Archives for category: Arts Education

To the shock and consternation of charter school advocates, the Trump budget proposal abandons the controversial federal Charter Schools Program, turning it into a state bloc program that turns the money over to the states. 

The National Alliance for Public Charter Schools issued a scathing denunciation of the axing of the federal charter school programs, which has enriched the big corporate charter chains.

The Network for Public Education issued two reports on waste, fraud, and abuse in this program, showing that nearly 40% of the federal money was spent on charters that either never opened or closed soon after opening, with waste of nearly $1 billion. See the reports here and here.

Trump and DeVos are backing their chief priority: vouchers, which they prefer to call “education freedom scholarships,” at a proposed cost of $5 billion. They want America’s children to be “rescued” from public schools that hat have been burdened by harmful federal policies like high-stakes testing, and punishments attached to testing. They want them to attend religious schools that are low-cost and have no standards or accountability, and are free to discriminate against students, families, and staff they don’t like.

The erstwhile Center for American Progress lamented the proposal to cut federal spending on charter schools, even though Democratic support for them has substantially declined. Apparently, CAP is the last to know that school choice is a Republican Policy.

Chalkbeat reports:

The Trump administration wants to create a new stream of funding for disadvantaged students that would consolidate current spending on Title I — which gives money to schools serving low-income students — and 28 other programs.

This school year, the department spent $16.3 billion on Title I grants to states and districts and $7.8 billion on the other programs. Under the proposed budget, it would all become a $19.4 billion pot that would be distributed through the Title I formulas — a $4.7 billion cut, if the budget were enacted.

The individual programs on the chopping block include:

  • 21st Century Learning Centers, which supports after-school programs in places like Detroit and New York City ($1.25 billion)
  • Arts in Education ($30 million)
  • English Language Acquisition ($787 million)
  • Homeless Education ($102 million)
  • Neglected and Delinquent, which offers grants to states to educate incarcerated students ($48 million)
  • Magnet Schools, which offers grants some districts use for desegregation ($107 million)
  • Migrant Education ($375 million)
  • Rural Education ($186 million)
  • Supporting Effective Instruction State Grants, which is also known as Title II, Part A, which districts can use for teacher training and to reduce class sizes ($2.1 billion)

This move, the budget documents say, would reduce the federal government’s role in education and pave the way for less spending on department staff.

But the proposed elimination of these streams of funding raised alarms among civil rights advocates, who said this would enable states to spend less money on vulnerable groups like students who are English learners, homeless students, students involved in the juvenile justice system, or migrant students.

“History has shown us that … unless the federal government says you must serve migrant children, and here are funds to help you do that, migrant children are lost and forgotten,” said Liz King, the education equity program director at The Leadership Conference on Civil and Human Rights. “The purpose of the dedicated pots of money … is to make sure that the most powerless people in our country are not lost.”

Advocates for other programs expressed concern, too. During a question and answer session with education department officials, a member of the National Association for Gifted Children asked why the administration had proposed eliminating a $13 million program that supports gifted education.

Jim Blew, one of DeVos’s assistant secretaries, and a former official at the Walton Family Foundation, said that advocates for these programs should lobby the states to fund their favorite programs.

Robin Lithgow continues her exploration of the history of the arts in education with this post about Shakespeare’s education.

Robin was director of arts education for the Los Angeles Unified School District.

This post includes a video of Robin describing her passion for her subject.

And it begins:

I know, I know—the “whining school-boy…creeping like snail unwillingly to school” and all that—but I actually think Shakespeare had a lot of fun at Stratford’s Latin Grammar school. Not only that, he shared that fun with his classmates.

For one thing, I am absolutely convinced that the first draft of his The Taming of the Shrew was based on a riotously funny collaboration written and performed by Stratford schoolboys, but I’ll save that for a another post when I can show a reading of Erasmus’s hilarious colloquy “Uxor” (Marriage), starring Xanthippe, the Shrew. (My gut tells me that young Will played that part and relished it!)

But I also think that learning dozens and dozens of rhetorical figures and devices was fun too. Why? Well, when you think about it, they ARE fun in themselves—like intricate word puzzles—and wordplay was a major source of entertainment back then. Either by good pedagogy or by necessity, collaboration was a constant factor in the Elizabethan classroom, and figuring out those devices together must have been totally engaging.

Just to demonstrate: I’ve attached here the full video of a presentation I did recently in which the participants engaged in a collaborative activity creating examples of four figures. I’ve posted segments of the video featuring readings from two colloquies (and hope to have one soon of “Uxor”), but the rhetoric portion of the video is in the first half.

 

Robin Lithgow, former director of arts education for the Los Angeles public schools, has been researching the history of children’s theater, in particular, the boys’ acting companies that were popular in England.

This is Part 4 of her series. 

She begins:

If you’ve been on the edge of your seat waiting for this final post on the boys’ companies active in the Tudor Age, you are probably alone, and I need to hear from you! This is a shame, because if theatre historians Harold Newcomb Hillebrand and Charles William Wallace are correct, the Globe Theatre and Shakespeare would never have happened without them!

My first three posts on this subject covered the immense popularity at court of the Children of St. Paul’s and the Children of the Chapel (along with many others that came and went and entertained the aristocracy in the provinces) up through the last decade of Elizabeth’s reign. The third post chronicled their demise as a result of politics and the far more active men’s companies. Hillebrand and Wallace wrote their books early in the last century, and since then there has been almost total silence. Fortunately their books are exhaustive in their detail, and if you can get your hands on them, you might join me in appreciating the role that boy actors played in our rich history

The truth is, the last gasp of the boys’ companies during the reign of James I, while dazzling and controversial, was brief; and it was entirely different from what had gone before. Both the Children of the Chapel and St. Paul’s had a second flowering with the ascendance of a new monarch, but their new life was a life sustained by a different breath—the breath of commerce. Ambitious entrepreneurs banked on the nostalgia for the playful antics of the boys who cavorted through the courts of Henry VIII and Elizabeth I, and they took a huge gamble. They had investors, and they threw their money around rashly, hiring the best playwrights available. Samuel Daniel, John Day, George Chapman, Thomas Middleton, John  Marston, and Ben Johnson pocketed way more money writing for the boys than they did for the men, and their brilliant plays can still delight us; but the playful antics of the cavorting boy actors were not a good fit for them. Jacobean audiences had grown much more sophisticated, and they and demanded edgier and more dangerous fare than the children could manage.

 

Robin Lithgow, former director of arts education in Los Angeles, is researching the history of children’s theater.

This is Part 3 of Lithgow’s series on boy actors.

She begins:

If Charles William Wallace, in The Evolution of the English Drama up to Shakespeare, is to be believed, it was at Blackfriars Theatre, in the early 1580s, that the Golden Age of Elizabethan Theatre was launched. He makes a convincing argument which I will attempt to summarize here. It is perhaps an implausible leap to say that without the boys’ companies there would have been no Shakespeare, but let’s look at the evidence.

The wildly popular flourishing in the 16th century of the Children of the Chapel and, later, the Children of St. Paul’s and the Children of Windsor, had a lot to do with the youth of three monarchs. Youth craves entertainment, often the edgier the better, and Henry VIII, his son, Edward VI, and his daughter Elizabeth were all very young when they first ascended the thrown. All three of them loved the antics of the theatrical, satirical and often histrionic productions of the boys’ companies.

Robin Lithgow, former director in charge of arts education in Los Angeles public schools, has written an engaging series about the history of “boy actors.”

This is Part 2. 

She begins:

The day of the old morality plays ended in 1514, when the young King Henry VIII stood up in the middle of one, yawned, and walked out of the room. Two years earlier, during a celebration of Twelfth Night (the holiday, not the play), Henry’s Sergeant of the Revels had introduced a brand new style from Italy: the Meskaler: “called a masque, a thing not seen afore in England.” The sets, the dress, the colors, the music, the wit, and especially the dance that the noble observers always joined at the end, all imported from the seat of the Renaissance, quickly displaced the old religious dramas that had dominated English theatre for centuries. This new style, mixing music and dance with interludes of dialogue, had a huge impact on theatrical productions during Henry’s reign.

It was the in the “interludes of dialogue” that the Children of the Chapel had their big opportunity. The masques were lavish and they involved unbelievably elaborate pageant wagons that would put our Rose Parade floats to shame. Here’s a description of just one: “adorned with purple and gold, having branches wrought of roses, lilies, marigolds, gillyflowers, primroses, cowslips, and other kindly flowers, with an orchard of rare fruits, all embowered by a silver vine bearing 350 clusters of grapes of gold. It contained thirty persons, and its great weight broke the floor as it moved up the hall. On the sides were eight minstrels with strange instruments, and on the top, the Children of the Chapel singing.” At least one of wagons was said to be pulled by lions and antelopes! (Really?! I know that is hard to imagine, but that’s in the description. They may have been huge disguises manipulated by several bodies?) Since they where heavy enough to crack the tile flooring at court, the light bodies of the boys were an asset, and their trained voices made them natural candidates for the interludes. Indeed, before they were called actors, these young Thespians were called “interluders.”

Eventually there were two major boys’ companies who entertained the aristocracy, providing most of the theatricals at court for the first eighty years of the 16th century. They were the Children of the Chapel Royal and the Children of St. Paul’s. There were other companies in the provinces that came and went, playing for the great houses of the dukes, earls,  viscounts, and lords, but because of the meticulously kept royal records we have the most information about the Chapel and St. Paul’s boys. Researching them I relied heavily on two books written early in the last century: The Evolution of the English Drama up to Shakespeare by Charles William Wallace and The Child Actors by Harold Newcomb Hillebrand. Very little attention has been paid to them since, which, if Wallace and Hillebrand are correct, is kind of astonishing. Both of them make a convincing argument that the Golden Age of Elizabethan theatre would never have happened without them!

Robin Lithgow, former director in charge of arts education in Los Angeles public schools, has written an engaging series about the history of “boys’ theater companies.”

This is Part 1. 

She begins:

“Harken, I do hear sweet music: I never heard the like” and “we shall hear [in the choir of Saint Paul’s] the fairest voices of all the cathedrals in England … and to tell the truth, I never heard better singing.”

— Claude Desainliens, a French visitor to London in 1573

“Mom, I was just in Westminster Abbey, and there was music falling from the ceiling—the most beautiful singing I’ve ever heard. I thought it was angels, but then the choir door opened and out walked a whole lot of little boys!”

—My 18-year-old daughter, calling from a phone booth on her first day in London, 1995, having just heard the Westminster Boys Choir in rehearsal

* * *

A Bit of Little-Known History From My Book:

“In England, the training of boys’ voices for royal entertainment goes far back in history, deep into the Middle Ages. Sometime in the 12thcentury, probably earlier, an ecclesiastical body of musicians and singers was organized to meet the spiritual needs of the England’s reigning sovereign. It still exists. Called the Chapel Royal, it is today considered the oldest continuous musical organization in the world. Traditionally it has been comprised of from twenty-four to thirty-eight men and from eight to twelve boys. Besides the Chapel Royal and the Westminster Boys’ Choir there are dozens of boys’ choirs throughout Britain, the Chapel Royal only being the oldest.

“No one knows when boy singers were added to the Chapel Royal or other church choirs, but they were probably present from the very beginning, their treble voices being thought to be the closest to the voices of angels. There was a religious pursuit of this purity of tone. Churches, abbeys and cathedrals were designed acoustically to capture it: massive sound boxes that amplified these “fairest voices.” Choir schools, attached to churches and training children for church choirs, played a role in the pre-reformation history of British education. They offered free education to able students. Their purpose was to assure a sufficient number of well-trained voices to supply the needs of the church. As we shall see, Erasmus himself attended a song school in Utrecht, perhaps because it was an opportunity for a free education. The earliest choirmasters were usually almoners, the men who distributed alms to the needy.

Parents and teachers filed separate lawsuits against the Buffalo Public Schools, complaining that the school system has failed to provide equitable music and arts programming.

Both parents and teachers are filing separate lawsuits against the Buffalo Public Schools, citing a lack of access to music education. The legal papers claim a legally-required arts sequence is only provided at two district high schools.

Just over a year ago, Hutch Tech High School Band Director Amy Steiner had over 100 students participating in either jazz band, concert band and/or wind ensemble.

“Now we didn’t have a regular rehearsal time, and we only got to meet once a week before school, but we really became very close,” Steiner said. “We would have close to 30 gigs a year with my groups. A lot of them were outside my school.”

Students would rehearse with their ensemble before school started and for a time would receive credit for their diploma via a one minute period later in the day.

Today, outside of a small jazz group there are no performing ensembles at Hutch Tech, a school that still employs two music teachers.

Buffalo Teachers Federation President Phil Rumore said the district isn’t compliant with state arts sequence regulations.

“The district is not providing this in all of our high schools. In fact, not in most of our schools. So we’re going to go to court to make sure that our kids gets what everybody else gets in the suburbs and what’s required by the law,” he said…

In New York State’s 2017 Revised Learning Standards for the Arts, school districts and the state alike are responsible for ensuring “equity of arts learning opportunities and resources for all students in the district/state.”

 

Robin Lithgow, retired director of arts education in the Los Angeles, blogs about the history of arts education. In this post, she reflects on the questions she wished she had asked her parents when they were alive, and her reflections lead her to learning and telling the history of arts education in settlement houses, the social service centers in densely crowded urban neighborhoods. Wouldn’t it be wonderful if the billionaires who now pour vast amounts of money into creating competitive structures of schooling were instead to fund vibrant arts education programs?

She writes:

The Settlement Movement began in the late 19th century as a social experiment, to address the cultural needs of impoverished communities. It was modeled after Toynbee Hall, established in London in 1884 “as a practical tool for remedying the cruelty, exploitation, and  bleakness found in city life.” The first settlement house in the United States was University Settlement in New York City, but the most famous was Hull House, established by Jane Addams in Chicago. Eventually there were over 400 settlement houses in cities and towns across the country.

Here’s an interesting fact: the reason they were called “settlement houses” is because a variety of caring groups “settled in” to neighborhoods with wretched living conditions, to learn as well as to help. They lived in the communities and shared the stresses endemic to neighborhoods of poverty. They did not approach their jobs as teachers, but as students: students of the huge diversity of cultures pouring into our nation at the time.

Music lesson at a Philadelphia settlement house

Social dance class at The Memory Project in a Cleveland settlement house

My best source so far, in searching for the answers to questions I never got to ask my  mother, is a monograph written in 2011 by Nick Rabkin: “Teaching Artists and the Future of Education.” In it he makes the assertion that, “Artists have worked in community-based arts education for more than a century, and the roots of their work in schools are found in arts programs at the settlement houses at the turn of the last century.” To quote Margaret Berry, “In the settlement house there were always activities which brought fun and fulfillment to life—music, art, theater, sociability and play.” But Rabkin points out that the settlement houses cast out the old conservatory model of arts training in favor of a much more socially conscious, all inclusive model, in which art making and art exploration was “for everyone and essential to the fabric of a democratic society.” The iconic example is that instead of art students standing in smocks at easels, painting vases, a drawing lesson at Hull House might be a class of scruffy youngsters sketching the unsanitary conditions in the alley behind the settlement. Teachers at the settlement houses taught aesthetics and technical skills but were also “attentive to the arts as tools for critical exploration of the world, celebration of community values and traditions, weaving the arts into daily life, cultivation of imagination and creativity, and appreciation of the world’s many cultures.” We see in this philosophy the derivation of the strands of our national instructional standards in the arts.

Hull House is where the great swing era clarinetist, Benny Goodman, learned music, and the Home for Colored Waifs in New Orleans gave us Louis Armstrong. Social dance, modern dance, and creative movement were regular offerings, as were culturally embedded crafts.

 

 

Michael Moore visited Finland with a camera crew to learn about its education system.

How could a nation post high test scores on international tests when its schools emphasize creativity, play, physical activity, and the arts and ignores standardized testing?

Watch his video and see what you think.

A great victory for real education in Milwaukee, where the business community and politicians have been obsessed with “choice” for 30 years. From the FB page of the Milwaukee Teachers Education Association.

This is a victory for students!

This is a victory for real education!

A Big Victory for Music in MPS!
 
70 photos5 hours ago
Last night the School Board decided to take the first step in moving towards giving the students of Milwaukee the schools they deserve by unanimously passing an initiative to bring music back to ALL MPS schools. This was a big first step in bringing our schools back to what they once were. Thanks to all who wrote letters, sent emails, made phone calls, and testified at the committee hearing on Tuesday to make this happen. We will win the schools our students deserve! Photos are from Tuesday’s committee hearing. #MPSproud