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Afterschool Arts Provide Digital Lifeline in Covid Times2961GP0|#d2020f9f-c87c-4828-b93b-572786ae94a8;L0|#0d2020f9f-c87c-4828-b93b-572786ae94a8|Arts Education;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​​​​​​​​​​​​​​​Recent studies have shown that <a href="/News-and-Media/Blog/pages/why-young-people-need-access-to-high-quality-arts-education.aspx">creating art can help young people</a> make sense of the world around them, process their feelings and deepen empathy. After the pandemic hit and programs scrambled to go online, making art also became a source of<a href="https&#58;//www.aep-arts.org/power-of-the-arts-a-covid-19-silver-lining/" target="_blank"> healing</a>, connection and, ultimately, resilience, as well as increasing broader access to arts programs for more youth across the country. </p><p>The Wallace blog caught up with researchers involved with two arts learning programs to get a sense of the specific lessons they learned in the pivot to virtual learning and what we all might carry forward. <a href="https&#58;//www.researchforaction.org/about-rfa/meet-the-team/tracey-a-hartmann/" target="_blank">Tracey Hartmann</a>, Ph.D., is the director of qualitative research at Research for Action in Philadelphia and has been working with Wallace for a decade on our Youth Arts Initiative with the Boys &amp; Girls Club of America (BGCA). All five BGCA clubs from different parts of the country stayed open during the pandemic, offering some form of virtual,&#160; in-person and hybrid programming.&#160;<a href="https&#58;//protect-us.mimecast.com/s/ckbuCv2DQvHR4DGhzLOmI?domain=linkedin.com/" target="_blank">Monica Clark</a>, Ph.D, is the Teach YR project director at YR Media–a national media, technology and music training center and platform for emerging BIPOC content creators headquartered in Oakland, California. She leads the organization’s research team and conducted this research project collaboratively with colleagues Lissa Soep, Ph.D., and Nimah Gobir, ME.d. The pandemic gave birth to YR’s&#160;<a href="https&#58;//protect-us.mimecast.com/s/nEiACrkX2oTW65pFzkfBw?domain=yr.media/" target="_blank">Type Beat Challenge</a>, managed by Oliver &quot;Kuya&quot; Rodriguez and Maya Drexler, which allowed young people to create and submit music from anywhere, collaborating with one another and with professional music producers around different themes.</p><p></p><p>Hartmann and Clark were meeting each other personally (on Zoom!) for the first time and had a lot to say about young people and the arts. The conversation has been edited for space and clarity. </p><p> <strong>Wallace Foundation&#58; In your work with the BGCA clubs, Tracey, you found that in moving to virtual there needed to be a higher level of what you called “intentionality” in programming. Can you give an example of what you mean? And then, Monica, does this resonate with your findings too? </strong></p><p> <strong>Tracey Hartmann&#58; </strong>Our data comes from focus groups we did with 31 youth participants across the five clubs, and what we heard from youth was that what engaged them in the virtual programming was very similar to what engaged them in person. But from the teaching artists’ perspectives, they found that they had to be more intentional about the things they did, and there were three elements that came up. The first was for young people to have input into programming. The program was designed for middle school youth–and sometimes older–an age group that is really hard in any setting. So the artists had to make an effort to learn what the young people were interested in, sometimes on an individual level, and be more intentional about following these interests, even outside of the Zoom class. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/afterschool-arts-provide-digital-lifeline-in-covid-times/blog-photo-rfa-1.JPEG" alt="blog-photo-rfa-1.JPEG" style="margin&#58;5px;" /> <br> <br> </p><p>Artists also had to be more intentional about connecting with youth, checking in at the beginning of class. For example, one artist said he had to make an extra effort to know who was shy and didn’t want to be on camera or what was going on for them that day. We also heard from youth that they wanted more verbal guidance, especially if they were learning new skills, to help them feel like they were getting the kind of hands-on support they might get in person. </p><p>Finally, the artists had to be intentional in thinking through how to do the hands-on art, making sure young people had the supplies or equipment they needed. Sometimes they delivered art supplies or sent home packets to young people. They also found that youth really appreciated watching them do the art. </p><p> <strong>Monica Clark&#58; </strong>So much of what Tracey just shared mirrors findings from our focus groups with about 40 people. We also held a convening where we brought together leaders from five different arts organizations to talk about the pivot to virtual. One of our instructors from that convening said something to the effect of “I’m shouting out into the void,” talking about the black screens, and the vulnerability involved in trying to engage&#160; students virtually and get them to turn their cameras on. How do you build community around that? </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/afterschool-arts-provide-digital-lifeline-in-covid-times/blog-photo-ryl-studios-2.jpg" alt="blog-photo-ryl-studios-2.jpg" style="margin&#58;5px;" /> <br> </p><p>One of the things that made our Type Beat project so successful for virtual was that it was co-designed with and by youth. We took advantage of remote platforms by opening up the program to young people outside of the Bay Area or to those who might not have been able to access the program in person. Doing this also highlighted the glaring inequalities that young people could face going online&#58; access to computer hardware and software, because with music production it’s not just your laptop but the software that’s going to help you bring the beats together; unreliable broadband and wifi access; equal resources and training for teachers; and a lack of basic social and economic support for our most marginalized students in their communities. </p><p>We knew we needed to meet people virtually where they were already hanging out online, and we did this by using eight different platforms. We also collaboratively created community norms for how we were going to operate as a community in the virtual space. These were specifically outlined and always pinned up in the chat. We were always thinking about how to create a positive community space focused on mental well-being. One of the Type Beat challenges was something like “chill beats for wellness,” so the young people could build that into the art they were making.&#160; </p><p> <strong>WF&#58; How did the teaching artists specifically need to change their practice in the virtual world? And what kind of support or tools did they need to be able to teach their art in this way? </strong></p><p> <strong>MC&#58; </strong>In some ways they were doing the things that were already done but learning how to do them in the virtual space. Of course, we always want to support our young people when they're showcasing their art. We want them to feel confident in what they're producing. But how do you do that when they're in their bedroom and you're in your apartment or wherever you are? For the Type Beat challenge, we asked our instructors to support young people in developing the design aesthetic of the background space of their room, knowing that we were asking them to be very vulnerable in showing their space. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/afterschool-arts-provide-digital-lifeline-in-covid-times/blog-photo-ryl-studios-1.jpg" alt="blog-photo-ryl-studios-1.jpg" style="margin&#58;5px;" /> <br> </p><p>Then there are the kinds of interpersonal and community building activities that are needed in any space, but you need to be even more innovative in the ways that you do it in the virtual space. For instance, you could support students on screen by doing a hype up dance that each person would perform in their own space, so the whole group would be together dancing and getting each other excited. It helps break the discomfort and model that it’s safe to be vulnerable in this space.&#160; </p><div> <strong>TH&#58; </strong>Monica was referencing physical and emotional well being before, which is one of the <a href="/knowledge-center/pages/something-to-say-success-principles-for-afterschool-arts-programs.aspx">10 principles</a> [for developing high-quality afterschool arts], and which was definitely coming up around people feeling shy about having their camera on. The artists worked to help young people create virtual backgrounds. They were aware that family members were also in the room, and some artists used that as an opportunity to invite them into the conversation or the activity. In fact some of the young people in focus groups suggested that it would have been okay for the artists to ask them to turn on the camera more often to show their work.</div><p> <br>​The instructors also needed basic tools. In addition to having the wifi capacity, maybe good cameras, microphones, lighting. There was a certain software that dance artists needed that helped them sync music with their video. Some of the TAs were digital artists, so they already had a lot of tech skills, and they ended up being kind of advisors to other staff in the club. But others did not have those skills, and it was a steeper learning curve for them. They needed more training and professional development to develop the skills to be able to offer programming virtually. <br></p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/afterschool-arts-provide-digital-lifeline-in-covid-times/blog-photo-rfa-2.JPEG" alt="blog-photo-rfa-2.JPEG" style="margin&#58;5px;" /> <br> </p><p> <strong>WF&#58; What did you learn about how young people used art during the pandemic to support their mental health, process their feelings, support civic engagement or anything else? </strong></p><p> <strong>MC&#58; </strong>We found that young people turned to art as an escape from what is happening in the world and also in trying to make sense of and reshape what they're experiencing under these extreme and uncertain conditions. They are using art as a social intervention to formulate and share their points of view, connect with others and mobilize for equity and justice. One of our young people said, “I think my view on art has definitely changed, and now I see it, less of something, just like doodling or whatever, and more as a tool that I can use in my life moving forward.” Another one of our national correspondents from Minneapolis was talking about a <a href="https&#58;//yr.media/news/a-minnesotan-weighs-in-is-there-hope-after-the-hashtags/" target="_blank">journalism piece she published ​</a>​with YR&#160; during the George Floyd protests, after his killing, and how it was one of the most difficult things that she ever wrote, but it was also the most powerful and it made her feel so good afterwards–particularly due to the fact that she was able to work with a Black editor that she looked up to in making final edits to her piece.<br></p><p>The&#160; prevailing assumption was that the pandemic lockdown meant that young people could not go anywhere, that everyone was stuck in their house and trapped. But from a number of our focus group participants we found that the same conditions also enabled young people to explore more widely than before, forming new communities through digital access to faraway places and professional artists.​<br></p><p> <strong>TH&#58; </strong>We saw that youth created artwork about Covid, about racial injustice, about grief and loss. It was a coping mechanism and a way to calm their nerves. Some young people needed opportunities to process some of the things that were going on in the world. But the program also served youth as young as nine, and maybe even younger, and for them it just took their mind off of what was going on, helped them feel “normal” or represent their private experiences. An instructor at one club described a song that his class created called quarantine crazy where youth were rapping and singing about their experiences during Covid. </p><p>The teaching artists were always responsive to where young people were at any given day and created the space, if needed, for them to talk about what was on their minds. Again this was particularly so for the older youth, who often wanted that space to talk about things. One artist said, “I feel as if I'm a counselor and an art teacher when they're sharing with me, and if I affirm how they feel, hopefully that makes some type of positive impact.”</p><p> <strong>WF&#58; What unique role do you see art making continuing to offer young people, and how can we best support both the practitioners and the organizations that are dealing with them as they do this?</strong></p><p> <strong>MC&#58; </strong>We are focusing now on the idea that STEAM [science, technology, engineering, arts, mathematics] implementation can be built on solid foundations and serve genuine opportunities for deep learning at the intersection of creative and technical disciplines. Our young people are creating art but they're also learning the technical side of packaging, developing and creating music, which is a tech skill.</p><p>It’s also important to remember that we are freed from many of the constraints of schools, including short class periods, mandated use of grades, academic tracking limits on admissible subject matter.&#160; Out-of-school-time afterschool arts educators, who are often working artists themselves, can help support young people in the creation of creatively and socially challenging products that are guided by the young people and the issues that they want to be addressing.</p><p> <strong>TH&#58; </strong>The artists described how they themselves needed support in these roles. They needed to know who to go to for referrals if issues came up that were beyond their ability to respond to. They needed more training in areas related to social and emotional well-being. For example, they received training in how to manage their own emotions to support young people. They received some training around supporting youth experiencing trauma, but they would have liked even more of that training. They received training around setting appropriate boundaries, because in the virtual space, the boundaries are a little different. How to de-escalate intense situations–this was for artists that were back in person–and then again just responding to grief and loss, because that was coming up a lot. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/afterschool-arts-provide-digital-lifeline-in-covid-times/blog-photo-rfa-4.jpg" alt="blog-photo-rfa-4.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;380px;height&#58;507px;" /> </p><p> <strong>WF&#58; Any final words of advice for other organizations who are thinking about expanding their virtual arts learning or other models that include some people being online while others are in person? </strong></p><p> <strong>TH&#58; </strong>One of our takeaways was that the synchronous model, which is live programming on Zoom or a similar platform, works best for youth who are really passionate about the art form. We heard from the artists as well that you have to be really motivated to do virtual synchronous programming. The hybrid model that the clubs used with the artist Zooming into the in-person classroom seemed to work well, especially if the artist was able to be in the club occasionally. It works better for exposure programming, meaning programming that allows youth to try out an unfamiliar art form to see if they like it. The hybrid model also has promise for bringing in artists from all over the country, which can expand youth access to all kinds of resources.</p><p> <strong>MC&#58; </strong>The design of hybrid programs must be carefully considered in order for programs to, as one of our participants said, “bring the activity, energy and vibe that instructors bring to class to the virtual format.” As Tracey says, you have to carefully consider the work that's being done and determine which activities could be suited for the virtual space. Also remember that you can’t just be in one social space or one app. You have to meet students where they are and that’s always going to be shifting. <strong></strong></p><p>Most importantly, anytime you're doing programming that supports young people, young artists, they need to be brought into the design. I am really hyped about how our Type Beat challenge did that. It meant a lot to our young people, particularly in the moment in time that we were in, for them to have that agency, to feel that power and feel like they would produce not only the music but they would produce this program that is now living on.​<br></p><p> <em>All photos courtesy of the Boys &amp; Girls Club of America and YR Media.​</em></p><p><em>Lead photo courtesy of YR Media, featuring </em><em>Oliver &quot;Kuya&quot;&#160; Rodriguez,&#160;music and audio production program manager, who ran the <a href="https&#58;//protect-us.mimecast.com/s/nEiACrkX2oTW65pFzkfBw?domain=yr.media/" target="_blank">Type Beat Challenge</a>.</em></p>Wallace editorial team792022-06-21T04:00:00ZTwo arts education researchers share what they learned when programs went online–and the strategies that might endure7/12/2022 7:15:11 PMThe Wallace Foundation / News and Media / Wallace Blog / Afterschool Arts Provide Digital Lifeline in Covid Times Two arts education researchers share what they learned when 1614https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Remote Support of Principal Supervisors “Not Different” from Pre-COVID Times26305GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​Last spring the role of the principal changed overnight and continues to evolve. As the pandemic took hold, principals almost immediately shifted from leading a school within a building to leading virtual schools. Principal supervisors had to pivot, too.</p><p>Strong <a href="/knowledge-center/pages/changing-the-principal-supervisor-role-to-better-support-principals.aspx">principal supervisors are high-touch with their principals,</a> working with them intensively one-on-one and in learning communities, often in school buildings.&#160;How are they adapting to the online environment? What seems promising? What new supports do they need to adapt successfully? </p><p>This summer, Meredith Honig, a professor and director of the District Leadership Design Lab at the University of Washington, and Nancy Gutiérrez, president and CEO of The Leadership Academy, a national nonprofit organization, <a href="https&#58;//www.youtube.com/watch?v=1GlfNdbmTuU&amp;feature=youtu.be">took on this question in a webinar</a> in the series <em>Education Leadership for a Digital World</em>. <a href="https&#58;//digitalpromise.org/webinars/education-leadership-for-a-digital-world/">The series</a> was hosted by Digital Promise, with support from Wallace. </p><p>After watching the replay of the webinar, I reached out to <span> <span>Gutiérrez</span></span> and Honig for a follow-up conversation aimed at learning what principal supervisors can do to support their principals as the pandemic continues. If you are anything like me, you will be blown away by the depth of knowledge&#160;they shared in response to my questions.&#160;An edited version of our conversation follows. </p><p> <strong>How can principal supervisors be most supportive of principals now?</strong><br><br><strong>Honig&#58;</strong> It’s as important as ever for principals to be leading powerfully for high-quality, culturally responsive, anti-racist teaching and learning.&#160;The shift to remote learning means many longstanding inequities may grow worse. So now is the time for principals to double down on their equity-focused instructional leadership and for principal supervisors to support them in that essential work.</p><p>In more typical times, maintaining that focus can be tough. That focus is definitely tough now as remote learning continues and too many students still do not have internet and laptops. Families are dealing with food insecurity, lack of access to childcare and other basic supports they rely on schools for. </p><p>That’s what we and others are seeing&#58; That shifting to remote learning has upped the ante on districts to ensure principals are supported to lead powerfully for excellent equitable instruction. <em>And</em> that they are trying to do that in the middle of a national public health crisis that, especially without federal support, continues to have dire consequences for school communities. Many of those consequences fall on the doorsteps of school districts and create incredible operational challenges. It’s tempting for principal supervisors to want to step in and help with that operational work. Our research and experience are clear that principal supervisors should resist that temptation. Principal supervisors are uniquely positioned to help principals keep their focus on equitable teaching and learning, and now’s not the time to let up.&#160;</p><p> <strong>Gutiérrez&#58;</strong> I agree, Meredith. We have to drop evaluative tones and focus on capacity building. Commit to leveraging effective adult learning practices to ensure good use of the time commitment. (Our leaders are juggling multiple commitments). Align learning what we know about effective adult learning.<br><br> We have some essential beliefs about adult learning<strong></strong> at <a href="https&#58;//www.leadershipacademy.org/resource/district-leadership/">The Leadership Academy</a>. We structure our work to make sure principal supervisors learn from experience and reflection, have structured freedom, engage in learning as a social process, make meaning through stories and have support through the most uncomfortable parts of learning. We model what we would like to see them do with the principals they lead. </p><p> <strong>What does this kind of hands-on support for principals look like with remote learning?</strong>&#160;<br><br><strong><span><span><strong>Gutiérrez&#58;</strong></span></span></strong> One key skill principal supervisors have learned to do well since last March has been to build capacity remotely. Believe it or not, it is still possible to visit classrooms with the same frequency and create feedback sessions for principals about the work in real time—remote coaching is one way to do this and follows the exact <a href="https&#58;//digitalpromise.org/wp-content/uploads/2020/06/remote-learning-check-in-guide.pdf">same five-step process a principal supervisor uses in person.</a></p><p>We would argue that remote support is not different from what we did pre-COVID. It requires building and maintaining relationships, coaching principals to better their practice as culturally responsive leaders, bringing small learning communities together to learn from each other and being responsive to principals' many questions and challenges in real time. The key here is not only to problem-solve in real time but to check on the social and emotional well-being of the adults. Adults need love too!&#160;</p><p class="wf-Element-Callout">Some principal supervisors tell us that they can be even more supportive of principals’ instructional leadership growth now that they don't have to spend so much time traveling to schools<br></p><p> <strong>Honig&#58;</strong> Our ongoing research supports all of what you just shared, Nancy. When principal supervisors help principals grow as instructional leaders, they don't actually supervise in the traditional sense of the word—that is, they do not mainly evaluate or direct principals.&#160;</p><p>Instead, they coach principals from a teaching-and-learning stance—helping principals lead their own learning and mentoring principals one-on-one and in learning communities. That’s still the right work and really, it’s especially the right work right now when principals need flexibility and support to navigate the challenges of ensuring equity with remote learning. </p><p>Much of that support can be provided remotely through video conferencing, for example. Some principal supervisors tell us that they can be even more supportive of principals’ instructional leadership growth now that they don't have to spend so much time traveling to schools and that they can now more easily observe principals working with teachers online.&#160;</p><p> <strong>How can other district leaders support their principals and their supervisors as they navigate the new digital world we’re all living in?&#160;</strong><br><br><strong>Honig&#58;</strong> District support for principal supervisors is key to their success every day and especially today. In particular, supervisors of principal supervisors have important roles to play in principal supervisor support by reinforcing principal supervisors’ focus on principals’ growth as equity-focused instructional leaders, protecting principal supervisors’ time for that work and mentoring them in taking a teaching-and-learning approach. In the webinar, I share examples of what that support looks like and the consequences of principal supervisors not receiving it.&#160; Supervisors of principal supervisors can find those examples as well as tools to help principal supervisors in our book, <a href="https&#58;//www.hepg.org/hep-home/books/supervising-principals-for-instructional-leadershi">S<em>upervising Principals for Instructional Leadership.</em></a></p><p>District leaders can also support principals and their supervisors by taking a hard look at their central offices. The pandemic has provided a unique opportunity for all of us to see some fundamental mismatches between what central offices have traditionally done and what supporting educational equity takes. We outline some of those mismatches in <a href="https&#58;//annenberg.brown.edu/sites/default/files/EdResearch_for_Recovery_Brief_10.pdf">a recent brief</a>. </p><p>As districts consider how to come out of the pandemic with a much stronger anti-racist equity focus, the principal supervisor-principal relationship can provide a kind of beacon. When principal supervisors try to do the right work and focus on principals’ growth as equity-focused instructional leaders, when does the rest of the central office get in the way of that work? And how can we start to bring all of what we do into greater alignment?</p><p> <strong><span><span><strong>Gutiérrez&#58;</strong></span></span></strong>&#160;The way districts can best support our principal supervisors&#58; 1) build their capacity, too; 2) check on their social and emotional well-being; and 3) make this difficult work, and progress within it, tangible.</p><p>A great principal supervisor gives school leaders the support they need to make their school a culturally responsive, standards-aligned learning environment for every student. But they need help to do this. Virtual learning during the pandemic reinforces the need to defy individualism as a path to success—all of us, regardless of role or experience in the system, need to continue learning and growing.&#160;We need to know what is expected of us. </p><p>We define a culturally responsive leader as someone who recognizes the impact of institutionalized racism and embraces their role in mitigating, disrupting and dismantling systemic oppression. Leaders like this must first work on themselves by reflecting on their biases and beliefs. Only then can they move to publicly modeling belief systems grounded in equity; being responsive to, and inclusive of, student and staff cultural identities when making decisions; confronting and changing institutional biases that marginalize students; and finally, creating systems and structures that promote equity, particularly for traditionally marginalized students.</p><p>One great tool to help leaders guide principal supervisors to assess their own progress in being more culturally responsive is The Leadership Academy’s&#160;<a href="https&#58;//www.leadershipacademy.org/resources/culturally-responsive-leadership-a-framework-for-school-school-system-leaders/">Culturally Responsive Actions for Principal Supervisors</a> (specifically pages 51-64). The guide provides a set of tangible observable actions to do this important work, which is important to note because the work around equity is so big that it can be intangible. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/remote-support-of-principal-supervisors-not-different-from-pre-covid-times/Digital-Promise-1-Five-Steps-Coaching-Principals.jpg" alt="Digital-Promise-1-Five-Steps-Coaching-Principals.jpg" style="margin&#58;5px;" />&#160;Source&#58; The Leadership Academy</p>2020-11-17T05:00:00ZAsk the experts: three questions about principal supervisors and how they can best support principals now11/17/2020 5:10:36 PMThe Wallace Foundation / News and Media / Wallace Blog / Remote Support of Principal Supervisors “Not Different” from Pre-COVID Times Ask the experts: three questions about 1749https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Pandemic Brings challenges (and Opportunities) for Arts Education28602GP0|#d2020f9f-c87c-4828-b93b-572786ae94a8;L0|#0d2020f9f-c87c-4828-b93b-572786ae94a8|Arts Education;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​“My theme today is adaptation,” said Bahia Ramos, Wallace’s director of the arts, on a recent webinar hosted by Grantmakers in the Arts (GIA). “By that I mean a special kind of change. A change that makes a practice better suited to its environment.”</p><p>This environment, of course, is the one we are now six months into, where the COVID-19 pandemic, economic insecurity and uprisings for racial justice have transformed life in this country. For the students and teachers in arts learning programs, this has meant a total pivot, everything from transitioning to online learning and virtual convenings to teaching artists being laid off at extremely high rates. These changes and much more&#160;came up in the GIA webinar, where Ramos spoke along with Kimberly Olsen, executive director of NYC Arts in Education Roundtable and Alex Nock, principal of Penn Hill Group.<br> </p><p><strong>Adaptation at BGCA</strong></p><p>Back in 2014, Wallace and three Boys &amp; Girls Clubs of America (BGCA) in the Midwest embarked upon the Youth Arts Initiative to discover if <a href="/knowledge-center/pages/something-to-say-success-principles-for-afterschool-arts-programs.aspx">10 principles drawn from the nation’s best, specialty afterschool arts programs</a> could be applied within a general youth-serving organization better known for its sports programs. No one knew if it would work, but over the five years of the initiative, the clubs did <a href="/knowledge-center/pages/designing-for-engagement-the-experiences-of-tweens-in-the-boys-and-girls-clubs’-youth-arts-initiative.aspx">manage to successfully implement high-quality art skill-development programs</a> as defined by the Ten Principles for Success. Additionally, the retention rates for young people in the initiative was <em>twice </em>that of young people who were not in the program.</p><p>YAI is now in its second wave in five cities, testing whether the Ten Principles can be adapted to a lower-cost model. Clubs designed several new strategies, such as hiring assistants for teaching artists and focusing on lower-cost art forms, and initial results were promising. </p><p>Then COVID-19 changed everything. </p><p>“COVID-19 has had a devastating impact on arts and culture and the education system at large,” Kimberly Olsen said in her presentation.&#160;According to Olsen, drastic budget cuts due to the pandemic have fallen disproportionately on arts education, impacting cultural organizations, their ability to serve students and also trickling down to&#160;their&#160;teaching artists. </p><p><strong>The Impact on Teaching Artists</strong></p><p>“Before the pandemic we knew that teaching artists were at risk,” Olsen said. According to a <a href="https&#58;//dataarts.smu.edu/artsresearch2014/articles/blog-white-papers/covid-19-impact-nonprofit-arts-and-culture-new-york-city" target="_blank">recent DataArts survey</a>, teaching artists have been laid off at high rates, with a 78% decrease in artist staffing at NYC-based organizations as of May 8; of the 5,000 teaching artists who responded to the survey, 96% have experienced a loss of income.</p><p>Amazingly, Ramos said, four of the five BGCA clubs have managed to keep all of their teaching artist staff. “We continued our funding of teaching artists and programs in our clubs regardless of whether they were opened or closed,” she explained. This enabled BGCA to launch a new program called “Creates” with a special website and tips on maximizing limited budgets, arts projects and program assessment.</p><p>Sadly, not all organizations have been as lucky. According to the same survey by SMU DataArts referenced above, over 25% of organizations stated that they have laid off or furloughed their staff and artist workforce, and 11% of organizations indicated that they do not think they will survive the COVID-19 crisis.</p><p>“Our city announced a draft budget that saw tremendous cuts to arts education funding that would not only jeopardize the city’s recovery process, but limit both school and cultural organizations’ capacity to serve and engage young people while disproportionately impacting these nonprofit cultural organizations as well as students from low income communities,” Olsen explained.</p><p>As a result, the NYC Arts in Education Roundtable launched an efficacy campaign called <a href="https&#58;//nycaieroundtable.org/" target="_blank">Arts Are Essential</a>, with the goal of preserving arts education funding and investing in the community. “With all of this in mind, it&#160;means that organizations must be flexible,” Olsen said. “Flexibility means survival.”</p><p>Early lessons are emerging from BGCA’s new program as well. “Some downsides are clear – going online caused attention spans to be shorter, hours had to be reduced, fewer youth are joining, and as with regular school, lack of technology is a problem for some,” Ramos explained. “But there are some unexpected upsides like new opportunities to engage with parents; older youth have come in providing leadership roles, and youth are reporting that they feel more emotionally safe doing work at home.”</p><p><strong>Heading Toward Recovery</strong></p><p>According to Olsen, the arts and culture sector and teaching artists are going to play a huge part in the recovery of schools and communities. So how can philanthropy support artists who have been hit the hardest? </p><p>Given the very real threats to teaching artists and to arts learning programs overall, the NYC Arts in Education Roundtable encourages philanthropy to take the following action steps&#58;<br></p><ul><li>Include teaching artists in conversations and decision-making processes as the arts sector is redefined </li><li>Invest resources in emergency funding to grant immediate direct-to-individual support for teaching artists to offset the disproportional financial impact </li><li>Ensure that funding language and programs include teaching artists</li><li>Examine longstanding siloed funding priorities</li><li>Ensure arts organizations that are being funded compensate teaching artists with fair wages<br></li></ul><p>Penn Hill Group’s Alex Nock added another way for organizations to take advantage of potential funding&#58; The <a href="/knowledge-center/pages/unpacking-the-federal-response-to-covid-19-in-education.aspx">Coronavirus Aid, Relief and Economic Security (CARES) Act</a>. Its provisions include more than $30 billion for K-12 and higher education programs; more than $4 billion for early childhood education; and other supports such as forgivable loans to nonprofits, including many providers of afterschool or summer programs. It also expanded states’ ability to provide Pandemic Unemployment Assistance, including for gig economy workers and individuals like artists, who would not ordinarily be eligible. </p><p>Nock spoke about other important pieces of COVID relief that affect artists and the art world in general. The Families First Coronavirus Response Act provided flexibility and additional funding for state unemployment insurance agencies to respond to COVID-19. The Paycheck Protection Program and Health Care Enhancement Act provided $319 billion to replenish the program created under the CARES Act, in&#160;which loans to small businesses and nonprofits&#160;may be forgiven if businesses maintain their payroll.&#160; </p><p>Looking ahead to next year, Nock said that&#160;the House had passed the majority of its 2021 appropriations bills in two packages, which included moderate increases, but said we can expect&#160;the&#160;appropriations to&#160;be wrapped up after the November&#160;election. He is hopeful that the next package of COVID federal funding will include more money for education.</p><p>Whatever happens with the funding going forward, Olsen emphasized that collaboration, flexibility and adaptation will help the sector survive and thrive.&#160;“While it’s been a hard time for the arts in education community, the field is resilient,” she said. “They’re creative, and they are driven to support their students in whatever way they can. We’re seeing opportunities and potential growing each day.”</p>Wallace editorial team792020-09-22T04:00:00ZRecent webinar discusses how teaching artists and cultural institutions are responding to COVID-19 and beyond5/31/2022 10:18:49 PMThe Wallace Foundation / News and Media / Wallace Blog / Pandemic Brings challenges (and Opportunities) for Arts Education Recent webinar discusses how teaching artists and 4050https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
10 Things Museums Should Consider as They Take Programs Virtual21786GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>In the wake of COVID-19, many museums and other arts organizations have rapidly <a href="/News-and-Media/Blog/pages/engaging-audiences-in-the-age-of-social-distancing.aspx" target="_blank">moved their programming online</a> to help audiences in their community and around the world continue to feel connected. According to David Resnicow, president and cofounder of <a href="https&#58;//resnicow.com/" target="_blank">Resnicow and Associates</a>*, a communications agency serving cultural institutions and enterprises, there are additional steps museums should take to thrive in the long-run. </p><p>Resnicow writes in <em>ARTnews</em>&#58; </p><p class="wf-Element-Callout">During the past month, museums across the globe have been faced with suddenly transforming themselves from physical spaces designed to immerse visitors in installations and on-site programs into producers and distributors of online multimedia content. Without any preparation or playbook. Rather than deliver visitors to the museum, museums must now deliver themselves to the visitor.</p><p class="wf-Element-Callout">The medium is the museum.</p><p class="wf-Element-Callout">My firm has spent 28 years working with major museums’ communications offices in crafting the ways they present themselves to the outside world. In this new world, the communications office finds itself playing a leading role, not a supporting one. It constructs the virtual front door to an amorphous venue that simultaneously welcomes visitors and presents programming. Of course, museums have long produced digital content to support their real-world initiatives, but with the digital realm now the lone space available for engaging the community, they are navigating uncharted territory, with vastly differing visitor patterns and audience reach.</p><p>To read the full op-ed, <a href="https&#58;//www.artnews.com/art-news/news/museums-online-how-to-survive-1202685967/" target="_blank">click here</a>. </p><p>*Resnicow and Associates works with Wallace staff on many of our arts initiatives. </p>Wallace editorial team792020-05-28T04:00:00ZOp-Ed in ARTNews offers advice for museums approaching the new digital reality8/27/2020 3:10:42 PMThe Wallace Foundation / News and Media / Wallace Blog / 10 Things Museums Should Consider as They Take Programs Virtual Op-Ed in ARTnews offers advice for museums approaching the 831https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Engaging Audiences in the Age of Social Distancing24067GP0|#a2eb43fb-abab-4f1c-ae41-72fd1022ddb0;L0|#0a2eb43fb-abab-4f1c-ae41-72fd1022ddb0|The Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​As social distancing measures are enacted across the globe to slow the spread of COVID-19, arts organizations are taking creative approaches to engage their audiences through nontraditional means. In recent weeks, museums, galleries and performing arts organizations have significantly expanded their online offerings through virtual tours of their collections, broadcasts of performances and interactive educational programs, making their work more accessible to a greater public. The Metropolitan Opera, for instance, announced that it would stream encore performances of its most famous productions, free to the general public. Similarly, the National Theatre in London is releasing new performances from their archives every Thursday, made available for free and “on demand” to audiences for a full week. While the crisis has brought tremendous uncertainty, it has also created opportunities to reach new audiences at a time when the sanctuary and connection offered by the arts is needed most. <br></p><p>“The traditional live arts experience has been predicated on physically bringing people together, and it relies so heavily on the chemistry between performer and audience, and the immediacy of that exchange,” noted Corinna Schulenburg, director of communications at Theater Communications Group “As we all adapt to new ways of working, we are seeing a real flourishing of experimentation that will likely have a long-lasting impact on how we present and create art.” </p><p>Many of the performing arts organizations in The Wallace Foundation’s Building Audiences for Sustainability (BAS) initiative have also implemented similar efforts to meet audiences where they are. From free broadcasts to classes and educational workshops, these offerings help audiences in their community—and around the world—continue to feel connected. A sample of digital events and activities are outlined below, with more content added regularly.</p><ul><li> <strong>Alvin Ailey American Dance Theater has </strong>started the <a href="https&#58;//www.alvinailey.org/ailey-all-access" target="_blank">Ailey All Access</a>,&#160;an online streaming series allowing audiences to connect with performances, including full length works from the repertory, Ailey Extension dance classes, and original short films created by the Ailey dancers.<br><strong><br></strong></li><li> <strong>Baltimore Symphony Orchestra</strong> has expanded their offerings on <a href="https&#58;//www.bsomusic.org/baltimore-symphony-orchestra-announces-bso-offstage/" target="_blank">BSO Offstage</a>, an online platform where audiences can find performance videos, BSO podcasts, and other content and resources. <br> <strong> <br></strong></li><li> <strong>La Jolla Playhouse</strong>’s online <a href="https&#58;//lajollaplayhouse.org/the-staging-area/" target="_blank">Staging&#160;Area</a>&#160;is dedicated to virtual content, which features conversations with La Jolla artists and weekly posts from Playhouse artists and staff who share their favorite stories and memories. <br> <br> <strong></strong></li><li> <b>Opera Philadelphia </b>brings you opera on the couch through its first-ever <a href="https&#58;//www.operaphila.org/festival/digital-festival/lineup/?promo=145780" target="_blank">Digital Festival​</a>, with free streams of five past productions, including four world premier​es​. &#160; &#160;<br> <br> <strong> </strong></li><li> <strong>Pacific Northwest Ballet</strong> has posted at-home workouts for dancers and footage of rehearsals shot before their lockdown on their <a href="https&#58;//twitter.com/PNBallet" target="_blank">Twitter</a> and <a href="https&#58;//www.instagram.com/pacificnorthwestballet/?hl=en" target="_blank">Instagram</a>, while also uploading articles to their <a href="https&#58;//blogpnborg.wordpress.com/" target="_blank">blog</a>. <br> <br> <strong></strong></li><li> <strong>Seattle Opera </strong>has created a special section on their website, <a href="https&#58;//www.seattleopera.org/inside-look/opera-at-home/" target="_blank">Opera at Home</a>,&#160;which features new playlists, talks, podcasts and other online content for their audiences. <br> <br> <strong></strong></li><li> <strong>Seattle Symphony</strong>’s musicians will share free broadcasts with the public, streamed via the Symphony’s <a href="https&#58;//www.youtube.com/seattlesymphony" target="_blank">YouTube</a>&#160;channel and&#160;<a href="https&#58;//www.facebook.com/seattlesymphony" target="_blank">Facebook</a>.<br><br><strong> </strong></li><li> <strong>Steppenwolf Theatre Company </strong>is leading weekly free and public <a href="https&#58;//www.steppenwolf.org/education/" target="_blank">virtual workshops</a> for early career professional, teens&#160;and educators. They also released their interview-style podcast <a href="https&#58;//www.steppenwolf.org/tickets--events/half-hour-theatre-podcast/" target="_blank">Half Hour</a> this month. <br>​​<br><strong></strong></li><li> <strong>Woolly Mammoth Theatre Company </strong>has shifted their <a href="https&#58;//www.woollymammoth.net/" target="_blank">Progressive Party</a> online—free and open to the public—allowing viewers to view performances, participate in an auction&#160;and experience a sneak-peak into Woolly’s 41st Season.<strong><u> </u></strong></li></ul>Wallace editorial team792020-04-16T04:00:00ZYour 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.10/21/2022 3:00:03 PMThe Wallace Foundation / News and Media / Wallace Blog / Engaging Audiences in the Age of Social Distancing Arts organizations who participated in Wallace’s Building Audiences for 3214https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx

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