ARTISTS IN EDUCATION

Transcription

1 ARTISTS IN EDUCATION A GUIDE TO DEVELOPING SUCCESSFUL PARTNERSHIPS For Artists and Educators Artists play an important role in education. Working as partners with educators, they bring a unique perspective to learning. The Ontario Arts Council (OAC) firmly believes in the importance of quality programs in arts education, and in providing young people with access to talented creators. Artists inspire, offer unique, creative experiences, and help learners interpret their world and develop their own artistic expression. Artists are also an excellent resource for classroom teachers and for community development contacts, in alternative or non-traditional places of learning. OAC offers granting programs that connect Ontario artists and arts organizations to educators. One of these programs, Artists in Education, funds professional artists from all artistic expressions and cultures to work with learners and educators. The purpose of this guide is to assist artists and educational partners in accomplishing successful and effective creative projects for the benefit of learners. MAKING CONTACT ARTISTS: If you ve never approached a school or a school board before, here are some suggestions: Start in your own community or region. Ask teachers or parents if they are aware of OAC s Artists in Education program. Describe the purpose, funding procedure, and how they can benefit from this partnership. Check with friends or acquaintances that have school-aged children and may have contacts with educators. Target a community in which you might be interested in making new connections. Ask them if they would be willing to help introduce you and your project idea. Call to introduce yourself or write a letter of introduction, with résumé, followed by a telephone. Design a simple marketing piece outlining who you are, what you have to offer, how your programs tie into the curriculum, and how they can benefit young people as well as educators. Keep it brief and simple.

2 State where you have done similar programs and include quotes from principals, teachers or students. Outline the exact costs. School board consultants may help with your initial inquiries and possibly help identify potential schools. The Ministry of Education website ( has a comprehensive listing of school boards and other contacts. In addition, the site contains all available arts curriculum documents. OAC can also provide advice, school board and contact names. EDUCATIONAL PARTNERS: If you do not know any artists or are unfamiliar with available arts resources, here are some suggestions: Check OAC s Artists in Education (AIE) Roster List. It contains the names of the artists that have been awarded a grant under the AIE program for the current year. You may find this list as well as information on OAC s granting programs at: or by calling OAC. If you are considering approaching artists on the AIE Roster List, contact them early in the school year as some artists are in great demand and many have secured bookings before they apply. If the artist you want is already booked, ask him/her to commit to your school next year (if they apply again and are successful). Alternatively, if you know artists with whom you may want to work, please encourage them to apply. If you don t know any artist/educators, contact your local arts council, gallery, theatre or music association, friendship center, or the provincial arts service organization in the specific arts discipline(s) in which you are interested. A list of service organizations with connective weblinks is available at: Parents, colleagues, and/or your school board curriculum consultant may also have some suggestions. If you are simply looking for an artist for a short term project or workshop, OAC can suggest organizations that provide services or act as resources for those involved in arts education. Many organizations offer programs that help tour artists who offer demonstrations, lectures, performances and short-term workshops to meet your needs. PLANNING YOUR PROJECT Whether you are an artist or an educator, planning and communication are essential in accomplishing successful projects. The following are some practical questions or concerns common to most projects. They can be used as a reference when discussing project details. The success of my program was largely due to a very thorough planning session with all the teachers involved long before the starting date. Mimi Gellman, artist. Changing Directions project, Pringle Creek Public School, Durham Board of Education. PREPARING TO TEACH Are the project goals clearly defined? Identifying clear goals and objectives will assist with measuring outcomes and make it easier to evaluate the project.

3 What is the school s teaching environment? What connections are there to the curriculum? Is there a well thought-out procedure for each student to follow? Are the exercises varied and appropriate for the age level? What if some students complete the work in less than the allocated time? Will the students/teachers get a chance to see the artist s work? CLARIFY THE FOLLOWING TOGETHER THE SPACE What space is available, and will it be used by other groups after or during school or on weekends? Does the place have appropriate flooring? Is it soundproof? Is there a properly lit and ventilated area? Are there public (and secure) spaces to exhibit or perform and ensure others see what the students are accomplishing? What storage is available? Is water available? Is parking available? If so, where? THE SUPPLIES What supplies and equipment are required tables, chairs, paints, paper, scissors, etc. and who will get them for you? If recycled supplies or other materials need to be collected prior to your arrival, who will collect them? Always check to ensure that you have enough materials for the size of the class before you begin your project. Are there community resources such as local small business suppliers that the school could approach for support (e.g. supplies, materials, equipment, transportation, promotion, etc.) HEALTH AND SAFETY CONCERNS Have you isolated and controlled the use of hazardous materials? Considerable studies have been done on health and safety issues related to arts projects. Many boards of education have developed safety procedures that suggest the use of alternative methods, tools and procedures. Familiarize yourselves with the names of toxic arts materials. Children and others in high-risk categories who use art materials need extra protection. Some materials and processes instructors apply in their teaching should NEVER be used with certain groups, particularly susceptible people such as children under 12 and people with certain physical or medical conditions. Wheat paste, rubber cement, markers, paints, pottery materials, spray paints and fixatives contain many substances that are seriously hazardous to grown-ups; children are at even greater risk. Displaying materials, hanging banners, and building installations can pose potential fire hazards. Fire retardant materials should be used and fire regulations followed. In projects involving physical activity, check the working, physical environment to avoid any potential accidents. Include warm-up periods where relevant. Use common sense. For further specific information, contact the health and safety officer at the school board.

4 THE COSTS Discuss the fee and financial agreement and if you are participating in an AIE project, sign the Project Commitment Contract before the project start date. Are there material or other costs to be considered? Will there be special guests you wish to bring into the project at some point? How much will it cost? Are there travel costs? (OAC may support artists who travel 100 km or more one-way from their residence.) Is transportation needed for the students? How and when will the artist be paid by the school/board? INVOLVEMENT OF THE STUDENTS, STAFF AND COMMUNITY How many students will participate? Note to artists: How many students do you feel you can work with? At one time? In total? What age level are you most comfortable with? At what times are the students to be with you? If you need more time than the normal class period, can this be arranged? Will the students be withdrawn from your group for other class activities? Is heritage language or other special needs a factor? When are recess and lunch? Will there be a teacher present with your group? N.B. It is the role of the educational institution to support the artist through the supervision of the learning environment. What if a problem student is interfering with productive learning? How will the artist be introduced to staff members? Are all the teachers aware of the project? Will there be opportunities to invite other teachers to drop in or to include professional development activities? Are there public venues where students could demonstrate/exhibit their work? (e.g. shopping mall, gallery, civic center, banks, theatre, etc.) How will the project be promoted to the school, the parents and/or the community? Can the artist pick up messages? Which phone can be used? Can photocopies be made? Make sure school maintenance staff is aware of the project. Say what you will be doing and where. Ask him/her not to clean up or throw out the ART. Advise them of the project end date. Will the artist be leaving a program outline or any materials for future use in curriculum implementation? Issues of ownership and copyright should be discussed, if relevant. THE ROLE OF THE SCHOOL Planning, Instruction, Facilities, Communications and Follow-Up: The last day of my visit, the teachers held a meet the artist for interested staff and other students after classes which made me feel welcome and appreciated. A great deal of the success was due to their flexibility and adventurous spirits. Christina Luck, Artist St. Joseph s High School, Barrie,Simcoe County RCSSB Collaborate with the artist in developing the process and learning objectives. Consult with artist/teachers/principal/central board staff as required, before, during and after the project. Enhance student interest through pre-visit discussions or projects on arts in general, arts resources, Canadian

5 or other artists, and artistic themes. Incorporate the visit into the curriculum even after the project is completed. Facilitate the scheduling of the program. Coordinate in-school activities as required. Create a receptive atmosphere. Support the artist as a partner in instruction and a facilitator in the student s learning. Support the artist through classroom supervision and organization, from beginning to cleanup. Provide feedback throughout the project and participate in the evaluation with the artist. Handle the contract arrangements with appropriate personnel. Promote the project in the school, to the Board and to the community at large. Invite parents, the community, the media, board officials, municipal politicians, MPPs, trustees, etc. Note: Arts advocacy and lobbying are critical to the future of Ontario s vibrant cultural life. Politicians and other government officials need to be systematically reminded that the arts are of tremendous importance to you, to your children, and to many citizens across the province. For more information about arts education advocacy, you can request a copy of Making the Case for Arts Education from the Ontario Arts Council, or download the publication from OAC s website at: THE ROLE OF THE ARTIST Planning, Instruction, Facilities, Communications and Follow-Up: Aiko taught more than just theory and techniques to these young people. She worked with them on developing personal attributes such as an increasing sense of responsibility, a mature attitude toward work, and greater interpersonal skills. We were so fortunate to have a gifted artist with us who was truly interested in developing the whole child. Patricia D. Parisi, Vice-Principal Cummer Valley Middle School North York Board of Education Re: Aiko Suzuki, Filmmaker Prepare in advance a list of roles and responsibilities with a support agreement from the school. Speak with relevant personnel before, during, and after the project. Include them in the development of the process and learning objectives. Explore ways in which the project can be integrated into the curriculum. Offer inspiration and instruction to develop students learning experiences by demonstrating techniques, posing creative problem-solving situations, enhancing appreciation of the artistic thinking process, encouraging the students to broaden their perception of themselves and of their world. Direct the project from concept to completion. Help staff to plan and prepare the students and work as part of a team to evaluate the experience. Assist the school in finding materials that are not stocked by the school. Avoid activities the teacher could do without you. Encourage the use of other media (e.g. film, videos, field trips, music, storytelling, games). Communicate clearly, give good examples, and organize demonstrations of technical processes. Divide large groups to allow for better concentration and encourage class and time management skills. Encourage students to interact and share experiences with you. Initiate ideas for the staff in developing follow-up activities. Document the project along the way (e.g. keep a diary, create photos, slides, video or audio on the first,

6 middle and last day, evaluate the project, collect quotable quotes). These are excellent for promotion and advocacy purposes and can also be useful for future submissions. AND IN THE END Why is arts education important to our students and schools? Decades of practice and a growing body of research have documented the links between arts education and the development of vital higher level skills. Higher level skills are essential to success in the workplace. Arts education helps students to learn other subjects. Assessment methods used in the arts can measure achievement in other disciplines. A successful arts project can have a significant positive effect on a student s achievement, motivation and involvement in learning. I had qualms over giving up my class to others. I was a little apprehensive about giving over control. Within minutes, I knew that my pupils were in fine hands. Problems all had solutions or resolutions. A few children that I just don t reach opened up to (the artists ) style. Ottawa teacher, who worked with two artists. For artists and educators, a successful project will nourish you, give you ideas, and give you a sense of great accomplishment. We were all very proud of the discoveries we made together. These new experiences gave everyone an opportunity for a real exchange. I learned as much as they did. This is what made my experiences at St-Sauveur School so satisfying. Diane Bouchard, artist École St-Sauveur, Marathon, North Superior District RCSSB Ontario Arts Council The Ontario Arts Council promotes and assists the development of the arts and artists in Ontario for the enjoyment and benefit of all people, in every region of the province. All OAC programs are open to Aboriginal artists or arts organizations, and artists or arts organizations from diverse cultural communities. For more information, please contact: Arts Education Programs, Ontario Arts Council 151 Bloor Street West, 5 th Floor Toronto, ON M5S 1T6 Telephone (416) , Toll free in Ontario: info@arts.on.ca Website: Arts Education information and grant applications are available on line.