Spa County Appeal Response Letter

!!!!!!!!!!Contra'Costa'School'of'Performing'Arts! ! ! !

July!12,!2015! !

Via:!Email!

Board!of!Education!

Karen!Sakata,!Superintendent!

Contra!Costa!County!Office!of!Education!

77!Santa!Barbara!Road!

Pleasant!Hill,!CA!94523! !

Re:!Response!to!County!Staff!Report!Regarding!Contra!Costa!School!of!

Performing!Arts!Charter!Petition! !

Dear!Board!President!Mirabella,!Board!Trustees,!and!Superintendent!Sakata:! !

On!behalf!of!the!Contra!Costa!School!of!Performing!Arts!(“SPA”),!thank!you!for!your!time!in! considering!the!SPA!charter!petition.!We!are!extremely!proud!of!the!work!we!have!done! and!excited!to!realize!the!potential!for!such!a!powerful!program.! !

Our!team!was!deeply!disappointed!by!the!County!staff!report!published!on!July!10th.!!

Within!the!Findings!of!Fact!the!staff!presents!many!flawed!arguments.!The!charter!petition! is!repeatedly!misinterpreted!and!misrepresented,!with!impactful!program!content! completely!disregarded.!In!addition,!despite!this!petition!being!an!inarguably!stronger! version!of!the!previously!submitted!countywide!charter,!several!completely!new!issues! have!been!raised!by!staff!(these!areas!of!the!charter!were!not!questioned!before).!It!is! difficult!to!maintain!the!belief!that!this!analysis!was!impartial!and!objective.! !

Perhaps!even!more!concerning,!the!staff!findings!completely!ignore!existing!statute!and! instead!of!abiding!by!the!guidelines!established!in!Education!Code!and!the!California!Code! of!Regulations,!the!staff!has!created!their!own!metrics!for!evaluation,!presumably!in!order! to!support!a!foregone!conclusion.!

Overview!of!Law! !

The!Education!Code!provides!specific!guidance!to!governing!boards!to!approve!the! establishment!of!charter!schools.!Education!Code!Section!47605(b)!states:! !

In#reviewing#petitions#for#the#establishment#of#charter#schools#…#the#chartering# authority#shall#be#guided#by#the#intent#of#the#Legislature#that#charter#schools# are#and#should#become#an#integral#part#of#the#California#educational#system# and#that#establishment#of#charter#schools#should#be#encouraged.#(Emphasis# added.)# !

Education!Code!Section!47605(b)!also!provides!the!legal!basis!for!the!denial!of!a!charter! petition!as!follows:!! !

The#governing#board#of#the#[county]#shall#grant#a#charter#for#the#operation#of#a# school#under#this#part#if#it#is#satisfied#that#granting#the#charter#is#consistent# with#sound#educational#practice.#The#governing#board#of#the#[county]#shall#not# deny#a#petition#for#the#establishment#of#a#charter#school#unless#it#makes#written# factual#findings,#specific#to#the#particular#petition,#setting#forth#specific#facts#to# support#one#or#more#of#the#following#findings:# !

(1) The#charter#school#presents#an#unsound#educational#program#for#the# pupils#to#be#enrolled#in#the#charter#school.# # (2) The#petitioners#are#demonstrably#unlikely#to#successfully#implement#the# program#set#forth#in#the#petition.# # (3) The#petition#does#not#contain#the#number#of#signatures#required#by# subdivision#(a)#[of#Education#Code#Section#47605].# # (4) The#petition#does#not#contain#an#affirmation#of#each#of#the#conditions# described#in#subdivision#(d)#[of#Education#Code#Section#47605].# # (5) The#petition#does#not#contain#reasonably#comprehensive#descriptions#of# [the#16#required#elements].#(Emphasis#added.)# !

Accordingly,!the!law!is!written!such!that!the!default!position!is!for!a!county!board!of! education!to!approve!a!charter!petition,!unless!it!makes!written!factual!findings!to!support! a!denial.!We!believe!it!is!abundantly!clear!that!there!exists!no!factual!basis!to!support!one! or!more!of!the!above!legal!basis!for!denial!of!the!SPA!charter!petition.!The!charter!petition! exceeds!all!legal!requirements!set!forth!in!the!Education!Code.!The!petitioners!are!happy!to! have!the!opportunity!to!discuss!conditions!on!operation!which!can!be!established!by!the!

Contra!Costa!County!Board!of!Education!and/or!the!execution!of!a!separate!memorandum! of!understanding!(“MOU”)!between!SPA!and!the!County.! !

The!staff!report!recommends!denial!based!on!Education!Code!section!47605(b)(1)!and! (b)(2).!The!State!Board!of!Education!has!clearly!defined!the!possible!reasons!for!denial!of!a! charter!petition!in!order!to!establish!objectivity!and!consistency.!We!point!to!the!California!

Code!of!Regulations,!Title!5,!Section!11967.5.1(b),!which!states!the!following:! !

For#purposes#of#Education#Code#section#47605(b)(1),#a#charter#petition#shall#be#“an# unsound#educational#program”#if#it#is#any#of#the#following:# # (1) A#program#that#involves#activities#that#the#SBE#determines#would# present#the#likelihood#of#physical,#educational,#or#psychological#harm#to# the#affected#pupils.# # !

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(2)

A#program#that#the#SBE#determines#not#likely#to#be#of#educational# benefit#to#the#pupils#who#attend.##

!

The!staff!report!does!not!demonstrate!that!its!findings!meet!any!of!the!criteria!listed!above,! as!required!by!5!CCR!Section!11967.5.1.!Indeed,!the!SPA!petition!does!not!include!any! evidence!that!its!educational!program!presents!the!likelihood!of!physical,!emotional,!or! psychological!harm!to!pupils.!In!fact,!the!charter!clearly!suggests!that!the!SPA!program! (including!arts`integration,!STEAM,!rigor/relevance/relationships,!growth!mind`set,! character!education,!etc.)!is!proven!to!enhance!student!health!and!well`being!along!with! academic!achievement.!As!demonstrated!throughout!this!response!and!in!the!SPA!charter! petition,!the!staff's!findings!do!not!present!specific!facts!or!evidence!that!the!proposed! educational!program!is!unlikely!to!be!of!educational!benefit!to!the!students!who!attend!

SPA,!as!the!findings!are!based!on!conjecture,!incorrect!facts,!or!go!beyond!the!requirements! of!the!law.! !

The!staff!report!also!does!not!present!specific!facts!or!evidence!that!SPA!is!"demonstrably! unlikely!to!successfully!implement!the!program!set!forth!in!the!petition."!Again,!California!

Code!of!Regulations,!Title!5,!Section!11967.5.1(c)!provides!explicit!guidance:! # For#purposes#of#Education#Code#47605(b)(2),#[…]#the#following#factors#shall#be#taken# into#consideration#in#determining#whether#a#charter#petitioner#is#"demonstrably# unlikely#to#successfully#implement#the#program#set#forth#in#the#petition."# # (1) If#the#petitioners#have#a#past#history#of#involvement#in#charter#schools#or#other# education#agencies#(public#or#private),#that#is#regarded#as#unsuccessful.# # (2) The#petitioners#are#unfamiliar#with#the#content#of#the#petition#or#the# requirements#of#law#that#would#apply#to#the#proposed#charter#school.# # (3) The#petitioners#have#presented#an#unrealistic#financial#and#operational#plan#for# the#proposed#charter#school#in#the#areas#of#administrative#services,#financial# administration,#insurance,#or#facilities.# # (4) The#petitioners#personally#lack#the#necessary#background#in#the#following#areas# critical#to#the#charter#school's#success,#and#the#petitioners#do#not#have#a#plan#to# secure#the#services#of#individuals#who#have#the#necessary#background#in#these# areas:#curriculum,#instruction,#and#assessment;#or#finance#and#business# management.# # The!staff!report!does!not!demonstrate!that!its!proposed!findings!meet!any!of!the!criteria! listed!above,!as!required!by!5!CCR!Section!11967.5.1.!!Indeed,!the!petitioners!have!no! history!of!unsuccessful!involvement!in!other!charter!schools!(on!the!contrary!our!team!has! diverse!and!meaningful!experience!with!highly!successful!schools);!we!have!demonstrated! familiarity!and!expertise!in!the!content!of!the!SPA!charter!petition!and!the!legal! requirements!of!charter!schools!in!general;!and!have!presented!a!realistic!and!prudent! financial!and!operational!plan.!As!demonstrated!herein!and!throughout!the!SPA!charter! !

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petition,!the!staff's!findings!do!not!present!specific!facts!or!evidence!that!the!petitioners!are! demonstrably!unlikely!to!successfully!implement!the!SPA!program,!as!the!findings!are!once! again!based!on!conjecture,!incorrect!facts,!or!go!beyond!the!requirements!of!the!law.! !

SPA!is!confident!that!the!Contra!Costa!County!Board!of!Education!is!on!solid!legal!ground!to! approve!the!SPA!charter!petition.!Moreover,!it!can!be!objectively!stated!that!this!charter!is! truly!aligned!with!the!intent!of!the!Charter!Schools!Act!and!meets!the!requirements! enumerated!in!statute.!For!a!more!detailed!response!to!the!County!staff!findings,!please! reference!the!following!sections:! !

A. Education!Program!

B. Governance!Structure!

C. Student!Body!

D. Budget! !

We!fully!recognize!and!welcome!the!immense!amount!of!work!that!must!be!completed!in! the!coming!year!to!ensure!the!successful!launch!of!this!exciting!new!endeavor.!!

Accordingly,!the!launch!target!of!Fall!2016!will!provide!ample!time!for!the!SPA!steering! committee!and!its!professional!partners!to!prepare.!Our!team!is!extremely!experienced!and! dedicated!in!this!regard.! !

We!also!understand!the!importance!of!a!collaborative!relationship!with!our!authorizer!and! appreciate!that!strong!oversight!should!require!some!of!the!most!urgent!matters!and! strong!concerns!be!addressed!in!a!formal!manner.!As!noted!herein,!we!have!begun!to! suggest!some!possible!“conditions!on!opening!and!operation.”!We!propose!these!conditions! as!our!demonstrated!commitment!to!the!County!that!SPA!will!accomplish!all!planning!and! operational!steps!as!deemed!necessary!by!SPA!in!partnership!with!its!authorizer,!the!

Contra!Costa!County!Board!of!Education.!!We!invite!additional!input!from!the!Board!and!

County!staff,!and!propose!that!such!conditions!be!memorialized!in!a!separate!

Memorandum!of!Understanding!(“MOU”)!with!the!County!following!the!Board’s!approval!of! the!SPA!charter!petition.! !

Accordingly,!we!respectfully!request!your!approval!of!the!SPA!charter!petition!for!a! five?year!term!(from!July!1,!2016!to!June!30,!2021)!with!conditions!on!opening!and! operation!as!set!forth!in!an!MOU!to!be!agreed!upon!between!SPA!and!the!CCCOE! Superintendent!or!designee!by!September!1,!2015.! ! ! ! !

A. Education!Program! !

SPA!will!increase!learning!opportunities!for!all!pupils.!SPA!will!implement!a!program!with! proven!educational!benefit!for!all!pupils.!SPA!has!the!resources!and!wherewithal!to!be! successful.!Nothing!in!the!charter!suggests!otherwise.!In!fact,!the!charter!lays!out!a!solid!

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plan!of!action,!drawing!on!“powerful!and!contemporary!educational!best!practices”!(as!the! staff!report!verifies)!in!order!to!ensure!an!equally!sound!and!innovative!program.!! !

In!today’s!rapidly!changing!educational!landscape,!those!institutions!and!leaders!that!cling! to!a!traditional!paradigm!will!quickly!learn!that,!in!many!ways,!it!is!that!tradition!that!has! fossilized!our!classrooms!and!potentially!hindered!our!nation’s!youth!as!they!look!to!us!for! college!and!career!preparation!in!the!21st!century.!SPA!advocates!for!a!dynamic!model!that! is!always!evolving!along!with!the!needs!of!our!students.!We!call!upon!our!authorizer!to! embrace!that!innovation!and!the!calculated!risk!inherent.!We!also!commit!to!sharing!best! practices!with!district!and!county!programs!in!an!effort!to!improve!education!for!all!(as!is! the!intent!of!the!Charter!Schools!Act).! ! !

SPA!will!accomplish!our!stated!mission!to!provide!a!distinguished,!pre`professional! experience!in!the!performing!arts!by!offering!students!a!rigorous,!college!preparatory! program!of!core!academic!courses!fully!integrated!with!career!technical!education!(CTE)!in! the!field!of!Performing!Arts,!Media,!and!Entertainment.!As!stated!in!the!petition,!rather! than!offer!elective!courses!in!music,!dance,!and!theatre!that!only!meet!the!UC!“a`g”! requirements!in!the!“f”!category,!as!is!offered!in!traditional!high!schools!in!MDUSD,!the! curricular!program!at!the!SPA!will!offer!core!academic!courses!that!fully!integrate!both!the! core!academic!subject!area!standards,!the!National!Core!Art!Standards,!and!the!CTE! standards!for!Performing!Arts,!Media,!and!Entertainment.!As!an!example,!SPA!has! identified!the!lack!of!quality!technical!theatre!courses!in!MDUSD!high!schools.!SPA’s! program!will!offer!conservatory!courses!from!either!the!UC!“a`g”!list!of!more!than!100! already!approved!technical!theater!courses!in!the!“f”!area,!or!create!their!own!and!obtain!

UC!“a`g”!approval.!!Furthermore,!SPA!has!already!begun!exploration!of!a!career!technical! and!vocational!program!with!the!various!trade!unions!that!are!employed!at!the!Concord!

Pavilion!(all!of!which!have!mentor!programs!that!demonstrate!a!mutual!interest!in! partnership).!This!would!create!an!opportunity!for!SPA!students!in!the!production!and! design!conservatory!to!work!alongside!technicians,!ultimately!earning!their!union! apprentice!card!upon!graduation!from!SPA.!This!unique!arrangement,!together!with! curricular!offerings!in!recording!arts,!technical!theatre,!etc.!present!students!with! unparalleled!vocational!training!in!our!area.!! !

The!County!staff!report!seems!to!miss!the!vision!of!SPA!and!our!calculated!orientation!with! the!increasing!demands!on!secondary!education.!In!the!staff’s!exhibits!they!question!arts! and!content!matter!alignment,!suggesting!that!standards,!instructional!practices,!and! learning!patterns!presented!are!not!complimentary.!!This!line!of!thinking!is!grounded!in!a! traditionalist!approach!to!education!and!lacks!the!foresight!necessary!to!stay!relevant!and! effective.!Moreover,!experts!in!the!field!are!now!advocating!louder!than!ever!for!exactly!the! kind!of!thinking!that!SPA!purports.!!In!a!study!done!just!last!year!by!the!College!Board,! researchers!found!that!the!“[National!Core]!arts!standards!connect!to!all!segments!of!the!

Common!Core,!extending!beyond!the!standards!for!reading!to!include!writing,!speaking! and!listening,!and!the!Standards!for!Mathematical!Practice.”!!An!excerpt!from!this!study! further!supports!SPA’s!program:! !

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The#Standards#for#Mathematical#Practice#present#a#departure#in#structure#from#the# Anchor#Standards#for#English#Language#Arts.#They#are#a#series#of#eight#paragraphY long#descriptions#of#what#it#means#for#students#to#think#mathematically,#using#processY oriented#language#to#describe#steps#students#may#follow#in#doing#their#work.#These# standards#additionally#integrate#concrete#examples#of#these#thought#processes#and# problemYsolving#procedures#in#action.#On#first#glance,#it#may#seem#that#these# standards#would#have#little#in#common#with#arts#objectives,#as#methods#of#working#in# art#and#in#math#are#widely#believed#to#be#almost#completely#unrelated.#In#comparing# the#language#of#the#Standards#for#Mathematical#Practice#and#the#National#Core#Arts# Standards,#however,#it#was#found#that#the#processYoriented#approach#toward#standard# creation#was#a#powerful#unifier;#both#sets#of#standards#spoke#in#terms#of#planning#for# one’s#work,#analyzing#the#task#or#idea#at#hand,#considering#the#role#of#context#as#it# relates#to#a#particular#problem#or#idea,#and#consider#tools#and#resources#that#will#aid# in#solving#a#problem,#among#others.#The#eleven#NCAS#Anchor#Standards#were#each# compared#to#all#eight#Standards#for#Mathematical#Practice,#for#a#total#of#88# comparisons.#Of#these,#63#resulted#in#at#least#one#instance#of#alignment,#and#many# produced#multiple#areas#of#connection#within#a#single#standard.#An#example,# illustrating#the#overlaps#between#Standard#for#Mathematical#Practice##1#(Make#sense# of#problems#and#persevere#in#solving#them)#and#the#NCAS#Anchor#Standards#for# Creating,#is#featured#on#the#following#page.#In#this#example,#the#habits,#skills,#or# methods#of#working#found#in#the#arts#standards#are#reflected#multiple#times#within#the# context#of#the#description#of#mathematical#problem#solving.## !

Alignment of NCAS Anchor Standards for Creating with Standard for Mathematical Practice #1: Make sense of problems and persevere in solving them.

!!!!!!!!!!!!! !

Mathematically proficient students start by explaining to themselves the meaning of a problem and looking for entry points to its solution. They analyze givens, constraints, relationships, and goals. They make conjectures about the form and meaning of the solution and plan a solution pathway rather than simply jumping into a solution attempt.

They consider analogous problems, and try special cases and simpler forms of the original problem in order to gain insight into its solution. They monitor and evaluate their progress and change course if necessary. Older students might, depending on the context of their problem, transform algebraic expressions or the viewing window on their graphing calculator to get the information they need. Mathematically proficient students can explain correspondences between equations, verbal descriptions, tables, and graphs or draw diagrams of important features and relationships, graph data, and search for regularity or trends. Younger students might rely on using concrete objects or pictures to help conceptualize or solve a problem. Mathematically proficient students check their answers to problems using a different method, and they continually ask themselves, “Does this make sense?” They can understand the approaches of others to solving complex problems and identify correspondences between different approaches.

Generate and conceptualize artistic ideas and work Organize and develop artistic ideas and work Refine and complete artistic ideas and work

!

(“The#Arts#and#Common#Core:#A#Comparison#of#the#National#Core#Arts#Standards#and# the#Common#Core#State#Standards”)# Discussion and conclusions

!

The purpose of this research was not to consider the ways that arts involvement may contribute to strengthening The!staff!report!criticizes!the!development!of!the!SPA!program!and!suggests!the!need!for!a! students’ reading and math skills – in other words, this is not about transfer of arts learning to other areas, or level!of!content!inclusion!that!is!both!beyond!the!expectation!of!law!and!inconsistent!with! about measuring the benefits of the arts in terms of non-arts outcomes – but to note the similarities in habits and the!County’s!own!standards,!as!evidenced!in!previously!approved!charter!petitions.!! processes described in standards across subject areas, and consider the ways that they may relate to one another in practice. The Common Core gives us a common language to describe the types of thinking – responding, Perhaps!most!importantly,!SPA!is!dedicated!to!affording!its!team!of!teachers!the! analyzing, planning and continually revising one’s work, communicating effectively – that ideally will happen across the curriculum.

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Among the most encouraging aspect of the findings of this study is the impressive breadth of the results.

Meaningful connections to the Common Core are found throughout all of NCAS Anchor Standards, including those associated with creating as well as those concerned with performing or presenting, in addition to responding and connecting. The arts standards connect to all segments of the Common Core, extending beyond the standards for

opportunity!to!work!in!a!highly!collaborative!environment,!building!an!“educator!driven”! program!in!alignment!with!Education!Code!47601(d),!which!emphasizes!the!importance!to! “[c]reate!new!professional!opportunities!for!teachers,!including!the!opportunity!to!be! responsible!for!the!learning!program!at!the!schoolsite.”!As!such!the!petition!intentionally! avoids!dictating!every!aspect!of!the!program.!Rather,!the!petition!lays!out!a!framework!that! will!guide!and!inform!the!collaborative!process.!!As!many!of!our!team!members!know!from! experience,!a!program!of!this!nature!draws!its!power!and!impact!from!professional!buy`in! and!accountability.!This!can!only!be!achieved!if!teachers!are!meaningfully!involved!in!the! creation!of!that!program.!SPA!can!point!to!a!litany!of!scholarly!research!that!supports!this! idea;!for!example,!in!2013,!the!Perpich#Arts#Integration#Network#of#Teachers#published!a! rubric!for!schools!and!teachers!to!evaluate!their!level!of!arts!integration:!!!

Perpich Arts Integration Network of Teachers-­‐-­‐ 2013-­‐14 !

Perpich Arts Integration Rubric: 2013 Apply to unit experienced by ALL students, integrating at least two content areas, including the arts Criteria

Level 4

Level 3

Level 2

Level 1

Alignment

The benchmark, learning goal, assessment activity and evaluative criteria are clearly and succinctly aligned

The benchmark, learning goal, assessment activity and evaluative criteria are accurately aligned

The benchmark, learning goal, assessment activity and evaluative criteria are plausibly aligned, but not all elements and relationships are clear

The benchmark, learning goal, assessment activity and evaluative criteria are inaccurately aligned

Distribution of content areas

Learning in each content area is substantial

Learning in each content area is clearly represented

Learning in each content area is present

Learning in each content area is unevenly represented

Standards-­‐ based rigor

Learning goals are challenging.

Learning goals are adequately demanding for grade level work.

Learning goals are sometimes below grade-­‐level expectations.

Learning goals are uniformly below grade level expectations.

Student-­‐ centered

Students make substantial choices about what they do.

Students make choices about what they do.

Students make minimal choices about what they do (primarily following directions or steps).

Students only need to follow teacher-­‐designed directions or steps.

Authenticity

Authentic process(es)* from each content area is used to weave the content areas together, and for scaffolding student learning.

Authentic process(es) from at least one content area is the major framework for scaffolding student learning.

Authentic process(es) are used to scaffolding some, but not all student learning.

Student learning is not scaffolded using authentic processes in any of the content areas.

Apply the criteria listed below comprehensively to the unit plan and collection of student work Teacher intention for integration

Content areas are woven together to synthesize learning.

Each content area enhances learning in another content area.

One content area contributes to learning in another content area, but not vice versa.

The content areas are taught in a parallel fashion and do not contribute to learning in other content areas.

Student

Elegant Fit: Learning activities

Augmenting Fit: Learning

Additive Fit: Learning activities

Limited Fit: Learning activities

experience of

provide highest support for

activities provide support for

provide moderate support for

provide limited support for

integration

Perpich Arts Integration Network of Teachers-­‐-­‐ 2013-­‐14

students to make connections

students to make connections

students to make connections

students to make connections

across content areas

across content areas

across content areas

across content areas

Note: This rubric may be used at any point in the process of arts integration: planning, implementation or reflection. *Authentic Processes: The sequence of actions adults take when they engage in professional activities in any discipline, e.g., researching, creating, performing, responding,

! problem solving, etc. Teachers can use these processes to help organize curriculum and instruction that involve real world problems and audiences for student learning. ! !

As!is!clear!upon!review,!the!Perpich!definition!of!high`level!arts!integration!requires! ! teacher!collaboration!in!the!creation,!implementation,!and!assessment!process;!it!is!the! essential!component!of!success.!This!is!a!widely!supported!opinion.!Arts!integration!expert!

Susan!Riley,!founder!of!Education#Closet!and!author!of!several!STEAM!and!arts`integrated! curriculum!guides,!warns!against!rushing!into!a!canned!and!prescriptive!program!as!“arts! integration!presents!several!challenges.!In!order!for!it!to!be!successful,!there!needs!to!be! time!allotted!for!planning!and!collaboration!between!teachers”!(Riley,!2014).!Riley!further! !

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points!out!in!her!book!Shake#the#Sketch:#An#Arts#Integration#Workbook,!that!employee! stakeholders!must!truly!understand!and!embrace!this!pedagogy!before!implementation!as! “[w]ithout!this!clear!understanding,!arts!integration!lessons!become!‘arts!and!crafts’! lessons”!(Riley!2012).! !

SPA!prioritizes!teachers!as!important!stakeholders!that!should!be!wholly!included!in!the! school!and!given!the!opportunity!to!engage!in!in!their!profession!as!a!team.!SPA!believes! that!when!teachers!are!invested!in!the!design!and!implementation!of!the!curricular! program,!they!will!also!become!more!invested!in!taking!responsibility!for!how!learning! occurs.!Therefore,!the!SPA!team!of!educators!will!work!collaboratively!to!adopt!UC!“a`g”! approved,!core!courses!integrated!with!the!CTE!area!of!Performing!Arts,!Media!and!

Entertainment!or!submit!integrated!courses!of!their!own!design!for!UC!“a`g”!approval.!As! an!example!of!already!approved!course!descriptions!that!are!available!to!SPA,!see!Exhibit!

“A”!(9th!grade!courses:!“Da!Vinci!Algebra!I”!and!“Language!Takes!the!Stage”).!This!is! precisely!why!the!DRAFT!of!the!course!catalog!does!not!dictate!the!details!of!CTE! integration!in!the!core!curricular!offerings.!Moreover,!this!level!of!collaboration!will! continue!past!the!initial!creation!and!adoption!of!course!descriptions.!A!fundamental! component!of!true!integration!is!not!only!instruction!but!also!assessment.!!A!student! project!will!likely!find!teachers!working!together!on!the!planning!process!just!as!much!as! they!will!on!the!common!assessments,!which!will!inherently!evaluate!student!products!on! multiple!sets!of!standards!which!will!impact!multiple!course!grades.! !

SPA!envisions!the!collaborative!curriculum!creation!process!to!include!the!following! stages:! !

Pre`Planning!  Inspiration!&!Professional!Development! o Further!Research!(including!similar!school!programs,!curriculum,!etc.)! o Collaboration!in!subject!matter!teams,!vertical!teams,!&!cross!curricular! teams!(grade`level)!to!identify!areas!of!arts!and!STEAM!integration!  Vertical/Horizontal!Integration!between!grade!levels!and!subjects!  Backwards!Curriculum!Mapping! o Opportunities!to!integrate!STEAM!&!National!Core!Arts!Standards!into! core!curriculum!&!conservatory!courses! o Identify!&!create!culminating!performances/projects!&!assessments!that! address!integration!of!multiple!core!&!conservatory!courses! o Opportunities!for!authentic!audiences!identified!and!secured!for! assessment! o Assessments/rubrics!created! o Units!&!individual!lessons!created!that!lead!to!the!culminating!projects! o Student!Project!Management!plan!created!

Implementation!  Lesson!&!unit!implementation!  Reflective!meetings!on!process!  Trouble!shooting!&!revision!

!

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Ongoing!Planning,!Reflection,!&!Revision!(during!the!school!year!&!summer)!  Vertical/Horizontal!integration!between!grade!levels!and!subjects! o PD!during!school!year! o Meetings!with!area!artists!for!guest!teaching!and!authentic!assessment! opportunities! o Summer!meetings!with!vertical!teams,!subject!matter!teams,!and!cross` curricular!teams!(grade`level),!and!workshops! o Curriculum!and!assessments! !

!!!!!!!!!! ! !

The!staff!report!indicates!that!in!keeping!with!the!STEAM!educational!approach,!SPA!“fails! to!list!or!even!refer!to!Technology!and!Engineering!courses!in!any!way”!and!also!points!to! the!lack!of!a!third!year!of!science!making!the!SPA!curricular!program!out!of!compliance! with!the!UC!“a`g”!high!recommended!science!curriculum!requirements.!First,!SPA’s! curricular!program!is!highly!aligned!with!the!STEAM!curricular!approach!and!seeks!to! fulfill!STEAM!requirements!not!only!through!its!math!and!science!curriculum,!but!also! through!an!integrated!approach!into!other!core!and!conservatory!courses.!SPA!sees!STEAM! education!in!a!unique!way!with!the!“A”!in!STEAM!as!the!anchor!of!the!entire!program,! integrating!arts!curriculum!throughout!all!core!courses.!! !

SPA’s!curriculum!gives!students!the!opportunity!to!experience!“STEM”!education!by! offering:! !

• Science!through!elements!of!dance!and!music,!and!all!core!science!courses!

!

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• • •

Technology!through!performance!based!assessments!in!core!courses,!and!in! stagecraft,!technical!theater,!recording!arts,!production,!and!design!

Engineering!through!elements!of!stagecraft,!technical!theater,!recording!arts,! production,!and!design,!and!in!all!math!and!science!core!courses!

Math!through!elements!of!dance!and!music,!arts!management!and! entrepreneurship,!and!in!all!math!core!courses! !

! !

It!is!factually!incorrect!to!assert!that!the!SPA!course!of!study!does!not!meet!UC!“a`g”! requirements.!!On!the!contrary,!SPA!has!precisely!aligned!its!graduation!requirements!to! match!UC!“a`g,”!which!is!a!distinctly!higher!expectation!than!the!District.!However,!we! agree!that!three!years!of!science!is!important!for!students!to!be!competitive!and! therefore!propose,!as!a!condition!on!opening!and!operation!to!be!set!forth!in!an!MOU! with!the!County,!adding!a!third!year!(potentially!AP!Biology)!to!our!draft!course!of! study,!in!order!to!provide!students!the!opportunity!to!exceed!the!UC!“a?g”!science! requirements!(#1).! !

Contrary!to!the!staff!findings,!the!SPA!steering!committee!is!a!team!of!knowledgeable! educators!with!years!of!experience!in!both!writing!integrated!curriculum!and!approved!a`g! courses,!as!well!as!approved!AP!courses!(for!small!learning!communities!and!large! !

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comprehensive!schools).!!SPA!looks!forward!to!gathering!and!inspiring!like`minded! educators!(both!new!and!veteran)!in!continuing!the!vision!and!moving!forward!with!the! mission!of!the!school.!Along!with!strong!educators!and!administers,!the!SPA!petition! includes!partnerships!from!professional!educational!organizations!exponentially!increase! our!capacity!and!will!undoubtedly!assist!us!with!planning!and!implementation:!Oakland!

School!of!the!Arts,!Envision!Schools,!Susan!Riley!at!Education!Closet,!and!Young!Audiences!

Arts!for!Learning!(to!name!a!few).! !

The!staff!report!concludes!this!section!by!providing!examples!of!integrated!courses!in!

MDUSD.!!While!highly!irregular!and!inappropriate,!this!inclusion!does!demonstrate!two! important!things.!!First,!when!combined!with!staff’s!assertion!that!“SPA!provides!no! evidence!that!its!program!is!demonstrably!superior!to!what!is!already!offered!by!MDUSD”!

(Staff!Report,!Page!2),!it!becomes!clear!that!there!is!an!acute!misunderstanding!of!charter! law.!Nowhere!does!statute!use!the!words!“demonstrably!superior”!nor!does!it!refer!to!this! notion!in!other!terms!as!an!obligation!for!a!charter!school!petition.!This!is!not!to!say!that!

SPA!does!not!believe!that!our!program!will!be!different,!and!in!many!ways!superior,!to!

MDUSD,!but!it!does!provide!evidence!that!the!County!staff!is!manufacturing!evaluative! criteria!above!and!beyond!the!scope!of!the!law.!!Second,!the!two!specific!examples!of! integrated!courses!offered!by!MDUSD!high!schools!(3D!Modeling!and!Media!I,!II,!III)!are! offered!as!“electives,”!approved!in!the!“f”!category!of!UC!“a`g”!requirements!and!are!not! integrated!“core”!curriculum!courses.!There!are!nearly!200!approved!courses!in!the!other! “a`g”!areas!(“a”!–!social!science,!“b”!–!English,!“c”!–!math,!“d”!–!lab!science,!“e”!–!language! other!than!English,!“g”!–!college`prep!elective)!and!MDUSD!currently!offers!none!of!these.!!

As!mentioned!above,!the!SPA!program!will!offer!core!courses!integrated!with!the!CTE!area! of!Performing!Arts,!Media,!and!Entertainment,!along!with!arts`focused!conservatory! courses!with!depth!and!breadth!of!study!unparalleled!in!our!region.!! !

It!is!not!surprising!that!both!the!District!and!the!County!staff!have!narrow!understandings! of!what!arts!integration!truly!entails.!The!Kennedy!Center!in!our!nation’s!capital!has! completed!more!than!a!decade!of!research!and!work!in!an!attempt!to!both!properly!define! arts`integration!as!well!as!champion!its!benefits!when!properly!implemented.!Attached!as!

Exhibit!“B”!is!a!brief!article!from!the!Kennedy!Center!entitled!“What!is!Arts!Integration”! that!helps!to!define!the!difference!between!“arts!as!curriculum,”!“arts`enhanced! curriculum,”!and!“arts`integrated!curriculum.”!A!quick!review!of!this!document!drafted!by! respected!experts!in!the!field!can!serve!to!highlight!the!fact!that!arts`integration!is! inarguably!absent!from!MDUSD!programs!(which!are!clearly!implementing!“arts!as! curriculum”!with!the!occasional!“arts`enhances!curriculum”).!SPA!strongly!contends!that! our!program!is!completely!unique!to!the!region.! !

Lastly!and!not!least!significant,!is!the!fact!that!SPA’s!commitment!to!serve!middle!school! grades!is!virtually!unmentioned!in!the!staff!report.!In!light!of!the!questionable!state!of!arts! programs!at!the!middle!school!level!in!MDUSD!(not!exclusive!to!this!district),!this!is!a! critical!distinction!that!is!overlooked.!The!performing!arts!electives!at!MDUSD!middle! schools!are!virtually!non`existent.!!For!example,!there!are!absolutely!no!dance!courses! offered!in!grades!six!through!eight.!Students!have!no!alternative!but!to!seek!out!private! performing!arts!instruction!and!training,!which!presents!an!undeniable!equity!issue.!Surely! !

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there!is!no!argument!that!the!SPA!program!would!present!a!different,!if!not!superior,! option!in!this!regard;!in!fact,!we!would!characterize!it!as!fulfilling!an!important!need!for! our!community! !

B. Governance!Structure! !

The!staff!report’s!findings!on!governance!opens!by!brazenly!asserting!that!the!SPA! Governing!Board!will!have!“no!meaningful!accountability!or!transparency.”!This!statement! is!not!only!misleading,!it!is!patently!false.!!! !

The!entire!premise!of!a!charter!petition!is!founded!on!heightened!accountability;!a!charter! is!essentially!a!contract!with!an!authorizer.!One!need!only!look!at!the!opening!of!the!

Charter!Schools!Act!of!1992!wherein!it!states!the!intent!of!the!legislature!to!“[h]old!the! schools!established!under!this!part!accountable!for!meeting!measurable!outcomes,!and! provide!the!schools!with!a!method!to!change!from!a!rule`based!to!performance`based! accountability!system”![EC!47601(f)].!The!SPA!charter!outlines!a!plan!for!accountability! that!promises!to!outperform!comparable!schools!and!targets!aggressive!performance! results,!satisfaction!rates,!and!operations!efficiency.!!The!Governing!Board!is!ultimately! accountable!for!these!goals!and!the!charter!risks!revocation!or!non`renewal!if!performance! is!lacking.!!This!is!the!definition!of!heightened!accountability!and!it!far!exceeds!that!of!a! traditional!district!school.! !

With!regard!to!transparency,!the!SPA!charter!makes!clear!assurances!that!it!will!comply! with!the!Ralph!M.!Brown!Act,!the!Public!Records!Act,!the!Political!Reform!Act,!Corporations!

Code!conflict!of!interest!rules,!and!any!other!applicable!law.!This!provides!for!the!same! transparency!that!is!required!of!any!Board!of!Education,!charter!or!otherwise.!For!the!

County!findings!to!willfully!ignore!this!clear!commitment!to!transparency!(in!compliance! with!State!and!Federal!laws!and!regulations!designed!for!this!very!purpose)!indicates!that! the!staff!is!once!again!misrepresenting!the!facts!and!creating!self`serving!and!unnecessary! standards.! !

It!is!accurate!that!the!bylaws!for!ChartHouse!Public!Schools!provides!for!flexibility!with! regard!to!the!number!of!directors!needed!for!the!Board!to!be!operational.!!This!was! intentional.!!The!staff!report!contends!that!a!smaller!board!necessarily!translates!to! diminished!efficacy,!however!they!do!so!without!evidence!or!any!legal!basis!to!support!that! judgment.!!ChartHouse!would!in!fact!target!a!board!somewhere!in!between!the! minimum!and!maximum!stated!in!the!bylaws!and!therefore!we!propose,!as!a! condition!on!opening!and!operation!to!be!set!forth!in!an!MOU!with!the!County,!to! amend!the!bylaws!to!state!that!the!number!of!directors!shall!be!no!less!than!five! (#2).! !

The!governance!structure!was!carefully!researched!before!the!bylaws!were!written!and! while!there!are!certainly!a!variety!of!ways!to!construct!a!school!governing!board,!the!model! for!ChartHouse!Public!Schools!is!the!most!pervasive!and!successful!in!the!charter!world.!

The!staff!report!completely!misquotes!and!misrepresents!the!meaning!of!several!

!

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provisions!in!the!bylaws!with!seemingly!incendiary!intent.!!!Article!VII,!Section!4! specifically!excludes!all!interested!persons!from!serving!on!the!Board!of!Directors:! !

No#persons#serving#on#the#Board#of#Directors#may#be#interested#persons.#An#interested# person#is#(a)#any#person#compensated#by#the#Corporation#for#services#rendered#to#it# within#the#previous#12#months,#whether#as#a#fullYtime#or#partYtime#employee,# independent#contractor,#or#otherwise,#excluding#any#reasonable#compensation#paid#to# a#director#as#director;#and#(b)#any#brother,#sister,#ancestor,#descendant,#spouse,# brotherYinYlaw,#sisterYinYlaw,#sonYinYlaw,#daughterYinYlaw,#motherYinY#law,#or#fatherY inYlaw#of#such#person.##(ChartHouse#Public#Schools#Bylaws,#Page#3)# !

Despite!this!clear!provision,!the!staff!report!asserts!that!the!CEO!(a!paid!employee)!can! serve!as!a!trustee.!!This!contention!has!absolutely!no!merit.!!The!staff!report!goes!on!to! incorrectly!interpret!the!roles!of!corporate!officers!as!they!are!distinguished!from! directors.!!Nearly!every!Board!of!Education!has!officers!that!are!not!directors!(directors!as! defined!as!voting!members!of!the!board;!trustees)!and!are!appointed!to!serve!at!the! pleasure!of!the!board.!!Both!Mt.!Diablo!Unified!School!District!Board!of!Education!and!the!

Contra!Costa!County!Board!of!Education!designate!the!officer!position!of!“secretary!of!the! board”!as!the!superintendent.!!This!does!not!make!the!superintendent!a!director/trustee;! the!difference!is!simple!and!essential!for!proper!governance.!!Furthermore,!the!staff!report! takes!quotes!out!of!context!in!order!to!suggest!that!they!are!applicable!in!other!places!–!to! be!specific,!the!“with!or!without!cause”!language!is!explicitly!connected!to!removing! officers!of!the!Board!and!has!nothing!to!do!with!employment!contracts.!!Much!like!the!

MDUSD!Board!or!the!CCCBOE!can!take!action!by!majority!vote!to!change!who!holds!the! officer!position!of!president!and!vice`president,!our!bylaws!provide!for!the!same!basic! power.!!The!staff!report!takes!great!license!to!paint!a!dictatorial!picture!that!purports!a!lack! of!democratic!process!–!this!could!not!be!further!from!the!truth!and!is,!quite!frankly,!a! blatant!misinterpretation.! !

The!bylaws!do!not!restrict!the!board!seats!by!designating!specific!stakeholder!quotas.!This! is!once!again!an!intentional!choice!that!would!provide!the!organization!the!most!flexibility! in!recruiting,!vetting,!and!seating!the!most!qualified!candidates.!The!staff!report!suggests! that!this!open!construct!automatically!excludes!stakeholder!access,!which!is!assumedly! based!on!their!own!incorrect!and!unfortunate!conjecture.!ChartHouse!Public!Schools!aims! to!seat!a!diverse,!invested,!and!experienced!set!of!trustees!and!nothing!in!the!bylaws!is! preventative!to!that!end.!Parent!involvement!will!be!critical!to!our!success!and!this!is! logically!the!audience!that!will!be!the!most!readily!available!recruiting!pool!and!will!also! likely!demonstrate!the!most!interest!as!they!have!an!unparalleled!and!inherent!desire!to! stay!engaged.!!In!fact,!the!charter!quite!clearly!prioritizes!parent!involvement!which!is! completely!missed!by!the!staff!report.!!Consider!for!instance!the!goals!around!parent! involvement!that!are!in!both!element!one!and!two!(see!table!from!Charter!page!81!included! below):! !

STATE!PRIORITY!#3—!PARENTAL!INVOLVEMENT! Parental(involvement,(including(efforts(to(seek(parent(input(for(making(decisions(for(schools,( !

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and(how(the(school(will(promote(parent(participation!

SUBPRIORITY!A!–!ACHIEVING/MAINTAINING!PARENTAL!INVOLVEMENT! GOAL!TO!ACHIEVE! SUBPRIORITY!

Maintain!parent!representation!and!leadership!

SPA!will!promote!and!work!with!parent!leadership!organizations!

ACTIONS!TO!ACHIEVE! including!but!not!limited!to!Parent!Faculty!Club!(PFC)!and!Boosters!

GOAL! programs.!!

MEASURABLE! OUTCOME! METHODS!OF! MEASUREMENT!

Annually,!the!charter!school!will!maintain!parent!representation!and! leadership!

Parent!Leadership!Organization!agendas!and!minutes!!

SUBPRIORITY!B!–!PROMOTING!PARENT!PARTICIPATION!

GOAL!TO!ACHIEVE! SUBPRIORITY!

Promote!parent!volunteer!opportunities!through!a!Parent!Volunteer!

Coordinator!

School!administration!will!work!with!the!Parent!Volunteer!Coordinator!

ACTIONS!TO!ACHIEVE! to!solicit!a!volunteer!list!that!the!coordinator!will!organize!based!on!

GOAL! expertise!and!availability!

MEASURABLE! OUTCOME! METHODS!OF! MEASUREMENT!

Annually,!the!Charter!will!use!at!least!50!volunteers.!

The!Parent!Volunteer!Coordinator!will!create!an!annual!report!that!will! document!all!volunteer!hours!spent!at!the!charter!school!

SUBPRIORITY!C!;!SURVEYS!

GOAL!TO!ACHIEVE! SUBPRIORITY!

Solicit!parent!feedback!via!annual!satisfaction!surveys!

Annually,!the!charter!school!administration!will!conduct!school!

ACTIONS!TO!ACHIEVE! satisfaction!assessments!to!generate!strategies!for!improvement.!

GOAL! Results!of!parent!satisfaction!surveys!will!be!presented!to!the!Governing!

Board!for!discussion!and!implementation( MEASURABLE! OUTCOME! METHODS!OF! MEASUREMENT!

Community!results!for!the!survey!will!indicate!at!least!75%!overall! satisfaction!

Results!and!reports!of!community!satisfaction!surveys!will!be!shared! with!parents,!Governing!Board!members,!and!staff!upon!completion!of! analysis!

!

Contrary!to!the!staff!report’s!conclusion!that!there!is!“no!mention!of!maintaining!a!site! council!or![parent]!advisory!board,”!this!chart!demonstrates!that!at!the!very!least!a!Parent!

Faculty!Club!and/or!similar!organizations!of!parent!leadership!will!be!maintained.!!It!is!also! !

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clear!that!parent!voice!and!input!will!be!sought!out!and!valued!at!SPA.!This!being!said,!

SPA!empathizes!with!the!overarching!concern!and!so!in!order!to!further! demonstrate!our!commitment!in!this!regard!we!propose,!as!a!condition!on!opening! and!operation!to!be!set!forth!in!an!MOU!with!the!County,!to!designate!a!percentage!of! the!Board!seats!specifically!for!parent!representatives!and!will!amend!the!bylaws! accordingly!(#3).! !

Finally,!the!staff!report!notes!that!the!bylaws!make!reference!to!conducting!activities!in!or! outside!California.!!As!the!report!offers!no!analysis!of!this!provision!it!is!difficult!to!discern! exactly!what!the!issue!is.!!However,!as!this!same!section!of!the!bylaws!was!questioned!by!

Trustees!Gomes!and!Mirabella!at!the!June!Board!meeting,!perhaps!staff!felt!the!need!to! remind!the!CCCBOE!of!potential!concerns.!!As!promised!at!the!public!hearing,!our!team! consulted!with!legal!counsel!and!found!that!this!language!was!boilerplate!taken!from!

Corporations!Code!and!is!quite!standard.!!However,!as!this!is!outside!the!scope!of!SPA’s! mission!and!vision,!we!have!no!problem!omitting!it!(Article!VII,!Section!2.b)!from!our! bylaws!and!therefore!propose,!as!a!condition!on!opening!and!operation!to!be!set! forth!in!an!MOU!with!the!County,!to!amend!the!bylaws!accordingly!(#4).! !

C. Student!Body! !

The!charter!petition!presents!an!exciting!opportunity!to!locate!their!school!facility!on!the! property!of!the!Concord!Pavilion.!The!staff!report!unfortunately!seems!to!disregard!all!of! the!meaningful!potential!that!this!partnership!presents,!focusing!on!access!to!the!site,! which!is,!of!course,!an!important!issue.!!While!the!report!accurately!quotes!the!charter!in! terms!of!our!general!statement!about!transportation!(a!practice!of!every!public!school!in! our!area),!the!report!fails!to!include!the!subsequent!important!assurance!that!“SPA!will! investigate!transportation!options!for!students!such!as!orchestrated!carpools,! transportation!scholarships,!and!free!or!reduced!price!bus!passes”!(SPA!Charter,!Page!139).!

As!has!been!previously!stated,!SPA!is!unequivocally!committed!to!an!inclusive!program! that!will!not!allow!families!to!turn!down!a!powerful!opportunity!due!to!something!as! solvable!as!transportation!issues.!!Those!County!Board!members!that!took!advantage!of!the! tour!of!the!Concord!Pavilion!will!note!that!a!main!County!Connection!bus!line!travels! immediately!adjacent!to!the!site!and!currently!has!a!bus!stop!one!block!to!the!southwest!on!

Kirker!Pass!Road.!!More!importantly,!the!Manager!of!the!Concord!Pavilion!shared!that!

County!Connection!previously!had!a!regular!bus!stop!at!the!Pavilion!but!due!to!legislative! funding!issues,!was!prevented!from!maintaining!the!spot!unless!it!was!permanent!(being! that!Live!Nation!is!contracted!to!do!only!15!shows!a!year!at!the!Concord!Pavilion!this!was! hardly!the!case).!!However,!should!a!school!be!established!at!the!site!in!partnership!with! the!City!of!Concord,!a!permanent!bus!stop!would!once!again!be!needed!and!could!easily!be! reactivated.!SPA!has!already!been!in!contact!with!County!Connection!to!this!end.!Most! significantly,!while!it!is!a!fallacy!to!suggest!that!any!site!in!the!district!will!present!equitable! access,!SPA!appreciates!this!concern!and!will!work!to!mitigate!any!access!issues!should! they!arise.! !

Unlike!the!staff!report’s!title!to!this!section!of!findings!(“Lack!of!Diversity!in!the!Student!

Body”),!the!Education!Code!considers!the!fact!that,!as!a!start`up!charter!school,!there!is!no! !

Page!15!of!21!

“Student!Body”!to!analyze!for!appropriate!ethnic!and!racial!balance!and!therefore!places! the!burden!on!the!“means!by!which”!the!school!would!work!to!achieve!said!balance.1!!SPA’s! plan!presents!a!detailed!and!comprehensive!outreach!that!utilizes!print!and!online!media,! open!houses,!brochures!and!fliers,!and!parent!and!community!involvement,!as!well!as! targets!specific!community,!business,!and!political!organizations;!churches;!libraries;! schools;!and!other!public!and!private!education!networks!(naming!in!excess!of!50!specific! and!diverse!locations!excluding!the!arts!organizations).!!The!staff!report!willfully!ignores! all!other!components!of!the!outreach!plan!in!order!to!criticize!one!section.!!The!plan!does!in! fact!provide!for!outreach!to!professional!performing!arts!organizations!as!this!is!a!logical! target!for!those!students!who!have!an!interest!in!the!fundamental!theme!of!our!educational! program.!However,!to!suggest!that!this!is!the!extent!of!our!outreach!is!completely! inaccurate!and!only!serves!to!support!the!baseless!allegations!of!inequity.!We!have! repeatedly!stated,!both!in!the!charter!and!during!our!public!hearing,!that!we!are!not!only! aware!of!our!obligation!to!mirror!the!general!population!that!resides!within!the!MDUSD! boundaries,!but!that!achieving!that!diversity!is!an!essential!part!of!our!mission!and!will! ultimately!be!a!source!of!strength!for!our!program.!The!law!takes!into!account!that!no! charter!school,!despite!the!merit!of!its!outreach,!can!guarantee!a!certain!composition.!!That! being!said,!we!recognize!the!primacy!of!this!concern!and!propose,!as!a!condition!on! opening!and!operation!to!be!set!forth!in!an!MOU!with!the!County,!that!SPA! administration!agree!to!present!an!analysis!of!the!enrollment!demographics!to!the!

CCCOE!at!the!end!of!year!one!with!the!understanding!that!if!balance!is!not!achieved,! the!outreach!plan!and!lottery!are!reexamined!and!altered!as!necessary!(#5).! !

The!SPA!team!is!deeply!bothered!by!the!contentions!that!our!charter!will!not!serve!special! populations!including!English!learners!and!special!education!students.!Not!only!would!this! be!illegal,!but!it!is!antithetical!to!the!mission!of!the!school.!It!also!completely!disregards!the! power!of!arts`integrated!curriculum!to!impact!the!learning!of!all!students,!especially!EL! and!SPED!subgroups:!“by!using!the!arts!within!the!classroom!to!teach!academic!subjects,! studies!have!shown!that!these!student!subgroups!increase!their!standardized!test!scores! significantly!within!the!first!three!years!of!implementation”!(Rabkin!et.!Al,!2006,!Delisio,!

2005,!Jensen,!2002,!and!Goldburg!et.!al,!1998).!As!described!at!length!in!the!charter,!our! program!harnesses!performing!arts!as!a!lens!through!which!to!engage!in!core!curriculum! which!in!turn!provides!for!unique!and!clarifying!access!points,!often!scaffolding!content! mastery!far!better!than!independent!and!self`contained!subject!matter!instruction.!Using! the!arts!to!teach!content!area!subjects!helps!to!create!equity!as!students!“can!make! individual!meaning!of!the!concept,!which!in!turn!solidifies!the!concept!within!their!own! minds”!(Riley,!2014).!In!addition,!“the!arts!reach!students!who!are!not!normally!reached,! with!methods!that!are!not!normally!used,!which!keeps!tardy,!truancy,!and!dropout!rates! down”!(Jensen,!2002).! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

1!See!Education!Code!Section!47605(b)(5)(G):!The!charter!petition!shall!contain!a! “reasonably!comprehensive!description”!of…!“the!means!by!which!the!school!will!achieve!a! racial!and!ethnic!balance!among!its!pupils!that!is!reflective!of!the!general!population! residing!within!the!territorial!jurisdiction!of!the!school!district!to!which!the!charter! petition!is!submitted.”! !

Page!16!of!21!

The!petition!includes!layers!of!supports!for!traditionally!at`risk!subgroups!(e.g.!Response! to!Intervention!and!Student!Study!Teams)!and!also!provides!great!detail!in!terms!of!EL!and!

SPED!programs!and!support!structure.!The!staff!report!again!misinterprets!the!language!of! the!petition!in!their!example!that!“ELD!may!be!incorporated!within!the!language!arts! curriculum!and!is!taught!daily!for!a!minimum!of!30!minutes.”!The!intent!of!this!language! was!to!point!out!that!the!daily!EL!instruction!will!be!based!on!student!need!and!will!either! occur!integrated!into!the!ELA!curriculum!or,!as!necessary,!occur!in!stand`alone!ELD!and!

SDAIE!courses!(the!“may”!in!the!quote!only!modifies!the!first!clause!of!the!sentence!and!is! not!at!all!intended!to!suggest!that!the!daily!instructional!will!be!optional!–!SPA!is!well! aware!of!its!legal!obligations!as!well!as!research!based!best!practices!for!EL!instruction).!

This!specialized!and!differentiated!approach!to!student!needs!should!be!applauded!rather! than!misrepresented.! !

It!is!important!to!note!here!that!these!programmatic!concerns!(among!others)!raised!by! staff!were!not!at!all!present!in!the!previous!analysis!of!SPA!when!submitted!as!a! countywide!petition.!SPA!appreciated!the!validation!of!their!program!at!that!time!and! subsequently!did!not!make!any!alterations!to!this!section!of!the!petition.!This!“moving!of! the!goalposts”!feels!disingenuous.! !

EL!identification!is!described!in!detail!in!the!SPA!petition,!pages!66`67,!whereby!SPA!will! use!the!Home!Language!Survey!and!the!CELDT!test!as!required!by!state!and!federal!law,! including!annual!CELDT!testing!until!a!student!is!reclassified!as!Fluent!English!Proficient.!!

The!SPA!petition!also!includes!a!complete!description!of!program!placement!options!for! students!who!are!identified!as!EL,!including!daily!ELD!instruction!(see!SPA!petition,!pages!

67`69).!!! !

It!should!be!noted!here!that!English!Learner!families!that!reside!within!MDUSD!boundaries! are!desperately!seeking!alternative!programs.!Considering!the!data!below,!which!indicates! an!alarming!lack!of!academic!achievement!for!MDUSD!EL!students!on!the!most!recent!API,!

SPA’s!targeted!outreach!to!this!population!will!be!welcomed.!It!is!clear!that!an!educational! model!that!supports!historically!underserved!students!is!a!critical!need!for!our!community.!

SPA!is!proud!to!make!“support!for!English!Learners!a!primary!focus!of!the!school!culture”! as!the!charter!indicates.!!! !

MDUSD!School!

2013!API!Growth!for!English!Learners!

Northgate!High!School! ?59!

College!Park!High!School! +1!

Ygnacio!Valley!High!School! ?41!

Concord!High!School! ?53!

Mt.!Diablo!High!School! ?8!

Diablo!View!Middle!School! ?24!

El!Dorado!Middle!School! ?38!

Foothill!Middle!School! ?11!

Oak!Grove!Middle!School! ?39!

Pine!Hollow!Middle!School! ?3!

!

Page!17!of!21!

Pleasant!Hill!Middle!School! ?31!

Riverview!Middle!School! ?11!

Sequoia!Middle!School! ?44!

Valley!View!Middle!School! ?14! !

Regarding!instruction!for!special!education!students,!the!staff!report!takes!one!phrase!from! the!SPA!charter!completely!out!of!context!to!bolster!its!unsupported!conclusion!that!the! petition’s!description!of!special!education!services!is!deficient.!!The!petition!affirms!that!

SPA!will!comply!with!all!state!and!federal!laws!in!serving!students!with!disabilities,! including!Section!504,!the!ADA!and!the!IDEIA.!!This!necessarily!means!that!SPA!is!required! by!law!to!provide!all!educational!services!that!are!required!under!a!student’s!IEP,!which!is! affirmed!in!the!SPA!petition!as!follows:!“The!Charter!School!shall!be!responsible!for!all! school!site!implementation!of!the!IEP,”!and!“The!Charter!School!will!follow!SELPA!policies! and!procedures…”!(SPA!petition,!pp.!72,!74).!!! !

The!staff!report’s!conclusion!the!“SPA!does!not!plan!to!serve!these!students”!is!offensive.!!

SPA!will!serve!all!students!who!wish!to!attend!the!school,!including!all!students!with! disabilities.!The!SPA!charter!includes!seven!pages!of!language!describing!SPA’s!plan!for! serving!students!with!disabilities!as!an!independent!LEA!member!of!a!SELPA!under!both! the!ADA!and!the!IDEIA!(see!SPA!petition,!pp.!70`76).!!The!charter!repeatedly!affirms!that!

SPA!will!follow!all!laws!related!to!the!provision!of!special!education!instruction!and!related! services!in!accordance!with!all!state!and!federal!laws,!and!the!policies!and!practices!of!the!

SELPA.!!The!staff!report!appears!to!expect!that!the!petition!will!list!out!every!possible! disability!that!a!student!could!have!and!include!a!corresponding!list!of!services!that!could! be!provided;!this!is!nonsensical!and!represents!a!disingenuous!phantom!requirement!on! behalf!of!the!staff.!Moreover,!the!charter!petition!includes!language!that!is!practically! identical!to!other!charter!petitions!that!have!been!approved!by!the!County!Board,!and! which!is!standard!language!for!charters!that!are!approved!by!the!State!Board!of!Education.!!

Finally,!we!note!that!the!charter!affirms!that!it!will!provide!the!County!with!a!copy!of!the!

MOU!it!executes!with!the!SELPA!(see!SPA!petition,!page!72).!!! !

D. Budget! !

In!regards!to!the!budget!findings,!we!are!puzzled!as!to!how!new!budgetary!concerns!have! appeared!in!this!report.!The!County!Office!of!Education!analysis!done!with!the!first! iteration!of!this!petition!(as!a!countywide!benefit!charter)!appeared!to!agree!with!the! sound!nature!of!the!proposed!budget.!Both!revenue!and!cost!assumptions!are!healthy,! based!on!averages!from!other!district!and!charter!schools,!and!petitioners!have!made! extensive!use!of!the!FCMAT!LCFF!calculator!to!ensure!conservative!revenue!figures.!The! Governor’s!proposed!2015`16!budget!confirms!the!petitioners’!LCCF!revenue!figure,!and! specifically!the!gap!funding!percentage!estimation!used.! !

As!to!the!cash!flow!concerns!outlined,!SPA!strongly!contends!that!our!projections!are! conservative!and!padded!in!order!to!ensure!we!avoid!any!shortfalls.!However,!financial! institutions!have!now!existed!for!more!than!eight!years!to!provide!for!charter!schools’!

!

Page!18!of!21!

needs!in!the!startup!and!early!operational!phase.!There!are!a!number!of!banks!and!other! financial!institutions!now!operating!in!this!space.!SPA!has!relationships!with!several!of! these!institutions!and!has!even!obtained!a!promise!of!funds!from!one,!Charter!Asset!

Management!(“CAM”).!Because!the!budget!is!sound!as!presented,!we!did!not!feel!the!need! to!include!this!in!the!original!submission,!but!present!it!now!in!response!to!the!raised! concerns!and!as!evidence!of!our!financial!prudence!and!ability!to!cover!cash!flow!needs! (see!Exhibit!“C”).!! !

Special!education!funding!for!schools!that!are!part!of!the!El!Dorado!Charter!School!SELPA! follows!a!slightly!different!model!from!local!SELPA!funding,!but!is!also!well!documented.!

SPA’s!budget!follows!the!El!Dorado!SELPA!financial!guidelines!closely,!using!$500!per!ADA! state!revenue!as!prescribed,!and!using!a!$100!per!ADA!self`encroachment!cost.!In!an! abundance!of!fiscal!caution,!SPA!has!elected!not!to!include!the!$130!per!ADA!federal! revenue!source!beginning!in!year!2!of!the!charter.!If!these!funds!were!included!(and!SPA! and!all!charters!are!fully!eligible!to!receive!all!federal!special!education!funds),!the!budget! would!have!higher!reserves!in!each!year!after!year!1.!Furthermore,!this!finding!is!not!in! compliance!with!Education!Code!47605.7(a)!which!states!that!“a!petition!for!the! establishment!of!a!charter!school!shall!not!be!denied!based!on!the!actual!or!potential!costs! of!serving!individuals!with!exceptional!needs,!as!that!term!is!defined!pursuant!to!Section!

56026.”! !

Teacher!salaries!projected!in!SPA’s!budget!represent!an!average!of!charter!school!teacher! salaries!in!the!Bay!Area.!While!not!as!high!as!the!average!teacher!salary!in!Mount!Diablo!

Unified,!our!experience!is!that!charter!schools!tend!to!hire!younger!and!yet!still! experienced!teachers!(often!more!readily!adaptive!to!innovative!models!and!well!trained!in!

Common!Core!instruction).!Our!experience!and!research!shows!that!this!figure!of!an! average!of!$55,000!for!teachers!will!be!sufficient!to!hire!the!quality!group!of!teachers!we! are!seeking.!Moreover,!we!have!a!very!strong!annual!budget!in!the!5000!series!for! professional!development,!beginning!with!$47,000!in!year!one!and!growing!to!$104,500!in! year!three.! !

By!law,!startup!costs!for!charter!schools!such!as!SPA!must!be!included,!and!we!have! included!$19,000!in!costs!in!the!startup!budget.!In!practice,!many!of!the!startup!costs!for! new!charter!schools!are!incurred!and!paid!for!after!the!beginning!of!the!school!year,!in!

SPA’s!case!beginning!in!August!2016.!For!this!reason,!we!have!folded!the!bulk!of!SPA’s! startup!costs!into!the!first!year!costs.!! !

SPA!is!confident!that!it!will!be!able!to!recruit!and!well!serve!a!diverse!population!of! students,!reflective!of!Mount!Diablo!Unified!School!District.!In!order!to!achieve!the! diversity!we!seek,!we!have!added!additional!dollars!to!the!marketing!and!advertising! budgets!for!the!school.!In!the!5000!series!we!have!a!total!of!$35,000!set!aside!for!this! purpose.!! !

With!respect!to!the!receipt!of!$250,000!from!the!Charter!School!Revolving!Loan,!it!is! inaccurate!to!suggest!that!this!is!unreliable.!!Katrina!Johantgen,!Executive!Director!of!the!

California!School!Finance!Authority,!has!stated!during!an!Authority!board!meeting!(09/10! !

Page!19!of!21!

CSFA!meeting)!that!the!Charter!School!Revolving!Loan!fund,!which!her!office!administers,! is!well!funded,!and!that!all!timely!charter!school!applicants!for!the!past!two!years!have! received!their!funding!requests.!Ms.!Johantgen!has!further!stated!that!the!Revolving!Loan! fund!will!continue!to!enjoy!financial!strength!in!2015`16,!and!that!all!timely!applications! will!be!funded.!The!SBE!regularly!allows!for!this!revenue!source!to!be!included!in!charter! budgets.! !

With!respect!to!our!projections!for!donations,!we!strongly!contend!that!this!estimate!is! extremely!conservative.!!Our!annual!projections!equate!to!$100!a!student.!Middle!and!high! schools!in!the!area!raise!upwards!of!$200!per!student.!An!arts`focused!charter!school!in!

Orange!County!raises!$150!per!student!per!year.!Oakland!School!for!the!Arts!raises!even! larger!sums!per!student.!The!fundraising!is!well!below!the!average!for!both!charter!schools! and!district!schools,!let!alone!arts!focused!charter!schools.!!It!should!be!noted!that!the! petitioners!have!already!generated!donations!totaling!more!than!$30,000,!exceeding!their! target!projection!of!$19,000!for!the!start`up!year.!!It!must!be!recognized!that!the!charity! generating!potential!of!arts!and!education!combined!is!immense.! !

The!SPA!petition!presents!both!a!“plan!A”!(Concord!Pavilion)!and!a!“plan!B”!(Underutilized!

District!Facilities!via!Prop!39)!for!facilities.!!The!general!information!required!in!statute!is! included!in!the!element.!!The!specifics!of!the!facilities!plan!for!the!Concord!Pavilion!were! not!presented!because!they!have!not!been!finalized!and!are!ultimately!not!required!as!part! of!a!complete!charter!petition.!!The!SPA!steering!committee!has!secured!letters!of!interest! from!both!the!Mayor!of!Concord!and!Live!Nation!(the!company!that!manages!the!Concord!

Pavilion).!As!has!been!explained,!the!financing!and!approval!of!that!project!is!on!a! concurrent!but!separate!path!from!the!charter.!This!is!exactly!the!reason!for!including!the!

Prop!39!provision!as!a!responsible!back`up.!The!staff!report!is!completely!silent!on!the! “plan!B”!despite!its!absolute!viability.!The!SPA!team!has!also!gone!to!great!lengths!to! emphasize!that!our!program!is!not!dependent!on!a!partnership!with!a!professional!arts! venue!but!rather!happens!in!the!classroom!space.!Whether!utilizing!facilities!via!“plan!A”!or! “plan!B,”!SPA!will!be!successful.!As!a!means!to!fulfill!any!outstanding!need!for!further! information!we!propose,!as!a!condition!on!opening!and!operation!to!be!set!forth!in! an!MOU!with!the!County,!!that!master!facilities!plans!and!financing!approval!be! submitted!to!the!County!(#6).! ! ! ! !

We!respectfully!request!your!vote!for!approval!of!the!SPA!charter!petition.!We!also! welcome!further!discussion!regarding!possible!conditions!on!the!opening!and!operation!of!

SPA!to!meet!any!additional!concerns!that!the!County!might!have.!The!SPA!petitioners!stand! behind!the!merit!of!their!charter!and!are!also!ready!and!willing!to!craft!a!judicious!MOU! (draft!attached!as!Exhibit!“D”)!to!satisfy!our!authorizer’s!needs.!It!should!be!clear!from!this! response!that!this!is!well!within!the!realm!of!possibility!and!is!certainly!your!discretion!as! the!Contra!Costa!County!Board!of!Education.!! !

!

Page!20!of!21!

Please!let!us!know!if!we!can!provide!additional!information!or!answer!questions.!! !

Sincerely,! !

Steering!Committee!

Contra!Costa!School!of!Performing!Arts! ! !

Enclosures:! Exhibit!A!–!Sample!UC!Approved!Course!Descriptions! ! !

Exhibit!B!–!“What!is!Arts!Integration”!Article! ! !

Exhibit!C!–!CAM!Commitment!Letter! ! !

Exhibit!D!–!Draft!MOU!

!

Page!21!of!21!

Exhibit:

A

Sample Course

Contacts

University of California Curriculum Integration (UCCI) Institute Sarah Fidelibus, UCCI Program Manager Street Address: 1111 Franklin Street Oakland, CA 94607 1. Program Information

Mailing Address: 1111 Franklin Street Oakland, CA 94607 Phone: (510) 287-3349 Web Site: ucci.ucop.edu

Teacher Contact: Candi Lincoln Position/Title: Digital Media/Math Instructor Phone: E-mail: clincoln@ltusd.org

2. Course Contact

A. COVER PAGE - Course ID 391149 1. Course Title

Da Vinci Algebra 1 - VPA (UCCI)

2. Transcript Title/Abbreviation

Da Vinci Algebra 1 - VPA

3. Transcript Course Code/Number 4. Seeking Honors Distinction?

No Subject: Visual & Performing Arts

5. Subject Area

Category: Visual Arts (Intro)

6. Grade Level(s)

9

7. Unit Value

1.0 (one year, 2 semesters, or 3 trimesters equiv.)

8. Previously Approved Was this course previously approved by UC?

No

9. Is this course classified as a Career Technical Education course: Name of Industry Sector: Arts, Media, and Entertainment Name of Career Pathway: Media and Design Arts

Yes

10. Brief Course Description Da Vinci Algebra 1 establishes the relevance of mathematics by engaging students in developing conceptual knowledge and fluency in fundamental Algebra 1 concepts through the integration of 2D and 3D art and design.

The course will integrate Algebra 1 with a CTE Design Media Arts (DMA) course. The courses are linked together alternating between classroom mathematics and hands-on DMA applications. This course is designed for students who intend to focus on Media and Design Arts, who will benefit from the recurrent and clearly articulated connections between algebraic concepts and both 2D and 3D art/design skills.

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Sample Course 11. Pre-Requisites (Recommended) 12. Co-Requisites (Recommended) 13. Context for Course This is an integrated course utilizing Algebra 1 concepts in a design media arts environment. The course is designed to prepare students for the natural progression to higher math courses, specifically Geometry and Algebra II, through a course rich in connections to art that will generate interest in the math and increase their likelihood of success. The applications throughout the course allow students to see the connection of mathematical concepts and application in a 2D and 3D art environment. Also, this course could be part of an Arts, Media, and Entertainment Academy as the introduction course in a sequence of digital media art and mathematical courses.

14. History of Course Development This course was developed at the Spring 2010 University of California Curriculum Integration (UCCI) Institute focusing on subject area “c� - mathematics and the Career Technical Education (CTE) industry sector Finance and Business. It has been challenging for educators to find and develop linkages with certain disciplines, including English, history/social sciences, and mathematics. To address these challenges, the University of California created the UCCI Institute to focus on subject areas that have proven to be difficult to develop integrated curriculum. Over sixty California high school math and CTE instructors, administrators, curriculum specialists, and UC staff were assembled into teams and challenged to develop innovative model courses that infuse core foundational math concepts with relevant career technical elements.

15. Textbooks TEXTBOOK 18215 Title: Algebra 1 Edition: 1st Publication Date: 2001 Publisher: McDougall and Littell Author(s): Larson, Ron et. al.

URL Resource: Usage: Primary Text Read in entirety or near entirety 16. Supplemental Instructional Materials Algebra with Pizzazz Marcy, Steve and Janice Creative Publications, 1 st Ed. (2002) Key to Algebra Student Workbook King, Julie and Rasmussen, Peter Key Curriculum Press (1990) Algebra 1 CPM Sallee, Kysh, Kasimatis, Hoey CPM, 6 th Ed. (2000) Mathematics: A Practical Odyssey Johnson, David B. and Mowry, Thomas A. Thomson, Brooks/Cole, 6 th Ed. (2007) Integrated Mathmematics Rubenstein, Rheta N. Craine, Timothy V. and Butts, Thomas R. Houghton Mifflin (1995) Intermediate Algebra: Graphs and Functions Larson, Ron, Hostetler, Robert and Neptune, Carolyn Houghton Mifflin, 3 rd Ed. (2003) Principles and Standards for School Mathematics National Council of Teachers of Mathematics, Inc NCTM Publishers, 4 th Ed. (2005) Historical Topics for the Mathematics Classroom National Council of Teachers of Mathematics, Inc NCTM Publishers, 3 rd Ed. (1998) Mathematicians are People, Too Reimer, Luetta and Wilbert Dale Seymour Publications (1990) Geogebra graphing program: http://www.geogebra.org/cms B. COURSE CONTENT Course Purpose Upon completion of Da Vinci Algebra 1, students experience and gain breadth and depth of understanding of fundamental algebraic concepts and standards integrated with a multimedia art perspective and approach. It recognizes the elemental connections between mathematics and art and allows students to consistently course communicate their comprehension. Students demonstrate mastery in proportions, linear and quadratic

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Sample Course relationships and systems, rational and irrational equations, problem solving, functions, and exponentials. The course integrates and relates artistic and media fundamentals such as design, composition, color, perspective, space, and anatomy. Students create an electronic and physical portfolio that allows them to communicate and record their understandings of the mathematics and art topics both individually and relationally. Through this method, students will be introduced to the appreciation and beauty of both disciplines.

Course Outline Unit 1: Scaling Images and Murals - Ratios, Algebraic Expressions Students develop a working understanding of ratios, percents, and proportions by solving both computationally and conceptually challenging rational problems. Using the computed ratios, students scale a mural design using colored pencils and grid structures. “a-g” Academic Topics • Factor and reduce fractions with polynomials in the numerator and denominator.

• Solve and simplify ratios, percents, and proportions.

• Solve computationally and conceptually challenging problems using appropriate operations.

• Apply basic factoring techniques to second-degree polynomials.

CTE Topics • Investigate mural design and composition.

• Survey art history from cave paintings to modern urban art.

• Create an original mural design.

• Identify and apply elements of Photoshop and scanning to manipulate and distort images.

• Enlarge to painting size and explore the rudiments of painting.

Unit 2: One-Point Perspective Using the lines that occur naturally in one-point perspective, students will identify and model linear relationships both algebraically and graphically. “a-g” Academic Topics • Simplify expressions before solving linear equations.

• Solve multi-step problems using linear equations and linear inequalities.

• Derive slope-intercept and standard form of linear equations by use of intercepts, slope, and coordinate points.

• Direct variation, tangent, and constant rate of change will be used to model slope.

• Model relationships between parallel and perpendicular lines through equations and graphs.

CTE Topics • Complete a one-point perspective drawing, for example the bookshelves in the library.

• Demonstrate vanishing point, size/distance, angles, texture, and shading.

• Identify and explain object relationships and perspective.

• Create line drawings and scenery paintings.

• Matt and frame artwork.

Unit 3: The Human Body and Quadratic Equations Students identify, represent, and manipulate rational and quadratic models by using specific parts of the human body from drawings by Da Vinci. “a-g” Academic Topics • Solve multi-step problems using appropriate math functions with polynomials.

• Find a common factor for all terms in a polynomial.

• Solve a quadratic equation by factoring or completing the square.

• Demonstrate knowledge of the quadratic formula by completing the square and solving quadratic equations.

• Graph quadratic functions and demonstrate that their roots are the zeros or x-intercepts.

• Choose the quadratic formula or factoring technique to determine whether the graph of a quadratic function will intersect the x-axis in zero, one, or two points.

• Describe quadratic function shifts by examining changes in the corresponding equations.

CTE Topics • Practice contour, gesture, and short and long term settings.

• Study anatomy of the human body, using proportions for perspective angles, foreshortening and muscle and skeletal structures.

• Use Maya 3D to transform facial and body representations.

• Investigate the Golden Ratio.

• Evaluate and choose appropriate media for artistic works.

• Investigate how human figures are represented throughout history and differing cultures.

Unit 4: Photography and Graphic Design Students will apply linear and absolute value functions to the mechanics of pinhole cameras and the manual use of digital cameras. “a-g” Academic Topics • Solve and justify multi-step problems involving linear equations and linear inequalities in one variable.

• Piecewise functions will be used to model absolute value equations.

• Determine the domain of independent variables and the range of dependent variables defined by a

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Sample Course graph, a set of ordered pairs, or a symbolic expression.

• Identifying conics (parabolas and hyperbolas) as quadratic and rational equations.

CTE Topics • Survey history of photography and technological innovations.

• Construct and use pinhole cameras.

• Experience studio, art, and photojournalism genres.

• Use and analyze varying F-stops, shutter speeds, and depth of field to create meaning in photography.

• Examine the design of digital cameras and compare/contrast to film/wet media • Apply Photoshop elements and applications to create web pages and other works of art intended for public viewing.

• Investigate the differences between raster and vector images and the quadratics used to create calculated curves for images and fonts.

Unit 5: Elements of Design and Algebra Students will refine and deepen their understanding of key concepts in both algebra and art. Students will identify their own areas of strength and areas that need reinforcement. “a-g” Academic Topics • Review, refine, and reinforce concepts covered in units 1-4.

• Using data from diagnostic testing, identify individual areas of mastery and refinement.

CTE Topics • Review elements of design and composition.

• Refine creative works by using line, shape, positive and negative spaces, texture, movement and direction, shading, size, and color to create aesthetically pleasing compositions.

• Apply elements of balance, repetition, contrast, scale, harmony and dominance to create abstractions.

Unit 6: Marketing Students will analyze cost, base line operating costs, and profit margin in the art industry using systems of equations and exponential growth and decay. Students will learn about the impact of artistic message, marketing, and the media. “a-g” Academic Topics • Solve a system of two linear equations in two variables algebraically and interpret the answer graphically.

• Solve a system of linear inequalities. Examine the properties of exponents in relationship to length, area, and volume.

• Model proportions in length and area using exponents.

• Analyze and apply concepts of rational and irrational exponents.

• Model exponential growth and decay.

CTE Topics • Determine product cost, value, and expensing.

• Investigate various art venues, potential markets, and marketing strategies for art and web design.

• Communicate emotions, concepts, and themes through art and design.

• Art show preparation and exhibition.

Unit 7: Electronic Portfolio This unit is designed for students to self-assess their algebraic mastery and artistic understanding through demonstration of their portfolio and digital media presentation. “a-g” Academic Topics • Demonstrate understanding of the concepts of a relation and a function.

• Define and use simple aspects of a logical argument.

• Model and differentiate between inductive and deductive reasoning, providing examples of each.

• Use properties of the number system to judge the validity of results, to justify each step of a procedure, and to prove or disprove statements.

CTE Topics • Create podcasts, slide shows, video, web pages, web designs, etc. that correlate art projects with math concepts.

• Design a database for the electronic portfolio and use associated applications such as Access and FileMaker.

• Use queries, metadata, and media containers.

Unit 8: Two-Point Perspective Through a final culminating project, students apply and demonstrate theoretic algebraic concepts acquired throughout the course. Students revisit perspective drawing, producing an artistic work which uses two-point perspective. Students discuss both the mathematical and artistic elements of these works bridging from algebra into initial geometric concepts. “a-g” Academic Topics • Review, refine, and reinforce concepts covered in the course.

• Introduce key geometric concepts such as polygons (triangles and quadrilaterals), similarities, properties of parallel lines, congruence, and area and volume.

CTE Topics • History of perspective in different cultures.

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Sample Course • Elements of two-point perspective. • Use of scale, angle, shading, texture, and details.

Key Assignments Daily Assignments Throughout the course daily assignments will consist of warm-ups in both math and art, assignments from the math textbook, drawing and color projects, student entries into an electronic portfolio, maintaining a learning log (Cornell Notes) incorporating notes from class lectures, student self-evaluations, reflections, and study guides.

Self and peer critiques will happen in either written or oral form on a weekly basis.

Cornell Notetaking Strategies The Cornell method provides a systematic format for condensing and organizing rhetorical notes. Students learn the process of taking Cornell Notes and use this format throughout the course. The student divides the paper into two columns. Notes from a lecture or teaching are written in the right note-taking column. After the notes have been taken, the student writes a brief summary in the bottom five to seven lines of the page. This helps to increase understanding of the topic. When reviewing the material, the student can cover up the note-taking (right) column to answer the questions/keywords in the keyword or cue (left) column. The student is encouraged to reflect on the material and review the notes regularly.

Toolkits This is a graphic organizer created by the student for the student to refine, summarize, and analyze what they have learned in a unit.

Unit 1: Scaling Images and Murals - Ratios, Algebraic Expressions Algebra Worksheets Students solve and simplify simple proportions and evaluate and describe direct variation. Students work with rational expressions, ratios, proportion, and percent through problem sets and worksheets to prepare them for the first key unit project.

Scaling Images Through Algebra Students create and scale an original mural design using colored pencils and grid structures. Students paint their artwork on a larger format. Using their scaled mural designs, students create ratios, proportions, and percents by comparing points in their original and scaled drawings. Students evaluate their drawings by solving proportions to validate the accuracy of their scaling. Students resize their image by using fractions with polynomials (rational expressions) and factoring techniques to investigate a variety of sizes their drawing might take.

Applying Scaling Techniques in Photoshop In Photoshop, students take an existing image to scan and distort by keeping one of the dimensions a constant ratio and altering different parameters. Students use the techniques garnered in the Scaling Images Through Algebra Project to predict, describe, and interpret the outcomes of their scaled images. Students also apply different Photoshop techniques to alter and distort images and postulate the possible algebraic statements that might make the computer model possible. Students will add their creations and narratives to their electronic portfolio.

Unit 2: One-Point Perspective Library Project Students complete a one-point perspective pencil drawing based on the bookshelves in the library, and then finalize their drawing in ink, using water colors for texture and shading. These drawing demonstrate vanishing point, size/distance, angles, texture, and shading. As students identify and explain object relationships and perspective, students also examine, identify, and represent linear models and develop a working knowledge of slope and intercepts. One-point perspective will be redefined by a system of linear equations. Students represent slope as variation, a constant rate of change, and as a tangent ratio in their drawings. Students will complete this assignment by learning to matt and frame one of their perspective drawings.

Unit 3: The Human Body and Quadratic Equations Da Vinci's Vitruvian Man Students are introduced to the works of Leonardo Da Vinci through a brief historical overview of his time and importance. The Vitruvian Man is discussed as a representation of ideal human proportions described by the Roman architect Vitruvius. As the students identify and explain characteristics of the human body through Da Vinci's drawings, students also examine, identify, and represent parabolas through their abillity to model rational and quadratic functions. Students develop the skills to manipulate different forms of quadratic equations. They learn the benefit of each form to explain features of the face and body.In this process students learn the algebraic and concepts needed to communiate quadratics algebraically and graphically such as completing the square, factoring methods, quadratic formula, and extracting square roots. Using technology such as graphing calculators, online graphing tools, and animation/modeling software, students demonstrate algebraically and graphically asthetically pleasing proportions (i.e.-Golden Ratio) and quadratic solutions to these proportions. Students complete problem-sets, model parabolas, analyze systems of inequalities, quadratics in vertex forms, shifts of quadratics equations shifts, and reinforce rational equations using measurements and calculations derived from the Vitruvian Man. Contemporary Man or Woman Students produce a digital photograph of themselves. Students measure the proportions of their own body and compare these to the measurements of the Vitruvian Man. Using graphing calculators and online graphing tools, students make algebraic transformations (graph shifts) by manipulations of these equations. Students develop an understanding of how the manipulation of equations changes the graphic representation and consequently the

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Sample Course human characteristics and proportions. Students create models of themselves using 3D modeling software and manipulate the various characteristics to emphasize a chosen feature. The algebraic description of their shifts is attached and the work is added to their electronic portfolio.

Unit 4: Photography and Graphic Design Pinhole Camera Students represent angle of incidence by linear and absolute value functions. They will use piecewise functions and ratios formed by similar triangles and solve rational equations. Students then build, use, and develop their own pinhole cameras. Using one photograph produced with their pinhole camera, students will identify angles, proportions, parabolas, and hyperbolas.

Weekly History of Photography Worksheets Students study the history of photography and the impact of technological changes through time. Each week students examine the different purposes and uses of photography (i.e. sociopolitical, advertising, propaganda, art) by completing worksheets that build their observational skills and understanding of history. A written, oral, or graphic reflection of the impact of photography will be added to their electronic portfolio.

Digital Photography Function terminology and representations such as domain (dependent variable) and range (independent variable) will be applied to the mechanics of pinhole cameras and the manual use of digital cameras. After studying various genres (such as commercial photography, fine art photography, photojournalism, and studio photography), students create photographs using digital cameras on manual settings and emphasizing the 13 basics areas (self portrait, series, scenery, etc) of photography developing the skills to express their ideas artistically. Photoshop will be used to manipulate and enhance students’ images. Students also compare the workings of a digital camera to a pinhole/film cameras. Students matt their chosen photographs and add all photographs to their digital portfolios.

Raster vs. Vector Students investigate how quadratics are used to create vector images/drawings. Students create an example of the triangles used to describe a true-type font and demonstrate how the curves are applied to fabricate a seamless font curve and add their project/observations to their electronic portfolio.

Unit 5: Elements of Design and Properties of Exponents Refining and reinforcing concepts is spiraling the content by continuing to curve or return back to a topic. A spiral curriculum, by moving in a circular pattern from topic to topic, seeks to catch students when they first become ready to learn something and pick up other students the next time the topic occurs. The first four units introduce the main content. The refining comes in this unit and this half of the course. These spiraling activities develop depth of understanding and breadth of overall interconnectedness of the algebra content. Unit 5 is intended to allow students some time for "pure" algebra and "pure" art work to both reinforce and introduce concepts appropriate to each discipline.

Algebra Review Using benchmark tests, students are assessed for areas of algebraic strength and weakness. Results are analyzed by individual students and by class. Students have access to this data and are reflect in writing and orally on their specific areas of need. Using specific skill packets, students can fill in the gaps in their algebraic knowledge.

Class-wide areas of need are addressed by classroom re-teaching.

Abstract Composition Students identify and refine the basic elements of art to create an abstract artwork emphasizing line, shape, positive and negative spaces, texture, movement and direction, shading, size, and color to create aesthetically pleasing compositions. No representational images will be permitted in this piece. Students will add this work to their portfolio.

Unit 6: Marketing Art Show Budgeting Given a sample budget, students analyze cost, base line operating costs, and profit margin using systems of linear equations and exponential growth and decay. Students will model their operating costs by linear and exponential representation. Students will learn about the impact of artistic message and the media. Students will research costs of and profit margin of artworks in different regions. They will create a sample budget for a student art show using information from their research.

Careers in Art Paper Students self-assess the style of their own artwork and explore possible career options, educational pathways, and different markets. Students research various art venues (such as internet, galleries, studios, museums) and examine potential markets for merchandising their artwork (self-owned business, sub-contracting, contests).

Students write a two-page paper based on their research.

Matting and Mounting By utilizing algebraic methods and measurement, students prepare and mount one of their art pieces for display and show.

Famous Artists and Styles Presentation Students investigate an artist whose artwork they admire and the market that supported the artist. Students produce a narrated 2-3 minute video showcasing a minimum of 13 pieces of the chosen artist’s work, and a biography of the artist’s life, including a piece of artwork the student likes most and explaining why.

Unit 7: Electronic Portfolio Final Student Portfolio (Algebra and Art):

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Sample Course The culminating portfolio consists of the student's previous key artwork assignments, which demonstrate the student's overall algebraic mastery.

Examples of work included: - Toolkits (graphic organizer) of interrelated math topics - Key unit projects - Learning logs (Cornell notes) - Homework - Class activities - Self and peer critiques - Assessments including oral, partner quizzes, unit exams, midterms, and finals.

Final Presentation Integrating Algebra and Art: Students focus on one of the previous projects completed in the course to create a 3-5 minute digital media presentation (using one of the following methods: FinalCut, Dreamweaver, Podcast, MovieMaker, live@edu, Google Docs) that teaches a lesson on how algebra and art relate.

Final Examination This unit includes the final examination for the course.

Unit 8: Two-Point Perspective Final Two-Point Perspective Drawing Students survey the use of perspective across cultures and history. Students then identify and apply the elements of two-point perspective by creating an artwork (styles varying from a realistic rendering of a building to an urban art piece) that demonstrates proper use of scale, angle, shading, texture, and details. Students present the drawing as the final project in their individual portfolios.

Bridging Algebra to Geometry Students identify in their Two-Point Perspective Drawings key algebraic concepts they have learned in the course.

Students are introduced to key geometric concepts such as polygons (triangles and quadrilaterals), similarities, properties of parallel lines, and area and volume, and identify these concepts on their drawing.

Instructional Methods and/or Strategies • Daily assignments • Cornell notetaking strategies • Direct instruction • Guided practice • Collaborative group work • Small group demonstrations/instruction • Investigative/inquiry activities • Experiential learning • Toolkits • Interactive instruction (includes the use of online graphing tools that allow students to manipulate algebraic and graphic models to comprehend the outcomes of those changes.)

Independent study • Collaborative team teaching - the art (CTE) teacher and the mathematics (Algebra 1) teacher share instructional time combining the individual subjects to show the interconnectedness. This involves both teachers defining their common goals and objectives for lessons, units, and the overall course.

• Research - library and internet • Self and peer critiques • Demonstration and repetition • Viewing and analysis of art • Problem sets • Use of visual arts applications such as Photoshop, Aperture, Maya, etc.

• This course will rely heavily on the spiraling/refining of fundamental algebraic and art concepts.

Collaboration of ideas with the interconnectedness of art and algebraic modeling will drive students’ inquiry.

Students will be using graphical calculators and appropriate online graphing tools, such as geoalgebra, and geometers sketchpad, to interpret, predict, and articulate algebraic concepts.

Assessment Methods and/or Tools • Applied class activities • Homework • Written composition and reports • Partner and individual quizzes • Toolkits of related math topics • Art project critiques • Unit tests • Unit portfolios and class presentations • Assigned unit projects • Continual analysis through self and peer critiques (increases in complexity throughout the course) • Mid-term exam • Standards diagnostic tools • Final comprehensive exam • Final digital media presentation

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Sample Course • Electronic portfolio • Evaluation breakdown Portfolio and presentations 45% Quizzes 10% Tests (written) 25% Midterm/final 20% Artistic Perception Da Vinci Media Arts 1 provides many opportunities for students to view and analyze masterworks as well as their own creations and those of other students. Examples of their developing Artistic Perception include studying urban art and creating portfolios delineating their feedback. They participate in an in-depth study of Da Vinci’s Vitruvian Man and respond to his art through classroom discussions connected with observations about the mathematical qualities of the work. In Unit 6 the students investigate their own reactions to art as well as predicting and analyzing those of possible art purchasers. This unit includes an in-depth study of one artist and his/her work with personal analysis by each student. The electronic portfolios allow students to constantly give voice to their perceptions of their own work.

Creative Expression This course provides many opportunities to express students’ creative talents. he students investigate many different art forms and mediums: drawing, painting, digital art, photography. The mural project allows them to experience the concepts of proportion, line and color. The photography unit allows for students to produce an extensive collection of photos and requires them to evaluate and prioritize their creations. Every unit and Key Assignment includes an opportunity for creation and exploration in both traditional and digital art mediums.

Historical and Cultural Context The Da Vinci Media Art Course illuminates the historical and cultural context of visual art throughout the course.

Unit 1 explores the development of artistic expression from cave painting to modern art. The concept of mural art is investigated by scaling art created by the masters as well as trying their own hand at modern urban art. Unit 3 concentrates on perspective drawing using the lesson of the Vitruvian man to study the concepts of perspective from a Renaissance view. The development of photography and photographic principles are studied in unit 4.

Students understand how changes from drawing and painting to photography to digital photography elicited a revolutionary change in the perception of art by the public. Unit 6 requires both a look at the current art culture and market and an historical investigation of a famous artist of the past, the culture surrounding that artist, and the effect of the market on his/her work. Finally unit 8 investigates how two-point perspective is dealt with in various cultures and how this process introduces concepts relating three dimensional art.

Aesthetic Valuing Evaluating and assessing artistic and mathematical understanding is integral to Da Vinci Media Arts. Throughout the course, students use rubrics, personal observations and discussions to evaluate their own works as well as those of studied artists. In their electronic portfolios, students keep blog/journals of their understandings and impressions and review them when dealing with new works. The unit on Elements of Design increases their vocabulary in and understandings of visual arts. In the Unit 7, students use digital media to present their Aesthetic Valuing of art as well as describing the interrelationship of art and algebra.

Connections, Relationships, and Applications The Da Vinci Media Arts 1 Course is the melding of a Career Technical Education Course and a Fine Arts curriculum as it applies to the topic of Algebra. Students are immersed in the relationship of art and algebra, bringing to both fields a depth of understanding of the linkage between artistic creation and mathematical precision. The career links include creating and updating website/portfolios, preparing both digital and analog artworks for the marketplace, and using photography for both artistic and commercial purposes. Students also gain an historical appreciation of artistic endeavor, ambient culture, and the art market. The course brings a different dimension to the study of art and shows its connection to algebra in every unit.

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Sample Course

Contacts

University of California Curriculum Integration (UCCI) Institute Sarah Fidelibus, UCCI Program Manager Street Address: 1111 Franklin Street Oakland, CA 94607 1. Program Information

Mailing Address: 1111 Franklin Street Oakland, CA 94607 Phone: (510) 287-3349 Web Site: ucci.ucop.edu

Teacher Contact: Sarah Fidelibus Position/Title: UCCI Program Manager Phone: (510) 287-3349 E-mail: Sarah.Fidelibus@ucop.edu

2. Course Contact

A. COVER PAGE - Course ID 440057 1. Course Title

Language Takes the Stage (UCCI)

2. Transcript Title/Abbreviation

Language Takes the Stage

3. Transcript Course Code/Number

UCCI

4. Seeking Honors Distinction?

No Subject: English

5. Subject Area

Category: English

6. Grade Level(s)

9

7. Unit Value

1.0 (one year, 2 semesters, or 3 trimesters equiv.)

8. Previously Approved Was this course previously approved by UC?

No

9. Is this course classified as a Career Technical Education course: Name of Industry Sector: Arts, Media, and Entertainment

Yes

Name of Career Pathway: Performing Arts 10. Brief Course Description

Who are we and what do we contribute to the stage of life? In Language Takes the Stage, we consider what theatre is and why we feel compelled to create it. In this ninth grade, college preparatory English class, the literature comes to life. In addition to analyzing, researching, and writing about text, students take an active role in transforming text to actual performances. Language, theater, culture, and self are the driving themes of this course. We compose monologues, write narratives, act, argue character https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

Sample Course

interpretation, invent, improvise, and otherwise consider how the story is told and how the story is used to influence and communicate with the world around us. Our study of culture, literature, and style spans the gamut from Tupac to Shakespeare, from the gods to GaGa. Quite simply, we travel the path from page to stage.

11. Pre-Requisites (Recommended) (Recommended) 12. Co-Requisites (Recommended) (Recommended) 13. Context for Course

This course is an alternative to the traditional high school freshman English course. It provides students an opportunity to learn about literature and writing in the context of performance. This course also provides students with an opportunity to explore and evaluate their personal relationship to literature and theater. By being guided through relevant and meaningful instruction relating performance with reading and writing, students are able to connect their learning with the outside world. Students also have an opportunity to practice career technical education skills through a variety of instructional practices such as writing, staging and performing.

14. History of Course Development

This course was originally designed during the University of California Curriculum Institute held in April 2012. The creative team consisted of English teachers and career technical education instructors from the Performing Arts sector.

15. Textbooks TEXTBOOK 33743 Title: A Raisin in the Sun Edition: 7th Print Edition Publication Date: 1994 Publisher: Vintage Author(s): Lorraine Hansberry URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33744 Title: Prentice Hall Literature: Timeless Voices, Timeless Themes: Gold Level (Hardcover) Edition: 2005 Publication Date: 2005 Publisher: Prentice Hall Author(s): Kate Kinsella, Kevin Feldman, Colleen Shea Stamp URL Resource: Usage: Primary Text Excerpts, approximate number of pages: Usage: some short stories, ???Romeo and Juliet???, TEXTBOOK 33745 Title: The Complete Fairy Tales of the Brothers Grimm (paperback) Edition: Third Edition Publication Date: January 1, 2003 Publisher: Bantam Author(s): Jacob Grimm, Wilhelm Grimm, Jack Zipes

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Sample Course URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33746 Title: The Absolutely True Diary of a Part-Time Indian Edition: 2009 Publication Date: 2009 Publisher: Little, Brown Books for Young Readers Author(s): Sherman Alexie URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33747 Title: An Actor Prepares Edition: Reprint edition, 1989 Publication Date: 1989 Publisher: Routledge Author(s): Constantin Stanislavski URL Resource: Usage: Supplementary or Secondary Text Excerpts, approximate number of pages: 100 TEXTBOOK 33748 Title: The Ultimate Scene and Monologue Sourcebook, Updated and Expanded Edition Edition: Second edition Publication Date: 2007 Publisher: Backstage Books Author(s): Ed Hooks URL Resource: Usage: Supplementary or Secondary Text Excerpts, approximate number of pages: 50 TEXTBOOK 33749 Title: The Odyssey Edition: 2012 Publication Date: 2012 Publisher: Create Space Author(s): Homer URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33750 Title: Mythology Edition: 1998 reprint Publication Date: 1942 Publisher: Back Bay Books Author(s): Edith Hamilton URL Resource: Usage: Primary Text Excerpts, approximate number of pages: 50 TEXTBOOK 33751

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Sample Course Title: Metamorphoses Edition: 2002 Publication Date: 2002 Publisher: Northwestern University Press Author(s): Mary Zimmerman URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33752 Title: Romeo and Juliet (The New Folger Library Shakespeare) Edition: 2011 Publication Date: 2011 Publisher: Simon & Schuster Author(s): William Shakespeare URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33753 Title: A Thousand Splendid Suns Edition: 2008 Publication Date: 2008 Publisher: Northwestern University Press Author(s): Khaled Hosseini URL Resource: Usage: Primary Text Read in entirety or near entirety TEXTBOOK 33754 Title: Othello (The New Folger Library Shakespeare) Edition: 2004 Publication Date: 2004 Publisher: Simon & Schuster Author(s): William Shakespeare URL Resource: Usage: Primary Text Excerpts, approximate number of pages: 50 TEXTBOOK 33755 Title: The Hunger Games (may substituted another novel with similar themes) Edition: First Publication Date: 2008 Publisher: Scholastic Author(s): Suzanne Collins URL Resource: Usage: Primary Text Read in entirety or near entirety 16. Supplemental Instructional Materials

Websites Cornell Notes- englishcompanion.com Universal Archetypes- www.pbs.org/mythsandheroes/myth_archetypes.html Dark Lady Sonnets by William Shakespeare- http://hudsonshakespeare.org/index.ht

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Sample Course

First Folio (Romeo and Juliet and Othello)- etext.virginia.edu/toc/modeng/public/ShaRJF.html Socratic Method- www.studyguide.org/socratic_seminar.htm Power Wheel- futureswithoutviolence.org "I Have a Dream" speech- www.americanrhetoric.com/speeches/mlkihaveadream.htm Queen Elizabeth I's speech to the troops at Tisbury- www.historyplace.com/speeches/elizabeth.htm Jacques's speech from As You Like It- www.shakespeare-online.com/plays/asu_2_7.html Hamlet's soliloquy "To Be..."- www.monologuearchive.com/s/shakespeare_001.html George the Sixth's Speech- http://awesomestories.com Henry V's St. Crispin's Day Speech- http://shakespeare.mit.edu/henryv/henryv.4.3.html "The Masque of the Red Death" by Edgar Allan Poe- www.readbookonline.net/readOnLine/483 "The Cask of Amontillado" by Edgar Allan Poe- www.eastoftheweb.com/shortstories/UBooks/CasAmo.shtml www.xtranormal.com www.pinterest.com Videos/Movies A Raisin in the Sun, 1961 Romeo and Juliet- Directed by Baz Luhrman- 1996 Romeo and Juliet- Directed by Franco Zeffirelli- 1968 Supplemental Texts Title: They Say/I Say: The Moves That Matter in Academic Writing with Readings Edition: Second Edition Publication Date: November 15, 2011 Publisher: W.W. Norton & Company Authors: Gerald Graff, Cathy Birkenstein, Russel Durst Usage: Read in entirety by instructor B. COURSE CONTENT Course Purpose

In this freshman, integrated English course, Language Takes the Stage, students learn to understand and exercise the power of language when read, written, spoken, and performed. The power of language is examined as a universal theme connecting historical texts to our postmodern time. A dynamic curriculum carefully examines the theme of how a story is told and why. Students will read a variety of genres of literature, research the historical context, use 21st century technology skills, question the human condition, and create frequent, written compositions and performance pieces. This rigorous college-preparatory English course also introduces students to the introductory elements of dramatic performance and production. All students write, stage, and perform in a culminating production. By combining a rigorous program of reading and writing with a strong dramatic arts and performance strand, students will gain insights into the power of the English language that they would not be exposed to in a standard English class. It is this dynamic aspect of spoken, dramatic English as it is physically represented on the stage that sets this course apart.

Course Outline

Unit 1: Theatre and Culture

Essential Questions: What is storytelling and how does it reflect the values of a culture? What is theatre and how has it reflected the values of a culture throughout history? Why does man seem destined to imitate, explain, and create stories that reflect ourselves?

Students are introduced to the concept that throughout history every culture has produced various forms of storytelling which has manifested itself through many different art-forms, including literature and often through the use of performance which we call theatre.

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Sample Course

Students examine how we define culture and create a Cultural Collage. After describing the traditional anthropological definition of culture, students then compare it to the culture of their contemporary surrounding society. Examination includes what does the theatre of their surrounding society say about their culture, conventional theatre, the theatre of reality TV, the theatre of fashion, and the theatre of sport. One activity, Cultural Collage, includes, "How do we do things around here?".

After reading and performing several famous speeches and monologues in class (such as but not limited to "I Have a Dream" by Martin Luther King, Queen Elizabeth's "Saint Crispin's Day" speech to her troops, and "Seven Ages of Man" from Shakespeare's As You Like It ) students write and perform their own original monologues. New vocabulary is introduced using the Word Theatre strategy. Students use the characters from their Character Journals, a recurring assignment, as the voice of their original monologues. Students use Language Analysis--Syntax, Diction, Punctuation assignment to determine the class, gender, and social origin of their characters. Students assess how the words we use determine how we are viewed by others. Students perform their original monologues incorporating acting techniques such as projection, articulation, expression, intonation, and physical stance, as well as text analysis by analyzing the character's objectives and obstacles in their chosen monologue by asking, "What does this character want?" "What is he/she fighting for?" These questions will be answered verbally by the students after each performance.

Also, at the beginning of the unit, students will be assigned an Oral Research Project, choosing a culture and historical time period to research. Students develop a thesis based on their research of that time period stating why people create theatre and how their style of theatre reflects their values and beliefs and orally report to the class.

Students read several fairy tales from The Complete Fairy Tales of the Brothers Grimm in the Fairy Tale Play Project and describe the theme and objectives of the characters. Students distinguish plot structure: exposition, complication, crisis, climax, resolution and theme within each story. After gleaning the message from the fairy tale, students turn these stories into modern day morality plays, incorporating colloquial language and analyzing how the use of such speech is perceived by the audience. Students write, rehearse, and perform in class using the acting techniques which were introduced during the monologues.

Students read and analyze the classic play A Raisin in the Sun looking for the playwright's intent in writing the play through the use of theme, the motivations of the characters, the setting and how it reflects the social issues of the time, the diction and dialect of the different characters, and how that determines the class and social origin of those characters. After reading the play and watching a video version of A Raisin in the Sun, students evaluate content presented in both formats in their Comparative Critique assignment, comparing how each examines the basics of story structure: plot structure, characterization, setting, style, theme, and historical/cultural accuracy.

Unit 2: The Story

Essential Questions: How does one tell a story in a manner and style that affects, moves, and evokes pathos in a listening, viewing, and/or reading audience? What constitutes effective storytelling? How does a storyteller put effective storytelling techniques into practice?

The goal of this unit is to examine how story is told through various genres and mediums, in both literary and visual and performing arts. A painting, a song, a play, a poem, a photograph tell a story. Students adapt such stories to theatrical presentation. In doing so, in this unit, students are introduced to the basics of story structure: Voice, Plot Structure, Characterization, Setting, Theme, and Style. Such basics are incorporated and drawn upon in analysis and assignment in the later units.

Largely as a warm-up and the anticipatory set to the unit, students look at how characters and even celebrities present themselves, present their images, and tell their stories hoping to evoke a particular effect from their audience. The unit begins with the reading of such books as The Hunger Games (not a required text--Teachers may choose another novel with similar themes.), with viewing such movies as

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The King's Speech, and even with a brief examination of popular culture that which appears in print media, on the internet, in social media, in concert. In The Hunger Games, for example, characters-largely for survival--create personas that are love-struck or valiant, affable or righteously defiant.

Students analyze how that image, or voice, gets conveyed to an audience. Through guided reading and class discussion, students look at character speech, physical description, gesture, action. In a book such as The Hunger Games, students have the benefit of a narrative voice that reveals character motivation; with that, students can match up motivation with character action. Students perform similar guided cinematic analysis. In The King's Speech, for example, students view how a character conveys calculated steadiness and calm reassurance via a radio address to the British people during tumultuous times. As well, students extend image assessment to popular culture and their favorite celebrities.

Students access such sites as The Wonder Wall (wonderwall.msn), YouTube, print media, television, etc. They bring to the classroom discussion models of contemporaries putting forth--via speech, physical description, gesture, action--particular images in the hope of evoking particular responses. This first portion of the unit will culminate in a 3-5 page research-based Informative/Descriptive Essay in which students examine image and voice.

As a tie-in back to the on-going Character Journal, students recreate and refine the character they've been cultivating. They consider how this character presents him/herself to the world at large. In on-going writing assignments (quickwrites, journal writes, reading logs) they consider how they--the author/creator of the character--want the character perceived. They consider how they achieve that perception. They dress the character, paint his/her expressions, try-out dialogue, internal monologues, and actions. They begin to move that character through small vignettes, thus further employing characterization techniques.

Students then continue their analysis of effective storytelling with a close reading and guided interpretative practice of Sherman Alexie's The Absolute Diary of a Part-time Indian. This text showcases an enigmatic distinctive speaker. In the assignment, An Absolutely True Scene Adaptation, students analyze how that speaker gets portrayed through the diction of dialogue and internal monologue, through action, through the detail the speaker himself notices. Students write and perform original scenes based on Alexie's work. Alexie not only characterizes his speaker through words, but through graphic illustration. In turn, students create an original cartoon self that projects a desired image through clothes, props, posture, facial expression via the Authentic Self As Cartoon assignment. They add that cartoon self to the Culture Collage established in Unit 1. In addition, they must present and explain what precisely the desired image is in the cartoon self-portrait. Again, the student employs characterization techniques.

To further demonstrate the importance of character and how it is experienced in theatre, students create and perform Slam Poetry--original poetry without the use of props, costumes, sets. The original narrative poems demonstrate an obvious auditory quality, and embody and convey a persona.

The connection between character and setting is made through the Short Story Project. Students read and analyze short stories such as 'Most Dangerous Game," "Masque of the Red Death," and "Lambs to the Slaughter." Students evaluate, compare and contrast, and draw conclusions about the effectiveness of telling stories through different genres. In addition, figurative language, points of view, irony, symbolism, imagery, syntax, and diction, is examined and analyzed for style. As they look at the story, the students consider the function of the setting, both as literal context and as symbolic representation.

Students, through Socratic Seminars, discuss how a literary/theatrical piece conveys a value, a theme, and an overriding idea. They answer: what makes the story effective? After watching either live or recorded theatrical performances, the students apply understanding of genre, setting, and style to the writing of original critiques of these performances. Students answer: what effective storytelling techniques does the playwright put into practice? Students demonstrate their understanding of the story and its role in theatre, and extend the story through original dialogue. In the dialogue, the students apply staging techniques (blocking), as well as characterization and "actor delivery" (articulation and projection) techniques as they prepare to perform. Rubrics are used as guides for expectations and for assessments.

Optional: Students apply the basics of criticism as they write an individual critique of a local production.

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Sample Course

Unit 3: Hero's Journey

Essential Questions: How do authors and playwrights mirror their times, place, politics, and personal issues? How do these universal themes resonate with us today?

Students continue their study of stories and theatre, using Text Annotation and Reading Logs, by examining the historical roots of oral storytelling and drama in other cultures. Ongoing word study based on Greek and Latin roots using Word Theatre continues throughout this unit. Students read portions of Fagles' The Odyssey and Zimmerman's Metamorphoses to gain an understanding of oral tradition and the hero cycle, and also to recognize how these tropes reverberate in modern literature, theatre, and even popular culture. They read at least one myth, "The Judgment of Paris," and rewrite and perform it in groups applying basic dramatic structure in the The Judgment of Paris Scene assignment.

While reading The Odyssey, students highlight and annotate their texts in preparation for a class discussion about evolving themes. Why is Odysseus regarded as a hero by the Greeks? How does he differ from modern heroes? Students' analysis of his character is based on their ongoing reading notes and class discussion. The introduction of the hero cycle pattern is used to connect and contrast The Odyssey with other, more current cultural references that follow the same pattern, such as the Harry Potter books and the Star Wars series.

Students use this information to add to their Character Journals to provide textual evidence in preparation for their essays, as well as for their performance pieces. Students use their knowledge of theme and dramatic structure to turn the story of Paris into a scene and perform for the class in groups.

Performances will be graded by peers using rubrics that assess the works using language appropriate to the theatre. Additionally, students analyze historical and cultural themes by adapting a scene from Mary Zimmerman's Metamorphoses into a Reader's Theatre performance assignment that demonstrates an understanding of archetypes and uses acting choices, such as voice, and diction to demonstrate the character's historical and cultural perspective.

Students demonstrate understanding of the central themes of the epic in an Argumentative Essay making a case for why Odysseus is or is not a classic hero, supporting their position with research from this unit, using correct MLA citations. Extending their research skills and employing technology, students are assigned Research PowerPoint Oral Presentations to explore costume design in an historical period.

Students research how costumes were used in theatrical performances in Greek Theatre and prepare a Power Point presentation with a citation slide at the end that shows how the dress and aesthetic style of a character illustrates the historical and cultural themes (5-7 minutes in length).

Unit 4: Shakespeare: Yesterday and Today

Essential Question: How is Shakespeare relevant to modern society? How do his portrayals of male and female characters provide insight into interpersonal relationships today?

Through the lenses of power, control, and passion, students read, participate in Literature Circles, view, and perform a selection of Shakespeare's works, including Romeo and Juliet, Othello, and the "Dark Lady" sonnets, and then create and portray modern characters based on Renaissance literature.

Students examine gender roles across time and cultures through readings in this unit. Based on their beginning study of Shakespeare, students select scenes and monologues to be staged. Groups perform oral readings of scenes and monologues, applying their theatrical research while comparing and contrasting the language of the Renaissance with that of today in the Comparing Different Genres assignment.

As students continue to read Romeo and Juliet, they annotate or "talk to the text" to better understand key concepts and characters. Using language specific to English language arts and theatre, students

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continue responding in their Reading Logs in order to take part in Socratic Seminars and discuss themes and characters in the play. After viewing multiple, filmed versions of Romeo and Juliet, students analyze the directors' aesthetic choices in costuming and staging and present their views in oral presentations. Using the First Folio Technique, students prepare a contemporary interpretation or improvisation of the opening prologue that demonstrates understanding of the play's tragic theme.

Students read A Thousand Splendid Suns and excerpts from Othello and respond to Reading Log Guided Questions in preparation for writing a Persuasive Essay that compares and contrasts the relative power and agency of the female protagonists in these works. The Power and Control Wheel (see link in Supplemental Instructional Materials) is introduced as a way to discuss socio-political and gender issues among the characters studied in this unit. Who was the more powerful character and why? What choices were available to her in the society she lived in? To better understand the themes in this unit, students transform these stories to dramatic works. Students use elements of the wheel to perform improvisational exercises. Students also choose a key moment from their reading logs to fully develop into a written scene.

After reading a selection of the "Dark Lady" sonnets and analyzing meter, rhythm, and form, students choose one poem to explicate in a Literary Analysis Essay. Then students look at the poem through a different lens, as playwrights, and craft a short Character Sketch describing the speaker of the selected poem. They explore the physical and emotional choices that an actor would make to bring the poem to life (see Stanislavski text) and add stage directions to their sketches. As an extension, the Shakespearean Inspired Power Wheel assignment focuses on improvisational techniques inspired by the Power Wheel, tying them to themes from Romeo and Juliet, and motivating discussion and quick writes about modern situations with the same themes. In addition, in Found Poems, poems that stay true to the theme of the unit are created using words from any Shakespearean work, and students perform them for the class. In a culminating Unit Performance, students also stage and perform scenes from Othello or Romeo and Juliet, using the First Folio, focusing on themes they believe to be relevant to modern times.

Unit 5: Page to Stage

Essential Question: What is the path from page to stage?

Students gain foundational skills in researching, analyzing, and planning a theatrical performance.

Through these literary and performance-based elements, students will communicate a personal understanding of theatre, script analysis, character research, as well as the universal themes of great literature, while working collaboratively as playwrights, designers, and actors.

Students choose a selection from The Ultimate Scene and Monologue Source Book and plan, memorize, and present a Monologue Performance that includes appropriate performance techniques. In preparation for their own productions, they read critiques of professional performances chosen from the Stanislavski text and prepare a written Academic Precis Paper. Additionally, students write Informational Essays about effective stagecraft. What makes these plays work?

Through an examination of both textural and visual dramatic structure, students collaboratively compose, design, and perform a stage production as the culminating project of this class. Students use their research, written pieces, and performances from the entire year as a resource to create the final project, an original One Act Play. Students write and revise scripts, using their character journals, reading logs, and notes in the script development. Groups work collaboratively with cast members on the play for technical skill enhancement while incorporating design, production, and performance principles from past units. As a first assignment, the Production Schedule focuses students on formulating a production plan and rehearsal schedule for their play. Schedules must include design and performance decisions. The play will be staged and produced collaboratively and graded with an aesthetic rubric.

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Sample Course Key Assignments

Recurring Assignments:

Character Journals: At the beginning of the year, students create journal based on a character that functions as their alter ego. (For students who are particularly visual or technically adept they could have the option to create a character electronically in a program such as http://xtranormal.com.) Throughout the year, students respond through the voice of their character to given questions, and comment on current events and class discussion. Character complexity is developed in the journal through research and response, and used later in the year for improvisation, scene work, and for the final project.

Reading Logs: Students maintain dialectical reading logs electronically that reflect on class readings with proper citations. Some entries will be prompted by the teacher and others will be student choice.

Word Theater: Based on the research of Total Physical Response (TPR) on student comprehension and retention of vocabulary, students keep a personal dictionary with words selected or assigned from the unit. A variety of strategies are used to recognize and integrate key vocabulary. For example, through the use of improvisation, students act out and demonstrate the meaning of new vocabulary words. Students annotate definitions with non-linguistic representations and add language specific to the theatre to explain how a selection might be staged (e.g., stage blocking templates).

Unit 1: Theatre and Culture Speech-Soliloquy Project: Students glean the theme from each of three given speeches: such as Martin Luther King, Jr.'s "I Have A Dream," Queen Elizabeth's speech to the troops at Tilbury, a selected Shakespearean monologue (e.g., As You Like It, "The Seven Stages of Man," or Henry V's "St. Crispin's Day"). Students choose a theme to replicate in an original monologue that is performed live.

Cultural Collage Students examine how we define culture and create a Cultural Collage. After describing the traditional anthropological definition of culture, students then compare it to the culture of their contemporary surrounding society. Examination includes what does the theatre of their surrounding society say about: their culture, conventional theatre, the theatre of reality TV, the theatre of fashion, and the theatre of sport. One activity, Cultural Collage, includes, "How do we do things around here?". Students stretch butcher paper around the room and bring in cultural icons and excerpts from popular theatre that represent the present and past things that define their culture (e.g. golden arches, pictures of family, the Nike symbol, a basketball, images of iPhones, iPods, the Prius, Jersey Shore, etc.) to demonstrate their reality.

Language Analysis--Syntax, Diction, Punctuation: Students examine Shakespeare's "Seven Ages of Man" and translate it to modern language (colloquial, slang, regional) to understand the importance of iambic pentameter and allusions.

Oral Research Project Students choose a culture and historical time period to research, develop a thesis based on their research of that time period, and orally report to the class. Students, through their research, will synthesize why people create theatre and how their style of theatre reflects their values and beliefs.

Fairy Tale Play Project: Students examine a Grimm's fairy tale and identify the embedded moral lessons and values. Students view Sondheim's Into the Woods to experience a dramatic adaptation of a written work. Students interpret the moral lessons of the fairy tales into Morality Plays which are performed live before class. In their original dramatic adaptation, students focus on narrative, character development, conflict, and the "moral." Students write, rehearse, and perform in class using the acting techniques which were

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Sample Course

introduced during the monologues.

Comparative Critique After reading the play and watching a video version of A Raisin in the Sun, students will write a 2-3 page essay. They will analyze the content presented in both formats and compare and contrast how each format examines the basics of story structure: plot structure, characterization, setting, style, theme, and historical/cultural accuracy.

Unit 2: The Story

Informative/Descriptive Essay: Theatricality in Popular Culture: An Examination of Voice and the Authentic vs. the Public Self: Students write a research-based, 3-5 page, informative/descriptive essay examining pre-meditated theatrical created image. Students examine the power of theatrical presentation in word, in posture, in costume, tone, fluidity, imagery. Students analyze popular contemporary works, such as the excerpt from The Hunger Games (or choose another novel with similar themes) where the tributes enter the amphitheater in chariots anxious to create an impression that will garner fame, favor, and sponsors; the excerpt from The King's Speech where King George addresses the British nation via radio with the goal of calming and reassuring the nation pre-World War II; and the celebrities and the impressions conveyed on "The Wonder Wall" (wonderwall.msn) including Lady GaGa, et.al. Students analyze how characters and celebrities present themselves to society for approval.

Students refine and recreate the character in their Character Journal, in consideration of how this character wants to present him/herself to the world. Students answer the question: If your character was seeking society's approval, how would your character recreate his/her image in this particular public situation?

An Absolutely True Scene Adaptation: Students adapt scenes from Sherman Alexie's novel, The Absolutely True Diary of a Part-time Indian, and perform these scenes applying the concepts of good storytelling and good theatre: plot sequence, character development, a complementary setting, style, and theme.

The Authentic Self as Cartoon Students read Sherman Alexie's The Absolutely True Diary of a Part-Time Indian. Throughout the text, Alexie draws cartoons of himself in various situations revealing an authentic voice and how the speaker perceives himself. Using this model, students construct their own cartoon self and add that "self" to the Culture Collage created in Unit 1.

Slam Poetry - The Poet vs. the Speaker; The Actor vs. the Character: Students create and perform original poetry without the use of props, costumes, sets. The original narrative poems demonstrate an obvious auditory quality and embody and convey a persona.

Short Story Project with assignments such as written dialogues, performances, Socratic discussions, and original critiques: Students read and analyze a variety of short stories. Students select a short story from their anthology, such as "Lambs to the Slaughter," "The Masque of the Red Death," or "The Most Dangerous Game."

Students compose, create, and perform a dialogue based on two characters from the selected story that fictitiously takes place after the story has finished. Students demonstrate their understanding through Socratic discussions and writing an original critique, 1-2 pages, of the student performances.

Optional: Students apply the basics of criticism as they write an individual critique of a local production.

Unit 3: Hero's Journey:

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Sample Course

Text Annotation : Students read The Odyssey using graphic organizers and text annotation techniques to follow Odysseus' hero's journey as he travels back to Ithaca. They trace the different aspects of his character and infer what the ancient Greeks valued in a hero.

Reading Logs: Students create reading logs delineating Odysseus' interactions with Penelope, Athena, Telemachus, and his men in preparation for writing a larger essay.

Research PowerPoint Oral Presentations: Students choose a historical period and prepare a Power Point presentation with a citation slide at the end that shows how costumes were used in theatrical performances of that period. Students present orally or use multimedia on how the dress and aesthetic style of a character illustrates the historical and cultural themes (5-7 minutes in length).

The Judgment of Paris Scene: After reading "The Judgment of Paris," students partner and rewrite the myth as a scene changing Paris's choice. The new ending should reflect the students' insights into the politics and values of Ancient Greece.

Reader's Theater: In order to demonstrate understanding of archetypes and the importance of historical and cultural perspectives, in groups, students select a portion of Metamorphoses, create a five-minute Readers' Theater script, and present to class.

Argumentative Essay: Students develop and strengthen skills through revising and rewriting, a multi-paragraph, 3-4 pages, argumentative essay responding to the following prompt: Would Odysseus' characteristics doom him to failure in the modern world? Take a stand and support your position with research from this unit. Use correct MLA citations and prepare a works cited list.

Unit 4: Shakespeare: Yesterday and Today:

Socratic Seminar: To allow the students to closely read the dense texts, Socratic Seminar highlights the key concepts of power, control, and passion. Students are provided synopses of works to be studied, along with dramatic personae, and are introduced to the strategy of marginalia or talking to the text, and annotating key characters and concepts.

Reflective Reading: Students begin reading Romeo and Juliet by performing a prepared contemporary interpretation or improvisation of the opening prologue in modern language. Suggestion: Allow 3 weeks for reading and discussion to take place (other assignments will occur during reading period, actually reading no more than 10 to 15 minutes per period).

First Folio Technique: Students deconstruct and perform a monologue or soliloquy from Romeo and Juliet using Shakespeare's First Folio text. The First Folio Technique allows for students to create acting choices, emotionally and physically, based on the clues Shakespeare embedded in the original script itself.

Comparing Different Genres: Students observe a scene from Franco Zefferelli's Romeo and Juliet and then the same scene from Baz Luhrman's Romeo and Juliet. Students verbally compare and contrast, using the language of theatre, how the original text has remained relevant in today's culture and society as well as how Shakespearean scripts can be performed in different time periods and still be true to the text and characters. Students perform a modern adaptation of a Romeo and Juliet scene, dissecting the scene with the First Folio Techniques used in the previous lesson.

Shakespearean Inspired Power Wheel:

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In groups of 2-3, students execute improvisational techniques inspired by the Power Wheel (five minutes), tying them to themes from Romeo and Juliet, and motivating discussion and quick writes about modern situations with the same themes.

Reading Log Guided Questions: Throughout the course, students read and analyze A Thousand Splendid Suns. Using the electronic reading log used throughout the year, students cite textual evidence to support answers using the following questions on character and theme, comparing and contrasting this work with Romeo and Juliet.

Do you think the protagonist of this book can be happy?

How is Laila different than Juliet?

How is Mariam different from Lady Capulet?

How is Afghanistan different from Verona?

What surprised you about A Thousand Splendid Suns?

What do you wish you could change about each of their lives?

Briefly outline the dramatic structure of the book.

Write about 2 or 3 obstacles Laila overcomes.

Students choose a key moment based on their reading logs and turn it into a developed scene.

Character Sketch: Students analyze meter, rhythm, and form by reading selected "Dark Lady"sonnets. Using these techniques, students choose one of these sonnets and write a character sketch as if they are going to perform the sonnet. This technique enhances the physical and emotional character choices made by the actor.

Essay: Students write a 1-2 page literary analysis of one of the sonnets focusing on how the meter affects the mood and presentation of the piece.

Literature Circles: In groups of 3-4, assign students key selections from Othello to read aloud. Assign A Thousand Splendid Suns to be read independently and discussed in groups.

Persuasive Essay: Students write a persuasive essay that compares and contrasts the relative power and agency of female protagonists in the works studied. 3-5 pages in MLA format.

Found Poem: A" found poem"composed of words from a Shakespearean work that demonstrate an understanding of the essential themes in this unit.

Unit performance: Students choose scenes from Othello or Romeo and Juliet demonstrating understanding of both theme and First Folio techniques.

Unit 5: From Page to Stage: Monologue Performance: Students choose a short selection of their choice from The Ultimate Scene and Monologue Source Book to memorize and perform, integrating proper stage directions and incorporating blocking skills to improve their own performances.

Academic Precis Paper : Students read and analyze professional critiques (using the Stanislavski text) of dramatic performances (expository text) with accompanying marginalia. Students use their reading notes to prepare a formal precis paper of at least 2 pages in length and present their findings to the class in a 3-5 minute presentation with time allowed for follow-up questions.

Informational Essays: Students write 2-3 page informational essays about effective stagecraft based on their research of

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professional critiques following MLA format and correct citation.

Production Schedule: The culminating unit project begins with formulating a production schedule for the 10-minute plays written by the students at the end of Unit 4. Schedule must include design and performance decisions.

One Act Play: Students write, produce and perform a one act play to demonstrate their understanding of dramatic structure, literary analysis, script analysis, character development and technical aspects of theatrical production. Plays are performed over a 3-week period and assessed with an aesthetic rubric.

Instructional Methods and/or Strategies

This course combines English and CTE/performing arts and utilizes strategies that are effective in both curricular areas. Classroom methodologies focus on critical thinking, text analysis, and collaboration including, but not limited to the following: Character Journal: This method supports the curriculum by focusing on character development.

Throughout the entire course, the student responds to prompts from the perspective of an original fictitious character.

Word Theater: This method supports vocabulary building and retention through proven improvisational techniques and Total Physical Response (TPR).

Close Reading: Students are called to comprehend content and to analyze critically. By recognizing key aspects of literature and informational text, students integrate these key aspects into their own writing.

Includes multiple reads and annotation.

Writing: Students create various creative and expository writing assignments. These exercises reinforce students' comprehension of aesthetics and model how to apply such techniques in the literature they study.

Drafting, Reviewing, and Revising: A key instructional strategy is the use of the writing process for all major writing projects. Students will understand that all good writing includes drafting, reviewing, and revising/rewriting.

Critical and Creative Thinking: Critical and creative thinking is visible in student writing and performance.

Students analyze the methods of authors and model it in their original work.

Guided Practice: Guided practice allows students to receive information, practice in class, and apply what they have learned independently, and allows for assessment of comprehension.

Projects: Students are often required to demonstrate understanding and skill through presentation of original work. Each student demonstrates mastery of skills by creating and performing a unique product.

Investigation, Observation, and Definition: Using research, students delve into societal moires found in texts and in today's world.

Observation and Critiquing Activities: Students analyze for effectiveness. For example, the students read a speech and critique its rhetorical use of language.

Individual Practice and Application: Students practice skills taught in direct instruction and apply those skills to the creation of their own project.

Homework Assignments: Students do independent readings and observations in order to prepare for projects, in-class discussion, and discovery.

Performance: Through performance the students learn the importance of storytelling basics and rhetorical techniques to create a desired impression on the audience.

Cooperative Learning: Students learn to apply real world strategies by taking on the roles of expert and collaborator.

Peer Critique: Students learn to apply rubrics and internalize given standards of excellence when looking at each other's work.

Socratic Seminar: Students discuss text in a guided questioning format that directs them to cite text and back up opinion with evidence.

Think-alouds: Following modeling from teacher, students learn to make their metacognitive reading processes visible by annotating a text with their observations, questions, or insights.

Literature Circles: Class-organized discussion groups where each student has a prescribed role which facilitates comprehension and rich discussion of assigned reading.

Marginalia or Talk to the Text (scoring a script): Students utilize a form of text annotation that leads to https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

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concrete details that can be added to writing assignments. Also adds to reading comprehension.

Blogs: Students participate in an electronic journal or threaded conversation used to provide engagement and foster the ability of writing to an audience. For example students use a social media site such as Pinterest.com to create character blogs.

Reading logs featuring emails: Students respond to teacher guided electronic reading logs and scaffolded questions to analyze text and draw inferences, citing textual evidence for support.

Personal dictionaries with non-linguistic representations: Words are chosen from the text and defined on cards with a drawing to aid memory. Included on the card is a stage blocking direction for how the word might be used in a production (whispered, shouted, an aside).

Cornell Notes: Students create double column notes with a summary space at the bottom. This notetaking strategy is used as a study aid, a method to engage students during direct instruction and for further reference.

Stage-blocking templates: Students use these as a practice leading up to writing stage directions. They are symbols and movement terms to reinforce understanding of their position and movements on the stage and grasp the vocabulary of theater.

"Peanut Gallery" oral critique: This is a group collaboration practice to encourage thoughtful commentary on the work of others.

New Choice improvisation: This is an acting technique that encourages plot development and creativity and provides vocabulary practice.

Graphic organizers: Students use these as a visual way of organizing complex information, especially before writing. This is also a way of webbing or expanding vocabulary knowledge (Concept development map, Frayer model, personal dictionary).

Direct instruction: A more teacher-centered way of delivering information, but instruction is always "chunked" in manageable amounts of time and presented with opportunities for processing (10 minutes instruction/2 minutes processing or peer discussion) and graphic organizers for note-taking.

Questioning strategies: Questioning encourages deeper thinking, such as Socratic questioning, QAR, and open-ended questions. All require students to go deeper into the material and do not allow yes/no answers.

Sentence templates: Scaffolding technique provides structure and academic language to strengthen student writing, especially citation. For example, the templates used in They Say/I Say: The Moves that Matter in Academic Writing are introduced with essay instruction.

Assessment Methods and/or Tools

Assessments include the components described below. Each unit will include both formative and summative assessments. All units include performances/presentations to be assessed with rubrics.

Writing The course uses extensive writing to be both rigorous and thorough in assessing student learning. The narrative, informational, persuasive, descriptive, and argumentative essays, in particular, measure student mastery of writing, critical thinking, and grammar concepts as they apply to the literary theme.

Students also learn to summarize using the academic precis method and have multiple opportunities to hone their research and analytical skills. All essays will undergo multiple rewrites and are considered formative assessments until they reach their final draft form. Additionally, the CTE performance assessments both engage the students and provide them with the skills necessary to take further course work or pursue professional goals in this pathway.

Summative Assessment Examples (evaluated with teacher created rubrics) Narrative Essays, to measure both the students' writing ability and depth of understanding of concepts studied Literary Analysis Essay, to measure the students' ability evaluate literature using literary terms Persuasive Essay- to measure the students' ability to compare and contrast opposing elements from literature Argumentative Essays, to evaluate the students' grasp of thesis statement, supporting evidence, rhetorical devices, and development a logical arguments Informational Essays, to evaluate the development of organizational skills Research and Citation- to measure the students' ability to synthesize information and cite evidence https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

Sample Course

Formative Assessment Examples (evaluated by teacher feedback and peer review) Peer Reviews and Critiques, to observe the development of collaborative and participation skills Note-taking, to observe the development of a variety of organizational techniques.

Quick writes, to observe the development of the ability to engage in the reading, listening, or speaking activities Precis, to extrapolate the essential ideas from their reading notes Performance The course uses extensive performance opportunities to assess student learning in Career Technical Education. These performance experiences provide students with entry-level theatrical skills necessary to take further course work in this pathway. The assessment of performances will be determined by both formal and informal assessment of the process and the product.

Summative Assessment Examples (to be evaluated by a teacher created rubric) Final Performance Piece (a one act play), to measure the students' basic acting techniques, text interpretation, and ensemble work.

Formative Assessment Examples (to be evaluated by teacher created rubrics, feedback, peer review, self assessment, journal entries) Improvisational exercises, to observe the student's ability to work collaboratively and practice their growing acting skills Scenes created from literature, to evaluate the students' ability to synthesize and interpret themes, character traits, and plot from pieces of literature Memorized Dramatic Monologue, to evaluate the students' ability to convey the meaning of the selection with appropriate performance techniques Rehearsal Process and Production Schedules, to evaluate the students' ability to organize time and group activities as well as determine deadlines Other Assessment Tools Summative Assessment Examples (to be evaluated by the teacher) Unit Tests, to evaluate the student's comprehension of Literary selections through selected and constructed responses.

Formative Assessment Examples (to be evaluated by the teacher through tests, rubrics, graphic organizers, check-off sheets) Vocabulary and Theater Terms Comprehension Quizzes - to measure the students' ability to use appropriate vocabulary terms and provide opportunities for re-teaching Literature Terms Comprehension Quizzes - to measure the students' ability to use appropriate literary terms Literature Components Quizzes - to measure the students' ability for close textual reading and provide opportunities for re-teaching Literature Circles, to demonstrate understanding of the reading and completion of individual roles as shown on graphic organizers Peer Editing, to demonstrate understanding of the revision process Production Crews, Cast Groups, Improvisational Theater Groups, to be able to develop the skills collaborative work and of self-assessment Socratic Seminar, to demonstrate the students' ability to draw conclusions, cite evidence, and state opinion Homework, to demonstrate the ability to work independently on assignments that are designed to build on class work and provide continuity Reading with Electronic Reading Log, to demonstrate the students' multiple abilities to communicate, enabling the teacher to assess students' reading comprehension and academic dialogue by building in an email component Character journal, to measure the students' ability to think and write with originality by using ongoing checks on the progress of the assignment Reading

Unit 1: Theatre and Culture Speech-Soliloquy Project: https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

Sample Course

Students glean the theme from each of three given speeches: such as Martin Luther King, Jr.'s "I Have A Dream," Queen Elizabeth's speech to the troops at Tilbury, a selected Shakespearean monologue (e.g., As You Like It, "The Seven Ages of Man," or Henry V's "St. Crispin's Day").

Fairy Tale Play Project: Students examine a Grimm's fairy tale and identify the embedded moral lessons and values.

Comparative Critique After reading and watching a video version of A Raisin in the Sun, students evaluate content presented in both formats comparing how each examines the basics of story structure: plot structure, characterization, setting, style, theme, and historical/cultural accuracy.

Unit 2: The Story Informative/Descriptive Essay: Theatricality in Popular Culture: An Examination of Voice and the Authentic vs. the Public Self: Students analyze popular contemporary works, such as the excerpt from The Hunger Games where the tributes enter the amphitheater in chariots anxious to create an impression that will garner fame, favor, and sponsors.

An Absolutely True Scene Adaptation: Students adapt scenes from Sherman Alexie's novel, The Absolutely True Diary of a Part-time Indian.

Short Story Project: Students read and analyze a variety of short stories. Students select a short story from their anthology, such as "Lambs to the Slaughter," "The Masque of the Red Death," or "The Most Dangerous Game."

Unit 3: Hero's Journey: Text Annotation : Students read The Odyssey using graphic organizers and text annotation techniques to follow Odysseus' hero's journey as he travels back to Ithaca. They trace the different aspects of his character and infer what the ancient Greeks valued in a hero.

The Judgment of Paris Scene: After reading "The Judgment of Paris," students partner and rewrite the myth as a scene changing Paris's choice. The new ending should reflect the students' insights into the politics and values of Ancient Greece.

Unit 4: Shakespeare: Yesterday and Today: Reflective Reading: Students read Romeo and Juliet . Suggestion: Allow 3 weeks for reading and discussion to take place (other assignments will occur during reading period, actually reading no more than 10 to 15 minutes per period).

First Folio Technique: Students read Romeo and Juliet using Shakespeare's First Folio text. The First Folio Technique allows for students to create acting choices, emotionally and physically, based on the clues Shakespeare embedded in the original script itself.

Reading Log Guided Questions: Throughout the course, students read and analyze A Thousand Splendid Suns. Using the electronic reading log used throughout the year, students cite textual evidence to support answers using the following questions on character and theme, comparing and contrasting this work with Romeo and Juliet.

Do you think the protagonist of this book can be happy?

How is Laila different than Juliet?

How is Mariam different from Lady Capulet?

How is Afghanistan different from Verona?

What surprised you about A Thousand Splendid Suns?

What do you wish you could change about each of their lives?

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Sample Course

Briefly outline the dramatic structure of the book.

Write about 2 or 3 obstacles Laila overcomes.

Students choose a key moment based on their reading logs and turn it into a developed scene.

Literature Circles: In groups of 3-4, assign students key selections from Othello to read aloud. Assign A Thousand Splendid Suns to be read independently and discussed in groups.

Writing

Recurring Assignments: Character Journals At the beginning of the year, students create journal based on a character that functions as their alter ego. (For students who are particularly visual or technically adept they could have the option to create a character electronically in a program such as xtranormal.com.) Throughout the year, students respond through the voice of their character to given questions, and comment on current events and class discussion. Character complexity is developed in the journal through research and response, and used later in the year for improvisation, scene work, and for the final project.

Reading Logs: Students maintain dialectical reading logs electronically that reflect on class readings with proper citations. Some entries will be prompted by the teacher and others will be student choice.

Unit 1: Theatre and Culture Speech-Soliloquy Project: Students glean the theme from each of three given speeches: such as Martin Luther King, Jr.'s "I Have A Dream," Queen Elizabeth's speech to the troops at Tilbury, a selected Shakespearean monologue (e.g., As You Like It, "The Seven Stages of Man," or Henry V's "St. Crispin's Day"). Students choose a theme to replicate in an original monologue that is performed live.

Language Analysis--Syntax, Diction, Punctuation: Students examine Shakespeare's "Seven Ages of Man" and translate it to modern language (colloquial, slang, regional) to understand the importance of iambic pentameter ??and allusions.

Fairy Tale Play Project: Students examine a Grimm's fairy tale and identify the embedded moral lessons and values. Students view Sondheim's Into the Woods to experience a dramatic adaptation of a written work. Students interpret the moral lessons of the fairy tales into Morality Plays which are performed live before class. In their original dramatic adaptation, students focus on narrative, character development, conflict, and the "moral." Students write, rehearse, and perform in class using the acting techniques which were introduced during the monologues.

Comparative Critique After reading and watching a video version of A Raisin in the Sun, students evaluate content presented in both formats comparing how each examines the basics of story structure: plot structure, characterization, setting, style, theme, and historical/cultural accuracy.

Unit 2: The Story Informative/Descriptive Essay: Theatricality in Popular Culture: An Examination of Voice and the Authentic vs. the Public Self: Students write a research-based informative/descriptive essay examining pre-meditated theatrical created image. Students examine the power of theatrical presentation in word, in posture, in costume, tone, fluidity, imagery. Students analyze popular contemporary works, such as the excerpt from The Hunger Games where the tributes enter the amphitheater in chariots anxious to create an impression that will garner fame, favor, and sponsors; the excerpt from The King's Speech where King George addresses the British nation via radio with the goal of calming and reassuring the nation pre-World War II; and the celebrities and the impressions conveyed on "The Wonder Wall" (wonderwall.msn) including Lady GaGa, et.al. Students analyze how characters and celebrities present themselves to society for approval.

Students refine and recreate the character in their Character Journal, in consideration of how this character wants to present him/herself to the world. Students answer the question: If your character was seeking society's approval, how would your character recreate his/her image in this particular public https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

Sample Course

situation?

An Absolutely True Scene Adaptation: Students adapt scenes from Sherman Alexie's novel, The Absolutely True Diary of a Part-time Indian, and perform these scenes applying the concepts of good storytelling and good theatre: plot sequence, character development, a complementary setting, style, and theme.

Slam Poetry - The Poet vs. the Speaker; The Actor vs. the Character: Students create and perform original poetry without the use of props, costumes, sets. The original narrative poems demonstrate an obvious auditory quality and embody and convey a persona.

Short Story Project: Students read and analyze a variety of short stories. Students select a short story from their anthology, such as "Lambs to the Slaughter," "The Masque of the Red Death," or "The Most Dangerous Game."

Students compose, create, and perform a dialogue based on two characters from the selected story that fictitiously takes place after the story has finished. Students demonstrate their understanding through Socratic discussions and writing an original critique of one-two pages.

Optional: Students apply the basics of criticism as they write an individual critique of a local production.

Unit 3: Hero's Journey: Text Annotation : Students read The Odyssey using graphic organizers and text annotation techniques to follow Odysseus' hero's journey as he travels back to Ithaca. They trace the different aspects of his character and infer what the ancient Greeks valued in a hero.

The Judgment of Paris Scene: After reading, "The Judgment of Paris," students partner and rewrite the myth as a scene changing Paris's choice. The new ending should reflect the students' insights into the politics and values of Ancient Greece.

Reader's Theater: In order to demonstrate understanding of archetypes and the importance of historical and cultural perspectives, in groups, students select a portion of Metamorphoses, create a five-minute Readers' Theater script, and present to class.

Argumentative Essay: Students develop and strengthen skills through revising and rewriting, a multi-paragraph, 2-3 page, argumentative essay responding to the following prompt: Would Odysseus' characteristics doom him to failure in the modern world? Take a stand and support your position with research from this unit. Use correct MLA citations and prepare a works cited list.

Unit 4: Shakespeare: Yesterday and Today: Shakespearean Inspired Power Wheel: In groups of 2-3, students execute improvisational techniques inspired by the Power Wheel (five minutes), tying them to themes from Romeo and Juliet, and motivating discussion and quick writes about modern situations with the same themes.

Reading Log Guided Questions: Throughout the course, students read and analyze A Thousand Splendid Suns. Using the electronic reading log used throughout the year, students cite textual evidence to support answers using the following questions on character and theme, comparing and contrasting this work with Romeo and Juliet.

Do you think the protagonist of this book can be happy?

How is Laila different than Juliet?

How is Mariam different from Lady Capulet?

How is Afghanistan different from Verona?

What surprised you about A Thousand Splendid Suns?

What do you wish you could change about each of their lives?

Briefly outline the dramatic structure of the book.

Write about 2 or 3 obstacles Laila overcomes.

Students choose a key moment based on their reading logs and turn it into a developed scene.

Character Sketch: Students analyze meter, rhythm, and form by reading selected "Dark Lady" sonnets. Using these

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Sample Course

techniques, students choose one of these sonnets and write a character sketch as if they are going to perform the sonnet. This technique enhances the physical and emotional character choices made by the actor.

Essay: Students write a 1-2 page literary analysis of one of the sonnets focusing on how the meter affects the mood and presentation of the piece.

Persuasive Essay: Students write a persuasive essay that compares and contrasts the relative power and agency of female protagonists in the works studied. 3-5 pages in MLA format.

Found Poem: A "found poem" composed of words from a Shakespearean work that demonstrate an understanding of the essential themes in this unit.

Unit 5: From Page to Stage: Academic Precis Paper : Students read and analyze professional critiques (using the Stanislavski text) of dramatic performances (expository text) with accompanying marginalia. Students use their reading notes to prepare a formal precis paper of at least 2 pages in length and present their findings to the class in a 3-5 minute presentation with time allowed for follow-up questions.

Informational Essays: Students write 2-3 page informational essays about effective stagecraft based on their research of professional critiques following MLA format and correct citation.

Production Schedule: The culminating unit project begins with formulating a production schedule for the 10-minute plays written by the students at the end of Unit 4. Schedule must include design and performance decisions.

One Act Play: Students write, produce and perform a one act play to demonstrate their understanding of dramatic structure, literary analysis, script analysis, character development and technical aspects of theatrical production.

Listening and Speaking

Word Theater: Based on the research of Total Physical Response (TPR) on student comprehension and retention of vocabulary, students keep a personal dictionary with words selected or assigned from the unit. A variety of strategies are used to recognize and integrate key vocabulary. For example, through the use of improvisation, students act out and demonstrate the meaning of new vocabulary words.

Unit 1: Theatre and Culture Speech-Soliloquy Project: Students glean the theme from each of three given speeches: such as Martin Luther King, Jr.'s "I Have A Dream," Queen Elizabeth's speech to the troops at Tilbury, a selected Shakespearean monologue (e.g., As You Like It, "The Seven Stages of Man," or Henry V's "St. Crispin's Day"). Students choose a theme to replicate in an original monologue that is performed live.

Oral Research Project Students choose a culture and historical time period to research, develop a thesis based on their research of that time period, and orally report to the class. Students, through their research, will synthesize why people create theatre and how their style of theatre reflects their values and beliefs.

Fairy Tale Play Project: Students examine a Grimm's fairy tale and identify the embedded moral lessons and values. Students view Sondheim's Into the Woods to experience a dramatic adaptation of a written work. Students interpret the moral lessons of the fairy tales into Morality Plays which are performed live before class. In their original dramatic adaptation, students focus on narrative, character development, conflict, and the "moral." Students write, rehearse, and perform in class using the acting techniques which were introduced during the monologues.

Unit 2: The Story An Absolutely True Scene Adaptation: https://doorways.ucop.edu/view/servlet.jsf?_flowId=viewPublicCourse-flow&courseId=440057&academicYrKey=17[1/15/2014 12:51:26 PM]

Sample Course

Students adapt scenes from Sherman Alexie's novel, The Absolutely True Diary of a Part-time Indian, and perform these scenes applying the concepts of good storytelling and good theatre: plot sequence, character development, a complementary setting, style, and theme.

Slam Poetry - The Poet vs. the Speaker; The Actor vs. the Character: Students create and perform original poetry without the use of props, costumes, sets. The original narrative poems demonstrate an obvious auditory quality and embody and convey a persona.

Short Story Project: Students read and analyze a variety of short stories. Students select a short story from their anthology, such as "Lambs to the Slaughter," "The Masque of the Red Death," or "The Most Dangerous Game."

Students compose, create, and perform a dialogue based on two characters from the selected story that fictitiously takes place after the story has finished. Students demonstrate their understanding through Socratic discussions and writing an original critique of one-two pages.

Unit 3: Hero's Journey: Research PowerPoint Oral Presentations: Students choose a historical period and prepare a Power Point presentation with a citation slide at the end that shows how costumes were used in theatrical performances of that period. Students present orally or use multimedia on how the dress and aesthetic style of a character illustrates the historical and cultural themes (5-7 minutes in length).

Reader's Theater: In order to demonstrate understanding of archetypes and the importance of historical and cultural perspectives, in groups, students select a portion of Metamorphoses, create a five-minute Readers' Theater script, and present to class.

Unit 4: Shakespeare: Yesterday and Today: Socratic Seminar: To allow the students to closely read the dense texts, Socratic Seminar highlights the key concepts of power, control, and passion. Students are provided synopses of works to be studied, along with dramatic personae, and are introduced to the strategy of marginalia or talking to the text, and annotating key characters and concepts.

Reflective Reading: Students begin reading Romeo and Juliet by performing a prepared contemporary interpretation or improvisation of the opening prologue in modern language. Suggestion: Allow 3 weeks for reading and discussion to take place (other assignments will occur during reading period, actually reading no more than 10 to 15 minutes per period).

First Folio Technique: Students deconstruct and perform a monologue or soliloquy from Romeo and Juliet using Shakespeare's First Folio text. The First Folio Technique allows for students to create acting choices, emotionally and physically, based on the clues Shakespeare embedded in the original script itself.

Comparing Different Genres: Students observe a scene from Franco Zefferelli's Romeo and Juliet and then the same scene from Baz Luhrman's Romeo and Juliet. Students verbally compare and contrast, using the language of theatre, how the original text has remained relevant in today's culture and society as well as how Shakespearean scripts can be performed in different time periods and still be true to the text and characters. Students perform a modern adaptation of a Romeo and Juliet scene, dissecting the scene with the First Folio Techniques used in the previous lesson.

Shakespearean Inspired Power Wheel: In groups of 2-3, students execute improvisational techniques inspired by the Power Wheel (five minutes), tying them to themes from Romeo and Juliet, and motivating discussion and quick writes about modern situations with the same themes.

Literature Circles: In groups of 3-4, assign students key selections from Othello to read aloud. Assign A Thousand Splendid Suns to be read independently and discussed in groups.

Found Poem: A "found poem" composed of words from a Shakespearean work that demonstrate an understanding of the essential themes in this unit.

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Sample Course

Unit performance: Students choose scenes from Othello or Romeo and Juliet demonstrating understanding of both theme and First Folio techniques.

Unit 5: From Page to Stage: Monologue Performance: Students choose a short selection of their choice from The Ultimate Scene and Monologue Source Book to memorize and perform, integrating proper stage directions and incorporating blocking skills to improve their own performances.

Academic Precis Paper : Students read and analyze professional critiques (using the Stanislavski text) of dramatic performances (expository text) with accompanying marginalia. Students use their reading notes to prepare a formal precis paper of at least 2 pages in length and present their findings to the class in a 3-5 minute presentation with time allowed for follow-up questions.

One Act Play: Students write, produce and perform a one act play to demonstrate their understanding of dramatic structure, literary analysis, script analysis, character development and technical aspects of theatrical production. Plays are performed over a 3-week period and assessed with an aesthetic rubric.

Corresponding Non-Honors Course: ??Indicate the name of the regular non-honors course corresponding to this proposed honors course.

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Exhibit:

B

ARTSEDGE: What is Arts Integration?

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/educators/how-to/arts-integration/what-is-arts-integration

Arts Integration

What is Arts Integration?

Explore the Kennedy Center’s comprehensive definition

Background The Birth of the Definition The Kennedy Center’s Changing Education Through the Arts (CETA) program was in its initial years when it became clear that there was a wide variation in the quality of arts integration teachers were providing in classrooms. Some instruction was on target while others were not. Many heated discussions followed about what the program considered to be “on target.”

This led to a realization that the program has been offering teachers strategies for arts integration— “the how”—but hadn’t been sufficiently preparing teachers to understand the bigger picture and the parameters for what constituted quality arts integration—“the what.”

For a copy of the definition above, download a printerfriendly PDF (color, blackon-white, or white-onblack) or PowerPoint slide.

Thus, the Kennedy Center began an effort to further clarify the key ideas that formed the foundation for its work in arts integration and to draft a comprehensive definition that would provide a foundation for a shared understanding among all program participants.

The effort began with extensive research about how other organizations and programs were defining arts integration. Although many provided excellent descriptions, none totally fit CETA’s vision. After months of research and endless conversations and debates, several key ideas were identified and the definition began to take form.

Although the program strived for a shorter definition, it was decided that length was an invaluable attribute for helping others understand CETA’s perspective on arts integration. As the definition was crafted, the inclusion of every word was debated. The final version does not have a single word that wasn’t carefully scrutinized for inclusion.

Further, the discussions about the nature of arts integration led the Kennedy Center to clarify the variety of ways the arts are taught in schools.

The Arts in Schools: Three Variations The arts find their way in to elementary, middle, and high school classrooms every day in a variety of ways. The variations can be distilled into three main categories.

• Arts as Curriculum • Arts-Enhanced Curriculum • Arts-Integrated Curriculum All three variations are important, needed, and valid. All benefit from being supported by arts experiences—where students attend performances and exhibits by professional artists to engage in authentic experiences that deepen and broaden their arts understandings.

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While the three variations naturally link and support each other, there are reasons why teachers and schools target one or more approaches. Understanding the differences in the approaches can help teachers and schools make informed choices about the programs they offer.

Art as Curriculum If a school has a music, art, drama, or dance teacher, their approach is most likely and primarily Arts as Curriculum. Students develop knowledge and skills in a particular art form. Often referred to as “arts learning” or “art for art’s sake,” the programs are guided by national, state, or local standards for each of the art forms. For example, in visual arts, students learn the content, processes, and techniques for two- or three-dimensional work. They learn how the visual arts developed and changed throughout history, and engage in creating and analyzing works created in a variety of media.

Arts-Enhanced Curriculum When the arts are used as a device or strategy to support other curriculum areas, but no objectives in the art form are explicit, then the approach is called Arts-Enhanced Curriculum. For example, students sing the ABCs as a means to other ends— remembering the letters and sequence of the alphabet. However, students are not usually expected to learn about melody, song structure, or develop specific singing skills.

Arts-Enhanced Curriculum acts as a “hook” to engage students in learning content. Additionally, teachers need little or no training in the art form. Arts-Enhanced Curriculum is often mistaken for Arts-Integrated Curriculum or a distinction is not made between the two.

Arts-Integrated Curriculum In Arts-Integrated Curriculum, the arts become the approach to teaching and the vehicle for learning. Students meet dual learning objectives when they engage in the creative process to explore connections between an art form and another subject area to gain greater understanding in both. For example, students meet objectives in theater (characterization, stage composition, action, expression) and in social studies. The experience is mutually reinforcing—creating a dramatization provides an authentic context for students to learn more about the social studies content and as students delve deeper into the social studies content their growing understandings impact their dramatizations. For Arts-Integrated Curriculum to result in deep student understanding in both the art form and the other curriculum area, it requires that teachers engage in professional development to learn about arts standards and how to connect the arts to the curriculum they teach.

Conclusion Many teachers, schools, and arts programs benefit from knowing the different ways the arts can be present in schools. Without making a distinction, opportunities can be missed, programs can lack clarity, or the arts can seem like something too unwieldy to incorporate. Making a distinction among the approaches can help narrow or focus objectives as well as help educators select the most appropriate approach based on their objectives. Ultimately, students are best served when all three variations—Arts as Curriculum, Arts-Enhanced Curriculum, and Arts-Integrated Curriculum—are part of their education. next: Historical Context >

Historical Context Our ideas about teaching have shifted over the last century and this shift has had implications for arts integration. This 6 1/2 minute video, Public Education in the United States, Setting a Context for Arts Integration, examines some of the thinking that has led to these changes.

https://artsedge.kennedy-center.org/educators/how-to/arts-integration/what-is-arts-integration

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ARTSEDGE: What is Arts Integration?

< previous: Background

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next: Explore the Definition >

Explore the Definition Inside the Definition The definition includes terms that have deep connections to the arts and education. The following sections examine each key term. To expand, click on a section bar.

For ease of printing this article, download a printer-friendly PDF

Arts Integration is an APPROACH to TEACHING...

Students Construct and Demonstrate UNDERSTANDING... ...Through an ART FORM Students Engage in a CREATIVE PROCESS... ...Which CONNECTS an art form and Another Subject Area... ...and meets EVOLVING OBJECTIVES in both.

< previous: Historical Context

next: Checklist >

Checklist Arts Integration Checklist Some educators confuse any effort to include the arts in their classroom with arts integration. While all types of arts-based instruction are encouraged, it is helpful for educators to know when they are engaged in arts integration. To achieve this awareness, an Arts Integration Checklist is provided. Educators answering â&#x20AC;&#x153;yesâ&#x20AC;? to the items in the Checklist can be assured that https://artsedge.kennedy-center.org/educators/how-to/arts-integration/what-is-arts-integration

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ARTSEDGE: What is Arts Integration?

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their approach to teaching is indeed integrated.

Approach to Teaching Are learning principles of Constructivism (actively built, experiential, evolving, collaborative, problem-solving, and reflective) evident in my lesson?

Understanding Are the students engaged in constructing and demonstrating understanding as opposed to just memorizing and reciting knowledge?

Art Form Are the students constructing and demonstrating their understandings through an art form?

Creative Process Are the students engaged in a process of creating something original as opposed to copying or parroting?

Will the students revise their products?

Connects Does the art form connect to another part of the curriculum or a concern/need?

Is the connection mutually reinforcing?

Evolving Objectives Are there objectives in both the art form and another part of the curriculum or a concern/need?

Have the objectives evolved since the last time the students engaged with this subject matter? < previous: Explore the Definition CREDITS

Writers

Lynne B. Silverstein Senior Program Consultant The John F. Kennedy Center for the Performing Arts Sean Layne Kennedy Center Teaching Artist and founder of Focus 5, Inc.

Editors & Producers Amy Duma Director, Teacher and School Programs The John F. Kennedy Center for the Performing Arts ARTSEDGE [KN] Producer

Sources

https://artsedge.kennedy-center.org/educators/how-to/arts-integration/what-is-arts-integration

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Explore the Definition 1. Jacqueline Grennon Brooks and Martin G. Brooks, In Search of Understanding: The Case for Constructivist Classrooms (Alexandria, VA: ASCD, 1999), 4.

2. Lauren M. Stevenson and Richard Deasy, Third Space: When Learning Matters (Washington DC: Arts Education Partnership, 2005), 37.

3. Dennie Palmer Wolf, “Building and Evaluating ‘Freedom Machines’: When is Arts Education a Setting for Equitable Learning?” in Contours of Inclusion: Frameworks and Tools for Evaluating Arts in Education, ed.

Don Glass (Washington, DC: VSAarts, 2008), 5-6.

4. Definition by National Advisory Committee on Cultural and Creative Education in Pat Cochrane and Mike Cockett, Building a Creative School: A dynamic approach to school development (Stoke on Trent, UK: Trentham Books, 2007), 59.

5. Sir Ken Robinson, Out of Our Minds: Learning to Be Creative (West Sussex, England: Capstone Publishing, 2001), 128.

© 1996-2014 John F. Kennedy Center for the Performing Arts

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Exhibit:

C

Mr. Neil McChesney Founder Contra Costa School of Performing Arts June 25, 2015 Dear Mr. McChesney and Contra Costa School of Performing Arts Board of Directors, Charter Asset Management provides reliable, cost-effective, and sustainable funding for over seventy charter schools across California and the United States. We are pleased to present this funding commitment letter in support of Contra Costa School of Performing Arts (CCSPA).

Charter Asset Management will commit $2,000,000.00 in funding for CCSPA for the 2016-17 school year through our receivable sales program. Funds will be available throughout the academic year.1 Charter Asset Management reviews all financial, governance, and academic performance information for all schools we fund. We will work closely with the CCSPA leadership team to ensure the school demonstrates sound financial planning and meet all requirements by the California Department of Education, other governing bodies, and our own internal standards.

We look forward to building a strong partnership with CCSPA and to see it succeed as a great charter school.

Sincerely yours,

Sincerely yours,

!

Paul N. Im

David H. Park

Managing Partner

Managing Partner

1 This is a letter of intent only and is not legally binding. Funding availability is continent on approval of the charter by Contra Costa County and

good standing of the charter school with the authorizer throughout the year.

Exhibit:

D

MEMORANDUM OF UNDERSTANDING BETWEEN THE CONTRA COSTA COUNTY BOARD OF EDUCATION AND CONTRA COSTA SCHOOL OF PERFORMING ARTS This Agreement (or Memorandum of Understanding/MOU) is executed by and between the Contra Costa County Board of Education (County Board) and Contra Costa School of Performing Arts (SPA) collectively referred to as the “Parties.”

RECITALS: A.

The Contra Costa County Board of Education authorizes the charter for the SPA with conditions on opening and operation to be set forth and agreed upon in an MOU.

B.

The Parties have negotiated a set of mutually agreed upon conditions to be met prior to operation.

NOW, THEREFORE, in consideration of the promises and the mutual covenants and agreements herein set forth, the Parties do hereby agree as follows: AGREEMENTS: I.

TERM AND RENEWAL A.

This agreement shall commence on the date upon which it is fully executed and shall run concurrently with the five-year term of the approved Charter.

B.

Any modification of this Agreement must be in writing and executed by duly authorized representatives of both Parties specifically indicating the intent of the Parties to modify this MOU.

C.

The duly authorized representative of SPA is the SPA Executive Director, or the Board of Directors of the SPA. For purposes of amendment of this MOU, the Board of Directors is required to take action.

D.

The duly authorized representatives of the County Board is the County Superintendent of Schools, or designee. For purposes of amendment of this MOU, the County Board is required to take action.

E.

This MOU will continue in effect until mutually modified in writing except that the MOU shall terminate upon the expiration, rescission, or revocation of the Charter. Amendments to the MOU may be made upon written agreement of both Parties.

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II.

CONDITIONS TO BE MET BY [INSERT DATE(S)] 1. SPA shall add a third year of science to its course of study.

2. SPA shall amend the ChartHouse Public Schools bylaws to state that the number of directors shall be no less than five (5).

3. SPA shall designate a percentage of Governing Board seats for parents of SPA students.

4. SPA shall amend the CHartHouse Public Schools bylaws to omit Article VII, Section 2(b).

5. SPA shall present a SPA enrollment demographic analysis to the CCCOE upon completion of year one with the understanding that if balance (as compared to the population who reside within the boundaries of MDUSD) is not achieved, the outreach plan and lottery are reexamined and altered as necessary.

6. SPA shall submit to the County master facilities plans and financing approval.

7. OTHER

III.

SEVERABILITY The terms of this MOU are severable. In the event that any of the provisions are determined to be unenforceable or invalid for any reason, the remainder of the MOU shall remain in effect, unless mutually agreed otherwise by the Parties. The Parties agree to meet to discuss and resolve any issues or differences relating to provisions in a timely, good faith fashion.

IV.

NOTIFICATION All notices, requests, and other communications under this agreement shall be in writing and delivered to the appropriate parties.

V.

ENTIRE AGREEMENT This MOU contains the entire agreement of the parties with respect to the matters covered hereby, and supersedes any oral or written understandings or agreements between the parties with respect to the subject matter of this agreement. No person or party is authorized to make any representations or warranties except as set forth herein, and no agreement, statement representation or promise by any party hereto which is not contained herein shall be valid or binding. The undersigned acknowledges that she/he has not relied upon any warranties, representations, statements or promises by any of the parties herein or any of their agents or consultants except as may be expressly set forth in this MOU. The Parties further recognize that this MOU shall only be modified in writing by the mutual agreement of the Parties.

Draft July 12, 2015

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Dated: _____________________

______________________________________ Neil McChesney, Lead Petitioner Contra Costa School of Performing Arts

Dated: _____________________

______________________________________ Pamela Mirabella, President Contra Costa County Board of Education

Draft July 12, 2015

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