The Role of Performing Art Centers in Education - Issue Lab

The Role of Performing Arts Centers

in Education

The Dana Foundation

AchievementActs of

The Dana Foundation

Board of Directors

William Safire, ChairmanEdward F. Rover, President

Edward BleierWallace L. CookCharles A. Dana, IIIAnn McLaughlin KorologosLaSalle D. Lefall, Jr., M.D.Hildegarde E. MahoneyDonald B. MarronL. Guy Palmer, IIHerbert J. SiegelClark M. Whittemore, Jr.

Acts of Achievement: The Role of Performing Art Centers in Education©2003 The Dana Foundation

ISBN: 0-9723830-3-4

Ann Whitman, Production Manager

Jane NevinsEditor in Chief

The Dana Foundation745 Fifth Avenue, Suite 900New York, NY 10151(212) 223-4040

Please note:Acts of Achievement is available in its entirety in PDF formaton the Dana Web site: www.dana.org

E D I TO R S :

Barbara Rich, Ed.D

Jane L. Polin

Stephen J. Marcus

The Role of Performing Arts Centers

in Education

AchievementActs of

About Dana

The Dana Foundation, founded in 1950, is a private philanthropic organization with

particular interests in science, health, and education. In 2000 the Foundation extended

its longtime support of education to fund innovative professional development programs

leading to improved teaching of the performing arts in public schools.

Dana’s focus is on training for in-school arts specialists and professional artists who

teach in the schools. We back up these arts education grants by disseminating information

to arts educators, artists in residence, and schools through our symposia, periodicals,

and books.

Dana has concentrated on local innovations in public education that can be replicated

nationally. In1992 the Foundation established the Dana Center for Educational Innovation

at the University of Texas at Austin to strengthen mathematics and science education.

The Center continues to develop and identify promising educational innovations for

local evaluation emulation across the country.

Our science and health grants support research in neuroscience and immunology. Dana

supports brain research through direct grants and by its outreach to the public, which

includes books and periodicals from the Dana Press; the international Brain Awareness

Week campaign; the Dana Alliance for Brain Initiatives, a nonprofit organization of more

than 200 neuroscientists, including ten Nobel laureates, committed to advancing public

awareness of the progress of brain research; and the Dana Web site, www.dana.org.

1 IntroductionJanet Eilber, Principal Arts Consultant,The Dana Foundation

3 Executive SummaryJane L. Polin, Philanthropic Advisor

10 Artist ResidenciesLynne Silverstein, Arts Education Consultant

23 Interview ExcerptsWilliam Safire, Dana chairman, and Warren Simmons, executive director of theAnnenberg Institute for School Reform

Case Studies of Performing Arts Centers(organized by state)

28 Arizona: Scottsdale Center for the Arts31 California: Cal Performances33 Connecticut: The Bushnell Center 36 Hawaii: Maui Arts & Cultural Center38 Kentucky: The Kentucky Center41 Massachusetts: Jacob’s Pillow Dance Festival43 Vermont: Flynn Center for the Performing Arts46 Washington, DC: The John F. Kennedy Center

for the Performing Arts

Program Profiles of Performing Arts Centers(organized by state)

Arizona:

50 UApresentsArkansas:

51 Walton Arts CenterCalifornia:

53 Center Theatre Group/Performing for Los Angel Youth (P.L.A.Y) 51 55 Montalvo57 Music Center Education Division (MCED)59 San Francisco Performances61 Yerba Buena Center for the Arts

Connecticut:

62 Westport Country Playhouse

Table of Contents

Florida:

64 Broward Center for the Performing Arts65 PACT Inc. (Ruth Eckerd Hall)67 Tampa Bay Performing Arts Center68 Van Wezel Performing Arts Hall

Georgia:

70 Spivey Hall

Iowa:

71 Hancher Auditorium

Illinois:

73 Urban Gateways: Center for Arts Education

Indiana:

74 Clowes Memorial Hall of Butler University

Kansas:

76 The Lied Center of Kansas

Kentucky:

77 Glema Mahr Center for the Arts79 RiverPark Center

Louisiana:

81 Jefferson Performing Arts Society

Massachusetts:

82 FleetBoston Celebrity Series84 The Wang Center for the Performing Arts

Maryland:

85 Clarice Smith Performing Arts Center

Maine:

86 Emery Community Arts Center & Foothills Arts88 L/A Arts

Michigan:

90 University Musical Society

Minnesota:

91 Ordway Center for the Performing Arts93 St. John’s University/College of St. Benedict

Missouri:

94 COCA (Center of Contemporary Arts)95 DANCE St. Louis97 Juanita K. Hammons Hall

for the Performing Arts

continued on next page

Montana:

98 Alberta Bair Theater100 Myrna Loy Center

Nebraska:

102 Lied Center for Performing Arts

New Hampshire:

104 Capitol Center for the Arts

New Jersey:

105 New Jersey Performing Arts Center

New York:

106 Bardavon 1869 Opera House108 Brooklyn Academy of Music (BAM)110 Carnegie Hall112 The Chamber Music Society of Lincoln Center113 Jazz at Lincoln Center114 The Joyce Theater116 The New Victory Theater117 New York State Theatre Institute119 Symphony Space120 Tilles Center for the Performing Arts

North Carolina:

122 NC Blumenthal Performing Arts Center

Ohio:

124 Cincinnati Arts Association125 Franciscan Center of Lourdes College126 Playhouse Square Foundation

Pennsylvania:

128 Annenberg Center for the Performing Arts130 The Kimmel Center for the Performing Arts

South Carolina:

131 Arts Center of Coastal Carolina133 The Peace Center for the Performing Arts

South Dakota:

134 Washington Pavilion of Arts and Science

Tennessee:

136 Tennessee Performing Arts Center

Texas:

138 MSC OPAS at Texas A&M University140 Performing Arts Fort Worth, Inc.141 Society for the Performing Arts

Virginia:

143 Virginia Arts Festival144 Wolf Trap Foundation for the Performing Arts

Washington:

146 Broadway Center for the Performing Arts147 University of Washington World Series

Washington, DC

148 Washington Performing Arts Society (WPAS)

Wisconsin:

150 Madison Civic Center

West Virginia:

152 Clay Center for the Arts & Sciences-WV

153 Acts of Achievement Advisory Committee

154 Additional Resources

155 Contributors and Editors

156 Acknowledgements

157 Index

Table of Contents continued

1ACTS OF ACHIEVEMENT THE ROLE OF PERFORMING ARTS CENTERS IN EDUCATION

As a dancer who had the good fortune towork with the legendary Martha Graham,I remember how, despite her own remark-

able skill, creativity, and independence, she used tocelebrate growth through collaboration. “I am athief!” Martha would announce, barely suppressingher delight in provocation. “But I only steal fromthe best.”

Collaboration with complementary partners (build-ing on “the best”) is, of course, no theft at all, but awin-win enterprise for all participants. Collabor-ation nurtures those who present the artist’s work,as well as the audiences whose hearts and minds theartist and presenter intend to touch, whether inperformance centers, in the community, or where itis particularly effective —in schools.

In the rapidly evolving field of arts education, timeand resources are limited. Guidelines and successstories that enable an educator, artist and presenterto find ways to exchange ideas and build upon thework of others are hard to come by. Artists andeducators responsible for these programs in theclassroom often lack the opportunity to documenttheir experiences, especially for a wider audience.

In fact, part of the impetus for this book came froman innocent e-mail the Dana Foundation sent tofriends in arts education: “Does anyone have artistresidency guidelines?” We sought data about directinteraction among artist, students, and their teach-ers in a school setting. “Our guidelines need updat-ing,” we pointed out. “Does anyone have a good,practical formula?”

Responses flooded back, showing that we were not alone:

Growth Through Collaboration:New Opportunities for Educators, Artists, and Presenters

By Janet Eilber,Principal Arts Consultant, The Dana Foundation

“Artist residency guidelines? We’ve been looking forsome for months. Forward any that you uncover.”

“We need them, too, both for artists and the schools.”

“We’re looking for guidelines that include perform-ing arts centers.”

“Please send us a copy of any and all—even old ones.”

The need for facilitating educator/artist/presentercollaboration was brought home again. Dana’sgrants and outreach, though relatively new on thescene, seemed to be filling this gap in arts educationfunding. But there was a long way to go.

Dana’s support of education dates from theFoundation’s beginnings in 1950. Its interest in artseducation began in 2000, with an initiative toimprove the quality of arts in the schools by train-ing teaching artists and in-school arts specialists.

We have reinforced this mission in several ways.In 2001, the Foundation held a symposium inWashington, DC to explore the options, resources,and best practices available to planners of K-12schools with an arts focus. The information fromthat stimulating symposium was turned into a freepublication, Planning an Arts-Centered School: AHandbook. The demand for the book required asecond printing of 10,000 copies within threemonths. Dana also produced or participated inworkshops and panels; established an arts educa-tion section on the Foundation’s Web site; created“The Arts and the Brain” for the syndicated radioseries, Gray Matters; and began publishing a newquarterly, Arts Education in the News.

The enthusiastic response to these coordinatedefforts spurred the planning of a second nationalconference, “Acts of Achievement,” (held April 9-10,2003, at the Dana Center in Washington, DC, and


the John F. Kennedy Center for the PerformingArts) and this companion publication.

We set a series of specific goals for the 2003 symposium:

• First, we aimed to address issues which most concern our Dana grantees. Arts providers, presen-ters, and other arts organizations typically ask:

– How do we involve school leadership in artseducation?

– How do we develop a symbiotic relationshipbetween teaching artist and classroom teacher?

– How do we involve parents and secure grass-roots community support?

– What elements make artist residencies in schoolssuccessful?

• Our second goal was to build on pioneering workin this area of arts education. Creating Capacity: AFramework for Providing Professional DevelopmentOpportunities for Teaching Artists, a publication prepared by The National Conversation on ArtistProfessional Development and Training, providedan excellent foundation. Creative resources such asthe Kennedy Center’s A Community Audit for ArtsEducation: Better Schools, Better Skills, BetterCommunities were invaluable.

• Finally, we determined that the participants at thesymposium should represent a “critical mass” ofdiverse members of the arts education and presen-tation communities who could advance this field bytheir interaction.

These goals shaped the symposium, aided by theguidance of philanthropic advisor Jane L. Polin, andthe active involvement of Sandra Gibson (presidentand CEO of the Association of Performing ArtsPresenters), and Derek E. Gordon (senior vice president at the Kennedy Center). The wide-ranging effort, under the administrative leadershipof Barbara Rich (a Dana vice president with a doctorate in education) produced a dynamicexchange in which many participants exploreduncharted areas and generated new ideas.

This book provides several ways to make use of theresources created in conjunction with the 2003symposium, “Acts of Achievement: The Role ofPerforming Arts Presenters in Education.”

The Executive Summary provides an overview;even the most seasoned arts education professionalsat the conference remarked on the freshness of theinformation exchanged about practical experiences.The goal of achieving “critical mass” with a comple-mentary group of participants was not onlyreached, but was exceeded. It became a central feature of the event. The summary, written byPolin, reviews this interchange of ideas and isenriched by the author’s expert observations andrecommendations.

• The Case Studies and Profiles of arts presenterinstitutions are designed as a practical guide forothers who are initiating, assessing, refining, orrevamping arts education programs of their own.The profiles, which examine the work of presentersacross the nation, offer a variety of curricula andapproaches to learning organized to encourage localadaptation and national advancement. The detailedcase studies do the same in greater depth.

• Lynne B. Silverstein’s essay, “Artist Residencies:Evolving Educational Experiences,” is a step-by-stepguide for educators and artists planning to worktogether for students’—and each others’—benefit.Using research, interviews, and insights derivedfrom the Acts of Achievement forum, this articleprovides ten “elements of success” for artist residen-cies and an appendix of checklists for each type ofparticipant. The purpose of this essay is to demystifyand illuminate the artist residency process.

The participants in the “Acts of Achievement”forum—school administrators, teachers, experi-enced teaching artists, and arts presenters—are thecentral authors of this book. We hope the readerwill continue this “growth through collaboration”by taking advantage of the many ideas in its pages.

And for those looking for artist residency guide-lines—as we at Dana were—here they are. Feel free to make good use of them, refine and adaptthem, and share them with colleagues and partners.In the Martha Graham tradition, you’ll be buildingon the best.


By Jane L. Polin, Philanthropic Advisor

In Anytown, USA, 11-year-old Bobby attends aperformance of Revelations, the signature workof the Alvin Ailey American Dance Theater,

with his middle school class at a local performingarts center. He is amazed, having never seen any-thing like this before. How do those guys jump sohigh in the “Sinner Man” scene? And why are theyrunning? The lighting on stage keeps changing—how do they do that? The gospel music is bothhappy and sad; and the sounds remind him of thehip-hop that his older brother often plays. Religioncertainly seems to be central in the lives of thesepeople, and the women appear to be in charge ofeverything. Finally, why does everyone in the audi-ence start clapping rhythmically during the lastscene, even before the piece is over?

Although the individuals portrayed in Revelationsare from a different time and place, they have somuch to say to Bobby. These characters are believ-able human beings, not just figures in a video game.But where do their portrayers come from? And howdid they learn to do what they do? Soon he and hisclassmates actually interview the dancers, whoanswer some of his questions. Back at school,Bobby even gets to dance with them, and learns ofthe cultural and social conditions of the DeepSouth that inspired Alvin Ailey to choreograph thisAmerican classic. Afterward, Bobby writes aboutthis extraordinary experience for his social studiesclass.

The local performing arts center has become a truepartner of Bobby’s school. They prepared the teach-ers for this specific performance, but the center’seducation department staff also provides guidance

and resources in numerous other ways throughoutthe year. Together, the performing arts center andthe school are focused on one thing: studentachievement. As partners they are collaborating toperform “acts of achievement” for Bobby and manyother students across the nation.

“Audience Development” Comes of Age

At the turn of the 20th century, many music halls,opera houses, and theaters were built acrossAmerica as places of entertainment. For example,the Colonial Theatre in Pittsfield, Mass., built in1903, was typical of “a time when almost everycommunity had a showplace like this, a place whereyou could walk in from the street and be transport-ed to a world far removed from the mundane ritu-als of everyday life.” (2001: National GeographicSociety, Saving America’s Treasures.) These show-places were deemed “magical venues with nameslike Grand or Tivoli or Majestic.” In the mid-20thcentury, the Colonial and similar sites were oftenreconfigured for the primary entertainment of theday: moving pictures.

As the century drew to a close, another buildingboom throughout the country created large num-bers of performing arts centers to serve as homesfor local performing arts companies and havens fortouring enterprises. Once again, these placesbecame vehicles for civic identity. But the evolvingexpectation was that the centers would serve not as“roadhouses” but rather as “community centers.”While still transporting audiences to faraway places,they would also develop programs that addressedlocal needs, especially those involving the economyand education. The new performing arts centerswould now play a critical role in developing a capable, caring citizenry.

Acts of Achievement: The Role of Performing Arts Centers in EducationExecutive Summary


For the best K-12 education programs establishedby performing arts centers, narrowly defined audience development was not the focus but rathera byproduct. Leaders in the field were now focusingon student learning.

Acts of Achievement—The National Forum

On April 9-10, 2003, leaders from the arts, educa-tion, performing arts centers, and related profes-sional communities participated in “Acts ofAchievement,” a national invitational forum on performing arts centers in K-12 education.Performing arts centers nationwide were also invit-ed to submit profiles describing their respectiveprograms. The Dana Foundation sponsored theforum, in partnership with the John F. KennedyCenter for the Performing Arts—a critical nationalforce and resource for increasing student successthrough arts learning—and the Association ofPerforming Arts Presenters.

Welcoming Remarks

The 145 participants from 25 states who convenedat the Kennedy Center were welcomed by MichaelKaiser, president; Derek Gordon, senior vice presi-dent; and Alma Powell, vice chair of the board.

In describing the current and future education pro-grams of the Kennedy Center, Kaiser noted that “atthe heart we think of ourselves as an educationalinstitution.” The Center is heavily involved in“enriching the lives of children and allowing chil-dren to express themselves through the arts,” hesaid. “We believe the audiences will be developed ifwe do that work. But our primary focus is onenhancing the lives of young children.”

Powell added: “I salute you who are here today to exchange ideas about the arts for children,because it is certainly a very vital part of our children’s development. Quite simply, the arts are what civilize us.”

“Audience development” had admittedly been amajor preoccupation of these centers’ leaders, wholong recognized that contributions—a vital element—were directly related to income earned from thepurchase of tickets and related products. These centers came up with marketing strategies to filltheir halls with arts lovers young and old, butyoung ticket buyers were especially desirable;viewed as institutional “annuities,” they were peoplewho could provide steady income to the perform-ing arts center over their lifetimes.

Meanwhile, a crisis in K-12 public education wasdeclared. Ever since the U.S. Department ofEducation’s release a generation ago of A Nation At Risk, educators had been struggling to reinventschools and raise student achievement. In manyplaces, performing arts centers joined other schoolreformers to improve K-12 public education.

Their innovative activities had the added benefit ofexpanding young audiences. The recent report TheCapacity of Performing Arts Presenting Organizations(2002: The Urban Institute) found that 76.9 percentof these organizations were using “programs andperformances for K-12” as an “audience-develop-ment strategy.” For organizations with small budg-ets, 69 percent were using this strategy, while 93percent of large organizations were engaged in K-12outreach.

These activities consisted of more than just sellingor subsidizing tickets. As noted in Toward CulturalInterdependence: The Fourth Phase of the PerformingArts in America (2002: Association of PerformingArts Presenters), “audience development” soongrew to have a more complex meaning. Its fourmajor aspects were:

• Establishing new forms of partnership

• Making up for the loss of arts education at everylevel

• Improving the quality and quantity of teachingartists

• Involving new audiences by developing new, non-traditional venues


Interview

William Safire, chairman of the Dana Foundation,provided a brief overview of Dana’s half century ofwork in education, neuroscience, and, most recent-ly, arts education. To further set the stage for theday, The New York Times columnist said:

“I like the idea of getting the most for your buck ineducation. But in the movement to measure, in themovement to make sure that you can put your finger on what’s happening to students in school,we all too often go for the easy-to-measure—read-ing comprehension, science, math. This hasimpressed a lot of budgetary types, but at the sametime it denigrates the power of arts in educationbecause you can’t quite measure it.”

Safire then conducted an interview with WarrenSimmons, executive director of Brown University’sAnnenberg Institute for School Reform. Their dialogue included:

• The state of urban school reform

• The importance of participation in the performingarts for all students

• Standards-based reform and student assessment

• The relationship of education to the economy andto other purposes (“democratic citizenship, culturalwell-being, individual fulfillment, family and com-munity development”), according to Simmons

• Direct and indirect effects of the arts on learning

• Opportunities to interconnect multiple schoolreforms now underway

• Support systems that include the arts.

Simmons encouraged the leaders of performingarts centers, and other stakeholders, to become“part of a larger system that provides continuoussupport for [the] arts and other forms of develop-ment as part of school-based and community-based activities.” He also described the building ofsuch systems as “the most exciting opportunity tojoin top-down reform with bottom-up reform and

have the two be mutually reinforcing.” Based on hisown experience with the Rhode Island Governor’sTask Force on Literacy in the Arts, Simmons citedthe need to map arts resources and school needs;to identify funding and coordination mechanisms;and to develop governing structures to ensure high-quality practice.

Safire and Simmons then extended their lively conversation to include the forum audience.The following issues, among others, were raised:

• Arts standards

• Preparation of teaching artists

• The need to gather evidence to improve arts educa-tion

• How the arts can reduce school violence andaddress student fears during crises

• Career opportunities in the arts “behind thescenes”

• Methods for assessing student learning

• The imperative to build community and financialsupport for proven solutions, with public accountability

• Curriculum frameworks that can support learningin and through the arts

Excerpts both from the interview and the follow-upexchange can be found on page 23.

Three Panels

Following the interview, three research questions—each addressed by a panel of experts—framed therest of the day’s presentations and discussions:

• What do you consider to be the critical factors forsuccess in artist residencies?

• What can performing arts centers do to better prepare teaching artists?

• How can performing arts centers provide more andbetter professional-development opportunities forK-12 leaders—including teachers, principals, super-intendents, school board members, and others?


Panel One: The Role of Artist Residencies

Ken Fischer, University of Michigan (moderator)

Nnenna Freelon, jazz singer and educator

James Catterall, UCLA Center for Imagination

Rob Smith, superintendent of Arlington, VA schools

Because artist residencies are a basic educationoffering of virtually all performing arts centers,moderator Fischer, University of Michigan, and hispanelists examined critical factors for success andexplored the evolution of the artist residency from a“diversion” to a fully integrated learning experiencefor students, artists, and teachers.

As the leader of a high-achieving school system,Superintendent Smith spoke about “the importancefor children of engaging in life through the arts, asthey do through literature, as they do throughmathematics, as they do through scientific experi-mentation, as they do through studies of historyand social science, or as they do through athletics. Ibelieve it’s part of a well-balanced curriculum,which is a phrase that’s not heard a lot these days.”

The jazz performer and educator Freelon describedlessons learned from her experiences as a teachingartist over the past 15 years, and she emphasizedthat strong communication is an essential ingredi-ent before, during, and after the artist residency.“You have to allow [students] the opportunity toexperience your art and to experience themselves inthe doing and making of the art as well. That’s howyou really transform lives, which is what I really seemyself doing.”

Researcher Catterall spoke about artist-teacherpartnerships in the context of integrated instruc-tion, and he made several observations about effec-tive practice. Catterall described the dynamicbetween the artists and teachers involved (it’s“about relationship development [and the] develop-ment of skills and curriculum in practice”), and“mutual adaptation” (a term coined by StanfordUniversity scholar Milbrey McLaughlin) for thepartnering institutions. He also noted the currentgap between arts standards and the testing agenda,and he urged the forum participants to considersustainability as a key asset in developing longer-term partnerships through their artist residencies.

Panel Two: The Preparation of Teaching Artists

Frank Hodsoll, Center for Arts & Culture (moderator)

Ella Baff, Jacob’s Pillow Dance Festival

Daniel Bernard Roumain, composer, violinist,and educator

Libby Lai-Bun Chiu, Urban Gateways

During this session, moderator Hodsoll, Center forArts and Culture, encouraged his panelists todescribe how their own particular work addressesteaching artists’ advancement.

Composer, violinist, and educator Roumain toldthe forum participants about his own “rules andtools” for artist residencies, which involve eight fac-tors: program design, flexibility within the pro-gram, a structure that creates a system, the powerof conversation, the connections that provide vali-dations, relevancy and respect for the participants,goals that generate gains, and the entertainmentvalue of the residency. He also observed that fun isfundamental.

Baff, Jacob’s Pillow Dance Festival, described vari-ous elements of the Pillow’s programs that nurtureteaching artists in dance. These include: the basicdesires of the artist; a personalized approach to hisor her needs; the development of skills throughpreparation and practice; the issues of problem-solving and translation; the replication of individ-ual efforts to a larger scale; the management ofbroad and multiple concepts; the ability to impro-vise; and the willingness of the curious to create,regardless of domain.

As one of the leaders of the “National Conversationon Artists’ Professional Development & Training”,Chiu, Urban Gateways, referred to the publicationCreating Capacity: A Framework for ProvidingProfessional Development Opportunities for TeachingArtists (2001), which articulates six basic elementsof teaching-artist training: philosophy of arts edu-cation, theories and models of arts education,teaching methods and the content of instruction,collaboration with educators, effective assessment,


and knowledge of school culture. She also defined acontinuum for the role of the teaching artist—pre-senting artist, interacting artist, collaborating artist,and master instructional artist—and described howthe “healthy child concept” and the “encounter,engage, and reflect” methodology help guide UrbanGateways’ training programs for teaching artists.

Panel Three: Professional Development of K-12 Teachers

Uri Treisman, Dana Foundation, Director of the Dana Center, University of Texas at Austin (moderator)

Gail Burnaford, Northwestern University

Jose Colchado, Northern Arizona University

Steve Seidel, Harvard Project Zero

Within the context of the “No Child Left Behind”

federal legislation, moderator Treisman, DanaCenter, University of Texas, at Austin, asked panelists to comment on the issue of competency—what do teachers need to know and be able to do inthe arts?—and on how performing arts centers,higher-education institutions, and other organiza-tions can support learning in and through the artsfor these teachers.

Burnaford, Northwestern University, spoke aboutthe need to understand the work “one classroom ata time.” She drew attention to the role of arts specialists within schools and raised the issues ofteacher certification, the expectations for contentknowledge and instructional experience, and theimpact of decisions by state policymakers on cur-rent and future practice. She urged others to docu-ment their work, share proven practices, and pro-mote collaborative learning among teachers as wellas students.

Telling the story of his own journey to achievementthrough the arts, Colchado, Northern Arizona

University, described how they can form a “spiral ofsuccess” for students, particularly minority andpoor students, and especially those with languagedeficiencies. He said that teachers “should knowwhat it feels like to be involved in the creativeprocess. They should know the joy of making art.”Colchado cautioned that you can have a learningobjective and assess that particular objective—without critiquing the entire work of art. He alsoencouraged greater political activism, and endorseda more influential role for higher educationthrough curriculum change in pre-service teachertraining.

Seidel, Harvard Project Zero, noted that under-standing what students need to know and be ableto do should inform what teachers should knowand be able to do—and that this basic premiseshould not be taken for granted. To stimulate the“leap into learning” for teachers, Seidel cited thevalue of bringing teachers together with artists asfellow explorers of “new territories.” He decried the“disposable” nature of student work when bothteachers and students have much to learn from cre-ating a body of work, as in the portfolio assessmentmodel. Seidel also spoke about the need to trans-form schools from “institutions” into “communi-ties,” and pointed out that arts learning can con-tribute to this process. A commitment to arts learn-ing shows the community’s “desire to open thedoors and invite people in, both to see your workand to help you do what you do better.”

Acts of Achievement—The Book

Artist Residencies: Evolving

Educational Experiences

In preparing for the “Acts of Achievement” forumand book, we listened to teaching artists, classroomteachers, and others who work at the local level—and heard a distinct request for help in doing artistresidencies. The “old” model—basically aclient/customer relationship between teaching artistand teacher—was changing, but practitioners wereunsure how to modify their programs accordingly.As a result, arts education consultant LynneSilverstein was invited to research and write an

“The emerging artist residencymodel is an informed partner-ship—a collaborative effort of the teaching artist andclassroom teacher...”


essay that would offer practical guidance for the keyplayers in artist residencies: the classroom teacher,the teaching artist, the arts organization coordina-tor, and the school coordinator.

The emerging artist residency model is an informedpartnership—a collaborative effort of the teaching

artist and classroom teacher, often mediated by theprogram and school coordinators. Together, theytry to focus on learning in and through the arts foryoung people, whether in a single classroom ses-sion, a day, a week, or over a much longer period.

Silverstein’s excellent essay, “Artist Residencies:Evolving Educational Experiences,” addresses threecore topics: the instructional purposes of artist resi-dencies; the factors that are critical for artist resi-dencies’ success; and residency checklists for artists,teachers, arts organization coordinators, and schoolcoordinators. This book presents that essay in itsentirety.

A Sampling of Programs: 74 Profiles

The “Acts of Achievement” initiative was the firstnationwide attempt to document the size and scopeof these fast-growing K-12 education programs atperforming arts centers. Dana issued an open calland received 138 qualifying profile submissionsfrom centers located in 37 states. Seventy-four ofthem, some serving fewer than 20 schools and oth-ers serving hundreds of schools, were selected forinclusion in this book, based on ratings establishedby our advisory committee.

Note the relative youth of many of these. Exactlyhalf or 37 were instituted after 1990. Only 20 pre-date 1983, and the remaining 17 were createdbetween 1983 and 1990. The rapid development of such programs in recent years is clearly the result of community expectations and politicalcommitment, backed by new or increased financial support.

The K-12 education programs of 66 of these performing arts centers are profiled here, and eightmore are presented in “case history” detail. Theeight are presented in-depth not only for theiracknowledged quality, but also for the range ofinstitution and program types they represent:

• The Bushnell Center for the Performing Arts(Hartford, CT) is an 84-year old institution in amid-sized city.

• Cal Performances (Berkeley, CA) is based at amajor research university.

• Flynn Center for the Performing Arts (Burlington,VT) is serving a largely rural population

• Jacob’s Pillow Dance Festival (Lee, MA) is a nation-al professional center focused on a single perform-ing arts discipline.

• The John F. Kennedy Center for the PerformingArts (Washington, DC) is a center addressing bothlocal and national arts education needs.

• The Kentucky Center (Louisville, KY) is operatingon both a local and statewide basis.

• Maui Arts & Cultural Center (Kahului, HI) is a newcenter located in a rural setting.

• Scottsdale Center for the Arts (Scottsdale, AZ) is a16-year old center in a fast-growing metropolitanarea.

Celebrating the Contributions, and Aiming for More

The explosive growth of performing arts organiza-tions—dance ensembles, symphony orchestras,theater companies, and others—throughout the 1960s was often made possible with supportfrom the Ford Foundation, the single largest artsfunder of the time. The visionary Mac Lowry,who led Ford’s arts philanthropy work, saw thatinvolvement with the performing arts was a vitalexperience for all Americans and that access toquality performances should not be an accident of geography.

“...education, both for theyoung and the young at heart,is one of the best ways to giveto the community.”


An important mentor to this author, Lowry stressedthe importance of nurturing a partnership betweenthe local performing arts organization and its com-munity. During one of our final conversationsbefore his death in 1993, Lowry said: “Any organiza-tion that takes the name of a city into [its] namehas a responsibility to give to, not just take from,that community.” And he believed in particular that education, both for the young and the young at heart, is one of the best ways to give to the com-munity.

Performing arts centers, those of long-standing as well as those of recent vintage, are indeed recog-nizing that K-12 education is an enterprise to which they can contribute in their communities.That investment will yield long-term benefits, forthese institutions and their communities alike,beyond the short-term gain of filling seats withyoung people.

To raise the quality and quantity of their K-12 edu-cation programs, performing arts center leaders andtheir partners might consider the following actionsas potential next steps:

• Utilize “A Community Audit for Arts Education:Better Schools, Better Skills, Better Communities”(2001: Kennedy Center Alliance for Arts EducationNetwork). This research-based audit tool enablesgroups or even individuals to examine the state ofarts education in their communities and set meas-urable objectives for improving available programs.

• Establish relationships with university-based schoolsof education and schools of the arts, the primarysources of teachers and teaching artists. The pre-service and in-service programs of these institu-tions can be powerful partners in developing acadre of capable professionals for programs both inand out of schools. Local colleges and universitiescan also be a technical resource for evaluation andresearch efforts.

• Learn from the experiences of others in the field.This publication provides a new tool for that learn-ing. Also look to national resources such as the ArtsEducation Partnership and the John F. Kennedy

Center for the Performing Arts, as well as to disci-pline-based service organizations. Contact informa-tion for many of these groups is contained in thisbook’s resource listing.

• Engage the entire community in the development ofan arts education program. The strongest programs,many of them described in these pages, thrive fromthe active participation of individuals with diversebackgrounds and experiences.

• Launch internships and residencies for teachers andother educators within performing arts centers.Residencies, after all, do not need to be limited toteaching artists alone. Performing arts centers andtheir education programs would undoubtedly bene-fit from the on-site involvement of local teachers,principals, and others in structured learning experi-ences.

• Document the learning. As performing arts centersbegin to exchange information on their K-12 education practices, the ability of teaching artists,teachers, and program coordinators to access a significant knowledge base will depend on their colleagues elsewhere having communicated theirown successes (and disappointments).

• Build sustained support for these programs throughtargeted advocacy efforts. Just as students demon-strate their knowledge through performance, per-forming arts center leaders and their partners needto make visible the results of their education pro-grams to decision makers and opinion makers—school-board and center-board members, electedofficials, the media, and others.

Through the national forum and this publication,Acts of Achievement: The Role of Performing ArtCenters in Education celebrates the considerablecontributions of performing arts institutions to K-12 education in recent years. We are grateful tothem for pursuing or supporting this importantwork, and we applaud their own acts of achieve-ment that bring the performing arts into the lives of young people.


By Lynne B. Silverstein

At schools, community centers, and arts ven-ues across the nation, we see students chore-ographing and performing compositions

guided by professional dancers, teachers learningmethods to help students examine American histo-ry through theater, aspiring opera singers takingmaster classes, future stage managers helping tobuild sets, and the voices of middle school chorusesrising because of their work with professional jazzvocalists. Such activities are all becoming increas-ingly familiar as artists come together with studentsand teachers for the purpose of learning in,through, and about the arts.

The programs that make these activities possible arereferred to as “artist residencies”—direct interac-tions between artist and students, with their teach-ers in a school setting. They are developed by artsorganizations in partnership with school adminis-trators and teachers, and they supplement andextend schools’ arts programs. Whether residenciesconsist of one visit or a series of visits across aweek, a month, or several months, there are basicprinciples that apply to them all.

Artist residency programs as we now know thembegan during the 1960s,i and they continue to be asignificant part of arts organizations’ educationprograms today. For the 1998-99 school year 38percent of public elementary schools reported thatthey hosted at least one short-term artist residency

(one week or less) and 22 percent had hosted atleast one longer residency. During the same schoolyear, 34 percent of public secondary schools hostedat least one short-term residency and 18 percenthosted longer residencies.ii

Such residencies must necessarily be of high qualityand relevant to schools’ curricula. As accountabilitylooms large, administrators and teachers are scruti-nizing how student time is spent and how activitiesalign with content standards; they are increasinglyconcerned with results—what students will knowand be able to do. Arts organizations have respond-ed by developing residencies that rely more andmore on collaborative relationships with school-system administrators, teachers, and arts specialistsin order to best reflect the system’s priorities andensure success.

Winning Hearts and Minds

Residencies have three distinct instructional purposes.(In practice, however, these same residencies mayserve more than one purpose.)

To spark students’ interest in the arts.This is usually accomplished through “performanceresidencies” planned by artists in consultation witharts organizations, which work with teachers andin-school or school system arts specialists to alignthe performance residencies with applicable stan-dards and students’ learning needs.

Residencies have a variety of objectives. For example, performance residencies may introducestudents to the collaborative nature of the perform-ing arts, to the arts of a particular culture, or to thearts as a professional career. They may be organizedas a sampler series of different art forms or as aseries that introduces different genres within oneart form. Series invite comparisons between oramong the performances. Such residencies arestrengthened by active student participation andthe distribution in advance of printed or online

Artist Residencies: Evolving Educational Experiences

“Arts organizations haveresponded by developing residencies that rely more andmore on collaborative relation-ships with school-system administrators, teachers, andarts specialists...”


materials that give students information about theartists, the art forms, and the performances theywill see.

As defined in Creating Capacity,iii the artists wholead these residencies tend to be both “presentingartists” who perform for student audiences, and“interacting artists” who, through their perform-ances or lecture-demonstrations, make connectionsto the curriculum and engage students in pre- orpost-performance discussions or activities.

Characteristics of performance residencies include:

• A focus on a topic or theme related to specific goals

• A structure with a well-defined introduction, body,and conclusion

• Strategies for engaging students’ curiosity andinterest

• Guidance to students on what to look and listen forin the performance

• Clear, jargon-free language that does not assumespecialized arts knowledge

• Instruction to help students learn their roles andresponsibilities as audience members

• Opportunities for students to interact with performers

• Supplemental resource materials (e.g., print, Website, compact discs) that prepare students and helpteachers extend the learning in the classroom

Through technology, performance residenciesextend their reach to wider audiences of studentsand teachers. Some performance residencies arebroadcast, real time by satellite, to outlying sitesthroughout a state, region, or the nation. Provisionfor live question-and-answer sessions gives thesehook-ups an interactive component. In addition,online bulletin boards provide forums for discus-sions among students, teachers, and performingartists.

To develop students’ knowledge and skills in thearts and/or help them learn other subject areasthrough the arts.These “in-classroom instructional residencies” areplanned with or adapted to student needs identifiedby participating teachers. Although these residen-

cies have an indirect benefit for teachers, their primary focus is on students. The teaching artistprovides instruction using specialized arts tech-niques generally outside the expertise of classroomteachers. By contrast, residencies focused on teach-ers’ professional development (see below), teachingartists use and share techniques that can be repli-cated and adapted by teachers.

In-classroom instructional residencies focusing onparticular art forms are intended to help studentslearn the creative process; acquire technical abilities;apply the arts process to other areas of study; anddevelop a variety of learning skills (such as practice,exploration and experimentation, reworking andrevising ideas, getting feedback, and working col-laboratively as well as independently). The residen-cies may be designed for students who have limitedexperience with the art form or for those who haveachieved a certain level of expertise. The latter takethe form of master classes or clinics, and are usuallyplanned in collaboration with arts specialists.

In-classroom instructional residencies focusing onintegrating arts with other parts of the curriculummeet objectives in both the art form and the subjectarea. In addition to art skills, they help develop students’ learning skills (e.g., listening and concen-tration), social skills (cooperation and collabora-tion, for example), and emotional skills (such asempathy). The teaching artists who lead these resi-dencies are “collaborating artists” or “masterinstructional artists.”iv In addition to having theskills to perform and engage students in discus-sions, they work in partnership with school administrators and teachers to plan and lead appropriate instruction and assessment.

A school’s first experience with a teaching artist pro-vides an opportunity to become acquainted, begin todevelop a trusting relationship, and understand thepotential that residency work holds for engaging students in powerful learning. When successful, theseinitial residencies can lead to invitations for artists to return for future residencies in which they collab-orate more fully with teachers. In addition, artsorganizations are using technology to expand thereach of in-classroom instructional residencies.These “cyberspace instructional residencies” are link-ing teaching artists with students and teachers in distant locations.


Characteristics of in-classroom residencies include:

• Carefully developed plans to increase students’knowledge, skills, and appreciation of the arts

• Authentic connections between the arts and otherareas of study

• Strategies that inspire and motivate students

• Hands-on opportunities that develop students’ abili-ties to use the arts process confidently and creatively

• Use of appropriate art-form vocabulary

• Sound educational practices, such as accommoda-tions for a variety of learning styles and intelli-gences, as well as questioning techniques thatrequire higher-order thinking

• Learning activities that are age appropriate andinteresting to students, clearly related to instruc-tional goals and objectives, and appropriatelysequenced to build students’ knowledge and skillincrementally

To build teachers’ capacity to teach in, through,and about the arts.Teaching artists who lead residencies are increasing-ly being asked to include, or focus exclusively on,professional development—to raise teachers’ aware-ness and enhance their knowledge and skills.Through professional development, teachers areable to continue using the arts on their own longafter the residency is over.

Teaching artists plan professional development pro-grams in collaboration with arts organization pro-gram staff, school district professional developmentspecialists, school arts specialists, or university fac-ulty. These residencies may include: workshops thatprovide an introduction to the teaching artist’supcoming interactions with students; courses thatprovide information and strategies for teaching inand through the arts, taking local, state, and nation-al standards into account; teachers’ application ofwhat they’ve learned in workshops and courses totheir classroom lesson/unit planning; and classroom“laboratory” opportunities in which teachers devel-op their arts teaching expertise with the teachingartist acting as mentor.v In some residencies, masterteachers participate as reciprocal mentors for teach-ing artists.

Efforts to influence teacher attitudes and refinepractice require time for building relationshipsbetween teacher and teaching artist, and time forpractice, reflection, and transfer. As a result, pro-grams focusing on professional development mayinclude a series of opportunities within a year andacross years. Professional development efforts arealso supported by a variety of other activities: studygroups in which teachers discuss related articles,

videotapes, or books; networking sessions duringwhich teachers share what they are learning; onlinedata banks through which teachers share their suc-cessful lessons/units with others within or outsidethe school; and action research in the classroom.Teachers’ participation in professional developmentis encouraged by the availability of in-service oruniversity credit and public recognition of theirefforts.

Teaching artists who lead professional developmentresidencies are called “master instructional artists.” vi

They have similar skills as “presenting,” “interact-ing,” and “collaborating” artists but in addition havethe ability to plan curriculum and teach teachers.

Characteristics of professional development residen-cies include:

• Enhancement of teachers’ knowledge and apprecia-tion of the arts

• Demonstration of connections between an art formand other parts of the curriculum

• A clear focus and careful planning

• Instructional examples targeted to the appropriategrade levels and aligned with state/local standards

• Examples of model classroom practice and reflec-tion on that practice

• Active teacher involvement

“Teaching artists who lead residencies are increasinglybeing asked to...raise teachers’awareness and enhance theirknowledge and skills.”


• Opportunities to raise teachers’ levels of confidenceand comfort about including the arts in their teach-ing

• Resource materials to guide classroom practice

• Accommodations for the needs of teachers as adultlearners vii

The Elements of Success

Ten factors are key to successful artist residencies:viii

1. Begin with a Reality Check.Teachers, artists, and arts organization coordinatorsall bring assumptions and misconceptions to thetable. Some beliefs have developed from negativeencounters, while others have little foundation inpersonal experience but are simply accepted as true.Residencies are most successful when planners taketheir partners’ assumptions and misconceptionsabout residencies into account; an understanding ofthe various perspectives allows planners to antici-pate problems and develop strategies for addressingthem.

The following assumptions and misconceptions,not uncommon among teachers, should beaddressed: “talent” is mysteriously bestowed onsome individuals rather than the result of learning,practice, commitment, and hard work; in ateacher/artist collaboration, the artist alone is the“creative expert”; residencies are fun but do notprovide “real” learning; artists get students overex-cited and ruin carefully established classroom prac-tices.

Artists and arts organization coordinators alsocome to residencies with assumptions and miscon-ceptions, which participants must deal with if theyhope to be successful in their collaboration. Artistsmay assume that: participating teachers already seethe value of residency for their students; teachersdo not participate in the classroom because they donot care about the residency; their residency is theteacher’s or school administrator’s foremost con-cern; school schedules and routines are require-ments for teachers but not for artists. Arts organi-zation coordinators may assume that: residencyartists and teachers already understand and support

the residency’s purpose and that their understand-ings are consistent; teachers have plenty of time toplan with residency artists; the teachers are thelearners and the artists are the sole teachers.

2. Focus on Student Learning Needs.Although the teaching artist is fundamental to theresidency experience, residencies are student-cen-tered, not artist-centered. Regardless of the residen-cy’s purpose, school objectives for student learningare the priority. Teaching artists’ and arts organiza-tions’ residency plans, responsive to those needs, aredrafted with results in mind: what will studentsknow, be able to do, and appreciate as a result ofparticipating in the residency? And during that resi-dency, the focus remains on the students—whatinformation they need to learn or skills to develop;how well they are learning; and their degree of mas-tery, level of confidence, and engagement with thework. Even in professional development residencies,the focus is still on student learning—what doteachers need to know, be able to do, and appreciateto help their students learn?

3. Have Clear Purposes and Set Achievable Goals.Successful residency programs are clear about theirpurposes—to spark students’ interest, build stu-dents’ knowledge and skills, or develop teachercapacity—and the partners jointly set realistic goalsboth short- and long-term. Meeting short-termgoals provides a sense of accomplishment andprogress, and gives impetus to future work.Meanwhile, keeping an eye on progress towardlong-term goals supports thoughtful planning, self-assessment, and reflection; it also acknowledges andrespects the amount of time required for programsto grow and mature. Having clear intent and settingachievable goals imbues the arts organization andits school partners with a common vision, helps toguide program decisions, and serves as a basis forevaluation.

“Although the teaching artist is fundamental to the residencyexperience, residencies are student-centered, not artist-centered.”


4. Assure Effective Leadership and Support.Successful residency programs are guided by leadersin arts organizations, schools, and school systemswho are personally committed to the residencywork, can articulate the program’s benefits to avariety of constituencies, and can ensure an appro-priate level of financial support. Effective leadersplay various roles: visionary, strategist, facilitator,organizer, and taskmaster.

As visionaries, leaders understand the program’spotential and what the partners can ultimatelyachieve. They motivate key people to give time andresources to support the work that will become anintegral part of each organization’s plans. As strate-gists, leaders develop both long- and short-termplans; aim at “targets of opportunity” as they arise;clearly identify the pluses and minuses of variousplans; anticipate obstacles and proceed accordingly;and devise ways to institutionalize the residencyprograms in the school, school district, and artsorganization.

As facilitators, leaders take into account all points of view and balance multiple needs; ensure jointaction on key decisions so that every partner has astake in carrying out the work; know how to seekinput from, and provide support to, all involved;and enjoy the trust and respect of all partners. Asorganizers, leaders have a grasp of the day-to-dayworkings of residencies and arrange for systemsthat allow them to run effectively while keepingeveryone’s efforts coordinated. As taskmasters, lead-ers are persistent in holding individuals accountablefor turning plans into realities.

5. Implement Careful Coordination and EffectiveCommunication.Although maintaining coordination and communi-cation is a nuts-and-bolts job, it has powerful andfar-reaching consequences that can enhance orundermine a residency’s success. The arts organiza-tion and school coordinators must work together tomaintain regular contact, solve unanticipated prob-lems, and provide overall support to the artist andparticipating teachers. Whether school coordinatorsare teachers, administrators, or parents, they are theartists’ ambassadors to the school. As such, theirability to set a positive tone and work collegiallywith all involved is critical.

Effective coordination and communication resultin the residency artist feeling welcome at the schoolfrom Day One. Instead of facing blank stares uponarrival at a school, the teaching artist finds admin-istrators, teachers, school secretaries, parents, andschool custodians who know the purpose of thework, want to see the program succeed, and arewilling to help ensure that the residency runssmoothly. Effective coordination and communica-tion allows students, artists, and teachers to befocused so that learning is maximized.

6. Emphasize Teacher Participation and Teacher-Artist Collaboration.Successful residencies rely on the active involve-ment of teachers in planning, implementation, andevaluation. Teachers’ willingness to participate isincreased when they:

• Have a role in determining the residency focus andselecting the artist

• Understand the benefits of the residency for stu-dent learning

• Are invited, rather than assigned, to participate

• Help plan the residency focus with the teachingartist

• Understand and agree to their roles and responsi-bilities

• Are asked to provide continual feedback to theteaching artist about the residency’s progress

• Play a role in documenting the residency

• Enable the teaching artist to plan ways to assessstudent learning

• Assist in evaluating the residency

Teacher participation is positively influenced by theavailability of well-conceived, appropriate resourcematerials that help teachers prepare students forresidency experiences, lead lessons between artist’svisits, and guide pre- and post-residency activities.Similarly, residencies benefit from involving schoolarts specialists (when available) in the project; theirexpertise and leadership are valuable additions.ix


Teacher-artist collaborations have powerful effectson attitudes as well as on instruction. When teachers and artists work together with mutualrespect, they develop relationships in which theyare valued colleagues who benefit from each other’sadvice and support. On a more personal level,teachers and artists report that collaborationdecreases feelings of isolation; they each appreciatecompany on “the journey.”

7. Make the Residency Visible and DevelopMessages Tailored to a Variety of Needs.A residency relies on support from numerous con-stituencies, and making its work visible to all ofthem is a critical requirement. But, visibility is con-sidered strategically—it requires matching the audi-ence with a message crafted for them.

Every residency has many “stories” to tell; decidingon which one, and for whom, are important strate-gic decisions. Activities such as family nights,showcases of student work, radio interviews, andreceptions may be used to relate a selected storyand tailor a message for a particular constituency.For example, in addressing such audiences asschool officials, arts organization leaders, funders,or parents, the message(s) specifically crafted forthem may stress the residency’s impact on studentlearning, knowledge of the arts, development oflearning skills, or growth in creativity, among other things.

Effective programs seek help from teachers, parents,university students, and others to document stu-dent learnng. They collect a variety of evidence,such as narrative descriptions of the residency;photographs or videotapes of program activities;examples of student work; interviews with students,teachers, and artists; and anecdotes.

8. Continually Refine Programs throughFeedback, Assessment, and Evaluation.Residency programs are strong when participantsview their efforts, even well-established ones, as“works in progress.” Continuing feedback, assess-ment of student growth, and evaluation from theperspective of artists, teachers, students, arts organ-ization coordinators, school coordinators, and oth-ers are valuable in guiding improvement not onlyfor the effectiveness of any one residency, but forthe entire program.

Planning for systematic feedback and collection andreview of data is critical. Regular assessments helpresidency programs determine to what extent thecontent and skills that artists thought they wereteaching were indeed learned. Results help shapeinstruction. Securing these assessments can be assimple as embedding questions to students withinlessons, making informal observations, or conduct-ing interviews with students or parents.

9. Be Concerned with Impact.Whether the teaching artist visits a school for ashort performance residency, or an extended in-classroom instructional residency, planners want itto make a difference.

Residency programs are sometimes set in fertileground and at other times in less welcoming envi-ronments. But it is no surprise that residencies havea greater impact if placed in schools where adminis-tration and staff members value the arts, school-improvement goals include the arts, there is anongoing arts program, and a relationship with thearts organization or the artist already exists. Whenrelationships are built and rapport and trust areestablished, the school’s “readiness” is advanced andthe potential impact of residencies increases.

The impact of performance residencies, for example, is heightened when program plannerswork together to link different artists into series or when performances are extended with in-class-room instruction led by the performing artists orlocal artists.

In-classroom instructional residencies increase theirimpact when teaching artists work with core groupsof students. This is not always obvious to adminis-trators, who typically plan their first in-classroominstructional residencies to serve as many studentsas possible. This leads to schedules that give only alittle of the teaching artist’s time to each of a largenumber of students—and results in reducedimpact. But teaching artists report that schooladministrators soon come to realize how muchmore can be accomplished when core groups ofstudents are able to work with the artist on arepeated and relatively intense basis.


Similarly, the impact of professional developmentresidencies is enhanced when artists work with acritical mass of teachers—a subset of the faculty—from one school. This allows teachers to supporteach other by working collaboratively in theirschool thereafter to make a large enough improve-ment in practice that it attracts the attention and support of teaching colleagues and schooladministrators.

In addition to having fertile ground in which to“plant” the residency, linking individual visits intoseries, and working with core groups of students orteachers, impact is obviously influenced by pro-gram quality—both in artistry and teaching. In thatspirit, there is growing recognition of the need toprovide professional development for teachingartists themselves.

10. Work with Artists Who Have Expertise both inTheir Art Form and Teaching.In addition to manifesting artistic excellence, resi-dency artists must be well versed in teaching and beable to establish positive relationships with studentsand teachers.

Successful teaching artists are clear about the pur-pose, goals, and objectives of the residency and arewell-prepared. They are familiar with related cur-riculum and content standards and are able todesign residency sessions and assessments, under-stand students’ developmental stages, use question-ing strategies that engage students in higher levelsof thinking, motivate and actively involve students,and effectively manage student behavior (whetheras audience members or in the classroom). Theartists participate in professional development pro-grams that assist them in furthering their under-standing of education, and they keep up with cur-rent research in various theories and models of artseducation.x

Teaching artists possess positive attitudes. Theyencourage the expression of ideas, are open to dif-ferent points of view, have a sense of humor, andare optimistic, flexible, and patient. They have highexpectations and throughout the residency give stu-

dents and teachers numerous opportunities toreflect on and improve their work. Teaching artistscare deeply about young people and their instruc-tors, are enthusiastic about working with them, andseek ways to empower them. Teaching artists haverespect for teachers as professional colleagues whocan play an important role in bringing the arts tostudents. They work collaboratively and collegiallywith teachers, invite feedback, and make appropri-ate adjustments to residency plans based on thatfeedback. The teaching artist works with the part-nering teacher to plan for and assess studentprogress, and uses assessment results to furtherimprove the teaching plan.

Making the Arts Central to Learning

In sum, artist residencies are designed to meet oneor more purposes: to spark students’ interest in thearts through performance series, to develop stu-dents’ knowledge and skills in and through the artsby means of in-classroom instruction, and to devel-op teachers’ capacity to include the arts in theirteaching with the aid of professional-developmentefforts.

As residency purposes vary, so too, do the skillsthat artists need to lead them. Arts organizationsthat offer residency programs thus recognize thecritical need for the continuing professional devel-opment of teaching artists.xi Many arts organiza-tions are working on their own or in collaborationwith school systems, arts service organizations, oruniversities to develop initiatives for strengtheningthe knowledge and skills of experienced teachingartists as well as of artists who are new to residencywork.

Residency programs that have clear purposes, andthat rely on the expertise of skilled teaching artistswho work in partnership with teachers, can con-tribute greatly to making the arts central to learn-ing. As education reform efforts open doors, artsorganizations must be ready and clear about whatartist residencies can accomplish and certain aboutthe skills of those they entrust to implement theirprograms.


Here are four checklists,xii one each for artsorganization coordinators, artists, teachers,and school coordinators. The checklists are

written for in-classroom instructional residenciesand should thus be adapted to meet the needs ofperformance residencies or professional develop-ment residencies.

Checklist for Arts OrganizationCoordinators

1. Select Residency Artists

• Establish criteria. Observe artists doing what theywill be hired to do. Invite other teaching artists inyour program to help assess their work.

2. Secure commitments

• Begin early. School budgets and plans are often setduring the winter/spring of the previous school year.

• Identify school partners and plan residency pro-grams that meet their needs. Some schools mayapply to participate; applicants should describeschool needs and how a particular residency willhelp them address those needs.

• Sign letters of agreement with school administra-tors that outline respective school and arts organi-zation responsibilities, and indicate the residencyartist, the residency program, the date and time.

• Assume change in school staffing. Before the newschool year, check to see if the same teachers andadministrators with whom you signed letters ofagreement, are at the school. If there is a new princi-pal or new teachers, provide information and garnersupport. If necessary, sign a new letter of agreement.

• Prepare a list of responsibilities for the school resi-dency coordinator; discuss with principal the quali-fications for the school coordinator; ask principal todesignate the coordinator.

3. Meet with the principal, school coordinator,and other key individuals (e.g., parents, artsspecialists) to:

• Do a reality check; ensure understanding and agree-ment about the residency purposes and procedures.

• Discuss/clarify coordinator’s responsibilities.

• Ask the principal to make arrangements for inter-ested teachers to self-select for residency participa-tion. (As the residency progresses and news of itssuccess spreads, other teachers will ask to be includ-ed the next time).

• Agree to use the best methods for communicationamong principal, arts organization coordinator,school coordinator, artist, and teachers.

• Discuss the value of the artist working with coregroups of students and how it impacts scheduling.

• Confirm planning time for teacher and artist.Consider possibilities for leveraging time throughschedule adjustments or other methods.

• Provide time during the residency for teacher andartist to engage in ongoing dialogue to evaluate howwell the residency is meeting their objectives and toplan adjustments.

• Plan for a school-wide orientation to clarify resi-dency objectives and activities.

• Arrange for principal to attend residency activities.

4. Do a Reality Check with Artists

• Ensure that artists understand the residency pur-poses and plans.

5. Attend to Residency Content

• Share your expectations with artists about residencydesign.

• Review and provide feedback on residency plans.Assist in further development, as needed.

Appendix to “Artist Residencies”

Artist Residency Checklists


• Observe residencies in progress. Determine to whatextent the instruction correlates with initial andrevised plans.

6. Arrange for Effective Communication

• Prepare a summary of residency information.Include such things as residency title, artist name,residency dates, and contact information for partic-ipating teachers, arts organization coordinator, andschool coordinator.

• Agree to the best methods and timing for commu-nication.

• Contact school coordinator regularly about residen-cy needs and progress.

7. Attend to Logistics

• Discuss logistical needs with artist and communi-cate them to school coordinator.

• Check back with school coordinator to determine ifthere are any problems in securing neededresources/materials/equipment.

• Review schedules prepared by school coordinator.

• Arrange for timely payments to artists.

8. Be Visible and Helpful

• Visit programs and observe their progress.

• Check in regularly. Talk to the participating teach-ers, school coordinator, artist, and principal. Askthem how things are going and listen to theiranswers. Help solve problems.

9. Make the Program Visible

Working with principal, school coordinator, teach-ers, and artist:

• Plan ways to identify which residency “stories” totell and to whom to tell them.

• Design messages targeted to various constituencies.

• Plan a variety of strategies for delivering the target-ed messages.

• Determine methods of program documentation.

• Prepare “messengers.”

10. Provide Professional DevelopmentOpportunities for Teaching Artists

• Plan and implement orientations for residencyartists.

• Assess artists’ needs and create appropriate profes-sional development opportunities that draw on theexpertise of master instructional artists within yourprogram, the school district, or universities.

11. Plan and Implement Program Assessmentand Evaluation

• With school partner, plan appropriate evaluationmeasures that collect information from a variety ofperspectives.

• Encourage participating teachers, school coordina-tor, and artist to self-assess their work in the resi-dency program.

• Review and analyze self-assessments and other eval-uation results with school partner.

• Hold a post-residency evaluation discussion withthe artist. Invite the artist to talk about his or herself-assessment and together review evaluationresults. Discuss ways to improve the residency.

• Communicate evaluation results.

Checklist for Artists

1. Do a Reality Check: Clarify Expectations

• Compare your understanding of the residency withthat of the arts organization. Identify any discrep-ancies.

• Contact participating teachers to introduce yourselfand express your excitement about the upcomingresidency. Ask about their understanding of the res-idency. Clarify, if needed. Tell teachers you are inter-ested in developing the residency with their help.Arrange for time to plan.

2. Conduct Residency Planning Sessions withTeachers

• Find out what students are studying and work withteachers to plan ways the residency can help meetstudent needs. Discuss possible curriculum connec-tions and borrow resources (e.g., textbooks andteacher guides) that will provide information about


the related content area. If the residency focuses onintegrating the arts with another subject, clarify thatthe arts are disciplines with content and skills thatare learned along with other curriculum content.

• Develop realistic plans.

• Identify ways to work with teachers in assessing student learning on a steady basis.

• Find out if there are students with special needs.Determine if any accommodations are needed.

• Discuss your expectations for teacher participation.Will the teacher be expected to: participate with thestudents, provide feedback about student progress,document the residency, help assess student learn-ing, help with classroom management/discipline,and lead agreed-upon activities between artist visits?

• Find out about established classroom rules and,if appropriate, discuss needed adjustments.

• Develop resource materials for teachers or studentsthat will help them prepare for the residency as wellas lead or participate in learning activities betweenand after residency sessions.

3. Get to Know the School; Attend to Logistics

• Get an orientation to the school facility and checkthe residency locations.

• Meet key people. Introduce yourself to the schoolresidency coordinator, the school support staff whoare important sources of information to others inthe school, and also the school custodian, who canhelp you with access to rooms, equipment, andmaterials.

• Confirm schedules and requirements with schoolcoordinator. Check back regularly with school coordinator and teachers for schedule changes.

• Recognize that teachers are extremely busy.Whenever possible, arrange for logistical details on your own.

4. Communication and Coordination

• Make plans with school coordinator for the mosteffective ways to provide residency information toteachers, school administration, office personnel,and support staff.

• Get contact information from arts organizationcoordinator for all key people.

5. Invite Feedback on an Ongoing Basis

• Regularly assess with teachers how the residency isprogressing. Invite teacher observations about bothclass and individual-student progress; adjust plansas needed.

• Regularly invite questions from teachers.

6. Document the Residency

• Make plans with teachers, school coordinator, andarts organization coordinator for ways to documentthe residency. Select together the most appropriateplans and agree to responsibilities.

7. Respect Established School Procedures

• Learn about the school procedures (e.g., bell schedules, lunch times, security sign-in at theschool, parking) and respect them.

• Follow school schedules.

8. Participate in Residency Evaluation

• During the residency, keep notes about what activities worked well and how they could bestrengthened.

• Prepare a self-assessment of your residency.Discuss it with the arts organization coordinator.

• Complete residency evaluations.

Checklist for Teachers

1. Do a Reality Check: Clarify Expectations

• Compare your understanding of the residency withthat of the artist.

2. Assist in Residency Planning

• Get acquainted with the artist. Start by introducingyourself.

• Assist in planning residency goals and objectivesthat meet student learning needs; identify possiblecurriculum connections.

• Suggest ways to assess student learning throughoutthe residency.


• Share information about students with specialneeds. Discuss appropriate adaptations.

• Describe classroom rules and expectations. Findout if the residency work will require adjustmentsto rules.

• Clarify your role during the residency. What type of participation is expected: Participating with students? Helping students make connections toother areas of study? Leading activities before/during/after the residency? Documenting the residency? Helping assess student learning?Assisting with classroom management?

• Discuss schedule and logistics.

3. Attend to Communication andCoordination

• Confirm with school coordinator that other teach-ers, school administration, office personnel, andsupport staff are informed about the residency.

• Get contact information for all key people.

• Check back regularly with school coordinator andartist about schedule changes.

• Arrange to meet regularly with the artist to discussresidency progress.

4. Make the Most of the Time that StudentsHave with the Artist

• Prepare students for the residency. Provide infor-mation about the artist; explain the purpose of theresidency, and what students will learn.

• Maximize teaching time with artist by preparingstudents and having the room set up before artistarrives.

• If the residency is not conducted in the classroom,bring your class to the location prior to the starttime so that the work proceeds on schedule.

• Clean up and re-set furniture after the artist leaves.

5. Participate in the Residency

• Participate as agreed upon during planning withthe artist. Will you participate with the students?Document the residency? Help assess student learn-ing? Help with classroom management/discipline?Lead agreed-upon activities prior to or betweenartist visits?

6. Provide Feedback to the Artist aboutStudent Progress

• Share your observations about how the residency isprogressing (i.e., what students understand, wherethey need further explanation).

7. Make the Residency Visible

• Plan ways to make the residency visible to otherteachers as well as to parents and the community.Think about which residency “stories” are signifi-cant to tell and to whom to tell them.

• Select ways to document the stories (e.g., photo-graphs, videotaped interviews with students,descriptions of lessons and interactions, journals inwhich students record experiences at each session).

• Determine the most appropriate ways to tell thestories (e.g., a bulletin board “message center”about the residency, letters to parents describingwhat their children are learning, invitations toattend special residency events, a post-residencyshowcase of student work accompanied by descrip-tions of the learning that resulted in the work,articles for school or school-district newsletters).

8. Get Something for Yourself

• Document what you are learning throughout theresidency. Take notes about each lesson, the skillstaught, the processes used, the vocabulary. Reflecton how you might use this knowledge in your classroom in the future.

9. Participate in Residency Evaluation

• During the residency, keep notes about what activities worked well, what didn’t, and how they all could be strengthened.

• Do a self-assessment of your role in the residency;review it with the arts organization coordinator.


Checklist for School Coordinators

1. Check Assumptions

• Check that your understanding of the residency’spurposes is consistent with that of the artsorganization coordinator.


2. Plan with Principal and Arts OrganizationCoordinator

• Review your responsibilities related to residencycoordination.

• Help plan the residency schedule.

• Agree to best methods for communication betweenyou and the arts organization coordinator with the artist.

• Assist principal in making arrangements for interested teachers to participate as a result ofself-selection rather than assignment.

• Aid principal in making arrangements for artist-teacher planning time before the residency.Consider possibilities for leveraging time throughschedule adjustments or other methods.

• Facilitate arrangements for ongoing artist-teacherfeedback and planning during the residency.

3. Draft Schedules and Arrange for Logistics

• Speak to arts organization coordinator and artistabout scheduling, space, and materials needs. Draftschedule. Make arrangements for appropriate spaceand materials.

• Orient artist to the school facility and residencylocations.

• Provide information to artist about school schedules and protocols.

• Check with artist about needs throughout the residency.

4. Communication: Keep Everyone InformedBefore and Throughout

• Make plans for a school-wide orientation to informeveryone about residency objectives and activities.

• Keep everyone at the school continually informedabout the residency’s progress.

• Update participating teachers about schedulechanges.

5. Be the Artist’s Ambassador to the School

• Get to know the artist. Introduce him or her toschool staff and members of the communitythrough a variety of means (e.g., meet-the-artistreception, orientation session at staff meeting).

• Maintain a positive tone.

• Keep tabs on how things are going. Anticipateproblems and find creative solutions to address par-ticipants’ needs.

6. Help to Make the Residency Visible

• Develop plans with the artist, teachers, and artsorganization coordinator to make the residency vis-ible to other teachers, parents, and the community.Help select residency “stories” that are significantand decide to whom to tell them.

• Create ways to document the stories (e.g., photo-graphs, videotaped interviews with students,descriptions of lessons and interactions, journals inwhich students’ record experiences at each session).

• Determine with others the most appropriate ways totell the stories (e.g., a bulletin board “message cen-ter” about the residency, letters to parents describingwhat their children are learning, invitations toattend special residency events, a post-residencyshowcase of student work accompanied by descrip-tions of the learning that resulted in the work, arti-cles for school or school-district newsletters).

7. Participate in Residency Assessment and

Evaluation

• Keep notes about what went well during the residency, what didn’t, and what aspects would benefit from changes.

• Do a self-assessment of your work as coordinator.Review it with the arts-organization coordinatorand your principal.



Thanks to the following people for sharing ideas

and resources related to residencies:

Jane Polin, Dana Foundation advisor; Derek E. Gordon,

Senior Vice President, The John F. Kennedy Center for the

Performing Arts; Linda Bamford, North Carolina Arts

Council; Eric Booth, arts and education consultant and

teaching artist; Kimberli Boyd, teaching artist, Dancing

Between the Lines; Sherilyn Brown, Rhode Island State

Council on the Arts; Deb Brzoska, arts and education con-

sultant; Chris Cowan, Maui Arts and Cultural Center; Amy

Duma, The Kennedy Center; Karen Erickson, teaching artist,

Creative Directions of Illinois; Miriam Flaherty, Wolf Trap

Institute for Early Learning Through the Arts; Doug

Herbert, National Endowment for the Arts; Lenore Blank

Kelner, teaching artist, InterAct Story Theatre; Sean Layne,

teaching artist; Kathi Levin, The Kennedy Center; Greg

McCaslin, The Center for Arts Education; Jeanette McCune,

The Kennedy Center; Beck McLaughlin, Montana Arts

Council; Jan Norman, Young Audiences; Joan Robinson,

The Flynn Center for the Performing Arts; R. Virginia

Rogers, The Kennedy Center; Debbie Shannon, The

Kentucky Center; Barbara Shepherd, The Kennedy Center,

Jenni Taylor Swain, Walton Arts Center; and Ellen

Westkaemper, The Peace Center for the Performing Arts.

i Jane Remer, “Artist-Educators In Context: A Brief History of

Artists in K-12 American Public Schooling,” Teaching Artist Journal,

1, (2) (2003): 71-72.

ii U.S. Department of Education, National Center for Educational

Statistics. Arts Education in Public Elementary and Secondary

Schools: 1999-2000. Nancy Carey, Brian Kleiner, Rebecca Porch, and

Elizabeth Farris. Project Officer: Shelley Burns. (Washington, DC:

NCES, 2002) 5, 37.

iii Melissa Ford Gradel, Creating Capacity: A Framework for

Providing Professional Development Opportunities for Teaching

Artists, (Washington DC: The John F. Kennedy Center for the

Performing Arts, 2001) 11-15.

iv Gradel, 11-15.

v Laura Lipton and Bruce Wellman, Mentoring Matters:

A Practical Guide to Learning-Focused Relationships,

(Sherman, CT: MiraVia, 2001)

vi Gradel, 11-15.

vii Teaching artists recognize that teachers expect respect for their

maturity and experience; prefer to be active in learning situations;

prefer learning experiences relate to classroom realities and be

immediately applicable; prefer to collaborate with their peers; prefer

to engage in self-evaluation; and expect comfortable learning envi-

ronments. Lynne B. Silverstein, Barbara Shepherd, and Amy Duma,

Partners in Education: Building Partnerships for Teachers’ Professional

Development in the Arts (Washington, DC: The Kennedy Center.

2001) 11.

viii A number of the success factors are consistent with descriptions

of successful partnerships included in works by Dreeszen and Seidel

and Maryann Marrapodi, Promising Practices: The Arts and School

Improvement (NY: The Center for Arts Education, 2000).

ix Remer. 298.

x Carol Ponder, “The Dual Career of Teaching Artists,” Creating

Capacity: A Framework for Providing Professional Development for

Teaching Artists (Washington, DC: The John F. Kennedy Center

for the Performing Arts, 2001) 17-18.

xi Judith M. Burton, “Natural Allies, Part 2: Children, Teachers and

Artists,” in Remer. 391-321.

xii Residency Checklists are adapted from a variety of residency

guides and from conversations: Arts Residency Handbook for

Teachers, Arts Residency Handbook for Artists, and Arts; Activities

Handbook for Project Coordinators, 2002-2003. (New York: P.S. 107,

2002); Artist-in-Residence Grants, 2002-2003 (Greenville, SC:

The Peace Center for the Performing Arts, 2002); Residency

Planning Guide (North Carolina Arts Council, 2000); Ohio State

Arts Council’s Arts in Education Handbook, online at

www.oac.state.oh.us/aie/handbook.html; Resource Manual: Artists in

the Schools and Communities, (Montana Arts Council); An Artist in

our Midst: Kentucky’s Artists in Residence Programs and What Makes

then Work, FY 2003-2004. (Frankfort, KY: Kentucky Arts Council,

2003)

“Artist Residencies” Notes


Excerpts from an interview by William Safire,chairman of the Dana Foundation, with WarrenSimmons, executive director of the AnnenbergInstitute for School Reform, Brown University.The interview was the keynote at the sympo-sium, “Acts of Achievement,” April 10, 2003.

William Safire: How do you see the study of,or the participation in, the performing arts in aschool? How does it help a student do better inschool? Or does it?

Warren Simmons: I think there’s lots of evidencethat the arts have a very positive impact on learn-ing, but it is not evidence that you can glean fromcheap, large-scale standardized tests. As long as wecontinue to use large-scale assessments and stan-dardized tests as the primary, if not the sole, basisfor determining when learning is occurring, we’regoing to have difficulty showing the impact andeffectiveness of the arts. I think standards-basedreform, as a movement, began by saying that large-scale assessments should only be one of theindicators, and that there was a need for multiple indicators and forms of evidence to demonstratelearning. The opportunity now, at the local level at least, is to talk about the indicators and evidencethat you would put alongside of standardized teststo make the convincing argument that the arts produce learning.

Safire: If standardized tests are only a small part ofthe answer, what’s the big part?

Simmons: What A Nation At Risk did was to paintthe challenge of urban school reform—and schoolreform at large—as one that was a threat to thenation’s economy. While certainly economic well-being is one important purpose for education, thereare others that are equally as important. When yousurface the economic purpose as singular, and when

you hold schools accountable for achievement thatspurs on the economy, I think you tend to focus onsubjects that are directly related in our minds toeconomic well-being, which leads you to mathe-matics and reading.

There are other purposes that people are attendingto, and have always attended to, in education.Education should be an effort that strengthens ourdemocracy; that should equip citizens with theskills they need to participate effectively and makeinformed choices. Education should contribute tocultural well-being; it should allow us all to feel wecan not only participate in our mainstream cultureand home cultures, but also help construct that culture itself.

If we broaden the lens or use multiple lenses,we’ll make it clearer to people that the arts are afundamental discipline for what it means to be acompetent, effective person; and we need toemphasize that the arts have both direct and indirect effects on learning.

Safire: How about when you were a student?

Simmons: By doing work in the arts and progress-ing, it helped me understand that through disci-pline, through practice, and through adequate support, I could do well in the arts. And that gaveme the confidence and understanding that throughdiscipline, practice, and hard work, I could do wellin mathematics and literacy as well.

In cognitive science we would call what my artseducation did was to give me a stronger set ofmeta-cognitive skills. The arts helped me under-stand how to monitor, how to be evaluated, how todevelop my own learning. And by doing so, I wasable to transfer my meta-cognitive skills and aware-ness to my mathematics, to my English language,or to my social studies.

Simmons and SafireInterview Excerpts:


Also, the arts helped me understand that achieve-ment was effort-based, not just ability-based. Thatis, I thought that you had to be naturally good atmathematics. And I wasn’t naturally good at mathe-matics, in part, because I didn’t do my homework.But I didn’t do my homework because I thoughtyou had to be naturally good at it. What arts educa-tion emphasizes is you come with some talent, butin order to realize that talent, you have to practice.Once I understood that in the arts, it was easier forme to understand that though I was initially strug-gling with mathematics, practice had a good deal todo with heightening my achievement.

Safire: That’s the old story of the Texan who waswalking down 57th Street in New York City andsays to a little man, “Excuse me, can you tell mehow I get to Carnegie Hall?” And he replies,“Practice, practice.”

We’ve got people here who are on the frontlines ofgetting audiences into performance halls. What canthey do that will help arts education?

Simmons: Urban schools are beset by multiplereform initiatives right now, and I’ll give them somelabels. There continues to be the current version ofstandards-based reform, with an emphasis onincreased assessment. We have to get all children tohigh standards. Next, the Gates Foundation isencouraging many communities to invest in takinglarge schools and dividing them up into smalllearning communities, or creating autonomoussmall schools with inter-disciplinary curriculum.A third strand of work is growing out of the recog-nition that school reform will never be taken to allschools if we approach it school by school andclassroom by classroom. In addition to transform-ing schools, we also have to transform the systemsthat govern schools.

The question is not just what kinds of schools dowe need, but what kinds of school systems. We haveto think about and help communities build a localeducation support system. Not just redesigning thedistrict as it currently exists with a central office,but thinking about all the resources that are avail-able in the community, and how you create aninfrastructure that coordinates those resources sothat young people have pathways of continuouslearning, both in and out of school.

The performing arts community has to figure outhow to think about itself and organize itself as partof a larger system that provides continuous sup-ports for the arts and other forms of developmentas part of school-based activities and community-based activities. It’s the most exciting opportunityto join top-down reform with bottoms-up reform,and have the two be mutually reinforcing.

What I have in mind is what the Rhode IslandGovernor’s Task Force on Literacy in the Arts didon behalf of the state and local communities. First,you map the arts resources that are available in thecommunity—their quality, their quantity, theirnature—and you map the needs of the schools.Then you develop funding and coordination mech-anisms so that schools, no matter where they’relocated and what communities they serve, haveaccess to support from arts specialists to integratethe arts in the schools; and students have access toarts opportunities out of school in a systematicway, not in the episodic way that work occurs now.That’s going to require cities and funders to rethinkfunding streams and how they can be combined,and rethink governing structures so that people inschool systems and community-based organiza-tions can align strategic planning. And also rethinkall of this based on a vision of what it should looklike on the ground, not based on a vision of a poli-cy maker or researcher, who can come up with avision very quickly, but it wouldn’t be customizedand suitable in local communities.

How do you organize communities to get policy-makers to devote time and attention to this work?How do you build evidence that would allow you toimprove practice? When I brought together a groupof funders, they realized that one of the mistakeswe’ve made in education reform is that we’veinvested a lot in evaluation studies. What evalua-tion studies do is give a grant to somebody whowatches what you do for about three years andnever says anything. At the end, they show you allthe mistakes you’ve made, which is not a good useof resources. So what reformers and philanthropistsnow understand is that, in addition to doing evalu-ation studies, they need to do documentation stud-ies, where researchers work along with practition-ers, and share lessons along the way, so that you can modify practice.


Safire: I would think that the rise in violence inschools cannot be cured by the introduction ofmore performance art in schools. I think it wouldbe far more deeply influenced by public disapprovalof violence on television, not censorship of it, butjust a wrinkling up of a lot of parents’ noses at kidswatching or playing those violent games on videoequipment. But you have a different view?

Simmons: A complementary view. There are multiple sources and reasons for a rise in violencein schools, and one of them has to do with thesense of cultural alienation that you have when youdon’t experience efficacy. So, if you are in an envi-ronment where you experience nothing but failureearly on, one response is to withdraw and oneresponse is to depersonalize your relationship withnot only the adults in that community, but alsowith other youth in that community. I think that itis far more difficult to engage in violence when youfeel effective and when you feel connected. And Ithink what the arts do is that they create heteroge-neous learning communities.

When I was in my academic courses, I was usuallythe only African-American in the room. When Iwas in the arts and music and recreational activi-ties, the community was far more diverse. As aresult, I felt safer and people felt more accepting

of me. Academic divisions that cause alienation orlack of efficacy underscore and support violence.Anything that schools can do to create culturalwell-being and connectedness, especially throughthe arts, has a positive impact on reducing violence.

Safire: The arts can have an impact on the moodof schools. Right after September 11th, dancersfrom the Martha Graham Center performed“Lamentations” in New York City schools. TheDana Foundation and other foundations chippedinto The New York Times Foundation, which wentout to arts groups, who then sent artists intoschools to let kids see and participate in dramaticperformances that helped them confront the crisis.

Simmons: What I did not get in my arts educationwas an understanding of how I could continue inthe arts as a profession, even though I wasn’t goingto be a performing artist playing the viola. I thinkthe extent to which we can help children under-stand the arts and all of its performance aspects—business, political, legal—would allow students to,first of all, make more connections between the artsand other areas of the curriculum. But we wouldalso allow them to see ways in which they can continue to work in the arts, though perhaps not as a performing artist.

Warren Simmons, executive director of the Annenberg Institute for School Reform, and William Safire, chairman of the Dana Foundation, in discussion during the keynote at the “Acts of Achievement” symposium,April 2003.

MA

X T

AYL

OR

PH

OTO

GR

AP

HY


Safire: We’ve got a question here on funding this work.

Simmons: I think what the larger foundations havedone is recognize that their investments have to bemade over a longer period of time, and so they havestretched from three-year grants to five-year grantsand beyond. What they have also recognized is thatexternal funding is no substitute for adequateresources for education. A number of them (foun-dations) are turning their attention to the issue ofschool finance equity. As we approach the 50thanniversary of Brown vs. Board of Education, Iknow foundations that are interested in organizingnational and local conversations about the localvision for schools and education, which occur notjust in schools, but also in the community. How canthat vision be resourced, and what is the local, state,and federal contribution to that effort? Funders hadthis model that if they just invested in exemplarsand demonstrations, then the existence proofswould lead to adequate funding. This has not beenthe case, which means that we have to mobilize andorganize ourselves to be advocates for adequatefunding. The existence proof, in and of itself, does-n’t guarantee the support. Most urban systems andschools are inundated with solutions. So, one issueis how do you build a consensus about prioritiza-tion, given limited resources?

Safire: You touched on something earlier of whatpresenters and people who are interested in the artscan do for education. And that is to rally communi-ty support for greater public support of the schools.

Simmons: I would say it’s a rallying of communitysupport for a new vision of learning, and the needto not only transform schools, but also examine allcommunity resources. I think that’s what New YorkCity is on the verge of doing. If you look at theirsmall schools effort, they are attempting to designsmall schools that are operated in partnership withcommunity-based organizations. Now they realizein order to pull that off, they will have to have a sys-tem for identifying community organizations thathave the wherewithal to operate either individualschools or networks of schools. They have to have a

system to adequately resource those organizations,because they can’t do it with just their grant dollars.That notion of creating a portfolio of schools thatworks in partnership with community organiza-tions is forcing them to rethink the larger system.

Safire: What about the use of dramatic and poetic and musical techniques in teaching otheracademic courses?

Simmons: One of the challenges we face is thisissue of how you create a K-12 developmental progression that is not what I would call a curricu-lum, but rather a curriculum framework that specifies what kinds of learning activities supportlearning through the arts versus learning in the arts.I’ve experienced being in the divisive, dichotomized,polarized battle about whether it should be at alltimes learning in the arts versus learning throughthe arts. I think that it is both, and in other disci-pline areas, it’s always been both.

We’re moving away from the notion of tracking,but we also have to understand how in the arts youneed to have a curriculum framework that helpscommunity and school people arrange the learningactivities. At all levels, we need to provide someactivities that are relative to the core curriculum oflearning through the arts, while also allowing forthe existence of learning in the arts.

I don’t understand why this is easier for us to thinkabout in sports than in almost any other discipline.If you think about the sports infrastructure, youhave opportunities for students in elementary,middle and high school—both in school and out of school—for people who are very talented to getvery intensive recreational support and develop-ment. At the same time, we give opportunities tothose who have the interest, but not necessarily thetalent, to continue to engage in sports at any levelof interest and ability for the rest of their lives,on into adulthood. Those kinds of infrastructuresexist. Somehow, that’s easier for us to figure outhow to do with recreation. We get into battles whenwe think about the same kind of infrastructures inmathematics, science, and certainly in the arts.


CASE STUDIESFollowing are in-depth examinations

of eight Performing Art Centers and their role in education.


Scottsdale Center for the ArtsScottsdale, AZ www.scottsdalearts.org

• School districts served per year: 15

• Elementary schools served per year: 38

• High schools served per year: 18

• K-12 students served per year: 31,000

The mission of the Scottsdale Centerfor the Arts is to present high qualitytraditional and contemporary arts tothe citizens of Scottsdale, MaricopaCounty, and the State of Arizona;create events of worldwide interest;offer opportunities for audiences tohave thought provoking experiencesand interactions with artists andspeakers; and foster creative expres-sion, diversity in thought, and awareness of cultural heritage.

The Scottsdale Center is proud of itslong history of administering artseducation programs, in particular, andattributes its success to three factors:

• Establishing trust and building foun-dations. The Center recognizes thecritical importance of bridging cul-tural barriers by securing partici-pants’ confidence.

• Flexibility and adaptability. In response to thechanging constraints on school systems, staffmembers continually seek alternative, creative ways to accomplish program goals.

• Tenacity and persistence. Program leaders’ commit-ment and steady efforts help ensure that good ideasbecome useful realities.

Intercultural Project with Native American Students

The centerpiece of the Scottsdale Center’s outreachprogram is the longstanding relationship with theSalt River Pima Maricopa Indian Community.Although rich urban Scottsdale and the neighbor-ing Indian farming community had mistrustedeach other for generations, in 1994 the Scottsdale

Center approached the tribe as an apolitical entityoffering an intercultural project to bring NativeAmerican and Scottsdale students together throughCircus Arts. Out of that humble beginning, a com-munity dialogue between city and tribal officials has been established.

Over time the Circus Arts project has grown. Todayteaching artists work with every student at SaltRiver Community schools in residencies of three toeight weeks, during which students develop originalwriting and photography, compose and recordlyrics, and learn storytelling. Hundreds of studentshave participated in these residency projects overthe years, spending time in activities that directthem toward positive behaviors and cultural pride.

Professional Development for Teachers

Participatory workshops (providing re-certificationcredit), in which educator teams learn about tech-niques for integrating the arts in their content areasand across the curriculum, are now offered to all 75teachers and aides at Salt River Schools. During thenext phase of workshops, visual and performingteaching artists will partner with traditional NativeAmerican artists who work in the same arts disci-pline. In this way, Native arts may also be intro-duced across the curriculum.

Following the Salt River model of working withmiddle school teachers, the Scottsdale Center hasdeveloped a relationship with Sacaton MiddleSchool in the Gila River Indian Community.Serving the teaching staff in these Indian communi-ties, the arts programs are designed to help teachersimprove student self-confidence and self-esteemand prepare them to mainstream into the society-at-large.

Arts Workshops for Hispanic Students

Scottsdale is recognized for its lush golf courses andposh resorts, but all too frequently those residentsresponsible for the upkeep of the hospitality indus-try are forgotten. The Paiute Neighborhood Centerwas Scottsdale’s first neighborhood enhancementcenter providing services to a primarily Hispanicpopulation. The Scottsdale Center has workedhand-in-hand with Paiute to offer arts workshopsto youth at the teen center and at after school and

CA

SE S

TUD

Y


summer programs. Last year 130 neighborhoodyoungsters, ages 6-18, participated on multipleoccasions in 11 workshops (each of them three tosix weeks in length) in mask making, theater, art,dance, and creative writing. Parents remark howthese workshops build a sense of self-worth andcultural pride in youth who, away from the countryof their birth, frequently feel disenfranchised.

Within this same Hispanic neighborhood, newsummer programs are being offered to studentstransitioning from middle to high school. CampsCoronado and Guadalupe complement morningsummer school classes with afternoon workshops intheater, creative writing, and photography. Beyondinstruction in the subject at hand, these workshopsare also designed to improve students’ life skills insuch areas as interpersonal communication, deci-sion making, goal setting, problem solving, andconflict resolution. In addition, working collabora-tively on a unified theme (e.g., community pride)with mutually established goals has also benefitedteaching artists, who expect to continue working in this format.

“Cultural Connections Through the Arts”

The startling recognition that “fear of each other” iscommon to white Scottsdale and inner city Phoenixstudents alike motivated the Center to develop itssignature program, Cultural Connections Throughthe Arts. The year 2003 marks the 13th season ofthis program in which the arts promote racial toler-ance, multicultural understanding, and friendshipamong high school students of diverse back-grounds. Since its inception, more than 2,400 stu-dents have participated. Recognizing the benefitsfor students and the community-at-large, a similarprogram was started in 2001 for middle schoolyoungsters in six Scottsdale Boys and Girls Clubs.The program brings Hispanic, Indian, andScottsdale Anglo clubs together to celebrate diversi-ty and explore cross-cultural similarities throughphotography, creative writing, and theater arts.More than 150 young people participated duringthe 2002-2003 school year. A comparable activitywill begin shortly with area YMCA programs.

Paiute Neighborhood Center Day Program Summer 2002 – Mask-making

PA

IUTE

NEI

GH

BO

RH

OO

D C

ENTE

R


Artist Residencies

Each performance season, the Scottsdale Centeridentifies at least one national or internationalartist or company to lead a one-week residency.Program partners (e.g., schools, school districts, orcommunity or social service agencies) are fullyinvolved in the planning process, and the result isthat artists are placed in schools, communities, orafter school programs where they are best suitedand will provide the most benefit to participatingyouth. For example, the Cleo Parker RobinsonDance Ensemble recently undertook such a residen-cy in the Gila River Indian Community. There theDance Ensemble worked with middle school stu-dents on basic dance vocabulary, development ofself-confidence and poise, and appreciation ofdiversity. Students then attended the Ensemble’smatinee performance at the Center, followed by aworkshop in a professional environment on stage.Additionally, the Ensemble met with middle schoolfaculty members for discussions about the chal-lenges of teaching on a rural reservation and waysto integrate the arts into the curriculum.

Children with Disabilities; Children in Early Childhood Programs

Diversity at the Scottsdale Center for the Arts is notlimited to ethnicity and economics. The annualCelebration of the Arts for Children withDisabilities, which includes student participation ina variety of arts workshops during a half-day out-door event, serves more than 500 children with spe-cial needs and their teachers. In addition, theScottsdale Center hosts the Arizona Wolf Trap pro-gram (a regional presentation of the Wolf TrapInstitute for Early Learning Through the Arts) tobring the arts into the lives of children in HeadStart programs.

Performances for Student Audiences

School performances offer nationally known artiststo K-12 audiences. During the 2002-03 season,25,000 students attended productions at theScottsdale Center that included Momix, Ballet

Senegal, Mark Morris, The Belle of Amherst, andAlvin Ailey. Students in the Scottsdale UnifiedSchool District attend courtesy of the parent-runArts-in-Education Council, which raises funds to support annual attendance by every student ingrades one through eight. And as part of theScottsdale Center’s continuing emphasis on makingthe arts accessible to all members of society, select-ed Center performances are sign language interpret-ed for patrons with hearing impairments andaudio-described for patrons with low vision orblindness.

Arts Advocacy

The Scottsdale Arts Breakfast serves youth in thecommunity, but in an indirect manner, by focusingon the importance and impact of arts-in-educationprograms. The Arts Breakfast, served on stage at theScottsdale Center for the Arts, is a biannual eventthat is co-sponsored by the Center, the ScottsdaleMuseum of Contemporary Art, and the ArizonaAlliance for Arts Education. Its primary focus is to encourage community leaders, educators, andadministrators to support arts education in theircommunities and to provide them with appropriatetools. The Arts Breakfast features a speech by theMayor as well as student performances and demonstrations.

Summer Arts Camps

Although school-based arts programming dimin-ishes during the summer months, activities at theCenter do not. An annual summer camp for 7 to 13year olds, consisting of activities in drama, art,music, creative writing, character development,tennis, and swimming, has been enthusiasticallyembraced for nearly ten years. This program offersnine weekly sessions each summer, with a totalenrollment of approximately 650 youngsters. Thefinal two week session culminates in an original student theatrical performance. The camp’s successhas led to a newly formed partnership, with theParadise Valley School District, which aims to replicate it.


Cal PerformancesBerkeley, CA www.calperfs.berkeley.edu





Located on the campus of theUniversity of California, Berkeley,Cal Performances is not only thelargest performing arts presenter in Northern California, but also is recognized internationally as one ofthe most influential. It offers a varietyof art forms and cultures—from early music and classical ballet tomodern dance and avant-garde theater—and draws on material fromancient China and Greece to modernday Argentina. The mission of CalPerformances is “to inspire, nurture,and sustain a lifelong appreciation ofthe performing arts.” It does this bypresenting, producing, and commis-sioning outstanding artists, bothrenowned and emerging, to serve theuniversity, K-12 schools, and thebroader public through performances as well as through education and community programs.

Because studies have shown that arts educationimproves children’s school attendance, levels ofengagement, achievement, and graduation rateswhile also increasing parental involvement, educa-tional programming gets top priority at CalPerformances. The organization does not enjoy thebenefit of a resident company or family of artists,but Cal Performances’ education programs haveevolved by finding ways to utilize its resources tothe best advantage of schools and the community.

SchoolTime

Since 1986, the cornerstone of Cal Performances’educational initiative has been SchoolTime, whichoffers daytime performances on the Zellerbach Hallstage to public and private school students.

CA

SE S

TUD

YThrough outstanding productions of modern andclassical dance, theater, and all forms of musicalexpression by the same internationally acclaimedartists who appear during Cal Performances’ mainseason, SchoolTime introduces young people to cultures and performing arts from all over theworld. Grade-appropriate study guides, sent to allschools in advance of the artists’ visit, include pre-and post-performance exercises; background on theartists, art forms, and cultures; and learning activi-ties designed to incorporate requirements of theReading/Language Arts and Visual and PerformingArts Frameworks for California Public Schools.

Cal Performances in the Classroom

In 2001, Cal Performances and the Berkeley UnifiedSchool District established a partnership and wereinvited to join the John F. Kennedy Center for thePerforming Arts’ Partners in Education program.Combining resources and expertise to support artseducation, the team created Cal Performances in theClassroom, which provides an in-depth experiencewith the arts and cultures exemplified by the artistsperforming in the SchoolTime series.

Cal Performances in the Classroom includes:

• Professional Development Workshops for Teachers.In three hour participatory workshops with profes-sional performing artists and area curriculum spe-cialists, teachers learn ways to effectively integrateinto the curriuculum the arts presented atSchoolTime performances. Teachers also receiveextensive workbooks (see below) that provide infor-mation about the artists and art form; classroomconnections and lessons; and resource materials,such as videotapes, slides, audiotapes, or compactdiscs for classroom use.

• In-School Participatory Sessions for Students. Prior to attendance at SchoolTime performances, localartists (the same ones who lead the workshops forteachers) go into the classroom, and side by sidewith teachers, lead the students in dance, music,or theater activities and provide culturally specificbackground on the performance. These in-schoolsessions with artists complement the teachers’ pro-fessional development workshops and give studentshands-on experience of the art form they will seeon the stage.


• Attendance at a SchoolTime Performance. Each Cal Performances in the Classroom unit culminateswith attendance at a professional production on theZellerbach Hall stage. Following the performance,students may visit with the artists or demonstratethe skills they have learned in school.

• Comprehensive workshop guides. Examples of work-books related to SchoolTime performances thathave been developed for teachers’ use in the class-room include:

– African-American history through moderndance. This guide, in preparation for seeing theAlvin Ailey American Dance Theater, examinedslavery and emancipation through the music and lyrics of spirituals, the writings of Ernest Gaines,The Autobiography of Miss Jane Pittman, andAlvin Ailey’s Revelations.

– A history of the Silk Road and its signficance toWestern culture. In preparation for seeing Yo-YoMa and the Silk Road Ensemble with storytellerBen Haggarty, this unit explored the transmissionof cultural ideas, economics, and religion alongthe Silk Road.

– Understanding the Irish culture’s various wintersolstice traditions. In preparation for seeing a sea-sonal program by Ireland’s musical group Altan,this guide shed light on Irish history and culturethrough music, dance, and mumming in paganand Christian Celtic celebrations.

– A study of Balinese music, dance, and story-telling. In preparation for a new work by GamelanSekar Jaya (a troupe devoted to the study andpresentation of traditional and contemporaryBalinese performing arts), this guide helpedteachers instruct students in creating characters,using Balinese dance, music, masks, and shadowpuppets, to stage their own stories.

Berkeley/Oakland AileyCamp at Cal Performances

Outside of its hometown of New York City, theAlvin Ailey American Dance Theater annually givesmore performances in Berkeley than anywhere else.The company is continually seeking ways to engagethe community with the dancers and their expertise.

In 2002, Cal Performances established the first WestCoast site of the Alvin Ailey American DanceTheater’s summer education program. ThisBerkeley/Oakland AileyCamp at Cal Performancesis a six-week program in dance instruction alsodesigned to develop self-esteem, self-discipline, cre-ative expression, and critical thinking skills inyouths aged 11-14. AileyCamp is not a professionaldance training program. It targets students withacademic, social, and domestic problems that oftenincrease a child’s risk of dropping out of school. Animportant aspect of the program’s success is itsprovision of positive adult and peer role models forthese often underserved youths.

In general, AileyCamp welcomes students, whetherat risk or not, with an interest in the arts andpotential to improve their academic performance.Following recruitment presentations in schools,individual applicants are interviewed by AileyCampstaffers and volunteer community leaders, many ofwhom are members of Cal Performances’ Board ofTrustees. All campers receive full tuition scholar-ships, meals, camp uniforms, dance clothing, and,in many cases, transportation. The AileyCamp curriculum includes daily technique classes in ballet, Horton-based modern dance, jazz, and West

Alvin Ailey American Dance Theater RehearsalDirector, Ronni Favors, teaching section of Revelations to students at Willard Middle School in Berkeley, California

KEN

FR

IED

MA

N


African music and dance. Classes in PerformanceSkills and Creative Communications (writing, poet-ry, photography, and studio art) deepen the stu-dents’ awareness of their potential for self-expres-sion; and Personal Development classes providecounseling in nutrition, conflict resolution, drug-abuse prevention, decision making, and goal setting.The camp is supplemented with weekly field trips to educational, cultural, and recreational venues.

The 75 middle school students from Berkeley andOakland who participate in AileyCamp concludetheir summer training in a grand performance onthe The Zellerbach Hall stage. At the end of camp,students leave with valuable life skills and a sense of accomplishment before they enter the challeng-ing high school years. It is hoped that by providinga positive experience in a university setting(AileyCamp is held in Zellerbach Hall and adjacentbuildings on the UC Berkeley campus), youths will consider pursuing higher education as a personal goal.

Short-term In-School Residencies

Cal Performances works with teachers and schoolswho seek help augmenting lesson plans, want todevelop curriculum, or make special requests forin-school residencies. For after school programs indance, music, or theater programs, visiting artistsmay provide successive master classes during aweek’s visit. For schools that provide arts instruc-tion as part of the required curriculum, artists workwith students during the school day.

Life-long Learning.

Throughout the year, lectures and colloquia areoffered to the public, including K-12 students.Sightlines events, which are pre- and post-perform-ance discussions, provide a view of history, biogra-phy, and artistic practice from the the perspective of internationally acclaimed artists and scholars.Visiting artists regularly offer master classes, openrehearsals, and campus residencies to students.Conferences, demonstrations, and symposia are co-sponsored by the Consortium for the Arts at theuniversity, and all UC Berkeley students can receivehalf-price tickets to performances.

The Bushnell Center for thePerforming ArtsHartford, CT www.bushnell.org





The Bushnell Center has had a com-mitment to education since its incep-tion in 1919. The current vision state-ment conveys this commitment:

To present, create, inspire, and sharethe best in the performing arts and,in partnership with others, deploy the arts as major catalysts to advance education, to promote economic development, and to build a sense of community in Central Connecticut.

The Bushnell’s history reveals a longlist of educational programming:public lectures, seminars, communityforums, and debates featuring suchvisionaries as Eleanor Roosevelt,Winston Churchill, Helen Keller,and Martin Luther King, Jr. Over the years, diverse activities such asspelling bees, cooking classes, andstate political conventions haveoffered education at the Bushnell

with multiple dimensions.

One of its educational traditions aimed directly at youngsters is the Bushnell Children’s Theatre.Founded in 1973, BCT provides live theatrical experiences for students in kindergarten throughhigh school. BCT brings more than 13,000 studentsannually to the William H. Mortensen Hall,offering performances based on historical fiction,the classics, and popular children’s literature.

A Ten-Year Overview of PARTNERS®

The strongest and most visible manifestation of theBushnell’s commitment to education is its school-

CA

SE S

TUD

Y


based arts education program, PARTNERS(Partners in Arts and Education RevitalizingSchools), which was inaugurated in 1993 as a pilotprogram for eight elementary schools in threeschool districts, beginning with the first grade. Agrade level was added each year until PARTNERS’services were reaching all elementary grades (1-6)in the pilot schools.

In 1996, through the support of General Electricand the GE Fund, the Bushnell expanded PARTNERS into another school system inPlainville, CT. This program featured a K-12 district-wide approach that was implemented inmultiple grades in multiple schools during the same year. The program also incorporated GE-employee volunteers as regular visitors in eachclassroom for one-on-one “read aloud” sessions.

During the 1997-98 school year, PARTNERSexpanded into middle schools with a variety ofinterdisciplinary programs (English, social studies,and the arts). Fifth and sixth grade students beganto work with teaching artists in short-term poetryor playwriting residencies (one to four visits).Teams of seventh and eighth grade English andsocial studies teachers began teaching interdiscipli-nary units that integrated arts resources.

In 1999, the John G. Martin Foundation ofFarmington, CT, supported the Bushnell’s efforts to demonstrate, document, and disseminate thePARTNERS Approach® and expand the program into the Torrington school district. In 2000, thePARTNERS program began a collaboration with theCapital Region Education Council to implement anarts-focused, interdistrict “sister school” program inwhich students from urban and suburban schoolswork together in arts-learning activities.

The 2002-2003 school year marked the tenth yearof the PARTNERS’ program, which now servesnearly 5,000 students in grades K-12, in 37 schoolsfrom 14 districts in the Greater Hartford region.

A Program and a Process

PARTNERS offers a series of classroom-based, arts-infused unit outlines, integrated into the schoolcurriculum and linked to state and national stan-dards. The goals are to improve literacy, enhanceself-confidence, encourage creativity, and fosterunderstanding and appreciation of diverse cultures.Each unit outline combines social studies and lan-guage arts with a variety of arts disciplines to reachspecific learning goals; and each unit uses literatureas the focal point, draws on a variety of arts

The annual Language Arts Festival is a culminating activity for children in The PARTNERS® program.

THO

MA

S G

IRO

IR


resources (artists, performances, the community),and concludes with family involvement activities.The program is supported by professional develop-ment for teachers and artists, and by evaluation.

For example, the outline for an interdisciplinarystudy, “The Civil War Seen Through Many Eyes,”lists required literature for student reading, theunit’s “big idea,” concepts, themes, related stan-dards, student learning outcomes, a range of artist-led activities, and related performances andexhibits.

Participating teachers first meet for multiple plan-ning sessions to develop unit outlines and participatein a full day professional development workshop inwhich they examine the arts resources available, meetthe teaching artists, and engage in the same learningactivities their students will experience.

In the classroom, teachers lead the social studies orlanguage arts instruction and use activity guidesdeveloped specially for student readings. An artisticpartner (either a teaching artist working directly inthe classroom or a presenting artist conducting agrade-level assembly) then uses the literature, alongwith his or her particular art discipline, to present ahands-on activity or performance at the school orat the Bushnell. Artist visits range from one to fiveclassroom periods. Later, on a designated date,students participate in full day workshops withteaching artists and then extend the connectionsbetween the arts and their studies through teacher-led writing activities. At a culminating event forfamilies, students showcase the work they createdand explain its links to their studies. After the unitis completed, teachers meet to review and evaluatethe program and make plans for the following year.

PARTNERS’ programs are also held after school,on weekends and during school vacation weeks atlibrary sites, and in the summer either at schoolsites or in conjunction with local park and recre-ation organizations. One example is String Break, aseries of classical music performances in the com-munity that culminates with a full day open-houseevent at the Bushnell for young people and theirfamilies. The weekend event features free perform-ances and participatory activities in both the visualand performing arts presented by various artsorganizations.

The Promenade Gallery, located in the Bushnell’smain-stage lobby, annually presents the works ofprofessional Connecticut artists, as well as historicaland interpretive exhibits. Area high school studentsview the exhibits and participate in talks with theartists. Moreover, PARTNERS’ student artwork isrecognized in dedicated exhibits, held periodicallythroughout the school year at the Bushnell, as wellas at other public sites.

As a process, PARTNERS offers an inclusive, collab-orative planning and implementation model thatcan mobilize the arts, the schools, and funders toplan, design, build, and sustain cost-effective, quali-ty arts education programs. The application of theprocess is unique to each school community. As theprocess moves forward, the community begins torecognize the ways the arts can foster multiculturalunderstanding, promote greater family involvementin the schools, and enrich and enhance the curricu-lum. This happens only when the focus and exten-sive commitment of many individuals and organi-zations in the community are woven together withadequate financial support to:

• Identify, encourage, and sustain passionate,visionary leadership

• Involve stakeholders in significant ways

• Design comprehensive, cost-effective programs that meet local needs

• Ensure stability and continuity of administrationand management

• Refine and revamp programs to meet changingneeds

PARTNERS has been recognized as a NationalEndowment for the Arts Program Model, and hasreceived two two-year grants— in 1999 and 2002— from the Fund for the Improvement ofEducation, administered by the U. S. Department ofEducation. Most recently, the Bushnell received theConnecticut Quality Improvement Award’s 2002Gold Innovation Prize for its unique approach tolearning—arts organizations, educators, and busi-nesses joined together to enhance schools, give stu-dents high quality learning experiences, and buildbridges between schools and the larger community.

Maui Arts & Cultural CenterKahului, HI www.mauiarts.org

• School districts served per year: One (only one in the state)


• Intermediate schools served per year: 6



Since opening in 1994, the Maui Arts& Cultural Center (MACC) hasbecome an active participant inschool renewal throughout Hawaii.This state-of-the-art, comprehensivearts facility grew out of communityinitiative and the need for profession-al arts venues. One of MACC’s corevalues of is that “arts are essential tothe complete education of children.”Key components of the Center’s suc-cess are the development of viablepartnerships, support of strong andstable leadership, and a deep commit-ment to arts education by the MACCstaff and Board of Directors. Thesebeliefs and practices encourageMACC to act as a catalyst for learningin, through, and about the arts forevery school on Maui.

Performances, Participatory Arts Workshops for Students, and Art Exhibitions

Planning for its education programs began twoyears before the MACC even opened. Teachers wereon-site in hard hats making arrangements for thefirst student art exhibit, “Celebrating the Artist InUs,” which featured artwork from throughout MauiCounty and offered teacher workshops on the cre-ation, selection, and presentation of visual art. Thisexhibit has now become an annual event.

A series of performances designed specifically forstudents began when MACC opened in 1994. In1995-96, CanDo! Days were initiated. Today, ele-mentary school students and their teachers attend


three hour-long participatory sessions in drama,creative movement, and visual arts at MACC.The same students participate annually, allowingtheir knowledge and skills to grow. Over the years,these initial programs have grown in number andpopularity.

Professional Development Opportunities forClassroom Teachers

In 1995, MACC joined with the HawaiiDepartment of Education (DOE) as participants inthe John F. Kennedy Center’s Partners in Educationprogram. This partnership has led to an expandedfocus on professional development programs in thearts for teachers.

• Workshops and Institutes. A series of professionaldevelopment workshops are offered annually forclassroom teachers. Twelve workshops for Mauiteachers were offered during the 2002-2003 schoolyear, and six schools requested arts-integrationworkshops for all their teachers during staff devel-opment days. With only a few such days availableeach year, the requests are evidence of growingadministrator and teacher interest in arts educa-tion. MACC has also offered week-long summerinstitutes for teachers since 1998. Some professionaldevelopment workshops prepare teachers to leadarts activities that relate to performances at MACC.For instance, a workshop series on Chinese culturetaught teachers how to lead Chinese ribbon danc-ing with students prior to attending a performanceof Classical and Folk Dances from China.

• Artist/Teacher Mentoring Program. In 1999, MACClaunched the Art of Standards initiative, whichpairs elementary school teachers with teachingartists for ten-hour in-school mentoring programs.Each program begins with attendance at a summerinstitute in which teachers and artist-mentors learnabout the mentoring process, write fine arts curric-ula, and develop assessments. During the schoolyear, teachers and their mentors develop a unitplan, teach lessons, and assess student progress. Theprogram serves approximately 20 teachers annually,and teacher evaluations indicate that it has a signif-icant impact on their abilities to implement the artstechniques they learn in professional developmentworkshops.

CA

SE S

TUD

Y


• In-Depth Collaborations with Entire Schools.Teachers’ professional development in the arts is akey component of the ArtsPartner program, an in-depth collaboration between MACC and selectedschools. ArtsPartner schools sign a letter of agree-ment with MACC in which both organizationscommit to developing the school’s arts programs.Each school identifies its needs and sets goals, andMACC offers related professional development forteachers. Schools also host MACC artist residenciestailored to the school’s needs. In 1998, through aGoals 2000 grant, four ArtsPartner schools beganan 18 month project focusing on the teaching ofreading comprehension through drama. Two ofthose schools went on to win state Arts ExcellenceAwards in 2000 and were designated in 2003 ashonor roll schools for their high achievement inreading and math scores. In 2003, seven schoolsparticipated in the program.

• Continuing Education Credit and TeacherRecognition. Continuing Education credits are avail-able for participation in professional developmentworkshops. In addition, teachers who complete 32hours of workshops during a two-year period arerecognized with Certificates of Study at an awardsdinner. Each year, 18 to 35 teachers are honored atthis high profile event. MACC’s professional devel-opment programs have also built teachers’ capacitiesto be arts education leaders. Teachers who began the

program in 1995 are now presenting workshops for their peers and serving as mentors.

The Preparation of Teaching Artists

Because of Maui’s isolation and limited funding,MACC has been training local teaching artists topresent professional development workshops forteachers, to write arts curricula, to assess studentlearning, and to mentor teachers in the classroom.This investment in Maui artists has paid off—acadre of advanced teaching artists now exists therewhose members can both teach the arts and inte-grate the arts with the curriculum.

Teaching artists have attended the Kennedy Center’stwo-day seminar “Artists as Educators,” offered atMACC, which demonstrates ways for them to findconnections between their art-form expertise andthe curriculum; it also provides instruction in plan-ning professional development workshops forteachers. Follow-on advanced workshops for teach-ing artists have been offered as well. Teaching artistslearn alongside teachers at summer institutes, in theArt of Standards project, and in the ArtsPartnerprogram. Beginning in the 2002-2003 school year,teaching artists began participating in two work-shops each year that focus on the Interstate NewTeacher Assessment and Support ConsortiumReport of 2002.

Maui Arts and Cultural Center's CanDo! Day – dance

SUSA

NA

BR

OW

NE


The Role of the Performing-Artist Residencies

In Fall 1999, when MACC began presenting its ownseason of performances, a decision was made toselect artists based not only on their artistic merit,but also on what they could offer to schools. Anartist’s experience working with young people isnow a major booking consideration, and mostartists performing in the school series interact with students or lead workshops for teachers.Approximately half of the artists in MACC’spresenting season do residencies in schools andsocial-service agencies. For example, artists have led two days of dance classes for at-risk youth and a jazz clinic for high school band students.

Partnerships with local arts organizations have been important in all its endeavors. For example,since 2001 MACC has partnered with the MauiDance Council to provide eight-week dance residencies for middle school students.

Statewide Impact

In 2000, the Hawaii Arts Education Partnership wasformed in order to write and implement a strategicplan for arts education in the state. The plan, ARTSFIRST: Hawaii’s Arts Education Strategic Plan 2001,recommends the Maui Arts & Cultural Center’sprofessional development program for teachers andteaching artists as a model to be implementedthroughout Hawaii.

Evaluation

With partial funding from the Kennedy Center, theMACC/DOE team has embarked on an evaluationof its professional development program and thatprogram’s effects on students. Phase I (July 2001 -May 2002) found that the artist-teacher mentoringprogram is increasing teachers’ knowledge of thearts and enhancing their abilities to include the artsin their teaching. In the Phase II evaluation, whichbegins in Fall 2003, a sampling of nine students ineach grade level in an elementary school will be followed longitudinally. Teachers will design instru-ments and collect and analyze data on the effects of arts-integrated curricula on these students’story/reading comprehension skills and attitudestoward reading.

The Kentucky CenterLouisville, KY www.kentuckycenter.org


• Elementary schools served per year: Varies each year

• High schools served per year: Varies each year


The Kentucky Center (formerly theKentucky Center for the Arts) is a per-forming arts institution whosestatewide service is guided by itsvision statement:

We believe that the human capacity for art is universal, and that we havebeen called upon both to present artand to build bridges of understandingand access to it.

Education is the principal means bywhich the Kentucky Center endeavorsto realize that vision.

School Partnerships

The Kentucky Center partners with 13 schools and two other performingarts centers in an in-depth, long-termpartnership program, called CreativeConnections, which aims to achieveschool reform through the use of arts

and cultural resources. Supported by the GE Fund,this program helps each school create its ownunique arts education plan.

In-school artist residencies are provided throughArts Education Showcases, one-day events in sevensites across the state. These showcases are designedto familiarize Kentucky educators with performingartists, visual artists, creative writers, arts organiza-tions, and cultural institutions that make programsand other resources available to schools. More than100 artists/companies participate in showcaseevents, marketing their programs annually to morethan 900 teachers and others who book field trips,in-school performances, and residencies for theirschools. Each attending school/organization receives

CA

SE S

TUD

Y


a resource directory that features a full pagedescription of each artist or arts organization.Artists pay a small fee (currently $25) to be included in the showcase and directory.

Hands-on, arts-based professional developmentopportunities for K-12 teachers—two-week semi-nars, called “Kentucky Institutes for Arts in Edu-cation”; one-week seminars, called “Arts Academies”;and a series of three-hour participatory workshops—are designed to help teachers incorporate the artsinto their teaching across the curriculum.

The Kentucky Center provides professional devel-opment sessions for teaching artists that aredesigned to help them connect their work moreclosely to state and national standards.

Arts in Community Centers

Since 1991, the Kentucky Center’s ArtsReach program has been enabling Louisville-area commu-nity centers to provide quality arts programs totheir constituents, who include youth, adults withdisabilities, families, and seniors. ArtsReach offersarts training and resources in the following ways:

• ArtsReach Institute. This annual eight-week trainingsession, for staff members from up to 25 communi-ty centers, provides opportunities for staff to receivearts resources for their community centers whilegaining knowledge of the arts for themselves.

• ArtsReach Network. Once participants have completed the ArtsReach Institute, they are invitedto join the ArtsReach Network. During monthlymeetings, community center staff members havethe opportunity to interact with one another, shareresources and information that enhance their individual programs, and attend supplementary professional development workshops.

• ArtsReach Studio. Through this program, youthreceive quality year-round instruction in dance andviolin. They are also given opportunities to experi-ence the arts through performances (both as audi-ence and performer), take master classes fromnationally/internationally renowned touring artists,and be involved in special projects. ArtsReach hastransformed the landscape of local community cen-ters from primarily sports-based models to centersthat are rich in arts-based programming as well.

• Artist Initiated Grants give local artists andArtsReach centers the opportunity to partner with each other to do specific projects.

ArtsReach was a 2002 semi-finalist for the ComingUp Taller Awards (presented by the President’sCommittee on the Arts and Humanities, in part-nership with the National Endowment for the Arts,the Institute of Museum and Library Services, andthe National Endowment for the Humanities). As aresult of the program’s proven success locally, theKentucky Arts Council has enlisted the KentuckyCenter to expand ArtsReach statewide. Pilot sitesare now operating in the traditionally underservedcommunities of Paducah, Hopkinsville, andAshland.

Programs for Talented High School Youth

The Kentucky Governor’s School for the Arts(GSA) is best known for its intensive residentialprogram targeted to the needs of talented highschool students who are dancers, actors, instrumen-tal or vocal musicians, creative writers, aspiringarchitects, or visual artists. Specifically, GSA is anarts community of masters and students who jointogether for three weeks in the summer to explorethe discipline and freedom of the creative process.The newest initiative included an internationalexchange program that brought five students from Northern Ireland to the GSA in the summerof 2003.

By graduating from GSA, alumni earn the opportu-nity to participate and audition at College andCareer Day, which takes place in Louisville everyfall. Representatives from nearly 70 institutions ofhigher learning from around the nation gather atLouisville’s Youth Performing Arts School to shareinformation about their schools with GSA studentsand their parents and to conduct auditions andinterviews. Many GSA students have received scholarships as a direct result of these opportuni-ties. Through the Toyota Alumni PerformanceFund, GSA is often able to support students’ artisticendeavors beyond the summer residential program.

A related, earlier stage program is Artshops, a seriesof free arts workshops that provide high school students with the opportunity to spend a day at acollege or fine arts center in a hands-on arts enrich-


ment opportunity. Artshops include parent/teacherworkshops that discuss the GSA summer program,researching college scholarship opportunities, andissues of parenting a gifted child.

Access to Programs for People with Disabilities

With a barrier free facility, assistive listening systems, audio description, and captioned theateravailable for public shows and student matinees,the Kentucky Center is a leader in arts accessibility.The audio description and captioned theater pro-grams also provide services for other theaters in thecommunity. In addition, the Kentucky Center doestraining for and loans equipment to organizationsthroughout Kentucky, and its Access ServicesDepartment works to educate other arts institutionsby providing workshops and consultancies.

Arts Presenters’ Networking Opportunities

The Kentucky Center is a leading convener ofgroups that might not otherwise be meeting andcollaborating regularly for networking opportuni-ties. The Center founded the Kentucky PresentersNetwork, an organization of performing-arts cen-ters, and it holds a monthly meeting of communitycenters in the ArtsReach Network program. Mostrecently, the Kentucky Center formed the ArtsAccess Forum, which meets monthly to discussusing the arts to better serve people with disabili-ties, and to provide a means through which mem-ber groups can collaborate in new ways.

Performance Series

The Kentucky Center presents a wide variety ofperformance series in music, dance, and drama,including World Rhythms, a multicultural serieswith several educational components. WorldRhythms features performing arts from around theworld, usually focusing on Asian, African, African-American, or Hispanic cultural traditions. EachWorld Rhythms program includes a student mati-nee and an evening performance. All schools send-ing students to the matinee performances receive astandards-based teacher guide, and selected schoolsalso receive an in-school workshop in music ordance of the featured culture, led by local andregional teaching artists. Prior to every WorldRhythms evening performance, a CulturalMarketplace is presented, with interactive work-shops, demonstrations, and exhibits about the culture spotlighted in the evening program.

In addition to the various programs presented bythe Kentucky Center, the facilities are also home to five resident groups (Kentucky Opera, LouisvilleOrchestra, Louisville Ballet, PNC Broadway inLouisville, and Stage One), each with its own edu-cation program. In order to make education per-formances more affordable, the Kentucky CenterExpress provides up to half the cost of bus trans-portation to the Center for student matinees.More than 10,000 students benefit from this program annually.

A class photo from Governor's School for the Arts, with a dancer in the foreground

TIM

TH

OR

NB

ERR

Y


Jacob’s Pillow Dance FestivalLee, MA www.jacobspillow.org


• Elementary schools served per year: 20-25

• High schools served per year: 2-4


Since the “Pillow’s” 1933 inception,education has been central to its mis-sion: “To support dance creation, pres-entation, education, and preservation;and to engage and deepen publicappreciation and support for dance.”

Education at Jacob’s Pillow involves theprofessional track dancer and the initi-ate; the artist and the classroomteacher; the aficionado and the newaudience member—all desiring toenhance their dance experience.

Jacob’s Pillow’s multiple entry pointsenable students, teachers, and artistsalike to participate in and reflect on the physical, emotional, intellectual,and inspirational aspects of dance.Program development is always collaborative and art centered, andaimed at helping learners experiencedance as a path toward knowledge of self and community.

Four program areas—the School at Jacob’s Pillow,the Intern Program, the Community DanceProgram, and the Audience Engagement/Free EventsProgram—nurture the development of each groupand provide opportunities for interaction:

• The School at Jacob’s Pillow is an immersion experience for an international student body of 100exceptionally skilled pre-professionals and youngprofessionals. In classes no larger than 25, with ahigh faculty-to-student ratio (averaging 1:6),students receive individualized and comprehensiveconservatory style training that prepares them for thedemands of a dance career. The curriculum draws onthe Pillow’s ability to connect young artists with theprofessional dance world, enabling them to work sixhours per day in a company-like studio environment,

perform weekly for Pillow audiences, see three tofour dance companies per week, hear artists discusstheir work, and complete assigned readings andresearch in the Pillow’s extensive dance archives.The School’s five annual two- to three-week pro-grams include ballet, cultural traditions, contempo-rary, jazz, and choreography.

Within the School’s choreography program, artistsare offered three types of training for conductingschool and community residencies:

– Professional Development Course, begun in the1990s, is designed for artists interested in learningabout collaborative and choreographic strategiesnecessary to build and sustain relationships thatsupport both community and artistic goals. Topicsinclude effective choreographic structures forcommunity settings, stage work created fromcommunity interactions, and residency approach-es for school aged students.

– School Residency Teaching Fellows Programenables an artist with youth teaching experienceand strong choreographic ability to serve as anartist-teacher for the Pillow’s annual four-weekhigh school residency. Artists participate by invita-tion only, and must have completed the profes-sional development course described above.

– Fieldwork Courses about School Residenciesenable artists who lack teaching experience inschools to gain insights into the Pillow’s residencyapproach, called Setting Curriculum in Motion®(see Community Dance Program below). Havingcompleted the professional development course,these artists shadow Pillow residency artists, par-ticipating in day-to-day classroom planning andassisting with documentation and evaluation pro-cedures. This fieldwork training may be repeatedand can eventually lead to the artists being con-sidered for the Teaching Fellows Program.

• The Intern Program provides on-the-job trainingin nine areas of arts management and technical the-ater production. Staff-led seminars, field trips toother cultural organizations, and intern-group proj-ects provide key career contacts, insight into theinner workings of international arts productions,and knowledge about current issues critical to thefield. Summer interns lead community dance class-

CA

SE S

TUD

Y


es, campus tours, discussions with visiting commu-nity groups about artists and works on stage, andother activities designed for K-12 students andteachers. Off-season, interns are integrally involvedin Festival planning and the year-round communityprograms. Intern alumni work at organizationssuch as the Alvin Ailey American Dance Foundation,American Dance Festival, Ballet Hispanico, RonaldK. Brown/Evidence, Mark Morris Dance Center,Leap…imagination in learning. Six Intern alumnicurrently serve on the Jacob’s Pillow staff.

• The Community Dance Program benefits some3,500 participants each year. More than a dozencommunity partnerships and alliances engage areaschools, after-school programs, elderhostels, specialneeds participants, and individuals both new to orexperienced in dance. Within area schools:

– Setting Curriculum in Motion inspires student-developed choreography using K-12 academictopics as source material. The approach hasevolved from long-term, committed relationshipswith area schools and demonstrates dance’simportant place in the national dialogue abouteducation reform.

Example: Algebra students are guided by theirhigh school teacher and Pillow artist-teacher increating movement phrases about a key idea infactoring—the process of FOIL (first, outer, inner,last). Students work in quartets, each groupdemonstrating the four-part idea. For the artist-teacher, breaking down complex material intoparts emerges as a theme that can be exploredthrough movement. Students are taught a com-plex movement phrase as part of the class warm-up, and because factoring occurs both backwardand forward, they are asked to reverse the phraseon their own. Excerpts of the original andreversed phrase are then incorporated into eachquartet’s complex “dance equations.”

Example: The Fall semester 2001 included collabo-ration between an English as Second Languageclass and a Health class. Students examined theevents of September 11 and considered how theyrelated to valued American freedoms and howthose freedoms attract others to this country.Students considered misconception, judgment,and variations in interpretation, and used move-ment to contrast and compare the September 11event with events from their countries of origin.

Jacob's Pillow Artist-Educator Kimberli Boyd leads a 3rd grade science class at Silvio O. Conte Community School.

EVA

N G

UN

TER


Next, students compared these events with thetime period and urgency for freedom that led tothe writing of the Bill of Rights. Students’ writtenreflections were formed into a text score for thedance’s final showing.

– Professional Development for Classroom Teachersis offered year-round, in the form of seminars and workshops, as an integral part of school residencies. During Summer Dance Institutes for Educators, established in 1996, participatingteachers spend a week at the Pillow being students. They take dance classes, attend lectures,see performances, participate in feedback sessionswith artists, and engage in dialogue about class-room applications. The goal is to broaden anddeepen teacher understanding of dance and itsability to further student learning—in particular,the academic success of kinesthetic learners.

• The Audience Engagement/Free Events Programis central to the Pillow’s Festival experience. Everyseason some 200 free, informal, and informativeevents provide background about up-and-comingand established artists, new and classic works, andcollaborations, many with interdisciplinary or multicultural emphasis. For example:

– The outdoor stage for artists to share works inprogress is a popular place for families to intro-duce children to dance.

– The Pillow’s annual Community Day, which creates a family-friendly, celebratory atmospherefor people of all ages, offers performances andparticipatory dance activities in a full range ofdance styles and expressions, and highlights thePillow’s K-12 artists and their work.

– The Pillow Archives, accessible to the publicthrough a multimedia reading room, houses thou-sands of videos, films, and photos collected overthe past century, and inspires a series of annualexhibitions. Drawing on these resources, Pilloweducation staff members plan “A Day at thePillow,” visits for K-12 students and teachers tolearn about the Pillow, its history, and its artists.

Flynn Center for the Performing ArtsBurlington, VT www.flynncenter.org




• K-12 students served per year: 45,000 (2001-02)

The Flynn Center for the PerformingArts is located in Burlington, VT, acity of 40,000 in a county of 120,000,and draws its patrons from within a100 mile radius. In this bucolic set-ting, the Flynn’s patrons represent thewide range of Vermont experience:urban to rural, industrial to agrarian,progressive to traditional, and high tolow levels of education.

The educational mission of the FlynnCenter is to provide programs—inthe schools, in the community, and atthe Center—that engage children,teens, and adults in the artisticprocess, cultivate appreciation of theperforming arts, and make the per-forming arts an integral part ofschool and community life. The corestrength of these programs comesfrom their integration with theFlynn’s nationally recognized present-

ing series, which includes a main-stage season ofmore than 40 music, dance, theater, and multidisci-plinary works in the 1,450 seat theater; 25 contem-porary and experimental genres in FlynnSpace, the150 seat black box theater; and more than 35 per-formances for students on either the main-stage orin FlynnSpace.

The success of these educational programs comesnot only from their integration with the Flynn’swide range of performances; additional factorsinclude partnerships with schools and other cultur-al organizations that extend the Flynn’s resourcesand reach, and the organization’s responsiveness tocommunity needs. The programs also offer manydifferent ways for people of all ages to participate at

CA

SE S

TUD

Y


varying skill and commitment levels. The programs’leaders, informed by their own education and artsbackgrounds, seek to meet participants where theyare and challenge them to go farther.

Student Matinee Series, Study Guides, TeachingArtists in the Classroom

Begun in 1987, the Student Matinee Series offersquality performances to complement the schoolcurriculum and demonstrate the dynamic relation-ship between the performing arts and history, liter-ature, and world cultures (e.g., Lindbergh’s OceanFlight, A Midsummer Night’s Dream, and the PekingOpera). The series also includes performances thatintroduce art forms outside the curriculum, such asPaul Taylor Dance Company, Imago Theatre’sFROGZ, and jazz vocalist Nnenna Freelon. TheFlynn Lead Teacher Network, a volunteer groupthat represents more than 100 schools and serves asa liaison between the Flynn and the region’s teach-ers, contributes greatly to the series’ success. TheNetwork regularly provides information aboutevents and gathers feedback from colleagues aboutFlynn programs and potential offerings.

To encourage teachers to use the matinee perform-ances as springboards for classroom activities, theFlynn offers free study guides that provide essentialbackground materials and relevant learning activi-ties linked to Vermont standards. In addition, Flynnholds workshops in the classroom before and afterattendance at matinees to help students prepare for,reflect on, and extend the performance experience.Typically led by local teaching artists versed in theart form—and, when possible, by the performersthemselves—these workshops are highly interactive.In workshops centered on a theatrical production,for example, students might be given a portion ofthe script to interpret. For a dance performance,they might create movement phrases that expressthe performance theme. On occasion, these work-shops provide the basis for longer-term residencies,in which the teaching artists lead a series of work-shops in the classroom to interweave drama andcreative movement with content areas. In 2001, theFlynn education department began a three-yearproject working with the entire staff of a local ele-mentary school to use the arts to improve students’reading comprehension. Flynn teaching artists led a

total of 313 classroom workshops. Paid for by theschools or grants, these workshops have grown innumber as a result of the enthusiastic response byteachers and students.

Professional Development for Teachers

For teachers interested in learning more about thearts, the Flynn offers after school workshops in specific art forms (e.g., “West African Dancing,”“Storytelling”) and in integrating arts into the classroom (“Bringing Books to Life,” “DancingNumbers”). Workshops are held at the Flynn, atschools, and at conferences. Attendance at theseworkshops is highest, regardless of location, whenthey are co-sponsored by a school district or anoth-er organization. In 2001-02, 287 teachers participat-ed in these professional development offerings.This work with teachers began in 1992, when theFlynn joined the Kennedy Center’s Partners inEducation program.

College Courses

To offer teachers opportunities for in-depth study,the Flynn partners with the graduate educationprogram of St. Michael’s College, in nearbyColchester, VT, to co-sponsor several three creditcourses per year (e.g., “Arts: The Creative Process,”“Drama as a Teaching Tool,” “Aesthetic Education,”“Bringing History, Literature, and Arts to Life”).Open to pre-service and practicing teachers, thesecourses use performances at the Flynn Center astexts and, when possible, include interaction withthe performers. Additionally, Flynn education staffmembers supervise teachers’ independent studies inthe arts and education (e.g., “Teaching Sciencethrough Drama,” “Evaluating Arts Activities”).

Year-Round Classes for Children, Teens, and Adults

In 1987, to provide the community-at-large withopportunities to participate in the performing artsunder the guidance of skilled teaching artists, theFlynn began offering a few classes for children. In2000, after adding state-of-the-art studios to itsfacility, FlynnArts, a comprehensive program ofyear-round classes in theater, dance, and music, wasborn. The program focuses on topics that relate tothe Flynn’s main-stage and FlynnSpace presenta-


tions. For example, since the Flynn is part of theDoris Duke Charitable Foundation’s JazzNet andcommitted to presenting jazz artists, FlynnArtsoffers the classes “Jazz Combo” and “Singing SoloJazz.” Similarly, classes in modern dance relate tothe Flynn’s participation in the National DanceProject. Further, FlynnArts is currently developingan overall curriculum in which performance skillswill build upon each other.

Opportunities for students to tour the Flynn the-aters, observe rehearsals, and attend Flynn perform-ances and pre- or post-show discussions with visit-ing performers are available as well.

FlynnArts classes feature entry points at many lev-els—for the curious, the aspiring, and the profi-cient—in order to instill a deeper understandingand appreciation of the performing arts whiledeveloping increasingly solid artistic skills. Forexample, FlynnArts students may participate in a

one-day workshop, a one-week summer camp, a 12-week course, or audition for a role in an intensivesummer theater program.

Fall and spring terms include 12-week classes (e.g.,“Ballet for Ice Skaters,” “Acting Lab,” “ImprovEnsemble,” “Flamenco Guitar”) as well as shorterworkshops on topics of particular or specializedinterest (“Linklater Voice Technique,” “StageCombat,” “Physical Theater”) and master classes

linked to main-stage and FlynnSpace events. Moreadvanced students participate in end-of-semesterperformances in FlynnSpace.

The summer term offers one and two week campsthat are open to children and teens of all abilities, aswell as programs for more advanced teen studentsin theater and jazz. In addition, programs of vari-ous durations are offered for adults. Summer campsare usually theme-based (e.g., “Tales of the Earth”),and many are offered in collaboration with otherlocal nonprofit cultural organizations (a campfocusing on creating site-specific dances atShelburne Farms, “Wild and Wacky History” at theShelburne Museum, “Radio Plays” with VermontPublic Radio). These partnerships were born in1995, when capital improvements required theFlynn to relocate its summer camps; they continueto flourish, however, because of the mutual andrespectful sharing of resources that developed.

FlynnArts offers assistantships andinternships through various localcolleges and high schools that enableyoung teaching artists to work underthe tutelage of seasoned profession-als; this program has been helpful inproviding the Flynn with new teach-ing artists.

Community Residencies

From 1996-2000, thanks to an“Audiences for the Performing ArtsNetwork” grant from the LilaWallace-Reader’s Digest Fund, theFlynn sent artists to three ruraltowns for in-depth, multiple-weekresidencies. The Liz Lerman DanceExchange, for example, drew on sto-

ries collected from that experience and created aperformance with rural-community participants.The work was performed both for the student mati-nee and main-stage series in 2000. This residencyand other projects have brought working artistswho perform in the main-stage season or theDiscover Jazz Festival into schools, youth centers,and outlying communities, where they engageVermont residents in the arts and create new works.

Students work together in a workshop to createshapes from the environment.

JAC

K R

OW

ELL

The John F. Kennedy Center for the Performing ArtsWashington, DC www.kennedy-center.org

Locally

•School districts served per year: 27

•Elementary schools served per year: 475

•High schools served per year: 105

•K-12 students served per year: 855,000

Nationally

The Kennedy Center provides programs and

resources to school districts and individual

schools in all 50 states.

As America’s national center for theperforming arts, the John F. KennedyCenter is deeply committed to artseducation. For more than 30 years, itsEducation Department has providedquality arts experiences for students,teachers, families, and the public bothin the Washington, DC, metropolitanarea and throughout the nation. TheKennedy Center’s educational pro-grams, which directly serve more thanseven million people each year, arefocused on three major areas: produc-tion and presentation of performingarts for young people and their fami-lies; school-based education programsand resources for students, teachers,administrators, and artists; and careerdevelopment in the arts for youngpeople and professionals.

Production and Presentation

With its commitment to access,diversity, and lifelong learning, the Center continuesto provide opportunities for all people to see andlearn about performing-arts productions.

• Through the “Imagination Celebration at theKennedy Center” and “Imagination Celebration OnTour” throughout the nation, the Center presents orproduces more than 600 performances for youngpeople and their families in dance, theater, music


(classical and jazz), opera, storytelling, and pup-petry. Cuesheet performance guides, consistent withguidelines developed from Kennedy Center’s three-year study of such materials, help students andteachers familiarize themselves with the performances they will attend.

• Additional programs of the ImaginationCelebration type include the Kennedy Center’s“Open House,” the Prelude and Holiday Festivals,and the Martin Luther King Jr. Celebration.

• Under the auspices of the Education Department,each year the National Symphony Orchestra travelsto a different state for an extended residency, whichincludes performances and extensive educationalprograms in schools and communities.

• To support the development of new works foryoung people, every other year New Visions, NewVoices brings playwrights, directors, and composerstogether in a “working forum” to revise promisingscripts and produce staged readings for young peo-ple and their families. In this week-long residency,the Kennedy Center provides artistic resources,including a full cast, stage managers, and specialistsin theatrical presentation for up to eight new playsor musicals.

• Through Performance Plus, the adult public attendsdemonstrations, discussions, multi-session courses,panels, participatory workshops, and openrehearsals that offer insights into the cultural andhistorical context of the works presented on stage.

• In an effort to bring its productions to as manypeople as possible, a free performance is presenteddaily at 6 p.m. (EST) on the Center’s MillenniumStage and is broadcast live over the Internet. Theseperformances are archived on the Center’s Web site(www.kennedy-center.org).

School-Based Education Programs and Resources

The Kennedy Center Education Department devel-ops programs that promote student learning in andthrough the arts; it provides professional develop-ment opportunities for artists, teachers, and schooland performing arts administrators; and it encour-ages and supports institutional partnerships acrossthe country that pursue these ends.

CA

SE S

TUD

Y


• A new DC Arts Education Initiative, led by theKennedy Center, is helping to develop a compre-hensive K-12 arts education program for theDistrict of Columbia’s public and charter schools.

• A partnership with George Washington Universityand the Duke Ellington High School for the Artsprovides a series of arts experiences that extendschool-based arts instruction. Students from thesepartnership institutions, as well as from otherschools throughout the Washington, DC, metropol-itan area, participate in a weekend program—featuring the Dance Theatre of Harlem—thatintroduces students to ballet through lecture/demonstrations, workshops, performances, andtraining experiences.

• Since 1975, the Kennedy Center has been a class-room for teachers. Each year, more than 1,600teachers participate in professional-developmentprograms to learn how to integrate the arts withother curricula. For example:

– Changing Education Through the Arts is a multi-year partnership with 13 schools in themetropolitan Washington, DC, area that develops,implements, and evaluates the building of teachercapacity to integrate the arts across the curricu-lum. The program includes arts coaches (teachingartists who mentor teachers in their classrooms),courses focusing on arts integration, and teacher-led study groups.

– The D.C./Northern Virginia Partnership Programextends school-based arts education programswith artist residencies in 15 schools.

Teachers who study 30 or more hours at the Centerare awarded Certificates of Study; artists who teach in the program participate in professionaldevelopment training of their own. The experiencesgained in this local program are shared nationallythrough the Partners in Education program(described next).

CA

RO

L P

RA

TT

The Adventures of Tom Sawyer by Ken Ludwig


• The Partners in Education program brings togethersenior representatives from cultural institutions andneighboring school systems to initiate or developarts education partnerships with a special emphasison the professional development of teachers. In2003, 94 teams in 44 states, Washington, DC, andMexico participated in the program. In addition to providing leadership for Partnership teams, theprogram offers a national tour of workshops forteachers, parents, and community members; semi-nars to assist artists in learning how to plan profes-sional development workshops for teachers; semi-nars to help arts organizations develop a philosophyand practice for creating performance guides; and a speaker’s bureau. The program also offers grants to Partnership teams for supporting collaborativeprojects with other arts and education institutionsthroughout their states, and for undertakingresearch projects that determine project effectiveness.

• The Kennedy Center Alliance for Arts EducationNetwork (KCAAEN), a national network of 46state-based organizations, endeavors to ensure that the arts are included in the basic education of all children. Through operation, project, andtechnical assistance grants, as well as various meet-ings, programs, and publications (e.g., Community Audit for Arts Education: Better Schools, BetterSkills, Better Communities), KCAAEN helps communities strengthen and expand their arts education programs.

• A distance learning program, created in associationwith the Prince William Network (the distancelearning arm of the Prince William County PublicSchools in Northern Virginia), broadcasts a performing arts series to schools nationally viasatellite. This free program provides performances,discussions, and demonstrations by some of theoutstanding performing companies and artistsappearing at the Kennedy Center (e.g., the RoyalShakespeare Company, Dr. Billy Taylor, AtholFugard, Suzanne Farrell, and the Turtle IslandString Quartet). In addition, teachers can enhanceprofessional development through this distancelearning mechanism.

• Through the Kennedy Center’s national arts and information network, ARTSEDGE(www.artsedge.kennedy-center.org), teachers andstudents throughout the nation have access to avariety of quality educational materials about theperforming arts. The Web site includes a databankof related lesson plans and links to additionalresources, and specific minisites feature topics ofspecial interest (e.g., the Harlem Renaissance,Ireland, the African Diaspora, the Americas).ArtsEdge also participates in the MarcoPolo project(www.marcopolo.worldcom.com)—a partnershipwith corresponding programs of the AmericanAssociation for the Advancement of Science, theCouncil of the Great City Schools, the NationalGeographic Society, the National Endowment forthe Humanities, the National Council on EconomicEducation, and the National Council of Teachers ofMathematics—to provide quality, standards-basedcontent through the Internet.

Career Development

A variety of programs at the Center provide short-and long-term career development and opportuni-ties for students and young professionals to show-case their talents. Young dancers may study with aprima ballerina, for example; young musicianswork with members of a symphony orchestra orleading jazz musicians; young actors, playwrights,directors, critics, and set, costume, and lightingdesigners learn from appropriate theater profes-sionals; and arts managers are mentored by sea-soned and successful management practitioners.

Specific programs include Betty Carter’s JazzAhead,the Conservatory Project, Exploring Ballet withSuzanne Farrell, Jazz Ambassadors, KenanApprentice Program in Theater, Kennedy CenterAmerican College Theater Festival, NationalSymphony Orchestra (NSO) Summer MusicInstitute, NSO Youth Fellowship and YoungApprenticeship Programs, and the Vilar Fellowshipsand Internships in Arts Management.

Each year, more than 1,250 people take advantageof this specialized instruction, and some are select-ed for performance opportunities.


PROFILESFollowing are profiles of the work

of 66 Performing Arts Centers and their role in education


UApresentsTucson, AZ http://uapresents.arizona.edu





Programs offered:

Performances for K-12 audiences

Short-term in-school residencies (one week or less)

After school or weekend programs for K-12 students

Professional development opportunities for teachers

Professional development opportunities for teaching artists

Summer institute for K-12 teachers

Partnerships with whole schools

Partnerships with whole school districts

Training for school leaders (principals, superintendents, others)

Adult education opportunities

Performances/exhibits by school-based teachers

Performances/exhibits by teaching artists

In this time of budgetary contraints inschool districts, inspiring classroomteachers with the concept of the arts as a mechanism for learning is an inexpen-sive and effective way to encourage cre-ativity and sophisticated thinking, andto reinvigorate the culture of a school.Students not only acquire a deeperunderstanding of curricular topicsthrough the arts, but also experience theintegration of the arts into their lives.

The UApresents School MatineeProgram successfully pursues these goalswith respect to the performing arts.

Nearly 14,000 K-12 students—from public, private,charter, and home schools alike—are given theopportunity to attend a live professional perform-ance each year, many of them for the first time, atCentennial Hall on the campus of the University of

Arizona. Six of these matinee performances,featuring world-class artists from a variety ofethnicities and arts disciplines, are presentedthroughout the year.

In preparation for each School Matinee, local teach-ing artists present Teacher Inservices, which providein-depth teacher training in the particular cultureand art form being showcased. Moreover, each in-service focuses on themes or lessons connected tothe specific Matinee that each teachers’ students willattend. Every teacher bringing students to a Matineeis encouraged to attend this free inservice, andapproximately 150 teachers participate. They alsoreceive teacher study guides, created by the artists,that provide curricular information and supportiveclassroom applications.

A select number of schools that attend the Matineesreceive an artist’s residency for their students.Typically, about 300 students per matinee partici-pate in workshops. In these informative sessions,local artists work with the students in an entertain-ing and interactive way to further connect theMatinee and performing arts experience to theclassroom. The local teaching artists used for the in-services and workshops are themselves trained inthese processes, and they receive continuing evalua-tion from UApresents. The study guides they create,as well as the inservices and on-site workshops areconnected to the Arizona Arts Standards.

A week-long Fine Arts Summer Institute forTeachers, which focuses on the School Matineeseries, immerses classroom teachers in multifacetedarts explorations that are readily applicable in theclassroom. Some 150 teachers participate in multi-cultural music, movement, drama, and visual-artsworkshops each summer. The Principals Forumoffers opportunities for administrators; they experi-ence performances and attend meetings to learnmore about arts in education, relevant research,arts education resources, and ideas for implement-ing arts opportunities and programs within theirschools.

In 1999, the UApresents School Matinee Program,in a collaborative project with the Tucson UnifedSchool District, was awarded the Governor’s ArtAward for Excellence in Arts Education.

PR

OFI

LE


Walton Arts CenterFayetteville, AR www.waltonartscenter.org


• Elementary Schools served per year: 116

• High Schools served per year: 28


Programs offered:



Long-term in-school residencies (multiple weeks)





Summer institute for teaching artists


Web-based learning opportunities

Programs with parents and/or other adult caregivers


Performances/exhibits by students


Technical/planning assistance

Evaluation methods

The Walton Arts Center (WAC) offersprograms in the arts that have evolvedover the past 10 years through the collaborative efforts of WAC staff and a diverse community network. WACenjoys important educational partner-ships with the Northwest ArkansasEducation Service Cooperative, OzarkNatural Science Center, JASONFoundation, Arts Live Theatre, NOARKGirl Scout Council, and North ArkansasSymphony Orchestra.

The following are the components of WAC’s coreeducational opportunities:

• Classroom Series Performances. WAC believes in thespecial connection that happens in live perform-ances, which speak directly to young people’s heartsand minds. Each year WAC presents nearly 40 per-formances by local, regional, national, and interna-tional artists to more than 25,000 students.Examples include the Brenda Angiel Aerial DanceCompany, Omaha Theater Company for YoungPeople, and DynamO Theatre of Montreal.

• Visual Arts Tours. Interactive tours designedaround exhibitions expand students’ knowledgeand experience. With more than 35 gallery exhibi-tions each year, students have opportunities toshare thoughts in a supportive and respectfulexchange, acquire artistic vocabulary, and learnappropriate gallery behavior. More than 250 stu-dents participated in docent-led interactive tourslast year.

• School Residency. WAC residencies offer opportuni-ties for students to interact with artists throughclasses, workshops, and informal conversations.For example, several local schools hosted a WACartist-in-residence for six weeks. As a result, WACmentored seven artists in maintaining valuableeducational exchanges with 2,900 young people.

• JASON Project. WAC is the only arts-basedprovider of the JASON Foundation, and for sevenyears it has been the venue for the Foundation’sinternationally acclaimed educational program thatdemonstrates the integration of the arts, science,and technology. The JASON project providesteacher training, school outreach activities, andcurriculum-based materials; and it reaches morethan 6,900 students by way of performances, exhi-bitions, camps, and a live satellite broadcast.

• Professional Development for Classroom Teachers.The artistic literacy of young people can only beachieved by improving teachers’ knowledge, criticalacumen, and ability to teach through the arts. WACis therefore committed to bringing the latest inarts-based professional development opportunities,often provided by nationally recognized experts, toteachers in the region. There are eight workshopsP

RO

FILE


each school year—including the five-day Arts WithEducation (AWE) Institute, where educators learnarts-based strategies for teaching students andmeasuring their achievement levels. Other opportu-nities for the region’s teaching community, provid-ed by WAC in collaboration with the NorthwestArkansas Education Service Cooperative, includeTeacher Training Seminars, Technology TrainingSeminars, and Professional DevelopmentWorkshops.

• Community-Based After School Programs. WAC provides more than 150 interactive programs, rang-ing from one-day workshops to ongoing classes inpainting, drawing, metals, multi-media, clay,photography, theater, music, and dance for ages 18

months and up. WAC’s Young Actor’sTraining Program, for example,engages community partner Arts LiveTheatre to offer instruction and per-formance experiences in theater artsfor students ages 5-18. The programhas reached hundreds of young peo-ple, and the curriculum has beenexpanded to meet or exceed nationalstandards for academy-level actortraining programs.

• Community-based Residencies.Residencies offer a unique opportu-nity to target underserved groupsthrough master classes, workshops,and discussions. One such residencywas developed with the Donald ByrdGroup Dance Company, which did a one week community residencybased on input from dancers, theUniversity of Arkansas, Alpha KappaAlpha sorority, and public schoolteachers. Programs to serve theregion’s growing Latino communityare currently being explored.

WAC’s efforts have dramaticallychanged the landscape of NorthwestArkansas. The region has gone fromone with few opportunities in thearts to a wellspring of multiple and diverse arts experiences. WAC’s

success has been recognized by the CulturalDevelopment Plan Committee—a group ofbusiness and community leaders, University ofArkansas representatives, and arts supporters—that requested WAC’s involvement in creating a cultural development vision for the region.

Consequently, WAC worked with the Committee to create the “2002-2007 Cultural DevelopmentPlan: The Future of the Arts in NorthwestArkansas,” which establishes priorities and outlinesthe goals for stimulating further arts and culturalgrowth in the region. The very existence of thiscommittee and its plan, in fact, comes in large part from the strong foundation built by WAC’s10-year history of providing quality arts programsand nourishing Northwest Arkansas’ vital cultural scene.

Young artist creates a “masterpiece” in Bogle Studioat Walton Arts Center, Fayetteville, Arkansas.

CA

ITLY

N S

PA

ULD

ING

Center Theatre Group/Performingfor Los Angeles Youth (P.L.A.Y.)Los Angeles, CA www.taperahmanson.com





Programs offered:


Short-term in-school residencies (multiple weeks)







P.L.A.Y. (Performing for Los AngelesYouth) has two major goals: to deepenstudents’ understanding and apprecia-tion of the art of theatre; and to use thepower of theater to increase students’literacy and collaborative skills, encour-age them to think creatively, andenhance their understanding of history,social studies, and the sciences.

The core elements of P.L.A.Y. include:

• Commissioning and producing original plays written specifically foryoung people. P.L.A.Y. is one of only asmall number of theater companies in

the United States that actively develops originalyouth-theater productions.

• Integrating its productions into the school curricu-lum through teacher guides and student work-books, P.L.A.Y. works with a team of educators todevelop study guides for its touring productionsand for every play presented in the regular seasonsof the Mark Taper Forum and Ahmanson Theatre.


These materials are available on the Theatres’Web site (www.taperahmanson.com).

• Building long-term relationships with students and their families by providing discounted ticketsto regular productions at the Mark Taper Forumand Ahmanson Theatre, together with pre-play and post-play activities designed for children and adults.

• Providing professional development opportunitiesfor teachers, including weekend workshops andsymposia on theater’s potential role in education.In 2001, P.L.A.Y. was awarded an Exemplary ArtsEducation grant from the State of California to further enhance this proven program.

• Training theater artists in the special skills neededfor successful youth-theater productions. In devel-oping plays for young people, theater artists need tolearn new techniques, including particular styles ofplaywriting, acting, directing, and set design.P.L.A.Y. has already developed a series of workshopson these techniques, with the goal of becoming anational resource for theater artists.

The core strength of P.L.A.Y. is its multi-prongedapproach, which offers numerous opportunities for young people and their families to make theater-going a regular part of their lives. This has been demonstrated, for example, by the program’s history of creating plays and classroommaterials that address significant social and histori-cal themes in a way that is entertaining and relevantto young people.

From its beginnings in 1971 as the ImprovisationalTheater Project, P.L.A.Y. was one of the first youth-theater programs in the nation founded as an inte-gral part of a professional theater. It remains one ofthe most innovative and productive. In more than 32years of operation, the program has reached morethan one million young people in schools and com-munity centers throughout the Los Angeles area.

Initially, P.L.A.Y. focused its efforts on a single origi-nal production, which toured elementary schoolsthroughout Southern California. But in the last sev-eral years, under the direction of producing directorCorey Madden and producer Dolores Chavez,P.L.A.Y. has grown significantly, reshaping its pro-grams, renewing its mission, and investigating new

PR

OFI

LE


directions. In 2000, a second touring productionspecifically directed toward older youth—middleschool and high school students—was added. Thisproduction, Black Butterfly, Jaguar Girl, PiñataWoman and Other Superhero Girls, Like Me, wassubsequently selected to be performed at theKennedy Center and the Smithsonian Institution.

In 2001, P.L.A.Y. inaugurated the FamilyPerformances program, which features discountedsubscriptions to four regular season productions atthe Mark Taper Forum and Ahmanson Theatre,with workshops led by educators and artists. It alsoheld the first annual P.L.A.Y. Intensive for morethan 50 artists working in youth theater, and anEducation Workshop for educators.

In the fall of 2002, P.L.A.Y. embarked on the SpeakTo Me project, a pilot program to expand the reachand increase the depth of the its impact in cityschools. Speak To Me is a school-based theater program designed for high school and middleschool students. The program seeks to deepen

Charles Bodin & David Brouwer in Legend of Alex (P.L.A.Y. Spring tour 2003).

CR

AIG

SC

HW

AR

TZ

young people’s awareness of the local and globalyouth community, to teach them a formal dialogueprocess that promotes respectful interaction, and to use theater to engage them in creative and intel-lectual communication about the power of art toshape our society.

P.L.A.Y. has formulated a long-range plan with thegoal of making the program a national model forarts education. The plan includes strategic partner-ships with local educational institutions, pilot resi-dency programs at selected schools, the encourage-ment of student-created work, a writer-in-residenceprogram in selected schools, and a summer pro-gram that brings together several Los Angeles-basedarts organizations to offer students a summercourse in theater.

In 2004, P.L.A.Y. will acquire a permanent homewhen the Center Theatre Group creates the newKirk Douglas Theatre in Culver City as a center for youth-theater and new play development.


MontalvoSaratoga, CA www.villamontalvo.org





Programs offered:












Evaluation methods

Montalvo maintains a diverse approachto arts education. Programs provide students and teachers with experience in the arts, interaction with professionalartists, and adult and community outreach programs.

The core strength of Montalvo is that itnot only presents and displays some ofthe best art of today, it also takes an avidinterest in the creative process behind it.The philosophy of the Artist Residencyprogram—the third oldest in the UnitedStates—permeates the education pro-grams as well: Art is really about the

process more than the product. It is looking at asimple object or the world at large and seeing it in anew way. Montalvo artists are encouraged toexplore their creative energies by taking risks andlearning from them. The education programs also

expect students to step “outside the box” andexplore their creative side.

Montalvo inhabits the former estate of SenatorJames Phelan, who enjoyed and supported virtuallyall the major creative disciplines during his lifetime.After he died in 1930, his will bequeathed the estateand grounds at Montalvo to the people ofCalifornia for their deepened appreciation of art,literature, music, and architecture. To that end,Montalvo has structured strong programs in artseducation for K-12 students and their teachers.

Programs for students include the Performing ArtsSeries, which presents some of the best performersfrom around the world in intimate productions inthe Carriage House Theater. More than 12,000 students participate in this program annually, witheach class receiving study guides in advance of itsvisit. The Master Class Series takes further advan-tage of these great talents’ brief stays at Montalvoby bringing them to the schools for direct interac-tion with students. For example, this past year saw Wynton Marsalis inspiring a local jazz bandthrough careful critique of their work. Notedauthor Rebecca Walker conducted a memoir-writing workshop for middle school students,and students recently assisted visiting artist Patrick Dougherty in the construction of his outdoor sculpture on Montalvo’s grounds.

In a similar spirit, the in-school residency programsallow for artists to work in-depth with studentsover a period of time. For the past four yearsMontalvo has supported an artist-in-residence at Trace Elementary School in San Jose. In oneproject, teachers from Trace trained in the CreatingOriginal Opera program of New York’sMetropolitan Opera Guild. Back at school, theseteachers worked together with the artist-in-resi-dence to guide their third grade students in thewriting, production, and presentation of an original opera, which was then performed on-stage at Montalvo.

Other opportunities for students to create includethe Young Writers Competition, now in its 17thyear, and regular hands-on art workshops inspiredby the exhibiting artists.

PR

OFI

LE


In 2003, Montalvo instituted a new Teacher ServicesInitiative, which is expected to greatly elevate thelevel of its education programs in schools. The firststep was to organize a Teacher Advisory Board,whose members include K-12 educators, both frompublic and private schools, in the South Bay area.Board members will provide professional guidanceand expertise in the production, presentation, andevaluation of programs and materials.

Montalvo is also initiating professional develop-ment opportunities for educators. Montalvo’s firstteacher conference, titled “The Arts in YourClassroom,” served as an introduction to and train-ing for California’s newly adopted Visual andPerforming Arts Content Standards. This program,which took place March 7, 2003, at Montalvo, wasoffered in collaboration with Santa Clara CountyOffice of Education and Cultural Initiatives.

Teaching materials that support the various artsprograms at Montalvo will be a regular offering toeducators. The spring 2003 teacher guide, for example, was in support of the exhibit “Dwellings.”Montalvo has also established a newsletter forteachers, each edition of which will contain lesson-plan inserts, timely articles, and registration infor-mation for the Performing Arts Series.

The Artist Residency Program is currently in hiatus,waiting for the completion of construction of 10new residential villas, each designed by a uniqueartist/architect team. When the program reopens inthe spring of 2004, students will have even greateropportunity to interact with artists. Meanwhile,Montalvo is working to develop ways in which theresidency program can train interested artists inteaching methods. Montalvo believes it is this typeof collaboration between presenting organizationand artist that will produce the highest qualityexperience for students.

“Little Clowns” – elementary level students performing at Montalvo

MO

NTA

LVO


Music Center Education Division(MCED)Los Angeles, CA www.musiccenter.org


• Elementary schools served per year: 500+

• High schools served per year: 60+

• K-12 students served per year: 700,000+

Programs offered:













Evaluation methods

The Music Center, the performing artscenter of Los Angeles County, gives itsEducation Division a twofold mission:to support the Music Center’s commit-ment to building audiences by engagingpeople in the arts at the Center, inschools, and throughout the communi-ty; and to advance the quality and scopeof arts education as an integral part ofthe core curriculum in SouthernCalifornia schools.

The MCED offers some 20 programs,including services for students, schools,teachers, and families as well as the pub-

lication of arts-curriculum resource materials,developed in partnership with the school commu-nity to address specific learning objectives.

Programming encompasses all types of music,dance, theater (including storytelling, puppetry, andcreative writing), and the visual arts; and it reflectsnot only the full range of styles and traditions, butalso the cultural and ethnic diversity of SouthernCalifornia. The Division has also developed specialservices to address the needs of underserved popu-lations, including youth-at-risk, physically/mentally/emotionally challenged young people, andpreschoolers.

An important programming goal is to provide stu-dents with opportunities to experience the work ofprofessional artists in performances and hands-onworkshops. Teaching artists must first audition andthen participate in the MCED’s Artist TrainingSeminar Series, which focuses on teaching ability,the design of meaningful tasks and projects, andclassroom management skills. Novice teachingartists as well as longtime veterans of the MCEDroster have found the seminars to be beneficial inincreasing their understanding of educational concepts and their effectiveness in the classroom.

Many schools now acknowledge the positive influ-ence of arts education, but they still must overcomeserious obstacles to implementing an integrated artscurriculum. With more than two decades of expert-ise and a continuum of services including introduc-tory programs, in-depth artist-in-residence projects,and teacher training initiatives, the MCED is supporting schools and encouraging them to gobeyond the narrow vision of sporadic arts activitiesto a sequential, standards-based approach. In thisspirit, the Education Division has worked in part-nership with school districts, including Los AngelesUnified (the nation’s second largest), for more than20 years, and has collaborated as well with otheragencies and institutions to create educational-reform initiatives. The Division also works withMcGraw-Hill to produce materials for an arts text-book series published for national distribution.

The following are some of the MCED’s accomplish-ments during the 2001-2002 school year. TheDivision:

• Partnered with 92 school districts and 97 individualprivate schools to provide arts education programs for students, teachers, and parents

PR

OFI

LE


• Presented more than 2,400 assembly performancesin music, theater, and dance through Music Centeron Tour

• Established 66 long-term artist-in-residence programs for students and their teachers

• Directed 407 professional development activities forteachers at 48 schools

• Set up 54 artist-in-residence projects in preschoolfacilities, including Head Start centers, through theSouthern California Wolf Trap Program

• Presented eight performances by the AmericanBallet Theatre Studio Company for a total audienceof 6,500 fifth graders, who were brought to theMusic Center for the 32nd Annual Dorothy B.Chandler Blue Ribbon Children’s Festival

• Hosted a five-day intensive Institute for Educatorsat the Music Center that served 78 teachers

• Installed 65 Arts Care artist-in-residence projects inCounty-supported mental health and social serviceagencies

• Recognized 68 nominated teachers and schoolsthrough the BRAVO Award for excellence in artseducation

• Presented Family Saturdays, an eight-event per-formance series at the Music Center, which attract-ed an audience of 3,100 children and adults

• Conducted the 23rd annual Very Special ArtsFestival for an estimated audience of 11,000,including young people with disabilities, as well astheir parents, their teachers, and members of thegeneral public

• Offered the 2002 Corwin Master Classes, whichgave 800 high school and college musicians special opportunities to learn from members ofthe Los Angeles Philharmonic and distinguishedguest artists

• Held the third annual B.E.S.T. Arts Conference(Building Educational Success through the Arts) for preschool teachers in collaboration with LongBeach City College

• Produced the annual Showcase of Artists for anestimated 1,000 visitors, including school adminis-trators, teachers, and parent-group representatives

• Inaugurated a monthly MCED e-mail newsletter

• Distributed Artsource: The Center Study Guide to thePerforming Arts, the MCED’s set of self-publishedcurriculum resource materials for teachers

• Provided nearly $1.6 million in income for themore than 100 individual artists and performingensembles who participated in MCED services during the year.

Korean Classical Music and Dance featured at the Music Center Education Division's services for schools

JOH

N M

CC

OY

OF

KO

REA

N C

LASS

ICA

L M

USI

C A

ND

DA

NC

E


San Francisco PerformancesSan Francisco, CA www.performances.org





Programs offered:











Mentoring for students with community volunteers


Evaluation methods artists

San Francisco Performances’ arts education programs seek to increaseawareness and participation in the arts.Working with artists, schools, and com-munity organizations, SFP brings internationally acclaimed artists to newsettings and audiences of all agesthroughout the Bay Area. In partnershipwith a growing roster of artists-in-residence—including the AlexanderString Quartet, jazz percussionist StefonHarris, classical guitarist Antigoni Goni,and baritone Christopheren Nomura—SFP’s school and community programsadvance its mission of providing mean-

ingful connections between artists and audiences.

In the Schools

SFP’s in-school programs are anchored by multi-year partnerships with artists-in-residence, who add

insight and contribute to students’ academic andartistic learning. The programs include:

The Story of the String Quartet. This three-part sem-inar brings the Alexander String Quartet and twoyounger ensembles into high school classrooms formusical dialogues that introduce motivated Englishand History students to chamber music. Throughperformance and discussion, the quartets demon-strate how the evolution of the string quartetreflects Western sociopolitical ideas and events fromthe 18th to 21st centuries. Study guides, sampleCDs, and outlines for classroom activities are anintegral part of this program.

Music Mentors. Graduate students and young professional string, jazz, and guitar players provideweekly coaching to music students at two publichigh schools. Through the Mentors program, highschool students improve technique, posture, con-centration, and level of performance. Mentors learnand apply techniques for successful outreach to students of all backgrounds.

Dance Mentors. In collaboration with Taylor 2 ofthe Paul Taylor Dance Company, graduate studentsin dance teach middle school students basic mod-ern dance technique and choreography. Taylor 2performs for students and families, and students inturn, perform for peers and the school community.

Jazz Intervention. This four-year program uses jazz,the most democratic of musical forms, to instillleadership skills, effective decision making,communication, and teamwork. Working with anensemble of local musicians, artist-in-residenceStefon Harris demonstrates how a jazz group mustwork as a cohesive unit toward the goal of creatinga performance.

Performance Poetry. Vocal artist-in-residenceChristopheren Nomura addresses issues of musiceducation and literacy with high school students.Working with poet-teachers from California Poetsin the Schools, Nomura provides many points ofentry into the study of poetry and song throughreading, discussion, demonstration, writing,and performing.

Guitar Trek. Artist-in-residence Antigoni Goni’s in-school performances and history-based curriculumtrace the evolution of the guitar from ancient times

PR

OFI

LE


to the present. Advanced placement world historystudents work with Ms. Goni to learn how to usecultural artifacts such as music and art in researchby mining the guitar’s rich, mobile history.

In the Community

SFP’s artists-in-residence also participate inadult/community education projects. The long-run-ning, free Concerts with Conversation at the SanFrancisco Community Music Center, for example, bring established and emerging artists to an underserved, appreciative audience. Otherprograms include:

Delancey Street Foundation. Nationally known forits innovative rehabilitation residency program forex-convicts and former substance abusers, theFoundation partners with SFP in bringing greatartists to their facilities for workshops and perform-ances. Similarly, SFP’s programs with Oakland’sAllen Temple Baptist Church bring artists on-site toparticipate in Sunday services, youth music work-shops, and the congregation’s annual concert series.

Professional Development Workshops for Teachers.SFP offers a series of workshops and lectures, linkedto major performances, that sparks new ideas aboutthe performing arts. Teachers in all subject areas areinvited, though the workshops and lectures specifi-

cally address SFP’s in-school chamber music, jazz,and dance programs.

Family Programs. Now in its eighth season, SFP’sFamily Matinee series gives families the chance tolisten and learn about music and dance in an infor-mal setting. Lively one-hour performances are suitable for children of all ages, and tickets arepriced affordably both for children and adults.

Adult Education. SFP presents a series of lectureswith noted musicologist/composer Robert Green-berg. In addition, Greenberg joins the AlexanderString Quartet for a Saturday morning series that explores specific chamber works through performance and discussion.

Online. SFP’s Web site, www.performances.org,makes curriculum materials developed for residen-cy programs in the schools more widely available.Downloadable curriculum guides assist teachersand students not only in music and dance, but alsoin literature and history classes. The Education pageof the Web site is regularly updated with informa-tion regarding current activities. Although many in-school events are private performances or sessionswith particular classes, public events (such asConcerts with Conversation) are noted, with eventinformation for interested audiences.

CH

RIS

MA

LIW

AT

Improvisation session at Eastside College Preparatory School (in East Palo Alto) with the Stefon Harris Quartet


Yerba Buena Center for the ArtsSan Francisco, CA www.YerbaBuenaArts.org





Programs offered:















Evaluation methods

By providing a broad audience withaccess to exhibitions, films/videos, per-forming arts, and special communityprojects, the Education & CommunityPrograms seek to make the YerbaBuena Center for the Arts (YBCA) aliving classroom and resource. Toensure that Pre-K-12th grade students,youth, and adult audiences are servedalike, the programs are organized intofour areas: School Programs, YouthPrograms, Public Programs, andSpecial Community Projects.

School Programs

• Art Tools for Teachers is a professional developmentprogram that explores the themes and connectionsin the visual arts; provides ideas for activities at

YBCA, the classroom, and after school; and suggestsliterary and Internet-based resources. Each partici-pant receives a Teacher’s Guide on these topics,which is also placed on the Web site, to help serveothers’ needs and interests.

• Artful Adventures are free exhibition tours forschool and nonprofit community groups conductedby community volunteers—“Gallery Representa-tives”—who receive extensive training in exhibitioncontent and touring techniques.

• Hands-on Activity Workshops are led by artists-in-residence, as well as by exhibiting and communityartists.

• Discovering Performance provides Pre-K-12th gradestudents with access to actors, dancers, and musi-cians, who explain the artistic process to theiryoung audiences as they perform.

Youth Program

• Young Artists at Work is a nationally recognizedyearlong art- and job-training youth program, inwhich 15 ethnically and socioeconomically diversehigh school students are paid to learn about visual,performing, and media arts at the Center, and thenproduce their own original artworks. The programincludes three protracted sessions that dovetail withthe San Francisco Unified School District’s academ-ic calendar, in order to accommodate the youngartists’ testing dates and other curricular andextracurricular needs. Each session is taught by anoted professional artist-trainer who works withthe Education & Community Programs staff toensure that lessons align with the California StateFrameworks in Visual and Performing Arts. In thisway, students’ out-of-school art and job trainingenriches their in-school curricula.

Public Programs include tours, lectures, discus-sions, and events designed for college and adultaudiences.

• First Thursday Tours for the general public featureYBCA curators, artists, academics, and communityscholars who lead focused exhibition tours.

• In Conversation programs feature artists, curators,and other professionals whose work colludes or collides with, and illuminates, that of artists presenting or exhibiting at YBCA.

PR

OFI

LE


• Panels and Symposia

– Preparing for Open Studios: The Artist asEntrepreneur provides information about how to have a successful business. Panelists cover such topics as how to register for Open Studios,photograph and prepare slides of your work, andhow to publicize your Open Studio.

– Everything You Ever Wanted to Know aboutthe Art World but Were Afraid to Ask, Part 1provides practical information for young andemerging artists about how to establish oneselfin the private sector art world.

– Everything You Ever Wanted to Know aboutthe Art World but Were Afraid to Ask, Part 2explores the topic as it relates to nonprofit artsorganizations, such as museums and art centers.

– D.E.A.F. Media Salons, offered in collaborationwith D.E.A.F. Media, Inc., to adults who are deafor hard-of-hearing, are conversations led byartists-in-residence.

Special Community Projects are designed to beresponsive to collaborative opportunities and special events, and to continue valuable relation-ships with health and social service organizations.

• Thursday Night Live! series are presented as part of the multidisciplinary CenterFests.

• Inside the Institution: The Visible Arts Center, a collaboration between YBCA and the San FranciscoArt Institute, is a class aimed at giving students anhistorical understanding of the motivating factorsand origins of Bay Area interdisciplinary art. Theyalso learn about the complexities of curating acrossdisciplines, including social, political, and aestheticconsiderations. While the course focuses on theparticular strengths of YBCA, students are given amore general context for understanding how cura-torial practices are born and how they relate to aninstitution’s mission and role in the community.

• Milestones Graduation Ceremony is an annual eventhonoring graduates of the nonprofit alcohol anddrug treatment program for parolees.

• Other programs are produced as well, based on theneeds and interests of community partners.

Westport Country PlayhouseWestport, CT www.westportplayhouse.org





Programs offered:






Evaluation methods

The Westport Country Playhouse provides a wide range of educationalprograms: internships and apprentice-ships for college and high school stu-dents; educational theater programsduring the academic year, a specialchildren’s theater series during thesummer; and most recently, the inno-vative Something of Our Own projectthat encourages children to create theirown works.

The productions selected and theiraccompanying educational activitiesare designed to support the objectives

of the Language Arts Curriculum Framework setforth by the Connecticut State Department ofEducation. Programming is also responsive to theneeds articulated by teachers and administrators atelementary, middle, and high school levels in a survey conducted by the Playhouse in the spring of2002. For example, teacher materials and corre-spondence from the Playhouse apprise educators ofhow its programming can be incorporated intoclasses in order to help students meet both contentand performance standards for language arts.

For school-age children, excellent educational the-ater is provided both during the academic year andthe summer. The past school year’s repertoireincluded Romeo and Juliet, The Christmas that

PR

OFI

LE


The Playhouse’s notable educational offerings foryoung adults are the apprentice and intern pro-grams. The apprentice program is designed to pro-vide local high school students, as well as collegeand graduate students, with an expansive exposureto theater—for which they can receive academiccredit—through practical work with professionalactors, designers, and technicians. Apprentices mustmake an eight-week commitment to the Playhouse,and are expected to be dedicated, hardworkingyoung adults with a passion to learn about the manyfacets of a professional theater. They rotate throughvarious work assignments while studying the playsof the season with the Apprentice Coordinator andtaking workshops with guest artists.

The intern program looks for serious-minded,highly motivated individuals—college students,graduate students, or recent graduates—who havealready acquired some theatrical training and expe-rience and are ready for the next step toward acareer in professional theater. Internships, offered invarious production, administrative, and artisticareas, provide hands-on experience crucial to a pro-fessional résumé. Interns must be willing to committhemselves for a period of at least 12 weeks, duringwhich they engage in the creative process and testthe limits of their own ingenuity. In turn, they aretreated as members of the professional staff.

Almost Wasn’t (presented by the Child’s PlayTouring Theater), Ball in the House (a six-piece acappella group from Boston, Mass.), and concludedwith Something of Our Own, which providesmeaningful and collaborative opportunities foreducators and students alike.

Westport Country Playhouse joins with Chicago-based Child’s Play, the premier U.S. theater compa-ny dedicated exclusively to performing works writ-ten by children, to offer the Something of Our Ownprogram. Educators can take advantage of work-shops on creative and dramatic writing instructiontechniques, as well as on methods to encouragechildren to write. For their part, students areempowered through self-exploration and self-expression, while having the opportunity to submitwork (such as a short story, song, poem, or play) to be considered for inclusion in an original Child’sPlay Touring Theater production commissioned by the Playhouse.

The children’s summer series has been introducingyoungsters to the wonder of live theater for the pastforty years. Traditionally, the series has includedchildren’s musical plays, puppets, magicians, andchildren’s music. One programming goal is to com-bine the best-loved performance groups of previousseasons with new and innovative companies. Thisvariety of work introduces children to the theater’swondrous ability to entertain and inform.Traditional fairy tales and foreign fables, flights offancy and imagination, classic folk songs and musicfrom other lands, all lead young audience memberson a musical, multicultural journey.

Because great socioeconomic disparity exists inFairfield County, which has wealthy suburbs, as wellas cities in great need, the Playhouse’s varied pro-gramming is designed to appeal to the diverse audi-ences of its surrounding communities. In that spirit,it has forged a relationship with the BridgeportPublic School system and works with the system’sperforming arts supervisor to involve educators inprojects and encourage them to bring students tothe Playhouse. Student matinees provide schoolgroups with unique and entertaining field trips; andstudy guides titled Inside Insights are distributed inadvance of the performance to detail themes for discussion, pose study questions, and provide visualimages, interesting facts, and activities.

"The Love Bug's Hug by Bugs and Balloons"


Broward Center for the Performing ArtsFort Lauderdale, FL

www.browardcenter.org

• School districts served per year: one




Programs offered:













A 40 year partnership with the SchoolBoard of Broward County, FL is at theheart of the Broward Center’s award-winning educational programs. Thiscollaboration has enabled the BrowardCenter’s 585-seat Amaturo Theater—thesite of the Student Enrichment in theArts (SEAS) program that brings profes-sional-level performances to more than100,000 public school students eachyear—to be declared an outside resourceclassroom for Broward Public Schools.To date, more than 1.2 million studentshave benefited from the program, at nocharge to their families.

Philosophically, the SEAS program goes far beyondarts education per se by encouraging learningthrough the arts—a result of the very close cooper-ation between the Broward Center staff and the

faculty of Broward Public Schools. For example, ateacher’s study guide that accompanies each SEASperformance includes all relevant curriculum ties to Florida’s Sunshine State Standards, therebyenabling classroom teachers to use live performanc-es to teach reading, language arts, social studies,and even math and science.

As a member of the John F. Kennedy Center’sPartners in Education program, the Broward Centerhosts a range of Professional DevelopmentWorkshops for Educators each year, completely freeof charge both to public and arts education teach-ers. And although the Broward Center is not a visual arts facility, it has also welcomed the visualarts teachers who hold their annual summer institute and other events there.

The Broward Center has also entered into compre-hensive partnerships with three performing artsmagnet schools: Dillard High School, ParkwayMiddle School, and Bethune Elementary School.The partnership with Bethune has resulted in twoArts Innovation Awards from the InternationalNetwork of Visual and Performing Arts Schools,among other accolades. Perhaps the most excep-tional aspect of the partnerships with each of theseschools is the way they work together. The BrowardCenter plays a totally different role in each of thesepartnerships, yet always in response to the needs ofthe faculty and students.

In fact, a distinguishing feature of all of the educa-tional programs is the Broward Center’s desire towork with the schools, on the school’s terms, toachieve the school’s objectives. Although perform-ing arts centers sometimes bestow arts educationprograms without fully understanding the goals orneeds of the receiving district or individual school,Broward has turned that model completely around.The Broward Center’s Department of Educationfunctions primarily as a school resource andbelieves its most valuable role is to provide oppor-tunities appropriate to the school.

The community enrichment programs are drivenby this same philosophy. Classes for senior citizens,pre-concert lectures for adults, and pre-show artsand craft sessions for preschoolers are all presentedin response to community requests. In the sameway, the college internship programs were custom-designed to satisfy the needs of students and theinstitutions of higher learning located in the community.

PR

OFI

LE


PACT Inc. (Ruth Eckerd Hall)Clearwater, FL www.rutheckerdhall.org

• School districts served per year: 50+




Programs offered:











Partnerships with public broadcasting

Partnerships with cable media








Evaluation methods

The goals of the Education Program atRuth Eckerd Hall include: developingnew ways of learning and achievingthrough the arts, based on an arts-integrated learning method; providingenhanced development for students ofthe arts, as well as professional devel-opment opportunities for teachers andartists in the community; designingprograms to connect young peopleand their families through the arts;and utilizing the arts to cross culturalbarriers and unify neighborhoods.

These goals have often been realized. The Hall’seducation program, the largest of its type in theSoutheastern United States, directly involves morethan 160,000 young people and adults a year,including at-risk youth and residents of lowincome neighborhoods. The first arts educationprogram in Florida to be honored as a KennedyCenter Arts Partner in Education, it has servedmore than 1.5 million to date. In addition, arecently completed 17,000 sq. ft. educational insti-tute will increase program impact by 50 percent ormore and enable classes drawing upon technology,such as digital learning and digital arts, to betaught. This enhancement will build on the year-round performing arts classes presently offered.

Learning opportunities provided for children andyouth, in addition to the classes referenced above,include specialized programs such as the following:

• Series of performances for school and family audi-ences, which include works by the Hall’s own producing arm and performances by the EckerdTheater Company—a professional children’stheater group. All productions focus on themessuch as friendship, loyalty, courage, and integrity.Teachers are provided with related curriculummaterials for their classes.

• The Florida Playwrights’ Process offers playwritingworkshops in elementary and middle schools and aregional competition for students’ original works,winners of which are workshopped and producedprofessionally at Ruth Eckerd Hall.

• The Ruth Eckerd Hall Scholarship program providesfour $2,000 scholarships each year for area juniorsand seniors excelling in dance, music, or theater.Many of these students have gone on to becomenationally recognized artists.

• Extended residencies for students. For example,the Chocolate Nutcracker provided 12 weeks ofinstruction in dance this past year to 200 childrenfrom K-12, 85 percent of whom were from multi-cultural and at-risk backgrounds.

One of the Hall’s newest programs is Passport tothe Arts, an initiative to bring arts-enrichmentexperiences to schools and students unable toafford them (high-risk youth). It provides extensiveprofessional development for classroom teachers,P

RO

FILE


school administrators, and teaching artists to helpovercome a general lack of teacher comfort in utilizing the arts to enhance curriculum. An important element of this program is the ongoingassessment and evaluation conducted by outsideconsultants, which include on-site visits, participantinterviews, assessment instruments, and measure-ment development. The resulting Program Assess-ment Model, together with program design, materi-als and lesson plans, and assessment instruments,will be shared nationally in publication form in2004-2005. At present, the pilot program reachesinto three partner schools and 25 classrooms (grades3, 4, and 5), directly affecting some 800 students.

The core strength of the education program is acommitted, knowledgeable, and caring staff that hasearned the respect of the entire community andprofessionals in the national arts and arts educationfields. This commitment extends throughout theorganization, up to the Board level, therebyenabling the education staff to explore, develop,and implement the newest in programs and tech-nologies as well as the best of existing methodolo-gies and curricula. This serves children and youthnot just in Florida, but the whole country.

The program supports in-school residencies bysecuring renowned national artists for programs,and then supplementing the experiences withteaching artists who provide long-term follow-up.Ruth Eckerd Hall trains these teaching artists byproviding them with instruction on state andnational educational standards, school and classroom culture, measurement techniques,and curriculum links. The Hall’s education depart-ment also serves as a clearinghouse for facilitatingother local organizations’ provision of arts to localschool systems.

The Hall supports K-12 classroom teachers throughthe development of arts-integrated teaching materi-als based on state and national standards, and theoffering of extensive professional development work-shops. Teachers are paid stipends, not only to attend,but also to secure substitute teachers to cover theirclassroom duties. Subsidies are available to covertransportation costs for school programs as well.

Ruth Eckerd Hall’s education program has always—and continues—to lead the way in utilizing the artsto secure students’ personal and academic achieve-ment. It has served as a model for most educationprograms presently in place in performing arts centers throughout Florida.

Music Intensive students enjoy a very special guest visit by pianist Chick Corea.

JOD

I B

RO

OK

E G

AR

DN

ER


Tampa Bay Performing Arts CenterTampa, FL www.tbpac.org





Programs offered:














Evaluation methods

The Center’s coordinated efforts allowyoung people to experience the beautyand importance of the arts. The educa-tion and humanities department hasinitiated numerous and diverse pro-grams since its inception, including the following:

• On School Time

• Partnership in the Schools outreachand master classes

• Outreach to community centers,churches, and neighborhood residentialcenters

• Outreach to locally based international culturalorganizations

• Outreach to smaller community theaters throughthe Arts in the Community programming

• Kid Time and Wee Folk performances

• Tampa Bay Youth Orchestra

• Classical ballet training program

• Community Arts Ensemble and Community Arts:Winter Institute

The On School Time program provides localschools with exposure to culturally diverse nationaltouring groups. The Wee Folk Series enablespreschoolers and kindergarteners to experienceclose contact with national artists. And the outreachprograms offer unique workshop-style interactionsin a school environment between artists, hailingfrom throughout the country and the world, andlocal children. The commitment to connecting several culturally diverse communities is at the fore-front of many of the programs. Last year a Spanish-speaking initiative was implemented to createstronger relationships with local Latin communi-ties. Collaborations with Indian music schools andcultural centers has brought an even wider range of programming.

The Artists as Educators program is designed toconnect a specific artist with a local area school andprovide students with in-depth learning opportuni-ties in the various fields of performing arts, such assinging, dance, storytelling, theater, and music. TheArts in Action program is designed as a series ofextended outreach experiences for advanced artsstudents in public and private schools. It usesextended artistic residencies to connect the per-forming arts with other areas of the curriculum,such as literature, language arts, geography,and history.

Artists as Educators is an important initiative thathelps performing artists hone their teaching abili-ties. The goal of the program is twofold: to providetraining for local artists who want to develop skillsas artist/educators, and to offer high quality per-forming arts experiences for underserved youngpeople in the Tampa Bay area. The Center has rec-ognized that the greatest moments to inspire oftencome after the performance, when the artist has thestudents’ attention and can interact with them to

PR

OFI

LE


great effect. This program also serves as a wonderfulvehicle for residencies both in school and at theCenter.

The Center is committed to providing K-12 teach-ers with additional training by extending the out-reach artists’ efforts to teacher workshops, whichhelp teachers make higher-impact connections withtheir students in science, literature, language arts,history, and math classes. Also, 10 of the approxi-mately 50 On School Time performances per yearare designated as Page to Stage. Designed toimprove literacy skills in school-age children,this interactive program demonstrates the linkbetween a work of literature and a correspondingtheatrical performance. Using a specially designedstudy guide, students first read a designated bookand then complete related educational activities,including writing an essay. The Summer TeacherForum supports teachers and also helps teacherssupport the Center: it is designed to give local edu-cators a way to provide input on Center educationalprogramming. During the summer months, groupsof teachers participate in focus groups, give feed-back on existing programs, and discuss new curriculum needs.

Several Tampa Bay area public and private schoolsare designated as “partner schools.” The Center pro-vides them with master classes taught by touringartists, helps to design their curricula, and holdspractice auditions for their students. These schoolsare involved, in turn, in educational projects, andthey are frequently offered discounted tickets or freeadmission to many of the Center’s presentations,including Broadway shows, plays, concerts, anddance performances.

The Center’s reach in the community—currentlyserving more than 100,000 youth per year—hasspread to the point that it has outgrown the currentfacility, and is now in the process of building aSchool for the Performing Arts. This expansion willenhance the Center’s ability to broaden that reachand provide the space to offer year-round classes inall phases of the performing arts from beginner topre-professional level.

Van Wezel Performing Arts HallSarasota, FL www.vanwezel.org





Programs offered:





Professional development opportunities for teachingartists










Evaluation methods

The Van Wezel Performing Arts Hall,designed by Frank Lloyd Wright’sTaliesin firm, is a purple seashell-shapedbuilding that sits on the edge of the Gulfof Mexico. Owned and operated by theCity of Sarasota, the Hall has an activeeducation department that puts onmore than 130 events per season aimedat providing meaningful arts experiencesfor all members of the community.These arts education programs aredelivered in a variety of ways to activelyengage all learning styles.

The Schooltime Performance seriespresents 26 performances featuring national andinternational artists—including such main-stagegroups as the Alvin Ailey American Dance Theatre,

PR

OFI

LE


The Acting Company, and the Moiseyev DanceCompany—to K-12 students and their teachers.Many of these performances include a question-and-answer session afterward; and the performingartists often go into the schools to provide masterclasses for dance/drama/music students or leadworkshops in the classrooms.

More than 30,000 students are brought to the Hallperformances from four surrounding counties.Ticket prices are an affordable six dollars, andteacher and student study materials are provided inadvance. These programs and education materialsare carefully selected to reinforce the local curricu-lum and the Florida State curriculum. The Hall haseven committed to printing study guides for everystudent, when appropriate, if schools’ printingbudgets have been cut; and it provides bus-farereimbursement in cases where the students wouldbe charged. The youngest audiences are welcomedto the Saturday Morning For Kids series with per-formances such as The Little Engine That Could,Alice In Wonderland, and Franklin.

The Van Wezel is partnered with the SarasotaCounty School District in the Partners in Educationprogram of the John F. Kennedy Center for thePerforming Arts. This program offers professionaldevelopment workshops that help teachers to teachin, through, and about the arts. Nationallyrenowned educators are brought to Sarasota to leadthese dynamic three-hour workshops, for which theschool district gives in-service credit. The educatorscontinue their work the next day by coaching andmodeling in the classroom with participating teach-ers, who report that their mastery of the techniquesincreases through these classroom/workshop exten-sions. Evaluations on in-classroom activities follow-ing the workshops are collected for use in assess-ment. Participating teachers are later invited to aTeacher Recognition Evening with dinner, an artisttalk, and a performance; and they receive discountson selected performances designed to improve theirown arts literacy.

The Kennedy Center has also selected the VanWezel/Sarasota County School District partnershipfor two other projects involving national evaluationand research. The first two-year effort involved theassessment of the professional development pro-grams and the effectiveness of teaching sciencethrough movement. The second project investigatesthe value of arts integration for improving literacyskills and instructing teachers to collect, analyze,and interpret research data to better advocate forthe arts. The Hall also works intensively with indi-vidual schools on specifically designed yearlongprojects that support achievement goals such asmath and interdisciplinary learning.

The Hall’s Education Department plans long-termartist residencies each season to engage a largerfraction of the community, bring new audiences tothe Hall, and further explore a particular art form.Past residencies have included The Tibetan Monks,Urban Tap, Urban Bush Women, and WOFA!, aswell as local drumming circles, senior citizen centers, gospel choirs, and martial arts/dance studios. Evening audiences participate in pre- andpost-performance discussions with the artists, andhave spent an hour with Paul Stokey (of Peter, Pauland Mary), Bobby McFerrin, YoYo Ma, AwadaginPratt, and Pilobolus, among others.

The Hall’s innovative programs include unexpectedcollaborations. Van Wezel is partners with theRingling School of Art and Design to provide liveperforming arts experiences to its visual arts collegestudents,working with 300 freshmen who attend sixselected evening programs at the Hall. Afterwardthe artists come to the campus for an exchange ofart-making. For example, Parsons Dance Companychoreographed and video-recorded dance sculp-tures with the students, and Aquila TheatreCompany worked with welding students in the studio to create mythological characters throughdrama and metal. Another collaboration involvesSarasota’s New College, whose ethnomusicologyclasses use the main-stage performances as their syllabus each semester.


Spivey HallClayton College & State UniversityMorrow, GA www.spiveyhall.org





Programs offered:










Evaluation methods

Spivey Hall’s eight music education pro-grams build bridges between individualsand the world of music by reaching areaschool students and their parents, someof whom have never heard quality musicin a world-class facility before. Throughthese experiences, accessibility to thearts is established. Spivey Hall’sprograms expand the community’sappreciation for music and help create a future audience for the arts:

• The Spivey Hall Choral Workshop hasserved more than 1,600 of Georgia’sstudents in just eight years. It provides

metro area middle and high school vocalists withthe finest in choral training. These week-long inter-active learning experiences culminate in a final performance for friends, family, teachers, adminis-trators, and the choral community.

• Teachers earn staff-development credit whileobserving some of the nation’s leading conductors

PR

OFI

LEat work—for example, 2002 Choral Workshop conductors were Janet Galvan and Eph Ehly.

• The Children’s Concert Series, for students Pre-Kthrough 12, provides performances by some oftoday’s renowned musicians. The series covers avariety of musical genres and is designed to com-plement the public-school curriculum. With 60concerts to choose from, teachers are certain to findprograms to meet their own curricular needs.

• In March 2001, Spivey Hall created a new educa-tional program to help train orchestra students.The Spivey Hall Chamber Orchestra Workshop,structured much like the Choral Workshop, pro-vides selected metro-Atlanta high school studentswith instruction of the highest quality. Dr. WilliamLaRue Jones conducted the first performance.Subsequent workshops were conducted in March2002 featuring Louis Bergonzi and in November2002 with Kathleen DeBerry Brungard.

• The Spivey Hall Children’s Choir Program consistsof 150 gifted singers between the ages of 10 and 18who perform in three choirs: the Spivey Hall TourChoir, Spivey Hall Children’s Choir, and the SpiveyHall Young Artists. Formed in the Fall 2002, YoungArtists is a training choir for children ages 10-13.The program offers its members professional-levelmusic training in vocal pedagogy, music theory,sight singing, ear training, and presentation, as well as exposure to a variety of choral styles.

• Another of Spivey Hall’s distinguished education-outreach programs is its master classes. World-renowned performers at Spivey Hall work withlocal and regional performing artists, as well as high school and college students, giving insight into their craft in one-on-one coaching sessionswhile others observe. Master classes have includedsoprano Sylvia McNair, harpist Nancy Allen,saxophonist Harvey Pittel, organist Richard Morris,and flautist Jean-Pierre Rampal. These classes havegained recognition across the southeast as studentsfrom neighboring states travel to Spivey Hall toparticipate.

• Throughout the year, teachers gain additionaltraining and maintain teaching certificationthrough various staff-development opportunities.


For example, concentrated summer courses areprovided to keep Atlanta area educators up to date,and encourage collaboration with colleagues in theregion. Summer 2002 courses included TeachingMethods for General Music Educators, ChoralTechniques, Introduction to Finale, and Web page Design.

• In April 2002 Spivey Jam! was introduced—aprogram in which middle school bands perform for professional jazz musicians/analysts, who offerexpert advice and mentoring. This is not a competi-tion, but rather a celebration of young talent andmusic in the schools. The 2002 event culminatedwith a private dinner with international jazz-singing star, Grammy nominee and Atlanta resident Freddy Cole.

This set of education outreach programs, one of thelargest in Georgia, imparts vital skills to many ofthe Atlanta area’s students. Members of the SpiveyHall Children’s Choir learn the importance of disci-pline and hard work, while sharpening social andartistic skills. The Choral and Chamber Workshopshone students’ innate abilities, build self-esteem,and create a sense of the value of teamwork. TheChildren’s Concert Series nurtures an appreciationof music, while igniting students’ own creativeimpulses. Master classes allow young players tolearn from masters of their craft and develop confidence in their own capabilities.

Hancher AuditoriumThe University of IowaIowa City, IA

www.uiowa.edu/hancher





Programs offered:








Programs with parents and/or other adult caregiversAdult education opportunities


Evaluation methods

Hancher Auditorium offers a wide rangeof educational programs both for adultsand children. Every year, it presents master classes, lectures, free family concerts, a school matinee series,networked learning programs, and in-school residencies. During the 2001-2002season, the education programs reachedmore than 17,000 people in the region.

Hancher Auditorium presents a StageDoor series every season, which includesfive matinees for K-12 students. Ticketsfor this series, which began in 1980, areonly $4. During the 2001-2002 season,

more than 7,200 students attended the Stage Doorperformances. During the past year, they saw artistssuch as Preservation Hall Jazz Band, BalletFolklorico de Mexico, Shaolin Warriors, and Sweet Honey in the Rock.

PR

OFI

LE


In 1996, Hancher began to broadcast educationalprograms on the Iowa Communications Network(ICN), a fiber-optic system that permits interactive communication in real time. For exam-ple, four times a year hosting free ICN workshopswith visiting artists, students in classroomsthroughout Iowa can watch the artists on theHancher stage and ask them questions. Since 2000,schools in more than 50 (mostly rural) communi-ties have participated in this process. Artists haveincluded jazz pianist Marcus Roberts, the YingQuartet, and the cast of Blast!, among others.

Hancher Auditorium also emphasizes educationalprogramming for families and adults, with severalfree family concerts a year. In 2001, Hancher finished a three-year partners project that specifi-cally targeted the 25 to 45 year-old segment of thepotential audience; free concerts were held in theworkplace, libraries, museums, and other locationsin the general community.

As a university presenter, it is also important thateducational programming be brought to the imme-diate community. Every year, university studentsattend open rehearsals in the auditorium; in the

past year, they were able to see the Jazz at LincolnCenter Orchestra, Academy of Ancient Music, andCompania Nacional de Danza. Master classes lastseason for university students were given by operasinger Frederica Von Stade and members of thePhiladelphia Orchestra and Houston Ballet. Visitingartists in university classrooms present lectures anddiscussions, and they are often highlighted in university media and radio shows.

Each season, Hancher sponsors residencies thatbring artists into the K-12 classroom. A three-yearproject, called Arts Across the Curriculum, involved12 elementary and middle schools in eastern Iowaand 6 visiting artists . This multi-layered project—which included teacher workshops, creation of newunits of study, in-school workshops by visitingartists, Hancher performances, ICN workshops, andfree evening family events in every community—was designed to encourage the integration of theperforming arts into all areas of school curricula.Educators learned how to incorporate music,dance, and theater into subjects such as math,social studies, and reading.

Pilobolus Dance Theatre Workshop with elementary school students

MIC

HA

EL K

REI

SER


Urban Gateways: Center for Arts EducationChicago, IL www.urbangatetways.org





Programs offered:












Evaluation methods

Urban Gateways holds that the arts con-stitute basic learning experiences for allpeople, and that, when taught effective-ly, they can provide valuable skills appli-cable to other subjects. The arts are ameans to discovering and developingnew and creative ways of thinking,learning, and expressing oneself. Whenchildren study an art form in-depth todiscover its historical and cultural significance, they strengthen their abili-ties to comprehend, conceptualize, andproblem-solve. Through the sustainedefforts of adults, parents and teachersalike, these skills can be reinforced and

further developed in children, producing positive

effects on their performance in other subject areasand a long-term impact on their lives.

These objectives are persued through in-school andout-of-school performances, classroom residencies,specially designed programs, and professionaldevelopment for educators and artists. Using UrbanGateways’ methodology of “Encounter, Engage, andReflect,” teachers and students first encounter theprofessional work of an artist, then engage in themaking of art, and lastly reflect upon the process.

Core programs include:

• Artist-in-Residence. Urban Gateways’ professionalartists work with teachers to design and achieve arts instruction that incorporates and complementsscience, math, history, and literature. The artistsvisit classrooms weekly for up to four months,helping children to use art and their imagination to expand their learning possibilities. More than95,000 students, teachers, and parents in more than60 schools participate in this program each year.

• Touring Performances. Educators may choose from alist of 50 programs in dance, music, and theater thatwill then travel to their schools. Urban Gatewaysalso provides educational materials that teachers useto prepare students for the performance they willsee and to help them discuss the programs after thetouring artists have departed. Immediately followingperformances, companion workshops bring greaterunderstanding of the art form to the audiences.More than 800 performances are scheduled eachyear, reaching 230,000 students.

• Student Matinee Program. Students attend perform-ances of national and international touring compa-nies in some of Chicago’s historic theatrical sites.Here, too, Urban Gateways provides educationalmaterials that teachers use to prepare students forthe performance they will see and to help them discuss the programs after they return to school.Fourteen to nineteen titles are presented annually,reaching 25,000 students.P

RO

FILE


• Customized Programs. Urban Gateways designs customized programs to meet specific themes or special needs for a variety of educational,community, and professional settings. For example,it collaborates with the Elgin Symphony Orchestraand Hamilton Wings (an Elgin, Ill.-based not-for-profit organization) on “SCORE!” In that program,which stands for “Students Creating Opera toReinforce Education! ” Urban Gateways assists inthe conception, development, and production ofan original opera.

• Professional Development Programs. UrbanGateways emphasizes child-centered education—using the arts as a generative force through which a holistically healthy child may be developed.To adequately equip teachers, the professionaldevelopment programs for teachers—the SummerInstitute—also trains teachers in aesthetic educa-tion and its integration into the curriculum.Twenty to twenty-five teachers participate eachsummer. Educator-artists themselves must be simi-larly prepared. Urban Gateways’ artists are requiredto participate in training seminars conducted bystaff and master artists prior to beginning theirwork in schools each year. Topics include creativeteaching techniques, relating art forms to societaland historical contexts, engaging students in thelearning process, and general classroom manage-ment. Each artist is taught how to present a performance or workshop within the classroom.Special attention is paid to ensuring that each contact with students and teachers reflects diverseclassical and cultural forms, is age appropriate,and has a high educational and artistic value.New and emerging artists receive adddtional training through working with master artists,serving as mentors.

Clowes Memorial Hall of Butler UniversityIndianapolis, IN www.cloweshall.org





Programs offered:







Evaluation methods

The goal of the Clowes Memorial Halleducation program is to educate, enrich,and entertain students and adults of allages through a broad range of arts offer-ings—performances, teacher workshops,interactive distance-learning sessions,clinics with artist-educators, in-schoolresidencies, open rehearsals, and facilitytours—that will meet the needs andinterests of virtually all learners. Thegrowth over the last 12 years of the Pre-K-12 program in particular has led to anemphasis on integrated programmingthat helps students and educators fromacross the state to value, connect with,

and engage in the arts. All Pre-K-12 events and programs are designed to enhance the IndianaAcademic Standards in language, science, history,social studies, character education, and the fine arts.They also help teachers address issue-based curricu-la on topics such as human rights, self-confidence,cooperation, and careers.

PR

OFI

LE


The School Matinee Series serves as the foundationon which other Clowes educational activities arebuilt. Diverse programs and presentations in instru-mental and choral music, opera, theater, and balletnot only connect with the school curriculum, butalso provide students and educators with newappreciation of the arts and the role of the artist.To prepare students for a matinee program, theClowes Education Department publishes studentstudy guides, called Clowes Sheets, that are sent toevery student three weeks prior to attending a per-formance. The Clowes Sheet can include a synopsisof the story, pertinent vocabulary, discussion of theart form, historical or geographic information, orinteresting facts about the production. In addition,students are challenged to interpret lines from theplay, solve problems relating to the story, or evaluatethe adaptation of a book into a stage production.

As a charter member of the John F. KennedyCenter’s Partners in Education program, Clowes

Hall has embraced teacher training as an integralpart of its mission. Through teacher workshops that model arts-integrated teaching methods, thePartners in Education program helps the Hall reach teachers and their students with innovativelearning techniques and materials. Workshop lead-ers are trained artist-educators who work withteachers to develop their understanding of an artform, connect the content of a production to theschool curriculum, and demonstrate arts-in-educa-tion teaching strategies that can be implementedimmediately in the classroom. Teachers have theoption of earning Indiana license-renewal credit orButler University academic credit for participatingin these workshops.

Clowes works with partnering schools to developartist residencies that meet specific curricular needsand goals. Artists, principals, teachers, and Cloweseducation staff participate in the planning andimplementation of the residencies, which often

Students participating from their classroom in a "distance learning" (teleconferencing) education session – "Dancers Are Athletes"

CLO

WES

MEM

OR

IAL

HA

LL O

F B

UTL

ER U

NIV

ERSI

TY


include both teacher workshops and student sessions that model effective arts-integration strategies.

Another aspect of the education program involvesthe use of distance-learning technology. Made pos-sible by the “magic” of fiber optics, distance learn-ing utilizes two-way teleconferencing to connectstudents in the classroom or adults in retirementhomes and learning centers with educators atClowes Memorial Hall; this technology is particu-larly valuable for groups with accessibility needs orthose located in remote areas. Distance-learningsessions are designed by the Clowes EducationDepartment to complement various aspects of theeducation program, and they can include: behind-the-scenes looks at performances, informal conver-sations with artists, opportunities to observe masterclasses, explorations of the playwriting process, orin-depth looks at careers in the arts.

Clinics with artists are open both to student andadult learners and are held in informal settingswhere patrons can hear guest artists talk about theirart form and personal performance history.Question-and-answer sessions usually follow. Inaddition, master classes are offered at Butler’sJordan College of Fine Art. Students can participatein these classes led by leaders in the fields of dance,music, and theater, where they can perform and be critiqued.

Events and activities of the Clowes education pro-gram are rigorously evaluated on a continual basis.Response forms and surveys, requesting both quali-tative and quantitative data, are collected from allparticipants and staff. Surveys solicit responses tothe overall quality of the presentation, access, seat-ing, student study guides, and specific issues relativeto each presentation. Results of evaluations are tab-ulated and compiled for each educational event,and reports are presented to to Clowes’s AdvisoryCouncil and staff. The Education Department alsocompiles an annual report summarizing the year’sprogramming with statistics and evaluation results,which is then used as the basis of a year-end reportgiven to the Advisory Council for its assistance inevaluating operational procedures and planningfuture programs.

The Lied Center of KansasUniversity of Kansas Lawrence, KS www.lied.ku.edu

• School Districts served per year: 1




Programs offered:









Evaluation methods

The Lied Center of Kansas offers a com-prehensive set of educational programsthat serve not only K-12 learners butalso adults in the community.

The K-12 Adventures in Imagination(AiI) program includes school perform-ances and workshops that support class-room curriculum; they are accompaniedby student study guides and teacher les-son plans. Formed as a Business/Education Partnership among the LiedCenter, U.S. Bank, and the LawrencePublic Schools, AiI creates opportunitiesthrough the arts that enhance reading,

writing, critical thinking, and creative expressionfor students and teachers.

The Lied Center and the Lawrence Public Schoolsare founding members of the Partners in Educationprogram of the John F. Kennedy Center for thePerforming Arts. Curriculum-based arts-integration

PR

OFI

LE


workshops for teachers are the foundation of thePartners in Education Program.

The Lied Center also pursues its mission throughPre-Performance Lectures and Post-PerformanceDiscussions, Artists’ Talk-Backs, and extended residencies in the community of Lawrence andthroughout Kansas. Residencies include opportunities to engage artists in master classes,workshops, lectures, demonstrations, and imaginative activities that are as varied as the artists themselves.

Puppet-building workshop with students, conducted by members of DRAK Puppet Theatrefrom the Czech Republic

THE

LIED

CEN

TER

OF

KA

NSA

S

Glema Mahr Center for the ArtsMadisonville, KY http://www.glemacenter.org





Programs offered:











Evaluation methods

The full potential of the comprehensivearts education programming of theGlema Mahr Center for the Arts couldnot be realized without the commitmentand shared vision of local, regional, andnational organizations. These partnersbring financial and technical resources,as well as unique expertise, to Centerprograms. During 2001-2002, thesepartnerships included:

• Partners in Education Program of theJohn F. Kennedy Center for thePerforming Arts (Washington D.C.) Since 1992, the Glema Mahr Center for

the Arts has been involved with this national pro-gram committed to teacher training in making thearts integral to education. All professional develop-ment activities sponsored by the Center, in partner-ship specifically with the Badgett Cooperative forEducational Enhancement, fall under the umbrellaof this comprehensive program.

PR

OFI

LE


• Binney & Smith, makers of Crayola Products In 1994, the Glema Mahr Center for the Artsbecame one of only seven arts centers in the nationto be selected for the Crayola Dream-Makers pro-gram, a cross-curriculum approach to the visualarts implemented by classroom teachers. TheCenter has continued to expand the Dream-Makersprogram each year, and has now successfully com-pleted a seventh year in this collaborative project.This past season, six Hopkins County elementaryschools participated in the program. CrayolaWorkshops were conducted for students, parents,and administrators. Of the more than 2,500 stu-dents who created artwork, 234 were chosen to

exhibit in the Anne P. Baker Gallery of theMadisonville Community College’s Fine Arts Center.

• The GE FundEnriching the lives of young elementary school chil-dren by engaging them with the arts is what the GECreative Connections program is about. Originatingas a three-year partnership among the Glema Center,the Kentucky Center for the Arts, the GE Fund, andtwo elementary schools, GE extended this successfulprogram last season for another three years andinvited two more schools to participate. Each schooldevelops an individual program addressing its needs,with equal emphasis given to student, teacher, and

community learning. With thehelp of Creative Connections, allparticipating schools have beenable to host several week-long residencies.

• Numerous contributors to the STAR PASS ProgramThis program, developed toencourage low-income familiesand individuals to attend the cultural and educational eventsoffered by the Glema MahrCenter for the Arts, is an exampleof how a community partnershipcan be very effective through adignified process. In 2001-2002,its successful fourth season, morethan 400 STAR PASSES wereredeemed, with broad communi-ty support. Contributors includ-ed the Mayor’s Fund of the Cityof Madisonville, Mrs. GlemaMahr, the Madisonville BPW(Kentucky Federation of Businessand Professional Women), andthe Madisonville Rotary Club.

• The Woman’s Club of Madisonville The Woman’s Club sponsored an annual exhibit of works bystudents from Hopkins County

"Trust us". Students learn the trust fall, and then implement it for an afternoon rehearsal of the Summer Arts Academy production of Once Upon a Mattress.

JIM

PEA

RSO

N


Central High School and Madisonville NorthHopkins High School as part of the season’s offer-ings at the Anne P. Baker Gallery. The exhibit wasjuried and awards were given to the winning entriesin several categories.

The third annual Summer Arts Academy (2002),an intensive 10-day drama day camp, was met withenthusiasm by students, parents, and communitymembers; and for the first time, a one-weekAcademy was offered for elementary school stu-dents. A total of 130 students participated in thetwo academies. From June 3-7, the younger stu-dents learned to sing, dance, and design scenery for the performance of Stinky Cheese Man. Middleand high school students then attended the tradi-tional Academy from June 10 - 21. Working withprofessional actor/director F. Reed Brown, theylearned about the various aspects of producing and performing in a play. The culmination of thetwo weeks was a wonderful performance of OnceUpon a Mattress.

The Glema Mahr Center for the Arts housed severalcommunity events again this past year, but for thefirst time it presented a community musical, TheMusic Man. Local talent was used onstage and offto mount this American classic; several of the castmembers were former participants in the SummerArts Academy. Sponsored by the J. B. and KielMoore Community Program Endowment, threeperformances were presented.

The Center has become the home for area dance-school recitals, Hopkins County Schools band andchoral concerts and plays, and KMEA (KentuckyMusic Educators Association) Band and ChoralFestivals. Every December, the local police bandStreet Heat performs twice on the stage before hundreds of middle school students, providingthem with an anti-drug message.

All of these events bring students into the Center,educate them, and excite them about the arts.

RiverPark CenterOwensboro, KY

• School districts served per year: 33-KY and IN


• High schools served per year: 46 middle and high


Programs offered:












Evaluation methods

RiverPark Center offers the followinglearning opportunities for children andyouth:

• Arts Teach Kids. School-day performance series (K-12) that is related to core content and academic-performance standards (approximately70 shows per year).

• Arts in the A.M. A three-hour program,normally held in the morning, that utilizes professional artists to involvestudents in activities related to the corecontent in arts and humanities on whichthey are tested later in the school year.

Between 4,000 and 5,000 children participate in thisprogram, and it is growing by approximately 1,000children per year.

• Missoula Children’s Theatre. This company givesworkshops for children and produces shows inwhich local children can star.

PR

OFI

LE


• Kentucky Shakespeare Festival. Brings its educational outreach workshops to the Center.

• Creative Connections. General Electric enablesschools to work in partnership with arts centers to improve student learning in arts education program funded by Gen the arts.

• Summer Arts Camp. A weeklong camp for children(K-12) in which they are actively involved in thearts. One hundred ten young people participated in the camp in 2002.

• Partnerships. Many other learning opportunities are offered through the partnerships with localschool systems. The Center sponsors the DaviessCounty Public School Class of 2013 and plansactivities every year for this class.

• Grants. RiverPark Center has provided local children with a variety of opportunities throughfinancial support.

• Performances. Students at many schools are giventhe opportunity to perform on the RiverParkCenter stage.

• Back-Stage Tours. Normally led by the technicaldirector.

The basic strengths of the education programs arethe partnerships with the schools, the connection ofthe RiverPark Center’s education programs to corecontent of curriculum, outstanding programming,close communication with teachers and arts coordi-nators, and continual evaluation.

In-school residencies are supported in large partthrough the Creative Connections program. The

program helps to prepare teaching artists by sharinginformation with them (for example, on core content), connecting them with school arts coordi-nators and seasoned teaching artists, and forward-ing feedback from teachers and staff.

RiverPark Center also supports K-12 classroomteachers through:

• Partnerships with their schools

• Receptions for teachers

• Reduced rates to performances, when possible

• High-quality professional development,assisted by the partnership with the KennedyCenter Partners in Education Program

• Reading to students on “I Love to Read” Day

• Study guides for all performances

• Arts in the Afternoon—an after school workshopfor an entire faculty, led by a professional artist,that focuses on one area of the arts

• Arts Education Showcase. Artists come to the Center,give mini-performances, and talk with teachers whomay want to bring them to their schools

• Technical assistance for teachers in schools whopresent their performances at RiverPark.

The RiverPark Center has more school-day per-formances than most other centers its size. Yet, italso supports an after school theater program forat-risk children in the schools with Neblett Center,an inner city community center, and other artspartnerships funded by Kentucky Arts Council.

Workshop in “Summer Arts Camp”

RIV

ERP

AR

K C

ENTE

R


Jefferson Performing Arts SocietyMetairie, LA www.jpas.org





Programs offered:













The Jefferson Performing Arts Society(JPAS) offers four types of outreachprograms dedicated to the artisticenrichment of students of all ages: theArts Adventure Series, which presentsfull-length ballets, musicals, and ethnicprograms during the school day in a“field trip” format; Cultural Crossroads,which brings artists of diverse disci-plines into residencies at alternativeschools for at-risk students; StageWithout a Theater, which takes artisticprograms, including jazz, storytelling,and musical theater, into area schools;and the Children’s Chorus and Youth

Chorale, which offer after school, summer study,and performance programs for student musiciansfrom Pre-K through 12th grade.

• The Arts Adventure Series makes full-length per-formances, from ballets to musicals to grand opera,available to school groups at greatly discounted

prices. This program allows schools to integrate theclassic works that JPAS presents into their curricu-lum, and it gives students the opportunity to expe-rience performances in a real theater environment.

• Cultural Crossroads, a residency-based program,integrates arts and cultural activities with core cur-riculum at alternative schools in the Greater NewOrleans region. The goal of this outreach is toimprove student achievement through in-schoolarts activities for students who have not succeededin the traditional education environment.Throughout the school year, the program focuseson math, language arts, Louisiana and world histo-ry, and social skills (including conflict managementand self-esteem).

• Stage Without A Theater brings artists and productions into local schools during the school day.

• The Children’s Chorus and Youth Chorale have pro-vided high quality choral training to the children of the greater New Orleans area for 19 years. Thechoirs are comprised of more than 95 children, ages4-18. While participating in weekly chorusrehearsals they study music, poetry, and movement.Chorus members perform in a variety of settingsthroughout the community and on the concertstage. In 2003, JPAS began offering a Summer ShowChoir Workshop, a one-week activity for boys andgirls in grades 3-8 that helps them develop the fun-damental singing and dancing skills of show-choirperformance.

JPAS develops study-guide materials for teachersand students to relate the arts to other areas ofcore-education curriculum. It also offers a SummerMusical Theatre Program that provides a challeng-ing and high-quality education in musical theater.Through workshops, classes, and public perform-ances, students focus on the preparation of musical-theater productions; they receive training in acting,singing, dancing, staging, costuming, and technicalproduction.

In March 2002 JPAS received the Gambit WeeklyNewspaper’s “Tribute to Classical Arts” ArtsEducation Award.

PR

OFI

LE


FleetBoston Celebrity SeriesBoston, MA www.celebrityseries.org


• Elementary Schools served per year: See profile

• High Schools served per year: See profile


Programs offered:










Evaluation methods

Project Discovery is a citywide arts-in-education initiative designed to makethe arts available to all Boston area resi-dents. It uses the FleetBoston CelebritySeries’ distinction as a leading perform-ing arts presenter by accessing nationallyand internationally recognized artists inclassical music, dance, jazz, world music,and theater. Since 1984, a key part of theCelebrity Series’ mission has been tointroduce these artists, and the perform-ing arts, to new and diverse audiencesthrough engaging, entertaining, andenriching artistic experiences. Each yearapproximately 25,000 people, many of

whom might not otherwise have the opportunity toenjoy the performing arts, participate in more than110 Project Discovery activities that include masterclasses, lecture-demonstrations, residencies, work-shops, a summer camp, interactive concerts, pre-mieres of newly commissioned works, and discountticket distribution programs.

In the 2002-2003 season, Project Discovery wascomprised of the following:

Programs for Students (K-12)

• Artists-in-Residence. In-school residencies at Bostonpublic and charter schools, featuring visitingCelebrity Series artists in dance and music, areintended to supplement the dance and music cur-ricula of these schools. The goal of the dance resi-dencies is to introduce students to dance and cho-reography as creative art forms, while the musicresidencies’ aim is for participants to acquire a bet-ter understanding of composition, performance,and instrumentation. Students interact with visitingartists through master classes, lecture-demonstra-tions, open rehearsals, and advanced workshops.These in-school residencies have included artistssuch as Yo Yo Ma, Marvin Hamlisch, WyntonMarsalis, Bobby McFerrin, and dancers from thePaul Taylor Dance Company and American Ballet Theatre.

• Community Arts Link. Project Discovery’s discountticket program involves more than 300 schools,community groups, and social service organizationsthroughout Massachusetts. The Celebrity Seriesoffers $9 tickets to more than 90 percent of eachseason’s Celebrity Series performances, and morethan 12,000 students, special interest groups,and special needs individuals participate in thisprogram each year.

• AileyCamp Boston. Established in partnership withthe Alvin Ailey American Dance Theater,AileyCamp Boston is a six-week, full-scholarshipsummer program that combines dance instructionwith personal-development workshops, creative-communications classes, and field trips for 80Boston area middle school students. The program’smission is not to train students to be professionaldancers but to challenge them, strengthen their self-esteem, and provide an inspirational summer alter-native within a structured setting.

• Act 2 is a free after school program that uses dance,music, theater, and visual arts to help develop con-fidence and creative expression among inner cityBoston middle school students. Inspired by the suc-cess of AileyCamp Boston and held at the Boston

PR

OFI

LE


Arts Academy, ACT 2 offers dance, introductorymusic, theater, and visual art classes to AileyCampalumni. The program also engages guest speakersfrom the community to promote the personal and civic growth of the students, and it offers workshops in volunteerism, academic support,and goal-setting.

Programs for Families

• Family Musik. Celebrating its eighth season in2002-2003, Family Musik was created to spark family-wide interest in music through a series offun-filled interactive concerts and workshops thatincorporate music, words, and movement. PastFamily Musik concerts have included The PolarExpress, Elijah’s Angel, Many Moons, Carnival of the Animals, A Soldier’s Tale, Everybody DanceNow!, April Fools! and MozartBridge.

Programs for Community

• Dance Across the City is a collaboration betweenFleetBoston Celebrity Series and the Wang Centerfor the Performing Arts that aspires to showcasedance in the Boston community as a vital andenriching experience. Through a series of free,

creative, and interactive events, this community-dance initiative provides the rare opportunity toexperience the artistry and energy—outside ofstaged performances—of some of the world’s mostinnovative dance companies. In its inaugural seasonlast year, Dance Across the City invited adults toparticipate in master classes, panel discussions, andconversations with some of today’s leaders in mod-ern dance, including Bill T. Jones, Mark Morris,and Jonathan Wolken of Pilobolus.

• What Makes It Great? is both a formal concert andan educational workshop. Composer/conductor/commentator Robert Kapilow introduces new audiences to classical music composition and danceand gives already knowledgeable audiences newways to understand them. Mr. Kapilow and guestartists deconstruct well-known works into manage-able sections, explain the works’ structure, highlightimportant motifs, and encourage the audience tothink like the composer or choreographer. Whenthe workshop component is followed by a formalperformance of the entire piece by the guest artists,the audience experiences it with a new depth ofunderstanding and familiarity.

AileyCamp Boston campers in modern class

BR

IAN

SN

YDER


The Wang Center for thePerforming ArtsBoston, MA www.wangcenter.org

• School districts served per year: 43 towns (not districts)

• Elementary schools served per year: 56,varies each year

• High schools served per year: 88, varies each year

• K-12 students served per year: 770 (plus 100 educators)

Programs offered:







The core strength of the education program, called Suskind Young at Arts, is its commitment to the arts asan essential part of daily life. Numerousopportunities are offered through stu-dent programs, which include a varietyof art forms and accommodate a rangeof schedules. Programs involve partici-pants in the literary, visual, and performing arts (e.g., BroadWays,Songwriting, Writers in Residence, Artsby Kids). No experience is necessary toparticipate and acceptance is based onenthusiasm and commitment. All pro-

grams are free and are offered throughout the year,including the summer. They can be short-term(from a one-day workshop to several after schoolsessions) or long-term (from 3 to 6 months inlength, meeting once or twice a week). Programs are both in-school and out-of-school.

Arts Can Teach (ACT) is a partnership—amongSuskind Young at Arts, LynnArts, Inc., and the Lynn[Mass.] Public Schools—that gives Lynn middleschool teachers the opportunity of working withlocal professional artists to learn elements of an artform and to develop, implement, and assess arts-integrated projects in their classrooms throughoutthe school year. Art forms include the literary,visual, and performing arts. ACT begins in thespring, with the selection of artists and teachers,who then work together for 28 hours during aSummer Institute. They plan a 10-day residencyproject for the fall, followed by an independentproject (facilitated by the teacher) in the spring.Exhibits take place at each school and at LynnArtsduring the month of March, and the evaluationcomponent finishes the year in April. Residencywork is a large part of the learning process in thisprogram, but the teacher is more actively involvedin the planning and implementation process than in most traditional residencies.

Every other year a seminar is offered, developed bythe John F. Kennedy Center for the Performing Arts,called “Artists as Educators: Planning EffectiveWorkshops for Teachers.” This seminar, whichdetails a process for planning, presenting, and eval-uating workshops for teachers, helps artists identifycomponents of their work with students that teach-ers will find valuable in their own teaching; theseminar also assists artists in developing proposalsfor teacher workshops.

The Artists’ Project is another program that offersdevelopment opportunities for Boston area artistswho present workshops and other educationalevents. Meetings throughout the year provide additional occasions for area artists to network andcollaborate with each other.

Meanwhile, the Suskind Young at Arts staff continu-ally shares resources and professional developmentinformation, hosts events that enable artists tointroduce their work to, and make connectionswith, area educators, and notifies artists of openingsfor instructors and presenters at a variety oforganizations.

PR

OFI

LE


The Arts for Teachers program offers free profes-sional development workshops for K-12 educators.Prominent local and national presenters lead thisseries of interactive workshops, which explore dif-ferent ways for teachers to integrate the arts intotheir curriculum while meeting MassachusettsDepartment of Education standards. Participantswho complete all sessions in a workshop series are eligible for a minimum of 10 professional development points.

The Wang Center for the Performing Arts and theBoston Public Schools, both members of theKennedy Center’s Partners in Education program,have partnered in collaborative efforts to make thearts integral to education. The Kennedy Center’sannual Partners in Education meeting, helps theWang Center keep on top of national educationtrends and issues, and throughout the year providesexcellent workshop presenters from around the country.

Through a partnership with the Boston PublicSchools, an Arts Symposium is offered each season that is focused on the specific needs of BPSteachers. The Arts Can Teach program in Lynn, MA,enables teachers to work with local professionalartists for integrating arts projects into their curriculum.

On a more executive level, Teacher Liaisons isSuskind Young at Arts’ connection to the Bostonarea’s school community. Established in 1995, thisgroup of 30 K-12 educators serves as an advisorypanel, as volunteers for Suskind Young at Arts (for which they help recruit participants), and asliaisons between the Wang Center and their partner schools.

Suskind Young at Arts is committed to growth and expansion—not just through numbers, butthrough creative thinking about innovative practices in arts language.

Clarice Smith Performing Arts Center University of MarylandCollege Park, MD

www.claricesmithcenter.umd.edu





Programs offered:









As a new organization, the ClariceSmith Center is just beginning to shapelearning programs both for adults andyouth. The primary goals of theCenter’s programs generally are to:

• Offer programming that is reflective of the diverse communities within andaround the university

• Establish a context for performancesin order to engage the audience moredeeply

• Contribute to the repertoire of newwork

• Provide resources for artists from the Center’scommunities and around the world to pursue theirart forms.

Learning is at the heart of all Center programming.In some cases, courses and ongoing humanities

PR

OFI

LE


Emery Community Arts Center &Foothills ArtsFarmington, ME www.emeryartscenter.org





Programs offered:









Evaluation methods

Foothills Arts (founded in 1989) and theEmery Community Arts Center (found-ed in 2002) have allied to form an education program with the followingobjectives:

• Empower classroom teachers to usethe arts as a vehicle for teaching theircurricula, and foster collaborationsamong teaching artists, classroom teachers, and students

• Nurture the creative voices of youth,of all backgrounds and levels of experi-ence, by providing after school and

summer enrichment programs in which theyexperiment in partnership with Maine teachingartists.

Found Story Theater combines hands-on profes-sional development workshops for K-8 teacherswith in-school artist residencies; the classroomteachers and teaching artist together design curric-ular units involving theater games and improvisa-

PR

OFI

LE

activities are offered; in others, one-time lectures,panel discussions, or artist talk-back opportunitiesenhance a performance experience. Either way, pro-grams presented by the Center are usually framedby occasions intended to inform, engage, and ulti-mately build new audiences (of all ages) for a widerrange of performing arts.

A primary emphasis at this time is the engagementof adults from the diverse communities within andaround the University.

But the Center does work in the K-12 environmentas well, with an aim of increasing students’interest, understanding, and participation in theperforming arts. The Center’s initiatives involve thebuilding of partnerships with community organiza-tions, youth groups, and local schools. In 2002-2003, Northwestern High School and Hyattsville Middle School, located near the University, were the Center’s primary school partners. Interactionsincluded:

• Local artists in residence throughout the year, bothfor music composition and playwrighting projects

• Workshops with visiting artists from the MarylandPresents season, both in the school and at theCenter

• Opportunities for student performers to visit the Center to rehearse or perform in the Center’svenues.

In 2003-2004, the Center plans to continue deepening these school partnerships, and to establish models and best practices for buildingothers.

For the past three years, the Center has also sponsored teacher training institutes during thesummer. While teacher training is not a primaryfocus at this stage of development, the Centerexpects to host institutes of this nature again during the summer of 2003.


tion. For each of the past three years, 12 teachershave participated, working with actor-playwrightJeri Pitcher. For the units, whose objectives matchthe Maine Learning Results, teachers have chosensubjects such as language arts, math, health,German, history, and the district’s bullying-and-teasing prevention initiative.

Participating teachers report that they have changedmany of their teaching strategies and that they seechildren more fully engaged in learning and, conse-quently, better understanding content. The programaccommodates children with diverse intellectualand social-emotional needs, from those who neednew challenges to those in special education pro-grams. Another bonus of Found Story Theater isthat teachers and students are both energized aboutlearning. One teacher sums it up: “We’re so lucky to have this [program]. The kids come to schoolexcited. They come to the door asking, ‘What are we doing today?’ ”

The Gear-Up Arts Residency is a five-day integratedarts residency in a rural paper-mill-town school inwhich arts programs have traditionally taken a backseat. Music, creative movement, theater, and poetryteaching artists come into all six of the school’s5th- and 6th-grade classrooms. Students interactwith the artists on a first-name basis, discoveringhow accessible these art forms really are. Similarly,the expectation is to encourage classroom teachersto start using these arts in their own teaching, justas is done so successfully with the Found StoryProgram.

Theater for Peace brings together actor-playwrightJeri Pitcher and 12 high school students of diversebackgrounds. They meet after school for 10 weeks,to explore teen-relevant social issues throughintense and lively discussions and theater improvi-sations. Products of this program include an origi-nal theater piece and discussion questions that theteen actors share with 7th and 8th graders in indi-vidual classrooms in three rural school districts.Classroom teachers conduct additional follow-up

discussions and writing assignments on the topicsraised. In the four years of this program, 35 highschool students have participated, and they havepresented to a total of 400 middle school students,whose teachers praised the quality and impact ofthe performances and discussions. These teachers’students have reported that the program makesthem think in new ways about topics like suicide,disrespectful behavior, and alcohol abuse. TheTheater for Peace actors, for their part, say that theyhave made new friends and increased their ownself-confidence.

Foothills Arts Day Camp (sliding fee scale subsi-dized by local businesses and individuals, andEmery Center endowment) exhilarates and inspires4th through 12th graders to explore, make newfriends, and be themselves through theater, poetry,music, art, and movement. Students improvise,choreograph, and create with teaching artists whorenew their own creative spirits as they work withtheir youthful counterparts. Highly acclaimed sinceits founding in 1991, this camp—with an interdisci-plinary curriculum unified by a theme—was thevision of community members who wanted to pro-vide enrichment for rural adolescents.

In order to encourage risk-taking and experimenta-tion, the camp’s curriculum focuses on processrather than product. Youth of all abilities andsocioeconomic backgrounds from 35 Maine townsattend, with more than half of the total 150-camperenrollment qualifying for and receiving scholar-ships based solely on financial need. When asked on evaluation forms, “What did you like best about camp?” the most common replies over thecamp’s 12 years have been much like these from the 2002 campers: “I was able to express myself anyway I wanted in a safe place.” “It makes you stretchyourself.” “I loved the way it let me be myself andbe creative.”


L/A ArtsLewiston, ME www.laarts.org





Programs offered:

















Evaluation methods

For the past 30 years, L/A Arts has beenoffering continuous programming in all of Lewiston/Auburn’s public schools.This past year outreach grew to includeneighboring communities as well asparochial institutions, for a total of 21schools. At the heart of each arts-in-education activity is the desire to build a community of lifelong learners who realize the potential of the arts to understand, express, teach, andenlighten.

L/A Arts’s education programs includethe following:P

RO

FILE

• Artist-in-Residence. Every school year, L/A Artssponsors a long-term artist residency in each K-8school. Artists work with the classroom teacher inplanning thematic connections and interdiscipli-nary approaches to teaching subject matter andsocial issues. Media such as dance, theater, singing,painting, poetry, and puppetry help engage studentsof all learning abilities and styles. Residencies ofteninclude presentations by the visiting artist and aculminating student performance This programtypically reaches more than 5,000 students and 350 teachers.

• Visual Literacy is a way of understanding what anartist is trying to communicate in a piece of art.As children begin learning language skills, they aretaught not only how to read and write, but alsoabout the reading and writing process; the processof looking at, analyzing, and reacting to artworkcan be learned in a similar way. In fact, for somestudents who struggle with reading and writing, thearts can provide a new way of encouraging literacy.The Visual Literacy project is a collaborative effortamong L/A Arts, Bates College Museum of Art (inLewiston), and local elementary schools. Art thatvisually represents or enhances curricular themes is selected from the museum’s collection; studentsthen visit the museum and work with a museumeducator on “reading” the art and articulating whatthey see. Of equal value, educators are introducedto a new and accessible resource within their community.

• Newspapers in Education (NIE) developed out of apartnership between L/A Arts and the local newspa-per. The Breakfast Serials program commissionschildren’s book authors to write serialized stories tobe printed on the Backpage section of Friday’spaper. Supplementing each installation is an educa-tional sidebar, which provides discussion topics,extension activities, and writing prompts. The L/AArts/NIE partnership provides funding for eachauthor to visit local schools to conduct assembliesand writing workshops.

• 21st Century Community Learning Center.Community Learning Centers were established byCongress to help schools expand their academicand social outreach. In partnership with Auburn’sCLC, L/A Arts has developed an after school dance


program at the middle school that culminates in anevening performance and reception for dancers andtheir families and friends. This program not onlyteaches students how to dance, but also increasesself-awareness and provides a safe environment for personal expression.

• ArtsPass is an L/A Arts initiative that provides everyhigh school student at the local high schools with avoucher entitling him or her to a free ticket to eachL/A Arts live performance. An event may consist ofdance, music, theater, or comedy; it may be in a

cabaret setting or on a moreformal concert-hall stage.Through this program students have the opportunityto become familiar with a variety of performing arts and develop the habit ofattending live performances.

• Professional Development.As partners in the PerformingArts Centers and Schools program of the John F.Kennedy Center for thePerforming Arts, L/A Artssponsors professional develop-ment workshops for allLewiston, Auburn, andMechanic Falls public schooleducators and administrators.The program helps train thoseeducators interested in exploring different ways tointerpret, understand, andteach their areas of specializa-tion through an arts perspec-tive. These workshops intendnot only to encourage partici-pants to continue the integra-tion conversation back in their schools, but also to bringthe philosophy of teaching inand through the arts into theirclassroom and to become

advocates for art education within their schoolcommunity.

• Special Performances. In addition to the annualeducational programming, L/A Arts also offers spe-cial programs throughout the year. The fall of 2002brought the Looking Glass Theatre out ofProvidence, RI. Committed to promoting reading,the series, There’s Nothing to Read!, presentedexcerpts from children’s novels spanning a host ofdifferent topics and authors’ styles. Using minimalprops and sets, and letting the power of languagespeak for itself, the Looking Glass Theatre present-ed twelve shows in elementary and middle schoolsthroughout the community.

Two young actors gear up for L/A Arts' SummerTheatre production of Alice in Wonderland.

CH

ERI

DO

NA

HU

E, L

/A A

RTS


University Musical SocietyAnn Arbor, MI www.ums.org





Programs offered:












Evaluation methods

The main elements ofthe University MusicalSociety’s Youth,Teen, and FamilyEducation programare as follows:

• Youth PerformanceSeries. Features daytime and eveningperformances ofdiverse world-classartists. Fifteen thousand to twenty-five thousand K-12

tickets are offered each season.UMS develops all curriculum,CDs, and videos to be used in

PR

OFI

LEconjunction with these performances. Emphasis ison teacher/school customer service, the eliminationof barriers to participation, and transformativeexperiences for students.

• Teacher Workshops. UMS presents five to eightteacher workshops each season for two differentseries: Kennedy Center teacher workshops, and performing arts teacher workshops. The formerfocus on incorporating arts education into class-room instruction, while the latter give teacherssolid information and experience in teaching aboutspecific artists and art forms.

• First Acts Series. Seen as an extension of the YouthPerformance Series, this is a sequence of eventsdrawn from public performances that offer specialstudent access and rates; it is primarily gearedtoward high school students.

UMS also provides in-classroom visits by artists,special projects for teachers and schools, pre- andpost-event activities for students who attend performances, and general consultation for artseducation in the schools.

UMS engages a Teacher Advisory Committee that counsels UMS on all aspects of its youth-education program. USM is also considered an official partner with the Ann Arbor Public Schools,and has a special relationship with many otherschool districts.

“Dinosaur Detectives,” a Kennedy Center Workshop for Teachers led byMichele Valeri, held in partnership with the University of MichiganExhibit Museum of Natural History.

CLA

IRE

MO

LLO

Y, U

NIV

ERSI

TY M

USI

CA

L SO

CIE

TY


Ordway Center for thePerforming ArtsSt. Paul, MN

http://www.ordway.org





Programs offered:








In response to teacher needs and chang-ing community demographics, theOrdway Center has partnered withartists and educators since 1991 to pro-vide education programs for students,teachers, and the general public. Theseprograms include:

• Performing Arts Classroom series. Eachyear, more than 35,000 public and pri-vate school students (grades 1-12) fromthroughout Minnesota attend theseweekday matinee performances by theworld music, dance, and theater groupsthat often appear in the “Planet

Ordway” series. Accessibility to these performancesis enhanced by the Center’s commitment to offertickets at low cost (with free busing) for areaschools. The Ordway Center is proud to have beenthe number one cultural destination—both forMinneapolis and St. Paul public schools—for fiveconsecutive years.

PR

OFI

LE• Flint Hills International Children’s Festival. This

annual spring event offers world-class performersfrom around the globe who perform for young andfamily audiences. The festival includes puppetry,theater, music, dance, and performance art; it ispresented during the week for school groups andon the weekend for families. Several schools areinvolved in workshops and in-school residenciesthat lead up to art installations of children’s work atthe festival. On the two weekend days, a large WorldParty is staged in Rice Park that features perform-ances of local artists, as well as a myriad of freeactivities and events for families.

• Living Study Guides: Arts Workshops for Teachers.Hands-on workshops explore the art forms present-ed on stage and connect performances to curricu-lum. Continuing education unit (CEU) credit isavailable.

• Putting It Together: Responding Collaboratively andCreatively to a Musical Theater Production is a 20-hour course for teachers and students to explorethe world of musical theater.

• Ordway/COMPAS Residencies are two week, in-depth explorations of an Ordway Center produc-tion and its art form, in conjunction with a trip tothe Center. COMPAS teaching artists visit class-rooms and engage students in the creative processesused by the performing artists. (COMPAS, whichstands for Community Programs in the Arts, is aMinnesota-based nonprofit organization.)

• Ordway Center Critics Circle offers high school stu-dents an opportunity to engage in critical thinkingand writing.

• Study Guides. Curriculum materials (includingresources, cultural information, and suggestions forclassroom activities tied to graduation standards)are written to accompany each Performing ArtsClassroom presentation. The guides are reviewed bycurriculum specialists from the St. Paul SchoolDistrict, edited by Ordway Center staff, and printedby the school district as part of its contribution toEducation at Ordway Center.

• Insights allows the audience to gain a deeper understanding of the artists and art forms presented during the Planet Ordway and U.S. Bank


Theater seasons. Led by artists, community leaders,and educators, these pre-performance discussions/workshops are free and open to all ticket holders.Teachers may be eligible for CEU and in-servicecredits for their attendance at Insights.

• Discussion and Dessert are play discussion groupsthat offer the audiences an opportunity, in an infor-mal gathering, to talk about performances they haveseen on Ordway Center stages.

• Workshops for Artists provide area artistic commu-nities with developmental opportunities, such asopen forums, chances for dialogue, and networking.

• The Honors Concert & Art Exhibit, presented byOrdway Center and St. Paul Public Schools, cele-brates the talents of 400 of the most gifted visualarts, orchestra, chorus, and band students from highschools in the St. Paul Public School District.

• Education Advisory Committee and CulturalAdvisory Committees. In order to meet the needs ofthe entire community—persons of all cultures,backgrounds, ages, and experiences—Education atOrdway Center works closely with its advisory

Children in Ordway Center's Main Hall

committee members, who are involved in the planning and development of the educational andoutreach programs.

• Leadership. Ordway Center was integral to the writing of St. Paul’s Capital City EducationInitiative. Also, Ordway Center and St. Paul PublicSchools are team members of the nationally recognized Partners in Education program of theJohn F. Kennedy Center for the Performing Arts.

• 2002 Arts Advocacy Leadership Award: ArtsOrganization Excellence in EducationalProgramming. The Ordway Center for thePerforming Arts was selected to receive this awardfrom the Minnesota Alliance for Arts in Educationfor its strong vision and commitment to educationconsistent with its mission to “entertain and edu-cate diverse audiences,” according to the Alliance’sDebra Hunt. The programming of the 2001 KochInternational Children’s Festival (now called theFlint Hills International Children’s Festival) wasspecifically cited.


St. John’s University/College of St. BenedictCollegeville, MN www.csbsju.edu/finearts

• School districts served per year: 10-15




Programs offered:












Evaluation methods

Saint John’s University and the Collegeof Saint Benedict seek the finest artiststo perform on the stage, present exhibi-tions in the galleries, and teach in-residence on campus and in the communities it serves.

Fine arts programming:

• Provides opportunities for growth inthe arts by making the artists availablethrough lectures and demonstrations,master classes, and pre- and post-performance discussions

• Offers presentations in all four artisticdisciplines during the season (visual,

theater, music, and dance)

• Enables “point of entry” experiences for the noviceaudience member

• Challenges audiences through innovative programming

PR

OFI

LE

• Brings artists of all ethnic and religious back-grounds into a homogenous community to promote cultural diversity

• Creates future audiences for the arts through anextensive Partners in Education program modeled bythe John F. Kennedy Center for the Performing Arts.

The education program includes:

• The only professional educational outreach program in the Central Minnesota region

• A nationally recognized formal partnership withDistrict 742 of St. Cloud, as part of the KennedyCenter’s Performing Arts Center and SchoolsProgram, offering workshops to educators on artsintegration in the curriculum led by nationally recognized master artist/educators

• In-school residencies with professional touringartists, providing hands-on classroom experiencesin dance, music, visual arts, and theater at no charge to local schools

• Exploratory and interactive experiences for adultaudience members, in support of lifelong learningin and through the arts

• Year-round after school arts programs in partner-ship with the Boys & Girls Clubs of CentralMinnesota

• Relationships with local social service agencies to facilitate outreach to new audiences of all agesthrough education programs.

Artworks program with artist-in-residence,DuJun, teaching Chinese paper cutting,October, 2000, Saint John’s University.

LISA

CO

TTO

N,

DIR

ECTO

R O

F EX

HIB

ITIO

NS,

CSB

/SJU

FIN

E A

RTS

PR

OG

RA

MM

ING


COCA (Center of Contemporary Arts)St. Louis, MO www.cocastl.org





Programs offered:













Evaluation methods

COCA’s mission in general is to providean integrated forum for fostering theappreciation of the arts in the greater St. Louis community by producing andpresenting performances, exhibitions,and educational programs. The missionof COCA’s Education Department inparticular is to provide high quality artseducation in drama, dance, music, andthe visual arts for the widest possible audience. The program serves students from 18 months old to senior adults, from all areas in metropolitan St. Louis, and—thanks

to generous scholarship programs—from all socioeconomic levels.

Among the core strengths are:

• Education programs that relate across arts disci-plines

• Programs that reach economically and raciallydiverse segments of the public

• Community partners who work cooperatively tofurther COCA’s values.

COCA’s Education Department offers 500 tuition-based classes a year, and employs more than 100artist-instructors, all highly trained professionalsand practicing artists in their fields. TheScholarship Fund administers more than $100,000in financial assistance to approximately 300 stu-dents-in-need for classes and camps at COCA’smain campus in University City. That campus currently serves a total of more than 6,000 studentsof all ages, participating in dance, music, theater,and visual arts classes and camps. In addition,COCA On-site serves more than 2,000 students at numerous schools and community centers in St. Louis County and Illinois. Students work withCOCA faculty in after school, weekend, and summer camp programs as well as in in-school residencies, all of which develop the students’artistic skills, confidence, and cultural awareness.

COCA’s Pre-Professional Dance Program, one of itsmost innovative activities, is a long-term, individu-alized curriculum to encourage the development oftalented young dancers toward their professionalgoals, regardless of income, race, or ethnicity. TheProgram, designed to nurture the unique talentsand interests of each future performer, offers train-ing in ballet, modern, jazz, tap, acting, and voice,along with master classes with nationally knownteachers and workshops on related topics such asanatomy and health. Students receive academiccounseling, guidance in their dance training, andassistance in pursuing further training and careeropportunities after high school.P

RO

FILE


COCA’s grant-funded Urban Arts Program providesa range of in-school and after school arts educationeach year for approximately 9,000 children in low-income areas, helping to make the arts a basic partof their learning experience. It includes:

• After School Arts Classes at city schools that provideart experiences not only to teach students about aparticular art form, but also provide discipline,stability, and self-esteem through participation inthe arts

• Summer Arts Camp for teaching arts disciplines tostudents in grades K-5. Camps conclude with a student demonstration/display of learned skills

• Art and Technology Program, which offers elemen-tary school students well-structured and closelysupervised computer-based art classes that fosterliteracy, creativity, and modern technical skills

• SchoolTime Arts Education Program that providesshort-term in-school residencies with national performers and long-term in-school residencieswith local artist/instructors to children throughoutthe City of St. Louis. These residencies also providea learning opportunity for K-12 classroom teachers,who observe and participate with COCA artist/instructors. Nine in-school residencies were offeredthrough Urban Arts this past year. The artist/instructors are highly trained professionals whocome to COCA with extensive teaching experienceand, in most cases, advanced degrees in their artsdisciplines.

Biannual faculty meetings, visits with guest artists,and a faculty policy manual offer additional support and preparation information. Artist/instructors receive periodic observations and feedback from education staff and lead teachers in their disciplines. In the summer of 2002, forexample, COCA began a program of biweekly in-service workshops with an art therapist/trainer for its summer camp instructors at all locations.

DANCE St. LouisSaint Louis, MO

www.dancestlouis.org





Programs offered:












Evaluation methods

Dance St. Louis’s commitment to facili-tating strong programs has producedmultiyear relationships with communityarts councils, a prison arts program,corporate education programs, andespecially the regional school districts.Since 1977, some 50 to 100 in-schoolactivities per year have introduced atotal of more than 250,000 students toall styles of dance; the Dance St. LouisEducation Impact Program instructsstudents in dance as an art form, a physical sport, and even a career whileoffering them a rare opportunity towork with professional dancers in

intensive in-school workshops.

Dance St. Louis supports in-school residencies byselecting top-quality artists, helping raise money forprograms, organizing artist logistics, conducting

PR

OFI

LE


on-site observations to ensure program quality,developing study guides, and conducting follow-upsurveys. The strength of these activities lies in thequality of the artists and a goal to balance the number of students served with a lasting education-al impact. The roster of artists who have particpatedincludes dancers from the Miami City Ballet, PaulTaylor Dance Company with Taylor 2, Alvin AileyAmerican Dance Theatre, Ballet Folklorico deMexico, Dayton Contemporary Dance Company,David Dorfman Dance, David Parsons Company,Pilobolus, and the Pilobolus Too Institute.

Dance St. Louis supports K-12 teachers in thisenterprise by providing study guides that includebackground on dancers, dance history, classroomactivities, dance bibliographies, Internet links, andnews articles so that teachers can prepare their students for the visiting artists.

Dance St. Louis looks for projects that can make an impact over a long period on a variety ofaudiences—from dance students to youths from a juvenile detention center. Two examples ofinnovative programming are the following:

Parkway North High School dancers performing ShemoVes, the original work they created with Pilobolusdancers, Adam Battelstein and Becky Jung, during Dance St. Louis' spring 2002 Pilobolus Too Institute.

GIG

I W

EAV

ER


• With major help from Southeast Missouri StateUniversity, Dance St. Louis undertook the majorproject of bringing the internationally renownedMiami City Ballet to Cape Girardeau and Sikeston,Missouri, during April 2002. It took four years ofplanning and a significant grant from the Wallace-Reader’s Digest Funds to get the Ballet to CapeGirardeau, but when they finally arrived they tookthe river town by storm. Dance St. Louis’ crewmoved a 10-ton sprung floor into BlanchardElementary in Cape Girardeau for a lecture demon-stration at which 160 fifth graders heard EdwardVillella narrate an in-school lecture demonstrationwith members from his renowned company. Thefollowing day, the Ballet moved its lecture/demon-stration to Sikeston, Missouri, and performed for800 middle and high school students.

• The Pilobolus Too residency, founded in 1998 withsupport from the Missouri Arts Council, has beenDance St. Louis’s largest Education Impact Programto date. In the 2001-2002 season, Dance St. Louisrecruited Pilobolus Too—often called the “little lux-ury edition” of the acclaimed Pilobolus dance com-pany—for nine weeks of residency activities culmi-nating in a performance of an original work titledShemoVes, which was created and performed byParkway North High School students in collabora-tion with Pilobolus Too dancers. LorileeRichardson, dance educator in the Parkway SchoolDistrict, had this to say about the program in gener-al and the performance in particular: “ShemoVesreflected the discipline, the skill with improvisation,and the ability to work collaboratively, which manyof the Parkway dancers learned through work withDance St. Louis. Lessons learned from [PilobolusToo artists] have also been integrated into theParkway curriculum, and shared with other danceeducators through the National Dance EducationOrganization and the Missouri Dance EducationOrganization. This was an authentic experience forthe kids: creating, learning, and performing a dancein just three weeks, something they could [only]experience working in a dance company.”

Juanita K. Hammons Hall for the Performing ArtsSouthwest Missouri State UniversitySpringfield, MO www.hammonshall.com





Programs offered:








Evaluation methods

The Center for Arts in the Schoolsbegan as a partnership amongHammons Hall, the Southwest MissouriState University’s College of Arts andLetters, and the Springfield PublicSchools. Other partners have sincejoined, both as individual schools andentire districts. This past year’s partnerschools included 44 elementary schools,17 secondary schools, a K-12 lab school,and a variety of alternative educationprograms. A much broader area isserved, with student and teacher partici-pants also coming from public, private,and home schools from across the 24-

county region served by SMSU.

The Center presents an annual series of matineeperformances for K-12 students. These live, profes-sional performances incorporate other educationalaspects, such as study guides, supplemental materi-als for teachers, Q&A sessions, and workshops orclinics. The Center has helped more than 60,000

PR

OFI

LE


K-12 students experience the thrill of seeing a liveperformance, many for the very first time.

An annual series of professional development workshops for teachers allows educators from alldisciplines—especially non-arts teachers—to gainthe skills and confidence they need to use the arts as an effective teaching tool in the classroom. Bytraining and encouraging teachers to use the arts in their teaching, the Center believes the impact will be far greater and longer lasting than merelyexposing a student to a one-time arts experience.

The Center also provides in-school mini-residencies, bringing professional performing artists directly to students in their classrooms.The education program works closely with a varietyof artists who perform during the Hall’s season topresent master classes, clinics, open rehearsals, andpanel discussions for students of all ages.

The Hall’s Introduction to the Performance seriescoordinates with university professors and local artsprofessionals, as well as touring artists and artistic/management staffs, to arrange pre-performance lectures that provide patrons with additionalinsights into the season’s performances.

The education program is based on the John F.Kennedy Center’s Partners in Education model,pairing arts organizations with local school districts. Through its affiliation with the KennedyCenter, there is access to a wealth of educationalmaterials, touring productions, classroom andInternet resources, a nationwide network of artseducation specialists, and the finest teacher work-shops available. This partnership is able to bringthese assets to teachers and students, and adults,throughout the predominantly rural region ofsouthwest Missouri, where they would not other-wise have access to such programs.

Alberta Bair TheaterBillings, MT www.albertabairtheater.org





Programs offered:


















Evaluation methods

The Alberta Bair Theater providesopportunities for learning about theperforming arts through the followingcore programs:

• School performances

• Professional development workshopsfor educators

• Outreach

• Access to the Arts

PR

OFI

LE


These activities are guided by a strong mentor rela-tionship with the Partners in Education program ofthe John F. Kennedy Center for the Performing Arts.Established in 1991, the partnership—involving thecollaboration with the local Billings School District#2 (12,000 students) and the rural neighbor to thesouth, Laurel Public Schools (1800 students)—enables almost every student in the Billings andLaurel public schools to come to the theater at leastonce a year.

Every school in these two districts (total number ofschools: 36) has a teacher representative who meetswith the Education Director of the Alberta BairTheater three times a year to provide feedbackabout the Theater’s education programs. Theseteachers also offer invaluable information aboutcurriculum connections and other school-relatedissues. In addition, they act as “communication/marketing ambassadors,” taking program informa-tion back to their schools and presenting it to theircolleagues.

School performances

Each year, the Alberta Bair Theater offers speciallydesigned matinees for students (in grades Pre-Kthrough 12), at discounted prices ($3 - $5), whichare held during school hours at the theater.Performances have included The Mouse and theMotorcycle, Pilobolus Dance Theatre, Carmen, EricCarle’s The Very Hungry Caterpillar and The ActingCompany’s Taming of the Shrew. In the 1998-1999season, ten performances for approximately 12,000students were presented. In 2001-2002, more than22,300 students were brought to the theater from135 public, private, and home schools from Billingsand the surrounding communities for a total of 18performances. The school performances are eachrecommended for specific grade levels, and studyguides are sent to the schools prior to each showwith program information, history, curriculumconnections, discussion questions, and activities tohelp enhance the student’s educational experienceat the theater.

Professional development workshops for educators

Teacher workshops are presented in conjunctionwith the Billings and Laurel School Districts as partof the partnership with the John F. Kennedy Center.These are all hands-on workshops, presented in asafe and nonthreatening environment, designed tohelp educators better understand and integrate thearts into their classrooms. In 1998-99, 6 workshopswere offered with 92 educators participating. In2001-02, 14 workshops were held with 260 teachersparticipating.

Outreach programs

Each year, the Alberta Bair Theater offers school residencies, from one day’s to ten weeks’ duration,featuring touring and local artists. Communitymaster classes, workshops, lecture demonstrations,panel discussions, and informal performances arealso offered, featuring artists who are appearing atthe Alberta Bair Theater.


The primary outreach program is called the StoriesProject. Now in its fifth year, at-risk teens are select-ed by the school faculty and staff for classes in andabout the arts and field trips to local theaters,museums, and businesses during and after school.In cooperation with Billings School District #2,local and nationally known artists work with thestudents in the middle and high schools in theater,creative writing, visual art, music, video, collage,and photojournalism. Each series of classes culmi-nates with a performance or exhibition of the stu-dents’ work both at the school and at the local artmuseum.

The goals of the Stories Project include giving thestudents skills, self-awareness, and self-esteem to help them stay in school and find positive pathwaysof development. The project uses the arts as a wayto help young people channel their energy towardcreativity, healing, and expression. The 268 studentswho have participated in the 20 different workshopsin the first four years of the project report that theyalso feel more connected with the arts and culturalinstitutions in the community through theirinvolvement in the classes and field trips.

ToursFree offers tours of the theater for groups of 15 or more students (age 7 and older). The average tour is 60 minutes in length and includesthe history of the theater and a view of backstage.Students from local and rural classrooms, theaterclasses, summer camps, and civic groups get abehind-the-scenes look at the theater.

Access to the Arts

This program offers complimentary tickets toevening performances at the Alberta Bair Theater to hundreds of children and their families in thecommunity, distributed through 39 local socialservice agencies.

Myrna Loy CenterHelena, MT www.myrnaloycenter.com





Programs offered:






Professional development opportunities for teachingartists








Evaluation methods

Bringing artists into the schools hasbeen one of the major programs of theMyrna Loy Center for more than 10years. The MLC has a long and vitalrelationship with the Helena SchoolDistrict through the John F. KennedyCenter’s Partners in Education program.In past years, artists have gone severaltimes a year to schools in East Helena,Montana City, Lincoln, and Boulder;and students from Augusta, Wolf Creek,Whitehall, and White Sulphur Springshave attended performances and work-shops in Helena. This past year the MLC has renewed relationships with

Helena-area preschools such as Rocky MountainDevelopment, Rocky Mountain East, St. Pete’sPlace, and Head Start for hands-on art activities,performances, and residency programs. Carroll

PR

OFI

LE


College education, music, and performance majorsparticipate in the workshop opportunities andclassroom visits.

During the past two years, the Myrna Loy Centerhas provided residency opportunities to schoolsinvolving such artists as the Ying Quartet, the FryStreet Quartet, Obo Addy, the Scott Wells DanceCompany, Il Teatro Calimari, Todd Green, MelissaKwasney, Jack Gladstone, Rob Quist, and KatherineKramer’s Rhythms of Helena.

Over the next five years, the Center will be manag-ing and organizing a host of dance, music, story-telling, performance art, video, and visual-artsevents and activities related to the Lewis and Clark Bicentennial; the MLC will in fact be the official umbrella arts organization of theBicentennial, an activity that will also bring manymore artists and arts organizations to its doorstep.Under this project, an expanded series of arts residency activities in Helena and surroundingschools will be created, enabling Montana’s ruralstudents to work with national-level poets, musi-cians, dancers, Native American storytellers andperformers, and video artists.

Recently, using the Surdna Foundation’s residency-evaluation tool, the following strengths of theMyrna Loy Center program were identified:

• Its continuing commitment to providing ruralMontana communities, schools, teachers, and youth with the opportunity to work with profes-sional artists both from the region and elsewhere in the nation

• The commitment of the MLC to providing artistic experiences to youth that they would notnormally be able to access in Montana, includinginnovative and challenging arts and approaches to arts education

• The commitment of a qualified staff to keep arts residency opportunities a central part of theorganization’s work

• The ability of the MLC to maintain funding over 12 years that has continued to bring artists andprograms back to rural communities and schools,giving youth a continuous arts experience and education

• The willingness of strong national artists to workwith the MLC in providing unique opportunities to rural Montana communities and schools.

Lost Journals of Lewis and Clark at 4 Georgians Elementary in Helena, MT

CLA

IRE

BR

OW

NEL

L


Lied Center for Performing ArtsLincoln, NE www.liedcenter.org





Programs offered:










Evaluation methods

“AdventureLIED” programs, which facil-itate learning and interaction betweenthe community and artists who performat the Lied Center, are as follows:

• Education and Community Residencies.Lied Center artists offer master classesand other residency activities—forschools, colleges and universities, seniorand community centers, and businessesthroughout Nebraska—where studentsand teachers interact directly with performing artists. Residencies in thisstatewide outreach program, called Arts Across Nebraska, are developed

with the participation of community leaders andcommunity-based artists.

• The Partners in Education program of the John F.Kennedy Center for the Performing Arts. The LiedCenter, Omaha Nation School District (in Macy,NE), and University of Nebraska-Lincoln TeachersCollege are partnering to provide professional

development experiences in the performing arts toteachers and staff of the Omaha Nation SchoolDistrict (ONSD). In one recent activity, for exam-ple, 27 teachers, administrators, and school-boardmembers from ONSD attended the KennedyCenter’s production of A Light in the Storm, afterwhich they talked with cast members. On the fol-lowing day, the group participated in a day-longprofessional development workshop in the visualand theater arts. The Lied Center is also workingwith the Lincoln Public School District to provideprofessional development experiences for highschool theater teachers.

• Lincoln Puppetry Cooperative. The Lied Center collaborates with local artists and arts and commu-nity organizations to bring the diverse cultures of puppets to area children, youth, and families.Participating organizations include: Arts Are Basic, Lincoln Community Playhouse, LincolnChildren’s Museum, Magic Penny Puppeteers,Brian Henning Marionettes, Urban-Prairie PuppetCompany, First Plymouth Preschool, the Council of Ethnic, Family, and Community Centers, andpuppetry artists and enthusiasts throughoutNebraska.

• New Voices for Hope is an initiative devoted toexpanding awareness about human-rights issues,using performing arts and personal experiencewherever possible as vehicles for creating dialogue.During the 2003-2004 season, the In the Heart ofthe Beast Puppet and Mask Theatre will bringBefriended by the Enemy (based on the true story of a grand dragon in the Ku Klux Klan and a Jewish family that transformed his life) to the Lied Center stage.

• Student Matinee Series. The Lied Center provides,for nominal cost, opportunities for elementary,middle, and high school students to experience aperformance on its stage. Teachers receive supportmaterial in advance that is designed to enhance thestudents’ learning experience.

• Studio for Students. The Lied Center displays thevisual artwork of public and private school studentsin the balcony lobby throughout the performanceseason.

PR

OFI

LE


• VIP (Ventures in Partnership) Program. The LiedCenter is a VIP partner with the Lincoln PublicSchools to enhance education and build a strongercommunity. At this past year’s VIP Kickoff, theCenter’s 2001/2002 “Riverdance ImmersionProject” received a VIP “Pioneer Award” for blazinga new trail in partnerships. For the Center’s2002/2003 season, the “STOMP Immersion Project”involved curriculum planning among sponsors,teachers, and Lied staff; STOMP competitions attwo middle schools; a workshop with STOMPers;pre- and post-performance discussions with artists;the STOMP performance itself; and a dinner reception for the local community and artist VIPs.According to Playbill, the Broadway show “STOMPis a high-energy, percussive symphony, coupledwith dance, played entirely on nontraditionalinstruments such as garbage can lids, buckets,brooms, and sticks.”

• Curriculum Development. This is a new educationalproject whose objective is to create a curriculumthat relates a Lied Center performance to middle orhigh school objectives. This past year, six teachersfrom Lincoln and Omaha high schools attendedfour workshops as part of the “Noise/FunkCurriculum Development Project.” (Noise/Funkrefers to the national touring company of theBroadway show Bring in ‘Da Noise, Bring in ‘DaFunk.) Participants gained information about theNoise/Funk performance and production, forexample, the relevance of “da beat” to African-American history. They had opportunities to writesupplementary curriculum-development materialsthat will be shared with teaching colleagues at their schools.

Students from Lincoln, NE, area Community Centers work with puppeteer Trish Place to research, rewrite, and produce a shadow puppet performance of Persian Cinderella at the Indian Center.

TRIS

H P

LAC

E


Capitol Center for the ArtsConcord, NH www.ccanh.com





Programs offered:










The Capitol Center for the Arts operatesa number of programs that enhance artsappreciation for learners of all ages fromthroughout northern New England:

• In its School Series, the CCA offers anexpansive array of school-time curricu-lum-based performances, symposia, andoutreach activities that have involvedevery school district in the state. Manyof these presentations offer theatricalinterpretations of award-winning children’s literature and historic events,while others introduce students to internationally recognized dancers andmusicians. The series also offers a

variety of workshops for students and teachers held both at the Center and in the classroom,which deepen the theatergoing experience andintroduce new teaching techniques.

• Achieving Literacy Through the Arts is a partnershipbetween the Capitol Center and the ConcordSchool District to promote reading skills and provide early intervention for at-risk learners. Theprogram recognizes the opportunities afforded by adiverse learning environment that utilizes a variety

of means, especially the arts, for meeting coreachievements. The Center and Concord SchoolDistrict work closely to present performances in the School Series, geared specifically to grade 1-3students, that are taught by four District literacyarts specialists in the classroom. These specialistswork with classroom teachers to promote literacyachievement through integration of the arts, andthe Capitol Center’s performances in particular,in all subject areas.

• The partnership with the Concord School Districtalso engages in special projects in the areas of advo-cacy and community development. In 2001-2002,the partnership produced a video for use in ele-mentary school classrooms to prepare students fortheir first visit to the Capitol Center. The video,shot and edited by high school students under thementorship of a professional photographer, featuresthe theater as a workplace (depicting staff preparingfor the students’ visit) as well as curriculum tie-insand theater etiquette.

• During the 2002-2003 season, the Center is spear-heading an oral-history project with elementaryschool students and senior citizens in conjunctionwith a School Series performance. The projectincludes training by a commissioned historian onthe oral-history process to extend the District’swriting curriculum. The interaction between thesetwo age groups is an inspiring and effective way tobuild community through linking generations andcultures; collecting oral histories and making art-works intensifies the exchange of personal historyand culture, reduces age-related stereotypes, andempowers both young and old alike.

• The Capitol Center, in partnership with theIntegrated Arts M.Ed. program at Plymouth StateCollege, also offers graduate-level credit to teachersfor workshop participation and follow-up curricu-lum-development projects in its graduate course,Integrated Arts at the Capitol Center.

• The Center has experienced tremendous successwith its pre-show outreach program, Behind-the-Scenes. Inaugurated in the 2000-2001 season,Behind-the-Scenes offers patrons dialogues thatfeature directors, performers, and expert scholars.These discussions deepen the audience’s apprecia-tion of the historical, cultural, and structural contexts of the performance, and provide an insideperspective on the performing arts.

PR

OFI

LE


New Jersey Performing Arts CenterNewark, NJ www.njpac.org





Programs offered:











Evaluation methods

Arts education is a central part ofNew Jersey Performing Arts Center’s(NJPAC) mission. Even before theCenter opened its doors in 1997, thedepartment had been reaching thou-sands of young people through its in-school and community-based programsand performances. Six years later,NJPAC boasts one of the largest andmost highly regarded programs of itskind in the nation. The department’sarts education programs serve the entire state of New Jersey, with morethan 200,000 children, families, andeducators participating each season. In

the spirit of continually exploring new and innova-tive ways to use its resources to serve the communi-ty, the department has formed partnerships withschool districts, educational institutions, social service agencies, and arts organizations statewide.

The department focuses on the following:

• Performances:

–SchoolTime Series (performances for school-based audiences held from September-May)

–FamilyTime Series (performances for the entirefamily held from September-May)

–Parent/Child Workshops (pre-performanceworkshops for adults and children)

• NJPAC Long-Term (10-12 weeks) ResidencyPrograms:

–Dance Academy (grades 3-6)

–Theater Academy (grades 5-12)

–Early Learning Through the Arts - NJ Wolf Trap program (ages 3-5)

• SchoolTime Professional Development Workshops forEducators: Arts Basic to the Curriculum (ABC)Conference

• School District Partnerships enable schools to incorporate art and cultural performances, artseducation, and curriculum-based activities intodaily classroom experiences. NJPAC has establishedpartnerships with five school districts throughoutNew Jersey, which involve the participation of morethan 48 schools and approximately 120 residencyprograms in dance, theater, and Early LearningThrough the Arts. Additionally, more than 24,000students within partnership districts will attendSchoolTime performances during the 2002-2003academic year.

• Arts Training Programs:

–Summer Youth Performance workshops

–Summer Musical Theater productions

–NJPAC/ WBGO Jazz for Teens

–NJPAC/ NJSO Youth Orchestra Festival

–NJPAC/ NCSA Jeffrey Carollo Music Scholarship

–Star-Ledger Scholarship for the Performing Arts

PR

OFI

LE


Within all program areas, the department provides ancillary curriculum materials and services to further support classroom instructionand educational experiences in the arts.

• Innovative Curriculum Materials, integral parts of every program of the NJPAC department, are created with the intention of guiding educatorsthrough a learning process in the arts that enhancethe value and experience of the residency activitiesand reinforce the New Jersey Core CurriculumContent Standards for the Visual and PerformingArts. NJPAC’s Teacher Resource Guides for theSchoolTime Performance Series also highlightactivities and resources for teaching across the curriculum, with specific links to science.

• Professional Development. NJPAC is registered with the New Jersey State Department of Educationas a professional development provider. Educatorswho attend NJPAC’s workshops are thus eligible to receive continuing education credits.

The Lucent Technologies Center for Arts Education is a state of the art facility that housesthe multitude of programs undertaken by NJPAC’sarts education department. Located at 24 RectorStreet in Newark, the Lucent building has an area of 30,000 square feet, including some 24,000 squarefeet of recently renovated space. It contains a 100 seat theater, two dance studios, a recital hall,seven classrooms, nine music practice rooms,and office space for NJPAC’s staff.

Bardavon 1869 Opera HousePoughkeepsie, NY www.bardavon.org





Programs offered:











Evaluation methods

Since its construction in 1869 as the Collingwood Opera House, theBardavon has existed not only as asuperb performing arts venue, but alsoas a cultural and educational mentorand advocate for the community’syouth. Today, out of an overall audienceof 120,000, the Bardavon serves some25,000-30,000 children and teens annually with two special school-dayperformance series and a broad-basedarts-in-education residency program.

The Bardavon’s education program, for-mally established in 1985, has grown to

encompass a wide age-range of students (pre-schoolthrough college), and corporate and foundationsupporters have helped the program offer them in-depth artist residencies of several days, weeks, ormonths. Content of the programming for youngaudiences also ranges widely, from swing music forjazz-band members in local high schools, to play-

PR

OFI

LE


writing with middle school students, to circus arts with elementary school students.

In 1999, the Bardavon assumedmanagement of the region’s sym-phony orchestra, the Hudson ValleyPhilharmonic (HVP), and one ofthe first priorities was to redesignits education program with theconsultation of Lincoln CenterInstitute and New York Philhar-monic arts-in-education specialists.The result was a dynamic new for-mat that provides students with theopportunity to hear fine musicplayed by a full orchestra whilerelating the listening experience toacademic and personal learning.

The concept behind the Bardavon’sDaytime Performances series andrelated artist residency activities isthat art is not a product. Rather, it’sa process that evolves from what theartist brings to the stage to whatcan be enjoyed by youthful senses,minds, and imaginations. In and ofitself, the experience of attending alive performance is tremendouslyvaluable. But, the artist-in-residenceworkshops that bring series per-formers directly into the classroomenable educators to take the processeven further, making vital connec-tions to curriculum as well as tostudents’ other academic and social needs.

The Bardavon routinely reachesnearly 2,000 students with theseresidencies:

• The Young Playwrights Festival introduces up to 50 students to every part of the theatrical creativeprocess by teaming them with professionals in writing, directing, lighting, and costumes.

• An intensive 20-week Writer-in-Residency programwith Emmy nominated writer Casey Kurtti culmi-nates in a performance.

• Night of the Big Bands brings two high school jazzensembles to the Bardavon stage after six weeks ofmaster classes with professional musicians. At anearlier phase, three big bands perform together,creating the big-band sound. A residency thenbegins with students attending a concert that features Tony Corbiscello’s Big Band, which highlights the style of the Swing Era. Following

Showtime under the renovated marquee at the Bardavon 1869 Opera House in Poughkeepsie, NY

KA

THY

TOR

IS


the concert, four musicians from the Big Band visit each school six times. Working closely with students, they choose a repertoire, and the Night of the Big Bands is one result.

• IABAS Traditional Brazilian Band offers an uplifting introduction to Brazilian instruments and music. Two members of this all-female ensemble share the art of instrument-making,movement, and traditional Brazilian music with100 students. The students then bring their newlylearned skills and instruments to the annual kickoffof the holiday season in downtown Poughkeepsie,marching and performing in the Celebration ofLights Parade.

• Arm of the Sea Theatre brings the magic ofpuppetry to 100 fifth graders. The company isrenowned for its giant puppets and commitment to putting environmental issues into focus. PatrickWadden, the founder of Arm of the Sea Theatre,works with students to create puppets. The studentsbring their own puppets that then lend a touch offantasy to the Celebration of Lights Parade.

• Basically Blues by Kenneth Jackson came toPoughkeepsie briefly in 1999, and again for an entireweek in 2002, to visit classrooms and perform at the Bardavon. Among other things,students learned that the blues is not just a moodbut an art form; they analyzed the music, its history,and its impact on virtually all other types of music.

• The Acting Company Teaching Artists spend up tofive days working in schools, teaching a hands-oncurriculum related to The Taming of the Shrew.

• Circus Minimus, a circus that kids create, brings 100 students to the Bardavon to present it. After a two-week in-school residency, students acquireskills in the circus arts that range from clowning toacrobatics to walking the tight rope, culminating ina fun-filled show that enchants audience membersof all ages.

Brooklyn Academy of Music(BAM)Brooklyn, NY www.bam.org



• High schools served per year: 69 HS, 21 JHS


Programs offered:












Evaluation methods

Brooklyn Academy of Music’s (BAM)Department of Education andHumanities is dedicated to bringing anexceptional and innovative series of per-formances, films, residencies, and work-shops to students, teachers, and families.The focus is on challenging work thathas social and cultural as well as highartistic merit. In the 2002-2003 season,for example, students saw Medea, direct-ed by Deborah Warner and starringFiona Shaw; Twelfth Night, directed bySam Mendes and starring Simon RussellBeale and Emily Watson; the SouthAfrican apartheid drama, The Island;

and an in-school tour with David Dorfman Dance.Students engaged in panel discussions with leadingscholars, artists, and critics, published an anthologyof theater criticism, and participated in residenciesin Shakespeare, music, and dance.

PR

OFI

LE


Programs include:

• Performance Programs. Performances comprise student matinees of main-stage BAM programs aswell as presentations given exclusively for youngaudiences, both in the schools and at BAM (atgreatly reduced prices). All students who attendperformances and films at BAM are given appropri-ate background through pre-show in-school visitsfrom a BAM teaching artist, post-performance/filmdiscussions with the artists involved, post-showworkshops, and extensive study guides for teachers.BAM teaching artists are experienced educators aswell as professional artists. They must have exten-sive experience before joining the roster, and theywork closely with curriculum consultants and BAMstaff to continue developing their teaching skills.

• Film Programs

–The Screening Series (a high school film-literacyprogram) is designed to teach students how toanalyze and appreciate the art of film and tounderstand the social issues addressed in thefilms, which are chosen for curricular connec-

tions, artistic excellence, and role in film history.Films are thematically linked, covering topics suchas: prejudice, immigration, cultural diversity, civilrights, technology, labor relations and the workenvironment, war and international relations,socioeconomic class, and corporate identity vs.individualism. They have included such classics as The Grapes of Wrath, To Kill a Mockingbird,Casablanca, Citizen Kane, Do the Right Thing,Daughters of the Dust, and Twelve Angry Men.After each screening, well-known speakers leadchallenging student discussions about the film.

–kaBAM films deal with curriculum issues rele-vant to elementary and junior high school stu-dents. Examples include an animated version ofThe Diary of Anne Frank , and films about VincentVan Gogh and the Inuit people. Each screening isfollowed by a question-and-answer session.

• Residency Programs

–Shakespeare Teaches Students is a multi-sessionin-school program of study and performance forintermediate and high school students.

Children from the Bedford Stuyvesant Restoration Corporation perform with the BAM/Restoration DanceAfrica ensemble.

RIC

HA

RD

TER

MIN

E


–Shakespeare Teaches Teachers is a professionaldevelopment program at BAM in which interme-diate- and high school teachers develop aShakespeare curriculum. Taught by a universityprofessor, the course also features leading scholarsand artists as guests.

–Dancing into the Future is a series of masterclasses, led by highly acclaimed dance companiesand choreographers, designed to immerse stu-dents in the many forms of contemporary dance.

–Arts residencies. BAM also offers residencies in dance, theater, and music that provide in-depth participatory experiences in making andappreciating the art form. Residencies culminatein attendance at related performances at BAM.

–Young Critics Institute. Selected high schoolstudents work with a master teacher to learn moreabout theater and to hone their critical thinkingand literacy skills. Participants review BAM performances and meet with critics and theaterartists.

• Professional Development for Teachers. In addition to the Shakespeare Teaches Teachers program, BAMperiodically offers workshops and other profession-al development opportunities for teachers.

• BAMfamily programs include weekend matineeperformances and the BAMkids Film Festival, anannual weekend film marathon of features andshorts from around the world.

• Adult Humanities programs enrich audience members’ understanding of the work on stage byengaging them in discussion with artists, scholars,critics, and community members. Programs includeBAMdialogues, which are interviews with artists;BAMtalks, or informal discussions about ideasaffecting art and society; and symposia/panel discussions.

• African Arts. BAM’s Department of Education andHumanities also collaborates with the Bedford-Stuyvesant Restoration Corporation to provide anarts and humanities curriculum to students whoperform on stage in BAM’s DanceAfrica programand create an African Sculpture Garden at BAM.

Carnegie HallNew York, NY www.carnegiehall.org





Programs offered:







The Carnegie Hall Education Depart-ment seeks to offer programs in whichstudents not only attend concerts butalso participate in the music-makingprocess, thus becoming a part of eachperformance:

• CarnegieKids, the program for children3 to 6, features a storyteller and a smallgroup of musicians who engage the children through stories, music, andmovement. Students are exposed to avariety of musical styles and instru-ments in a 45 minute presentationspecifically designed for pre-schoolers.

• LinkUP!, Carnegie Hall’s music education programfor children in grades 4-6, introduces a particularmusical concept each year through a comprehen-sive curriculum that includes lessons in music (withrecorder instruction in particular), language arts,social studies, and visual arts. Teachers attend aworkshop at which they receive curriculum materi-als and instructions on how to use them in theirclassrooms to prepare students for the concertexperience. At the end of the year, these studentsattend a concert at Carnegie Hall and participate in the performance by singing or playing therecorder with the orchestra. This past year’sLinkUP! curriculum, “Music Under Construction:

PR

OFI

LE


Imitation,” featured the Orchestra of St. Luke’s andperformers aged 11 to 13 performing J.S. Bach’sConcerto for Two Violins and Bach’s Concerto forTwo Pianos in C minor. The concert also includedJuan Bautista Plaza’s Fuga Criolla.

• Global Encounters is Carnegie Hall’s world-musicprogram for high school social studies and musicclasses. It allows teachers to integrate music fromdifferent areas of the world into their curricula.This year, “Global Encounters: South AfricanSounds” highlighted the music and cultures ofSouth Africa, featuring legendary trumpeter, band-leader, composer, singer, and lyricist HughMasekela and friends in a culminating concert.Before bringing students to the concert, teachersattend a workshop at Carnegie Hall, where theyreceive a Teacher’s Guide and supporting materialsfor classroom use. A guest instructor also visits each school.

• Carnegie Hall High School Choral Festivals encour-age excellence in performing at the pre-collegelevel. For each festival, four choirs of high school-age singers are chosen through a taped audition toperform in a concert at Carnegie Hall. Throughoutthe year, the conductor of the Choral Festivalrehearses each choir four times; it performs on itsown there, and then all choirs at the Festival join

forces with a professional orchestra to present amajor choral work. This year the New York CityArea High School Choral Festival featured J.S.Bach’s Magnificat. The New York State High SchoolChoral Festival culminated in a performance ofPoulenc’s Gloria.

• Musical Explorers, a new music education programthat teaches children in grades 2-3 about the instruments of the orchestra through musical activ-ities, listening games, and singing, is scheduled forFall 2003. Teachers first attend a workshop atCarnegie Hall, where they receive materials forclassroom use and instructions on how to preparestudents for two concerts that their children willattend at Carnegie Hall in the fall and in the spring.Each concert features the family of instruments(strings, woodwind, brass, or percussion) studied in that unit.

• In addition to its onsite presentations, CarnegieHall offers an online Listening Adventure atwww.listeningadventures.org. Here students canexplore Dvorak’s New World Symphony throughvisual animation, composing activities, theme-recognition games, and other interactive features.A teacher tutorial and online lesson plans toaccompany the Listening Adventure are planned for Fall 2003.

Professional Training Workshop with Christa Ludwig and student

STEV

E J.

SH

ERM

AN


The Chamber Music Society of Lincoln CenterNew York, NY www.chambermusicsociety.org





Programs offered:












Evaluation methods

As one of America’s leading culturalinstitutions, the Chamber Music Societyof Lincoln Center strongly believes inthe importance of a complete arts education. Nearly 16,000 children and adults from the New York metro-politan area participate in a variety ofeducational programs each year thatoffer points of entry into the world of live music making, as well as opportunities for deeper engagement.They are captivated by the work ofworld-class musicians whose superbartistry communicates ideas in ways that words never could.

Programs for Students and Children

• Chamber Music Beginnings introduces students ages7 to 14 to chamber music through preparatoryclassroom materials, in-school teaching-artist visits,and a culminating live-concert experience.Scheduled throughout the year, the curriculum laysthe groundwork for the development of aestheticawareness by teaching the vocabulary, concepts(form, rhythm, expression, timbre), and rudimen-tary skills of music making, thereby enhancing chil-dren’s ability to appreciate and reflect on any musicthey hear and on other art forms they encounter.Praised by a number of participating music educa-tors, the classroom materials tackle even the mostcomplex musical concepts by employing metaphor,real-life experiences, and related art forms throughactivities both reflective (such as guided listening)and active (including student created musical com-positions). More than 6,000 students from 19schools participate in Chamber Music Beginnings.

• Designed for families with children ages 6 to 12,Meet the Music! is a series of four concerts thatcombine performances of the highest artistic caliber with narration, scripted dialogue, props,costumes, performances by children, and audienceinteraction with artists. Sophisticated musical concepts such as counterpoint, fugue, and sonataform are explained in a humorous and delightfulmanner to an often sold-out audience of childrenand parents. Approximately 4,000 children and parents attend each season.

• The Young Musicians Program provides an annualopportunity for up to 10 ensembles of talented high school musicians to receive coaching fromChamber Music Society artists. They then perform in a professionally produced concert at LincolnCenter’s Alice Tully Hall before an audience ofmore than 1,000 student peers.

• The Young Ensembles Program offers junior highschool ensembles a similar experience of coaching,followed by a performance in the Daniel andJoanna S. Rose Rehearsal Studio. Approximately 60 students from the metropolitan area performin the Young Musicians and Young Ensembles programs each year.

PR

OFI

LE


• Developed as a means of attracting more highschool students to the art of chamber music, theStudent Advisory Committee is a group of highlymotivated and multi-talented high school musicstudents who meet with Chamber Music Societystaff every other week to plan and program eventsfor their peers. Programs include concerts, ticketgiveaways, social gatherings, and a CMS teen Web page.

• The Chamber Music Society also provides a variety of programs for high schools specifically tailored to meet the needs of an individual school’smusic curriculum. These programs include masterclasses, coaching sessions, teacher workshops,concert/demonstrations, open rehearsals, and freetickets to subscription concerts.

The Chamber Music Society Two program is a two-year professional development residency that iden-tifies young talented musicians who show greatpromise in the area of chamber music. Throughmain-stage performances and educational pro-gramming, CMS Two offers participants mentoringand coaching in the art of chamber music; oppor-tunities for performance with other first class musicians; and opportunities to engage in educa-tional-outreach programs and activities.

The Chamber Music Society’s education enterprisesare nationally recognized as a model of quality programming—the result of a successful combina-tion of world-class artists and a staff of creative and innovative educators. Now in its 21st year, thiscollaboration continues to offer an impressiverange of presentations that are meaningful for avariety of ages and all levels of experience.

Jazz at Lincoln CenterNew York, NY www.jazzatlincolncenter.org

• School districts served per year: 1,500

• Elementary schools served per year: 1,300

• High schools served per year: 1,300


Programs offered:










Training for school leaders (principals,superintendents, others)




Evaluation methods

To ensure that the appreciation andpractice of jazz flourish among futuregenerations, Jazz at Lincoln Center(J@LC), under the visionary leadershipof Artistic Director Wynton Marsalis,is committed to educating audiencesaround the world about this distinctlyAmerican heritage. Carefully coordinat-ed with the New York City concert sea-son and Lincoln Center Jazz Orchestratours, J@LC Education directly reachesmore than 110,000 people annually,plus another 100,000 who use the Jazzfor Young People Curriculum—thefirst-ever comprehensive jazz apprecia-

tion curriculum for middle school students and teachers.

PR

OFI

LE

Bruce Adolphe, the host and creator of Meet theMusic!, invites a few brave audience members onstage to help him demonstrate a rhythm.

CH

RIS

LEE


These programs and publications are designed toraise awareness and understanding of the richnessand diversity of jazz, foster the skills of young musicians, and promote the instruction of jazz inschools. J@LC Education serves students, educators,families, and the general public. Its programs, avail-able on a broad geographic basis, include high-quality materials (print music and publications forstudent-musicians and educators), instruction, per-formances, professional development, and advocacy.

Programs range from the innovative EssentiallyEllington High School Jazz Band Competition andFestival (which reaches 1,200 schools in the U.S.and Canada annually) to the Jazz for Young PeopleCurriculum. Jazz at Lincoln Center serves teachersby offering professional development in a summerband-director academy and dozens of shorter sessions throughout the year, and provides otheropportunities through Jazz Talk (a lecture-demon-stration series), Jazz 101 courses, Jazz in the Schoolsperformances, Jazz for Young People family con-certs, master clinics and classes, and an array ofother activities involving the Lincoln Center JazzOrchestra’s national and international tours.

The Joyce TheaterNew York, NY www.joyce.org





Programs offered:
















Evaluation methods

Since its founding in 1982, the JoyceTheater Foundation has had a strongcommitment to education in andthrough the art of dance, offering acomprehensive education program forNew York City public school children as well as activities for adults and com-munity organizations.

The Joyce Theater Dance EducationProgram for schools is an innovativecollaboration among dance companiesfrom around the world, schools, and theTheater. The program is specificallydesigned to foster an understanding of

dance for students in K-12th grade, encourage the

PR

OFI

LE

“Essentially Ellington” High School Jazz BandCompetition and Festival Winners; 315 All-Stars of Greater Syracuse, NY, on stage with WyntonMarsalis, Artistic Director of Jazz at Lincoln Center,May 2001

FRA

NK

STE

WA

RT,

JA

ZZ A

T LI

NC

OLN

CEN

TER


development of students’ perceptions and imagina-tions, and integrate the arts into classroom learning.

The Dance Education Program operates during theacademic year and includes live dance Performancesfor Study, continuing education workshops forteachers, and planning sessions for classroom workwith Joyce teaching artists (TAs), its education staff,and mentoring schools.

Performances for Study are presented at the Theaterby leading national and international dance compa-nies, reflecting the cultural, ethnic, and stylisticdiversity of the Joyce season. Dance TAs and class-room teachers collaborate throughout the academicyear to develop study units around these perform-ances, with classes attending two to four perform-ances a season.

Professional development workshops for teacherscreate opportunities for continuing learning inorder to effectively integrate the various aspects ofthe education program into school curriculum;these workshops constitute a year-long sequentiallydesigned series and another ongoing partnershipbetween TAs and classroom teachers. The JoyceTheater’s education program for schools was in factselected as an Arts Education ProfessionalDevelopment Services Provider for the New YorkCity public schools, but the strength of its workdraws education professionals from throughout the metropolitan area as well.

Additionally, extended dance residencies in two different schools are conducted by dance artistsfrom companies performing at the Joyce during thefall and spring semesters. These residencies providestudents and the schools with valuable opportuni-ties for in-depth explorations of choreography andmovement in classroom settings.

Family Matinee series and Joyce Junior Membershipprograms are offered by the Joyce as part of itscommitment to make dance performances accessi-ble to families and cultivate new and younger audi-ences. Six to eight family-oriented performances,followed by Meet-the-Artists gatherings, are offeredeach year. The Joyce Junior Membership program,which is modeled after the Theater’s successfuladult membership program, provides children

(ages 6-14) with backstage tours of the Theater and special participatory Family Matinee Events at Joyce SoHo.

Outreach activities for adult audiences include theJoyce’s popular Humanities series that offers post-performance discussions with artists, including choreographers, artistic directors, designers, anddancers from the featured dance companies. Thenew Dance Talks is a series of conversations withartists, scholars, dance writers, and audiences that is illustrated with dance videos and movementdemonstrations. The series, held at Joyce SoHo,provides an informal but in-depth examination of issues shaping dance today.

The Joyce’s outreach efforts, both alone and in partnership with other arts institutions, schools,and community or social service organizations, takeplace continuously throughout the year in order toreach and serve diverse constituencies. Recent collaborators include the New School, New YorkUniversity, the Hudson Guild, the Children’s AidSociety, Career Transitions for Dancers, and theAmerican Dance Legacy Institute.

PS 56Q 5th graders participate in a Joyce Theater movement workshop.

NEM

E A

LPER

STEI

N


The New Victory TheaterNew York, NY www.newvictory.org





Programs offered:









The New Victory Theater, a “New 42ndStreet project,” is New York City’s firstand only theater for kids and families.The first historic theater to reopen on42nd Street (December 11, 1995), theNew Victory has become one of thecity’s most respected cultural institu-tions, “credited with having pioneered anew, sophisticated vision of children’sentertainment” (Time Out New York).

Underscoring the New Victory’s com-mitment to presenting an innovativeand diverse range of performing artsexperiences (in theater, dance, music,

circus, puppetry, and more) to the next generationof theatergoers, the New Victory SchoolMembership Program enables schoolchildren andeducators to see the same acclaimed productionspresented to the public on evenings and weekends.In addition, the Theater provides comprehensiveresources designed to augment the theater experi-ence, such as Talk Back sessions with the artists. Thestudents’ detailed and imaginative questions posedto the artists in these sessions, which follow eachperformance, beautifully illustrate the connectionoccurring between the work of the classroom andtheir experiences at the New Victory.

Free study guide materials complement each of theseason’s nine productions. Free Teacher Institutesare available in which educators participate inhands-on, interactive workshops that demonstratehow the New Victory’s programming can be incor-porated as a component of the curriculum. A sign-interpreted performance of each of the season’sproductions is offered, enabling hearing-impairedschoolchildren to attend.

In all, the New Victory’s 7th season last year included 42 weekday-morning performancesreserved specifically for school audiences of gradespre-K-12, reaching some 18,000 schoolchildren and teachers from 75 schools throughout New YorkCity’s five boroughs.

This past year saw several enhancements to theSchool Membership program that were designed todeepen the relationship with member teachers andstudents, and to make more concrete and individu-alized curricular connections to the Theater’sprogramming. For example, the Summer TeacherInstitute, held in July 2002, featured a residency withThe Abbey, Ireland’s national theater, whose exem-plary outreach programs serve as international mod-els for excellence in arts education. In three full-daysessions, The Abbey’s education director led work-shops on how to use theater as a resource in theclassroom. In September 2002, the Back-to-SchoolInstitute presented an overview of the season andprogram procedures, and teachers had the opportu-nity to meet the Theater’s front-of-house staff.

In addition to the Summer and Back-to-SchoolInstitutes, teachers attended free Mini-Institutes,led by New Victory education staff and guest teach-ing artists, that were held a few weeks prior to eachof the season’s presentations; these two-hour work-shops focused on creating lesson plans to link theproduction with the particular needs of eachteacher and his or her classroom.

Finally, to further enrich the students’ experience,the Theater offers the option of on-site classroomvisits both before and after attending a perform-ance. Also, an upgraded New Victory Theater Website now features articles and video clips about eachshow, along with background on the companies and related activities, and online ticket ordering for schools.

PR

OFI

LE


The activities of the New Victory’s educationdepartment also include a paid ApprenticeshipProgram for high school through graduate-schoolstudents, and a Weekend Workshop series for families, who are given the opportunity to explorevarious elements of the performing arts togetherwhile working with professional teaching artists.This past year the workshops, informed by the work on the stage, included storytelling, creativedrama, puppetry, juggling and physical comedy,improvisation and ensemble-building, hip-hopdance and culture, creative movement, playwriting,and an intensive Studio Week for teens inspired by the season’s closing production, A MidsummerNight’s Dream.

The work presented on stage is the central forcein the educational planning. Its dynamic natureconstantly challenges the New Victory to exploreand develop complementary and parallel program-ming for students, educators, and families, in orderto enhance and extend their engagement with the performance experience.

New York State Theatre InstituteTroy, NY www.nysti.org





Programs offered:







Partnerships with schools

Partnerships with school districts










Evaluation methods

New York State Theater Institute’s(NYSTI) entire program—its produc-tions, study guides, pre-show introduc-tions, and residency classes—all providelearning opportunities. Tens of thou-sands of students attend performances,and more than 25 percent of the studentaudience participates in extensive education programs. This enhancementof the theatrical experience uses the production as a catalyst for teachingcurriculum-based lessons.

The residency, for example, is a series ofclasses taught by Institute teacher/actorsP

RO

FILE

An excerpt from Fuerza y Compas, a two-act suitethat traces Cuban flamenco tradition

EDU

AR

DO

PA

TIN

O


and teacher/technicians using the play as a vehiclefor making connections between what has hap-pened on stage and what the students are studying.Lessons are planned to meet New York State (NYS)Learning Standards, and each program is cus-tomized to serve specific grade levels and curricularconcentrations. For example, after seeing AmericanEnterprise, a teacher/actor involves social-studiesstudents in role-playing through a situation inwhich labor and management must work togetherto solve a problem. Similarly, A Wonderful Lifebecomes the springboard for activities exploring the economics of the 1930s. In a language arts class,The Miracle Worker allows students to explore various modes of communications, and The Wizardof Oz becomes an opportunity to write travelbrochures for an exotic place.

During the course of the season, almost 50 percentof students attending the morning performancesparticipate in the Classroom Preparations and Pre-Show Intros program. Audience appreciation,comprehension, and behavior are elevated by pro-viding behind-the-scenes information prior to aperformance. A member of the NYSTI educationdepartment travels to the school and, using a slidepresentation, introduces characters and settingwhile tracing the technical development of the production from conceptual design stage to com-pleted product. These sessions are interactive andgrade-level-specific.

Teachers, meanwhile, are provided with a variety oflearning experiences and teaching tools to link theproduction with the classroom curriculum; forexample, study guides suggest activities and specificconnections to the NYS Learning Standards acrossthe disciplines. Also, some 25 percent of teachersmaking ticket reservations attend the TeacherInservice program. Designed to aid them in studentpreparation for the performance by revealing thecreative processes and concepts involved in the production, this two-hour symposium includes pre-sentations by the director and members of the cre-ative team, observation of a rehearsal segment, andadditional classroom materials.

Other educational outreach programs serve approx-imately 2,500 children and their teachers during the

course of a season. These activities include careerdays, shadowing experiences, teacher professionaldevelopment, technical theater workshops, andworksops using theater as a teaching tool.

The Theatre Arts School, Summer Stage, andSummer Theatre programs, for example, provideyoung people with a short-term opportunity to gainthe skills and experiences necessary for participat-ing in theater in their schools and communities. Ina more professional vein, the Intern Program pro-vides high school seniors and college students, aswell as educators, the opportunity to work full-timewithin a professional theater and gain an under-standing of, and perspective on, the possible careeropportunities in theater. Each intern is guided by amentor from NYSTI’s professional staff, and earnsacademic credit from his or her home campus.

NYSTI’s education and internship programs havebeen in place since its inception, long before theconcept of using the arts to teach across the cur-riculum became popular. The NYSTI continues to develop programs that meet the needs of stu-dents and teachers while maintaining the higheststandards of professional theater.

Lynnie Godfrey performs the title role in NYSTI’soriginal musical The Snow Queen with AshtonHolmes as Kai, the young lad she puts under a spell.

TIM

OTH

Y H

. R

AA

B


Symphony SpaceNew York, NY www.symphonyspace.org





Programs offered:











Evaluation methods

For 22 years, Symphony Space hasoffered the Curriculum Arts Project(CAP)—workshops and activities acrossthe arts, including music, dance, drama,and the visual arts, that mirror thediversity of programming at SymphonySpace—to New York City public-schoolteachers and students. CAP brings pro-fessional artists to the students at partic-ipating schools, many of which have fewor no arts specialists; provides artist-guided tours of major New York Citymuseums; and presents special concertsfor students at Symphony Space.

The project is instrumental in helping schools meetNew York State and New York City learning stan-dards in several key areas, particularly social studies.By imparting curriculum-related informationthrough stimulating projects that use a variety of

different art forms, CAP develops students’ abilitiesto use art works to illuminate concepts and themes;and it actively cultivates their critical viewing, lis-tening, and reading skills. Meanwhile, the projectoffers increased access to the arts for a traditionallyunderserved population.

CAP is available to students in the second throughtwelfth grades, and is centered on a semester-longseries of five to eight workshops taught by profes-sional artists. It provides specific instruction inthree subject areas—American history, Africanstudies, and Asian studies—with activities that arethematically linked to the class’s social studies cur-riculum.

Each program includes the following components:

• Creative Arts Projects. In a series of workshops intheir schools, students work with artists and teach-ers on creative assignments. For example, they writeand perform plays or rap songs, create musicalinstruments, or execute visual arts projects.

• Museum tours to the Metropolitan Museum of Art orother museums. Artist-led tours of exhibits connect-ed to the current social studies curriculum give stu-dents an opportunity to examine works of art in acultural context. At the same time, the experienceenables them to interpret and appreciate artworks,helps them develop insights into the creativeprocess, and ultimately leads to a broader under-standing of the potential of the arts to communi-cate on multiple levels.

• Culminating Concerts at Symphony Space providestudents with an opportunity to experience a pro-fessional performance of the dance, drama, ormusic of the culture they have been studying.

• Staff Development Workshops for Teachers. Annualall-day staff development sessions, held early in thesemester, provide teachers with the tools to expandupon lessons taught by participating artists. Thesetraining workshops also supply teachers with a CAPstudy guide, audiocassettes with musical selections,and slides of works of art. Using these and other

PR

OFI

LE


resource materials, the teachers can prepare students in advance of each CAP session.Classroom teachers also reinforce the artist-led vis-its through suggested follow-up activities. In thisway, even after the sessions end, teachers and stu-dents can continue to study and discuss art fromthe period or culture under investigation.

In 2001-02, CAP served approximately 4,770 students. In 2002-03, enrollment increased by 23percent to some 5,880 students from 29 schools in Brooklyn, Manhattan, the Bronx, and Queens.Innovations this past year included the pilot imple-mentation of a new CAP in Native-American studies, an expanded CAP Web presence as part ofthe newly redesigned institutional Web site; and thestart of a two year analysis of the project by anindependent education evaluator.

Tilles Center for the Performing Arts CW Post Campus/Long Island UniversityGreenvale, NY www.tillescenter.org





Programs offered:













Evaluation methods

The Tilles Center’s arts education pro-gram has grown tremendously in a veryshort time. Beginning with a modestseries of four performances for schoolaudiences in 1992, the Center nowinvolves more than 13,000 students eachyear from schools across Long Island.More than a dozen professional per-formances form the centerpiece of arange of complementary educationalactivities, including artist residencies inschools, workshops for educators, andintensive school partnerships. All of theprograms share a common purpose: toallow each student to encounter per-forming and visual arts first-hand and

to develop greater awareness of how the arts relate

PR

OFI

LE

Madeleine Yayodele Nelson and Marsha PerryStarkes, members of the performing ensembleWomen of the Calabash, teach a class at I.S. 259 in Brooklyn as part of the CAP in Africa unit of the Curriculum Arts Project.

CA

RN

EY H

AB

ERM

AN


to their lives. By challenging preconceptions andstimulating fresh insights, students gain a moreinformed and thoughtful appreciation of works ofart, artists, and the creative process.

The focus of current efforts is the SchoolPartnership program, which involves educationalcollaborations among schools, the Tilles Center, andother arts institutions. The program provides teach-ers, students, and parents with an intensive andstructured series of arts experiences. At the heart ofthe program are encounters by students with greatworks of art from many cultures—performances ofdance, theater, and music, as well as exposure topaintings, sculpture and architecture. Attendance atprofessional performances at the Tilles Center, ormuseum visits, are combined with artistic explo-rations in the school led by teaching artists, class-room teachers, and arts specialists. This approachprompts students to ask questions about works ofart and grapple with problems that artists faced inthe creative process. Through active engagementwith artistic materials, students gain insight into theworks they see and hear.

The school partnership program is unusual in itsclose relationship between a leading presenter ofperforming arts—the Tilles Center—and a majorinstitution of higher learning, Long IslandUniversity (C. W. Post Campus). Companies andartists being presented in public concerts byTilles—companies such as the New YorkPhilharmonic, Alvin Ailey American Dance Theater,and Pilobolus, as well as artists such as BobbyMcFerrin, Twyla Tharp, and Yo-Yo Ma—are directlyinvolved in the education program. The Center alsoemploys the resources of the C.W. Post School ofEducation by drawing on its faculty and studentsfor assistance in developing the program and pro-viding training opportunities for teachers andteaching artists.

The program’s partnerships combine intensiveteacher training and multiple encounters by stu-dents with artists. Each teacher attends a two-weekseminar in July as an introduction to the program,during which time he or she takes workshops led byTilles Center teaching artists, sees performances,visits museums, learns about the philosophy andapproach of the program, and begins to considerplans for incorporating specific arts experiencesinto the classroom.

Teachers then have one or more teaching artistsassigned to them.. These artists will work with themand their students during the year, which beginswith extensive collaboration between the artists andteachers in developing goals and activities. Theresult is that each class participates in two projects,which focus on attendance at a performance or avisit to a museum. Complementing the actual per-formance or visit are a series of six to eight classsessions, half of which involve the teaching artistworking in the classroom; the other sessions are ledby the teacher independently. All of them, however,have been jointly derived.

Prospective teaching artists engage in a week-longseries of workshops designed to introduce them tothe approach as well as determine their suitabilityfor the program. Subsequently, each artist goesthrough a mentoring process during which he orshe works as an apprentice alongside experiencedteaching artists in classrooms, much as a student-teacher would. This is supplemented by semi-annu-al training workshops, led by education profession-als, on lesson planning, partnering with teachers,classroom management, child development, andother basic pedagogical matters.

The program is innovative in allowing teachers(together with artists) to develop their own curricu-lum connections and teaching approaches through-out the year, depending on the needs of their indi-vidual classes. Teachers may choose from a widevariety of arts experiences in dance, theater, music,and visual arts. In some cases, when schools havechosen to tie the Partnership to school-wide goalsin literacy and language arts, specialists from theC.W. Post School of Education have been asked toconsult on the development of the projects.

HO

WA

RD

RO

CK

WIN

Students meet the cast after a performance at Tilles Center of Lisa Loomer's play Bocon.


North Carolina BlumenthalPerforming Arts CenterCharlotte, NC www.blumenthalcenter.org


• Elementary schools served per year: 1,100



Programs offered:















Evaluation methods

In 1999, following an extensive assess-ment of local arts education needs, theNorth Carolina Blumenthal PerformingArts Center launched the EducationInstitute to provide educational pro-grams and services—including the bestin local, state, and national performingand visual artists—to thousands ofstudents, teachers, artists, adults, andfamilies. In the past year alone, theInstitute reached 125,000 students andpre-school children.

In-School Partnerships

The Education Institute’s signature programs are itsK-5 arts-integrated curriculum partnerships, whichoperate in two county school systems on a year-round basis. Artists and teachers work together tocreate arts-integrated units of study that motivatestudents to learn through active participation. Lastyear, the Institute directly served 525 teachers andstudents at the two systems with 1,068 contacthours. Once the model process and curriculum arefully established in the pilot schools, they will serveas “lab schools” to help the Institute replicate theprograms in others.

Educational Quality through Arts for LifelongLearning (EQUALL). University Park Creative ArtsSchool (Mecklenburg County’s arts magnet school)is the site of a partnership that is now in its fifthyear. Grades K-3 are currently included, and plansare in place for expansion into grades 4 and 5.The Institute has partnered with the CharlotteSymphony, Opera Carolina, the Light Factory(Charlotte’s contemporary visual arts center),and individual teaching artists to help classroomteachers make a positive impact on student learning in and through the arts.

Gaston Arts Integration Nurtures Success (GAINS).The Institute partners with Gaston County Schools,specifically the Ida Rankin Elementary School, theUnited Arts Council of Gaston County, and theGaston County Public Library to create this modelarts-integrated curriculum program in a traditionalschool. GAINS is in its fourth year of operationwith grades K-3, and will shortly expand intogrades 4 and 5. The Kennedy Center selected theGAINS partnership to become an affiliate of itsnational Partners in Education Program.

Northwest School of the Arts (NWSA). In its eighthsuccessful year, the Theater Arts EducationPartnership between the Institute and thisMecklenburg County arts magnet school gives middle and high school students the opportunity towork alongside the Center’s professional staff ontheir annual musical-theater production. Studentsplay an integral role in every part of the processfrom set design and construction, lighting andsound, and ticket sales to marketing and publicrelations, budgeting, and event management. The

PR

OFI

LE


more advanced students now help teach those whoare new to the school or partnership. Last year’sperformance of Sweeney Todd engaged 86 studentsand 20 teachers and advisors in more than 11,000hours of activity.

Performance-Based Programs

The Education Institute provides unique programsfor Charlotte-area schools and communities in con-junction with the highly acclaimed presentations atthe Performing Arts Center. Participants enjoy highquality arts and learning experiences through per-formances, master classes, lectures, skills workshops,exhibitions, and other innovative activities with visiting artists.

Community-Building Partnerships. With input fromadvisory groups and individuals, these partnershipsmay include children’s arts programs within com-munity festivals, working with elders, conductingclasses, showcasing local artists from culturallydiverse communities, providing arts for after schoolprograms, or audience development.

The MetLife Family Arts Experience provides oppor-tunities for underserved families to attend perform-ances of the Center’s Broadway Lights and SpecialAttractions series by making tickets available tothem at reduced rates. Last year more than 1,000people benefited from this program.

Services

Professional development training for teachers.Specialists conduct workshops that focus on curriculum planning and development, arts-integration methods, effective program evaluationand assessment, and building and sustaining effective arts education partnerships.

Professional development training for artists. TheEducation Institute, with major funding from theNorth Carolina Arts Council, recently offered theKennedy Center’s professional development semi-nar for artists throughout North Carolina. Thesesessions are designed to help them plan workshopsto train teachers to use the arts more effectively in their classrooms.

Curriculum resources and materials. The Institute’sspecialists in arts-integrated teaching identify ordevelop relevant resources and materials to use as“tools for teaching,” which are made available toparticipating schools. These tools include curricu-lum-aligned study guides for performance-basedprograms in schools and communities, arts-integrated lesson plans, online resources, andtrained teaching artists.

Assessment and evaluation tools and procedures have been developed by the Institute specifically for evaluating arts education programs.

Technical support services are available for artists,schools, and communities that wish to employ thearts as an effective tool for teaching and learning.

Audience development support is provided throughthe Institute’s ongoing community partnerships,advisory groups, contacts, and tested strategies.

Children perform cultural dances as part of the“Passport to Latin America” program at Charlotte’sannual Latin American Festival.

SUZA

NN

E D

AN

E, N

CB

PA

C E

DU

CA

TIO

N I

NST

ITU

TE S

TAFF


Cincinnati Arts AssociationCincinnati, OH http://www.cincinnatiarts.org





Programs offered:





Partnerships with schools



Evaluation methods

The Cincinnati Arts Association (CAA)employs a multidisciplinary, multicul-tural approach to arts educationthrough its three distinct programs to schools in a22-county regionof SouthwestOhio, NorthernKentucky, andSoutheastIndiana. Theseprograms are as follows:

• SchoolTimepresents a variety ofperformances to studentaudiences while offeringhigh-quality study-guidematerials to support theclassroom teacher and prepare the student for each performance. CAA also provides ticket and

transportation subsidies so that no child will beturned away; last year more than 9,000 childrenreceived subsidy support. Featured artists offer several teacher workshops as part of the SchoolTime series. These supply additional training tohelp teachers in the classroom, and also give theman opportunity to experience artists as people.

• Artists on Tour sends 23 local and regional artistsinto the schools to conduct assemblies and work-shops, do short-term residencies, and supportteachers’ academic instruction through integrationof their art into the curriculum. CAA also conductsEducation 101 workshops so that the artists may be better informed on schools, classroom manage-ment, and a host of other topics relevant to placingartists in a classroom setting.

• CAA’s Overture Awards program offers 400-pluslocal high school students, representing 85 schools,the opportunity to compete for $39,000 in scholar-ships and to be recognized for their excellence inany of six artistic disciplines. In addition, the pro-gram periodically provides workshops, career plan-ning guidance, and master classes to these studentsthroughout the year.

PR

OFI

LE

Brian Malone of the Bacchanal Steel Band conducts a percussion workshop with area children.

RIC

H S

OFR

AN

KO


Franciscan Center of Lourdes CollegeSylvania, OH www.franciscancenter.org





Programs offered:












Evaluation methods

The Franciscan Center of LourdesCollege was founded by the Sisters ofSt. Francis in support of their mission to bring the arts to the local community.In 1985, the Center initiated its TheaterVision series, which for 18 years has presented quality educational-theaterperformances by professional touringcompanies for student audiences in pre-kindergarten through grade 12.

Theater Vision presentations aredesigned to introduce and enhanceunderstanding and appreciation ofdrama and acting, dance and move-

ment, music and singing, language and literature,and history and culture. Performances are linked

to Ohio’s Model Competency-Based Program forComprehensive Arts Education, published by theOhio Department of Education.

Through the years, the Theater Vision program hasgrown in size and scope. The first season featured12 performances of 4 shows; season 18 featured 46 performances of 15 shows.

As Theater Vision has grown, the Franciscan Centerhas added complementary theater arts educationprograms. Theater Vision Days, which combine performances with interactive workshops, allow students to explore behind the scenes with mem-bers of performing companies or work with localartist/educators to deepen their knowledge ofsubjects related to particular performances.Complementary educational materials includeteaching manuals provided by performing compa-nies and original “Prompt Pages” that are writtenfor student audiences and distributed to them inadvance of each performance.

The Franciscan Center has built partnerships with local schools and school systems. Particularlystrong is its long-standing partnership with Sylvania Schools, enabled by the John F. KennedyCenter’s Partners in Education program, to providearts education opportunities. For example, KennedyCenter artist/presenters have trained local artists togive workshops and fulfill residencies. In the 11-year history of the Franciscan Center/SylvaniaSchools partnership, more than 100 arts educationworkshops at the Franciscan Center have involvedhundreds of teachers.

The Franciscan Center continues to enhance itsinnovative arts education programming, particular-ly in the area of creating partnerships:

• During the 2002-2003 season, a partnership withthe Lourdes College Life Lab Program for Naturaland Environmental Sciences offered Theater Visionpresentations and Simply Science Theater VisionP

RO

FILE


Days based on performances of The Very HungryCaterpillar and The Very Quiet Cricket and SarahPlain and Tall. In addition, students were able to dohands-on explorations of some of the flora andfauna portrayed in these presentations.

• A partnership with WGTE-TV (the local publicbroadcasting station) presented literature- and history-based professional development workshopsfor teachers.

• The Franciscan Center plans to partner with other local organizations as well, in order to present a wide range of professional developmentopportunities for educators.

All in all, the Franciscan Center’s education department has so far brought 18 seasons oftheater performances and a growing number of related arts education activities to more than360,000 students, educators, and parents in 11 Ohio and Michigan counties. The core strengths of the Center’s educational programs are:

• The trust that exists between the Center and itsaudiences, resulting in continued strong support of the program

• The Center’s dedication to building new partner-ships with other community organizations

• Positive relationships with artists, both local and national

Playhouse Square FoundationCleveland, OH www.playhousesquare.com





Programs offered:



After-school or weekend programs for K-12 students











The Playhouse Square Foundation education department was created fouryears ago to address the growing needto enhance the performing arts experi-ence for local teachers, students, com-munity members, families, and artists.Today, Playhouse Square offers two children’s theater series and education-al-support materials for elementaryschool children; extensive high schoolprograms including a teen volunteerprogram and weekends of workshopsand performances; and professionaldevelopment to help teachers integratethe arts into their classrooms. Family

audiences are offered pre- and post-show activitiesand educational newsletters to enhance their experi-ence of the Broadway shows, Local arts organiza-

PR

OFI

LE


tions are supported by creating partnerships thatinfuse the arts with educational programs in theregion’s schools.

Grades K-8

• Two series for young audiences: The HuntingtonChildren’s Theatre Series for ages 3 to 8 and theDiscovery Theatre Series for ages 8 to 12. More than 50,000 school children attend one or more of these performances each year, and an additional20,000 children attend weekend matinees with their families.

• Newsletters for children’s shows that complementthe theater experience for students; and studyguides that assist educators in developing curricu-lum connections with performances.

Grades 9-12

• The eXtreme Theatre Festival, an annual event dur-ing which 100 high school students participate inworkshops on topics ranging from auditioning todance techniques. Students also see and critiqueperformances during the weekend-long festival.

• Opportunities for high school students to serve as ushers for children’s theater and Broadway per-formances as part of the Students Take a Role at the Square (STARS) volunteer team.

• Career Day is an annual event that brings 250 students to the Center to spend the morning meet-ing with a panel of touring and local artists and arts administrators and engaging in hands-onworkshops.

• Master Classes, presented by touring artists fromthe national Broadway series, are open to highschool and college students interested in the per-forming arts. These classes are free of charge andattract approximately 100-150 students each season.

• Special projects, including a workshop this past season that brought local students into contact with

professional theater critics andadministrators to discuss musicaltheater on stage and on screen.

Professional Development

Central to the education depart-ment’s efforts is the creation ofhigh quality professional develop-ment workshops that equipCleveland-area educators with thetools they need to implement artseducation in their curriculums.Programs include:

• Graduate-level courses, in partnership with Cleveland StateUniversity, taught by national

teaching artists. The past year’s courses included“Literacy through Storytelling and Movement”and “Teaching to Multiple Intelligences through the Arts.”

• An annual field-trip expo called Fair on the Square,during which more than 900 teachers meet withlocal organizations to book cultural and other field-trip opportunities for the coming school year.

• Teacher Tuesday workshops, which enable teachersto come to the Center monthly to work with pro-fessional teaching artists and learn hands-on meth-ods of integrating the arts into classroom lessons.

• An arts-in-education advocacy Web site (www.playhousesquare. com/culturalconnections) thatoffers resources to Ohio teachers and gives theminsight into legislative developments affecting arts education.

Giselle Master Class - American Ballet Theater

PLA

YHO

USE

SQ

UA

RE

STA

FF


Adult Education/Families

A variety of pre- and post-show opportunities are available for adult and family audiences ofBroadway performances. These events, which comprise the Broadway Buzz program, include:

• Pre-Show Talks, during which a local performingarts professional speaks with audiences about the history of a particular Broadway show beforecurtain

• Post-Show Chats with the cast, enabling artists from touring Broadway shows to speak with audi-ence members and answer questions after a specificperformance

• A Broadway Buzz newsletter, distributed to 23,000-plus Broadway subscribers, that gives insights intoeach upcoming show by providing information onactors, the history of the show, and related themes

• Broadway Bound, a series of lobby exhibits andeducational events presented before the matineeperformances of specific Broadway shows

• CenterFest, an annual open house arts festival thatattracts nearly 9,000 families, community members,and others to the Center for a free day of activities,performances, exhibits, and more.

The Center also sponsors community-focusedevents such as Teatro Popular, a two-year projectthat united local Latinos with Playhouse Square toencourage their creative expression. In 2004 a newArts Education Center will link the educationdepartment with Cleveland’s two public broadcast-ing organizations and provide much needed spacefor the constantly growing educational programs.This partnership also gives the Center the opportu-nity to serve as a content provider for community-based distance-learning initiatives.

Annenberg Center for the Performing ArtsPhiladelphia, PA www.pennpresents.org





Programs offered:







The strength of the Annenberg Center’seducation programs is the ability to provide young people in the WestPhiladelphia region, many from disad-vantaged schools and neighborhoods,access to some of the most innovativeand provocative artists. As an arts presenter affiliated with the Universityof Pennsylvania, the Center has access toPenn’s extensive resources, and helpsmake connections and create relation-ships within the community. Theseassets help to harness the talent andtime of the artists presented, thereby

creating innovative and meaningful education andoutreach programs that really affect the community.The Center’s education programs include:

• Philadelphia International Children’s Festival. Since1985, the Children’s Festival has brought togetheryoung people and families of all ethnicities andsocioeconomic backgrounds to experience themagic of children’s entertainment. Through high-quality presentations by imaginative young people’sartists, the Festival provides the opportunity to

PR

OFI

LE


explore many different art forms from all over theworld. During the past three years, the Festival hasfeatured acrobats from China; music and dancefrom Uganda, Canada, the United States, and SouthAfrica; clown theater from the United States andCanada; storytelling from Japan; dramatic theaterfrom Belgium and Canada; puppet theater fromJapan, Vietnam, the Netherlands, and Canada; masktheater from Canada; and object theater (whichuses ordinary objects in place of crafted puppets)from Italy and France.

Each year the Festival draws approximately 20,000young people and families, with deeply discountedtickets provided to schools and organizations in dis-advantaged communities. In addition, partnershipsbegan last year with the Philadelphia Cultural Fundto provide free tickets to 500 children involved inthe City’s Department of Recreation programs. TheCenter worked last year with WHYY’s CaringCommunity Coalition, Penn’s Center for Bioethics,and Peter’s Place (a center for grieving children andfamilies) to present a symposium to teachers andparents on working with children coping with loss;the symposium was driven by two plays thataddressed death and grieving. Brian Joyce, thedirector of the Festival, is internationally recognizedfor his work as a presenter for young people.

• Artists in schools. The Center has been working withthe University’s Center for CommunityPartnerships (CCP) for the past three years to buildrelationships with the community’s schools, largelyin the disadvantaged neighborhoods of WestPhiladelphia. Outreach activities have ranged fromartists conducting one-day workshops and masterclasses in schools to multi-week artist residencies.David Parker was sent to Drew Elementary Schoolto conduct a workshop on tolerance and the LulaWashington Dance Theatre to the Lea School tohelp students create an original piece that was thenperformed by students before the Dance Theatre’sown performance at the Center.

Also with CCP, artists were sent into schools to con-duct master classes; for example, Pinchas Zukerman(classical violin) went to West Philadelphia HighSchool, and the Mingus Big Band, Herbie Hancock,Jane Monheit, and Wynton Marsalis visitedUniversity City High School. Of the Marsalis event,the principal of UCHS wrote: “Our students are stilltalking about the experience. I continue to feelthankful that the University City High School/University of Pennsylvania partnership gets betterevery year.”

During 2001-2002, a 10-week residency was imple-mented featuring South African drummer and educator Mogauwane Mahloele with two fourth-grade classes of Drew Elementary School. The resi-dency culminated in the students creating, produc-ing, and performing an adaptation of a Zulu tale forHome-School Night in April 2002. They plan torepeat this multi-week residency model in 2004with two semester-long residencies tied to a newgospel-music series.

• The Student Discovery Series provides school groupswith discounted tickets to matinee performances ofregular presentations (such as Dance Celebration,World Music, and Jazz), as well as to theater andmusic programs created specifically for young peo-ple. In 2002, attendance in the series increasednearly 40 percent, thanks in large part to a newpartnership with the Philadelphia Inquirer’sNewspaper in Education program, which produced40,000 tabloid educational inserts for the 16-per-formance season. More than 21,000 school chil-dren, many from low-income backgrounds, havebenefited from this series over the past two years.


The Kimmel Center for the Performing ArtsPhiladelphia, PA www.kimmelcenter.org





Programs offered:










Evaluation methods

Education plays a vital role at theKimmel Center,as evidenced by the creation ofthe 4,000 square-foot Merck ArtsEducation Center(MAEC) that hasthree areas provid-ing opportunitiesfor young and old toexperience the arts:

• The MultipurposePerformance/Learning Space,where music, dance, and theater arts are presented

• The Interactive/Exhibit Area, which containskiosks, costumes for children to wear, a conductingpodium, a two-sided mirror, educational journals,nine-foot panels describing the nine resident com-panies, and models of Verizon Hall and PerelmanTheater

• A Technology Lab for teaching music theory,history, and arranging/composition.

Since the dedication of the MAEC in September2002, free curriculum-based arts classes have beentaught on weekdays to fifth to eighth-grade students; they experience the arts with the aid ofprofessional teaching artists, tour the Center, andexplore the Interactive/Exhibit Area as a culminat-ing activity. Prior to working with the classes, theteaching artists meet with members of the Center’seducation staff to discuss and plan the instructionalprogram from philosophical, artistic, and pedagogi-cal perspectives. Additionally, the instruction programs are organized to meet the National ArtsStandards adopted in 1996.

PR

OFI

LE

Under the direction of Marc D. Johnson, the Kimmel Center Youth Jazz Ensemble performs at the Martin Luther King Jr. Celebration at Commonwealth Plaza, inside the Kimmel Center.

KEL

LY A

ND

MA

SSA


Because the MAEC is able to arrange master classesand workshops with artists who perform in the“Kimmel Center Presents” concert series, there is anarray of musical and cultural diversity: classical,world music, jazz, and pop. Artists give performanc-es to students and adults, who often attend throughthe aid of a subsidized-ticket program.

Innovations during the 2002-2003 school yearincluded the following:

• In November, the Kimmel Center created the firstregional jazz ensemble composed exclusively ofmiddle school students. Selected from public,private, and parochial schools, 33 young musiciansattended six Saturday-morning rehearsals anddebuted at the first anniversary of the KimmelCenter on December 15, 2002. The ensemble performed also at the Martin Luther King Jr.Tribute before an audience of invited middle school students, Kimmel Center staff members, and thegeneral public.

• In February, the MAEC launched a DistanceLearning Pilot Program with three schools selectedfrom the School District of Philadelphia. By lending them start-up equipment and offeringexpertise, the education department not only provided technical assistance, but also helped toexpand its cultural relationship with middle andhigh school students, teachers, and administrators.

• The education department plans to widen its community outreach by instituting a summer artscamp. Each week a different art form will be offeredto students (ages 14-17) who wish to pursue a weekof vigorous study in vocal/choral music, dance,chamber music, or jazz.

Arts Center of Coastal CarolinaHilton Head Island, SC www.artscenter-hhi.org





Programs offered:











Evaluation methods

Education programs of the Arts Center of Coastal Carolina include the following:

• Educational Field Trips provide performances and offer activities tomore than 4,000 students each year in a variety of visual and performing artsdisciplines and genres.

• The live Matinee Performances andGallery Walks for young audiences offer exciting educational opportunitiesthat enhance the goals of communityeducators and provide real-life reflectiveand interactive arts experiences for the students.

• ArtsReach is an arts-exposure and -enrichment program offered free to participating schools in the Hilton Head, Bluffton, Daufuskie Island, andHardeeville areas, along with Boys & Girls Clubs of the Carolina Lowcountry region. By bringing

PR

OFI

LE


professional artists into the schools to work directlyin the classrooms and on stage presentations for all grade levels, the program serves up to 10,000students and teachers. It has four components:

–ArtsReach/InClass offers the services ofcontracted artists (who are prominently includedon the South Carolina Arts Commission’sApproved Artist Roster) in a residency format.The Arts Center’s Education Department workswith a designated coordinator at each site todetermine the selection of artists based on theschool’s curricular needs.

–ArtsReach/OnTour features a select menu ofpresenting artists in educational, cultural, andentertaining performances for grade level orschool-wide audiences. The purpose of theseassembly presentations is to expose students tolive performances that embrace educationally relevant themes, thereby providing pathways toknowledge through the performing arts.

–ArtsReach/AfterSchool offers students wellorganized and productive experiences beyond thescope of the normal school day. Activities includeperformance opportunities at the Arts Center aswell as at schools and institutional sites.

–ArtsReach/InService is based on the principlethat the professional development of teachers andcommunity educators is a necessary componentof any effort to increase the artistic literacy ofyoung people. Workshops for educators zreoffered in a variety of discipline areas.

• The Community Education Series includes work-shops, lectures, and demonstrations that offer inte-grated learning experiences with theater programsas well as visual arts exhibitions. They are plannedfor participants of all ages and scheduled to runconcurrently with events during the season in aneffort to maximize the relevance and impact of thelearning experiences. Each year, more than 300individuals are enrolled in one or more of the 40workshops and lectures of this series.

• Professional Development for Educators.

–The Arts Center and the Beaufort County SchoolDistrict offer graduate level re-certification cours-es that utilize the programming and facilities ofthe Center as seminar topics.

–In 1999, the Arts Center became a CrayolaDream-Makers program site. Since then, morethan 100 educators have attended Crayola Dream-Makers workshops at the Center, subsequentlyintegrating the program’s projects into classroomcurricula.

To ensure opportunities for the whole community,the Education Department also offers performanceopportunities and a diverse range of arts and craftsactivities at free outdoor festivals, including theHoliday Tree-Lighting Festival, GullahFest, YouthArtsFest, and Family Fiesta Latina.

Kevin Locke with Field Trip program students

AR

TS C

ENTE

R O

F C

OA

STA

L C

AR

OLI

NA


The Peace Center for the Performing ArtsGreenville, SC www.peacecenter.org





Programs offered:













Evaluation methods

The Peace Outreach Program (POP!),created by the Peace Center for thePerforming Arts in 1991, touches thelives of more than 70,000 students,teachers, and community members each year in a nine-county area ofupstate South Carolina, western NorthCarolina, and northeastern Georgia.Major programs include:

• School Matinee Performances. POP!presents a season of performances thatare curriculum-based and age-appropri-ate, bringing to life the everyday subjectsof the classroom. For many students,

these presentations are their only opportunity tosee a live professional performance. Study guidesare sent to every teacher attending; together withpre- and post-performance activities, they help toenhance the students’ experience in the theater.

The materials provide background informationabout the company and artists, as well as suggestedlessons that make relevant connections to SouthCarolina curriculum standards.

• Artist-in-Residence Grant Program. During the academic year, POP! offers eight fully-funded resi-dencies to schools seeking to incorporate the artsinto their classrooms. Residencies can help integratethe arts into another area of the curriculum or offeropportunities for students to learn about a specificart form. Either way, students, teachers, schooladministrators, and community members get to see first-hand the impact that a professional artsexperience can have on the life of a child.

Because an artist residency can profoundly affectthe teacher as well the students, an important com-ponent of the program is professional developmentfor teachers. By requiring participating educators toattend a workshop with the teaching artist, it ismore likely they will continue to use the artist’sideas and methods after he or she has left the class-room. Also, all teachers who receive artist-residencygrants are expected to participate fully in the plan-ning and implementation process, which helpsmaximize the learning for everyone involved.

An exciting development in this area is the profes-sional development residency created in partner-ship with drama specialist Sean Layne. This artistspends a week as the model and coach for a team of teachers.

• Training Teaching Artists. The Kennedy Center’s“Artists as Educators” seminar was offered in 1998and 2000. Participants learned how to develop high quality relationships with teachers and makethe most meaningful use of their instructional timein the classroom, particularly in the area of artsintegration.

• Teacher Workshops are held throughout the year toprovide teachers with practical methods and strate-gies for incorporating the arts into their classrooms.The majority of the workshops are offered throughthe John F. Kennedy Center’s Partners in Educationprogram. Feedback from participants indicates thatthe quality is perceived as outstanding. Approx-imately 350 teachers take part each year and receiveprofessional credit from their schools/school

PR

OFI

LE


districts. In the past three seasons, almost every session offered has been filled to capacity. ThePeace Center is frequently asked for assistance fromother educational partnerships on how to effective-ly market workshops to teachers.

• Summer Teacher Institute. Each year POP! sponsorstwo Summer Teacher Institutes for educators whowish to integrate the arts into their classrooms. Incollaboration with Clemson University, the Instituteincludes two graduate re-certification courses:“Integrating the Arts Across the Curriculum”and “Teaching Through the Arts.” Fifty teachersparticipate in a series of workshops, learning aboutpractical implementation of drama, dance, music,art, and creative writing in their classrooms, as well as integrated-curriculum design and artsassessment models.

• POP! Talks. There has been an increase in demandrecently among teachers for POP! staff members tomodel effective arts-integration in their classrooms.For example, a teacher who attended a creative-movement workshop might feel more confidentwith an education representative present on thefirst day he or she tries out the new techniques.This is an excellent opportunity for mentoringteachers who need more coaching in using the artsas a teaching tool. A major goal is to expand andformalize this type of “classroom consulting.”

• The Teacher Connection. In order to facilitate com-munication with area teachers, representatives frommore than 200 Upstate schools act as liaisons to thePeace Center, sharing information about what POP!has to offer to students and educators alike. Thegrowing number of teachers who participate in this program has helped to increase attendance atvirtually all POP! events.

Washington Pavilion of Arts and ScienceSioux Falls, SD www.washingtonpavilion.org

• School districts served per year: 1-5




Programs offered:










Training for school leaders, principals, superintendents, others)




Evaluation methods

The Washington Pavilion of Arts andScience is a single nonprofit institutioncontaining the Husby Performing ArtsCenter, Kirby Science Discovery Center,and Visual Arts Center. Its mission is toeducate, entertain, inspire, and enrichthe community by making arts and science important parts of its life.

The Pavilion provides learning opportu-nities for children and youth throughnumerous and diverse programs. Inaddition, K-12 classroom teachers aresupported through the unique Teachers’Circle program. The visual arts and

sciences are integrated into many of the performingarts educational activities.

PR

OFI

LE


Examples of student programs include:

• A lecture/demonstration was held at L.B. WilliamsElementary School, where students learned aboutdance and showcased their own dancing abilities.

• “The Art & Science behind Dance” was held atHarvey Dunn Elementary School in conjunctionwith a performance by Diavolo. Collaborating witha local dance instructor, a university physics profes-sor, and performing arts, visual arts, and sciencecenter staff, the event was created to demonstratethe scientific principles of movement through light,sound, and color. The age of the students, as well asthe South Dakota Education Content Standards,were considered in choosing content.

• The Paul Taylor 2 Dance Company gave a perform-ance/demonstration at Eugene Field ElementarySchool, the local A+ school. The student bodygained a greater understanding of the health andtraining requirements for being a professionaldancer.

• Ballet Hispanico participated in the LongfellowElementary School’s diversity week and then followed up with a discussion on diversity issues.

• Opera a la Carte company members came toWashington High School to discuss their perform-ance of The Mikado, which students had attendedthe previous day.

• In 2002, the Washington Pavillion was awarded a grant from the South Dakota Department ofEducation to provide distance education programsthrough the state’s Dakota Digital Network. WhenSouth Dakota teachers were surveyed, their firstchoice for a distance education site was theWashington Pavilion. The first season of this program included three courses—“Explosions,Implosions, and Kabangs” for 7th and 8th gradestudents; “Rocket!” for 4th and 5th grade students;and Dakota Time Traveler for 4th grade students—offered free to South Dakota schools.

• In February 2003, a youth symposium took place in conjunction with local performances of theBroadway musical Rent. The Washington Pavilion

John F. Kennedy Elementary School students perform their Chinese lion dance as part of their Nightingale study unit, January 2003.

HEA

THER

GO

RN

ICK

JO

RG

ENSE

N


worked with numerous local agencies, such as aperforming arts academy, an at-risk youth center,the City of Sioux Falls, and local hospitals. Thisallows area youth to take advantage of discountedtickets to the musical; attend an open-ended socialplay that addresses a major issue they face(HIV/AIDS); participate in a post performance discussion; gather information from booths of areasocial agencies; view a literary broadside gallery;watch a performance by a local hip-hop band;and enjoy pizza and pop.

The core strength of the education program lies inworking closely with teachers. This program isinnovative because it tailors programs to fit the specific community’s needs through extensiveteacher involvement in the planning and implemen-tation process. For example, the Teachers’ Circle isa group of dedicated multidisciplinary teachers whostrive to utilize community resources to enhancetheir students’ educational experience. Participantsengage in the following ways:

• Attend Washington Pavilion professional develop-ment workshops (in conjunction with the KennedyCenter’s Partnership in Education program)

• Learn how to integrate arts activities into standardclassroom curriculums

• Select a show in the Performance Series aroundwhich they create a lesson plan or unit. These lessons and units, which meet state content standards, are published and archived so that other teachers and their students can also benefitfrom them.

• Bring their students to the Pavilion as audiencemembers for a live performance

• Become advisors to the Pavilion, providing feed-back about programming choices and assisting inthe preparation of new teachers and their studentsfor the arts experience.

In the past year, the Pavilion began a program to train teaching artists. Phil Baker, a local musicalperformer, first attended a teaching artists’ work-shop at the Kennedy Center and then offered hisown workshop, Language Rhythm, for colleagues.Washington Pavillion also began to support in-school artist residencies.

Tennessee Performing Arts CenterNashville, TN www.tpac.org





Programs offered:
















Evaluation methods

The Tennessee Performing Arts Center(TPAC) is proud to be home to one ofthis country’s largest and most compre-hensive arts-in-education programs connected to a performing arts center.Students attend outstanding perform-ances of theater, dance, music, andopera. Artists inspire learning in classroom residencies, from preschool to high school. Adults as well as childrenhave wide-ranging enrichment opportu-nities. Over the years, more than 1.25million students and educators haveparticipated in TPAC’s programs.P

RO

FILE


• The Wolf Trap Early Learning Through the Arts program provides artist residencies that help pre-school children learn life and academic skillsthrough the performing arts. During these seven-week residencies, professionally trained teachingartists engage 3- to 5-year-olds in hands-on music,dance, and drama activities that address generalskills such as creativity, sequencing, listening, coop-eration, self-expression, and confidence; as well ascurriculum-related topics such as emerging literacy,safety, nutrition, and multicultural awareness. WolfTrap also provides teachers and parents with train-ing in the techniques of arts-based instruction sothat they may continue to use and develop per-forming-arts activities for the children after theartist has left the classroom.

• Humanities Outreach in Tennessee (HOT) presentsthe Season for Young People each school year.Comprehensive guidebooks, teacher workshops,in-school visits, and post-performance seminarsensure that students who attend the season’sperformances return from TPAC with a memorablelearning experience. Performances are presented at little or no cost, with subsidies for students andschool systems in financial need.

• ArtSmart creates extended classroom study of aHOT performance by bringing a professional teach-ing artist (TA) into partnership with teachers. Theywork together to prepare hands-on lessons that notonly prepare children for experiencing works of art,but also offer opportunities for developing higher-order thinking skills, nurturing creativity, and practicing collaboration and teamwork.

This 23-year-old teaching approach originated with the Lincoln Center Institute in New York andis now practiced by 16 sister organizations world-wide. ArtSmart has been serving Nashville teachersand children for 20 years. It was the first such program to be created outside Lincoln Center.

Classroom teachers undertake rigorous training ineducation-through-the-arts. They must participatein summer or winter seminars led by the best TAsand most experienced ArtSmart teachers, attendadditional “refresher” workshops during the schoolyear, contribute to collaborative planning sessionswith their partner TAs, and commit themselves to integrating their chosen work of art into the general curriculum.

For TPAC Education's Wolf Trap Early Learning Through the Arts program, teaching artists Barry McAlisterand Marcus Hummon use puppets and music to help Head Start children learn about cooperation.

RO

B S

TAC

K


• Summer/Fall/Winter Institutes bring educatorstogether in a relaxed camp-like setting for daily sessions over the course of a week to explore theupcoming HOT season and take part in ArtSmartseminars. During the school year, another two-dayinstitute offers a choice of seminars on twoArtSmart “Focus Works” and opens previews to educators participating in HOT.

Teaching Artists who participate in these annualtraining events increase their understanding ofArtSmart teaching practices, which improves theirown teaching. In particular, through this compre-hensive training TAs will:

–Better distinguish ArtSmart teaching approachesfrom technical arts instruction. Rather thandirecting students to a particular outcome, TAscan present challenges that allow students to takerisks, make authentic choices, and resolve chal-lenges independently.

–Be more adept and at ease in working with audiences of learners

–Refine reflection skills

–Better understand school culture, student potential, and teacher realities

–Come away with increased joy from, love for,and commitment to aesthetic education

–Practice self assessment using a variety of toolsand approaches.

• InsideOut is for adult learners (18 and older) who want to grow in their knowledge and enjoy-ment of the performing arts. InsideOut events, ledby Nashville-based teaching artists, local experts,and special guests, come in many shapes and sizesand occur in many different places. The eventsenable adult learners to make deeper explorationsof the performing arts through innovative hands-on activities that relate to artistic processes and aesthetic decisionmaking.

MSC OPAS at Texas A&M UniversityCollege Station, TX www.mscopas.org





Programs offered:









Evaluation methods

MSC OPAS, a 150-student committee of the Texas A&M University studentunion complemented by a Board ofDirectors that includes 30 communityleaders, is the region’s professional performing-arts presenter. (Originallycalled the Memorial Student CenterOpera and Performing Arts Society,it is now known mostly by its acronym.)

OPAS’s education program began as an outgrowth of its Board Audience-Development Committee’s activities for extending the influence of the artson people’s lives. The major strength

of the education program has since become thebreadth of projects organized for the regional community and the sense of commitment andownership among local school teachers and administrators.

PR

OFI

LE


Currently, the education efforts’ core elements arefocused on:

–Professional development workshops for teachersthrough MSC OPAS partnerships with localschool systems and the Kennedy Center

–Study materials for classroom teachers to helpprepare their students for field trips to the MSCOPAS venue for special school-day performances

–Camp OPAS, a full-day arts-immersion projectfor 4th graders

–The Performance Partners program, which pairsat-risk children with college mentors to attendperformances and gain from pre-performancestudy guides.

The school partnerships began as MSC OPAS builtrelationships with the schools by giving specialschool performances of works relating to their curriculums. Having discovered the KennedyCenter’s Partners in Education program, MSC OPASrealized that this was the perfect vehicle for growth inbuilding arts education locally. Buy-in occurred fromthe independent school district (ISD) boards andsuperintendents, and MSC OPAS recently completedits second year as a partner. Seven professionaldevelopment workshops have been presented ondance, song, playwriting, story writing, and music—and have reached approximately 175 teachers.

This past year the partnership began follow-upevaluations with the teachers some six weeks after

each workshop. To discover how much teacherswere using the new methods and information theylearned in the workshops, an easy-to-completeWeb-based survey was e-mailed to them. The com-ments back were positive with teachers indicatingthey were utlizing many of the workshop tools.

Camp OPAS is another off-campus opportunity forelementary schools to participate in the arts. Thefirst Camp OPAS was held last year for 4th gradersin the two local ISDs. The day focused on the musicof Anton Dvorak and the Marian Anderson StringQuartet, which is in residency. The students weredivided into four groups to move through four stations, which were:

–Storytelling about the life of Dvorak

–Choreographing and performing Dvorak’s music

–An instrument petting zoo staffed by college-agemusicians

–A Q&A session with the Marian Anderson String Quartet

In the last half hour of the day, the entire groupcame together for a concert by the Quartet on theDvorak piece that the students had been studying.

The hope is to enhance this project in the comingyears so that it will incorporate all genres ofperforming arts, ultimately to be a multi-day activity somewhat like science “discovery” camps.

Realizing that at-risk students often do not receivefamily support for attending performing-arts pro-grams, OPAS devised Performance Partners to joinat-risk students, mentors, ticket sponsors, and studymaterials in an effort to ensure that all childrenhave opportunities to experience the passion of thearts. Volunteers, who are experienced in curriculumdevelopment, write study guides for mentors to usewith their student partners, and each guide is tailored to the specific program that will be per-formed. By using the guide, mentors are able toshare information with the children in a way appropriate to their ages and to the type ofperforming arts program they will see together.Thus the college-age mentors don’t have to beexperts in the particular art form being performed,and in fact they learn along with the children.

Camp OPAS—the instrument petting zoo

MA

RTA

KO

BIE

LA

Performing Arts Fort Worth, Inc.Fort Worth, TX www.basshall.com

• School districts served per year: 18 public and 27 Catholic/private




Programs offered:














Evaluation methods

The Children’s Education Program isessential for filling the void left by thescarcity of art and music teachers in thepublic school systems. It provides high-quality arts education and engendersenthusiasm, motivation for learning,and creative potential. Performing Artscommitment is based on two beliefs—that the arts are critical to education,and that it is sowing the seeds to culti-vate the artists and audiences of tomor-row. Long before the Nancy Lee andPerry R. Bass Performance Hall openedin 1998, Performing Arts Fort Worth


had begun planning the Children’s EducationProgram which introduces students of all ages inthe Fort Worth area to the best in music, theater,and dance.

Since the program’s inception, more than 200 programs have been presented at Bass Hall, all curriculum-related, to more than 325,000 students(grades 1-12) in Fort Worth and neighboring communities, and at no charge to the students ortheir schools. Programs range from performances by such groups as the Cashore Marionettes to concerts by the Fort Worth Symphony Orchestra,recitals by pianists from the Van CliburnFoundation, and dance by such world-famoustroupes as the Alvin Ailey American Dance Theaterand Pilobolus. Each performance includes a studyguide, written by the education director that sug-gests ways to incorporate the program into the cur-riculum; these guides are distributed to teachersprior to each scheduled performance.

In addition to these specific curriculum-relatedactivities, the master classes give high school students with serious interest and talent in the arts,an opportunity to work with artists of internationalrenown. These classes also give teachers the oppor-tunity to observe “master artist-teachers”—whohave included Canadian Brass, jazz soloist BobbyMcFerrin, Midori, Cliburn pianist Aviram Reichert,clarinetist Richard Stoltzman, the King’s Singers, andAriel Winds, among others—at work with students.

Through these classes, the next recipient of theBayard H. Friedman Award for the OutstandingStudent in the Performing Arts is identified. Fourvery talented young students have received thisaward, which is presented annually and accompa-nied by a $1,000 scholarship. The Bayard H.Friedman Chair for Teaching Excellence in thePerforming Arts, with a $5,000 honorarium, isawarded annually to a Fort Worth ISD teacher.

An important element of the Children’s EducationProgram is the Summer Teachers’ Institute, whichPerforming Arts Fort Worth began offering twoyears ago to provide support and professionalP

RO

FILE


Society for the Performing ArtsHouston, TX www.spahouston.org

• School Districts served per year: 54

• Elementary Schools served per year: 701

• High Schools served per year: 377


Programs offered:

















Evaluation methods

The core education programs at theSociety for the Performing Arts form acontinuum of arts education services,including Student Matinees, $2.00Student Series Tickets, Student Preludes,a Student Visual Art Contest, and aMaster Class Series.

• Student Matinees. This program givesschools and community groups anopportunity to offer a culturally enrich-ing theater experience to their studentsand youth at a substantial discount. Inthe past season, SPA presented four TheVelveteen Rabbit matinees and threeP

RO

FILE

development for classroom and music teachers.Well-respected clinicians with many years of teach-ing experience share their expertise and knowledgeof materials with local teachers attending the workshops.

This past year kindergarten, first, second, and thirdgrade teachers were offered stipends to encourageworkshop attendance. The reason for the focus onthese grades is that even though they are the most

critical time to introduce music to a child, musicteachers generally do not teach in those. Thereforethe workshops provide techniques and help buildconfidence for teachers untrained in music,enabling them to introduce performing arts programs in the classrooms with some depth and authority before the students come to a performance at Bass Hall.

Jason Issokson, 2002 recipient of the Bayard H.Friedman Outstanding Student in the PerformingArts, works with Midori in a Master Class.

CA

RL

DA

VIS

, P

ERFO

RM

ING

AR

TS F

OR

T W

OR

TH


Streb Go! Action Heroes performances; the OberlinDance Company brought The Velveteen Rabbit alivethrough Benjamin Britten’s music and KT Nelson’schoreography; ten HISD students who were select-ed to perform with ODC/San Francisco in TheVelveteen Rabbit also participated in SPA’s yearlongStudent Mentor program; and the Streb dancersused fast “popaction” modern-dance events to redefine the boundaries of physical motion.Teacher Packets provided pre- and post-perform-ance lessons, which were related to the TexasEssential Knowledge and Skills (TEKS) objectives.For the first time, SPA offered a TransportationFunding Assistance program that subsidizedschools expenses in transporting students to performances. Additionally, a “Virtual StudentMatinee” program was created to allow for two-wayinteractive learning without participants being constrained by the theater’s physical capacity.

• $2.00 Student Series Tickets make it possible forlocal area students to attend any of six performanc-es at a significantly reduced price. Teacher packets,which are TEKS objectives-compliant, are provided.Also, an Art Talk (pre- or post-performance lecture) is offered for each performance. Studentsattending these musical or dance presentationslearn appropriate theater etiquette, career optionsin the arts, how to creatively express thoughts andfeelings through music and dance, and how to evaluate performances.

• The Student Prelude Program offers an opportunityfor students to examine the artistic style and philosophy of a particular performing arts compa-ny. First the students view a videotape or listen toan audiotape of the company’s work and studyadditional resources provided in the teacher packet.As a follow-up, they develop their own interpreta-tions and then share them with a live audience asthey perform in a professional theater environmentprior to a public performance by the company theyhave studied. After the show, they are invited toexplore the behind-the-scenes environment andmeet the professional performing artists.

• SPA sponsors a Visual Art Contest for all K-12 students in the greater Houston area. All submittedwork is judged on interpretation of the theme andskill. Teacher packets with objectives correlated tothe TEKS are provided. Participants will create art-

works using a variety of colors, forms and lines,arrange forms intuitively to create art, and developmanipulative skills needed to photograph, draw,paint and construct artworks using a multitude ofmaterials. Grade 12 contest winners are awardedcollege scholarships ranging from $500 to $1,000;and winners in grades K-11 receive savings bondsranging from $50 to $500. Additionally, SPA workscollaboratively with the Texas Children’s Hospital to provide a venue for display of selected art-contest entries.

• SPA offers Master Classes in music, dance, and theater. Experts from the companies invited to perform for SPA visit schools and serve as guestteachers. They help students develop new and innovative ways of using all of their senses to gleaninformation about their environment and expresstheir ideas through dance, music, or theater. Classesare free, and those scheduled to be conducted incollaboration with community organizations areopen to the public. In addition, the implementationof virtual master classes enables SPA to reach largenumbers of students beyond the physical capacityof master-class venues.

• SPA provides artist workshops for the JewishCommunity Center, Children’s Museum, public and private schools and universities, and culture-specific community centers. SPA recently held aone-week residency with the Liz Lerman DanceCompany as part of the Hallelujah Commissionedevening of dance, which included more than 100community participants on stage for the public per-formance of Hallelujah: In Praise of Family Legends.

Society for the Performing Arts Annual Art contest

SOC

IETY

FO

R T

HE

PER

FOR

MIN

G A

RTS


Virginia Arts FestivalNorfolk, VA www.virginiaartsfest.com

• School Districts served per year: 11+/-

• Elementary Schools served per year: 35+/-

• High Schools served per year: 15+/-


Programs offered:











Evaluation methods

Arts study has long been one of society’sgreatest allies in harnessing the energyof youth in a positive way. Numerousrecent reports have concluded that thearts provide a unique stimulation to themind, and offer opportunities for indi-vidual and group achievement. Publicschools have continued to decrease artseducation budgets, making it too expen-sive for students in low income schoolsto do such things as buy or rent instru-ments, purchase music, obtain privatelessons, or attend concerts. In manyinstances the arts are becoming unavail-able to many students. This challenging

situation has helped to inspire the Virginia ArtsFestival’s education and outreach program, whichhas two components:

• WorldClass® programs encourage artists participat-ing in the Festival to create student matinees,in-school workshops, master classes, and continu-ing education opportunities for educators.

• Rhythm Project is a year-round, after school,performance-based program that targets low-income middle and high school students by teaching African drumming and Caribbean steel-pan playing.

Established in 1997, the Virginia Arts Festival presents world-class performances in a variety of genres over a four-week period each spring.Nearly two-thirds of the artists involved in theFestival participate in WorldClass programs.Over the years, area students have worked withMidori, Dance Theatre of Harlem, Joe Burgstallerfrom the Canadian Brass, David Shifrin, André-Michel Schub, and the Royal Shakespeare Company.The Mark Morris Dance Group, in a five-year resi-dency with the Festival, has established a specialrelationship with several of the area dance schools.

With artists who are in town for an extended resi-dency, WorldClass works directly with educatorsand administrators to tailor in-school activities totheir specifications. All WorldClass student mati-nees, and many in-school residencies, are comple-mented by Student Arts Information Lessons(SAILs) education guides created for educators.These guides contain background information onartists, lesson plans, Web links, Virginia Standardsof Learning connections, and creative teaching aidsto help integrate the arts across the curriculum. AllSAILs are sent to participating schools and can bedownloaded directly from the education page onthe Web site.

WorldClass has set up partnerships with public andprivate schools and school districts to plan pro-gramming that meets specific needs, and to be anarts resource for the large and disparate communi-ty. Virginia Arts Festival strives to make the artsaccessible to all students, regardless of finances, andseeks underwriting to offset artist fees.

For educators, WorldClass partners with TidewaterCommunity College to present a Symposium onShakespeare. This is a mixture of scholarly presenta-

PR

OFI

LE


tions, hands-on workshops, and an actual ArtsFestival performance for English and theater teach-ers. The 2001 season Symposium featured the Royal Shakespeare Company’s The Tempest; the2004 Symposium will be organized around theGuthrie Theater’s Othello. In addition, arts educa-tors can register for and receive recertificationpoints through Old Dominion University forattending Arts Festival performances.

A commitment to helping restore equality ofopportunity for the region’s neediest students led tothe creation of the Rhythm Project, a program thatprovides positive alternatives through the arts topublic school students in low-income areas.Providing all of the benefits of traditional arts studyin a framework that is attractive to and respectful ofthe urban communities it serves, participants studyAfrican drumming and Caribbean steel-pan playingin an after school environment; all equipment,uniforms, and instruction are provided free.Students follow rigorous rehearsal and performanceregimens, and they are required to meet strict standards of attendance and academic achievementat their home schools in order to maintain theirstanding in the ensemble. Now in its seventh year,the Rhythm Project continues to grow. It has created a college scholarship fund from perform-ance income, recorded a CD and video, and toursand performs regularly around the state.

Wolf Trap Foundation for the Performing ArtsVienna, VA www.wolftrap.org

• School districts served per year: N/A




Programs offered:


















Performances/exhibits by school-basedteachers



Evaluation methods

As part of its mission to present innovative performing arts for theenrichment and enjoyment of diverseaudiences, the Wolf Trap Foundation for the Performing Arts proudly offers a wide variety of education programs,both locally and nationally, for people of all ages.P

RO

FILE

Rhythm Project performance, TCC Roper PerformingArts Center, Norfolk, VA, Arts Festival

JAY

SAN

CH

EZ


The Foundation’s premier education program,established in 1981, is the Wolf Trap Institute forEarly Learning Through the Arts. Its goal is to provide professional development opportunities for early childhood educators (preschool, HeadStart, and kindergarten teachers; and home care and day care providers) in the use of performingarts techniques that help young children learn basicliteracy skills and meet curricular goals. With thesupport of local sponsoring organizations andregional programs around the country, the Instituteserves more than 55,000 children, parents, andteachers in more than 1,200 classrooms annually.

At the core of the Institute’s professional develop-ment program are more than 200 Wolf TrapTeaching Artists who conduct in-class residencies,professional development workshops, one-weekteacher institutes, and other comprehensive trainingfor early childhood educators and families through-out the country. Each teaching artist has a special-ty—in creative drama, storytelling, puppetry,instrumental or vocal music, or dance and move-ment—and comes to Wolf Trap with experience in working with children. New teaching artists participate in a comprehensive training program,and all teaching artists engage in continuing in-service training.

Through a grant from the Federal TechnologyOpportunities Program, the Wolf Trap Institute for Early Learning Through the Arts recently initiat-ed the stART smART Network, a unique distance-learning community that enables early childhoodeducators to continue receiving professional devel-opment opportunities from the Institute long aftertheir initial work in the classroom with a teachingartist has been concluded.

The Wolf Trap Foundation for the Performing Artshas committed itself to America’s Promise—The Alliance for Youth, a national not-for-profitorganization (led by Gen. Colin Powell) dedicatedto mobilizing the nation so that children and youthhave access to the basic resources they need tobecome successful adults. Wolf Trap’s partnershipwith America’s Promise gives approximately 100young people from the Boys and Girls Clubs ofGreater Washington an opportunity to attend andlearn about Wolf Trap performances and participatein master classes. The summer college interns (as part of their hands-on training program in artsadministration, education, and technical theater)work with these adolescents, who may ordinarilyhave limited access to live cultural events or naturalsurroundings.

Master Classes are offered to people of all ages andskill levels throughout Wolf Trap’s performance

seasons at the Filene Center and the Barnsof Wolf Trap. Professional performingartists present master classes in dance,musical theater, opera, jazz, and folk,pop, and classical music. The classes provide participants with a behind-the-curtain view of Wolf Trap’s stages, as wellas the opportunity to work closely with aculturally diverse group of artists.

The Wolf Trap Foundation also presentschildren’s performances to more than30,000 attendees each summer at theTheatre-in-the-Woods; and it houses theWolf Trap Opera Company, where youngsingers of exceptional achievement andpotential—who are at an interim pointbetween academic training and full-timeprofessional operatic careers—canexperience the demands of a career in the performing arts.

David Parsons leads a master class for Wolf Trap's local community.

AN

DI

KLI

NG


Broadway Center for thePerforming ArtsTacoma, WA www.broadwaycenter.org





Programs offered:















Evaluation methods

The Broadway Center for thePerforming Arts has built diverse offerings around education. Its programs include the following:

• Children’s Shows. In the past severalyears these shows have included theKennedy Center’s Nightingale, Mufaro’sBeautiful Daughters, Young King Arthur,and The Magic School Bus. Shows areselected for their links to children’sliterature and the Washington EssentialAcademic Learnings. Along with dramas, the Broadway Center presentsculturally diverse dance and music

programs, including Somei Yoshino Taiko, BalletFolklorico de VeraCruz, East Indian Orissi Dance,and many others.

• Touring Performances. The Broadway Center hasdeveloped tours built upon the work of local artists.In 1999, playwrights Lucas Smiraldo and JacquelineHarmon co-wrote a show to celebrate the contribu-tions of black women in opera and classical voice.The piece, called Blackbird Singing, toured morethan 30 schools and other venues over the next 18 months and reached an audience of 15,000.This past year, the Center prepared another touringpiece, Edgar Allan Poe—The Poet’s Journey, whichwas written by local playwright Bryan Willis. Theshow debuted at the Broadway Center in Octoberof 2002 and toured in the fall of 2003.

• After School Programs Culminating in Performance:Page to Stage and Foot to Footlight. The BroadwayCenter has developed an extended after school performing arts program that prepares youth toperform for the community on the Rialto stage.Now in its third year, youth from the SpanawayLearning Center (a semi-rural district in the SouthSound) have learned traditional Senegalese dancesfrom dance artist Franchesska Berry, along withWest African drumming to complement the danceprogram. The culminating performance also touredlocal schools and the Boeing Corporation.Similarly, youth performed Asian folk tales anddances from China, Japan, and Korea after workingwith Asian-American storyteller and performerNancy Calos Nakano.

• Year-Long Teacher Training and Mentoring. In collaboration with the Cultural Council of GreaterTacoma, the Broadway Center co-hosts an intensivetraining program for teachers that helps themintroduce performing arts into daily classroomactivity. Teachers receive 30 hours of training froma skilled drama or dance mentor, and then another9 hours of mentoring support during the schoolyear. The program, now entering its sixth year,recently received a one million dollar expansiongrant from the U. S. Department of Education.

• Cultural Building Through Festivals. The BroadwayCenter features festival and community eventsaround performances that reflect diverse culturesand traditions. Over the past several years, theCenter has worked with numerous communitypartners to present Latino, Hawaiian, and Gospel

PR

OFI

LE


festivals. These events, often free to the public, havefeatured local stand-out artists, nationally touringartists concurrently performing at the Center, otherentertainment (such as an evening of salsa dance),and ethnic food appropriate to the occasion.

• Literacy and Performance Outreach Through Poetry.This past year the Broadway Center partnered withpoets from the South Sound Poetry Slam to intro-duce spoken-word and poetry skills into SouthSound classrooms. They performed in their charac-terically animated style, and sessions were oftensupplemented by day-long workshops to teach thestudents how to develop and publicly perform their own works.

• Extended Residencies of Nationally Touring Artists.The Broadway Center schedules residencies inschools with visiting artists whenever possible.This past year it hosted Ruby Nelda Perez of DonaRosita’s Day of the Dead. Ms. Perez did Latino the-ater residencies at schools throughout the SouthSound, which included her own mini-performancesand collaborative performances with youth.

• Partnering with the Tacoma School of the Arts(TSOTA). The Broadway Center is a major culturalpartner with this first arts high school in Tacoma.The Center provides performance space, staffsupport, and links visits from touring artists to school curriculum in order to enhance the performing arts education of TSOTA students.

University of Washington World Series

Seattle, WA www.uwworldseries.org




• K-12 students served per year: more than 5,300

Programs offered:








The University of Washington (UW)World Series’ comprehensive educationprogram allows it to provide many dif-ferent types of learning opportunities toK-12 students. Each season, the UWWorld Series offers three or four day-time performances at Meany Hall forthe Performing Arts to local schools andcommunity centers. These free interac-tive presentations expose underservedstudents to the highest quality perform-ing arts, while providing them theopportunity to visit one of the nation’sleading public universities. For many

of these students, it is their first encounter witheither experience.

Through a strong partnership with the LadiesMusical Club, an advocate for music educationsince 1891, the UW World Series brings renownedmusicians into local schools for workshops and lectures. These classroom experiences allow childrento interact with dedicated performers in a non-threatening and familiar setting, thus maximizingthe potential for learning. Schools selected to

PR

OFI

LE


participate in the Music in Schools program servemainly low-income students and lack a music program of any type.

The UW World Series frequently engages visitingartists for three- to five-day residencies, allowing for greater impact as students interact with theartists in classroom workshops or master classesand then watch them perform in an evening presentation. The UW World Series also works to support teachers as they integrate these programsinto standards-based curricula. Study guides areprovided to teachers, including background infor-mation on the artists and art forms, vocabularyterms, classroom activities, and more.

The core strengths of the education program are thediversity, quality, and professionalism of the visitingartists, who enable the UW World Series to offerinsights into cultures and performing-arts tradi-tions unavailable elsewhere in the region. Childrenfrom all backgrounds are able to see performers onour stage who represent their own culture, history,and possible future. Students are encouraged toopen their minds both to the beauty of art andmusic, and the incredible diversity of peoplesaround the world.

Students are introduced to internationally knownartists such as the Emerson String Quartet, as wellas artists from countries as far-ranging as Mali,Brazil, Turkey, and China. More than 200 of theseartists have made their Seattle debuts at Meany.UW World Series visiting artists also display a consistent teaching skill in the classroom; those who participate in residencies often have extensiveexperience working with children.

These programs provide valuable examples ofcreativity, teamwork, professionalism, and discipline, while giving students the opportunity to witness living cultures too often relegated to textbooks.

Washington Performing ArtsSociety (WPAS)Washington, DC www.wpas.org





Programs offered:









The Washington Performing ArtsSociety (WPAS) provides school systems in the metropolitan DC areawith high quality opportunities forteachers and students to interact withthe performing arts.

WPAS’s flagship education program,Concerts In Schools, brings local artistsinto schools to give performances,complemented by interactive lecturesand demonstrations that conform withnational learning standards. Rosterartists include jazz musicians, classicalensembles, storytellers, dance compa-

nies, and other cultural arts presenters. To furtherenrich students’ learning experiences, guides andposters are distributed prior to the performance to build background knowledge. In 2001-02,Concerts In Schools worked with 186 schools in the metropolitan DC area, reaching approximately48,000 students.

PR

OFI

LE


In addition, WPAS recently partnered with the DCArts and Humanities Education Collaborative toprovide free arts events, from a variety of DC artsvenues, to schools.

The utilization of local artists lies at the core ofWPAS’s mission. In order that they stay up to datewith educational methodology and artistic trends,and thus better serve the community and schools,

WPAS encourages all local artiststo participate in professional devel-opment sessions held throughoutthe year. These workshops, whichbuild on participants’ skills andknowledge, are led by touringartists or WPAS staff.

Since 1974, the District ofColumbia Public Schools andWPAS have jointly sponsored theEmbassy Adoption Program, anaward-winning multiculturalenrichment activity designed forsixth graders. Using the uniqueresources of embassies inWashington, DC, the programallows teachers and students toincrease their knowledge andappreciation of the geography,culture, and government of othernations. Each year, 50 classroomsare teamed with 50 embassies.Students then have the opportunityto work with embassy officials tobuild a presentation—in the styleof the partnered country—which isthen given at a later embassy visit.To date, more than 30,000 childrenhave partnered with 98 embassiesof countries ranging from Australiato Zimbabwe.

In 2001-2002, WPAS developedprogramming that linked educa-tional programs with particularthemes concurrent with the per-formance season. For example,Yo-Yo Ma’s Silk Road Project was

integrated into the Embassy Adoption Program.Through collaborations, teachers who were teamedwith Silk Road countries, such as China and India,were given opportunities to expand content withthe aid of an artist-in-residence; the artist conduct-ed workshops that built students’ knowledge of theperforming arts of the Silk Road, and helped prepare them for their embassy presentation.Students also had the unique chance to perform for Mr. Ma as the finale of the project.

Violinist and composer Daniel Bernard Roumain conducts a series of week-long residency activitieswith school and community students.

MEL

ISSA

L.

SALO

N


In 2002-2004, WPAS is continuing its linkage ofeducational programs with particular themes—specifically, Arte America (Hispanic culture) andthe influence of the African Diaspora—leading upto residency and performance events by the LincolnCenter Jazz Orchestra and Orquestre El Arranque.Throughout this initiative, students will not onlylearn about these performing arts of the Americasbut also engage in them. Teachers will also benefitfrom a workshop on how to implement the Jazz forYoung People curriculum, developed by Jazz atLincoln Center. And the artists themselves will further their own professional development as theyintegrate their art forms into the the public schools’curriculum.

WPAS’s strength and diversity in arts programmingalso includes training. For example, its Children ofMass Choir, in operation since 1993, illustrates theSociety’s commitment to gospel music in theWashington area. The program’s objective is toshowcase the talents of local youth selected throughcommunity-wide audition, provide them with discipline and artistic skills in putting together aprofessional production, and create an environmentthat heightens self-confidence, self-image, motiva-tion, and respect for others. In an effort to improvethe musicianship and overall artistic excellence ofthe group, WPAS sponsors an annual summercamp/vocal workshop for the gospel program.

In a similar spirit, WPAS’s annual Feder StringCompetition has encouraged study and artisticachievement among District of Columbia stringplayers since 1971. Open to students in grades 6through 12, the competition awards cash prizes forinstrument purchase or private lessons as well asscholarships to summer study programs such asTanglewood and the Interlochen Center for theArts. With more than 600 participants to date,accomplished alumni can be found in music organizations all over the country.

Madison Civic CenterMadison, WI www.madcivic.org





Programs offered:










Evaluation methods

The Madison Civic Center believes thatthe arts are essential to children’s devel-opment; and its arts education programreflects its commitment to act on thisbelief. The Civic Center engages children in the arts and enhances theirclassroom curriculum. It leverages part-nerships with schools, and it works withlocal, regional, and national cultural and social service organizations to helpbreach the barriers to arts participation.The arts education program strengthensthe links among children, parents,teachers and the community with the following activities:

• The Pleasant Company OnStage! Performing ArtsSeries for Children provides Dane County teachersand students at all grade levels with access to high-quality performing arts of virtually all disciplines.

PR

OFI

LE


Since 1987, this series of daytime performances—featuring a diverse list of approximately 20 dance,music, and theater companies—has exhibited highartistic, educational, and cultural standards. Studyguides, provided for each performance, help teach-ers and students link the educational and artisticcontent of the performances to classroom curricu-lum. Currently, this series serves more than 40,000students and teachers.

• The Kids in the Crossroads and ArtsAlive! programsreflect the goal of eliminating financial barriers tothe arts by providing free performances and work-shops to area youth. “Kids in the Crossroads” is aseries of free daytime performances for childrenand families held every Saturday during the aca-demic year for the past 19 years. Performances fea-ture local and regional storytellers, musicians, jug-glers, puppeteers, theater companies, magicians,and dance troupes in an interactive atmosphere.Also throughout the year, “ArtsAlive!” places localartists in not-for-profit organizations throughoutDane County to give free performances and work-shops to youth who are unable to attend events atthe Civic Center. For both programs, local artistsare chosen based on quality, age-appropriateness,potential for audience participation, educationalcontent, cultural diversity, and artistic variety.

• Educator Workshops in the Arts. Since 1993, theMadison Civic Center and the MadisonMetropolitan School District have presented thisseries of three-hour and day-long programs to areaeducators. These workshops, designed in associa-tion with the Kennedy Center, give teachers toolsfor increasing student participation and integratingthe arts into daily classroom teaching.

• Artist Outreach Series. Each season, the MadisonCivic Center arranges several residencies duringwhich visiting artists conduct performances, work-shops, lecture-demonstrations, and master classesat local schools and neighborhood centers. Nearly a

thousand schoolchildren and adults participate inthese activities annually. This past spring, the ArtistOutreach Series featured the companies of LulaWashington, Percussion de Guinée, and UrbanBush Women.

• Family Programming. As part of the public per-forming arts series, the Madison Civic Centerschedules evening and matinee performances forchildren and families in the Oscar Mayer Theatre.Family outings to Civic Center performances rein-force the importance of arts in children’s lives andencourage lifelong participation in the arts.

• The Community Ticket and Transportation VoucherPrograms, in partnership with 110 social serviceorganizations, distributes thousands of ticketvouchers to individuals and families every season.When customers redeem these vouchers for theprice of $1, they receive the best available seat,often worth $30 or more. Similarly, the Transpor-tation Voucher Program is a partnership withUnion Cab of Madison and Madison Metro thatprovides transportation vouchers to members of the Community Ticket Program for whomtransportation is a barrier.

• The Children’s Arts Festival is a mix of national,regional, and local theater, music, dance, and literary and artistic activities for and by children.This day-long annual event began in 2001 andattracts approximately 1,800 visitors to the Madison Civic Center.


Clay Center for the Arts & Sciences-WVCharleston, WV www.theclaycenter.org





Programs offered:












The Clay Center’s arts education programs include:

• Partners in Education Teacher-TrainingProgram. The Clay Center and KanawhaCounty Schools have partnered (underthe Kennedy Center’sPartners in Education pro-gram) to train teachers, withthe help of arts specialists, tointegrate the arts with allareas of the K-12 curricu-lum. Teachers learn how touse the arts to teach othercore subjects, as well as inno-

vative techniques and strategies to teachtheir own subject areas; and new ways toaddress the WV Education ContentStandards and educate the whole child.

• Professional Sabbatical Module. The Clay Center has developed a year-longsabbatical program to offer teachers an

opportunity to refresh their skills. This programalso provides the Clay Center itself with the directexperience necessary to ensure that its workshopsand other activities support the Department ofEducation’s Instructional Goals and Objectives.From one to four teachers spend 20 hours per weekdeveloping a project that will be presented by theClay Center. The remainder of their time is devotedto a range of duties as these professionals engage in other Center educational programs.

• Residency Activities. The Clay Center has sponsoredfive school residencies since 1999, with artists intheater, jazz, storytelling, classical guitar, crafts, folkmusic, and dance, that resulted in concentratedworkshops, performances, and special projects forthe schools, both in-class and after school. Each residency involved a partnership with several school systems and arts groups (such as CarnegieHall, Museum in the Community, and CharlestonStage Company).

• Distance Learning. The Clay Center’s educationalprograms will use several technologies, such asWeb-based and Microwave, to deliver: pre- andpost-educational materials to prepare students and teachers for residency projects; online coursesor units of study; live artist chats; walk-throughs of exhibitions; and lectures, workshops, and experiments. The Clay Center is in discussions with West Virginia Public Broadcasting to see howthey might work together to produce content anddeliver programs.

PR

OFI

LE

Aquila Theatre, Movement in Shakespeare Workshop at Capital High School, Charleston, WV

MIC

HA

EL K

ELLE

R


Jane BonbrightExecutive DirectorNational Dance Education OrganizationBethesda, MD

W. Robert BuckerDean, Peck School of the ArtsUniversity of Wisconsin-MilwaukeeMilwaukee, WI

Kim ChanVice President of ProgramsAssociation of Performing Arts PresentersWashington, DC

Janet EilberPrincipal Arts ConsultantThe Dana FoundationLos Angeles, CA

Derek E. GordonSenior Vice PresidentThe John F. Kennedy Center for the Performing ArtsWashington, DC

Hollis HeadrickExecutive DirectorThe Center for Arts EducationNew York, NY

Richard KesslerExecutive DirectorThe American Music CenterNew York, NY

Larry ScrippDirector, Research Center for Learning Through MusicNew England Conservatory of MusicBoston, MA

Advisory Committee

Dana is grateful to the Acts of Achievement Advisory Committee for its conscientious review of

the individual profiles submitted by performing arts centers nationwide during the winter of 2003.

The committee examined each profile for the quality of its content, the breadth and depth of the

described K-12 program offerings, and the clear identification of the institution as a performing arts

center. Based on the Committee’s recommendations, 8 institutions were selected for featured case

studies in this publication, and 66 additional performing arts centers were chosen for profiles.

The Advisory Committee provided insights that informed the development of the Lynne Silverstein

essay on artist residencies, and the recommendations included in Jane Polin’s executive summary and

observations statement.

We thank the Advisory Committee for its valuable contributions to Acts of Achievement.


Additional Resources

Artistic Talent Development for Urban Youth: The Promiseand the Challenge by Barry Oreck, Susan Baum andHeather McCartney, published by The National Research Center on the Gifted and Talented (2000);see www.gifted.uconn.edu/ncrgt

The Arts and School Reform: Lessons and Possibilities fromThe Annenberg Challenge Arts Projects, published by theAnnenberg Institute for School Reform at BrownUniversity (2003); see www.annenberginstitute.org

Arts Education in the News, a free publication of the DanaFoundation focusing on the intersect of the fields of artsand education, highlighting best practice initiatives aroundthe country; see www.dana.org/books/press/artsnews

Arts Education in Public Elementary and SecondarySchools: 1999-2000, published by the National Center for Education Statistics (2002); see www.nces.ed.gov

Arts Survive: A Study of Sustainability in Arts EducationPartnerships, by Steve Seidel, Meredith Eppel, and Maria Martiniello, published by Project Zero at theHarvard Graduate School of Education (2001);see www.pz.harvard.edu

The Capacity of Performing Arts Presenting Organizationsby Mark A. Hager and Thomas H. Pollak, published bythe Center on Nonprofits and Philanthropy, The UrbanInstitute (2002); see www.urbaninstitute.org

Champions of Change: The Impact of the Arts on Learning, edited by Edward B. Fiske, published by theArts Education Partnership and The President’sCommittee on the Arts and the Humanities (1999);see www.aep-arts.org

A Community Audit for Arts Education: Better Schools,Better Skills, Better Communities, published by theKennedy Center Alliance for Arts Education Network,The John F. Kennedy Center for the Performing Arts(2001); see www.kennedy-center.org/education/kcaaen

Creating Capacity: A Framework for Providing ProfessionalDevelopment Opportunities for Teaching Artists, preparedby The National Conversation on Artist ProfessionalDevelopment & Training and published by The Kennedy Center for the Performing Arts (2001);see www.kennedy-center.org/partners

Critical Links: Learning in the Arts and Student Academicand Social Development, published by the Arts EducationPartnership (2002); see www.aep-arts.org

Gaining the Arts Advantage: Lessons From School Districts That Value Arts Education, published by the Arts Education Partnership and The President’sCommittee on the Arts and the Humanities (1999);see www.aep-arts.org

Handbook of Research on Improving Student Achievement,second edition, edited by Gordon Cawelti, published byEducational Research Service (1999); see www.ers.org

How the Arts Can Enhance After-School Programs,published by the U.S. Department of Education and the National Endowment for the Arts (2000);see www.ed.gov and www.arts.gov

Measuring What Matters: Using Assessment andAccountability to Improve Student Learning, publishedby the Committee for Economic Development (2001);see www.ced.org

National Arts Education Public Awareness CampaignSurvey, research monograph published by Americans for the Arts (2001); see www.americansforthearts.org

Planning an Arts-Centered School: A Handbook, edited by Carol Fineberg, published by The Dana Press (2002);see www.dana.org

Promising Practices: The Arts and School Improvement,published by The Center for Arts Education and The United Federation of Teachers (2000);see www.cae-nyc.org

Teaching Artist Journal, a quarterly publication, edited by Eric Booth and published by Lawrence ErlbaumAssociates; see www.erlbaum.com

Toward Cultural Interdependence: The Fourth Phase of thePerforming Arts in America, paper issued by theAssociation of Performing Arts Presenters (2002);see www.artspresenters.org

Young Achievers: A National Summit on Learning, Excerptsand Commentary, published by Young Audiences (2002);see www.youngaudiences.org


Contributors

Janet Eilber was principal dancer with the Martha

Graham Dance Company. She soloed at the White

House, was partnered by Rudolf Nureyev, and starred

in three segments of Dance in America. She danced

many of Graham’s greatest roles, had roles created for

her by Graham, and since has directed Graham ballets

internationally. Eilber has also performed in films, on

television, and on Broadway, directed by Agnes

deMille, Bob Fosse, and Tommy Tune. As co-founder

of the American Repertory Dance Company, she has

received four Lester Horton Awards for her recon-

struction and performance of seminal American

modern dance. Eiber is current artistic advisor to the

Library of Congress Martha Graham Collection,

artistic director of Martha Graham Resources, and a

Trustee of the Interlochen Center for the Arts. She is

the principal arts consultant to the Dana Foundation

and guides the Dana initiatives in arts education.

Jane L. Polin brings more than twenty years of inno-

vative leadership experience within the nonprofit

and private sectors in developing and investing

philanthropic resources. She is now serving as a

philanthropic advisor, principally in the arts, educa-

tion, and public policy. Previously at The GE Fund,

Polin led various education grant programs and

financial administration for GE’s $60+ million annual

philanthropic support, and created “Tools for

Change,” a program that brought proven change

processes to community-based nonprofit leaders.

She also designed and grew The GE Fund’s award-

winning arts education and research initiatives,

including Champions of Change: The Impact of the Arts

on Learning, Gaining the Arts Advantage: Lessons from

School Districts That Value Arts Education, and other

efforts to advance the role of the arts in learning.

Polin earned a B.A. in music from Wesleyan

University and holds a M.B.A. in marketing from

Columbia University.

Lynne Silverstein has more than 30 years experience

in arts education, arts administration, and teacher

education. From 1993 to the present, Silverstein has

provided extensive consultation to the Kennedy

Center’s Education Program. She has written publica-

tions, designed curriculum resources, developed more

than 100 performance guides, conducted arts educa-

tion-related research, designed summer institutes for

teachers, and taught numerous seminars to artists and

educators. From 1980-1993, Silverstein initiated and

directed the Kennedy Center’s national Partners in

Education Program and directed the Kennedy Center’s

local Professional Development Opportunities for

Teachers program. Previously, Silverstein directed a

teacher education center in aesthetic education for

CEMREL, and was an art specialist in Prince William

County Schools, VA. Silverstein earned a B.F.A. from

Cornell University and an M.A. in Curriculum and

Instruction from Virginia Tech.

Barbara Rich, Vice President of the Dana Foundation,

is responsible for the News and Internet Office and

helps oversee arts education at the Foundation. Rich’s

background in communications and education

includes posts at Rutgers University and Marymount

Manhattan College, where she was a Dean and then a

Vice President. She earned a B.A. from City College

of New York and an Ed.D from Teacher’s College,

Columbia University. Rich has published many articles

on science and education and has served often as a

discussant on media.

Jane L. Polin (See “Contributors”)

Steven J. Marcus is a freelance editor and writer

whose clients include the National Academies,

Howard Hughes Medical Institute, the Dana Press,

Mayo Clinic, Harvard University, BioMedNet, and

Science magazine. He was editor of Technology Review,

MIT’s national magazine of “technology and its

implications,” from 1991 to 1997; a decade earlier,

he served as its managing editor. He was editor of

Issues in Science and Technology, executive editor

of High Technology, and a business reporter for

The New York Times. Most recently, he was science/

medicine editor of the Minneapolis Star Tribune.

Editors


Acknowledgements

Dana Foundation:

Special thanks:

Janet Eilber,Principal Arts Consultant,The Dana Foundation

Jane Nevins,Editor in ChiefThe Dana Press

David BalogTamina DavarRebecca LuibBarbara PetersonRachel PostmanIsaac Sashitzky

Association of Performing Arts Presenters:

Sandra GibsonKim ChanBrandon McWilliams

John F. Kennedy Center for the Performing Arts:

Derek GordonDarrell AyersAmy DumaBarbara Shepherd

Internet Computers, Inc.

Mario Arce


The Abbey, 116Academy of Ancient Music, 72Achieving Literacy Through the Arts, 104ACT. See Arts Can TeachAct 2, 82–83The Acting Company, 69, 99, 108Addy, Obo, 101Adolphe, Bruce, 113AdventureLIED programs, 102Adventures in Imagination, 76Advisory committee, 153Ahmanson Theatre, 53–54AiI. See Adventures in ImaginationAiley, Alvin

AileyCamp, 32–33AileyCamp Boston, 82–83American Dance Theater, 3, 32, 68, 96, 121, 140Revelations, 3Scottsdale Center for the Arts performance, 30

Alberta Bair Theater, 98–100Alexander String Quartet, 59, 60Allen, Nancy, 70Altan, 32American Ballet Theatre, 58, 82, 127American College Theater Festival, 48American Dance Theater, 3, 32, 68, 96, 121, 140America's Promise-The Alliance for Youth, 145Anderson, Marian String Quartet, 139Angiel, Brenda Aerial Dance Company, 51Ann Arbor, MI, 90Annenberg Center for the Performing Arts,

128–129April Fools!, 83Aquila Theatre Company, 69Ariel Winds, 140Arizona Alliance for Arts Education, 30Arizona Wolf Trap program, 30Arm of the Sea Theatre, 108Art of Standards initiative, 36Art Tools for Teachers, 61Artful Adventures, 61Artist residencies. See also Case studies; Profiles

artists’ checklist, 18–19arts organization coordinators’ checklist, 17–18assumptions and misconceptions, 13checklists, 17–21evolving model for, 7–8expertise of teaching artists, 16factors for success, 13–16focusing on student learning needs, 13impact of, 15–16implementing coordination and

communication, 14

in-classroom instructional residencies, 11–12instructional purposes, 10–13leadership and support for, 14panel discussion, 6performance residencies, 10–11purposes and goals, 13, 16refining programs, 15school coordinators’ checklist, 20–21teacher participation and

collaboration, 14–15teachers’ checklist, 19–20visibility of achievements, 15

Artist Training Seminar Series, 57Artists as Educators program, 67Artists on Tour, 124Artists’ Project, 84“Arts Academies,” 39Arts Access Forum, 40Arts Across the Curriculum, 72Arts Adventure Series, 81Arts Breakfast, 30Arts Can Teach, 84–85Arts Center of Coastal Carolina, 131–132Arts education. See also Case studies;Partners in Education program; Professionaldevelopment; Profiles

improving programs, 9role of performing arts centers, 3–9

Arts Education in the News, 1Arts Education Showcases, 38ARTS FIRST, 38Arts for Teachers program, 85Arts in Action program, 67Arts-in-Education Council, 30Arts in the A.M., 79Arts Live Theatre, 51, 52Arts organization coordinators

artist residency checklist, 17–18Arts Symposium, 85Arts Teach Kids, 79Arts With Education Institute, 52ArtsAlive! program, 151ARTSEDGE, 48Artshops program, 39–40ArtSmart, 137Artsource: The Center Study Guide to the

Performing Arts, 58ArtsPartner program, 37ArtsPass, 89ArtsReach programs, 39, 131–132Association of Performing Arts Presenters, 2Audience development, 3–4Audience Engagement/Free Events Program, 43“Audience for the Performing Arts Network,” 45

AWE. See Arts With Education Institute

Index

Bacchanal Steel Band, 124Badgett Cooperative for Educational

Enhancement, 77Baff, Ella, 6Ball in the House, 63Ballet Folklorico de Mexico, 71, 96Ballet Hispanico, 135Ballet Senegal, 30BAM. See Brooklyn Academy of MusicBardavon 1869 Opera House, 106–108Basically Blues, 108Battelstein, Adam, 96BCT. See Bushnell Children’s TheatreBeale, Simon Russell, 108Behind-the-Scenes, 104The Belle of Amherst, 30Bergonzi, Louis, 70Berkeley, CA, 31–33B.E.S.T. Arts Conference, 58Billings, MT, 98–100Binney & Smith, 78Blast!, 72Blumenthal Performing Arts Center, 122–123Bodin, Charles, 54Boston, MA, 82–85Boston Public Schools, 85Boyd, Kimberli, 42Breakfast Serials program, 88Britten, Benjamin, 142Broadway Buzz newsletter, 128Broadway Center for the Performing Arts,

146–147Brooklyn, NY, 108–110Brooklyn Academy of Music, 108–110Brouwer, David, 54Broward Center for the Performing Arts, 64Brown, F. Reed, 79Brungard, Kathleen DeBerry, 70Bugs and Balloons, 63Building Educational Success through

the Arts, 58Burgstaller, Joe, 143Burlington, VT, 43–45Burnaford, Gail, 7The Bushnell Center for

the Performing Arts, 33–35Bushnell Children’s Theatre, 33Butler University, 74–76Byrd, Donald Group Dance Company, 52

A B


CAA. See Cincinnati Arts AssociationCal Performances, 31–33California Poets in the Schools, 59Camp OPAS, 139CanDo! Days, 36, 37CAP. See Curriculum Arts ProjectThe Capacity of Performing Arts

Presenting Organizations, 4Capital Region Education Council, 34Capitol Center for the Arts, 104Career Day, 127Carle, Eric, 99Carnegie Hall, 110–111CarnegieKids, 110Carnival of the Animals, 83Carter, Betty, 48Case studies

The Bushnell Center for the Performing Arts,33–35

Cal Performances, 31–33Flynn Center for the Performing Arts, 43–45Jacob’s Pillow Dance Festival, 41–43Kennedy Center, John F. for the Performing

Arts, 46–48The Kentucky Center, 38–40Maui Arts & Cultural Center, 36–38Scottsdale Center for the Arts, 28–30

Cashore Marionettes, 140Catterall, James, 6CCP. See Center for Community PartnershipsCelebration of the Arts for Children

with Disabilities, 30Celebrity Series, 82–83Center for Community Partnerships, 129Center Jazz Orchestra, 150Center of Contemporary Arts, 94–95Center Theatre Group/Performing for

Los Angeles Youth, 53–54CenterFest, 128Chamber Music Beginnings, 112Chamber Music Society of Lincoln Center,

112–113Chamber Music Society Two program, 113Chamber Orchestra Workshop, 70–71Chandler, Dorothy B. Blue Ribbon Children’s

Festival, 58Changing Education Through the Arts, 47Charleston, WV, 152Charlotte, NC, 122–123Chavez, Dolores, 53Chicago, IL, 73–74Children with disabilities. See People

with disabilities

Children’s Choir Program, 70–71Children’s Chorus, 81Children’s Concert Series, 70Children’s Education Program, 140Child’s Play Touring Theater, 63Chiu, Libby Lai-Bun, 6Chocolate Nutcracker, 65Choral Workshop, 70–71Cincinnati, OH, 124Cincinnati Arts Association, 124Circus Arts, 28Circus Minimus, 108Clay Center for the Arts & Sciences-WV, 152Clayton College & State University, 70–71Clearwater, FL, 65–66Cleveland, OH, 126–128Cliburn, Van Foundation, 140Clowes Memorial Hall, Butler University, 74–76Clowes Sheets, 75COCA, 94–95Colchado, Jose, 7Cole, Freddy, 71College of St. Benedict, 93College Park, MD, 85–86College Station, TX, 138–139Collegeville, MN, 93Colonial Theatre, 3A Community Audit for Arts Education, 2, 9Community centers

arts programs, 39Community Dance Program, 42–43Community Day, 43Community Learning Centers, 88–89Compania Nacional de Danza, 72COMPAS Residencies, 91Concerts with Conversation, 60Concord, NH, 104Conservatory Project, 48Continuing Education, 37. See also

Professional developmentCorbiscello, Tony, 107Corea, Chick, 66Corwin Master Classes, 58Crayola Dream-Makers program, 78Creating Capacity, 2, 11Creating Original Opera program, 55Creative Connections program, 38, 78, 80Critics Circle, 91Cultural Advisory Committees, 92“Cultural Connections Through the Arts,”

29–30Cultural Crossroads, 81Cultural Marketplace, 40Curriculum Arts Project, 119–120

CW Post Campus/Long Island University,120–121

Cyberspace instructional residencies, 11

Dana Foundationsymposium goals, 1–2

Dance Across the City, 83Dance Mentors, 59DANCE St. Louis, 95–97Dance Theatre of Harlem, 47DanceAfrica program, 110Dayton Contemporary Dance Company, 96DC Arts Education Initiative, 47D.C./Northern Virginia Partnership Program, 47D.E.A.F. Media, Inc., 62Delancey Street Foundation, 60Diavolo, 135Disabilities. See People with disabilitiesDiscover Jazz Festival, 45Discovering Performance, 61Discovery Theatre Series, 127Discussion and Dessert, 92Distance learning, 75–76Dorfman, David Dance, 96, 108Dougherty, Patrick, 55DRAK Puppet Theatre, 77Dream-Makers program, 78DuJun, 93Duke, Doris Charitable Foundation, 45Dvorak, Anton, 139DynamO Theatre of Montreal, 51

Eckerd, Ruth Hall, 65–66Eckerd Theater Company, 65Education. See Arts educationEducation Advisory Committee, 92Education Institute, 122–123Educational Field Trips, 131Educational Quality through Arts

for Lifelong Learning, 122Eilber, Janet, 155Elgin Symphony Orchestra, 74Elijah’s Angel, 83Embassy Adoption Program, 149Emerson String Quartet, 148Emery Community Arts Center, 86–87EQUALL. See Educational Quality

through Arts for Lifelong LearningEverybody Dance Now!, 83Exploring Ballet, 48eXtreme Theatre Festival, 127

D

E

C

Index continued


Fair on the Square, 127Family Matinee series, 60Family Musik, 83Family Performances program, 54Family Saturdays, 58Farmington, ME, 86–87Farrell, Suzanne, 48Favors, Ronni, 32Fayetteville, AR, 51–52Federal Technology Opportunities

Program, 145Fine Arts Summer Institute for Teachers, 50First Thursday Tours, 61Fischer, Ken, 6FleetBoston Celebrity Series, 82–83Flint Hills International Children’s Festival, 91Florida Playwrights’ Process, 65Flynn Center for the Performing Arts, 43–45Flynn Lead Teacher Network, 44FlynnArts, 44–45FlynnSpace, 43–45Foothills Arts, 86–87Ford Foundation, 8Fort Lauderdale, FL, 64Fort Worth, TX, 140–141Fort Worth Symphony Orchestra, 140Found Story Theater, 86–87Franciscan Center of Lourdes College, 125–126Free Events Program, 43Freelon, Nnenna, 6Fry Street Quartet, 101

GAINS. See Gaston Arts Integration Nurtures Success

Gamelan Sekar Jaya, 32Gaston Arts Integration Nurtures Success, 122Gates Foundation, 24Gear-Up Arts Residency, 87General Electric

Creative Connections program, 38, 78, 80GE Fund, 34, 38, 78

George Washington University, 47Gibson, Sandra, 2 Gila River Indian Community, 28, 30Gladstone, Jack, 101Glema Mahr Center for the Arts, 77–79Global Encounters, 111Godfrey, Lynnie, 118Goni, Antigoni, 59–60Gordon, Derek, 4Governor’s School for the Arts, 39–40

Graham, Martha, 1, 2Graham, Martha Center, 25Green, Todd, 101Greenberg, Robert, 60Greenvale, NY, 120–121Greenville, SC, 133–134GSA. See Governor’s School for the ArtsGuitar Trek, 59–60

Haggarty, Ben, 32Hamilton Wings, 74Hamlisch, Marvin, 82Hammons, Juanita K. Hall for

the Performing Arts, Southwest Missouri State University, 97–98

Hancher Auditorium, University of Iowa,71–72Hancock, Herbie, 129Hands-on Activity Workshops, 61Harris, Stefon, 59–60Hartford, CT, 33–35Hawaii Arts Education Partnership, 38Helena, MT, 100–101High School Choral Festivals, 111Hilton Head Island, SC, 131–132Hispanics

Scottsdale Center for the Arts program,28–29

Hodsoll, Frank, 6Holmes, Ashton, 118Honors Concert & Art Exhibit, 92HOT. See Humanities Outreach in TennesseeHouston, TX, 141–142Houston Ballet, 72Hudson Valley Philharmonic, 107Humanities Outreach in Tennessee, 137Hummon, Marcus, 137Huntington Children’s Theatre Series, 127Husby Performing Arts Center, 134HVP. See Hudson Valley Philharmonic

IABAS Traditional Brazilian Band, 108ICN. See Iowa Communications NetworkIl Teatro Calimari, 101Imagination Celebration, 46In-classroom instructional residencies

artists’ checklist, 18–19arts organization coordinators’

checklist, 17–18characteristics of, 12

focus of, 11impact of, 15school coordinators’ checklist, 20–21teachers’ checklist, 19–20

In Conversation programs, 61–62Indianapolis, IN, 74–76Inside Insights, 63Inside the Institution: The Visible

Arts Center, 62InsideOut, 138Insights, 91–92Intern Program, 41–42Internships in Arts Management, 48Introduction to the Performance series, 98Iowa City, IA, 71–72Iowa Communications Network, 72Issokson, Jason, 141

Jackson, Kenneth, 108Jacob’s Pillow Dance Festival, 41–43JASON Foundation, 51JASON Project, 51Jazz Ambassadors, 48Jazz at Lincoln Center, 113–114Jazz at Lincoln Center Orchestra, 72Jazz Intervention, 59JazzAhead, 48JazzNet, 45Jefferson Performing Arts Society, 81J@LC. See Jazz at Lincoln CenterJohnson, Marc D., 130Jones, Bill T., 83Jones, William LaRue, 70The Joyce Theater, 114–115JPAS. See Jefferson Performing Arts SocietyJung, Becky, 96

K-12 education. See also Case studies;Partners in Education program; Professionaldevelopment; Profiles

improving programs, 9role of performing arts centers, 3–9

kaBAM films, 109Kahului, HI, 36–38Kaiser, Michael, 4Kapilow, Robert, 83KCAAEN. See Kennedy Center Alliance

for Arts Education NetworkKenan Apprentice Program in Theater, 48

G

H

I

J

K

F


Kennedy, John F. Center for the Performing Arts, 4, 46–48, 89. See also Partners inEducation program

Kennedy Center Alliance for Arts Education Network, 48

Kennedy Center American College Theater Festival, 48

Kennedy Center Education Department,46–47

The Kentucky Center, 38–40Kentucky Center Express, 40Kentucky Center for the Arts, 78“Kentucky Institutes for Arts in Education,” 39Kentucky Presenters Network, 40Kentucky Shakespeare Festival, 80Kids in the Crossroads, 151The Kimmel Center for the Performing Arts,

130–131King’s Singers, 140Kirby Science Discovery Center, 134Kramer, Katherine, 101Kurtti, Casey, 107Kwasney, Melissa, 101

L/A Arts, 88–89Ladies Musical Club, 147Language Arts Festival, 34Lawrence, KS, 76–77Lee, MA, 41–43Lerman, Liz Dance Company, 45, 142Lewiston, ME, 88–89Lied Center for Performing Arts, 102–103The Lied Center of Kansas, University

of Kansas, 76–77Lincoln, NE, 102–103Lincoln Center

Chamber Music Society, 112–113Jazz at Lincoln Center, 113–114Jazz at Lincoln Center Orchestra, 72

Lincoln Puppetry Cooperative, 102LinkUP!, 110–111Living Study Guides, 91Locke, Kevin, 132Long Island University, 120–121Looking Glass Theatre, 89Loomer, Lisa, 121Los Angeles, CA, 53–54, 57–58Los Angeles Philharmonic, 58Louisville, KY, 38–40Lourdes College, 125–126Lowry, Mac, 8–9Ludwig, Christa, 111

Ma, Yo-Yo, 32, 69, 82, 121, 149MACC. See Maui Arts & Cultural CenterMadden, Corey, 53Madison, WI, 150–151Madison Civic Center, 150–151Madisonville, KY, 77–79MAEC. See Merck Arts Education CenterMahloele, Mogauwane, 129Malone, Brian, 124Many Moons, 83MarcoPolo project, 48Marcus, Steven J., 155Marsalis, Wynton, 55, 82, 113–114, 129Martin, John G. Foundation, 34Masekela, Hugh, 111Master Class Series, 55, 127Master instructional artists, 12Matinee Performances and Gallery Walks, 131Maui Arts & Cultural Center, 36–38McAlister, Barry, 137MCED. See Music Center Education DivisionMcFerrin, Bobby, 69, 82, 121, 140McGraw-Hill, 57McNair, Sylvia, 70Meet the Music!, 112Mendes, Sam, 108Merck Arts Education Center, 130–131Metairie, LA, 81MetLife Family Arts Experience, 123Metropolitan Opera Guild, 55Miami City Ballet, 96–97Midori, 140–141, 143Milestones Graduation Ceremony, 62Mingus Big Band, 129Missoula Children’s Theatre, 79MLC. See Myrna Loy CenterMoiseyev Dance Company, 69Momix, 30Monheit, Jane, 129Montalvo, 55–56Moore, J.B. and Kiel Community Program

Endowment, 79Morris, Mark, 30, 83Morris, Mark Dance Group, 143Morris, Richard, 70Morrow, GA, 70–71MozartBridge, 83MSC OPAS, Texas A&M University, 138–139Music Center Education Division, 57–58Music Mentors, 59Musical Explorers, 111Myrna Loy Center, 100–101

Nashville, TN, 136–138A Nation At Risk, 4National Dance Project, 45National Symphony Orchestra, 46, 48Native Americans

Scottsdale Center for the Arts program, 28Nelson, KT, 142Nelson, Madeleine Yayodele, 120New College, 69New Jersey Performing Arts Center, 105–106The New Victory Theater, 116–117New Visions, New Voices, 46New Voices for Hope, 102New York, NY, 110–117, 119–120New York Philharmonic, 121New York State Theatre Institute, 117–118The New York Times Foundation, 25Newark, NJ, 105–106Newspapers in Education, 88NIE. See Newspapers in EducationNight of the Big Bands, 107–108NJPAC. See New Jersey Performing Arts CenterNOARK Girl Scout Council, 51Noise/Funk Curriculum Development

Project, 103Nomura, Christopheren, 59Norfolk, VA, 143–144North Arkansas Symphony Orchestra, 51

North Carolina Blumenthal Performing ArtsCenter, 122–123

Northwest Arkansas Education Service Cooperative, 51, 52

Northwest School of the Arts, 122–123NSO. See National Symphony OrchestraNWSA. See Northwest School of the ArtsNYSTI. See New York State Theatre Institute

Oberlin Dance Company, 142Omaha Theater Company for Young People, 51On School Time program, 67–68OPAS, Texas A&M University, 138–139Opera a la Carte, 135Orchestra of St. Luke’s, 111Ordway Center for the Performing Arts, 91–92Orquestre El Arranque, 150Overture Awards program, 124Owensboro, KY, 79–80Ozark Natural Science Center, 51

M N

O

Index continued

L


PACT Inc. (Ruth Eckerd Hall), 65–66Page to Stage program, 68Paiute Neighborhood Center, 28–29Parsons, David Dance Company, 69, 96, 145PARTNERS, 33–35Partners in Arts and Education

Revitalizing Schools, 33–35Partners in Education program

Alberta Bair Theater, 99Boston Public Schools, 85Broward Center for the Performing Arts, 64Cal Performances, 31Clay Center for the Arts & Sciences-WV, 152Clowes Memorial Hall, Butler University, 75Flynn Center for the Performing Arts, 44Franciscan Center of Lourdes College, 125Glema Mahr Center for the Arts, 77Hammons, Juanita K. Hall for the Performing

Arts, Southwest Missouri State University, 98Kennedy Center, 47–48Lied Center for Performing Arts, 102The Lied Center of Kansas, University

of Kansas, 76–77Maui Arts & Cultural Center, 36Myrna Loy Center, 100Ordway Center for the Performing Arts, 92PACT Inc. (Ruth Eckerd Hall), 65Van Wezel Performing Arts Hall, 69Wang Center for the Performing Arts, 85

Passport to the Arts, 65–66The Peace Center for the Performing Arts,

133–134Peace Outreach Program, 133–134People with disabilities

The Kentucky Center program, 40Scottsdale Center for the Arts program, 30

Perez, Ruby Nelda, 147Performance Plus, 46Performance Poetry, 59Performance residencies

characteristics of, 11impact of, 15objectives for, 10

Performing arts centers. See also Case studies;Profiles

improving K-12 education programs, 9role in education, 3–9

Performing Arts Centers and Schools program, 89

Performing Arts Classroom series, 91Performing Arts Fort Worth, Inc., 140–141Performing Arts Series, 55Performing for Los Angeles Youth, 53–54

Phelan, James, 55Philadelphia, PA, 128–131Philadelphia International Children’s Festival,

128–129Philadelphia Orchestra, 72Pillow Archives, 43Pillow Dance Festival, 41–43Pilobolus Dance Theatre, 69, 72, 83, 96, 99,

121, 140Pilobolus Too Institute, 96–97Pima Maricopa Indian Community, 28Pitcher, Jeri, 87Pittel, Harvey, 70Place, Trish, 103Planet Ordway series, 91Planning an Arts-Centered School, 1P.L.A.Y. See Performing for Los Angeles YouthPlayhouse Square Foundation, 126–128The Pleasant Company OnStage!, 150–151Plymouth State College, 104The Polar Express, 83Polin, Jane L., 155POP!. See Peace Outreach ProgramPoughkeepsie, NY, 106–108Powell, Alma, 4Powell, Gen. Colin, 145Pratt, Awadagin, 69Pre-Professional Dance Program, 94Preservation Hall Jazz Band, 71Prince William Network, 48Principals Forum, 50Professional development

Cal Performances workshops, 31Continuing Education credits, 37Flynn Center for the Performing Arts, 44Kennedy Center, 47, 48The Kentucky Center, 39Maui Arts & Cultural Center programs,

36–37Montalvo program, 56panel discussion, 7San Francisco Performances program, 60The School at Jacob’s Pillow, 41, 43Walton Arts Center, 51–52

Professional development residenciescharacteristics of, 12–13impact of, 16

ProfilesAlberta Bair Theater, 98–100Annenberg Center for the Performing Arts,

128–129Arts Center of Coastal Carolina, 131–132Bardavon 1869 Opera House, 106–108

Broadway Center for the Performing Arts,146–147

Brooklyn Academy of Music, 108–110Broward Center for the Performing Arts, 64Capitol Center for the Arts, 104Carnegie Hall, 110–111Center Theatre Group/Performing for LosAngeles Youth, 53–54Chamber Music Society of Lincoln Center,

112–113Cincinnati Arts Association, 124Clay Center for the Arts & Sciences-WV, 152Clowes Memorial Hall, Butler University,

74–76COCA, 94–95DANCE St. Louis, 95–97Emery Community Arts Center, 86–87FleetBoston Celebrity Series, 82–83Foothills Arts, 86–87Franciscan Center of Lourdes College,

125–126Glema Mahr Center for the Arts, 77–79Hammons, Juanita K. Hall for the

Performing Arts, Southwest Missouri State University, 97–98

Hancher Auditorium, University of Iowa,71–72

Jazz at Lincoln Center, 113–114Jefferson Performing Arts Society, 81The Joyce Theater, 114–115The Kimmel Center for the Performing Arts,

130–131L/A Arts, 88–89Lied Center for Performing Arts, 102–103The Lied Center of Kansas,

University of Kansas, 76–77Madison Civic Center, 150–151Montalvo, 55–56MSC OPAS, Texas A&M University, 138–139Music Center Education Division, 57–58Myrna Loy Center, 100–101New Jersey Performing Arts Center, 105–106The New Victory Theater, 116–117New York State Theatre Institute, 117–118North Carolina Blumenthal Performing

Arts Center, 122–123Ordway Center for the Performing Arts,

91–92overview, 8PACT Inc. (Ruth Eckerd Hall), 65–66The Peace Center for the Performing Arts,

133–134Performing Arts Fort Worth, Inc., 140–141

P


Playhouse Square Foundation, 126–128RiverPark Center, 79–80San Francisco Performances, 59–60Smith, Clarice Performing Arts Center,

University of Maryland, 85–86Society for the Performing Arts, 141–142Spivey Hall, Clayton College &

State University, 70–71St. John’s University/College of St. Benedict,

93Symphony Space, 119–120Tampa Bay Performing Arts Center, 67–68Tennessee Performing Arts Center, 136–138Tilles Center for the Performing Arts,


UApresents, 50University Musical Society, 90University of Washington

World Series, 147–148Urban Gateways: Center for

Arts Education,73–74Van Wezel Performing Arts Hall, 68–69Virginia Arts Festival, 143–144Walton Arts Center, 51–52The Wang Center for the Performing Arts, 84–85Washington Pavilion of Arts and Science,

134–136Washington Performing Arts Society,

148–150Westport Country Playhouse, 62–63Wolf Trap Foundation for the Performing

Arts, 144–145Yerba Buena Center for the Arts, 61–62

Program Assessment Model, 66Project Discovery, 82Promenade Gallery, 35Putting It Together, 91

Quist, Rob, 101

Rampal, Jean-Pierre, 70Reader’s Digest Fund, 45Reichert, Aviram, 140Residencies. See Artist residenciesResources, 154Revelations, 3Rhythm Project, 143Rhythms of Helena, 101Rich, Barbara, 2, 155Ringling School of Art and Design, 69RiverPark Center, 79–80Roberts, Marcus, 72Robinson, Cleo Parker Dance Ensemble, 30Roumain, Daniel Bernard, 6, 149Royal Shakespeare Company, 143–144

Safire, William, 5, 23–26Salt River Community, 28San Francisco, CA, 59–62San Francisco Performances, 59–60Sarasota, FL, 68–69Saratoga, CA, 55–56Saturday Morning For Kids series, 69The School at Jacob’s Pillow, 41School coordinators

artist residency checklist, 20–21School Matinee Program, 50, 75School Partnership program, 121School Series, 104SchoolTime, 31–32, 124Schooltime Performance series, 68–69Schub, André-Michel, 143SCORE!, 74Scottsdale, AZ, 28–30Scottsdale Arts Breakfast, 30Scottsdale Center for the Arts, 28–30Scottsdale Museum of Contemporary Art, 30The Screening Series, 109SEAS program. See Student Enrichment

in the Arts programSeattle, WA, 147–148Seidel, Steve, 7Setting Curriculum in Motion, 41–43SFP. See San Francisco PerformancesShaolin Warriors, 71Shaw, Fiona, 108Shifrin, David, 143Showcase of Artists, 58Silk Road Ensemble, 32

Silverstein, Lynne, 155Simmons, Warren, 5, 23–26Sioux Falls, SD, 134–136Smith, Clarice Performing Arts Center,

University of Maryland, 85–86Smith, Rob, 6SMSU. See Southwest Missouri

State UniversitySociety for the Performing Arts, 141–142A Soldier’s Tale, 83Something of Our Own program, 63Southwest Missouri State University, 97–98SPA. See Society for the Performing ArtsSpeak To Me project, 54Spivey Hall, Clayton College &

State University, 70–71Spivey Jam!, 71Springfield, MO, 97–98St. John’s University/College of St. Benedict, 93St. Louis, MO, 94–97St. Michael’s College, 44St. Paul, MN, 91–92Stage Door series, 71Stage Without A Theater, 81STAR PASS Program, 78Starkes, Marsha Perry, 120STARS. See Students Take a Role at the SquarestART smART Network, 145Stokey, Paul, 69Stoltzman, Richard, 140STOMP Immersion Project, 103Stories Project, 100The Story of the String Quartet, 59String Break, 35Student Advisory Committee, 113Student Discovery Series, 129Student Enrichment in the Arts program, 64Student Matinee Series, 44, 102Students Creating Opera to ReinforceEducation!, 74Students Take a Role at the Square, 127Studio for Students, 102Summer Arts Academy, 79Summer arts camps, 30Summer Dance Institutes for Educators, 43Summer/Fall/Winter Institutes, 138Summer Music Institute, 48Summer Teacher Forum, 68Suskind Young at Arts, 84–85Sweet Honey in the Rock, 71Sylvania, OH, 125–126Symphony Space, 119–120

Q

R

S

Index continued


Tacoma, WA, 146–147Tacoma School of the Arts, 147Taliesin, 68Tampa, FL, 67–68Tampa Bay Performing Arts Center, 67–68Taper, Mark Forum, 53–54Taylor, Paul Dance Company, 59, 82, 96Taylor 2, 59, 96, 135Teacher Inservices, 50Teacher Liaisons, 85Teacher Services Initiative, 56Teacher Tuesday workshops, 127Teachers. See also Professional development

artist residency checklist, 19–20artist/teacher mentoring program, 36college courses for, 44participating and collaborating in artist

residencies, 14–15teaching artists, 6–7

Teachers’ Circle program, 134, 136Teaching artists. See also Artist residencies

artist/teacher mentoring program, 36master instructional artists, 12Maui Arts & Cultural Center training, 37panel discussion, 6–7

Tennessee Performing Arts Center, 136–138Texas A&M University, 138–139Tharp, Twyla, 121Theater for Peace, 87Theater Vision series, 125Thursday Night Live! series, 62The Tibetan Monks, 69Tilles Center for the Performing Arts,


ToursFree, 100Toward Cultural Interdependence, 4Toyota Alumni Performance Fund, 39TPAC. See Tennessee Performing Arts Center

Troy, NY, 117–118Treisman, Uri, 7TSOTA. See Tacoma School of the ArtsTucson, AZ, 50

UApresents, 50University Musical Society, 90University of Arizona, 50University of California, Berkeley, 31–33University of Iowa, 71–72University of Kansas, 76–77University of Maryland, 85–86University of Pennsylvania, 128–129University of Washington World Series,147–148Urban Arts Program, 95Urban Bush Women, 69Urban Gateways: Center for Arts Education,

73–74Urban Tap, 69

Valeri, Michele, 90Van Wezel Performing Arts Hall, 68–69Ventures in Partnership Program, 103Very Special Arts Festival, 58Vienna, VA, 144–145Vilar Fellowships, 48VIP Program, 103Virginia Arts Festival, 143–144Visual Arts Center, 134Visual Literacy project, 88Von Stade, Frederica, 72

WAC. See Walton Arts CenterWadden, Patrick, 108Walker, Rebecca, 55Wallace, Lila-Reader’s Digest Fund, 45Walton Arts Center, 51–52Wang Center for the Performing Arts,

83, 84–85Warner, Deborah, 108Washington, DC, 148–150Washington Pavilion of Arts and Science,

134–136Washington Performing Arts Society, 148–150Watson, Emily, 108Wee Folk Series, 67Wells, Scott Dance Company, 101Westport, CT, 62–63

Westport Country Playhouse, 62–63What Makes It Great?, 83WOFA!, 69Wolf Trap Early Learning Through the Arts,

30, 137Wolf Trap Foundation for the Performing Arts,

144–145Wolken, Jonathan, 83Woman’s Club of Madisonville, 78–79Women of the Calabash, 120Workshops for Artists, 92World Rhythms, 40World Series, 147–148WorldClass programs, 143WPAS. See Washington Performing Arts

SocietyWright, Frank Lloyd, 68Writer-in-Residency program, 107

YBCA. See Yerba Buena Center for the ArtsYerba Buena Center for the Arts, 61–62Ying Quartet, 72, 101Young Actor’s Training Program, 52Young Apprenticeship Program, 48Young Artists at Work, 61Young Ensembles Program, 112Young Musicians Program, 112Young Playwrights Festival, 107Young Writers Competition, 55Youth Chorale, 81Youth Fellowship Program, 48

Zukerman, Pinchas, 129

Y

Z

U

V

W

T


Notes

Cover photo credits:

Clay Center for the Arts & Sciences:Alvin Ailey II Dance CompanyChoreographer's Master Class, April 2003Photo by Michael Keller

Wolf Trap Foundation: Wolf Trap Institute teaching artist, Joe Pipik, with early learner Photo by Scott Suchman

Flynn Center:Students in the Jazz Combo Workshop performance in FlynnSpacePhoto by Jack Rowell

New York State Theatre Institute (NYSTI): The Lion [Joel Aroeste] and Dorothy [Shannon Rafferty] in NYSTI’s production of The Wizard of OzPhoto by Timothy H. Raab

1

2

3

4

1

2

3

4

DESIGN: QUADRANT COMMUNICATIONS CO., INC., NEW YORK CITYPRINTING: COLOR GRAPHICS & COMMUNICATIONS, INC., NEW YORK CITY

THEDANAFOUNDATION745 Fifth Avenue, Suite 900

New York, NY 10151

The Role of Performing Art Centers in Education - Issue Lab

Documents

Transcript of The Role of Performing Art Centers in Education - Issue Lab