Posts Tagged ‘poetry’

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Pull a Poem Out of Your Pocket

April 4, 2019

Add some poetry or more poetry

Considering what to do to celebrate National Poetry Month with your students? Check this great idea out. It combines creativity, theater, poetry and much more. CLICK HERE to read the article found on Curriculum Matters blog, written by Brenda Iasevoll on April 27, 2018.

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Two Poems a Day

March 23, 2019

Random mailings

This 32-year-old poet (and firefighter) Natalie Potell mails poems to strangers without including a return address. Natalie is Prince William County’s poet laureate and she doesn’t want people to feel pressure to reply. “Read it. Enjoy it or don’t enjoy it.”
It’s a pretty amazing way to share her love of poetry and plants seeds in a surprise sort of way. What could you do to make an impact in a surprising sort of way? READ the entire article.
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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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Poetry Resources

May 14, 2018

Wes McNair

During Poetry Month, former Maine’s Poet Laureate, Wes McNair launched a new poetry website for teachers and learners called The Lyric Moose.  If you’re looking for a resource that will help you teach or learn about free verse poetry and how to write about it, check out this compendium of six programs, with a wide range of interactive instruction, including videos, craft exercises, teaching assignments, author interviews and poem lists.

While visiting the site I found the resource 20 Maine Poets Read and Discuss Their Work compelling. The resource includes 20 short videos in which a diverse group of contemporary Maine poets read two poems apiece and explain their beginnings as poets, their influences, and their themes. Gibson Fay LeBlanc and Megan Grumbling are two of the 20 poets featured. For several years they have both provided workshops for the Commission’s Poetry Out Loud program.

 

“The website includes links to poetry projects for teachers that I’ve developed with Colby College Special Collections and Information Technology Services. There are six links in all, and three of them were sponsored in one way or another by the Maine Arts Commission.”

It is wonderful to see the impact that Wes continues to make on education in Maine and beyond. THANK YOU Wes for your contributions!

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Memorizing Poetry: Tributes and Memories

May 6, 2018

Carl Little and Memorizing Poems

Carl Little

I have served as the accuracy judge for Maine’s Poetry Out Loud competition on several occasions (not this year—the snow derailed my plans). Each time I hear those brave high schoolers present the work of Tony Hoagland, Linda Pastan, Langston Hughes, Wallace Stevens, and other great poets past and present, I am reminded of my own experiences with memorizing poetry—memories that are a mix of pleasure and pure fear.

My first recollection of learning verse goes back to elementary school in New York City in the 1960s. Every summer each student in the three senior classes (sixth, seventh and eighth grades) at the Buckley School was required to learn by heart several poems to be recited in the classroom upon returning to school in the fall, an obligation that put a small but significant damper on end-of-summer fun.

Just like the Poetry Out Loud contestants, we were given a group of poems from which to choose. Among my selections were “The Congo” by Vachel Lindsay and “On His Blindness” by John Milton. The latter I can still recite by heart. I loved the music of his words—“When I consider how my light is spent,” is the opening line—but also finding out that Milton went blind later in his life, which deepened my appreciation of this poem, so abstract yet so personal.

Flash forward to 1976. I had graduated from Dartmouth, moved back to New York City, and, as an English major, was desperate for some kind of employment. I took a job as a guard at the Metropolitan Museum of Art. I was posted to the Lehman Wing, on the Central Park side of the museum, a somewhat remote section of the sprawling complex.

To pass the time guarding Rembrandt’s portrait of the syphilitic art theorist Gerard de Lairesse and other art works, I decided to memorize poems, among them, William Carlos Williams’ delightful “Danse Russe,” in which the speaker dances naked before a mirror, asking “Who shall say I am not/the happy genius of my household?” Years later, a Mount Desert Island acquaintance, photographer Linn Sage, recounted how one day she came into one of the Lehman galleries and caught me practicing that poem.

A few years later, enrolled in Columbia’s MFA writing program, I took Derek Walcott’s “The English Pentameter Tradition” class. The West Indies-born poet, who would go on to win the Nobel Prize for Literature in 1992, had all of us memorize poems by Robert Frost and Edward Thomas.

Walcott loved both poets dearly and highlighted their connection: when Frost moved to England with his family in 1912, the 40-year-old poet was looking for a fresh literary start to a career that had stalled in America. He met and became close friends with Thomas, a critic and budding poet. Frost found a London publisher for his first book, North of Boston, now considered a masterpiece of American literature. Thomas’s favorable appraisal of the collection—he called it “one of the most revolutionary books of modern times”—helped launch his newfound friend’s career. Interesting to note that Frost’s famous poem “The Road Not Taken” led Thomas to enlist in the British Army. He died in World War I.

Most of us in Walcott’s class were in our 20s and we were collectively petrified by his assignment, but after weak protestation, we gave in. I can’t recall what I memorized for Frost—maybe “Raking Leaves,” which my son James later learned by heart in elementary school—but for Thomas it was his poem “Rain.”Certain lines still ring in my head: “Blessed are the dead that the rain rains upon.”

Martin Steingesser

The only Maine poet I know who presents his work from memory is the inimitable Martin Steingesser. At the second annual celebration of Edna St. Vincent Millay’s birthday at the Farnsworth Museum this past February 24th, he recited by heart one of her most famous poems, the sonnet “What lips my lips have kissed, and where and why.” It was, indeed, “by heart” that Steingesser gave us Millay’s bittersweet lines. “I cannot say what loves have come and gone”—nor could we.

I have given many readings of my own verse, but never presented it without the words in front of me. Inspired by those high school students and Steingesser, and wanting to be able to impress my grandchildren, who seem to be able to memorize a book after a single reading, I have decided to embark on memorization. I’m starting with “The Lake Isle of Innisfree” by William Butler Yeats. Take a deep breath, Carl. Ready?  “I will arise and go now, and go to Innisfree.”

Thank you to Carl Little, Communications Manager, Maine Community Foundation, for providing this blog post. Carl is also a poet.

 

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Poets/Speak!

April 16, 2018

Bangor Public Library – April 26, 4:30 – 8:00 p.m.

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MALI Teaching Artist Leader Story: Brian Evans Jones

March 13, 2018

Teaching Artist – Poet

This is one of several blog posts in 2018 that include stories of the Maine Arts Leadership Initiative (MALI) Phase 7 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 93 Teacher Leaders and 8 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 Brian for sharing your story! Learn more about Brian at his WEBSITE. You can find Brian’s teaching artist profile on the Maine Arts Commission roster

Brian Evans-Jones is mainly a poet these days but also does creative writing. Brian has been teaching since 2005 and doesn’t have a favorite grade or age to teach. “They all offer something different and wonderful. I like to teach by excitement and discovery. I want students to be excited about the idea of writing before they begin, and then to discover what they’re capable of while they actually do it. I want the whole experience to be fun—though also serious fun, the way that kids’ games can be serious.

What do you like best about being a teaching artist?

That’s a hard question! I guess first of all because I get to see a lot of different ages and types of students, and touch a lot of different lives. Lately I’ve also realized it’s because I get to partner with many wonderful great teachers and teaching artists. And on a personal level, I like the flexibility: I could never see myself being happy in a regular job! 

Brian at Hermon High School, November 2017

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

Thinking about creativity in general, I might say:

  • To be supported to take risks
  • To feel OK about failure
  • To learn the unique habits and (wholesome) props that scaffold your own personal creative process.

Have you found assessment to be helpful in your classes, workshops and residencies, and if so, how?

Not being a regular teacher, I don’t often think about “Assessment.” But I do constantly assess how the class is going, how students and I are bonding, how well I am generating enthusiasm, how well my instructions are being understood and used, how well balanced my activities are between support and openness, how much effort students are putting in, how much they seem to be learning, and how keen they are to keep working. I can’t imagine teaching a class without monitoring those things constantly, and many more, but I don’t formalize them. I do frequently use the SWOT framework to assess how I think a class went and plan for the next one, though.

Brian at Hermon High School facilitating a workshop to help guide students working on Poetry Out Loud

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

People! Meeting cool people who do similar things and make me feel encouraged. Also getting to work on specific projects in partnership with other MALI people, like Kris Bisson, Lindsay Pinchbeck, and Tim Christensen.

What are you most proud of as an artist and/or a teaching artist?

As an artist: winning the 2017 Maureen Egen Writers Exchange Award from Poets & Writers.

As a teaching artist: the fact that I do this at all, having jumped into the financial and professional unknown in order to do it. Also some big residencies I have run or am running, like working with 80 second graders for 2 weeks in South Berwick, ME, and leading a team of 4 TAs on a poetry residency with the 8th grade at Wells Junior High School.

What gets in the way of doing a better job as a teaching artist?

Isolation, which makes me less likely to find more work, and makes it harder to plan great classes. Collaboration and MALI connections work against this.

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

Leaving my role as a high school teacher, which didn’t suit me, to piece together a patchwork career, including being a teaching artist. It happened because I sought out any opportunities I could to get experience in the right areas.

What advice would you give to someone who is thinking about becoming a teaching artist or is just starting out?

See the previous answer! Plus also:

  • Make connections
  • Take (some) chances—trust the creative process with your career just as you do when you’re making art. 

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

Brian at the summer MALI institute leading a workshop on writing

That’ll be just enough to pay for college for my two kids by the time they’re ready to go, right? I wish I was even joking…

In a world where college didn’t cost so stupidly much, I would use the money to set up and fund a nonprofit to take poetry to places and people who need it but don’t get exposed to it: prisoners, the homeless, older adults, children in poorer areas, etc.

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

I should have ditched other work and done more teaching artist work sooner! It makes the most difference and is the most rewarding of the several things that I do.

NOTE: Brian traveled to Hermon High School and Van Buren District Secondary School in November 2017 to work with students with the Poetry Out Loud program that the Maine Arts Commission provides in collaboration with the Poetry Foundation and the National Endowment for the Arts. 

Brian is on the Maine Arts Commission Teaching Artist roster and is available to travel to schools and communities to provide poetry and creative writing instruction. 

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