Tuesday, September 18, 2012

Teaching Interdependence through Love and Compassion


To illustrate the role of a bodhisattva, there is a Buddhist story that describes four weary travelers suffering from hunger and thirst in the desert.  After days of wandering, they come upon a high wall of a compound.   One of the four scales the wall, looks over, gives a cry of delight, and jumps over.  The second and third travelers subsequently climb the wall, peer over, shout with delight, and jump over.  When the fourth traveler gets to the top of the wall, he looks over and sees a lush oasis of flowering fruit trees, sparkling running water, and cool shade.  He, too, wants to jump over the wall and join the others but instead returns to the desert to escort other lost travelers to the oasis.   Likewise, Sean O’Laoire describes a track event during the Special Olympics in which a runner falls halfway through the race.  All the other runners spontaneously stop and help the fallen runner get up.  They then join arms and all cross the finish line together.  The message in both stories is the importance of everyone making it, of everyone reaching the goal.
I have always stressed the importance of interdependence within my musical ensembles. That is, I explicitly teach students that all members of the ensemble are important to the group, and that all rely on each member to do his/her job in order for the group to perform successfully.  In his understanding of community, Dewey stresses the importance of social connection and interdependence of individuals in stating that the “power to grow depends upon the need for others” (1), and that an over-emphasis on individualism and self-sufficiency results in “an illusion of being really able to stand and act alone” (2).  John-Steiner (3) also emphasizes the importance of interdependence from a cognitive standpoint, suggesting that ideas are developed not just within the individual but also through collaboration with others.  It is through this dynamic interdependence of social and individual processes that knowledge is constructed and artistic forms are shaped.
Lately, though, I have begun to view the concept of interdependence from a different perspective  – as more than an emphasis on the collective or on the dynamic interplay between social and individual processes.   On a deeper level, I think it’s related to the going back to escort others to the oasis, the finish line, or whatever the goal.  In contemplating this idea, I realize a student must first be able to temporarily suspend or push aside his/her ego (i.e., the I-me-mine, competitive what’s-in-it-for-me mentality) in order to focus on the needs of others.  That is a difficult thing to do, not only for children but also for many adults.   In order to accomplish this, one must first develop love and compassion, which, in turn, are taught both implicitly and explicitly.  This isn’t a feel-good, Pollyanna perspective – I am not suggesting that love, compassion, and shifts from ego happen automatically just because students are in a musical ensemble together.  I am suggesting that, as teachers, we can help foster these qualities and understandings as an integral part of the ensemble experience through explicit modeling and discussion.  Ensembles already lend themselves to interdependence, so why not dig a bit deeper?   In this way, musical ensembles have the potential to move students not only to understand interdependence but also to experience a more profound aspect of interdependence.
So, what is the point of this discussion of musical ensembles?  In a small yet potentially powerful way, the manner in which we teach our students about ensemble work may influence society in some way.  For instance, we are currently in the worst economic crash since the Great Depression.  Do we approach the situation led by ego, which says there are not enough resources to go around so I must only take care of myself/my family/my “kind” and the rest be damned?  Or do we take the view that we are all in this mess together and must take measures to ensure that all of us get out of it together?   Do we want a society of selfishness or selflessness?  Maybe the seed of interdependence planted through love and compassion in young students via ensemble experiences will take root and grow.  Maybe those students will be able to further nurture those lessons and create a more compassionate society for all.  Maybe the lessons we teach today will help our students have “the courage to climb back down on the wrong side of the wall and go back into the desert” or “risk not winning the race in order to come back to help someone” (4).  Maybe it is pure idealism.
What’s the harm in trying?

(1) Dewey, J. (1916/1985).  Democracy and education. Southern Illinois University Press (p. 57).

(2) Ibid. (p. 49).

(3) John-Steiner, V. (2000).  Creative collaboration. Oxford: University Press.

(4) O’Laoire, S. (2003).  Spirits in spacesuits: A manual for everyday mystics. Canada: Trafford Publishing (p. 133).


Wednesday, August 22, 2012

Spirituality, Mysticism, and Arts Education


Recently, a colleague and I had a discussion about the euphoria we sometimes experience when musicking (the social interaction of engaging in music).  Joyce teaches music at the secondary level and has been involved in choral ensembles for years.  In fact, she was soon to participate in an upcoming choral event in her hometown in the Midwest later in the month and was bubbling with excitement, anticipating the “high” of pure joy she would experience. 

I described that “high” as part of my Ph.D. dissertation, using other researchers’ terminology:  “interactional synchrony” and “group flow” (Sawyer); “grooving” or “playing good time with somebody” (Monson).  These are terms to describe the emotional response and state of consciousness present when a group of artists is performing at its peak; when each member can anticipate what other performers will do before they do it; when everything flows effortlessly.

In the years since my dissertation, I have gradually shifted my thinking and have reconsidered what Sawyer, Monson, and others have described.   I now see their descriptions and analyses of the phenomenon as superficial and external to the experience itself.  In the Tao Te Ching there is the saying,  “He who knows does not speak; he who speaks does not know.”  My interpretation is that an individual can intimately experience the phenomenon which is a deep knowing; however, the experience itself is so ineffable that once you try to explain or describe in words, it loses meaning and cheapens the experience.   Therefore, I think researchers (or anyone) can only point to the experience peripherally or metaphorically but cannot truly say what it is.

In my musing, I was reminded of a comment made by a member of my dissertation committee during my oral defense – a comment that now comes to bear on my thinking.  At the tome’s conclusion I wrote:

“I think this study shows that engaging in the arts is about learning to be wide-awake, to imagine possibilities, and to break through the cotton wool of daily life.  Engagement with the arts is about trying on new identities and exerting a sense of agency, and learning how to create through collaboration and negotiation with others.  It is about being human.  In effect, it is the ultimate experience”(p. 330). 

One of the committee professors pronounced that he disagreed with the last sentence.  In his estimation I’d gotten it wrong – the ultimate experience according to him was mysticism.  At the time I was baffled and speechless – it was certainly not a comment I had anticipated, which only furthered my nervousness – until the other committee members chuckled and brushed his comment aside. 

Though the comment was received as a joke by the other professors in the room, it held my curiosity and intrigue.  Mysticism is a personal experience of or union with a supreme being, i.e., a joining of individual spirit with universal spirit.  Through the evolution of my own spiritual quest since that time, I have begun to reframe my understanding of the arts experience and that phenomenon of euphoria we often encounter when musicking.  In other words, I am seriously considering the idea of mysticism that the professor threw out during my oral defense.

Csikszentmihalyi  describes his concept of “flow” as a state of heightened consciousness that occurs in individuals during peak experiences.   Sawyer’s concept of “group flow” involves the entire group as a collective unit rather than within an individual performer.  In both cases, I am beginning to think that during those moments of “flow” there is not just a heightened consciousness but also a shift in consciousness.  That is to say, I am suggesting that during those instances of musicking when we are completely in tune with the music and each other, the ego (i.e., I, me, mine) is pushed aside and spirit is allowed through.  During those moments, time seems to stand still and there is no separation, only complete union; the divine in each of us is connecting not only to Source (universal spirit, God, Creator, Great Mystery, Divine Feminine, etc.) but also to the divine in others through interconnectedness and compassion.  In those moments, we experience deep knowing which is too ineffable for words.  In this way, all the performing and studio arts have the potential of being a spiritual and even a mystical experience.  Additionally, the phenomenon is not all that elusive – my students on the elementary level have experienced it for themselves though they cannot always articulate it.  The closest they have come are the following quotes by former students written in their journals:

“It feels like I am flying when I dance with my heart and soul.”
“When I’m singing it makes me feel better in my heart.  And the same thing dancing.”
“I feel like I want to come out of my shell and shine.”

Once again, an experience of deep knowing which can only be described peripherally or metaphorically, as these young students demonstrate in their writing.

So how does this “slippery slope” of spirituality fit into arts education?  And what effect does discussing spirituality in the context of education have on my credibility as an educator or as an educational researcher?  It is a risk, but one I think important to take.  I am not referring to religion or faith, which are institutional, dogmatic, and creedal and have no business in public education.  And I am certainly not advocating the teaching of divinity in schools. We talk a lot about educating the “whole child” but in reality we focus exclusively on the development of the mind (and in the current climate of reform, I argue it is not even the whole mind).  However, the word “education” derives from the Latin educere, meaning to draw out that which is within, to bring to light what is hidden.  Conversely, the word “instruction” means to infuse, to put something in that is lacking, i.e., imparting of knowledge and information.  Therefore, educate is from within, instruct is from without.

In arts education, instruction of skill development and conceptual understanding are important and crucial (as in any discipline).  However, we must not miss the forest for the trees.  That is, we must continually ask ourselves what is the ultimate purpose of the arts in education?  Why are we teaching those skills and concepts presented in the curriculum?  Is the goal simply one of proficiency?  Or is it one of drawing out the inner spirit and wisdom?  Personally, I think the purpose of the arts in education is for enabling individuals to connect on a deeply human and spiritual level, to experience a deep knowing which words cannot describe.  And that is where I think spirituality fits in arts education – at the center.

Who knows?  Maybe the professor on my dissertation committee knew more than the rest of us imagined.



Csikszentmihalyi, M. (1990).  Flow: The psychology of optimal experience.  New York: HarperCollins Publishers.

Monson, I. (1996). Saying something: Jazz improvisation and interaction.  Chicago: University of Chicago Press.

Sawyer, R.K. (2003).  Group creativity: Music, theater, collaboration.  New Jersey: Lawrence Erlbaum Associates.


Sunday, June 24, 2012

Developing Figurative Thinking


During the four months since my last post, I have been thinking about the format of this blog.  A colleague commented that he didn’t have time to read the last posting when he received the e-mail notification.  He didn’t bother clicking on the link, knowing the essay would require a chunk of time he did not have available to read and ponder.  I guess blog entries should be succinct – people are generally too busy for lengthy musings.  Therefore, I shall shorten my postings.  Hopefully, individuals will have more time to read and then engage in meaningful dialogue via the comments section of each post.


A recurring theme this past school year was how to move students from literal thinking to metaphorical or figurative thinking.  This year, Tom and I collaborated on a poetry workshop project with second graders.  After three months of weekly mini-lessons and writing, the students had not made significant progress.  Initially, Tom and I attributed the problem to a lack of rich and varied vocabulary, so Tom charged us with becoming “detectives of words” as a way of building more interesting word choices.  We took them outside to develop sensory perception; we created sound pieces using musical instruments to enhance poems and develop aesthetic awareness; we had them look imaginatively at things using “a different lens.”  Still they struggled. 

In February, we gleaned a bit of insight into the children’s thinking.  On the overhead projector, Tom put the following poem by Zoe Ryder White:

Pencil Sharpener

I think there are a hundred bees
inside the pencil sharpener
and they buzz
and buzz
and buzz
until my point
is sharp!

Tom:  What did the author do to make a picture in your mind?
Jessica:  Mr. Nolan, are there real bees in that?  I don’t get it.
Tom:  Remember, we’re looking at things in different ways, with different lenses. [he took electric pencil sharpener and sharpened two pencils]
Arisa:  It sounds like the buzzing of a bee.
Tom:  Close your eyes and listen.  Can you imagine it sounds like that?
Addison:  It doesn’t make sense.
Tom:  It’s poetry.

Jessica’s and Addison’s comments are quite telling here, illustrating the key to our frustration and the students’ confusion.  Jessica and Addison are looking at things literally rather than figuratively; they seem to be having difficulty activating imagination, unable to open themselves to a more playful way of looking at things. 

Likewise, I encountered the same literal thinking with my West African drumming/dancing ensemble.  In past years at Flynn, I always gave the students poems to interpret for improvising movement and rhythms.  The students created beautiful original dances.  This first year at Veazie, the students struggled to interpret the poems figuratively.  On reflection, I believe I never encountered this problem at Flynn because I always had one or two students who "naturally" were able to create improvised movements without interpreting the text so literally (I say "naturally" because they must have had prior experiences on which they could draw, unknown to me).  Those students taught the others through demonstration – I never had to explicitly teach the skill. Therefore, the students and I struggled this year.   

Through numerous conversations, Tom and I have realized the problem is not confined to the music room or poetry workshop.  We began to see a pervasiveness of literal thinking (and lack of figurative thinking) throughout the curriculum.   Students haven’t had opportunities to think metaphorically; to look imaginatively with “a different lens”; to engage “playfully” with language; to interpret poetry.   With an emphasis on test scores, our students have only experienced teacher-directed instruction and “right answers.”   Further, I suggest our students have grown to rely on authority figures for thinking itself, preferring to be told what to think.

So the question remains: how do we move students from literal interpretation to metaphorical or figurative thinking?

Thursday, February 23, 2012

Supplemental Educational Services Threaten Opera Project


Tom and I had just taken attendance during our second after-school opera rehearsal.   Unexpectedly, five students informed us that they could no longer participate in the opera project due to after-school tutoring programs for which their parents had signed up months ago.  Quickly I recapped the process leading up to that moment:  approximately eighty third-, fourth-, and fifth-grade students had applied to the opera project in November; we held auditions for all the various jobs in December; the twenty-one chosen students were informed of their acceptance prior to Christmas break; rehearsals began in January immediately following the break.  Furthermore, parents had signed consent forms at each step in the process, committing to the project.  And now this.  Tom and I looked at each other with horror – supplemental educational services (SES) were threatening nearly a quarter of our newly formed opera company.  What now?

At the time, I had only a vague notion of what SES were.  For a couple of years, I knew there was after-school tutoring going on in my previous buildings; however, I never bothered to inquire beyond that fact.  Now, after-school tutoring was seriously impinging on the after-school opera project and I needed to find out more information.  Talking to the principal and other teachers at the school, and going online to educate myself, I began to piece together what exactly the SES were and what they had to offer.  The following is background information on AYP and a brief description of what I ascertained.

Title I, Part A of the Elementary and Secondary Education Act of 1965 (ESEA), as reauthorized by the No Child Left Behind Act of 2001 (NCLB), calls for parents of eligible students attending Title I schools that have not made “adequate yearly progress” (AYP) for three years to be given opportunities and choices to help their children achieve at high levels.  In order to make AYP, a school has to achieve certain targets on standardized test scores including other factors such as attendance (graduation rates for high schools).  The more diverse the student population the more targets the school must meet.  In other words, at my current elementary school we have black, Asian, white, Latino, and Native American students; special education students and English language learners.  Each category or subgroup must meet the minimum annual target for meeting or exceeding standards for reading and mathematics and attendance.   For urban districts such as Providence, student diversity and high rates of mobility make meeting annual growth targets difficult.  Conversely, suburban districts with less diversity and student mobility have fewer targets to meet.  However, in the eyes of the State (and the news media that report the findings), all public schools are judged equally on making AYP, regardless of the number of targets.  If a school does not make AYP for two consecutive years, it is placed in “choice” school improvement status, meaning the school develops an improvement plan and provides students the option to transfer to another school with transportation to get there.  If a school does not make AYP for three consecutive years, it is moved to “supplemental services” school improvement status – in addition to “choice” requirements, the school must use Title I funds to support students by providing tutoring from a State-approved supplemental educational services (SES) provider.  The purpose of SES is to increase the academic achievement of students from low-income families attending low-performing schools.

NCLB mandates that 20% of a district’s Title I funds be allocated for SES.  For Providence in the 2011-2012 school year, that equals $4,402,401.  The principal informed me that the SES providers receive $60 per hour per child (4 hours/week) for these services.  Clearly, the federally mandated creation of supplemental educational services is a lucrative endeavor for approved providers.  By law, SES providers can be any public or private entity that meets the criteria set by the State Educational Agency (SEA).  In the case of Rhode Island, the SEA is the Rhode Island Department of Education (RIDE).   A potential provider can be an individual or group of individuals, charter and private schools, educational service agencies, institutions of higher education, faith-based organizations and other community-based organizations, and business groups.  Looking at the list of State approved SES providers in Rhode Island, I find eleven for-profit companies (one of which claims on the website to be “in the business of education” which I think is quite telling), one non-profit, one charter school, one private school, one community centre, and two public school districts.  Another company appears to be two local individuals who offer tutoring services – I could glean no further information from their website.
           
Perusing the criteria set out by the State for an entity to be an SES, it is obvious the providers are not held to the same standards as the low-performing public schools.  The SES provider must offer instruction aligned with State academic standards but not necessarily the curriculum used in the district.  In fact, the State’s wording of the provider’s instructional practices and program is vague:  In approving an SES provider, an SEA [the State] may also want to consider the following questions…”  In effect, a provider is afforded a great deal of freedom regarding instructional program and design.  The provider is also allowed a great deal of latitude regarding assessing student academic growth.  Whereas, the public school is held accountable by the State’s standardized measure (NECAP), SES providers devise their own assessment tools, i.e., pre-test/post-test to show student gains.  By mandating this supplementary tutoring by outside sources, the government is, in effect, saying the public school is not doing a good job and therefore must look elsewhere to increase student achievement.  If that is the case, then the SES providers should be held accountable on the same measures that the schools themselves are judged.  It seems to me the State should be evaluating SES providers on how well their interventions improve student performance on the NECAP, since that is how the State measures the school’s performance in making AYP.  

Another area in which SES providers are not held to the same standards as public schools is in the staff hired to tutor the students.  The tutors themselves do not have to meet the “highly qualified” teacher requirements required of public schools (Sections 1119 and 9101(23) of the ESEA).  In fact, regulations specifically prohibit a State from requiring a provider to hire only staff that meet these requirements.  One of the SES providers that used to operate in my current school is associated with a local university.  The hired tutors are undergraduate students from the university (but not elementary education majors).  According to teachers and the principal, the tutors often showed late to the school and had no sense of order or discipline with the students.  In the opinion of one teacher, the tutors acted as though they wanted to be the students’ “friends.”  Consequently, there was much mayhem and running around during those tutoring sessions.  I looked at the completed proposal to the State requesting to offer SES and noted that the university-based provider claims to offer in-depth coordination and communication with students’ classroom teachers and parents regarding students’ progress.  When I inquired, the teachers recalled no such communication with the tutors.  The principal could only voice her complaints to the district, which presumably passed them on to the State regarding the provider.  Clearly the program offered by the provider was ineffective; however, the principal’s hands were tied due to regulations that state: “with regard to determining whether a provider has a demonstrated record of effectiveness, an LEA (local district) may not make such a determination for the purposes of contracting and working with State-approved providers.  Nor may [a district] refuse to permit a State-approved provider to serve students in the [district] because the [district] disagrees with the provider’s program design.”  In other words, the district has no authority regarding SES providers.  Fortunately, that particular SES provider no longer operates at the school (although, they continue to be on the State-approved list for Rhode Island).  Of course, not all tutors are as slipshod as those university students (in fact, the companies currently operating at the school have hired teachers and teacher assistants from the building); however, the fact remains that SES providers are not held to the same standards as the public schools.

My final criticism of SES is that, not only are for-profit companies and private schools reaping the benefits of Title I funds, but also that faith-based organizations (FBO) are eligible to be SES providers.  A colleague recently commented that she didn’t care who did the tutoring so long as “they did a good job” and “made a difference” for the students involved.  I understand her sentiment; however, I still have a problem with federal funds for public education supporting a faith-based organization.  As I found out, the SES business is quite a profitable enterprise for any State-approved provider.  Though there are no FBO’s on the current (2011-2012) Rhode Island Department of Education list of Approved Supplemental Educational Services Providers, there is the possibility that one could be approved in the future.  The current climate in which fundamentalist, conservative church groups have exerted extensive political power in recent years gives me pause when contemplating awarding Title I monies to FBO’s.  It strikes me as yet another step toward dismantling and privatizing public education in this country.  So I think we should care who is providing the tutoring. 

Meanwhile, Tom and I were able to convince most of the five students (and their parents) to compromise and attend one night of tutoring and two of opera rehearsals.  Unfortunately, we lost one student because it was more convenient for the parents to have the child involved in the tutoring – the tutoring program provided bus transportation to her house whereas our program did not.  Of course, I am biased but I truly believe what the students are learning through the opera project is much more valuable than the tutoring programs.  Additionally, Tom and I do not tap into the 20% Title I funds either – we volunteer our four hours/week working with students!



More information can be found in great detail at the Rhode Island Department of Education website: http://www.ride.ri.gov/OSCAS/Title1/Title1_SES.aspx
The National Coalition for Parent Involvement for Education: http://www.ncpie.org/nclbaction/supp_edu_services.html
and a host of other sites on the web.