                                                              
| Friends of the Arts |
 |
 |
 |
| Written by Maryellen Rogusky |
| Thursday, 26 January 2006 03:31 |
|
There has been tremendous growth in how the Jazz Sampler program has been implemented over the five-year span. The program began as a series of art performances for school assemblies and has grown in Implementation to school-wide, classroom-based, arts-integration residencies. The content of Jazz Sampler has evolved from stand-alone performance pieces to a school-wide curriculum with a multi-age culminating activity based on several classroom residencies as well as assembly performances. There is now a continuity and an acceptance about the way the program is talked about and understood by all stakeholders, including students, teachers, administration and community. The critical “buy-in” by students is evident in assessments that have evolved from checklists of “likes” and “dislikes” to qualitative statements such as, “I will go home and practice more tonight.” Thus, a deeper level of engagement with Jazz Sampler as a curriculum of meaning and worth in children’s eyes has been documented. This deeper level of engagement, combined with the large number of students and staff affected by the program means that Jazz Sampler is having an extraordinary effect on the learning process at Washington-Rose Elementary. Introduction Friends of the Arts (FOTA) is a non-profit arts organization creating and implementing “arts-in-education” programs in New York State schools. These programs address the New York State Learning Standards, enhance curriculum, and enrich the education of young people. The programs include performances, workshops, and residencies. Each program offers students of all abilities and backgrounds the opportunity to work with professional artists and learn about and through the arts. Additionally, FOTA offers workshops for teachers and develops study guides and resource information that enable classroom teachers to incorporate the arts experience into everyday classroom learning. One program implemented by FOTA is Jazz Sampler. This project, launched in 1999 in collaboration with Washington-Rose Elementary School is a year-long Interdisciplinary venture focusing on jazz as an art form. Students in grades K-6 have been participating in this project for five years and are currently participating in the sixth year of implementation. Throughout Jazz Sampler’s implementation, classroom teachers have participated in workshops and were given support and resources to incorporate the theme of jazz into language arts, social studies, math, science, and art. The artists involved in Jazz Sampler include dancers, illustrators, authors, musicians, and visual artists. Several artists have been involved consistently over the five years of implementation. Washington-Rose Elementary, located in Roosevelt, New York, is a K-6 elementary school endeavoring to reach and support all students academically. This school is located within The Roosevelt Public School System. Included in the school-wide academic programs are reading, mathematics, science, social studies, writing, speaking and listening as well as character education and high-order thinking skills. Other programs include Reading Recovery (a reading and writing program for first grade students aiming to bring At-Risk Students to grade level), a Parent Teacher Association, and a “Parents as Partners” Committee to help increase parent involvement. The collaboration between FOTA and Washington-Rose Elementary School began when FOTA wanted to partner with a school to integrate arts with the core curriculum in a classroom. By chance, a music teacher named Paul Graham from Washington-Rose called to book one of the jazz ensembles for the school and Lois Kipnis, Director of Education at FOTA, explained that that particular group only did grades 7-12. Lois Kipnis informed Paul Graham that she was looking for a school with which to partner and within two weeks a team was formed including Graham, Barbara D'Andrea (art teacher), and Dr. Perletter Wright (principal). The title for the project Jazz Sampler came to Lois as she drove back to FOTA after the initial planning meeting realizing that the project would contain a “little of this and a little of that” and could possibly include a quilt as one of the future activities. Student and Adult Participation Numbers During the five years of the Jazz Sampler implementation in Washington-Rose Elementary various amounts of students were served. During year one (1999-2000), which included only performances and workshops, 595 students were involved in the project. In year two (2000-2001), 550 students were served through performances and workshops, 100 students participated in residencies. Year three (2001-2002), 595 students were served through performances and workshops, 180-200 students were part of residences. During year four (2002-2003), 550 students were served through performances and workshops, 180-200 were part of residencies. Again, 180-200 students were involved in residencies during year five (2003-2004) while 453 students were served through performances and workshops. According to Lois Kipnis, the fluctuating number of students is indicative of the transitory population of the school. In addition, for each year, approximately 23-26 teachers and twelve auxiliary adults participated in Jazz Sampler. During the five years of the Jazz Sampler implementation in Washington-Rose Elementary, approximately 2,743 students participated in workshops and performances, 700 students took part in residencies, and 125 teachers coordinated the work with the help of 48 other adults. Documents During the five years of Jazz Sampler, 1600 pages of documents were created to organize and assess the project, including project work plans, lesson plans, themed units, study guides, assessments, teacher evaluations, and thank you notes. The evaluation reviewed these varied types of documents: Project Work Plan A Project Work Plan was developed each year defining the timeline of the project, dividing the project into phases, outlining a planning stage, and actual project implementation. Overall Project Structure An Overall Project Structure was written during the third year. This was required by New York State Council on the Arts (NYSCA). Lois Kipnis completed the writing related to the Overall Project Structure. At the beginning of year three, four, and five, a document was written which listed the faculty and artists participating in Jazz Sampler. A project description was also included in the document citing an overall description of a residency including partners in collaboration, what will happen during a residency, and the role of FOTA during a residency. In addition, focuses for each year were documented. Background Information, Lesson Plans, Permission Slips Background information on artists and subject matter, some lesson plans, and permission slips (in English & Spanish) were collected by Lois Kipnis for the first four years of the project. Collected from the first year were various worksheets for students, administered by the art teacher, music teacher, classroom teacher, a Guide to New York State Learning Standards (created by Lois and shared with the ELA teacher and other people on faculty), suggested lessons, bibliography by Brian Pinkney, supplemental material (vocabulary words and definitions), various background material (The Savoy Ballroom, Congo Square, The Swing Era), permission forms for participation in residency (in English and Spanish), and a suggested list of listening materials (done by the music teacher). Collected in the second year were various worksheets, lessons created by artists, background material (Drum with a Thousand Faces, Harriet Tubman, various poems, Louis Armstrong), and Guide to New York State Learning Standards (created by Lois, shared with ELA teacher and other people on faculty). Collected in the third year were lesson plans, possible resource material list, review list for Jazz Sampler including books, video, timeline of themes, overall view of sampler, and some internet resources. Collected in the fourth year were various worksheets, some lists of goals related to Jazz Sampler, Jazz Sampler contest flyer (complete-the-phrase, “Jazz is…” winner for each grade level), a Guide to New York State Learning Standards (created by Lois and shared with the ELA teacher and other people on faculty), and a sheet explaining structured programs for improved performance (came from school district, part of the 5 year School Improvement plan for the district, written by principal in collaboration of ELA teacher). Jazz Sampler Study Guide A Jazz Sampler Study Guide was compiled in 2000 and included the first three years of residencies. It was created and developed by Lois Kipnis for Jazz Sampler Project. Lois wanted to create it as a springboard for the teacher. The guide included suggested activities, a New York State Learning Standards Section, resources, vocabulary, language arts, literature, reading & comprehension, social studies, music related activities for the classroom, and math. The following sections were part of the guide: Top Ten Facts: Talking Drums, Suggested Activities for the Evolution of the Blues, Suggested Activities for Classroom Teachers: Scott Joplin & Ragtime, Top Ten Facts: Scott Joplin & Ragtime, Suggested Activities for Classroom Teachers: Louis Armstrong & Dixieland, Top Ten Facts: Louis Armstrong & Dixieland, Suggested Activities for Classroom Teachers: Duke Ellington & Big Band, Top Ten Facts: Duke Ellington & Big Band, Top Ten Facts: Count Basie & The Swing Era, Suggested Activities for Classroom Teachers: Dizzy Gillespie & Bebop, Top Ten Facts: Dizzy Gillespie & Bebop, Suggested Activities for Classroom Teachers: Latin Jazz, Historical Reference Sheet: Latin Jazz, Glossary for Latin Jazz, Suggested Activities for Classroom Teachers: Miles Davis & Cool Jazz, Suggested Activities for Classroom Teachers: History of Jazz Dance, Glossary for Jazz Dance, Suggested Activities for Classroom Teachers: Rhythm, Suggested Activities for Classroom Teachers: Theme, Suggested Activities for Classroom Teachers: Improvisation, Suggested Activities for Classroom Teachers: Call-and-Response, Bibliography. Bibliography Each year of Jazz Sampler, Lois Kipnis created a bibliography for the teachers including possible resources related to the project. Themed Units (2002-2003) Themed units were compiled by Lois Kipnis for the classroom teachers. Included in each unit was a letter to teachers, worksheets, suggested activities, glossary, resources, background information, bibliography. The following themes were created for each grade level:
A themed unit on the Treemonisha project was compiled by Lois Kipnis for the classroom teachers. Included in each unit was a letter to teachers, worksheets, suggested activities, glossary, resources, background information, bibliography. Treemonisha Script (2003-2004) Two 6th grade teachers adapted the original Scott Joplin script of Treemonisha for the residency. The teachers completed the script in the Fall and had auditions in December based on the script before the residency began. Programs and Invitations for Culminating Activity (documented all years but first) Programs were created by art teacher for the culminating activity. Invitations were created by classroom teachers for the culminating activity. Publicity Several forms of publicity have been used over the past five years to inform the public and private sector of Jazz Sampler. Included in publicity were conference presentations, articles (newspapers and magazines), television appearances, and FOTA created boards displaying photographs, articles and student work related to Jazz Sampler. Conference Presentations In June 2000, a team including Lois Kipnis and the faculty from the Washington-Rose Elementary School presented Jazz Sampler at the Making Connections conference. Also in 2000, the same team presented at The Balanced Mind V: New Modes of Learning & assessment in the Arts conference in November. At the International Association of Jazz Educators, January 2004, Lois Kipnis and faculty from Washington-Rose Elementary presented Jazz Sampler. Also, Lois Kipnis presented at Hofstra Arts Education Summit independently. Articles The Jazz Sampler project, a partnership between Washington-Rose Elementary and FOTA, was written about in several newspapers and magazines. The following list indicates publications:
Television Jazz Sampler was captured in 2002 on local Channels 12 and 55, covering the Blues residency in Washington-Rose Elementary. In 2004, the Treemonisha performance was covered by public television, Channel 21. Boards Lois Kipnis created three-sided public display boards presenting multiple years of Jazz Sampler. These boards were on display at the performances, schools, and FOTA functions so that all of the school’s stakeholders and FOTA’s supporters of the arts could be kept current on the program. Year One (1999-2000) was represented through two boards. One board included thank you notes to Brian Pinkney, rhythm & composition art work, designs for jazz quilt (sketch & transfer), illustrations for a jazz story, short essays about Scott Joplin, Duke Ellington, and Miles Davis. The second board consists of all photos (5x8) representing different artists and student participation (dancing, singing, playing instruments, interactions with artists). Year Four (2002-2003) was represented through one board. This board included a teacher quote regarding Jazz Sampler, an article in Newsday, various photos, and a poem written by student. Year Five (2003-2004) was represented through one board. The focus of this board was Treemonisha. Included on the board were Treemonisha articles in a Roosevelt Schools’ newsletter, photos of the process of creating Treemonisha, and photos of the performance of Treemonisha. Two boards focused on the best of two years (2001-2003). Both boards incorporated examples from the Jazz Sampler “complete-the-phrase” contest “Jazz is…” student work across multi-grades and included student writing and illustrations. Findings There has been growth in Jazz Sampler over the five-year span. The program began as performance assemblies and has grown to include school- wide classroom-based residencies. Also, the content of Jazz Sampler has evolved. For example, the first year included several assemblies with artists. The fifth year included a multiage culminating activity based on several classroom residencies as well as assembly performances. There is a continuity about the way the program is talked about and understood by all stakeholders (students, teachers, administration, community) and has the critical buy-in by the teachers, students, administrators and community. Thus, a deep level of engagement with Jazz Sampler is evident. Student Q, Collection 2 Today I learned how to do new kinds of dance styles. She taught us today as soon as I learned it, The kinds of new things we learned was putting our hands out and twirling left right left. Then we got in a group and pretended to talk. Then my line went over to Devante’s line and he was standing near me while I was almost sitting down. I improved on my focusing skills. That’s why I did so good today. And I also improved on the beat and counting. I need to improve on my twirling skills when we spin around with the music on. Students are demonstrating real growth, including the dual paths of intellectual growth and physical growth, as this example from the table above shows. Four Themes from the Formal Assessments What works for this program is the amount of time and resources poured into making it work, growing it, refining it, giving every student a chance to learn. Every year shows growth, refined assessments, solid student learning and, due to the variety of assessments used, a lack of comparability.
Although the themes discussed below use examples from the fifth year of her journal, they represent her values as they are embedded in her work. They are this evaluation’s findings about the things she cares about and the things that tend to distinguish this work.
Assessment took on many forms throughout Jazz Sampler and successfully attempted to value and research the variety of participants’ voices including students, teachers, and artists. Some assessments took on the structure of an evaluation and included a rubric while other assessments focused on student work. Essentially, assessments were created and collected and showed growth over the years but lack an overall strategic clarity. Therefore, there is evidence of growth in the assessments over time but they lack comparative reliability. In addition, assessments were distributed but the actual count of the distributed collection, known as the target population, is unknown in some cases, and the response to those solicitations, known as the sample, was also unclear in some cases. These types of data are important as a gauge that can provide outsiders with a way to understand the representative worth of the results of the assessments. The following recommendations are based on the analysis of the data provided by FOTA:
Evaluation of the Jazz Sampler Program Implemented 1999-2004 By Friends of the Arts (FOTA) By Robert A. Southworth, Jr., Ed.D. President The SchoolWorks Lab, Inc. 28 West 44th Street, Suite 1509 New York, NY 10036-6600 & Adjunct Assistant Professor Curriculum and Teaching Department Teachers College Columbia University New York, NY 10027 Jeanne Iorio, Ed.M. (Ed.D. degree expected 2005) Assistant Researcher The SchoolWorks Lab, Inc. 28 West 44th Street, Suite 1509 New York, NY 10036-6600 October 5, 2004 |