Two For One

As summertime approaches, teaching artists who know how to play a musical instrument are in high demand.  This is a tight job market, and, for the job-hunting TA, being able to make music might make all the difference in getting a position at an arts camp, or summer-school program. Luckily, it's never too late to learn a new skill, and maybe you should? The good people at Lifehacker have  posted an intriguing article that promises to explain how it is possible to "Learn to Play an Instrument Online."

Also: G. Gould - Goldberg Variations 26-30 & Aria Da Capo

To Be Good

Volunteerism is terrific, but it doesn't pay the rent, unless you're the volunteer coordinator. Early-career teaching artists who are spending their free time with a worthy organization this summer, might want to politely ask for something in return, besides the "valuable experience."  Historically,  early-career members of other organized professions have  been provided access to  training, and a chance to earn a full-time job, with benefits, as the compensation for a period of  under-paid service as  an apprentice. Sure it's the Great Depression, but it can't hurt to ask.

Idealist has the job listings.

Bronx Council on the Arts has the information.

ATA is on Facebook. I am there now, attempting to crowd-source, or something.

From THE TEMPEST 
by William Shakespeare

ACT III
SCENE I.
Before PROSPERO'S Cell.
Enter FERDINAND, bearing a log


FERDINAND
There be some sports are painful, and their labour
Delight in them sets off: some kinds of baseness
Are nobly undergone and most poor matters
Point to rich ends. This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what's dead
And makes my labours pleasures: O, she is
Ten times more gentle than her father's crabbed,
And he's composed of harshness. I must remove
Some thousands of these logs and pile them up,
Upon a sore injunction: my sweet mistress
Weeps when she sees me work, and says, such baseness
Had never like executor. I forget:
But these sweet thoughts do even refresh my labours,
Most busy lest, when I do it.

Enter MIRANDA; and PROSPERO at a distance, unseen

MIRANDA
Alas, now, pray you,
Work not so hard: I would the lightning had
Burnt up those logs that you are enjoin'd to pile!
Pray, set it down and rest you: when this burns,
'Twill weep for having wearied you. My father
Is hard at study; pray now, rest yourself;
He's safe for these three hours.

FERDINAND
O most dear mistress,
The sun will set before I shall discharge
What I must strive to do.

MIRANDA
If you'll sit down,
I'll bear your logs the while: pray, give me that;
I'll carry it to the pile.

FERDINAND
No, precious creature;
I had rather crack my sinews, break my back,
Than you should such dishonour undergo,
While I sit lazy by.

MIRANDA
It would become me
As well as it does you: and I should do it
With much more ease; for my good will is to it,
And yours it is against.

PROSPERO
Poor worm, thou art infected!
This visitation shows it.

MIRANDA
You look wearily.

FERDINAND
No, noble mistress;'tis fresh morning with me
When you are by at night. I do beseech you--
Chiefly that I might set it in my prayers--
What is your name?

MIRANDA
Miranda.--O my father,
I have broke your hest to say so!

FERDINAND
Admired Miranda!
Indeed the top of admiration! worth
What's dearest to the world! Full many a lady
I have eyed with best regard and many a time
The harmony of their tongues hath into bondage
Brought my too diligent ear: for several virtues
Have I liked several women; never any
With so fun soul, but some defect in her
Did quarrel with the noblest grace she owed
And put it to the foil: but you, O you,
So perfect and so peerless, are created
Of every creature's best!

MIRANDA
I do not know
One of my sex; no woman's face remember,
Save, from my glass, mine own; nor have I seen
More that I may call men than you, good friend,
And my dear father: how features are abroad,
I am skilless of; but, by my modesty,
The jewel in my dower, I would not wish
Any companion in the world but you,
Nor can imagination form a shape,
Besides yourself, to like of. But I prattle
Something too wildly and my father's precepts
I therein do forget.

FERDINAND
I am in my condition
A prince, Miranda; I do think, a king;
I would, not so!--and would no more endure
This wooden slavery than to suffer
The flesh-fly blow my mouth. Hear my soul speak:
The very instant that I saw you, did
My heart fly to your service; there resides,
To make me slave to it; and for your sake
Am I this patient log--man.

MIRANDA
Do you love me?

FERDINAND
O heaven, O earth, bear witness to this sound
And crown what I profess with kind event
If I speak true! if hollowly, invert
What best is boded me to mischief! I
Beyond all limit of what else i' the world
Do love, prize, honour you.

MIRANDA
I am a fool
To weep at what I am glad of.

PROSPERO
Fair encounter
Of two most rare affections! Heavens rain grace
On that which breeds between 'em!

FERDINAND
Wherefore weep you?

MIRANDA
At mine unworthiness that dare not offer
What I desire to give, and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
I am your wife, it you will marry me;
If not, I'll die your maid: to be your fellow
You may deny me; but I'll be your servant,
Whether you will or no.

FERDINAND
My mistress, dearest;
And I thus humble ever.

MIRANDA
My husband, then?

FERDINAND
Ay, with a heart as willing
As bondage e'er of freedom: here's my hand.

MIRANDA
And mine, with my heart in't; and now farewell
Till half an hour hence.

FERDINAND
A thousand thousand!

Exeunt FERDINAND and MIRANDA severally

PROSPERO
So glad of this as they I cannot be,
Who are surprised withal; but my rejoicing
At nothing can be more. I'll to my book,
For yet ere supper-time must I perform
Much business appertaining.

Exit

Mindblowing

Lincoln Center Institute is offering an online survey course in "Imaginative Learning."

Of course, it looks fabulous.

The registration page says the course costs $750 for 3 Graduate Credits and $350 for PDU Credit. An application is required.

Also: Rudyard Kipling - The Elephant's Child

I KEEP six honest serving-men
(They taught me all I knew);
Their names are What and Why and When
And How and Where and Who.
I send them over land and sea,
I send them east and west;
But after they have worked for me,
I give them all a rest.

I let them rest from nine till five,
For I am busy then,
As well as breakfast, lunch, and tea,
For they are hungry men.
But different folk have different views;
I know a person small-
She keeps ten million serving-men,
Who get no rest at all!

She sends'em abroad on her own affairs,
From the second she opens her eyes-
One million Hows, two million Wheres,
And seven million Whys!

What They Said

Luckily, the Foundation Center maintains an archive of panel discussions about issues related to fundraising.

If you have any interest in that sort of thing, you might want to give it a whirl. 

This mp3, recorded in October 2008, features five program directors from the New York State Council on the Arts (NYSCA) talking about everything you need to know about NYSCA grant opportunities, eligibility, and the application process.

Dreaming

The New York Times says "dream work" is taking its place among the ever expanding techniques of actor training.

"Teachers say that at least 1,000 actors have been trained so far and that interest is growing in the technique, which is inspired by the theories of Carl Jung, who believed that dreams are the expression of the unconscious, and the images and symbols in them communicate crucial information to the conscious mind."

I close my eyes.

The Search

Good news! The Actors Fund Actors Work Program offers a Job Search and Interview Skills Workshop through which everyone who works in the entertainment field can get support, leads and job search strategies. There is an intake process and participants must attend the Actors Work Program Orientation as a prerequisite.

The Actors Work Program Job Search and Interview Skills Workshop

When: Every Wednesday except legal holidays.
Time: 12:00 - 2:30 PM
Where: The Actors Fund, 729 Seventh Avenue, 11th Floor
Program: Actors Work Program

Contact: Billie Levinson

Phone: 212.354.5480 ext. 100

Contact Email: blevinson@actorsfund.org

Remember, Participants must attend the Actors Work Program Orientation before attending Job Search.

Cartoon: Gossamer

We Are What We Think

MAXINE GREENE

"Consciousness doesn't come automatically; it comes through being alive, awake, curious, and often furious."

THE BUDDHA

"Sit.
Rest.
Work."

Lincoln Center Institute has posted the On-line Conference Proceedings for Aesthetic Education: Expanding Notions of Excellence in K-18 Learning Communities (2007)

The Buddha has left us the Dhammapada.

Drive My Car

The Kennedy Center, in partnership with Daimler Financial Services, chose ten schools across the country for On Location: Spotlight On Your Community.  The program gives schools the opportunity to tell the story of the arts in their community through videos that will be shared on the Internet. Each of the ten schools selected gets a media equipment package, and both students and teachers will be trained in storytelling, filmmaking, editing, and producing video stories.  Daimler is providing the funding along with a tour bus, so the project can head cross country.

It's too late to apply for the Patridge Family video bus to come to your school, but the On Location curriculum is posted online at ArtsEdge. It will take you through all the steps to help students make a documentary that will feature an artist or arts group in your community.

Quickly, before Germany runs out of money.

Free Associate with me:

Daimler. 

Chrysler. 

Cars. 

Bankruptcy?

No.

The Beatles'  "Rubber Soul"

Mentors Needed

I think Teaching Artists need mentor relationships to fill in the gaps and help them improve their game. Mentoring should be built into training programs and peer-to-peer mentoring should be a part of the culture at the organizations that do the hiring. 

There are so many questions only a person with experience can help you grapple with.

This year, I've facilitated workshops for people of all ethnic/economic/social backgrounds in wildly different contexts. I have worked with individuals ranging in age from 6 to 80. I have facilitated workshops on a swelteringly hot church parking lot, in Central Park, on stages, in classrooms, gymnasiums. I have urged people to sit in a nice circle on carpets of many colors, on mats, on linoleum and on wooden floors with splinters and without. I have worked to help people get ready to see plays, talk about plays after they've seen them, dialogue around issues, write poetry, act, experience stories and make art they can share with somebody else.  I've worked on lesson plans and curricula to explore Shakespeare, musical theater, mad puppets, classroom management and (my favorite) a workshop series to help younger humans learn about all their various parts..."These are my hands,with my hands I can_____" 

Question: How did my training prepare me for all of that?

Answer: I don't think it did. I think I might be one of those who learned by doing. In the best situations, like where I work now, I have a teaching partner and I learn from and with them. 

This is a craft and, unless you are in a staff position with a set curriculum and an unchanging student population, nearly every day brings something different.

Teaching Artists need mentors. 

Is that practical? Is that doable?

Anyway, if you are looking for a place, there are some great training programs out there. I will post these 4 to start:

American Place Theater

Lincoln Center Institute

Arts Horizons

VSA Arts

Arts For All Teaching Artist Training Video

Los Angeles County has an initiative called Arts for All.

 

The Dana Foundation funds the work and The Music Center is a partner. 

 

Here's a cool video of their work.

Effective Training Programs?

Question: What are some of the most effective training programs you have seen?

Short Answer: Effective training is ongoing, dynamic training that fits into the life of the artist.

Longer Answer: This morning, at a panel set up by Arts Education Resource for college students, Russell Granet shared a definition of the term "Teaching Artist" that he solicited from Eric Booth.

Paraphrasing, Booth’s definition contained the idea that:

“ The Teaching Artist is an artist who chooses to develop their skills as an educator…”

The most effective training for Teaching Artists that I have experienced is ongoing professional development that aligns with my belief that we are artists first. For me, the professional educator identity is a set of skills and concepts coalescing around my identity as a professional artist, not the other way around. 

I'll post more on this later. In the meantime, what do you think?

What are some of the most effective training programs you have seen?