Arts Liaison Leadership Development Session #4 March 5, 2019 | - PowerPoint PPT Presentation

Arts Liaison Leadership Development Session #4 March 5, 2019 | Lowell Elementary

Agenda 4:40–4:55 Welcome, Icebreaker ● Transition to breakout rooms ● 5:00–6:00 Breakout Sessions: Finding the Funding, Building ● Buy-In, Escape from Arts Island Transition back to auditorium ● 6:05–6:30 Important News & Events, Evaluation, Prize ● Drawing

Breakout Sessions 1 2 3 Finding the Funding Building Buy-In Escape from Arts Island Auditorium / 114 Room 210 Computer Lab (stay here) (2nd floor) (2nd floor) JC Aevaliotis, Kalena Julia deBettencourt Rachel Claff Chevalier, Crystal Robinson

Finding the Funding Writing compelling grant proposals

Presenters: Funders Who Also Used to Write Grants JC Aevaliotis, Polk Bros. Foundation (previously ● wrote grants for Marwen) Meghan McCarthy, DCASE (previously wrote grants ● for non-profit theaters) Crystal Robinson, Siragusa Family Foundation ● (previously wrote grants for a private school)

Here’s the Plan A quick look at some grant-writing best practices (25 minutes) ● Smaller group discussion on how this applies in the CPS context ● and a look at a successful grant proposal (25 minutes) Wrap-up: Look at DAE resources for those seeking funding and ● resources (5 minutes) NOTE: our experience is in non-profits, so please be thinking of ● how what you hear applies or doesn’t apply in a school setting

The Grants Process BEFORE YOU APPLY ● APPLICATION ● AFTER YOU APPLY ●

BEFORE YOU APPLY Tips for Before you Apply http://www.cpsarts.org/teachers/arts-funding-information/ ● Look carefully at funder guidelines, requirements, priorities. The more ● specifically you can line up with priorities the better. Planning and preparation, with people who’ll need to be involved in ● the grant project (budgets, descriptions, timelines, etc) If the funder offers webinars, workshops, etc, take advantage. It helps, ● demonstrates interest, and maybe starts relationship. Feel free to reach out, but in the way(s) the funder advises and AFTER ● doing your homework.

APPLICATION Writing and submitting the grant ● Follow instructions. Whole application tells story. Checklist. On-time. ○ You don’t have to sell the funder on arts education, just say what you’re ○ doing as simply and clearly as possible. BE SPECIFIC AND CLEAR. How many kids, what project(s), over what period, ○ what kind of curricula, what are the products and outcomes. Say it early. Budget tell a story. Make sure it’s clear and makes sense. If you don’t have ○ experience with this, get help. Long before the deadline. Instill confidence. Explain why your project is/will be good and how you ○ know. It’s easier if you work together in advance. Principal, other teachers, etc. ○

AFTER YOU APPLY IF YOU GOT THE GRANT ● Say thank you ○ Stewardship! ○ Invite the funder to things, especially final presentation, etc. ○ Follow-up appropriately and on time (reports, etc) ○ NO SURPRISES! If something goes unexpectedly let the ○ funder know right away, good or bad. They want you to succeed, and they want to learn from what works and what doesn’t.

AFTER YOU APPLY IF YOU DIDN’T GET THE GRANT ● It can be disappointing, but don’t take it personally. ○ Some funders will give you feedback. Ask for it if they do. ○ Try to keep in touch as appropriate. Funders are people ○ and relationships matter. No doesn’t mean no forever. ○ It’s totally OK to repurpose what you wrote for other grants. ○ Don’t just copy/paste, but do reuse what makes sense. And can the material help another way? Advocacy with principal, “friends of” group, etc?

Other Resources DAE Funding Resources Visit cpsarts.org → Teachers → Arts Funding Information ● Arts Essentials info ○ Creative Schools Fund info ○ Other Arts Funding Resources New! ○ Grant funding opportunities (with deadlines) ■ Crowdsourced funding links and how-to’s ■ Resources for free and cheap arts materials ■ Educator discounts ■

THANK YOU! Feel free to reach out if we can be helpful. ● Crystal: crobinson@siragusa.org ● JC: jcaevaliotis@polkbrosfdn.org ● Meghan: Meghan.Mccarthy@cityofchicago.org

Building Buy-In Skills and strategies for engaging in critical conversations

Crucial Conversations Review your Crucial Conversations handout. ● Swap forms with a partner and review your partner’s ● answers (5 min). Now ask your partner to tell you a bit more about the ● person they are having the crucial conversation with. What is their leadership style? What are some of their key personality traits? How do they deal with conflict? (5 min per partner) Reminder: Stories stay in; learning goes out ●

Crucial Conversations Role-play each conversation. Your partner should play ● the role of the person you wish to have the conversation with. (5–7 minutes per partner) Reflect on the process (10 min): ● What was helpful? What wasn’t? ○ What concerns or issues do you still have? ○

Escape from Arts Island Collaborating effectively with peers on arts-integrated units and projects

Planning for Arts Integration Option #1: Work with your colleague(s) to start filling ● out the Arts Integrated Unit Pre-Planner. Option #2: Assess your school’s readiness to engage ● in arts integration, then discuss potential next steps with a partner or a small group.

Arts Integration: DAE Definition Arts integration is an educational approach in which artistic disciplines and other academic subjects are combined to teach and learn content knowledge and skills.

What Arts Integration Isn’t Arts teachers work parallel to—but not directly ● with—other classroom teachers and design complementary learning on their own. Arts teachers are asked to add or assist with creative ● component(s) of a non-arts unit or event without authentic co-planning or co-learning. Non-arts teachers tack arts elements onto non-arts ● lessons or units without intentional or thoughtful alignment to arts standards or objectives.

Arts Integration: How Ready Are You? Understanding across the school community of the importance and impact of ❏ the arts and arts-integration practices Administrative support and responsiveness ❏ Common planning time and/or sufficient opportunity for teacher meetings ❏ Collaborators share open-minded, forward-thinking instructional approaches ❏ Collaborators have common and/or flexible approach to curriculum ❏ development Adequate instructional, curriculum, and assessment resources and tools ❏ Adequate spaces and materials for integrated learning ❏ Professional learning related to integration practices ❏ Community support and involvement (if necessary) ❏

Co-Planning for Arts Integration ● Where do we start? Look at integration models . Determine what type of ○ integrated learning model will work best for you. Engage in pre-planning : Discuss standards, big-picture ○ ideas and objectives, norms, and meeting plans. Plan your unit(s): Plan objectives, instruction, content, ○ assessment, and resources in more detail.

Arts Integration Learning Models #1: Parallel Instruction Collaborating teachers focus on a common topic or concept, but creates a separate unit. Each teacher largely focuses on content/processes that are key to their subject, but makes connections between subjects explicit to students. Example: Sixth-grade Science and Dance teachers coordinate instruction in separate classes around the concept of chain reactions. Students work toward the creation of Rube Goldberg machines in Science and “chain-reaction dances” in Dance. Modified from Authentic Connections: Interdisciplinary Work in the Arts (2002). The Consortium of National Arts Education Associations.

Arts Integration Learning Models #2: Cross-disciplinary Instruction Two or more subject-area teachers co-plan a unit around a common theme, concept, or problem. They may co-deliver instruction. Students begin to independently transfer learning across subjects. Example: Fifth-grade teachers (including the music teacher) and a local arts partner create a unit aligned to Social Studies and Music standards that explores how cultural traditions are preserved by immigrants in their songs, stories, and other forms of expression. The culminating project is a student-created musical. Modified from Authentic Connections: Interdisciplinary Work in the Arts (2002). The Consortium of National Arts Education Associations.

Arts Integration Learning Models #3: Infusion Collaborators engage in intensive co-planning and co-teaching of a single integrated unit (or unit is planned and delivered by one teacher proficient in multiple subjects). Standards and student objectives are balanced across highly complementary subjects; consistent application and transfer of learning takes place. Example: High school English and Visual Arts teachers deliver a Senior Seminar in which students analyze how conflict in family relationships is expressed through sculpture, video, and literature, then work together to create multimedia artwork expressing the same theme. Modified from Authentic Connections: Interdisciplinary Work in the Arts (2002). The Consortium of National Arts Education Associations.