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Districts That Succeed: What Are They Doing Right?9775GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61​<p>​​​​​“You can fix schools all you want; if the districts within which they reside are dysfunctional, the schools will not stay fixed,” writes Karin Chenoweth, writer-in-residence at The Education Trust, at the start of her latest book, <a href="https&#58;//www.hepg.org/hep-home/books/districts-that-succeed"><em>Districts That Succeed&#58; Breaking the Correlation Between Race, Poverty, and Achievement</em></a>, which was supported by The Wallace Foundation<em>. </em>After visiting dozens of high performing and rapidly improving&#160;schools around the country, Chenoweth came to this conclusion when she saw some of these schools fall apart after getting a new principal who upended the systems that were previously working. Districts are the ones that hire the principals, Chenoweth points out, and dysfunctional districts are more likely to hire the wrong person or fail to support a weak principal.&#160;</p><img src="/News-and-Media/Blog/PublishingImages/Pages/Districts-That-Succeed-What-Are-They-Doing-Right/Chenoweth_cover_final.jpg" alt="Chenoweth_cover_final.jpg" class="wf-Image-Left" style="margin&#58;5px;color&#58;#555555;font-size&#58;14px;width&#58;144px;" /><span style="color&#58;#555555;font-size&#58;14px;"><span></span></span><div>We sat down with the author to talk more about what she learned as she researched successful school districts and what she hopes readers will take away from the book.&#160;</div><div><strong><br></strong></div><div><strong>Why did you want to look at districts? What role do they play in student achievement?</strong></div><p>For years I have written about schools that serve children of color and children from low-income backgrounds and that are high performing or rapidly improving. Ultimately each is a powerful testament to the power of school leaders to be able to marshal the full power of schools to help students. </p><p>But by the time I wrote my last book, <a href="https&#58;//www.hepg.org/hep-home/books/schools-that-succeed"><em>Schools that Succeed&#58; How Educators Marshal the Power of Systems for Improvement</em></a>, I realized that even when principals lead huge improvement, if the districts they live in are dysfunctional, the schools won’t stay fixed. Principals take other jobs, get promoted, or retire, and if district leaders don’t understand the kind of leadership schools need, they are liable to replace them with principals who don’t understand how to continue the improvement process and the school tragically falls apart. So, I wanted to explore what it looks like when district leaders do understand the key role of school leaders.</p><p>In addition, as I talk with highly effective principals, I have heard many stories of how they have to shield their schools from district initiatives and directives because district leaders far too often undermine school improvement rather than support it.&#160; </p><p>I wanted to dig into that more in this book by examining what successful and improving districts look like and how they function.&#160; </p><p><strong>How does this book build on the lessons in your earlier book, <em>Schools that Succeed</em>?</strong> <br> <em>Schools that Succeed</em> laid out some of the very basic, sometimes prosaic, systems that effective school leaders use to ensure that teachers and staff are able to continually improve their knowledge and practice—systems of managing time, looking at data, making decisions, and so forth.&#160; </p><p>In <em>Districts that Succeed</em>, what I found was that effective superintendents and district leaders establish the systems and structures that allow principals to be successful. The scale is different, but the basic pattern is the same.&#160; </p><p><strong>How do districts affect the success of principals?</strong> <br> The most powerful question in education is&#58; “Your kids are doing better than mine. What are you doing?” This is a question that can be asked at the classroom level, the school level, the district level and the state level, and it is the start of improvement. But in order for educators to be able to ask that question, several things need to be in place&#58;&#160; </p><ul><li>publicly available common data that can be compared;&#160; </li><li>the time and space to be able to look at that data and think about it; and </li><li>a culture of trust, where asking that question is seen as a sign of professional strength and judgment, not a confession of failure. </li></ul><p>Superintendents and district leaders play a key role in establishing the time and space for school leaders to be able to come together to expose and share expertise. They also provide the key pieces of understandable data that can inform them—formative and summative assessment data, school climate and culture data, all kinds of data—and the research that can help inform possible solutions to the problems faced. They also establish a culture in which it is safe for educators to betray their weaknesses. </p><p>So, for example, when principals get together they should be able to see that some schools have much more family participation in curriculum nights than others and be able to ask their colleagues&#58; “You are engaging a lot more families than my school is. What are you doing?” That question exposes expertise that can be shared and learned from. Similarly, the fact that one school has much better third-grade reading scores than others can lead to much deeper understanding of what goes into early reading instruction. </p><p>In other words, districts can play a powerful role in building the knowledge and expertise of school leaders. This is different from the traditional role districts have played, which is largely treating principals as middle managers who exist to carry out district directives and deflect the anger of parents away from the superintendent. </p><p><strong>Can you share a highlight of your district visits?</strong> <br> I identify schools and districts to visit through a bunch of numbers—test scores, demographics, suspension rates, graduation rates, whatever data is available. I am looking for high performance and improvement. And what never fails to amaze and delight me is that when I go to see what lies beneath those numbers, I find smart, dedicated, hardworking educators who understand that they are doing important work and are eager to share what they are doing with the rest of the field.&#160; </p><p>So, for example, I initially identified Lane, Oklahoma, through the district analysis of Sean Reardon, professor of poverty and inequality in education at Stanford University. Lane’s students “grow” six academic years in the five calendar years from third through eighth grade. When I called to find out what they were doing, I talked with assistant superintendent Sharon Holcomb, who herself attended Lane as a child and has spent her entire career teaching and leading at Lane. She invited me to visit and I was able to meet students, teachers and parents. I met one parent who drove her children from another district because her son, who has epilepsy, had not been taught how to read and had been bullied and mistreated by teachers in another district. At Lane, she said, he has learned to read and is thriving. And Holcomb told me that that was what kept her and her colleagues working so hard&#58; “Seeing kids that have been thrown out and discarded and seeing them improve—seeing them come from other schools just beat down and seeing them succeed here.” </p><p>By the time she finished her sentence, we were both tearing up. </p><p><strong>What are the biggest barriers to districts learning from each other?</strong> <br> Years ago, we had no publicly available data that district leaders could look at, but we now have achievement, graduation, suspension and expulsion, and often school climate data. It is all publicly reported, so there is no real structural barrier to district leaders identifying districts that are doing better than they are and asking what they are doing. I worry about the effect that pandemic schooling will have on the availability of data, but we still have relatively recent data, from 2019. </p><p>But what the field of education doesn’t have is a culture of learning from others. There is a tradition in the field that every classroom, every school, every district is so different from each other that there are no lessons to be learned. District leaders who serve few African American students might think they have little to learn from districts that are primarily Black and brown. I was once dismayed and amazed when I heard of a principal who said that the examples of high-performing high-poverty schools held no lessons for her because she only had a few students who lived in poverty.&#160; </p><p>But learning can be generalized—kids are kids, schools are schools, districts are districts. They vary in all kinds of external ways, but at the heart all kids can learn and educators need to share information and expertise in order to help them learn.&#160; </p><p><strong>What do you hope readers walk away from this book knowing or believing?</strong> <br> The expertise to help all children learn exists, but it doesn’t reside in any one person, and the answers don’t lie in one particular program, policy or practice. The expertise comes from the pooled understanding of professionals informed by experience, data and research and armed with curiosity and a willingness to learn. Only by marshaling them all together can we hope to help all kids learn to high standards. But we can do this.&#160; </p>Andrea Ruggirello1142021-06-08T04:00:00ZYour 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.6/8/2021 2:15:07 PMThe Wallace Foundation / News and Media / Wallace Blog / Districts That Succeed: What Are They Doing Right Author of new book based on lessons from high-performing schools implores 206https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
What Can We Learn from High-Performing Arts Organizations of Color?9756GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​For a few weeks in the Twin Cities last fall, the St. Paul-based Theatre Mu presented an interactive exhibit highlighting the work of Asian artists and performers. While audiences could view the exhibit online, it was created so that they could also walk through display stalls, with social distancing, at the Jungle Theatre. In an innovative twist, people could also view portions of the exhibit from the theatre’s street-facing windows. </p><p>The collaboration between the two theaters, according to Anh-Thu Pham, Theatre Mu’s managing director, allowed the company to keep many of its set designers, captioners, builders and others on the payroll during the pandemic, while offering some respite to a community in lockdown. </p><p>“We were founded with a dual purpose, as a community organization as well as a theatre, and those two threads are woven so deeply into our DNA,” Pham said in a recent panel discussion. “They are part and parcel of everything we do.” </p><p>Those threads, it turns out, are not exclusive to the make-up of Theatre Mu. According to a recent report, many organizations that have grown out of and serve the needs of BIPOC communities (Black, Indigenous, People of Color) have managed to build and sustain a loyal base while audiences at more classical, or Eurocentric, organizations have generally been in&#160; decline for decades. Zannie Voss, director of SMU DataArts and co-author of a recently published report, <a href="/knowledge-center/Documents/The-Alchemy-of-High-Performing-Arts-Organizations-Part-2.pdf"><em>The Alchemy of High-Performing Arts Organizations, Part II&#58; A Spotlight on Organizations of Color</em></a>, said that it is in fact their origins in serving communities long ignored by the mainstream that can provide BIPOC organizations with a tangible degree of audience and community loyalty. </p><p>Yet Voss also emphasized that, despite those enviable strengths, BIPOC organizations have rarely been rewarded by funders that have for years sought to encourage precisely the qualities these organizations exhibit—serving diverse audiences, employing many artists of color and a diverse staff, creating more inclusive organizations and reaching into underrepresented and economically disadvantaged communities. “These local organizations are often in competition with the white organizations for funding and they usually lose out to them,” Voss says. “Organizations that are rooted in communities of color receive far less support, recognition and attention both from funders and from society at large.”</p><p>Voss presented these and other key findings from the new report, which is based on the experiences of 21 high-performing BIPOC organizations, with a median budget of $1.4 million (Theatre Mu was one of the organizations). The interviews were conducted in August and September of 2020 and included representatives from dance, music, theater, multidisciplinary performing arts and community-based arts organizations. An earlier report from SMU DataArt’s research, <a href="/knowledge-center/pages/the-alchemy-of-high-performing-arts-organizations.aspx"><em>The Alchemy of High-Performing Arts Organizations</em></a><em>,</em> focused on the successful practices of a wider range of organizations. </p><p>Voss and Pham were joined in the panel discussion by representatives from two of the other high-performing organizations in the BIPOC report&#58; Juan Díes, the co-founder and executive director of Sones de Mexico Ensemble, a folk music group based in Chicago, and Blake-Anthony Johnson, the chief executive officer of the Chicago Sinfonietta. The conversation was <a href="/knowledge-center/pages/reimagining-the-future-of-the-arts-a-webinar-series-from-the-wallace-foundation-session-5.aspx">the fifth in Wallace’s “Reimagining the Future of the Arts” series</a>, which provides a forum to explore pressing questions in the field. </p><p>In addition to addressing the question of BIPOC organizations’ community orientation, the panelists discussed the quick improvisation and innovation that helped them navigate the pandemic, particularly the full-on embracing of digital content. They relied on the skills they’d honed working for years with tight budgets while retaining a focus on the communities they serve, and they expressed a vital need for increased funding to expand what organizations can accomplish. &#160;</p><p><strong>Survival on a shoestring</strong><strong> </strong><br> Díes of Sones de Mexico told the panel that while his group’s performances have always attracted a broad audience, unbound by geography or culture, audiences have grown even larger with digital performances during the pandemic. But because he is the sole staff member, Díes said, “capacity is a big issue.” He runs the company’s website and educational programs and also arranges new music performances.</p><p>Although Díes is used to wearing all of these administrative hats, he said he has received no additional funding to do so and sometimes finds it a challenge. </p><p>Pham added that Theater Mu shifted to producing digital performances just days after the shutdown. Since then the company has produced more than 40 events, but she said it could not keep up at that pace. “We needed to take a breath,” she said. </p><p>Chicago Sinfonietta, too, has succeeded in extending its reach internationally, finding new audiences for virtual performances in more than 40 countries and enrolling interns digitally from Lebanon and Dubai, according to Johnson. But, he said, the strains on the organization are a constant concern. This has led the Sinfonietta to drop some priorities, while remaining true to the its mission of training BIPOC musicians and organizational leaders to increase the diversity of orchestras. </p><p>He compared the exercise of contending with these limits to juggling balls, some made of glass and some of plastic. Because glass balls would shatter if you let them fall, you keep them up in the air, while you can drop the plastic balls since they will bounce and can be picked up at a later date. “You can do everything, but not all at once,” he said. “You determine what is fundamental and what can wait. You look at what are essentials and what can go for now.” </p><p>All of the panelists stressed how challenging it has been to squeeze more from their organizations, which are already stretched thin, and urged funding organizations themselves to pivot towards supporting increased organizational capacity rather than just performances and programs, the traditional focus. “The top challenge we heard in this research was organizational capacity,” said Voss. “It’s a serious issue that brings concerns of staff burnout, low compensation levels, recruitment and retention issues that can inhibit the organizations’ ability to capitalize on the short-term successes and get to a sense of balance.”</p><p>She added, “Exclusion from equitable access to capital means many organizations of color that want to grow are denied agency.”<br> </p><p><strong>Toward equity in arts funding</strong><br> According to <a href="http&#58;//notjustmoney.us/docs/NotJustMoney_Full_Report_July2017.pdf">an article</a> Voss cites in the BIPOC study&#58; “People of color represent 37 percent of the population, but just 4 percent of all foundation arts funding is allocated to groups whose primary mission is to serve communities of color. It is estimated that approximately one in two Americans is low-income or living in poverty but less than 3 percent of arts foundation funding is directed to cultural groups whose primary purpose is to serve these communities.”</p><p>Voss said the inequities in funding for BIPOC arts organizations were particularly unfortunate because these organizations have succeeded in achieving some of the critical goals various funders have supported in recent years. For instance, many white organizations have struggled to fulfill goals such as increasing diversity in the art they produce and their audience base, while widening access to underserved communities.</p><p>“I heard repeatedly how profoundly relevant these organizations are and that brings me back to how they were founded in the first place,” Voss said. “Usually, there had been no opportunities for artists of color in these communities and these organizations provide that programming. They filled a void, and that sets up a particularly dynamic relationship between the organization and the community. They are funded not just by a few people with deep pockets as much as the whole community having a sense of ownership.”</p><p>Johnson said he has learned that when seeking funding, he must devote a great deal of time to educating funders about how the Sinfonietta trains artists of color, helping them launch careers in music, and helps develop administrative leaders of color, as well as how their support of BIPOC organizations can help organizations achieve such important goals. A key, he said, is making funders aware of the strength of the Chicago Sinfonietta in bringing greater diversity and inclusivity to the orchestral world. “It’s a matter of educating people,” he said. “It’s letting them know that there are options for supporting orchestras, people like us. So it’s a matter of access to those funding organizations and then having the time to do that educating.” <br> </p><p><strong>Building increased capacity</strong><br> One of the consistent challenges, Johnson said, is making the case for funds to expand staff and organizational capacity, not just programs. “Yes, a few funders have been mindful of that need, but it’s such a rare thing,” he said. After giving it some additional thought, he said there had been but a single instance when his organization was offered such funding. </p><p>“These are communities that do not have a lot of high net worth individuals,” Voss said. “They don’t have wealth to pay high ticket prices, rising ticket prices, and they cannot provide high levels of funding. But in the more Eurocentric, white organizations, individual contributions are plentiful and fund growth.”</p><p>She added, “These organizations are in a vicious cycle&#58; we’ll give you less money because you’re smaller but without that money they can’t grow bigger. This is affecting underrepresented communities.”</p><p>Díes agreed, recommending that funders consider providing more multiyear grants to build stability into organizations and offer greater opportunities for them to achieve long-term expansion. He also suggested that the requirements built into some grants that recipients attend financial management courses be dropped. “There’s distrust built in there, like we don’t know how to manage money,” he said, insisting that that was incorrect after 23 years of experience, in his case. “The foundations should trust us.” </p><p>Pham noted a particular problem&#58; While many funding organizations are willing to support youth education programs, they have been reluctant to fund programs for adults. These sorts of adult-education programs can be especially helpful in training BIPOC artists who are eager to develop careers as actors or stage designers. “That’s a disparity that I run into,” she said.</p><p>Voss said the funding challenges are serious but she was still optimistic about the path forward, especially as lockdowns lift, arts venues reopen and arts organizations are able to build on the lessons they have learned from going digital during the pandemic.</p><p>“There has been a lapse in how the model is supposed to work,” Voss said. “But the field at large has so much to learn from the strong BIPOC organization leaders. What we don’t want to see any more is one kind of organization pitted against another.”<br></p><p><em>Top photo&#58;&#160;Sones de Mexico Ensemble&#160;by Henry Fajardo​</em><br></p>James Sterngold 1122021-06-02T04:00:00ZAs the arts sector looks toward re-opening, a new report offers lessons from successful organizations run by and serving BIPOC communities6/2/2021 6:07:16 PMThe Wallace Foundation / News and Media / Wallace Blog / What Can We Learn from High-Performing Arts Organizations of Color As the arts sector looks toward re-opening, a new report 202https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Lessons in Virtual Hiring for School Leaders9596GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​The COVID-19 pandemic has upended a great number of systems and processes in the K-12 education system, including the hiring of principals and school leaders. More than a year into the pandemic, school districts are once again facing a remote hiring season. What can we learn from their experience last year? And what might be improved in the virtual hiring process for both district leaders and job candidates going forward? <br></p><p>The Wallace Blog caught up with Maggie K. Thomas, deputy chief of talent development at the District of Columbia Public Schools, to investigate the challenges and possibilities of remote hiring based on the district’s emergency pivot to virtual operations last year. Despite all the technological and other difficulties facing it, the district school system was able to fill all its school leader slots well before the fall 2020 school term began. The following interview has been edited for length and clarity. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Lessons-in-Virtual-Hiring-for-School-Leaders/50996660963_16497d132b_k.jpg" alt="50996660963_16497d132b_k.jpg" style="margin&#58;5px;" /> <br> <br> </p><p> <strong>What kind of strategies did DCPS use to effectively carry out virtual hiring amidst the challenges of the pandemic?</strong></p><p>Virtual hiring requires strategy, systems....and more strategy.&#160;The pandemic has been a great opportunity for us to strategically think more creatively around how each stage of our interview process effectively assesses our core values and necessary competencies for each role. For example, we had to re-imagine the role of performance tasks so that they would elevate a candidate's awareness and intentionality around equity-centered leadership. Similarly, to assess candidates’ ability to meet the needs of today's climate, we had to purposefully craft questions that encourage candidates to explicitly describe how they have navigated change, ambiguity and socio-emotional challenges in their previous roles. </p><p>We also leaned into the convenience of virtual hiring by leveraging cross-team collaboration throughout the interview process.&#160;In the instances in which we collaborated with our equity team, our chiefs of schools, and our strategy and performance management teams—to have them serve on a panel, craft questions and/or review performance tasks—the different perspectives helped to better support candidate selection.<br></p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Lessons-in-Virtual-Hiring-for-School-Leaders/50617472368_121cd8661d_b.jpg" alt="50617472368_121cd8661d_b.jpg" style="margin&#58;5px;" /> <br> </p><p> <strong>Speaking even more practically, how did you go about hiring principals virtually?</strong></p><p>One of the pieces that can easily be overlooked is the need to be intentional about preparing the technology needed to execute virtual interviews.&#160;While the world was quickly transitioning into working from home and getting more accustomed to using tech tools like Zoom and Microsoft Teams, we were surprised at some of the small snags that our team had to uncover and plan around (think&#58; breakout rooms, waiting rooms, mute buttons). To remedy this, we took a sandbox approach where our team leads set up Zoom rooms and worked through any of our anticipated hiccups.&#160;This made our first and subsequent interview days run so much smoother.&#160;We sent a comprehensive email to interviewers a week in advance that included stepper documents and videos for using Zoom, a candidate profile, all of the necessary rubrics for the interview, and supports-in-place for the actual day.</p><p>On the candidate side, we also learned that they needed guidance and coaching on bringing their best self to a virtual interview space.&#160;Whereas cues for dress, body language and even background were either not applicable or normed in-person, there was a need to establish best practices for virtual settings.&#160;Things like posture, lighting and position in front of the camera quickly became coaching points after feedback from our interviewers suggested that candidates looked disinterested or uninvested. What we found was that some candidates were taking a more relaxed approach to their virtual interviews and abandoning tried and true practices that would be more commonplace in person.&#160;Helping our candidates to envision how they would be received on the other end of a screen provided them with the necessary perspective to change their approach.</p><p> <strong>How about the virtual onboarding process? </strong></p><p>Our virtual onboarding for principals and new principals was successful, albeit very different from orientations in years past.&#160;One of the unique challenges we faced, and are planning around for the summer ahead, is the appropriate design for content delivery and engagement.&#160;For our New Principal Orientation, we have eight days’ worth of critical content from our central services partners that new school leaders need in order to be day-one ready.&#160;With that said, it becomes incredibly challenging to retain and apply that information if you're in front of a screen for eight hours per day.&#160;</p><p>For this year, we're trying to be more intentional about how we design our week, as well as individual days for programming.&#160;Early ideas include creating clear, equity through-lines with content facilitators each day and ensuring that we include content connected to the larger district priorities centering on becoming an anti-racist organization that centers on the whole child. </p><p> <strong>What has been your biggest success, or what are you most proud of?</strong></p><p>This past year, in a cross-office teamwork effort, the talent development division was able to secure a $30 million Teacher and School Leader Incentive Program grant from the Department of Education to support educator effectiveness in our highest need schools. This grant—the highest amount awarded to all recipients across the entire nation—will allow DCPS to provide targeted professional development opportunities, performance-based compensation awards, specialized instructional coaching, school leader residencies, and a reimagined novice teacher experience. We are incredibly proud of how we’ll be able to utilize this investment to strategically get, grow and keep teachers and school leaders in our schools most impacted by past and present systemic bias.</p><p>Additionally, in terms of key talent milestones, we filled 100 percent of our school leader vacancies shortly after schools closed for the summer and, in an intentional effort to ensure our educator work force is representative of our student population, 18 percent of our new hires were males of color (surpassing the national, 2 percent average). This is our benchmark for success each year, and the team reached this goal amidst a pandemic and a complete shift to virtual processes.</p><p>Lastly, one of the things I am also proud of is our team intentionally planning a virtual onboarding process that addressed relevant topics around race, equity, bias and social justice. On our survey data from onboarding sessions, candidates expressed the highest levels of satisfaction with engaging in candid conversations that supported healing and awareness of the contributing factors of the opportunity gap.&#160;This is often a conversation that is glossed over and possibly not addressed in some districts, but we were committed to not using the limitations of virtual hiring as an excuse to not address these topics, especially on behalf of our most marginalized students.&#160; </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Lessons-in-Virtual-Hiring-for-School-Leaders/50997356351_8cade26f9a_k.jpg" alt="50997356351_8cade26f9a_k.jpg" style="margin&#58;5px;" /> <br> </p><p> <strong>What are you still figuring out?</strong></p><p>We're still trying to figure out how to bring some of the more intimate components of an interview process into our virtual processes. One of the pieces that we've adjusted thus far is our vision presentation for principals.&#160;Prior to this year, candidates submitted a PowerPoint as a performance task and then presented it at the in-person interview. This year, we're planning to have candidates film themselves delivering their vision presentation prior to the virtual interview.&#160;Again, we're hoping to have as many opportunities as possible to get a more holistic pulse on our candidates throughout the process given the limitations of a virtual approach.</p><p>At a deeper level, another area that we are still figuring out is how to ensure our leadership development programming is thoughtfully aligned to the larger, district-wide priorities. For example, at last year’s Summer Leadership Institute (which is attended by all school and central office leaders), we invited Professor Ibram X. Kendi, author of <em>How to Be an Anti-Racist</em>, as our keynote speaker to share his profound insight on elevating and examining our DCPS value of equity. We want to ensure that all leadership development opportunities connect to these agency-wide PDs so that there is a clear professional learning arc for critical technical matters, as well as for meaningful adaptive matters, such as anti-racism and whole child development. </p><p> <strong> <em>Finally, for a few quick tips for other districts and school leaders, here’s a condensed shortlist on virtual hiring, based on this conversation.</em></strong></p><div class="wf-Element-BlueBullet">Preparation is key.&#160;Determine your 3-W's as early as possible—who, what and when. Whom do you need to hire and who is an ideal candidate? What will your hiring process entail? When do you need to make your hires by and when should you start vetting candidates?&#160;</div><div class="wf-Element-BlueBullet">Invest in sustainable systems.&#160;Virtual hiring is here to stay, so evaluate your current platform and investigate whether or not it will continue to work for your organization in the long run. Depending on your budget, consider the feasibility of investing in a platform more tailored to your needs or to an advanced version of whatever you're currently using.&#160;</div><div class="wf-Element-BlueBullet"> Appeal to people in your target demographic and let them know who you are and what you believe.&#160;The workforce is changing and, with the myriad of challenges over the past year, candidates will want to know how your district is adapting and who you are as an organization. That said, as author Simon Sinek argues, “People don't buy what you do; they buy why you do it. And what you do simply proves what you believe.” As districts are trying to compete for top talent across the nation, candidates have to connect to what you believe in order to be inspired to join you on your mission. ​<br></div><p><em>Photos courtesy of DC Public Schools</em></p>Rochelle Herring362021-05-25T04:00:00ZAn inside look at how D.C. Public School District has re-structured its principal hiring process5/25/2021 6:16:31 PMThe Wallace Foundation / News and Media / Wallace Blog / Lessons in Virtual Hiring for School Leaders Deputy chief of talent development at D.C. Public Schools offers an inside 253https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Shining the Spotlight on Assistant Principals22056GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61​​ <p>​​​​​​​​​They are second in command in a school, and yet assistant principals often are not given opportunities to strengthen leadership skills that are vital to their effectiveness in the role as well as in the principal post many will assume one day. That is one of the main takeaways of <a href="/knowledge-center/pages/the-role-of-assistant-principals-evidence-insights-for-advancing-school-leadership.aspx"> <em>The Role of Assistant Principals&#58; Evidence and Insights for Advancing School Leadership</em></a>, a major new research review that synthesizes the findings of 79 studies about APs published since 2000 and includes fresh analyses of national and state data. The review found that the number of APs has grown markedly in the last 25 years and that the role has become a more common stop on the path to the principalship. At the same time, the researchers found disparities in the composition of the leadership workforce. Educators of color are less likely to become principals and more likely to become APs than white educators. Women are less likely than men to become either APs or principals.</p><p>Recently, the Wallace Blog spoke with the report’s authors, Ellen Goldring and Mollie Rubin of Vanderbilt University’s Peabody College of Education and Human Development, and Mariesa Herrmann of Mathematica, about their findings and the implications for district policies and practices. The interview has been edited for length and clarity.<br></p><p> <strong>The number of APs has grown six times faster than the number of principals in the last 25 years. Why do you think that is?</strong> </p><p> <strong>Herrmann</strong>&#58; We looked into whether it was due to an increased number of students in elementary schools and found that explained some but not all of the increase. You’re still seeing an increase in the assistant principal-student ratio in elementary schools over this time period.</p><p> <strong>Goldring&#58;</strong> That’s important, because at least officially, districts might have a funding formula that says if a school is of a particular size, it gets an AP position. But we also surmise that local districts can certainly fund positions differently. They might combine a coaching position with a teacher-leader position and turn that into an AP position. We have no idea why [the increase] is happening, the implications vis-à-vis other staffing decisions and what the rationale might be for a district or principal to think that the AP position is a better role to help fulfill the needs of a school as compared to other positions.</p><p> <strong>The synthesis found uneven opportunities for advancement for educators of color and women in the leadership pipeline. Does the research suggest reasons why? What measures could be taken to promote equitable opportunities?</strong></p><p> <strong>Herrmann&#58;</strong> For educators of color, the research mentions things like differences in access to mentoring, particularly for Black women. It also suggests hiring discrimination, such as people of color not being considered for suburban schools or schools with predominately white student populations. One African American female educator in a study had a nice quote about this; she was not hired and informed that she wasn’t the right “fit.” She said, “Most of the [African American female administrators in our district]…are placed in high-poverty schools. Perhaps this is where we fit?” There’s also some evidence of differences in assigned leadership tasks by race, which could prevent people’s advancement. For women, there are a bunch of explanations—differences in access to mentorship, differences in assigned tasks, family responsibilities and the time commitments of being an assistant principal or a principal, differences in aspirations or confidence, and also discrimination.</p><p> <strong>Goldring&#58;</strong> The point about not being a “good fit” is something to emphasize. There’s probably a lot of both explicit and implicit bias about where leaders of color want to be placed, should be placed and the implications for their career trajectories. We suggest using equity audits and leader tracking systems [which compile data on the backgrounds and careers of potential and sitting school leaders] to bring patterns to light and show how they play out in different types of schools. It’s an important first step but beyond that, districts need to create spaces for people to have really honest and open conversations about the patterns. That is key to addressing them.</p><p> <strong>Hermann&#58;</strong> Besides just understanding the patterns, I think addressing this requires mentoring people of color and women. Someone who is already a principal can help them understand how to be a leader in that particular district. Maybe to the extent that they share similar backgrounds or experiences, they can relate to that person.</p><p> <strong>Rubin&#58;</strong> It’s also about making space to hear the experiences of people who are facing differential outcomes and how they’re experiencing the roles that they’re in. We often assume that we know what we’re trying to fix, but we don’t necessarily understand it at a deep level. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Shining-the-Spotlight-on-Assistant-Principals/FIGURE-7-2-Emerging-Framework-Connecting-Equity-in-Principal-Leadership-to-Equitable-Outcomes-ch.jpg" alt="FIGURE-7-2-Emerging-Framework-Connecting-Equity-in-Principal-Leadership-to-Equitable-Outcomes-ch.jpg" style="margin&#58;5px;" /> <br> </p><p> <strong>Principals today are more likely to have served as assistant principals than in the past. Many say that the experience was pivotal to their leadership preparation. What makes a strong principal-assistant principal mentoring relationship?&#160;</strong></p><p> <strong>Herrmann&#58;</strong> One study mentioned areas where assistant principals found advice and mentoring useful. One was skills development, such as building strong relationships, honing decision-making skills, having strong communications skills. This suggests that principals need to have strong leadership skills themselves, so that they can model them for the assistant principal.</p><p> <strong>Goldring&#58;</strong> We noted in our report that there are no studies on how principals think about or conceptualize the role of assistant principals. We don’t know why an assistant principal might spend more time on task A or task B, or what principals consider when they hire assistant principals. There are gaps in terms of the research as well. &#160;</p><p>Your question brings out the important notion of the relationship between the assistant principal role and their evaluation, and the extent to which there is systematic, competency-based formative feedback that’s built into both the role of and the relationship between the assistant principal and the principal. In most cases, principals and assistant principals are evaluated on the same rubric. The few studies that talk about the assistant principal experience with evaluation note a lot of ambiguity. In one study, the assistant principals did not even know if they were formally evaluated or how. Another study mentioned the complexity of using the same rubric&#58; If I’m an assistant principal and evaluated on the same rubric as the principal, does that mean I can never be exemplary because that’s only for principals? What does this mean for the types of tasks and leadership opportunities that an assistant principal has?&#160; </p><p> <strong>Rubin&#58;</strong> A principal might assign tasks to their assistant principal to fill in for their own weaknesses. Together they make one really powerful team, but when it comes to the assistant principal’s evaluation, what does it say? They may not have the opportunities to do or learn certain things.</p><p> <strong>The pandemic has upended education and created unprecedented challenges for school leaders this year. Has it heightened awareness of the role of assistant principals? Could it lead to lasting change to the job and if so, how? </strong></p><p> <strong>Goldring&#58;</strong> During National Assistant Principals Week, I facilitated a webinar with a panel of four assistant principals about their role during COVID. The most important point they wanted to bring home was that they are school leaders in their own right and that this year highlighted their overall importance as part of the leadership team. They are not assistants to their principals. It was a nice link to the importance of assistant principals having opportunities to really be school leaders and not necessarily be the assistant principal of X—of student affairs, of curriculum and instruction, of a particular grade level. COVID put the focus on the complexity of school leadership and the need for partners in that work. You really need more than one leader.</p><p> <strong>Rubin&#58; </strong>I worry that in some ways, assistant principals may once again slip through the cracks. I keep hearing that assistant principals have become COVID contact tracers. That says a lot about how nebulous the job is. “<em>Who’s going to do contact tracing? Oh, the AP can!”</em> Principals who have lost their assistant principals, perhaps in the last recession, will be the first to tell you how important they are. But at the same time, there seems to be a lack of recognition and attention paid to the role. Perhaps it needs to be more deliberate.</p><p> <strong>Your report found that assistant principals have been seriously under-studied. If money and time were no object, what would you study about the role? </strong></p><p> <strong>Rubin&#58;</strong> I would love to watch the changes that happen when districts decide to invest in the assistant principal position—how they define the role to align with their vision and goals, and how it plays out in schools in terms of interpersonal dynamics, such as the relationships between assistant principals and principals, assistant principals and teacher leaders.</p><p>There’s also a study I want Mariesa to do because I don’t do this kind of work. We don’t know a whole lot about the effects of assistant principals or the effects of serving as an assistant principal on leader performance. I hypothesize that’s because the role is so nebulous. My question is, what are the leadership tasks that lead to the outcomes we’d like to see, both in terms of evaluation performance as an assistant principal and later as a principal, as well as outcomes for students, school and staff. If you could really figure out what matters most, then you could create a model of an assistant principalship that’s constant at a district level.</p><p> <strong>Herrmann&#58;</strong> Mollie did a really good job there! Assistant principal roles vary considerably and I think we need to better understand what aspects are most important for improving student learning and well-being. Are there ways the role can be better leveraged to improve outcomes for students? I don’t know if the role actually has to be constant across a district. I think you could investigate how it should be different, based on the local context, and what to take into account when developing the role.<br> <br> <strong>Rubin&#58;</strong> I wish I could fund you, Mariesa. </p><p> <strong>Goldring&#58;</strong> One of our big problems is that we have very blunt measuring instruments. We say that assistant principals’ tasks vary, but the way in which that has been measured is very unsatisfactory and leading to misunderstanding and misreporting. Researchers typically ask assistant principals how they spend their time, but no two studies ask that question similarly. In some studies, time is reported for a typical week, sometimes it’s not even clear what the timeframe is. We also need to rethink categories of tasks. Why is student disciplinary work not considered instructionally focused? If you’re working with a student to be more focused in class, isn’t that core instruction work? This is deep conceptual work that could greatly enhance the field.</p><p>The second thing that has emerged for me is trying to understand how and why some assistant principals choose to make the role a stepping-stone to the principalship while others choose to stay in the role and make it their own leadership position in its own right, alongside the principal. Is it an individual preference, a district preference, something in the school context and the way that leaders are developing teams? If we understood this, we would be better able to counsel and speak about the options to teachers who are coming up through the ranks. </p>Jennifer Gill832021-05-18T04:00:00ZAs an increasing presence in schools, APs merit more attention and study, report authors say5/18/2021 6:00:12 AMThe Wallace Foundation / News and Media / Wallace Blog / Shining the Spotlight on Assistant Principals As an increasing presence in schools, APs merit more attention and study 163https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Orchestrating Digital Arts Programming to Meet the Moment22032GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​​​​​​As various performing arts organizations across the country venture toward reopening, many have been forever changed by the pandemic. Some of these changes have been positive for both organizations and audiences—shifting away from status quo and toward new levels of innovation and accessibility. One such shift has been the widespread adoption of digital programs. Indeed, a study, <a href="https&#58;//culturetrack.com/research/covidstudy/" target="_blank"><em>Culture Track&#58; Culture and Community in a Time of Crisis</em></a>, conducted during 2020 and commissioned by Wallace, has uncovered a high level of participation in digital programs during the pandemic.</p><p>To further explore the crucial role of digital in the performing arts, we recently connected with two grant recipients from Wallace’s <a href="/knowledge-center/building-audiences-for-sustainability/pages/default.aspx">Building Audiences for Sustainability</a> initiative, which ended in 2019&#58; Seattle Opera and Woolly Mammoth Theatre. Marketing Director Kristina Murti at Seattle Opera and Artistic Director Maria Manuela Goyanes and Managing Director Emika Abe at Woolly Mammoth shared insights from their respective organizations’ creation of digital programs, highlighting some of the advantages and challenges that they’ve experienced. The interviews have been edited for length and clarity. </p><p> <strong>Looking back at the past year, what one piece of digital content do you think was your most successful, interesting, significant or surprising? And why?</strong></p><p> <strong>Goyanes&#58;</strong> In many ways, Woolly Mammoth was built to meet a moment like this, as risk-taking and innovation are at the core of what we do. From the outset of the pandemic, we wanted to create opportunities to continue to spark conversation through theatre and to quickly provide jobs for artists and technicians who were left unemployed. We decided to commission two works specifically for alternative mediums. It feels important to talk about both since they were both significant for us, and also so different from each other, which really showcases how wide-ranging this type of content can be.&#160;</p><p>The first was commissioning the Telephonic Literary Union to create <a href="https&#58;//www.youtube.com/watch?v=7IcmSt8x4h0" target="_blank"><em>Human ​Resources</em></a>, which repurposed a customer service hotline into an intimate audio anthology for remote times. The project contained audio experiences written by authors of color, employed actors from all over the country, and spurred audiences to listen, reflect and try to find the “Super Secret Happiness Code” embedded within the hotline. As evidence of its success, six months later, <em>Human&#160;Resources</em> had a future life—The Repertory Theatre of St. Louis presented the piece for their local community last month. </p><p><a href="https&#58;//www.youtube.com/watch?v=0kjPJbg0cwE" target="_blank"><img src="/News-and-Media/Blog/PublishingImages/Pages/Orchestrating-Digital-Arts-Programming-to-Meet-the-Moment/this-is-who-i-am.jpg" alt="this-is-who-i-am.jpg" style="margin&#58;5px;" /></a>The second project, <a href="https&#58;//www.youtube.com/watch?v=0kjPJbg0cwE" target="_blank"><em>This is Who I Am​​</em></a>, was a co-commission with New York City’s Play Company for Playwright and Director Amir Nizar Zuabi to write a play specifically for our current digital platform, <a href="https&#58;//www.woollyondemand.net/auth" target="_blank">Woolly on Demand</a>. Zuabi embraced that challenge completely and wrote the story of two characters, a Father and his Son, meeting on video chat with the hope of overcoming their estrangement. This fully realized production was rehearsed and performed entirely remotely, with its two actors, Ramsey Faragallah and Yousof Sultani, performing nightly from their own kitchens. We shared the play through a five-way co-production with American Repertory Theater in MA, The Guthrie Theater in MN and the Oregon Shakespeare Festival.&#160;</p><p> <strong><a href="https&#58;//www.youtube.com/watch?v=NwjUaBA9j0E" target="_blank"><img src="/News-and-Media/Blog/PublishingImages/Pages/Orchestrating-Digital-Arts-Programming-to-Meet-the-Moment/don-giovanni.jpg" alt="don-giovanni.jpg" style="margin&#58;5px;" />​</a>Murti&#58;</strong> In my opinion, our <a href="https&#58;//www.youtube.com/watch?v=NwjUaBA9j0E" target="_blank"><em>Don Giovanni</em></a>, recorded in January, was our most significant opera recording this season.&#160; It was the second full opera we recorded, and the first work we did not record in our main performance hall. There’s a lot of assumptions in opera about “how things need to be” and the idea of recording a “performance” outside of our main performance hall was not something we were seriously considering earlier in the pandemic—until we needed to, and then we decided to build a sound/film studio in our administration/operations center. We also recorded the audio separately from the staging and synced everything together in a pretty seamless way. The idea that we could record the performance “off-site” brought confidence to our next project, <a href="https&#58;//youtu.be/O35L90nbSVI" target="_blank"><em>Flight</em></a>, which was recorded really off-site&#58; at Seattle’s Museum of Flight. That project is most certainly the pinnacle of what we’ve done so far but having <em>Don Giovanni</em> under our belt and producing opera in an entirely new way was crucial to being able to put together an amazing product like <em>Flight</em>.&#160; </p><p> <strong>What has been the biggest challenge that your organization has faced while reconfiguring its programming for the digital space? </strong><u> </u></p><p> <strong>Abe&#58;</strong> It’s hard to pinpoint what the biggest challenge has been, as there have been so many! </p><p>One challenge has been that in undertaking new digital projects, we really went back to being beginners, even though Woolly has been around for 41 years. At first, we didn’t know what types of professionals we needed to engage to create work online. As we were seeking an outlet to share our work virtually, new hosting and streaming platforms for the theatre community were rushing into existence to tap into a new market. We had to evaluate our options without any particular expertise on our staff about video formatting or ways to stream from your computer to your television. At least we can say with confidence that we know a lot more now than we did a year ago.</p><p>Fortunately, because so many other theatres were making similar pivots into the digital sphere, we were able to turn to our colleagues for guidance—and then later on, to share our own insights with others. It has been heartening to see the many ways in which the theatre industry has come together to collaborate and support each other through this pandemic.</p><p> <strong>Murti&#58;</strong> We have not been able to use our main performance venue, McCaw Hall, consistently as a recording site so we have had to <a href="https&#58;//www.youtube.com/watch?v=MoEUBC7wm0o" target="_blank">reimagine</a> several of our Opera Center spaces as movie sets. Due to social distancing requirements and space considerations, we also had to record the music separately from the staging. These two issues were challenging but allowed us to think way outside of the box. As mentioned, <em>Flight</em>, which premiered this month, takes place in an airport terminal and was filmed on location at The Museum of Flight, an impressive museum filled with aircraft and large spaces that feels very much like an airport. No opera stage set will ever match the scale and brilliance of being at that location for this opera.&#160; </p><p> <strong>Was there any type of program you tried along the way that didn’t work, or didn’t work as expected? If so, what did you learn from this experience?</strong></p><p> <strong>Murti&#58;</strong> We’ve really experimented a lot with community programming. What format works?&#160; Should they occur at a specific date and time? Do we take reservations? Do we pre-record the entire talk and then edit into a more formal video? What’s the best length?&#160; We’ve tried a lot of things here and continue to experiment.&#160; </p><p>In general, I’d say we’ve found that shorter (20-minutes or less) is better than longer. We are still trying to determine whether it’s better to have a Zoom-style event with a set date and time, which people can join and feel like they are part of the discussion, or an event that is pre-recorded.&#160; </p><p> <strong>Goyanes&#58;</strong> Close to the beginning of the pandemic, we decided to experiment in the learning space, specifically offering classes entitled “Woolly for the Body, Mind and Spirit.” We offered a dance class, a class that paired a contemporary book with a contemporary play that Woolly had produced, as well as an acting class specifically geared for video audition techniques. We have not offered classes like this at Woolly in a long time, and we struggled with enrollment for many reasons, not the least of which was that we were launching this while COVID-19 numbers were high in the summer of 2020. The emotional toll of the pandemic, as well as the isolation, has been hard on our staff and our audiences. While we are energized by class ideas, in hindsight we needed more time for our community to wrap its head not only around what shelter-in-place meant, but also what it meant for Woolly to move into an intentionally educational space again. Another takeaway was that we learned to stick to what we do best and adapt it to the moment, rather than launch entirely new offerings for our audience. </p><p> <strong>Have there been any unexpected advantages to presenting virtual programming? If so, what does this success look like? </strong></p><p> <strong>Murti&#58;</strong> I touched on this earlier with the idea of separating the audio and staging recordings—that is something we did not consider last summer but has allowed us to expand into new and different locations and possibilities. We are currently planning where to record our upcoming <em>Tosca</em> and are considering one of the most beautiful cathedrals in our city. <br> <br> Another advantage to virtual programming is the ability for people to watch the opera more than once.&#160; We’ve found that a lot of people do this. For<em>The Elixir of Love</em>, our subscribers watched the opera on average 1.8 times. We keep each of our digital programs available to subscribers for three weeks following their online premiere, and many have reported watching early on and then again later on.&#160; </p><p> <strong>Do you expect to incorporate digital programs into your regular programming in a post-pandemic landscape? If so, how?</strong> </p><p> <strong>Murti&#58;</strong> Yes, although what this looks like is very much evolving. Attendance at digital talks have far outpaced what we would have in-person. Seattle has terrible traffic so I believe we will have a hybrid of an in-person and virtual atmosphere for these events going forward. Some opera/musical content will most definitely continue virtually, but we haven’t figured out yet what that will look like in the future.</p><p> <strong>Goyanes&#58;</strong> While we are absolutely eager to bring live in-person theatre back into our programming, we also want to center the idea of abundance in our collaborations, relationships and in the theater we make. One of Woolly’s guiding principles is to reimagine collaboration and community, across industries, communities, disciplines and mediums. Digital programming fits squarely into that reimagining, and we are eager to build upon the experiments of this past year.</p><p>For one, producing in the digital realm greatly increases access to our work. For example, our theatre in downtown DC seats 270 people, and on the last night of our digital production of Amir Nizar Zuabi’s <em>This is Who I Am</em>, we saw upwards of 500 people tune in online, not only from all over the United States, but also from abroad. With a lower ticket price for our online productions, we have also been able to provide greater access by removing a financial barrier for more audiences.</p><p>We know that as vaccinations become widely available and restrictions from the pandemic get lifted, we will face new hurdles. Experts say that COVID-19 or similar viruses will be an ongoing part of our lives. A year ago, as new leaders were stewarding Woolly Mammoth into its next chapter, we were growing our operations and impact. Now, the same growth has been set back and we are not yet sure how long the ramifications of this time will last. Many of our artists are still unemployed and we fear that many will have left our field permanently.</p><p>All that said, we fully believe that Woolly Mammoth’s courage, creativity and sense of possibility will help us chart a path through these and other challenges we face. </p><p> <strong>What advice would you offer an organization who is just beginning their journey in adapting to the digital stage? </strong></p><p> <strong>Murti&#58;</strong> Try to think outside of your normal locations. After a year of this, audiences are going to expect you to do more than simply put your normal in-person event into a digital format.&#160; Virtual content should be designed with that in mind, as it takes just as long to figure out as an in-person event. Everyone has been surprised at how long it takes to edit a full-length opera. We’re doing it in about 2-3 weeks and it’s a real push to get it completed.</p><p> <strong>Abe&#58;</strong> Now that there is a lot of material out in the world online, check out what you’re interested in to get a sense of the breadth of different ways that artists are creating in all sorts of digital mediums. Are you interested in interactive shows? Live or filmed? Take note of what engages you, what makes for ease of experience, what feels satisfying. And then reach out to folks at those theatres. Ask questions with curiosity and gratitude – take the advice that serves you and chart your own path. Just like there is no one way to make theatre, there is no one way to make theatre online.</p><p> <em>For more information on Seattle Opera’s and Woolly Mammoth Theatre’s full range of digital programming, please visit their websites&#58; </em><a href="http&#58;//www.seattleopera.org/" target="_blank"><em>www.seattleopera.org</em></a><em> and ​</em><em><a href="http&#58;//www.woollymammoth.net/" target="_blank">www.woollymammoth.net</a></em></p>Wallace editorial team792021-05-11T04:00:00ZFrom obstacles to achievements and everything in between, two performing arts leaders share tales of creating art for the digital environment5/11/2021 2:23:04 PMThe Wallace Foundation / News and Media / Wallace Blog / Orchestrating Digital Arts Programming to Meet the Moment From obstacles to achievements and everything in between, two 383https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Let’s Talk About Social and Emotional Learning22004GP0|#890cbc1f-f78a-45e7-9bf2-a5986c564667;L0|#0890cbc1f-f78a-45e7-9bf2-a5986c564667|Social and Emotional Learning;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​Five new episodes of <a href="/knowledge-center/pages/podcast-the-partnerships-for-social-and-emotional-learning.aspx">The Wallace Podcast</a> bring to life findings and early lessons from the first two years of the Partnerships for Social and Emotional Learning Initiative (PSELI), exploring whether and how children can benefit from <a href="/knowledge-center/pages/early-lessons-from-schools-and-out-of-school-time-programs-implementing-social-and-emotional-learning.aspx">partnerships between schools and out-of-school-time programs</a>. The series features in-depth conversations with practitioners and leaders from the PSELI communities (Boston, Dallas, Denver, Palm Beach County in Florida, and Tulsa).</p><p>Listen to the whole series or dive into an episode based upon your current needs or interest. </p><p></p><ul><li> <a href="/knowledge-center/pages/the-partnerships-for-social-and-emotional-learning-initiative-episode-1.aspx">Episode One</a>&#58; Discover the “what” and “why” behind the PSELI initiative with our partners at CASEL and the Forum for Youth Investment. The wide-ranging discussion covers the importance of social and emotional learning (SEL) and the settings in which children acquire these skills.<br></li><li> <a href="/knowledge-center/pages/developing-adults-capacity-to-promote-social-and-emotional-learning-episode-2.aspx">Episode Two</a>&#58; Practitioners from both in- and out-of-school-time in Palm Beach County, Fla., provide insights on building <em>adults’ </em>SEL skills. “Every adult on campus has a very important role in a child's life, and they might not even realize it,” says Kristen Rulison, SEL manager for the Palm Beach County School District. A cafeteria manager also recounts the story of her staff’s experience with SEL training.</li><li> <a href="/knowledge-center/pages/building-effective-partnerships-for-social-and-emotional-learning-episode-3.aspx">Episode Three</a>&#58; Leaders from school districts and out-of-school-time intermediary organizations discuss how to build effective partnerships in this episode. Perspectives from a newer partnership in Tulsa and a decades-long partnership in Dallas are featured.</li><li> <a href="/knowledge-center/pages/the-role-of-coaches-in-promoting-social-and-emotional-learning-episode-4.aspx">Episode Four</a>&#58; Explore the role of SEL coaches, who were found to play a critically important role in the initiative, according to the RAND report on the initiative’s first two years. “I would say absolutely, coaches are necessary and you're going to see the outcomes for it,” said Kimberley Williams, former principal of Joyce Kilmer School in Boston. “The school leader needs to have that person to help them balance the many demands and initiatives in a school.” </li><li> <a href="/knowledge-center/pages/social-and-emotional-learning-in-and-out-of-school-episode-5.aspx">Episode Five</a>&#58; Here’s a discussion of a useful tool for instructional “walk-throughs” developed in Denver, along with several examples of how schools and OST programs are integrating SEL across the school and out-of-school day.&#160;</li></ul><p></p><p>You can stream the PSELI podcast on <a href="/knowledge-center/pages/podcast-the-partnerships-for-social-and-emotional-learning.aspx">our site​</a>,&#160;where you’ll also find more information about each episode, or download them from <a href="https&#58;//podcasts.apple.com/us/podcast/practitioners-share-how-to-build-steady-pipeline-effective/id1334331989?mt=2" target="_blank">iTunes</a>, <a href="https&#58;//podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjM3NjAzMTAyNy9zb3VuZHMucnNz?sa=X&amp;ved=0CAYQrrcFahcKEwjYqbmDy_vsAhUAAAAAHQAAAAAQAQ" target="_blank">Google Play</a> or <a href="https&#58;//classic.stitcher.com/podcast/the-wallace-foundation/building-the-pipeline" target="_blank">Stitcher​</a>.​​<br></p>Andrea Ruggirello1142021-05-04T04:00:00ZYour 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.5/4/2021 2:00:55 PMThe Wallace Foundation / News and Media / Wallace Blog / Let’s Talk About Social and Emotional Learning Five-episode podcast series explores how children could benefit from SEL 309https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
How Can Arts Organizations Better Serve the Communities They Work In?26252GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​​​​​When the COVID-19 pandemic shut down live performances last spring, Anna Glass, executive director of the Dance Theater of Harlem (DTH), said the company was thrown off balance but still needed to respond to its changed circumstances. So, despite having little technical knowledge, equipment or experience with virtual presentations, staffers quickly started to prepare and post online digital dance performances. Improvised though it was, this attempt to reach people produced an unexpected result&#58; the discovery of a previously unknown global audience, stretching from California to the Bahamas and Brazil.<br></p><p>“What we were most shocked by was to see how beloved this institution is worldwide. That was a surprise because DTH has been through a lot of turmoil,” Glass said, referring to a period from 2004 to 2012 when financial difficulties shuttered the venerable dance company. “But we were surprised to find that having been out of sight for a while did not mean we were out of mind. There was a hunger to see what we are and what we do.”</p><p>Glass said the experience of creating those digital performances has now inspired a stronger desire to find and engage with audiences and to strengthen relationships within and outside of the company. “We had success,” she said of the quick pivot and changed operations during the pandemic. “Not from a financial standpoint, but in giving us a new platform to tell our stories. That lesson has been worth its weight in gold.”</p><p>Dance Theater of Harlem’s experience is not an anomaly. Many arts and cultural organizations over the past year have experimented with new ways to engage their audiences and, frankly, survive.<br></p><p>Under the stresses of the pandemic, economic insecurity and a national reckoning with racial justice, audiences, too, have been seeking out ways (especially in online offerings) to find community through the arts. This desire for connection was borne out in a broad survey conducted last year during the early months of the pandemic and described in a report, <a href="https&#58;//sloverlinett.com/wp-content/uploads/2020/12/Centering-the-Picture-full-report-CCTC-Wave-1-findings.pdf"><em>Centering the Picture&#58; The role of race &amp; ethnicity in cultural engagement in the U.S.</em></a><em>,</em> by Slover Linett Audience Research and LaPlaca Cohen, an arts marketing company. The researchers surveyed 124,000 people from different racial and ethnic groups from April 29 to May 19, 2020, to find out how they interacted with arts and culture organizations and what changes they might like to see. The responses generally struck three overriding themes&#58;<br></p><ol><li>Organizations could become more community- and people-centered; </li><li>They could offer more casual and enjoyable experiences; and </li><li>They could provide more engaging and relevant content that is reflective of the communities they serve. </li></ol><p>Further, BIPOC (or Black, indigenous and people of color) respondents were even more likely than white respondents to express an interest in changes in the arts and cultural organizations they frequented, reflecting trends that had already been under way in many communities. </p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/How-Can-Arts-Organizations-Better-Serve-the-Communities-They-Work-In/desire-for-change-in-cultural-sector.jpg" alt="desire-for-change-in-cultural-sector.jpg" style="margin&#58;5px;" /><br><strong><br>​At the Nexus of Art and Community</strong><br></p><p>These themes and the survey itself provided an anchor for the <a href="/knowledge-center/pages/reimagining-the-future-of-the-arts-a-webinar-series-from-the-wallace-foundation-session-4.aspx">fourth edition of Wallace’s Arts Conversation Series</a>, which began with the question&#58; How can organizations respond to what their communities need most, especially in light of the continuing pandemic? Glass was one of the panelists. </p><p>Nancy Yao Massbach, president of the Museum of Chinese in America, in New York City, and also one of the panelists, said the theme of being community centered resonated with her organization as well, adding that the museum staff felt a keen need to remain connected with a community suffering under the lockdown. “It’s not just a desire for changes to make the museum more accessible,” she said. “It is an urgency.” &#160; </p><p>Noting &#160;that the museum’s online offerings on the Chinese community’s experience in the United States and artifacts relating these Chinese-American stories, all free, had experienced a 10- to 20-fold increase in viewers since the pandemic, Massbach said she and others at the museum did not want this new engagement to be temporary but to continue once venues reopened. Massbach’s words were echoed by Glass and Josephine Ramirez, executive vice president of The Music Center in Los Angeles, the third panelist. All suggested that their organizations had successfully pivoted from survival mode toward a rebirth of sorts, devising creative ways to connect with their audiences—and with their peers. </p><p>Ramirez said that The Music Center’s efforts to find innovative ways to offer virtual performances, such as turning traditional live summer dance events into online dance-teaching sessions, gave the organization a way to provide useful content to audiences while keeping the dancers employed, an important institutional objective. It has also led to a greater degree of internal communication and collaboration among staff members at The Music Center, which houses four resident companies and produces a variety of performances and educational experiences. In a follow-up conversation, Ramirez said it was essential for staff members to become “unstuck” and break free of their tried and true ways of preparing performances to better respond to, engage with and build audiences during the shutdown. This often involved tweaking some job responsibilities. </p><p>“Everyone had to learn something new and different,” she said. “Under those circumstances, we had to communicate more than ever with staff, to make explicit all the things they needed to do that before were always implicit. We’d never had to do that before. Now we had to communicate more and better on what was expected and new methods. Old expectations were exploded. We had to help people get comfortable with constant change and that meant a lot more and better communication.”</p><p>Massbach said that the Museum of Chinese in America had benefited too from new levels of staff inclusiveness and brainstorming, which has produced innovations such as using the museum’s street-facing windows for exhibits, something not done previously. The organization has also revamped its website to more effectively promote the museum’s recent initiatives, including its response to anti-Asian attacks, the launch of a series how to be an ally and presentations on unsung aspects of the Chinese diaspora in the United States. </p><p><strong>It Takes a Village</strong></p><p>Another key to building audiences and strengthening arts organizations overall has been to seek out greater collaboration within the arts and cultural sector. That has included ideas such as sharing useful information and replacing competition for grant dollars with cooperation, i.e., having nonprofits, particularly those operating within the same racial or cultural communities, jointly apply for—and then share—funding.&#160; &#160;</p><p>To accomplish that, Massbach suggested that funders consider providing grants to what she called a BIPOC “fund of funds,” adapted from a model used in the financial sector—creating an umbrella organization that could collect grants and funds and then allocate the money more equitably among multiple organizations in a particular community. </p><p>“If you have, hypothetically, a thousand small cultural organizations applying for money, and foundations are trying to discern between a thousand, it’s really, really hard,” she said. She went on to elaborate during the panel discussion that if a group of organizations could create that “fund of funds,” or “foundation of foundations,” to guide money toward many different organizations, the money could be distributed more equitably and sustainably. “I don’t want to be the ‘check the box’ Chinese-American organization that gets the funding when other people don’t because it was easier for people to do that work,” she said. </p><p>In another example of field collaboration, Glass said that she has benefited from a spontaneously created forum for New York-based arts and cultural organizations to meet, share ideas and collaborate on advocacy. Launched in March 2020, the virtual meetings were dubbed Culture@3 for their start time. “For the first few meetings we talked about things like how to get hand sanitizer,” Glass said. “Then we started discussing whatever problems came up, things like insurance problems and city funding. It turned into a place of advocacy and support, sharing information. For this field to survive we need to keep these lines of communication open.” </p><p>Lucy Sexton, the executive director of New Yorkers for Culture &amp; Arts, an advocacy group, and one of three people who help run Culture@3, said the effort was having a big impact on the hundreds of organizations that have become regular participants. While meetings were initially held seven days a week, given the enormous need early in the shutdown, they are now on a four-day-a-week schedule. In addition to running the general meetings, the organizers have spun off working groups on such topics as fundraising and human resources. Recently, Sexton said, the group brought in an expert to explain changes in the tax rules for unemployment benefits, and one of their working groups raised $150,000 to provide emergency grants, as much as $500, to artists in need. </p><p>“This has helped us build stronger advocacy for the cultural field,” Sexton said. “We never talked like this before. There was no collaboration, no communication like this.” </p><p>Glass added that her hope was that this collaboration might prevent the sort of panic she recalls experiencing when the shutdown first hit. The sense of helplessness and being caught completely off guard without a viable game plan is something she says she wants to avoid in the future.</p><p>“That’s what’s making me look hard at our business model,” Glass said. “I don’t want us to hit the next catastrophe, and there will be a next one at some point, and I’m curled up in a ball unprepared. Before that catastrophe we need to create a system for when the Bat-Signal goes up, everyone knows what their role is and how to respond.”</p><p>Ramirez agreed and said that, while arts organizations always need to remain focused on financial sustainability, one of the lessons of the pandemic is that opportunities to bring in larger, more diverse audiences should be pursued even if there is no immediate financial return. “For us, it’s about expanding our family, for people to understand who we are and to experience our work,” she said. “It’s really about the expansion of our family more than anything else.” </p>​<br>James Sterngold 1122021-04-27T04:00:00ZPandemic sheds light on what audiences, particularly those in BIPOC communities, want from arts and cultural organizations—and how organizations are responding4/27/2021 4:25:56 PMThe Wallace Foundation / News and Media / Wallace Blog / How Can Arts Organizations Better Serve the Communities They Work In Pandemic sheds light on what audiences, particularly 368https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
How Can Teachers Support Students’ Social and Emotional Learning?26223GP0|#890cbc1f-f78a-45e7-9bf2-a5986c564667;L0|#0890cbc1f-f78a-45e7-9bf2-a5986c564667|Social and Emotional Learning;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61​<p>​​​​As schools begin to reopen across the country, concern about student well-being is at the forefront of many conversations. Teachers’ voices in this conversation are critical. To gather perspectives from teachers on social and emotional learning (SEL), RAND Corporatio​n conducted a survey in Spring 2019, collecting responses from more than 1,200 K-12 teachers via the American Teacher Panel. The findings are shared in a report released in November, <a href="/knowledge-center/pages/supports-social-and-emotional-learning-american-schools-classrooms.aspx"><em>Supports for Social and Emotional Learning in American Schools and Classrooms&#58; Findings from the American Teacher Panel</em></a><em>.</em> &#160;</p><p>The study found that teachers felt confident in their ability to improve students’ social and emotional skills, but want more supports, tools and professional development in this area. Notably, RAND found a relationship between teachers’ sense of their own well-being and their use of SEL practices. The Wallace Blog sat down with the researchers, Laura Hamilton and Christopher Doss, to chat about these findings and more, putting them in the context of COVID-19 and school re-openings and shedding light on implications for school leaders and policymakers. This interview has been edited for length and clarity. </p><p><strong>According to the report, many teachers felt confident they could improve students’ social and emotional competencies but that factors beyond their control had a greater influence on SEL than they did. What are those factors and is there research on their influence on student’s social and emotional well-being? </strong></p><p><strong>Hamilton&#58; </strong>Thanks for that great question. I want to start by acknowledging that surveys are excellent for capturing broad trends and for collecting systematic data across different contexts, but getting the nuances often requires more in-depth, qualitative data collection. I think our findings raise a number of important questions like the one you just asked that could benefit from conversations with teachers and other educators to get the kinds of rich information that will really inform our understanding of these findings. That said, we know from research that SEL is influenced by a wide variety of conditions and experiences, both in and outside of school. Families, neighborhoods and community-based organizations all provide opportunities for children to develop relationships and to build competencies such as resilience and self-management. One specific example of a non-school influence that we've heard about from educators a lot recently is the news media. Students are exposed to news about protests against systemic racism or the negative effects of the pandemic, for example, which can influence their sense of well-being and identity. All of these non-school factors are inequitably distributed, with some students much more likely to experience high levels of toxic stress or limited access to supportive communities than others. The effects [of non-school factors] on SEL are well researched and have led to numerous efforts to promote SEL through partnerships between schools and other organizations. I think a nice example of that type of partnership is another Wallace project, the <a href="/knowledge-center/pages/early-lessons-from-schools-and-out-of-school-time-programs-implementing-social-and-emotional-learning.aspx">Partnerships for Social and Emotional Learning Initiative</a>, which brings together schools and afterschool programs to support SEL at the same time. <strong></strong></p><p><strong>The report found that higher levels of teacher well-being were associated with greater use of SEL practices. Can you speculate as to why that might be and what the implications may be for school leaders and policymakers?</strong></p><p><strong>Doss&#58; </strong>Like all of us, teachers who feel stressed and burned out may not be able to engage with others, including their students, as effectively as they can when their mental health is better. There is research that points to negative effects of teacher stress on student outcomes. And this relationship can be explained in part by teachers not engaging in practices that promote positive relationships with other aspects of SEL. In our study, we can't determine whether there is a causal relationship between teachers' well-being and their SEL practices. It is possible, but this relationship might also reflect other factors, such as positive school climate and high-quality principal leadership, which might both support SEL practices and teachers' sense of well-being. And so, the primary implication for education leaders and policymakers is that supporting educators at all levels in ways that promote their well-being and their ability to form supportive relationships with colleagues is likely good for everyone, including their students.<strong></strong></p><p><strong>Can you talk a little about the disparities in SEL practices reported by teachers in lower-poverty schools versus higher-poverty schools and why these differences may exist, as well as how they may be addressed?</strong></p><p><strong>Doss&#58; </strong>There are typically large differences in school funding and availability of higher-quality instructional resources between schools serving lower- and higher-income students. This could stem from differences in access to professional development and other SEL supports. It could also reflect greater pressure in high-poverty schools to emphasize academic achievement as measured by accountability tests, since these schools are more likely than affluent schools to be classified as lower-performing. To the extent that income is correlated with race and ethnicity, it is possible that students in higher-poverty schools don't have access to SEL instruction, materials or practices that they view as culturally appropriate for their students. We've heard a lot of concerns about the cultural appropriateness of materials from teachers across the U.S. Whatever the reason, it's clear that we need to pay attention to greater equity or resource allocation and development of materials and instructional strategies that meet the needs of a diverse student population.<strong></strong></p><p><strong>Many teachers surveyed found the pressure to focus on student achievement made it difficult to focus on SEL. Do you think that pressure has shifted during the pandemic and distance learning, and if so, do you think this shift will have a permanent effect on making SEL a priority? </strong></p><p><strong>Hamilton&#58; </strong>There's been other survey data that have been gathered from teachers, principals and school and district leaders during the pandemic, and they've indicated that educators view addressing SEL and other aspects of students' social and emotional well-being as a priority—sometimes a higher priority even than academics. It's not hard to understand why. Kids lost access to in-person relationships with trusted adults and with their peers. They weren't able to participate in some of the activities that they found really motivating and engaging. And many of them were living in homes that were characterized by high levels of stress stemming from job losses and overworked, homeschooling parents. There's been some national survey data on family concerns about COVID, and that has also raised the importance of the concerns about students' well-being beyond just academics. I think that there will be intense pressure to address learning loss, and so what teachers are going to need is a set of strategies, including professional development curriculum and instructional strategies, that they can use to promote SEL and to integrate it into their academic instruction.<strong></strong></p><p><strong>What role should SEL play as children—and teachers—return to the classroom? And should SEL be a priority component of reopening plans?</strong></p><p><strong>Hamilton&#58; </strong>Educators and families are telling us SEL should be a priority and it's important to listen to them. Clearly this is something we need to be paying attention to as schools start to look like something resembling normal. Reinforcing the message that SEL does not have to come at the expense of academic learning and that, in fact, they reinforce one another will be really important.</p><p>An interesting finding was that relatively few teachers were using digital resources to promote SEL pre-COVID. We also know that during the pandemic teachers prioritized finding ways to address SEL while they were teaching remotely. So it seems likely that there was a lot of learning that took place during this time very quickly, and that educators will be able to draw on their own efforts and those of their colleagues to promote SEL both in person and remotely. </p><p>One other thing I'll mention here is that it's important not to confuse SEL with mental health and to ensure that schools have the trained staff and other supports to address both. These things sometimes get mixed up together in the conversation, but SEL involves a set of competencies that all students and adults need to succeed and thrive. So, every student in our schools should have access to supports for SEL. But some students are going to suffer from anxiety, depression or other mental health challenges, and they'll need supports from professionals who are trained to address those issues. We shouldn't expect classroom teachers to do all of that.</p><p><strong>Did any of the findings surprise you in this report?</strong></p><p><strong>Doss&#58; </strong>We looked at states that have [SEL] standards instituted and required versus those that did not, and then we also asked teachers, “Do you have standards that you're required to address?” We found that there was no correlation between what teachers did in the classroom and whether their states actually had standards, but there <em>was</em> a correlation between whether they thought they had to have standards and their practices. What this means is that the adoption of SEL standards in many states and districts can be a helpful lever for increasing SEL in school, but it's not likely to be effective if educators aren't aware of it. We have to not only think about instituting these standards, but then also making sure that educators are aware of them.<strong></strong></p><p><strong>Hamilton&#58; </strong>Another finding that surprised me was that we saw almost all teachers indicating fairly high levels of well-being on the three different measures that we administered. This conflicts a little bit with some of the other data that we've gotten from other sources about how stressful the teaching profession is and how many teachers were planning to leave even prior to COVID because of the stressful conditions that they were facing. I think what we're seeing is high levels of reported burnout.<strong></strong></p><p>At the same time teachers were saying they generally felt good while on the job, and that while they felt committed and felt valued by their colleagues, there was also this sense of impending burnout and stress that was affecting them. Of course, this was all prior to COVID, and we know that the job got significantly more stressful post-COVID. This reinforces the idea that we need to be paying attention, not just to students’ SEL, but to the well-being of the adults who are providing the instruction in the schools. I hope that [focus on adults] will be something that continues after COVID, and that once we go back to school, there will be more widespread efforts to make sure that teachers are feeling good about the work that they're doing.</p>Andrea Ruggirello1142021-04-22T04:00:00ZYour 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.4/22/2021 2:10:24 PMThe Wallace Foundation / News and Media / Wallace Blog / How Can Teachers Support Students’ Social and Emotional Learning Teachers know SEL is important, but they need support to 534https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
A Few Words in Response to the Chauvin Verdicts26218GP0|#b68a91d0-1c13-4d82-b12d-2b08588c04d7;L0|#0b68a91d0-1c13-4d82-b12d-2b08588c04d7|News;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​</p><p>My heart goes out to the family of George Floyd for having had to relive the trauma of their terrible loss through the long weeks of the trial of Derek Chauvin. I hope the verdicts have brought them some degree of solace.</p><p>Our system of justice has, in this instance, worked as it should. After both prosecution and defense, following the rule of law, had the opportunity to present their cases to a jury, the guilty verdicts have brought accountability for police misconduct towards people of color that we have rarely seen. While this is a significant advance, we all know that it was just one part of the struggle. There are many more still to come.</p><p>Wallace's mission starts with fostering equity. I hope you will join me in taking this moment as a chance to exhale, take a breath&#160;and find inspiration that change is possible – and use that inspiration to renew our commitment to this ideal. I am grateful for all the efforts of our grantees, partners&#160;and staff in the pursuit of this shared value. ​​​</p><p>Sincerely,<br><img alt="Will Miller Signature Hi-Res.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/A-message-from-President-Will-Miller-about-recent-events/Will%20Miller%20Signature%20Hi-Res.jpg" style="margin&#58;5px;width&#58;139px;height&#58;42px;" /><br>Will Miller, President​<br><br></p>Will Miller42021-04-21T04:00:00ZA Few Words in Response to the Chauvin Verdicts4/21/2021 4:40:28 PMThe Wallace Foundation / News and Media / Wallace Blog / A Few Words in Response to the Chauvin Verdicts My heart goes out to the family of George Floyd for having had to relive 79https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Assistant Principals, Overlooked No More26205GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​They go by many titles—assistant principal, vice principal, associate principal—and their ranks are growing. The number of assistant principals has increased nearly six times faster than the number of principals in the last 25 years, surging 83 percent to more than 80,000. Roughly half of U.S. public schools today have at least one AP, up from one-third in 1990. As it proliferates, the AP role has the potential to promote racial and gender equity in school leadership and contribute to better outcomes for students.</p><p>That is a key finding of <a href="/knowledge-center/pages/the-role-of-assistant-principals-evidence-insights-for-advancing-school-leadership.aspx"><em>The Role of Assistant Principals&#58; Evidence and Insights for Advancing School Leadership</em></a>, a major new research review that synthesizes the findings of 79 studies about APs published since 2000 and includes fresh analyses of national and state data. The report was written by researchers Ellen Goldring and Mollie Rubin of Vanderbilt University’s Peabody College of Education and Human Development, and Mariesa Herrmann of Mathematica. They presented their findings at a recent <a href="https&#58;//zoom.us/rec/play/h1I-3eOj2LMRaJ7JTzQ10qvI_3i3ATzPY65aWDcYZuRoeQ4KXPuQBlelMcWkHByRGGBDlnolsM-KcWXU.AKzSK_iq6zUg3gsa">webinar</a> that also featured a panel discussion among education experts moderated by Nicholas Pelzer, a senior program officer in education leadership at Wallace.</p><p>Principals are more likely than ever to spend at least some time in their career as an AP, making the role an important “stepping stone” to leading a school, the authors found. The job varies considerably, with most APs engaging in a mix of instructional leadership, management and student discipline tasks. “APs wear many hats,” said panelist Debra Paradowski, an associate principal of 22 years who was named Assistant Principal of the Year in 2020 by the National Association of Secondary School Principals (NASSP).&#160;</p><p>Yet despite being one​​ chair away from the principal’s seat, APs are often overlooked for opportunities that would develop and strengthen essential skills needed to lead a school. “In short, assistant principals are not given systematic, sequential or comprehensive leadership-building opportunities or ongoing evaluative feedback in preparation for the principalship,” said Rubin.&#160;</p><p>School districts must think of APs as “principals-in-training” and encourage principals to assign challenging, hands-on leadership work that will best prepare them, said panelist Beverly Hutton, chief programs officer at NASSP. The shift to remote learning during the pandemic—and the many new leadership challenges and responsibilities it presented—underscored the fact that the job of running a school effectively is often simply too big and complex for one person. “Distributing leadership and allowing others to stretch, grow and contribute is the formula for success for everybody,” Hutton said. “It’s the key to succession, preparation, equity and even longevity in the [principal] role—you just can’t do it alone anymore.”</p><p>The research synthesis also found uneven opportunities for advancement in the school leadership pipeline. Across six states examined by the authors, 24 percent of APs were people of color compared with 19 percent of principals and 34 percent of students. Women accounted for 77 percent of teachers but only 52 percent of both principals and APs. Some research suggests that hiring discrimination and less access to mentoring may contribute to racial and gender disparities in advancement. Many educators are “tapped” for administrative jobs by school and district leaders, noted Hutton, and that could&#160;result in inequitable outcomes. “You don’t tap people that you can’t see,” she said.&#160;</p><p>A lack of mentors is common among APs working in urban schools, said panelist Michael Casserly, executive director of the Council of the Great City Schools, which represents larger urban school districts. A survey of APs by the organization a few years ago “found that there was very little coaching and mentoring for assistant principals, little professional development for principals on how to mentor assistant principals,” he noted. Hutton pointed out that the Professional Standards for Education Leaders (PSEL), which outline job expectations, clearly state that principals have a responsibility to develop staff members, including APs. Principals need to fulfill that mentoring role, she said, and APs must advocate for it.&#160;</p><p>The report’s authors suggested several ways to design the AP role as a stop along the way to the principalship, including developing job standards specifically for the position. Rather than creating separate standards, Hutton suggested that districts gather input from practitioners and further define PSEL to address the nuances of being an AP. “We need the voices of APs to help define their rightful place in the educational ecosystem,” she said.&#160;</p><p>There’s also the need for more research on APs to inform policy and practice. The authors cited numerous areas for deeper study, including how APs are assigned to schools, how well preservice programs prepare them, and which AP roles are most related to improved student and school outcomes. Paradowski said she hopes the new report brings heightened attention to the integral role that she and her peers play in schools. “We’re not the principal’s assistant but rather an assistant principal to help lead, guide and serve the community.”</p>Jennifer Gill832021-04-20T04:00:00ZLively panel discussion follows release of new findings on APs and how to make the most of the role4/20/2021 2:01:56 PMThe Wallace Foundation / News and Media / Wallace Blog / Assistant Principals, Overlooked No More Lively panel discussion follows release of new findings on APs and how to make the 491https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx

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