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Summer 2020 Semester

June 1, 2020 – September 4, 2020

|Title of Course: Creative Infusion: Art and Reuse in the Classroom |

|Number of Sessions: 6 |Grade Levels: K-HS |

|Total Hours: 45 |Total Number of Credits: 6 |

|Course Start Date: 7/6/2020 |Course End Date: 7/11/2020 |

|Course Location: Materials for the Arts, 33-00 Northern Blvd, Long Island City, NY 11101 |

|Maximum Course Enrollment: 30 |

|Instructor’s Name: Joy Suarez |Instructor’s Telephone: 718-909-0870 |

|Instructor’s Email: joy@ |

|Education Partner Fee: $240.00 |

|Materials Fee: N/A |

|Registration Deadline: (ASPDP will add) |

Course Information

Course Description

|Creative Infusion is an introduction to a wide range of ideas, techniques and methods used for integrating art made with reusable and recycled |

|materials across the curriculum. This course teaches teachers curriculum integration by giving them an understanding of art techniques that they can|

|use to teach literacy, math, science and social studies. Art becomes the tool to integrate a brave new learning community for integrating the |

|concepts behind critical consciousness as the lens to address bias and diversity for a deeper understanding of the school and the global community. |

|Participants will learn various strategies for differentiating instruction providing them with the tools to create and present achievable equitable |

|projects, specifically designed to reach a wide scope of learning modalities and cultural differences that make them better educators, leaders, and |

|artists. Sessions include: Art of Reuse-an introduction to materials and problem solving; Games and Game boards-developing new games and replicating|

|standard games for all subjects; Bookmaking- the creation of book structures that integrate all fields of study; Mosaics-creating patterns and design|

|inspired by cultural and historical influences; Wind Chimes and Mobiles-creating kinetic sculptures, using geometry, problem solving and reasoning |

|and the sound of science to understand how to create desired sound sculpture; Musical Instruments-designing a variety of percussion instruments out |

|of everyday objects and Theatre Arts-using an historical timeline and a study of world culture to create hats, masks, puppets and costumes to be used|

|to create a literary response. |

|Each day participants will be given articles to read and time for reflection pertaining to critical consciousness, creating brave classrooms and |

|unpacking culturally responsive sustaining education practices. Participants will share in group discussion prior knowledge/newly gained information|

|and how these practices can be integrated into their classroom curriculum. |

|Emphasis will be placed on creating sustainable artwork: that which leaves no negative impact on the environment. Participants will develop two |

|lesson plans for various subject areas, learning styles and ability levels relevant to their own classroom. Participants will utilize daily rubric |

|self-assessment, journaling, instructor assessment, research and the sharing of best practices to acquire new knowledge and techniques that they will|

|use in creating lesson plans from course material for reaching the variety of learning styles and levels that are relevant to their own instructional|

|setting. Participants will receive a course pack of documents outlining vocabulary and how-to instructions for the arts techniques learned. |

Target Grade Levels

|K-HS |

Integration of Danielson Framework for Teaching Components

|Domain 2: Component 2B: Establishing a Culture for Learning |

|This class is centered on providing participants the relevant content needed to make connections to their class curriculum. Participants spend much |

|of their time processing this information through exploration and problem solving, looking around them to find accessible materials for projects and |

|discovering inherent or sometimes hidden connections between subjects. The course is designed with specific expectations for each participant to |

|produce meaningful hands-on projects and lesson plans that they can easily link to a unit of study they are working on or will be working on in |

|class. |

|The most rewarding component to the course is that participants understand how valuable and fun project based learning can be through the |

|accomplishment and pride they develop with the successes found in their work. |

|Domain 3: Component 3C: Engaging Students in Learning |

|The entire course focuses on creative problem solving: How to tackle hands on projects with no budget for extra supplies, how to develop projects |

|that can be differentiated and engaging for multiple age groups and skill levels and how to draw multiple types of learners into a topic and make it |

|accessible, stimulating and productive towards learning goals. |

Integration of Standards

|Next Generation Standards: Many Next Generation standards are addressed in this course, dealing with deeper examination of texts. The main ELA |

|standards emphasized are as follows: |

|-ELA Anchor Standards for Speaking and Listening: |

|            Comprehension and Collaboration- SL1. Participate and engage effectively in a range of collaborative discussion, expressing ideas clearly|

|and building on those of others |

|            Presentation of Knowledge and Ideas- SL5. Include digital media/or visual displays in presentations to emphasize certain facts and |

|details |

|Writing: |

|K-12 W4, W5, W7 |

|K-12 SL1, SL2, SL5 |

|Math: |

|G,.MD, NGSS.OA |

| |

|National Core Arts Standards |

|VA Cr 1,2 &3 |

|VA Pr 5 &6 |

|VA Re 8 & 9 |

|VA Cn 10 & 11 |

|NYC Blueprint for the Arts: |

|-Visual Art: |

| strand 1 |

|strand 2 |

|strand 3 |

Pedagogical Approach

|For each project within the course a variety of methods for completion according to skill level, and consequently the age level of a participant’s |

|students, are presented and are taught to the teachers. The instruction for each day is presented in varying ways, including demonstrations for |

|observation, written and verbal instructions, and hands-on art projects, in order to present differentiated modalities for learning. Participants |

|are asked to experiment with projects in a variety of skill levels but are only required to use for their projects the elements that they feel they |

|would be able to utilize with their students, including appropriate differentiated modalities of instruction and learning. Introduction of readings|

|on the integration of critical consciousness and culturally responsive sustaining education into daily classroom practice. Participants will assess |

|their work using the KWL chart and rubric, to share in group critiques. |

Application to Instruction and Student Learning

|Participants bring back the knowledge to set up the situation and supplies for investigative art making |

|Participants introduce the class to the treasure box of recycled and reusable materials that students bring from home. |

|Participants demonstrate how to create a 3D sculpture without the use of glue |

|Participants will take back a useful game to their classroom to incorporate into one of their lessons classroom highlighting Blueprint strand 1-Art |

|Making and strand 3-Making Connections |

|Participants will bring back to classroom the Object Observation Ice Breaker & Art of Reuse Fact Sheet to use with any subject to establish a |

|baseline of student prior knowledge and to set learning goals |

|Participants will integrate differentiated instruction into their own classrooms by engaging the various modalities through demonstrations for |

|observation, written and verbal instructions, and hands-on project making. |

|Games and Game boards workshop can be differentiated and integrated into Special Education classes through using larger materials to create game |

|pieces/cards that are easy to manipulate; into ELL classes by creating original rules for a game as a writing project, and into a Gifted and Talented|

|class as an aspect of a longer term art and history study on games, where they originate and what influences they have had on games today. |

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to continuously assess student progress and modify their teaching to differentiate instruction to meet student’s needs. |

Assessment

|Participants are assessed daily by instructor through a rubric which evaluates participants’ progress including gained knowledge of art technique, comprehension |

|of curriculum integration, ability to follow instructions, reviewing project journal writing and self-assessment rubric and how well they convey their knowledge |

|to a peer |

|Participants are also assessed on the creation of 2 lesson plans that apply the subject areas from the course into their schools goals and curriculum, including |

|applicable learning standards, a hands-on project, and evidence of curriculum connection and utilize three resources: a literary resource, a tech resource- |

|websites or blogs and a cultural connection to New York City. Participants are given a rubric at the beginning of the course which shows the expectations of final|

|project and rates the completion on a scale of one to three in each area. |

|Areas of assessment include: |

|Strong concept, original and innovative lesson (i.e. not adapted from a book or the replication of a prior lesson) |

|Includes an age appropriate hands on component with a clear objective |

|Incorporates responsible reuse practices |

|Arts connection is visible within the integrated curriculum |

|Well edited |

|Includes 3 resources: website, literary, NYC specific cultural organization or location |

|Addresses Standards: Danielson’s Competencies, Next Generation, National Core Art Standards |

|Participants start each class with KWL project journal writing. With each new subject, educators document what they know, what they want to know before starting |

|the hands-on art making process. Participants take notes on daily presentations, record observations of works they create and share with colleague’s ideas and |

|inspirations to bring back to the classroom. |

|Educators end each by day sharing newly gained information with a colleague. Each participant will then have an opportunity to practice ‘turn & talk’ sharing with|

|the class what they have learned from their colleague-entire class will then critique all project-based artwork done by class participants. The notes and project |

|ideas developed in the journal should inform the creation of their final presentation. |

|Journal should inform the creation of their final presentation. |

|Instructor Rubric for Daily Assessment |

|Assessment Category |

|1 |

|2 |

|3 |

| |

|Knowledge of Art Technique |

|Participant shows little ability to recreate the art techniques taught. |

|Participant shows some ability to recreate the art techniques taught. |

|Participant shows coherent ability to recreate the art techniques taught. |

| |

|Differentiated Instruction providing equitable practices to reach all levels of |

|Learning Modalities |

|Art project does not engage multiple learning modalities |

|Art project only engages a few learning modalities |

|Art project engages a wide spectrum of learning modalities |

| |

|Arts Connection &Curriculum Integration |

|Project does not lead to deeper student learning of general curriculum |

|Project leads to minimal deeper student learning of general curriculum |

|Project leads to rigorous deeper student learning of general curriculum |

| |

|Responsible Reuse Practice |

|Project does not incorporate reusable materials |

|Project minimally incorporates reusable materials |

|Project primarily incorporates reusable materials |

| |

|Arts Immersion studying and creating works of art highlighting diversity and social justice as a means to create safe spaces to examine identity and |

|culture within the school community |

|Project does not identify or question any personal, student or school culture to enhance a dialogue around issue of inequality |

|Project minimally identifies and questions personal, student and school culture to enhance a dialogue around issue of inequality |

|Project successfully integrates personal/student/ school culture into the art work. Intention to create a safe space for student discussion. Completed artwork is|

|discussed/critiqued in safe space, modeling a new format for dialogue around inequality and other social issues relevant to the classroom. |

| |

| |

|Rubric for Final Project Assessment |

|Assessment Category |

|1 |

|2 |

|3 |

| |

|Strong concept, original and innovative lesson (i.e. not adapted from a book or the replication of a prior lesson) |

|Includes an age appropriate hands on component with a clear objective |

|Project is not original- It is adapted from a book or the replication of a prior lesson. |

|Project does not includes an age appropriate hands on component with a clear objective |

|Project is original, but project does not includes an age appropriate hands on component with a clear objective |

|Project is original and innovative, and includes an age appropriate hands on component with a clear objective |

| |

|Incorporates responsible reuse practices |

|Project does not incorporate reusable materials |

|Project minimally incorporates reusable materials |

|Project primarily incorporates reusable materials |

| |

|Arts connection is visible within the integrated curriculum |

|Project does not lead to deeper student learning of general curriculum |

|Project leads to minimal deeper student learning of general curriculum |

|Project leads to rigorous deeper student learning of general curriculum |

| |

|Well edited |

|Project has not been edited and revised. |

|Project has been minimally edited and revised. |

|Project has been rigorously edited and revised. |

| |

|Includes 3 resources: website, literary, NYC specific cultural organization or location |

|Project does not include resources |

|Project does not include 3 resources |

|Project includes 3 resources |

| |

|Addresses Standards: Next Generation NY STATE ART STANDARDS, NYC Blueprint for the Arts, Danielson’s Competencies |

|Project does not address standards |

|Project only addresses some standards |

|Project addresses all standards |

| |

|Addresses research, pedagogical practices, including critical consciousness, implicit bias and culturally responsive sustaining education practices, values and |

|perspectives to include diverse experiences and perspectives |

|Project does not address any pedagogical practices, including critical consciousness, implicit bias and culturally responsive sustaining education practices |

|values and perspectives, diverse experiences and perspectives |

|Project minimally integrates pedagogical practices, including critical consciousness, implicit bias and culturally responsive sustaining education practices |

|values and perspectives, diverse experiences and perspectives |

|Project dives into a deeper look at pedagogical practices, including critical consciousness, implicit bias and culturally responsive sustaining education |

|practices values and perspectives including evidence of diverse experiences and perspectives |

| |

Connection to Critical Consciousness (We will provide non-evaluative feedback on this section during SY2019-20))

|Art becomes the tool to integrate a brave new learning community for integrating the concepts behind critical consciousness as the lens to address bias |

|and diversity for a deeper understanding of the school and the global community. Participants will learn various strategies for differentiating |

|instruction providing them with the tools to create and present achievable equitable projects, specifically designed to reach a wide scope of learning |

|modalities and cultural differences that make them better educators, leaders, and artists. |

|Major Assignment |Due Date |

|Midterm Project: Presentation of Next Generation and National Core |7/9/2020 |

|Arts-aligned lesson plan that applies the subject areas from the course | |

|into their school goals and curriculum. Lesson plan needs to include | |

|applicable learning standards, a hands-on project, and evidence of | |

|curriculum connection and utilizes three resources: a literary resource, a| |

|tech resource- websites or blogs and a cultural connection to New York | |

|City. Addresses research, pedagogical practices, values and perspectives | |

|to include diverse experiences and perspectives. | |

|Final Project: Oral presentation of partner project/lesson plan. |7/11/2020 |

|Participants work in teams to design the second lesson plan, creating a | |

|project that integrates the subject areas from the course into their | |

|school goals and curriculum. Teams present project and lesson plan. | |

|Lesson plan needs to include applicable learning standards, a hands-on | |

|project, and evidence of curriculum connections and utilizes three | |

|resources: a literary resource, a tech resource- websites or blogs and a | |

|cultural connection to New York City. Participants are given a rubric at | |

|which shows the expectations of the lesson plans and rates the completion | |

|on a scale of one to four in each area. | |

|Areas of Project Assessment Include: | |

|Strong concept, original and innovative lesson (i.e. not adapted from a | |

|book or the replication of a prior lesson) | |

|Includes an age appropriate hands on component with a clear objective | |

|Incorporates responsible reuse practices | |

|Arts connection is visible within the integrated curriculum | |

|Well edited | |

|Includes 3 resources: website, literary, NYC specific cultural | |

|organization or location | |

|Addresses Standards: Danielson’s Competencies, Next Generation, National | |

|Core Arts Standards | |

|Addresses research, pedagogical practices, including critical | |

|consciousness, implicit bias and culturally responsive sustaining | |

|education practices values and perspectives to include diverse experiences| |

|and perspectives | |

Feedback

|Throughout the course participants are given feedback from their instructor and peers: |

|-Participants are given instruction and feedback by the instructor, daily, as they work on perfecting the techniques being taught. After the Midterm |

|and Final Project the instructor evaluates their progress and meets with them to share approaches to improve their practice. |

|-Participants will keep a project journal that includes a rubric for self-assessment along with question prompts that ask them to identify what |

|projects they created during each session, ideas for how the project can be integrated into the classroom, what standards the project might address |

|during their lesson and how it aligns with the learning goals they or their school has set. In addition participants will look at their work as an |

|opportunity to reflect on identity, diversity and social justice. Participants will critique colleagues work using the safe space model to examine |

|identity and culture within the school community. In small group discussions created without needing the pressure of a grade to carry through with a |

|project participants feel the friendly pressure each day to do their best so they can share work that can receive constructive criticism from their |

|peers, and actually test out how they might attempt to share a project with their students. |

Grades

|K-HS |

Course Calendar

|Session #1 |

|Date: 7/6/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: No Glue Sculpture/Games and Game Boards, participants paired|

| |up for final presentation |

|Standards and Components Alignment: |

|Danielson Components | |

|Domain 2: Component 2B: Establishing a Culture for Learning |Teachers will explore MFTA warehouse to familiarize themselves with the wide range |

| |of free materials assessable to be integrated into visual art making |

| | |

|Domain 3: Component 3C: Engaging Students in Learning |Art making allows for anyone of any age to become more engaged in a subject of |

| |interest. By creating an object, the artist becomes actively engaged in the |

| |process. The final product allows for discussion through individual oral |

| |presentations and classroom critique |

| | |

| |In this course, teachers will create and present their sculpture and game boards, |

| |responding and connecting this artwork to their classroom curriculum and numerous |

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re|ideas for lesson plans |

|8 & 9, VA Cn 10 & 11 | |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants will become acquainted with one another and their prior knowledge of reuse and recycling through the completion of the Object Observation |

|Ice Breaker and Art of Reuse worksheet. |

|Participants will learn the expectations and requirements of the course. |

|Participants will learn what resources are available to them and begin to recognize the potential of reusable art supplies as a tool to differentiate |

|teaching methods through art projects linked to the NYS Learning Standards for the Arts and other elements of their regular curriculum. |

|Participants will learn how to construct a sculpture without using glue in order to understand how to differentiate instruction and integrate sculpture|

|into studies of Math-design, and measurement; Science-investigation and technology, analyzing and problem solving through a hands-on art projects. |

|Participants will learn to develop a game that is relevant to one of their teaching topics in order to understand how to make games and use them to |

|differentiate instruction and apply it to Math-design principles; Literacy-creating the rules for the game and Social Studies- History themed hands-on |

|art project game. |

|Topics and Agenda: |

|Class Icebreaker-Groups share observations made from Art of Reuse Worksheet |

|-Participants introduce themselves to class and share one personal /cultural experience they have had integrating sustainability into their |

|lives/classroom |

|-Introduction to class including policies and expectations utilizing NYASPDP policy document and course syllabus. |

|- -Discussion on using MFTA as a resource for materials. |

|-Cover course assessment requirements: |

|-Expectations of studio participation, creating a series of prototypes and writings as resources for student learning. Daily group critique of |

|individual’s work using art vocabulary to describe observations and drawing inferences to their classroom curriculum. |

|-Resource sharing, teachers provide success stories of projects that they have had great response in their classroom as well as share interesting |

|websites and other resources with their colleagues to enhance curriculum development and connections. |

|Participants read Brave Classrooms and Courageous Conversations Nicki Monahan, Med |

|For instructor led group discussion |

| |

|Connection to Critical Consciousness/CRSE: |

| |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the complexities|

|of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: Icebreaker, participants share personal/cultural sustainable practices from home and at work |

|Participants read Brave Classrooms and Courageous Conversations Nicki Monahan, Med |

|for group discussion |

| |

| |

|Application to Instruction and Student Learning: |

|Morning |

|-Project journal writing-educators take notes on daily presentations, record observations of works they create and share with colleague’s ideas and |

|inspirations to bring back to the classroom. |

|-Discussion of how the Core Art Standards can be integrated into classroom learning. |

|-Instructor led presentation: Art of Reuse, emphasis is on inventing new ways to attach materials without glue, how students can make deeper |

|connections to learning through problem solving and critical thinking in the creation of mini sculptures to construct a sculpture without using glue in|

|order to understand how to differentiate instruction and integrate sculpture into studies of Math-design, and measurement; Science-investigation and |

|technology, analyzing and problem solving through a hands-on art projects. |

|-Studio Art |

|Art of Reuse |

|Afternoon |

|-Participants read Brave Classrooms and Courageous Conversations Nicki Monahan, Med |

|for reflective writing and Instructor led group discussion |

|-Instructor led presentation: how games are used around the world, how students can make deeper connections to a unit of study researching and creating|

|a game. Game Tutorial, introduction to a variety of games and game boards modeling the relevance in integrating games into the classroom curriculum to |

|differentiate instruction and apply it to Math-design principles; Literacy-creating the rules for the game and Social Studies- History themed hands-on |

|art project game. |

|Studio Art- |

|Game Design |

|-Project journal writing-includes a self-assessment rubric to identify how each new art presentation addresses project –based learning, differentiated|

|instruction for varying learning modalities and successful applications of arts integration into ELL, Math, Science and Social Studies, Special |

|Education students, English Language Learners, and/or Gifted & Talented students, Applied Learning; educators take notes on daily presentations, |

|record observations of works they create and share with colleague’s ideas and inspirations to bring back to the classroom. |

|-Resource sharing, teachers provide success stories of projects that they have had great response in their classroom as well as share interesting |

|websites and other resources with their colleagues to enhance curriculum development and connections. |

|-Groups formed for Oral Presentation: Teachers will be put into groups, creating a team to design an oral presentation that describes how each educator|

|will apply differentiated methods of learning to their student audience including the grade level that they teach; special needs students, English |

|Language Learners and the gifted and talented. |

|Participants will collaborate on theme for project, what materials to use as well as decide division of labor. |

|-Clean-up |

|Project journal writing-includes a self-assessment rubric to identify how each project addresses project –based learning, differentiated instruction |

|for varying learning modalities and successful applications of arts integration into ELL, Math, Science and Social Studies, Special Education students,|

|English Language Learners, and/or Gifted & Talented students. |

|Materials (handed out in course binder): |

|Art of Reuse Worksheet: |

|-This worksheet is used to assess the educator’s prior knowledge of working with reusable and recycled materials in art. This worksheet is a best |

|practice in assessing student’s individual knowledge of subject; what they know, how they communicate their knowledge and what they can share with |

|their fellow students. Educators will be able to use this information to design their curriculum with differentiated learning techniques to reach the |

|needs of the entire classroom population. |

|Course “Goals and Lines of Inquiry” sheet |

|Course Assessment outline sheet |

|Course Syllabus |

|P Credit Program Policy sheet |

|Sample Lesson Plan Format |

|Project Journal with Self-Assessment Rubric and KWL |

|Recycling Fact Sheet |

|Reuse/Waste Fact Sheet |

|Materials in Your Neighborhood Resource Sheet |

|Blueprint for the Arts: Visual Art |

|Visual Thinking Strategies Model |

|Instructions for paper making, book binding, pop-up books, hat making, and puppet making |

|Creative Infusion websites/resources sheet |

|Principals of Design/Elements of Art sheet. |

|Assessment and Feedback: |

|Reference page 4-6 |

|Session #2 |

|Date: 7/7/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: Masks/Hats Danielson’s |

|Standards and Components Alignment: |

|Danielson Components | |

|Domain 2: Component 2B: Establishing a Culture for Learning |Teachers build on knowledge from day one, using MFTA warehouse to find |

| |supplies to be integrated into their hat and mask making |

| | |

|Domain 3: Component 3C: Engaging Students in Learning |Participants create hats and masks related to their curriculum, bringing |

| |back a fun and easy to make prototypes to teach their students |

| |Each day, teachers will create and present their artwork, responding and |

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re 8 & |connecting to their classroom curriculum enhancing research, writing, oral |

|9, VA Cn 10 & 11 |presentations. |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants will learn how to create a mask in order to understand how to differentiate instruction and integrate mask-making techniques into |

|Math-design and measurement; social studies-using historical and cultural references for inspiration, ELA for in depth research, learning about the |

|function of masks in other cultures. |

|Participants will learn to build upon the previous instruction to explore the making of hats from different time periods and cultures. Participants |

|will learn to define the historical function of the hat- fashion, uniform, protection. |

|Participants will learn the principles of design and vocabulary as a tool to teach art projects linked to the Arts Blueprint, when integrating art |

|into the Next Generation, Danielson’s Competencies and other elements of their regular curriculum. |

|Topics and Agenda: |

|Morning |

|Mask Making |

|Instructor led presentation: how masks are used around the world, how students can make deeper connections to a unit of study researching and |

|creating masks. Mask Making Tutorial, presenting mask prototypes as examples of styles and techniques including plant and animal masks for science |

|and ELA retelling a story, masks used in celebration for social studies units for research used in oral presentation, theatrical masks for |

|monologues. |

|Studio Art-Mask Making |

|Project Journal Writing |

|Mask Presentations |

|Afternoon |

|Participants read Equity by Design: Developing Critical Consciousness through Professional Learning |

|Sharon Radd Erin M. Macey for reflective writing and Instructor led group discussion |

|Instructor led presentation: how hats are used around the world, how students can make deeper connections to a unit of study researching and creating|

|hats. Hat Making Tutorial, presenting hat prototypes as examples of styles and techniques including a four season tree hat for science and ELA |

|retelling a story, community helper hats for pre k and kindergarten including hats worn for protection as well as hats used to identify a person’s |

|job, hats, headdresses and crowns to that symbolize status in various cultures and societies for social studies, hats worn for religious purposes |

|for a better understanding of multicultural beliefs and hats that have a utilitarian purpose to keep us warm/protected. |

|-Studio Art-Hat Making |

|-Project Journal Writing |

|-Hat Presentation |

|- Resource sharing, teachers provide success stories of projects that they have had great response in their classroom as well as share interesting |

|websites and other resources with their colleagues to enhance curriculum |

|-Methods of critique handout and discussion; Identifying Learning Standards and Common Core / Danielson’s |

|-Group work |

|-Clean up |

| |

|Connection to Critical Consciousness/CRSE: |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the |

|complexities of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: making a mask/hat designed to be used to highlight a specific culture and stories from that region of the world |

|Reading Equity by Design: Developing Critical Consciousness through Professional Learning |

|Sharon Radd Erin M. Macey for reflective writing and Instructor led group discussion |

| |

| |

|Application to Instruction and Student Learning: |

|Participants will apply hands-on art making techniques that are used to create both a hat and a mask highlighting blueprint strand 1 art making–step |

|by step demonstration on how to construct both a hat and mask. |

|Highlighting Blueprint strand 3 making connections: students can research the history of hats and masks techniques found in different cultures, |

|learning pertinent vocabulary, and how and why people have worn masks and hats, what has changed over time according to advancements in technology |

|and materials. |

|This project can be differentiated and integrated into Special Education classes through using pre-made hats and mask forms that students can |

|decorate and use in creative play, for ELL learners using a hat/mask from the student’s culture with prior knowledge to have something to talk |

|about, Gifted and talented students can create an art exhibit highlighting masks from a specific time period or culture they are working on in class,|

|high school students can create hats that identify socio economics or class in a study to create a persuasive argument using the hat to become a |

|character in a debate. |

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to continuously assess student progress and modify their teaching to differentiate instruction to meet their student’s needs. |

|Assessment and Feedback: |

|Reference page 4-6 |

|Session #3 |

|Date: 7/8/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: Book making |

|Standards and Components Alignment: |

|Danielson Components | |

|Domain 2: Component 2B: Establishing a Culture for Learning |Teachers will be introduced to a variety of papers and easy to replicate |

| |book making techniques, to kick start the imagination on how book making |

| |could be regularly integrated into the classroom curriculum. |

|Domain 3: Component 3C: Engaging Students in Learning | |

| |Art making allows for anyone of any age to become more engaged in a subject |

| |of interest. By creating an object, the artist becomes actively engaged in |

| |the process. The final product allows for discussion through individual |

| |oral presentations and classroom critique |

| | |

| |Making books allows for creativity to be integrated into written reports, as|

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re 8 & |a prop for oral presentations. |

|9, VA Cn 10 & 11 | |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants learn a variety of book making techniques which includes envelope, pop-up, tunnel, accordion, five stitch and noble binding books in |

|order to understand how to differentiate instruction and apply book-making techniques for ELA, Math, and Social Studies and create samples for their|

|classroom |

|Participants learn to incorporate the various elements of Teacher’s College Literacy program such as the “writing workshop model” to their projects. |

|Topics and Agenda: |

|Participants learn a variety of book making techniques which includes envelope, pop-up, tunnel, accordion, five stitch and noble binding books in |

|order to understand how to differentiate instruction and apply book-making techniques for ELA, Math, and Social Studies and create samples for their |

|classroom. |

|Participants will learn how to use their handmade paper as proto-types for their individual classrooms’ book-making projects encapsulating their |

|studies. |

|Participants learn to incorporate the various elements of Teacher’s College Literacy program such as the “writing workshop model” to their projects. |

|Participants learn how to integrate Mindful Reflection as a Process for Developing Culturally Responsive Practice, Dray and Wisneski |

|Connection to Critical Consciousness/CRSE: |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the |

|complexities of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: making a variety of books that highlight techniques from around the world, exploring stories of diversity and bias |

|Reading The Mindful Reflection Protocol A Process for Checking Unconscious Bias |

|Adapted from Dray and Wisneski |

|  |

| |

|Application to Instruction and Student Learning: |

|Participants will be able to construct simple and advanced book structures and for students to incorporate in their publishing of stories, and |

|personal narratives. |

|Participants gain knowledge of techniques used in book making highlighting blueprint strand 1 art making to demonstrate cutting, binding, folding, |

|tearing, piercing, weaving, stamping and punching Participant’ students integrate blueprint strand 3 making connections demonstrating how book making|

|has been used throughout history to record written records. |

|Participants will bring to the classroom a variety of materials for students to design and create a mosaic pattern that is either pictorial or |

|non-objective. |

|This project can be differentiated and integrated into Special Education classes through a hands on envelop book making project, no binding or fancy |

|stitching needed to use for an all about me book; ELL learners can create their own books to write a story about how they arrived in America; Gifted|

|and talented students can highlight a culture from their social studies unit on the origins and techniques book throughout time, middle and high |

|school students research Islamic Art radial symmetry and the golden rule to create mosaics using advanced geometry. |

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to continuously assess student progress and modify their teaching to differentiate instruction to meet student’s needs. |

|Assessment and Feedback: |

|Reference page 4-6 |

|Session #4 |

|Date: 7/9/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: Midterm Due/ Mosaic Design/Group Work |

|Standards and Components Alignment: |

|Danielson Component | |

|Domain 2: Component 2B: Establishing a Culture for Learning |The study of mosaic design allows for a deeper cultural connection and |

| |understanding of the rich history and numerous art influences from the |

| |Middle East on the European Middle Ages all the way to present time. |

| | |

| | |

| |Introducing new materials for engaging exploration of mosaic design allows |

|Domain 3: Component 3C: Engaging Students in Learning |participants to explore radial symmetry, patterns and principles of design. |

| | |

| | |

| | |

| |In this course, teachers will create and present their artwork, responding |

| |and connecting this artwork to their classroom curriculum and final lesson |

| |plan. |

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re 8 & | |

|9, VA Cn 10 & 11 | |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants will be able to follow the Danielson’s Teacher Competency Domain 1-Designing Coherent Instruction and Student Assessment by teaming up |

|in groups of two to critique and assess each other’s lesson plan using the MFTA Rubric handout to provide useful feedback for areas of improvement |

|and enrichment. |

|Participants evaluate their lesson plans using the rubric for assessment and the integration of cultural diversity. |

|Participants learn to create mosaics from a variety of found materials in order to understand how to differentiate instruction and apply mosaic |

|making techniques to Math-measurement, design, and patterning. |

|Group Work |

|Topics and Agenda: |

|1st lesson plan due: participants will share lesson with another colleague to be critiqued using a rubric to provide useful feedback for areas of |

|improvement and enrichment. |

|-Instructor led discussion; participants share what they have learned from their colleagues with the class. -Instructor led tutorial using a variety |

|of found materials in order to understand how to differentiate instruction and apply mosaic making techniques to Math-measurement, design, and |

|patterning |

|-Studio Art-Mosaic Design |

|Clean up |

|Read NYSED Culturally Responsive Sustaining Education Framework Policy Guide, reflective writing |

|Instructor led group discussion |

|Project journal writing |

|Group Work |

|Connection to Critical Consciousness/CRSE: |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the |

|complexities of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: Peer review of lesson plan to unpack how personal/cultural experiences inform their lessons and teaching methods |

|NYSED Culturally Responsive Sustaining Education Framework Policy Guide |

| |

|Application to Instruction and Student Learning: |

|Participants will use the premise of ‘turn and talk’–teach students to take turns sharing information they gained through assessing each other’s |

|lesson plans with the class. |

|Participants will be able to construct simple and advanced book structures and for students to incorporate in their publishing of stories, and |

|personal narratives. Participants will bring to the classroom a variety of materials for students to design and create a mosaic pattern that is |

|either pictorial or non-objective. This project can be differentiated and integrated into Special Education classes through a hands on envelop book |

|making project, no binding or fancy stitching needed to use for an all about me book; ELL learners can create their own books to write a story about |

|how they arrived in America; Gifted and talented students can highlight a culture from their social studies unit on the origins and techniques book |

|throughout time, middle and high school students research Islamic Art radial symmetry and the golden rule to create mosaics using advanced geometry.|

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to continuously assess student progress and modify their teaching to differentiate instruction to meet student’s needs. |

|Assessment and Feedback: |

|Reference page 4-6 |

|Session #5 |

|Date: 7/10/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: Puppet Design/No Sew Costume Making |

|Standards and Components Alignment: |

|Danielson Components | |

|Domain 2: Component 2B: Establishing a Culture for Learning |Teachers explore fabrics, furs yarns to designs creations inspired by a book|

| |or unit of study from class |

|Domain 3: Component 3C: Engaging Students in Learning | |

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re 8 & |Puppetry and costuming are two great fits for the students to make to become|

|9, VA Cn 10 & 11 |engaged in the presentation of their research paper or fictional story. |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants will learn a variety art techniques used in puppet making to understand how to use puppets in order to differentiate instruction |

|including ELA- literary response as well as creative writing; Social Studies and Core Arts Cn making connection-demonstrating how puppet making has |

|been used throughout history as a way of spreading information as well as for entertainment; Math-problem solving, design and measurement; all |

|through a hands-on art project |

|Participants will learn how to utilize a variety of no-sew costume construction techniques highlighting Core Arts Cr 1 art making and Core Arts Cn, |

|making connections that can be adapted to a large range of curriculum topics. |

|Topics and Agenda: |

|Morning |

|Instructor led tutorial providing a variety of prototypes and art techniques used in puppet making to understand how to use puppets in order to |

|differentiate instruction including ELA- literary response as well as creative writing; Social Studies and Core Arts Cn, making |

|connections-demonstrating how puppet making has been used throughout history as a way of spreading information as well as for entertainment; |

|Math-problem solving, design and measurement; all through a hands-on art project |

|-Studio Art: Puppet Making |

|-Instructor led art critique puppet presentation |

|-Project journal writing |

|Afternoon |

|Read Art in the Public Sphere-On Paul Freire by Caaaoz. reflective writing |

|Instructor led group discussion |

|Instructor led demonstration on no-sew costume construction techniques highlighting Core Art CR, art making and Core Arts Cn making connections to |

|math, ELA and Social Studies curriculum. |

|-Studio Art: No Sew Costume Making |

|-Project Journal Writing |

|-Partner Project work time |

|-Clean up |

|Connection to Critical Consciousness/CRSE: |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the |

|complexities of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: Creating puppets/costumes to embrace and celebrate cultures and traditions around the world |

|Read Art in the Public Sphere-On Paul Freire by Caaaoz |

|Instructor led group discussion |

| |

|Application to Instruction and Student Learning: |

|Participants will apply knowledge to teach age and skill appropriate puppets including shadow puppet, stick puppet, sock puppet to be used in |

|storytelling, bringing to life a character from a book as well as creating character studies to write original story. |

|Participant’s students will use Core Arts Cn, making connections-understanding how puppets can be used as a powerful tool for communicating a message|

|be it political, socio-economic or simply artistic. |

|Participants demonstrate and engage students by using a variety of materials and following a few simple techniques to create a variety of costumes to|

|be used in performance, oral presentations, and re-enactments from books. |

|Participants can plan a class trip to Central Park Swedish Puppet Players. |

|This project can be differentiated and integrated into Special Education creating super hero puppets; ELL learners can create puppet to bring to life|

|a character from a book ; Gifted and talented students can produce a shadow puppet performance highlighting light, transparent, translucent and |

|opaque, middle and high school create an original puppet performance highlighting social issues like race, gender, bullying. |

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to differentiate instruction to meet students’ needs. |

|Assessment and Feedback: |

|Reference page 4-6 |

|Session #6 |

|Date: 7/11/2020 |Number of hours for this session: 7.5 |

|Time: 9:00-5:00 |Assignments due today: kinetic sculptures/final group presentation |

|Standards and Components Alignment: |

|Danielson Components | |

|Domain 2: Component 2B: Establishing a Culture for Learning |Teachers now have been introduced to a wide range of free materials and how |

| |to use them in the classroom integrating the arts into classroom learning. |

| | |

|Domain 3: Component 3C: Engaging Students in Learning |Art making allows for anyone of any age to become more engaged in a subject |

| |of interest. By creating an object, the artist becomes actively engaged in |

| |the process. The final product allows for discussion through individual |

| |oral presentations and classroom critique |

| | |

| |In this course, teachers wrote about, created and presented their artwork, |

| |responding and connecting to their classroom curriculum and final lesson |

|NYS Learning Standards for the Arts VA Cr 1,2 &3, VA Pr 5 &6, VA Re 8 & |plan. |

|9, VA Cn 10 & 11 | |

|6-8 W4, W5, W7 | |

|9-12 W4, W5, W7 | |

|6-8 SL1, SL2, SL5 | |

|9-12 SL1, SL2, SL5 | |

|NYC Social Studies/Science Scope and Sequence | |

|Objectives: |

|Participants will learn to create a kinetic sculpture selecting appropriate materials that will create balance and fluid motion to understand how to |

|differentiate instruction and apply mobiles to math-analysis, design, measurement and geometry though hands-on art project. |

|Participants will learn to use the basic principles of the science of sound, experimentation and problem solving to create a kinetic sculpture that |

|makes sound (wind chime). |

|Present partner-created projects using materials from MFTA warehouse and art making that integrates the subject areas from the course into the |

|educator’s school goals and curriculum. |

|Participants will present their final works and lesson plan to be critiqued by their colleagues. |

|Participants will fill out course evaluation and participant in final course review. |

| Topics and Agenda: |

|Morning |

|Instructor led discussion and tutorial on Wind Chimes and Mobiles |

|Studio |

|Wind chimes and Mobiles |

|Afternoon |

|Partner Presentations |

|Lesson Plan sharing |

| |

|Connection to Critical Consciousness/CRSE: |

|Criteria from Rubric: Course provides meaningful resources and content that reflect diverse perspectives and experiences to reflect on the |

|complexities of their students’ and their own individual identities and cultures |

|Course establishes and maintains a brave learning community |

|Activity: Group peer assessment, critique on how well group represented their student population in the art project and lesson plan highlighting the|

|integration of critical consciousness into the classroom curriculum. |

| |

|Application to Instruction and Student Learning: |

|Participants will be able to use Core Art CR, art making to teach students though differentiated instruction how to design a kinetic sculpture using |

|appropriate materials that will create balance and fluid motion. |

|Participants will provide students the opportunity to explore the physics of sound, experimenting with a variety of materials to identify pitch. |

|Participants will introduce students to group work where they design a project based around a specific product or material. |

|Participants will utilize Core Arts Re, for students to learn how to speak in a group, using art vocabulary, promoting positive critique in their own|

|classrooms. |

|This project can be differentiated and integrated into Special Education classes creating wind chimes to be used to calm the room down, that can calm|

|and center; ELL learners can create their wind chime to be used in an oral presentation as sound effects; Gifted and talented students create a group|

|project highlighting Asia and the origins/uses of wind chimes. |

|In the classroom participants will apply the techniques they learned using rubric assessments. |

|In the classroom participants will discuss the use of rubrics for students to generate their own rubric for created art work. |

|In the classroom participants will apply the techniques they learned using rubric assessments, project journaling, KWL charts, and Turn And Talk as |

|tools to continuously assess student progress and modify their teaching to differentiate instruction to meet student’s needs. |

|Assessment and Feedback: |

|Reference page 4-6 |

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