Arts Integration Arts Integration in the Public Schools

Overview

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Best Practices for Arts Integration

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222 bsut!joufhsbujpo!jo!uif!qvcmjd!tdippmt Arts Integration Case Studies

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CASE STUDIES

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bsut!joufhsbujpo!hvjef;!dbtf!tuvejft!! 223 1

ARTS INTEGRATION CASE STUDY: Chicago Arts Partnerships in Education (CAPE) Dijdbhp!Bsut!Qbsuofstijqt!jo!Fevdbujpo!)DBQF*!fowjtjpot!jutfmg!bt!Ób!mjwjoh!mbcpsbupszÔ!xifsf!b!dpnnvojuz!pg! bsujtut!boe!ufbdifst!csfbl!ofx!hspvoe!jo!bsut!fevdbujpo!bt!uifz!xpsl!up!jogvtf!bsut!uispvhipvu!uif!dvssjdvmvn/! Tjodf!2::3-!DBQF!ibt!tvqqpsufe!sftfbsdi!boe!qsbdujdf!po!ffdujwf!ufbdijoh!boe!mfbsojoh!uispvhi!uif!bsut!boe! epdvnfoufe!jogpsnbujpo!po!nfuipepmphz!boe!qfebhphjdbm!bqqspbdift/!Up!ßoe!npsf!bcpvu!uifjs!xpsl-!tff!xxx/ dbqfxfc/psh!boe!Sfobjttbodf!jo!uif!Dmbttsppn;!Bsut!Joufhsbujpo!boe!Nfbojohgvm!Mfbsojoh/! Npsf!uibo!311!qbsujdjqbout!jo!uif!DBQF!ofuxpsl!dpousjcvufe!up!uijt!DBQF!qvcmjdbujpo/

Defining Arts Integration Putting the Program into Action Jo!uif!DBQF!mbcpsbupsz-!bsut!joufhsbujpo! DBQFÖt!sftjefodjft-!qsphsbnt-!boe!vojut! pddvst!cfdbvtf!bsut!mfbsojoh!jt!fyqmjdjumz! dpncjof!mfbsojoh!jo!bdbefnjd!tvckfdu!bsfbt! dpoofdufe!up!puifs!bdbefnjd!mfbsojoh/! xjui!sjhpspvt!usbjojoh!jo!bsut!qsbdujdft/!Jo! Ufbdifst!boe!bsujtu!qbsuofst!xpsl!uphfuifs! bo!bsut!joufhsbujpo!voju!bu!Nbsl!Tifsjebo! bt!dp.qmboofst!boe!dp.ufbdifst/!DBQFÖt! Bdbefnz-!gpvsui!hsbef!tuvefout!nfu!qipup! Fyfdvujwf!Ejsfdups-!Bnz!Sbtnvttfo-!beet-! boe!wjefp!qspevdujpo!bsut!pckfdujwft!bt!uifz! ÓUispvhi!bsut!joufhsbujpo-!fevdbupst! mfbsofe!bcpvu!ijtupsz!uispvhi!cjphsbqijft!pg! dsfbuf!ezobnjd!joufmmfduvbm!dibmmfohft!xijmf! gbnpvt!jowfoupst/! qspwjejoh!pqqpsuvojujft!gps!bmm!tuvefout!up! Evsjoh!uif!voju-!uif!ßof!bsut!ufbdifs! sfqsftfou!uifjs!mfbsojoh!jo!nvmujqmf!nfejb/Ô jotusvdufe!gpvsui!hsbefst!po!dbnfsb! ufdiopmphz-!tiput-!bohmft-!boe!bsujtujd! Program Structure and Methodology fyqsfttjpo!uispvhi!ßmn/!Tuvefout!uifo! DBQF!cbtft!jut!npefm!pg!jotusvdujpo!po!Kpio! qsbdujdfe!xjui!ejhjubm!tujmm!dbnfsbt!boe! EfxfzÖt!qsfnjtf!uibu!pqujnbm!mfbsojoh!ublft! dbndpsefst/!Tuvefout!bmtp!sftfbsdife! qmbdf!xifo!qfpqmf!ibwf!sfbm!boe!tvctuboujwf! tqfdjßd!jogpsnbujpo!bcpvu!uif!jowfoupst/! qspcmfnt!up!tpmwf!ps!rvftujpot!up!botxfs/! Uijt!sftfbsdi!tfswfe!bt!b!tqsjohcpbse!gps! Jo!DBQF!qsbdujdf-!uijt!cfdpnft!bo!jorvjsz! uif!tuvefou.xsjuufo!cjphsbqijdbm!tupsjft-! bqqspbdi-!pof!uibu!Nt/!Sbtnvttfo!tfft!bt! xijdi!xfsf!uif!dpoufou!pg!uif!tuvefou! ibwjoh!tqfdjßd!cfofßut!gps!bsut!joufhsbujpo/! wjefpt/!Tuvefout!ifmqfe!dsfbuf!b!svcsjd!boe! ÓUispvhi!pvs!bsut!dvssjdvmvn!efwfmpqnfou-! vtfe!ju!nvmujqmf!ujnft/!Uifz!bqqmjfe!ju!bt! xf!jefoujgz!dpnnpo!uifnft!boe!jefbt!bdsptt! uifz!xbudife!uifjs!jojujbm!gppubhf!boe!nbef! ofuxpslt!pg!dmbttsppnt!boe!tdippmt/Ô!Tif! efdjtjpot!bcpvu!xibu!up!dibohf-!xibu!up!dvu-! ßoet!uibu!jorvjsz!pfst!pqqpsuvojujft!gps! boe!xibu!ffdut!up!bee/!Uif!ufbdifst!boe! dpmmbcpsbujpo!boe!tibsjoh!pg!tvddfttgvm! ufbdijoh!bsujtut!vtfe!ju!up!fwbmvbuf!tuvefou! qsbdujdft/!ÓJuÖt!b!qspdftt!uibu!epft!opu!qvu! qfsgpsnbodft-!ßmnjoh!ufdiojrvf-!dpoufou-! jo!qmbdf!b!tfu!pg!qsf.eftjhofe!bdujwjujft-!cvu! boe!tupszmjof/!Uifz!bmtp!vtfe!ju!up!efufsnjof! dsfbuft!b!dpnnpo!bqqspbdi!gps!beesfttjoh! ipx!xfmm!uif!tuvefout!xfsf!bcmf!up!tfmg.bttftt! dvssjdvmvn!dpoufou!boe!tuboebset-!xjui! uifjs!xpsl/ bnqmf!gsffepn!gps!dsfbujwjuz-!boe!sppn!gps! efwfmpqjoh!b!xjef.sbohf!pg!ffdujwf!ufbdijoh! tusbufhjft!cbtfe!po!uif!offet!pg!joejwjevbm! mfbsofst/Ô

224 bsut!joufhsbujpo!hvjef;!dbtf!tuvejft 2

ARTS INTEGRATION CASE STUDY: McKinley Park School—Whole School Arts Integration Uif!csfbeui!pg!uif!bsut!joufhsbujpo!xpsl!bu!NdLjomfz!Qbsl!Tdippm!nbz!cf!jut!nptu!sfnbslbcmf!gfbuvsf/!Xjui!bsut! dpoufou!boe!qsphsbnnjoh!ibwjoh!b!qmbdf!jo!fwfsz!dmbttsppn!boe!jo!bmm!pg!uif!dvssjdvmvn!efwfmpqnfou-!NdLjomfz! Qbsl!qsbdujdft!usvf!xipmf!tdippm!bsut!joufhsbujpo/ Gsbodft!Hbsdjb-!uif!qsjodjqbm!bu!NdLjomfz!Qbsl-!tfflt!dmbttsppn!ufbdifst!xip!fyqsftt!pqfooftt!up!bsu!boe!b!eftjsf!up! jnqmfnfou!xipmf!tdippm!bsut!joufhsbujpo!joup!uifjs!dmbttsppn!qsbdujdf/!Tif!fohbhft!qbsfout-!tub-!boe!uif!dpnnvojuz! jo!gvoesbjtjoh!boe!jo!puifs!wpmvouffs!fpsut!up!ifmq!uif!tdippm!nffu!jut!hpbmt/

Defining Arts Integration Putting the Program into Action Gps!Gsbodft!Hbsdjb-!bsut!joufhsbujpo!nvtu! Tpdjbm!tuvejft-!4.E!wjtvbm!bsut-!ebodf-!boe! qspwjef!tuvefout!xjui!bvuifoujd!fyqfsjfodft! dvmuvsbm!bxbsfoftt!bmm!cmfoefe!jo!b!xipmf! uibu!bsf!pohpjoh!boe!qptjujwf/!ÓXf!bsf! tdippm!bsut!joufhsbujpo!qspkfdu!bcpvu!uif! jotujmmjoh!b!mpwf!pg!bsu!gspn!Qsf.L!po! B{ufd!Fnqjsf/!Evsjoh!uijt!tpdjbm!tuvejft!voju-! uispvhi!uif!hsbeft-Ô!tif!tbzt/!Nt/!Hbsdjb!jt! Ns/!Gfssfs-!xjui!uif!tvqqpsu!pg!Nt/!Hbsdjb-! fouivtjbtujd!bcpvu!uif!Óezobnjuf!ufbdifst!xip! xpslfe!xjui!tuvefout-!tub-!qbsfout-!boe! bsf!ufbdijoh!uif!bsut!xjui!b!upvdi!pg!dvmuvsf/Ô! puifs!dpnnvojuz!wpmvouffst!up!dpotusvdu! Ifs!ufbdijoh!ufbn!jodmveft!cjmjohvbm!tvqqpsu! b!31.cz.41.gppu!npefm!pg!uif!djuz!pg! boe!dvmuvsbm!bxbsfoftt!ufbdifs!Bmfkboesp! Ufopdiujumbo/!Ju!efqjdufe!uif!djuz!bt!ju!fyjtufe! Gfssfs/!If!cfmjfwft!uif!bsut!joufhsbujpo! jo!262:-!xifo!uif!Tqbojti!fyqmpsfs!Ifsoˆo! bqqspbdi!ibt!uif!qpufoujbm!up!nblf!b!effq! Dpsut!ßstu!bssjwfe!jo!Nfyjdp/!Uif!hspvqÖt! jnqbdu!po!tuvefout/!ÓXf!bsf!uszjoh!up! efubjmfe!eftjho!jodmvefe!UfopdiujumboÖt! dbqujwbuf!uif!tdjfodf!pg!uif!joufmmfdu!boe!uif! fmbcpsbuf!tztufn!pg!dbobmt!boe!dijobnqbt-!uif! tpvm-!csjohjoh!uifn!uphfuifs!up!! bsujßdjbm!jtmboet!pg!bsbcmf!mboe!uibu!tvqqmjfe! nblf!b!dpnqmfuf!dijme/Ô! gppe!tpme!jo!uif!djuzÖt!dfousbm!nbslfu/!Uif! npefm!bmtp!tipxfe!Npduf{vnbÖt!{pp-!xijdi! Program Structure and Methodology njhiu!ibwf!cffo!uif!xpsmeÖt!ßstu/!Tuvefout! Bob!Spnfsp-!b!Obujpobm!Cpbse!dfsujßfe!ßof! vtfe!dmbz-!qmbtufs-!boe!xppe!up!cvjme!uif! bsut!ufbdifs-!qspwjeft!wjtvbm!bsu!jotusvdujpo! npefm/!Bu!uif!dvmnjobujpo!pg!uif!qspkfdu-! up!tuvefout!jo!bmm!hsbeft!evsjoh!51.njovuf! uijt!mbshf.tdbmf!npefm!xbt!ejtqmbzfe!bu!uif! tfttjpot!pddvssjoh!uxp!ps!uisff!ujnft!fbdi! NdLjomfz!Qbsl!Tdippm!hznobtjvn-!uif! xffl/!Ifs!dvssjdvmvn!efwfmpqt!pshbojdbmmz! spuvoeb!pg!uif!Kbnft!S/!Uipnqtpo!Dfoufs-! gspn!puifs!ejtdjqmjoft!ubvhiu!bu!fbdi!hsbef! boe!uif!Ofxcfssz!Mjcsbsz/!Uif!tdippmÖt! mfwfm/!Puifs!bsut!qsphsbnt!ublf!qmbdf!cfgpsf! gpmlmpsjd!ebodf!hspvq!qfsgpsnfe!bu!uif! boe!bgufs!tdippm/!Nt/!Hbsdjb!ejsfdut!b! pqfojoh!dfsfnpoz!pg!uif!mjcsbsz!fyijcjujpo/! gpmlmpsjd!ebodf!qsphsbn-!Ns/!Gfssfs!ejsfdut! Mpdbm!ofxtqbqfst!dispojdmfe!uif!upvs/! uif!qpfusz!qsphsbn-!boe!uif!ßgui!hsbef! ufbdifs!dpoevdut!uif!esbnb!qsphsbn/ Mfbefstijq!jt!b!lfz-!bddpsejoh!up!Nt/!Hbsdjb/! ÓJu!tubsut!xjui!tpnfpof!gps!xipn!uif!bsut!bsf! b!qsjpsjuz/Ô!Tif!fnqibtj{ft!uibu!jg!qsjodjqbmt! dbo!dpnnvojdbuf!uifjs!qptjujwf!wjtjpo!pg!uif! jnqpsubodf!pg!uif!bsut-!ufbdifst!xjmm!tvqqpsu! uif!bsut!joufhsbujpo!bqqspbdi!boe!nblf!ju!b! tvddftt/!

bsut!joufhsbujpo!hvjef;!dbtf!tuvejft!! 225 3

ARTS INTEGRATION CASE STUDY: Center for Community Arts Partnerships (CCAP) and Project AIM Uif!Dfoufs!gps!Dpnnvojuz!Bsut!Qbsuofstijqt!)DDBQ*!ibt!xpslfe!tjodf!2::9!up!efwfmpq!boe!jnqmfnfou!bsut! fevdbujpo!qsphsbnnjoh!jo!Dijdbhp/!Uijt!pshboj{bujpo!gpdvtft!po!dsfbujoh!boe!dvmujwbujoh!qbsuofstijqt!bnpoh! Dpmvncjb!Dpmmfhf!tuvefout!boe!gbdvmuz-!qvcmjd!tdippmt-!boe!dpnnvojuz.cbtfe!pshboj{bujpot/!Uif!Bsut!Joufhsbujpo! Nfoupstijq!Qspkfdu!)Qspkfdu!BJN*!jt!b!DDBQ!Tdippm!Qbsuofstijqt!jojujbujwf!mfe!cz!Dzouijb!Xfjtt/!Qspkfdu!BJN! qspwjeft!qspgfttjpobm!boe!qsphsbn!efwfmpqnfou!up!gptufs!bsut!joufhsbujpo!jo!ojof!qvcmjd!tdippmt!boe!npsf!uibo!ßguz! dmbttsppnt/!Ju!bmtp!usbjot!boe!xpslt!xjui!b!ubmfoufe!dbesf!pg!wjtvbm-!nvtjdbm-!qfsgpsnjoh-!mjufsbsz-!boe!nfejb!bsujtut/

Defining Arts Integration ¦!!jnnfstf!jo!jorvjsz!boe!cjh!jefbt Qspkfdu!BJN!gbdjmjubuft!bsut!joufhsbujpo!bt! ¦!!nblf-!sfwjtf-!boe!tibsf!xpsl b!ezobnjd!ufbdijoh!boe!mfbsojoh!qspdftt-! ¦!!qfsgpsn!boe!fyijcju efwfmpqfe!uispvhi!mpoh.ufsn!qbsuofstijqt! bnpoh!ufbdijoh!bsujtut-!bsut!tqfdjbmjtut-!boe! ¦!!sfàfdu!boe!bttftt dmbttsppn!ufbdifst/!Jo!BJNqsjou;!Ofx!Sfmbujpotijqt! ¦!!sfwjtju!joufoujpot!gps!ufbdijoh!boe!mfbsojoh jo!uif!Bsut!boe!Mfbsojoh-!dp.fejufe!cz!Dzouijb! Xfjtt!boe!Bnboeb!Mfjhi!Mjdiufotufjo-!bsut! Putting the Program into Action joufhsbujpo!jt!efßofe!bt; Tbcjo!Tipvu!Pvut!jt!bo!joufsejtdjqmjobsz!bsut. ¦!!bo!fevdbujpobm!ßfme!uibu!tqfdjbmj{ft! joufhsbufe!voju!efwfmpqfe!bu!Tbcjo!Nbhofu! fttfoujbmmz!jo!sfmbujpotijqtÒbnpoh!qfpqmf-! Tdippm!cz!qipuphsbqifs!Kpfm!Xbofl-!qpfu! jefbt-!dvssjdvmb-!qspdfttft-!uifnft-!boe! Kfoo!Npsfb-!boe!uisff!dmbttsppn!ufbdifst/! bsfbt!pg!tuvez-!xjui!bsut!mfbsojoh!bu!uif! Up!fyqmpsf!uif!hvjejoh!rvftujpo-!Ipx!dbo! dfoufs!pg!uiftf!sfmbujpotijqt b!qipup!epdvnfoubsz!qspkfdu!gfbuvsjoh! ¦!!uif!qspdftt!pg!nfshjoh!tuboebset.cbtfe! tdippm!tub!boe!gbdvmuz!ifmq!tuvefout!efwfmpq! mfbsojoh!jo!uif!bsut!xjui!mfbsojoh!jo!puifs! b!hsfbufs!voefstuboejoh!boe!sftqfdu!gps! bdbefnjd!tvckfdu!bsfbt uif!tdippm!dpnnvojuz@-!tuvefout!xpslfe! jo!hspvqt!up!dpoevdu!psbm!ijtupsjft!pg! Program Structure and Methodology tdippm!tub-!efwfmpq!nfbojohgvm!joufswjfx! rvftujpot-!mfbso!qpfujd!tusvduvsft-!usbotmbuf! Qspkfdu!BJN!sftjefodjft!ublf!qmbdf!evsjoh! uifjs!joufswjfxt!joup!pef!qpfnt-!qipuphsbqi! uif!tdippm!ebz/!Uif!bsut!joufhsbujpo!ufbdijoh! uifjs!tvckfdut!jo!uifjs!xpsl!tfuujoht-!boe! ufbn!jt!nbef!vq!pg!dmbttsppn!ufbdifst!boe! dsfbuf!qipuphsbqijd!dpmmbhft/!Uifo!uifz! ufbdijoh!bsujtu!qbsuofst!gspn!uif!BJN!bsujtu! dsjujrvfe!boe!tibsfe!uifjs!xpsl!boe!sfàfdufe! dbesf/!Uif!ufbdijoh!ufbnt!fybnjof!uif! po!uifjs!mfbsojoh!uispvhi!ejtdvttjpo!boe! qbsbmmfm!qspdfttft!bdsptt!sfbejoh-!xsjujoh-! xsjujoh/!Jo!uif!qspdftt-!tuvefout!mfbsofe! boe!bsu!nbljoh!jo!psefs!up!dsfbuf!dvssjdvmvn! gsbnjoh-!dpnqptjujpo-!boe!qpjou.pg. uibu!npwft!cbdl!boe!gpsui!bdsptt!uiftf! wjfxÒtuboebset.cbtfe!dpodfqut!gspn!cpui! qspdfttft/!Uif!dpodfqu!boe!qsbdujdf!pg!b! qipuphsbqiz!boe!mbohvbhf!bsut!dvssjdvmb/! Mfbsojoh!Tqjsbm!jt!bo!BJN!bsut!joufhsbujpo! Uif!ufbdijoh!ufbn!pctfswfe!uibu!uif!sftvmujoh! jotusvdujpobm!npefm/!Evsjoh!uijt!pshbojd! tuvefou!xpsl!tipxfe!fwjefodf!pg!hsfbu!sftqfdu! qspdftt!bmm!qbsujdjqbout!ibwf!uif!pqqpsuvojuz! gps!uif!qipuphsbqijd!tvckfdut!bt!xfmm!bt!ijhi. up;! rvbmjuz!bsu!boe!xsjujoh/!Uif!qspkfdu!xbt!bmtp! ¦!!ejtdpwfs!joufoujpot!gps!ufbdijoh!boe! fyijcjufe!bu!uif!ÓUbmljoÖ!CbdlÔ!tipx!bu!uif! mfbsojoh Nvtfvn!pg!Dpoufnqpsbsz!Qipuphsbqiz!bu! ¦!!dsfbuf!b!tbgf!dpnnvojuz!pg!mfbsofst Dpmvncjb!Dpmmfhf!Dijdbhp/ ¦!!mfbso!jo!uif!mbohvbhf!pg!uif!bsut

226 bsut!joufhsbujjpo!hvjef;!dbtf!tuvejft 4

ARTS INTEGRATION CASE STUDY: eta Creative Arts Foundation DijdbhpÖt!fub!Dsfbujwf!Bsut!Gpvoebujpo!jt!b!mfbejoh!Bgsjdbo!Bnfsjdbo!qfsgpsnjoh!jotujuvujpo/!Gpvoefe!jo!Bqsjm-! 2:82-!fub!tppo!cfhbo!up!qspwjef!usbjojoh!boe!qfsgpsnbodf!pqqpsuvojujft!gps!cpui!bevmut!boe!dijmesfo/!Uif! gpvoebujpoÖt!po.tjuf!bsut!fevdbujpo!usbjojoh!qsphsbn-!xijdi!qspwjeft!pohpjoh!mfbsojoh!pqqpsuvojujft!gps!tuvefout! tjy!up!fjhiuffo!zfbst!pme-!gpmmpxt!b!tfrvfoujbm!bsut!dvssjdvmvn!jo!ebodf-!nvtjd-!boe!esbnb/!Jo!uif!nje.2:91t-!uif! pshboj{bujpo!cfhbo!up!qbsuofs!xjui!uif!Dijdbhp!Qvcmjd!Tdippmt!boe!puifs!hspvqt-!fncsbdjoh!bsut!joufhsbujpo!bt!bo! jotusvdujpobm!bqqspbdi/!Gspn!uif!tubsu-!fub!tub!pctfswfe!uibu!tuvefout!xip!xfsf!tusvhhmjoh!bdbefnjdbmmz!uisjwfe! evsjoh!uif!qfsgpsnbodf!fyqfsjfodf/!Gpvoebujpo!qsftjefou!Bcfob!Kpbo!Q/!Cspxo!sfdbmmt!uibu!qfsgpsnjoh!ifmqfe! tuvefout!up!tveefomz!Óiju!uifjs!nbslÔ!jo!nvmujqmf!ofx!xbzt/!

Defining Arts Integration Putting the Program into Action Bu!fub-!bsut!joufhsbujpo!qsphsbnt!nvtu! Jo!pof!qbsuofstijq-!uif!sfbejoh!ufbdifs!boe! joufhsbuf!bsujtujd!ejtdjqmjoft!xjui!puifs! ufbdijoh!bsujtu!qmboofe!up!vtf!nvtjd!boe! ejtdjqmjoft!boe!jodmvef!uiftf!dpnqpofout; esbnb!up!effqfo!tfwfoui!hsbef!tuvefoutÖ! ¦!!dvmuvsfÒqsftfswjoh-!qspnvmhbujoh-!boe! voefstuboejoh!pg!dfsubjo!ufyut/!Sbuifs!uibo! qfsqfuvbujoh!uif!Bgsjdbo!Bnfsjdbo!bftuifujd gpdvtjoh!po!qsfqbsbujpo!gps!b!qfsgpsnbodf-! ¦!!dsfbujwjuzÒefwfmpqjoh!tuvefoutÖ!dsfbujwf! uif!ufbdijoh!ufbn!bjnfe!bu!jnqspwjoh!tuvefou! uijoljoh!bcjmjujft!xijmf!ovsuvsjoh!tljmmt. bdijfwfnfou/!Uif!dmbtt!sfbe!bmpve!b!dvmuvsbmmz! cbtfe!bsut!mfbsojoh!jo!b!wbsjfuz!pg!ejtdjqmjoft sfmfwbou!opwfm!gspn!uif!dvssjdvmvn-! fnqibtj{joh!àvfodz!tljmmt/!Xifo!tuvefout! ¦!!dvssjdvmvnÒdsfbujoh!bvuifoujd!dpoofdujpot! opufe!b!dibmmfohjoh!qbsu!pg!uif!ufyu-!uifz!vtfe! cfuxffo!bdbefnjd!dvssjdvmvn!bsfbt!boe!bsut! jnqspwjtbujpo!ufdiojrvft!gps!uif!qvsqptf! mfbsojoh!tljmmt pg!bobmz{joh!boe!cfuufs!voefstuboejoh!uif! jogpsnbujpo/!Tuvefout!sfàfdufe!po!uif! Program Structure and Methodology mjufsbuvsf!jo!uif!gpsn!pg!b!tpoh-!b!tdfof-!ps! Nvouv!Ebodf!Uifbusf-!fub-!boe!uif! b!qpfn/!Fbdi!xffl!uif!ufbdifs!boe!ufbdijoh! Dpnnvojuz!Gjmn!Xpsltipq!cfdbnf!b! bsujtu!npojupsfe!tuvefoutÖ!dpnqsfifotjpo! dpotpsujvn!uibu!xpslfe!up!jnqmfnfou!bsut! pg!uif!ufyu!boe!bmmpxfe!tuvefout!ujnf!up! joufhsbujpo!qsphsbnt!jo!ßwf!tdippmt/!Bt! efwfmpq!uifjs!qfsgpsnbodf!tljmmt!jo!dpoufyu! uif!hspvq!qmboofe!dvtupnj{fe!qsphsbnt-! pg!uif!mjufsbuvsf/!Bt!b!sftvmu-!tuvefout! nfncfst!tfu!uif!hpbmt!pg!nffujoh!uif!tqfdjßd! rvjdlmz!beesfttfe!uifjs!mfbsojoh!dibmmfohft! offet!pg!fbdi!tdippm-!lffqjoh!jo!njoe!uif! boe!dpmmbcpsbufe!xjui!uifjs!qffst!up!dsfbuf! tdippmÖt!dpnnvojuz-!jut!fowjsponfou-!boe! tpmvujpot/ uif!TJQBBB-!ps!tdippm!jnqspwfnfou!qmbo/! Uif!cfofßut!pg!fub!qbsuofstijqt!bsf! Qbsujdjqbout!bhsffe!uibu!uif!gpdvt!xpvme! fwjefou!up!qbsujdjqbout/!B!tdippm!qsjodjqbm! cf!po!Óefwfmpqjoh!b!qspdftt!sbuifs!uibo! pctfswfe!uibu!Óuif!bsujtut!uibu!ibwf!qspwjefe-! b!qsphsbn/Ô!Uifz!bmtp!ftubcmjtife!uibu!Ób! esbnb-!ebodf-!tqplfo!xpse-!boe!esvn. sfbm!qbsuofstijqÔ!fyjtut!xifo!tdippmt!boe! mjof!jotusvdujpo!ibwf!nbef!bo!jodsfejcmf! qbsuofsjoh!bsut!pshboj{bujpot; ejfsfodf!jo!ipx!uif!dijmesfo!wjfx! ¦!!wjfx!bsut!joufhsbujpo!bt!b!wbmvbcmf!ufbdijoh! uifntfmwft-!sfjogpsdfe!dpoofdujpot!up! nfuipepmphz dvssjdvmvn-!boe!fyqptfe!uifn!up!bsu!gpsnt! ¦!!sftqfdu!boe!voefstuboe!uif!vojrvf! uibu!xpvme!puifsxjtf!opu!cf!bwbjmbcmf/Ô! bqqspbdift!fbdi!ibt!vtfe ¦!!bsf!jowftufe!jo!cvjmejoh!mpoh.ufsn! sfmbujpotijqt!bnpoh!ufbdifst-!bsujtut-! tuvefout-!boe!dpnnvojujft

bsut!joufhsbujpo!hvjef;!dbtf!tuvejft!! 227 5

ARTS INTEGRATION CASE STUDY: Amanda Leigh Lichtenstein, Teaching Artist Ufbdijoh!bsujtut!bsf!uif!qsbdujujpofst!xip!kpjo!xjui!dmbttsppn!ufbdifst-!tuvefout-!tub-!gbdvmuz-!ps!nfncfst!pg! uif!dpnnvojuz!up!dsfbuf!vojrvf!boe!joopwbujwf!bsut!joufhsbujpo!qsphsbnt/!Pof!Dijdbhp.cbtfe!ufbdijoh!bsujtu!jt! Bnboeb!Mfjhi!Mjdiufotufjo!xip!xsjuft!opoßdujpo!boe!qpfusz/!Bt!b!wfufsbo!ufbdifs-!ifs!qsbdujdf!jt!wbsjfe/!Tif! vtft!ejfsfou!bsut!fevdbujpo!bqqspbdift-!tvdi!bt!bsut!joufhsbujpo!boe!bftuifujd!fevdbujpo-!boe!xpslt!xjui!ejfsfou! pshboj{bujpot!jodmvejoh!Vscbo!Hbufxbzt-!Dijdbhp!Bsut!Qbsuofstijqt!jo!Fevdbujpo!)DBQF*-!Dijdbhp!Qvcmjd! Tdippmt-!boe!Qspkfdu!BJN-!bo!jojujbujwf!pg!uif!Dfoufs!gps!Dpnnvojuz!Bsut!Qbsuofstijqt!)DDBQ*!bu!Dpmvncjb! Dpmmfhf/!Tif!boe!DDBQÖt!Dzouijb!Xfjtt!dp.fejufe!BJNqsjou;!Ofx!Sfmbujpotijqt!jo!Bsut!boe! Mfbsojoh-!xijdi!ufmmt!uif!tupsz!pg!uif!DDBQÖt!bsut!joufhsbujpo!nfoupstijq!qsphsbn!boe!pfst!b!sjdi!bssbz!pg!bsut! fevdbujpo!ufbdijoh!uppmt/!Jo!3117-!Mjdiufotufjo!qsftfoufe!bt!b!ufbdijoh!bsujtu!bu!VOFTDPÖt!ßstu!Xpsme!Dpogfsfodf! po!Bsut!Fevdbujpo/

Defining Arts Integration up!hsbqqmf!xjui!nbufsjbmt!up!fyqmpsf!pvs! Bsut!joufhsbujpo!jt!uif!qspdftt!pg!nbljoh! rvftujpot-!xf!dibohf!qfstqfdujwft!boe!xf! nfbojoh!boe!dsfbujoh!Ófmfhbou!ßutÔ! nblf!ofx!nfbojoht/Ô! bnpoh!jefbt-!dpodfqut-!boe!ejtdjqmjoft-! Nt/!Mjdiufotufjo!cfmjfwft/!Mjlf!nboz!bsut! Putting the Program into Action joufhsbujpo!fevdbupst-!Nt/!Mjdiufotufjo! Up!qvu!uijt!qsbdujdf!boe!qijmptpqiz!joup! cfmjfwft!uibu!effq!mfbsojoh!pddvst!evsjoh! bdujpo-!Nt/!Mjdiufotufjo!qbsuofsfe!xjui! jotusvdujpo!bt!uxp!tvckfdu!bsfbt!bsf!cfjoh! Qspkfdu!BJN0DDBQ!jo!b!qsphsbn!up!fyqmpsf! joufhsbufe/!Tif!ibt!gpvoe!uijt!mfbsojoh! xifsf!boe!ipx!svmft!bsf!efßofe!boe!nbef! qspdftt!up!cf!npsf!wbmvbcmf!uibo!ibwjoh! bdsptt!ejtdjqmjoft/!Bt!b!ufbdijoh!bsujtu!tif! tuvefout!xpsl!uispvhipvu!b!voju!up!dsfbuf! dpmmbcpsbufe!xjui!nbui!ufbdifs!Mvlf!Bmcsfdiu! b!ßobm!qspevdu!ps!qfsgpsnbodf/!ÓBsut! up!bqqmz!tvssfbmjtu!qsjodjqmft!vtfe!cz!uif! joufhsbujpo!jt!bcpvu!nbljoh!bvebdjpvt! Pvmjqp!hspvq/!Uijt!hspvq!pg!fyqfsjnfoubm! dpoofdujpot!boe!sfmbujpotijqt!cfuxffo!boe! xsjufst!vtfe!nbuifnbujdt!qsjodjqmft!up! bnpoh!ejtqbsbuf!dpodfqut-!rvftujpot-!qfpqmf! dsfbuf!qpfnt!boe!puifs!xsjujoht/!Pvmjqp! boe!qmbdft-!uipvhiut!boe!gffmjoht-Ô!tif!tbzt-! xsjufst!dsfbufe!uifjs!pxo!svmft!uibu!dibohfe! Óboe!vtjoh!uifn!up!bssjwf!bu!ofx!eftdsjqujpot! usbejujpobm!xsjujoh!gpsnt!jo!psefs!up!fyqmpsf! pg!b!tibsfe!xpsme!boe!ofx!fyqsfttjpot!gps! ofx!nfbojoht/!Uif!ufbdijoh!ufbn!eftjhofe! dpnqmfy!jefbt/Ô! b!voju!uibu!bdijfwfe!sjdi-!fmfhbou!joufhsbujpo! boe!gptufsfe!tuboebset.cbtfe!mfbsojoh!jo!uif! Program Structure and Methodology joufhsbufe!tvckfdu!bsfbt/!Nt/!Mjdiufotufjo! Xifo!dsfbujoh!b!qsphsbn-!Nt/!Mjdiufotufjo! pctfswfe!dmfbs!cfofßut!up!uijt!bsut!joufhsbujpo! esbxt!gspn!nboz!tpvsdft!pg!jotqjsbujpo/!ÓJ! bqqspbdi/!ÓTivuumjoh!bdsptt!ejtdjqmjoft-! bqqspbdi!ufbdifst-!tuvefout-!dpnnvojuz! tuvefout!jo!fjhiui!hsbef!cfhbo!up!vosbwfm! qbsuofst-!nz!bsujtu!gsjfoet-!boe-!pg!dpvstf-! uif!dpodfqu!pg!svmf!nbljohÒcz!csfbljoh! jotqjsjoh!nfejb-!dvmuvsbm-!boe!qpmjujdbm! boe!cfoejoh!uifn/Ô!Uif!qspkfdu!mfe!up!bo! tpvsdft/Ô!Tif!tzouiftj{ft!jefbt!boe!dsfbuft! fyqfsjnfoubm!cppl!tusvduvsf!gfbuvsjoh!qpfnt! fohbhjoh!iboet.po!dvssjdvmvn!uibu!Ójowjuft! cbtfe!po!nbuifnbujdt/ qspwpdbujpo!bspvoe!cjh!jefbt!boe!rvftujpot! bcpvu!uiptf!cjh!jefbt/Ô!Tif!qmbot!ezobnjd! qspdfttft!boe!fyqfdut!usbotgpsnbujwf!sftvmut/! ÓBmm!qspkfdut!cfhjo!xjui!hfofsbujwf!rvftujpot! uibu!dibohf!bt!xf!dibohf/!Bt!xf!cfhjo!

228 bsut!joufhsbujpo!hvjef;!dbtf!tuvejft 6

ARTS INTEGRATION CASE STUDY: Fine and Performing Arts Magnet Cluster Program (FPAMCP) Uif!Gjof!boe!Qfsgpsnjoh!Bsut!Nbhofu!Dmvtufs!Qsphsbn!)GQBNDQ*!jt!b!ofuxpsl!pg!pwfs!ßguz!bsut.gpdvtfe! fmfnfoubsz!tdippmt!jo!Dijdbhp!Qvcmjd!Tdippmt-!ftubcmjtife!up!foibodf!fevdbujpobm!pqqpsuvojujft!jo!ofjhicpsippe! tdippmt/!Mfbe!bsut!ufbdifst!jo!uif!qsphsbn!xpsl!xjui!puifs!bsut!ufbdifst!boe!dmbttsppn!ufbdifst!up!qmbo!bdujwjujft! boe!tibsf!cftu!qsbdujdft/!Tuvefout!jo!GQBNDQ!tdippmt!sfdfjwf!joufotjwf-!ejsfdu-!boe!joufhsbufe!jotusvdujpo!jo!pof!ps! npsf!pg!uif!gpmmpxjoh!pg!uif!ßof!bsut!ejtdjqmjoft;!ebodf-!wjtvbm!bsut-!nvtjd-!uifbufs-!boe0ps!nfejb!bsut/!

Defining Arts Integration ofjhicpsippe!boe0ps!nbhofu!qsphsbn! Uif!Nbhofu!Dmvtufs!Qsphsbn!efßoft! qspgfttjpobm!mfbsojoh!dpnnvojujft/!Sfhvmbs! dvssjdvmvn!joufhsbujpo!bt!uif!frvbm!boe! nffujoht!bsf!tdifevmfe!tp!uibu!nbhofu!dmvtufs! nfbojohgvm!dpoofdujpo!pg!fttfoujbm!dpoufou! mfbe!ufbdifst!boe!dmbttsppn!ufbdifst!dbo! jo!b!nbhofu!gpdvt!bsfb!xjui!fttfoujbm! qmbo!boe!sfàfdu!dpmmbcpsbujwfmz/!Tdippmt!jo! dpoufou!jo!pof!ps!npsf!tvckfdu!bsfbt/!Up! uif!dmvtufs!tibsf!sftpvsdft!boe!qmbo!fwfout! cf!tvddfttgvm-!uif!joufhsbufe!dpoufou!nvtu! uphfuifs/!Evsjoh!boovbm!qmboojoh!nffujoht-! cf!nfbojohgvm!boe!frvbmmz!cbmbodfe/!Jo! GQBNDQ!tdippmt!tfmfdu!b!dpnnpo!uifnf!up! uif!GQBNDQ!bsut!joufhsbujpo!npefm-!ßof! fyqmpsf!uispvhi!dvssjdvmvn!boe!qspkfdut!bu! boe!qfsgpsnjoh!bsut!bsf!joufhsbufe!joup! bmm!uif!tdippmt!uispvhipvu!uif!zfbs/! bmm!tvckfdut!jo!uif!tdippm/!Uijt!qsphsbnÖt! benjojtusbupst-!ufbdifst-!boe!bsut!qbsuofst! Putting the Program into Action cfmjfwf!uibu!bo!bsut.cbtfe!dvssjdvmvn! Mbohvbhf!bsut-!tpdjbm!tuvejft-!boe!uifbufs!bsut! fodpvsbhft!tuvefout!up!buubjo!cpui!bdbefnjd! xfsf!joufhsbufe!evsjoh!uif!ÓJoifsjubodf!boe! boe!bsujtujd!fydfmmfodf-!boe!ifmqt!tuvefout! DpnnvojuzÔ!voju!bu!Ijhhjot!Dpnnvojuz! efwfmpq!b!mjgf.mpoh!qbsujdjqbujpo!jo!uif!bsut/! Bdbefnz/!Qbsujdjqbout!jodmvefe!tjyui!boe! tfwfoui!hsbef!tuvefout-!uifjs!dmbttsppn! Program Structure and Methodology ufbdifst-!boe!bsut!qbsuofst!gspn!DijdbhpÖt! Uif!Nbhofu!Dmvtufs!Qsphsbn!ibt!fjhiu! Nvtjd!Uifbusf!Xpsltipq/!Bt!uifz!fyqmpsfe! ejnfotjpot!pg!jnqmfnfoubujpo;!mfbefstijq! uif!voju!uifnf-!tuvefout!mfbsofe!mjufsbdz! dpnnjunfou-!dvssjdvmbs!joufhsbujpo-! boe!tpdjbm!tuvejft!dpodfqut/!Qbsujdjqbujoh!jo! qspgfttjpobm!efwfmpqnfou-!jotusvdujpobm! bdujwf!ejtdvttjpo!boe!xsjujoh!fyfsdjtft-!uifz! ffdujwfoftt-!jousb.!boe!joufs.tdippm! cfhbo!up!ejtdpwfs!boe!cfuufs!voefstuboe!uif! dpmmbcpsbujpo-!qbsfoubm!jowpmwfnfou-! dpodfqu!pg!joifsjubodf!boe!uifjs!qmbdf!jo! dpnnvojuz!qbsuofstijqt-!boe!pqqpsuvojujft! uifjs!dpnnvojuz/!Uifz!mfbsofe!uifbufs!bsut! gps!bddfmfsbufe!tuvefou!mfbsojoh/!Uiftf!bmtp! tljmmt!cz!efwfmpqjoh!uifjs!tubhf!ufdiojrvft! gpsn!b!gsbnfxpsl!gps!ufbdifst!up!jnqmfnfou! uispvhi!wbsjpvt!fyfsdjtft/!Uifjs!ejtdvttjpot! qsphsbnt/!Benjojtusbupst!bu!GQBNDQ! boe!xsjujoh!fwpmwfe!joup!b!tdsjqu!cbtfe!po!uif! tdippmt!tvqqpsu!mfbe!bsut!ufbdifst!cz! ezobnjdt!pg!b!njhsbujpo!fyqfsjfodf!gspn!uif! qspwjejoh!ujnf!boe!jodsfbtfe!pqqpsuvojujft! xftu!dpbtu!up!Dijdbhp/!Xjui!dibsbdufst!uibu! up!dpmmbcpsbuf!xjui!dmbttsppn!ufbdifst-!up!dp. csjoh!uif!dpnnvobm!fyqfsjfodf!up!mjgf-!uif! ufbdi!mfttpot-!boe!up!dpbdi!boe!nfoups!uifjs! tdsjqu!esbnbuj{fe!ipx!b!hspvq!nbqt!b!tusbufhz! dpmmfbhvft/!Bt!uiftf!mfbe!ufbdifst!joufhsbuf! gps!mjwjoh-!xpsljoh-!boe!qmbzjoh!uphfuifs/! bsut!joup!bmm!tvckfdut!boe!qspwjef!qspgfttjpobm! Uifjs!tdsjqu!cfdbnf!b!pof.bdu-!ßguffo. efwfmpqnfou!jo!dvssjdvmvn!joufhsbujpo!boe! njovuf!qmbz!uibu!xbt!qsftfoufe!bu!uif!tdippmÖt! jotusvdujpo-!uifz!xpsl!ejsfdumz!xjui!cpui! boovbm!Gjof!Bsut!Gftujwbm/ tuvefout!boe!puifs!ufbdifst/! Epdvnfoubujpo!gspn!uijt!boe!puifs!bsut!joufhsbufe!vojut! GQBNDQ!tvqqpsut!pqqpsuvojujft!gps!uiftf! dbo!cf!gpvoe!pomjof!bu!xxx/cddmb/ofu0vojut/ qspgfttjpobmt!up!nffu!bt!tdippm.cbtfe-!

bsut!joufhsbujpo!hvjef;!dbtf!tuvejft!! 229 Arts Integration Unit Plan

Teacher Name Artist’s Name Grade 6 Art Form Photography Reading Content Poetry Unit Title “Our School Shouts Out” Documenting the Community through Photography: Interviews with Poetry Start Date September 14 End Date November 20 Objectives Students will work collaboratively to conduct effective interviews, learn and use different poetic forms, and learn processes to create photographic portraits. Multiple Intelligences To assist students in developing visual-spatial intelligence through photography techniques, and interpersonal intelligence through developing portraits of school staff and detecting and responding appropriately to the desires and motivations of others. Standards Addressed IL Fine Arts 25A3e, 26A3e; IL Language Arts 1C3e, 2A3c, 3C3a, 4A3a, 5C3b Materials Needed Digital cameras, ink jet cartridges, digital photo paper, mat board for mounting photos, glue sticks.

Guiding Questions How can a student photo documentary project that features a broad spectrum of school staff help sixth graders to develop a respect for the school community and building? How can students learn to make photo portraits that honor the subjects of their work?

Prepare in Advance Assemble instructional and inspirational resources. Photographic images by Abelardo Morell. Poetry: “Shout Out” by Sekou Sundiata; “Odes to Common Objects” by Pablo Neruda. Key vocabulary words: framing, composition, portrait, close up/wide shot; lighting, interview, anaphora, praise poem, focus, horizontal, vertical. Prepare interview protocol.

Pre-Assessment Strategy Tell students that they will be conducting interviews and that good interview questions are appropriate and respectful. As a group, have them brainstorm what they know about interviews, suggest good interview questions, and tell why the questions are appropriate and respectful.

230 voju!qmbo;!bsut!joufhsbujpo Integrated Unit Goals: Arts and Literacy

Art Form: Photography Academic Content: Reading

Students will Students will • make an effective portrait with a • develop interview questions and digital camera conduct meaningful interviews • establish eye contact with a subject • learn how poetry can create a written and learn how looking into a camera portrait that extends the meaning of changes the relationship that a a photograph viewer has to a portrait • write, using a wide range of • set up different kinds of stages and strategies and processes to action portraits communicate with different • understand the transformative power audiences of photography

Integrated Unit Activities: Arts and Language Arts

Check each strand of the Visual Arts scope and sequence addressed in the unit. ■ Arts Making ■ Arts Literacy ■ Evaluation/Interpretation ■ Making Connections

Check each strand of the Language Arts scope and sequence addressed in the unit. ■ Reading ■ Literature ■ Writing ■ Writing ■ Listening and Speaking ■ Communicating

Weeks 1–4: Introduce and Engage • Introduce photography and photographic concepts and digital cameras. • Students work with resident photographer to photograph from a shot list. • Introduce School Documentary Portrait Project. • Students look at images of Cuban factory workers and discuss respect for workers. Weeks 5–8: Develop and Create • Students establish photo teams and plan portraits and interviews. • Students photograph subjects, their work environment, and relevant objects; they conduct interviews. • Students work with resident poet to compose odes about their subject, learning poetic structures and forms. Weeks 9–10: Respond and Refine • Students write in response to photographs and interviews. • Students work with resident poet to create “Shout Out” poems modeled on the Sundiata poem. • Students complete their portraits, mounting them, adding poems, and creating borders with images from the work environments.

voju!qmbo;!bsut!joufhsbujpo!!!231 Assessment Strategy: Culminating Event Student work will be displayed in three ways: at the school; at an exhibit at the Museum of Contemporary Photography at Columbia College; at the school’s arts showcase.

Teacher Reflections What worked: Students had the opportunity to learn about, respect, and value school personnel. I learned a vast amount about the school community as well. This unit helped students gain an understanding that is usually difficult for them—how to see things from others’ points of view and how to begin to empathize. The guest writer was phenomenal in inspiring the kids to write creatively and openly.

Artist Reflections Though I have been in arts residency as a photographer here for four years, I connected to the school in a deeper way by meeting many of the staff and learning about them. Now they are approaching me to ask to see their portraits. This connection enriches the students and me as well.

Student Reflections “There are unlimited ways you can take pictures.” “ Sometimes you have to change and add some unusual stuff to make a picture look better.” “The person that was photographed will feel important about the job they do.”

232 voju!qmbo;!bsut!joufhsbujpo Arts Partner in the Schools CPS The Arts Partner in the Schools

Notes for a Successful Artist Residency

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bsut!qbsuofs!jo!uif!tdippmt!235 Teaching Special Populations Teaching Students with Disabilities

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240 ufbdijoh!tuvefout!xjui!ejtbcjmjujft Arts Education: Theater and Autism

CASE STUDY The Cumulus Kids: Students with Autism Agassiz Elementary School Bsut!fevdbujpo!jo!uif!Dijdbhp!Qvcmjd!Tdippmt!fyufoet!up!tuvefout!xjui!tqfdjbm!offet/!Gps!npsf!uibo!b!efdbef-!Bhbttj{! Fmfnfoubsz!Tdippm!ibt!bqqmjfe!uifbufs!fevdbujpo!nfuipet!gps!tuvefout!xjui!bvujtn!tqfdusvn!ejtpsefs!)BTE*!jo!uifjs! Dvnvmvt!Ljet;!Tuvefout!xjui!Bvujtn!qsphsbn/!Bu!uif!cfhjoojoh!pg!uijt!mpoh.ufsn!sftjefodz-!tuvefout!tusvhhmfe!up! bdu!pvu!b!tjnqmf!dijmesfoÖt!cppl!sfbe!cz!uif!ufbdifs/!Opx-!tuvefout!bvejujpo-!nfnpsj{f!mjoft-!boe!qfsgpsn!bo!foujsf! qmbz!xjuipvu!bevmut!po!tubhf!xijmf!nbljoh!bddvsbuf!dpoofdujpot!cfuxffo!fyqsfttjpot!boe!fnpujpot/!Bhbttj{-!b!qvcmjd! tdippm!dpnnjuufe!up!uif!ßof!boe!qfsgpsnjoh!bsut-!ibt!cffo!qbsuofsjoh!xjui!Dijdbhp!Bsut!Qbsuofstijqt!jo!Fevdbujpo! )DBQF*!tjodf!2::4!up!dsfbuf!uijt!boe!puifs!bsut!fevdbujpo!qsphsbnt/

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242 bsut!fevdbujpo;!uifbufs!boe!bvujtn Appendix Sample Rubrics: Music

A Sample Music Rubric: Elementary A music instructor or judge might use a rubric like the one below to assess a choral/ensemble performance.

5 (I) Superior 4 (II) Excellent 3 (III) Good 2 (IV) Fair 1 (V) Poor Balance/ Group achieves Group achieves Group has good Group is not Group is Blend balance excellent blend blend with balanced most consistently out throughout. most of the lapses often. of the time. of balance. time. Intonation The group Group is mostly Group Group has Complete performs in tuned well. intonation is frequent lapses lack of tonal tune with rare inconsistent. of pitch. centering. lapses. Expression, Always Usually Sometimes Very little Stylistically Style, and stylistically stylistically stylistically interpretation incorrect; no Phrasing accurate. accurate. accurate. throughout. phrasing. Rhythm/ Tempi are Tempi are Inaccurate Rhythms are No rhythmic Tempo accurate. usually tempi used rarely aligned. accuracy accurate. frequently. throughout; no pulse. Technical Ensemble Good technical Limited Very little Facility is non- Facility performs with facility with facility in both facility exhibited existent. great agility. some problems. selections. throughout. Stage Group is Group is mostly Some students Many Few students Presence uniform in uniform in are not focusing distractions. are focused on appearance. appearance. on conductor. director.

A Sample Music Rubric: High School A music instructor or judge might use a rubric like the one below to assess a band or orchestra performance.

5 (I) Superior 4 (II) Excellent 3 (III) Good 2 (IV) Fair 1 (V) Poor Intonation In tune Some sections Problems occur Sections are Problems exist throughout. are not in within the not in tune in at least 80 tune in each same sections throughout to 85% of selection. throughout. all selections performance. performed. Rhythm Rhythmic Good rhythmic Problems Incorrect Rhythmic pulse patterns pulse. become more patterns. Pulse is non-existent. are correct prevalent. is inconsistent throughout. throughout. Technique Quality is Infrequent Some sections Few attempts Most of the consistent lapses of are played at correct music is throughout. musicality. poorly. performance. incorrectly performed. Balance/ Ensemble and Isolated Some sections Overplaying in Each segment Blend sections meld problems in overplay most sections. does not listen together. each selection. throughout. to the others. Interpretation Proper phrasing Correct notes; Little regard to Very seldom uses No phrasing at all times; attempts to phrasing. correct phrasing or style. Many continuous use get the idea of as set down in wrong notes. of nuance. music. music. Articulation/ Clear, concise, Isolated Some Attempts at No attempt Bowing consistent inconsistencies; breakdowns in proper bowing/ to play bowing. some clarity each selection. articulation. Many consistently. problems. breakdowns.

244 bqqfoejy SampleSample Rubrics Rubrics: CONTINUED Visual Arts

A Sample Visual Arts Rubric: Elementary

4 ACCOMPLISHED 3 DEVELOPING 2 BEGINNING 1 LACKING Fully and consistently All concepts not fully Concepts attempted; Concepts absent with no developed concepts; developed; some little attention to detail attention to detail clear and purposeful attention to detail attention to detail attempted

SCORE DESCRIPTION OF CONCEPTS TEACHER COMMENTS ___ /4 ARTS LITERACY: Appropriate use of key vocabulary/terms ___ /4 ARTS MAKING: Appropriate, neat, and creative use of mediums INTERPRETATION and EVALUATION: Discussion, analysis, ___ /4 and evaluation of works of art from an aesthetic perspective MAKING CONNECTIONS: Exploration of connections between ___ /4 self and the world of art throughout history SOCIAL/EMOTIONAL LEARNING: Safe and responsible use of ___ /4 materials; respect for classmates, teachers, and self ___ /20 TOTAL POINTS GRADING SCALE A = 19-20, B = 17-18, C = 15-16, D = 13-14, F = 12/below

A Sample Visual Arts Rubric: High School

Skills: Creativity: Composition: Craftsmanship: Appreciation: Demonstrated Expressed an Exhibited evidence Created a finished Identified effective use of individual style of ideas/methods work that adheres strengths and materials, tools, using personal discussed in class. to guidelines and weaknesses in and processes. experiences and completed work to their work and expression. the best of their clearly explained. ability. Exemplary control Personal expression Exemplary use Craftsmanship Self-assessment of the use of is unique and of problem exceeds is accurate, 5 materials, tools, well thought out. solving skills to expectations of completed work and processes. Work is visually meet and exceed assignment. expresses new appealing. requirements. knowledge/skills. Proficient control Personal Adequate thought Craftsmanship Self-assessment of materials, expression is process, problem completes all is proficient, 4 tools, and original and work solving is clear guidelines and completed work processes. is appealing to and evident. consideration of shows thought of viewer. choices is evident. new skills. Limited control Work is unique, Problem solving is Craftsmanship is Self-assessment of the use of personal not supported or underdeveloped is complete, materials, tools, expression is seen in artwork, and work looks work shows little 3 and processes. minimal. thought process is unfinished, does influence of new lacking. not meet all skills. guidelines. Novice control Development Evidence of Craftsmanship Self-assessment of the use of of idea/unique thought process is doesn’t support is incomplete, 2 materials, tools, qualities is vague. completed work, work does not and processes. lacking, personal few guidelines are show new skills. expression is weak. met. Minimal or no No personal Little or no Guidelines are No self- control of the use expression, thought process not met, effort is assessment, work 1 of materials, tools, thought process evident, lacking lacking. does not translate and processes. not evident. developed ideas. new skills. 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

*half points can also be given* Total Points: ______Grade: ______

tbnqmf!svcsjdt!! 245 SampleSample Rubrics Rubrics: CONTINUED Dance

A Sample Dance Rubric: Elementary A dance teacher might use a rubric like the one below to assess a beginning-level student’s understanding and performance of a learned piece of choreography.

Criteria (Apply to each category.) 4 Demonstrated clearly, convincingly, and appropriately 3 Demonstrated somewhat clearly, convincingly, and appropriately 2 Demonstrated with limited knowledge or understanding 1 Demonstrated unclearly, unconvincingly, and inappropriately 0 Task not attempted

Categories 4 3 2 1 0 Knowledge of Movement/Choreography: Student has command of movement and sequence.

Musicality: Student has understanding of the timing, counts, tempo, and rhythm.

Energy/Enthusiasm: Student displays a positive attitude.

Individual Responsibility: Student has taken time to prepare on their own; not reliant on others.

A Sample Dance Rubric: High School A dance teacher might use a rubric like the one below to assess a high school student’s understanding and performance of a learned piece of choreography.

Criteria Poor/ 1 pt Fair/ 2 pts Good/ 3 pts Excellent/ 4 pts Knowledge of Remembers only a Demonstrates Demonstrates Demonstrates Choreography few of the steps/ some knowledge good knowledge of excellent movements. of choreography, choreography. Few knowledge of the but unsure of errors. choreography. movements. Executes with few or no mistakes.

Technique Demonstrates Demonstrates Demonstrates Demonstrates little to none of only some attention to great attention to the technical understanding of most details of technique; shows elements within the technical elements; technique, but proficiency within choreography or as hasn’t attained full the dance style. explained in class. proficiency yet.

Performance The student is The student is The student is The student is fully Skills not very focused, generally focused, confident, and committed and concentrated, but the energy communicates is able to engage or committed to is low and/or with other the audience performance. inconsistent. dancers and the completely through audience through their performance. eye contact and facial and body expression.

Musicality Usually unaware Occasionally Demonstrates Demonstrates of music and dances off beat; clear awareness complete phrasing. has some difficulty of music and awareness. with awareness. phrasing with few mistakes.

TOTAL SCORE: ______

246 bqqfoejy SampleSample Rubrics Rubrics: CONTINUED Theater

A Sample Theater Rubric: Elementary A theater teacher might use a rubric like the one below to assess students’ understanding and performance of a simple pantomimed action.

Criteria (Apply to each category.) 4 Portrayed creatively, convincingly, and appropriately 3 Portrayed somewhat creatively, convincingly, and appropriately 2 Portrayed with limited creativity and appropriateness 1 Portrayed with no creativity—unconvincing, inappropriate 0 Task not attempted

Categories 4 3 2 1 0 Movement: Actions are coordinated, appropriate, convincing, and easily identified.

Sensory Elements: Actions employ multiple senses and communicate size, shape, weight, temperature, etc.

Characterization: Specific actions are imaginative and clearly demonstrate strong character choices.

A Sample Theater Rubric: High School A teacher might use a rubric like the one below to assess students’ scene work.

Skill Exceeds Expectations Meets Expectations Does Not Meet Expectations

Demonstrates Maintains focus and Demonstrates focus Often breaks focus and concentration and concentration throughout and concentration concentration. believability. scene. during most of the scene. Authentically Creatively enacts the Enacts the text in a The actions are dramatizes text scene demonstrating text clear fashion. disconnected from the text. of scene. and subtext. Presents fully Actors consistently During moments actors Character development is developed integrate body, voice and use body, voice and inconsistent. characters. emotions to dramatize emotion to portray unique characters. characters. Scene reflects Actors interact naturally Performance reflects Actors seem competitive the work of an and with integrity. some collaboration. rather than cooperative. ensemble.

tbnqmf!svcsjdt!! 247 Illinois Music Standards

Illinois State Goals for 27.A.1b Identify how the arts 27. Understand the role of the Early Elementary contribute to communication, arts in civilizations, past and 25. Know the language of the celebrations, occupations, and present. arts. recreation. 27.A. Analyze how the arts 25.A. Understand the sensory 27.B. Understand how the arts function in history, society, and elements, organizational shape and reflect history, society, everyday life. principles, and expressive and everyday life. 27.A.2a Identify and describe qualities of the arts. 27.B.1 Know how images, the relationship between the arts 25.A.1c Identify differences in sounds, and movement convey and various environments (home, elements and expressive qualities stories about people, places, and school, workplace, theater, (between fast and slow tempo; times. gallery, etc.). loud and soft dynamics; high Illinois State Goals for Late 27.A.2b Describe how the and low pitch/direction; long Elementary arts function in commercial and short duration; same and 25. Know the language of the applications (mass media, different form, tone color, or arts. product design, etc.). timbre, and beat). 25.A. Understand the sensory 27.B. Understand how the arts 25.B. Understand the similarities, elements, organizational shape and reflect history, society, distinctions, and connections in principles, and expressive and everyday life. and among the arts. qualities of the arts. 27.B.2 Identify and describe 25.B.1 Identify similarities in 25.A.2c Identify elements and how the arts communicate the and among the arts (pattern, expressive qualities such as tone similarities and differences sequence, mood, etc.). color, harmony, melody, form among various people, places, 26. Through creating and (rondo, theme, and variation), and times. performing, understand how rhythm/meter, and dynamics in a Illinois State Goals for works of art are produced. variety of musical styles. Middle/Junior High School 26.A. Understand the processes, 25.B. Understand the similarities, 25. Know the language of the traditional tools, and modern distinctions, and connections in arts. technologies used in the arts. and among the arts. 25.A. Understand the sensory 26.A.1c Identify a variety of 25.B.1 Identify similarities in elements, organizational sounds and sound sources and among the arts (pattern, principles, and expressive (instruments, voices, sequence, mood, etc.). qualities of the arts. environmental sounds, etc.). 26. Through creating and 25.A.3c Identify and describe 26.A.1d Relate symbol systems performing, understand how changes in elements and (icons, syllables, numbers, works of art are produced. expressive qualities (crescendo, letters, etc.) to musical sounds. 26.A. Understand the processes, ritardando, fermata, meter, 26.B. Apply the skills and traditional tools, and modern sforzando, etc.). knowledge necessary to create technologies used in the arts. 25.B. Understand the similarities, and perform in one or more of 26.A.2c Classify musical distinctions, and connections in the arts. sound sources into groups and among the arts. 26.B.1c Sing or play on (instrumental families, vocal 25.B.1 Identify similarities in classroom instruments a variety ranges, solo/ensembles, etc.). and among the arts (pattern, of music representing diverse 26.A.2d Read and interpret the sequence, mood, etc.). cultures and styles. traditional music notation of note 26. Through creating and 27. Understand the role of the values and letter names. performing, understand how arts in civilizations, past and 26.B. Apply the skills and works of art are produced. present. knowledge necessary to create 26.A. Understand the processes, 27.A. Analyze how the arts and perform in one or more of traditional tools, and modern function in history, society, and the arts. technologies used in the arts. everyday life. 26.B.2c Sing or play acoustic 26.A.3c Describe the processes 27.A.1a Identify the distinctive or electronic instruments involved in composing, roles of artists and audiences. demonstrating technical skill. conducting and performing. 26.A.3d Read and interpret traditional music notation in a varied repertoire.

248 bqqfoejy Illinois Music Standards CONTINUED

26.B. Apply the skills and 26. Through creating and 25.A.5 Analyze and evaluate knowledge necessary to create performing, understand how student and professional works and perform in one or more of works of art are produced. for how aesthetic qualities are the arts. 26.A. Understand the processes, used to convey intent, expressive 26.B.3c Sing or play with traditional tools, and modern ideas, and/or meaning. expression and accuracy a variety technologies used in the arts. 25.B. Understand the similarities, of music representing diverse 26.A.4c Analyze ways in which distinctions, and connections in cultures and styles. musical sounds are produced and among the arts. 27. Understand the role of the and how they are used in 25.B.5 Understand how different arts in civilizations, past and composing, conducting, and art forms combine to create an present. performing. interdisciplinary work (musical 27.A. Analyze how the arts 26.A.4d Demonstrate the ability theater, opera, cinematography, function in history, society, and to read written notation for a etc.). everyday life. vocal or instrumental part. 26. Through creating and 27.A.3a Identify and describe 26.B. Apply the skills and performing, understand how careers and jobs in and among knowledge necessary to create works of art are produced. the arts and how they contribute and perform in one or more of 26.A. Understand the processes, to the world of work. the arts. traditional tools, and modern 27.A.3b Compare and 26.B.4c Create and perform technologies used in the arts. contrast how the arts function music of challenging complexity 26.A.5 Analyze and evaluate in ceremony, technology, and length with expression. how the choice of media, tools, politics, communication, and 27. Understand the role of the technologies, and processes entertainment. arts in civilizations, past and support and influence the 27.B. Understand how the arts present. communication of ideas. shape and reflect history, society, 27.A. Analyze how the arts 26.B. Apply the skills and and everyday life. function in history, society, and knowledge necessary to create 27.B.3 Know and describe everyday life. and perform in one or more of the arts. how artists and their works 27.A.4a Evaluate how consumer shape culture and increase trends in the arts affect the types 26.B.5 Create and perform understanding of societies, past and styles of art products. a complex work of art using and present. a variety of techniques, 27.A.4b Analyze how the Illinois State Goals for technologies, and resources and arts are used to inform and independent decision-making. Early High School persuade through traditional and 25. Know the language of the contemporary art forms. 27. Understand the role of the arts. arts in civilizations, past and 27.B. Understand how the arts present. 25.A. Understand the sensory shape and reflect history, society, elements, organizational and everyday life. 27.A. Analyze how the arts principles, and expressive function in history, society, and 27.B.4a Analyze and classify the everyday life. qualities of the arts. distinguishing characteristics 25.A.4 Analyze and evaluate of historical and contemporary 27.A.5 Analyze how careers in the effective use of elements, art works by style, period, and the arts are expanding based on principles, and expressive culture. new technologies and societal changes. qualities in a performance in 27.B.4b Understand how the arts music. change in response to changes in 27.B. Understand how the arts 25.B. Understand the similarities, society. shape and reflect history, society, and everyday life. distinctions, and connections in Illinois State Goals for Late and among the arts. High School 27.B.5 Analyze how the arts 25.B.4 Analyze and evaluate shape and reflect ideas, issues, 25. Know the language of the or themes in a particular culture similar and distinctive arts. characteristics of works in two or or historical period. more of the arts that share the 25.A. Understand the sensory same historical period or societal elements, organizational context. principles, and expressive qualities of the arts.

jmmjopjt!tuboebset!! 249 Illinois Visual Arts Standards

Illinois State Goals for 27.B.1 Know how images, sounds, 27.A.2a Identify and describe Early Elementary and movement convey stories the relationship between the arts 25. Know the language of the about people, places, and times. and various environments (home, arts. Illinois State Goals for school, workplace, theater, gallery, etc.). 25.A. Understand the sensory Late Elementary elements, organizational 25. Know the language of the arts. 27.A.2b Describe how the arts function in commercial principles, and expressive qualities 25.A. Understand the sensory of the arts. applications (mass media, elements, organizational product design, etc.). 25.A.1d Identify the elements principles, and expressive of line, shape, space, color, and qualities of the arts. 27.B. Understand how the arts texture; the principles of repetition shape and reflect history, society, 25.A.2d Identify and describe the and everyday life. and pattern; and the expressive elements of 2- and 3-dimensional qualities of mood, emotion, and space, figure ground, value, 27.B.2 Identify and describe pictorial representation. and form; the principles of how the arts communicate the 25.B. Understand the similarities, rhythm, size, proportion, and similarities and differences distinctions, and connections in composition; and the expressive among various people, places, and among the arts. qualities of symbol and story. and times. 25.B.1 Identify similarities in and 25.B. Understand the similarities, Illinois State Goals for among the arts (pattern, sequence, distinctions, and connections in Middle/Junior High School mood, etc.). and among the arts. 25. Know the language of the 26. Through creating and 25.B.2 Understand how elements arts. performing, understand how and principles combine within an 25.A. Understand the sensory works of art are produced. art form to express ideas. elements, organizational 26.A. Understand the processes, 26. Through creating and principles, and expressive traditional tools, and modern performing, understand how qualities of the arts. technologies used in the arts. works of art are produced. 25.A.3d Identify and describe the 26.A.1e Identify media and tools 26.A. Understand the processes, elements of value, perspective, and how to use them in a safe and traditional tools, and modern and color schemes; the principles responsible manner when painting, technologies used in the arts. of contrast, emphasis, and unity; drawing, and constructing. and the expressive qualities 26.A.2e Describe the of thematic development and 26.B. Apply the skills and relationships among media, sequence. knowledge necessary to create and tools/technology, and processes. perform in one or more of the arts. 25.A.3e Analyze how the 26.A.2f Understand the artistic elements and principles can be 26.B.1d Demonstrate knowledge processes of printmaking, organized to convey meaning and skills to create visual works weaving, photography, and through a variety of media and of art using manipulation, eye- sculpture. technology. hand coordina¬tion, building, and 26.B. Apply the skills and imagination. 25.B. Understand the similarities, knowledge necessary to create distinctions, and connections in 27. Understand the role of the and perform in one or more of and among the arts. arts in civilizations, past and the arts. present. 25.B.3 Compare and contrast the 26.B.2d Demonstrate knowledge elements and principles in two or 27.A. Analyze how the arts function and skills to create works of more art works that share similar in history, society, and everyday visual art using problem solving, themes. life. observing, designing, sketching, and constructing. 26. Through creating and 27.A.1a Identify the distinctive performing, understand how roles of artists and audiences. 27. Understand the role of the works of art are produced. 27.A.1b Identify how the arts arts in civilizations, past and present. 26.A. Understand the processes, contribute to communication, traditional tools, and modern celebrations, occupations, and 27.A. Analyze how the arts technologies used in the arts. recreation. function in history, society, and everyday life. 26.A.3e Describe how the 27.B. Understand how the arts choices of tools/technologies shape and reflect history, society, and processes are used to create and everyday life. specific effects in the arts.

250 bqqfoejy Illinois Visual Arts Standards CONTINUED

26.B. Apply the skills and 26. Through creating and 25.B. Understand the similarities, knowledge necessary to create performing, understand how distinctions, and connections in and perform in one or more of works of art are produced. and among the arts. the arts. 26.A. Understand the processes, 25.B.5 Understand how different 26.B.3d Demonstrate knowledge traditional tools, and modern art forms combine to create an and skills to create 2- and technologies used in the arts. interdisciplinary work (musical 3-dimensional works and time 26.A.4e Analyze and evaluate theater, opera, cinematography, arts (film, animation, video, how tools/technologies and etc.). etc.) that are realistic, abstract, processes combine to convey 26. Through creating and functional, and decorative. meaning. performing, understand how 27. Understand the role of the 26.B. Apply the skills and works of art are produced. arts in civilizations, past and knowledge necessary to create 26.A. Understand the processes, present. and perform in one or more of traditional tools, and modern 27.A. Analyze how the arts the arts. technologies used in the arts. function in history, society, and 26.B.4d Demonstrate knowledge 26.A.5 Analyze and evaluate everyday life. and skills that communicate how the choice of media, tools, 27.A.3a Identify and describe clear and focused ideas based on technologies, and processes careers and jobs in and among planning, research, and problem support and influence the the arts and how they contribute solving. communication of ideas. to the world of work. 27. Understand the role of the 26.B. Apply the skills and 27.A.3b Compare and arts in civilizations, past and knowledge necessary to create contrast how the arts function present. and perform in one or more of in ceremony, technology, 27.A. Analyze how the arts the arts. politics, communication, and function in history, society, and 26.B.5 Create and perform entertainment. everyday life. a complex work of art using 27.B. Understand how the arts 27.A.4a Evaluate how consumer a variety of techniques, shape and reflect history, society, trends in the arts affect the types technologies, and resources and and everyday life. and styles of art products. independent decision-making. 27.B.3 Know and describe 27.A.4b Analyze how the 27. Understand the role of the how artists and their works arts are used to inform and arts in civilizations, past and shape culture and increase persuade through traditional and present. understanding of societies, past contemporary art forms. 27.A. Analyze how the arts and present. 27.B. Understand how the arts function in history, society, and Illinois State Goals for shape and reflect history, society, everyday life. Early High School and everyday life. 27.A.5 Analyze how careers in the 25. Know the language of the arts. 27.B.4a Analyze and classify the arts are expanding based on new 25.A. Understand the sensory distinguishing characteristics technologies and societal changes. elements, organizational of historical and contemporary 27.B. Understand how the arts principles, and expressive art works by style, period, and shape and reflect history, society, qualities of the arts. culture. and everyday life. 25.A.4 Analyze and evaluate 27.B.4b Understand how the arts 27.B.5 Analyze how the arts the effective use of elements, change in response to changes in shape and reflect ideas, issues, principles, and expressive society. or themes in a particular culture qualities in a visual piece. Illinois State Goals for or historical period. 25.B. Understand the similarities, Late High School distinctions, and connections in 25. Know the language of the arts. and among the arts. 25.A. Understand the sensory 25.B.4 Analyze and evaluate elements, organizational similar and distinctive principles, and expressive characteristics of works in two or qualities of the arts. more of the arts that share the same historical period or societal 25.A.5 Analyze and evaluate context. student and professional works for how aesthetic qualities are used to convey intent, expressive ideas, and/or meaning.

jmmjopjt!tuboebset!! 251 GIllinoiseneral Dance Glossary Standards

Illinois State Goals for 27.A.1b Identify how the arts 27. Understand the role of the Early Elementary contribute to communication, arts in civilizations, past and 25. Know the language of the arts. celebrations, occupations, and present. recreation. 25.A. Understand the sensory 27.A. Analyze how the arts elements, organizational 27.B. Understand how the arts function in history, society, and principles, and expressive shape and reflect history, society, everyday life. qualities of the arts. and everyday life. 27.A.2a Identify and describe 25.A.1a Identify the elements 27.B.1 Know how images, the relationship between the arts of personal and shared space, sounds, and movement convey and various environments (home, direction in space, quick and slow stories about people, places, and school, workplace, theater, speed, firm and fine force; the times. gallery, etc.). principles of AB choreographic Illinois State Goals for 27.A.2b Describe how the form and sequence; and the Late Elementary arts function in commercial expressive qualities of mood and 25. Know the language of the arts. applications (mass media, emotion. product design, etc.). 25.A. Understand the sensory 25.B. Understand the similarities, elements, organizational 27.B. Understand how the arts distinctions, and connections in principles, and expressive shape and reflect history, society, and among the arts. qualities of the arts. and everyday life. 25.B.1 Identify similarities in 25.A.2a Identify and describe 27.B.2 Identify and describe and among the arts (pattern, the elements of pathways, level, how the arts communicate the sequence, mood, etc.). focus, range in space, sustained similarities and differences 26. Through creating and and percussive qualities of among various people, places, performing, understand how speed; the principles of ABA and times. works of art are produced. and round choreographic form, Illinois State Goals for 26.A. Understand the processes, contrast, and repetition; and the Middle/Junior High School traditional tools, and modern expressive qualities of mood and 25. Know the language of the technologies used in the arts. emotion. arts.. 26.A.1a Understand that the 25.B. Understand the similarities, 25.A. Understand the sensory body is the primary tool of dance distinctions, and connections in elements, organizational and identify secondary tools and among the arts. principles, and expressive (pictures, visual aids, words, 25.B.2 Understand how elements qualities of the arts. props, recordings, etc.). and principles combine within an 25.A.3a Describe how elements 26.B. Apply the skills and art form to express ideas. are combined and contrasted; knowledge necessary to create 26. Through creating and identify the principles of and perform in one or more of performing, understand how transition, variety, and balance; the arts. works of art are produced. and identify the expressive 26.B.1a Perform basic locomotor 26.A. Understand the processes, qualities of movement. movements, non-locomotor traditional tools, and modern 25.B. Understand the similarities, movements, and traditional technologies used in the arts. distinctions, and connections in dance forms and create simple 26.A.2a Describe processes and among the arts. dance sequences. (conditioning, practicing, etc.) 25.B.3 Compare and contrast the 27. Understand the role of the used to prepare the body as a elements and principles in two or arts in civilizations, past and tool of dance and how visual more art works that share similar present. aids, stories, poetry, props, themes. 27.A. Analyze how the arts music, and technology are used 26. Through creating and function in history, society, and for performance of dance. performing, understand how everyday life. 26.B. Apply the skills and works of art are produced. 27.A.1a Identify the distinctive knowledge necessary to create 26.A. Understand the processes, roles of artists and audiences. and perform in one or more of traditional tools, and modern the arts. technologies used in the arts. 26.B.2a Demonstrate control, coordination, balance, elevation, and accuracy in rhythmic response and awareness of choreographic form.

252 bqqfoejy Illinois Dance Standards CONTINUED

26.A.3a Describe how 25.B.4 Analyze and evaluate Illinois State Goals for body actions, types of similar and distinctive Late High School accompaniment, lighting, characteristics of works in two or 25. Know the language of the arts. costuming, and processes more of the arts that share the (reordering, refining, etc.) same historical period or societal 25.A. Understand the sensory influence the expressive qualities context. elements, organizational of dance. principles, and expressive 26. Through creating and qualities of the arts. 26.B. Apply the skills and performing, understand how knowledge necessary to create works of art are produced. 25.A.5 Analyze and evaluate student and professional works and perform in one or more of 26.A. Understand the processes, the arts. for how aesthetic qualities are traditional tools, and modern used to convey intent, expressive 26.B.3a Demonstrate body technologies used in the arts. ideas, and/or meaning. alignment; movement from 26.A.4a Analyze how resources, 25.B. Understand the similarities, center; awareness of accent, technologies, and processes are meter, and phrasing; and step distinctions, and connections in combined to express meaning in and among the arts. patterns from different dance dance and evaluate expressive styles and forms. content, stylistic differences, and 25.B.5 Understand how different 27. Understand the role of the aspects of production. art forms combine to create an interdisciplinary work (musical arts in civilizations, past and 26.B. Apply the skills and present. theater, opera, cinematography, knowledge necessary to create etc.). 27.A. Analyze how the arts and perform in one or more of function in history, society, and the arts. 26. Through creating and everyday life. performing, understand how 26.B.4a Create and perform a works of art are produced. 27.A.3a Identify and describe composition communicating careers and jobs in and among clear and focused ideas based on 26.A. Understand the processes, the arts and how they contribute planning, research, and complex traditional tools, and modern to the world of work. problem solving related to technologies used in the arts. 27.A.3b Compare and specific guidelines. 26.A.5 Analyze and evaluate contrast how the arts function 27. Understand the role of the how the choice of media, tools, in ceremony, technology, arts in civilizations, past and technologies, and processes politics, communication, and present. support and influence the communication of ideas. entertainment. 27.A. Analyze how the arts 27.B. Understand how the arts function in history, society, and 26.B. Apply the skills and shape and reflect history, society, everyday life. knowledge necessary to create and everyday life. and perform in one or more of 27.A.4a Evaluate how consumer the arts. 27.B.3 Know and describe trends in the arts affect the types how artists and their works and styles of art products. 26.B.5 Create and perform shape culture and increase a complex work of art using 27.A.4b Analyze how the a variety of techniques, understanding of societies, past arts are used to inform and and present. technologies, and resources and persuade through traditional and independent decision-making. Illinois State Goals for contemporary art forms. Early High School 27. Understand the role of the 27.B. Understand how the arts arts in civilizations, past and 25. Know the language of the arts. shape and reflect history, society, present. and everyday life. 25.A. Understand the sensory 27.A. Analyze how the arts elements, organizational 27.B.4a Analyze and classify the function in history, society, and principles, and expressive distinguishing characteristics everyday life. qualities of the arts. of historical and contemporary 27.A.5 Analyze how careers in the 25.A.4 Analyze and evaluate art works by style, period, and culture. arts are expanding based on new the effective use of elements, technologies and societal changes. principles, and expressive 27.B.4b Understand how the arts qualities in a performance in change in response to changes in 27.B. Understand how the arts dance. society. shape and reflect history, society, and everyday life. 25.B. Understand the similarities, distinctions, and connections in 27.B.5 Analyze how the arts and among the arts. shape and reflect ideas, issues, or themes in a particular culture or historical period.

jmmjopjt!tuboebset!! 253 Illinois Theater Standards

Illinois State Goals for 27.A.1a Identify the distinctive 27. Understand the role of the Early Elementary roles of artists and audiences. arts in civilizations, past and 25. Know the language of the arts. 27.A.1b Identify how the arts present. 25.A. Understand the sensory contribute to communication, 27.A. Analyze how the arts elements, organizational celebrations, occupations, and function in history, society, and principles, and expressive recreation. everyday life. qualities of the arts. 27.B. Understand how the arts 27.A.2a Identify and describe 25.A.1b Understand the shape and reflect history, society, the relationship between the arts elements of acting, locomotor and everyday life. and various environments (home, and nonlocomotor move¬ment, 27.B.1 Know how images, sounds, school, workplace, theater, vocal and nonvocal sound, and and movement convey stories gallery, etc.). story making; the principles of about people, places, and times. 27.A.2b Describe how the plot, character, setting, problem/ Illinois State Goals for Late arts function in commercial resolution, and message; and Elementary applications (mass media, the expressive characteristics of product design, etc.). simple emotions. 25. Know the language of the arts. 27.B. Understand how the arts 25.B. Understand the similarities, 25.A. Understand the sensory shape and reflect history, society, distinctions, and connections in elements, organizational and everyday life. and among the arts. principles, and expressive qualities of the arts. 27.B.2 Identify and describe 25.B.1 Identify similarities in how the arts communicate the and among the arts (pattern, 25.A.2b Understand the elements similarities and differences sequence, mood, etc.). of acting, scripting, speaking, among various people, places, improvising, physical movement, and times. 26. Through creating and gesture, and picturization (shape, performing, understand how line, and level); the principles of Illinois State Goals for works of art are produced. conflict/resolution and theme; Middle/Junior High School 26.A. Understand the processes, and the expressive characteristics 25. Know the language of the arts. traditional tools, and modern of mood and dynamics. 25.A. Understand the sensory technologies used in the arts. 25.B. Understand the similarities, elements, organizational 26.A.1b Understand the tools distinctions, and connections in principles, and expressive of body, mind, voice, and simple and among the arts. qualities of the arts. visual/aural media; and the 25.B.2 Understand how elements 25.A.3b Understand how the processes of planning, practicing, and principles combine within an elements of acting, directing, and collaborating used to create art form to express ideas. playwriting, and designing or perform drama/theater. 26. Through creating and combine with the principles of 26.B. Apply the skills and performing, understand how tension, rhythm, pattern, unity, knowledge necessary to create works of art are produced. balance, repetition, and idea to and perform in one or more of communicate. the arts. 26.A. Understand the processes, traditional tools, and modern 25.B. Understand the similarities, 26.B.1b Demonstrate individual technologies used in the arts. distinctions, and connections in skills (vocalizing, listening, and among the arts. moving, observing, concentrating, 26.A.2b Describe various ways 25.B.3 Compare and contrast the etc.) and group skills (decision the body, mind, and voice are elements and principles in two or making, planning, practicing, used with acting, scripting, and more art works that share similar spacing, etc.) necessary to create staging processes to create or themes. or perform story elements and perform drama/theater. characterizations. 26.B. Apply the skills and 26. Through creating and performing, understand how 27. Understand the role of the knowledge necessary to create works of art are produced. arts in civilizations, past and and perform in one or more of present. the arts. 26.A. Understand the processes, traditional tools, and modern 27.A. Analyze how the arts 26.B.2b Demonstrate actions, technologies used in the arts. function in history, society, and characters, narrative skills, everyday life. collaboration, environments, simple staging, and sequence of events and situations in solo and ensemble dramas.

254 bqqfoejy Illinois Theater Standards CONTINUED

26.A.3b Describe the use of the 25.B.4 Analyze and evaluate Illinois State Goals for Late primary tools (body, mind, and similar and distinctive High School voice) and the support tools characteristics of works in two or 25. Know the language of the arts. (costumes, scenery, props, lights, more of the arts that share the make-up, sound) to convey an same historical period or societal 25.A. Understand the sensory idea through acting, playwriting, context. elements, organizational and designing a drama or theater principles, and expressive 26. Through creating and qualities of the arts. activity. performing, understand how 26.B. Apply the skills and works of art are produced. 25.A.5 Analyze and evaluate knowledge necessary to create student and professional works 26.A. Understand the processes, for how aesthetic qualities are and perform in one or more of traditional tools, and modern the arts. used to convey intent, expressive technologies used in the arts. ideas, and/or meaning. 26.B.3b Demonstrate storytelling, 26.A.4b Understand how the 25.B. Understand the similarities, improvising, and memorizing primary tools, support tools and scripted material supported by distinctions, and connections in creative processes (researching, and among the arts. simple aural and visual effects and auditioning, designing, directing, personal background knowledge rehearsing, refining, presenting) 25.B.5 Understand how different needed to create and perform in interact and shape drama, art forms combine to create an drama/theater. theater, and film production. interdisciplinary work (musical 27. Understand the role of the theater, opera, cinematography, 26.B. Apply the skills and etc.). arts in civilizations, past and knowledge necessary to create present. and perform in one or more of 26. Through creating and 27.A. Analyze how the arts the arts. performing, understand how works of art are produced. function in history, society, and 26.B.4b Create and perform an everyday life. ensemble drama or theater scene 26.A. Understand the processes, 27.A.3a Identify and describe using research, collaboration, traditional tools, and modern careers and jobs in and among characterization, and staging technologies used in the arts. the arts and how they contribute in combination with aural and 26.A.5 Analyze and evaluate to the world of work. visual technologies (video, lights, how the choice of media, tools, 27.A.3b Compare and sets, costumes, make-up, sound, technologies, and processes contrast how the arts function props, etc.). support and influence the in ceremony, technology, 27. Understand the role of the communication of ideas. politics, communication, and arts in civilizations, past and 26.B. Apply the skills and entertainment. present. knowledge necessary to create 27.B. Understand how the arts 27.A. Analyze how the arts and perform in one or more of shape and reflect history, society, function in history, society, and the arts. and everyday life. everyday life. 26.B.5 Create and perform 27.B.3 Know and describe how 27.A.4a Evaluate how consumer a complex work of art using artists and their works shape trends in the arts affect the types a variety of techniques, culture and increase understand- and styles of art products. technologies, and resources and independent decision-making. ing of societies, past and present. 27.A.4b Analyze how the Illinois State Goals for arts are used to inform and 27. Understand the role of the Early High School persuade through traditional and arts in civilizations, past and present. 25. Know the language of the arts. contemporary art forms. 27.A. Analyze how the arts 25.A. Understand the sensory 27.B. Understand how the arts shape and reflect history, society, function in history, society, and elements, organizational everyday life. principles, and expressive and everyday life. qualities of the arts. 27.B.4a Analyze and classify the 27.A.5 Analyze how careers in the distinguishing characteristics arts are expanding based on new 25.A.4 Analyze and evaluate technologies and societal changes. the effective use of elements, of historical and contemporary principles, and expressive qualities art works by style, period, and 27.B. Understand how the arts in a performance in theater. culture. shape and reflect history, society, and everyday life. 25.B. Understand the similarities, 27.B.4b Understand how the arts distinctions, and connections in change in response to changes in 27.B.5 Analyze how the arts and among the arts. society. shape and reflect ideas, issues, or themes in a particular culture or historical period.

jmmjopjt!tuboebset!! 255 General Glossary of Terms

Below are definitions of some of the terms used in the Guide.

accommodation An approach to instruction multiple intelligences A theory of intelligence that describes changes to the content of a lesson in developed in the 1980s by Howard Gardner. He order to support a student’s individual differences. identified several types of intelligences, including musical, spatial, kinesthetic, and naturalist. authentic assessment Multiple forms Everyone has all the intelligences, but in different of assessment that reflect student learning, proportions. achievement, and attitudes on instructionally- relevant classroom activities. pedagogy The art of teaching—especially the conscious use of particular instructional methods. autism A pervasive developmental disorder that is characterized by impaired communication, performance descriptors (or benchmark excessive rigidity, and emotional detachment. indicators) Statements that explain what students can do in order to meet the benchmarks and benchmarks Progress indicators for gauging standards; they also change at each grade level. student achievement within each standard; they help measure student achievement over time and portfolio A collection of student work chosen therefore change from grade to grade. to exemplify and document a student’s learning progress over time. Students are often encouraged best practices Strategies, activities, or or required to maintain a portfolio illustrating approaches that have been shown through research various aspects of their learning. and evaluation to be effective and/or efficient. progress monitoring The process of constructed response A non-multiple-choice collecting and evaluating data to make decisions item that requires some type of written or oral about the adequacy of student progress. response. reliability The level of consistency among diagnostic Referring to assessments that the scores or ratings assigned to products, educators administer in order to identify the performances, and other authentic assessments by proficiency levels of specific areas of student teachers who judge them. performance and modify their instruction to make it more appropriate. remediation An approach to instruction that addresses methods, supports, and aids added to differentiated instruction (also called a lesson in order to support a student’s individual differentiated learning) A process to approach differences. teaching and learning for students of differing abilities in the same class. The intent of rubric A performance-scoring scale that lists differentiating instruction is to maximize each multiple criteria for performance and provides student’s growth and individual success by meeting values for performance levels, such as numbers or each student where he or she is, and assisting in a range of descriptors ranging from excellent to the learning process. poor. formative assessment An assessment used to scope and sequence The essential provide the information needed to adjust teaching understandings, knowledge, skills, and processes and learning while they are happening. that are required for instruction and the logical, sequential, and meaningful order in which they are inclusion The practice of educating all children to be taught. in the same classroom, including children with physical, mental, and developmental disabilities. selected response Assessments that use Inclusion classes often require a special assistant objective approaches such as multiple choice, to the classroom teacher. matching, and true/false questions. Individualized Education Program (IEP) sensory integration dysfunction A A plan that identifies learning goals for the student neurological disorder that causes the inability and the special supports and services required to to process stimuli from the five senses. With meet those goals. Sensory Integration Dysfunction, input is sensed normally, but there is a problem with processing K-W-L chart A graphic organizer for activating it. This abnormal processing can cause distress. students’ prior knowledge by asking them what they An affected person can either be hyposensitive or already know, having them specify what they want hypersensitive. to learn, and after instruction or reading, having them discuss what they learned. summative assessment An assessment used to gauge, at a particular point in time, student learning standards Specific statements of learning relative to content standards. knowledge and skills.

256 bqqfoejy Glossary of Terms: Music

accelerando Quickening the pace. melody A succession of notes varying in pitch and having a recognizable musical shape. arpeggio A chord whose notes are performed in succession, not simultaneously. meter The pattern in which a steady succession of rhythmic pulses is organized; also called time. articulation The direction or performance technique that affects the transition or continuity mezzo soprano Type of female voice halfway on single note or between multiple notes or sounds. between soprano and contralto range. baritone Male voice between bass and tenor. monophony When all parts (if there are multiple parts) move in parallel rhythm and pitch. bass The lowest male voice. note value The duration of a note. brass Collective term for musical instruments made of brass or other metals and blown ostinato A persistently repeated musical figure or directly through a cup-shaped or funnel-shaped rhythm. mouthpiece. percussion Collective name for instruments in call-and-response Alternation between two which a resonating surface is struck by the player. performers or groups of performers. phrase A small group of notes forming what is canon A composition, or section of a recognized as a unit of melody. composition, in which a melody announced by one pitch The property according to which notes voice or instrument is repeated by one or more appear to be “high” or “low” in relation to each other voices or instruments. other. This is determined by the frequency of composition A piece of music regarded as the vibrations of the sound-producing agent. result of a deliberate individual creative act. polyphony When two or more parts move with concerto Usually a three-part musical work in rhythmic independence. which one solo instrument is accompanied by an presto Fast. orchestra. rest value The duration of a rest between notes. contralto Lower type of female voice. rhythm Aspect of music concerned with the crescendo Increasing in loudness. distribution of notes in time and their accentuation. diction Correct and clear enunciation in singing. Related to the concept of meter. diminuendo Becoming gradually softer. ritardando Becoming slower. dynamics The gradations of loudness and rondo A musical form with a principal theme that softness in music. alternates with one or more contrasting themes. ensemble The quality of teamwork in round A musical composition in which two or performance; also, a group of performers. more voices or instruments perform exactly the same melody, but with each voice beginning at enunciation Singing or speaking words clearly. different times. harmonic progression (also called chord signature The time signature, which gives the progression) A series of musical chords, or chord meter of a piece of music, and the key signature, changes, that establishes or contradicts a tonality. which lists the sharps and flats in the key the music harmony The simultaneous sounding of notes in is in, both appear at the beginning of a piece of a way that is musically significant. music. The time signature does not appear again unless the meter changes, but the key signature homophony When two or more parts move appears on every staff. together in harmony, the relationship between them creating chords. solfège Method of ear-training and sight-reading by which the pupil names each note of a melody by interval The distance between two notes. singing it. intonation Tuning of pitch. sonata Usually a work in three or four movements legato Smoothly. for one or two players.

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hmpttbsz!! 257 Glossary of Terms: Music CONTINUED

soprano The highest type of female voice. tonality (major and minor) A general adherence to the key system. staccato A method of performance denoted by a dot over the note, and signifying that the note tone color The quality that distinguishes a note is to be made short—and thus detached from as performed on one instrument. its successor—by being held for less than its full triad A three-note chord consisting of a particular length. note plus its third and fifth above. staff A set of horizontal lines upon which notes variation A passage of music intended as are placed in written music notation. a varied version of some given passage. Such strings Collective term for instruments that variations may diverge only slightly from the theme, are stringed, including violins, violas, cellos, and mainly by melodic ornamentation. basses. woodwinds Collective name for those types symphony An orchestral work of a serious nature of wind instruments historically and generally and a substantial size. Most are in four movements. made of wood—either blown directly or through a reed. Examples include flute, clarinet, oboe, and tempo Time or pace. bassoon. tenor Highest male voice. timbre An individual quality of sound. This usually refers to the characteristic difference between the tone colors of different instruments.

258 bqqfoejy Glossary of Terms: Visual Arts

assemblage A 3-D work constructed from critique A critical review or discussion of artwork or including objects and materials not typically or literature. associated with sculpture which are adhered cubist A view of art in which objects are broken together onto a surface. up and seen from different angles. asymmetrical The description of a form or emphasis Any forcefulness that gives importance composition that displays a varied arrangement of or dominance (weight) to some feature or features parts around either side of a central axis. of an artwork. background The part of a picture or scene essentialist A view of art that claims any that appears to be farthest away from the viewer, specific entity has a set of characteristics that all usually nearest the horizon. entities of that kind must possess. balance The visual impression of order in a etching A printing process in which a design or composition. image is scored into a metal or acrylic plate. brayer An inking roller that is used in various expressionist A view of art that values forms of printmaking. It is usually made of plastic emotional experience over physical reality. or rubber and set in a metal frame attached to a wooden handle. fiber art Artworks using materials such as thread, yarn, or fabric. carving The process of shaping a mass of solid material by breaking down the surface and using foreground The area of a picture or field of tools to cut away sections of the material. vision, often at the bottom, that appears to be closest to the viewer. casting The process of making a 3-D object within a mold, usually to reproduce the form of an formal elements The basic units and the original sculpture. means artists use to create and design works of art. Some formal elements include point, line, charcoal A drawing medium made by charring shape, space, color, and texture. fine sticks of wood under intense heat. formalist A view of art that emphasizes form, or coiling A technique of building a hollow form structural qualities, over content or context. from long, narrow rolls of clay. The rolls are laid on one another to form clay walls. Usually a pottery free-standing The description of a sculpture hand-building technique. that can be viewed from all sides. collage The technique of creating an image geometric shape Shape that has a mathematic or design by adhering various materials to a flat design, composed of straight lines or shapes from support. Materials might include paper, card, geometry, including circles, ovals, rectangles, and fabric, and string. cubes. color wheel A diagram arranged to show the gestalt A physical, psychological, or symbolic relationships of primary colors and secondary arrangement or pattern of parts so unified as a colors. whole that its properties cannot be derived from a simple summation of its parts. complementary colors A pair of colors that may be described as opposite and mutually instrumentalist The view that art should lead enhancing. The complementary pairs are red and to social good. green; blue and orange; and yellow and violet. medium The material or technical method that composition The organization of different an artist works with. elements within the overall structure of a work of art. modeling The process of making a sculpture by shaping a form in a malleable material. contour lines Lines that surround and define the edges of a mass, figure, or object, giving it monochromatic colors All the colors (tints, shape and volume. tones, and shades) of a single hue. contrast Used to create emphasis, contrast refers monoprint Any single, unique image taken by to the arrangement of opposite elements (i.e. light impressing one surface on another that has been vs. dark, rough vs. smooth and small vs. large) treated with ink, paint, or dye. cool colors Any colors in the range of blue, blue- moralist The view that art should reveal green, and blue-violet hues. important ethical messages. |dpoujovfe!ofyu!qbhf~

hmpttbsz!! 259 Glossary of Terms: Visual Arts CONTINUED

mural A large painting applied to a wall or ceiling. secondary colors The three colors made by mixing pairs of primary colors in equal naturalistic composition A work that shows proportions. The secondary colors are orange, the realistic representation of objects, figures, green, and violet. and natural forms as they actually appear, without symbolic or theoretical interpretation. shade The mixture of a color with black, which reduces lightness. negative space The space around and between the subject(s) of an image. stencil A template used to draw or paint identical letters, numbers, symbols, shapes, or patterns neutral colors Any of a range of mixed grays every time it is used. and beiges that have no distinctive tendency toward a particular hue. Black and white can also be still-life composition A painting or other described as neutral colors. representation of a group of inanimate objects. oil pastel A drawing medium consisting of symbolist A type of art that uses symbols to pigment mixed with an oil and compressed into represent ideas and emotions. stick form. symmetrical The description of a form or opaque Often refers to a color that is not composition that displays a balanced arrangement transparent or translucent; impenetrable by light. of similar components around a central axis. optical illusion A visual effect characterized by tempera A water-based paint. visually perceived images that differ from objective tertiary colors Color produced by mixing two reality. secondary colors. organic shape Free-form shapes that are thumbnails Reduced-size versions of pictures. usually flowing and curvy, as opposed to geometric. tint The mixture of a color with white, which papier mâché A material used for making increases lightness. small sculptures and ornamental objects, basically consisting of shredded paper soaked in a liquid tones The gray quality of a color produced by glue or paste. adding its complement. pastel A stick of color made from powder- or oil- translucent Permits light to pass through based pigments, used for drawing. but diffuses it so that people and objects on the opposite side are not clearly visible. perspective The illusion of depth on a two- dimensional surface. transparent Permits light to pass through and sheer enough that people and objects on the pinch pot A ceramic pot formed by hand. opposite side can be seen clearly. positive space The space occupied by the main value An element in art that refers to lightness or subjects of the work. darkness of a color. primary colors The colors red, blue, and yellow, visual rhythm Regular repetition of elements of which cannot themselves be mixed from other art to produce the look and feel of movement. colors but can be used to mix all other hues. warm colors Any colors included in the range of proportion The dimensions and scale of various red, red-orange, orange, or orange-yellow hues. parts or components of an image or object in relation to each other and to the thing as a whole. watercolor Paint consisting of finely ground pigments that are mixed with water. representational The description of an image or motif that is a realistic or recognizable depiction wax-resist A method of combining drawing and of the physical appearance of its subject. painting in an image using wax to draw on paper, then coating the drawing with watercolor paint, scale The actual measurement of an image or which is repelled by the wax. object. scoring and slip A method used to join pieces of clay together with a creamy mixture of clay and water.

260 bqqfoejy Glossary of Terms: Dance

abstracted gesture A gesture that conveys an mirroring Movement in which the leader and emotion, concept, or image in an abstract way. follower face each other. The follower imitates the leader as if in a mirror. accent Emphasis on a particular step or move in a pattern. movement sequence A series of movements, longer than a phrase but shorter than a section of accumulation a choreographic device or a dance. structure where new movements are added to existing movements in a successive manner, pantomime To express emotions or tell a story by means of gestures and facial expressions. agility The power of moving quickly and easily. phrase A division of a composition, usually alignment The alignment of the body part with consisting of two, four, or eight measures. respect to the torso. props Objects requires on stage that are not articulate To express, form, or present costumes or scenery. movement with clarity and effectiveness. rhythm The way movement in time is organized artistic director A person who is responsible for or put together. Can be syncopated or accented. the administration of a dance company. rondo A sequential pattern. axial movement (also called non-locomotor movement) Movement that happens around the sequence The order of the movements in a body. Twisting, turning, reaching, and bending are dance. axial movements. technique Anatomically correct strategies that canon A single theme or movement sequence as seek to achieve the articulation and execution of a in musical form that repeats or recurs. style of dance. choreographer The person who creates and tempo The speed of the music. arranges the steps and patterns of a dance work. theme The topic, or basic idea. compositional element An aspect of transition A change from one sequence to the choreographic practices such as spatial design. next. conductor A person who directs an orchestra or unity Dancers moving together and working as a chorus. whole. dance notation The system of recording variation 1. Any movement of footwork that is movement through writing it down in figures and different from the original footwork. 2. A solo dance symbols. that can be part of a larger work. flexibility The ability to bend and move easily. Range of movement in joints and ability to stretch large muscle. flocking Collecting into one group. improvisation Spontaneous, congenial movement responses. kinesthetic awareness An awareness or sense of your own movements and the movements of others. leading and following Two roles of partner dancing. The leader guides the overall structure of the dance, and the follower completes the moves suggested by the leader. locomotor movement Movement that travels through general space. Walking, running, hopping, jumping, skipping, leaping, galloping, and sliding are locomotor movements.

hmpttbsz!! 261 Glossary of Terms: Theater

accent The specific sound qualities of the speech foil A character whose personality and physical of a region. appearance contrast with those of the protagonist. agent of fate A person, situation. house manager The person responsible for the day-to-day operations of a theater allegory A form of extended metaphor, in which building, including ticket sales, ushering, and the objects, persons, and actions in a narrative, are maintenance of the building. equated with the meanings that lie outside the narrative itself. improvisation Speaking or acting without a script. antagonist A person, situation, or the protagonist’s own inner conflict that is in opposition incidental A character that rarely plays a major to the protagonist’s goals. role in the story and tends to serve as part of the backdrop of a scene. arena stage A performance space in which the audience sits all around the stage; sometimes librettist The writer of a text used in an extended called “in-the-round.” musical work such as an opera, operetta, musical, or ballet. articulation The clear and precise pronunciation of words. monologue A story, speech, or scene performed by one actor alone. audition An interview-like opportunity in which actors are able to demonstrate their talents, meet motivation A character’s reason for doing or the person hiring the cast, and leave impressions of saying things. the themselves. pantomime To act without words through facial back story A biography of a character before the expression and gesture. action of a play. playwright A person who writes dramatic blocking Coordination of actors’ movements on literature or drama. These works may be written stage. specifically to be performed by actors or they may be closet dramas or literary works written using casting Choosing actors to play specific roles in dramatic forms but not meant for performance. a play. primary tools In acting, the primary tools are choreographer An artist who designs body, voice, and mind. movement for the stage. projection Using voice or gestures forcefully cue A trigger for an action to be carried out at a enough to be perceived at a distance. specific time. Common cues include light cues and sound cues. props Everything required during the action of a play that does not count as furniture, costume, or dialect Language features particular to the scenery. Props may include objects like eyeglasses, speech of a specific region. knitting, or telephones. dramatic structure The structure of a play, proscenium stage A performance space in including exposition, rising action, climax, falling which the audience views the action as if through a action, and resolution. picture frame. dramaturg A special consultant who provides protagonist The main character of a play and specific, in-depth knowledge and literary resources the character with which the audience identifies to a director, producer, or entire theater company. most strongly. Responsibilities may include selection of plays, working with authors on adaptations of text, and rehearsal The act of practicing in preparation for writing programming notes for the company. a public performance. emotional recall The technique of calling upon rendering A finished representation of a set your own memories of emotions to understand a or costume, produced with colored pencil, paint, character’s emotions. pastel, marking pens, or computer graphics. fly space The area above a stage where lights, scenery Onstage decoration to help establish the drops, and scenery may be flown, or suspended on time and place of a play. wire ropes. script The text of a play.

262 bqqfoejy Glossary of Terms: Theater CONTINUED

script scoring Making notations on a copy of a script. Actors often add notes about motivation or specific actions during a scene. secondary tools In acting, the secondary tools are sets, props, costumes, makeup, sound, and lighting. set The onstage physical space and its structures in which the actors perform. sight lines Lines indicating visibility of onstage and backstage areas from various points in the theater. Sight lines have to be considered when designing sets and staging action so that as much as possible everyone in the theater can see everything vital to the play. soliloquy A character’s speech to himself or herself. The character reveals personal thoughts without addressing another speaker. stage combat Physical conflict onstage, both armed and unarmed. symbol A concrete image used to represent an abstract concept or idea. thrust stage A combination of the proscenium and the arena stages, with the audience sitting on two or three sides of the acting area. voice-over A recording of a voice that plays over other sounds. wings The left and right sides of a stage immediately outside the scenery, unseen by the audience.

hmpttbsz!! 263 Recommended Resources

The sources on these pages are recommended for arts education teachers at many levels for creating and enhancing meaningful and engaging lessons.

Recommended Multi- Noblit, George W., H. Dickson Corbett, Bruce L. Disciplinary Resources Wilson, and Monica B. McKinney. Creating and Sustaining Arts-Based School Reform: The A+ Associations and Organizations Schools Program. New York: Routledge, 2008. Americans for the Arts. Rowe, Melissa K. Arts Education Partnerships: http://www.americansforthearts.org/. Lessons Learned from One School District “Art Curriculum Glossary.” CCSESA Statewide Arts Experience. Pittsburgh, PA: RAND Corporation, Initiative. 2004. http://www.ccsesaarts.org/CCSESA_FILES// Weiss, Cynthia, and Amanda Leigh Lichtenstein. CCSESA_VOCAB_LIST.pdf. AIMprint: New Relationships in the Arts and Art Resources in Teaching (A.R.T.). Learning. Chicago: Columbia College Chicago, http://www.artresourcesinteaching.org/. 2008. Arts Education Partnership. http://www.aep-arts.org/. Recommended Music Resources Building Curriculum, Community, and Leadership Associations and Organizations Through the Arts (BCCLA). American Orff-Shulwerk Association http://www.bccla.net/. www.aosa.org Center for Community Arts Partnerships (CCAP). Center for Black Music Research, Columbia College http://www.colum.edu/ccap. Chicago Chicago Arts Partnerships in Education (CAPE). http://www.colum.edu/CBMR http://www.capeweb.org/. Chicago Consortium of Community Music Schools eta Creative Arts Foundation. http://www.chicagomusicschools.org http://www.etacreativearts.org/. National Association for Music Education (MENC) Illinois Art Education Association. http://www.menc.org http://www.ilaea.org/iaea/. Illinois Music Educators Association (IMEA) The Marwen Institute. http://www.ilmea.org http://www.marweninstitute.org/. Jazz Institute of Chicago National Art Education Association. http://www.jazzinchicago.org http://www.naea-reston.org/olc/pub/NAEA/ Music Teachers National Association (MTNA) home/. http://www.mtna.org Office of Arts Education, Chicago Public Schools. International Music Products Association (NAMM) http://www.cpsarts.org/. http://www.namm.org United States Department of Education. National Association of Negro Musicians, Inc. (NANM) http://www.ed.gov/index.jhtml. http://www.nanm.org Urban Gateways http://www.urbangateways.org Books Bond, Judy, et al. Spotlight on Music. New York: Books Macmillan/McGraw-Hill, 2008. Davis, Jessica Hoffman. Why Our Schools Need the Arts. New York: Teachers College Press, 2007. Blocher, Larry, et al. Teaching Music through Performance, Chicago: GIA Publications, Inc. Fowler, Charles. Strong Arts, Strong Schools: The http://www.teachingmusic.org Promising Potential and Shortsighted Disregard of the Arts in American Schooling. New York: Oxford Choksy, Lois. The Kodály Method I: Comprehensive University Press, 1996. Music Education. Upper Saddle River, NJ: Prentice Hall, 1998. McCarthy, Kevin F., et al. Gifts of the Muse: Reframing the Debate About the Benefits of the Arts. Choksy, Lois. The Kodály Method II: Folksong to Pittsburgh, PA: RAND Corporation, 2004. Masterwork. Upper Saddle River, NJ: Prentice Hall, 1998.

264 bqqfoejy Recommended Resources CONTINUED

DeGraffenreid, George, et al. Music: Its Role and Rosenberg, Martin, and Frances Thurber. Gender Importance in Our Lives. New York: Glencoe/ Matters in Art Education. Worcester, MA: Davis McGraw-Hill, 2006. Publications, 2007. Suzuki, Shinichi. Young Children’s Talent Education Strickland, Carol. The Annotated Mona Lisa: A and Its Method. Los Angeles: Alfred Publishing Crash Course in Art History from Prehistoric to Company, 1999. Post-Modern. Kansas City, MO: Andrews McMeel Publishing, 2007. Recommended Visual Arts Wachowiak, F., and R. Clements. Emphasis Art: A Resources Qualitative Art Program for Elementary and Middle Schools. Boston: Pearson Education, 2006. Associations and Organizations Chicago Public Art Group. 2009. Recommended Dance Resources http://cpag.net/home/ Associations and Organizations Illinois Art Education Association. 2009. http://www.ilaea.org/iaea/ National Dance Association. http://www.aahperd.org/nda/ National Art Education Association. 2009. http://www.naea-reston.org/olc/pub/NAEA/ National Dance Education Association. home/ http://www.ndeo.org/ Illinois Association for Health, Physical Education, Books Recreation, and Dance. Barbe-Gall, Francoise. How to Talk to Children about http://www.iahperd.org/ Art. Chicago: Chicago Review Press, 2005. Books Barrett, Terry. Talking About Student Art. Worcester, Craine, Debra, and Judith Mackrell. Oxford MA: Davis Publications, 1997. Dictionary of Dance. New York: Oxford University Burton, David. Exhibiting Student Art: The Essential Press, 2004. Guide for Teachers. New York: Teachers College Kassing, Gayle, and Danielle M. Jay. Dance Press, 2006. Teaching Methods and Curriculum Design. Cornett, Caludia. Creating Meaning Through Champaign, IL: Human Kinetics, 2003. Literature and The Arts. Upper Saddle River, New Jersey: Prentice Hall, 2007. Recommended Theater Freedman, Kerry. Teaching Visual Culture. New York: Resources Teacher’s College Press, 2003. Associations and Organizations Gerber, Beverly Levett, and Doris M. Guay, eds. Reaching and Teaching Students with Special American Association of Theater and Education. Needs Through Art. Reston, VA: National Art http://aate.timberlakepublishing.com/index.asp. Education Association, 2006. Chicago Children’s Theater. Hetland, Lois, et al. Studio Thinking: The Real http://www.chicagochildrenstheatre.org/ Benefits of Visual Arts Education. New York: Educational Theater Association. Teachers College Press, 2007. http://www.edta.org/ Hume, Helen D. The Art Teacher’s Book of Lists. New Illinois Theatre Association. York: Prentice Hall, 1998. http://www.illinoistheatre.org/ Lark-Horovitz, B., H. Present-Lewis, and M. Luca. The International Association of Theater for Children Understanding Children’s Art for Better Teaching. and Young People, United States Chapter. Reston, VA: National Art Education Association. http://www.assitej-usa.org/ Linderman, M. G. Art in the Elementary School. International Drama/Theatre and Education Boston: McGraw-Hill, 1997. Association. Martin, Judy. Longman Dictionary of Art. Essex: http://idea-org.net/ Longman Group Limited, 1986. |dpoujovfe!ofyu!qbhf~

sfdpnnfoefe!sftpvsdft!! 265 References

The sources below were referenced during the creation of the guide.

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Theater IO Improv. http://www.ioimprov.com/. Adler, Tony. “Improvisational Theater.” Encyclopedia of Chicago. 2005. Chicago Historical Society. Lookingglass Theatre Company. http://www.encyclopedia.chicagohistory.org/ http://lookingglasstheatre.org/content/. pages/631.html. Maryland Fine Arts Education Instructional Tool Kit. Albany Park Theater Project. Maryland State Department of Education. 2006. http://www.aptpchicago.org/. http://mfaa.msde.state.md.us/source/ MDFAeducation_1a.asp “California Educational Theater Association Position Paper.” 2007. MPAACT. 2009. http://www.cetoweb.org/pdf/CETA_Position_ http://www.mpaact.org/. Paper.pdf Nelson, Andrew. “Applied Theatre and Autism: An “CAPE Research & Action: Agassiz.” Chicago Arts Opportunity for Evidence.” ArTRAN. 1.1 (2009): Partnerships in Education. 2007. 6–10. http://www.capeweb.org/research_action/view_ Payne, Joyce. “A Guide to Authentic Assessments.” units.php?id=13&page=tab1. ArtsEdge, a program of The John F. Kennedy Chicago Children’s Theater. 2009. Center for the Performing Arts. http://www.chicagochildrenstheatre.org/. http://artsedge.kennedy-center.org/ content/3337/ Chicago Dramatists. http://www.chicagodramatists.org/home/index. Rasaka Theatre Company. html. http://www.rasakatheatre.org/. Chicago Shakespeare Theater. Redmoon Theater. http://www.chicagoshakes.com/. http://www.redmoon.org/. Christiansen, Richard. A Theater of Our Own: A “Rubrics for Assessment and Grading.” Academy History and a Memoir of 1,001 Nights in Chicago. of Art University. 2006. Evanston, IL: Northwestern University Press, http://faculty.academyart.edu/resources/rubrics. 2004. asp The ComedySportz Theatre. The Second City. http://www.comedysportzchicago.com/. http://www.secondcity.com/. Congo Square Theatre Company. 2006. Steppenwolf Theatre Company. 2009. http://www.congosquaretheatre.org/. http://www.steppenwolf.org/. Creamer, Tom, Lisa Dillman, and Steve Scott. “Students Enjoy a Week Full of Drama, Courtesy of Robert Falls at Goodman Theatre: The First Twenty Jacqui Russell.” MASCblog. 2 December 2008. Years. http://mascblogger.blogspot.com/2008/12/ students-enjoy-week-full-of-drama_02.html. “Creative Drama Criteria Assessment.” ArtsWork: The Kax Herberger Center for Children and the Teatro Luna. Arts at Arizona State University. 2009. http://www.teatroluna.org/. http://artswork.asu.edu/arts/teachers/ Teatro Vista. assessment/discipline3.htm http://www.teatrovista.org/. eta Creative Arts. Creative Arts Foundation, Inc. Unus, Wafa. “Autism Education and Chicago Public http://www.etacreativearts.org/. Schools.” Associated Content. 29 May 2007. 500 Clown. http://www.associatedcontent.com/ http://www.500clown.com article/255688/autism_education_and_chicago_ public.html?cat=4. Goodman Theatre. http://www.goodmantheatre.org/. Victory Gardens. http://www.victorygardens.org/content/. The House Theatre of Chicago. http://www.thehousetheatre.com/. “Visual and Performing Arts Framework.” California Department of Education. 2004. “Indicators of Quality Fine Arts Programs.” Texas http://www.cde.ca.gov/ci/vp/cf/ Coalition for Quality Arts Education. 2007. http://www.tcqae.org/web_files/ IndicatorsQualityArtsProgramsElemSchsK-5.pdf

272 bqqfoejy Acknowledgments

City of Chicago Rebecca Hankin, Writer Richard M. Daley, Mayor Susan Lee, Northwestern University, Lead Dance Curriculum Consultant Anne Lefkowitz, Writer Chicago Board of Education Lisa Mazza, Editorial Consultant Michael Scott, President John Morrison, Photo Researcher Clare Muñana, Vice President Colleen O’Brien, Senior Editor, BrainWorx Studio Members: Hillary Ostermiller, Senior Editor, BrainWorx Studio Norman R. Bobins Sandra Petroshius, Editorial Director, BrainWorx Tariq Butt, M.D. Studio Alberto A. Carrero, Jr. Patricia Pike, Lead Music Curriculum Consultant Peggy A. Davis Jacqueline Raimo, Editorial Consultant Roxanne M. Ward Jennifer Planey Saylor, Lead Art Curriculum Consultant Chicago Public Schools Robert Sevier, Writer Ron Huberman, Chief Executive Officer Barbara J. Eason-Watkins, Ed. D., Chief Education Content Development Officer Administrators Diane Dorsey, Office of Specialized Services CPS Office of Arts Education Sharon Dunn, NYC Department of Education David Roche, Director Frances Garcia, McKinley Park Elementary School Nancy A. Cortés, Visual Arts Curriculum Supervisor Mario Rossero, Office of Academic Enhancement Maliwan Diemer, Dance Curriculum Supervisor Lori R. Vallelunga, Hope Institute Learning Academy Jesus Esquivel, Field Supervisor Music Teachers Rosalinda Fierro, Office Manager Timothy Anderson, Schurz High School Crystal Gerner, Administrative Assistant Peter Bartels, Parkside Elementary Community Candice Jennings, Administrative Assistant Academy Emily Hooper Lansana, Theater and Literary Arts Gloria E. Brown, Whitney M. Young Magnet High Curriculum Supervisor School (Retired) William Braddan McClellan, Music Curriculum Carole H. Butler, Curie Metro High School (Retired) Supervisor Andrew Buchanan, Hearst Elementary School Frank Quinn, Arts Production Supervisor Sarah Buino, Foreman High School N. Charles Thomas, Arts Development Supervisor Dr. Kimberly Carlos, Daniel Hale Williams School of and Project Director, Chicago Guide for Teaching Medicine and Learning in the Arts Katherine Courtenay, Carver Primary School Linda DeGuzman, Perez Elementary School Project Staff Barry K. Elmore, Poe Classical School Michael Austin, Writer Heidi Farrand, Kellogg Elementary School/Cassell Lynn Bailey, Lead Art Curriculum Consultant Elementary School Martha Bayne, Writer Laurence Glenzer, Foreman High School Emily Blum/Valerie Denny Communications, Writer Arthur Griffin, Best Practice High School Mary Bowers, Designer Joelle Irvin, Clinton Elementary School Angela Bowman, Editorial Consultant Teresa Jazo, Bateman Elementary School Eiren Caffall, Lead Theater Curriculum Consultant/ H. Chip Johnson, Hope College Prep Writer Joseph Lawrence, School of Leadership Kerry Catlin, Lead Theater Curriculum Consultant Kenneth M. Lenon, Kenwood Academy (Retired) Lisa Dillman, Writer |dpoujovfe!ofyu!qbhf~

bdlopxmfehnfout!! 273 Acknowledgments CONTINUED

Octavia Lord, Shoop Math-Science Technical Darien Parker, Everett Elementary School Academy Shana Pearlmutter, Bell Elementary William Marsland, Stone Elementary Scholastic Jennifer Planey Saylor, Fulton Elementary Academy Patrick Rand, Pickard Elementary School Kelly Ogden-McCollom, Lionel Hampton Fine and Performing Arts School Virginia Reardon, Schmid Elementary School Laura Pahr, Holmes Elementary School Carmen Rivera-Kurban, Lowell Elementary School Regina Parker Johnson, Kohn Elementary School Kay Silva, Lincoln Park High School Thelma Parks, Gage Park High School Sheri Smith, Manierre Elementary School Larry L. Polk, Simeon Career Academy High School Christian Smith, Mather High School Maria Richardson, Sabin Elementary Magnet School Mary Snyder, Beethoven Elementary School Amy Rubic, Hitch Elementary School Megan Stytz, Yates Elementary School Melinda Russell, Kohn Elementary School Jule Toole, Mitchell Elementary School Daniel Salyers, Smyser Elementary School Heather Walters, Chicago Academy Elementary Mara Schack, Vaughn Occupational High School School Sheri Smith, Manierre Elementary School Krystal Grover Webb, Ruggles Elementary School Heidi Jo Stirling, Carpenter Elementary School Jesse Wyss, Curie Metro High School Janet E. Underwood, Kenwood Academy (Retired) Dance Teachers Christina Ward-DeLeon, Clinton Elementary School Kirsten Alley, Farragut Career Academy Carolyn Williams, Chicago Academy Elementary School Darlene Blackburn, Dunbar High School Natalie Davis, Cassell Elementary School Visual Arts Teachers Jeanette Gordon, Whitney Young High School Francis Allende-Pellot, Foreman High School Jessica Klink, Alcott Elementary School Camille Anderson, Amundsen High School Eileen Sheehan, Kipling Elementary School Lynn Bailey, Bronzeville Scholastic Institute Gina Spears, Boone Elementary School Katrina Barge, Cooper Elementary Dual Language Heidi Jo Stirling, Carpenter Elementary School Academy Jennifer Vincent, Alcott Elementary School Allison Beaulieu, Dett Elementary School Theater Teachers Martin Black, Gunsaulus Scholastic Academy Sharon Bluemke, Banneker Elementary School Heather Bowden, Goldblatt Elementary School Kirsten Cone, Talcott Elementary School Michelle Cleek, Pershing West Middle School Ross Frellick, Lincoln Park High School Alexandra Coffee, Claremont Academy Carolyn Grantham, Sherman Elementary School Catherine Conde, Ravenswood Elementary Kristen Hanson, Lane Technical High School Susan Dardar, Gallery 37 Advanced Arts Education Jan Heyn-Cubacub, Agassiz Elementary School Program Jon Nemeth, Kenwood Academy High School Robyn Esposito, Hearst Elementary School Robert Schroeder, Clemente High School Rodney Finley, Davis Elementary School Adjora Stevens, Goldblatt Elementary School Emily Forrest-Mattfield, Harte Elementary School Janna Walson, Rauner College Prep Art Helbig, Casals Elementary School Joseph Zarrow, Kenwood Academy High School Kathi Hoban, Hitch Elementary School Matthew Jackson, Simeon Career Academy High Arts Organizations School Multi-Disciplinary Arts Benjamin Jaffe, Kenwood Academy High School Arnold Aprill, Chicago Arts Partnerships in Education Elyn Koentopp-Vanek, Chicago Military Academy Abena Joan Brown, eta Creative Arts Foundation Laura Miracle, Pasteur Elementary School Amanda Lichtenstein, Urban Gateways Alejandro Ontiveros, Lowell Elementary School Robin Redmond, Illinois Education Foundation

274 bqqfoejy Acknowledgments CONTINUED

Scott Sikkema, Chicago Arts Partnerships in Alexandra Meda, Theatro Luna Education Marchae Miller, Free Street Theatre Julie Simpson, Urban Gateways Mara O’Brien, 826 Chi Robert Tenges, Old Town School of Folk Music Lizzie Perkins, Lookingglass Theater Music June Podagrosi, Child’s Play Touring Theatre Troy Anderson, Merit School of Music Jacqui Russell, Chicago Children’s Theater Lauren Deutsch, Jazz Institute of Chicago Leslie Shook, DePaul University J. Richard Dunscomb, Columbia College of Chicago Merissa Shunk, Adventure Stage Christine Taylor, Ravinia Jenny Stafford, Theatre Bldg Kara Kane, Chicago Opera Theater Kait Steele, 826 Chi Visual Arts Liz Stigler, Poetry Foundation Walt Hansen, Art Resources in Teaching Lisa Viscusi, Chicago Humanities Festival Marge Kelly, Marwen Institute Shawn Wallace, Qi Music Group Julie MacCarthy, Art Resources in Teaching Ray Yang, Hyde Park Art Center Reviewers Dance Troy Anderson, Merit School of Music Claire Bataille, Lou Conte Dance Studio Lynn Baber, Northlight Theater Vaune Blalock, Muntu Dance Theater Zahra Glenda Baker, eta Creative Arts Foundation Gail Kalver, River North Dance Company Janet Barrett, Northwestern University Debbie Kristofek, DanceWorks Chicago Anne Becker, Columbia College Nicole Losurdo, Auditorium Theatre Vaune Blalock, Muntu Dance Theatre Elizabeth Millman, Joffrey Ballet Carole H. Butler, Curie Metro High School (Retired) Marianne Shymanik, Ruth Page Dance Center Diane Chandler, Jazz Institute of Chicago Theater Alexandra Coffee, Claremont Academy Lindsey Barlag, Steppenwolf Theatre Company Mica Cole, Free Street Theater Nora Blakely, Chocolate Chips Theater Rives Collins, Northwestern University Diana Campos, Free Street Theatre Catherine Conde, Ravenswood Elementary School Mica Cole, Free Street Theater David Flatley, Columbia College Center for Community Arts Partnerships Robert Cornelius, Victory Gardens Theater Benjamin Jaffe, Kenwood Academy High School Ilesa Duncan, Pegasus Players Marge Kelly, Marwen Institute Rueben Echols, Black Ensemble Theater Pierre Lockett, Joffrey Ballet Sharon Evans, Live Bait Theater Nicole Marroquin, School of the Art Institute of Malik Gilani, Silk Road Theater Project Chicago Paula Gilovich, About Face Theater Evan Plummer, CPS Fine and Performing Arts Magnet Robert Goodwin, University of Chicago Cluster Program Hallie Gorden, Steppenwolf Theatre Company Barbara Radner, DePaul University Lynne Pace Green, American Theatre Company Amy Rasmussen, Chicago Arts Partnerships in Marilyn Halperin, Chicago Shakespeare Theatre Education Juliet Hart, TimeLine Theatre Company Sharon Reed, Illinois State Board of Education Katie Hartstock, Poetry Foundation Mark Riggleman, Lyric Opera of Chicago Lela Headd, Chopin Theater Kate Rogers, Lyric Opera of Chicago Barbara Kanady, Northlight Theatre Jennifer Siegenthaler, Terra Foundation for American Art Quraysh Ali Lansana, Gwendolyn Brooks Center/CSU Christine Taylor, Ravinia Daren Leonard, Healthworks Theatre Cynthia Weiss, Columbia College Center for Frances Limoncelli, Lifeline Theatre Community Arts Partnerships Nicole Losurdo, Auditorium Theatre Jesse Wyss, Curie High School

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front exterior PAGE 31 CPS Keller Photo by John Booz Photo by John Booz

front interior PAGE 34 CPS Ravinia Festival Photo by John Booz Courtesy of Ravinia Festival

back interior PAGE 35 Lyric Opera Ravinia Festival photo by Dan Best Courtesy of Ravinia Festival

back exterior PAGE 36 Ballroom Dancing Finals competition Jazz Institute of Chicago Photo by John Booz Photo: © Lauren Deutsch

PAGE 4 PAGE 37 top left CPS Archives of Traditional Music, Indiana University Photo by John Booz Photograph courtesy of the Archives of Traditional Music, Indiana University PAGE 5 Galileo Elementary Math & Science School Acd PAGE 37 top middle Photo by John Booz Archives of Traditional Music, Indiana University Photograph courtesy of the Archives of Traditional PAGE 6 top Music, Indiana University Bronzeville Scholastic Institute Photo by Lynn Bailey PAGE 37 top right Jazz Institute of Chicago PAGE 6 bottom Photo: © Lauren Deutsch Curie Metropolitan High School for the Performing & Technical Arts PAGE 37 bottom left Courtesy of the Dance Department of Curie Archives of Traditional Music, Indiana University Metropolitan High School for the Performing & Photograph courtesy of the Archives of Traditional Technical Arts, photo by Jaime Ramirez Music, Indiana University

PAGE 7 PAGE 37 bottom right Discovery Academy Jazz Institute of Chicago Photo by John Booz Photo: © Lauren Deutsch

PAGE 18 PAGE 39 Ravinia Festival CPS Courtesy of Ravinia Festival Photo by John Booz

PAGE 20 PAGE 42 Ballroom Dancing CPS Photo by John Booz Victor Powell

PAGE 23 PAGE 43 CPS Lyric Opera photo by Evan E. Plummer photo by Dan Best

PAGE 28 PAGE 44 photograph by Derrick Santini Sones de México Ensemble Photo courtesy of Sonés de Mexico Ensemble PAGE 29 right ©2007; Photographer Todd Winters New York Public Library Photo courtesy General Research and Reference, PAGE 45 left Schomburg Center for Research in Black Culture, The Arhoolie Foundation New York Public Library Photo Courtesy The Arhoolie Foundation; http:// www.arhoolie.org PAGE 29 left Alligator Records PAGE 45 right © Marc Norberg AfriCaribe Photo by Mark Joseph

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PAGE 47 PAGE 86 CPS City of Chicago Victor Powell Photography by Patrick L. Pyszka, courtesy of the Chicago Department of Cultural Affairs PAGE 52 Old Town School of Folk Music PAGE 87 top Photo by Paul Natkin DuSable Museum Collection of the DuSable Museum PAGE 53 GTN Pictures PAGE 87 bottom Photo courtesy of George Nierenberg “Gusano” or “The Worm” by Miguel Linares Mendoza PAGE 55 National Museum of Mexican Art Permanent Curie High School Collection Photo by John Booz Photo by Kathleen Culbert-Aguilar PAGE 60 PAGE 89 Chicago Symphony Orchestra CPS photo by Todd Rosenberg Victor Powell PAGE 61 top PAGE 92 Lyric Opera CPS Photo by Dan Rest photo by Suzanne Downs-Breo PAGE 61 bottom PAGE 93 Ravinia Festival Curie High School Courtesy of Ravinia Festival Photo by John Booz PAGE 68 PAGE 94 Little Village High School Cloud Gate Photo by John Booz Photo by Shihmei Barger PAGE 71 PAGE 95 top Franklin Academy © 2009 Artists Rights Society (ARS), New York / Photo by John Booz ADAGP, Paris: Detail Photo by Jon Miller - Hedrich PAGE 73 Blessing CPS PAGE 95 middle Victor Powell Chicago Park District PAGE 78 Courtesy of Chicago Park District, 2008 All photos PAGE 95 bottom Photography © The Art Institute of Chicago Chicago Park District PAGE 79 Howard Ash Richard Hunt’s “Farmer’s Dream” PAGE 97 Courtesy of the Museum of Contemporary Art, CPS Chicago by gift of Mallinckrodt Group Inc. in Photo by John Booz recognition of Richard A. Lenon PAGE 102 All other photos The Chicago Conservation Center Photography © The Art Institute of Chicago Image courtesy of the Chicago Conservation PAGE 81 Center and publication “Art for the People” CPS PAGE 103 top Photo by John Booz CPAG PAGE 84 Feed Your Child the Truth, Artist Bernard Williams, McKinley Park Elementary School Chicago Public Art Group, 1994 Photo Courtesy of McKinley Park Elementary PAGE 103 middle left School The Chicago Conservation Center PAGE 85 Image courtesy The Chicago Conservation Center Chicago Arts Partnerships in Education (CAPE) and publication “Art for the People” Photo courtesy of Chicago Arts Partnerships in Education

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PAGE 103 middle right PAGE 137 The Chicago Conservation Center Boitsov Classical Ballet Image courtesy The Chicago Conservation Center Photo by Zoltan Horvath, Courtesy of Boitsov and publication “Art for the People” Classical Ballet

PAGE 103 bottom PAGE 139 CPAG Boone School TILT. Together Protect the Community, Artist John Photo by John Booz Pitman Weber, Chicago Public Art Group, 1976 PAGE 142 PAGE 105 Curie High School CPS Photo by John Booz Photo by John Booz PAGE 143 PAGE 110 Community Schools Initiative, Office of Extended Chicago History Museum Learning Opportunities Photo by Bill Engdah - Hedrich-Blessing Jocelyn Moralde Photography, courtesy of the Chicago History Courtesy of Community Schools Initiative, Office Museum (HB31760h) of Extended Learning Opportunities, CPS

PAGE 111 top PAGE 144 top Spertus Institute of Jewish Studies Library of Congress Photo by William Zbaren, Courtesy of the Spertus Photos by Russell Lee Institute of Jewish Studies PAGE 144 bottom PAGE 111 bottom Chicago Human Rhythm Project City of Chicago Photo by William Frederking, courtesy of Chicago Howard Ash Human Rhythm Project

PAGE 118 PAGE 145 The Joffrey Ballet Chicago Tap Theatre Photo by Herbert Migdoll; Courtesy of The Joffrey photo by Josh Hawkins Ballet PAGE 147 PAGE 123 Mather High School McCauliffe School Photo by John Booz Photo by John Booz PAGE 152 top left PAGE 128 Doris Humphrey Society Ensemble Español Center for Spanish Dance & Courtesy of the Doris Humphrey Society Music Photo - Joe Davis PAGE 152 top middle Mordine & Company Dance Theater PAGE 129 top Mordine & Company Dance Theater/William Polonia Ensemble Frederking Teresa J. Pacyniak PAGE 152 top right PAGE 129 bottom Library of Congress Muntu Dance Theatre of Chicago Studio IRIS, Library of Congress, Music Division. Marc C. Monaghan PAGE 152 bottom PAGE 131 Chicago Moving Company CPS photo by Joshua Dreyfus Photographer - Cheryl Mann PAGE 153 PAGE 134 Thodos Dance Chicago Hubbard Street Dance Company Cheryl Mann photo by Todd Rosenberg PAGE 155 PAGE 135 Curie High School Armstrong School Photo by John Booz Photo by John Booz PAGE 160 PAGE 136 The Seldoms Ruth Page Foundation Anthony La Penna Courtesy of Ruth Page Foundation

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PAGE 161 top PAGE 202 Breakbone Dance Company eta Creative Arts Foundation photo by Carl Wiedemann Photo by Ken Simmons

PAGE 161 bottom PAGE 203 top Dance Crash Chicago eta Creative Arts Foundation Photo by Lindsay Schlesser Photo by Ken Simmons

PAGE 171 PAGE 203 bottom CPS Albany Park Theater Project Victor Powell Photo Amy Braswell

PAGE 178 all images PAGE 205 iO Chicago Shakespeare Theater Angela Manginelli, iO Chicago Photo by Michael Brosilow

PAGE 179 top PAGE 210 The Second City, Inc. Redmoon Redmoon “The Balloon Man” photo by Sean PAGE 179 bottom Williams Comedy Sportz Photo by Johnny Knight PAGE 211 top Lookingglass Theatre Company PAGE 184 Photo by Michael Brosilow CPS Photo by John Booz PAGE 211 bottom 500 Clown PAGE 185 Photo by Michael Brosilow Chicago Arts Partnerships in Education (CAPE) Photo Courtesy of Chicago Arts Partnerships in PAGE 223 left Education Amanda Lichtenstein Photo by Maya Erdelyi-Perez PAGE 186 Victory Gardens Theater PAGE 223 right Liz Lauren Hubbard St. Dance Company photo by Sinead Kimbrell PAGE 187 Goodman Theater PAGE 235 Photo by Peter Wynn Thompson Chicago Symphony Orchestra Dan Rest PAGE 192 McKinley Park Elementary School Photo Courtesy of McKinley Park Elementary School

PAGE 193 Bontemps - CPS Photo by John Booz

PAGE 194 Steppenwolf Theatre Company Photo by Michael Brosilow

PAGE 195 Congo Square Theatre Company Photo by Michael Brosilow

PAGE 197 Albany Park Theater Project Photo Amy Braswell

PAGE 195 Congo Square Theatre Company Photo by Michael Brosilow

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