برچسب: arts

  • Jennifer Frey: College Students Are Eager to Engage in the Liberal Arts

    Jennifer Frey: College Students Are Eager to Engage in the Liberal Arts


    Jennifer Frey served as Dean of the University of Tulsa’s Honors College. It required students to read deeply in classic tests and to converse vigorously with each other.

    More than a quarter of the student body signed up for this rigorous class.

    Yet two years after the Honor College opened, it was closed. Its leadrs said that students didn’t want this kind of education, the heavy focus on the liberal arts and the Great Cobversation about the meaning of truth goodness, and beauty. Dean Frey thinks the administrators were wrong.

    She wrote in The New York Times.

    University students, we’re told, are in crisis. Even at our most elite institutions, they have emaciated attention spans. They can’t — or just won’t — read books. They use artificial intelligence to write their essays. They lack resilience and are beset by mental healthcrises. They complain that they can’t speak their minds, hobbled by an oppressive ideological monoculture and censorship regimes. As a philosopher, I am most distressed by reports that students have no appetite to study the traditional liberal arts; they understand their coursework only as a step toward specific careers.

    Over the past two years as the inaugural dean of the University of Tulsa’s Honors College, focused on studying the classic texts of the Western tradition, I’ve seen little evidence of these trends. The curriculum I helped build and teach required students to read thousands of pages of difficult material every semester, decipher historical texts across disciplines and genres and debate ideas vigorously and civilly in small, Socratic seminars. It was tremendously popular among students, who not only do the reading but also engage in rigorous and lively conversations across deep differences in seminars, hallways and dorms. For the past two years, we attracted over a quarter of each freshman class to this reading-heavy, humanities-focused curriculum.

    Our success in Tulsa derives from our old-fashioned approach to liberal learning, which does not attempt to prepare students for any career but equips them to fashion meaningful and deeply fulfilling lives. This classical model of education, found in the work of both Plato and Aristotle, asks students to seek to discover what is true, good and beautiful, and to understand why. It is a truly liberating education because it requires deep and sustained reflection about the ultimate questions of human life. The goal is to achieve a modicum of self-knowledge and wisdom about our own humanity. It certainly captured the hearts and minds of our students.

    Sadly, this education has fared less well with my university’s new administration. After the former president and provost departed this year, the newly installed provost informed me that the Honors College must “go in a different direction.” That meant eliminating the entire dean’s office and associated staff positions as well as many of our distinctive programs and — through increased class sizes — effectively ending our small seminars. (A representative of the university told The Times that while it had “restructured” the Honors College, the university believes that academics and student experiences will “remain the same.”)

    The stated reason for these cuts was to save money — the same reason the University of Tulsa gave in 2019 when it targeted many of the same traditional forms of liberal learning for elimination. Back then, the administration attempted to turn the university into a vocational school. Those efforts largely failed, in part because of lack of student support for the new model.

    Sign up for the Opinion Today newsletter  Get expert analysis of the news and a guide to the big ideas shaping the world every weekday morning. Get it sent to your inbox.

    An unpleasant truth has emerged in Tulsa over the years. It’s not that traditional liberal learning is out of step with student demand. Instead, it’s out of step with the priorities, values and desires of a powerful board of trustees with no apparent commitment to liberal education, and an administrative class that won’t fight for the liberal arts even when it attracts both students and major financial gifts. The tragedy of the contemporary academy is that even when traditional liberal learning clearly wins with students and donors, it loses with those in power.

    For those who do care to see liberal learning thrive on our campuses, the work my colleagues and I did at Tulsa should be a model. How did we do it? We created an intentional community where our students lived in the same dorm and studied the same texts. We shared wisdom, virtue and friendship as our goals. When a university education is truly rooted in the liberal arts, it can cultivate the interior habits of freedom that young people need to live well. Material success alone cannot help a person who lacks the ability to form a clear, informed vision of what is true, good and beautiful. But this vision is something our students both want and need.

    At Tulsa, we invited our students to enter “the great conversation” with some of the most influential thinkers of our inherited intellectual tradition. For their first two years they encountered a set curriculum of texts from Homer to Hannah Arendt. These texts were carefully chosen by an interdisciplinary faculty because they transcend their time and place in two senses: They influenced a broader tradition, and they had the potential to help our students reflect in a sustained way on what it means to be a good human being and citizen. Our seminars were led by faculty members who did not lecture or use secondary sources. Rather, the role of the faculty members was to foster and guide conversations among our students that allowed them to think through these questions for and among themselves.

    ADVERTISEMENT

    SKIP ADVERTISEMENT

    That our students threw themselves into the task of reading and discussing the great works with one another should not shock. When we — students and teachers alike — share wisdom as a common goal, we will want to do the reading, to dispute one another, to exchange ideas and arguments, to propose amendments and to offer our personal insights. Liberal learning occurs in dialogue with those who object to us, who offer a different perspective or experience — who read the same book as we do in a completely different light.

    At the Honors College, we taught our students that wisdom is a distant goal, and that we need to work on ourselves as we try to approach it. We need to cultivate what our college called “the virtues of liberal learning.” For example, we need to cultivate the humility to recognize that we have much to learn from the past and from one another. We need to cultivate a love of truth for its own sake and the courage to speak our minds and to follow the truth wherever it may lead us — even when it leads us into difficult waters where our disagreements are deep and unsettling.

    When students realize their own humanity is at stake in their education, they are deeply invested in it. The problem with liberal education in today’s academy does not lie with our students. The real threat to liberal learning is from an administrative class that is content to offer students far less than their own humanity calls for — and deserves.



    Source link

  • The power of arts education: A conversation with Letty Kraus

    The power of arts education: A conversation with Letty Kraus


    Credit: Allison Shelley for American Education

    Letty Kraus knows her way around the arts ed world. She started teaching dance at the ripe old age of 15, while she was still in high school.

    First she convinced her old middle school to let her teach a dance class for kids after school. Then she started landing jobs at performing arts summer camps. 

    Letty Kraus

    When she grew up and became a history teacher in the early ’90s, there were no history jobs open, so she went back to teaching dance. She has also consulted on educational programs for the California Department of Education.

    Now Kraus uses her passion for the performing arts as director of the California County Superintendents’ statewide arts initiative.

    She recently took some time out to chat with EdSource about the impact and complexities of Proposition 28 and what joys and challenges she sees ahead with this groundbreaking program in arts and music schools.

    When did you first discover the arts?  

    My parents made sure I had private music instruction and dance lessons. In school, musical theater brought music and dance together. I enjoyed harmonizing and discovered that I liked comedic parts since getting a laugh was the ultimate positive feedback. I was always told that I would never be a lead actress or a good enough dancer to go anywhere with a career, but nobody ever questioned my ability to make people laugh, so I made the most of that. 

    How did that arts exposure impact your path in life?

    Participating in theater and dance productions in high school, and later in the community, laid the foundation for becoming a professional adult — not in the arts, but in my career.

    Arts productions taught me everything — discipline and practice, preparation, being reliable and accountable to others, teamwork, empathy and how to navigate through challenging situations. These are the most important values for me in what I do, and they came from the arts. Personally, I relax by attempting to play my piano, and I love to immerse myself in trying to learn watercolor when I have time off. 

    Some people think of dance as an esoteric discipline, but isn’t physical activity critical to keeping kids happy?

    You are absolutely right about kids needing to move. Unfortunately, I think schools tend to gravitate to visual arts and music, but what we are advocating for with school districts is to take an inventory of what they are offering, identify where there are opportunities to expand, and that includes in each arts discipline. So, there is great potential to expand dance programs. However, there is a challenge in that we will need more credentialed dance teachers. There are few programs given that the dance credential, and also the theater credential, was only recently reinstated in California.

    Do you think Proposition 28 can change the way people see the arts?

    My hope for changing the perception of the arts with Prop. 28 is that the public gains a greater understanding of the arts as core curriculum. Arts is not just a loose, creative, fun “activity,” throw out the paint and let the kids play. There is a very serious approach to arts instruction. Allowing kids to experience, explore and study in depth helps them access college, career, and be productive and happy in civic life. Kids need this from TK (transitional kindergarten) all the way through to 12. Arts are fun, and they are serious, and you can have a career in the arts if you choose.

    How did we let the arts get cut from the public schools, and how hard will it be to build it back?

    Well, as we all know, Prop. 13 (passed in 1978) changed everything and produced generations with varying experiences in the arts. Privilege comes into play as well. Some folks have benefited from private lessons. Others have not. Some find their way to the arts in spite of that. Prop. 28 offers a tremendous opportunity to build it back, and one that we know the public supports. But we will have to support our schools and districts to engage in the work and thoughtfully plan for how to grow programs. 

    What should parents know about the new funding coming to their school?

    They should know that the intent of Prop. 28 is that parents are part of the planning process for how to expand programs. They should be helping schools think about what kinds of culturally responsive offerings there should be. Parents and families are important partners.

    What do you think people outside the arts most need to know about how arts ed can touch children’s lives? Perhaps especially now, post-pandemic? 

    With everything that has happened, I can’t think of a more important time for students to have the arts so they can exercise creativity and develop skills that empower them to express themselves in multiple ways, make positive connections and develop agency over their futures.

    As the philosophical foundations of our 2019 arts standards note, arts are part of societal fabric. They are part of our well-being, means of connection, help make creative personal connections, a path for community engagement and also a profession. Essentially, they offer an outlet for student voice.

    Do you worry about the lack of arts educators out there right now? 

    Absolutely, but I know that my colleagues and the state superintendent are all committed to exploring multiple ways to address this problem. If we can be smart about it and leverage the Prop. 28 waiver, which is still in development, this would actually be the least of my Prop. 28 worries right now. We have problems with how the teaching profession is perceived, but hopefully, we have enough people working on this that we will make some gains.

    What is your biggest concern with the rollout? 

    The delay of guidance or absence of guidance around supplement vs. supplant, baseline data, and waivers will have a chilling effect and LEAs (local educational agencies) will have to return funds because they are not clear on the rules. Ultimately, this exacerbates existing inequities in our system related to access to arts education.

    What issues would you like to see addressed by the waiver?

    In my opinion, if the guidance developed was approached thoughtfully by CDE (the California Department of Education), it could offer some flexibility as schools scale up their Prop. 28 implementation efforts. For example, schools may want to add staff to teach the arts but may lack a facility for that. They might propose a short-term waiver of the 80/20 requirement, so they could address that need.
    Also, in some rural settings, there have been arts positions posted that have remained unfilled. If a school cannot hire a credentialed or certificated staff to provide arts education, rather than return the Prop. 28 allocation, that waiver could allow for providers from community arts organizations. The Prop. 28 language says that a waiver could be provided “for good cause.” Good cause should include what is going to bring more arts education to the students that need it the most. 

    What is your mission with the California County Superintendents’ arts initiative?

    The California County Superintendents believe that all California students from every geographic region and at every socioeconomic level deserve in-depth arts learning as part of the core curriculum. The statewide arts initiative works at all levels to strengthen and expand arts education in California public schools and increase student access to sequential, standards-based arts education through a full complement of services utilizing the statewide county office of education infrastructure. One of its key purposes is to build educator capacity.





    Source link

  • Allison Gamlen’s journey from actor to arts educator

    Allison Gamlen’s journey from actor to arts educator


    Allison Gamlen’s drama class forms a power circle.

    Credit: Courtesy of Allison Gamlen

    Allison Gamlen has always believed the show must go on. During the depths of the pandemic, when schools were shuttered and many children were suffering from fear and isolation, the arts educator fought to keep her students engaged. 

    When she realized some kids were turning their cameras off and playing video games during her Zoom drama class, she decided to hold some rehearsals in person, in the park. It was important to her that her students keep learning about the arts, but it was even more important to give them a space to connect. These outdoor rehearsals were entirely optional. Students kept their distance and wore masks, but they still found great comfort in that bond.

    “It was a hard time for the kids, for all of us really,” said Gamlen, visual and performing arts coordinator for the San Mateo County Office of Education. “I just wanted to give them some people to connect with. I could cry right now just talking about how moving it was. We made a community, and I wanted to keep that community intact.”

    Gamlen, a 45-year-old single mother, brings a chipper, can-do attitude to her work, particularly the need to be there for young people amid the escalating youth mental health crisis. Giving children a chance to voice their deepest, darkest feelings is at the core of the therapeutic powers of arts education. That’s a key reason Gamlen and other arts educators are cheering the advent of Proposition 28, which guarantees funding, roughly $1 billion this year, for music and arts education in TK-12. 

    “The need for arts education has never been greater,” said Jill MacLean, the director of American Conservatory Theater’s Young Conservatory. “I’ve witnessed many times over, especially these past few years, the transformative power of even the simplest theater-based experiences can be a lifeline to a child. For those who are struggling with anything from discovering their identity and interests to dealing with trauma – having a medium that celebrates uniqueness and grants permission to be creative while rewarding collaboration and focused effort – is exceptionally beneficial. The very foundation of acting is connecting to another human being, to share stories as a way to find meaning and relationship to others in the world.”

    Like many in the teaching arts field, Gamlen is an educator, but she’s also an artist. She first fell in love with the theater at age 3 when her grandmother took her to a Japanese puppetry version of “Macbeth.” Some little kids might have been intimidated by the Scottish play, but she was entranced.

    “I remember this intense feeling,” she said. “I remember the colors, red and black, and I remember feeling like there was no disconnect between me and the performers. I felt immersed in it, and it was so terrifying and so exciting and so unlike anything I had ever seen. I knew that was for me. That world.”

    She cut her teeth as an actor and dancer. In addition to her work in the schools, she also teaches musical theater at San Francisco’s American Conservatory Theater’s youth conservatory. She also recently appeared in the company’s campy revival of “The Wizard of Oz.”

    In traditional showbiz fashion, she paid her dues waiting tables, auditioning for parts and barely scraping by, until one fateful day in LA, watching her toddler, Anna, flap around the backyard in butterfly wings, tall green boots and a bug antenna. She found herself confronting the reality that she needed a stable income and health insurance to raise her child. Being a starving artist wore out its welcome.

    “I couldn’t even go buy a cup of coffee. I had negative money,” she said, in a typical light-hearted quip about a heavy subject. “There were definitely times I was on food stamps, to be honest with you, for the early part of my life. Diapers alone will kill you.”

    That day, Gamlen decided to move back home with her parents in the Bay Area, go back to school and pursue a teaching credential in arts education. Everything fell into place after that. She considers her current role as visual and performing arts coordinator for San Mateo County to be her dream job.

    “Arts education access is a student right,” she said. “I love getting to work with students, teachers, and school leaders to improve student outcomes through increasing arts equity.”

    That may be one reason Gamlen radiates optimism. While some in arts education circles have focused on the complications of implementing Proposition 28, which will put the arts back into classrooms after decades of cutbacks, she prefers to keep her eye on the upside. For example, there will soon be thousands of new jobs for arts educators, many of whom, like Gamlen, have long struggled to get by as artists. 

    “I am so stoked,” she said.  “I know we’re hearing there’s a lot of questions and challenges, but it’s phenomenal. It’s so fantastic. So I can deal with the waiting. I can deal with the uncertainty.”

    Like most arts educators, she sees her work as an avocation rather than a job. She believes in the power of the arts to elevate the educational experience and many say that commitment shows in her work.

    “She is one of our newest and most active county arts leads and has made a great impression on me,” said Letty Kraus, director of the California County Superintendents’ statewide arts initiative. “She is very energetic and engaged in her work supporting arts education in her county, and very collaborative in her interactions and contributions to our network.”

    She’s also a practical soul, often encouraging students to pursue media arts so they can snag a high-paying Silicon Valley tech job if they want to afford to live in the Bay Area. 

    “What makes Allison stand out, aside from her own skill set and artistry, is her keen interest in providing students with concrete tools they can take with them for their future experiences,” said MacLean.

    There’s certainly a treasure trove of knowledge and nuance to be mined in a comprehensive arts education. Theater classes combine learning the craft of the actor with a deep understanding of how to best interpret the text. Actor training often taps into disciplines as diverse as history, literature and movement in order to make the leap from page to stage. If you are studying a scene from Athol Fugard’s “Master Harold … and the Boys,” for instance, you must take a deep dive into the legacy of colonialism, race and apartheid as well as the art of ballroom dancing.

    “Allison’s knowledge about the process of acting, and her ability to break it down and make it accessible to young actors, is a gift,” said MacLean. “She understands the value of creating scaffolding to build a strong foundation when working with students. From a teaching standpoint, we are only as strong as our ability to effectively communicate the tools of trade.”

    The lessons Gamlen hopes to impart go far beyond acting, however. She also hopes to help create a nurturing environment for a generation of students living through tumultuous times. 

    “It’s our job to create a safe space for them,” she said. “Students in this generation are living through the craziest times I can remember. I was there with them for that spooky orange sky day, and the insurrection and the inauguration too. The arts absolutely can be a place to process those things.”





    Source link

  • On the heels of Proposition 28, California colleges pave new pathways for arts teachers

    On the heels of Proposition 28, California colleges pave new pathways for arts teachers


    Children visit a gallery to learn about bugs by making art projects in Merryl Goldberg’s class at Cal State San Marcos.

    credit: Merryl Goldberg

    Eric Engdahl once ran away to join the circus. Always one with a flair for the dramatic, he became a ringmaster at Circus Flora, a one-ring boutique circus with a Civil War theme. He says the experience, learning to communicate with gymnasts and clowns, elephants and horses, prepared him well for the challenge of being a teacher.  

    “There was no one common language,” said Engdahl, now professor emeritus in the department of teacher education at Cal State East Bay. “So I learned how to build communication, how to tell stories, and that a common goal is essential.”

    Helping students find their creative voice is a key reason Engdahl spearheaded an online credential program in theater and dance at Cal State East Bay in 2021, making it the first CSU to offer those credentials just as Proposition 28 promises to create thousands of new arts teaching jobs at California schools.  Similarly, Cal State San Marcos will soon become the first CSU to create a pathway specifically for undergraduate art majors who wish to teach. Cal State Northridge is poised to launch a dance credential program next spring. Given the anticipated demand for newly minted arts educators in the wake of Proposition 28, the state’s 2022 groundbreaking initiative to bring arts education back into schools, many expect other campuses to follow their lead.

    “I would like to claim that I was prescient about Prop. 28, and while I did a lot of groundwork to get the credentials going, there is always the unexpected, e.g. Covid,” said Engdahl, who wrote his dissertation on the antebellum circus movement in America. “It turned out to be great timing.”

    Merryl Goldberg, a longtime music professor, has long seen arts education as an equity issue. She believes that all students should have access to the arts, not just the privileged ones, particularly because of the well-established links between arts education, academic achievement and social-emotional learning. That’s what inspired her to launch the state’s first undergraduate pathway to arts education at Cal State San Marcos. 

    credit: Albert Rascon

    Musicians jam during Merryl Goldberg’s arts education class at Cal State San Marcos.

    “We have the most wonderful diverse students at CSUSM, who I know will make incredible arts teachers,” said Goldberg, a saxophonist who spent 13 years on the road with the Klezmer Conservatory Band. “It kills me that so many students in California have had a limited arts background, and I’m thrilled this will finally change. The arts truly matter.”

    Engdahl’s students are now reaping the benefits of his fortuitous planning efforts. They are sitting in the catbird seat as many school districts are clamoring to hire arts educators to teach classes funded by the state’s historic mandate to restore arts and music education to California schools. Last year, an LAUSD official visiting his theater credential class offered jobs to all his students. 

    “I regularly get phone calls and emails from people all over the state wanting to recruit my students,” said Engdahl. “Los Angeles, San Francisco, and to some extent, San Diego, the big districts are all aggressively implementing Prop. 28 and hiring people to fill those jobs.”  

    Goldberg is also hearing from school districts eager to hire arts educators. Some are having to recruit out-of-state teachers to fill the slots, she says.

    “This opens up the world to so many students who want to be an art teacher, a music teacher, a dance or theater teacher,” said Goldberg. “It’s especially important for first-generation college students. The majority of our students are first-generation, and many are low-income. They have to work so hard to go to college, and they are beaming with potential to make a difference. They have so much passion.”

    credit: Albert Rascon

    A student in one of Merryl Godberg’s music education classes at Cal State San Marcos.

    One major concern is how best to widen the arts credential pipeline, which has shriveled amid decades of cutbacks, for the next generation of arts ed teachers. While there are 64 programs in the state that offer a music credential and 57 that offer a visual arts credential, only a few focus on theater and dance. That’s not enough to feed a field that has gone from famine to feast, experts say.

    “We know we’re short about 15,000 arts teachers in the state,” said Goldberg. “Most of the CSUs or UCs or even private colleges haven’t been churning out a lot of art and music and dance and theater teachers because there haven’t been a whole lot of jobs. Now, all of a sudden, there’s so many jobs.”

    Despite this arts teacher crunch, there are various workarounds. For instance, physical education teachers who were credentialed before 2022 already have dance embedded in their credential, experts say. The same goes for some English teachers automatically having a theater credential. Prospective arts educators with sufficient college credits in their discipline can also apply for a supplemental authorization to teach instead of getting a credential. 

    It should be noted, however, that not all districts are anxious to raise the curtain on new arts programs. The myriad complexities of the Proposition 28 rollout may have contributed to many smaller and rural districts proceeding cautiously as they expand their arts offerings. 

    “The rural districts are not as well-resourced due to fewer students,” said Letty Kraus, director of the California County Superintendents’ statewide arts initiative, “and it is harder to staff rural schools with credentialed arts teachers due to shortages.” 

    In the wake of the Covid pandemic, many school administrators are also overwhelmed by pressing matters, experts say, from the dearth of teachers to deep learning loss, marked by falling rates of literacy and numeracy. 

    “Elementary principals don’t have time to deal with this,” said Engdahl. “You’re already struggling to hire teachers. You’re looking to fill classrooms, you’re doing a lot of jobs and there’s not enough administrative support.”

    Some districts, having eliminated their arts classes long ago due to budget cuts, are now starting from scratch with no expertise in the arts. They need help to build out a plan for arts education, and some arts advocates note the California Department of Education, which is administering the program, has not been sufficiently responsive regarding the rules of implementation.

    “Many school districts are taking a go-slow approach,” said Engdahl, who is consulting with several districts on how to flesh out their programs. “They want to wait and see how the money flows. They don’t know quite what to do with it because they don’t have enough administrative staff to figure it out.”

    A slow-and-steady approach might make sense, some say, because schools have three years to use the funds. A little extra time also means that more colleges can get in on the act and develop their own arts credential programs to help fill the burgeoning pipeline.

    “You have to take the long view,” Goldberg said. “It’s not a bad idea to hold off and not rush into things. That gives you time to really look at the language of the law. It also gives colleges time to launch new programs to widen the pipeline. My team feels confident our work is 100% replicable among any of the CSUs, private colleges and UCs.”

    Cal State San Marcos plans to welcome its first arts education cohort next fall. Goldberg says there’s been a lot of demand thus far from both arts-focused undergraduates who want to teach their craft and from seasoned teachers interested in transitioning into arts education.

    “We are reaching out to teaching artists who may wish to come back to get a credential, and to in-service teachers who have already or might soon transition to becoming an arts teacher,” she said. “We want to ensure they have the support and training they need. There is an extreme need for new arts teachers and support for transitioning teachers.”

    She also argues that California offers many career opportunities for graduates with arts expertise, from arts education and the entertainment industry to the exploding cybersecurity sector, which has been known to recruit music majors for their ability to construct complex elements into intricate patterns.

    “The amount of jobs relating directly to the arts is crazy,” said Goldberg. “Arts ain’t fluff, they really are a career opportunity. The importance of arts in preparation for careers is giant.”

    For his part, Engdahl is hopeful that as the new arts mandate rolls out, more districts will see that arts education could also be a powerful tool for healing children traumatized by the pandemic. 

    “The arts and arts education, because of the way it’s taught, could really be a wonderful resource for helping students heal from the pandemic and catch up with the developmental and the social skills that they lost,” he said. “I think probably many administrators know that, but it’s just they’re so overwhelmed with what’s going on in the trenches right now.” 





    Source link

  • Merryl Goldberg, a music professor on a mission to spread arts education

    Merryl Goldberg, a music professor on a mission to spread arts education


    credit: the Staff at CISA (Cybersecurity and Infrastructure Agency)

    Merryl Goldberg knows nothing if not how to improvise. The 64-year-old could make music before she could walk. She started beating out rhythms on the bongos as a toddler and never stopped, eventually becoming a saxophonist who toured for 13 years with Boston’s Klezmer Conservatory Band

    During her time on the road, she also moonlighted as a spy of sorts. At 26, she traveled to Russia in 1985 to meet with dissident musicians and hoodwinked the KGB by encrypting secrets in music. Along with her saxophone and sheet music, she packed stacks of spiral-bound notebooks crammed with handwritten notations embedded with hidden information.

    “I came up with a code where different notes equal different letters and when it came to numbers, I would just correlate the numbers to notes in the scale and memorize the tune,” said Goldberg, an arts advocate and veteran music and arts professor at Cal State San Marcos. “When we got into the Soviet Union, they searched everything. With my music, they opened it up and there were some real tunes in there. If you’re not a musician, you wouldn’t know what’s what. They went page by page through everything — and then they handed it back.”

    This kind of audacious inventiveness has become her calling card, colleagues say. She is the sort of woman who makes things happen, in and out of the classroom. 

    She “brings the best of creativity and artistic excellence into her approach to training future educators. Her enthusiasm for teaching and being a lifelong learner is contagious,” said Tom DeCaigny, former executive director of Create CA, an arts advocacy group. “She infuses humor and a knack for storytelling with intellectual rigor resulting in a dynamic classroom.” 

    credit: Albert Rascon

    Merryl Goldberg’s class at CSU San Marcos

    Her cloak-and-dagger drama further reinforced her profound belief in the transformative power of the arts. She has long been a fierce champion for the arts as part of a comprehensive education. 

    “What happened in the big No Child Left Behind push (2001) is that they began only testing for math and reading to the detriment of all the other subjects, which is just horrible,” Goldberg said. “Before that, the disciplines were not so separate, and education was far more comprehensive. In fact, music education was brought on board because the Founding Fathers wanted people to be able to sing hymns. Visual art started because of the Industrial Revolution, they needed people who could draw.”

    Teaching the whole individual, integrating arts and social-emotional learning with academic rigor, is her mission. Indeed, in one of her signature courses, Learning Through the Arts, aspiring teachers learn how to teach reading, math, science and social studies through music, dance, theater, visual and media arts.

    “There’s been such a big myth about the arts as fluff. They’re not. Art changes lives,” Goldberg said. “There is more to learning than facts. You can look up facts. You can’t look up how to be creative, how to improvise, how to innovate. You have to cultivate those skills over time, and the arts teach you that.”

    Raised in Boston in a music-obsessed family, Goldberg is known for her chutzpah and her willingness to get creative to solve problems, such as the lack of arts educators in the state just as Proposition 28, the state’s groundbreaking 2022 arts initiative, ramps up. That’s why she created a new undergraduate pathway for arts teachers at Cal State San Marcos.

    “Merryl Goldberg has a grand vision,” said Alison Yoshimoto-Towery, executive director of the UC/CSU Collaborative for Neuroscience, Diversity, and Learning. “Joy is an integral part to learning, and Merryl embodies this exuberance in her work with teachers, educators, and artists. Her work demonstrates the power of using arts to accelerate acquisition of other content areas such as literacy and language for all students.”

    Goldberg is that rare academic who can build bridges between departments and disciplines at a time when many scholars exist in a silo of their own scholarship.

    “She’s been a mainstay in the arts education field in California for many years,” said Jessica Mele, former program officer specializing in arts education at the Hewlett Foundation, a charitable foundation. “Merryl’s track record and relationships with both the undergraduate programs and the teacher preparation programs were key in making the case. Rarely do these two departments at any given university talk to each other, let alone collaborate in this kind of way. These sets of relationships are rare and valuable, and make her work very impactful, drawing together education decision-makers, teacher trainers, and prospective teachers.”

    While some may associate the arts with an air of elitism, Goldberg is down-to-earth, quick to smile and unassuming, describing herself as a “big goofball.” Oh, and did we mention she’s a big Red Sox fan and also a boxer with a wicked left hook? As you might expect, when she gets in the ring, she finds the tempo in the pugilism. 

    “Merryl has so much going for her,” said Eric Engdahl, professor emeritus at CSU East Bay and past president of the California Council on Teacher Education. “I am impressed by the artful way in which she combines her high-level professional music skills and creativity so unassumingly with her passion for teaching. … I am also impressed with how humbly she is willing to learn from partners and collaborators. She asks questions from a genuine sense of curiosity and wonder.”

    As it happens, her espionage was also rooted in her musical acumen. Goldberg developed a code that looked like musical notation, like melodies, to the untrained eye, when in reality it contained the names and addresses of the dissident musicians known as the Phantom Orchestra. The plan was to meet with, and jam with, these musicians and then smuggle out information about defectors to supporters in the West.

    This proved to be more of an ordeal than Goldberg had anticipated. The KGB (today known as the FSB) remains notorious for the brutality of its intelligence gathering. She remembers being searched exhaustively, with agents going so far as to unwrap her Tampax. She and the other musicians were tailed, interrogated and often terrified, but the ruse seemed to work until one fateful day when the band found itself arrested, surrounded by soldiers toting machine guns.

    “It was scary,” she said. “They locked us up and interrogated us, and they kept us hidden. They took away our passports. They didn’t let us call an embassy or family members or anything. In hindsight, they were probably debating whether they should lock us up for a long time. It was a close call.” 

    The band ended up being summarily deported. They later learned that some of the musicians they met with had been arrested and beaten.

    “That was unimaginable to me,” she said. “It was very hard for me to cope with. The people we met were so heroic. They risked so much to fight for human rights.”

    Goldberg later went back to graduate school at Harvard and majored in education, homing in specifically on the role of arts in learning and cultural exchange. She explores the topic in her book, “Arts Integration: Teaching Subject Matter Through the Arts in Multicultural Settings.”

    The Soviet skullduggery also opened her eyes to the connection between musical notation and all other forms of code, including high-tech coding. To create her code, Goldberg assigned the notes in the chromatic scale, a 12-tone scale that includes semi-tones (sharps and flats), to the letters of the alphabet.

    One takeaway for her is that while the relationship between musical education and math achievement has been fairly well established, far too few music students recognize the connection between the complex patterns inherent to both music composition and computer programming and the employment opportunities it may afford, particularly in the booming cybersecurity sector. 

    Goldberg is also a staunch champion of arts equity, seeing the arts as a vital connection to our shared humanity and not just an extra enjoyed by the privileged. 

    Most of her students at CSU San Marcos are the first in their families to go to college. Many have grown up lacking basics like food. They often juggle long hours at work with school just to make ends meet, all to pursue the enlightenment promised by the arts. She sees this enrichment as a basic right, part of the bedrock of education, alongside literacy and numeracy.

    “The arts are an essential aspect of human development, that is, of knowing and being in the world,” as she puts it, “the arts are fundamental to education.”





    Source link

  • What is arts integration? Q&A with Mike Stone

    What is arts integration? Q&A with Mike Stone


    Credit: Alison Yin for EdSource Today

    Maverick American maestro Leonard Bernstein once said that “a work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.”

    That power to cultivate critical thinking is part of why Bernstein was a champion of arts integration, an innovative approach many educators are exploring these days as a creative way to amplify student learning amid an era of steep learning loss.

    Certainly, Mike Stone, a veteran music teacher who cut his teeth on the baritone horn in the fourth grade, is a devotee of the practice. Coordinator of the visual and performing arts with the Bakersfield City School District, Stone is planning to use Proposition 28 funds, which are slated to arrive in schools in February, to bolster his already robust arts education program with 13 new teachers, all devoted to the benefits of art integration. 

    In arts integration, students meet dual learning objectives when they engage in the creative process to explore connections between an art form and another subject, say history or science, to gain a more nuanced understanding of both. Stone, who plays in the quartet Brass A La Carte and is also the president-elect of the National Association for Music Education, Western Division, recently made time to chat about why arts integration can spark deeper learning.

    Brass A La Carte includes Mike Stone, right, on baritone horn.
    Photophoto credit: Ron Christian

    Q: Can you give me an example of arts integration in a classroom?

    A: An arts-integrated lesson might include students listening to “When Johnny Comes Marching Home,” a Civil War melody. Students would then learn to play the famous melody on a recorder, followed by a writing assignment on the sacrifices of soldiers who fought in the Civil War. In this example, there could be English language arts, history-social science, and music standards all integrated into the lesson.

    Q: How does this kind of cross-pollination enhance learning? 

    A: Integrating arts standards in instruction enhances student learning by connecting the dots, so to speak. When we play an instrument, sing, dance or draw, we experience the learning by doing. My experience as a teacher is that such an approach connects cognitive and social realms of learning as students experience the learning firsthand.

    It provides a synergetic connection that helps students learn across various content disciplines. Teachers have been using the concepts embedded in integration for many years. As the saying goes, we do not learn in a vacuum.

    Q: What are you most excited about with this expansion of arts ed in your district? 

    A: I am truly inspired by the learning I have observed in our classrooms this fall. The district invested in 13 new arts teachers who are inspiring our students daily through dance, media arts, music, theater and visual arts. I think the fact that we are early adopters has given us a chance to create a model arts education program for California and the nation. Our music education program has been strong for years; now, we have the opportunity to build access and excellence in all the arts-dance, media arts, music, theater and visual arts. The sky’s the limit.

    Q: What is the biggest challenge? Reward?

    A: Our biggest challenge will be the recruitment and retention of teachers, since California and the nation are competing for teachers in a market where we have a severe shortage. In fact, with the passage of Proposition 28 in California, I estimate that our state could need over 7,000 credentialed arts teachers over the next year. It will mean that school districts must create arts education jobs where infrastructure, instructional support and scheduling promote a positive work environment where arts learning may thrive. 

    The biggest reward? Knowing that our children are getting a top-notch education that will help them succeed in life.

    Q: Are all 13 new teachers you have coming on board in Bakersfield part of the arts integration theme?

    A: Our teachers teach discrete arts standards, and also work to integrate standards, all while the classroom teacher is in the classroom supporting student learning. There is a collaborative spirit with our arts integration approach. We had training the other day, and the energy in that room was incredible.

    Q: What are you doing to boost teacher retainment?

    A: I’m working hard to make the teaching environment and the experience of these 13 new teachers as positive as possible because I know I won’t retain them unless they like coming to school. I really value that in our district. Retention of teachers is going to be as important as recruitment.

    Q: What’s been the biggest hit with the children so far?

    A: I have been in all of those teachers’ classrooms, and the kids are just loving it, especially visual arts. Middle school kids want to be expressive in a safe environment. What I see with our teachers is that they’re getting that opportunity to be expressive and kind of mellow out from a normal, hectic school day. They get to create at their own pace and follow the teacher’s lessons. That’s been very popular. 

    Q:What’s it like for you, visiting those new classes?

    A: I enjoy visiting our primary classrooms more than any others. Learning is so new to these students, and they are very excited. Their smiles make all the work worth it. I look forward to seeing our young children move through the grade levels over the next few years. I even suspect that our students will do better in school because they are so motivated by their arts teachers. After all, kids who are learning the arts are happy to be at school.





    Source link

  • Ask Me Anything: Join EdSource live on Reddit to discuss arts education

    Ask Me Anything: Join EdSource live on Reddit to discuss arts education


    EdSource reporter Karen D’Souza

    There’s a strong body of research that suggests arts education can boost everything from test scores to social-emotional learning, but when budgets get tight, the arts are often the first thing on the chopping block.

    In California though, that’s about to change following the passage of Proposition 28, which guarantees a new annual funding stream for arts education equal to 1% of the state’s general fund. In 2023, that’s about $1 billion for schools to hire teachers in the arts and fund arts education initiatives.

    Join EdSource reporter Karen D’Souza on Thursday, Dec. 14, at 12:30 p.m. for a Reddit Ask Me Anything (AMA) session. D’Souza will answer your questions about the rollout of Proposition 28 and how California’s groundbreaking arts education initiative compares with how states across the country fund and implement arts education programs. Click here to ask a question.

    EdSource readers are encouraged to submit their questions during the online event.

    • Not a Reddit user? Create an account here.

    What is a Reddit AMA?

    An AMA, which stands for “Ask Me Anything” is a crowdsourced interview. The interviewee begins the process by starting a post describing who they are and what they do. Then commenters from across the internet leave questions and can vote on other questions according to which they would like to see answered.

    The interviewee can go through and reply to the questions they find interesting and easily see those questions the internet is dying to have the answer to. Because the internet is asking the questions, they’re going to be a mix of serious and lighthearted, and interviewees will end up sharing all sorts of things you won’t find in a normal interview.





    Source link

  • Career Technical Education: A pathway for arts educators

    Career Technical Education: A pathway for arts educators


    A teacher shows 12th grade students how to construct a small animal house.

    Credit: Allison Shelley for American Education

    Ina Gutierrez lives for the opera. She has a master’s degree in classical voice as well as a decade of singing and performance under her belt. 

    She tapped into that lifelong passion to teach music and choir to fourth and fifth graders for two years in Kern County using emergency credentials, and she loved every minute of it but had to stop teaching once that credential ran out. 

    She now often works as an adjunct professor at CSU Bakersfield, where she teaches “Music in the Classroom,” a class that shows teachers how to share music with children. Gutierrez feels frustrated that she is qualified to show teachers how to teach but can’t teach actual students. She attempted to get a Career Technical Education credential for music but was told she couldn’t use it for elementary school teaching. That broke her heart.

    “I would love to be teaching children music,” said Gutierrez, a 38-year-old mother of two who lives in Bakersfield. “Art is so important for children to experience, especially music. It is unique because it simultaneously builds independence and community. In a world where children are playing less outside and addicted to screens, having music in schools shouldn’t be a luxury.  It’s vital in building a more compassionate, caring and happy society.”

    While many arts education advocates are championing the use of the CTE credential as the state struggles to attract new staff to teach the arts in the wake of Proposition 28, the state’s historic arts mandate, there’s a big hitch for those who want to teach elementary students. It was originally designed for use at the secondary level because it is employment-oriented. 

    Basically, unless the class has a clear career-based element, like a fifth grade broadcasting class, candidates like Gutierrez might get rejected. Many districts will only greenlight CTE holders to teach middle school, junior high and high school. That’s why some arts education advocates are pushing for reform.

     “The CTC language, unfortunately, is from the Eisenhower era when boys took shop, girls took home economics and nobody thought about ‘jobs’ or ‘careers’ until spring of their senior year in high school,” says Austin Beutner, the former superintendent of Los Angeles Unified School District, who authored Proposition 28. “In today’s world, all of this is career-related, and it starts in elementary school.” 

    Given the state’s teacher shortage and the heightened need for art educators in light of Proposition 28, some are losing patience with the bureaucratic hoops aspiring arts teachers must jump through.

    “It is frustrating to see good, qualified individuals being rejected from teaching due to complex bureaucracy,” said Gutierrez’s husband, Greg, who comes from a long line of teachers. “In order for California to fix the teacher shortage, this problem needs to be addressed. We need a process that is easy for potential teachers to work through.”

    Bob Woods-LaDue, Gutierrez’s brother-in-law, has hit the same obstacle. He was told he had to get his music class reclassified as a technical class to be eligible to use the CTE credential.

     “I can’t help but wonder how many teachers are in an uphill battle that don’t know how to advocate for themselves in the credentialing process, and getting different answers from different people,” Greg said. “It doesn’t seem like an encouraging environment based on his experience thus far and my wife’s similar experience.”

    Beutner, for one, is pushing to have the system streamlined so that there are fewer roadblocks for teachers who are dedicated to bringing the arts into elementary classrooms as well as secondary ones.

    “Change is hard, but it has to happen,” he said. “California schools will need to hire about 15,000 additional arts teachers to fully implement Prop. 28. Half of the teachers will be needed in elementary schools. There are nowhere near enough traditionally credentialed arts teachers to fill that need.”

    Some experts warn that teaching elementary requires a different skill set than secondary. That’s one drawback in widening CTE credential usage, they say. 

    “I am not sure about broadening it,” said Eric Engdahl, professor emeritus at CSU East Bay and past president of the California Council on Teacher Education. “While it could be a stopgap to fill the arts teaching shortage, are the people teaching it with substantial industry experience appropriate to be teaching at an elementary level given the developmental differences in learning?”

    Some working artists may need to bone up on educational best practices before entering the classroom, and Buetner suggests professional development be provided. 

    “A concern some may have is whether a CTE teacher, even with their content mastery, is ready to be in a classroom with third graders,” Beutner said. “A sensible approach would be to build in some guardrails, maybe a CTE teacher in elementary needs to work alongside a grade level teacher for a semester while participating in a certain set of CTE professional development courses.”

    For many, teaching the arts is a dream gig, a way to enrich lives as well as stimulate higher levels of critical thinking in a generation hard hit by pandemic-related learning loss.

    “Music is an amazing way to bring that joy to students, invite creativity to the classroom and build connections between students as well as teacher to student,” said Gutierrez. “It is in an environment like this that students can and will learn better. I love music for music’s sake, but music is a great tool to incorporate in teaching language arts, math, science and history.”

    While the CTE program has long been associated with trades and vocations such as auto repair, plumbing, and culinary arts, it can also be a viable pathway to becoming an arts educator. Other routes include being a traditionally credentialed arts teacher or a classified staff member, although that role commands lower pay. 

    One of the key CTE pathways lets artists with considerable experience in their field, from dance and digital arts to jazz, use that expertise in the classroom. They must have three years of work experience directly related to each industry sector named on the credential and meet other administrative requirements. 

    “The CTE credential allows people who have 1,000 hours of experience in the field to come into teaching, bring all that experience, that wisdom that they’ve got,” said Linda Darling-Hammond, president of the California State Board of Education, during a recent arts ed conference at UCLA. “We hope many, many artists will come in and secure the credential.”

    One big upside to the CTE credential is that, unlike teaching artists who need a credentialed teacher to remain in the classroom while they teach, CTE teachers can fly solo. That frees the classroom teacher up, creating time to work one-on-one with students, email parents back and meet with colleagues.

    “When CTE teachers are teaching a course, then the regular classroom teacher can be doing other things,” said Darling-Hammond. “Our staff are stretched very thin. So we want to use this as a win-win for students and for staff in all of our schools.”

    The greater accessibility of the CTE route, its fewer barriers to entry, may also invite a more diverse range of teachers than more traditional pathways, experts say. 

    “Let’s roll up our sleeves and bring the CTE standards into the 21st century,” said Beutner. “The alternative is millions of students in elementary schools across California will not have the chance to participate in arts and music.”





    Source link

  • What you need to know about California’s Prop. 28 arts education initiative | Quick Guide

    What you need to know about California’s Prop. 28 arts education initiative | Quick Guide


    Preschool children learn to express themselves through painting.

    Credit: Courtesy of Daniel Mendoza

    Amid a national reckoning over learning loss and chronic absenteeism deepened by the pandemic, arts education may be one of the keys to boosting children’s engagement in school, research suggests. Like sports, the arts can spark the kind of excitement that makes students, and their families, look forward to coming to school. 

    Devotees of the arts have long argued that art transforms us, but in recent years, neuroscience has shown just how beneficial arts education can be for children. Music, for instance, can buttress the architecture of the growing brain. Theater classes teach empathy, history and literacy all by putting on a show. Creativity, storytelling and the spirit of play ignite learning, effortlessly building the memory and concentration that academic rigor demands.

    Low-income children often see the biggest gains. That’s why making arts education accessible to all is the thrust of Proposition 28, the state’s historic arts mandate, which voters approved in 2022. Spearheaded by former Los Angeles Unified Superintendent Austin Beutner, the initiative began doling out money to schools last year.

    However, the groundbreaking program has run into several significant hurdles during its rollout, including a deep teacher shortage, widespread confusion about spending rules and pointed disagreements about how to interpret the law. Arts advocates are scrutinizing district arts budgets, and some are pushing for a state audit of the Los Angeles Unified School District, which has been accused of misspending funds in an ongoing lawsuit filed by families and Beutner. 

    What do students learn from the arts?

    The lessons of arts education are vast, from creativity to cognitive boosts. That’s why it has always been part of a classical education. From the arts, children learn focus, discipline and teamwork in addition to how to sharpen their own sense of voice and ingenuity, vital skills in a future likely dominated by artificial intelligence (AI). Originality is essentially a human gift, one that machines can only imitate. 

    What is Prop. 28?

    Proposition 28, the Arts and Music in Schools — Funding Guarantee and Accountability Act, sets aside money, roughly $1 billion a year, for arts education programs in TK-12 public and charter schools. Schools must be state-funded to receive Prop. 28 funding: a windfall for arts education, a once-renowned field long eroded by budget cuts. 

    Who is in charge of Prop. 28?

    While each school has been tapped to choose the kind of arts education that best suits its community, the California Department of Education (CDE) is leading the implementation of the initiative. CDE has provided guidance in FAQs and webinars to help districts navigate the rules. Questions can be emailed to Prop28@cde.ca.gov

    How much money do schools get?

    Funding, which gets funneled through the district, is variable depending on the size of the school and the number of Title 1, low-income students there. The money is ongoing, and school districts have up to three years to spend each allocation. Disbursements began to land in February 2024.

    What is the money supposed to pay for?

    Arts disciplines are broadly defined, from dance to digital arts, and schools are encouraged to tailor the program to the shifting needs of students over time. However, most of the funding is intended to pay for arts teachers. In general, at least 80% of the funds are for school staffers, certified or classified employees, to provide arts education. Up to 20% is for arts education support, including training, supplies, materials and arts partnerships. No more than 1% of total funds may go to administrative costs.

    Is there a waiver from the spending rules?

    The CDE may provide a waiver to school districts for “good cause if the 80/20 rule cannot be followed. Waiver requests must include a problem statement, framing the waiver as a proposed solution to the problem. Reasons for a waiver may include a need to purchase costly supplies or equipment, such as buying musical instruments for an orchestra, or the need to contract with an arts partner due to an inability to hire qualified staff. Thus far, 2.4% of school districts have requested a waiver for 2024-25 spending, according to the CDE, down from 8.2% for 2023-24. 

    Can you pay for existing arts programs with the new money?

    No. Prop. 28 money must “supplement” and not “supplant” funding for arts education. For example, if you spent $1 million on arts education in the 2022-23 school year, you were expected to spend $1 million plus your Prop. 28 money in the 2023-24 school year (the first year Prop. 28 funds were available). 

    However, allegations of supplanting funds have arisen across the state as arts teachers watch new Prop. 28 funds being used to pay for existing programs. There are also disagreements on whether the litmus test on spending applies to districts as a whole or school by school. 

    What are the main issues in the Los Angeles Unified lawsuit?

    The core issue is paying for old programs with new money. Beutner, the author of the law, maintains that each individual school should offer more arts than before, while Los Angeles Unified officials have argued that spending is measured at the district level. Student plaintiffs and Beutner have filed a lawsuit against LAUSD, alleging misuse of funds. State education officials have avoided taking sides in the matter, but CDE auditing rules suggest that compliance is determined at the district level. Assemblymember Isaac Bryan, D-Los Angeles, has called for a state audit of LAUSD’s use of Prop. 28 funds. 

    What are the biggest challenges facing Prop. 28?

    The challenges of this rollout are myriad. Thorny issues include finding staff amid a teacher shortage, interpreting complicated rules and finding the time and space to hold extra classes. Schools without a Visual and Performing Arts coordinator often struggle with planning, experts say, and many have put off spending the money due to a lack of clarity on the spending rules and a lack of knowledge about the arts in general. While many school districts have reported they did not use the funds in the first year of Prop. 28 funding, according to some estimates, the window to tap into the funds is three years. Next year will be crunch time on assessing how comprehensively California schools are able to expand arts education. 

    What should parents know?

    Ask your principal how the Prop. 28 money is being spent and share your ideas on what artistic disciplines would best fit your community. Remember that arts education is a very broad landscape, from dance to digital arts. If there has been no increased access to arts education, that could be a red flag.

    Are adults shaped by childhood exposure to arts education?

    Early music training may impart a lifelong neuroplasticity that helps keep the brain sharp even as it ages. A 65-year-old musician has the neural activity of a 25-year-old non-musician, experts say. A 65-year-old who played music as a child but hasn’t touched an instrument in ages has neural responses faster than a peer who never played music.





    Source link

  • Gov. Newsom’s budget proposal calls for expanding arts ed pathway

    Gov. Newsom’s budget proposal calls for expanding arts ed pathway


    Credit: Allison Shelley for American Education

    Faced with an ongoing teacher shortage, many California arts education advocates have been championing the use of career technical education (CTE) to attract new arts teachers to help fulfill the state’s historic arts mandate. The sticking point has been that the credential has only been applied to secondary classrooms, leaving elementary students out. 

    That may change if Gov. Gavin Newsom’s initial 2024-25 state budget becomes law. This proposal, subject to change in May, when the numbers are revised in response to shifting economic conditions and policy issues, calls for the Commission on Teacher Credentialing to create a new Elementary Arts and Music Education pathway for career technical education teachers. This expansion would allow more working artists to share their expertise with California students, a move many arts advocates praise.

    “Newsom is paving the way for a more vibrant and well-rounded educational experience, fostering creativity and skill development at every stage,” said Allison Gamlen, visual and performing arts coordinator for the San Mateo County Office of Education. “Empowering CTE teachers with the ability to bring their expertise to elementary classrooms is a positive step that will enrich the artistic learning experience for young students.”

    Expanding this credential into elementary schools might help recruit working artists, from musicians to animators, who are passionate about their craft into the school system, which is struggling to find staff in the wake of the pandemic.

    “It’s really exciting,” said Austin Beutner, the former superintendent of Los Angeles Unified School District, who authored Proposition 28. He said the governor’s direction to the Commission on Teacher Credentialing about expanding the career technical education pathways for arts educators to include elementary schools “will help all 6 million children in public schools across California benefit from the additional funding Prop. 28 provides for arts education.”

    While many arts advocates are excited, some also caution patience, given the exhaustive nature of the bureaucratic process. The budget may well undergo significant changes during the May revision, for example.

    “Teaching artists will now have another pathway into employment at schools to meet the needs of Prop. 28,” said Eric Engdahl, professor emeritus at CSU East Bay and past president of the California Council on Teacher Education. But “knowing how state bureaucracies work and the laws that govern their actions, I don’t think this will produce any new teachers for at least two years, quite possibly more.”

    One key concern has been whether artists have sufficient knowledge of best practices for younger children. Some are concerned that teaching third graders requires a different skill set than eighth graders, for instance. 

    “Elementary has different foundational considerations, including meeting young students’ developmental and reading needs,” said Letty Kraus, director of the California county superintendents’ statewide arts initiative. “The developmental piece is an important one.”

    Kraus believes the state should solve the staffing problem by widening the existing arts educator pipeline. 

    “Rather than push CTE down into elementary, I think it is important to look at our existing credentialing system and consider how to increase statewide access to credentialing pathways, including virtual,” she said, “and also how to remove financial barriers and support credential candidates while they complete their student teaching.”

    Some arts education experts warn that teaching a subject is not the same as practicing it.

    “I am concerned about having CTE teachers teaching a core subject like arts, math and science —mastering a subject doesn’t mean you can teach it,” said Abe Flores, deputy director of policy and programs at Create CA, an advocacy group. “I know how to read, but it doesn’t mean I can adequately teach a student to read.”

    Others say that the new credential should require adequate training in child development as well as pedagogical concerns.

    “Since it is now in the CTC’s court, they will have to create a pathway that ensures preparedness,” said Engdahl. “A CTE credential requires classes in addition to industry experience, and the CTC should be looking at those classes closely.”

    Engdahl has confidence that aspiring arts educators will apply due diligence to their professional development. 

    “As for teacher preparedness, I am not really too concerned. When I was a teaching artist, and having worked with teaching artists for many years, I have noticed that their classroom preparedness is generally excellent.”

    However, classrooms today are not what they were before the pandemic, and many children are coping with mental health issues as well as learning loss. That raises the stakes for all new teachers, Engdahl notes, not just arts educators.

    “If there is an area of concern, it is in the changes in schools after Covid,” said Engdahl. “Students and schools are different now, and it is more challenging helping students to heal and learn.”

    This urgency to adapt to shifting school needs is one reason Beutner believes change is called for.

    “You have to meet the students where they are,” said Beutner. “You also have to meet the aspiring teachers where they are.”





    Source link