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State to unveil new 5-year education plan - Duration: 2:28.
For more infomation >> State to unveil new 5-year education plan - Duration: 2:28. -------------------------------------------
Importance of Video Education in Schools - Duration: 2:32.
For more infomation >> Importance of Video Education in Schools - Duration: 2:32. -------------------------------------------
Deakin Alumni Webinar: This changes everything! What 'the digital' means for education - Duration: 43:17.
For more infomation >> Deakin Alumni Webinar: This changes everything! What 'the digital' means for education - Duration: 43:17. -------------------------------------------
What's At Stake with Brett Kavanaugh's SCOTUS Nomination? Public Education - Duration: 0:54.
What's at stake with Brett Kavanaugh's nomination to the Supreme Court? Public
education and the role religion plays in it. I'm Rob Boston, the editor of Church
& State magazine. When I was a kid, I attended a private religious school for
eight years. They could compel us to say prayers. They could force us to read the
Bible. They could require us to attend religious services because this was a
private religious school. Whether we felt like being spiritual or not, we had to do
these things. But in a public school, we must be careful never to force anyone to
take part in religion against his or her will. The rights of all students must be
protected, whether they are religious or don't have a faith tradition. Brett
Kavanaugh seems to have a little bit of a problem with that: He has argued that
school prayer is merely traditional. It's not: It's coercive and it's wrong and the
Supreme Court was right to strike it down. If you care about public education,
you should care about the Supreme Court upholding church-state separation.
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Gov. Brown, PPS superintendent speak on education as students return - Duration: 1:33.
For more infomation >> Gov. Brown, PPS superintendent speak on education as students return - Duration: 1:33. -------------------------------------------
College education is failing us all. Can we design something better? - Duration: 7:07.
Fifty percent of high school students don't go on to higher education.
Of the 50 percent that do, 43 percent of them don't graduate.
Of those that do graduate the average graduation time is six years.
The average age of a current college student today is about 25.
And I think 25 percent of college students today actually have a child.
So if you ask me those statistics suggest two things.
The current system is not producing what it was designed to produce for the types of people
that go, the number of people that go and what they need.
And it has not kept up with the modern world in terms of how it makes itself available
and what it charges students to be able to get what they need.
So it's a combination of availability; It doesn't seem to work for the majority of
students, because the number one reason that students don't go on to further education
or drop out of college, it's a combination of two things which essentially means the
same thing: It's too expensive, or they can't get the classes at the time of day
they're available.
And that's because: of the 70 percent of kids that go to state schools, 40 percent
of them work 30 hours a week or more.
All of this is to say that schools are no longer programmed at the right time.
They take too long.
They're too expensive, and what they program is incomplete.
It's not necessarily bad.
our view is the education system needs to evolve to the way we do everything.
Everything we do today comes to us (rather than us go to them).
An example, today we would never wait out in the rain for a car and hope that we can
get a cab.
We'll just hail Uber and it comes and it takes us exactly where we want to go.
Today we wouldn't go rush home to watch a TV show at eight o'clock on a Thursday
night.
We watch it on the device we want to watch it, when we want to watch it, when it's
convenient for us.
Only education continues to require you to come to it, pay a fortune to do it, and have
it be a choice between eating or reading or learning and earning.
And so what Chegg is trying to do is reverse it, is try to say let's use what the internet
does best.
Let's make it online, on demand.
Let's make it personalized.
You do it the way you want to do it, not the way it's taught singularly to everybody.
Adaptive which means when we watch what you do and we learn about you, let's actually
adjust how we teach you or what we teach you, what we give you more of and what we give
you less of based on your actual abilities.
And then let's make it exceptionally affordable.
And if we do that you'd be amazed how many students need to learn, want to learn, are
willing to learn.
So we think that the modern university system has become too expensive; incomplete programming,
inconvenient locations, inconvenient time of day for the modern workforce which doesn't
have the time to do both.
So even if you look at for-profit colleges they were a mess because they became a scam
for a lot of people.
But if you realize 3.6 million people at one time were actually taking it, you realize
the demand was there to be able to learn in your own environment in your own way.
Why?
Because the average person was a 30-year-old woman who could not leave her family or her
workforce, or in some cases both.
So I just think that the modern education system needs to acknowledge who the modern
student is, what the demands on that modern student are—there's more of them, they're
more broke, they have more diverse needs.
They enter the system with different education, different backgrounds, different financial
situations, and no "one size fits all" is going to work anymore.
And so what we've got is we've got a lot of schools – now we're not talking about
the top 50 or 100 schools.
Those schools have huge endowments.
They'll be protected for a long time and they'll probably continue to be able to
teach the smaller part of the population that can take four years.
But the ramifications are—well, here's a question for you.
Why is there something called a four year school?
Why does college take four years?
That's a random number.
Why does a certain course take two years?
That's a random number.
It has to do with how many classes they're willing to program that you're able to take.
Not how long it takes you to learn the material.
Ninety-five percent of the time that you're at a four year college you're not in a classroom
in any way, shape or form.
In today's world we binge watch everything that we want.
You can binge watch entire series, albums, learn anything you want.
Why can't you binge learn your education?
If you're willing to put in the time at nights, weekends, days, whatever it is and
learn and master the subject, why can't you finish when you've learned the things
you're supposed to learn in order to get you a job?
So the ramifications are colleges are going to have to take less time to get somebody
from learning to earning.
There is no reason why it should take four years.
Very little of the population has the time or the finances to delay earning by four years.
Only a small subset do.
And so I think the ramifications are you're going to see fewer colleges, you're going
to see them combined, more of them are going to have to get online.
They're going to have to expand their curriculum to include job skills, and I think you're
going to see a resurgence of institutions that primarily serve people online.
Not because—a teacher can make the argument there's nothing better than one-on-one in
a classroom.
That may be true.
That may be true for a lot of kids.
It's certainly not true for everybody.
But it's also 100 percent not available to anybody.
Nobody gets to learn one-on-one in a classroom anymore.
And so our opinion is it's unfair to say "Because this is the best way, we're not
going to do the other way" when 90 percent of the people have no access to the best way.
So if education is really going to grow, it's really going to proliferate, it's got to
be online, increasingly.
It's got to be on demand.
It has to be multimodality.
Some people learn by taking tests.
Some people learn by watching videos.
Some people learn by human intervention and human help.
All of those ways need to be available.
There's no benefit in teaching somebody who learns this way, this way over here if
that's not going to work for them.
And when you look at the scores 43 percent drop out, they drop out with $7,000 to $9,000
in debt.
The ones that survive have $37,000 in debt.
So I mean you just look at the math and ask yourself, do you want to put your kid into
that system?
The answer has to be no.
Why are we taking the most valuable people, the future of this country and delaying their
ability to be productive in the workforce, delaying their ability to make money, and
saddling them with debt larger than anything else they may do in their life (with the exception
of buying a home), and doing it at 18 years old?
To me it just sounds unfair and unfortunate.
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Rami Saab - St Bede's College // Life Skills Education Development Bill - Duration: 2:02.
Speaker, the Honourable Member Saab —
There is an incontestable claim that the physical health and mental stability
of the Victorian youth are currently crippled.
- BACKGROUND INTERJECTIONS -
RAMI SAAB — Don't worry about it; ignorance is blissful.
In the mandated confines of the introduced life skills class, students will learn a series
of foundational counselling techniques, as well as learning from first hand accounts from invited speakers
to combat the adolescent elements compelling them to contemplate acts of self harm.
That needs to be addressed, thoroughly.
As well as decreasing the likelihood of them becoming severely distressed in their adult life.
This introduced class has the potential to minimise the amount of students that burn out
as a result of the gruelling VCE process,
ensuring a greater academic future and resulting in a tranquil transition into adulthood.
Speaker, in the current curriculum there are other areas of study that do target this damaging issue,
but yet again these intentions are misguided, unlike this Bill.
They are chucked into a crowded curriculum,
that it thus makes it more difficult for the teachers to teach what is required to be taught.
This Bill will enable these classes or strands to be actually undergone through proper and thorough means
to each and every student.
Allowing this bill to come to fruition would allow adolescent students to firmly grasp
what a healthy physical and mental state is,
subsequently introducing them to life altering techniques and skills
to reduce the amount of mental instability currently present in the Victorian youth.
The implementation of the life skills class then allows the Department of Education
to declutter the crowded curriculum, benefiting the teachers and the students involved.
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Guideline 5: Health Education - Duration: 1:12.
For more infomation >> Guideline 5: Health Education - Duration: 1:12. -------------------------------------------
Gen Ready expands STEM education in Baton Rouge area - Duration: 2:06.
For more infomation >> Gen Ready expands STEM education in Baton Rouge area - Duration: 2:06. -------------------------------------------
Paris Gibson Education Center celebrates graduates - Duration: 0:43.
For more infomation >> Paris Gibson Education Center celebrates graduates - Duration: 0:43. -------------------------------------------
Jefferson Education Society Tax Situation - Duration: 0:34.
For more infomation >> Jefferson Education Society Tax Situation - Duration: 0:34. -------------------------------------------
2017 National Arts In Education Week Kick Off - Duration: 1:11:05.
<opening performance>
<applause>
Henry Timms: Thank you so much.
I think a second round of applause is called there.
And that was truly magnificent.
<applause>
Henry Timms: My name is Henry Timms.
It's my great privilege to serve as the Executive Director of the 92nd Street Y.
And as I was listening to that, it reminded me of perhaps the most profound artistic experience
I've had here at the 92nd Street Y was when Adrás Schiff joined us to play The Well-Tempered
Clavier, both Books, without touching the pedal, without reading a note, all from memory.
And he played this-- it was a Herculean feat of musicianship.
And it happened immediately after Hurricane Sandy had hit.
It was, I think, a week just after that hit.
And I remember there was a lot of conversation amongst our staff as to whether we should
even go ahead with the event, was it responsible, was it appropriate, was it going to divert
resources, would people want to come?
And it was a tough night, and every seat in the house was full.
And he completed this amazing work, and he took the ovations he deserved.
And he was called back for an encore.
And he came back for the encore, and I, with everyone else, was wondering what this encore
going to be?
What was he going to do at this moment?
And he smiled just a little bit, and as he smiled, he started the prelude of the piece
all over again.
The very beginning of this incredible work, he started all over again.
And in that moment, he made a statement about the arts, which I hope we reaffirm today,
especially as we mark September the 11th, especially as we think of those people to
our south who are suffering today.
And it reminds us that the arts, in a most profound way are an act of renewal.
They're a way that we all find ways to begin again.
As I'm looking across this room, I'm thinking about that pillar there.
And I was standing next to that pillar perhaps two years and a lady came over to me and said,
"You won't believe who the first person I ever speak of the Y was?"
And I said, "Who?"
And she said-- I was thinking she would say Bill Gates, or Bill Clinton-- she said, "Robert
Frost."
And I said, "Wow!
What was it like?"
And she said, "Well, I was talking to him just where you and I are right now."
And I said, "Wow!
This is the ultimate downgrade."
<laughter> So I said, "Wow!
So what did Frost say to you?"
And she said, "Well, even," this was the end of Frost's career.
And he was obviously very famous and he was still out, and she said, "Mr. Frost why are
you still out there?
Why are you still talking about your work?"
And Frost said, "Because even Homer in his age would walk the streets talking of his
work."
This lovely idea that one of the points of the arts is to engage with people, to spread
beyond those people who might naturally encounter the arts, and to reach out to broader communities
is the very point, the very essence of the arts.
And in a way, I think that's what we celebrate today.
We recognize the way in which the arts can reach out beyond its core constituencies to
reach people of all backgrounds, of all interests, and to bring all of us together.
And here at the 92nd Street Y, we're incredibly proud of the work that we do in the public
schools, in the work that we do-- we're surrounded by an exhibition today, and I'll encourage
those who are in the room to look at these spaces throughout the remarks today, this
is an exhibition about Jerusalem, which just simply shows 12 faces of Jerusalem.
You can't tell who these people are.
Some are very famous, some are not at all famous.
Some are Jews, some are Christians, some are Muslims.
And it reminds us all of the humanity of the arts.
That that way in which it connects us all together.
So we're incredibly proud of the work that the Y does to reach out with the arts and
connect with people who we may not naturally encounter in our lives, just as Robert Frost
did all those years ago.
And to make points about a the renewing power of the arts just as András Schiff did.
And just indeed as Erin and Carl did today.
And I'll close by saying how proud I am, and how proud all of us are to be with Robert
Lynch today, and the Americans for the Arts.
I'm a very unconvincing American.
<laughter> I do realize that.
My mother is a Texan, and all my various efforts to order burritos have always gone badly.
<laughter> But my Great-Great-Great Grandfather is Francis Scott Key, so I have some vague
credibility on these topics.
And I would simply say this that of all the things that America celebrates, and the all
the things that America stands for, and all the things that those around the world looking
at America to celebrate look for, the arts is at the heart of that.
We join as allies with Americans for the Arts today, and all the incredible work that you
do.
You do so much for this country, for everything around the world, and most importantly for
the arts that we treasure.
Well, we thank you.
It's now my great pleasure to introduce one of the pride and joys of the 92nd Street Y,
Rebecca Dollar, who is going to talk about her own experience here at the Y.
Thank you all.
<applause>
Rebecca Dollar: Good afternoon.
My name is Rebecca Dollar, and I'm a first year student at Baruch College, pursuing a
degree in Business and Music Studies.
This past year, I participated in the 92nd Street Y's Teen Producers Program.
Teen Producers was an amazing experience that opened my eyes to different careers in the
arts, allowed me to start networking, and enabled me to create a production of my own.
I showcased original music and poetry by students at Celia Cruz Bronx High School of Music,
and featured acclaimed violinist, Jennifer Choy in a show at Lehman College.
The experience enabled me to gain knowledge about careers in performance, sound and lighting
design, marketing, artist management, and backstage production.
When I first entered the program, I wanted to learn about the business side of the arts,
and I learned that though I am unsure of my career, a career in the business side of the
world of the arts is what I want to do for the rest of my life.
Music has always been an integral part of my life.
Before I was born, my mother used to sing to me in her womb.
I have been singing from the age of two.
In middle school, I started playing cello, piano and guitar.
In high school, I furthered my cello studies, and began songwriting.
I have always had a passion for music, and always knew that I wanted to pursue a career
in that path.
My dream is to speak to people through my music.
There is never a day that goes by where I am not singing.
When I'm taking a shower, getting dressed, in the car, walking through the school hallway,
I am singing.
It is a part of who I am.
Throughout my time in high school, music was the reason many kids came to school.
Not too many of my peers were driven by math or English.
They were inspired by the beauty of music, to dedicate themselves to practicing every
day.
Through music we were taught to value hard work and teamwork.
And those skills helped us to strive academically.
Art is a driving force, an inspiration.
Arts education was the motivation that I, and many of my peers, needed in order to get
through high school.
I'd like to thank the 92nd Street Y for inviting me to speak today, and I'd like to introduce
Michelle Dorrance, Founder and Artistic Director of Dorrance Dance.
<applause>
Robert Lynch: I am not Michelle.
<laughter> But I wanted to say quickly-- I am Bob Lynch, President and CEO of Americans
for the Arts, and it is an honor to be here in this temple of the arts and learning, and
of health, nationwide and here in this city.
I also want to thank Carl and Erin for their performance.
Absolutely terrific!
The-- Henry and I get to do a lot of work together, and I want to compliment him, and
return all of the nice words that he had to say.
But my job is to say a little bit more about Michelle, when she gets a chance to talk to
you.
So at the Americans for the Arts Conference in June of 2016 in Boston, Mass., I had the
pleasure of meeting our keynote speaker for today's event.
She inspired us with her passion.
She charmed us with her presence.
She impressed us with her incredible ability to create inspiring tapestries of sound.
And she also believes that tap dance can change the world.
How many other people believe that here?
I do.
<applause> Michelle is the Founder and Artistic Director of Dorrance Dance.
She is one of the most sought after tap dancers of her generation.
The New Yorker calls her "one of the most imaginative tap choreographers working today."
She's a 2015 MacArthur fellow; a 2014 Alpert Award Winner; and a 2013 Jacob's Pillow Dance
Award Winner.
And she performs, teaches and choregraphs throughout the world.
She also knows firsthand of the transformative impact of the arts in the lives of young people,
and so please help me welcome this wonderful artist and keynote speaker to the stage, Michelle
Dorrance.
<applause> Michelle Dorrance: Thank you.
Good afternoon, New York City.
It's really an honor to be here.
I'm going to reference this, because I am on the clock, and when I go off the cuff,
time restraints are destroyed.
So I apologize for reading as much as I will be, but I'm-- it's really an honor to share
this afternoon with all of you.
First of all, I' incredibly blessed to have two parents who are both exceptional educators.
My father is one of the winningest coaches in sports history, coaching the United States
Woman's National Soccer Team to win the first ever Woman's World Cup, 1991.
And coaching the University of North Carolina Woman's Soccer Team to 22 National Championships,
so far.
Go Heels!
My mom was a professional ballet dancer in Washington D.C.'s National Ballet, and an
Eliot Feld's First Company here in new York City, American Ballet Company.
And the year after I was born, while she was a Professor of Dance at Duke University, she
started the Ballet School of Chapel Hill in North Carolina, where I grew up studying ballet,
jazz and tap dance, and met my tap dance mentor, one of the generous and most charismatic educators
I know, Gene Medler.
One of the many powerful lessons that Gene taught us by example was to always remain
a student.
He didn't start tap dancing until he was 27.
And he constantly sought out the living masters of our form, in order to pass on this tremendous
legacy and heritage to us.
Eventually bringing us to learn from them right alongside him.
Maybe it was Gene, or maybe there is something inherent in the arts that inspires humility
and a generosity of spirt.
But Gene always wanted us to strive to be better than him.
I will never forget taking class with Savion Glover for the first time when I was 13-years-old
at the St. Louis Tap Festival, and Gene strongly nudging us up to the very front of the class
while standing in the back row.
I could go on and on about Gene and his philosophies in tap dance, that often felt like philosophies
for life, "the form follows the function," or, "dance to express, not to impress."
But what I'm most compelled to share with you is his passion for and commitment to sharing
tap dance.
A perpetually under-recognized, misunderstood art form, with children and teens of all ages
in schools throughout North Carolina, all the while teaching us to be young arts educators
in the process.
I am beyond proud to be one of the oldest generations of alumni of the North Carolina
Youth Tap Ensemble, who from age eight to seventeen, spoke and danced and lecture demonstrations,
passing down the history of tap dance as an American Art form and sharing the incredible
possibility for expression in its unique embodiment of music and movement at the same time.
My experiences as a part of these lectems that continue under Gene's directions
to this day, still presented entirely by the young dancers of the ensemble, were at once
eye-opening, touching, inspiring, humbling, empowering and terrifying and are at the core
of why I know that arts and education can bring about revolutionary change.
I imagine everyone in this room has experienced how artistic exploration and artistic expression
foster a sense of self, and help to develop personal identity.
How the possibility of a sense of self, and a unique self at that, changes lives, how
it gives young people of little means a world with endless means, and endless possibilities.
Naturally, I'm drawn to believe that the rhythmic arts hold something extra special in their
core that foster connection, organic expression and therefore transformation.
Rhythm is at the core of our existence.
It keeps us alive and permeates our purpose.
It lives in our breath, and the cadence of our speech, and our footfalls as we walk down
the street, and of course, in the beating of our hearts.
Rhythm is a tool for universal communication and understanding.
My mother shared a story with me recently from her time working with kids in a Head
Start Program that illustrates this simply and powerfully.
She and the other dancers were relating a game of introduction that many of you may
know with a group of three- to five-year-olds in which, in order to introduce oneself, the
student must clap the rhythm of their name while they say it.
"Mi-chelle," which the class then repeats together, "Mi-chelle."
And there was one little boy who clapped and shared his name with the class, and immediately
the Head Start teachers looked to each other intensely.
Explaining to my mom later that the boy had never before spoken his name.
There was something in him that connected innately to the rhythm of the expression.
It is because I am a rhythm dancer, a tap dancer, that I have love for and faith in
the power of arts education.
Tap dance is one of the sharpest tools in our arts arsenal to inspire transformation
and simultaneously, it is an art form with a history of transcending oppressive circumstance,
to bring about powerful expression and positive change.
There is something beautiful in the fabric of what could be described as our ideal America,
the one that champions the constructive, and not destructive, ways our imagined American
democracy is manifest.
One of the defining American dreams, freedom, particularly freedom of speech, freedom of
individual expression is often manifest most powerfully when it had to be manifest most
creatively.
I look passionately-- sorry-- I look to tap dance, not just as the form through which
I express myself most honestly and most passionately, but as the art form that most thoroughly tells
the history of our country through its own history.
Many of you may know this history, but I want to share it with you briefly today.
Tap dance is born of the plantation, where the drum was a symbol of freedom in many ways
for the African-American slave.
Drums kept African heritage alive in a culture of total oppression and also serves as means
of subversive communication.
When slave masters discovered the successful slave uprisings throughout the south were
organized in large part through rhythmic communication, the drum was taken away, but tap dance was
born.
A form of expression that at its very core was a creative form of revolt.
To learn to tap dance is to embody the African diaspora in a society that its very foundation
sought to oppress it.
To learn the history of tap dance is to learn the history of racial inequality in this country,
but also to learn how that inequality was transcended.
To learn about the master tap technicians and innovators is to also learn about artists
who are advocates for social change.
Bill Robinson and Shirley Temple were the first black and white hands ever held on the
Silver Screen.
To learn the legacy of tap dance is to simultaneously learn of our responsibility to pass down that
legacy, an oral tradition, and a black forum.
To be a professional tap dancer is to be an educator.
Tap dance is the original American art form.
And if I leave you with anything today, it is that in the name of arts educ-- in education
in America, I am so proud to be a part of an art form that carries the spirit of revolution
and champions transformation, transcendence, resilience and individual expression in a
way that our current political climate does not.
The art form is not fully realized without the passing down of its stories, its history
and its tradition to the next generation.
We don't move forward without reaching back.
Every capable artist must embrace the possibility of transformation through their roles as educators,
and every educator must embrace the possibility of transformation through the arts.
Thank you.
<applause> Michelle Dorrance: I now have the honor--
thanks, guys-- I have the honor or introducing our panel.
First of all, just thank you all for being here, and for doing what you do.
What is really unique about introducing this panel is that it reflects the audience in
this room.
Artists, educators, policy makers and arts administrators.
Let's continue the conversation.
<applause>
Robert Lynch: I am not the entire panel.
<laughter> So I would like to invite the panelists to come on up and join me here.
And let me-- as they come up, I'm always afraid when I see a setup like this.
I'm very pleased that there's no riser that we're sitting on, because one of my very first
lessons in advocacy, it was a one-foot riser, and I had six senators up here just like this,
and they decided to adjust their chairs, and the senator from Wyoming went over the back.
And-- but he never forgot me!
And so that was a really important rule in advocacy.
I want to thank Michelle.
I want to thank Rebecca before her.
And I also want to just say a couple of words.
I have three board members here in the room from Americans for the Arts, and they are
the hard-working board members.
Alessandro DeJusto, John Hayworth, and Floyd Green, at the end.
So I thank them for being here, very much.
And I also want to mention several staff people.
Emma Osore, Narric Rome, Graham Dunstan, and Jeff Poulin.
Jeff, who has organized much of the arts advocacy work for this Arts Education Week-- where's
Jeff?
Raise your hand-- is on a nine-day, nine-city tour doing this same event in nine different
cities in Alabama, Tennessee, Florida, Georgia, Utah, Oregon, Pennsylvania, D.C. and here
in New York City.
Thank you, Jeff for arts education all across America!
<applause> Robert Lynch: So we have an embarrassment
of riches tonight.
We have wonderful panelists, we have very little time.
So I'm going to say a word about each panelist and then I'm going to ask them an opening
question for each of them to answer in just a couple minutes.
And then if we have time, I have a question for each one of them following that.
So Kevin Coval is a poet, community builder, Artistic Director of Young Chicago Authors,
Founder of Louder than a Bomb, the Chicago Youth Poetry Festival ,and a professor at
the University of Illinois, Chicago.
Ten books, he's the author of ten of them, "Break Beat Poets," "New American Poetry in
the Age of Hip-Hop," and "Schtick!"
Love that!
Published in Poetry Magazine, love that magazine, and the Huffington Post.
Four seasons of HBO's Deaf Poetry Jam.
And his most recent collection, "A People's History of Chicago Dropped" in April of 2017
on Haymarket Books.
Thank you, Kevin, for being here.
That's great.
<applause> Robert Lynch: Jecorey "1200" Arthur.
Educator, composer and performing artist.
He works to grow and inspire the young minds in Louisville communities and its schools.
His rhymes address themes of expression, oppression and progression.
As an artist "1200" fuses his Louisville, Kentucky hip-hop roots with his conservatory
training as a percussionist and composer to create new hybrid musical forms.
And as an experienced public school music teacher, "1200" has a winning way with grade
school students.
Thank you for being here.
<applause> Robert Lynch: Coco Killingsworth joined the
Brooklyn Academy of Music's Executive team in December, 2016 as the organization's Vice-President
of Education and community engagement, overseeing BAM's broad initiatives for children, families
and students.
She previously served as Deputy Director, Director of Programs for Global Kids Incorporated,
where she managed school-based and afterschool global education programs and special projects
in 35 New York City public schools.
She served on the Board of Directors for the Sadie Nash
Leadership Project for Young Women; was a Charles Revson fellow at Columbia University.
She was also a Principal Dancer in ASE Dance Theater Collective, a Brooklyn-based dance
company.
And she holds a BA in History, African Studies from UCLA, and a Master's from Harvard.
Thank you for being here with us.
<applause> Robert Lynch: Paul King, next to me, is Executive
Director of the Office of the Arts and Special Projects at the New York City Department of
Education.
He previously served as the Department of Education's Director of Theater Programs.
And prior to joining the Department of Education, he held the position of Director of Education
and Community Service for the New York City Opera.
He has served as a Stage Director for the New York City Opera, the Houston Grand Opera,
and the Los Angeles Opera.
Many, many awards, including the 2016 Very Special Arts, New York City Arts, Advocate
Award; New York Music Educators, 2016 Honoree Award, recognition from the Emmy Foundation,
and many, many more things.
And so I thank him very much for being here with us.
<applause> Robert Lynch: And finally, my good friend,
my Board Member, the inspiring Floyd Green III, is Vice President and head of Community
Relations and Urban Marketing for Aetna.
Aetna Incorporated.
He's responsible for developing grassroots marketing strategies to assist in business
development, customer retention, healthcare disparities and strategic partnerships.
In January of 2013, Floyd was appointed to the National Board of Americans for the Arts.
In 2012, he was appointed Commissioner by Mayor Segarra, Mayor of Hartford to the Capital
Region Development Authority.
In addition, he serves on the boards of Hartford Performs, the Center for Disease Control,
the National Partnership board for HIV/AIDS, a number of other things including his recognitions
as 2016 Alumni Corporate Executive of the Year from Lincoln University; 2016 Connecticut
Governor's Patron of the Arts Award; and one of Savoy's Magazine's 2012 and 2014 selections
as the 100 Most Influential Black Executives in Corporate America.
Floyd, thank you.
<applause> Robert Lynch: And I'm sorry, our time is up.
<laughter> We have, as I said, an embarrassment of riches.
So I'm going to ask questions, and the panelists, unfortunately, each one could give a speech,
but they need to just give a couple-minute answers to each of these questions.
So the first one is for everybody.
We all have an arts education story about how we have seen the arts transform lives,
which is what we're celebrating this week during National Arts in Education Week.
Can you share with us your brief story in arts education, and how, from your vantage
point as an educator, artist, business leader or elected official, you've seen this transformation.
And might we start with you?
Kevin Coval: I'll pass to-- Robert Lynch: No, we don't have to.
Paul King: See, that's the danger in sitting next to you.
Robert Lynch: Yeah, I know! <laughter> Paul King: So I was actually thinking of two
stories and I'll guess I'll tell you the one that is personal, which is my daughter was
a very serious dancer.
And was what we lovingly called a bun-headed School of American Ballet for seven years,
and very, very serious about it, and went to LaGuardia High School as a dance major.
And then went to college and had a rebellion, which is great, and decided not to do that.
But it was interesting, I went up to her college graduation, and she said something to me that
I thought was so interesting, and she said, "I don't think I could have graduated, had
I not been a dancer."
She said, "I don't think I would have had the discipline or the self-confidence to see
it through."
And I thought, you know, "That's really extraordinary.
So she may never decide--," she's now back dancing again, of course.
But, you know, I think when I think about that, and I think how empowering and how important
it is for our kids to have that experience.
And that's really what can sustain you through really difficult and challenging times.
Robert Lynch: That's wonderful, thank you.
Well, let's go right down the line.
Kevin Coval: Yeah, cool.
Good, yeah, I'm of the generation where I'm a hip-hop kid, and so I was raised by the
arts, but not formally.
You know, the arts I was getting, of course, in my school was very played and old and Eurocentric
and corny, to be honest.
You know, I thought like the only people who did poetry was old, dead, white dudes.
Shout out to Robert Frost, but no offense, you know what I mean?
<laughter> And so but hip-hop raised me.
I wanted to become a teacher and a poet, because KRS1 called himself a teacher and a poet.
And of course, hip-hop is the largest global youth culture in the history of ever.
And the impact I've had, and seen it have, in the City of Chicago, is we organized via
hip-hop organi-- community organizing principles.
Our notion of bringing the arts all city is something that we take from graffiti artists
in this city.
And the notion of getting your name everywhere.
And so Louder Than a Bomb, a Chicago Youth Poetry Festival is now 17, going on 18-years-old.
And the impact we've seen in Chicago is that now young people are taking the tool of the
spoken word, the tool of hip-hop poetry and using it to traverse the city in a new way.
Chicago is one of the most hyper-segregated cities in America.
And now we have a new radically inclusive, diverse culture of young people who are responsible
for this moment, I would say, in Chicago cultural renaissance.
And so the impact is profound.
Yeah.
Coco Killingsworth: I am a dancer since I was four-years-old.
And I also am the child of two educators, an activist.
And so I never really saw a distinction between learning and dancing, or facilitating and
choreographing.
And so my journey as an educator, I was always really incorporating both.
And so even when I was talking to young people about foreign policy, I was thinking about
how their minds moved around the subject matter.
And how to inspire their-- how to inspire and bring their stories into what we were
talking about.
And that was always choreography and art to me.
I've only been at BAM for six months.
But what I've brought and what I've seen is art giving a sense of home to young people
and art.
And BAM is in the Fort Green community, which is, you know, rapidly gentrifying and the
building is thought of as a fortress.
But it is not-- to the community in Fort Green, it wasn't a welcoming place, where there was
a lot of avant-garde in contemporary art going on.
It wasn't happening for that community in Fort Green, Brooklyn.
And so part of what BAM education has really been able to do is give young people in that
community, in the Brooklyn community who are culture makers, who are art makers, a sense
of belonging in that building, a sense of purpose.
And for them to understand when we talk about excellence in arts, it's about them doing
their very best.
It's about them at their very best, whatever that is.
I just saw one of our interns in the audience.
And speaking of that, I also had one of our college interns, who was a participant in
one of our programs when he was in high school.
And he used to talk about always walking past BAM and never feeling anything.
Never feeling a connection, never feeling that he had a sense, a purpose to be there.
And after he just finished his internship with us, and I was lucky enough to work with
him for a short period of time, he talked about how he understood himself, how he understood
a vast and diverse-- had a new and diverse sense of art that he would've never been exposed
to.
And that he understood himself as excellent.
And he'll tell you, he's excellent.
And so that was what art did.
And I was-- it's a profound experience to be a part of.
Robert Lynch: Wonderful, thank you.
Jecorey "1200" Arthur: So on paper, my name is Jecorey.
On stage, I go by "1200," in the classroom, I'm Mr. Arthur.
And in a couple weeks, I'll be Professor Arthur.
And those different names kind of play into my roles back home in my community.
First and foremost, I'm an educator.
One day I might be working with college students on some very difficult percussion repertoire;
and the next day I might be singing "Mary Had a Little Lamb" with kindergarteners.
<laughter> So it just kind of depends, as a composer and a performer, especially in
Louisville, we have a very eclectic music scene, and I like to play into that idea of
being an experimentalist.
Being someone who collaborates.
So working with local hip-hop artists all the way to working with symphony orchestras.
I've worked with Indianapolis Symphony, Pittsburgh Symphony, this week the Columbus Symphony.
And really just trying to work both ends of the spectrums in showing people that there
is no box you can put someone in as an artist.
There is no label that you can put on them that really defines who they are and the way
that they create.
I didn't always want to be a musician, or a teacher, an educator.
I originally went through a lot of phases as a youngster.
I wanted to be an astronaut, that didn't quite work out.
<laughter> I wanted to play football.
They nicknamed me "Cookie."
And I wanted to be a race car driver until I found out that was illegal.
I wanted to do like the "Fast and the Furious," not like NASCAR.
<laughter> And then I saw the movie "Drumline" in like the fifth grade, and that totally
morphed me in the way that I viewed the arts, and the way that I viewed music.
And I saved up all of my money from Christmas and my birthday, bought a recording studio.
The Chord B-1200, which is where my nickname came from.
And taught myself how to produce music, how to record music, write it, song forms.
And from there, taught myself as much as I could until I had to get formal training,
and went to college for that.
And that's how arts education transformed me.
Coco Killingsworth: Hm.
Robert Lynch: Okay.
Floyd Green: So my mother used to tell us as we were growing up that there was an art
to doing your bed.
She'd go, "There's an art to doing dishes."
<laughter> Three boys, three boys.
And my favorite was, "There's an art to taking out the trash."
<laughter> But I think what she was trying to say is that there's an art in everything
we do.
That the art is not separated from life.
Art is who we are.
And so I was fortunate as a child to have a public school system education in Newport
News, Virginia, where art was just a part of who-- a part of our curriculum.
Whether it was coloring in the first grade, or learning to dance to the Blue Danube in
the fifth grade, or doing 4-H projects with a popsicle stem lamp, and who knew that I
was infusing STEM and arts there, and creating STEAM in the seventh grade in 4-H?
You know, when you go through that, you just take it for granted.
You just assume that every child, everyone has that ability to sort of dream, because
we know that the arts allow us to dream.
The arts get us to believe that dreams can come true.
That the impossible is possible.
And so when we take that away from people, we are sending very strong messages to our
youth and to the future of our society.
And so it's very important for me to make sure that I advocate that the arts is not
a privilege.
The arts a right.
It's a right for every child.
Arts education is a right to every child, every individual that exists on this planet.
And so we must do what we can, and I will do what I can to continue to fight for that
right.
<applause> Robert Lynch: Great.
Well, we have a stunning panel, with lots of journeys, and lots of learnings from those
journeys.
So I get to ask one question, and they get to give one brief answer.
So get to ask one to each one of them.
So Kevin, as an educator, you use aesthetics and hip-hop as tools in your work with students.
What do you think it is about the arts, your own experience, that has made the difference
in your own teaching?
Kevin Coval: Well, I think we assume that a young person walking into a community center
or a classroom is an expert.
You know, and so we understand that they also come from a culture of experts and a culture
of artists, and so we don't assume otherwise.
I think that I work with a lot of young people who might be tested at a particular level
of literacy that doesn't meet where they're actually literate.
You know, because not only do they have various cultural literacies, that many people in here
might not have, but they might also enter a classroom space with 90 volumes of albums
on memory, you know?
And they have that memorized, and yet, you know, they're testing at a third/fourth/fifth
grade reading level.
And so part of what my project has been to do as the educator is take young people for
where they're at, and then try to get them excited about what they've inherited to go
back, and also begin to record the world and the worlds around them.
I was struck that when we were in the Green Room, there's a picture of Miss Gwendolyn
Brooks here, you know, who spoke here.
And of course, she is the matriarch of Chicago.
And in some ways, you could probably make the case, or at least I do that she's probably
the matriarch of hip-hop poetic practice.
And she talked about recording the world right in front of her nose.
And she said that her material was found in the street.
And so if you take any one of us, and you begin to articulate what is in front of you
that begins to connect to the totality of history.
You know, if a Starbucks pops up on your corner, well that has everything to do with this process
of gentrification and global economy.
If you have an empty lot near you, if you have a grandma who makes a dish that's a mashup
of Polish and Korean food, well, that says something about where you come from and who
you are.
And so we take young people where they're at, consider them experts and geniuses and
ask them to begin to record the experiences that they already are participating in.
Robert Lynch: Great.
I mean, it sounds like that, you know, just the messiness of the experience is the connector
as well.
It's what brings all of the arts into the lives that are messy today in life out there.
Lots of different moving parts all the time.
And that makes you a better teacher to be able to bring all those pieces.
Kevin Coval: Well, yeah, I mean, I also have an easy gig.
You know, I get to just go up into a spot and be like, "Yo!
Where you from?
Let me know."
You know?
Because that's hip-hop does.
And I think the messiness is that, you know, we want to put a lot of division between our
lives, but the reality is that our lives live in that mix, and that we can't divorce our
art, ourselves, from what's going on in the world.
We can't divorce ourselves, our art from what's happening in politics.
And where we come from elucidates some of that.
And especially in a city like Chicago.
You know, we have young people who are coming from radically different kinds of places,
and our job as community organizers is to bring them together, so they can see that
there is this grand unfair disparity between the kinds of education, the kinds of access
to arts and equity that young people in our city are getting.
And so in that process, hopefully, our work then is to begin to then use our critical
creative imagination to begin to think about a different civic space that we might live
into as well.
Robert Lynch: Yeah, great, great.
Yes.
<applause> Robert Lynch: I have a question for a combination
of 1200 and Mr. Arthur.
It's both the teacher and the artist.
And the question is, as an artist and an activist, how have you seen the arts give voice to students
who otherwise aren't heard in their community?
Michelle had a story about that, but how have you seen that?
Jecorey "1200" Arthur: The best way to give someone a voice is to give someone a voice.
So literally and figuratively when you put a student on a stage, I've seen hundreds of
students transform, turn into different people.
The arts have, what I call the Four C's.
So confidence, creativity, critical thinking, and collaboration.
That confidence is a factor that a lot of people don't think about.
It really takes a student from practicing that art form, believing in it, believing
in themselves, having self-efficacy to get onstage and perform, just like Erin and Carl
earlier.
They didn't always have that, or maybe they were born with it, but it takes quite the
skill set.
Critical thinking, the arts is stimulating your mind.
It spans to every single other subject.
Every single other subject lives within the arts, whether you're tap dancing, beat boxing,
or burping the alphabet, you know?
<laughter> Arts will play something to the way you think.
And then when it comes to creativity, like I said earlier, there's no limit, there's
no box.
If I'm doing a math problem, you can tell me that math problem is wrong.
You can tell me that I had a wrong historical fact.
But when I'm onstage and I'm rapping, or when Kevin's doing his poetry, when I'm playing
marimba with an orchestra, you can't tell me that I just performed wrong.
It's art.
It's the way that I express.
And I think that when we do that, and we create function and we have art that matters and
does something to have a positive impact within the world, when we really put some importance
on it, and we have responsibilities as artists, as educators, that's what makes arts education
important.
Robert Lynch: Wonderful, thank you.
For Coco.
BAM is a community-based organization with an international reach.
And it is a place-- I'm a resident of D.C., but I've had life-changing moments at BAM.
One night with Pina Bausch, alone, was life-changing.
But how have you integrated arts education programming across the work of the organization
and has it made a difference?
Coco Killingsworth: I actually think BAM is a transformative space for people like yourself,
and people who have had the opportunity to come and be there.
But we still have a lot of work to do in terms of really integrating the principles, I think
that I hold deeply valuable of education, which is really democratizing space, and finding
and creating a space that's very inclusive.
And so I think the institution is looking toward that, and by joining departments like
education and community together, the idea is that we're going to apply the principles
of education to everything that we do.
So it's not just about educating young people in K to 12 spaces, and giving them an opportunity
to present their work, and their voice.
But it's also about educating audiences.
And again, bringing in new perspectives and new voices into the audience, and into the
buildings, and giving them an opportunity to have those transformative experiences.
So you know, we're in this Next Wave Festival that's starting now, we're presenting, again,
Pina Bausch, you know, our 35 years later, and doing this avant-garde, you know, amazing
work, and we're also in the same Festival presenting educator-artists like Marc Bamuthi
Jospeh, and they're looing at how freedom and art and soccer relate.
So I think, you know, we're looking at-- we're doing that work, there's still quite a bit
more to do, but I think it's about taking the spirit of education and applying it to
the art and the audience development.
Robert Lynch: Thank you.
So for Paul.
So we've talked about artists, we've talked about schools, we've talked about arts organizations.
And I'd like to talk a little bit about the institution of the school itself in New York
City.
So recently New York City has undergone a transformation with arts education.
And it does periodically go through that transformation.
What trends have you seen now, lately, in general, but in access, equity and quality
of programming?
And are we reaching all of the students that we need to reach?
I know that answer's no, but just, in general, how are we doing?
Paul King: I think we're doing better, but we have miles to go.
I think there is significant issues in this city about equity and access.
And sometimes it's even geographic.
You know, because we think of kids who are isolated in far Rockaway, or Staten Island,
who don't have the same kind of access.
And I also worry a lot about communities of our students who are immigrants or English
language learners who are immigrants or English language learners, or those who have special
needs.
And how well we're serving them in and through the arts.
So I think there's significant work to do.
I think we have made significant work in terms of being more equitable, but I think the counterpoint
to equity in access is it has to be excellent.
And we really have to honor our kids with really excellent engagement, excellent artists
interacting with them.
And the kind of-- I mean, to hear you guys talking, which is exactly right.
Acknowledging their own voices, and that kind of empowerment.
And then lastly, I think what's really important in arts education is that it can't just be
about appreciation.
I want all of our kids to make art.
Right?
So it's not this academic exercise of just reading a book and appreciating.
All of our kids are genuinely and authentically artists.
And that's what we need to do a better job of, of making sure they all have those opportunities.
Robert Lynch: Great.
You know, it reminds me, about the making part, at our annual conference we had a session
called "For the Love It," Floyd was part of that session.
And it's about art that comes out of garage bands, like my art form did.
Or just the untrained piece of this that's the inspiring part for the in-school piece
of this, I think.
They go hand-in-hand.
So Floyd, from a business perspective, or any perspective you'd like <laughter>, how
is arts education beneficial to you, as a business person, or your company?
And how can the arts integrate with other subjects like STEM, to really move the needle
for creativity and innovation in the workplace?
Floyd Green: So I think I'll answer my own question.
Nah. <laughter> You know, if we look at a phone, right, we see the intersection between
art and technology, right?
So you look at that digital canvas and there is amazing technology that exists there, but
then what attracts us are the vivid colors, and sort of the designs of those apps.
Well, that's art that does that.
And so from a business standpoint, what is so important for us, you know, I think in
three areas.
One, the next generation of products and services that we have to design in order to be competitive
in this global community, has to incorporate the arts, has to incorporate sort of a new
way of thinking.
And the arts allow us to do that.
The arts allow us to break the boundaries, right?
To believe that, you know, we can create things that haven't been seen, or done before.
Internally, which is important is that we have to have a strong workforce in order to
make sure that those products and services are delivered in a relevant way to the communities
and consumers who we're trying to market to.
So we use the arts in order to sort of create a vibrant employee base.
So Aetna has a Chief Mindfulness Officer.
One of the first corporations to have a Chief Mindfulness Officer, Andy Lee.
And so we practice mindfulness in yoga and meditation.
We practice being present and being in the moment.
And this is throughout sort of our organization.
That's very important, because sometimes when you're in a very competitive workforce, it's
important for us to just stop and breathe for a moment.
To just be present.
To just really hear our thoughts.
The other thing is that we bring in improvisationists, we bring in actors and others to help us learn
to work on improv and help us learn to sort of be in the moment.
We have our own jazz band.
We have our own art gallery within sort of our offices.
We bring in musicians and educators, art educators into our building to help us breathe.
To help us just take a moment.
Because we know that there's healing through the arts.
We know that there's a direct correlation between arts and well-being.
And so a healthier workforce will allow us to produce even greater.
But more so our communities are in desperate need of healing.
And the arts is a powerful way, a powerful way of healing our communities.
Infusing money into schools, teaching young kids yoga, helping them understand that maybe
they're not hyperactive.
May-- or ADHD, or ADD, but maybe they're on the next jazz saxophonist, or incredible,
you know, artists or pianist who's ultimately going to be a physicist or a mathematician.
We know that our communities are hurting right now, and so the arts can bring communities
together as we're seeing all throughout this country when there's disasters.
So from a business standpoint, it just makes sense for us to be involved in the arts.
It just makes business sense to for us to make sure that our employees are involved
in the arts.
And it just makes sound community base sense that we invest in our communities and the
people are inspiring our next generation to be competitive leaders in this global economy.
Robert Lynch: Thank you.
That's great.
And I'll just point out that Aetna is the leading arts business-- or the leading business
in America using the arts for all of those employee advancement business goals advancement
kinds of objectives that Floyd was referencing.
So this panel has been incredibly good, so good, that we have an on-time end to the first
part here, which allows time for questions from all of you.
And we have about 15 minutes for questions.
But because we're being live-streamed, a Twitter question beat you <laughter>, so you have
a moment to think about this, and then you can ask the question.
But the question from Twitter is, "As President of the United S-- no, I'm sorry."
<laughter> So-- Floyd Green: Um, yeah.
Robert Lynch: So what is next for arts education in America?
And you each addressed it in a way, what you think is important.
But is there more that anyone would like to add about what is next for arts education
in America?
Kevin Coval: Yeah, uh, you.
Floyd Green: I just think all of us in this room need to own it.
Arts education is just as important as science education.
It's just as important as any other education.
And yet, when we look at funding, arts education is one of the first to go.
We should be adamant, we should be livid over the fact that the culture of our soul is being
told to us that it's not as important.
And so I think if there's something that I'd like to just share to those who are out there
watching or streaming, and the people in this room is where-- we need to ignite something
within us to make sure that our art educators, as well as our children and our communities
get the arts and arts education that they need in order to remain vibrant.
Kevin Coval: Yeah, I mean, I think cultural institutions and educational institutions
also need to get hip or die trying.
And part of what I mean is that what happens on the stage has to be reflective of who is
in the city.
It also-- the audience also has to be reflective of who is in the city.
And we can no longer reify the same kind of socioeconomic segregated spaces that our culture
and capitalism demands, you know, and so our-- all of these spaces need to be for the people
for real.
And I think that there is a-- that there is a fear in arts education, because it ultimately
demands a kind of imagination that would create a society that looks different than the one
that we are currently living in in this moment.
And so I think we need to push, because we desperately need a different society than
the one that we're living in in this moment.
So.
Robert Lynch: And you know, the Americans for the Arts slogan, our vision slogan is,
"All the arts, all the people."
But, "Get hip or die tryin'," is a-- Kevin Coval: It's y'all's, man!
Look, look!
Robert Lynch: I may need to go with that one! <laughter>
Kevin Coval: I mean!
It's live stream, so you know what I'm saying?
Like you heard it here first.
But also shout out to 50, __________?
Robert Lynch: Were you raising your microphone, Coco?
Coco Killingsworth: No, no, Robert Lynch: Oh, okay.
Yeah, go ahead, then, yeah.
Jecorey "1200" Arthur: I was just toing to say the arts makes us human.
Somebody told me a while ago when I was learning how to play saxophone, I was embarrassed,
but I was learning how to play saxophone, they said, "Oh, you can do it!
I monkey can play saxophone."
I'm like, "No, they can't."
I saw a video of someone-- <laughter>-- someone controlling a robot that played a marimba,
which is like a piano, if you don't know what that is, and part of me was like, "That's
dope!"
And the other part of me was like, "That's disturbing!" <laughter> You know?
You can't take what we do, what we practice, spend 10,0000 hours on, and give it to a robot.
And I know the world is advancing in terms of technology, but if we lose art, we lose
humanity.
Paul King: I'm not quite as radical as you are, surprisingly, but I think one of the
things that I get very concerned about with educators is that education is so siloed,
and it's easy to categorize.
And I think we do that in the arts as well.
And I get really disturbed when I think about how we can't even get teachers across art
forms to collaborate, and kind of shake it up.
And that's not the way the world exists anymore.
So you know, that's what I'd like to see next in arts education.
Is how do we break down those barriers in and through the arts so that, you know, really
interesting, authentic, new pieces are coming about?
Robert Lynch: All right.
Coco Killingsworth: Well, as the only woman up here on this panel, I feel like it's very
important to talk about the fact that, again, art needs to be the place of the great equalizer,
and really bringing different voices.
And as Kevin said, changing things, because things need to change.
And really opening other pers-- being open to other perspectives and ways of expressing.
The moment is now.
There is not any time to wait on it.
I deeply believe that.
Floyd Green: I think in the schools we need to fight for computers and crayons.
<laughter> Robert Lynch: Computers and crayons.
Questions out there for the panel?
Anyone.
Yes, far right.
Man 1: Trying to understand why sort of what art became sort of a bad word?
And it became a very-- but along the way it came to be like that's-- it's not a part of
serious education.
When did that happen, and what is it that we need to do recover that?
Robert Lynch: I'll throw out my answer.
And then I'd love other people's sort of perspective.
Puritans.
Paul King: Exactly.
Robert Lynch: Well, it's actually-- it's a 400/500-year-struggle on this continent.
If you think about the Native American populations that were here before Columbus.
The Native Americans, Native American populations, most of them have no word for art.
Because it's not separate.
It's not a thing that's pulled out.
It's part of cooking and ritual and community and housing and everything.
And if you think about who came to our continent, they were people fleeing religious persecution,
or they were people that had to start from scratch fighting for a foothold.
And literally-- so a very practical people, but literally when the Puritans came, in the
1620s, 1625, they outlawed the arts.
They outlawed theater, they outlawed dance.
The reason was it was not considered for the greater glory of God.
But that had an impact, and it happened in the 1700s, as well.
New governors came in and outlawed the arts, outlawed, closed all the theaters that had
started up.
So you know, I feel that we've had a long history of surges forward, like the WPA; and
setbacks, like these kinds of things, or the attacks that the Heritage Foundation, for
example, makes on the value of the arts.
And that backdrop is fought out in city councils, and school boards and so on.
But that's my take.
Anyone else?
Coco Killingsworth: I think also that schools were really designed to socialize individuals
and keep them in very prescribed and prescriptive lanes.
And the arts is so subversive or is about thinking outside of those configurations,
and thinking and dreaming beyond that.
And I think in its current iteration, because of all the history we just learned, it was
very hard to really bring and integrate the arts.
It became something that was almost antithetical to what was happening in schools and regular
socializing institutions.
You have current history that really is about-- you know, I went to a magnet art school in
high school, and that was about, "Let's really pull in the arts and integrate the arts."
Even thinking about how to integration is trying to bring it back from once it was segregated.
So it's this long process of trying to undo what's been done.
But the institutions are almost at odds.
Robert Lynch: Yes, and back there.
Woman 1: I mean, I think the obsession with standardized test scores, you mentioned the
hip-hop, it's very important.
Some kids may not be scoring great, but they're creative.
It has nothing to do with their being able to be and do and produce and be wonderful
citizens and creative.
And they need their confidence back.
But everything gets reduced and redacted for that length.
And so you got expand that.
And it's baloney!
It's nothing.
It's narrow.
It's stupid.
But it's obsession now.
It's ruling a lot of what we're doing in the schools.
And that's great, what he said, it's very, very important to give those kids that sense
of empowerment and self and worth.
It's crazy what's going on!
Robert Lynch: So just let me react, and then I would like to ask you your opinion on this,
because I agree totally.
And some inroads to overcome that were made, or allegedly made with the new law that was
passed last year, the Every Student Succeeds Act, that was supposed to help eliminate some
of those testing barriers that excluded the arts.
Do you want to make a comment on how that worked, or is working?
Paul King: Well, I think we don't know yet how it's working.
I mean, we know what New York State has proposed to the Feds, which actually is really interesting
in that arts education is part of the required instruction and must be reported back to the
Feds.
So I think that's great.
And we're beginning to see that in a number of states where it's becoming part of the
required instruction that they have to offer to kids.
So it's not quite as-- you know, I think we're a society unfortunately that values what can
be tested.
Right?
What can be codified.
And so I think it's a longer path to get over that kind of obsession.
But I think it's also important that we're really articulate about how the arts can be
assessed.
And I don't mean tested, right?
But we know when they're successful for kids.
And so we need to be able to articulate that.
Or we need to have kids write back to us what they thought about that art's project so that
we have a way to document the learning that took place.
So, you know, I think it's kind of a balancing act here to make sure that we don't undervalue
the arts, that we really have some evidence to support it as well.
Jecorey "1200" Arthur: I was just going to piggyback on what he said about arts and requirements
and whatnot.
Kentucky is also a state where we require arts to be a part of the core subjects.
But there's only 27 out of our 50 states that have that requirement.
And I think the next step would be to have all 50, and also have some accountability.
You know, we have that access, but is it something that's excellent.
Are we holding them accountable?
How are we testing the arts, and how are we holding that up to the rest of the core subjects?
Robert Lynch: So I see one hand over there, and then I see you.
You had your hand up in the back, yes.
Yeah.
Man 2: Me?
Robert Lynch: Yes, you.
Man 2: Yes, I'm a product of New York City education, elementary in the '50s and '60s.
And it was very common in elementary school...
I'm sure it was throughout the city.
And being in the fifth grade, we were divided up into various clubs.
We had the booster club, we had like an instrumental club.
We had all types of arts.
And that continued through junior high school, went to Mark Twain, where kids were involved
in journalism, and in-- I mean, it's something that we took for granted.
It was just the norm.
And I'm just amazed, even in New York we're seeing over the decades what happened, outside
of magnet schools and private schools.
But it was quite an experience.
Robert Lynch: Well, I think that's part of the surges forward, and big setbacks that
I was talking about.
You know?
What was there before wasn't necessarily that great in communities, and then all of a sudden,
a progressive person comes in, and it's great, and then it's lost again.
Go ahead.
Kevin Coval: Well, no, I agree.
I mean, we organize in the schools for that reason.
And part of the work that we try to do is create crews or teams of poets inside of high
schools and middle schools.
It's kind of like basketball meets a rap battle?
But it's like the poets now are walking around Chicago public schools like star athletes,
because they have an after school space to build in the school day, but also primarily
in the freedom of that after school space with one another.
And there's that camaraderie and community that comes in the process of making art.
And that is proven to be essential in the city.
Robert Lynch: So we've come to the end, except I did see one hand, and I said I would ask
you the question.
So we have-- Woman 2: I'll make it brief.
Robert Lynch: Yep.
Woman 2: You said something earlier that really sparked something when you said something
about the ADHD and that person going to the next level, because their because they mastered
saxophone, or something along that line.
And I thought it would be a very good idea if the children who are labeled with this
quote/unquote "disability," and others like it where they don't quite fit in, if there
was a program that we could create where we're going to find that individual's focus, if
we find that they took piano and all of a sudden that's where their focus is going to
be for that.
Or that saxophone does give them what they need to get them to come back and to make
everything else in its place.
Do you have any ideas for that?
Floyd Green: Well, you know, I'm a big proponent of STEAM.
You know, I may not necessarily understand mathematics, but if I'm playing an instrument,
I'm learning fractions.
And so I might be able to apply that back to mathematics and not be afraid of it.
Who knows what they would have labeled me as a child.
But fortunately, they put some clay in front of me, and that kept me focused.
And I think sometimes it's just important for us to be a little bit more patient with
our children.
And just really allow the arts to do what they were designed to do.
And yes, there are some folks that might need additional help, but let's start with art,
right?
Let's start with the gift of really letting a child become who they were born to be, and
then manage that.
So I'm sure, you know, Americans for the Arts have some programs that are designed specifically
for that type of approach.
But you know, my thinking there was that as opposed to immediately going and labeling,
let's just give a child an opportunity to dream.
And allow that child to become its full potential through the arts.
Woman 2: That's a much better idea than sending them to _______ as a formality.
Floyd Green: I think, you know, sometimes it's a lot less expensive than pills and medication.
Sometimes a songbook, or again, a crayon, or a pen to write a poem to tell you how I'm
feeling, or how that child's feeling, might be just a little bit more successful than
the clinical aspect.
Robert Lynch: Last comment.
Coco Killingsworth: I just wanted to also share, not just in terms of the programs that
young people can participate in terms of making art, but also experiencing art.
And BAM does, and I know other institutions does relaxed performances for young people
who are on the autistic spectrum, or have other "abled" other abilities.
And so it's really taking elements of the performance and making it accessible for all
audiences so that it's not having loud sounds, or changing light configurations, but really
giving everybody an opportunity to enjoy a show and not feel-- or experience art and
not feel that they're bothering anybody else, or that they're less than.
And that other audience members may or may not know that they're a part of a relaxed
performance.
It's not that they're kept away from-- we don't leave the other public out, but really
just introducing this as a way of participating in art for everybody.
Robert Lynch: So we've had a really great conversation in a little short period of time.
We've gone from talk of-- at the grassroots level, at the school level, at the outside
of school, inside of school level, and at the national policy level.
All of those pieces.
I want to just end with a comment about the national policy level.
That's the piece of the block that we work on.
We have a program called the Arts Action Fund.
And it's free.
You sign up for it, and then you get to be a political activist.
We send you information on arts education, or all of the big causes that we're working
on today, like funding for the National Endowment for the Arts.
Or the idea of humanities, National Endowment for the Humanities, and arts education.
And in the arts education arena, Narric Rome is over there, he leads our advocacy efforts
on that front.
He tells me that today the Senate Appropriations Committee appropriated 27 million dollars
for demonstration arts education grants.
And that the Title I money that we were fighting for, 15 billion, the appropriations was passed--
it has further to go- with a 25 million dollar increase for arts education.
These are small steps.
It happens because of citizen action.
I thank you, and I thank our great panel.
<applause> Larissa Gelman: Thank you everyone for joining
us this afternoon.
And thank you to American for the Arts, and all our amazing panelists, our performers,
our speakers, our keynote.
My name is Larissa Gelman, I run the Education Outreach Center at 92Y.
And if you were inspired about the conversation, the earnest and transparent conversation about
arts education, please keep it going this week.
This is National Arts in Education Week.
We have a couple of hashtags.
#artsedweek and #becauseofartsed.
We'd love to hear your voices.
So please keep them going.
And we invite all of you here at 92Y to stay for a lovely reception.
Thank you for joining us, and have a wonderful Arts Ed Week.
<applause>
-------------------------------------------
KZN Education MEC reads riot act to 'stabbing' school - Duration: 4:25.
KZN Education MEC reads riot act to 'stabbing' school
KZN Education MEC reads riot act to 'stabbing' school.
KZN Education MEC Mthandeni Dlungwane's inner teacher came out as he read the riot act on Monday to staff and pupils at Masakhaneni Secondary School‚ which was closed after two pupils were stabbed to death last week.
Factions within the staff body - and students falling into these opposing camps – have contributed to the rot at the KwaMakhuta school.
At a community meeting‚ Dlungwane dressed down "disrespectful and ill-disciplined" learners – ejecting several children from the hall for speaking while he was giving his address.
Staff alike had drawn his ire‚ with the politician promising sweeping changes to the school's management and staff complement.
Dlungwane unpacked the issues which beset the school that‚ he said‚ stemmed from infighting amongst staff.
"You can see there are factions here.
Some learners have aligned themselves with a group of teachers and there is another group who have thrown their weight behind the principal‚" he said.
"In the past we have had parents blockading the gate here and not allowing teachers to come in [and] report for duty in their classrooms.
Hence some teachers decided that they were no longer going to report at this school and instead go to the district office.
It has been a problem‚" Dlungwane added.
He said that he had intervened and would be pushing for a complete restructure of the school's management.
"This upheaval amongst the staff has been happening for several months‚ so I have intervened to make sure that normalcy can be restored and teaching and learning can continue.
"I have seen the level of discipline of the learners and it is very low‚ and their respect is non-existent.
We ought to then instil discipline in our learners‚" he added.
The school was closed last week after a fatal stabbing in a scuffle over a cell phone.
Police spokesman Lieutenant-Colonel Thulani Zwane said on Tuesday two pupils were killed in a knife fight.
"Two pupils were stabbed and injured at a local high school.
They were taken to hospital where they died on arrival.
The motive of the killing is unknown at this stage.
KwaMakhuta police are investigating two counts of murder.
No arrests have been made." Nomusa Zulu‚ the aunt of one of the slain learners‚ who addressed the meeting‚ said she believed that the children were being used as pawns by teachers to "fight their battles".
"The problem in the school is that the teachers are using the kids to fight their battles.
What concerned me is that after my nephew died there was no sense of urgency‚ there was no police presence‚ they carried on like nothing ever happened.
The kids still walked in with knives in their school bags‚" she said.
Dlungwane undertook to respond with a plan to overhaul the school management by Wednesday.
-------------------------------------------
PBIS Rewards - Parent Education Video - Duration: 2:33.
Your child's school is utilizing PBIS Rewards to support its PBIS initiative.
That sounds great, but what is PBIS?
PBIS stands for Positive Behavior Interventions & Support.
It seeks to reduce or eliminate poor behavior schoolwide
through the encouragement of positive behaviors.
PBIS decreases office discipline referrals, increases instructional time,
and improves student achievement.
This intentional focus on positive reinforcement is creating and maintaining a
positive school climate for the students and teachers.
Now, how does PBIS Rewards help with that?
PBIS Rewards is a digital platform that allows our staff members to recognize any student,
anywhere for meeting behavior expectations.
These behavior expectations are defined by the school then communicated and taught.
So, when your child displays the behavior that is expected, they are recognized for it.
The points earned through that recognition may be used
to purchase items from the school's PBIS store.
How does that benefit you, the parent?
As a parent, you can monitor your child's progress and stay engaged with the
PBIS Rewards Parent App!
Download it for free on Google Play, the App Store, or Amazon Apps.
Adding your child is simple.
You'll receive an email or letter with a QR code from your school.
Open the PBIS Rewards Parent App and scan this QR code.
If you have multiple children using PBIS Rewards at their school,
you will be able to add each one separately.
Once your child is added to your PBIS Rewards Parent App, you will be able to see how many
points they have earned, which teacher rewarded them, and how they're spending their points.
The App also has a convenient way to respond to messages sent by your child's teachers.
Plus, if the school is using our Advanced Referral System, you will be able to see if
your student receives any discipline referrals.
PBIS Rewards is helping your child's school create a positive climate in which every student
can learn and grow academically, socially, and emotionally.
The PBIS Rewards Parent App is a great tool for you to stay connected and engaged with
the PBIS initiative.
If you need more information, contact a PBIS administrator at your child's school.
-------------------------------------------
Julian Taylor - St Bede's College // Life Skills Education Development Bill - Duration: 1:54.
Speaker, the Honourable Member Taylor —
The young people of our modern society, like all in this chamber, are entering the adult world with a real ailment
— an ailment, Speaker, which sees them incapable of managing their own money
and, to a more concerning extent, unable to secure the means to earn a living in the first place.
Too many times have we witnessed a graduating class departing their school environment
with little to no knowledge about the process of seeking and maintaining employment.
Sure, some students have acquired part time work in local communities,
but the majority of the cohort would not be able to competently fill out a resume,
nor would they possess the skills to maintain meaningful and fulfilling employment.
Clause 5, Subsection 1b stipulates the implementation of a learning area entitled 'Occupation Development',
which seeks to address the serious disadvantage possessed by our youth.
Following this strand, our life skills class would teach students vital skills for the workplace,
including but not exclusive to: resume building, navigating job interviews,
workplace relations and career trajectory planning.
We believe these skills initiate a classroom culture that fosters valuable preparation for one's working life.
From the age of 15, young people across the state are included in the nation's unemployment figures
and are pressured to set themselves up in a world which is increasingly challenging to thrive in.
The answer to this problem is simple.
In order to set up the next generation for success, this chamber must support our Bill
— support our Bill to ensure Australian workplaces are filled with intelligent and competent employees,
and support our Bill to provide the kids who are following in our footsteps
with a sense of security which we all know too well we didn't have.
I commend the Bill to the house.
SPEAKER: I call upon the Honourable Member Martin.
-------------------------------------------
Montclair State University Launches New Continuing and Professional Education Unit (CAPE) - Duration: 2:21.
- Yes my name is Dr. Peter McAliney,
I'm the executive director of the Continuing and
Professional Education Unit at Montclair State University.
We're very excited to be rolling out our new
Continuing and Professional Education Unit.
With the addition of offerings
in the non-credit as well as credit bearing space.
We've got a pretty robust portfolio currently of online
credit bearing offerings, however with the addition
of the non-credit credential bearing offerings,
we're opening up a number of venues that we
previously have not been able to service our community.
For example, we have online and in person as well as hybrid
short duration courses, short duration certificates,
and these are designed for working professionals,
for members of the community and for adults who
have a passion to learn something that they
might be more interested in learning about.
The goals of the CAPE unit are really to serve the people
and the companies and the non-profit organizations
in the state of New Jersey and surrounding areas.
We have a focus on working adults,
we have a focus on traditional students,
non traditional students, we really looking
to provide individuals with 21st century work skills
that will enable them to contribute
to the economy of New Jersey, which in turn
will benefit the community for which we all live.
The programs are intended for individuals who
could potentially be underemployed currently,
for career changes, and for individuals who really want
to enhance a set of what we call new collar skills,
which is a combination of both technical skills
as well as what we traditionally call soft skills.
Many of the careers that we're seeing today
do have a combination of these, and our programs
are designed to make sure that we address
both the technical as well as the human dynamic
side of the careers that we're training our folks for.
-------------------------------------------
Mike Mazier Discusses Blockchain Technology with Continuing and Professional Education - Duration: 1:54.
- Hi, my name is Mike Mazer.
I am founder of Bond Directly,
a peer-to-peer bond trading network.
It's a cryptographic peer-to-peer bond trading network
and I am also advisor to a couple
of initial coin offerings.
I've been involved with the blockchain for several years
and my background has been working on Wall Street
as a portfolio manager, bond trader,
and also a programmer,
so I've done various of those things.
Part of what blockchain does
and why it's really exciting and being
used a lot these days is because of this idea
of trust.
That is, why do we pay large firms,
why do we pass transactions through them?
A lot us, we trust them,
but also they collect large fees.
What if we can have two people transact with each other
without having to go through a large bank?
That's one of the key things that a blockchain does.
People can learn about blockchain.
Clearly it's all over the media these days,
and you see a lot of individuals selling
initial coin offerings,
but I also think that in order to really learn about it,
I think one should take either some kind of formal classes
or read formal papers.
There's just too much noise
and all kinds of hoopla about it these days.
Individuals have various invested interests out there,
so in order to cut through all the noise,
I think somebody really needs to go and do something formal.
A class, a lecture,
something that you can sort of peer through
and become a knowledgeable person about it
and be able to discern all of the noise out there
so that you can apply it to your case.
-------------------------------------------
Guideline 4: Physical Education and Physical Activity - Duration: 2:13.
For more infomation >> Guideline 4: Physical Education and Physical Activity - Duration: 2:13. -------------------------------------------
Matt Watson - St Bede's College // Soft Skills Education - Duration: 2:03.
Thank you Speaker. There is undoubtedly a flaw in the state of our current education system.
It is a system that neglects to teach the basic necessities of adult life to our students,
a system that fails in its duty to prepare children for wider society and a system that
sets our youth up for failure.
This bill seeks to address this growing problem and better prepare our young people for success in independent life.
It should be made expressly clear that this bill does not actually add anything to the curriculum;
it simply bundles already existing strands together to provide adequate focus
for our students, that they deserve.
Arguably one of the most important components of this bill is the mandatory introduction
of teaching a strand that requires secondary schools in Victoria to teach their students
about the financial realities and constraints they will face when they enter the big, wide world on their own,
such as obtaining loans, engaging in a complex tax system and basic budgeting.
The curriculum as it currently stands attempts, to a degree, to instil a sense of financial
responsibility but sadly is only undertaken by a select few schools in voluntary programs
and does not go to the extent to which it must.
Schools, while given the discretion to implement all strands under our policy, will have to
teach a fundamental part of adult life: managing money and interacting with our ever growing
and fast paced economy.
Speaker, it is appalling that coming out of year 12 without otherwise taking one of the voluntary VCE subjects,
students would have absolutely zero knowledge about filing a tax return or even simply how
to save money for later investment.
Now, this policy does not advocate to remove schools' autonomy and brainwashing our students
into state sponsored financial habits, like those opposite would have you believe.
It does, however, instil in students an objective way of approaching money in their day to day lives,
which will provide benefits into the future and across society.
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