - Interpret words and
phrases as they are used in a text, including determining
technical, connotative, and figurative meanings, and analyze how
specific word choices shape meaning or tone.Analyze the structure
of texts, including how specific sentences, paragraphs, and larger
portions of the text (e.g., a section, chapter, scene, or stanza)
relate to each other and the whole.Assess how point of view or
purpose shapes the content and style of a text (Documentary from
the mouths of babes)Integration of Knowledge & IdeasIntegrate
and evaluate content presented in diverse media and formats,
including visually and quantitatively, as well as in wordsAnalyze
how two or more texts address similar themes or topics in order to
build knowledge or to compare the approaches the authors take
*Read closely to determine what the text says explicitly and to
make logical inferences from it; cite specific textual evidence
when writing or speaking to support conclusions drawn from the
text.Determine central ideas or themes of a text and analyze their
development; summarize the key supporting details and ideas.Analyze
how and why individuals, events, or ideas develop and interact over
the course of a text.Interpret words and phrases as they are used
in a text, including determining technical, connotative, and
figurative meanings, and analyze how specific word choices shape
meaning or tone.Analyze the structure of texts, including how
specific sentences, paragraphs, and larger portions of the text
(e.g., a section, chapter, scene, or stanza) relate to each other
and the whole.Assess how point of view or purpose shapes the
content and style of a textIntegrate and evaluate content presented
in diverse media and formats, including visually and
quantitatively, as well as in wordsAnalyze how two or more texts
address similar themes or topics in order to build knowledge or to
compare the approaches the authors take*So Weve covered a lot of
ground today
*Our meeting today is intended to inform, encourage, and inspire
you as well as give you an opportunity to share your insights and
strategiesBut I want to keep coming back to you as arts educators -
because you make a difference for every child that comes into your
classroom and some that are influenced by you from a distance. The
future of the arts lies within your power - decision-makers who do
away with the arts are those who did not have a positive experience
with the arts as a young person - it was either negative or
non-existent.
We have a great future with our Superintendent administrative
leadership and school board - but we need to ramp up our
expectations & our performance!Contribute to artwork in Central
Office Performances @ Events Harry Wong in the 1st days of school
suggests that an effective teacher has a discipline plan that does
not degrade students where the teacher makes good eye contact and
enforces expectations consistently. Remember to establish and
communicate expectations on the 1st day behave be safe - follow
proceduresWe have procedures in everyday life Traffic Signal On the
Airplane Procedures allow us to function in an acceptable and
organized manner they dont stifle our creativity they unlock
it!
Work within your school environment check with your content
colleagues around the district if you need some ideas on classroom
management write down the procedures discuss them with your
administration then take time in class to EXPLAIN DEMONSTRATE
REHEARSE REINFORCE BE CONSISTENT
This will be particularly important as you determine how best to
provide feedback on artistic behaviors*You have to love dancing to
stick to it. It gives you nothing back, no manuscripts to store
away, no paintings to show on walls and maybe hang in museums, no
poems to be printed and sold, nothing but that single fleeting
moment when you feel alive. It is not for unsteady souls.
**
