|What If Districts Focused Not Just on Preparing and Hiring Principals But Also Retaining Them||4255||<p>R
<a href="/knowledge-center/pages/principal-pipelines-a-feasible,-affordable,-and-effective-way-for-districts-to-improve-schools.aspx">research</a> about Wallace’s
<a href="/knowledge-center/school-leadership/pages/principal-pipeline-implementation.aspx">Principal Pipeline Initiative</a> found that when six large school districts carried out a systematic approach to cultivating effective school leadership, benefits for principal retention ensued. New York City was one of the pipeline districts, and in this guest column, Marina Cofield, senior executive director of the Office of Leadership at the New York City Department of Education, discusses why the nation’s largest school system decided that school leader retention mattered—and what steps to take in response.     </em></p><p>
<img class="wf-Image-Left" alt="marina.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/What-If-Districts-Focused-Not-Just-on-Preparing-and-Hiring-Principals-But-Also-Retaining-Them/marina.jpg" style="margin:5px;width:249px;" />Six years ago, I stepped into my current role heading the office responsible for ensuring that the school system has a strong pipeline of educational leaders—professionals well-prepared to fill all of our principal vacancies and lead our schools successfully. In a system of our size, with more than 1,600 schools serving 1.1 million children, this meant having well-qualified candidates for roughly 175 to 190 positions each year. As I thought about what the work entailed—developing stronger principal preparation programs and more strategic approaches to principal hiring—I reminded myself that our goal was to do more than fill empty slots. It was ultimately to provide every school in the system with a strong leader. </p><p>Perhaps, I thought, we should focus not only on increasing the number of well-trained educators ready to enter the principalship, but also on reducing the number of people who leave it.</p><p>Boosting principal retention made sense to me because of what we know about improving schools.  In short,
<a href="https://hbr.org/2017/09/research-how-the-best-school-leaders-create-enduring-change">research</a> has shown that meaningful, enduring school improvement doesn’t happen overnight, but rather takes at least three, and often more than five, years of strategic, sustained effort. Moreover, as a key driver of the change, school leaders must stay on the job more than just a few years in order to see their efforts all the way through—from visioning and strategic planning to piloting, school-wide scaling, monitoring and making adjustments over time.  </p><p>We believe that we have landed on a way to help our principals not only survive but stay fully engaged in their roles over the long term. In the unique design of our New Principal Support program, we have found a strategy to increase retention for both early-career and more experienced principals.</p><p>Drawing on what we know about professional development generally, we decided the best approach was to provide individualized, job-embedded coaching for every new principal in the system. Our twist was who serves as the coach. We believe the people best positioned for this work are those who have very recently been successful principals in our system. These leaders understand the challenges and expectations of the position as they exist today, an especially important factor in a profession that is changing so rapidly. </p><p>We offered some of our best veteran principals three different ways to join our program team: </p><ul><li>They could continue to lead their school and take on the responsibility of coaching just three new principals and receive a stipend;
<br><br> </li><li>They could agree to leave their school for a year to participate in a full-time “coaching fellowship,” with the right to return to their principal position at the end of the year; or
<br><br> </li><li>They could leave their school altogether and become a permanent member of our coaching staff.</li></ul><p>Recognizing that even the best principals don’t necessarily have highly developed coaching skills, we also trained the coaches in a robust professional learning program that is aligned to International Coach Federation standards and incorporates a focus on coaching for racial equity.  </p><p>Our New Principal Support (NPS) program has yielded significant results, some intended and some a welcome surprise. In the intended department: New principals who receive coaching through our program are staying on the job through their first two years at higher rates than those who did not receive our coaching. They also report overwhelmingly that the coaching is a valuable support and helps alleviate feelings of isolation in their job. </p><p>What we did not expect is that the program also has a positive impact on retention of the principal-coaches. Successful principals who have been in their positions for five years or more are looking for opportunities to grow professionally, to be part of a learning community and to broaden their impact. Being able to join our team of coaches (all of whom are exceptional principals), to participate in our professional learning series and to aid colleagues new to the profession checks all those boxes. As a result, our coaches report feeling energized and excited to continue leading their schools. </p><p>As one veteran high school principal who serves as a coach told us, “Teaching an old dog like me new tricks is no easy task, but the professional learning around coaching skills and racial equity I engaged in with NPS to prepare me for my work the past two years coaching new principals really sharpened my own principal and leadership skills and also specifically motivated me to tackle long-standing racial equity issues that had been festering in my school over the recent past.”</p><p>Keeping principals like this one on the job will pay dividends for his whole school community. It’s well worth our investment.  </p><p><em>Top photo: Jolon Shields, assistant principal at Origins High School, Brooklyn, New York. Photo by Claire Holt.</em></p>
<p></p>||A New York City coaching program helps keep principals—both new and veteran—on the job ||GP0|#3ab38f86-968a-4357-8214-f3b9195f9ef7;L0|#03ab38f86-968a-4357-8214-f3b9195f9ef7|education;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#3fabc3e0-eead-49a5-9e92-99d8217d8607;L0|#03fabc3e0-eead-49a5-9e92-99d8217d8607|principals;GP0|#3c236eec-afa6-4172-9b42-36a57befc9fe;L0|#03c236eec-afa6-4172-9b42-36a57befc9fe|principal pipeline;GP0|#4f1da6c6-7e7a-4377-a2ff-ee40af8043fc;L0|#04f1da6c6-7e7a-4377-a2ff-ee40af8043fc|school leadership;GP0|#4a4a5bc5-d1eb-4a8e-90ca-13824f51270a;L0|#04a4a5bc5-d1eb-4a8e-90ca-13824f51270a|NYC||GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61||Marina Cofield||98||<img alt="" src="/News-and-Media/Blog/PublishingImages/blog-Principal-Retention-lg-feature.jpg" style="BORDER:0px solid;" />||2019-07-09T04:00:00Z||Your source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.||7/9/2019 3:52:21 PM||The Wallace Foundation / News and Media / Wallace Blog / What If Districts Focused Not Just on Preparing and Hiring Principals But Also Retaining Them New York City was one of the ||1008||https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx||html||False||aspx|
|Making Sure Every Student Succeeds…In the Summertime||4150||<p>Summer has long been thought of as a break from the rigors of school. Increasingly, though, summer is becoming a time for programs: academic programs, sports and arts programs, programs that enable young people to explore their interests or build new skills. Policymakers, educators and others see summer programs as an opportunity to move the needle on academic and other outcomes and to help close the gaps in opportunity and achievement between students from low-income families and their more affluent peers. But with so many different types of programs out there, they may find themselves wondering which are worth investing in.</p><p>A new Wallace-commissioned report from the RAND Corporation has answers for anyone who needs help navigating the world of summer programs. <a href="/knowledge-center/pages/investing-in-successful-summer-programs-essa-review.aspx"><em>Investing in Successful Summer Programs</em></a><em> </em>looks at the available research and offers detailed descriptions of 43 programs—some commercially available, some locally developed—that meet the top three of four levels  of credible evidence of effectiveness described by the federal Every Student Succeeds Act (ESSA). The rigor of the research behind these programs makes them eligible for certain significant sources of ESSA funding. </p><p>We talked by email with the lead authors of the report, Catherine Augustine and Jennifer Sloan McCombs, about how the evidence on summer learning stacks up and how providers and funders alike can put it to use.*</p><p><strong>What is the need that this report is intended to fill?</strong></p><p>Policymakers and practitioners all want to select evidence-based programs and approaches in order to maximize benefits for children and youth. Further, federal and state grant opportunities increasingly require practitioners to demonstrate that their proposed programs are evidence-based. Now, practitioners can use this report to demonstrate that their programs are evidence-based or to add evidence-based features to their programs, which should improve them. Funders can also use this report to get a better understanding of the types of summer programs that are evidence-based. This guide doesn’t just focus on academic summer programs—it contains information about programs promoting social and emotional well-being and career-related outcomes, as well.</p><p><strong>Why does summer programming matter? </strong></p><p>First, summer is an opportune time to provide programming that supports positive developmental outcomes or meets particular needs of certain children and youth, such as mental health needs. Second, summer programming may be particularly important to mitigate the opportunity and achievement gaps that exist between children from low-income families and their higher-income peers. We know from other research that lower-income children and youth are less likely to engage in sports, join clubs, or take private lessons. They are also more likely to stay indoors, and they have reduced access to healthy meals during the summer. We want all children to have access to enrichment during the summer for its own sake but also because participating in sports, clubs, lessons and the like leads to outcomes we care about such as identifying skills and interests that can be pursued throughout one’s life. Summer programming also matters because children and youth from lower-income families fall behind their wealthier peers academically over the summer. Finally, we want children and youth to have safe places to be during the summer, with healthy meals. </p><p><strong>What are the headlines from your review of the evidence on the effectiveness of summer programs? What have you learned about what benefits summer programs can generate for children?</strong></p><p>This review affirms that many types of summer programs can benefit children and youth. We found evidence of effectiveness for academic learning, learning at home, social and emotional well-being, and employment and career summer programs. Also, we found programs can be developed that benefit youth at all grade levels.</p><p><strong>How can program providers use the report to guide their decision-making?</strong></p><p>First, they can see if any of the 43 programs we highlighted as evidence-based contain the same features as their programs. If so, they can use the guide to argue that their program is evidence-based if they are applying for state or federal funding. Second, if their programs do not look like any of the programs in this guide, they can consider augmenting their programs to more closely resemble the ones we have identified as evidence-based. Third, if they do not want to change their program, but would like to have it rigorously evaluated, they can use this report to design an evaluation that could meet the highest three evidence tiers of ESSA, providing them with greater grant writing opportunities in the future. In addition, providers can use it to consider the range of programs that are available to meet particular needs of children and youth. </p><p><strong>What advice do you have for a provider who may be seeking federal funding for a program that isn’t in the report and which doesn’t already have established evidence of effectiveness?</strong></p><p>The provider should first check to determine if their program contains the same design features as any of the evidence-based programs we found to be effective. If that is not the case, providers should check to see if the funding stream they’re pursuing allows evidence at the Tier IV level. The programs described in this report meet the highest three evidence tiers defined in ESSA, but there is a fourth tier. Tier IV allows program providers to argue that their program is evidence-based if there is rigorous research underscoring at least part of the program’s logic model or theory of action. Tier IV also stipulates that the program (or one just like it) is currently being evaluated. If the provider can demonstrate that at least part of the program’s logic model is supported by rigorous research and that the program is currently being evaluated, the provider could apply for federal funding streams that allow Tier IV evidence. </p><p><strong>What lessons does your review of the evidence have for state and federal policymakers? What can they do to promote effective summer programs?</strong></p><p>State policymakers can share this review with practitioners in their state to raise awareness of the types of summer programs that have been found to be evidence based. They could encourage practitioners to design or amend programs to be similar to those described in the review. They can use this review to determine if programs proposed for state funding are indeed evidence-based. Federal policymakers can do the same when reviewing proposals. Finally, if they are allocating research funding, they can use the information to target research funding towards under-studied programs or populations. Most of the rigorously studied programs are academic learning programs offered in schools, focused on reading, and targeting elementary students. There were far fewer rigorous studies conducted for other types of programs or outcomes.</p><p><em>*This interview has been edited and condensed.</em></p><br>||RAND researchers on using evidence to build, and secure funding for, summer learning programs||GP0|#cad33471-a186-455a-836f-0d0657808f00;L0|#0cad33471-a186-455a-836f-0d0657808f00|research;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#88b77bae-56d6-47d9-922f-54af703d57b5;L0|#088b77bae-56d6-47d9-922f-54af703d57b5|learning;GP0|#91bf67c6-3cc1-4097-9074-16701a50b2ac;L0|#091bf67c6-3cc1-4097-9074-16701a50b2ac|enrichment;GP0|#727f837e-da88-41cd-8e2b-519b38340410;L0|#0727f837e-da88-41cd-8e2b-519b38340410|summer learning;GP0|#061b3ed1-b2fd-4948-ac9b-c4fde6290166;L0|#0061b3ed1-b2fd-4948-ac9b-c4fde6290166|ESSA||GP0|#ff9563e3-b973-45a7-8ac3-c9f4122f9a13;L0|#0ff9563e3-b973-45a7-8ac3-c9f4122f9a13|Summer Learning;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61||Wallace editorial team||79||<img alt="" src="/News-and-Media/Blog/PublishingImages/blog-Summer-ESSA-Q-A-lg-feature.jpg" style="BORDER:0px solid;" />||2019-07-01T04:00:00Z||RAND researchers on using evidence to build, and secure funding for, summer learning programs||7/1/2019 7:16:19 PM||The Wallace Foundation / News and Media / Wallace Blog / Making Sure Every Student Succeeds…In the Summertime RAND researchers on using evidence to build, and secure funding for ||182||https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx||html||False||aspx|
|What Theater Can Do Best||3559||<p>Two years ago, we embarked on our Building Audiences for Sustainability (BAS) Stories Series, which has chronicled early accounts from the BAS initiative.
<a href="/knowledge-center/pages/denver-center-for-the-performing-arts-is-cracking-the-millennial-code.aspx">One of the organizations featured</a> was Denver Center for the Performing Arts (DCPA), focusing on Off-Center—an experimental branch of DCPA’s Theatre Company. Off-Center is helmed and curated by Charlie Miller, who also serves as the Associate Artistic Director of Denver Center Theatre Company. </p><p>
To see how the work has been progressing, Corinna Schulenburg, Director of Communications at Theatre Communications Group, sat down with Miller to discuss Off-Center’s work to date, what they’ve learned and recommendations for other organizations seeking to expand their work in audience building.
<br> This following is an excerpted and edited version of the exchange.</p><p>
<strong>Schulenburg: Can you provide a brief overview of the Denver Center and your work with the Building Audiences for Sustainability initiative?</strong>
<br> Miller: The Denver Center for the Performing Arts is a nonprofit theater based in Denver, and it's a unique organization because it houses both the Broadway presenting house and the regional theater that we call the Theatre Company. Inside the Theatre Company, there's a line of programming that I lead called Off-Center, which was created in 2010 to be a theatrical testing center, a place where we could experiment with new ideas and new forms and new ways of engaging a new and younger audience.
<br> This really came out of the challenge we were facing a decade ago—subscriptions were declining and audiences were aging. There was more competition for entertainment dollars, so we had to find a new way to engage an audience who wasn’t necessarily predisposed to theater the way that their parents and grandparents were. We were determined to create a new kind of programming geared toward that audience and that’s where Off-Center came from. </p><p>Around the same time, I became really fascinated with immersive theater and the way that it put the audience at the center of the experience. I also felt like it was a great thing for Denver because people who come to Colorado enjoy experiences. They like being active, and immersive theater allows an audience to be active inside of a story. So we set out to build the DCPA’s capacity to produce large scale immersive work through Off-Center.</p><p class="wf-Element-ImageCaption"><br><img alt="miller-schulenburg.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/What-Theater-Can-Do-Best/miller-schulenburg.jpg" style="margin:5px;" />
Corinna Schulenburg, director of communications, Theatre Communications Group and Charlie Miller, associate artistic director, Denver Center Theatre Company. </p><p><strong>Schulenburg: Can you say a little bit more about the aesthetic and the audience experience of immersive theater?</strong>
<br> Miller: For me what immersive means—and I also often use the word “experiential” interchangeably—is that it puts the audience at the center. They have some kind of role in the experience or in the story. It doesn't mean that the audience is playing a part like the actor, but instead that there is no fourth wall. It also needs to engage your senses and often involves not being seated the whole time, sometimes moving through multiple spaces, sometimes moving through the real world, but within a story that serves as a lens through which you’re viewing the world.<br>
<strong>Schulenburg: I know that an initial impulse was around engaging millennial audiences, particularly because you are a millennial yourself. Do you feel that millennial audience members have a particular relationship to this kind of work?</strong>
<br> Miller: On average we’ve seen 35 percent of the audience is made up of millennials for these experiential productions, which is a departure from the Theatre Company, which is closer to 16 percent. We've also noticed that there is a halo effect, where you create programming that you think will speak to one generation and it becomes compelling to other generations. The common denominator is not your age, it’s how adventurous you are and what you’re looking for in your cultural experience.
<br> What’s exciting to us is that the work we’re doing is engaging a significantly newer and younger audience but it’s also engaging a diverse audience and people of all ages who are interested in engaging with their art in a different way.
<br> Also through the work we’ve been doing, I've continued to feel a tension in artistic programming between listening to what the audience wants and just doing interesting work that people will be excited about that they didn't know they want. There’s the famous Henry Ford quote that I love, something like, “If I listened to what people wanted I would have just given them a faster horse.”
<strong>Schulenburg: I remember in some of your past work you’ve uncovered that there’s a gap in what they think they want and what you actually found they wanted through market research.</strong>
<br> Miller:  As we were starting our Wallace-funded work we did a lot of market research, both qualitative and quantitative, to look at millennials in Denver and to understand if they would be interested in immersive theater. And when we asked them what type of experience, what attributes they wanted in an experience, they wanted “entertaining,” “lighthearted and fun,” “casual and relaxed.” They did not want “exclusive,” “serious” or “high end.” </p><p>
<em>Sweet & Lucky</em>, which was the first big project we produced, was serious and emotional and contemplative and people loved it, but it was the opposite of what they said they wanted. And it turns out that some of the subsequent work we've done that has been categorized as “entertaining, lighthearted and fun” has not been as popular among audiences. So even though they said they thought they knew what they wanted, it turns out they didn't.
<strong>Schulenburg: Since Wallace released the Building Audiences for Sustainability Story on your work, what has changed since then? What have you been up to?</strong>
<br> Miller: The production that is running right now is called
<a href="https://www.denvercenter.org/tickets-events/between-us/">Between Us</a></em>, and it is a trio of one-on-one experiences between one actor and one audience member. This was inspired, in part, by an observation from
<em>Sweet & Lucky</em>: during that production, every audience member received a brief one-on-one with an actor, and we saw how impactful that was for audience members. </p><p>Through all our projects this spring I've been fascinated with how much agency we can give the audience. How do we create a situation where the audience can show up as themselves, not have to play a part, but can have a meaningful and authentic impact on the direction and possibly even the outcome of the story? And how do we do that in a way that still guarantees that there's satisfying narrative arc? We're really experimenting with that in all of these pieces. We've had to rethink how we do things and learn along the way.
<strong>Schulenburg: Do you have any advice for smaller organizations looking to begin the work of audience building?</strong>
<br> Miller:  I think it's really important to get feedback from your audience. You don’t have to have a big budget to collect information and to use that to inform some of your decisions. It’s a skill set and a muscle that you can develop, and there are free tools out there to help. I believe that audience members have more buy-in with an organization if they feel like they’re able to share their opinion, so I’m a big proponent of continuous learning—as Wallace calls it—and using data to support strategy.
<br> Another thing we've learned is that experimental and nonlinear work has been least successful, as determined by audience response. We’ve heard that loud and clear on three different projects now. I always have to remind myself that at the core you have to provide a good story and that’s what brings people in. Theater is an art of storytelling.</p><p>Finally, I’m a huge proponent of prototyping and taking small, incremental steps to improve based on what you learn. The analogy I like to give is climbing up two feet and trying out your parachute and then climbing up another two feet, rather than just jumping off a cliff and hoping that the parachute opens. The more you can iterate, prototype and experiment, that can be really valuable. It’s a way to take calculated risks.</p><p>
<strong>Schulenburg: We’ve been talking a lot about the role human contact plays in the work you do at Off-Center, so I wanted to end by mentioning the New York Times article, "</strong><strong><a href="https://www.nytimes.com/2019/03/23/sunday-review/human-contact-luxury-screens.html">Human Contact Is Now A Luxury Good</a></strong><strong>" – have you seen it?</strong></p><p>Miller: Oh yes, I did see this piece.
<strong>Schulenburg: The research suggests that it used to be that people who had resources and money had access to screens. Now, it's reversed—folks who are economically distressed have screens around them all the time and human contact has become a luxury good for the wealthy. What’s so interesting to me about the work that you are doing, it feels like it's connected to that, that you are hitting on the significance of direct human contact. It seems to me like you're tapping into a real wellspring of hunger.</strong>
<br> Miller: I think you're right there. This relates to why I think millennials are drawn to immersive work. Our lives are mediated through screens, and theater like this forces you to put your screen down and to just be real, present and embodied.
<br> Spending an hour with a stranger and just getting to know them is a unique experience; you put yourself in someone else’s shoes and see the world from a different point of view. My hope is that this can wake us up from the monotony of our everyday routine and give us a new perspective on our own lives and on the world. That’s what we’re really trying to do at the end of the day. That’s what theater can do best. </p>||Checking in with Denver Center’s Theater Company on what they’ve learned about their audiences from championing immersive theater||GP0|#7ee74777-f4ad-4204-a3cc-1a02bb45abab;L0|#07ee74777-f4ad-4204-a3cc-1a02bb45abab|arts audiences;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#ae3018bd-38f8-4459-be73-7941ca86e093;L0|#0ae3018bd-38f8-4459-be73-7941ca86e093|theater;GP0|#cad33471-a186-455a-836f-0d0657808f00;L0|#0cad33471-a186-455a-836f-0d0657808f00|research;GP0|#a0d4f287-6ff9-448d-8c80-654a5fcb15c1;L0|#0a0d4f287-6ff9-448d-8c80-654a5fcb15c1|market research;GP0|#4e841a93-fb7d-4557-8643-fd17a7967d6f;L0|#04e841a93-fb7d-4557-8643-fd17a7967d6f|Denver||GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61||Wallace editorial team||79||<img alt="" src="/News-and-Media/Blog/PublishingImages/Denver-Center-Q-A-lg-feature.jpg" style="BORDER:0px solid;" />||2019-06-25T04:00:00Z||Checking in with Denver Center’s Theater Company on what they’ve learned about their audiences from championing immersive theater||6/27/2019 3:57:01 PM||The Wallace Foundation / News and Media / Wallace Blog / What Theater Can Do Best Checking in with Denver Center’s Theater Company on what they’ve learned about their audiences ||586||https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx||html||False||aspx|
|New Name, New Look to Draw a New Generation of Fans||3997||<p>In 2015, World Music/CRASHarts set out to build name recognition and draw new, younger audiences to its music and dance performances. It commissioned extensive audience research and developed a multipronged engagement strategy centered on an annual global-music festival called CRASHfest. <br></p><p>That strategy
<a href="/knowledge-center/pages/world-music-crasharts-tests-new-format-new-name-to-draw-new-audiences.aspx">is showing promising results</a>. But the related market research suggested that the organization's name was too hard to remember and its brand could be clearer, more consistent and more inspirational. So the organization set out on a rebranding process, the results of which it revealed last month.</p><p>
<a href="https://www.globalartslive.org/content/worldmusiccrasharts-is-now-globalartslive">World Music/CRASHarts is now Global Arts Live</a>. With the new name come a new logo, a new color palette, detailed design guidelines and new templates for posters, brochures, stage backdrops and other marketing materials. </p><p>The organization, along with branding and design firm Minelli, Inc., chose a name that describes its work more clearly and succinctly than the somewhat wordy "World Music/CRASHarts."</p>
<img class="wf-Image-Left" alt="global-arts-before-after.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/New-Name-New-Look-to-Draw-a-New-Generation-of-Fans/global-arts-before-after.jpg" style="margin:5px;" />
<p>To give the descriptive name some emotional resonance, Minelli proposed a dynamic tagline, "Performance that shapes our world." It also offered alternatives so Global Arts Live could adapt the tagline to fit the wide variety of performances it offers. The organization's announcement of the change demonstrates the use of the tagline better than we can explain it here:</p>
<iframe width="560" height="315" src="https://www.youtube.com/embed/91i3so4sVEw" frameborder="0"></iframe>
<br><p>"We present many different artists from all over the world—performing dance, world music, jazz—in different venues across the city," said associate director Susan Weiler in an email. "The tagline, messaging and other brand assets give us a road map to adjust the brand to each artist, discipline and venue."</p><p>Accompanying the name and tagline are visual and verbal cues to communicate the creativity, diversity and vibrancy of the performances the organization presents. These cues are designed to create a clear, more consistent identity that audiences and supporters can recognize wherever they encounter it.</p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/New-Name-New-Look-to-Draw-a-New-Generation-of-Fans/global-arts-before-after3.jpg" alt="global-arts-before-after3.jpg" class="wf-Image-Left" style="margin:5px;" /><br><br></p>
<p>"The new identity is full of energy and movement," Weiler said. "We have a single clarified name, one contemporary logo, dynamic tag line, updated messaging and complete style guide—all things we didn’t have before."</p><p>The organization is now working with digital consultants to reclaim the search-engine rankings the name-change compromised and to analyze web users' behavior in preparation for a full site redesign. This fall, it will launch an advertising and awareness campaign to promote the new brand to new audiences. </p><p>It's an extensive undertaking that has so far cost Global Arts Live about $300,000. But the organization is confident it will help boost its public profile and solidify its reputation for high-quality performances. "Creating a new brand requires deep resources in staff time, staff capacity and financial investment," Weiler said. "But operating with an ineffective brand can ultimately cost an organization more."</p>||World Music/CRASHarts changes name to Global Arts Live, gets a facelift to help it thrive in a new era||GP0|#459b8438-9b87-47d0-814e-02452652da81;L0|#0459b8438-9b87-47d0-814e-02452652da81|arts;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#7ee74777-f4ad-4204-a3cc-1a02bb45abab;L0|#07ee74777-f4ad-4204-a3cc-1a02bb45abab|arts audiences||GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61||Wallace editorial team||79||<img alt="" src="/News-and-Media/Blog/PublishingImages/global-artslive-lg-feature2.jpg" style="BORDER:0px solid;" />||2019-06-20T04:00:00Z||Your source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.||6/21/2019 5:35:22 PM||The Wallace Foundation / News and Media / Wallace Blog / New Name, New Look to Draw a New Generation of Fans World Music/CRASHarts changes name to Global Arts Live, gets a facelift ||213||https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx||html||False||aspx|
|Cross-sector Collaborations for Education Show Promise, Face Challenges||3441||<p>Complex social issues must be solved with a comprehensive approach. That’s the idea driving a recent surge in cross-sector collaborations anchored in communities and aimed at improving local educational outcomes, especially for low-income students. In one study, researchers from Teachers College at Columbia University
<a href="/knowledge-center/pages/collective-impact-and-the-new-generation-of-cross-sector-collaboration-for-education.aspx">found 182 such place-based collaborations nationwide</a> working to improve students’ readiness for and success in early childhood, K-12, and post-secondary education. </p><p>A forthcoming companion study (also from Teachers College),
<em>Building Impact: A Closer Look at Local Cross-Sector Collaboration for Education, </em>will be published this fall and examine eight collaborations, which often include philanthropies, school districts, businesses, higher education and social service agencies. Carolyn Riehl, an associate professor at Teachers College, presented some of the new study’s findings at a recent Collective Impact Convening in Chicago. She was joined by Will Miller, president of The Wallace Foundation, and Danae Davis, executive director of Milwaukee Succeeds, one of the collaborations featured in the study. </p><p>
<img class="wf-Image-Left" alt="Panel-photo-1.1.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Cross-sector-Collaborations-for-Education-Show-Promise-Face-Challenges/Panel-photo-1.1.jpg" style="margin:170px 5px;width:442px;" />While cross-sector collaborations were often overly optimistic about their initial goals, there’s reason for “cautious optimism” about their future, Riehl told a crowd gathered at the Hyatt Regency Chicago. They will likely take “more time than the usual window of opportunity social programs are given for making an impact,” she said, but they are bringing together partners who have rarely cooperated before, soothing local political tensions and making steady progress. </p><p>Here we highlight some key questions posed by the panel and preview findings from the upcoming report, which Miller called, “one of the most in-depth studies of the cross-sector collaboration approach.”</p><p>
<strong>Can local collaborations mount comprehensive change?</strong></p><p>Several of the eight collaborations studied set out to provide supports from early childhood through post-secondary education, but only one—Say Yes Buffalo—has come close to meeting that promise so far, the study found. That group convinced the city to provide “a broad menu of wraparound support services” for students, Riehl said. “The ‘carrot’ that enticed the city to commit was that Say Yes promised college scholarships for all eligible public school graduates in the city. The stick was that if the city reneged on the support services, there would be no more scholarships.”</p><p>Other collaborations studied had expanded services on a more gradual and limited scale and not yet met their goals. Obstacles included getting participants to agree on strategies and a shortage of funding and organizational capacity. Still, the vision to provide comprehensive services “seems to give people a sense of purpose and significance, a horizon to reach for,” she noted. </p><p>
<strong>How do collaborations address education?</strong><strong><br></strong><br> “The politics and pragmatics of collaborations working closely with school districts turned out to be much more complicated than we might imagine,” Riehl said to appreciative laughter. The initiatives studied often supported instructional improvement by launching afterschool programs or by backing a district’s strategic plan, but appropriately refrained from trying to drive instructional reforms.  </p><p>But districts also were often hesitant to work closely with cross-sector collaborations, the study found. One reason, Riehl said, seemed to be a desire to avoid expensive, complicated and politically challenging work. Pressure to focus on immediate testing and accountability concerns may have played a role. Districts also commonly want to be viewed as the “source and motivator” of their own improvement, she noted, and working with an external collaboration might imply that the district couldn’t manage improvement on its own.</p><p>Collaborations did make one significant contribution to core education reform, the study found: they calmed entrenched interests and tensions that often surround urban school systems. They reduced “the sense of frustration and urgency,” Riehl said, and created “an environment more conducive to school system stability and productivity. This may not be the kind of ambitious change implied in the rhetoric of collective impact, but it did count for something in local contexts.”</p><p>
<strong>How do collaborations address equity in their systems?</strong><strong> </strong></p><p>Most collaborations were motivated by the desire to end disparities in academic performance for students from low-income backgrounds and students of color. Yet at their start, they refrained from naming the problem directly or addressing other inequities that affect education, such as housing, employment, community safety and services. But over time, collaborations have become more explicit and intentional about equity, the study found. Researchers attributed that in part to the influence of national networks supporting collaboratives and growing national attention to class and race disparities, especially in the wake of the 2016 presidential campaign.  <br><br> Still, collaborations generally continued to be made up of community leaders, “often without involving the people most impacted by inequity and poor education,” she observed. The original idea was to involve “powerful decision-makers in systemwide change” but that approach, she said, might ultimately fail to galvanize widespread support, including from those they intend to serve. </p><p>
<strong>What can influence sustainability in a collaboration? </strong></p><p>“Goodwill and enthusiasm for the idea of collective impact gave these initiatives their start and seem to be boosting them along,” Riehl reported. Other factors aiding sustainability include effective “backbone” organizations to manage the collaboration, leaders with strong interpersonal skills, and national networks providing technical assistance, networking, strategies, funding and other supports.  <br> Davis of Milwaukee Succeeds, which belongs to the national StriveTogether network, said that her collaborative has sustained itself since 2011 despite launching amid local education politics “that had been toxic for 25 years.” The city’s education landscape included a high-poverty school system struggling to raise student achievement, a large number of independent charter schools and private (mostly religious) schools enrolling students with vouchers.  </p><p>Keeping all three education systems working together through the collaborative, she said, “is no small feat.”</p><p>She attributes their commitment to a shared desire to benefit children, a refusal to allow the collaborative’s forum “to be hijacked for political reasons,” such as elections, and insistence among the five major foundations funding the work that the three education systems show evidence of partnership. “That sends the message that you want to stay in the tent,” she said.</p><p>Early on, the collaboration also realized that it would get more traction if it placed school system priorities at the forefront, she added.</p><p>While Milwaukee Succeeds had to scale back on its ambition to tackle the whole “cradle to career spectrum” at once, it has had some wins, Davis said. After a technology manufacturing company promised the county 13,000 jobs, the collaborative helped to convene 18 local two- and four-year colleges and universities to come up with a workforce development plan that included raising college enrollment and completion.  </p><p>“That was a huge deal,” she said. “I don’t know how many of you have worked with higher ed—it’s worse than the Titanic in terms of turning it around. And they are moving with great speed.”</p><p>In another win, they convinced state legislators to fund a statewide expansion of a tutoring program for early readers that the collaborative had brought to Milwaukee. Business partners in the collaborative made the request, backed by data, she said, and philanthropic partners promised funding for a quarter of the cost.</p><p>
<strong>What does the immediate future look like for collaborations?</strong></p><p>Davis said she regrets that the collaborative neglected grassroots involvement at the start and so is not well-known in the wider community. Eight years in, they are working to forge those relationships. An important step, she said, will be finding ways to support grassroots agendas. To build community buy-in, she advised “don’t bring them to your table, go to their table.”  </p><p>Miller added that in his own personal experience, he’s found that a cross-sector collaboration needs support both from elites to bring resources to the table and from grassroots participation to give the effort legitimacy. Some collaborations he’s participated in, he said, owed their success in large part to “a lengthy, exhaustive process” for identifying where the interests of each overlapped.  </p><p>Riehl and Davis agreed that sustaining cross-sector collaboration long-term will depend on the skill of “backbone” organizations like Milwaukee Succeeds to forge and manage diverse relationships and become more representative of the communities they serve. </p><p>“This process takes a long time,” Riehl said. “People get bored and stop coming, they argue, there’s conflict, factions develop, so it really takes a steady hand to get everyone rowing in the same direction.”<br><br> But, she said, “we’ve seen lovely instances where partner agencies have changed their strategies because they want to be part of the action.”</p><p><em>To learn more about the Teachers College study of cross-sector collaborations in education,</em> see <a href="/knowledge-center/pages/putting-collective-impact-into-context.aspx">Putting Collective Impact Into Context</a> <em>and</em> <a href="/knowledge-center/pages/collective-impact-and-the-new-generation-of-cross-sector-collaboration-for-education.aspx?_ga=2.17155889.962354234.1561754504-1014093728.1520357385">Collective Impact and the New Generation of Cross-Sector Collaborations for Education</a>. </p>Photo: Will Miller, president, The Wallace Foundation; Danae Davis, executive director, Milwaukee Succeeds; Carolyn Riehl, associate professor, Teachers College<br>||Upcoming report examines collaborations and their early impact on local school systems and educational outcomes. ||GP0|#55227928-b5e2-413d-a661-c9cd610a00e2;L0|#055227928-b5e2-413d-a661-c9cd610a00e2|collective impact;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#f5513740-0b8b-4207-b09d-246ac5ec5beb;L0|#0f5513740-0b8b-4207-b09d-246ac5ec5beb|school systems;GP0|#b9334c26-a923-4388-bc0a-e17897e654f7;L0|#0b9334c26-a923-4388-bc0a-e17897e654f7|schools;GP0|#d757acf5-471b-4382-96fe-4be19717ddbd;L0|#0d757acf5-471b-4382-96fe-4be19717ddbd|OST||GP0|#b804f37e-c5dd-4433-a644-37b51bb2e211;L0|#0b804f37e-c5dd-4433-a644-37b51bb2e211|Afterschool;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61;GP0|#ff9563e3-b973-45a7-8ac3-c9f4122f9a13;L0|#0ff9563e3-b973-45a7-8ac3-c9f4122f9a13|Summer Learning||Elizabeth Duffrin||97||<img alt="" src="/News-and-Media/Blog/PublishingImages/collective-impact-lg-feature4.jpg" style="BORDER:0px solid;" />||2019-06-18T04:00:00Z||Your source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.||6/28/2019 8:49:02 PM||The Wallace Foundation / News and Media / Wallace Blog / Cross-sector Collaborations for Education Show Promise, Face Challenges Upcoming report examines collaborations and their ||591||https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspx||html||False||aspx|