2019 MAEIA Institute
The Michigan Arts Education Instruction and Assessment project offers the MAEIA Institute, a concise professional learning offering which trains administrators-arts educator pairs how to support and measure growth in the arts disciplines.
The Michigan Arts Education Instruction and Assessment project offers the MAEIA Institute, a concise professional learning offering which trains administrators-arts educator pairs how to support and measure growth in the arts disciplines.
Debra Henning: What’s In A Word? Cross-Curricular Instruction and Assessment in the Arts
The following post offers an example of the manner in which MAEIA’s “Cross-Curricular Connections Assessment,” V.T 312 for Grade 8, can encourage students to think deeply about connections between the visual...
The following post offers an example of the manner in which MAEIA’s “Cross-Curricular Connections Assessment,” V.T 312 for Grade 8, can encourage students to think deeply about connections between the visual arts and language. In the assessment, students are asked to create an artwork that connects the principles and subject matter of another academic subject of their choice to the visual arts. The assessment item assesses several visual arts standards, including students’ ability to “effectively analyze and describe ways in which the principles and subject matter of other disciplines taught in school are interrelated with the visual arts, as well as their ability to “relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.”
A picture, we know, is worth a thousands words. But what’s the worth of a word? That depends, of course, on the word. Does it refer to a specific object, such as the tallest building in the world, or to something more general, as the word buildings does? In the vast hierarchy of words – call them concepts, if you like – few words encompass more meaning than vernacular. Commonly defined as “the language or dialect spoken by the ordinary people in a particular country or region,” the word, vernacular stands in contrast to literary or cultured language, most frequently to Latin. Carried throughout the Great Roman Empire, the Latin language served as a unifying force in law and religion, yet less so in the everyday lives of the people, who continued to find linguistic expression in their own mother-tongue. In a slow give-and-take process, aided by the translation of the Bible into English and by patriotic stirrings, the vernacular would emerge supreme as the mother-tongue in England, France, and Germany grew from spoken dialects into full-fledged languages, “adequate for the expression of any and every kind of thought.”
In the centuries-long evolution of language, however, the meaning of vernacular, itself, became something quite different from its origins. Which is why Adrian Villar Rojas’ sculpture, “Where the Slaves Live” makes such an intriguing subject for cross-curricular instruction in the arts. The title of the massive “living sculpture,” composed of multiple layers of earth and manufactured materials, recalls the Latin root of the word vernacular, i.e., verna, meaning a home-born slave, and, hence, language of the home-born slave.
Like the sculpture commissioned by France’s Fondation Louis Vuitton, Roja’s concept for the sculpture layers multiple meanings. “Where the Slaves Lives” confronts visitors with a silent reminder of France’s vacillating opposition to slavery, which the French abolished, re-established, and in 1848 again re-abolished in her colonies. On the terrace of Frank Gehry’s magnificent glass ship, Rojas’s sculpture recalls the ships that carried slaves and the fate of many at sea.
Set in a building that is synonymous with wealth, privilege, and luxury goods, Rojas’ work has the potential to stir the kind of debate and reflection intended by the mission of Fondation Louis Vuitton. By using the word as Rojas does – as a reminder that in verna and vernacular, slavery is at the core of the French language and the mission of L’ Academie Francaise – the artist ramps up the potential for debate and reflection. Today, one of the aims of the Academie is to “protect the French language from foreign, notably ‘Anglo-Saxon’ invasions,” but that goal has not always been central to its mission. Since its founding in 1635, the Academie has been tasked with a much more fundamental aim: to guide the French language from “from the vulgar (or vernacular) state of language to that of language equal in dignity to Latin.” As used by the Academie, the words vulgar and vernacular become synonymous, both meaning “the common or usual language of a country; both obscuring the meaning of verna – a home-born slave. In “Where the Slaves Live,” Roja recovers the origins of vernacular, while delivering a powerful message about the hidden history of language and the importance of cross-curricular instruction.
Debra Henning is a MAEIA key communicator, specializing in visual arts and arts integration. A downloadable pdf of this post is available here Debra Henning: What’s In a Word? Cross-Curricular Instruction and Assessment in the Arts.
Rebecca Arndt: Why I Teach
Today, MAEIA launches the Michigan Collaborative Scoring System field test (MI-CSS powered by Oscar Classroom ™) for 2019. The following article was written by MAEIA Leadership Fellow, Rebecca Arndt, based on her participation in the...
Today, MAEIA launches the Michigan Collaborative Scoring System field test (MI-CSS powered by Oscar Classroom ™) for 2019. The following article was written by MAEIA Leadership Fellow, Rebecca Arndt, based on her participation in the MAEIA CSS pilot in 2017-2018.
It’s a cold and windy day in the downriver area. I am sitting at my computer and working on all the things that teachers work on during the day, I find myself asking why?
Why is it such a struggle to pick good music for my students?
Why can’t this child just follow directions?
Why is it so hard to reach all my students?
Why do I need to give another test?
Or better yet, how do I give assessments that will give me accurate and authentic information for each of my students?
How can these assessments drive my teaching?
I may not be able to answer all these questions everyday but I can answer how I can use authentic testing and scoring to drive my teaching.
Being part of the MAIEA 2017-18 Collaborative Scoring System team has truly helped me understand my students and has given me authentic feedback to what they are understanding and implementing. I am using three different MAEIA assessments with grades five, two, and one.
I just gave my fifth graders a listening and create assessment. The students needed to write and answer five questions then they were asked to create a piece of artwork or write a poem or short story to depict what the composer was trying to convey.
WOW what an amazing moment for me as I was grading their written answers to the listening. Many of these students are below grade level and struggle with writing. I was so very proud of these answers. I could honestly tell that they were listening, using the tools in the classroom to explain their reasoning. This is one of the many “aha” moments that I had while being part of this team.
Although I am part of the CSS team, there are still days that I have found myself teaching to the next test (the ones I have to use for report card purposes) and not teaching for those “aha” moments. But it is those “aha” moments are the reason I and many others got into teaching.
As I navigate through our curriculum each year and highlight in my calendar when I need to give each assessment and what are the outcome goals for those assessments, I need to remind myself I am in the arts. The arts are a performance-based curriculum.
I believe that if we use the mindset of “Think, Create, Perform”, we will be able to better understand what are students are truly learning and our assessments can be truly authentic and meaningful. Using authentic testing and scoring will give me a better understanding of where our students are and it will create more and more “aha” moments versus let’s take the next test. Testing is important but so it the journey of learning.
Rebecca Arndt is a music educator and a MAEIA Leadership Fellow. A downloadable version of this post is available here: Rebecca Arndt: Why I Teach.
Carrie Jeruzal: Storing the Data (i.e. Keeping Digital Photos of Student Artwork)
Arts educators who are interested in using MAEIA assessments to assist in tracking student growth often ask the question, “What do you use for storing all the artwork?” Being that the...
Arts educators who are interested in using MAEIA assessments to assist in tracking student growth often ask the question, “What do you use for storing all the artwork?” Being that the photos of student artwork become the digital data of learning, this isn’t always an easy question to answer. Modern technology offers a plethora of digital image data storage and sharing resource choices that each have their own strengths and weaknesses, their own quirks, limitations, special features and user learning curves. Also, as in the nature of all technology, each choice I present here has a “shelf life”, that may or may not be easily predicted.
To help arts teachers with the research needed to make this decision, I have first compiled a list of relevant questions that are important to ask when selecting a method and a vehicle for visual arts data storage and second, a list of what seem to be the top contenders.
10 Questions to Determine your Arts Data Storage Needs:
1. How long do you need to store the data (a year, two years, a student’s entire K-12 career)? Some methods of storage have time limits, some newer apps or clouds may not have the “staying power” you need to rely on, and not every school will support all kinds of tech. For example, my school stopped offering MS Office this year and now I have to pay for it on my own!
2. How are you going to collect the data? Will you be taking and uploading all the photos? Do you intend for students to collect and submit the data?
3. What device(s) do you plan to use to take and transfer the photos? Are you going to use digital cameras, tablets, iPads and or Smart phones? Is your storage method compatible with your selected device?
4. Do you plan to share the artwork with administration, other art teachers, parents, the world? Do students need open access to the files? Check out the sharing capabilities and limitations of each choice.
5. Does your data include video art or other time based media? Do you plan to include written documents, any recorded audio or visual artist statements? Some storage methods are strictly for photos.
6. What are the security and privacy features? Who can access the data and who is restricted? If open to an online gallery, who can comment and are comments filtered?
7. Is the storage method free or require a fee? This may depend on the amount of storage you need and the fee may be a subscription that requires yearly renewal.
8. Do you need back-up? Check with your tech support to see how your school handles file back-ups in the case of media failure. Does the program allow old data to be archived?
9. Once stored, who owns the data? Fair Use and Intellectual Property Rights may matter.
10. What are other art teachers in your district already using? It may be be beneficial to keep data storage streamline between teachers in your school. Does your school or district already have a policy on data storage?
Data Storage Choices:
Popular Online Learning Platforms For Your Virtual or “Flipped” Classroom:
- Great for Sharing on Social Media, Offers Online Gallery, Some Offer Product Sales:
Online Portfolio Sites (Easy Website Builders):
Developed Specifically for Educator Data Collection:
Other blog posts that may be helpful:
Carrie Jeruzal is a MAEIA Leadership Fellow and Visual Arts Educator in Pentwater, MI. She was recently honored by the National Art Education Association as the 2017 Western Region Middle Level Art Teacher of the Year.
A downloadable version of this article is available here: Carrie Jeruzal_Storing the Data
Cathy DePentu: Career-long Learning
I have been in school for 58 of my 63 years. Granted, I’ve switched roles a few times and moved back and forth from the front of the room to behind a desk (...
I have been in school for 58 of my 63 years. Granted, I’ve switched roles a few times and moved back and forth from the front of the room to behind a desk (or music stand), but still, the end of August is a turning point of each year. Even after all these years, I still toss and turn the night before school starts wondering what the year will bring. Much of my excitement is the same as when I was in elementary school: Who will I see the first day? What adventures we will share about summer? Will the people I work with be kind? Will they like me?
Every year, I am privileged to share my passion for music and music-making with a new group of students. We work together and learn from each other. Even though only a few of these students will choose the Arts as a career, I know that the thought processes and learning strategies involved in the performing arts classroom will benefit them all throughout their life.
We learn patience, collaboration, cooperation and persistence. When we fail, we try again. We value each others contributions and celebrate our differences. We are accepting and welcoming; our classrooms are safe spaces. Of course we will encounter obstacles to success–perhaps budget, administrative or legislative. While we may not be able to control the situation, we CAN control of how we choose to respond to it.
I say “we learn” because after all of these years, I truly feel once the unique process of teaching and learning through the Arts is shared, we are all both students and teachers.
Being willing to adapt and continue to learn while I teach keeps me from teaching the same year, over and over again…and so every year can be exciting and fresh.
Have a great year everyone, and remember that MAEIA is just a click away!
On that note, we’d like to invite MAEIA-informed community members to join the Facebook closed group: MAEIA PLC. Look for us under “groups”. Request to join and share in professional dialogue with like-minds about MAEIA and arts education.
Cathy DePentu is a MAEIA Leadership Fellow and serves as Director of Orchestras for Plymouth Canton Community Schools.
A downloadable pdf of this article is available here: CathyDePentu_Career-long Learning.
Amy Lynne Pobanz: The Perfect Place to Teach and Learn
I dream about it. The perfect place to teach and learn. A district that celebrates the arts. I fantasize about amazing arts facilities and resources for my students. I long to feel valued and supported...
I dream about it. The perfect place to teach and learn. A district that celebrates the arts. I fantasize about amazing arts facilities and resources for my students. I long to feel valued and supported as a teacher. I am a bit jealous when I visit a school district that has an amazing gallery space, a well outfitted recording studio, an orchestra, a black box theatre, or a dance studio. If you are an arts educator, chances are you can relate. Too many of us teach in underfunded programs with meager facilities and resources. It’s easy to complain about all of the challenges that face us as arts educators. Believe me, I am guilty of my fair share of complaining. I am sure you won’t be surprised to learn that venting my frustrations did not help to improve the arts in my district or community.
I found myself with a choice. I could either complain or I could be an agent for change. I asked myself this question, “What actions could I take that would positively change the landscape of arts education in my school district and community?” At first it felt like a loaded question and a daunting task. I wasn’t even sure where to begin. Could I even articulate my vision for a perfect place to teach and learn in the arts?
Don’t feel overwhelmed. I began by using MAEIA (Michigan Arts Education Instruction and Assessment Project) tools. MAEIA resources are free for your use and have been designed to support your work advancing arts education in your schools and communities. You can always reach out to MAEIA personnel and request additional support.
I have come to value the word- “place.” It is a powerful word. “Cultural geographers, anthropologists, sociologists and urban planners study why certain places hold special meaning to particular people or animals. Places said to have a strong “sense of place” have a strong identity that is deeply felt by inhabitants and visitors.” Consider the impact of place as you envision your perfect place to teach and learn. Here are some steps that may guide your journey.
Step 1. Assemble
Assemble a team of people who are passionate about the arts in your school and community. Be inclusive; invite all arts teachers, invite students, invite parents, invite administrators, invite community organizations, invite community leaders. I believe collaboration is an essential component to any great endeavor.
Step 2. Envision
Read and reflect on the Michigan Blueprint of a Quality Arts Education Program tool (see link below). Have dialog as a group about your greatest dreams and vision for your district arts program. Imagine what could be.
Michigan Blueprint of a Quality Arts Education Program—a goal-setting document for arts education program and school improvement purposes. The Blueprint describes the highest standards of successful arts education programs in dance, music, theatre and visual arts along seven criteria that are aligned with the Michigan School Improvement Framework.
Step 3. Reflect
Complete the program review tool (see link below). This tool collects data that can be used to determine the strengths and weaknesses of your current arts program. This is a wonderful process that provides insight into your program and promotes healthy dialog about program improvement. I cannot stress the importance of this tool. This process empowers arts educators to have conversations with administrators and school boards about the quality of their arts program. Arts educators can make statements that are supported by data from a State funded arts assessment tool. Share your findings with colleagues, administrators, and the school board.
Note: The PRT tool is moving from paper and pencil to a web-based assessment tool. Please contact the MAEIA administrative team before beginning the PRT process to see if your team is able to use the web-based version.
Step 4. Develop
Develop a District Arts Plan. Communicate the vision of your arts team with all stakeholders. Ask to meet several times a year with your school board members and present annually to the school board. Here is a link to my favorite reference resource for developing an arts plan. http://www.artsed411.org/files/Complete_Insiders_Guide_2017_Updated_Cover.pdf
Step 5. Connect
Connect with other arts educators and be involved in arts education and advocacy in Michigan. Meet artists, take classes, go to performances, create.
Amy Lynne Pobanz is a visual arts educator and MAEIA Leadership Fellow with over 20 years of experience teaching in traditional, virtual, and blended learning environments.
A downloadable pdf of this article is available here: Pobanz_ThePerfectPlacetoTeachandLearn.
Cathy DePentu: Developing Whole, Productive, Creative Humans
Simon Sinek’s “Golden Circle” resonates with many arts educators. The concept “Start with...
Simon Sinek’s “Golden Circle” resonates with many arts educators. The concept “Start with Why?” is how we approach every project, every rehearsal and every performance. Starting with the reason, or goal for the performance is an “art-centric” learning and teaching process. Surprisingly, when I returned to school last fall, my district had shifted their focus to the “Why” from our previous data-driven, test-focused, “show me the numbers” improvement plan. We were directed to look for unique, creative ways to engage our classes—to “Start with Why?” Wow.
My first thought was that the district should go to the people who have been teaching this way for years…the arts educators. Perhaps WE could be a resource to assist all teachers as they begin to think about a new approach to how they work in their classroom. Our ability to keep classes of 60-80 (or more) students engaged, collaborative, focused and learning every day could be a valuable addition to those endless professional development days…
Recently, I went to the interactive Pixar exhibit at the Henry Ford Museum. I went with a friend who teaches science, and it was fascinating to see things from her perspective. Obviously, Pixar films are made using the most advanced computer technology, and the programmers are experts in math and science. As we walked through the exhibit, I was struck by how our subject areas were linked in virtually every step of the creation of the movies! The exhibit featured videos of many of the programmers and technicians responsible for creating the characters and the storylines. I was very surprised (and pleased) at what I heard from many of the videos.
Virtually all of the programmers saw their work as using their math and science as a way to honor the artist’s vision of the characters. One of the programmers had played the cello as a student, and cited using the process of practicing—doing things over and over again, using self-analysis and a willingness to fail and continue to try, as being characteristics that are exceedingly valuable to him now in his work.
The collaboration between the technicians, programmers and artists was so inspiring. I was impressed by the collective desire to use technology to honor an artist’s vision. I hope that my fellow teachers will unite to value every subject and its importance in the development of whole, productive, creative humans.
Cathy Depentu is a MAEIA Leadership Fellow and serves as Director of Orchestras for Plymouth Canton Community Schools.
A downloadable pdf of this post is available here: Cathy DePentu_Developing Whole, Productive, Creative Humans.
Debra Henning: HUSTLE Opens Science Gallery Detroit
In 2008 science and art moved a step closer with the opening of
In 2008 science and art moved a step closer with the opening of Science Gallery Dublin at Trinity College. Science Gallery International followed in 2012 with the goal of establishing a Global Science Gallery Network with eight nodes by 2020. Today the Network has six members across four continents: Dublin, London, Melbourne, Bengaluru, Venice, and now Detroit. Bringing together a remarkable group of research institutions – Trinity College Dublin, Kings College London, University of Melbourne, the Indian Institute of Science along with the National Centre for Biological Sciences and Srishti Institute of Art, Design and Technology in Bengaluru, and in the U.S., Michigan State University – the highly collaborative peer group of Science Galleries targets a unique demographic – 15 to 25 year olds who, founders believe, “hold the potential to solve the world’s biggest challenges.”
The opening of Science Gallery Lab Detroit’s first exhibition, HUSTLE, brings the work of seventeen artists, each working at the intersections of art, science, and technology, to the U.S. Open through August 25th, the exhibit “explores the many definitions of survival and success.” In Connor McGarrigle’s social media data project, #RiseandGrind,” which uses Twitter output to train a supervised machine learning algorithm, audiences can interact with the work and assist in the training process by tweeting with the project hashtag #RiseandGrindSGLD. “Post Laboratory,” a work by the German artist, Ottonie von Roeder “aims to liberate us from the idea of the necessity of labor, and supports us in discovering our true desires.” From “Blood, Sweat and Tears” to “Virtual Hustle,” the exhibits are “connective, participative, and surprising,” which is what happens when when art and science collide.
Gallery Operating Hours
Tuesday – Saturday | 11 AM to 7 PM
Sunday | 1 PM – 6 PM
Closed on Monday
1001 Woodward Avenue, Detroit, MI 48226
Cheryl L. Poole: A Value of a Rubric to the Teaching Artist……and Where to Find One
If someone wants something from me—a product or a performance—I’ve always been someone to do my best to deliver whatever is expected. The one caveat is that I need to be clear...
If someone wants something from me—a product or a performance—I’ve always been someone to do my best to deliver whatever is expected. The one caveat is that I need to be clear about what’s expected before I have a shot at delivering. Sometimes I’m shy about asking for an example or a very detailed description, but that’s the best way to ensure that I get it right. That is the purpose of a rubric, i.e. to be clear about what is expected and to ensure the best chance of delivering. However, a rubric goes a couple steps further. It provides some insights to a performance or product if it isn’t quite perfect. It helps to identify the characteristics of a performance that falls short of exemplary.
Rubrics have most recently been used by teachers in traditional classroom settings. How often is it used by teachers in nontraditional settings? For example, how often do teaching artists or instructors in community organizations use the tool that will make their expectations as transparent as possible for students? What gets in the way of their using them even if the benefit is quite clear?
The teaching artist might find the creation of rubrics a bit overwhelming especially if teaching is only a small part of their overall professional role. To create a rubric an artist/instructor must reflect first on exactly how he/she will recognize a high quality performance. That reflection then has to be articulated in descriptive words that a student will understand. While obviously beneficial to determine and articulate the description ahead of time, the visiting artist might well find creating a rubric from scratch to be a large expense of time.
Michigan Arts Education Instruction and Assessment (MAEIA) provides already-created rubrics with each and every one of its 360+ assessments. They are free and easily accessible through maeia-artsednetwork.org. It’s important to recognize that the MAEIA rubrics are created to specifically align with the assessment with which it is listed. While all 360+ rubrics are well written by Michigan educators, they are not generic in nature. However, they do provide a starting point for the visiting artist who may not have the time or inclination to learn the skill of creating a rubric.
To locate an appropriate MAEIA rubric, a teaching artist or instructor would first search the assessment catalogue on maeia-artsednetwork.org in the major discipline about which they are teaching; dance, music, theater and visual arts. The list can be filtered down further by grade level. A long list of assessments appear on the screen. The teaching artist can click on and review each assessment that peaks their interest or relates to the skills on which the artist/instructor and the student(s) are working. After finding and clicking on an appropriate assessment, a rubric is visible that was created for that particular assessment. It is an easy and free access to a large range of already-created rubrics.
An easily-accessible rubric does not guarantee that is will fit exactly with the performance or product expectations of the teaching artist. It is only a carefully created articulation of outcomes in a table form. The indicators on the left may need to change or be eliminated altogether. The descriptions of each quality level may also need to be tweaked. Both indicators and quality descriptors will need to reflect the expectations of the teaching artist who is doing the teaching.
In summary, even a non-traditional teacher like a teaching artist or studio instructor can clarify the expectations that they have for their students by using a rubric. They can help the student understand what they are seeking and what it looks like to do well. A teacher serving in a non-traditional role doesn’t need to feel overwhelmed at the prospect of starting from scratch to create a rubric. Hundreds of rubrics are posted with associated assessments on maeia-artsednetwork.org. The critical issue is to find one that most closely aligns with your instruction and expected performance or outcomes. That may take a bit of work using the search feature in the assessment catalogue but, once one is found, it is totally permissible to download it and revise it in ways that fit your expectations of your students.
Cheryl L. Poole is an educator with more than 40 years of experience in visual arts, museum administration and facilitating professional learning. She has had the pleasure of working with educators in the MAEIA project over the last 6 years.
A downloadable pdf of this article is available here: Cheryl L. Poole A Value of a Rubric.
MCACA Arts Education 2018 Grant Update
The Michigan Council for Arts and Cultural Affairs offer arts education grants which support teaching artists creating innovative projects in K-12 schools. The last video on our Professional Learning...
The Michigan Council for Arts and Cultural Affairs offer arts education grants which support teaching artists creating innovative projects in K-12 schools.
The last video on our Professional Learning page for Videos and Webinars features information on how to apply. As you do, we encourage you to keep the MAEIA assessment items in mind for measuring what students learn and demonstrating the success of the teaching artist project or residency. Grant applications are due June 1, 2018.
Need to find a teaching artist? Look at the teaching artist database housed on the Michigan Youth Arts website.
Arts education projects and programs are great ways to boost parent involvement and to address aspects of school culture and climate- important initiatives in school improvement.