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DOCUMENT RESUME

ED 310 966 SO 020 190

AUTHOR Fineberg, CarolTITLE The Network Notebook: A Casebook for the Arts in

Education.INSTITUTION New York State Education Dept., Albany.SPONS AGENCY New York Foundation for the Arts.; New York State

Council on the Arts, New York.; New York StateEducation Dept., Albany.

PUB DATE 88

NOTE 53p.

PUB TYPE Reports - Evaluative/Feasibility (142)

EDRS PRICE MF01/PC03 Plus Postage.DESCRIPTORS *Art Education; Cooperation; *Cooperative Programs;

*Demonstration Programs; Elementary SecondaryEducation; Networks; *State Programs

IDENTIFIERS *Art In Education; New York

ABSTRACTEight New York state school districts received

funding to establish models in arts education and to form an Arts inEducation (AIE) network. The purpose of the AIE is to share with therest of the state its findings and experiences. The model sites sharea number of essential characteristics, among them: (1) coordination;(2) art and music specialists; (3) regular involvement with arts andcultural organizations; (4) an arts advocacy role; (5).interdisciplinary study; (6) and the superintendent's personalinterest. The partnerships that each model program established with

..,

area arts organizations are listed. Each program is described indepth according to goals, strategies, and a summary. Other New Yorkarts education programs (e.g., Arts-Infused Social StudiesCurriculum), funding suggestions, and related service organizationsare listed. The appendix contains samples of curriculum and staffdevelopment activities, an AIE Caravan Course (suggested fieldactivities), and a 9-item AIE bibliography. (PPB)

**********x***************************************************** *****x* Reproductions supplied by EDRS are the best that can be made* from the original document.***********************************************************************

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U S DEPARTMENT OF EDUCATIONOttrCe d Educational Research and improvement

EDUCATIONA, RESOURCES INFORMATIONCENTER (ERIC)

&Tins document has been reproluced asrecened from the person or Olclanaatoonortgina ling rt.

0 Minor changes have been made 'o improvereproduction Quality

PoontS Of view or OptillenS stated in this dOcrhment do not necessarily represent officialOERI position or policy

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

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TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."

THE NETWORK NOTEBOOK

A Casebook for the Arts in Education

CAROL FINEBERG

AUTHOR

A publication jointly sponsored by the New York StateEducation Department, the New York Foundation for the Arts,

and the New York State Council on the Arts

1988

3

THE UNIVERSITY OF THE STATE OF NEW YORK

Regents of The University

MARTIN C. BARER, Chancellor, B.A., I.A., LL.B. Muttontown

R. CARLOS CARBALLADA, Vice Chancellor, B.S. Rochester

WILLARD A. GENRICH, LL.B Buffalo

EMLYN I. GRIFFITH, A.B., J.D. Rome

IORGE L. BATISTA, B.A., J.D. Broil,

LAURA BRADLEY CHODOS, B.A., M.A Vischer Fen;

LoutsE P. MATTFONI, B.A., M.A., Ph.D. Bayside

J. EDWARD MEYER, B.A., LL.B. Chappaqua

FLOYD S. LINTON, A.B., M.A., M.P.A. Miller Place

MIMI LEVIN LIEBER, B.A., M.A. Manhattan

SHIRLEY C. BROWN, B.A., M.A., Ph.D. Albany

NORMA GLUCK, B.A., M.S.W Manhattan

JAMES W MCCABE, SR.. A.B., M.A Johnson City

ADELAIDE L. SANFORD, B.A., M.A., RD Hollis

WALTER COOPER, B.A., Ph.D Rochester

GERALD J. LUSTIG, B.A., M.D Staten Island

President of The University and Commissioner of EducationTHOmAS SOBOL

Executive Deputy Commissioner of EducationTHOMAS E. SHELDON

Deputy Commissioner for Elementary and Secondary EducationLIONEL R. MEN()

Assistant Commissioner for the Office of General and Occupational EducationLORRAINE R. MERRICK

Assistant Commissioner for Education Planning, Testing, and Technological ServicesJOHN J. MURPIIY

Director, Division of General EducationCHARLES J. TRUPIA

Director, Division for Program DevelopmentEDWARD T. LALOR

The State Education Department does not discriminate on the basis of age, color,religion, creed, disability, marital status, veteran status, national origin, race, or sex inthe educational programs and activities which it operates. Inquiries concerning thispolicy of equal opportunity and affirmative action should be referred to theDepartment's Affirmative Action Officer, Education Building, Albany, NY 12234.Phone (518)474-1265.

CONTENTS

Acknowledgments iv

Introduction 1

History of the Arts in Education Network 3

The Model Sites 5

Essential Characteristics 5

Partnerships with Arts Organizations 9Program Descriptions 11

Other Arts in Education Programs in New YorkState 24

State Validated Programs 24Rockefeller Brothers F end Award Winners. . 25

Funding Arts in Education Programs 27Budget Items 27Sources of Seed Money 29In-kind Support 30

Arts in Education Service Organizations 31

Evaluation 33

Appendix 35Curriculum Activities: A Sampler 37Staff Development Activities: A Sampler . . . 39

5iii

ACKNOWLEDGMENTS

I wish to thank the Steering Committee for the Arts inEducation, consisting of Julian na Sci ol la, New York StateCouncil on the Arts (NYSCA); Robert Rea ls, Bureau ofArts, Music and Humanities Education, New York StateEducation Department (NYSED); Robert Sullivan, Divi-sion of Museum Services, New York State Education De-partment; Elaine Frankonis, Office of Cultural Educa-tion, New York State Education Department; andTheodore Berger, New York Foundation for the Arts(NYFA), for support of this publication.

Special thanks go to Robert Maurer, former ExecutiveDeputy Commissioner of Education, and Carole Huxley,Deputy Commissioner for Cultural Education, who havefollowed the progress of the model sites with particularinterest.

The Arts in Education program's model sites are alsograteful to Kitty Carlisle Hart, Chairperson of the NewYork State Council on the Arts, and Gordon Ambach,former Commissioner of Education, for their recognitionof the contribution the arts can make to the education ofchildren and youth. Their support of collaborative effortsbetween arts agencies and schools has clone much to im-prove the quality of education in New York State.

Support for the Arts in Education and THE NETWORKNOTEBOOK comes from the highest levels of State gov-ernment, a sign that in New York State the arts are nolonger considered frills or diversions, but are acknowl-edged as the silken threads that bind the school curricu-lum into a comprehensible and meaningful experiencefor its students.

Carol Fineberg

iv

IA.

*"s....._

Education of the person is incomplete when itfails to include the arts. This is the conclusionone reaches almost inevitably after serious studyof either the nature of the arts or the nature ofman. Therefore, a school curriculum includinglittle or no time for the arts is inadequate, what-ever the level of student achievement in reading,mathematics, or science .. ..

John I. Goodlad and Jack Morrisonin Arts and the Schools

INTRODUCTION

In 1979, the New York State Education Departmentinitiated a support program to demonstrate the impor-tance of the arts in education. Among the steps taken atthat time were:

1. The establishment of the Commissioner's AdvisoryCouncil whose purpose it is to inform the Commis-sioner of trends and insights gathered from the fieldand to serve as a sounding board for the formationof policies affecting arts education;

2. The announcement of a series of "developer pro-jects" that would be underwritten by Title IV (C)money and jointly administered by the State Educa-tion Department's Office of Federal DemonstrationPrograms and Bureau of Arts, Music and Humani-ties Education;

3. The initiation of a long-range planning documentfor the State Education Department, ultimately re-ferred to as the New York State ComprehensivePlan for the Arts in Education.

In the next few years, eight sites around the State re-ceived generous ($40,000-45,000) and with the ad-vent of Federal cutbacks modest ($3,000-6,000) sup-port grants enabling each grantee to coordinate,implement, and document its efforts to provide a solideducation in the arts for its target population. By 1985,the model sites were able to demonstrate eight uniqueapproaches to a comprehensive arts in education pro-gram that affected students in kindergarten through highschool, teachers, administrators, parents, and the localcommunity. In three instances,' the Arts in EducationProgram yielded sufficiently positive changes in educa-tional achievement for the State Education Departmentto validate them for inclusion in the list of programs eligi-ble for demonstration and replication grants.

THE NETWORK NOTEBOOK is designed to inform edu-cators, arts advocates, and administrators of arts and cul-tural organizations about the practical steps required for

'New Rochelle, THINKING THROUGI I TI iE ARTS, Platnedge, ARTS-INFUSED SOCIAL STUDIES PROGRAM, and White Plains, ARCHITECTIN MATHEMATICS.

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>*1

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establishing and maintaining an Arts in Education pro-gram. It describes the model sites that are now part of aStatewide Network for the Arts in Education. This smallbook, together with technical assistance provided by theState Education Department, the New York State Alli-ance for Arts Education, the New York Foundation for theArts, and the New York State Council on the Arts, shouldenable any school district, and arts or cultural organiza-tion in the State to develop or refine its own plan for thearts in education.

Moreover, THE NETWORK NOTEBOOK stands as a for-mal invitation to districts to join the model sites in a net-work whose goals are to:

Provide a basic education in each arts discipline toevery student,

Enable students to engage in interdisciplinary in-quiry through the arts,

Support the general education goals of the districtby using the arts as a motivating or developmentalforce,

Incorporate the arts and cultural resources of thecommunity into the instructional program,

and

Encourage the broadening of classroom teachers'experiences to include aspects of the production,

2

history, and appreciation of art., music, dance, the-ater, literature, and media arts.

Individuals associated with each district have a visionof how they want their schools to look and soul id. Nonewould say that all of their goals have been reached. Butall can point to a variety of strategies that are helpingthem to get there. And each can chart the progress madeduring the past five years.

THE NETWORK NOTEBOOK should help arts and cul-tural resources as well as individual artists who findworking with schools a satisfactory complement to theirwork in the studio. !t shows how eight school districtshave developed working relationships with visual andperforming artists, museums, historical sites, and othercultural centers.

For school districts, arts organizations and artists, andall who are concerned with effective schools and effec-tive teaching, The Network Notebook points to somepromising practices that clearly have improved the qual-ity of education in the model sites.

Information for this book .\'as gathered through a pro-cess of on-site observations and interviews, review ofwritten material prepared by each site, and an analysis ofquestionnaires prepared by the project directors for eachsite.

HISTORY OF THE ARTS

IN EDUCATION NETWORK

In July 1982, the State Education Department pub-lished its Comprehensive Plan for Arts in Education. Thisdocument, which has become the basis for many Arts inEducation plans in suburban, urban, and rural districtsthroughout the State, refers to Arts in Education Models-school districts that have begun to develop strategies inregard to three issues upon which the phn focused: ad-vocacy, training, and program. The models included thefollowing eight school districts:

Suburban

MIDDLE COUNTRY14,000 students in 14 buildings

NEW ROCHELLE

7,500 students in 9 buildings

PLAINEDGE


WHITE PLAINS


Urban

NEW YORK CITY, DISTRICT 3


NEW YORK CITY, DISTRICT 6


SYRACUSE


Rural

HOMER


The range of models was purposely broad so that anydistrict in the State could find its potential counterpart inone of them. Not surprisingly, regardless of size or loca-tion, the models share many characteristics both in orga-nization and programmatic content. These shared char-acteristics include:

.'Non-competitive Federal funds distributed by SED to eligible districts.

1. A coordinator of the arts in education full-time orpart-time

2. Specialists in art and music as full-time staff3. Regular involvement with arts and cultural organi-

zations and individual artists4. Curriculum projects that relate the arts to other aca-

demic disciplines5. Staff development opportunities that focus on one

or more aspects of the arts in education6. A history of involvement with the New York State

Artist-in-Residence Program7. Advisory Councils consisting of educators, artists,

arts organization, and citizens-at-large.

The State Education Department (SED) provided somesupport for the eight sites through the Office of FederalDemonstration Programs. Support began in the spring of1980 when the first Request for Proposal (RFP) was is-sued. Over 50 applications were received. The State'spanel of readers recommended that the eight sites re-ceive support for what was originally designed as amulti-year developer grant under Title IV (C) of the Ele-mentary and Secondary Education Act.

Each site received approximately $45,000 per year fortwo years to underwrite coordination, staff development,curriculum development, and prototypes of studentactivities. It was anticipated that a third year of funding atthis level would be forthcoming, but a change in Federalpolicy drastically curtailed the amount of money avail-able through SED. In 1983, after two development years,the eight sites, upon submitting proposals, received con-tinuation grants of $6,000. For all intents and purposes,the eight districts were on their own, with but a token ofsupport from SED. Each district responded according toits own organizational constraints. Some assigned Chap-ter 2 funds to support the program. Others dipped intothe tax levy base for coordination and staff developmentactivities. Others solicited funds from outside agencies.Some did all of the above.

3

During this critical period, the eight districts felt thateven though funding was severely restricted, it was stillhelpful to have a small grant as leverage for the release ofother kinds of money. The "match game" began in ear-nest. Here the New York Foundation for the Arts was par-ticularly helpful. Its Artist-in-Residence (AIR) program,for which all districts applied, helped keep the arts flameburning during a particularly stressful period.

By 1985, SED's financial contribution to the modelsites had dwindled to a few thousand dollars per district.Nonetheless, this money enabled the districts to meet

and.periodically, gather curriculum materials together, I

evaluate the educational impact of their programs.During the five years of affiliation with the SED Arts in

Education Network, representatives from the eight dis-tricts have testified on behalf of the Arts in Education be-fore legislative committees, commissions on the arts,commissions on education, and community groups.They have published curriculum guides, handbooks,and posters advertising the virtues of the arts in the edu-cation of every student. They have borrowed ideas fromeach other as a consequence of inter-district site visits.Some have written articles, others have made presenta-tions at National and State conferences. All have becomeactive advocates not only in their own school districtsbut in other areas of the State as well.

Between 1980 and 1985, the coordinators at themodel sites were convened by the State Education De-partment at least three times a year. At these meetings,the districts shared with each other their struggles to de-velop a quality arts in education program. They dis-cussed artist-in-schools and staff development programs,strategies for enlisting greater community support, rais-ing money to support arts events, and keeping variouslevels of administration committed to the arts in educa-tion. They prepared joint presentations for various State-wide conferences in order to reach an ever-wideninggroup of interested districts.

4

These network meetings enabled "the eight" to find outwhat SED was considering in the way of support andmaintenance not only of the model sites but of other artseducation programs as well (see "OtherArts in EducationPrograms in New York State"). Network representativeswere introduced to key members of the State EducationDepartment who could be helpful, including the Direc-tor of the Division for Program Development, the Coor-dination of Federal Demonstration Programs, and keypeople in the Office of Cultural Education.

From its inception, the Network made presentations attwo major SED conferences each year:The HumanizingExperience (usually referred to by the initials "THE")spring conference held at the Concord and the Arts inEducation conference held at Skidmore College, Sara-toga Springs, New York in the summer. These presenta-tions were designed to share with the rest of the Stateexemplary practices and findings.

When the Arts in Education Network was first formedin 1980, it was composed of representatives from eightdistricts who hardly knew one another. Each was solelyconcerned with the program that he or she represented.Slowly, and with encouragement from State EducationDepartment personnel, the Network became a unifiedvoice for the Arts in Education. After five years of strug-gles and achievements, the Network is eager to sharewhat it has learned with other districts in the State. More-over, it is enthusiastic about increasing its ranks so that itcan learn from the experiences of other districts that havebeen pioneering in this field without benefit of network-ing. As Kirk Dunklee, former Project Administrator (andMusic Director) for Plainedge Union Free Schools, said,"In the beginning, I was only concerned with gettingsup-port for Plainedge. Now I see that I can not only helpPlainedge, but Plainedge can help other districts by ourparticipation in the Network. That makes me feel good:'

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THE MODEL SITES

Essential Characteristics

.4-4441

Despite some obvious differences of size, location,student needs, and experience in the Arts in Education,the eight model sites share a number of essential charac-teristics. Most obvious is each district's commitment tothe arts as at least equal in importance to other curricu-lum areas. Philosophically, these districts share a respectfor the arts as disciplines, as vehicles for motivation anddevelopment of student learning, and as links to thelarger community that they serve. The following pageswill go beyond philosophy and examine the organiza-tional characteristics that mark the Arts in Education(AIE) Model Site.

COORDINATION

All of the sites have at least one person, and in somecases a team, responsible for the day-to-day managementof the Arts in Education program. This is a considerablecommitment on the part of the districts. SED had foundthat where such commitment is missing, no kind of com-prehensive program can be built, much less maintained.

What does the coordinator do? Below is a partial list,provided by AIE coordinators:

1. Prepares a plan for the year2. Frequently meets with principals and in-school

facilitators to discuss plan3. Recruits, selects, and schedules artist-in-

residence services4. Attends meetings re resources, strategies, and in-

formation5. Develops collaborative plans with artists and arts

organizations6. Writes proposds7. Administers Arts in Education Initiative fumed

programs Judi as the NYFA/AIE and NYSCA/AIEprograms.

8. Coordinates and sometimes teaches staff devel-opment workshops

9. Documents the program in action-print, photos,videotape

10. Presents information about the program to otherswithin and outside the district

11. Coordinates Advisory Committee activities.

Many coordinators are also arts supervisors, and theyhave tasks that directly affect the quality of arts instruc-tion. These tasks include:

1. Supervising and evaluating art and music teachers2. Ordering instructional materials3. Reviewing new instructional materials4. Developing new or revising old curriculum guides,

and organizing committees to assist in the process.

A few coordinators are teachers; they are given someform of compensatory time to coordinate the AIE pro-gram. As teachers, they are in a position to demonstratewhat is meant by infusion of the arts into other aspects ofthe curriculum, whether their field of specialty is art, lan-guage arts, or social studies.

Two coordinators (one in Homer and the other in Syra-cuse) are elementary school principals. They are espe-

5

daily helpful in showing w hat a prin.ipal can do tomake an AIE program blossom.

Coordination is not only important to people withinthe district, but it is also a signal to outside organizationsthat there is someone within the district whom they cancontact, work with and, ultimately, collaborate with onnew programs.

Conversely, a district that does not have someone re-sponsible for an AIE program may lose out when oppor-tunities for support of special arts events come along.THIS IS EXTREMELY IMPORTANT IN A FIELD WHERESTUDENT ATTENDANCE AT ARTS EVENTS CAN BEPROHIBITIVELY EXPENSIVE AND WHERE A DISTRICTNEEDS ALL THE HELP IT CAN GET. (See "Funding Artsin Education Programs" on p. 27.)

ART AND MUSIC SPECIALISTS

The model sites depend to a large extent on the learn-ing foundation laid by the art and music teachers. In mostdistricts, music and art teachers work at least once aweek with every elementary student. Moreover, there is arelatively stable staff of specialists available on the sec-ondary level for both general and elective courses. Inmany districts there are drama and dance specialists,who are either consultants or full-time faculty.

In White Plains, the art teachers serve as "in-school co-ord inators7 facilitating the smooth operation of the artist-in-residence programs in each building. They are given180 minutes in a 6-day cycle in which to take care of themyriad details that help to make residency a positive ex-perience for students and teachers.

In most districts, the elementary school vocal musicteachers provide a rigorous program in musical literacythat combines sight reading, singing for pleasure, andpreparing for special performances with listening to liveand recorded concerts. Plainedge is noted for its BelCanto singers, high schoolers who work under the direc-tion of Kirk Dunklee, District Music Director and AIEProject Administrator. New Rochelle's High School Cho-rus has sung in Europe; IS 44's chorus (District 3) sang inVenezuela as representatives of the United States. WhitePlains features its music students at an All-City MusicFestival. It also provides a music technologies course atthe high school.

In Middle Country, the art specialists enter their beststudents' work in a number of contests in preparation forthe competitive world they will soon face as college artmajors and professionals. They also have a jazz band tin-der the direction of professional jazz musician and Mu-sic Coordinator, Al Longo.

6

Homer prides itself on a performing arts program thatincludes a Shakespeare company (the Thespians), a jazzensemble, and Readers Theater.

In the New York City districts, art and musk teachersprepare students for the competitive entrance examina-tions for LaGuardia High School of Music and the Artsand the High School of Art and Design.

REGULAR INVOLVEMENT WITH ARTS &CULTURAL ORGANIZATIONS

Most school districts throughout New York State makeit possible for students to attend live performances onceor twice during the school year. In the model sites, at-tending live performances and viewing original art at gal-leries and museums occur more frequently. Each districthas its "steady partners," organizations with whom thedistrict works year-in, year-out, searching for effectiveways to engage children and youth in arts activities thatrequire production, response, reflection, and/or histori-cal inquiry.

What distinguishes model sites from many other dis-tricts is the extent of the collaboration with arts and cul-tural agencies, and the degree to which educators fromschools and organizations nool their resources forgreater impact upon students. AIE sites rarely accept pre-packaged programs. They like to help design the serviceto meet specific curricular or staff needs. They insistupon preparation, follow-up, and evaluation of most pro-grams involving outside agencies.

AN ARTS ADVOCACY ROLE AS SEEN !NPUBLIC RELATIONS MATERIALS

Many school districts have a variety of arts activities,but they do not make a particular fuss about it. In AIEsites, there is a constant effort to inform the public aboutarts activities and how they benefit youngsters. Thus,most sites have AIE brochures; most sites have a systemfor informing parents and the community at large aboutresidencies, special trips, student exhibits, and othernoteworthy events. Press clippings attest to the advocacyefforts. In some districts, cable TV is used to inform thepublic about the importance of a dynamic arts in educa-tion program.

Most sites use yearly arts festivals or exhibits to focusattention on the larger learning issues that the arts influ-ence. In AIE sites, how the arts assist in the general learn-ing process is emphasized. For example, in New Ro-chelle, the public is told how the arts have increasedstudent ability to think effectively. In District 6, the pub-lic is told how the arts help children communicate better.

2

In Homer, the public is told how the arts help increasestudent self- esteem. White Plains tells how art helps stu-dents learn mathematics as well as other academic disci-plines.

STAFF DEVELOPMENT

One of the most important of the shared characteristicsof the model sites is the commitment to staff develop-ment programs associated with the Arts in Education. Ineach site, opportunities have been made available overthe years to provide teachers with direct experiences inarts making, arts responding, and arts analysis. More-over, many of the districts have developed projects whichenable teachers to develop curriculum guides that inter-twine the arts with other aspects of the school program.This in itself provides a kind of "staff development" be-cause, as the teachers research the possibilities, they be-come more knowledgeable about how to infuse arts intothe curriculum.

The content and processes of the various staff develop-ment programs may differ, but the results are remarkablysimilar: teachers develop new enthusiasm for their workand they readily embrace new ideas, techniques, andcontent. As one teacher put it, "The staff developmentworkshops are like my weekly 'fix: They take me into arealm of creativity and beauty, and out of the mire of dittosheets and rote learning. I want more!"

INTERDISCIPLINARY STUDY

The importance of interdisciplinary study has beenemphasized in the recent Regents Action Plan. All of theAIE sites have developed curriculum and instructionalstrategies to forge relationships between the arts andother areas of study (mathematics, science, social stud-ies, language arts, and computer science, for example).In addition, like the musicians, artists, and actors of the18th century who invented opera so they could work to-getherME art, music, and "academic" teachers inventnew ways in which students might engage in an interdis-ciplinary mode of learning. Thus, in White Plains, whenstudents study about Egypt, which is part of the State syl-labus in social studies, they meet with Susan Hoetzel ofthe Metropolitan Museum of Art to develop modern ver-sions of ancient Egyptian artifacts. In New Rochelle, artstudents make gigantic replications of ancient Greekfriezes with art teacher Adrienne Garnett to go alongwith the 6th-grade unit nn ancient Greece and Rome. InHomer, middle school science students engage in a"Build-a-Bug" project with their science teacher DennisWright, combining new knowledge about arachnids

13

with creative problem-solving skills associated with theirart classes.

In Plainedge, elementary school students explore mu-seum artifacts with the district curator as they study life incolonial America. In District 6, a study of the MiddleAges results in a huge collage-mural highlighting the so-cial relationships in a feudal estate. District 3 exploresAfrican values and cultural characteristics in a mask-making project. Children in Syracuse relate the study ofmusic to vocabulary development. In the curriculumguide developed by teachers, students are encouraged tomake music dictionaries, incorporating new terms andconcepts as they learn them in their music and regularclasses. They can identify different kinds of music associ-ated with particular cultures.

BUDGET ALLOCATIONS FOR AIE ACTIVITIES

Each AIE district allocates a specific amount of moneyyearly for such AIE activities as coordination, artists-in-residence, transportation to arts events, staff develop-ment, and evaluation. District 3, District 6, New Ro-chelle, and Syracuse allocate money for the LincolnCenter Institute or its replication, enabling some teach-ers to study aesthetic education for three weeks duringhe summer. Many districts either pay teachers directly to

participate in staff curriculum development workshops,or they provide inservice credit toward a salary incre-ment or differential.

AIE sites have little difficulty convincing their schoolboards of the importance of setting aside some tax levyfunds for these purposes. They can show the effects ofthe allocations on teacher behavior, student learning,and school climate. They can also show how money in ageneral category such as "staff development" can be ap-plied toward the AIE plan. AIE sites are artful about usingsuch categorical support as Chapters 1 and 2 and theSpecial Needs funds to support AIE activities. They dotheir homework; they understand the budget-makingprocess; and, as a result, they know where money mightbe located and how to ask for it. (For additional informa-tion, see "Funding Arts in Education Programs" on p. 27.)

PRINCIPALS AS ARTS IN EDUCATiON LEADERS

Educational and psychological research has demon-strated the importance of the principal as educationalleader. In AIE programs, this importance is underscored.Supportive principals who take the initiative to empha-size the Arts in Education make a tremendous differencein both program quality and extent. Principals who be-lieve in the arts as legitimate parts of the curriculum can

7

significantly determine the success of a program. Theirleadership, in fact, can make or break a program. It is forthat reason that the model site coordinators spend a greatdeal of time working with principals, reviewing theirgoals and finding ways to support those goals throughvarious kinds of arts activities. In White Plains, elem,o-tary school principals voted unanimously some yearsago to require Arts in General Education (AGE)forE)for all stu-dents. New Rochelle principals have long committedlarge parts of their discretionary funds (called "blocgrants") to underwriting residencies, performances, andtrips to galleries and museums.

In District 6, where a principal heads the AIE SteeringCommittee, one of the major goals is to develop an ap-preciation for the classical traditions of Spanish litera-ture. Through an Arts Partners program (a New York Cityprogram cosponsored by the Mayor's Office, the Board atEducation, the Department of Cultural Affairs, and theYouth Bureau), bilingual poets work with junior highschool students on the great classical poetry of Spain andLatin America. Children develop their own poetry usingthe forms and conventions of classical Hispanic poetry.The results gladden the hearts of the students and rein-force the goals of building principals. Middle Countryhas a cadre of supportive principals who have encour-aged the arts for years. It is not surprising that MiddleCountry has established a specialized secondary schoolfor the arts.

* * *

The characteristics described above account for muchof the success of the eight model sites. Where a districtprovides coordination, art and music specialists, regularinvolvement with arts and cultural organizations, an artsadvocacy role, staff development, interdisciplinarystudy, and principals as arts education leaders, it is

bound to meet with success. It should be noted, how-ever, that even in the model sites, all characteristics werenot in place when the first Title IV (C) grants were re-ceived. As the programs matured, different elements fellinto place.

THE CRUCIAL INGREDIENT: DISTRICTSUPERINTENDENT

None of the programs described in this book wouldhave succeeded without each superintendent's personalinvestment in its survival. When superintendents do notcare about the arts, AIE network programs cannot sur-vive. This is not to say that good art, music, dance, anddrama programs cannot exist without personal supportfrom the top. They can but their existence is usuallyfragile and their future always uncertain. Superinten-

8

dents who have found through personal or professionalexperience that the arts are valuable aids to th°_! formationof the whole person, are most enthusiastic about theirplace in the curriculum. AIE advocates need to find thekey to the reluctant superintendent's heart so that he orshe will embrace the arts with the passion of the con-verted!

PARENTS

Good ideas, quality leadership, superb artists, de-manding curricula-these all contribute to the high qual-ity of AIE programs. Without parental support, however,all of these resources could eventually disappear. Therole of parents, not only as supporters but also as learn-ers, is key to the survival of AIE model sites. In New Ro-chelle, the Parents Association contributes money tomatch district and other funds for arts activities such as

trips, performances, and visiting artists. In District 6, par-ents are participants in workshops and classroom activi-ties. In Homer, the parents are active in sewing costumesas well as lobbying the Board of Education for more sup-port. Parents have helped District 3 rally round the AIEbanner; in fact, the District AIE liaison is a parent. Eachdistrict has a story to tell about its parents and how cru-cial their role is in continuing these programs. One keyto parental support has been the involvement of parentsin special workshops where the arts are discussed, dem-onstrated, and documented as crucial to student devel-opment.

* * *

While many people might assume that the essentialingredient in a successful AIE program is money, themodel sites demonstrate that money is only a part of itand not always new money is needed. With leadership,vision, and good planning, it is possible for a district tomount an impressive AIE program by simply attaching anarts in education component to existing categories. Forexample, if the budget has a set amount for staff develop-ment, a district can attach part of it for AIE staff develop-ment. When instructional materials are to be ordered,arts-related materials not just paper and paint, but vi-deotapes of performances, slides of-artworks not avail-able at the local museum, texts on art and music instruc-tion must be included.

An analysis of the model sites reveals that the singlemost weighty characteristic is the presence of someonein a leadership role who communicates a passion for thearts and for the arts in education. Passion, conviction,and know-how allow that person to lobby for, plan, andimplement a comprehensive program for the benefit ofstudents and for the sheer joy of accomplishment!

1 4

Partnerships With Arts Organizations

Below is a listing of the people and organizations directly responsible for themodel sites' development. Some have gone on to other positions in education. Others

are still in place, using their skills to continually refine and expand the model.

District

CSD 3 NYC

CSD 6 NYC

Homer

MiddleCountry

NewRochelle

Program Staff

Joan Davidson, Fine Arts Teacher,AIE District Liaison

Helen Stambler, Arts Coordinator,AIE Project Director

Cecil/e Davis, Consultant, formerAl E Project Director (retired)

Maria Starmer, Teacher, AIE ProjectCoordinator

Gary Harrington, Principal, AIEProject Coordinator

Prabha Sahasrabuddhe, AIE ProjectDirector

Al Longo, Supervisor, Arts Director

John V Pozzi, Assistant Superinten-dent, AIE Project Director

Carol Fineberg, AIE Resident Con-sultant

Cooperating Arts Agencies (Long Term Relationships)

AGE, Arts Connection, Bank St. College, BIFAE,Bloomingdale House of Music, El Museo del Barrio,Growth Through Art and Museum Education (GAME),Heritage House, Hunter College, Learning through Ex-panded Arts Programs (LEAP), Learning to ReadThrough the Arts, Lincoln Center Aesthetic EducationInstitute, Metropolitan Museum of Art, Museum of Nat-ural History, NYU, Paper Bag Players, Pegasus, Pro-ducers Workshop, Studio Museum of Harlem, Studio ina School, Symphony Space, Teachers and Writers, To-kyo Shizan School of Formative Art, Touchstone, WestSide Hearts, Inc., Young Audiences

AGE, Arts Interaction Gallery 12, Arts Partners, Chil-dren's Art Carnival, Cloisters Museum, Fort Tryon Park,GAME, Harlem School of the Arts, Inwood Park Alli-ance, LEAP, Learning to Read Through the Arts, LincolnCenter Aesthetic Education Institute, Metropolitan Mu-seum of Art, Metropolitan Opera, Museums Collabora-tive, Museum of Natural History, National Dance Insti-tute, New York Foundation for the Arts, NYS Poets in theSchools, Symphony Space, Teachers and Writers Col-laborative, Young Audiences

Cortland Arts Council, Boards of Cooperative Educa-tional Services (BOCES, Historical Society, SUNY/Cortland, Homer Recreation Department

Ballet Hispanico, Circle of Dance, International Art ofJazz, Museum at SUNY at Stony Brook, MetropolitanMuseum of Art, Museum of Modern Art, NYS Poets inthe Schools, NYFA Artist in Residence program

Council for the Arts in Westchester, Lincoln Center In-stitute, East Coast Arts Company, Living Arts Seminars,Metropolitan Opera, Neuberger Museum/SUNY Pur-chase, NYFA Artists in Residence Program; PerformingArts Center/SUNY Purchase; New Orchestra of West-chester, New Rochelle Arts Council, Sleepy Hollow

9

District Program Staff

Plaiiiedge

Syracuse

White Plains

10

Kirk Dunk lee, AIE Project Adminis-trator, Director of Performing Arts(through Jan.1986)

Ronnie Smutney, Staff Develop-ment Center, AIE Project Director

Kathie Gooding, Director of Per-forming Arts, 1986 -

Gene Clark, AIE Coordinator 1984-85

Ernest Rookie, 1980-84Ronald Lee, 1980-82

Ronald Topping, AGE Coordinator

Joan Sanger, Assistant AGE Coordi-nator

mss_..._

Cooperating Arts Agencies (Long Term Relationships)

Restorations, Teachers and Writers Collaborative,Theaterworks/USA, Young Audiences

Circle of Dance, Festival of Music, Metropolitan Opera,New York City Opera, New York Foundation for theArts, Pegasus, Teachers and Writers Collaborative

Institute for the Arts in Education, Syracuse Symphony,Syracuse University

Council for the Arts in Westchester, Jewish Museum,Metropolitan Museum of Art, Neuberger Museum,NYFA Artists in Residence, NYS Poets in the SchoolsPerforming Arts Center/ SUNY, Purchase; Sleepy Hol-low Restorations

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Program Descriptions

COMMUNITY SCHOOL DISTRICT 3300 WEST 96TH STREET

NEW YORK, NEW YORK10025

General Description: District 3, covering New York'sUpper West Side and West Harlem, has had a long his-tory of involvement with cultural organizations. Withinits borders are Lincoln Center, the Museum of NaturalHistory, the Hayden Planetarium, and dozens of land-mark buildings, concert halls, off-Broadway performingarts organizations, artists' studios, and cultural centerssuch as "Y's" and arts-oriented houses of worship. Thedistrict has spawned a number of innovative ideasthrough the years including GAME, a children's programthat connects museum experiences with the school cur-riculum in a "hands-on" series of workshops. A coopera-tive venture between G.A.M.E.and District 3 resulted inthe Title IV (C) proposal that brought District 3 into theAIE Network.

THE ARTS IN EDUCATION PROGRAM

Goals: The purpose of the Arts in Education programin District 3 is to "share resources, knowledge, and ac-cess to people in the arts" through the strategy of net-working. There is an emphasis on integrating arts activi-ties into the academic classes as well as strengtheningthe position of the individual arts disciplines in the dis-trict.

Strategies: 'We consider the arts a very important partof each child's education," says Superintendent AlbertaToppins. To this effect, the district sets aside a considera-ble amount of money to support the work of artists inresidence and other arts services provided by the manynonprofit organizations in the district. Individual ele-mentary schools determine how they will use their"cl us-ter teachers teachers assigned to cover other teachersfor the contractual preparation period. In many schools,one of the cluster teachers provides experiences in art or

music. In some cases, these teachers are cer.ified or li-censed in their field. In other cases, the teachers are"common branch" licensees with a special love for thearts.

District 3 encourages a great deal of building auton-omy when it comes to the choice of arts services. Build-ing principals are responsible for engaging, monitoring,and evaluating those artists and arts organizations that'.cork with the schools. The district helps by writing nu-merous proposals designed to connect the arts with theneeds of special education, gifted, and bilingual chil-dren.

For two years, G.A.M.E:s Betty Korman led a consor-tium of arts organizations that serve District 3. The con-sortium developed several innovative projects designedto infuse the arts into the basic curriculum. They workedwith teachers, students, and parents. The results of theirwork have been carefully documented by G.A.M.E. Thevestiges of this collaboration formed the nucleus of anew network, recently organized by Joan Davidson.

The new Arts in Education network is composed of artand music teachers, district administrators, school boardmembers, and community arts group representatives.Among the network services is a newsletter designed toinform teachers, parents, and others about the many artseducation activities in the schools. The AIE Networksponsored a series of meetings to establish goals and ob-jectives for the coming school year, resulting in what theycall a "modified dream plan:'

Summary: District 3 over the years has benefitedgreatly from the arts in education training provided byGAME. Scores of artists and teachers have learned andplanned together, providing meaningful programs tochildren in the many schools of the district.

17

11

COMMUNITY SCHOOL DISTRICT 6665 WEST 182 STREET

NEW YORK, NEW YORK10033

General Description: Bordered by the Hudson andHarlem Rivers, Harlem, and the Upper West Side, Dis-trict 6 encompasses a variety of communities, languageand ethnic groups, and socio-economic circumstances.It is the most populous school district in the city, and onewith the greatest percentage of mobility. Despite oldbuildings and high enrollments, the district maintains a

buoyancy and optimism that marks its determination toprovide the best for its students. District 6 has initiated astringof alternative mini-schools which will provide spe-cialty programs for junior high school students.

District 6 cirrently operates ten elementary schools,three intermediate, and three junior high schools. Oneof its intermediate schools is part of a K-8 school. In plan-ning the alternative schools, special attention was paid todeveloping a school for the arts, as well as schools formath, science, and computer technology (with architec-ture as the core curriculum theme), and a language acad-emy.


Goals: District 6 recognizes the importance of the artsin the delivery of quality education for children. It wasone of the pioneers in the Arts in Education Program in1972 with a Reading IMPROVEMENTS Through the Artsprogram held at the Cloisters (part of the MetropolitanMuseum of Art, located in the neighborhood). Thedistrict-wide arts programs have expanded through theyears and strive to foster:

1. Improvement in communication skills2. Better understanding of cultures and history3. Building problem-solving skills4. Development of children's talents5. Appreciation and understanding of various art

forms

Art teacher Janet Zukowski sums up the feelings of thedistrict when she says, 'We need to expose children tosomething that they may otherwise never know anythingabout. The children need to express themselves; theyneed some beauty in their lives."

Strategies: The district has an active Arts in EducationSteering Committee headed by a principal and com-posed of representatives from each school, the district

12

Aare-4-A

rte..r

IL

Re f

arts coordinator, and the president of a community artgallery. The committee, which meets monthly, recom-mends policy vis-A-vis the Arts in Education to the super-intendent and sponsors a variety of activities includingdistrict-wide conferences, teacher and parent work-shops, a slide-tape show of arts activities in the district,and artist-in-residence programs which take place dur-ing school hours, after school hours, and in communitycultural organizations.

The district has converted its waiting rooms and corri-dors into attractive art galleries that feature student, fac-ulty, and parent artwork. An annual visual arts exhibit isheld at a community gallery. In addition, the districtsponsors the publication of poetry and prose anthologiesof student work produced by resident artists and writersin collaboration with classroom teachers. Black History

! S

month is celebrated with an elaborate performing artsshow at the Harlem School of the Arts. Dancers enliventhe Dominican Day Parade in the community and stu-dent choruses sing at Carnegie Hall and the United Na-tions. An annual Arts in Education celebration show-cases visual and performing arts of children in everyschool projects which are the result of collaborativeplanning between arts specialists and classroom teach-ers. There are hands-on activities for visiting classes,ideas and lesson plans for teachers, animated student-made films, and computer art. The district videotapesthe event, which attracts many parents who appreciatethe role the arts play in their children's education.

District 6 has many partnerships with arts organiza-tions. (See list on page 9.) Many of these partnershipsare based on the submission of proposals that requirecooperative funding. In these cases, the district matchesa certain percentage of the cost of the program with thesponsoring arts organization. District funds generallycome from the tax levy budget or Chapter 2 and SpecialNeeds aid.

By participating in the citywide Arts in General Educa-tion program (AGE), the district receives additional sup-port and opportunities to engage in special AIE projects.Six schools are part of the workshops. AGE involvementalso provides access to information about new opportu-nities for schools that wish to offer special arts programs.

Within each school there is an Arts Steering Commit-tee. Art and music teachers are assigned to every build-ing; in elementary schools they are "cluster" teacherswho cover classroom teachers during the lanes prepara-tion periods. Arts teachers encourage the infusion of thearts into the academic curriculum by planning withclassroom teachers thematic projects that connect thesocial studies, communications, or science curriculumwith the arts. This helps to encourage teachers whomight otherwise overlook the arts "connection!'

A big project in some schools has revolved aroundbanner making an activity that helps students focusupon the many visual symbols that are part of world cul-tures. By designing banners, children relate informationlearned in social studies or literature classes, shareknowledge with peers and adults, and discover a newway to remember facts. They learn the prim iples of orga-nization and the relationship of parts to a whole.

Murals cover the walls of many schools; printmaking,weaving, ceramics, and animation are familiar activitiesin every school.

Teachers spend a great deal of their nonteaching timewog king with each other and the students on special pro-jects. "The thing that keeps me going," confessed oneclassroom teacher, "is that the kids really love it. Theybecome self-motivated and that spurs me on!'

In many schools the performing arts are stressed as ameans for the development of the talented child. At PS192 every class presents an auditorium or "interclass"performance. At PS 98, ceramic murals grace the audito-rium walls, resulting from the study of Indian culturesdirected by a team of classroom teachers and an artist-in-residence. In the junior high schools, students in the ArtsPartners program are given opportunity to prepare for thespecialized high schools with coaches from the HarlemSchool of the Arts. Children who are "at risk" of droppingout of school become involved in expressing themselvesthrough handmade puppets and videotapes. Newly ar-rived bilingual children write and recite original poetryand study the works of famous Hispanic poets and fic-tion writers. Parents also have the opportunity to writeand share original poetry with their peers as well as theirown children.

In every school, arts-making and arts-responding arepart of the curriculum.

The coordinator sees to it that special programs in thearts are made available to the schools on an equitablebasis.

Loyda Alfalfa was recently honored as Superintendentof the Year by the Alliance for the Arts in Education, aprogram sponsored by the John F.Kennedy Center for thePerforming Arts. "The arts are not an enrichment; theyare not 'frills, " says Mrs.Alfal la. "We have seen the resultsin children's work when they are involved in the arts Thearts become a vehicle for communication, expression,the transmission of cis ilization's legacies. The arts are es-sential elements in education!'

Summary: District 6 is one of the leaders in New YorkCity for the Arts in Education. It has demonstrated how tosolve the problems of funding, program development,and partnerships with arts organizations within the stric-tures of an inner-city school system. It owes its success tounwavering support from its superintendent and schoolboard, the leadership of a full-time arts supervisor or co-ordinator, and building principals who share an enthusi-astic attitude toward the arts.

1J13

HOMER CENTRAL SCHOOLHOMER, NEW YORK 13077

General Description: Homer is a rural community lo-cated in the middle of lush farmland about an hour'sdrive from Syracuse. Settled by New Englanders, its ar-chitecture and public spaces look very much like a smalltown in Massachusetts or Connecticut. Among its fa-mous offspring were Amelia Bloomer, bold supporter ofwomen's rights, and David Hannum, model for Ec;wardNoyes We stc otes novel David Harum.

Homer serves about 2550 students in three elemen-tary schools, one junior high school and one senior highschool. The schools are modern, with up-to-date facili-ties. Located near the State University of New York atCortland, the district is frequently able to call upon theuniversity for program support.

ARTS IN EDUCATION PROGRAM

Homer's goal is to integrate arts !earnings into the tradi-tional curriculum with an emphasis on interdisciplinaryinstructional activities. The district has relied on the ex-pertise of its in-house arts specialists as well as classroomteachers from the elementary and secondary divisions to

14

formulate several curriculum guides. In addition, it hascalled upon such organizations as the Cortland ArtsCouncil, the Cortland County Historical Society, theHomer Recreation Department, and the local Board ofCooperative Educational Services to form collaborativeprojects.

Homer's Arts in Education budget is mostly assigned tounderwrite salaries for its arts teachers (visual arts, choraland instrumental music). It does set aside a small amountfor artists-in-residence and arts events (about $2,000 foreach category). PTA donations and proceeds from fun-draisers add to the AIE budget. The district picks up trans-portation and substitute pay to release teachers for occa-sional workshops. It also sets aside a small amount($800) to release teachers for planning and other AIE re-lated activities. It provides a stipend for coordination.

Homer's goal is to "effect change in teachers' behavior,attitudes, and skills in arts education so that through artsintegration techniques they will allow their students toexperience the arts as a regular part of the students'school program, thereby making the general learning ex-perience more exciting and interesting:'

When the Title IV (C) developer grant provided thefunds, Homer had a full-time Arts in Education Coordi-nator (Maria Starmer) and funds to put together a curricu-lum document, "Creative Expression Through the Arts:'This 150-page notebook identifies people, places, andmaterials that Homer teachers find useful as they incor-porate the arts into their courses. Among materials avail-able to teachers are books that will add to their own un-derstanding of the power of the arts in education such as

The Arts, Cognition and Basic Skills, published by theNational Art Education Association and An Arts in Edu-cation Source Book, published by the JDR 3rd Fund. Inaddition, there are "how to" materials such as Art andGeometry: A Study in Space Intuitions, primary and in-termediate versions of The Art Box, collections of activitycards that emphasize art production, and books on thehistory of art, music, dance, and drama. The AIE Cataloglists a number of field-tested activities taken from avail-able documentation of other Arts in Education programsaround the State. The Homer AIE project has also pub-lished some units developed by the Homer faculty suchas Build-a-Bug, an integrated science and art project.

Arts organizations from local and remote areas have

performed in Homer schools. Recent performers includethe Empire State Institute for the Performing Arts, theCzechoslovakia Black Light Theatre Company, andTheaterworks. Individual artists who have performed inHomer recently include dancers, storytellers, and sing-ers. Local high school students in English class occasion-ally present Readers Theater productions for elementaryschool audiences. They receive coaching from theSUNY/Cortland drama faculty.

Teacher training and curriculum materials emphasizecreativity as it relates to information processing. JerryRice, Diret.tor of Curriculum, says "We need to help stu-dents develop the autonomy to be creative by providingthe kind of instructional climate where this will occur!'

"The value of this program comes from the value of thepeople who have maintained it;' says SuperintendentJohn Grant. He looks to grass roots advocacy for the pro-gram as a signal that the district should continue its sup-port. In a district where "Football is King!" it is interestingto note that football players are found as leads in localmusical productions such as West Side Story or a Shakes-peare play when they are not holding the line of scrim-mage. The arts are looked to not only as a means to moti-vate and as a body of knowledge that belongs to allstudents, but also as possible careers for talented Ho-merites.

Homer has taken its role as a regional Arts in Educationleader seriously. For the past several years it has spon-sored conferences and festivals to bring the word to

neighboring districts, artists and arts organizations, andteachers of the arts.

Homer has successfully introduced the following strat-egies to achieve its goals:

1. It established an Arts in Education Resource Center,a room with instructional materials for teachersand students and appropriate equipment withwhich to use the materials. The Resource Centerhas become the focus of staff and curriculum devel-opment activities and planning sessions involvingthe coordinator, teachers, and artists.

2. It developed several curriculum guides to demon-strate to teachers what integrating the arts is allabout.

3. It conducted teacher workshops to introduce thecurriculum guides and to encourage their use. Ad-ditional workshops on the philosophy of the Arts inEducation were also offered; participating teachersreceived a choice of inservice credit or releasetime.

4. It provided information on a regular basis to theHomer schools about arts events in the local andcontiguous communities.

Summary: The Arts in Education program has mademany allies in Homer. Principals, teachers, and parentsfind the integrated arts curriculum a vital part of studentexperience. They support it, they endorse it, and theywant more!

1S

MIDDLE COUNTRY CENTRAL SCHOOL10-43rd STREET

CENTEREACH, NEW YORK 11720

General Description: Middle Country Central SchoolDistrict includes Centereach, Lake Grove, Coram,andparts of Port Jefferson Station and Selden. It has nine ele-mentary, two junior high, and two senior high schools 3s

well as a special education center. Some 800 teachersserve a' -ut 12,500 students. Middle Country is not ru-ral, suourban, or urban instead, it is a little bit of each!It has a very active vocational education program as weas programs for gifted and talented students and for stu-dents with handicapping conditions. It works closelywith its regional BOCES as well as various State organiza-tions whose goals coincide with those of the district.


Middle Country was a pioneer in the arts in education.Prior to receiving its Title IV C developer grant, the dis-trict was active in encouraging teachers to correlate theirlearning objectives with arts activities. Its art and musicteachers have presented students in various Statewideexhibits and concerts. The former Arts Coordinator,James Trussel, served on the Commissioner's AdvisoryCommittee for the Arts in Education during the periodwhen the State Plan was first contemplated.

Goals: The overarching goal for Middle Country is toimprove general education through the arts. They areconcerned with infusing the academic curriculum witharts learnings and activities, and they advocate the use ofprofessional artists singly and in performing companies.

Strategies: The district has developed a series of strate-gies familiar to those trying to establish a comprehensiveapproach to the Arts in Education. These include:

1. A comprehensive inservice program in Arts in Edu-cation for classroom and specialist teachers. Todate, hundreds of teachers have been "inserviced"in this area.

2. Development of a training program in curriculumdevelopment for Arts in Education.

3. Development of an arts experience program for ele-mentary students.

16

4. Development of art-based curriculum programsaround art experiences for elementary students.

5. Connection of the arts with other special programssuch as outdoor education and science.

A special high school for theater and c_sice (ultimatelyfor all the arts) began in Fall 1985.

Summary: Middle Country provides a number of artsexperiences as part of each child's basic education.Schools reflect the philosophy in action. At StagecoachElementary School, principal Irwin Sadetsky sees to itthat every child has a personal relationship with manydifferent art forms. Children's art abounds, and often itrelates to the current unit of science or social studies,With a greater awareness of the artistic area, children

begin to seek out their own resources; they recognizethat there are other kinds of music besides rock, and theyalso retain more (as in any experiential program) thanthey would from just a textbook," Sedetsky claims.

Teachers continue to build upon their many inservicesessionb, refining the skills and insights gained. AtJericho Elementary School, Judith Cohen, AI E Staff Cur-riculum Developer, continues to spur her colleagues onwith special arts in education events, including guestfolksingers, dancers, and other artists.

In some ways, experiences with the Arts in Educationprogram have helped teachers clarify their own profes-sional roles and ambitions. Clearly, the demand for a

high school of the arts would not have met a positive re-action if the elementary schools had not stimulated a

love and respect for the arts in education.Superintendent Jeffers believes the arts area key to mo-

tivating students to learn anything. His own backgroundas a youngster whose school was virtually across thestreet from the Metropolitan Museum of Art attests to theimportance of an early and deep relationship with thearts. "How can you disassociate art from life? If art is a

part of life, then certainly it should be part of the students''education for life: We have the responsibility to educatethe total person:'

2 2

NEW ROCHELLE CITY SCHOOLS515 NORTH AVENUE

NEW ROCHELLE, NEW YORK 10801

General Description: New Rochelle is a suburbancommunity that has many of the characteristics of an ur-ban center. Bordering on Long Island Sound on the east,New Rochelle has an extensive shoreline which has en-couraged the development of numerous public and pri-vate recreational areas. Its commercial center has beenrevitalized with a shopping mall and several other smallshopping centers. It has recently encouraged the devel-opment of a number of new businesses which haveadded to its tax base.

With a population of 70,000, New Rochelle is a mix-ture of socioeconomic classes and ethnic groups. It hashousing projects and condominiums, small framehouses and large estates. The public library serves as anactive cultural center as do the College of New Rochelleand Iona College.

New Rochelle has six elementary schools, two juniorhigh schools, and one senior high school serving a totalschool population of 7,800. In 1983 it underwent a com-plete reorganization which involved the closing of threeelementary schools. The senior high school was namedone of the finest in the country by the Department of Edu-cation in 1984. There are special programs for the tal-ented and gifted, the learning disabled, and the handi-capped.


In June 1985, the Arts in Education program in NewRochelle was validated by the State Education Depart-ment. Now called THINKING THROUGH THE ARTS,the program involves rigorous and sequential instructionin art, music, dance, theater, and literature from kinder-garten through sixth grade. It requires infusion of the artsinto the science, math, and humanities curricula, regularand frequent encoun'ers with the lively arts in perfor-mance and exhibit, and partnerships with professionalarts organizations and artists.

Goals: New Rochelle's program is designed to encour-age the development of higher level thinking skillsthrough the arts. Analysis, synthesis, and evaluation arepromoted through the study of the arts as disciplinesunto themselves and through the infusion of arts-relatedexperiences into social studies, language arts, science,

IngoAtia itve

MEW* 4 I

and mathematics. In addition, the program aims to helpfaculty increase their knowledge and background in thearts.

Strategies: New Rochelle has been engaged in the de-velopment of a comprehensive AIE program since 1980.During the ensuing years it has instituted the following:

1. Staff development workshop series on such topicsas "The Student as Critic;' "Arts and the BasicSkills," and "Characteristics of Creativity."

2. Assignment of art and vocal music specialists ineach elementary school, providing each class withat least one period a week of instruction in eachdiscipline.

3. Field trips to museums, concerts, and other culturalresources on a monthly basis.

4. Establishment of long-term artist residencies in mu-sic, art, dance, drama, and literature and long-termrelationships with key art and cultural organiza-tions such as the Metropolitan Opera, Lincoln Cen-ter Institute, the Neuberger Museum, and SUNY/Purchase.

5. Assignment of bloc grant funds to each elementaryschool to support field trips and art consultants.

0J

17

By placing the Arts in Education program within theOffice of Curriculum and Instruction, New Rochelle hasbeen able to make the point that the arts are part of thebasic curriculum and not just an add-on. A policy thatencourages a great deal of building autonomy enableseach school to develop its own distinct approach to thearts within the parameters of the program.

A supportive Advisory Council composed of educa-tors, citizens, and artists stands in the wings ready to givesupport and advice. Most important, however, is the atti-tude of the building principals and the administration ingeneral. All are convinced of the importance of the Artsin Education.

New Rochelle's program is centrally coordinated by apart- time consultant who seeks appropriate arts serviceson behalf of the schools and conducts the staff develop-ment program. Proposal writing, evaluation procedures,and public relations activities are carried out in coopera-tion with the administration. The district has had a longstanding relationship with the New York Foundation forthe Arts Artist in Residence program which introduceddance and theater residencies to the elementary schools.

"The arts are one of the main reasons we teach basicskills," says John V. Pozzi, Assistant Superintendent re-

18

sponsible for the AIE program. "We teach reading so thatyoungsters can enjoy literature, so that they can expressthemselves in a way that others can understand, and sothey can develop their total potential as learning humanbeings!' It is not surprising, therefore, to see a group ofstudents huddled around a work of art in an exhibit intheir school gym, or at a local gallery. Their talk centerson such questions as "what does this work of art seem tosay to you?" or "how did the artist achieve the effect thatyou seem to admire?" Emphasis in analyzing visual orperforming arts is on meaning as well as feeling, form aswell as content. "I want them to love art as well as do art;'art teacher Anita Karasu says. Music teacher Eleanor Self-ter feels the same way, and she regularly prepares herstudents for concerts at Avery Fisher Hall, SUNY/ Pur-chase and the Metropolitan Opera.

Summary: New Rochelle's program is a constantlyevolving one. The artists and performances may change,but the goals remain firm. Immediate plans include theextension of the Arts in Education program into the jun-ior and senior high schools.

A manual on THINKING THROUGH THE ARTS isavailable.

PLAINEDGE UNION FREE SCHOOLBETHPAGE, NEW YORK 11714

General Description: The Plainedge School District isdrawn from unincorporated areas of four Long Islandcommunities: Massapequa, Bethpage, Seaford, and Far-mingdale all within Nassau County. Over half of itsterritory is residential, and the schools serve a popula-tion that is primarily blue collar. Although there aremany small businesses, there is no major industry andvery little nonresidential development to support theschool tax rate. Many of its residents work in New YorkCity as firemen and policemen.

Piainedge consists of three elementary schools, onejunior high school, and one senior high school. Theschool population is about 3,300. A declining enroll-

ment has caused the closing of several schools within thepast ten years. Plainedge provides a number of specialprograms for students with special needs such as a giftedand talented program, a program for the learning dis-abled, and for children for whom English is a new lan-guage.

The Board of Education provides approximately$17,000 for Arts in Education programs, exclusive of theamount it sets aside for the salaries of arts specialists.

THE ARTS IN GENERAL EDUCATION PROGRAM

Goals: The purpose of the Plainedge Arts in Educationprogram is to infuse the arts into the K-6 social studiescurriculum, thereby enabling children to improve theirbasic proficiency in the social studies, to develop agreater knowledge and appreciation of the arts, and topromote a more positive attitude toward social studies.

Ronnie Smutny, Project Director, explains the programas one that involves staff development, the creation ofsequel. ;al lesson plans that ii;volve the integration of artforms and experiences, and the interaction with artistsand arts organizations in the process. The Plainedge pro-gram has published a curriculum guide, Arts-Infused So-cial Studies Curriculum.

The program for the fifth grade was validated by theState Education Department and is available for replica-tion through the Office of Federal Demonstration Pro-grams. (For further information, see"Other Arts in Educa-tion Programs in New York State:')

Strategies: Plainedge followed a group of strategies in-cluding:

1. Creation of an Advisory Committee2. Creation of a Curriculum Development Committee3. Identification of in-house instructional resources

and materials and the purchase of additional mate-rials as needed

4. Introduction of new units through staff develop-ment sessions held at the new Staff DevelopmentCenter (SDC)

The Advisory Committee was composed of the Assist-ant Superintendent of Schools, the Director of Music andPerforming Arts, the Project Director, and a teacher liai-son between the advisory group and the curriculum de-velopment committee. The Advisory Committee offered

19

suggestions for program activities, reviewed the work ofthe year, and recommended new directions for the fol-lowing year. At the present time, there is no longer anAdvisory Committee.

The curriculum development group met for 15 weeks,three times per week, from 3:30 to 6:30 P.M.,and for twoadditional weeks during the summers of 1981 and 1982to write seven K-6 social studies units that reflected theproject's goals. It continues to function now as an addi-tional advisory group.

During the course of the "developer grant, the ProjectDirector inventoried the available relevant instructionalmaterials and ordered those that would support the newcurriculum guide.

Finally, when the guides were completed, they weretested, revised, and then published for use by all the ele-mentary school teachers in the district. Every teacherwho was responsible for K-6 social studies was "inser-viced" through the Staff Development Center.

In the Spring of 1984, the Plainedge Arts-Infused Cur-riculum was validated by SED after a rigorous testing pro-gram that showed a significant increase in learning as ares:.0 of the new curriculum.

Other elements of the Plainedge program that supportthe Arts-Infused Social Studies Curriculum include:

1. A district "museum curator" who works with teach-ers in introducing children to the art and artifacts ofvarious cultural and historical groups. The curatormaintains a small "museum" that contains copiesand original objects that relate to the social studiescurriculum. Many of the objects are borrowed fromestablished museums. On one day, the curator dis-played and entertained discussion on a number oftoys used by boys and girls in the whaling towns ofthe early 19th century, borrowed from the Amen-can Craft Museum collection.

2. Art and music teachers who enjoy relating theirspecial curriculum to social studies themes. Theseteachers work with children on instructional unitsthat enhance children's unaerstanding of a periodin time or a particular ethnic group through art andmusic.

3. Class trips to special performance:, 5uch as "TheNutcracker Suite," or "First Lady:'

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4. Student workshops with professional artists includ-ing muralists, actors, (lancers, poets, and fictionwriters. Workshops are described for the participat-ing teachers and are cross-referenced to districtgoals and objectives, learning materials, and exist-ing instructional materials and resources.

Plainedge has been involved in the Arts in Educationfor at least 15 years. It is significant that, although theleadership has changed during that period, the fervor forthe arts has not diminished. Moreover, support from theschool board has increased.

Kirk Dunklee feels that one of the keys to Plainedge'ssuccess is the fact that tliCT are several people involvedin the planning; the program does not belong to just oneperson or faction. In addition, the arts have been empha-sized not for their entertainment value but for their abil-ity to illuminate various aspects of our understanding ofthe world around us. This gives teachers "permission" toprepare students for performances and to follow up theseevents with discussions and critiques, That's why theschool board does not cut the AIE budget.

The Staff Development Center has become the focusfor planning and training in the Arts in Education. Anattractive, soundproofed, combination library and meet-ing room, it is the place where teachers come to meet, toborrow new instructional material, and to try out newideas with the project director and administrator.

Summary: Part of the success of the AIE program canbe attributed to the excellent working relationships es-tablished between the project team and participatingteachers. In several evaluation reports, teachers statedthat they felt they were being treated like professionalsfor the first time in their careers. It is significant to notethat the project director is a teacher leader, havinli, servedseveral years as the union head in the district.

Curriculum publications that feature infusion of thearts in mathematics, science, and language arts are nowavailable to teachers and others. A recent performance ofthe Theaterworks production, THE AMAZING EIN-STEIN, helped bring home the point that science andtheater can be great allies.

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SYRACUSE CITY SCHOOLS644 MADISON STREET

SYRACUSE, NEW YORK 13210

General Description: Syracuse is one of the larger cit-ies in New York State. It serves as a cultural center for themany small rural communities that surround it. Its fineuniversity, cultural arts center, and symphony contributemuch to its municipal spirit. Syracuse University is wellknown for its College of Visual and Performing Arts andSchool of Music.

Syracuse has pioneered in a number of urban educa-tion areas. The career education materials for disadvan-taged youngsters, resulting from the Madison Project,were very popular when first published in the early1960's.


The centerpiece of Syracuse's Arts in Education pro-gram is a four-volume curriculum developed by teams ofteachers in consultation with Syracuse University fac-ulty, artists, community residents, and school districtpersonnel. The purpose of the curriculum is to encour-age the infusion of the arts into a variety of other learningdisciplines.

The curriculum consists of the following units:

1. Design for the Arts in Educational Segments(DA RTES)

The curriculum serves to broaden the student'sawareness of creative arts and to teach the studentin basic subject areas, such as reading.

2. Changing Attitudes and Behaviors Through the Arts

Students who exhibit the specified behaviors of"the good classroom citizen" will be rewarded byearning the right to participate in one of four artsmodules: dance, magic, karate, or cooking.

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3. Self-Awareness

Arts activities that lead to self-awareness are in-cluded in this unit. Photography, diary-writing, anda variety of crafts activities are included. The culmi-nation of the unit is a school play on self-awareness.

4. Communications Through the Arts

This unit includes verbal and nonverbal commu-nications for the fourth grade. Arts activities areused to help students understand the process ofcommunication. Mime, clowning, and dance arebuilt into the activities.

Strategies: Syracuse public schools are involved in theLincoln Center Institute replication that allows a selectnumber of teachers to participate in a summer programin aesthetic education. The Institute for the Arts in Educa-tion is one of several Lincoln Center spin-offs funded inpart by the State. The district encourages teachers to signup for this singular opportunity.

While the district has suffered from declining enrollment and budget crises, it has initiated a Music Pilot Pro-gram in six elementary schools. In addition, it has estab-lished a part-time teaching position at the EversonMuseum so that teachers can plan their activities withsomeone who understands both the educational andaesthetic needs for good museum experiences.

Summary: Since the Title IV C days, Syracuse hasstruggled to keep the Arts in Education lamp lighted.This has not been easy, what with the reorganization ofthe district's administrative team and the need to stream-line services in all areas. Nonetheless, Syracuse hasmanaged to develop and disseminate information thatother districts might find useful, and it hopes to be back"on line" in the very near future.

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WHITE PLAINS CITY SCHOOLS5 HOMESIDE LANE

WHITE PLAINS, NEW YORK 10605

General Description: White Plains is a suburban com-munity and a sizeable city. It is the county seat for West-chester and as such is the headquarters of key govern-mental agencies -ad organizations. A massive urbanrenewal effort has resulted in a redesigned downtownarea that includes branches of the most fashionable de-partment stores as well z headquarters or major indus-trial complexes. The focus of many county-wide activi-ties, White Plains is home base to the Council for the Artsof Westchester, a very active local arts council that pro-vides major support for arts organizations. As a suburb,Westchester finds itself a bedroom community for manybusinesspersons who work in New York City. As a city, ithas many of the characteristics of other urban areaspublic housing, a complex of health and welfare servicestargeted at the economically disadvantaged and the el-derly, and large numbers of youngsters whose familiesare headed by single parents. Its residential areas, bor-dering golf courses, and other recreational areas, areamong the most beautiful in the State.

There are seven schools in White Plains, excludingadult education facilities: one high school, ne middleschool (7-8), one intermediate school (5-6), and four (K-4) elementary schools. They serve a population of about5,000 students.

ARTS IN EDUCATION PROGRAM (AGE)

Goals: The purpose of the White Plains program is toinfuse the arts into the basic curriculum through a carefulstructuring of artists in residence programs. While thedistrict offers a traditional art and music program in theelementary, intermediate, and secondary schools, theArts in General Education program offers teachers andstudents opportunities to team with professional artistswhose field of expertise is in architecture, landscape ar-chitecture, dance, drama, colonial crafts, mime, poetry,storytelling, painting, sculpture or mixed media. Artistsare assigned to schools where they work from 20 to 40days. Each classroom teacher receives a minimum of oneweek of artist service during the school year. Residenciesare based upon each school's preferences which, in turn,are based on an analysis of current needs and interests.Art and music teachers as well as a few administratorsserve as in-school coordinators at each school, assistingboth artists and classroom teachers as they plan and im-

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plement their special programs. Every child in the WhitePlains elementary schools engages in at least one artist inresidence program during the school year. Approxi-mately 40% of students in grades 8-12 are also involvedin the program.

"We try to integrate the arts with the academics with-out compromising the integrity of the arts;' explains RonTopping, the program's founder and coordinator: Top-ping also serves as supervisor of the K-12 art and musicteachers, is chair of the High School Art and Music De-partment, and coordinator of the More Able Student Pro-gram for intellectually gifted youngsters.

"We find that we can improve academic learningthrough arts experiences, and this helps us to 'sell' ourprogram to the Boards' In December 1984, the State Edu-cation Department validated the AGE Architect-in-Math(AIM) program, which showed a positive correlation be-tween this program and achievement in math conceptsand skills. Other districts may now apply to SED for Fed-eral Demonstration Program funds to replicate the AIMprogram or they may request material directly fromWhite Plains if they plan to use their own money.

Strategies: The AGE program is very complex and re-quires firm control over logistics. Joan Sanger handlesthe day-to-day coordination of teacher and artist activi-ties and sees to it that everyone understands his or herrole in this operation. Every elementary school teacher isgiven one residency, which may range from six to twelvesessions. Secondary teachers opt into the program on avoluntary basis and select residencies that last from fiveto twenty days. Special Education teachers and teachersof the More Able Students are, of course, included inAGE. School-based art teachers serve as in-school coor-dinators and are given 180 minutes in a 6-day cycle toplan and help implement their school's program.

In some cases, in the middle school and high school, amember of the art faculty who is a working artist willserve as an artist in residence. Where this occurs, theteacher receives an additional stipend for his or herwork.

Over the past nine years, the program has been for-mally evaluated three times by outside consultants whohave examined the impact of arts residencies on aca-demic learning. Evaluation methods have included pre/

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post testing, structured observations, questionnaires,and interviews of key participants. The results of theseevaluations have consistently indicated that academiclearning can improve through the integration of the artswith the academics.

The major portion of the program is funded by theschool district. Supplementary funds come from Stateand Federal level grants as well as from local corpora-tions, businesses, and community organizations. Sangerdoes most of the fund raising; the budget is prepared byTopping.

In addition to organizing planning and training ses-sions and monitoring the program, the coordinatorsmeet with many community arts resources aF part of theirattempt to keep the program growing and changing. Forexample, White Plains is currently working with NewRochelle and Sleepy Hollow Restorations to develop anarts-infused training program in local history for fourth-grade teachers.

Artists are frequently asked to conduct staff develop-ment sessions as a means of extending the effect of theirwork with students. Teachers sign up for these sessionsvoluntarily. (Staff development workshops have alsobeen conducted with cultural institutions.) The majorportion of staff development occurs in the classroomwhen teachers have the opportunity to observe and par-ticipate in activities with the artist.

Much of the success of the program is attributed to thein-school coordinators who oversee the program on thebuilding level. They provide "the spark that makes eachschool's program specials' Because the artists work intandem with the classroom teachers, there is no dangerof the kind of fragmentation that occurs when studentsare pulled out for special programs. This keeps everyonehappy and productive.

An important strategy that helps account for the pro-gram's longevity is its Advisory Board. Composed ofschool district personnel, artists, PTA representatives,and community and funding agency liaisons, the Advi-sory Committee meets bimonthly and serves as a sound-ing board and advocacy voice for AGE.

Budget: The AGE administrative budget comes primar-ily from tax levy funds (see above). The assistant coordi-nator's salary comes partially from Chapter 2 funds andpartially from tax levy funds. The coordinator's positionis fully covered within the district's tax levy budget. This

program could not continue at its present high level with-out additional funding from State and Federal grants, cor-porations, community organizations, and other fundingsources.

Public Relations: The AGE staff, teachers, and admin-istrators frequently make presentations at local, State,and, occasionally, national conferences where the artsare an issue. This is an extremely useful method of in-forming the profession about the program and its suc-cess. The structure of the AGE program also includestime for the development and publication of a monthlycalendar of AGE residencies and events. This calendarserves not only to inform the White Plains staff andschool board of what's happening, but also can be usedas a public relations document as well. The AGE pro-gram is described in an attractive brochure that is distrib-uted widely.

Recently, Don Kusel, principal of White Plains HighSchool, was awarded a plaque for outstanding leader-ship in the Arts in Education by the Alliance for Arts Edu-cation. This is just one example of a public relations prac-tice that brings support and pride to the district.

The district received the first award presented to aschool system by the Council for the Arts in Westchester.

Summary: David Jackson, Assistant Superintendentfor Curriculum and Instruction in White Plains, claimsthat the Arts in Education "is one way to see that our stu-dents not only learn new skills, but have the opportunityto apply them. AGE helps our students develop a broaderdefinition of what it means to be a literate persons'

Jerry Marcus, Superintendent, has a very personal mo-tivation for supporting the AGE program in White Plains."I did not have the luxury of the arts when I was growingup;' he said in a recent interview. "I saw the impact of thearts upon those who grew up with them...I will supportanything that will entice children to become part of theschool system and not view school as drudgery' Actingon this belief, Dr. Marcus has included a generous allo-cation for AGE in his budget each year. Now he and theAGE team are considering new challenges for the latterpart of the '80's, including more performances and fieldtrips that complement the various residencies, greater in-volvement with cultural institutions, and workshops forparents that parallel the AGE activities that their childrenare experiencing.

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OTHER ARTS IN EDUCATION PROGRAMS

IN NEW YORK STATE

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Over the past decade, a number of school districtshave developed exciting programs where the arts arecentral. Some of these programs have been validated bythe State Education Department or the National Diffu-sion Network. Others have been recognized by the Rock-efeller Brothers Fund (RBF).

A few such programs are listed below with a short de-scription and the name and address of contact persons.Readers interested in finding out more about these pro-grams should get in touch with the contact persons.

STATE VALIDATED PROGRAMS*

ARCHITECT IN MATHEMATICS White Plains CitySchools, 5 Homeside Lane, White Plains, NY10605.

Contact Person: Ronald J.Topping, Project Director,(914) 997-2018 or Joan Sanger, Assistant AGE Coordina-tor, (914) 997-2028.

A mathematics program using architects or landscapearchitects in the classroom to improve basic math skills.Students in low ability math classes develop architec-tural plans and then implement them. The classroomteacher and the art teacher work with the students duringall phases of the program, including construction. Pro-gram is designed for students in grades 5-6, but it can beadapted for other grades.

MARA: Mathematics/Architecture Related Activities.Albany, NY: The State Education Department, 1982 is a

publication based on the White Plains program.

ARTS-INFUSED SOCIAL STUDIES CURRICULUMPlainedge Union Free School, Packard Junior HighSchool, Idaho Avenue, North Massappequa, NY11758.Contact person: Ronnie Smutny, Project Director, (516)293-4242.

A staff development program to assist the classroomteacher by encouraging a multidimensional interdisci-plinary approach to the teaching of social studies. Thisprogram involves special area teachers in music, art,dance, and library. Teachers receive inservice training inthe use of developed units and identify materials such as

records, tapes, filmstrips, books, three-dimensional artmaterials, prints, and maps to assist in the interdiscipli-nary approach.

LEARNING TO READ THROUGH THE ARTS Boardof Education of the City of New York, Division of Curric-ulum and Instruction, 131 Livingston Street, Room 621,Brooklyn, NY 11201. Contact person: Mary Jane Collett,Project Director, (212) 787-0470/7582.

A program in which teachers of reading and speciallytrained professional artists or artist teachers work withmajor cultural institutions in New York City that focus on

*Program descriptions adapted from New York State Validated Programs, The State Education Department, Office of Federal DemonstrationPrograms, January 1985.

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improving reading skills through student involvementwith a reading program. For students in grades 4-6 whotest at least one year below reading level.

PROBLEM SOLVING SKILLQHUMANITIES PRO-GRAM Richmond Hill High School, 89-30 114thStreet, Richmond Hill, NY 11418. Contact person: Net-tie Silver, Project Director, (718) 846-2012.

An interdisciplinary humanities enrichment programthat can be used in English, social studies, philosophy,music, languages, and art. It emphasizes critical think-ing, problem solving, self-assessment, values, and eth-ics.

READING IMPROVEMENT THROUGH THE ARTS(RITA) John F. Kennedy High School, 99 Terrace View,Bronx, NY 10463. Contact person: Sylvia Corwin, Pro-ject Director, (212) 562-6262.

A program to motivate reading and improve compre-hension, structured around the collaboration of an artteacherand a reading specialist within the creative atmo-sphere of a studio/art room. Two theoretical strands sup-port the RITA curriculum: children naturally advancefrom concrete to abstract learning, and it is likely thatnonverbal teenagers will respond to a nonverbal ap-proach if it nurtures manual skills and nonverbal com-munication through visual media.

THINKING THROUGH THE ARTS New RochelleSchool District, 515 North Avenue, New Rochelle, NY10801. Contact persons: John Pozzi, Assistant Superin-tendent, or Carol Fineberg, Project Consultant, (914)632-9000.

This program provides for the integration of the artsinto the elementary school curriculum through sequen-tial activity-oriented curricula in art and music taught byspecialists, as well as frequent exposure to arts events(live performances, museum and gallery trips), opportu-nities for oral and written communication about arts ex-periences, and opportunities to interact and share artsproductions with student peers. A staff development pro-gram helps teachers prepare for the various kinds ofactivities. Aesthetic criticism and child development inthe arts are emphasized.

VALUES EDUCATION THROUGH THE ARTS ANDHUMANITIES Northport-East Northport UFSD, 110Elwood Road, Northport, NY 11768. Contact Person:Harold E.Carter, Project Director, 516 261-9000,Ext,115,

A program to integrate knowledge of the arts into theregular classroom curriculum for three 30-minute ses-sions per week. Specific lessons to increase knowledgeof the arts and humanities are taught along with tech-niques in comparing and valuing works of art. For stu-dents in grades 4 and 5.

TRANSFERRING SUCCESS, a program designed toencourage school districts to replicate and/or adapt vali-dated programs that significantly improve student perfor-mance, provides an important way for districts to intro-duce exemplary arts programs into their curriculums.State validated programs have passed the scrutiny of theState Education Department's Federal DemonstrationPrograms evaluation unit. Programs from other parts ofthe country that meet the standards of the National Diffu-sion Network are also eligible for replication. During theSpring dates are announced each year school dis-tricts have the opportunity to apply for competitiveChapter 2 grants which provide funds for start-up costsfor replication. Application announcements are sent tolocal school system superintendents, heads of fundedprograms, and others whose names appear on special-ized mailing lists.

Arts in Education advocates may find the replicationprocess one of the most encouraging pathways to a com-prehensive arts in education program. It attracts schooldistricts by providing seed money to initiate planningand training phases.

For further information, contact the Office of FederalDemonstration Programs, State Education Department,Room 860 EBA, Albany, NY 12234, (518) 474-2380.

ROCKEFELLER BROTHERS FUND AWARD WINNERS

FIORELLO H. LAGUARDIA HIGH SCHOOL OF MU-SIC AND THE ARTS, 108 Amsterdam Avenue, New York,NY 10023, Richard A. Klein, Principal.

LaGuardia combines the High School of Music and Artand the School of Performing Arts, two of the best-knownspecialized high schools in the country. Majors in vocaland instrumental music, dance, drama, and art (painting,sculpture, design, and photography)gather from all partsof the city to study with teaching artists and academicspecialists. Graduates go on to the top four-year collegesas well as to major performing and visual arts institu-tions. A solid curriculum in each of the courses of con-centration is available.

HIGH SCHOOL OF ART AND DESIGN, 1075 SecondAvenue, New York, NY 10022, Irwin Gross, Principal;Suzanne Osterweil Weber, Assistant Principal.

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Specializing in commercial art and design, studentshave the opportunity to work with top professionals inthe field 2-3 hours peg Jay in addition to taking the nec-essary courses for a Regents diploma. Graduates havegone on to the most prestigious advertising and art pro-duction companies, and many have developed full-timefine arts careers.

MAMARONECK HIGH SCHOOL, Mamaroneck, NY10543, Thomas Tiktin, Principal.

Students make constant use of New York City muse-ums, theaters, and contemporary galleries. The schoolhas a permanent art gallery, a television studio that pro-duces at least one live show every day of the school year,

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and an interdisciplinary performing arts program indance, theater, and video. The arts staff exudes a spirit ofunity, professional quality, and mutual admiration foreach others' abilities.

SOL BLOOM SCHOOL (PS 84, Manhattan), 32 West92nd Street, New York, NY 10025, Sidney Morrison,Principal.

Open education and integrated arts education havebeen the hallmarks of this school since 1969. Artists inresidence, local arts organizations, and a group of tal-ented teachers contribute to the unique programs thatcharacterize this school.

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FUNDING ARTS IN

EDUCATION PROGRAMS

How much does an Arts in Education program cost?And where does a district fine the money to pay for it? Inorder to answer these important questions, it is useful toexamine the budget items that all model sites find indis-pensable. A basic list of items, in the language thatschool districts understand, should include (but not belimited to) the following:

BUDGET ITEMS

Salaries Administrative

Salaried personnel are essential to a well-run AIE pro-gram. This does not mean, however, that a "new" personneeds to be hired. What can happen, and what is done inseveral the model sites, is the identification of a sala-ried supervisor or administrator as the Arts in EducationProject Director. Thus, in New Rochelle, the AssistantSuperintendent for Instruction and Curriculum takes re-

sponsibility for the program. In District 6, the Coordina-tor of the Arts handles the overall supervision of the pro-gram. In White Plains, the Coordinator of Art and Musicoversees the program. The Music Director is responsiblefor the program in Plainedge, and so it goes. The bottomline is that someone with authority (and a budget seebelow) assumes responsibility for the health and welfareof the AIE program.

Salaries can be computed at between 20% and 100%of time, depending upon the support team available.Other sala ries to consider are those for secretaries, assist-ant coordinators, or other ancillary staff used to adminis-ter AIE activities.

For many districts, the issue is one of assigning the Artsin Education program as a priority to an existing adminis-trator. This may mean modifying a job description, trans-ferring some duties to others, or simply dropping oneprogram whose time has come, in favor of another.

Salaries Pedagogical

Every comprehensive AIE program requires the in-volvement of regularly assigned arts specialists teach-ers of vocal and instrumental music, art, dance, and

drama. All of the model sites employ music and art spe-cialists; some also employ dance and theater teachers(not artists in residence).

At the Jefferson School in New Rochelle, the principalhas been able to manipulate schedules so that the art ormusic teacher teaches while the classroom teacher ispresent. This enables classroom teachers to plan and fol-low up the art or music instruction with related activitiesthat make the studio experience richer and more mean-ingful to the children.

In District 3, some schools have licensed dance teach-ers who provide instruction during the usual physical ed-ucation period. New York City offers a dance license toteachers of secondary school (intermediate, junior andsenior high).

Stipends for Curriculum Writing and/or StaffDevelopment

This category buys time for a cadre of teachers andwriters who can translate ideas into documents that oth-ers can understand. Generally, districts compute thisitem at an hourly, contractual figure. In many instance,districts look at the established figure for the year andallocate part of the figure for AIE work.

Curriculum writing becomes a crucial aid to staff de-velopment as teachers research new theories and prac-tices. Thus, some districts may find their staff develop-ment budget applicable to curriculum writing efforts.

Consultants

Consultants in curriculum development and/or arts-related content areas (aesthetics, creativity, art/music/dance/theater history) and professional artists enable adistrict to provide a series of rich experiences for staff andstudents.

In Plainedge, consultant artists were employed to helpstudents design and construct murals; in Middle Coun-try, educational and artist consultants helped teachers fo-cus on themes and units for curriculum writing; in Dis-trict 6, consultants worked with children with

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handicapping conditions on a theater unit that resultedin the production of an original music theater piece.

Other districts have used consultants to help coordi-nate various aspects of the program. This is true in NewRochelle, where a consultant manages the program incooperation with the Assistant Superintendent.

Districts have used consultants to evaluate their pro-grams. In White Plains, Regis Bernhardt from FordhamUniversity served in this capacity. Joan Keller, formerlyassociated with Suffolk BOCES, evaluated Middle Coun-try's program. Laura Harckham, of Rockland CommunityCollege, evaluated the Plainedge and New Rochelle pro-grams.

Using consultants in all of these capacities has severaladvantages. First, a consultant is usually hired to fulfill aspecific assignment for which there is direct accountabil-ity. Moreover, as a consultant, the person is usually notentitled to fringe benefits, which yields a great savings tothe district. In addition, Artist-consultants, working withteachers, do not have to conform to some of the restric-tions that are appropriate for full-time pedagogical em-ployees. This enables a district some flexibility in deter-mining who is eligible to perform a short-term orextended residency in a given situation.

Consultant fees vary, both for the jobs to be done andin the geographical area. The New York Foundation forthe Arts has suggested a minimum fee for artists workingin their Artist-in-Residence program. The State EducationDepartment has guidelines that it recommends to dis-tricts, and many school systems have their own slidingscale of consultant fees.

Local Transportation Students

An absolute must! Districts need to set aside money toenable students to see performances and exhibits in pro-fessional settings.Since this is a prohibitively expensiveitem, many districts enlist the Parents Association to as-sist in paying for buses. As a result of recent lobbyingefforts, the State Education Department is consideringways to help districts meet this expense.

Districts need to plan for more than one bus trip perchild if they are to get the maximum effect of such anactivity. Seeing one play a year or going to one majormuseum show a year is not what the AIE programs areabout. In general, the most successful programs talkabout a monthly excursion for the upper levels of ele-mentary school and bimonthly trips for secondaryschool students.

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Local and Regional Transportation andConference Fees Staff

One of the most effective techniques for helping teach-ers and principals change their attitudes or approachesto instruction is seeing an exemplary program in action.A budget line to make that possible has made a big differ-ence in several of the model sites. Inter-school visitationshave helped staff understand some of the rhetoric of theArts in Education. Moreover, trips have helped changethe way simple but important-tasks are done. For exam-ple, one district sent a delegation of art and classroomteachers to another district to show them how children'sart work can be mounted and used for instructional pur-poses. One week after that visit, the "sending" school nolonger had laundry lines of 81/2 by 11 watercolors liningthe corridors. Instead, taking a hint from the school theyvisited, children's work was "matted," mounted and dis-played as if in an art gallery. The principal, seeing theeffect of the "gallery look," okayed the immediate pur-chase of display materials so that the teachers could im-part more dignity and aesthetic value to children's paint-ings and drawings.

Travel to education conferences is also important.Teacher-to-teacher talk, demonstrations of programs thathave similar goals, opportunities to watch artists at work,all help a school sharpen its goals and objectives. TheHumanizing Experience, the annual THE conference atthe Concord sponsored by a Cosponsoring Consortiumand coordinated by the State Education Department, of-fers teachers, principals, and central office staff an oppor-tunity to see what's going on all over the State in the areaof the arts and humanities, in alternative and career edu-cation, in technology and curriculum materials. (Inqui-ries regarding SED-sponsored conferences should be di-rected to Mary Daley, Bureau of Arts, Music andHumanities Education, State Education Department, Al-bany, NY 12234, (518) 474-5932.)

The annual Arts in Education July conference at Skid-more College offers a similar opportunity on a smallerscale. Many proposals for supplementary funding havebeen worked out in the informal sessions that follow pre-sentations of exemplary programs. (For more informa-tion contact Roger Hyndman, Associate, Bureau of Arts,Music and Humanities Education, State Education De-partment, Albany, NY 12234, (518) 474-5932.)

Other important conferences are the NYFA-sponsoredArtist in Residence conference in October (contact GregMcCaslin at NYFA, 5 Beekman Street, New York, NY10038, (212) 233-3900), the annual professional confer-ences for the arts (New York State Art Teachers

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Association-NYSATA, New York State Theatre EducationAssociation (NYSTEA), and New York State School MusicAssociation) (NYSSMA), and the New York Associationfor Staff and Curriculum Development (NYASCD) con-ference in May of each year at the Concord.

Instructional Materials for staff and students

A comprehensive Arts in Education program requirescertain kinds of materials for both teachers and students.For teachers, materials might include State EducationDepartment arts syllabi and guides as well as new curric-ulum in art, music, dance, and theater education pro-duced by various university research teams. (For exarn-ple, Laura Chapman's Discovering Art K-6, is highlyrecommended by The Getty Foundation.) Many musicteachers recommend one of the commercial series ofmusic texts for musical literacy in elementary schools.Both classroom and arts teachers need consumable ma-terials good paper, paint, scissors, rulers, muralboards, T-squares the list can go on forever.

There ar' several television series that tackle the sub-ject of the arts in education. ARTS ALIVE is distributed bythe State Education Department. A PBS-affiliate in Seat-tle, KCTS produces a similar series. And WNET andWGBH, PBS affiliates in New York and Boston, respec-tively, are producing pilots for a TV series on the arts withthe support of The Getty Foundation and the NationalEndowment for the Arts.

Films and videotapes are indispensable for an AIE pro-gram. Performances on record (purchased through a PBSoutlet such as Channel 13/WNET) become "texts" inclassrooms where aesthetic criticism is fostered. Bio-graphical films on great artists help enliven historyclasses. A good AIE program takes advantage of the exist-ing materials budget to capture texts, periodicals, andmedia for arts-infusion and interdisciplinary inquiry.

Teachers need the magazines that offer articles on sub-jects related to their interests Educational Leadership,published by ASCD as well as the Journals of MusicEducation, Art Education, Dance, and Theatre. Schoolprofessional libraries or district Arts in Education centersbecome the hub for the collection and dissemination ofinformation and ideas to strengthen the program.

Most districts have a budget line for audiovisual and/orlibrary media materials. The job of the AIE coordinator, ifshe or he does not have a line for such items, is to "piggy-back" on the regular budget so that students have accessto these materials.

30

Other Materials and Supplies

Every AIE coordinator needs office stationery, a type-writer, and access to a word processor as well as mate-rials for art exhibits, panel displays, and photographicdocumentation. These items must be included in thebudget. Naturally, when there are artist residencies, sup-plies for these activities must be provided. Purchasingspecial art supplies requires planning with the districtpurchasing agent so that orders can be processed in atimely fashion.

SOURCES OF SEED MONEY

The model sites have met with some success in finding"outside" money to support different aspects of their pro-grams. District 6 has been the recipient of three Arts Part-ners grants; White Plains has raised money through a va-riety of sources, including banks and local artsorganizations as well as an arts benefit performance.New Rochelle has profited from a matching grant pro-gram with the Council for the Arts of Westchester whichenabled the district to employ a muralist on a 50-50 costsharing basis. All the districts have received grants fromthe New York Foundation for the Arts during the past sev-eral years. Most of the districts have used Chapter 1 andChapter 2 funds to support either coordination or directservices to students. Many of the districts have solicitedfunds from local banks and other businesses in the com-munity, with generally successful results. Many sites, aspartners with arts organizations, benefit from NYSCA,AIE, and Initiative grants.

Banks, fast food franchises, and soft drink bottlingcompanies have a very good record for granting schoolsand districts $1,000-2,000 dollars for a special event.Needless to say, they look for the public relations valuethat such contributions will bring to the company. Acredit line on a program, a plaque or certificate (framed)to the company president, naming the auditorium after abig donor, a joint fund-raising reception with a local artsorganization all these strategies help to bring in smallamounts of money that can be used to match other funds

local, State or Federal.Good fund-raising strategies include the presentation

of a well-written document explaining the program, itsaccomplishments, its needs, and how a contribution willhelp to strengthen educational opportunities for chil-dren and youth. All fund-raising should be coordinatedthrough the district office so that three or four schools inone district do not go after the same source at differenttimes during the year. This can be quite annoying to eventhe most charitable of souls.

29

Once outside funding has been secured, the AIE coor-dinator should be prepared to write a report on how themoney was spent and send it to the benefactor. Corpora-tions as well as individuals like to get thank-you notes. Agood report paves the way for second and third grants.

When you are not sure that a corporation, bank, orfoundation is prone to funding a program, make an ap-pointment to ask for advice, not money. Sometimes theadvice is worth more than any one grant.

The answer to the question "How much does it cost?"depends upon how large the AIE program is. Every dis-trict needs to compute the cost of the above items ac-cording to local practices. Excluding salaries, the costscan range from $20,000 to $150,000!

30

IN-KIND SUPPORT

School districts even those on austerity budgetshave lines that can be used to support a comprehensiveAIE program. Sometimes one needs an outside grant toleverage the use of this money. (See page 29.) Surely, oneneeds to involve the top level administrators in the plan-ning and development of the program in order to haveaccess to these pockets of money. AIE advocates need todevelop a defensible rationale before they try to piggy-back on existing budget lines that have AIE potential.Learning through the arts is the obvious point of depar-ture to capitalize on basic skills or remedial funds. Othersections of The Network Notebook speak to this strategy.

ARTS IN EDUCATION

SERVICE ORGANIZATIONS

Not too long ago, AIE advocates would have had tolook far and wide to find organizations that could helpthem. In the past ten years, however, a variety of organi-zations have sprung up that provide an array of services,

from the dissemination of information to providingmatching grants for arts services in the schools. Theseorganizations, and their special relationship to the AIEworld, follow.

New York State Alliance for Arts Education (NYSAAE)1102 Ards ley Road

Schenectady, New York 12308Vivienne Anderson, President

Robert Ludwig, Executive Secretary

Re-activated in 1983, the New York State Alliance forArts Education is a statewide advocacy organization de-signed to focus public and legislative attention on thearts in education. Its Board of Directors is composed ofrepresentatives from many statewide education and artsorganizations; its committees are responsible for the an-nual IMAGINATION CELEBRATION, periodical news-letters (including DIALOGUE, a compendium of infor-mation directed to institutions of higher education), andadvocacy campaigns that inform the membership of pro-grams, research, and general information. They operate"hotlines" to the field regarding legislative opportunitiesand provide incentive grants to teachers for curriculumor instruction projects that focus on the arts.

NYSAAE is part of a nationwide network of Alliancessponsored by the John F.Kennedy Center for the Perform-ing Arts Education Program. As such, it rec' Ives a smallgrant each year from the Kenr edy Center to augment in-come from membership and the IMAGINATION CELE-BRATION.

Members include individuals who are teachers, par-ents, artists, or general advocates as well as institutionssuch as arts organizations, colleges, or professional orga-nizations. For membership or general information, con-tact Robert Ludwig, Executive Secretary, NYSAAE, 1102Ardsley Road, Schenectady, New York 12308.

New York Foundation for the Arts (NYFA)5 Beekman Street

New York, New York 10038(212) 233-3900

Theodore Berger, Executive DirectorLinda Davidson, Education Director

NYFA is many things to many people, but to the arts ineducation world, NYFA is the administrator of the NewYork State Artists in Residence (AIR) program. As such,NYFA has been a partner with more school districts inNew York State than most other nonprofit organizations

in or out of the arts.Yearly applications for AIR programs are circulated by

the State Education Department, and NYFA educationstaff conduct application seminars throughout the Statein the months preceding the deadlines.

Among the disciplines that NYFA supports in theschools are architecture/environmental arts, media arts,visual arts, dance, music, theater, folk arts, and multidis-ciplinary residencies. Literature residencies are availablethrough Alternative Literary Programs in the Schools(ALPS), (518) 765-2613; Just Buffalo, (716) 885-6400;The New York State Literary Cenier, Inc., (716) 223-0784; New York State Poets in the Schools, Inc.,(212)206-9000; Teachers & Writers Collaborative, (212) 691-6590; and Touchstone, (212) 831-7717.

NYFA is a liaison between the arts community, theNew York State Council on the Arts, the National Endow-ment for the Arts, and residency project sites. AIR pro-posals may be submitted by community agencies as wellas school districts.

31

New York State Council on the Arts (NYSCA)915 Broadway

New York, New York 10010(212) 614-2900/2974

Mary Hays, Executive DirectorAndrew Ackerman, Director, Arts-in-Education, 1986Juliana Sciolla, Liaison for Arts in Education, 1984-86

NYSCA provides support to nonprofit arts organiza-tions and artists in New York State and helps to bring ar-tistic performances and programs of high quality to theState's citizens.

For many years, NYSCA grants have helped underwriteprograms. During the 1984-85 legislative year, NYSCA,in partnership with the New York State Education De-partment, embarked upon a more direct effort to supportArts in Education. Both agencies agreed that"a long-termpartnership must be launched to assure that the arts arean integral part of the education of each child:'

The Arts in Education Initiative was-begun to encour-age collaborative projects between arts agencies andschool districts, to help children experience the :ins as

creators and appreciators, and to encourage new mo:tLyfor arts in education from schools and the community-at-large.

Arts agencies or school districts interested in applyingfor support from NYSCA for arts in education projectsshould contact NYSCA for guidelines and applicationforms.

NYSCA is also helpful in identifying local arts councilsfor school districts that may not have had contact \Nallthem in the past. Local arts councils are often very inter-ested in funding arts in education projects, and they maybe interested in developing joint efforts with districts.

Media Arts Teachers Association (MATA)John F. Kennedy High School

99 Terrace View AvenueBronx, New York 10463

Steve Feld, President

A fledgling organization of teachers interested in pro-moting media arts in the schools. Media arts includesphotography, film, video, creative sound, computer arts,

32

and holography. The intention of the group is not to es-tablish an autonomous organization but rather to workwith existing teachers' associations.

New York State School Music Association (NYSSMA)17 Cottonwood LaneWestbury, NY 11590

(516) 997-3583Steven E. Schapp, President

NYSSMA sponsors an annual conference, usually justafter Thanksgiving, and publishes a monthly magazineof news in the field of music education. There is a state-wide network of local music educators' organizations af-filiated with NYSSMA. NYSSMA sponsors concerts forinstrumental and vocal students; the concerts involve a

rigorous audition process that rates the youngsters' musi-cal proficiency.

New York State Art Teachers Association (NYSATA)c/o Prabha Sahasrabuddhe, Chair, Board of Governors

59 Iroquois AvenueSeldon, New York 11784

NYSATA sponsors an annual conference in late Octo-ber. During the year it publishes a newspaper and spon-sors numerous special activities including Youth ArtMonth. The organization offers scholarships to gifted stu-dents and provides opportunities for student exhibitions.

New York State Theater Education Association8 Beaverdale Lane

Stony Brook, NY 11790(516) 751-7163

Norm Golden, President

NYSTEA was founded In order to promote and imple-ment activities which bring theatre education for youthinto the educational mainstream." The organizationsponsors an annual conference and other opportunitiesto share ideas and materials for the "the betterment ofyouth and theatre itself:'

EVALUATION

The subject of evaluation is often a contentious one assome argue that arts-in-education objectives cannot bemeasured. Others retort that, if you can't measure whatstudents are learning, then you can't convince decisionmakers to fund the program. Fortunately, the argumentabout evaluation has come a long way since the early1970's when whole conferences were devoted to it.

Where once evaluation was seen as an intrusion fromgovernment funding sources, it is now appreciated as astrategy for encouraging public support. When a soundevaluation process yields strong evidence that studentsare benefiting in very specific ways from an arts in educa-tion program, advocates of that program can "sell" it todecision makers with confidence. Moreover, if the ewlu-ation process identifies problem areas that need to beaddressed, project coordinators have the opportunity tomake "mid-course corrections' rather than falling victimto poor results at the end of a project year.

The model sites were required to integrate evaluationstrategies into their programs from the inception. Theywere given some latitude in developing designs that weretruly responsive to the individual programs. The resultshave been encouraging.

In New Rochelle, the evaluation design was centeredaround the hypothesis that arts in education programsinfluence the development of high-level thinking skills,as defined in Bloom's taxonomy. Testing instrumentswere identified that focused on higher level thinkingskills (Ross Test of Higher Cognitive Processes and Torr-ance's Thinking Creatively with Pictures). To measureachievement in the understanding and perceptioi, of art,New Rochelle used Monitor's Art Vocabulary test. InWhite Plains, standardized math tests were used to iden-tify significant gains in math skills as a result of the Archi-

tecture in Mathematics program. Plainedge usedcriterion-referenced tests in the social studies to measurethe impact of its infused curriculum.

The validated sites used other approved techniques todetermine the educational significance of their AIE pro-grams. Classroom observations using specially con-structed checklists, interviews of key "actors" in the im-plementation of the program, and structured analyses ofstudent artwork or performances have all been used asways to measure programmatic success.

Robert Stake's slim volume, Evaluating the Arts in Edu-cation (Merrill, 1975) remains one of the best sourcebooks on the subject. Eliot Eisner and Laura Chapmanhave also contributed to the field in recent publications.What is clear in the literature is that the program leadersmust be very precise about what they think they are ac-complishing. Once the objectives are defined, it is rela-tively simple to formulate an appropriate evaluation pro-tocol one that may or may not require testing.

AIE project coordinators are urged to consult with ex-perts in the field of evaluation. They are equipped to helpclarify objectives and design nonintrusive evaluationplans that teachers, artists, and students can support. Lo-cal universities frequently have experts within their edu-cation or psychology departments. The AIE service orga-nizations can recommend potential evaluators who arepdrticularly attuned to the demands of an AIE program.(See "Funding Arts in Education Programs".)

Peihaps the sagest advice about evaluation comesfrom one of the site coordinators: "The important thing isnot to promise what your program cannot possibly de-liver. Modest accomplishments can do more to encour-age support than grandiose claims that cannot beproven!'

33

T rj

44113it.:

.

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'116Surlyi

APPENDIX

7#

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II'.I 1..

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4935

CURRICULUM ACTIVITIES:

A SAMPLER

What is meant by an arts-infused curriculum? What dowe mean when we talk about interdisciplinary inquiry?The eight model sites tried to answer these questionsthrough the process of curriculum development. Theyinvolved teams of teachers, artists, and curriculum writ-ers in the exploration of arts-infusion and interdiscipli-nary inquiry.

During the period when developer grants were gener-ous, the districts used part of their budgets to write units,lessons, and activities that demonstrated what an arts-infused curriculum was all about. The following pagesgive short descriptions of units or lessons that differentdistricts introduced as part of their Arts in Education ef-fort.

Complete volumes of curricula developed by the eightmodel sites are available in a series called The Arts andLearning, edited by Ronald Lee, formerly with SyracuseUniversity and now Chair of the Music Department atWagner College, Staten Island, New York. To order TheArts and Learning series, write to the State Education De-partment, Bureau of Arts, Music and Humanities Educa-tion, Albany, New York 12234.

ARTS DISCIPLINE: Theater (playwriting and acting).

ACTIVITY: Development of scenic structure using im-provisations based upon a central theme (contributed byRobert Goldberg, Artist, District 6).

TARGET POPULATION: 4th and 5th grade gifted classes.

PROCEDURES: Students break into small groups anddiscuss with the aid of an artist or teacher an idea for animprovised scene based on The Family. Students pro-ceed to improvise dialogue and movement within thesmall group. They "freeze" it and present it to the rest ofthe class for reaction. Students then regroup and begin towrite dialogue and stage directions, based upon the im-provisation. Students then perform from the script for theclass, after having rehearsed in a small group with artist.

A tape recorder or cassette may be helpful in capturingthe dialogue prior to writing the script.

Central ideas used for improvisations include the fol-lowing, suggested by students:

1. Parents don't like children's friends. New friends areconsidered to be bad influences.

2. Child comes home from school with bad reportcard.

3. Cousins try to help their fathers get back togetherafter the two men have an argument.

4. Child is lost.5. Mother wants to get a job; father does not want her

to work. Children discuss their points of view.6. Children are late getting home from the movies and

are punished.

ARTS DISCIPLINE: Visual arts: painting, sculpture

ACTIVITY: How to build an imaginary bug based uponwhat students have learned in science class about arthro-pods (contributed by Dennis Wright, Science Teacher,Homer).

TARGET POPULATION: Junior high school science stu-dents

PROCEDURES: From a scenario provided by the teacherwhich includes habitat, eating habits, movement, andsocial type, students are asked to build an imaginary bugin three dimensions that is true to basic insect anatomyand is adapted to compete and survive in the given sce-nario. Students will present their bugs to the class withan oral explanation of their adaptive features and survivalvalue. Students are encouraged to develop backgroundmusic and taped insect sounds,to enhance the presenta-tion.

ARTS L .SCIPLINE: Music

ACTIVITY: How to build a one-stringed guitar (chordo-phone) using the metric system of linear measurement(contributed by Judith Cohen, teacher Middle Country).

TARGET POPULATION: Upper elementary or juniorhigh school students

4 1JL

37

PROCEDURES: Artist leads class in the manufacture ofthe chordophone. Students explore the relationship oflength of string with pitch, use of frets to reproducesound. Materials for the chordophone are the kind foundin any industrial arts class (measuring tools, saws, spoolsof monofilament line of different thickness, etc.)

ARTS DISCIPLINE: Music (vocal)

ACTIVITY: Understand different musical styles as pre-sented by a vocal ensemble; enjoy performed, live musicin a variety of stylistic modes (contributed by KirkDu nklee, Director of Music, Plainedge).

TARGET POPULATION: Grades 6, 7

PROCEDURES: Bel Canto Chorus will perform a rangeof songs including Broadway selections, spirituals, andBach. Students will engage in a discussion with the cho-risters and director regarding different musical styles, d if-

38

ferences between various voices, technical aspects ofcreating a good performance (blending, breathing, accu-racy, etc.)

ARTS DISCIPLINE: Architecture (design)

ACTIVITY: How to develop and implement architecturalplans for a children's playground (contributed by JeffreyLevine, Architect, White Plains).

TARGET POPULATION: Middle school students

PROCEDURES: Architect explains role of architect in de-signing buildings and spaces, prepares students for thedrawing and construction of playground, superviseswith cooperating math teachers each aspect of the pro-gram which results in a variety of scale models and theconstruction of one of the designs. Procedures involveintegrating a variety of basic math and thinking skills.

42

STAFF DEVELOPMENT ACTIVITIES:

A SAMPLER

Staff development activities are an essential ingredientin comprehensive arts in education programs. Some ofthe model sites use staff development time to clarifywhat is meant by an arts-infused, interdisciplinary curric-ulum. Others use this time to introduce new theoriesabout creativity, aesthetic education, or the history of art,music, dance, or drama to scores of teachers willing toincorporate such ideas into their lesson planning.

Over the years, the districts have developed series ofworkshops or seminars which teachers attend afterschool or during the summer (for per session fees and/orinservice credit),In many cases, the staff developmentprocess is closely tied to subsequent curriculum writing.In some cases, the teachers volunteer; in other cases,

teachers with particular specialties are invited to partici-pate. Some districts limit participation to the target popu-lation of the Title IV C grants; others include all teacherswho are interested.

Not all staff development is conducted in the district orby district personnel. In many cases, the activities are co-sponsored and led by cultural organizations such as theLincoln Center Aesthetic Education Institute, the Metro-politan Opera, Historic Hudson Valley, or the SyracuseInstitute for Aesthetic Education. In these instances, thedistrict AIE coordinators work along with the outsideagencies to assure continuity and follow-up.

The next few pages show some of the formats, se-quences of instruction, and resources used to acquaintstaff with new ideas. content, and methodology.

4,-, 390

1

DISTRICT SIXInservice Course Outline

Date Spin-Off Activities

Feb. 10 Introduction: History, philosophy, rationale, psy- Related readingschology for integration of arts and academic learning

Cecil le Davis and Diane Orr

Feb. 17 Visual art and math Ila Gross, L.E.A.P. Invent a lesson integrating any art and aca-demic area

Feb.24 Drama for gifted children: How to develop a perfor- Related writingsmance for children based on their own experiences,feelings, and writing1) the source Robert Goldberg

Mar. 3 2) scene writing Robert Goldberg Related writings

Mar. 6 Metropolitan Museum How to structure and plan Develop a gallery worksheeta museum visit Helen Krieger

Mar. 10 Movement for all children including Special Educa- Invent a lesson integrating movement with anytion experiential workshop Gail Stern (please academic areawear comfortable clothing)

Mar. 17 Paper making related to plants (science), poetry Report on Arts in Education Article or Chapter(language arts), study of Japan (social studies). Bringonion skins, leaves, herbs, dried lettuce, celery, etc. -Ann Rosenthal

Mar. 24 Teaching poetry for all children including bilingual Write a poem for your hand-made paperJanine Vega

Mar. 31 Learning to Read Through the Arts artist demon-stration Debby Hart, Chinese Calligraphy

Apr. 21 Printmaking for all children (including bilingual) Hand in unit and lesson plan with a one-pagePat Velazquez museum, gallery, other field trip worksheet

Apr. 28 Paper Mache Cecil le Davis

May 5 G.A.M.E. Studio Space, 314 West 54th Street(bet. 8th and 9th Ayes.), 765-5904

May 12 Davis Teach lesson integrating arts into the curricu-lum

May 19 Presentations and interchange of units and lessonsintegrating the arts into curriculum

May 26 Final Exam Hand in final kit of materials, lessons and re-sources developed and acquired

40

44

MIDDLE COUNTRYSteps for Developing an Arts Based Curricular Program

The Arts Basic Curricular Projects is a 5-week program that requires twenty-five 40-minuteperiods to complete.

These programs consist of five-to-ten separate LEARNING UNITS, depending upon the nat-ure of the subject matter and the particular ART or ARTS involved.

These first sets of programs are based on existing 4th-5th grade curl icu!a.

STEP 1. Select a Subject Area (Example: Language Arts, Science)

Prescribe a specific focus to your program. Delimit your concern to a single com-ponent of the subject, to which ARTS can make a significant contribution. (Exam-ple: Science, Environmental Awareness)

STEP 2. Consider your subject Curriculum carefully. Select 5-10 concepts from this cur-riculum that deal with your specific focus.

Involve your team in this selection. A concept is a learnable idea, skill, or atti-tude. (Example: Social Studies Focus-Colonial Settlements) Concepts: Early set-tlers came from many European countries. Religious freedom, economic oppor-tunity, escape from political oppression, and lure of adventure as reasons formigration. Etc

Selecting concepts is a crucial step. Analyze each concept selected for sub-concepts. Write d67.vn objectives for students.

STEP 3. Now consider the Art . . . theater games, improvisations, poetry, creative writ-ing, creative movement, visual art, music with reference to each of thechosen concepts Can this art, and some of the experiential techniqueswhich the artists employ, provide sensory experience, motivational energy, andunique approach toward learning of concept?

Make up a chart with three columns as follows:

Science: Environmental Awareness (focus)

ConceptSub-concepts

Land and Waterrelationships

There is a bottom to allthat waterWater runs down a landslopeWater washes clay fromland leaving rocks, etc.

Arts experiences as sensory inputs

Building sand sculptures on thebeach . . watching the tides carryit awayCreating on the beach, or in theyard using tap water . . .

Identifying and photographing orsketching places that show landand water in different contexts.

Artist as resource

SculptorPhotographer

41

STEP 4. Now that you have your concepts/sub-concepts, some idea of kinds of activitiesyou want to evolve, and kinds of artists' resources you need, you are ready to sitdown with the ARTIST.

In consultation with the artist, rough out your LEARNING UNITSin the follow-ing format:

STEP;. ART-BASED CURRICULAR PROGRAM: Subject Area: Focus UNIT 1

I. Concept. (One concept to a LEARNING UNIT.)

II. Sub-concept, or Unit Objectives. There can be more than one sub-conceptor objectives dealt with in a UNIT.

III. Arts experience .. activity that is experiential and involves creating,performing, participating in an art form, . . . by an artist in the first phase.

IV. Detail the entire procedure; that is, spell out what the artist, the teacher,and the students would be doing during this activity period.

V. Specify: How would you gauge that the students are LEARNING and theUNIT is a success?

STEP 6. Work out these rough UNIT ideas with children in a regular class setting.

Remember we only have about 10 weeks of school left to the year. You need atleast five weeks to try your ideas out

42

HOMERCreativity Workshop

In May of 1981, a creativity workshop was held for faculty members to acquaint them withtheir own creative styles and with the value of testing students with regard to their abilities forcreative thinking. The workshop consisted of several components designed to familiarize theinservice participants with several concepts, ideas, and assumptions concerning creativity.Activities included:

1) Teacher creativity self-evaluation

2) Hands-on activities to expose teachers to the ideas behind Paul Torrance's tests for creativethinking. Activities such as picture construction and picture completion were used as aspringboard into assessment of flexibility, elaboration, originality, and fluency. Theseactivities led to questions and definitions on such issues as creativity, cognition, and di-vergent and convergent thinking.

3) Participants addressed questions such as "What is creativity?;'"What are cognitive styles?;'and 'Are there tests to measure creativity?" to help teachers better comprehend the use ofcreativity testing in the Homer School District.

4) Participants discussed characteristics of the highly creative person as defined by CharlesE.Schafter in his book, Developing Creativity in Children.

5) Joan Brunswick's "Ten Commandments to Creative Thinking" Uournal of Creative Behav-ior, Vol.5,1971) was discussed.

6) "Is it Possible to be a Creative Teacher?" by Paula Barber and Carol Flolden and "The Ghostof Creativity" by Robin Alexander were discussed. Both articles examine and define crea-tivity from the viewpoint of research on the subject.

The creativity workshop served to put participants at ease regarding their own sense of crea-tivity and that of their students. It attempted primarily to link creativity and the arts through anunderstanding of the terminology and concepts in both areas.

47 43

44

HOMERArts-in-Education Course

Participant Evaluation Form

Session: Date.

Rating Scale: 1 to 5

"poor" "excellent"

1 2 3 4 5

NA: Not applicable

Please rate (evaluate) your experience in this inservice course by circling the appropriate num-ber (using the rating scale above).

1. Overall value of training.

2. The quality of the information provided by:

a. the instructor verbally

-b. -the-Inservice Training Manual

c. the handouts

d. the activities

e. the guest speakers

3. The quality of the workshops provided by:

a. The Johnson Museum

b. The 1980 House Museum

c. The Buggett House Museum

d. The Cortland County Historical Society

4. To what degree do you feel you are now prepared to imple-ment the course in your classroom with respect to:

a. your familiarity with new instructional strategies

b. your familiarity with new instructional resources

c. your ability to deliver strategies, utilize resources effec-tively

d. your confidence with the use of the arts

e. your understanding of the value of the arts

"to no degree"

45

to a very high degree"

1 2 3 4 5

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

1 2 3 4 5 NA

In general:

1. How could the course be improved?

2. What did you find valuable?

45

43

HOMERin-Service Program

Topics

Introduction to concept, philosophy, and literature on arts-in-educaiton.

Rewiew of relevant projects: e.g., mineola arts project, reading improvement through art(rita), game, cemrel, and other.

Drama and theatre in education: improvisation, theatre games, and mime.

Sound-in-the-classroom: making musical instruments, writing songs.

Creative movement, language arts and social studies (2 sessions).

Poetry, creative writing and language arts.

Folk songs, folk lore and the social studies curriculum.

Art and mathematics.

The arts and environmental education.

Architecture for interdisciplinary classroom programs.

Encouraging visual thinking in classroom activities.

Development of Art-Based Programs

After completing the series of arts in-service courses, all-day workshops were held for theeight teachers who were selected as curriculum developers. Each developer represented one ofthe district's elementary schools. At these workshops, steps for developing arts-based programswere discussed and formulated. It was determined that all programs would require a teacher-artist-student collaboration. The process adopted for use in the development of art-based pro-grams is outlined below:

Activity

1. Select a subject area and specific focus

2. Consider subject area, choose five to tenconcepts which deal with program focus

3. Select art forms and art experiences whichcan enhance learning of selected con-cepts

46

Example

Language arts: creative expression

Sensory awareness, communication of feel-ings, writing poetry to express impressionsand feelings

Nonverbal communication techniques(mime). Exploring spatial .eiationships (mov-ement:dancer) poetry writing (poet). Devel-oping descriptive paragraphs (author, story-teller)

53

4. Plan with artist, identify art activitieswhich will need an artist in the classroom

5. Develop tentative series of activities asunits of your program

6. Work through your unit ideas with yourclass alone and with the help of the artist

7. Upon completion of the first run-through,you are ready to write your program

8. Write the program in prescribed format

9. Submit program for formal trial

Artist: creative movement specialist involvesstudents in exploring rhythmic beat in sen-tence.

Artist: mime or storyteller involves students inrole play

Writing poetry, writing using analogies, de-scriptive writing, developing a character, nar-rative.

As ideas for prototype programs were developed, a set of guidelines was used to insure thequality of programs. These guidelines were used to revise and improve each prototype progrp-,as it was tried in several classes and critiqued by teachers and artists before its operational formwas assumed.

The following outline was used in the curriculum development process:

SUBJECT AREA CONCEPTS 1. Curriculum analysis: Select Concept To Work With

OBJECTIVES 2. List Student Learning OutcomesWhat are you after?

(Nos.1 & 2 March 1st)

3. Choose Appropriate Artist and Art Experiences

Specify:

4. Work Out Tentative Strategies with Artists

List Materials needed.

(Nos.3 & 4 March 15)

5. Try Out With Your Class

Document-Observers

(No.5 March 15-May 15)

6. Write the Package

(No.6 June 1)

ARTS/EXPERIENCES

LESSON/ACTIVITY

STUDENT RESPONSE

EVALUATION/HOW

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March 12

March 19

NEW ROCHELLEArts and Education Caravan Course

Orientation and OverviewReview of taxonomy of basic intellectual skills (Bloom). Application of taxon-omy to arts activities with special emphasis on responding to art exhibits orevents.

Hudson River Museum American Painting 1968-78. A review of the mostsignificant artists of the last decade. Discussion Is it Art? Is it Meaningful?How does this work relate to its antecedents in modern and traditional forms?

March 26 Neuberger Museum Constructivism. What is it? How does this art movementrelate to its time in history?

April 25 Katonah Art Gallery The China Trade, an exhibit of art and artifacts exportedfrom China during the 19th century. How does art reveal historical episodes?

May 2 American Kaleidoscope Theater The Musical: A Mirror for Our Times. Partic-ipants see performance of "Sit Down and Eat Before Our Love Grows Cole

May 9 Sleepy Hollow Restorations Sunnyside: Home of Washington Irving. Roman-ticism in landscape architecture. A walking tour of Sunnyside and tour of thehouse. High tea, Victorian style. Discussion of research on New York between1820 and 1850.

May 16 New Rochelle Public Library A critique of the children's art show, Our Chil-dren, Our Artists. Review of the previous sessions.

May 23 East Coast Arts Co., Inc.- A "cold" reading of several one-act plays and mono-logues. Emphasis on the communication of feelings.

May 28 Museum of Modern Art The Rousseau Exhibit. A guided tour with emphasison the question "How primitive is Rousseau?"

5248

NEW ROCHELLEArts in Education Bibliography

Teachers may find the following books useful as they plan activities that relate the arts to basicskill development. They may wish to consult Bloom's Taxonomy for cross references to thinkingskills (to know, to comprehend, to apply, to analyze, to synthesize, and to evaluate).

Laura Chapman. Discover Art. Davis Publications, Inc. Worcester, MA: 1985.

Elaine Pear Cohen and Ruth Straus Gainer. Art: Another Language for Learning. Citation Press.New York:1976.

Ivan E.Cornia, Charles B.Stubbs, and Nathan B.Winters. Art Is Elementary: Teaching VisualThinking Through Art Concepts. Brigham Young University Press. Provo: 1976.

Eliot W.Eisner, editor. The Arts, Human Development, and Education. McCutchan. Berkeley:1976.

Jane Schmalholz Garritson. Child Arts: Integrating Curriculum Through the Arts. Addison-Wesley. Reading, MA: 1979.

Guy Hubbard and Mary J.Rouse. Art: Choosing and Expressing. Benefit. Westchester, Illinois:1977.

Rhoda Kellogg. Analyzing Children's Art. Mayfield. Palo Alto.

Jane Reiner. Changing Schools Through the Arts. McGraw Hill: 1983.

Helaine S.Rosenberg and Christine Prendergast. Theater for Young People: A Sense of Occa-sion. Holt. New York:1983.

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