Posts Tagged 'Coalition of Essential Schools'

Reflections from San Diego and Los Angeles

In mid-December, I spent some time in San Diego and LA, visiting schools and speaking with educators. One of the most gratifying parts of this trip was reconnecting with a former graduate student of mine from the first year I ever taught my class, “Building A Democratic School” at Harvard. Agustin Vecino now works for the Center for Collaborative Education (CCE) in Los Angeles as a coach for the pilot schools. He and Rachel Bonkovsky (a former Boston principal), along with George Simpson and Assistant Principal Cara Livermore (formerly of BAA and now of the Los Angeles County High School for the Arts (LACHSA)) arranged all of my stops on the trip.

San Diego School for Creative and Performing Arts (SDSCPA)

Principal Mitzi Lizarraga showed me around her school (http://www.sandi.net/scpa) of 1400 students in grades 6-12. Entrance to the middle school is lottery based, and high school admission is through audition. The motto of the school is, “Where arts and academics share center stage.” Mitzi shared that her charge is to intensify the arts experiences and exposure of her students; she also must raise funds for much needed arts residencies and adjunct teachers. [Note: SDSCPA vocal arts major Victoria Matthews recently received a 2012 YoungArts Merit Award in Voice- congratulations to Victoria and to SDSCPA!]

Like many schools in San Diego, the campus seemed quite sprawling to my urban Northeastern eyes!

On this lucky day for me, choreographer and dance professor Donald McKayle was in residence to audition students for his piece “House of Tears,” based on the “desaparecidos” from Argentina. The high school dancers crowded onto the dance studio floor and listened with rapt attention to McKayle. He spoke about his experiences in Buenos Aires watching the “madres de los desaparecidos” march around the Plaza Mayor with photographs of their disappeared children, who had been murdered or stolen by the junta.

SDSCPA dancers

Los Angeles County High School for the Arts (LACHSA)

From San Diego, I headed for Los Angeles and LACHSA, where George Simpson is principal. (George was formerly the director of music at BAA!)  The same excitement I felt at San Diego’s school was evident here. Students were hanging a juried show about Arts and Engagement in the visual arts wing. Music students had just finished their jazz series. Theatre students had just done “Preview Night,” which is like our informal showing at BAA. Dancers were gearing up for their winter performances. Exhaustion and elation were on everyone’s faces. “Passion with balance” seemed in short supply.

LACHSA is located on the CalState LA campus. Also on the campus are the LA Principal Residency Network and the LA Urban Teacher Residency program. (These are both programs of the Center for Collaborative Education (CCE), an organization that I co-founded with Larry Myatt in Boston over fifteen years ago.) George had organized an event for me at CalState called “Transformative Leadership,” where I talked with members of both networks as well as other educators from surrounding schools and not-for-profits. We shared ideas about our perspective realities and reacquainted ourselves with the Coalition of Essential Schools (CES) 10 common principles, considering where we did/didn’t see these principles in our work.

George Simpson, Agustin Vecino, Carolyn McNight, Debbie Thompson

East Los Angeles Performing Arts Academy

The next day, I visited the East LA Performing Acts Academy, headed by Principal Carolyn McKnight. The faculty of this pilot school was joined by the Humanitas Academy of Arts and Technology faculty and principal Debbie Thompson, as well as district folks and a superintendent. Both of these schools have converted to pilot status in the past two years. Later I met with the faculty and principal Rosie Martinez from the Academic Leadership Community (ALC), another pilot school in the throes of trying to attain the autonomies that are promised to Pilot Schools (much like those of charter schools), which include: budget, governance, curriculum and assessment, hiring and scheduling, and calendar.

The theme for all three pilot schools was the autonomies and how to ensure they were being met. These are familiar themes for us in Boston. While districts, especially urban districts, are often initially open to pilot schools, the intricacies of actually devolving power and control away from central office and central mandates and into the hands of principals and teachers is always more challenging. If LA and Boston could do more collaborative work, we might strengthen all of our schools and create a system of trust around pilot schools.

UCLA

From ALC I traveled to UCLA’s Graduate School of Education and Information Studies to give a talk to their Teacher Education Program and Principal Leadership Institute. A lively group of about 30 of us talked about what makes good schools, how the CES principles can help guide schools, and the struggles of each of us in sustaining good schools.

In this whirlwind tour of schools, talks, and intense conversations with committed educators, I came away grateful for the opportunity to learn from educators on the other side of the country. I reconnected with friends and re-charged myself to return to the work we are doing in Boston and beyond.

Coalition of Essential Schools Fall Forum

Last Saturday, a group of BAA students performed for the closing session of the CES Fall Forum in Providence, RI. These students created a unique performance piece combining music, visual arts, spoken word, theatre and digital media. Participants were Althea Bennett (VA), Ashleigh Brown-Fuller (vocal), Gary Gonzalez (theatre), Justin Hynes-Bruell (instrumental), Janibell Santana (theatre) and Daniel Whitelock (instrumental).

Their original interdisciplinary piece, Listen!, wrestles with the tension between the power of the young artist’s voice and adults’ tendency to put it on “mute” in order to fit a prescribed vision of who and how young people should be.  After the performance, students discussed the piece, their creative process and how it reflects their experience at Boston Arts Academy.

Our librarian, Debbie Froggatt, commented in her reflection on the session, “The power of student voice! Honest, thoughtful and commanding… Their artistic piece moved and provoked us to ponder how we are listening to our students. Are we really in conversation with them? Who are their authentic selves and what are their internal struggles?”

Our work is hard, but I always feel energized and inspired when when I see my students come alive through their art… I feel recommitted to making the world WORK better for these talented and thoughtful young voices!

Congratulations to CES on another powerful Fall Forum!

The CES Board: myself, Debbie Meier, Misha Lesley, Jill Davidson, and George Wood (missing: Nancy Gutierrez) giving Jill a gift for serving CES so well for so long as we hired a new director, Elizabeth Jardine

News from the Coalition of Essential Schools

Two exciting pieces of news from the Coalition of Essential Schools…

The first is that registration is now open for Fall Forum 2011! I cannot emphasize enough what an amazing professional development opportunity this is. A Boston Arts Academy team attends each each year and I highly encourage you to look into coming as well!

November 10-12
Providence, RI 
  • pre-conference sessions
  • Essential school visits
  • featured sessions and speakers including Deborah Meier, The Gamm Theater’s Tony Estrella, Gary Stager, What Kids Can Do’s Kathleen Cushman and Barbara Cervone, The Forum For Education and Democracy’s Sizer Fellows, Ron Wolk, Dennis Littky, and more.
  • an ” UnConference” afternoon
  • youth-focused strand of sessions and learning opportunities
  • and, of course, the educator- and student-led workshops that are the heart and soul of Fall Forum (full workshop details will be posted on 9/22)
Visit the main Fall Forum page at http://www.essentialschools.org/events/8 for more information.
And the second exciting piece of news…
CES is hiring a National Coordinator to manage and develop their network of schools, organizations, and individuals! Visit http://www.essentialschools.org/articles/40 for the full position announcement and information needed to apply.

Summer Reading

Beacon Press (the publisher of my book, The Hardest Questions Aren’t on the Test) put together a great blog that compiles the summer reading lists of education authors. Click here to see what books I enjoyed this summer (many of which are from Boston Arts Academy’s summer reading list!)

In talking about my summer reading, I also describe my dear friend and mentor, Vito Perrone, who passed away this August. The Coalition of Essential Schools posted this tribute to Vito’s life and legacy. Vito was a true inspiration to me and I will miss him more than words can say. I highly recommend reading his books A Letter to Teachers and Teacher with a Heart to inspire your practice of teaching and learning.

Why I Love Puppets

Many of my teachers will tell you that I have driven them nuts (justifiably) asking, “When are we going to do puppets?” For years, I’ve gone on and on with whomever would listen about why I love puppets. From a Surdna Fellow artist-teacher who gave a puppet and mask-making workshop for our students years ago to (twice) seeing the multiple-Tony-award-winning play War Horse, I have long been mesmerized by puppets!

Often, my ideas stay on the level of, “Isn’t it great how enthusiastic Linda is?” Mr. Edwards and Mr. Thach were an exception to this rule. To my great delight, they ended their 9th grade units with puppets! I’m not talking sock puppets. I’m talking puppets that are truly beings in their own right.

Puppet2

Visual arts teacher Mr. Edwards with his puppet

At their final puppet showcase/exhibition, 25 ninth graders lined up in their classroom ready to enter the open gallery space for puppet speed dating.  Tables with tablecloths held a series of prompts to discuss.  The gallery room had an elegant feel.  Back in the classroom of controlled chaos, students eagerly introduced me to their puppet selves or puppet friends. Some puppets resembled their makers; others bore no similarities. Some talked with squeaky voices; others spoke with low rumbles. Each student delighted in shaking my hand, often via a long puppet hand. They were eager to have their pictures taken with their puppets.

Puppets1

A student proudly displays his creation

These puppets emerged from a term of study about complicated parts of identity. Students struggled to articulate explorations of their identity in words or even drawings. With this chance to create small monster self-portraits, the class took off with a high level of craftsmanship and commitment to the process.  Mr. Thach, the teacher, dished out critical questions for his students to explore: What chip do you have on your shoulder? What aspect of you has caused you pain or made you angry?  Students designed their monsters and then wrote story boards about each monster’s world. “It’s too personal if students don’t monsterify,” Mr. Thach told me. Some students explored their dilemmas of coming out to both friends and family. Others wrote and designed about their appearance. Many shared parts of themselves that would have brought only silence if they were asked to talk or write. Puppets enabled students to create a three-dimensional, non-personal monster and the power to share in a non-threatening way: “This isn’t me talking. This is my puppet!”

In the speed dating activity, students introduced one another to their puppets and answered revealing questions: “What is social acceptance?” “How has social acceptance affected you and your life?” Students’ puppets, often donning very particular accessories or hats, said things like, “People who wear certain clothes ‘cause everyone does it are an example of social acceptance. See me? I’m wearing what I like and I don’t care!” “If people were more open-minded and willing to accept others for who they are, would things be better?” “Is there such a thing as being normal? What does it mean to be normal?” One wonderfully gregarious puppet answered this way: “People often have to put on a mask in certain places, such as school and home. These masks cover who they really are in order to be accepted.”

Puppet3

Puppet speed dating

Another student admitted that her puppet wasn’t as angry as she herself was. “I’m not that angry girl like she is,” the puppet said, pointing at her puppeteer. “She’s had to do a lot of work since middle school to get over her temper. My friend here was always swearing at kids ‘cause she was attacked ‘cause of her looks. Me? I’m just chill.”  Some students spoke about how “We shame or behave differently to ‘different’ people because we don’t understand them.” Another commented, “It’s our nature to fear things we don’t understand. That fear turns to uncomfortableness and can create shame.”

Students took these inquires seriously.  They delved into how gender, race, age and sexuality play a role in social acceptance. As one young woman’s puppet said, “It’s not always me that creates the tension. You should see my parents! And their parents!” That puppet almost grinned. I couldn’t help feeling that the grin represented a big step forward for the puppeteer—a realization that the tension in the family wasn’t all her doing.

Puppet4

I was so impressed with the creativity and level of detail of students' puppets!

In the end, students not only celebrated their artistic craft, they better understood one another and the value of sharing their own personal monsters. The experience was cathartic; it was even joyous. I look forward to future explorations into the world of puppets, identity and craft.

Small Schools Leadership in Oregon

How can we prevent districts and school systems from reverting to the status quo? How can we encourage schools and school systems to truly innovate and to withstand the pressure of being sucked back to a laissez-faire time? How can we be unionized and have the protection of salary and benefits but not have “bumping”?

These were some of the questions that faced me this past week as I participated in the Oregon Small Schools Leadership Institute. I was the keynote speaker at the opening of the Institute and I titled my remarks, “Keeping the Vision in Tough Times.”

What an amazing group of educators!

For the past seven years Boston Arts Academy has had the privilege of working with schools and school districts in Oregon that have believed breaking up large high schools into smaller schools and creating new “start up” schools could dramatically increase academic achievement, especially among poor students and students of color. The data seven years later is very strong, but the pressure to return to the “good old days” of large high schools, with many electives, and the rule of advanced placement courses has continually threatened to turn back the clock for these forward-looking educators.

The small schools initiative, like so many others around the country, was spurred on by an influx, even an outpouring, of support from the Gates Foundation. Soon, however, that money dried up. The miracle of Oregon is that others stepped in to sustain the work. Most notably, those others are Duncan Wyse of the Oregon Business Council and Barbara Gibbs of the Meyer Memorial Trust. For the last three years, together with the recent leadership of Kathy Campobasso, they have forged a network of educators (principals, teachers, school board members and superintendents) determined to create a different paradigm about what education can be.

There are currently 34 small schools created through the Oregon Small Schools Initiative. I visited two of these high schools in Southern Oregon – South Medford HS in Medford and the Crater Campus in Central Point. South Medford – which just built a state-of-the-art high school that gave me terrible edifice envy – is comprised of four small schools: Freshman Academy, Discovery, Champs (Community Health and Medical Professional School) and BACH (Bridging Arts, Community and Humanities).

I had the chance to sit in on the BACH teachers’ weekly planning meeting, during which they discuss their students (there are 400 in each school), projects that students are engaging in, and ways to create more opportunities for interdisciplinary teaching and learning. Like schools in so many states, the teachers are up against the constraints of high stakes testing. “How can we really create interdisciplinary curriculum when students will be tested on just history or just English?” a history teacher asked me. “It feels like the country is conspiring against us. We want to create more engaging curriculum but today’s classrooms seem all about just passing tests,” a math teacher told me. “I know my kids need the basics, but I so wish I could teach in a way that my kids need—and not just about bubble tests. Math is also about discovery—about process—not just right answers. I didn’t go into teaching to be an automoton!” And yet, classes have nearly stopped in South Medford as students prepare for the Oregon State tests.

Teachers and administrators agree that testing has shone a light on how all students are doing, especially the most vulnerable ones, and this has been a positive. There is no way to hide the scores of special education kids, English Language Learners, or poor kids. That is a good thing, but the pendulum needs to swing back a little so that not everything about school is geared towards tests. Learning is larger than testing. Teachers are looking for multiple indicators to demonstrate how students are learning. The Oregon Business Council has been working to develop and advocate for these other learning indicators – such as attendance, senior projects, number of community college, arts, and other co-curricular classes taken, and college admissions and retention rates – to supplement the information obtained from standardized state tests.

Along with the issue of testing, educators at the small schools are also concerned that just as they begin to get the kids and teachers on board with the idea of small schools, it seems like educational policies and regulations conspire to pull them back to the status quo. As I sat in on the administrative team meeting that brings together all the small schools administrators on campus, staff lamented that, “We have data to show how kids are achieving better in small schools and how relationships between faculty and students are growing, but there is such pressure to just do what has always been done—Carnegie units [counting credits and hours], tracked classes, academics around sports schedules, etc…”

Sadly, throughout the country, the pressure to return to large schools continues—just look at what is going on in Boston with the closing of small schools! Yet, one hopes that Oregon will buck the trend and recognize that small schools really do enable higher high school graduation rates and higher college admission and retention rates. In fact, a recent study by EcoNorthwest concluded, “We have no evidence to suggest that operating an OSSI (Oregon Small School Initiative) model school, once implemented, necessarily costs significantly more per student than a traditional comprehensive high school.” The report when on to say, “If a model OSSI school can, for example, boost graduation rates by three or four percentage points, as have the Wave 1 and Wave 3 schools, the model becomes less costly to operate on a per graduate basis than a traditional high school costs.”

At the Crater Campus, the Coalition of Essential Schools principles hung in the hallways of the three small schools I visited: Renaissance Academy (the most CES-identified), CAHPS (Crater Academy of Health and Public Service) and BIS (Business, Innovation, and Science). I didn’t get to visit CANS (Crater Academy for Natural Science), as it’s closing due to budget constraints. The CAHPS administrator, Julie Howland, told me that while she hadn’t finished my book, she greatly believed in the importance of a framework, or grounding philosophy, for her school. She proudly showed me a document that they had just finished which identified the Habits of Mind for her school, the traits or values that she wanted her students to possess – such as being respectful, civic-minded, and critical leaders – and the strategies that they hoped to use to “get there.” The list included Socratic seminars, advisory, etc… Julie explained that she wanted me to do a brief walk-through of classrooms with a few of her teachers and some representatives from the district office to see if we saw evidence of these habits, traits, or strategies. She also wanted help in bringing her faculty together to encourage them to engage in hard questions about teaching and learning. 

In a 20 minute walkthrough it’s nearly impossible to ascertain much more than whether there is chaos or a sense of purpose in classrooms and whether or not students are engaged and teachers focused. When we sat down after the whirlwind visit to AP Psychology, Digital Media, Health and a few other classes, I refrained from making any judgments about what I’d seen; rather, I asked the team what they had seen. Some were quick to critique and wondered about whether the classes were rigorous enough; others mentioned the difficulty of getting all the faculty on the same page regarding beliefs about their students. Later, it came out that many of the CAHPS faculty had been most resistant to the break up of the large high school, and that many faculty still feel that students are losing out. Julie is the 2rd principal in 3 years and she believes in the model but feels like she is fighting an uphill battle with how to get buy-in from all her teachers.

The mood and the classrooms were quite different in the other two schools where there hasn’t been a fight for buy-in. The conversations at both BIS and Renaissance were more about doing a better job recruiting from the two middle schools and getting the community at large to buy into the idea that small, themed schools do not limit opportunities for kids, but rather, that they give students a chance to identify with a certain style of learning and approach to teaching. For example, at Renaissance, students all take a core English/History course in a double period. (One of the fascinating things that Renaissance principal Bob King did was to encourage arts teachers to become dual certified in English and History in order to teach this core class.) At the 10th and 11th grade level, students loop for two years with the same teacher and each section has a particular arts focus such as Photography, Digital Media, Drawing, Painting, 3D, Music, etc… and the students use this art form to express their academic learning. This core teacher is also their advisor so that students (and teacher) are together for almost three hours daily. While some might say this is too much time with one group of kids and one adult, the teachers and the students appreciate the close intellectual relationship, risk-taking and career and college guidance that ensues. And for teachers, it means that they are only teaching 50 students a day. This class is also where faculty can focus on their instructional strategies together.

By creating this innovative structure for English/History/Advisory, faculty and students feel that they have prevented kids from checking out. “This is a school and a class that requires you to be engaged,” said one staff member. Students agreed. “We have a lot of say over how we want to learn. I’ve really liked learning photography at the same time as I’m exploring ancient mythology and reading Ramayama in my English/History class.” I asked what happened if students didn’t get their first choice of “lens”—i.e. music and not drawing/painting – but the administrator explained that this rarely happens, and if it does, students are usually willing to try out the class.

Another impressive feature of Renaissance is the way second languages are taught—both ESL for non-native speakers and Spanish as a World Language. There is a conscious attempt to push students to use the language orally and to become comfortable, versatile speakers. In the Spanish class, all furniture is pushed against the walls and students learn by standing and moving about the room. The teacher, Darcy Rogers, has coined this approach, “Organic Language Acquisition.” I didn’t want to leave her classroom and promised to introduce her to every language teacher I know since her approach was so innovative and appealing to me. “I don’t want students hiding behind their desks. Speaking a foreign language is all about taking risks and putting yourself out there and too often students just want to receive the lesson and not give themselves to the lesson.” She explained that after the initial shock of standing for 80 minutes, students truly enjoy the kinesthetic approach to learning. (And Darcy admitted sometimes they do pull chairs together to work in small groups.)

At the BIS school, which emphasizes learning through entrepreneurship, the first thing that greets a visitor is a huge jigsaw puzzle map of the United States showing where all the BIS alumni have gone to college. There are pegs pushed into the map with the college logo emblazoned. As Principal Todd Bennett explained, most students and parents in his community don’t really see college as an option, or even as necessary, so it continues to be an uphill battle.

Todd also talked with me about buy-in issues; he wants more of his classes to be project-based, but talked about the pull of the status quo and how hard it is to get teachers, students, and families to buy in to the fact that by doing and making you can definitely learn, and learn more. Todd took me into airplane-hanger-like classrooms where student work from engineering, English and math classes hung on the walls. He showed me the shops that all students can use for their projects and when I told him that his spaces reminded me of High Tech HS he grinned happily and said, “I’ve taken almost every teacher to visit there. That school is our inspiration!” One of the coolest examples of a project that students are working on is the creation of small wooden toys in a Spanish class. They are learning the Spanish vocabulary for the toys and then the engineering concepts of prototyping, designing, researching, building, etc. The BIS framework is expressed by the process of Problem Solving, Communication, and Teamwork.

While I saw wonderful classrooms, dedicated teachers and administrators, and hardworking kids at all the schools I visited in Oregon, I worried along with the administrators and teachers there about the pull back to the status quo—to the image that so many of us have in our minds about what the American HS is supposed to be like. Each of these small schools has worked on the development of a positive school culture; each is working on ensuring that all students, regardless of socio-economic level, race, language of origin, even sexual preference (which is a hard issue to discuss in deeply conservative Southern Oregon), will have the opportunity to succeed in high school and beyond. But the pulls to keep things the way they’ve always been; to just shut the classroom door and teach as an isolated, not collaborative, journey; and the pressure to perform on standardized tests all conspire to destroy the work of this 7-year initiative.

Perhaps the most plaintive call came from teachers, who said, “We’d give up seniority to be able to have some stability in our small school.” “Just as we begin to develop a culture among the staff, the budget crashes and we have to start again with all new colleagues. It’s just not fair. We need a different kind of unionism.” Again and again we asked one another, “How can we rethink our systems and have the chance and the time to make those differences take root and take effect?” I remain hopeful about what I saw in Southern Oregon. There is a recognition that the system is outmoded and must be changed.

However, when I traveled briefly to Portland, I was horrified by what had transpired there. How is it possible in a city with 45% kids of color that there is a high school (Lincoln HS – which is not part of the Oregon Small Schools Initiative) that is 98% white kids? How is it possible that the district has allowed this to occur? Where is the lawsuit? Evidently, Stand For Children is strong in Portland, and parents and teachers told me quietly that they hope Stand will take on both the District and the Union to save their schools.

As I left Oregon, I wondered about what a new Sizer et. al. five year study would show. Would the results be any different than when Sizer wrote his seminal book in the early 80s (Horace’s Compromise), based on the five-year study of high schools he and his colleagues had conducted? Have we been able to redesign the way we do education? Certainly, that has been the hope of Charter schools, but as many Oregonians told me, they don’t want to have to give up hard-fought wages and benefits to convert to Charter schools. (Charters, as a rule, pay much lower salaries and give much poorer benefits).

I want to believe in the durability of the changes that I saw in Oregon. I want to believe that systems can innovate. I want to believe that we can professionalize teaching by protecting salaries and benefits and creating a new kind of unionism. I want to believe, as the students and teachers I met believe, that these small schools are not just a blip on the screen, but a new way of approaching education and doing what’s right for kids.

Summer Institute at Boston Arts Academy

I’m excited to announce that the eighth annual Summer Institute for Arts in Education will be held at Boston Arts Academy from June 29 to July 1, 2011. Summer Institute is a three-day conference for local, national, and international educators, geared for K-12 teachers, administrators, and district-level professionals who want to refine and reinvent their current practices, curriculums, classrooms, schools and districts.

The focus of this year’s Summer Institute is Art and Science: Examining Intersections Where The Two Meet. The program will include speakers, presentations and workshops focusing on the interdisciplinary nature of art and science. We are delighted that Ioannis Miaoulis, President and Director of the Museum of Science in Boston, will be our keynote speaker!

During Summer Institute (SI), themes of technology, engineering, and math will be explored through the lens of various arts disciplines to engage students and maximize learning. In addition, SI will also feature the popular workshop topics of literacy, advisory systems, and project-based learning. Contact Corey Evans at cevans@bostonartsacademy.org for more information or to register! I hope to see you there!

On Route to Oregon

And so the traveling continues…Heading out West today to Ashland, Oregon to give the keynote address for the Oregon Small Schools Leadership Institute, which takes place tomorrow (Wednesday, May 11, 2011). The institute is hosted by the Oregon Small Schools Network and E3: Employers for Education Excellence and will feature breakout sessions, a panel of policy experts, and a student forum.

Boston Arts Academy has a longstanding mentoring relationship with The Oregon Small Schools Network (formerly The Oregon Small Schools Initiative), which began in 2005. Over the years, we have welcomed representatives, teachers and administrators who have attended school visit days, participated in intensive role-alike job-shadow days with BAA faculty and staff, and sent school design team members to BAA’s Summer Institute. I am so excited to see old friends and celebrate the progress they have made over the years.

Hope to see you there!

What do you get when you cross Algebra and Hula dancing?

(This is not a trick question, but you will have to read below to find the answer!)

One of the founding principles of Boston Arts Academy (BAA) involved interdisciplinary teaching and learning. The paint on the walls was barely dry in 1998 as we tried to discern what it meant to teach “interdisciplinarily.” Was that even a word? What did it look like? Was there a right and a wrong way to do it?

Should we have interdisciplinary courses? Yes, we said – we wouldn’t teach English and History separately, but rather, we would teach Humanities. How would we integrate the arts into our academic courses? And did that make the curriculum interdisciplinary or integrated? Were we encouraging our students to develop interdisciplinary understanding or merely providing them with integrated or infused experiences?

At BAA, we have spent years in professional development discussions and workshops trying to define the terms and the experience so that faculty, students, and parents would know what interdisciplinary understanding (IU) meant. We spent one year pairing up departments so that teachers could develop interdisciplinary units together. For example, world languages paired with theatre, dance with math and so on.  Some interesting projects emerged, but the effort seemed forced. Teachers never had enough time to work together. They didn’t know if efforts would meet any external criteria for what constituted IU. We felt we needed more of an academic framework to support our endeavors.  After over a year of working with Project Zero (PZ), particularly Veronica Boix Mansilla and her colleagues, we adopted their definition for interdisciplinary understanding: The ability to integrate knowledge and modes of thinking from two or more disciplines to generate a new insight.

Further, PZ suggested that “students build and demonstrate interdisciplinary understanding when they can bring together concepts, methods, or languages from two or more disciplines. For example, to explain a phenomenon, solve a problem, create a product, or raise a new question in ways that would have been unlikely through single disciplinary means.”

BAA’s journey, looking for ways to increase interdisciplinary understanding, has been fraught with tensions. We are hypercritical of our forays into this IU world. Is a dance using video cameras increasing students’ knowledge of technology and choreography, or is it just a cool way to explore new ideas?  Does the study of architecture in visual arts class meet the standard for IU? What about a plie done in Spanish class? The answers are both yes and no depending on the viewer, the learner and the purpose of each class or lesson. It is also perplexing to think that we need two teachers from distinct disciplines working together to enable pure interdisciplinary learning.

The other day I walked into a math class, where students learn hula dancing in order to demonstrate their understanding of trigonometric and other mathematical functions. One might say this is “a lot of hogwash”, or that “this is what’s wrong with education today”. But I was blown away by how describing functions kinesthetically could deepen students’ understanding of math as well as their appreciation for an ancient art form.

The classes of both Ms. Wallace and Mr. Lonergan had combined in the assembly hall for “Function Hula” class. As students entered, Mr. Lonergan, dressed in his best Hawaiian shirt, distributed lei to the grinning students. Some kids had dressed specially for the day, as “Function Hula” has become a staple of the curriculum and an event to look forward to. Ms. Wallace stood at the front of the room in a traditional hula skirt adjusting the music. Suddenly, music filled the room. Students took their seats, fiddled with their lei and took out their notebooks.

Mr. Lonergan

Mr. Lonergan in his best Hawaiian shirt

Mr. Lonergan began class by greeting the students in traditional Hawaiian, “Aloha. Today is Math Hula Function Day and we are your Kuma Hulas, your master teachers.” Some students murmured a muted “aloha” back. Mr. Lonergan continued energetically, “To be successful today, you need to have done your homework.” Students rustled a little more intently in their backpacks looking for their homework papers.  “Remember to incorporate at least one of the challenge problems into your dance. For example: -y= square root of x+ 8-2, and its parent function. Which families will you use? See #1 on the handout—you must use at least five—linear, quadratic, cubic, exponential growth, exponential decay, absolute value, square root, trigonometric, or reciprocal. And, you have to use at least three of the function transformations listed: horizontal, vertical, reflection, or dilation.” There were no cries of “What’s going on?” in the assembled group of students, just nervous excitement and “When will we begin?”

Math student

A student gestures a practice equation

The video screen lowered and Mr. Lonergan said, “We are going to an unusual place—Disney’s Lilo and Stitch—to learn about Hawaiian music and dancing.” “Oooh, I love that movie,” one student said, balancing her saxophone case on her lap. Mr. Lonergan continued, “I know you may have learned in Humanities classes about the racism and classism in Disney movies; but this time Disney was actually trying to be culturally accurate. They filmed live hula dancers and turned those dances into animated sequences. Even Ms. Eriksson [another math teacher who is of Hawaiian descent] has assured me that this clip is completely authentic. We will watch it a couple of times, Ms. Wallace will review the symbols and dance moves, and then you will have a chance to practice before you create your own Hula functions. Got it?” There were nods all around.  Mr. Lonergan grinned. He clearly loves this day!

The film began and someone in the class began to snort with laughter.  I couldn’t tell who was tittering, but Mr. Lonergan immediately stopped the film. “Remember Ms. Wallace and I are your kuma hulas, your master teachers, and that is a serious responsibility for us. We are learning an ancient art form and we will be respectful of it.” I noticed that Amber was shooting a disapproving look at one of her classmates and wondered if he was the joker. Amber was dressed in Hawaiian attire and clearly eager to begin her own choreography. The film began again and this time everyone was quiet.

Beginning moves

The fun begins!

A few students got up from their seats and began moving in sync with the dancers on the screen. Ms. Wallace then brought two students to the stage. “Here are the terms on the white paper,” she indicated to the easel. “We are going to show you each move again and its correlation to the symbol. Just so you get the basic moves.” More students got up to practice with them. Tizi joined Ms. Wallace on stage and moved rhythmically to the music. “I know it’s not bachata or salsa, but the hips are sort of the same,” she said, smiling. “It’s just coordinating the hands with the hips that is hard.”

Working out the moves

Students try out a simple equation

Mr. Lonergan took the stage again. “Here’s an example of how to do a dilation and horizontal translation.” With his arms raised in a V shape he moved them in closer to his head and then sank down, bending his knees in a staccato expression for eight counts. Next he moved six steps to the left. “So what equation do you think I just did?” A number of students guessed correctly. “So that is the challenge for you. How will you demonstrate these functions with movement? You may use music or perform without music. You may also create your own chants. Remember that for extra credit your group can include a storyline/theme that is told through your hula.” Students broke into groups, having been instructed to mix majors (i.e. not all dancers together). Ms. Wallace and Mr. Lonergan joined in.

Students learning math kinesthetically

When I returned an hour later for the final performance, I was enthralled by the creativity, clarity, and precision of each group. Some had grabbed drums from the music room. Others put together costumes. All used individual methods to express complex functions using hula dancing. While the study of hula dancing didn’t occupy as much class time as the study of functions, this one-day foray into an unfamiliar art form truly engaged every single math student. I am convinced that the kids will never forget these mathematical functions. It is easy to memorize and then promptly forget something as abstract as a formula, but when your body owns the movement of the equation, it will stay with you forever.

The PZ definition of interdisciplinary understanding serves a useful purpose in connecting us to a larger academic context and conversation. Ultimately however, teachers must continue to explore various ways to incorporate IU. I am grateful to Mr. Lonergan—the creator of this unit—and his partners on the math team, Ms. Wallace, Ms. Erikkson, Mr. Bobrow and Ms. Mandell, for continuing to push the envelope on our assumptions about what kids can do and the multiple ways they can learn.

April, 2011

Demanding Education that Matters: Notes from the CES Fall Forum

The 25th anniversary of the Coalition of Essential Schools (CES) Fall Forum opened with words from Nancy Sizer, Ted Sizer’s widow. Nancy spoke eloquently of Ted’s vision–the importance of conversations amongst friends and detractors from the ten common principles. Even in times of budget-slashing in schools and disheartening claims about the importance of high-stakes testing and racing to the top, CES and Ted remind us to keep the ten common principles in the forefront of our work. These ten principles could not be more relevant today 1. Less is more  2. Depth over coverage  3. Learning to use one’s mind well  4. Goals that apply to all students  5. Personalization  6. Student as worker, teacher as coach  7. Demonstration of mastery  8. A tone of decency and trust  8. Commitment to the entire school—teachers and principal should perceive themselves as generalists first (teachers and scholars and artists in general education), and specialists second (experts in one particular discipline  9. Resources dedicated to teaching and learning  10. Democracy and equity.

While these seem like simple principles, they are actually deeply complex and take a lifetime of work to truly integrate them into any school. That was Ted’s brilliance. What CES offers is not a quick fix brand or model. Rather, it is set of ideas to bring to schools, classrooms, students, and family members so that we all can continue to ask the hard questions: How are we doing (with these principles)? Where do we see the principles at work in our school? What would it look like if they were more evident? (For a full explanation of the principles, visit the CES website).

I appreciated the questions that framed this year’s conference: What does it mean to each of us to demand education that matters? To our communities? Our students and families? How do we organize with a stance to demand education that matters?

Pedro Noguera, from NYU, was the Fall Forum keynote speaker and he shared some sobering statistics: the achievement of African American males is worse since the implementation of No Child Left Behind. He demanded we think about this question: “How can we put the most inexperienced principals and inexperienced teachers with the neediest students in the neediest schools? That’s called Teach for America!”

Nevertheless, he exhorted us to not necessarily defend the status quo either. He asked that we engage in educational debates without allowing ourselves to become sandwiched into rhetoric, to not simply say, “I’m pro or anti-charter or pro or anti-union” without looking at the complexities, particularities, and nuances of each institution. Unions need to change andwe must acknowledge that some charters have done a good job, Pedro asserted. (Later Linda Darling Hammond quoted a Hoover Institute study that cited 17% of charters outperformed “regular” public schools serving similar students, about 37% underperformed public school counterparts and the rest (just under half) did about the same. Here is a link to that study). Pedro also warned the gathered audience about the challenges of electing public officials who truly know how to listen, or are affiliated with powerful interest groups, lobbies, or corporations. My sighs here were audible. How do we do that? The federal officials seem so far away and disconnected from what we need in urban schools. There is a podcast of Pedro’s speech available online–It’s worth listening to!

These big ideas were the framework for our conversations over the next few days.

I was proud to have two outstanding teachers: John ADEkoje and Juanita Rodrigues, with me, as well as four remarkable students from Soul Element. All four had been well-trained as ambassadors by Corey Evans, Director of our Center for Arts in Education, and coached not only by their BAA theatre teachers, but also by a BAA theatre alum!

BAA students and faculty

BAA theatre students and faculty

On the first day, our students led a youth forum for 40 students from eight different schools around the country. The title of the workshop was “Transforming Through the Arts” and was about creating personal narratives using the methodology of Soul Element. I witnessed all of the scenes that students wrote and performed (under the direction of our students) and  they were excellent— exploring issues of race, culture, class, family dynamics, peer pressure, etc… When the workshop ended, no one wanted to leave. I was impressed by the power and focus of these young people, so determined to create a more just and equitable society.

Students learn from students

The next day I was privileged to have the students and John ADEkoje join me in my session–one that was specially featured at conference. We had again, about 40 people, including a contingent from the Netherlands. We spoke about BAA—both from places of pride and also of the places we wanted to improve—and our students were quite persuasive about the role of RICO and shared values in our school. We also shared how we think about creating artists-scholars-citizens. We began and closed with theatre warm-ups.

Students teaching teachers!

The students joined me for a book talk at Book Passage, an independent bookstore in Marin. There were about 20 folks gathered, ranging from a doctor who studies wellness with adolescents, a midwife, retired and current educators, to personal friends of mine.

We also had time for some picture-taking and fun, thanks to one of our supporters, Lilli Ouyang, who fought horrendous SF traffic, jamming all five of us into a small car to get us across the Golden Gate Bridge in daylight.

Classic Golden Gate Bridge shot of me with kids

We had a great visit to Marin Academy (a private school) which was an interesting experience for all of us. Yes, we  developed edifice envy seeing their jewel box theatre AND black box, as well as beautiful arts spaces—ceramics, painting and drawing, photography, dance and an outdoor ping-pong table area. Again, I was reminded painfully, about the ability to truly expand learning when the space compliments learning expectations. I kept saying to the kids, “Edifice envy is an ugly trait, but I have it badly!”

Marin Academy

In addition to the visit to Marin Academy, we also visited our 2010 Principal Intern, Michael Lee, now a Vice Principal at a large comprehensive high school. Mr. Lee took us to visit both Mills College and UC Berkeley, and also took us sightseeing. We also had an opportunity to visit another Principal Intern, Laura Flaxman, at the ARISE charter high school in Oakland. All in all, we (as usual) were able to squeeze quite a lot into a very short time!

On a more sober note, I do hope that CES will sustain these bad economic times. Educators truly need these opportunities to come together and engage in conversations at a national level. An example is a great workshop that I attended, lead by George Wood (Director of the Forum for Democracy and Education), Deborah Meier, and Linda Darling Hammond. Linda is such an inspiring educator and extremely knowledgeable about federal issues of education. It was not all gloom and doom, but their message was clear—everyone needs to sign up to be a member of the Forum and CES. We must have a voice in Washington, so that it’s not just the Gates Foundations and other big corporations directing policy.

Our students closed the conference on Sunday with their theatre piece “The Waiting Room.” Here is what Christina Brown, from the Center for Collaborative Education, wrote me about the kids and their performance:

Just wanted to say that I was on the plane with your amazing students.  I told them they were rock stars. Their performance was amazing, and their presence and eloquence in discussing educational issues was even more amazing. Their words truly were as powerful as their acting skills. [They] channeled their inner Ted Sizer or inner Linda Nathan, since you are both famous authors now. They said BAA was about RICO and described it and said students can’t learn unless you engage them first. What a perfect closing.”

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