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1 A STUDY OF THREE TEACHING ART ISTS WORKING WITHIN A COMMUNITY BASED ARTS EDUCATION SETTING By MEGAN KING RATCLIFFE A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA AUGUST 2014
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THREE TEACHING ARTISTS 2 © 2014 Megan King Ratcliffe
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THREE TEACHING ARTISTS 3 Acknowledgements I started my education at the University of Florida knowing that I wanted to go into art education but i community arts education setting. I was able to pull an abundance of educational material from my classes , educators, classmates as well as the UFARTED Facebook sharing site that I was immediately able to apply to my first experience teaching in a community art setting. I was hooked. Over the next year I ha d the honor to take classes under Dr. Jodi Kushins and Dr. Elizabeth Delacruz, both having expansive knowledge in this area I had become so interested in. When creating my capstone committee it was immediately recommended to me that I approach Michelle Til lander to chair. She has become an invaluable resource , advising me along with Dr. Kushins. They have challenged my approaches and encouraged deeper thought and observation. I am very grateful for the lessons they have shown me, and would like to think tha t not only has my research on the topic become stronger, but that I have become a better c ommunity arts member and future teacher because of these special instructors at the University of Florida. I am also extremely appreciative of the support I have from my husband, Tony, with out whom I would not have been able to take on the unyielding responsibi li ties of the Masters in Art Education program . Finally, I would like to thank the three teaching artists I interviewed , Jeremy Randall, Stephanie Bevins, an d Wilson Bickford. This study would not have been the same without their time and stories, which they shared so generously.
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THREE TEACHING ARTISTS 4 ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQ UIRMENTS FOR THE DEGREE OF MASTER OF ARTS A STUDY OF THREE TEACHING ARTISTS WORKING WITHIN A COMMUNITY BASED ARTS EDUCATION SETTING By Megan King Ratcliffe August 2014 Chair: Jodi Kushins Committee Member: Michelle Tillander Major: Art Education Abstract The purpose of this research was to discover what motivates teaching artis ts who teach within a community based arts education setting. Through semi structured interviews, I investigated the reasoning and practices of three teaching artists in Up state New York that teach w ithin three different community based arts education settings. My research is presented in a narrative format which provides a glimpse into the ir educational background s , artistic work , teaching, and other supplemental positions beyond their community engagement . I intend for my analysis to provide those interested in enter ing similar programs with insight. Based on my analysis of the three interviews, I conclude my research with final insights about the tea ching artist s , their perception of community based arts education programs and why they choose to continue being a part of them. Backgrounds, professional work and program details from those interviewed are available on my IS S UU page.
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THREE TEACHING ARTISTS 5 Table of Contents A Abstract Contents Introduction to Community Based Arts Education Statement of the Problem Purpose of the Study Research Questions Rationale and Significance of the Study Assumptions Definition of Terms Literature Review A History of Teaching Artists and Community Art Centers People and a Sense of Place 11 Integrating Art Programs into the Community Conclusion and Future Direction Subject and Site Location Data Collection Procedures and Analysis Documentation 8 Findings
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THREE TEACHING ARTISTS 6 The Nation Wide Travelling Educator 9 The Weekend Museum Educator 4 The Local Traveling Educator 8 Summary Across all Find 31 Discussion and Conclusion 2 Interpretations of my Findings 3 Significance, Implications and Rec 4 References 6 L ist of Figures with Figure Captions 9 Appendix A: Questions used to guide the interview 4 0 Appendix B: University of Florida IRB Forms 41 Author Biography 43
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THREE TEACHING ARTISTS 7 Introduction to Community Based Arts Education As an artist studying to become a teacher , I feel there is great value in being able to practice what you teach. Th rough my research and interviews of three local arti sts teaching within community based arts education setting s , I aimed to better understand the role s , goals, methods, and contexts of these three teaching artists. In this paper I discuss benefits and challenges teaching artists face while working in community based arts educ ation programs (CBAE). I wanted to learn what made these artists become teachers, their qualifications, the value they place on CBAE programs, and whether or not their role s in the program s are sustainable . Based on my research findings I learned about wha t the three teaching artists value in their programs, what they would like to change , and whether or not their positions allow them to support an economically sustainable lifestyle without another supplemental income, such as a part or full time job or spo usal earnings. Statement of the Problem C ommunity based arts education programs (CBAE) tend to hire teaching artists because they are perceived to be well educated and highly skilled, but they also frequently take work part time for modest pay ( Hedberg, Rabkin, Reynolds, & Shelby , 2011) . Recently the arts have been reading and math test scores (Davis, 2006) . For this reason a focus on CBAE programs can assist w ith keeping the experience of being involved in an artistic expression alive in younger generations as well as those that want to explore or continue their interest in a specified medium. Purpose of the Study The purpose of this research was to discover what motivates teaching artis ts who teach within a community based arts education setting. The topi c is of particular interest to me since I
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THREE TEACHING ARTISTS 8 aspire to become a community based arts educator. Along with learning the history of CBAE programs I want to know a bout the people that work within these programs. Obtaining as much information up front I hope to be able to enter a program being prepared for the good as well as the potentially disappointing areas. Sharing these conclusions could prove beneficial for ot hers with the same d esire to enter into a community based arts education program as a teaching artist. Research Questions The main questions my research aims to answer are: 1. What led you to be a teaching artist ? 2. Why are you teaching in a community art setting? 3. Can earnings from teaching within a CBAE program allow for an economically sustainable lifestyle ? Rationale and Significance of the Study I believe that community based arts education programs are an important, but under acknowledged part of our society . While I found several references reflecting the importance of community based arts education programs and their impact on the communities and its members, there wa s little available reflecting how the programs impact the teachers and whether such programs can provide salaries consistent with the cost s of living, eliminating a need for supplemental income elsewhere. Assumptions With a personal goal of entering into a CBAE program as a teaching artist I wanted to be knowledgeable of what to expect in reference to work environment, schedule, roles , and whether the positions in general have adequate compensation. My assumptions are that the pay do es not provide a suffici ent source of income on its own, and tha t teaching artists in CBAE settings are
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THREE TEACHING ARTISTS 9 there, not for the pay, but for their love of the arts and their enthusiasm to share it with anyone willing to take their class. Limitations The criteria necessary to be included in this study included being an active artist creating original work while also teaching within a community based arts education program. The teaching artists were chosen for their reputation as currently active artist s as well as their willingness to participate voluntarily in my research. The selected individuals hold different positions from one another within their respective organizations . The sites include a museum, and two different approaches to traveling educat ion programs. The teaching artists all reside within one hour of m y home . The proximity allowed me to gain access to relevant programs sites, people and materials. My selection of only three teaching artists, while understandably limited, allowed me to est ablish a stronger personal connection with each individua l, with the ability for more in depth research. Definition of Terms The following terms are used throughout this paper: Community Based Arts Education (CBAE) : The creation and/or interpretation of theater, dance, music, visual arts, crafts and other artistic forms that take place in museums, churches, parks, and other public spaces, generally outside formal institutions for the benefit of community members and the surrounding area (Borrup, 2011). Teaching Artist : A two career professional: a functioning artist and an employed educator. A s a working artist it is essential for them to be involved in an ongoing process of discovery, problem solving, discipline and refinement of skills in their discipl ine ( Idaho Commission on the Arts , 2014) . As a working educator, the artist must continuously develop their kn owledge base and
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THREE TEACHING ARTISTS 10 skills and how these skills can be used to further their effective partner ship in an education setting ( Idaho Commission on the Arts , 2014). Teaching artists can have trainin g in any artistic discipline, and should combine a dynamic balance of those skills in art and in teaching (Booth, 2003). Achieving a meaningful balance between these two professions, whereby one feeds the othe r, is an ongoing process that requires a deepening awareness for the teaching artist of what their teaching brings to their art and what their art teaches them about learning ( Idaho Commission on the Arts , 2014). Literature Review A History of Teaching Ar tists and Community Art Centers tradition of apprenticeship, of professional training in conservatories, and of itinerant instructors who took on individual students for first American settlement house, known as Hull House (Hedberg et al., 2011). Founded by Jane Addams and Ellen Gates Starr, it became an influential early social service and reform organization with priority placed on the arts (Hedberg et al., 2011). The emphasis placed on the role of the arts in developing a voice, by Addams and Starr more than a century ago, is still an essential concern of teaching artists today (Hedberg et al., 2011). Settlements like Hull House expanded tremendously throughout the country. B y 1913 , a rts instruction was being offered at over 400 settlements in the country, with each embodying ). The ideas created by these settlements found new life in what became known as the community arts movement, which grew wildly from its establishment in the 1960s and 70s into the 1980s
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THREE TEACHING ARTISTS 11 and 90s (Hedberg et al., 2011). The Social and Public Art Resource Ce nter (SPARC) was one of 1970 (Hedberg et al., 2011). The current arts based community development movement is founded on the belief that the arts can be a powerful agent of personal, institutional, and community change (Cleveland, 2011). Since the development of this movement in the 1970s, it has grown to encompass an approach to both art making and community building. Through community arts oriented programs, such in Corrections Program, and the Center for the Study of Art and Community (CSA&C), people have been given the opportunity to become involved in the arts (Cleveland, 2011). The CETA b ecame the largest federal arts program in history by the end of 1979, in some situations placing people in full time jobs making art in hospitals, prisons, public housing, senior centers and more (Cleveland, 2011). When the CSA&C was established in 1992, t heir intent was to help individuals involved with the community arts movement become more comprehensive in areas of art education as well as more organized by developing a common vocabulary for greater clarity of focus and intent (Cleveland, 2011). People and a Sense of Place Art, cultur e , and creativ ity help to reveal and enhance the physical and social identity of a community (American Planning Association, 2011). As part of an overall strategy to explore community context, embrace and nurture community d iversity and uniqueness, and build upon and celebrate community character, art development planners can utilize areas such as artistic and cultural inventories, community visioning processes, and arts and culture programming to create a sense of place (Ame rican Planning Association, 2011). Davis (2010) explains the impact
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THREE TEACHING ARTISTS 12 of community art centers by explaining that the centers not only provide arts training that enriches or exceeds what is offered in schools, but they also create safe havens for arts learni ng that may be marginalized elsewhere, such as by the demands and constraints of school administrators. Educators within the community based arts education programs are not required to meet certification standards such as state and governmental testing as required of art educators within public school settings. As CBAE programs continue to grow, they broaden their reach to establish cognitive, professional, cultural, intercultural, and community goals (Davis, 2010). Community based arts education programs a re important for our youth, but all age groups can also benefit from their teaching. Art programs for older learners exist, but are mostly implemented by caregivers, leisure specialists , and art therapists (Barret, 1993). Barret reflects on the importance of designing art programs to adapt to an elderly audience by adopting multiple points of view based on theories in the fields of gerontology, recreation and adult education. Along with educators with genuine art experience, there was an overall quest for i nventive programs that would promote individual expression and creativity. As with the younger students in our schools, programming for the elderly population need s continuous attention and revision? To continue to challenge the mind and push for a more de veloped self expression. Barret assembly, but should contain personal reflections, challenges and pride of accomplishment. Lily ility to revitalize impoverished communities through art (Rosenbluth, 2011). An example of her work can be seen in North Philadelphia, where she and a few community members transformed an abandoned lot into an art park of mosaics and sculpted trees.
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THREE TEACHING ARTISTS 13 Integrating Art Programs into the Community There are several m odels being used to get arts into communities. Arts and Cultural Programming uses current knowledge of casual program strategies to design and implement events which fulfill the needs of t he co mmunity (Blandy and Carpenter, 2008). These range from one time to year long programs . To put the power of the arts and culture to work within a community setting, Tom Borrup (2011) suggests a step by step guide that includes worksheets, timelines, budgets , and agendas best practices for community arts programming. His research into strategies for community involvement are backed by case studies and examples of cultural tourism, artist work zones, diversification, activating public spaces, civic pride, and more. Glenn Coutts and Timo Jokela (2010) write about the wide ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and constructed . They describe a variety of community based projects that exemplify the relationship between making environmental art, creating aesthetic experiences and embodying the essence of place; reinforcing the idea that community based art practices are founded upon participation, engagement, collaboration, and empo werment (Coutts & Jokela, 2010). Similar to Coutts and Jokela (2010), Susan Bodily (2008) explains the initiatives taken to c oordinate schools and community based organizations to promote access to art through education within and outside of schools. The s tudies done by RAND in coordination with the Wallace Foundation are comprised from collaborative efforts within six urban communities (Bodily, 2008). Even though studies were conducted in varied locations, RAND found that the six sites used several of the same strategies to improve access to arts education (Bodily, 2008). The strategies consisted of conducting audits of arts education, setting a goal of access for all, attracting and leveraging resources, advocating and hiring an arts education coordinator highly
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THREE TEACHING ARTISTS 14 concluded that for a community program to succeed, it must have committed and sustained leadership, sufficient resources, and the appropriate policies in place to allow for long term continuation (Bodily, 2008). The Safe Havens Study (Davis, 2010) was a study of educational effectiveness of community arts centers conducted by Project Co examined community arts education centers which have offered sustained learning within economically challenged communities for at least ten years. Narrowed from over six hundred centers nationwide six centers were selected as exemplars. This multi site study resulted in program findings in areas such as responsibility, value, measurement, and autonomy. In her e teachers in and out of our schools is helpful, and so is pushing for more community art involvement. Johnston Limon, Reclosado and Stevenson (n.d.) f ocus on the impact of community based arts programs through youth and community development, two key area s they highlighted were research and best practices in community arts. Their study examines research findings that addressed aspects of persistence, leadership, collaboration, creative thinking, problem solving, and empathy, as they relate to youth develop ment . Their studies of community development focus on how participation in the arts relates to greater community involvement, volunteerism, and political participation in adulthood (Johnston Limon, Reclosado & Stevenson, n.d.). Within their studies are the findings that a high percentage of young people who engage in the arts
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THREE TEACHING ARTISTS 15 contribute to the economic and civic growth of their communities and participa te in and patroniz e arts organizations. Conclusion and Future Direction Findings from studies of community arts centers reinforce the need and importance for high quality programs. Further study of artists who teach in community based arts education centers would add invaluable knowledge and insight to what the programs offer to its attendees while al so answering questions such as why would an artist want to teach in a community based arts education center, what are the benefits, and do their programs offer sufficient compensation to allow for sustained economic living in their area. Methodology My res earch provides case studies of three artists working as teachers within community based arts settings, based on semi structured interviews , portraiture and narrative research . The semi structured interviews with e ach participant allo wed for organized, but conversational interviews. The opportunity to improvise enables the interviewer to create an open dialogue, encouraging the interviewee to share a biographic narrative (Wengraf, 2001). Since a principl e idea of a case study is that it t ries to illuminate a decision or set of decisions ( Yin, 2003 ) : information has been gathered abo ut why the teaching artists have taken on their current role in the community based arts education setting. This involve s , but is not limited to why they are teaching, their methods of teaching and their skill levels. See Appendix A for the list of questions that guided each interview. Using the aforementioned methods of research this paper aims to convey specific information about these three ind ividuals withi n their community based arts education settings. The process of gathering information took place over the course of several weeks, in person, and
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THREE TEACHING ARTISTS 16 by phone. The questions helped me to better understand what being a teaching artists entails, why these artist s are teaching, their methods of teaching , and their level of experience as an artist as well as a teacher . I have also applied for and received the UF IRB permissions that have been signed by each teaching artist allowing me to share our conversations. Th e IRB document can be found in Appendix B. Subject and Site Location I collected data by interviewing three teaching artists residing in Upstate New York , with commun ity based arts education settings notably different from one another. One subject t eaches young children basic art skills at a program offered through a museum, another travels nation wide to teach pottery to beginners, hobbyists, and experts in community settings at the invitation of their program facilitators. The final subject travels withi n the state of New York teaching oil painting to various age and skill levels . The last sets up his classrooms wherever he can within the community, such as town halls, libraries, and firehouses. Data Collection Procedures and Analysis Using data analysis I organize d the personal and professi onal information shared with me by the three teaching artists . I analyze d my data duri ng and after the interviews. Through portraiture and a narrative style , I retold e data collected ( Meier, 2013 ) . Narratives have literary elements that require d me to consider aspects such as plot, characters, setting and points of view. Such elements function ed as categories for my analysis. The goal in writing the narratives was to e ffectively express the storied accounts of these three artists, linking together events and descriptions gathered (Meier, 2013 ). This was effective because rather than making generalizations the individual stories lead the reader through the data in a conv ersational way (Meier, 2013 ).
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THREE TEACHING ARTISTS 17 Meier (2013) writes that while the research methodology of narrative inquiry can be flexible, it is also a process for analytical reflection on the story being told. The creative possibilities are open with this form of inquir y, as the researcher is able to interpret, understand and share their findings using both personal and interpersonal qualities (Meier, 2013). The end result is more captivating for the reader. I used p ortraiture to interpret and portray the unique perspectives about being a teaching artist as well as their specific experiences. In this regard, portraiture and narrative styles are complimentary approaches. According to Lawrence Lightfoot and Hoffmann Davis (1997) portraitists not only lis ten to stori es, but also listen for a story. Portraiture is a process of co creating compelling narratives with participants . The portrait is complete with characters, metaphors, and a central narrative arc ( Lawrence Lightfoot & Hoffmann Davis, 1997) . Port raiture is heavily reliant on interviews and observations, and as the observer I paid close attention to context as a way to inter pret meanings. While enjoyable, the story must also be credible. Member checking is an opportunity for participant s in a study to review and respond to how the interviewe r interpreted their data or experiences (Carlson, 2010). Member checking not only reduces the chance of misinterpretation , sense of involvement , and willingness to continue with the study (Carlson, 2010). All participants w ere contacted following their initial interview for a follow up where I revisited specific quotes and allowed them to clarify, elaborate upon or edit my na rratives in any way . The teaching artists were given the opportunity to have a final copy of the transcript sent to them as a hard copy or electronically .
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THREE TEACHING ARTISTS 18 Documentation In order to document the information shared during these lengthy interviews , I digita lly recorded when possible and took notes as a backup. Once edited and checked for accuracy using member checking I analyzed and compiled my findings into a resource magazine. Along with photographs p rovided by the teaching artists, which showcases their classroom instruction, current and past artwork. It can be found as an ISSUU magazine at: http://issuu.com/megankingratcliffe/docs/capstone_magazine/1 (See Figure 1 ). Figure 1 . ISSUU capstone magazine cover . Findings The main purpose of my study was to interview and document the stories of three teaching artists who work within separate community based arts education settings. I had t hree questions I hoped to answer: What led them to becoming teaching artists? Why were th ey teaching in a community based arts education setting? And finally , d o earnings from teaching within CBAE programs allow for an economically sustainable lifestyle, or do they find a need to
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THREE TEACHING ARTISTS 19 supplement income in other ways? In general, most responses met m y expect ations. While some were surprisingly disappointing , most reinforced my desire to be involved in CBAE programs. The Nation Wide Travelling Educator On a sunny afternoon I make the hour long drive to visit Jeremy Randall, a talented ceramics artist, husband and father of two with another on the way, and the subject of my first interview. We have known each other for a few years now, I was a student of his and we still keep in touch as I follow his art ist ic and education careers. H is current roles in the art world are as instructor of assorted art classes at Cazenovia College, c eramics instructor at community based arts educ ation programs nationwide, and practicing artists with frequent shows and publications . Once inside it is refreshing to see the abundance of artwork that covers the walls and shelves, bits and pieces fr om each family member . I sit at his dining room table and set up for t he interview as he brings me water in a mug I recognize as one of creations . We start by discussing how he started in the arts and came to be the artist and teacher he is now. He told me that his parents were always supportive and artists themselves. When deciding to major in ceramics, their reaction according to Jeremy was excitement and encouragement. He chose the University of Fl orida while living in Vermont and l ooking for a school that had a facu lty that he wanted to work with. It was essential to have familiar artists that worked in academia and had artwork that w as both visible and influential. I was surprised to learn that he had a Masters in Fine Arts, with no educational degree since he led his classes with such a high level of experience that I assumed it was taught to him . He followed that by stating that he only took one education class in grad school, and that is one of the beauties in higher education and studio art, all you need is your Masters to teach.
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THREE TEACHING ARTISTS 20 While at the U niversity of Florida he made the realization that he wanted to teach. He had great college professors who be came role models and allowed him to take on classroom responsibilities. As part of his assistantship he spent various semesters as glaze tech, kiln tech, and teaching assistant. Going into his second semester as an assistant the faculty saw that he was really enjoying being in that space and decided to give him a class. Jeremy described his initial feeling , went on t o teach three successive sections of hand building ceramics classes, feeling a sense of accomplishment for being able to take on that opportunity . It always easy and he even admitted to dropp ing classes in school that had public speaking component s . His growing experience assured him that t he first week teaching a class will always be figuring things out and trying no t to show signs of nervousness, but that you must remember to just be real. adjunct for Cazenovia College in Cazenovia, NY upon graduation and return from Florida. In 2009 when a head faculty member went on sabbatical he was granted a term position which allowed him to become more involved with the department. Unfortunately , going into next year he will be back to adjunct status because of department al cutbacks and insufficient funding . Although a bit frustrated by the recent changes he feels it will allow for more time in his studio in addition to teaching outside of academia by pushing workshops more. I was eager to know more about his personal art, what he has been working on and it is a scramble, but tha ( See Figure 2) . He shared that last year alone he averaged two gallery shows per month that he was sending work to. That along with the various galleries that regularly sell his work for him, keeps him at a busy pace and
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THREE TEACHING ARTISTS 21 requires him to stay motivated in the studio and continuously working. His schedule leaves only enough room to come home, put the kids to bed, and at 9pm go downstairs to the studio and work until 1am or more to get stuff done. As I inquired about his publications, he shared that he recently wrote an article for Ceramics Monthly, published in February. He smiled as he went on to say how funny it is to see the bump in website sales after such publications and how it shows that people must be paying attention. Figure 2. Artwork by Jeremy Randall as shown in the accompanying ISSUU capstone magazine . Staying in He began his role in community arts starting in 2008 after he received an requesting for him to be an instructor at one of their upcoming workshops on surface. Since that initial class he has been involved with a number of workshops through various organizations Depending on the organization the format of the class is changed. He explained that some a re more presenter and watcher with
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THREE TEACHING ARTISTS 22 hands on demonstrations of process with questions and answers throughout. Some workshops are formatted for the attendees to learn through the experience of watching someone work. During the workshops , whether actively working or watching, forty plus attendees are able to make notes about recipes, techniques and take pictures. I wondered if those that attend must have an extensive knowledge on the subject to be able to take away anything significant from their experience with his level of craftsmanship . He said that for the most part they are, but that there is a split in their expertise. Some are hobby artists that might be post retirement and trying to become involved in the things they always wanted to do, others may h ave taken a few college classes, felt that they enjoy ceramics and decided to buy a kiln. He shared that it is not cheap to be a participant in one of these workshops, with weeklong sessions starting at $500 before room and board. Since the classes tend to take place so far from home he described it as art vacation or even art camp, but instead of riding horses and doing polar swims you are making things. The facilities become a community for a week, where people become connected and share the com mon experi ence and appreciation, often keeping in touch afterward. Knowing he works in college education in addition to community based arts education setting s I asked about the challenges he feels he is faced with in CBAE over higher education. I was surprised that his initial response was regarding the feedback for his students . He explained that in a school students are there with a mindset that they are trying to satisfy certain requirements. The gr ade that comes back acts as a qua l ifier. H e always tells them that should not be the case, but rather to focus on their work and those things will happen. He continues to say that the hardest thing for him is to break his mindset about critiques. I n a comm unity space just letting people work and not giv ing critiques on how they may do something differently, is what some who attend want. T hey are there to either build their experience or their own technique.
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THREE TEACHING ARTISTS 23 The feedback has to be geared differently since th way. Jeremy goes on to explain the situation further by saying that you have to figure out where the student is setting their desires in a community based arts program . He feels that in some respects it makes you pay attention to the student even more. You only have a short amount of time with them, and that intensity is an interesting thing. He hesitates for a moment, and continues by saying that it could also be a positive part of the program; the entire package removes people from their comfort zone and allows them to take chances that th e y may not have done in another setting. He feels that there is more freedom and that his students try to get as much as they can out of the experience. There was a common theme as we spoke; what he was able to get in one educational preference. If he could do one or the other full time without being required to supplement his income, what would he prefer? His response was calculated. He explained that the two were quite different from one another; working with a student over the course of a semester allows him to see and do things differently. He can watch them grow from their freshman cour ses to contact is short but high energy. The attendees are there because they want to be there and not because they are fulfilling a scheduling requirement. One of his most influential statements during our time together was that he felt that community based arts education programs, from his experience, make a bigger impact. Jeremy justified this by pointing out how academia can seem fairly unattainable and seems to be getting worse. There is a huge price tag attached to going to school, and he thinks it is interesting to seeing people doing things that academia can do but in a different format. He feels that community spaces contribute to the notion that there may b e other
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THREE TEACHING ARTISTS 24 options available without going through the stifling feeling of student loan debt. Community based arts education programs, according to Jeremy, make art more accessible. We wrapped up the interview by discussing where his plans were headed in regards to teaching at a college setting, teaching within the community based art programs, and how his own work may fit. In regards to the cutbacks at Cazenovia College he shared that it could be a nice shift and allow him to focus more time on his studio and building it up over the next year. He said that there is something romantic about surviving on that sort of thing. There was no doubt in his mind that he could make it work, with his current following he could push it m ore and treat it like a job that must be tended on a regular schedule. He was without hesitation when referring to his community based arts education programs; they remain in his future plans. His reasoning was because they were usually held during the wee kends, where he could fly out on a Friday night or Saturday and be home on Sunday. The programs he chose to teach at could be incorporated into his schedule when he w as available, giving him the freedom to do as many or as few as he wanted , in turn allowin g for time with his family and time in his studio. The Weekend Museum Educator Stephanie Bevins agreed to meet with me on a quiet weekend morning at a diner near her home. As with Jeremy, I have known Stephanie for several years . We attended the same grade school and had similar circles of friends growing up. She currently teaches art at Westmorland Central School for grades kindergarten through 4 th , as well as the Art Explorations I class for the Munson Williams Proctor Arts Ins titute Community Arts Program. After exchanging pleasantries and ordering breakfast, I begin our interview by asking about her history with art, her education and degree. I learn that she has always wanted to do something with the arts, and that in high school she took as many art classes as she could. In her
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THREE TEACHING ARTISTS 25 final years of high school she began teaching as an ice skating instructor, which brought out an interest in teaching. Once graduati ng from high school she e design by attending a two part program through the Munson Williams Proctor Arts Institute (MWPAI). She attended two years at MWPAI in Utica, NY and completed the remaining two years at Pratt in New York City. Combining the BFA and MS programs allowed for her to obtain the degrees and state licensing necessary to start teaching sooner. parents were very supportive of her going into the arts. She told me that her mom was not only very artistic, but w as a second grade teacher for 27 years enter into the teaching field. She was also able to offer Stephanie guidance on best practices for teaching through her years of experience. That experience gave Stephanie expectations to build off of when making her own teaching decisions . I learn that a majority of the community based arts education programs at MWPAI take As previously mentioned, her title as Community Instructor for the Art Explorations I class involves two one hour and fifteen minute classes per week. T he CBAE program offers various sessions throughout the year; two seven week session in the Fall, two seven week sessions in the Spring , and several week to two week session throughout the summer. H er class, with a limit of ten students ages four and five, helps students engage in art making through hands on exploration. They learn the basics of art using shapes , colors, sculpture, painting and drawing. Now in her fifth year at MWPAI as an instructor I ask about the challenges she is faced with in a CBAE setting. She said that unlike the school system where she teaches , MWPAI orientation to the p rogram . One area that stuck out for her was their lack of guidance on how to order supp lies for the upcoming classes. When she first started s he used
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THREE TEACHING ARTISTS 26 what was already in the classroom until she started running out and needed to ask what the appropriate pro cedures were. According to Stephanie , the Program Director advised her to order what she felt was necessary, without asking for a budget or setting any limitations. She said that her most recent order totaled two hundred dollars and that she has yet to be denied supplies. She did however say she tries to be conscious of what is needed and only orders minim al amounts. She goes on to say that the Westmorland community is very generous and will frequently donate supplies such as scrap paper and paint. If there is an abundance of any particular item, she brings it to her Art Explorations class to keep the costs down. When asked what the benefits of teaching within a CBAE setting were, she had plenty of examples. F irst, she felt that the kids really wanted to be there, they want to make art and show interest in their projects. Secondly, she feels as though MWAI offers quality community arts classes. Instructed by an excellent faculty of academically qualified and ex perienced, professional artists t he program has been ar ound for more than 60 years. Over the years the ir system has been refined and organized , and around aimlessly. She tells me that their mission is to enhance art istic appreciation, understanding, and skill in people of all ages. A ttending community arts classes at MWPAI is a family tradition for some of her students and s he feels that the classes create lasting memories for some in the community, and past students like to share those experiences with their own families and current generations. From her personal experiences attending college courses at MWPAI , she felt it wa s nice to now be there as an instructor and have the ability to give back to the community. Stephanie considers herself a photographer, although while in school she tried to absorb skills in as many artistic disciplines as she could (See Figure 3) . When asked about curre nt shows and exhibitions she informs me that she tries to be involved in two to three shows per
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THREE TEACHING ARTISTS 27 year, but th at her art making practice these days tends to consist more of creating examples for her classes and less of her own original work . I asked her to t ell me about her own style of photography and where her influences lie. She shares that she has become a digital photographer out of necessity, the experience of a dark room is her favorite but unavailable at her home, or within the school or community arts settings from a Nikon D80, utilizing a macro lens. She states that she likes to photograph and focus on the things in everyday life that mos t would normally walk by without a second thought. Formatted into 11 x17 consisted of abstract flowers. Figure 3 . Artwork by S tephanie Bevins as shown in the accompanying ISSUU capstone magazine . I end ed our interview with the question of where she sees herself l ong term with regard to the community based arts education program. Ideally, she would like to continue teaching classes as long as it is enjoyable, but mentions possibly cutting back to only summers since she wants to make time for all her current jobs as art teacher, ice skating instructor , and artist which she enjoys .
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THREE TEACHING ARTISTS 28 The Local Traveling Educator My final interview is by phone with Wilson Bickford, a painter whose primary job is traveling throughout the sta te teaching oil painting to students of various age s and skill levels . It was difficult to meet in person since he is never in one town for very long. I am familiar with Wilson as a successful community based arts education instructor since I have taken a few of his classes in recent years. I was very surprised to learn about how he started in the arts and eventually grew his business over the years. He informed me that he has never had any formal training, other than basic grade school requirements, and is 99 percent self taught. he was in his early thirties that he wanted to get back into drawing as a hobby, which led to an interest in oil paints. He said he picked up the skills quickly learning from various videos and books on the subject , and i rtwork from local banks and restaurants for roughly thirty dollars per piece. Wilson shared that his teaching career seemed to take on a life of its own in the beginning. A man that was familiar with his work after seeing it around town approached him one having the man come to his studio for basic lessons on Monday nights. By word of mouth others in the area became interested, and the gatherings developed so quickly that he began teaching the groups on Saturdays and Wednesdays nights, all while keeping a full time job as a mine r at the local mine. He kept this schedule for ten years before deciding to become a full time painting instructor. His wife was supportive, but partially reluctant. Once the decision was made , his business more than double d . H e currently earns more teaching on his own schedule than he ever did at any full time job elsewhere. When asked what he attributes the jump to , he inform ed me
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THREE TEACHING ARTISTS 29 that he discovered YouTube and that the videos he posted not only brought more local interest, but that those around the world started asking for tips and personalized tutorials. The online following led him writ e an art tutorial book in 20 Artarama, an art supply company, to create his own line of brushes, canvases and other supplies to be used in his classes. short TV series roughly three years a go that was eventually released on DVD. He expressed that he has always wanted to be on PBS, and has finally found a local station in Watertown, NY that has agreed to do a thirteen episode series that will air on public broadcasting as well as online for a limited time before being available for purcha se on DVD. Along with these opportunities , h e uses Facebook, YouTube, public demonstrations and his own web blog to promote his work . He feels that even though it is a lot of work, it is necessary to keep pounding the pavement. I asked how he finds his students and the locations where he set s up his mobile classes and hosted in communities throughout New York State . He tells me that through his regular following of students he rarely needs to search for places. He knows for example that on the third Monday each month he will be in Boonville, NY and his third Tuesday classes are held in Amsterdam, NY. Every now and then he receives em ails or phone calls from people requesting that he come to their town where they have a town hall, library , or fire house available for him to use. He currently likes traveling to the areas he is familiar and growing the number of attendees at each class . At the moment he does not plan to expand his travel outside of New York State. He will reach those individuals through his internet tutorials and television demonstrations. I followed his statement by asking what he felt were positive aspects of teaching within a community based arts education setting. He fe els that teaching is rewarding, through his classes he can spread art appreciat ion to anyone willing to listen, and enjoys walk ing people through the
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THREE TEACHING ARTISTS 30 creation of a painting that they may have felt was unattainable. He also mentioned that working for himself and making his own wo rk schedule was very beneficial, but that the request for more classes can at times be a burden. W ith as many as twenty two classes per month, c ontinuous travel as far as 160 mil es from home, it can be also difficult to find time to think of fresh subject matter. As a result, he takes photos of interesting sceneries and still life while on the road. Th is is helpful since a majority of the paintings he prepares as examples consist of realistic animals, landscapes, still life and floral pieces . His students are able to make requests for what they want to paint in advance, but he says that for the most part they leave it up to him. Even though he paints every day that he does frequently using that time to come up with ideas to teach his students. He proudly shared that he no longer has to do commissioned painting s , but rather paints and sells what he is interested in and enjoys (See Figure 4) . Figure 4 . Artwork by W ilson Bickford as shown in the accompanying ISSUU capstone magazine .
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THREE TEACHING ARTISTS 31 As wi th the previous teaching artist s I spoke with, I asked where he saw himself and his program in the future. He shared that he has thought of that frequently since his business continues to snowball. Trying not to lose steam he has recently started a series of te aching seminars where he takes small group s of roughly thirteen individuals, with preexisting painting abilities , through a week long training schedule which teaches them how to teach art to others. His thought is that this network of new ly trained te aching artists can spread his style of teaching on a national and even global level without him needing to travel to those locations. Summary Across all Findings When reviewing my findings there were several commonalities and a few differences that surfaced. While Jeremy and Stephanie recounted the lengthy university education processes that eventually brought them to their current teaching artist status, Wilson sh ared how self teaching by trial and error led to students seeking him out and a growing business. In regards to why they are teaching in a community based arts education setting, t he three teaching artists all felt that CBAE programs offered benefits to t heir community members in regards to the art experience. Jeremy felt that CBAE was a way for community members to get quality art education without the financial burden of university costs. Stephanie enjoyed that the CBAE program at her facility linked tog ether generations, surrounding communities and also familiarizing the students with the local museum atmosphere. The ability to share a love of making art, while owning and operating a business on his schedule, were the key items that brought Wilson into the community art setting. Finally, when reviewing the topic of earnings and making a profitable career from their jobs as teaching artists within a CBAE setting, Jeremy and Stephanie shared a need to
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THREE TEACHING ARTISTS 32 compensate financially what they did not earn through CBAE by obtaining work elsewhere, either full or part time. This included art instruction within the school system, allocating more hours to their professional artwork, a nd even teaching ice skating for additional income. as h e was able to support his lifestyle by teaching within a CBAE setting alone, but chose to include book, DVD and art supply sales to expand upon the marketing of his name and brand. Discussion and Conclusion F ollowing the semi structured interviews with the three teaching artists in my study I was able to get them to open up about their artistic backgrounds and teaching experiences (See Figure 5) . Although my chosen area and quantity of subjects were limiting I was able to learn a great deal about what made these three artists become teachers in their programs, their qualifications, the value they place on community based arts education programs programs, and w hether or not their role in the program offers a sustainable income. I am confident that my findings will help those considering entry into community based arts education programs with basic expectations sitive and negative at tributes.
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THREE TEACHING ARTISTS 33 Figure 5 . D irect quotes by the three teaching artists as shown in the accompanying ISSUU capstone magazine . Interpretation of my Findings Based on my interviews and research, I believe that if an artist decides to teach within a community based arts education setting they will find many rewards, such as flexible scheduling, a more expansive student population, greater exposure as an artist, and the rewarding feeling that they are contributing to art appreciation within the community. I have heard firsthand from teaching artists that they passionately believe CBAE programs can offer students freedom s and experiences with art in ways that may b e unattainable through school based arts education settings. allow the student to take risks or challen ge themselves through their art, but that c ommunity based arts educ ation can offer that (personal communication, June 19, 2014 ) . Through my findings I have also determined that those who want to teach within a CBAE program should be entrepreneurial. Although the se position s offer the option to work only when
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THREE TEACHING ARTISTS 34 you want, a valuable commodity, i t is necessary to approach the position with business minded standards and a strong work ethic. The teaching artists need to promote their program s and their own art work on a consistent basis, or they will need to find other ways to su pplement their income as the programs may not offer a sustainable income that an individual can rely on alone . Significance, Implications, and Recommendations I have intentionally chosen the selective area to conduct my r esearch, and feel that further research into the experiences of teaching artists within CBAE programs on a national level may expand my findings. It would not , however, allow for the same in depth opportunity as the three teaching artists in this study hav e permitted . If I were to expand my research however, n etworking connections made through the University of Florida as well as the UFARTED Facebook page would easily allow me access to numerous teaching artists within CBAE programs willing to either share their experiences or wanting to learn more from further research. I would also need to revise and even add to some of the interview questions. For instance, I may need to know more about the eco nomy that they live in and the population surrounding their community arts program . I have already made several local connections through networking events and meetings by mutual acquaintances that I hope to expand upon in the near future. These interactions will not only help to expand my subject base on the topic of teaching artists within a community based arts education setting, but will also help develop my future goal of opening and operating my own local CBAE program. My research concludes that t eaching artists looking to enter into a community based arts education program should familiarize themselves with the se positive and negative aspects of teaching within a CBAE program in determining whether it would be a good financial , or psychologically fulfilling, decision for them . As my research reveals, the programs can be very
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THREE TEACHING ARTISTS 35 emotionally and physically rewarding , but in regards to the income it is directly determined by how much time and effort one wants to spend expanding and/or marketing their program and skills.
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THREE TEACHING ARTISTS 36 References American Planning Association. (2011). The role of the arts and culture in plan ning practice. Chicago, IL: Beavers, K. A., & Hodgson, K. Retrieved from https://www.planning.org/research/arts/briefingpapers/pdf/overview.pdf Barret, D. B. (1993). Art p Studies in Art Education , 34 (3), 133 140. Blandy, D., & Carpenter, G. (2008). Arts and cultural programing: A leisure perspective. Champaign, IL: Human Kinetics . Bodilly, S. J. (2008). Revitalizing arts education through community wide coordination . Santa Monica, CA: Rand Publishing. Booth, E. (2003). The emergence of the teaching artist. Retrieved from http://www.arttimesjournal. com/speakout/may03speakout.htm Borrup, T. (2011). using local assets, arts, and culture . Nashville, TN: Fieldstone Alliance. Carlson, J. (2010). Avoiding traps in member checking . The Qualitative Report, 15 (5). Retrieved from http://www.nova.edu/ssss/QR/QR15 5/carlson.pdf Cleveland, W. (2011). Arts based community development: Mapping the terrain. Retrieved from http://www .lacountyarts.org/UserFiles/File/CivicArt/Civic%20Engagment%20Arts%20B ased%20Community%20Develop%20BCleveland%20Paper1%20Key.pdf Coutts, G., & Jokela, T. (2010). Art, community and environment: Educational perspectives. Wilmington, NC: Intellect Ltd. Davi s, B. (2006). With budgets tightening, arts education is further squeezed. The Notebook .
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THREE TEACHING ARTISTS 37 Retrieved from http://thenotebook.org/may 2006/061110/budget s tightening arts education further squeezed Davis, J. (2010). Learning from examples of civic responsibility: What community based art centers teach us about art education. Journal of Aesthetic Education, 44 (3), 82 95. Graham, M. A., & Zwirn, S. G. (2010 ). How being a teaching artist can influence K 12 art education. Studies in Art Education , 51 (3), 219 232. Hedberg, E., Rabkin, N., Reynolds, M., Shelby, J. (2011). Teaching artists and the future of education. NORC at the University of Chicago . Retriev ed from http://www.norc.org/PDFs/TARP%20Findings/Teaching_Artists_Research_Project_Exec utive%20Summary_%20FINAL_9 14 11.pdf Idaho Commission on the Arts. (2014). What is a teaching artist. Retrieved from http://www.arts.idaho.gov/ae/roster/whatis.html Johnston Limon, C., Reclosado, T., & Stevenson, L., (n.d.). Community based afterschool and summer arts education programs: Positive impact on youth and community development. Expanding Minds and Opportunities . Retrieved from http://www.expandinglearning.org/expandingminds/article/community based afterschool and summer arts education prog rams positive Lawrence Lightfoot, S., & Hoffmann Davis, J. (1997). The art a nd science of portraiture. San Francisco: Jossey Bass. Meier, M. E. (2013). Narrative inquiry: Revealing experience in art education. . In M. Buffington & S. Wilson McKay (Eds.) Practice Theory: Seeing the power of teacher researchers . Reston, VA: National Art Education Association. Rosenbluth, B. (2011). Awakening community creativity. Orton Family Foundation:
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THREE TEACHING ARTISTS 38 Cornerstones Building Communities That Last . Retrieved from http://www.orton.org/blog/awakeningcommunitycreativity?gclid=CPvyifHqxLoCFU6Y4 AodKUwA4Q Wallis, C. (2008). How to make great teachers. TIME in partnership with C NN . Retrieved from http://teachnology.pbworks.com/f/Making+great+teachers+article.pdf Wengraf, T. (2001). Qualitative research interviewing. Thousand Oaks, CA: Sage Publica tions. Yin, R. K. (2003). Case study research: Design and methods. Thousand Oaks, CA: Sage Publications.
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THREE TEACHING ARTISTS 39 List of Figures with Figure Captions Figure 1. ISSUU c apstone m agazine cover .. 18 Figure 2. Artwork by Jeremy Randall as shown in the accompanying ISSUU capstone magazine ....... 21 Figure 3 . Artwork by S tephanie Bevins as shown in the accompanying ISSUU capstone magazine ....... 2 7 Figure 4 . Artwork by W ilson Bickford as shown in the accompanying ISSUU capstone magazine ....... 30 Figure 5 . D irect quotes by the three teaching ar tists as shown in the accompanying ISSUU capstone magazine ....... . 21
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THREE TEACHING ARTISTS 40 Appendix A Questions used to guide the interview 1. Tell me about your background in the arts, do you have any degrees or formal art training? 2. What is your preferred medium or specialty? 3. How frequently do you work on your own artwork/ working on your craft? 4. How many shows, inst a llations , and publications do you participate per month/year? 5. Do you have a professional website to showcase your work? 6. What led you to teaching within a CBAE setting? 7. How long have you been teaching in a CBAE setting? 8. Where is the CBAE program that you teach at located? 9. What are your title and responsibilities within the CBAE program? 10. Guide me through your program; who m do you teach, how long and how frequent are your classes, where do you find your subject matter and lesson plans? 11. Are you required to recruit new students? 12. Are you responsible for your own marketing and advertising for the CBAE program? 13. Do you teach at the CBAE p rogram full time, or is your time and income supplemented elsewhere ? 14. What are some positive aspects of teaching within a CBAE setting from your perspective ? 15. What are some challen ges face teaching in a CBAE ? 16. Where do you see yourself in regards to the progr am in 5 years?
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THREE TEACHING ARTISTS 41 Appendix B University of Florida IRB Forms
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THREE TEACHING ARTISTS 42
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THREE TEACHING ARTISTS 43 Author Biography Megan King Ratcliffe is the owner and operator of Megan King Studio, a freelance art business located in New York. She received a Bachelor of Fine Arts degree with a focus on studio arts from Cazenovia College. Notable recognitions in her academic career include being a Laude from Cazenovia College, Living Arts College and Mohawk Valley Community College, and receiving both the Clark and Emerson Scholarships. As part of her professional career in the ar ts , Megan has been a committee member and multi media art experience, as well as marketing artist for ProConnect a group of networking professionals. Select exhibit s and solo shows she has appeared in include Mural Project , Breaking Through , Nothing but Metal , and I Love NY Horses Art Show . Examples of her work can be viewed as part of the permanent collection owned by Cazenovia College. Her current interests are in the area of art education, with the goal of running and teaching in a community based arts education program.
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