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  • Shortage of teachers and classrooms slows expansion of arts education in Los Angeles and beyond

    Shortage of teachers and classrooms slows expansion of arts education in Los Angeles and beyond


    EdSource file photo courtesy of Oakland School for the Arts

    Raising the curtain on California’s landmark arts education initiative, funded by voter approval of Proposition 28 two years ago, has been a highly complex endeavor marked by a lack of arts educators, classroom space and free time in school schedules, according to a new report.

    These challenges are among the key issues schools must address to make Proposition 28’s ambitious vision of arts education a reality, according to a new report studying the impact of the groundbreaking statewide initiative on schools in the Los Angeles area. Passed by voters in 2022 by a wide margin, the measure sets aside roughly $1 billion a year toward TK-12 arts education programs statewide.

    “Given the historic nature of this investment in arts education, all eyes are on California and our schools, and so we want to make sure that we get it right,” said Ricky Abilez, director of policy and advocacy at Arts for LA, the arts advocacy organization that commissioned the report. “I also know that there are a lot of really tough challenges that schools are facing on the ground.”

    Accountability is among the most critical issues in building trust with families, according to this analysis, which focuses on 10 Los Angeles school districts. The report recommends creating a statewide oversight and advisory committee of administrators, teachers, families and community partners to make sure that arts education funds are properly spent. It also calls for subsidizing teacher credential programs to combat the teacher shortage.

    “We hear these resounding calls for transparency from our community members, but many district arts leaders also share those same interests and concerns,” said Lindsey Kunisaki, the Laura Zucker fellow for policy and research, who wrote the report. “They wanted to make sure that they’re putting their best foot forward with Prop 28 implementation, but they also had questions about their peers and neighboring districts and wanted to make sure that ultimately everyone is doing their best work and using these funds responsibly.”

    The need to build bridges between schools, communities and families is part of what drives that recommendation. Roughly 66% of respondents to the survey were uncertain whether Proposition 28 was being implemented in their school, according to the report.

    “One of the central insights of the report is the link between confidence in Prop 28’s success and public involvement,” said Kunisaki, a research and evaluation specialist at the UCLA School of the Arts and Architecture’s visual and performing arts education program. “Respondents expressed less skepticism when they believed their communities were actively involved.”

    Arts education in schools can help foster a sense of social connection that has frayed in the wake of the pandemic, many experts suggest. The rub is that many community members express passion for arts education (89%) but have not yet gotten involved with their schools for a variety of reasons. Only 20% of respondents have been actively involved. 

    Districts with vibrant arts advisory councils make it easy to participate, Kunisaki notes, but other paths also exist.

    “If it isn’t clear how to get involved,” said Kunisaki, “then even just showing up at a school board meeting, getting to know the school site leaders, principals, that could be a great way to start the conversation.”

    Proposition 28 represents an attempt to bring arts education back into California schools after many decades of budget cuts eliminated many such programs. Before this influx of funding, only 11% of California schools offered comprehensive arts education, research suggests. Wealthier schools were far more likely to be able to fundraise enough to foot the bill for arts education.

    Spearheaded by former Los Angeles Unified School District (LAUSD) Superintendent Austin Beutner, the measure is an attempt to give all students access to the arts, which has long been associated with everything from higher test scores to greater social-emotional learning.

    All the money must go to arts education, but that is very broadly defined. The disciplines include, but are not limited to, dance, media arts, music, theater and such visual arts as folk art, painting, sculpture, photography and animation. Film and video pursuits are also encouraged, from script writing to costume design. Each school community is invited to design the program to meet the needs of its students.

    The report also notes that some districts are falling behind others. While some districts quickly launched new arts ed programs, from music to dance, others are still in the planning phase, according to the report. Districts with preexisting arts councils and strategic arts plans have the upper hand. Proposition 28 funds are allocated based on enrollment, so larger schools get more money. Also, schools with more low-income students receive extra money.

    Uncertainty and confusion about the rules, heightened by a lack of clarity from the California Department of Education (CDE) on spending, have significantly complicated this process, the report suggests. 

    “One of the recommendations that I heard was basically for CDE to take more of a central leadership role,” said Kunisaki, “especially when it comes to oversight and accountability.”

    The long-standing teacher shortage also remains a critical obstacle. In 2022-23, California schools employed about 11,113 full-time arts teachers, primarily teaching music and visual arts. Another new Proposition 28 report, commissioned by the Hewlett Foundation’s Performing Arts Program and conducted by SRI Education, concluded that California must increase the arts teacher workforce by roughly 5,457 teachers to meet the new demand. Many experts estimate a much higher number.

    The need for greater transparency in the rollout of Proposition 28 is another key concern. At the core of Proposition 28 is the rule that funds are designed to supplement, and not supplant, existing funding, which means that you can’t use the new money to pay for old programs. Nevertheless, there have been reports of districts using the funds to pay for existing programs. Amid these allegations, State Superintendent Tony Thurmond issued a letter reminding superintendents of the law’s requirements.

    One potential fix, the study suggests, would be a statewide oversight committee charged with monitoring the rollout and settling disputes on key issues. 

    “There’s a real need for CDE to step in here, to create a more formal advisory and oversight committee, and most importantly, to include practitioners,” said Kunisaki.

    “That’s administrators at the district level, at the school site level, teachers, parents and guardians, families, students and community partners, because we know how important community involvement is.” 

    CDE has provided guidance in FAQs and webinars to help districts navigate the rules. Thurmond has also established a new task force to clarify the issues facing the field. It remains unclear whether the task force will provide the depth of oversight that many experts suggest is needed.

    “The California Department of Education commends the districts represented in this report who have approached Prop 28 implementation with urgency, care, and a commitment to expanding all students’ access to arts education,” said Elizabeth Sanders, spokesperson for the department. “Especially as California’s local educational agencies are still in the beginning of this implementation process, CDE will continue to provide guidance and technical assistance to support effective and robust implementation.”

    Beutner, the former LAUSD Superintendent who authored Proposition 28, is also calling on the department to hold districts accountable for how they spend the money. 

    “CDE needs to provide more leadership on the proper implementation of Prop 28,” said Beutner. “They’re understaffed to handle the implementation of a new law like this, but some of the confusion and misinterpretation that is happening is because CDE hasn’t been on top of this. CDE should be pursuing public enforcement action now against school districts that are alleged to have violated the law.”





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  • Why isn’t Los Angeles Unified settling this lawsuit on arts funding?

    Why isn’t Los Angeles Unified settling this lawsuit on arts funding?


    Credit: Allison Shelley for American Education

    My time on the high school football field was spent with a snare drum strapped around my chest. As a student who was easily distracted in the academic classroom and struggled to apply myself, band class was a welcome reprieve during the day.

    Playing the drums was my niche, it was how I stood out. I carried my drumsticks around the way football players wore their varsity jackets.

    During my school years, I was fortunate that the district I attended recognized the importance of arts education. In elementary school, there were classrooms devoted to art and music staffed by full-time teachers. There was also an orchestra teacher. My middle school had two full-time band teachers, and an art class was included in the curriculum. High school offered a full range of band and choir classes in addition to the chance to participate in the jazz band and marching band in after-school programs.

    Even back then, it was clear that future students would not have these same opportunities. The program that allowed interested sixth-grade students to participate in a stage production disappeared while I was in school, a victim of budget cuts as the baby boom turned into a bust. During my time in high school, there were constant rumors of plans to reduce the number of band teachers.

    This reduction in the availability of arts education was part of a nationwide trend that accelerated as the second Bush administration and then Obama’s placed an increasing focus on test scores. Ignoring evidence that music and art help increase academic performance, teachers were forced to spend more time teaching to standardized tests. Arts funding was seen as extravagant in a system that values data over a full educational experience.

    When I visited my old elementary school in 2015, the band room did not even exist anymore. I grieved for the school’s students who no longer had the opportunity to find the joy of mastering an instrument.

    California voters understood the magnitude of this loss when 64.4% of voters opted to approve Proposition 28 in 2022. This measure provided an additional source of funding for arts and music education for K-12 public schools with rules to ensure that districts used this money to supplement, not supplant, existing funding.

    This included a requirement that schools with 500 or more students use 80% of the funding for employing teachers and 20% for training and materials.

    Complaints grew as parents in Los Angeles noticed that their children were not seeing improved access to art and music funding as the Proposition 28 money started to flow into the district. As the author of the proposition, Austin Beuttner was well acquainted with the rules it set in place and agreed that the Los Angeles Unified School District (LAUSD) was not following the spirit or the letter of the law.

    After months of trying to get the district to do the right thing, Beuttner joined parents, students,and teachers in filing a lawsuit against the district and current Superintendent Alberto M. Carvalho.

    The suit could have served as a wake-up call to LAUSD’s leadership that their actions were being watched, but they did not use it as an opportunity to ensure the Proposition 28 money was being spent properly. Carvalho saw the suit as a public relations problem, and instead of fixing the compliance issues, he tried to spin the narrative. As noted by the plaintiffs’ lawyer, Jeff Chemerinsky, he “has already decided to double down on explanations not grounded in fact.”

    To resolve this issue, the plaintiffs are demanding that LAUSD:

    • Publicly acknowledge that it misspent the Proposition 28 funds in the 2023–24 and 2024–25 school years.
    • Fully restore the misspent and misallocated funding to schools.
    • Be fully transparent about how the funding is used in future years.

    In a letter to the LAUSD’s general counsel, Chemerinsky reminds the district that, if it is found that the funds were not used properly, it will have to return the money to the state. Combined with possible penalties for “violating the civil rights of hundreds of thousands of Black and Latino students,” LAUSD could be facing a hit to its budget of over $100 million.

    This is not a slip-and-fall lawsuit designed to squeeze scarce education funding from our children’s classrooms. Rather, it is intended to improve the educational experience of our students.

    The suit would not have been brought if Carvahlo and the district had engaged with the community instead of ignoring their concerns. As Chermerinsky notes, “families, labor partners and concerned citizens spent months seeking answers. Regrettably, LAUSD refused to meaningfully respond.”

    The lawsuit has also attracted the attention of California Assemblymember Isaac Bryan, who has asked the state auditor to look into how the funds were spent.

    If the audit proceeds, Bryan says, “The district is going to have to produce the necessary documents to show that they are in compliance.” Based on statements from Carvalho saying the author of the proposition has a “misunderstanding of the law,” LAUSD should be concerned that its creative budgeting will not pass muster when held up to scrutiny.

    The LAUSD board must make it clear to Carvahlo that the concerns of their constituents can no longer be ignored by an increasingly detached bureaucracy. A good place to start would be by settling this lawsuit.

    •••

    Carl Petersen is a parent advocate for public education, particularly for students with special education needs, and serves as the education chair for the Northridge East Neighborhood Council. Read more opinion pieces by Petersen.

    The opinions expressed in this commentary represent those of the author. EdSource welcomes commentaries representing diverse points of view. If you would like to submit a commentary, please review our guidelines and contact us.





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  • At LA’s Homeboy Art Academy, arts education saves lives

    At LA’s Homeboy Art Academy, arts education saves lives


    Fabian Debora uses art as a tool for gang prevention at Homeboy Art Academy in LA.

    Credit: Courtesy of Fabian Debora

    As a restless eighth grader at Dolores Mission Catholic School in Los Angeles, Fabian Debora often drew pictures at his desk. One day the teacher confiscated his artwork and ripped it up in front of the whole class. Debora, who cherishes his drawing, felt betrayed. He lost his temper, threw a desk at the teacher and got expelled.

    The incident led to an epiphany. Debora was summoned before Father Greg Boyle, the beloved parish priest who runs Homeboy Industries, a renowned gang intervention program in East Los Angeles. Instead of chastising him, Boyle asked Debora to draw him something and later persuaded his probation officer to let him work as an apprentice to Wayne Healy, a pioneer in the city’s Chicano mural movement. Art became his lifeline.

    “I realized that I’m an artist,” said the soft spoken Debora, 49. “I discovered it young enough to know that this is something that belonged to me, and no one’s gonna take that from me. And I held onto it.”

    That drive led him to co-found Homeboy Art Academy, a group that uses arts education to empower formerly gang-involved and incarcerated youth.

    “Man, as a formerly incarcerated, gang-involved individual, there aren’t many spaces for me,” he said. “I don’t have the means to go join an art school of some sort. So I’ll have to create a space where these kids can come and all services are free.” 

    A mural titled “The Power of the Woman,” by Fabian Debora.
    Credit: Courtesy of Fabian Debora

    Part sanctuary, part vocational training center and part studio, the academy resists the notion that art is a precious and rarified pursuit for the elite. Here art is raw and real. You learn to paint your truth, to be unblinking about what you see, but also to feel the freedom of a blank canvas.

    “They are the absolute best, completely authentic, devoted to helping people,” said Diane Luby Lane, founder of the poetry education group, Get Lit. “Fabian teaches people to be artists. He respects and utilizes real life experiences and perspectives.”

    The recipient of the prestigious National Endowment of the Arts Heritage Fellowship, Debora believes art has the power to change lives. In addition to working as an artist, he is also a teacher and mentor to others seeking to find purpose through art.

    “Let’s flip arts education on its head,” said Debora, as he walked around his studio at the art academy. “Let’s take the language and the vocabulary of the arts and tailor it to the lived experiences of this population while introducing relevant information such as in hip hop and street art.” 

    Born in El Paso, Texas, Debora first discovered art as a little boy weathering a tumultuous childhood in Boyle Heights, which he describes as  “one of the roughest projects east of the Mississippi.” The tension bled into his family life, he said. He remembers hiding when his parents fought. 

    “I used to blame myself,” he recalled wistfully. “I would go and hide under a coffee table, and I would start to sketch, and I would just create my own world to escape my reality. That’s when I found art to be more than just a gift. It was almost like a big brother who held me.”

    Violence was embedded in the ecosystem he grew up in, with eight gangs jostling for supremacy and few safe spaces from crime and addiction. By 12, he joined a gang, began to deal drugs and got addicted to them.  He wrestled with substance abuse for years before trying to commit suicide at 30, by running across the freeway. That’s when he found his spiritual center and his salvation, his cause. 

    Now he tries to bring the succor of art to young people who feel hopeless to shape their own destiny. 

    Artist Fabian Debora teaches the art of painting, graffiti and street murals to students at LA’s Homeboy Academy.
    Credit: Courtesy of Homeboy Academy

    “Art is a vehicle for healing, art is motivating,” says Debora. “It gives you a sense of breathing room, you’re escaping from your realities, as you’re creating. You feel inspired when you realize what beautiful work of art has come out of this. It opens up senses in the brain that haven’t been tapped into.” ​​

    While Debora specializes in visual art, the academy also offers classes in everything from creative writing and photography, to coding and poetry. He takes on those who believe they have nothing to lose. That’s who he used to be.

    “I want the kids who are hanging out in the basketball court smoking weed all day, kids who are overlooked,” he says, lingering in front of the academy’s altar to indigenous gods. “If you’re gang related and struggling with a drug problem, if you’ve been incarcerated, that’s what qualifies you for this program.”

    The impact of Debora’s work resonates throughout the Los Angeles arts community. It’s been a formidable example of how creativity can transform the arc of a person’s life. 

    “It’s astounding what they do at Homeboy,” says Austin Beutner, former LAUSD Superintendent and author of the arts education mandate, Prop. 28. “It’s hard work but they save lives, one by one. It shows you the power of art. You can be 8 or 28 and the arts can change your life.” 

    As a young man in ‘80s Los Angeles, Debora responded to the siren song of hip-hop music and graffiti art, the vibrancy of youth culture. The murals became portals to often forgotten Chicano history and culture.

    A portrait of the Madonna by Fabian Debora.
    credit: Fabian Debora

    The ancient meets the now in this audacious body of work, from graffiti to fine art. Debora delights in juxtaposing the eye of the masters with a modern urban vibe. Some of his most well-known paintings are fashioned after the manner of Italian master Caravaggio but rooted in the grit of Boyle Heights, such as a portrait of a girl from the barrio striking the pose of the Madonna. He’s now working on a project that deconstructs the Sistine Chapel.

    “We are reclaiming the universal language of art,” he said.

    Troubled souls often find solace in the universality of dark feelings, the way a painting from the Renaissance can capture how we feel today. That is the power of art as activism.

    “Carravagio was also an outcast,” he said. “He was a thug, a killer, a murderer yet he found his spirituality through art.”

    Debora uses art like a scalpel to cut away the layers of posturing and pretense that many of his students protect themselves with. He uses art to get at the truths they try to hide, even from themselves.

    “The work of Homeboy Art Academy is transformational in providing youth a pathway, learning how to take ownership of their own stories, which are often negated by others who deem themselves more powerful,” says Merryl Goldberg, a veteran music and arts professor at Cal State San Marcos. “Lifting up voices at risk of being suppressed could not be more fundamental to a just and compassionate society.” 

    Art opens a window to another life, Deborah says. In addition to his work at the academy, he also teaches drawing to inmates at Tehachapi state prison. He cherishes his work with “the lifers,” because they need the solace of art the most. 

    “People need to be seen, they need to be heard,” he said. “It’s a sense of hope. When we come in, we paint windows on those ceiling walls so they can escape for the time being.”





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  • Lawsuit charges misuse of arts education funding at LAUSD schools

    Lawsuit charges misuse of arts education funding at LAUSD schools


    EdSource file photo courtesy of Oakland School for the Arts

    Este artículo está disponible en Español. Léelo en español.

    Vicky Martinez feels cheated that her children haven’t had much exposure to the arts at their Los Angeles Unified (LAUSD) schools despite state funding through Proposition 28, the state’s landmark arts education mandate. She believes access to the arts could help them cope with their anxiety and ADHD, conditions that have spiked post-pandemic. 

    “I had more arts than my kids do,” said Martinez, mother of three LAUSD students in the Highland Park area. “That’s not right. It makes me angry that our kids are being denied the arts when there’s been so much research about how it keeps kids engaged in school. We should be making progress, and instead we are lagging behind.” 

    Many parents share her outrage. The families of eight students, including Martinez’s three sons, 12, 15 and 17, and the author of the arts proposition have joined forces to file a lawsuit against Los Angeles Unified School District, the nation’s second-largest school district, and its superintendent, Alberto Carvalho. The lawsuit, filed Monday afternoon in Los Angeles County Superior Court, alleges misuse of funds as well as misleading the public in its rollout of Proposition 28 that sets aside roughly $1 billion a year statewide for arts education. 

    “LAUSD has willfully and knowingly violated the law,” said former LAUSD Superintendent Austin Beutner, who authored the proposition, “and as a consequence, is harming hundreds of thousands of students by depriving them of the arts education that they are entitled to under law.”

    The suit also claims that LAUSD’s mismanagement of Proposition 28 funds, particularly at low-income schools , has disproportionately impacted Black and Latino students, deepening inequity. The thrust of the law, says Beutner, is that all students, not just privileged ones, deserve access to the arts.

    “We have not received notice, nor have we been served with any lawsuit regarding Prop 28,” an LAUSD spokesperson said in a statement to EdSource. “That said, we have sought to clarify any misunderstandings regarding Prop 28, and we continue to follow implementation guidance as provided by the state of California to ensure that we are fully complying with the requirements of Prop 28.”

    The suit is the latest push for accountability on arts education funding. Beutner and a group of major unions, including UTLA, the local teachers union, SEIU Local 99 and Teamsters 572, wrote a letter to education officials last year demanding the state hold districts responsible for their spending. LAUSD was allotted roughly $77 million for arts education in the 2023-24 school year. 

    The unions are helping pay for the lawsuit, which comes at a time when the district is already facing mounting scrutiny over its handling of three large cyberattacks exposing sensitive student information and the appropriateness of its response to recent catastrophic fires.

    “LAUSD has done exactly what the law prohibits,” the suit argues; “it has eliminated existing funding sources for existing art teachers, and replaced those funds with Proposition 28 funds, thereby violating the requirement that the funds supplement rather than supplant existing sources.  Moreover, LAUSD has made no meaningful effort to recruit or hire new art teachers as required by the law.” 

    Given extensive research that arts education has key academic and social benefits, the law was designed to hire new arts teachers, and most schools are required to spend at least 80% of funds on staff. The plaintiffs allege that the district has been willfully misinterpreting the law and misleading families and teachers. 

    “Bottom line, there’s been rampant misuse of the funds,” Beutner said, “and the guidance and oversight has been insufficient.” 

    In an Aug. 15, 2024, memo to the board, Carvalho acknowledged spending new Proposition 28 money to pay for existing staff, which is not allowed. 

    “Given historic staffing challenges in filling Arts educator roles and because 80% of Prop 28 must be spent on labor, the District prioritized the use of Prop 28 funds to cover existing staff as well as hire new staff.” 

    The district argues that the law only requires an increase in arts funding for the district as a whole. 

    “The law requires that non-Prop. 28 arts expenditures at the district level are higher than previous years and does not factor in differences in spending at a school site level,” according to an LAUSD fact sheet.

    Beutner has long objected to this interpretation. The law requires that every school to increase its arts offerings, he maintains, so that all students have access.

    Cecily Myart-Cruz, the president of UTLA, the union representing about 35,000 LAUSD educators, claims the district has not been honest about its use of Prop 28 funds.

    “The superintendent pulling out a bulletin saying, ‘Oops, my bad,’ doesn’t work,” Myart-Cruz said. “If you have arts in school, you will change lives. … And so, I’m exasperated by the district’s lack of response and responsibility to providing arts educators for our babies and the communities in which we serve.”

    To be sure, similar issues have arisen across the state. Facing budget woes, some schools have used creative bookkeeping maneuvers to pay existing staff with the new funds, instead of actually adding arts teachers, experts warn. 

    “The temptation to redirect these funds can arise when schools face financial pressures in other areas,” said Allison Gamlen, visual and performing arts coordinator for the San Mateo County Office of Education. “This is a clear violation of the intent of the proposition and, unfortunately, not an isolated incident.”

    However, many other districts across the state, from Pacifica to Long Beach, have successfully used the proposition funds to build robust new arts ed programs, experts note.

    That disparity explains why many parents and teachers have been calling for greater transparency in how schools use the arts money, which landed in schools in February 2024. 

    “We want real support for the hiring of folks who can provide arts instruction, and I think that this is the righteous thing. This is the legal thing,” said Nicolle Fefferman, a veteran LAUSD teacher, who also co-founded the Parents Supporting Teachers advocacy group. “Who does this money serve sitting in a district bank account?”

    Families want a seat at the table. 

    “At many schools, there was no conversation about Prop. 28,” said Martinez. “Parents had no input.” 

    Make no mistake, the impact of any misspent funds on families can be severe. Martinez said that her 15-year-old son, going by the alias Julian in the suit, suffers from severe anxiety and feelings of despair, conditions she believes could be alleviated by the therapeutic influence of the arts. When her oldest son got his hands on a guitar, she says, he started to thrive. 

    “Arts improves learning, especially for low-income students,” said Martinez. “We are hurting them by not providing it.”

    Another plaintiff’s mother, going by the alias April T.,  says her son, going by Lucas, 9, only gets one hour a week of art class, the same as before Proposition 28. She says she pays for private music classes because none are available through LAUSD.

    Accountability is among the most critical issues facing the Proposition 28 rollout, according to a recent report by Arts for LA, a key arts advocacy organization. 

    “Teachers, parents and students should know whether, how, and when Prop 28 decisions are being made,” said Lindsey Kunisaki, who wrote the report. “They’ll be the ones to directly experience the impact of those Prop 28 decisions in practice, and moreover, they’re the experts in the realities of their own classrooms and communities.”

    Carvalho’s August memo also acknowledges that the district did not “consult with school communities specifically about Prop 28 Arts funding,” but will encourage principals to solicit feedback going forward.

    Many experts recommend an independent oversight committee of administrators, teachers, families and community partners to make sure that arts education funds are properly spent. Some may assume that county offices of education provide oversight, but that is not within their purview, experts say.

    Arts education advocates have long urged the California Department of Education (CDE), which is administering the new funding, to step up enforcement of the rules. Many have complained that the department has not provided enough guidance to schools already struggling with myriad post-pandemic issues.

    “The structure of the proposition did not include any provision to ensure adequate CDE staffing to address questions and the overall confusion that has been a common thread,” said Allison Cagley, executive director of Friends of Sacramento Arts, an advocacy group. “There was no one or two people at CDE that could adequately address the questions.”

    CDE officials could not be immediately reached for comment. 

    Amid the controversy, many parents are anxious to see Proposition 28 funds put to good use to spark engagement at a time of chronic absenteeism and widespread disaffection at schools. 

    “This is an investment in our kids,” Martinez said. “Our kids deserve this. We all agreed on this. The state of California voted for this. So why aren’t we doing it?”





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  • Madera drama teacher sees the arts as a gateway to improving literacy skills

    Madera drama teacher sees the arts as a gateway to improving literacy skills


    Students in Julian Ramos’ drama class in Madera.

    Credit: Courtesy of Julian Ramos

    A few years ago, when Julian Ramos first started teaching drama, he was hoping to explore Greek tragedy with his sixth graders. Then he realized only three out of his 30 students were reading at grade level. So, Sophocles was off the table.

    A practical soul, he pivoted to “The Country Mouse and the City Mouse,” a charming fable popular with his second graders. The sixth graders loved it too, but Ramos still worries about their reading skills.

    “Reading has become a chore for a lot of students,” said Ramos, a former English teacher who now specializes in dramatic literature at Pershing Elementary, a TK-6 school in Madera Unified, just northwest of Fresno in the San Joaquin Valley. “I’m currently struggling with how I can use my time wisely, productively and efficiently, as a drama class, but also to reinforce and enhance their literacy skills.”

    In an age of widely declining literacy rates, Ramos, who grew up in Madera, realized that he has to meet the students where they are. Like many experts, he blames a confluence of factors, including excessive screen time and pandemic disruptions, for the fact that many students struggle to concentrate long enough to read deeply. One thing he doesn’t do is blame the kids.

    “I myself have fallen victim to it,” he admits with characteristic candor. My whole life I have been a reader, but I’m not reading like I used to either. I find myself scrolling. So I can relate to the kids.”

    Ramos, who studied with the celebrated Cajun playwright Anne Galjour (“Hurricane/Mauvais Temps”) at San Francisco State University, sees drama as a spark to fuel literacy. He hopes to parlay his students’ excitement about storytelling, their insatiable need to spill the tea, into a love of language. 

    “How can I use drama to familiarize them with language, with words, with communication?” he said, given that they are growing up in a texting culture that often eschews words and leans on emojis so hard that it’s “basically like hieroglyphics.” “Drama helps students to understand what motivates characters, and how those motivations can be expressed through written language.”

    Students in Julian Ramos’ drama class in Madera.
    Credit: Courtesy of Julian Ramos

    That’s why he’s so grateful that Proposition 28, the groundbreaking arts mandate, has allowed every Madera school to hire more arts teachers, expanding its music and drama programs substantially.

    “It is important to expose children to the arts because they all have a voice and a story to tell and, without encouragement, many of those voices and stories go silent or become stifled,” said Ramos. “Many of those voices are made to believe what they have to say does not matter.”

    While teaching full-time, Ramos is also pursuing his credential through Cal State East Bay’s new online dance and theater program, which launched in 2021, making it the first CSU to offer those credentials just as Proposition 28 kicked into high gear, creating thousands of new arts teaching jobs at California schools. It’s now the largest such program in the state, with students logging on from San Francisco to Los Angeles, not to mention the state’s geographical center, Madera.

    Initially, many faculty members were skeptical of the efficacy of an online program, but it has proved to be quite popular, particularly with students who have competing responsibilities, such as jobs and children, like Ramos. 

    “The largest obstacle faced was a division in the faculty about whether teacher education could be taught in an online modality,” said Eric Engdahl, professor emeritus in the department of teacher education at CSUEB, who designed the program. “In the opinion of some, not all, teaching is an in-person profession and therefore needs all in-person instruction. However, online learning is what students want.”

    If not for Engdahl’s prescience, pushing through an online program before the pandemic made such initiatives the norm, it would be even harder for districts like Madera to recruit arts teachers amid a statewide staffing shortage. 

    “I hope for a better hiring season this year, but local options look bleak,” said Brandon Gilles, director of arts education for Madera Unified School District, who has come to rely on the CSU East Bay training program to expand its arts initiatives. “The greatest challenge facing arts education in Madera Unified presently is hiring highly qualified teachers.”

    One ongoing obstacle is the need to further expand the arts credential pipeline, which has withered amid decades of cutbacks. While 64 programs in the state offer a music credential and 57 offer a visual arts credential, right now fewer than two dozen focus on theater and dance. That’s not nearly enough to feed the need created by Proposition 28, which means Engdahl’s students are quite sought after.

    “For the past few years, CSU East Bay has been an important program for training credentialed teachers,” said Gilles. “Many of our recent hires have benefited from their internship program, which allows credential candidates to start working while going to school instead of the traditional student teaching route. … CSUEB remains one of the only stable channels in this time of high demand.”

    Despite the ongoing teacher crunch, there are several ways to work around the shortage. For example, physical education teachers who were credentialed before 2022 may already have dance embedded in their credential, experts say. The same is true for English teachers with a theater credential. Prospective arts educators with sufficient college credits in their discipline can also apply for supplemental authorization to teach instead of getting a full credential. Also, school districts that don’t have enough money to hire a full-time arts teacher of their own, experts say, may also qualify for a waiver to partner with a nonprofit arts provider instead.

    Despite the growing pains of implementing Proposition 28, from finding teachers to navigating the complex spending rules, Engdahl is hopeful that, as the new arts mandate rolls out, more districts will realize what a powerful tool art is for uplifting a generation shaped by the pandemic. 

    Students in Julian Ramos’ drama class in Madera.
    Credit: Courtesy of Julian Ramos

    “Proposition 28 will improve education in California, and it will increase our national standing,” said Engdahl. “One of the things I hope happens is not just a greater understanding of the arts, but that the arts are taught in a much broader and more inclusive and creative and physical way. I’m hoping that, as the arts become more normalized in schooling, we convey the idea of being a lifelong learner, that learning is fun.”

    While some argue that the arts are a nicety and not a core element of education, many educators point to its ability to increase focus and concentration in the classroom, qualities which help students better understand all subjects, from reading and writing to math. Students can also learn life skills such as conflict resolution and social-emotional learning.

    “Theatre engagement brings kids into the present moment and helps silence any chaos outside the rehearsal room, encouraging self-reflection and positive connections,” said Michele Hillen-Noufer, executive director of NorCal Arts, an arts education initiative that uses theater to help prevent violence. “As kids create and develop a character, they gain insight into other perspectives.”

    Ramos particularly enjoys watching children let go of their fears, including the social anxiety that bedevils many children today, and come together with their peers to “create something beautiful.” They grow their creativity and their confidence day by day, he says.

    “Many students enter the library, my classroom, and ask me if they can “act” that day,” said Ramos. “I have seen my students grow comfortable in being silly or serious in front of their peers and embrace new challenges and creative endeavors. Students have grown by collaborating with classmates, and are more comfortable in using their body, voice and imagination.” 

    Ramos has long felt a duty to share his love for dramatic art with the next generation. He sees it as a key to unlocking a love of language that opens the door for lifelong self-discovery, the alchemy of finding the right words. He uses everything from puppetry and poetry to pantomime to unleash that drive to create. 

    “These kids are storytellers, and giving them the opportunity to work on and tell those stories is fuel enough to keep wanting to provide that outlet,” he said.





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