Tag Archives: teacher resources

Finding Place: Art, Power, and Community through the Portland Art Museum’s Teacher Leadership Initiative

Written by Hana Layson (Head of Youth & Educator Programs) with Laura Bartroff (Director of Communications) and reposted from the Portland Art Museum’s News blog.

Last month, over 70 educators from across grade levels and disciplines gathered to experience the Portland Art Museum (Portland, OR) as a space of creativity, learning, and leadership. The event, Finding Place: Art, Power, and Community, is part of an initiative to nurture teacher leaders at the Museum through the 22-member Teacher Advisory Council, year-round professional development programs, and the Summer Teacher Leadership Fellows Program. The initiative receives generous support from the Oregon Community Foundation.

The Finding Place program was planned and facilitated by educators for educators. Twelve members of the Teacher Advisory Council began meeting last October to brainstorm a way to meaningfully celebrate the Council’s fifth anniversary. Through a series of open conversations, the group identified place, belonging, and equity as some of the most vital issues in education and art today. They decided to design an experience that would encourage social and emotional connections as well as intellectual inquiry. Perhaps most importantly, they wanted the experience to be joyful—an opportunity for educators to step away from the tedium of standardized tests and administrative meetings and to reconnect with the joy of learning, creating, and being part of a community.

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The day began with a story circles workshop for former and current Teacher Advisory Council members, facilitated by Charlene Martinez, Associate Director of Integrative Learning at Oregon State University and a current Council member. Story circles are a popular educational tool used in community organizing and arts-based social justice efforts. They offer a great way to build empathy and relationships quickly. For this session, participants were asked to respond to the prompt, “Think of a time when you did or did not feel you belonged to this nation.” Council members deepened their friendships with each other and came away with a new pedagogical technique to share with students and colleagues. As Dawn Nelson, a Language Arts teacher at Forest Grove High School, reflected afterwards, “The story circles not only gave me so much inspiration that day, but also when I used them in my classroom, they were so powerful—such a great way for a serious subject to inspire hope, joy, and community.”

Following the morning workshop, Teacher Advisory Council members opened up the program and welcomed all interested educators to the keynote presentation and a series of workshops inspired by the exhibition the map is not the territory. Dr. Natchee Blu Barnd, Associate Professor of Ethnic Studies and Native American Studies at Oregon State University, engaged participants with interactive activities to better understand decolonization, land and displacement, and how to implement concrete strategies for the classroom. Seven Council members facilitated small-group workshops connecting art and decolonization through a variety of disciplines, including movement and music, medicine and postcolonial literature, ink drawing and chipboard-sculpture-making. During one session, educators explored the exhibition independently, responding to prompts that encouraged reflection and dialogue.

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Along with the deep thinking and conversations, educators also played. They filled in bingo cards that asked them to “Take a selfie with someone you just met” and “Discuss what you love most about teaching.” They posed before a gold-sequined curtain at the photo booth. They shared a meal and conversation and laughter.

In building teachers as leaders within the Museum and their own schools, the Teacher Leadership Initiative further supports the Museum’s efforts to integrate the arts into classroom teaching.

“When we began the planning process for this event there was an emphasis on being welcomed and respected as collaborators,” said Lilly Windle, a visual art teacher at Lincoln High School in Portland. “Through a commitment to listening and building on shared ideas, we made progress, learned and built a program that kept the original vision of connection, joy, collaboration, community and power, clear and at the forefront.”

The continuum of empowering educators was evident as the inaugural Teacher Leadership Fellows joined the Teacher Leadership Council, and participated in hands-on, collaborative resource-sharing during the symposium. As 2018 Fellow and H.B. Lee Middle School teacher Franky Stebbins observed, the planning process and final program were “a reminder that the leaders I respect and appreciate the most are those who are DOING—who are willing to lead, but also jump in, be vulnerable, and co-create.”

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“For me personally, it felt grounding to experience a high-fidelity educator workshop addressing the many layers of connecting with the land and having Indian Country be visible,” said Carrie Brown, a teacher at the Native Montessori Preschool in Portland Public Schools. “So often, our Native families and students are invisible in university education courses and workshops. Much gratitude to the Portland Art Museum for hosting this workshop and supporting the exhibition the map is not the territory.”

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Curriculum SLAM: Contemporary Art, Contemporary Pedagogy

curriculum-slam2Submitted by Lydia Ross, Programmer of Education, School and Teacher Programs, Museum of Contemporary Art Chicago. Re-published from NAEA Digication e-Portfolio site.

As 21st century art teachers there are so many competing pressures for time and attention that it can sometimes be difficult to focus on a core concern of creative teachers. How to gather innovative ideas for projects and curriculum that introduce students to a wide range of contemporary artmaking strategies?

“Recognizing the need to create opportunities for teachers to share innovative practice and understanding that old style curriculum sharing methods may not be the most efficient or engaging ways of exchanging quality curriculum, the Museum of Contemporary Art in Chicago’s Educator Salon invented a fast-paced and fun format to share art projects—the Curriculum Slam!” explained Chicago art educator Olivia Gude.

“Today’s society of media saturation has given us all a touch of ADD. The curriculum slam format works well because it’s quick and entertaining and because the careful selection and preparation process guarantees that the content is fresh and well-thought out—based on significant contemporary ideas about making art.”

Inspired by the emceed hip hop-style poetry slams pioneered in Chicago in the 1980s that brought contemporary aesthetics and style to traditional poetry readings, the Curriculum Slam! re-invents the old-style curriculum fair by adapting a 21st century presentation innovation—the rapid style PechaKucha format. PechaKucha (in which 20 images are set to advance automatically every 20 seconds) was developed by the Klein Dytham architectural firm in Tokyo because there was a need for a public forum to share innovative work, but if you “Give a microphone and some images to …most creative people…and they’ll go on forever!”

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The Curriculum Slam! has become a popular yearly feature of the MCA’s teacher programming since 2010. Teachers have presented on a wide range of topics—using the work of contemporary artists to inspire contemporary curriculum. Presentation subjects have ranged from 5th graders making paintings with the self-imposed limitations (based on the work of Matthew Barney), building and photographing miniature environments (in the style of artists such as Laurie Simmons and outsider artist Mark Hogancamp), humorous horror drawings (inspired by drawings and animation of Tim Burton) and explorations of self-identify in the digital age in which students’ text messages contribute to making self-representations.

“The Museum of Contemporary Art is a learning institution as well as a presenting institution. Through this project we are tapping into many forms of contemporary pedagogy. We are learning from teachers.” -Marissa Reyes, Associate Director of Education, School & Teacher Programs at the MCA

The PechaKucha format has been adapted to enhance curriculum sharing—“We have been using a 14-slides-in-40-seconds format to allow teachers the time to explain some of the details relating to core objectives, materials, choice of artists and other details that contribute to successful projects. We wanted to create a format that balanced being fun and sort of frantic with conveying useful content.”

Curriculum Slam! Goes to San Diego

Now, Chicago brings this dynamic presentation format to the country with the first ever NAEA National Conference Curriculum Slam! emceed by OMGude, Marissa Reyes and DJ Jamie Rees. The event will be held during the 2014 NAEA National Conference in San Diego (March 29-31, 2014) on Monday, March 31 from 4 to 5:50pm. NAEA Secondary Division Director, James Rees commented, “One thing teachers seem to be always looking for is timely content that matters to their students.  This curriculum slam will model a dynamic method of communication, along with a dizzying array of meaningful curriculum. This will be a must attend event this year at the conference!”

How to Get Involved at the NAEA Curriculum Slam!

All members of the NAEA community are invited to apply to be a presenter in the San Diego conference Curriculum Slam! by sending in a short initial application explaining how the teacher’s curriculum unites great contemporary art and great contemporary curriculum, accompanied by a few images. The Museum of Contemporary Art Teacher Advisory Committee will review the applications, conduct phone interviews, choose participants and help presenters prepare for the fast-paced format.

See below for more information on the process of submitting an application by downloading the application forms and template for sample 3 slides in the presentation.

Applications are due on January 6, 2014.

Click here to download the NAEA Curriculum Slam! Fact Sheet (PDF)

Applications have 2 parts:

  1. Word document answering a few questions–who, what, why. Download Application Part 1 (Word)
  2. Submit a Powerpoint with only 3 slides–just give us a taste of what you plan to do. Download Application Part 2 (PPT)

That’s it. Send to MCA School and Teacher Programs at teacherprograms@mcachicago.org

We’ll be in touch by within a few weeks of the December 18 deadline to let you know if you made the Slam! Team for 2014.

After you’ve been selected MCA staffer and Pecha Kucha coach Lydia Ross will “phone meet” with you to assist in making the most dynamic, inspiring and info-packed presentation possible.

Hope to see you in San Diego!

Gravity and Grace: Cross-Departmental Collaboration at the Brooklyn Museum

If I were stitching a sampler about some of my recent museum education work, it might start like this:

A is for Anatsui.  B is for Brooklyn.  C is for collaboration.

Photo by David Sky, seemsartless.com
Photo by David Sky, seemsartless.com

Where the rest of the alphabet would go, I’m not so sure, but those first three letters reflect my experience working on Gravity and Grace: Monumental Works by El Anatsui, the retrospective exhibition at the Brooklyn Museum.  Every show in every museum takes a dedicated team to pull it off, of course, but I’m taking this digital moment to highlight what’s been a particularly wonderful example of cross-departmental cooperation, which isn’t an easy thing, especially in a mid- or large-size institution.  In this case, it led to a variety of ways to engage with the exhibition that ultimately (I hope) makes the show a great experience for our visitors.

We have a downloadable Teaching Resource for teachers who want to bring their students to see the show.  We hosted a conversation between El Anatsui himself, Susan Vogel (filmmaker and author of El Anatsui: Art and Life), and Kevin Dumouchelle (the museum’s Associate Curator for the Arts of Africa and the Pacific Islands and curator of this show in its Brooklyn presentation):

We have an in-gallery hands-on activity inviting visitors to use paper and twist ties to imitate some of the folds Anatsui and his assistants use to create his massive metal artworks (more on that in a bit).  We have iPad kiosks that solicit visitor responses to the art on display using video questions posed by museum staff.  We have QR Codes to scan for those seeking further context.  And that’s in addition to our array of tours, workshops, and art-making classes designed for families, students, and adults.  So many options for engagement!

So how did all this come about, and what made it so collaborative?

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Photo by Rachel Ropeik

My part in it started when I took on the role of Project Educator for the show.  The Education staff here divvies up a given year’s roster of special exhibitions to assign a Project Educator or two to each show.  These folks represent Education’s voice in interdepartmental meetings and help shape education programming during the show’s run.

From the get-go, Kevin generously shared his knowledge, thoughts, and time with me and Matthew Branch, my fellow Project Educator.  For Kevin, the collaboration inspiration started even earlier in the process: with Anatsui himself.  “The work is so open ended,” Kevin says.  “There was a real possibility for thinking big and thinking of options that we might have been a little bit more cautious about if we had more specific instructions from the artist.”

While some artists provide detailed notes for how their pieces should be installed, Anatsui likes to leave it up to the team at each location.  “That filtered down to every aspect of the show,” Kevin adds.  “Which made it a lot of fun.”  Take a peek at this time-lapse video of the show’s installation. As you can see from the art handlers, designers, and conservators involved, it took a team to get the show up.  Not to mention Robert Nardi in our Technology department, who made this video to share with the internet at large:

Go, team, go!

Adding her enthusiasm and creativity to the mix was Sara Devine, the museum’s Manager of Interpretive Materials, who made sure we had a hands-on activity in an exhibition full of objects that, oh man, do you ever want to touch.  We can’t touch the art, but thanks to Sara’s input, we can do our own tactile experimentation.  Physically embodied engagement?  Check. Multimodal sensory inputs?  Check.  Music to the ears of any art educator.

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Photo by Rachel Ropeik

Sara also enlisted representatives from our curatorial and education staff (and, again, Technology’s cooperation) to record several 30-second video clips that ask visitors questions about the exhibition and invite them to enter their responses on iPads throughout the galleries.

All in all, it’s an exhibition that offers visitors a range of ways of interacting, and it could only have been done by creative interdepartmental teamwork. As Sara states:

“I know it sounds pretty obvious, but what allowed this exhibition to be a good example of cross-departmental collaboration was an ongoing and open line of communication, which is surprisingly rare. I think we all very easily get caught up in our own part of the process and forget to reach out, ask for input, and keep others informed. We all made a conscious effort to communicate and I believe that is the biggest reason our collaboration was so successful.”

I couldn’t have said it better.  This opening up of the closed doors–be they metaphorical or literal–between departments is a way many museums approach (or are starting to approach) their work, and it’s an exciting prospect to look forward to.  In Mike Murawski’s recent post about the Museum Education Division sessions at this year’s NAEA Convention, he noted that we’re in “a moment when many major museums are re-imagining (and, in some cases, totally disrupting) the traditional relationships between education and curatorial.”  Sure, it may be testing uncharted waters, but when it works (as it has with Gravity and Grace), it can produce amazing results.

How have you worked to open lines of communications across departments at your institution?  Join the conversation below, and share some of the best collaborations you have been involved with.