search.noResults

search.searching

dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
Differentiated Collaboration For Arts Integration Shawna longo


Hopatcong Middle School shawnalongo@gmail.com


have heard about and are interested in the idea of arts integrated lessons and projects for the classroom. I have found that many teachers don’t know where to begin in terms of collaborating with their colleagues regarding arts integration. What does this collaboration look like? As an arts teacher, you might be nervous or uncomfortable approaching the non-arts colleagues because they haven’t established a relationship with them. This can also go the other way – the non-arts teacher might not be confi- dent in his/her “art’s skills” and not sure where to begin. In my experience, there is no right or wrong way…


W


as long as you are both open to new ideas and collab- orating! Just as no two people are alike, collaboration amongst teachers doesn’t always look the same.


I like


to call this differentiated collaboration. The term dif- ferentiation is readily used in classrooms around the world, but typically only associated with students and their needs. Well, teachers are no different! Every time I work with a teacher on developing and/or co-teaching an arts integration lesson, it “looks” different for a number of reasons.


1. Relationships - My relationship with each teacher


is different. Honestly speaking, some relationships are better than others; but regardless, we are two people with different personalities trying to work together for a com- mon goal; and, this never “looks” the same!


2. Connecting - Each non-arts teacher brings a


different level of comfort in working with the arts. Do they connect more with visual art, music, dance, or theater? Or, they may not think that they are comfortable with any art form because they don’t view themselves as creative.”


TEMPO 56


e’ve all been there...looking for some- thing to increase student engagement or deepen student learning. Many teachers


3. Comfort Level - Each teacher is in a different place with how comfortable they are with arts integra- tion. Are they more on the arts enhancement side or arts integration side of the continuum? For more in- formation on this, check out Education Closet’s video discussing the Arts Integration Continuum at https:// educationcloset.com/2017/08/25/arts-integration- continuum/?orid=9781 .


4. Location & Time – Are we located in the same


building? Do we have any common “free” time in our schedules? If the answer is no to both of these, then digi- tal is the way to go! Google Docs, text, email, phone, or virtual call will solve that problem very easily! Keeping in mind that no two collaborative efforts


for an arts integration lesson will “look” the same, I’ve created a sample step-by-step guide that is a great place to start.


Step 1 – Quick conversation in passing, in the hall


between classes, at the mailboxes, by the copy machine, or via text/email. Non-arts content teacher may say, “Hey, I have a unit coming up on “Human Rights” and thought it would work well for an arts integrated les- son. Do you have any ideas?”


Arts teacher responds,


“Yes! That sounds great! Let me think about it and get back to you! Do you know what discipline you want to integrate? Visual arts, music, theatre or dance?”


Step 2 – Arts teacher completes some research on the topic and brainstorms potential lesson ideas.


Step 3 – Arts teacher emails/texts the non-arts teach- er to set up a time for a quick conversation. Arts teach- er sends the non-arts content teacher the Pre-Planning Guide to complete before their meeting.


JANUARY 2019


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84