[minti_dropcap style=”normal”]A[/minti_dropcap]s part of the “follow up” portion of an FFT fellowship, grant recipients complete a Passport that documents their learning and where they plan to go from here. Teachers answer brief questions in three categories:

1. Personal and Professional Growth
2. Impact on Your Classroom, School & Community, and,
3. Imagining the Future.

During the month of August, we’ll share some of our Fellows’ Passports to get us all in the “Back to School” mode. Today, we’re proud to share the reflections of Nolan Hanson, teacher at Oscar F. Mayer Elementary in Chicago, IL. He described the threefold nature of this fellowship in his grant proposal:

Shopping for paints at Sennelier, where Picasso purchased supplies.

The knowledge and insights I gained into the cultures and environments that impacted Picasso’s life and art have grown immeasurably as a result of my fellowship. Coupling this with my newfound knowledge of him as a person and an artist, as well as the complexity of his background, provided me with an understanding of how each of these elements are displayed in his work. I now feel capable of presenting these characteristics and experiences to my students and school community effectively.

First and foremost, my capacity to teach art in Spanish now exists, which it previously did not (except on a superficial level) as a result of: 1) the instruction I received from multiple museum staff members on art creation, appreciation and analyzation; and 2) having now observed, analyzed and appreciated the art of so many Spanish and Latin artists. Where I previously included art in my instruction, I will now be able to embed art in my instruction as a means for dialogue and inspiration.

Living for a month in Spain has to be the greatest personal accomplishment of my fellowship. During the writing of my proposal, I regarded being a Spanish teacher who had never been to Spain as a personal and professional deficiency. I can now state that deficiency has been satisfied with incredibly memorable experiences and professional growth. The fact that the entire fellowship was centered around the study of one of my Spanish heroes enhances the richness of each experience.

Impact on Your Students, School & Community

On a walking tour of Picasso’s Paris, at the St. Germain studio where he painted “Guernica.”

I will now be able to provide my students with the opportunity to use art in their weekly Spanish instruction. The authentic resources I was able to collect during my fellowship will provide them with quality enrichment tools to better connect with the experiences of Picasso and the culture of Spain. Using all of these resources together will allow us to create a positive social emotional learning environment that up to this point has been challenging to build within a language classroom.

In collaboration with the humanities teachers at my school we developed an interdisciplinary unit to cover the life and times of Picasso. Students will research and discuss the major world events that parallel Picasso’s lifetime in tandem with a micro focus on specific events that happened to Picasso. We will then combine these into an evaluation of his work and what influences we can see in his choice of subject, color, technique and message before students begin making their own artwork.

[minti_dropcap style=”normal”]A[/minti_dropcap]s part of the “follow up” portion of an FFT fellowship, grant recipients complete a Passport that documents their learning and where they plan to go from here. Teachers answer brief questions in three categories:

1. Personal and Professional Growth
2. Impact on Your Classroom, School & Community, and,
3. Imagining the Future

During the month of August, we’ll share some of our Fellows’ Passports to get us all in the “Back to School” mode. Today, we’re proud to share the reflections of Carly Connor and Jill Padfield, teachers at Franklin School of Innovation in Ashveille, CT. They described the purpose of the fellowship in their grant proposal:

Students view our school as a place they have to be, and despite our “leave no trace” school norm, they don’t take ownership or pride over the spaces in which they learn. Part of this is most certainly due to the fact that our school is currently a collection of trailers–a temporary campus while we work toward funding for our permanent building. We have tried small improvements to make the campus more visually appealing, but these have not changed the students’ habits of kicking holes in the thin walls of the classrooms, writing on bathroom stalls, and leaving trash all over campus. We desperately need a culture change, especially as it comes to students owning school as their own space.

This fellowship will lead to a project that will allow students to have a voice in biophilic and sustainable features that could be added to our new school building. Research shows that buildings incorporating biophilia, a person’s innate biological connection with nature, can not only reduce stress, but also improve cognitive function and creativity. We will task the students with incorporating both biophilic and sustainable ideas into a real, physical structure in our new school building for the benefit of everyone in our school community.

Sun Pipes filter sun into classrooms and offices with no windows at Dover Court International School in Singapore.

Impact on Your Students, School & Community

Student-run gardens at Brentwood Secondary College in Melbourne, Australia.

Before this fellowship, we led student projects that were interesting, but they always seemed to fall short of truly authentic. Projects rarely included a service component and never positively affected our community. This fellowship and resulting project will be the start of helping students to connect their learning to their community in a meaningful way.

This project will require collaborative work in order for it to be successful. My partner and I plan to get the rest of the 10th grade team on board on our first day back by telling them about our learning, our project idea, and getting them to feel as excited as we feel. We are already organizing all of our photos and creating a presentation for the students, but we both feel like we can’t move forward at this point without the rest of our team, since the project will live in all of our classes.

 

Imagining the Future

Our project centers around our new school building, and our students will be creating new green-design features to be incorporated into the building. This may take a few years, but it could then include several grades that as part of this long-term, collaborative project. Most importantly, this project will help give any student who works on it more ownership of the new building and their community.

Part of the focus of our fellowship was to positively impact the environment that our students learn in. The best way to do that is to not only make them more accountable for their waste and their habits, but to give them a space to study that is green and healthy and productive. Lack of such spaces is a huge problem in many of our schools today, and our students are going to be at the forefront of changing this in our state.

I don’t think anyone would have guessed that two high school Math and English teachers would be able to create a meaningful, collaborative project about Science! It was not easy, but the opportunity for this fellowship pushed us to think beyond our own classrooms and our own content to what we thought our students and our community really needed. This fellowship took us from a subject-focused perspective to a student and community perspective, and now the possibilities seem endless!

Don’t forget to check out the previous two posts in our Passport to Learning series, featuring fellowships about British literature and African culture.

This is the question that inspired Jeff Wolfson’s 2017 fellowship to Monet’s most famous painting spot – Giverny, France. His goal was to develop with students and community partners a similar artist’s garden as a place for reflection and inspiration at Nathan Hale Arts Magnet School in New London, CT.

“My school is situated in a small city where many students lack extended exposure to stimulating natural environments,” explained Jeff. “My classroom, however, has access to a large courtyard that was a blank slate, with a brick patio and minimal plantings. There existed more than adequate potential to create an inspiring student space with gorgeous plantings along with structural additions such as arbors, trellises and student art work.”

After experiencing Monet’s garden and the Museum of Impressionisms outside Paris, Jeff had the basis for an art courtyard design using details from the impressionist art movement. He began the school year by meeting with local garden designers, college arboretum staff and the district’s School Garden and Nutrition Coordinator to develop a planting and instructional plan. Then he introduced his new “Art in the Garden” course to fourth and fifth graders.

Yesterday, the school community officially unveiled the finished product, 356 days after Jeff departed for France on his fellowship.

“Giving students real world problems to solve has immense impact on students’ learning,” said Jeff. “In the process, they created something that will be a permanent feature of their school and something they can return to with pride.”

Congratulations to all of the students, teachers and parents who created this very special outdoor classroom and relaxation space to be enjoyed for decades to come.

To be (relevant) or not to be (relevant), that is the question high school students ask when it comes to reading Shakespeare. In response, Fund for Teachers Fellows annually set out for Stratford Upon Avon and related sites to prove how a 400-year-old bard has still got game.

Gretchen Philbrick, teacher at Norwich Free Academy in Norwich, CT, crammed as much Shakespeare into three weeks as possible, seeking him out in three countries. She participate in the European Shakespeare Research Association convention in London; attended the Gdansk Shakespeare Festival in Poland; and explored Romeo and Juliet’s Verona.

“Shakespeare lessons ‘test my mettle’ as a teacher,” she said. “I must come up with relevant, properly scaffolded, high interest lessons in which students can discover just how capable they are and walk away as confident Shakespearean scholars.” She uses the Instagram feed named for a Shakespeare quote (@experiencebeajewel) to share videos, incorporates puppetry into readings and analyzes with her students global adaptations of Romeo and Juliet from locations as varied as Bollywood and Iran.

“Shakespeare marks a significant stage in a student’s development. Once students “get” a Shakespeare text, they beam & their sense of accomplishment is evident!” said Gretchen.

Danielle getting in character at The Globe Theatre.

Danielle Peck (Grosse Point South High School – Grosse Pointe Farms, MI) participated in the “Teaching Shakespeare Through Performance” program in London to learn new methods of teaching that inspired creativity through performance. Classes at the Globe Theatre informed her own, as she shares strategies for mastering texts through analytical reading and writing.

“Shakespeare now resides on our campus in multiple ways” said Danielle. “My students started a Shakespeare Club and I serve as advisor. This year, we held an in-school monologue contest and also traveled to Cincinnati to participate in the National Shakespeare Monologue Competition.”

Additional student activities include:

• a “Shakespeare’s Greatest Hits” staged reading by students and teachers of the most iconic scenes;
• a new semester-long course on the bard; and,
• an annual performance of Romeo & Juliet on campus in collaboration with a professional theatre company.

“My summer at the Globe was truly life-changing,” said Danielle. “It transformed me as an educator and as a human being and inspired me to keep learning and growing.  Thank you for trusting teachers to develop their own extraordinarily meaningful professional development programs.  In a time when it seems like teachers are given less trust and fewer resources than ever, your philosophy is a hopeful breath of fresh air.”

Engaging middle school students in classic literature and theatrical performance was the motivation behind Lyndsey Jones-McAdams‘ fellowship. In addition to participating in a Greek performance workshop in an authentic amphitheater, she conducted research at the Royal Shakespeare Company in Stratford Upon Avon. This week, her fourth and fifth graders at P.S. 264 in Brooklyn completed a “Classical Remix Theatre Collection” which she created. In collaboration with a professional theatre, students read original texts in an abridged manner and adapt them for the school community (comprised primarily of Middle Eastern immigrants).

“My students adapted A Midsummer Night’s Dream into an immersive theatre piece, where we transformed our school into Ancient Athens and students and families traveled our building to visit and become a part of the world of the fairies, mechanicals, and young lovers!” said Lyndsey. “At the end, they all (audience included) participated in a traditional Greek wedding dance to celebrate the weddings of the young lovers and the Duke and Duchess.

This summer, the following FFT Fellows will seek out Shakespeare on both sides of the pond:

Joan Williams (Knoxville, TN) will investigate political and folkloric history of Macbeth in England and Scotland, particularly differing performance strategies and historical interpretations, to establish thematic context for existing interdisciplinary courses (AP World History/Literature) and incorporate site-based research into a new Shakespearean Performance curriculum.

 

David Williams (Colchester, CT) will attend the Teaching Shakespeare Through Performance course at the Globe Theatre in London to learn practical approaches for engaging students from a variety of backgrounds and academic levels.

 

Julie Davidson and Ann Hasenohrl (Westlake, TX) will participate in Kristin Linklater’s Advanced Course on Shakespeare’s Monologues and Scenes in the Orkney Islands of Scotland to apply innovative and differentiated strategies that bring Shakespeare to life for diverse high school students.

 

Jacqueline Catcher (Exeter, NY) will tour literary sites associated with famous British authors, including William Shakespeare, the Bronte sisters, and Horace Walpole; examine the impact of Gothic architecture in the development of characterization and theme in Jane Eyre; and study canonical literature at the Oxbridge Teacher Seminar at the University of Cambridge to create differentiated and engaging learning for academic and AP English students.

 

Ryan Campbell (East Hartford, CT) will walk in the footsteps of Shakespeare’s “Macbeth” in England and Scotland to strengthen personal knowledge of British history and topography that, in turn, enhances literary competency and global awareness of International Baccalaureate students.

 

Diana D’Emeraude (Austin, TX) participate in a Shakespeare training program for middle and high school language arts/theatre teachers at the Globe Theatre in London to to create curricular units with authentic lessons for my students to help students develop critical thinking skills to be applied in the classroom and beyond.

 

Alicia Sirios & Cynthia Russell-Williams (East Hartford, CT) will explore social justice as presented through the Scottish Fringe Festival in Edinburgh and the Globe Theatre and Hip Hop Shakespeare Company in London to help students identify parallels between literature and their own lives and develop courage to face challenges presented by societal expectations. And,

 

John Matthiessen (Branford, CT) will participate in Globe Theatre’s “Teaching Shakespeare Through Performance” course in London to learn practical and play-filled approaches to teaching Shakespeare in the classroom and increase student engagement in the reading and performing Shakespeare.

 

“I dreamed of sharpening my teaching skills so all of my students can come to see Shakespeare,” said John, “not only as  a manageable reading experience, but as a doorway into a world where some of our lives’ most fundamental dilemmas take physical form and stride believably toward their inevitable resolution, whether comedic or tragic.” Although Hamlet says, “A dream itself is but a shadow,” John’s dream will be realized this summer on his fellowship. Follow him and all of our Fellows here on our blog.

From Idaho to Omo — that’s how far Christine Corbin went to help her students redefine beauty and identity.

An art teacher at Boise‘s Riverstone International School, Christine was researching ideas for a portrait-painting unit when she found photographs of the Omo River Valley tribe in Ethiopia. She immediately wanted her students to paint these “hauntingly beautiful” people, so began with the inquiry question, “What is beauty?”

“My students went bonkers,” said Christine. “Who are these people? What is their concept of beauty? And how is their view different from ours? were just a few of the questions I took with me to Ethiopia last summer on my Fund for Teachers fellowship.”

For four weeks, this sixty-something-year-old traveled alone in Africa with a dishonest guide, lived in areas of extreme poverty and traversed remote areas experiencing conflict between the government and various tribes. These conditions paled in comparison to the learning, however. “I was able to immerse myself completely in the beauty of the unknown and be amazed at what it taught me,” she said.

She’s now teaching her students about the art, customs and culture of the people with whom she fell in love. Eighth graders completed a photography unit based on her research, which included replicating versions of the images Christine brought back from her fellowship. She spent time with the Karo tribal people, whose face and body painting became the inspiration for students’ photo shoot assignments. The finished products (i.e. faces) appear in books they produced using Shutterfly. After a cross-curricular mask-making unit in conjunction with the music teacher this spring, her students will exhibit their art in a school-wide event at the local community center.

Christine’s students shared their take aways from the unit on beauty:

“Beauty is pure, simple, and happy. The Omo Valley tribes gauge their lips and ears and scar their bodies to be beautiful. It is pure and beautiful to them. We used our photography to portray our emotions and the emotions of the tribes. Beauty is different for everyone.” -Alease

 

“My concept of beauty is a person who is confident and wise,” added Soloriana, another student. “I believe that cultures everywhere continue to redefine their definition of beauty. Beauty changes from culture to culture.” -Soloriana

 

“It’s important to understand others’ ideas of beauty. The Omo River Valley people use their painted bodies, scarification, lip and ear gauging to express themselves and their ideas of what is beautiful to them. People aren’t typically used to those types of things as something beautiful. It is important to understand what other cultures think is beautiful.” -Aiden

 

“They saw beauty in showing how tough they were and in their ability to endure pain. Using photography, I expressed my concept of beauty as seen by the Omo River Valley tribes. We got to create our own headpieces and used paint, flowers, scarves, jewelry, and makeup to express ourselves in different ways. We used angle, lighting, and special effects to create a story. A face can tell a story.” – Salma

An unintended outcome of the art study was learning about the Gibe III Dam and it’s potentially devastating impact on the Omo River Valley tribe. Her students are now brainstorming on how they can help save the people with whom they also fell in love.

“My personal and professional perspective has profoundly changed,” said Christina. “My research drove home the fact that, as an educator, I have the power to be the catalyst for change. Everything I say and do in my classroom must motivate my students to be original thinkers to impact our interconnected world, especially the marginalized and disenfranchised who have no voice or power.”

FFT Fellow Chris Smith and 15 of his students recently hosted the first Chicago Immigrant Refugee Resource Fair at Mather High School. The story behind the event, shared below by Chris, demonstrates the true ripple effect of a Fund for Teachers grant. This high school music teacher designed a fellowship to attend the Blas International Summer School of Irish Traditional Music and Dance at the University of Limerick to enrich orchestra curriculum by integrating elements of Irish folk music, ensemble skills, and improvisation. He shares the progression of learning from there below. We are proud of you and your students, Chris!

“I have continued my study of Irish traditional music since 2013 when I was awarded the FFT fellowship, which was transformative to my teaching in many ways. Not only have I incorporated lessons that I learned in my teaching strategy, but my support from FFT has led to many more opportunities for me and my students

Chris with Martin Hayes during his 2013 FFT fellowship

Last summer, I attended the Swannanoa Gathering outside Asheville, NC, to again study under Martin Hayes, a teacher from Blas. I also received a small grant from the Chicago Shakespeare Theater, which I used to host a lecture/performance and workshop by members of the Irish Music School of Chicago.

Additionally, I was inspired at write a grant proposal (which was funded) which allowed for a residency at Mather High School by renowned traditional Irish performer Kathleen Keane. Over the course of two months, Kathleen visited Mather to perform and work with a small group of motivated orchestra students. She taught them a set of traditional jigs which they performed in concert.

Because of my FFT experience, I was also awarded the Teaching for Global Classrooms fellowship by the US State Department. In summer 2016, I traveled to India and, in part, taught music at a school in Vadodara, Gujarat.

Visit this website Chris created to document FFT fellowship in Limerick, as well as another site, including access to his resulting unit and lesson plans, following his TGC fellowship.

Based on my TGC fellowship, I was able to apply to then attend a conference for alumni of government sponsored international travel. As a participant, I was invited to apply for money to create a project on the subject of inclusion. I was awarded a grant from the State Department to organize and implement the Inaugural ChiUnderOneRoof: Chicago Immigrant and Refugee Resource Fair.  My students and I hosted hosted 25 local community organizations who work to support our immigrant and refugee population.

Parenthetically, since my fellowship, my wife has been awarded a fellowship along with one of her coworkers and three teachers at my school. These are just a few of the things that have resulted from the opportunities afforded me by Fund for Teachers.”

Click here to read Chris’ description of how planning the resource fair impacted him and his students.

Congratulations to Luis Gonzalez and his art teacher/FFT Fellow Ari Hauben for Luis’ selection as one of three young artists whose work now adorns LIFEWTR bottles. According to the company’s website:

“LIFEWTR Series 4 celebrates the long-lasting impact that art education has on our lives from youth into adulthood. The series features the work of three young artists who have discovered the empowerment that comes with creativity and demonstrated the importance of early art education in instilling the values necessary for a more inspired future.”

LIFEWTR also shared:

“Luis Gonzalez, a Boston native and high school senior, views the abstract art he creates as more than just a mode of self-expression—it’s “a lifesaver.” Growing up in an underserved community, art has kept him in school and has guided him down a safer path than the one he has witnessed many of his peers taking. Gonzalez plans to become a professional artist, following in the footsteps of his art teacher and mentor, Ari Hauben. He also aspires to teach other youth, and show them the possibilities that art can bring.”

Ari, along with colleagues Warren Pemsler and Chris Busch, designed their Fund for Teachers fellowship to experience art museums, theatres, stages and facilities in New York City, England and The Netherlands. They also met with outreach departments to learn best practices for expanding McKinley Preparatory High School‘s local partnerships with the Huntington Theatre and Institute of Contemporary Art Boston. Subsequently, the teaching team set about closing the achievement gap of emotionally-disturbed special education students who are predominantly children of color.

“One aspect of the achievement gap that seemed particularly pronounced among our students was their lack of cultural capital,” explained Warren. “To increase students’ exposure to dramatic and fine arts, we first developed our own cultural capital with our FFT grant and then formed collaborations with The Huntington and ICA to forge new paradigms that engage students in these areas of study.”

In recognition of his accomplishment, LIFEWTR sent Louis and Ari to the Teen Vogue Summit in Los Angeles last month. Soon Louis, Ari and Warren head to New York City for the formal introduction of the artful bottles.

“Fund for Teachers is the proverbial rock thrown in a pond, with its ripples spreading out in exciting and unexpected ways,” said Ari. “One perfect example is my student Luis Gonzalez. Luis has participated the past 3 ½ years in my art (and theater) collaboration with two other FFT recipients, spurred by our fellowship to New York London, and The Netherlands. Luis has participated in approximately thirty field trips to contemporary art museums and plays, many exploring cutting edge artists and playwrights. Through these experiences and others, Luis was inspired to create abstract and pop culture works of art. When the opportunity arose for students to enter a contest to be on LIFEWTR bottles, Luis was the perfect person for the task. Having seen his abstract art piece Daydreamin, LIFEWTR replicated the art on 15 million bottles with the hopethat it will inspire other teens to be creative.  Thank you FFT for the support and opportunity to connect our FFT experiences in the ‘real world’ with our students in the classroom, who then take this full circle and bring it back out to the world.”

Today, 42 women will be sworn into Congress, the most in US history.  Susan B. Anthony and her British counterpart, Emmeline Pankhurst, would be proud of these activists, and also students of Eric Reid-St. John’s at Spain Park High School in Hoover, AL.

With his Fund for Teachers grant, Eric researched Anthony, Pankhurst and the suffrage movement they incited. While in London, he found in Trafalgar Square the location of the 1908 rally for which Mrs. Pankhurst was arrested (pictured). He also studied with three avant-garde theatres, laying the groundwork for his students’ creation of a play about Lady Constance Lytton, an English aristocrat who disguised herself as a working woman to support suffragettes. “Through research, I found that I could relate a lot to Constance,” said Rachel Ponder, who played the lead. “However, most of all, I was so in awe of her dedication towards the suffrage movement. Being a part of this creative process has inspired me both as a woman and as a human being.”

Ponder and 23 students representing each grade spent three months researching the suffrage movement in the United States and Britain before collaborating on a script and set. Each performer created a character journal comprised of photos, newspaper articles and other primary resources they uncovered. An Oxford professor who authored a book on Lytton Skyped into class to inform students’ research, as well.

“Current events were on my mind when I began this process and they continue to bring about a sense of urgency surrounding women’s rights,” said Eric. “My students took the history of this topic and explored its correlation with today’s headlines. They created a story that allowed people to see that the expansion of equal rights is the natural progression of a free society.”

Reviews are in, and at a state theatre competition, Ponder won Best Actress, her cast mates won Best Actor, Best Supporting Actress and Best Ensemble and Deeds Not Words was named Best in Show.

Thank you, Amie Robinson, art and special education teacher at PS77 in Brooklyn, NY, for sharing your fellowship story with us. Last summer, Amie researched the impact of sketchbooks as communication tools among displaced youth and non-native language learners at a refugee camp in Greece. She’s now incorporating this experience into an alternate assessment social studies curriculum focused on developing global empathy and citizenship by having special education students connect with the students she left behind in Samos. Here’s how…

Upon returning home from Greece many people have asked me, ”How was your fellowship?” It is a simple question, but one that has been extremely difficult for me to answer.

During previous travels to Greece, I witnessed vast numbers of refugees newly arrived on the islands, and was profoundly moved by the sight of children covered in Mylar blankets and clinging to their families, confronted by unfamiliar surroundings and languages. I started following stories in the news about the refugee crisis more closely. As a teacher I was particularly struck by the lack of education for thousands of children stranded in Greece long-term. I knew I had to get involved, so this summer I went to the island of Samos and volunteered at a refugee camp, with the incredible support of Fund For Teachers.

My project introduced sketchbooks as a communication tool among displaced and non-native language children in Greece, and now incorporates that experience into an alternate assessment social studies curriculum focused on developing global empathy and citizenship for my students in New York City. Cliché as it may sound, I believe that art really can help change the world in its power to illuminate and inform.

Communication can be difficult for my students with autism, and for those identified as English Language Learners (ELL), it presents an even greater challenge. Obstacles in communication can lead to frustration, anxiety, and behavioral problems that disrupt learning. Art builds self-confidence by giving students a voice. Over the past two years, I have seen the power that creative expression has while inspiring and transforming my students’ learning. The portable nature of the sketchbook allows them to express themselves outside of school. I wondered if sketchbooks would provide displaced children in Greece a similar non-linguistic space to tell stories, make connections, and build expressive language skills.

I arrived on the island of Samos on July 15, and spent the first day exploring the town of Vathy, walking through the steep and narrow streets and watching the sunset over the port. The next morning, I had an introductory meeting to begin working with Samos Volunteers, a grassroots organization responding to the needs of the growing refugee population on the island. After being registered with Greek police and I was walked into the camp with the other new volunteers from New York, Sweden, Germany, and Poland. The tour of the camp was heartbreaking. The conditions that the refugees live in are entirely inhumane. New arrivals can be soaking wet from their journey and are often made to sleep outside on concrete before they are processed by the police. We were shown the overcrowded levels of the camp, many without running water or toilets. During our tour, a woman fainted from the heat, while another pleaded hopelessly with the police until she collapsed in anguish. The physical and psychological conditions can take their toll on individuals living in the camp, and while there are international aid organizations on the island, they are not equipped or appropriately staffed to handle the increasing numbers of refugees.

That night I sat down and cried. I reflected on everything I had seen that day and questioned whether or not I was strong enough to contribute. I reminded myself that one of the reasons I applied to Fund For Teachers was to step outside of my comfort zone and usual routine, and on my first day volunteering with Samos Volunteers I was encouraged by the incredible strength of the people with whom I worked. Their warmth and determination in the face of unspeakable suffering was inspiring. Furthermore, being part of a devoted volunteer team deepened my understanding of true collaboration. Every role—teaching English and art, coordinating creative activities for women outside of the camp’s stifling conditions, swimming, jumping rope, cleaning, serving tea, sorting clothes, or playing backgammon—was equally important to creating a safe and engaging community. As the weeks flew by, I learned from others skills that I thought I had, such as humility and patience, as well as some new ones, like learning the Arabic words for colors.

While on Samos, I spent most of my long days working at a shelter for vulnerable families. In the morning, I volunteered teaching English to adults from Syria, Afghanistan, and Iraq. Following the these sessions, I would work with their children (ages 3-16) to connect an art activity to their days’ lessons. I was so excited to present them with their sketchbooks and even more excited when they returned to school the next morning and shared pages filled with beautiful drawings. One of my favorite moments from my fellowship was the peek-a-boo like game the kids created to show me what they had drawn in their sketchbooks each night. They would open and close the cover quickly, revealing only a small part of each drawing at a time, until eventually they displayed the entire page, erupting into laughter. As I look back at these photos of their sketches, I am reminded of something a young woman from Syria told me, “just remember, although they are refugees, they are still first children.” The drawings—of ice cream, birthday parties, cats, fashion designs, rainbows, hearts and flowers—tell stories of childhood, familiar to us all.

In the evenings, during recreational activities, we extended our art projects to include collage, crafts, and painting. The children were all so curious and talented, and I was constantly fascinated by watching them explore new materials and make creative decisions. I was really excited when the education director from Samos Volunteers asked me to have them collaborate to create a large canvas painting that would be auctioned to raise money to provide supplies and programs to the refugee camp. We started by looking through their sketchbooks to find images. For one beautiful and moving painting they chose eyes, mermaids, and fairies dancing together in an ocean of tears.  In the second, we used drawings that they had made of robots and how they imagined the future. They then worked together to plan compositions, transfer their designs, and paint the canvases. It was thrilling to watch their drawings come to life, and to see each of their personalities expressed in the painting. We had so much fun each evening working together, especially my youngest artist, who decided to paint her hair blue!

I am so excited to share the many drawings, paintings, and photographs created by my students in Samos and introduce them to my students in Brooklyn through the stories they tell. My colleague and I are collaborating to develop an Art and Social Studies program at our school that focuses on global citizenship.  We are working on lessons that translate the experiences of young refugees from Afghanistan, Syria, Iraq, Iran, Burundi, and Congo to place a human scale on a global crisis. We want our students to develop critical thinking skills to connect to their world in a broader sense, and in our first session we introduced the crisis to students using the questioning technique to develop their research question, “What is a refugee?” We were surprised to discover that most of our students had no prior knowledge of the topic, but impressed by how quickly they engaged with the serious issues at hand.

Over the course of the unit, we hope that our students will recognize that they can make positive change.  In fact, with only one co-teaching session into our project in Brooklyn, they are already asking, “How can we help?” As a culminating learning activity students will will learn techniques in bookmaking and create sketchbooks for children at the Samos refugee camp. They will also organize a fundraiser to raise money for organizations helping refugees, including International Rescue Committee, Samos Volunteers, and MSF (Doctors Without Borders).

Being a Fund for Teachers fellow has expanded my classroom beyond borders, and I can’t wait to deliver handmade sketchbooks to my “habibis” and “habibtis” when I return to Samos as a volunteer again this July.

On the final day of their fellowship, Alice Laramore and Kat Atkins-Pattenson shared with us their reflection on a four-week, 9,000 mile road trip along the United States/Mexico border exploring language arts, visual arts, immigration and identity. Thank you, Team Paredes Que Hablan (or Walls That Speak) for sharing your experiences and hope for future students.

Our students cross borders every day. They switch from home language to school language and back again.Their warm presence, giggles, and questions invite new families inside our school buildings. And, everywhere they go, our students carry the imprint of their family members who came to Boston for refuge, for freedom, for opportunity. Every time these young people change spaces, they reconcile their identities and pasts with their presents and futures.

We know that for students to truly succeed academically, they must see mirrors of themselves in our curricula – art, media, and text – and validation of their identities in our classroom spaces. While we can empathize with our students, as white female teachers, we do not truly understand the depth of our students’ experiences. To effectively understand our students’ experiences, we need to cross borders ourselves and experience the displacement our students have experienced traversing these borders.

Today, the last day of our trip, we are energized by the Borders and Identity Unit that we have built and will use to launch the year with our students. We are flooded with all that we’ve seen in our seven cities. We are entrenched in the creative part of teaching, the part that involves being an interesting, engaged individual to better support the interesting, engaged individuals in our classrooms. The part that means we learn something new in order to teach something new. The experience of being a learner better prepares a teacher to teach, and this summer was an opportunity for us to authentically learn about murals on different borders, to confront not knowing and to investigate, to use art as a lens into community.

Watch in this video the artistic expression Kat and Alice captured in three countries and seven cities to help students answer the question: “How do we show other people the depth of our past and the strength of our future?”

This month, we immersed ourselves in adult project-based learning. We’ve tried lots of new things, from food to cloud-mountain hiking to driving to places we’d never been (while blogging) to talking about art from sunrise to sunset. And we’ve done the whole thing together. Often, in our classrooms, we create groups that we believe will benefit from the individuality of each member. We build in scaffolds meant to allow the group to discover each individual’s strengths and to make empathy a non-negotiable. Though we embarked with empathy and respect already in place, our twenty-six days together have illuminated the strengths and areas of growth (thanks, BPS, for the language) of our partnership. We both value efficiency, and, in the face of less-than-such (e.g., when the internet goes as turtle-pace, when people get motion sick, when you walk up the wrong side of the mountain, etc.), we have learned much about each other. That knowledge has made us better collaborators and better friends.

In San Francisco, where we started our trip, we were oriented to the idea of looking. This was not just because there was so much to look at in The Mission, but also because we did our first day with a guide, who was able to re-frame what we had seen and interpreted in the context of history and community. Carla made us cognizant of how much we needed other people’s knowledge and understanding to build our own. The Pacoima (L.A.) murals added a layer of “looking around corners” to that concept. On the hottest day of our trip, we spent the majority of it seeking out art on the walls of automotive dealerships and in the parking lots of community centers. It wasn’t always going to be all in one alley. In San Diego, a park once occupied by people and now occupied by art, had us looking for four hours and not seeing enough. We returned home those nights googling Aztec symbols and stories, trying to learn enough to know something.

Tucson and Dr. Acosta gave us yet another frame through which to experience our learning. Freedom of education does not mean freedom to learn about the American Revolution and the Civil War through a lens of whiteness. Precious Knowledge, to our generation of “urban baby teachers,” is a reflection of our intentions. Though we (the generation of “urban baby teachers”) are in no way united in our vision or our understanding of social justice, the power of conviction in ideas, history, and lifting stories and voices drove us into the work of education. We wonder if Dr. Acosta knows how many teachers who are only five or six years in are tracking his legal battle and celebrating his victories, most recently the repeal of Arizona’s ban on ethic studies which a district court deemed racist and targeting of Mexican Americans.

In Santa Fe, we absorbed the International Folk Art Market, how artists envision and reimagine, how tradition can morph modern and can accommodate the present day without reneging its roots. This mirrors the murals we’ve seen and the art of Frida Kahlo, taking symbols from the past and bringing them to life in the now. In Mexico City, we saw so much. Teotihuacan, Frida, Diego, the Anthropology Museum, street art, the culinary art of Pujol, the stained glass and craters of Toluca. With American eyes and feet, we navigated the city, and learned all that we still had to learn.

It is hard to classify this experience, and even harder to know all that it will bring to our classrooms. It falls somewhere in the vicinity of sabbatical – an intentional, purposeful break that brings new insight – but also touches the realm of professional development, continuing education, and a creative project. We envision a unit with three parts. First, with our students, we will read several memoirs that broadly address the topic of borders and walls, thinking with our students about potential barriers and how to scale them. Second, we will all generate and share memoirs from our own lives on the same topic. The author of each memoir will formulate his or her own theme about the topic, communicating a piece of knowledge gained from navigating–either adeptly or crudely–a border. Finally, after examining many primary sources collected on our trip and within Boston, students will co-construct a mural combining the themes of their memoirs to create a community creation.

The idea of “insider and outsider” has been, in many ways, the crux of our travels. We asked questions and navigated our identity as visitor, as white visitor, as American, as woman. In our classrooms we are often the the outsiders to the communities in which we teach. However our ethnicities and upbringing reflect the dominant histories and tools that are demanded from dominant culture. In this unit, we hope to illuminate these walls, supporting students to name them, scale them, and ultimately paint them. As humanities teachers, we believe that providing students vocabulary and time to think and discuss the world and its issues leads to a brighter, more creative, and smarter future than the two of us can imagine. Solutions lie in the writing, in the art, in the conversations, and in the relationships that students create. Just as we wrote in our FFT proposal, students must see themselves reflected in curriculum, in physical space, and in pedagogy in order to be successful. Because we do not physically reflect our students’ identities, we think constantly about how to make all other facets of our teaching affirming. This unit and this project will be a launching point for discussions about personal identity, community, and what comes next.

In Mexico City, the San Francisco Bay Area, Los Angeles, San Diego, Tucson and Santa Fe, this fellowship made space for us to be learners. After the twelfth grade, those opportunities almost always come with one (or many) literal costs. And Fund for Teachers (along with the school year calendar) gave us the time, space and finances to learn more in a way that will support our students, but also in a way that sustains us as teachers, professionals, and individuals. It made it possible for us to end the trip feeling rejuvenated rather than depleted. There is a constant push for teachers to continue professional development; it is indeed essential. But driving this profession development experience (and literally driving more than 900 miles) meant that we could pace our learning and reflection, and that we could intentionally choose meaningful experiences that hit our “zone of proximal development.”

If you’d like to know more about our trip, we’ve been writing the whole time. Read our blog at www.writingisthinking.org

In Solidarity,
Kat + Alice

Alice is a 7th grade Humanities/Special Education teacher at the Lilla G. Frederick Pilot Middle School in Dorchester, MA. She infuses arts into her Humanities classes, most recently taking students to do pop-up Shakespearean theater in several Boston Public libraries. She works on a cross curricular team of teachers who study the intersection of English Language Learning and Special Education to build inclusive writing experiences in all contents.        

Kat is a 7th grade Humanities teacher at Gardner Pilot Academy K-8 School, a Pilot School in the Boston Public Schools. Katharine was a 2012-13 Donovan Urban Teaching Scholar at Boston College where she earned her Master’s in Secondary Education. Prior to becoming a teacher, Katharine built a college access program in rural Pennsylvania that continues to help first generation and undocumented students find the appropriate post-secondary fit while developing college and financial literacy
within the community.

While many schools are forced to eliminate access to the arts,  Franklin Elementary Fine Arts Center in Chicago was established to integrate artistic talent with academic success. Dance teacher M.K. Victorson designed her Fund for Teachers fellowship around intensive teacher workshops that would help her rewrite her existing curriculum, focusing on creative dance, multicultural dance, and genre studies to engage her K-8 learners.

“Ms. V” enrolled in three opportunities – Dance Education Lab (DEL), Broadway Teachers Workshop, and Finis Jhung Ballet in New York City – to rethink how her curriculum can engage all of her dance students whether they are ballet dancers or breakdancers or just not sure about dance at all. Her excellent blog documents her learning, and we share a post written to her students
below…

Dear Students:

I’m sharing some photos here of my incredible workshop last week at DEL: Planet Dance: Multicultural Dance Education. I attended this workshop with all of you in mind as you are always telling me you want to learn different forms of dance. Words can hardly describe the overall experience of this workshop, which had many interesting strands to it. But I’ll say a few:

We began our week by talking about what culture is and what it embodies. (how would you answer ‘What is Culture’? Think about it). Seeking an answer, we:

 

• looked at our own cultural makeup and created dances about it
• viewed several dances from around the world and analyzed the movement in each
• discussed the reasons why people dance and create dance: recreation, work, communication (to name just a few)
• learned a welcome dance and song from Ghana
• practiced and explored flamenco steps and rhythms from Spain
• viewed a Japanese dance where the dancers used umbrellas
• created new dances inspired by all of these sources, and more!

We danced, created, and we discussed dance in great detail. The question we kept coming back to was:

 

How do you teach a cultural dance if the culture is not your own?

 

What do you think, readers? We talked about this at length. We talked about problems, concerns, sensitivity in exploring dance of other cultures. We did not come up with a final answer, but I know that I came  away from the experience with much to think about and share with you. This year I will be able to bring in even more residencies that I am hoping will expand our cultural dance knowledge and literacy. Do you have something you can teach me?

 

Included in the photos are pictures of my collaborative group. At DEL, we finish each intensive week by collaborating in a group and engaging in practice teaching for our fellow teachers. I am very excited about the work my group did because my collaborators and I really worked well together and listened to each other. Crystal, Eva, Monica, and Halley are smart, inquisitive and sensitive beings and I learned so much from them. Oh, they are great dancers, too!

 

Together we created a lesson around examining bias in dance criticism. It was written for high school, but I think it has relevance to you, my K-8 students. We looked at images and text from a review and created short dances based on it. Then we gave each other feedback on the dance. Finally, we looked at the whole review and discussed the issue of bias and who gets to critique dance. We talked about how to respond to dance by naming what you see before placing judgement. It was fascinating and I am excited to do some of this with you!

 

I also have some flamenco inspired movement to share with you, courtesy of my teacher, Puela. And there is so much more!

 

Dancing at you from New York,
Ms. V

M.K. is an eight-year veteran of the Chicago Public Schools and has been teaching and creating in Chicago since 1996. She  is passionate about curriculum development, advocacy and inclusion in arts education.  A dedicated and energetic teacher, M.K. has been awarded grants from numerous institutions including Chicago Foundation for Education, the Target Corporation, and the Oppenheimer Family Foundation.

As tensions heated up this summer between Russia and the United States, Kathy Morse served as a self-appointed ambassador of education, researching the arts in St. Petersburg, Novgorod and Moscow. She returned to ACES Wintergreen Interdistrict Magnet School in Hamden, CT, with insight into how the arts plays such a vital role in Russia’s past and present culture and shares a few of her experiences below…

Before leaving on my fellowship, I asked my fifth graders to journal their impressions of Russia. Their input framed my research, which I will now use as the foundation for their sixth grade social studies class. Together, we will now look at our diverse world through the common lens of art, specifically, the music, dance and architecture I experienced with my Fund for Teachers grant.

For three weeks, I observed how culture is a driving force in Russia. In St. Petersburg, also known as “Venice of the North,” I explored the arts, history and geography of the city (the famed music conservatory, the Vaganova Ballet Academy and the State Hermitage Museum) while attending the Stars of the White Nights Festival. Specifically, I dove into the compositional techniques of Dimitri Shostakovich and his inspiration for his Seventh Symphony during the winter of 1941.

Listen to an extract from Seventh Symphony here.

Next, I traveled to a city fixed in time, Novgorod, which lies between St. Petersburg and Moscow. At its peak during the 14th century, Novgorod was one of Europe’s largest cities and was recognized by UNESCO as a World Heritage Site in 1992. Novgorod has maintained itself as a historical center and it is possible to get a glimpse of what Russia looked like hundreds of years ago going back as far as the Middle Ages. This gave me a deeper historical context of Russia.

Continuing on to Moscow, I spent three days exploring the Kremlin, Red Square, St. Basil’s Cathedral, museums and attending performances at the Bolshoi Theatre. These sites are the most iconic, so I wanted students to know what they mean for the Russian people, as well as the importance Moscow plays in our world today.

Understanding WWII through the eyes of the Russian People by exploring Victory Park and the Museum of the Great Patriotic War (WWII) in Moscow was an extensive history lesson. This country lost more than 25 million citizens to battle, starvation, disease and Stalin’s Terror.  The museum also emphasizes the important role the United States and other Allies played in securing victory over Nazi Germany.

Using the Lincoln Center Education model of inquiry (practicing skills like noticing deeply, posing questions, making connections, and empathizing), my students and I will now be able to explore the Russian culture through the study of the arts of St. Petersburg, the history of Novgorod and the political importance of Moscow while making real world connections to other curriculum areas including literature, history and geography. If we Westerners hope to understand this enormous country, we might intelligently begin by trying to understand the culture which drives this mysterious country. That’s where we’ll begin in my class.

Kathy Morse (pictured in a Moscow subway station) graduated from Duquesne University with a degree in Music Education/Music Therapy while pursuing her passion of performance on the
French Horn.  Her first job was with the State Orchestra of Mexico. Upon returning to the United States, she earned her Masters Degree from Yale University and toured world wide with various ensembles. She has carried her passion for music into the classroom for the past 26 years and has led teacher workshops for Carnegie Hall and the New York Philharmonic.

For an update on Starr’s student impact, click here.

In Limestone County, AL, 82% of the citizens are white. That percentage jumps to 96% when looking at the student body of Ardmore High School where Starr Weems teaches. Fearing her students’ first encounter with racial, cultural and religious diversity would be on the job, in college or not at all, Weems designed a Fund for Teachers grant to study three of the world’s major religions in Jerusalem. Her goal was to create a combined art/foreign language curriculum that introduced her homogenous students to the beauty of diversity and tolerance.

“As the only high school art teacher in the county and the only foreign language teacher at my school, it’s my responsibility to bring the cultures of the world to my students – many of whom will never leave our state. Somehow, I needed to inspire them to learn about the world around them so that they can be prepared to take part in a diverse society. It’s this responsibility that inspired my fellowship,” said Weems.

For one week last June,  the holy city of Jerusalem became her classroom for intercultural studies. After journaling and sketching at the Dome of the Rock and surrounding gardens, she ventured to the Souq al-Qattanin to experience the colorful markets. In the Christian quarter, she followed and documented the Stations of the Cross on the way to the Church of the Holy Sepulcher. Weems spent an afternoon plein air painting at the Wailing Wall, explored the Western Wall tunnels and toured the Ophel Jerusalem Archaeological Park. She also collaborated with Israeli educators through pre-arranged visits to the Hebrew University High School and witnessed the Holocaust’s impact on art at Yad Vashem. Lastly, she met with Isareli working artists at the Huztot Hayotzer Artists’ Colony before viewing Chagall’s stained glass windows at the Chadassah Medical Center.

Three days after returning home, she boarded a plane to Rochester, NY, where she attended a symposium on the sacred texts of the Abrahamic religions at Nazareth College – also funded by her $5,000 grant.

Finally back in Ardmore, Weems implemented her new art/foreign language curriculum this fall (schedule and budget restraints necessitated the combined class). As part of the curriculum, her students heard from a local Holocaust survivor and experienced the Darkness into Life: Alabama Holocaust Survivors Through Photography and Art exhibit at the Birmingham Holocaust Education Center. After the field trip, students created their own art to reflect on what they witnessed (see below).

“A Hebrew proverb says that children are not vessels to be filled, but candles to be lit. How can a teacher light the fire of curiosity in her students if her own spark has grown dim?” said Weems. “Teaching is rewarding and exciting as no other career, but success comes only when educators take care to stoke the fires of creativity and inspiration. Guarding the spark (as I did with my Fund for Teachers fellowship) is an obligation that protects our longevity and influence as educators.”

Martin Luther King, Jr. saw the function of education as teaching others to think intensively and critically. “Intelligence plus character,” he said, “that is the goal of true education.” In honor of Dr. King’s birthday today, we also celebrate Starr Weems’ work toward building students of intelligence and character for a future of tolerance.

You can learn more about this fellowship and download the resulting new lesson plans from Weems’ blog Art in Jerusalem.