Posts Tagged 'Boston Pilot Schools'

Reflections and Looking Ahead

My first year leading BAA’s Center for Arts in Education sent me to schools and teachers across the country and around the world.   These visits repeatedly reminded me of Parker Palmer’s words: “Good teaching cannot be reduced to technique; good teaching comes from the identity and integrity of the teacher.” From Denver to New Bedford and Hawaii to India I witnessed good teaching, as Palmer describes, that comes at the “dangerous intersection of personal and public life.”

Good teachers make themselves vulnerable to students—to their judgment, to their excitement, and even to their indifference. We see this in arts classrooms when we ask our students to create and invent work and make connections with ideas and concepts we have taught and studied.

A teacher choreographing with his students is on a deeply personal journey of the expert beginning to shape the novices. The teacher/choreographer has a concept and a “story” (quotes intentional) to express. Yet the student dancers give form, energy and substance to the piece that ultimately creates the aesthetic experience for an audience. The interplay between choreographer and student/dancers must be based on trust and a belief that the dancers will “get it right.” Choreography is a mere abstract idea until it is performed. When given shape, movement and sound it can be transcendent.  Experiencing transcendence from her/his students is breathtaking for a teacher. I have seen this same energy in academic classrooms, too, when a teacher enters a “zone” describing a chemical property, an engineering principle, the meaning of a legend, or a time in history. Students are captivated by a journey of discovery.

Students sense this integrity from their teachers and they largely respect it. They feel how their own teachers embody RICO at BAA, or Refine, Invent, Connect and Own.  They see how their teachers express RICO and find themselves swept up in the lesson or the project. They are willing to take risks, expand their imaginations, and work harder than they thought possible. I hearken back to Palmer and his imagery of “teachers with a heart.” So many of us became teachers because of reasons of the heart, and our passion for helping young people learn.

Nevertheless, my sense is that our policy makers have ignored Palmer. They seem to operate under the misguided belief that testing will cure what ails our schools. Allow me to share a recent scene in a “turnaround” school. This new nomenclature promises miracles—usually premised on firing all of the teachers, bringing in a new administration, and focusing relentlessly on test scores. Some schools in this “turnaround” model have raised test scores.  With double periods of math and English students clearly will test better on those subjects. No research shows that these test scores are sustained over time, however, or that deeper understanding or an excitement about learning more has taken place.

This turnaround school was using the arts as a way to engage students. When I visited the school, I was so pleased to see mural paper covering all of the walls of the classrooms—and even the offices. I was thrilled to see the school engaging in an all-school mural activity. I couldn’t wait to get a paintbrush or marker and begin drawing. However, my enthusiasm was misplaced. The walls were covered because it was high-stakes testing season and the rules during testing require that all print material be hidden. I was appalled. Of course I can understand covering print material that would compromise  test results, but posters and teachers’ diplomas?

Consider the very skills that arts teach: persistence, collaboration, judgment, practice, refining, conscientiousness, critique, determination and, most important of all, an appreciation for developing one’s own sense of beauty or aesthetics. These will never develop if we don’t embrace teaching the arts for their own value and not for improving test scores. Yes,  the skill of persistence can be modeled by learning how to sit and take a difficult test, but that is not why we teach the arts.  While employers cry for students to graduate with 21st Century skills of communication, collaboration, and facility with technology, self-styled education reformers are pressuring our schools to grossly narrow the curriculum to satisfy scores on bubble sheets. And those are almost always tests of memory and recall.

Good teaching is not the same as good test coaching. I am proud to work for a school that allows teachers to be vulnerable, to lead with their hearts and their passions, and that puts testing in perspective where it belongs.

BAA supports teachers as they innovate and imagine and engage with their students. This June 26-28 we will celebrate at our 9th Annual Summer Institute professional development where educators from around the world will join us and do the same thing. (Click here to register!)

What’s Been Lost in the Bubbles: Comments from Occupy DOE, April 5, 2013

These are my comments from Occupy DOE in Washington, D.C. last week. You can also see video of my talk here! I’d love to hear other people’s experiences with testing in their classrooms and schools.

I’m not against testing. I am against high stakes testing in which, as a result of a single (or often now a series) of short answer bubble tests, decisions are made about a student’s future. Decisions that, at least in Massachusetts, are tied to money for attending state colleges.   

I am here today to remind us to be wary of quick fixes—promises that a new regimen of tests will cure all or that by embracing common core curriculum we will have equity and excellence in schools. Equity comes from equal opportunities for all students, and from equal funding that truly levels the disparate playing fields between schools. I believe true equity also comes from trusting and empowering teachers to do their best work with the young people in front of them.

I want to paint two pictures for you. Recently I visited a turnaround middle school in Colorado. (Even that terminology gives me pause.) All the walls in the hallways and offices and classrooms were covered with brown paper– the kind you see in art classrooms for making large mural like painting.  I was so excited. I knew the school was arts focused and I eagerly asked about the mural projects! Of course I couldn’t have been more wrong about purpose. Everything was covered so that during testing there would be NO print materials visible for students to ostensibly use to cheat– no posters, no teachers’ diplomas, no word walls, no formulas, nothing. I was aghast and so disappointed. Don’t you want to know more about the tests we are giving our students if a teacher’s college diploma could lead to cheating? I was even more dismayed by the deadened eyes I saw on these middle schoolers who had just finished 9 sessions of testing. The next day was their big arts show but the testing regime had cut into a large chunk of rehearsal time. The tensions and tempers now flared. The students in this school are all poor and primarily immigrant and ELL students. They come to school hoping for increased opportunities and to experience worlds that because of race and class have been denied them. How do these weeks of testing (and all the weeks and months of test prep) provide an avenue for advancement for them? I met with their art teachers all of whom bemoaned the days of missed classes because of testing—they had counted—46 days of testing or test prep. That is not uncommon anymore. And as we know most school years are only 180 days.

Speaking at Occupy DOE

Now let me describe what is going on at BAA. According to the state department of education in Massachusetts, we are now a level 3 school (on a five point scale). Level 3 is almost a failing school. One more point lower—i.e. level 4 and we might be eligible for state take over. That is not a good thing.  BAA sends 93% of our graduates to college or conservatories. Our graduates include two members of Alvin Ailey Dance Company and countless other alums who have taken their place in the world of art, education, culture and service. In a recent study 63% of our grads had either finished or were still in college. There are 100s of students on the waiting list. These are good statistics. How are we almost failing?

We are a level 3 school because the department of education ONLY uses the data from MCAS (which is Massachusetts’ much praised high stakes bubble test. MCAS  stands for Mass. Comprehensive Assessment System—I have argued for years that MCAS is not a comprehensive assessment system at all but scores on a series of high stakes tests).

The State requires schools to set targets for scores on the test. Last year, we exceeded all our targets, including targets for high needs students. In fact, we have been praised for our results with our highest need students particularly, our special needs students. In addition, we have had graduation rates in the mid-80th percentile. But, our school’s cumulative “PPI” or Progress and Performance Index places us in the lowest 20% relative to other schools at the same grade level. In our district there are five schools that are level 1 schools. Three of these five are exam schools. Two of them take students through an interview process. While BAA is an audition only school we do not look at academic record or previous grades at all in our admissions decisions. When our headmaster appealed to the State about this new categorization she was told that we were on the higher end of the lowest 20% (“almost not in the lowest 20%” they said). She was also told that was our cumulative PPI NOT in the lowest 20% we would be a level 1 school because, as I said a moment ago, we met or exceeded all of our targets last year.

Even though we have made progress and met all our benchmarks on all our goals with all our sub-groups (another term I find despicable which means ‘high need’ students) we are still in the bottom 20% of cumulative PPI. MCAS is NOT supposed to be a normed test. Even though we are well above statewide averages on the test with regards to the percentage of students scoring at proficient or advanced in both ELA and math, someone has to be near the bottom. And because this new way of calculating levels is normed, someone will always be at the bottom.

If your head hurts trying to understand all this, join the club. I’ve tried to show you visuals so you can perhaps see how this all works.

But really: How is the average parent supposed to understand all this?

The major takeaway is this:

How can a school such as BAA that invests deeply in its students meeting artistic and academic benchmarks, scaffolding student learning and engagement to meet the demands of college research, reading and writing, be considered an almost failing school? If BAA is so categorized, what about the hundreds of other schools caught in a failing system of labeling, comparison, and judgment of school and student success through one narrow measure—a  bubble test. And how can we change this?

Karen Lewis, President of the Chicago Teachers Union, speaking at Occupy DOE

I recently visited Urban Academy—a 28 year old school in NYC that serves “second chance” students—i.e. students whom have been unsuccessful in another school. School founder, Ann Cook, reminded me that preparing kids to do well on a high stakes tests (like the Regents or MCAS or any other of the myriad tests floating around these United States) is QUITE different than teaching kids an inquiry process of reading. Let me explain. Our goal as educators is to help our students achieve ever more complicated and complex levels of understanding of text. This is a good and important goal. The current popular argument goes something like this, “If kids are doing well on your type of curriculum- Urban Academy- than they’ll do fine on our tests.” However, Ann and many other seasoned educators like her patently disagree. As Ann explains, “This may be true for kids who come into schools with an already strong foundation in reading, but if you really want kids to do well on a certain test, you have to teach to it. Trinity, which is a private exclusive school in the Upper West Side found that its 8th graders did NOT do well on the Regents tests because it wasn’t part of their curriculum.”  Ann pushes further and argues that if you want kids to be truly proficient readers and writers by the time they graduate high school then you have to focus on that—every day and over time. Ann argues that when schools chip away at a rich curriculum of reading and writing and substitute it with test prep materials you get a little of nothing. I sat in on a class of Urban students who had just read Call it Sleep by Henry Roth. They were discussing how the author used dialect to explore questions of social class and characters. I wanted to participate in their debates and I was overjoyed to hear young people discussing a book so foreign and faraway from their time and place; yet, they were making such authentic connections. Again those on the testing frenzy side would say that this is proof that these young people will do well on high stakes tests, but in fact, they do not. And yet they read, write and discuss literature in ways that I wish all young people could and would. If anything these kids are the kids with the sharpened critical and analytical skills.

When Ann interviews graduates about what they appreciate about their education at Urban she hears the following, 1) I appreciate that we have a choice in the kind of courses we take and even in the kind of literature we chose to study. 2) I appreciate that we get to develop our own ideas about texts and history and even math and that our voices and opinions matter. I know I can lead a good discussion and participate in one too. 3) I know what I’m interested and why. 4) I appreciate that I can change my mind. And finally, 5) I like doing things that are hard for me especially when I got a lot of support.

As I continue to fight against high stakes testing being the way we measure progress for schools and students, I want to remember the words of these Urban graduates. I am hopeful that they will lead the way for a new understanding of what matters in public education.

I am also mindful of what Ted Sizer, founder of Coalition of Essential Schools (CES) taught us in the 80s—that what really matters is deeply engaged teachers who have the time to focus on their students’ needs and building last relationships that will help our young people enter an increasingly more complicated world.

First Annual Teaching Artist Conference

Life has made some dramatic turns in these last few weeks. For the first time in 35 years, the end of August brought no class prep as a teacher and no teacher prep as a principal. What it did bring was a wonderful opportunity to expand our work beyond one school to many schools in my new role as Executive Director of the Center for Arts in Education at Boston Arts Academy.

One of the Center for Arts in Education’s signature programs is the National Artist Teacher Fellowship. We will give approximately 20 fellowships each year to teachers working in public art-focused high schools.  With this program in mind, I traveled to Norway in August for the First International Teaching Artist Conference.  Read more here: Notes from the First Annual Teaching Artist Conference

Opening Day 2012

I was proud to be able to spend some of the opening day of the Boston Public Schools 2012-2013 school year in the renovated building that Mission Hill K-8 School and the newly founded Margarita Muniz Academy (MMA) now share. I am honored to have been on the planning team for Mission Hill so many years back, and more recently for the MMA. I have to say I didn’t even recognize this building, which used to be occupied by the Agassiz school… the BPS has done a wonderful job renovating the space!

Opening any new school is no easy feat, and opening a new school in a newly renovated building has additional changes – but I could feel Margarita’s presence in the purples and the reds that Dania had selected for the walls and the logo, and I know Margarita is approving of all the choices. I have full faith that Dania and Ayla will continue to keep the vision as they work on the many details of running a school- best wishes for a successful year to them both!

Even when districts sometimes seem to have trouble systematically bringing good work to scale, it is worth noting and celebrating all the good things going on in BPS this year, including opening another new school in addition to the Margarita Muniz (the Dudley Street Neighborhood Charter School) and renovating two schools in addition to the MMA and Mission Hill Elementary (New Mission High School and BLCA at the Hyde Park Education complex). And congratulations to Fenway High School, which was just selected by the US Department of Education as a national “Exemplary Improving” Blue Ribbon school!

It is worth noting that Mission Hill K-8, Margarita Muniz, Dudley Street, and Fenway are all either pilot schools or in-district innovation schools. The question I ask is: What can we learn from the success of these schools to help the entire district be successful? And how can a district be more active in helping all schools achieve more autonomy?

Celebrating Another Year (and Transitions!)

The beginning of this school year marks a momentous and exciting change for BAA. Our Associate Head of School and founding Academic Dean, Anne Clark, has stepped into the role of Interim Headmaster for the coming school year. Anne leads with a brilliance that will usher BAA into its next era; already the rearrangement of space is giving the school a fresh new energy and life!

We continue to move BAA forward as I relocate across the hall to become Executive Director of the Center for Arts in Education at BAA, the professional development, dissemination, and advocacy arm of the school. The Center offers professional development institutes and workshops, provides consulting and coaching for schools interested in using the arts as a reform strategy, and runs a number of programs:

At the end of last school year, I gave my final celebratory speech as headmaster (excerpted below) to faculty and staff at our goodbye lunch, a tradition that has carried through our fourteen years. The enduring questions I raise here are ones that we asked after our first year in 1998 and continue to ask today. I believe these questions have universality for other educators, too:

  1. Would we be both a model of academic innovation and a model of arts education?
  2. Would we produce students academically and artistically prepared to enter our ProArts partner institutions or other colleges or careers of our students’ choosing?
  3. What would it mean to create an arts school that exemplified the best aspects of the Coalition of Essential Schools?
  4. Would we be able to emphasize depth over breadth, or would the frenzy of standardized testing knock out our best laid curriculum plans?
  5. How would we develop and communicate a shared understanding of our standards with students, parents, board members and others?
  6. What would developing and modeling democratic and equitable practices in the classroom, hallways and faculty room mean? (We did have a faculty room once upon a time!)
  7. As an inclusive school, how would we express our commitment to diverse learners and address ongoing shifts in demographics?
  8. Would we be able to create enough personalized learning situations for our students?  Did we have enough different pathways to graduation for our kids?
  9. How could faculty meeting time be used to spend more time talking about our students with the teachers who actually taught them, and more deeply connected to our own needs as developing teachers?
  10. How would our Habits of the Graduate (RICO) live in our classrooms?

Even (and especially) after 14 years, we ask these questions so we can serve all our students well… We want to keep learning how to take professional risks together- artistically, academically and emotionally. We want to continue to push one another on issues of race, class, gender, sexual orientation and other societal realities… What I want to celebrate today are those values of getting better, of patience, of figuring it out, of saying NO! to the rest of the world when mandates make no sense. If I have a legacy, I want it to be that you all know how to talk to one another, to disagree respectfully, and to come together in complete solidarity- as the powerful group that you are- in order to do what is right for kids… BAA will continue to soar if you remember to build from love, respect and collaboration, and always with students at the center. 

The BAA class of 2012!

I am so proud of what BAA has and will continue to become, and am excited to bring more of that work outward in my new role. I am taking off for Oslo in a few weeks for the first annual Teaching Artist conference and will be sure to blog about it when I return! As always, please leave comments and questions and I am happy to respond!

Design Comes Alive

During the last week of the school year, thanks to the support of the National Science Foundation (NSF) and TERC, we were able to select three artist-engineers to work with our 9th grade Engineering classes for “Design Comes Alive.” The projects culminated in presentations on the last day of  school.

Click here for video of the Design Comes Alive process and presentations!

Students present their electronics project in BAA’s black box theatre

Our BAA STEAM team was excited for the opportunity to provide students with an interdisciplinary, collaborative project that required them to use both the engineering and design processes as well as habits of studio thinking to problem-solve, design, and create.

Ed Moriarty (MIT) and his BU and MIT students worked with BAA students to design and build water fountains. These fountains used the principle of total internal reflection to create a large number of small glowing streams that changed properties based on ambient sound or other environmental conditions.

Students learn about total internal reflection while building water fountains

Zachary Katz taught fundamental electronics concepts and students created a functioning electronic musical instrument or light display. Visual pieces were installed, and musical pieces were performed.

Designing an electronic musical instrument

Tabaré Akim Gowon’s project was entitled LightMotion – The Illuminated Movement Orchestra. Students designed six unique wearable “Movement Instruments” that consisted of electroluminescent (EL) wire, a microcontroller, and a wireless networking device for communicating to a master user control system. A seventh student “Light Conductor” used a motion input device—the Xbox 360 Kinect—to transform body movement into a method for determining which Movement Instruments were illuminated during the performance at a given time.

LightMotion movement performance

I was blown away by the students’ enthusiasm for their work, especially since the projects occurred at the end of the school year, when students can tend to “check out.” As STEAM faculty Ramiro Gonzalez reflected, “The project was seven days long, and it occurred at the end of the year and after the MCAS test. What I witnessed in those seven days was student frustration, disorientation, stress, anxiety and failure. I also saw the adults challenge the students and give them support and resources. Slowly I saw envisioning, collaborations, commitment and engagement, and finally I saw pride and accomplishment. I also saw differentiation and a great deal of risk taking.”

Congratulations to the guest artist-engineers, the STEAM team, and especially our 9th grade Engineering students for their amazing work!

Collaborative design process comes to life!

Celebration of Fernadina Chan

On Saturday, June 23, we celebrated a remarkable woman and educator as she retired from BAA: Fernadina Chan. I have the privilege of working with some of the most amazing teachers at Boston Arts Academy, and it was an honor to celebrate Fern at The Boston Conservatory with both a reception and surprise dance performances and a video.

Below is an excerpt from my remarks to Fern on that evening, as well as some photographs of the dance faculty and past and present dance students.

- – -

It is hard to stand before you—Ms. Chan’s family, friends, colleagues and students—and talk about a friend from whom I have learned so much. There just aren’t enough words. I had to write a book and put Ms. Chan in chapter 3 in order to really do her justice—and even then the editors pared it way down. But with Ms. Chan there is no paring down.

BAA students dance in the window of The Boston Conservatory to welcome guests to the reception

Fernadina, or Fern, to so many of us, is a force of nature. She is the founding teacher of the Boston Arts Academy. She fought for years to make this school a reality. She has succeeded. As our founding artistic dean, she has set the standards for excellence in the arts and in academics… As the founding chair and now co-chair of our dance department, she has helped create a dance program that is now known nationally and internationally. Her many “children,” as she affectionately calls her students, are off in the world continuing her legacy as dancers, both professionally on renowned stages and vocationally in studios around town and beyond. Even those who are no longer actively dancing all remember their time with Master Chan!

Fern on stage with alumni dancers performing her pieces

More than anyone I know, Ms. Chan figures out how to help students connect to their core, to their heart, to their imaginations and to their emotions. How she does this is a secret I have wanted to learn because if we could just bottle her ability to bring her students to the truth they need to tell we would change the educational landscape in this country, if not the world.

Me, Fern (Founding Artistic Dean), and Anne Clark (Founding Academic Dean and now BAA Interim Headmaster)

Her secret may be the way she screams and chastises kids until they get in line and do as she insists; her secret may be the way she giggles and then laughs with her students as they work through choreographic problems; her secret may be her determination to introduce the great dancers and choreographers of the world to her students and the school through residencies and master classes; her secret may be the fact that she assembled the most fantastic dance faculty ever; her secret may be in the way she produces a concert that uses technology in ways never thought of before; her secret may be her incredible dedication to her students and their transformation; or her secret may be in how she approaches her own creative work with students.

BAA dance faculty: Tatiana Obeso, Billy McLaughlin, Fernadina Chan, Chris Alloways-Ramsey, and Sheryl Pollard-Thomas

I think it is all of that and then something more. Fern understands that teaching is fun! Sure, it is hard and enormously stressful, but each day is new and the transgressions of yesterday are not part of the studio or classroom today. Each day with Ms. Chan, class begins again- vibrant, inventive and fresh. Ms. Chan is a master teacher and we are all lucky to have been part of her journey.

So thank you, Ms. Chan, for the legacy you leave us—as our Artistic Dean, our teacher, our colleague and friend… You will be part of BAA forever. We thank you for so many years of hard work and vision [and]… we look forward to your new creations.

Fern on stage being honored by her dancers

 

Intervention into Personalization

One of the ten common principles of the Coalition of Essential Schools is personalization. This is explained as: “Teaching and learning should be personalized to the maximum feasible extent… the goal is that no teacher has direct responsibility for more than 80 students in the high school and middle school and no more than 20 in the elementary school. To capitalize on this personalization, decisions about the details of the course of study, the use of students’ and teachers’ time and the choice of teaching materials and specific pedagogies must be unreservedly placed in the hands of the principal and staff.”

Who could disagree with this? In fact, with budget cuts so rampant, getting the numbers down in any school so that teachers can see fewer students and focus on them well requires creative scheduling, and maximum flexibility in all aspects of school. Further, given our current steady diet of “teacher-proof” curriculum that aligns with tests, fewer and fewer teachers make decisions about what and how they will teach. Given this gloom and doom picture, I still insist that personalization is something all schools must work to achieve.

Last week, I witnessed personalization at its best.

At BAA, although students audition in the arts and profess to have that passion, we choose to know nothing about their prior academic skills or their behavior issues. When school opens in September, our 125 new freshmen jockey for attention. That one student who was a uniquely great dancer in her middle school class is now in a class with 24 other students. In addition to dancing for 2.5 hours a day, students take a full load of academic classes.

For a student like Aidelys, that is not easy. She came from a large middle school where she distinguished herself on stage but not in the hallways or academic classes. At BAA she has a hard time learning to control her impulses. She reacts to a look or a perceived insult as “disrespect.” She has two channels: angry and angrier. She cannot seem to find the dial to turn the knob to anything else.  She is frustrated by her own emerging skills; she wants to know what words mean but experiences too many she doesn’t understand. Studying at home is hard. She hasn’t learned that to be successful one must be willing to make mistakes and to refine again and again one’s work.  In middle school, she just got by. In fact, in order to actually get her diploma she was sent to an alternative placement.

Not only is she behind academically, she struggles behaviorally. Carmen Torres (co-headmaster at BAA) has suspended her too many times—for violent outbursts, threatening teachers or students, or disrupting classes. Each time Aidelys gets a little bit more discouraged. Yet we can see that behind that tough exterior is this amazing dancer who wants to be successful. When she first came to BAA, her dance teacher, Sheryl, saw that natural ability.

In perhaps a fit of madness, I asked Carmen if she would bring Aidelys to my Harvard Graduate School of Education class final exhibitions. My grad students have worked all semester on writing their visions for a democratic school. Last week they had the chance to visually display their ideas. I wanted students to be there to critique. I knew that Aidelys, with her frustrations about school, would have something to say. I didn’t know how profound her comments would be. Carmen sighed when I asked her. “I just suspended her last week, Linda,” she told me patiently. “I’m not sure what message it would send if I brought her.” But as soon as Carmen had spoken we both knew that she would come with Aidelys. For an afternoon, and evening, Carmen would demonstrate what Carmen does best: look at each young person with new eyes every day. Let yesterday’s transgressions be yesterday’s and today be a chance to start anew.

Aidelys arrived with Carmen bright eyed and eager to begin. She had dressed appropriately and even put a cute cloth flower in her hair to show that she understood this was a special occasion. I explained that I wanted her to listen to my students describe their schools and then each one would ask for feedback. “What’s that mean?” she asked me quizzically. I explained that my students needed to know what she thought about their ideas and that was called feedback.

“I’m ready!” she announced and off she went to learn about a bilingual elementary school in Denver. When I next noticed Aidelys, she was intently bent over the rubric giving written feedback to my grad student. She waved me over. “I need some help. I really liked her school but I don’t know what this means,” she pointed at the word feasible. I explained and Aidelys kept writing. Another wave. “And this?” She asked about the words holistic and inclusive. After my explanation she kept writing without pause until she was ready to listen to the next presentation.

Aidelys giving feedback on a student’s presentation

In my debrief with my grad students, I asked about audience feedback since over 50 people visited the presentations. All of my students who had Aidelys said without a moment’s hesitation that they most appreciated her insights. “She had the most useful feedback for me, and listened so well and was so interested in what I was talking about.”

I smiled inside. I didn’t want to give too much away about Aidelys’ struggles. Later when I thanked Carmen for bringing her and shared the feedback, we both grinned together. As veteran educators, it was an important moment for us both. Even in the hectic pace of our days as school leaders, we needed to remember to take time out to pay attention to our students who need it most. We needed to remember that those who act out most profoundly often are doing so because they haven’t learned yet how to be a student. We know that failure begets more failure and success begets more success. When we forget to personalize, or to go the extra mile to pay attention to a student, then often nothing can change.

At BAA we talk about walking down the hall to see a student in her or his arts being successful. They reaffirm our determination to help that same student figure out math. But what about the Aidelyses who after eight months in school have yet to settle down and be successful anywhere? How can we find within ourselves to give them what they need – more attention, not less. More love, not less. They disrupt. They are rude. They annoy their peers and us. Still we must find a way to redirect and to love them. Carmen reminded me of that last week when she thanked me!  She wrote:

“Thank you for inviting us and encouraging me to take Aidelys. Sometimes we have to close our eyes and take the leap with kids.  I feel so fortunate to have shared this experience with Aidelys because we both took a chance and learned from it. It was a really soft landing this time.”

We won’t know for a long time if this intervention into personalization,n as I call it, will have the desired effect. But we know that had Carmen not done this, the opportunity for change would have been lost. We are now emboldened to do more, to keep trying to garner the resources to provide the best Aidelys deserves.

HGSE student Sara Gips, Aidelys, and me

Alvin Ailey

Saturday’s Boston Globe ran an article on the Alvin Ailey American Dance Theater (they performed at the Citi Wang Theatre Thursday through Sunday last week.) Many may not have known that two Alvin Ailey dancers (Kirven Boyd and Belen Estrada) are graduates of Boston Arts Academy!

Co-headmaster Carmen Torres and I, along with Artistic Dean Fernadina Chan, dance department co-chair Sheryl Pollard-Thomas, and all 40 of our 9th and 10th grade dance majors, were in the audience on Thursday evening to watch Kirven and Belen perform a chillingly beautiful duet to “Wade in the Water.” Imagine the joy of seeing these two take center stage. (A huge thank you to Citi Performing Arts Center for donating more tickets for BAA students and faculty to Sunday’s performance!)

BAA Artistic Dean/dance department co-chair Fernadina Chan with Alvin Ailey dancers/BAA alums Belen Estrada and Kirven Boyd!

We sat in the audience with tears streaming down our faces as we watched our former students captivate hundreds of people. We remember their struggles. We remember their dreams. We remember when so many in Boston questioned the need for a high school for the arts. We continue to fight each day for adequate facilities to educate the next generations of Kirvens and Belens. But on Thursday night and Sunday afternoon we left our fights back at school and rejoiced in the accomplishments of our alumni.

We were so proud to have our young dancers there to know what they, too, can aspire.  Mostly, we celebrated the hard work, tenacity and brilliance of Kirven and Belen’s BAA teachers who pushed and pushed and never gave up on them.  For us, we were home. And home was a beautiful place.

Fernadina Chan, Belen Estrada, Sheryl Pollard-Thomas, Kirven Boyd, myself, and Carmen Torres

Boston Marathon

Boston Arts Academy is now in our second year of a three-year relationship with the Boston Athletic Association as an official charity of the Boston Marathon… We have a dynamic team of 15 running the marathon on Monday, April 16- they have already raised over $70,000 toward their goal of $100,000!

Three of our runners come from the immediate Boston Arts Academy community: Adan Colon-Carmona, father of an 11th grade dancer; Kevin Dua, teacher intern from Boston College; and Rick Tagliaferri, Executive Director of the Boston Arts Academy Foundation (now running his second marathon for the school!) You can click here to see a listing of our marathon runners by name and learn about their reasons for running for Boston Arts Academy.

We recently had a pep rally to support the marathon team, which also featured Boston Arts Academy’s newly formed student running team, the Rockets- part of our Artist Fitness initiative. Thank you to Jossie Mar Diaz (BAA ’06), Duncan Remage-Healey of the Boston Arts Academy foundation, and Student Activities Coordinator Deidre O’Halloran for their work organizing this event!

Check out our corporate sponsor Constellation Energy’s website to see videos of our Pep Rally or click here for pictures of this fun day!

Boston Arts Academy marathoners!


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