City Lore Outcomes Institute Powerpoint

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  • 5 Min: TBZ will welcome everyone and introduce team of presenters,(don’t forget to mention anika and Dennie) summarize goals of the workshop which are: To generate thoughts on how externally imposed assessment requirements can become an opportunity to demonstrate authentic arts and cultural learning as defined by US. In this session we will share out our process along with some examples of the work and reflections on how it has gone so far. City Lore will share our process for arriving at authentic assessment for our NIN AEMDD project which integrates social studies, community resources, and arts in the schools where we work. ask for a show of hands on audience roles, TA, admin, classroom teacher, how many have participated in AEMDD funded project.
  • AD- Introduce City Lore ed programs
  • 5 MIN AD What evidence does audience see of what students learned and what teaching strategies TA’s used that were effective?
  • 10 min: AD explains program goals, components, and design. Challenges and opportunities
  • 12 min MS talks about her project and demos a few movements: What were the arts learning goals, what were the cultural goals and what did she want them to take away from the project. How did the assessment piece play into to helping think about those things, and how did it complicate things?
  • Start at the end- how do we translate the powerful things we see and know to be integral to powerful learning into the data we are required to provide to support this?
  • There are the various components we use to paint a complete picture of the learning that happens in a residency
  • Malini- why did you choose this image for students to look at?
  • What do you notice in the pre and post assessment?
  • These are tools that enabled us to understand and rank degrees of evidence of learning.
  • This is a format that helps principals and other key stakeholders digest and use the data in ways that are required of them. We know it doesn’t paint a whole picture, but it is powerful to have these measures to put next to test scores, which our evaluator also looks at. It is powerful in a way to have control over turning what we see into numbers. Bringing in stakeholders (teachers) to define success on their own termsInvesting time and creating space to fine tune tools with everyone involved Standing by what we think and know works Authentic assessment supports and reinforces good practice We all want positive feedback. We get critique and that is important but we rarely get opportunities to reflect on what is working Resisting agenda put forth by a system that is principally concerned with test scores. Using this money to get data that allows us to participate in the conversation in a different way and advocate for the approach we want to see.
  • City Lore Outcomes Institute Powerpoint

    1. 1. Assessment is not a total drag all of theAssessment is not a total drag all of thetimetimeCity Lore’s Nations In Neighborhoods AEMMDCity Lore’s Nations In Neighborhoods AEMMDProgramProgram
    2. 2. How can externally imposed assessmentHow can externally imposed assessmentrequirements become an opportunity torequirements become an opportunity todemonstrate authentic arts and culturaldemonstrate authentic arts and culturallearning as defined by arts organizations,learning as defined by arts organizations,teachers and students?teachers and students?
    3. 3. City LoreDocument - Preserve - FosterLiving Cultural HeritageOur education programs engageyouth, families, and educators inexploring the role of the arts and culturein their own lives and in the lives ofothers. We encourage youth to see thearts as a powerful means for expressingtheir ideas and for understanding theworld around them.
    4. 4. 5Nuts and BoltsNuts and Bolts• 28 classroom teachers andschool arts specialists• 926 students. Over 40%English language learners• 10-14 week 90 minuteresidencies• 3 yearly teacherdevelopment days• 1 week-long summerinstitute with artists andteachers• Teaching artist PD
    5. 5. 6Explore traditional and culturally specific art formsExplore traditional and culturally specific art forms
    6. 6. 7Investigate their own traditions, communitiesInvestigate their own traditions, communities andandneighborhoodsneighborhoods
    7. 7. 8Learn to work in different modalities andLearn to work in different modalities andacross disciplinesacross disciplines
    8. 8. 9Create original works of art inspired by theirCreate original works of art inspired by theirinvestigations and researchinvestigations and research
    9. 9. 10Share their artistic process and products throughShare their artistic process and products throughexhibitions and performancesexhibitions and performances
    10. 10. 11• Malini teaching photo
    11. 11. 12
    12. 12. 13Assessment ComponentsAssessment Components• Focus Students• Pre-Assessment• Observations• Video Interviews- Students,Teachers, Artists• Post Assessment• Journals/portfolios• Extra footage(rehearsal/art, peerinterviews, thank youletters)
    13. 13. 14Describe the work of artin the picture above.Name three things thatmake this a work of art.Look closely. What canyou figure out about theculture that made thisart?What country or culturedo you think this comesfrom? Give threereasons why.Why do you think thepeople made it?Imagine you were going tointroduce this art to anaudience at your school. Whatare three things you would sayso that students and teacherscould understand what theyare seeing?How could you find moreinformation about this?(Besides books or theinternet)  What is something that you(or someone in your family orneighborhood) That is likethis. Why do you do it? Whydoes it matter to you?Is there anything you want toadd that you were thinking ornoticing?Pre and Post Assessment
    14. 14. 15
    15. 15. 16
    16. 16. 17Interview QuestionsInterview QuestionsFor Teachers Pre Class:• What is your residency about? Whathave you covered so far?• What do you hope students will noticein the work they are doing? What doyou hope they will take away from thissession?Post Class• Where did you see kids grapple withthe question of your residency?• What do you think went well? Wheredid you see the kids engaged andlearning?• Did anything surprise you? How will youbuild on it next time?• What could have gone better? Whatwould you do differently next time?
    17. 17. 18For Students: During class:• What are you doing in this residency?• What did you notice just now when yousaw / heard [art form/ teaching artist’sdemonstration/ their own or otherstudents’ mini-performance]?  • What makes it an [African mask/ insertproper art form]?• If you were going to explain to someonewhat makes it from [specific region] whatwould you say?• Did you tell anyone about the residency?What did they ask? What did you tellthem?• What are you learning about (statedtheme of residency)? What does thatmean in your own life?Group interview (post class)• What did you learn in today’s class?• Can you show me something from classtoday?• How did you learn it?• What is it like to have an artist in yourclass?• What do you learn from each other/aboutyour classmates?• Does this remind you of anything elseyou are doing in school?• Does this remind you of anything elseyou do or have seen somewhere else?
    18. 18. 19JournalingJournaling• GLOSSARY OF TERMS—Have students create aglossary of vocabulary words related to both the art formand culture in which you are working with studentsthroughout the residency. Start with a minimum of 5words. Use your list of key concepts and vocabularyfrom your unit plan. • Name two new things that you learned based on todaysresidency.  Explain what they mean.• If you were able to interview (artists name), what wouldbe two questions that you would like to ask him/ her?Explain why you are curious about these two questions.• If you could travel to (the place your students arelearning about), what are three things that you wouldexpect to see (based on what you are learning from thisyears residency)? • What makes (South African, West African, etc)(music/dance/sculpture) different from other forms of(music/dance/sculpture)?• What makes a good performer/artist? Why?• Who gave you your name and why (family name, specialmeaning, historical figure)? Tie to the residency.• Write an exhibition card for another student’s work. Thecards can be used for a final exhibition or a student-ledtour of the class’s artwork. NOTICE--Write about or draw whatyou saw and heard today. Includedetails that you noticed. CONNECT--What does the art yousaw today remind you of or make youthink of? Use words you’ve learnedto help describe the connections. INVESTIGATE--What are twoquestions you have after today’ssession? If you couldn’t use theinternet or books, how could you findanswers to your questions?
    19. 19. 21ArtifactsArtifactsDear Mr. N’ketiah Brakohiapa,Hello, my name is Asa Shin, the student from 801. I first time met you in the social studies class withadinkra art. I am from Japan and had lived here for almost one year. I never knew about adinkrasymbol or clothes until this art project begin. Well, not only adinkra symbol, I even didn’t know any ofAfrican art. When I first time saw the pictures of adinkra clothes, I was amazed by it, because I’venever seen clothes designed by stamps. In Japan, there is cloth made using dyeing process, but notwith stamps. So I couldn’t imagine how to stamp on the fabric. Then Ms. Judy, the artist and ourteacher of our art project, showed us the videos about how to stamp or make the adinkra symbol.Also, I learned there is a process… and when or how to wear it. When I heard that, I felt that I wantto see people who actually do that. So when you came to our class, that wish came true. By yourtalking, I could learn more about what native Ghana’s adinkra makers do every day. I was surprisedwhen I heard that children also help their family from early morning to night. I didn’t have thatexperience when I was in Japan. I helped my mother sometimes, but not everyday, all the time. So Ithought maybe it is tough, but I wanted to experience that, too.One more thing, I felt surprise that there is rank between people. For example, you said that only thevillage chief can wear a lot of symbols and others wear only one symbol… Actually, there was likethis rank in ancient Japan, too. When people started making rice, there were people who managethat, who make that rice, who make the tool to make rice, and who cook. In that time, people whomanage the rice was most admired by people… I learned many things from what you spoke andtaught us. Also, it make my ability of understanding more and I learned many knowledge that I can’tknow from pictures or videos. I’d like to be thankful for that. From this experience, I want to learnmore about adinkra symbol and tell people how beautiful and amazing it is. Again, thank you verymuch.Sincerely, Asa
    20. 20. 22Coding rubric- Developed with teachersduring teacher coding sessions- 5 Paidevening sessions to code and makesuggestions for next year assessmentprojectArt Form Content- Terms, Processes, Tools Little to No EvidenceThe dance are so good and so beautiful. “ Some Evidence- expected for grade levelI see that the rhythm of the dance is the same asthe beat of the music.Ample Evidence- (more than expected for grade)“What I know about the music is that it matcheswith the dance. I know about the dance that alot of spinning around. It has drum sound, pianosound and guitar sound.”Striking evidence (MUCH more than expected for grade)It is art from India. In ancient time Indians used touse animals in their symbol…I think the artisttook some small part from the picture, thenhe/she make it from a small paper. Then shemake it in a big grid in a big canvas. Then aftershe enlarge it and put it on a grid”Scoring
    21. 21. 23VOILA! DATA!VOILA! DATA!
    22. 22. 24Self evaluate: is what we say we are good at what we actually do well?Where do we need to strengthen our approaches, where can wesubstantiate claims we make?Leverage with schools and principals to support high implementationprojectsUse with teachers to advocate for further funding within their schoolsGet buy-in from parents/community/administrators/ stakeholders. Haveother people advocate for more cultural arts time in school.Participate in the policy conversation at a different level.
    23. 23. 25Questions/ DiscussionQuestions/ Discussion

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