Posts Tagged ‘MALI’

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The Waldo

May 27, 2019

Waldoboro, Maine

Maine Arts Leadership Initiative (MALI) Teaching Artist Leader Joe Cough and his wife Lindsay will be performing at The Waldo in Waldoboro in June. Check this out…

On the second Saturday of the month from June through October, 4:00 – 7:00 p.m. galleries, studios, and creative businesses located in the heart of the historic Waldoboro village will be celebrating the Midcoast’s vibrant arts community.  As part of the series, The Waldo will offer tours of the theatre, freshly popped popcorn, and a rotation of established and up-and-coming performing artists. We’re happy to welcome back local Waldoboro musicians Joe and Lindsay Cough as the “opening act” of our 2019 series, sponsored by The Bangor Savings Bank.

The couple offers a range of eclectic and synergistic talent.  Joe is a vocalist, multi-instrumentalist, composer, conductor, and educator who specializes in French melodies and uses his “spinto tenor” vocal technique across many musical genres. Lindsay is an accomplished singer and Norwegian hardanger fiddler. She is also a member of the Professional Doll Makers Art Guild, and creates in one-of-a-kind handmade polymer clay dolls. Her work is on Facebook at Wind’s Knees Art Dolls.

The Waldo hopes to highlight the hidden talent of the Midcoast throughout the summer. If you are interested in sharing your musical, literary, or performance prowess at an ArtWalk, please email info@thewaldotheatre.org and mention “ArtWalk” in the subject line to see how you can get involved!

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Arts Accessibility Webinar

May 13, 2019

Shawna Barnes

On Sunday, May 26, 7:30 – 8:30 p.m. Shawna Barnes will be hosting a webinar on Arts Accessibility. Shawna is a Teaching Artist Leader with the Maine Arts Leadership Initiative.

Shawna N.M. Barnes is a disabled artist and arts accessibility educator. One of her passions is helping educators, camp counselors, and relatives of those living with a disability, find economic solutions to arts access barriers.

In this short webinar, Shawna will introduce several inexpensive and immediate modifications to tools that can be done to help your student or loved one be able to create as independently as possible. Adaptive tools can be expensive. So a big focus for Shawna is finding those creative adaptive solutions by using products you may already have at home, in your studio, or in the classroom.

Do you have a specific tool, disability, or pain point you’d like covered? Ask your question, or describe your situation in this event, and Shawna will be picking 2-3 to use as examples during this webinar.

This introductory webinar is FREE and scheduled to last 30 minutes. If there is higher interaction and engagement, time may be extended an additional 30 minutes. Material will be presented via a live Facebook video on her sculpting page – Shawna N.M. Barnes – Beyond the Clay Art Studio.

To learn more contact Shawna at info@shawnabarnes.com.

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“Finding the Boxmaker”

May 7, 2019

Tom Luther’s album released

Finding the Boxmaker album cover

On May 1, 2019 composer/performer Tom Luther released his newest album, “Finding the Boxmaker”. The album has been released in digital-only format on Bandcamp, and can be found at THIS LINK.

“Finding the Boxmaker” is an instrumental work that was inspired by William Gibson’s Count Zero and the art of Mark Kelly. The music combines acoustic performance with electronic, improvised material with algorithmic/systems based material, and a layering of “found” sounds. The music explores different combinations of all three and alternates between “Tableaus” and “Assemblages”.

There are five “Assemblages” of slowly evolving soundscapes surrounded by six “Tableaus” of more traditional musical narratives. Like chapters in a novel, there are over-arching relationships between the Tableaus that “nest” the work together.

Much of the work is driven by the idea of assemblage, this being the collecting or curating of seemingly unlike (and often ordinary) found objects and arranging them in compelling ways. The work of Joseph Cornell (1903-1972) stands out as exemplary, and is a key narrative element in Gibson’s novel. Mark Kelly also works with assemblage in addition to working with some systems driven art which is the second primary driver of the work.

Despite the influence of Count Zero, “Finding the Boxmaker” is not a retelling of Gibson’s novel. “It is an exploration of systems, a merging of acoustic and electronic aesthetics, and a restructuring of how I think about music and art and my relationship to both”, says Luther.

“Finding the Boxmaker”

Tom is on the Maine Arts Commission Teaching Artist roster and a member of the Maine Arts Leadership Initiative as a Teaching Artist Leader. Tom will be facilitating on June 17 at the Teaching Artist professional development workshop. When Tom isn’t writing music he is teaching at the Midcoast Music Academy. Not to mention Tom is a great guy and musician that you should meet if you don’t already know him and his work. 

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Teach to Lead

April 6, 2019

Great opportunity to develop ideas with your team

Many of the Maine Arts Education blog readers remember that the Maine Arts Leadership Initiative (MALI) started as the Maine Arts Assessment Initiative (MAAI) back in 2010. In 2014 a team made up of MAAI teacher leaders and leadership team

Maine MALI team, bottom left

members were invited to attend a Teach to Lead Summit in Washington, D.C. It was an AMAZING OPPORTUNITY!! The team realized that the name of the initiative wasn’t reflecting the future work of MAAI. A focus on LEADERSHIP was clear so the members of MAAI decided to change the name to the Maine Arts Leadership Initiative. Like everything we’ve done in the 8 years that the initiative has been in place it was a careful decision. It proved to be the best thing for MALI. We know that in many school districts across Maine and across the country that arts educators are leaders. They are looked to for their many skills – collaboration, problem-solving, curriculum integration, student-center learning and so much more that takes place in arts education classrooms everyday. Why wouldn’t visual and performing arts educators be asked to contribute their expertise to help move schools and school districts forward?!!

You have a chance to lead your colleagues and community to a Teach to Lead Summit. Do you have an idea that takes some intense planning and time with your colleagues? Do you want to take action around something that is needed in your school? If so, I urge you to consider taking a trip west to the next Teach to Lead Summit taking place on September 19-21, 2019 in Salt Lake City, UT. The information is below – take a look – see if you’re a good match. If you have any questions please email me at argy.nestor@maine.gov.

Whole Child, Whole Teacher Summit

September 19-21, 2019

Salt Lake City, UT

Calling all educators! Submit an idea for our next Teacher Leadership Summit!

Teach to Lead supports teachers as valued experts in instruction and students’ needs. Teach to Lead summits provide teams with time to collaborate, skills development, and professional consultation to incubate innovative ideas that can make a positive impact for students in their schools, communities, districts and states.

This topical summit will bring teacher leaders and other stakeholders together to address the needs of the Whole Child and Whole Teacher in an effort to transition from a focus on narrowly defined academic achievement to one that promotes the long-term development and success of all children, as well as the well-being of all teachers.

Each idea should reflect a need that addresses students’ and/or teachers’ health, safety, learning, support in and out of school, and access to engaging and challenging opportunities. Examples of project topic ideas might include:

  • Healthy: homelessness, hunger, student and teacher well-being and mental health
  • Safe: school safety, bullying and harassment
  • Engaged: cultural diversity, student identity, school culture and climate, professional networking
  • Supported: supports for a diverse teacher workforce, coaching and peer mentoring, adult-student relationships, community partnerships, language services and supports
  • Challenged: access to challenging coursework or professional development, access to extracurricular opportunities, etc.

How do participants benefit from the Summit?

  • Develop a local idea for change into a complete plan
  • Obtain the support of a dedicated “critical friend” from a supporting organization to advance your work
  • Build relationships with ASCD, Teach Plus, the United States Department of Education, and national supporting organizations
  • Be provided with free registration and hotel accommodations for two nights or parking ( hotel will be provided free of charge for teams traveling more than 50 miles; parking will be provided for teams traveling 50 miles or fewer to the summit).

Who may submit an idea application?

  • Any teacher leader with an actionable idea is encouraged to apply here (or cut and paste into your browser) https://www.surveymonkey.com/r/TTLSLC19 by 11:59 pm ET on May 17, 2019 . Accepted ideas will be notified the week of June 10th.
  • Teams must have 3-5 members and must be led by one current teacher. Other key stakeholders (e.g. parent, student, community members, school and government officials) are encouraged.

All submitted ideas must: 

  • Encourage teachers to lead from the classroom.
  • Promote collaborative work among multiple stakeholders.
  • Identify an area in need of innovation or a specific problem with an eye towards actionable solutions.
  • Be viable in the local context and sustainable over time.

All submitted ideas may:

  • Be functioning at any stage of development – an emerging idea requiring input and buy-in to something that has been implemented which is ripe for improvement or expansion.
  • Focus on any level of change – school, district, or state.

Please contact info@teachtolead.org for additional information or questions.

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Pen Pals Pilot Program

April 4, 2019

PEER 2018:  5th Grade Painting Pen Pals Pilot Program

Lynda Leonas has been a Maine Arts Leadership Initiative (MALI) Teacher Leader since 2015, Phase 5. It was great to hear about her work at Walton School that is connecting her students with others.
5th grade students from Mrs. Breau’s class at Walton School in Auburn, Maine, began a trial practice run of the painting pen pal program on November 8 during a 30-minute art class with their art teacher, Lynda Leonas. Each student inspired personal responses and program feedback from music and art educators, teaching artists, and members of the Maine Arts Commission during the November MALI Critical Friends Day at the Viles House in Augusta. Students were thrilled with the responses they received and hope to meet their practice partners one day!
Elementary schools in Androscoggin and Cumberland Counties will participate in a larger practice run of this peer student painting exchange this coming spring. We hope to define and direct any technical adjustments necessary in creating a simple large scale painting pen pal exchange and exhibit for teachers and students within the State of Maine. Each grade 5 student will create a painting within an open choice painting studio environment. The painting will be exchanged with a student in another school district. Each participant will reflect upon key ideas and emotions expressed within the art work they receive and respond with his/her own personal interpretation to create visual conversations!
Students and teachers will expand their communities without leaving their classroom throughout the Painting Pen Pals process. Students will access and upload paintings, reflections, and literary responses in the form of poetry into a WIKI site creating an online exhibit while art and classroom teachers upload formative assessments, enrichment activities, and their own painting pen pal works! Our goal is for all peer partnerships to meet in person at a culminating exhibit of their completed works.
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Two Teaching Artists’ Journeys

March 19, 2019

Nicole Cardano and Brian Evans Jones

Maine Arts Leadership Initiative Teaching Artists Leaders, summer institute, 2017. Brian is in the back row, third from the left. Nicole is in the front row, first person on the left.

I’m always interested in learning about the needs of teaching artists and how to better support them. I view their role in education as vital. Oftentimes it is the teaching artist who inspires a young person. Providing opportunities for learners in grades PreK through high school that include a teaching artist can be empowering for the learner. I have hope that every young person either becomes an artist or an appreciator of the arts as they continue learning on their life journey.

Those of us who have made arts education a career are so fortunate. We are engaged in the creative process as  individuals and have the chance to help young people develop their artistic ideas as well. When arts educators collaborate with teaching artists it is truly amazing. Both teachers learn but the ones who benefit the most are our students.

Pablo Picasso said: “Every child is born an artist, the problem is how to remain one once we grow up. I think of the artist in each of us as a fragile, beautiful and precious light, a creative spark inside of every person.”

Nicole and Brian at the MALI Summer Institute, 2018

Recently I asked two teaching artists who are leaders in the Maine Arts Leadership Initiative (MALI) to ponder what has contributed to their success as teaching artists. Brian Evans-Jones and Nicole Cardano joined MALI in 2017 during the summer institute.

Brian Evans-Jones is a poetry and creative writing teacher who moved to southern Maine from the UK. He’s been writing poetry since he was 16. Brian has a B.A. in English and Creative Writing from Warwick University.

“Since 2005 I have taught creative writing, which is as important to me as my own writing. I’ve taught all kinds of people, from 4 to 94, in all kinds of venues, and this is the main way I try to spread the appreciation of poetry.”

Nicole Cardano has been teaching Drama and Improvisational Theater in PK-grade 12 schools for eight years. In addition, she teaches adults. Nicole’s studies and practice of improvisational theater connect to the foundational philosophies of Listening, Support, Eye Contact and Respect. The games that she teaches and her directorial mindset work from these foundations. Nicole believes in the process being more valuable than the product. Learning and developing these skills fosters a stronger community, a place of open listening and supportive fun. You can learn more about Nicole’s work on Facebook at Theater Today, Nicole’s non-profit organization.

“This December I worked with elementary and middle school students in preparation for their field trip to see Charles Dickens’ Christmas Carol. The students learned about workhouses and the hard labor and often dangerous jobs that children did in London during the 1840’s. We imagined this world through writing and theater exercises.”

NICOLE, HER TEACHING ARTIST JOURNEY

I started out as a Teaching Artist before I knew that this job title even existed. I was teaching drama and improvisational theater at the Summer Festival of the Arts and re-establishing the drama club program at my alma mater, Pemetic Elementary School. One program would lead to the start of another one. In the last nine years the work has grown. I have formed a non-profit, Theater Today, and have been able to spearhead a larger program in partnering with The Grand Theater, in Ellsworth.

Two years ago I learned that The Grand had a program called Performing Arts for Children showing school-aged performances during the school day, but they were not getting the audiences that they hoped for. The opportunity to partner was clear. Several professionals collaborated to create a Community Arts Curriculum out of which grew my role as the Arts Outreach Educator. This is our second year of this outreach collaboration and we are working with the full student body of four schools, three serving grades K-8, and one 9-12 high school. I have worked with 1,311 students leading theater integration workshops in their classrooms since September of 2017 in just this partnership alone (not including the additional programs I still lead). After meeting with classroom teachers, I design improvisational theater workshops that provide connections between the classroom curriculum and the live theater field trips at The Grand.

I grew up locally on Mount Desert Island in Maine. I got my first taste of theater in school. This made me aware that I wanted to be able to sing better, as I could not really carry a tune. As luck would have it there was an outstanding vocal teacher in our town. Carol Cramer Drummond was an accomplished opera singer and became my performance mother. Carol taught me confidence through song and showed me another world. I struggled to learn in school in the format I was expected. My mother too had her own history of challenges in school. I am now raising my daughter, also as a single parent, and I find myself advocating for her experiential learning needs.

Theater was the only subject I could think to study as I went on to Saint Michael’s College in Vermont. Both of my parents supported this decision. I graduated cum laude with a departmental award of honors and minored in Spanish as an extension of my year abroad in Mexico. My senior year of college one of my theater professors was intrigued with the book “Truth in Comedy; the Manual of Improvisation” from the training and performing center IO (formerly Improv Olympic) in Chicago, IL. IO teaches long form improvisation, where you perform a full show based off of one audience suggestion. Our professor formed an improv troupe and we studied this book. I graduated college in May of 2001 and went home to work a summer job and await a New England Theater festival that I had been selected to compete in. I had plans to go to New York City to follow a job lead. That September our nation experienced 9-11. My understanding of the world as I knew it had changed. The job did not pan out. Going to Chicago to study improv felt like the most sensible and sane endeavour. I competed at the festival in January and flew out to take a level one class at IO. I stayed for the full year and completed the improvisational program. Chicago became my home. Improv was the language that I spoke. I continued to study, perform and work for ten years in this city.

I moved back home to Maine for family reasons. I was raising my three year old daughter and my father had gone through stage four bladder cancer due to his exposure to Agent Orange in Vietnam. Time moved forward and my daughter entered school. She was also displaying learning challenges and was not showing the results that our schools wanted. I served for a full term as the chair member of our local school to support education and to better understand it. I really enjoyed being a part of this team. My term ended and I had to decide where I could make a greater impact. My programs were growing and it is a conflict of interest to be on a school board and working in the schools. I continued to develop the work that I saw a need for and believe in. I formed Theater Today to continue this mission. Theater is a tool that helps to communicate and explore topics of interest. This has been true on my journey through life. The practice of theater is a social, emotional and educational tool for all. I embrace process more so than product.

I design the curriculum for the theater integration workshops as the Arts Outreach Educator with The Grand. In our first outreach workshop I was working with 8th graders. The show that they were scheduled to see was “Frankenstein”. The students were studying gothic romantic writing. I taught them about the significance of Mary Shelley and how she wrote Frankenstein, the first sci-fi novel, based on the real modern science of the early 1800’s. The science teachers invited me to speak on this in their classroom, and so I did. In these workshops we highlighted that we are in the middle of history. Through the use of improvisational theater we “built” Victor Frankenstein’s laboratory and acted out scenes on what could go wrong with today’s modern science….

Next I worked with high school juniors and seniors in preparation for seeing Thornton Wilder’s “Our Town”. With the practice of theater we explored the American Dream and enhanced public speaking skills.

This December I worked with elementary and middle school students in preparation for their field trip to see Charles Dickens’ Christmas Carol. The students learned about workhouses and the hard labor and often dangerous jobs that children did in London during the 1840’s. We imagined this world through writing and theater exercises. We explored Dickens mission of the important role of education in the fight against poverty.

The curriculum areas of integrated study have spanned grades K-12.

In the growth of the outreach program with The Grand I see that there could be more partnerships with other arts organizations in an effort to expand the community of learning. For example, art exhibits could have in-classroom workshops with visual artists in connection to gallery showings. The possibilities are endless. Partnering teaching artists with directors of arts organizations has the potential to create a lot more routine work for arts integration in our schools and blurring the line between classroom and community, thus creating more experiential learning opportunities. Many students, and adults, have not been exposed to all that their town or neighboring towns have to offer. Arts outreach expands the exposure to life that any one person has.

The programs with The Grand and Theater Today are primarily supported by grants and scholarships. We do hope to expand the sponsorship opportunities for this programming.

BRIAN, HIS TEACHING ARTIST JOURNEY

Path 1:

January 2005:  I am in the last year of my undergraduate degree in Creative Writing at Warwick University, UK. Not sure what to do after graduating, I go to see my course director and ask him, “How can I teach creative writing?” He tells me I should go see the professor who runs the university’s creative writing summer school for students aged 11-16. He gives me a job. I work on the summer school for the next 4 years, starting as an assistant for a couple of days, and ending up as a full teacher, staying for two weeks.

April 2006:  I am training as an English teacher in a vocational high school in Manchester, England. I hate it. The school asks for volunteers (unpaid) to run Enrichment workshops. Starved of creative writing teaching, I run one on story writing. 8 students attend.

June 2006:  I am interviewing for a full-time job as English teacher at another high school in England. The principal offers me the post. I say I’ll take it provided I can teach an hour’s creative writing a week, pointing to my experience on the Warwick summer schools and at my previous high school. He says yes.

January 2010:  My creative writing group at the high school has had enrolments of 12 students, 4 students, 18 students, and 23 students. I have organized annual competitions in poetry and fiction, getting the principal and vice principals involved in the judging. I have published chapbooks of the students’ work. In January of 2010, the head of Creative Writing at the local college (Winchester Uni) agrees to judge a fiction competition, teach a lesson to my groups, and give them talk about taking creative writing at college.

December 2010:  I have quit my job at the high school. I contact the head of Creative Writing at Winchester Uni to ask for work, and he asks me to teach an undergraduate course. I teach at Winchester Uni until I leave England in 2014, eventually increasing my teaching to 6 courses per year.

November 2011:  One of my colleagues at Winchester Uni starts an organization called the Hampshire Writers Society. I attend the first meetings to support her initiative. She tells me about a competition to become Hampshire Poet Laureate in 2012 and encourages me to enter. I enter it.

January 2012:  I am named Hampshire Poet Laureate. Over the next year, I am paid to write 4 poems and to run workshops in prisons and homeless hostels. The Poet Laureate also promotes my work as a teaching artist to schools throughout Hampshire. I set up an online project (Writing Hampshire) that encourages people to write poems about their favorite places in the region and submit them for web publication.

2012-13:  Approximately 30 schools contact me to ask me to run poetry workshops. About half of these want me to help students write poems for the Writing Hampshire project. Writers’ groups, arts centers, and community organizations also ask me to work for them. Combining my work as a college professor and teaching artist, I am teaching creative writing full-time.

Path 2:

June 2006:  I am completing my training as a high school English teacher. One of the requirements is to join relevant professional associations. I find an organization I’ve not heard of before called the National Association of Writers in Education. I don’t have much money, but I decide to join it.

July 2008:  All NAWE members receive a letter from the Open University. The OU is expanding its creative writing courses and wants new teachers. NAWE members are encourage to apply. I do, and I am given a course to teach.

June 2010:  After two years teaching my OU course, my manager contacts me. They have a vacancy at short notice, and would like me to take it. The combined income gives me enough money to quit my unhappy high school job and go freelance, albeit with a part-time income, but with more time to write.

December 2010:  I contact my local arts center. Based on my experience teaching for the OU, they hire me to run poetry and fiction workshops. By the time I leave England in 2014, I have run 30 workshops and classes fort them, for children and adults.

April 2013:  The manager of the Jane Austen House in Hampshire, England, attends one of my poetry workshops at the arts center. She hires me to run a poetry workshop at the Jane Austen House.

August 2014: I have moved to Maine with my family. We go to a children’s art event at the Jewett House in South Berwick. I get talking to the manager, and tell her about my work at the Jane Austen House. She hires me to run a writers group at the Jewett House and also some one-off creative writing workshops.

November 2015: With some others, I give a presentation at the New England Museums Association Conference on my work at the Jane Austen House and the Jewett House. Soon after the Conference, I am hired by two other historic buildings to run workshops for them.

May 2015:  I am at the end of my first year in grad school at UNH and looking for ways to fill the summer. I offer some free mentoring to a young writer who has come to my writers’ group at the Jewett House. Her mother is grateful, and invites me to go with them to an event called Big Night run by something called the Telling Room in Portland. I go, and I am hugely impressed by the Telling Room’s work with school students. I ask to train as a Telling Room Teaching Artist.

2016-2018:  I work on multiple residencies for the Telling Room, working with 7 schools and leading several residencies.

Path 3:

April 2016:  I am at the end of time in grad school at UNH and wondering about starting a creative writing nonprofit. I hear about a funding workshop run by the Arts Council of NH. I go to it and meet the woman in charge of Arts funding. We meet again later; she tells me about the NH Teaching Artist roster. I apply to the roster and am accepted.

May 2016:  I look for other rosters to apply to, and discover Maine has one. I apply, am accepted, and am invited to a Teaching Artists Training Day.

Brian conducting Poetry Out Loud workshop at Hermon High School

August 2016: At the Training Day. I meet Argy Nestor, who talks to me about Poetry Out Loud. I have experience of the British equivalent. Argy asks if I could do some workshops for POL in Maine. I say yes! I also meet Kate Smith, music teacher at my local elementary school. She tells me about our local Education Foundation, which funds projects in our district. She encourages me to apply for a grant to work with Central School in South Berwick. The grant is funded.

November 2016 and 2017: Argy sends me hundreds of miles to the parts of Maine that are farthest away from my home in South Berwick, bringing Poetry Out Loud wokshops to rural schools and broadening my knowledge of my adopted home state at the same time.

March 2017: My 2-week poetry residency with second grade at Central School in South Berwick takes place. 80 children all write several poems, redraft one to go in a chapbook, and share their learning with their parents.

Brian and Kris presenting, MALI Mega, March 2018

August 2017: Argy invites me to apply to the Maine Arts Leadership Initiative (MALI). I attend as a Teaching Artist Leader. Kris Bisson, Chorus teacher at Marshwood Middle School, attends my poetry workshop. She asks me to be involved in a composition project with her 7th and 8th grade chorus groups, and writes a grant to the Marshwood Education Foundation.  I also meet Tim Christensen, potter and Teaching Artist extraordinaire; Nicole Cardano, improv artist; and Lindsay Pinchbeck, teacher of the integrated arts school Sweet Tree Arts.

Fall 2017:  I run my part of Kris’s chorus project. I meet the students for 6 sessions and help them write lyrics based on a local landmark bridge that is the focus of a community renewal project.

Tim Christensen, Brian, Lindsay Pinchbeck at Sweetland School

January and October 2018: Lindsay Pinchbeck invites me to Sweet Tree Arts to run collaborative residencies, first in partnership with Tim Christensen and later with Nicole Cardano.

2018:  The Arts Council of NH send me to schools throughout the Seacoast region of NH to run Poetry Out Loud workshops.

2018:  Kris Bisson and I present our collaborative project at MALI and at the MAMLE conference.

November 2018:  Argy asks me to make some Poetry Out Loud videos to be hosted on the Maine Arts Commission website. I work with student POL competitors and the MAC’s Ryan Leighton to plan and record the videos.

December 2018:  Kris’s chorus perform their composition piece at the State House in Augusta. I am privileged to attend.

This is not a complete picture of what I have done, but I hope it gives an idea of how my work as a Teaching Artist started, expanded, and changed. What I want to show is that I never planned to do this: every new thing emerged and developed from other things I did before, generally not knowing what they were going to lead to. I don’t claim that this is an ideal path: I still have not gotten back to being a full-time teacher of creative writing as I was in 2014, before I left Britain; and even then my income was barely enough to support a new family. But it has been a fun ride.

If I have advice for new teaching artists, it would be:

·      Find things to do that are the right things to do for you, however small at first.

·      Look for places to meet good people: people on the same wavelength as you.

·      Be as creative about your teaching are you are in your art.

Good luck!

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MALI Teacher Leader Story: Catherine Newell

March 13, 2019

Music Educator 

This is the last of six blog posts in 2019 that include stories of the Maine Arts Leadership Initiative (MALI) Phase 8 Teacher Leaders and Teaching Artist Leaders. This series includes a set of questions so you can learn a little bit about each leader. CLICK HERE  for more information on MALI. CLICK HERE  for more information on the 96 Teacher Leaders and 11 Teaching Artist Leaders. CLICK HERE  for Arts education resources. CLICK HERE for the MALI Resource Bank. Search in the “search archives” box on the bottom right side of this post for past teacher leader stories. Thank you Anthony for sharing your story!

Catherine teaching

Catherine Chesley Newell is a music educator who calls herself a “Once-And-Future Elementary Music Teacher”, because that’s what she was before she had her daughter and what she plans to do again in the future. Recently Catherine said: “Right now I have the supreme joy of teaching music with small groups of children ages 2-5 at Beansprouts Early Learning Center in Freeport. From a child development standpoint, this has been the most fascinating part of my career!”

CATHERINE’S STORY

What do you like best about being a music educator?

The magic of making a song or a rhyme or a movement artful. Children’s hands become beehives or sparks or stuck in the mud. A word becomes a laugh, a shout, or a sigh. A song becomes a declaration, an adventure, or maybe a wish. Everything is transformed by imagination into what is needed in that moment. What could be better than that?

What do you believe are three keys to ANY successful visual and performing arts education?

A passion for learning and growth, delight in the success of others, and flexibility. Maybe not THE three keys, but they’re certainly my keys.

How have you found assessment to be helpful to you in your classroom?

If I don’t know where my students are, I can’t lift them up to where they want to go next. Assessment has an undeserved, negative reputation. It needs a rebrand! Assessment isn’t the problem; the problem is when some administrators and politicians think the data gathered should be used to punish educators.

What have been the benefits in becoming involved in the Maine Arts Leadership initiative?

There’s nothing like spending time with other passionate educators. I come away feeling energized and motivated and full of hope and inspiration. This has been one of the very best things I have been part of and I am so excited to continue our work.

What are you most proud of in your career?

All of the times I was afraid to try something new and did it anyway, or worked through a challenging experience. Especially if it was particularly scary (public speaking leaps to mind!) or the stakes were high. Those are the times I’ve grown the most as a person, musician, and educator.

What gets in the way of being a better teacher or doing a better job as a teacher?

There so very many misconceptions about who is and who is not a musical person or learner. I find that reshaping perception around this is challenging work!

What have you accomplished through hard work and determination that might otherwise appear at first glance to be due to “luck” or circumstances?

My transformation from a “band person” to a “little kids” person. I worked incredibly hard at the Kodály Music Institute to develop the skills I use today. I spent a good part of three years learning repertoire, solfege, pedagogy, and analyzing music. I studied until one or two in the morning every night of my summer sessions in Boston. It was wonderful and worthwhile and I loved it, but it was some of the hardest academic work I’ve ever done. It was, however, luck that landed me in a district that (despite having limited means) supported my summer study. Our local Maine Education Association chapter did a wonderful job negotiating a contract that prioritized professional development!

Look into your crystal ball: what advice would you give to teachers?

Keep growing, keep learning, but take care of yourself, too. Say no when you need to, accept help when you can, and rejoice in your achievements harder than you dwell on your disappointments. Long-term goals are wonderful to have, but the climb is a lot easier if you celebrate along the way!

If you were given a $500,000.00 to do with whatever you please, what would it be?

A good friend of mine passed away at 26 from a lifelong, chronic disease. Her greatest wish was to live long enough to get to be a music teacher. I have long thought that if I ever became fabulously wealthy, I would start a fund in her name to support music education. I think $500K would probably be a good start!

Imagine you are 94 years old. You’re looking back. Do you have any regrets?

Taking so long to join MALI, of course!

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